initial commit of ebook 19715HEADmain

87 files changed, 10085 insertions, 0 deletions

diff --git a/.gitattributes b/.gitattributes
new file mode 100644
index 0000000..6833f05
--- /dev/null
+++ b/.gitattributes
@@ -0,0 +1,3 @@
+* text=auto
+*.txt text
+*.md text
diff --git a/19715-8.txt b/19715-8.txt
new file mode 100644
index 0000000..8079699
--- /dev/null
+++ b/19715-8.txt
@@ -0,0 +1,3225 @@
+The Project Gutenberg EBook of Bell's Cathedrals: The Cathedral Church of
+Norwich, by C. H. B. Quennell
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Bell's Cathedrals: The Cathedral Church of Norwich
+       A Description of Its Fabric and A Brief History of the Episcopal See
+
+Author: C. H. B. Quennell
+
+Release Date: November 5, 2006 [EBook #19715]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK NORWICH CATHEDRAL ***
+
+
+
+
+Produced by Jonathan Ingram, David Cortesi and the Online
+Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+[Illustration: Norwich Cathedral from the South-East.]
+
+
+
+
+            THE CATHEDRAL CHURCH OF
+                   NORWICH
+          A DESCRIPTION OF ITS FABRIC
+          AND A BRIEF HISTORY OF THE
+                EPISCOPAL SEE
+
+                     BY
+              C.H.B. QUENNELL
+
+        [Illustration: Arms of Norwich]
+
+            WITH FORTY ILLUSTRATIONS
+
+
+          LONDON GEORGE BELL & SONS 1898
+
+           W.H. WHITE AND CO. LIMITED
+           RIVERSIDE PRESS, EDINBURGH
+
+       *       *       *       *       *
+
+
+
+
+GENERAL PREFACE
+
+
+This series of monographs has been planned to supply visitors to the
+great English Cathedrals with accurate and well illustrated guide-books
+at a popular price. The aim of each writer has been to produce a work
+compiled with sufficient knowledge and scholarship to be of value to the
+student of Archæology and History, and yet not too technical in
+language for the use of an ordinary visitor or tourist.
+
+To specify all the authorities which have been made use of in each case
+would be difficult and tedious in this place. But amongst the general
+sources of information which have been almost invariably found useful
+are:--(1) the great county histories, the value of which, especially in
+questions of genealogy and local records, is generally recognised; (2)
+the numerous papers by experts which appear from time to time in the
+Transactions of the Antiquarian and Archæological Societies; (3) the
+important documents made accessible in the series issued by the Master
+of the Rolls; (4) the well-known works of Britton and Willis on the
+English Cathedrals; and (5) the very excellent series of Handbooks to
+the Cathedrals originated by the late Mr John Murray; to which the
+reader may in most cases be referred for fuller detail, especially in
+reference to the histories of the respective sees.
+
+                                          GLEESON WHITE,
+                                          EDWARD F. STRANGE,
+                                             _Editors of the Series._
+
+       *       *       *       *       *
+
+
+
+
+AUTHOR'S PREFACE
+
+
+The task of writing a monograph, on such an essentially Norman Cathedral
+as Norwich, has been most pleasing to one who owns to an especial
+fondness for that sturdy architecture which was evolved in England
+during one of her stormiest epochs--from the end of the eleventh till
+the end of the twelfth century.
+
+I would here acknowledge indebtedness and thanks due to the Very Rev.
+the Dean and Mrs Sheepshanks for the personal interest they evinced, and
+for his material help; to Mr J.B. Spencer, the sub-sacrist, for that
+help which his intimate association with the cathedral enabled him to
+offer; and to Mr S.K. Greenslade for the loan of the drawings reproduced
+under his name; as well as to the Photochrom Co. Ltd., Messrs S.B. Bolas
+& Co., and Mr F.G.M. Beaumont for the use of their photographs. The
+views of the cathedral as it appeared in the early part of the
+nineteenth century are reproduced from Britton's "Norwich," and from a
+volume by Charles Wild.
+
+                                                              C.H.B.Q.
+
+       *       *       *       *       *
+
+
+
+
+CONTENTS
+
+                                                                    PAGE
+CHAPTER I.--History of the Fabric                                      3
+
+CHAPTER II.--The Cathedral--Exterior                                  23
+  The Cathedral Precincts                                             23
+  The Erpingham Gate                                                  23
+  St. Ethelbert's Gate and the Gate-House                             25
+  Chapel of St. John the Evangelist                                   27
+  The West Front of the Cathedral                                     28
+  Exterior of Nave                                                    31
+  The South Transept                                                  32
+  The Diocesan Registry Offices and Slype                             35
+  The Chapter-House                                                   36
+  The Tower and Spire                                                 36
+  The Eastern Arm of Cathedral or Presbytery                          39
+  The Chapels of St. Mary-the-Less and Saint Luke                 39, 40
+  The Jesus Chapel and Reliquary Chapel                               40
+  The North Transept                                                  40
+  The Bishop's Palace                                                 43
+
+CHAPTER III.--The Interior                                            45
+  The Nave                                                            45
+  The Choir Screen                                                    49
+  The Nave Vault                                                      50
+  The West Window and West Door                                       55
+  The North and South Aisles of Nave                              55, 56
+  Monuments in Nave and Aisles of Nave                            57, 58
+  The Cloisters                                                       58
+  The Walks--East, South, and West                                62, 63
+  The Ante-choir and Choir                                            64
+  The Pelican Lectern                                                 68
+  The Presbytery                                                      68
+  Reliquary Chapel                                                    72
+  Monuments in the Presbytery                                         74
+  The North Transept                                                  76
+  The Tower and Triforium Walks                                       79
+  The Processional Path                                               79
+  The Jesus Chapel                                                    83
+  St. Luke's Chapel                                                   88
+  Treasury and Muniment Room                                          88
+  The Bauchon Chapel                                                  88
+  The South Transept                                                  88
+  Monuments                                                           91
+
+CHAPTER IV.--The Sees of the East Anglian Bishops                     95
+
+CHAPTER V.--The City                                                 111
+
+
+
+
+LIST OF ILLUSTRATIONS
+
+                                                            PAGE
+Norwich Cathedral from the South-East                     _Frontispiece_
+Arms of Norwich                                                  _Title_
+The Cathedral from the South-West                                      2
+The Cathedral in the Seventeenth Century                               9
+West Front of the Cathedral in 1816                                   15
+The Cathedral from the South-West Angle of Cloisters                  22
+The Erpingham Gate                                                    24
+St. Ethelbert's Gate                                                  25
+The Gate-House of the Bishop's Palace                                 25
+West Front of the Cathedral                                           28
+The Clerestory and Triforium of Choir (South Side)                    32
+The Tower in 1816                                                     37
+Exterior of the Chapel of St. Luke from the East                      40
+A Norman Capital                                                      46
+The Nave, looking East                                                47
+The Choir Screen and Organ from the Nave                              51
+The North Aisle of Nave, looking West                                 56
+The East Walk of the Cloisters                                        58
+The Cloisters from the Garth                                          59
+The Prior's Door                                                      63
+The Choir and Presbytery                                              65
+A Stall in the Choir                                                  67
+The Choir and Presbytery in 1816                                      69
+The Choir Stalls at the beginning of the Nineteenth Century           70
+The Choir, looking West                                               72
+Detail of the Presbytery Clerestory and Vaulting                      74
+The Choir Apse                                                        77
+Detail of the Clerestory, North Transept                              80
+The South Aisle of Presbytery, looking East                           81
+Norman Work in the Lantern of Tower                                   83
+The Ante-Reliquary Bridge Chapel                                      84
+Doorway and Screen between South Transept and Aisle of Presbytery     88
+View across the Apse from the Chapel of St. Luke                      89
+The Resurrection: from the Painted Retable formerly in the
+  Jesus Chapel                                                        93
+Norwich Castle                                                        99
+The Guildhall                                                        103
+Monument of Bishop Goldwell                                          107
+The Pelican Lectern in the Choir                                     110
+Pull's Ferry                                                         112
+PLAN OF THE CATHEDRAL                                                113
+
+       *       *       *       *       *
+
+[Illustration: The Cathedral from the South-West.]
+
+
+
+
+CHAPTER I
+
+HISTORY OF THE FABRIC OF THE CATHEDRAL CHURCH OF THE HOLY TRINITY OF
+NORWICH
+
+
+Norwich Cathedral stands on the site of no earlier church: it is to-day,
+in its plan and the general bulk of its detail, as characteristically
+Norman as when left finished by the hand of Eborard, the second bishop
+of Norwich.
+
+The church was founded by Herbert de Losinga, the first bishop, as the
+cathedral priory of the Benedictine monastery in Norwich (a sketch of
+its constitution at this period will be found in the Notes on the
+Diocese); the foundation-stone was laid in 1096 on a piece of land
+called Cowholme,--meaning a pasture surrounded by water,--and the church
+was dedicated to the Holy Trinity.
+
+It may be of interest to the tourist and student to review briefly what
+sort and manner of man Herbert the founder was; what had been his
+environment prior to his appointment as the first bishop of Norwich; and
+what the causes were which had as their effect the building of the
+cathedral.
+
+The characteristics of the cathedral are--its long nave, which is
+typical of the Norman church; its glorious apsidal termination,
+encircled by a procession path, which recalls the plan of a French
+cathedral; and the form of this, with the remains of its old bishops'
+chair centrally placed, and with the westward position, of the throne at
+Torcello and other Italian churches, of the basilican type of plan.
+
+Herbert, surnamed de Losinga, transferred the see from Thetford to
+Norwich in 1094, and it is from this period that the history of the
+cathedral may be said to commence.
+
+Herbert was a prelate of a type that in the early days helped to build
+up the Church and give her stability. His nature must have been
+curiously complex; on the one hand, a man of action and with great
+capability of administration, often justifying his means by the end he
+had in view, and not being debarred from realising his schemes by any
+delicate scruples, he yet, on the other hand, presents in his letters a
+chastened spirituality that is not compatible with the methods he
+pursued when thinking only of the temporal advantages which might accrue
+on any certain line of action. But it may be said that his letters
+appear to date from the later period of his life, and after he had
+founded the cathedral as an expiation of that sin of simony he appears
+to have so deeply repented.
+
+Yet in the earlier period, which we shall note, he was emphatically the
+man of action, the typical administrator, who, mixing freely in the
+political life of the times, was strengthening the position of the
+Church, and gradually leading her up to that position, which she
+ultimately gained, of Arbitress of Kings and Empires.
+
+He had also a morbid belief in the power of money--he probably would
+have agreed that "every man has his price," and his simoniacal dealings
+with William Rufus, which procured his preferment to Norwich, afford
+evidence of this weak trait in his character.
+
+Herbert's birthplace is disputed, and, as Dean Goulburn remarked, this
+is but natural: a man so justly celebrated would not, or, rather,
+historians will not be content with one; so that though he cannot rival
+Homer in that seven cities desired to be accredited each as his
+birthplace, yet Herbert falls not far short, and this fact alone will
+perhaps give some idea of his popularity during his life, and the
+interest then aroused which has lasted down to our own times. From a
+small pamphlet issued by the dean and chapter in 1896, and containing
+extracts from the _Registrum Primum_, we learn that "In primis Ecclesiam
+prefatam fundavit piæ memoriæ Herbertus Episcopus, qui Normanniæ in
+pago Oximensi natus." First Herbert, the bishop, of pious memory, who
+was born in Normandy, in the district of Oximin (or Exmes).
+
+This seems very credible, and the old monkish chronicler who was
+responsible for the _Registrum Primum_ and its rugged Latin, may have
+had authentic proof of the truth of his assertion. The manuscript dates
+from the thirteenth century, and no considerable period, historically
+considered, had then passed since Herbert had been one of the prime
+movers of the religious and political life of the day.
+
+Blomefield, the antiquary, attributed to him a Suffolk extraction, and
+then again spoke of his Norman descent: thus agreeing in some measure
+with the _Registrum Primum_. And again, another idea is that he was born
+in the hundred of Hoxne, where he possessed property, and his father
+before him.
+
+Herbert had, we know, received his education in Normandy, and had taken
+his vows at, and ultimately had risen to be prior of, the Abbey of
+Fécamp in Normandy; and it was while vigorously administering this
+office that he received an invitation from William Rufus to come to
+England, being offered as an inducement the appointment of Abbot of
+Ramsey.
+
+And no doubt from this period the spiritual side of his duties must of
+necessity have been somewhat neglected. From the position of prior of
+Fécamp, his circle of power limited to the neighbourhood of his priory,
+and his duties rounded by the due observance of the rules of his order,
+he was given at once the administration of what was one of the richest
+abbeys in England, and attained at once the power of a great feudal
+lord. He was Sewer to William Rufus as well, an office endowed with fees
+and perquisites, and so to Herbert came the temptation of accumulating
+wealth for his own ambitious ends. It was not, however, the sin of a
+small man: he introduced no personal element into his greed, but rather
+thought of his party and his Church, although, of necessity, an
+environment so purely temporal told on the spiritual side of his
+character. It might be best to connect the links of the East Anglian
+bishoprics here, although in the notes on the diocese the matter is gone
+into at more length.
+
+Herbert de Losinga was the first bishop of Norwich, to which town the
+see was transferred in compliance with a decree of Lanfranc's Synod,
+held in 1075, that all sees should be fixed at the principal towns in
+their dioceses.
+
+Felix was the first bishop of East Anglia, and fixed his see at Dunwich
+in 630.
+
+The see was divided by Theodore, Archbishop of Canterbury, in 669 into
+those of Elmham and Dunwich; and these again were united under Wildred
+in 870, and the see fixed at Elmham, and where it remained till 1070,
+when Herfast, a chaplain of William the Conqueror's, moved his see to
+Thetford.
+
+Now, about this time, when Herbert was abbot of Ramsey and Sewer to
+William Rufus, the see of Thetford was vacant, and Herbert gave the king
+to understand that if he was appointed to the vacant bishopric, and his
+father made Abbot of Winchester, he was willing and able to pay for such
+preferment a sum of £1900: a part of his accumulated savings, no doubt,
+and a very large amount for that time.
+
+William II. made these appointments, and the sum mentioned was paid into
+the royal treasury; but the bishop found that he had attained his end at
+a cost other than he had reckoned on; public opinion in those days was
+quite as powerful a force as it is now, though the channels along which
+its force could be felt and its strength find expression were limited.
+Indignation was rife, and monkish versifiers and chroniclers protested
+in lines more or less uncomplimentary, and more or less forcible, their
+loathing of such sin of simony.
+
+Now it is probable that, in expiation of this transgression, Herbert
+came to build Norwich Cathedral. It is certain that he almost at once
+repented. In after years, in his letters, he says, "I entered on mine
+office disgracefully, but by the help of God's grace I shall pass out of
+it with credit."
+
+In Dean Goulburn's admirable monograph on the cathedral many of
+Herbert's letters are given, and these alone would go to stamp him as a
+wonderful man. His conscience was awakened by the popular outcry against
+his sin of simony, he plunged into his new duties at Thetford with
+ardour in the vain hope of distraction, but failed to find that
+consolation he had hoped to; and so about 1093 he determined on a visit
+to Rome to tender his resignation and confess his sin to Pope Urban. He
+journeyed to Rome and was kindly received, and the absolution he desired
+readily granted. The Pope was glad to see an English bishop come to him
+for advice, and in granting him absolution he strengthened considerably
+his claim to be regarded as head of the English Church.
+
+This lengthy preamble may seem somewhat unjustifiable, but if we are to
+study any building aright, and if we are to interpret in any measure its
+meaning and symbolism, it cannot wholly be done on any line of abstract
+æstheticism or archæological instinct, however intuitive it may be:
+we must in some measure think of the builders of old times and of the
+influences which with them produced its inception and have left it to
+come down the ages to us.
+
+It is interesting to note that Herbert's early French training
+influenced him in the planning of the beautiful eastern termination to
+his cathedral, and the grand sweep of the procession path. Similar
+apsidal terminations, of slightly later date, once existed at Ely, and
+still remain in a modified form at Peterborough.
+
+The old tribunal arrangement of presbyters' seats with the central
+bishop's throne facing west, which was part of Herbert's first plan, no
+doubt may safely be accredited to the influence of his journey to Rome,
+and where he may have become familiar with what was the usual basilican
+arrangement.
+
+Herbert returned to England, penitent and forgiven for his sin, and it
+is probable that the Pope had laid on him, as a penance, an injunction
+to build churches and found religious houses, and that with the
+remainder of his wealth he determined to transfer the see from Thetford
+to Norwich and to build in the latter place his cathedral church. It
+would also have been in compliance with the decree of Lanfranc's Synod.
+The see was transferred on the 9th of April 1094, and Herbert was
+consecrated on the same day by Thomas, Archbishop of York.
+
+Norwich was then an important town; in the Middle Ages it ranked as the
+second city in the kingdom. Its prosperity was chiefly due to its large
+trade in wool. It is a moot point whether the town was ever a settlement
+of the Romans, no traces of such occupation having ever been discovered.
+The castle mound, no doubt, formed some part of the earthworks of an
+earlier stronghold. The word Norwich is probably of Norse origin,
+meaning the north village or the village on the North Creek
+("_wic_"--_i.e._ a creek). The city stood on a tidal bay in 1004, in
+which year the Danes under Sweyn completely devastated and ruined the
+town in revenge for the massacre of their countrymen by Aethelred the
+Unready two years before. So that the history of the town of Norwich, as
+we now know it, may be said to have started directly after this.
+
+The foundation-stone of the cathedral was laid in 1096; and upon it,
+according to the _Registrum Primum_, the following inscription is said
+to have been placed:--"In nomine patris et filii et spiritus Sancti Amen
+Ego Herbertus Episcopus apposui istum lapidem." (In the Name of the
+Father and of the Son and of the Holy Ghost, Amen, I, Herbert the
+Bishop, have placed this stone.)
+
+It was the custom of the Norman builders to start building from the
+easternmost part of the church, as the more sacred part of the
+structure, and then build westwards; so that probably this
+foundation-stone, for which diligent search has been made in vain, was
+in the eastmost wall of the original Norman Lady Chapel--in fact, the
+_Registrum Primum_ describes how Herbert began the work "where is now
+the chapel of the Blessed Mary." This chapel was demolished to make way
+for the beautiful thirteenth-century Lady Chapel which Dean Gardiner
+destroyed.
+
+The thirteenth-century builders of the Lady Chapel may have used
+Herbert's foundation-stone in their walling; Dean Lefroy quite lately,
+while repairing parts of the tower and east end, came across pieces of
+stone with beautiful "dog-tooth" ornament upon them, which had been used
+to repair the masonry that, it was evident, at one time had formed part
+of the thirteenth-century Lady Chapel. This must be so, since in no
+other part of the building save the arches now remaining in the extreme
+eastern wall of the procession path, which at one time gave access to
+the Lady Chapel, does such ornament occur.
+
+It is probable, and the more generally accredited supposition, that
+Herbert built the presbytery with its encircling procession path and the
+original trefoil of Norman chapel radiating therefrom;--the choir and
+transepts with the two chapels projecting eastwards and the first two
+bays of the nave. Harrod advances a theory that he completely finished
+the whole of the cathedral church, as well as the offices for the
+housing of the sixty monks who were placed therein, in 1101.
+
+He also built the episcopal palace on the north side of the cathedral,
+of which some parts remain to this day incorporated with work of a later
+period; he seems to have founded and built other churches in Norwich and
+Yarmouth. He died on the 22nd of July 1119, in the twenty-ninth year of
+his episcopate, and was buried before the high altar in his own
+cathedral church.
+
+[Illustration: The Cathedral in the Seventeenth Century.]
+
+Bishop Eborard, who succeeded in 1121, is credited with having finished
+the nave from the point where Herbert had left it. The evidence which
+goes to support this theory is taken from the _Registrum Primum_.
+"Moreover, the same Herbert completed the church of Norwich in his own
+time, as I have learned from the account of old people, but have not
+found in writing, as far as the altar of the Holy Cross, which is now
+called the altar of St. William. He also built all the episcopal
+dwelling-house, except the great hall." The altar referred to was on the
+north side of choir screen.
+
+Herbert also provided the base for the tower only, probably up to the
+roof level; the remainder, up to the parapet, was finished about the
+time of Henry I., but at that earlier period it was without the stone
+spire which now adds dignity to the cathedral from any point of view.
+
+The roofs at this time were generally of a flat wooden construction
+throughout (similar to that of Peterborough Cathedral), and probably
+decorated with lozenges, flowers, and symbolical devices. When recently,
+under Dean Lefroy, the whitewash and paint were cleaned off from the
+stonework, many indications have been found of a most beautiful scheme
+of colour decoration.
+
+Though we, in this part, are following up the history of the cathedral
+structure, yet it may be interesting to note that it was during the
+episcopate of Bishop Eborard that the boy saint, St. William of Norwich,
+was said to have been martyred. He was the son of country folk who
+gained a living by agriculture. During his life he worked many miracles,
+and by his death gave Norwich a share of his glory. It is related that
+he was tortured by the Jews, and on the spot where they were discovered
+secretly burying him, in Thorpe Wood, a chapel was erected called the
+Chapel of St. William in the Wood. Very little now remains of this
+structure, but the site can still be traced. The altar before referred
+to was set up to his memory in Norwich Cathedral, on the north side of
+the screen leading into the ante-choir.
+
+Bishop Eborard resigned the see, or was deposed in 1145, and retired to
+the abbey of Fontenay, Mont-Bard, Côte d'Or, in the South of France. He
+had re-enforced a mandate of Herbert's that the clergy of the diocese
+should contribute to the fund in aid of the fabric.
+
+During the episcopate of Eborard's successor, Bishop William de Turbe,
+the cathedral appears neither to have gained or suffered until, about
+1169 or 1170, a fire broke out in the monastic buildings; the
+fire-extinguishing appliances in those days, if indeed there were any at
+all, could not prevent it spreading to the cathedral. It is generally
+believed that the original Norman Lady Chapel was also well destroyed.
+
+Bishop William de Turbe, although an old man at the time (he died in
+1174), is said to have taken a vow that he would not go from within
+twelve leucas of the cathedral, unless compelled by the direst
+necessity, until the ravages of the flames had been repaired. He is
+reported to have seated himself at the door of the cathedral, and to
+have begged alms for this purpose from the worshippers. The work of
+reparation was carried on by his successor, John of Oxford, who may also
+be said to have completely finished Herbert's cathedral. He provided the
+furniture of the church, the vestments, books and ornaments, and,
+probably, entirely re-modelled the monastic buildings. He is also said
+to have built the Infirmary, of which now only three piers remain, to
+the south of the cloisters.
+
+In the years following, various works were doubtless carried on, but it
+is not until the time of Walter de Suffield, about 1250, that anything
+important in the way of structural alteration was effected. The fire of
+1169 had in part or whole destroyed the original Norman Lady Chapel, and
+Bishop de Turbe had restored the same in some measure. But the _cultus_
+of the Blessed Virgin in the interval had gathered strength wonderfully;
+chapels dedicated to her naturally became important, and Bishop Suffield
+determined to pull down the old Norman work and rebuild a chapel in the
+Early English style then prevalent. Dean Goulburn, in his work on the
+cathedral, estimated the size of the later chapel at 90 feet long by 30
+feet wide, and these dimensions are shown plotted in dotted lines on the
+plan in this book. This is longer and narrower than the size given in
+previous conjectures, but Dean Goulburn had the opportunity of
+inspecting the foundations of the chapel, which, with those of the still
+earlier one, lie buried but a few feet below the surface in a garden to
+the east of the cathedral. In the same place, and over the entrance
+arches remaining, the height and lines of the later roof can be seen
+still plainly marked on the stonework. These entrance arches are
+beautifully moulded and decorated on the inside with the "dog-tooth"
+ornament--a decoration peculiar to the Early English style.
+
+The theological reaction which followed close on this movement led to
+the neglect of the chapel, and obviated the necessity of maintaining it
+as a place of worship. It had probably greatly decayed; that Dean
+Gardiner (1573-89), no longer needing it for services, was tempted to
+pull it down, as a cheaper expedient than keeping it in repair.
+
+In 1271 Norwich was visited by a terrific thunderstorm, when the tower
+was struck by lightning. The damage, however, was not great, as,
+fortunately, the excessive rains which followed quenched the fire that
+had been kindled. This incident, however, was the precursor of one of
+the stormiest periods in the history of the city and its cathedral
+church. Roger de Skerning occupied the episcopal chair, and the prior
+was one William de Brunham, a man of fierce and truculent disposition.
+An outbreak of hostilities between the citizens on the one hand and the
+monks on the other, was brought about by his arbitrary assumption of
+power; the bishop throughout, ostensibly preferring the safer game of a
+somewhat anomalous position of neutrality, is nevertheless believed to
+have covertly sanctioned his proceedings.
+
+A fair was held in Tombland--to the west of the precincts--annually on
+Trinity Sunday, and by right of ancient custom the priors reaped large
+revenues by the imposition of tolls on the sales. Tombland, derived from
+_Tomeland_, a vacant space, had originally formed part of the estate
+bequeathed by Herbert, the founder, to the monks; the boundaries in
+course of time had become matters of controversy, and it is probable
+that the citizens felt the imposition of these tolls and dues to be a
+real and serious grievance. A riot broke out and the monks were driven
+within their gates. Had the prior at this juncture chosen to act
+peacefully, it is probable that history would contain no record of the
+sacrilege that followed. He, however, decided to resist force by force,
+and carefully generaled his monks, disposing them at the various
+strategic points of his domain. At the same time he sent to Yarmouth for
+mercenaries--these arrived and the tables were turned; the prior's
+forces sallied forth from the gates and robbed and pillaged the town.
+
+The citizens, roused to a pitch of madness, drove them and the soldiers
+back again within the walls of the monastery; the bishop, instead of
+acting as peacemaker, appears to have preserved his position of
+neutrality and quietly stopped in his palace. There was a short interval
+of truce, but it only served as a breath to fan the flames; the citizens
+besieged the cathedral precincts, and by the means probably of slings
+succeeded in hurling combustible materials into the buildings, with a
+result that the whole of the monastery and the cathedral itself was soon
+in flames. It seems to be an established fact that the prior had placed
+men in the tower to shoot at the citizens, and it is conjectured that
+they, and not the citizens, were the cause of the outbreak here.
+
+The only part of the cathedral that escaped was the Lady Chapel; the
+rest was gutted, vestments and ornaments were carried off, and the monks
+for the most part slain.
+
+So ended the first part of this lamentable chapter in the history of
+Norwich. A sentence of excommunication was passed on the city, and King
+Henry hastened to Norwich to preside at the trial of the prisoners.
+
+The accounts which have come down to us are as varied as might be
+expected, the chroniclers of the one party, of course, blaming the other
+side; it seems, however, to have been proved "that, after all, the
+church was burnt by that accursed prior"; but many of the citizens were
+hung, drawn and quartered, and the city had to pay in all 3000 marks
+towards repairing the church and monastical buildings, and to provide a
+gold pyx, weighing ten pounds, of gold; the monks in their turn had to
+make new gates and entrances into the precincts. The St. Ethelbert's
+Gate-house was part of the work imposed on the monks; it is of early
+Decorated character and was erected probably early in the fourteenth
+century.
+
+Bishop Roger de Skerning had died in retirement on the 22nd of January
+1277, and in the meantime the work of reparation had proceeded with such
+vigour that on Advent Sunday 1278 his successor, Bishop Middleton, was
+inaugurated with great state; Edward I. and his Queen with the Bishops
+of London, Hereford, and Waterford being present. He does not seem to
+have done much in the way of building, though the work of reparation was
+carried on; he died in 1287, and it was left to his successor, Bishop
+Ralph de Walpole, to begin the work of rebuilding the cloisters. The
+original Norman cloisters, which had endured until the time of the great
+fire in 1272, were probably of wood. It was determined to rebuild them
+in stone in the prevailing style. The cloisters are described in more
+detail in the notes on the interior of the cathedral, so that it will be
+sufficient to state here that their building spread over a period of one
+hundred and thirty-three years, and that they were finished during the
+episcopate of Bishop Alnwick.
+
+[Illustration: West Front of the Cathedral in 1816.]
+
+Bishop Walpole built the eastern walk of the cloisters, together with
+the chapter-house; he was translated to Ely about 1299, and the work
+carried on by his successor, Bishop Salmon, who built the south walk,
+also a chapel and hall attached to the bishop's palace. Of this nothing
+remains in the garden of the palace except a grand ruin, which is
+supposed to have formed the entrance or porch to the hall.
+
+He founded also the chapel dedicated to St. John the Evangelist,
+converted by Edward VI. into, and now used as, a grammar school; below
+it was a charnel-house.
+
+Continuing the history of the fabric, we can pass on to the episcopate
+of Bishop Percy, during which, about 1361, the wooden spire and parts of
+central tower of the cathedral were blown down by a violent gale of
+wind, and the presbytery was greatly damaged by the falling material.
+This bishop rebuilt the present clerestory, designed in the transitional
+style between Decorated and Perpendicular; the vault is later. It is
+also probable that he repaired the spire.
+
+During Bishop Wakering's time the Erpingham gate of the close was
+erected, and as well the cloister that formerly connected the palace on
+the north side with the cathedral. He also founded a chantry for one
+monk at his tomb.
+
+His successor, Alnwick, completed the cloisters. The gateway to the
+palace was built by him about 1430, and probably replaced an earlier
+structure. He also began the work of remodelling the central compartment
+of the west front. He left directions in his will to his executors to
+make a large west window, the cost to be charged to his estate. The
+doorway under this window, built over the old Norman one, and
+encroaching on the side arcading, was executed during his episcopate,
+the window being eventually added during the time of Bishop Lyhart to
+throw additional light on to the vault he erected, and its wonderful
+sculptures.
+
+In 1446, on February 27th, Walter Lyhart, or le Hart, was consecrated,
+and it is to him that Norwich Cathedral owes the superb _lierne_ vault
+that now spans the nave. Other important works were carried out by him;
+the spire which had been blown down in 1362 (and had probably been
+re-constructed by Bishop Percy--though there is no record of such work),
+was struck by lightning in 1463, and the burning mass fell through the
+presbytery roof, which up till this period was still in wood, completely
+destroying it, and making necessary the vault added by Lyhart's
+successor.
+
+During this episcopate the rood screen was erected, and a sumptuous
+monument placed over the grave of the founder.
+
+The stone spire must have been added about this time, replacing the
+former wooden construction.
+
+Bishop Lyhart left to his successor, Bishop Goldwell, in his will 2200
+marks for repairing the dilapidations caused by the fire of 1463. During
+this bishop's episcopate we find that the cathedral was brought nearly
+to that state in which we have it now,--the tower was still further
+adorned with Perpendicular battlements, the presbytery was vaulted in
+with stone, and the flying-buttresses added around the eastern apse to
+take the consequent thrust of the new vault.
+
+Internally, also, the lower stages of the presbytery were
+Perpendicularised by the addition of the four centred arches that still
+remain, and in the second bay of which, eastward from the tower, on the
+south side, was erected Bishop Goldwell's altar tomb.
+
+His successor, Lane, occupied the see but a short while, 1499-1500, and
+in turn was succeeded by Bishop Nykke--he is more generally called _Nix_
+(snow), sarcastically, as his character appears to have been of the
+blackest. During his episcopate, the cathedral was again visited by fire
+in 1509. The sacristy, with all the books and ornaments, was consumed,
+and the wooden roofs of both transepts totally destroyed.
+
+Bishop Nykke constructed the stone vaulting that, covering both arms of
+the church, completed the stone vaulting throughout the cathedral. His
+chantry, which is on the south side of the nave, and occupies two bays
+of the aisle, was arranged by him before his death, and its richness is
+inversely proportionate to the degradation of his character.
+
+The tracery in the Norman arch leading from the south aisle of the
+presbytery into the transept, is of late Perpendicular style, and was
+added by Robert of Calton, who was destined to be the last prior but one
+of Norwich: William Castleton was the last prior and the first dean.
+Bishop Nykke died in 1535-6, and was succeeded by William Rupgg or
+Repes, who was the last bishop elected by the chapter of the monks of
+the Benedictine monastery of Norwich. Monasticism was doomed; Wolsey had
+fallen, and his property had been confiscated in 1529. The smaller
+monasteries were dissolved in 1536, and in 1538 the greater shared the
+same fate, among them Norwich.
+
+Most interesting is the parallel which can be drawn between the history
+of the Church and of that architecture which she especially fostered.
+Gothic or Christian art was developed from the remains of a Roman
+civilisation, and so long as it had the healthy organic growth which was
+consequent on the evolution of a series of constructive problems fairly
+faced and in turn conquered, and again, stimulated by the growth of the
+Church, to which it was handmaiden, developed style after style in
+regular sequence, until the builders, finding they had conquered
+construction, took to imposing ornament. From that time, instead of
+ornamenting construction, they constructed ornament; and as the
+Reformation came to the Church in the sixteenth century so to
+architecture came degradation. And then the Renaissance of pagan types,
+from which the Gothic had derived its being by a rational development,
+was by the revivalists of those days hotch-potched into a more or less
+homogeneous mass, which even the genius of Wren could leave but coldly
+pedantic.
+
+The history of the architecture of the cathedral might safely stop with
+the Dissolution of the Monasteries in 1538, since when it is a mere
+recapitulation of the doings and undoings of various sets of more or
+less deeply incriminated fanatics and restorers.
+
+So that we do not feel inclined to enter into more detail, in the few
+remaining notes on the history of the structure.
+
+Dean Gardiner, 1573-89, was a great reformer, and, as we have already
+noted, pulled down the thirteenth-century Lady Chapel, and as well the
+chapter-house.
+
+In 1643 the cathedral was taken possession of by Cromwell's soldiers,
+and the work of spoliation carried on. The organ was probably destroyed
+at this time, for Dean Crofts set up a new organ in 1660, the case of
+which was re-modelled in 1833, and still remains. It is also perhaps
+needless to state that the cathedral was repeatedly whitewashed during
+the eighteenth century.
+
+In June 1801 a fire broke out in the roof of the nave, but was
+extinguished before much damage had been done.
+
+The various works effected during this century are mentioned
+specifically elsewhere in these notes, under the headings of the parts
+of the building where they have occurred.
+
+
+
+
+[Illustration: The Cathedral from the South-West Angle of Cloisters.]
+
+CHAPTER II
+
+THE CATHEDRAL--EXTERIOR
+
+
+Norwich Cathedral does not tell to great advantage from the outside: its
+chief charm is undoubtedly the interior. It stands in a hollow, on what
+is probably the lowest ground in the city. The best view of the
+cathedral is obtained from the low ground to the eastward near the
+river, and close to Pull's Ferry; here the extreme length of the nave,
+which Fergusson remarked justified the addition of western towers, is
+lost partly by foreshortening, and by the projection forward of the
+south transept, over which the old Norman tower, with its later
+battlements and spire, rises grandly above the sweep of the apse, with
+the still remaining circular chapels below.
+
+#The Cathedral Precincts#, or Close, running from Tombland eastward to
+the river, are entered by two gates to the precincts and one to the
+bishop's palace.
+
+#The Erpingham Gate#, opposite the west front of the cathedral, was
+built by Sir Thomas Erpingham, and as an architectural compilation "is
+original and unique." In elevation it consists of one lofty
+well-proportioned arch supported on either side by semi-hexagonal
+buttresses taken up as high as the apex of arch; above comes a plain
+gable, in which, centred over the arch below, is a canopied niche with
+the kneeling figure of Sir Thomas Erpingham.
+
+Built probably about 1420, and while yet some of the noble simplicity of
+the thirteenth had not passed into the over-wrought richness of the
+fifteenth and sixteenth centuries, it presents a type of the best
+Perpendicular work we have in England.
+
+The form of the arch is lofty, and may have been suggested by the wish
+to preserve a view through of the cathedral.
+
+The arch moulding is enriched on the outer part with figures of fourteen
+female saints, and on the inner with twelve male saints; the
+semi-hexagonal panelled buttresses are covered with the shields of the
+families of Erpingham, Clopton, and Walton, and each has a seated figure
+of an ecclesiastic on the top.
+
+[Illustration: The Erpingham Gate.]
+
+The richness of this lower arch stage tells against the plain gable
+over, and is quite admirable in effect and defensible as a method of
+design; it is ornament decorating construction pure and simple, and not
+what later work generally was and is, constructed ornament, suggesting
+over-elaborate construction thereby made necessary. It will be noticed
+that labels with the word "Yenk" (think) sculptured thereon are placed
+between the shafts on either side of the archway; this has been
+construed "pend" by some writers, and from this the view was taken that
+Sir Thomas Erpingham was made to build the gate as a penance for
+favouring Lollardism, and that the figure of himself in the gable over
+the archway represents him as praying pardon for the offence.
+
+This interpretation, however, amusing as it is, is probably erroneous,
+and the gate, with its shields of allied families, stands to the memory
+of its founder. Sir Thomas Erpingham was at Agincourt in 1415, and
+Shakespeare, in Act iv. of Henry V., remarks of him that he was "a
+knight grown grey with age and honour." Sir Thomas Browne also (p. 9 of
+his "Repertorium") says: "He was a Knight of the Garter in the time of
+Henry IV. and some part of Henry V., and I find his name in the list of
+the Lord Wardens of the Cinque Ports."
+
+Sir Thomas Erpingham had two wives, Joan Clopton and Joan Walton, whose
+arms appear on the gateway.
+
+[Illustration: St. Ethelbert's Gate.]
+
+#St. Ethelbert's Gate#, to the south, is an early "Decorated" structure.
+Its elevation is divided into three storeys, in the lowest of which is
+the gateway, with flat buttresses on each side carried up the height of
+two storeys, and enriched with pedimented niches in both stages. In the
+compartment over the arch are seven niches, four of which are pierced
+with windows. The upper stage is in flintwork. It was built by the
+citizens as part of the fine imposed on them for their share in the
+riots and fire of 1272 by the Court of King Henry III., though probably
+not until some years had elapsed, and when Edward the First had come to
+the throne. The upper part of the front was restored early in this
+century. The back elevation is interesting--the window over the arch
+being typical of the style.
+
+[Illustration: The Gate-House of the Bishop's Palace.]
+
+#The Gate-House# forming the entrance to the bishop's palace, on the
+north side of the cathedral, was built by Bishop Alnwyck about 1430, and
+probably replaced an earlier structure; it is an interesting piece of
+Perpendicular work, and consists, in the lower stage, of a gate and
+doorway under a deep horizontal band ornamented with plain shields and
+monograms of the Virgin. The gateway on the left side reaches up to the
+horizontal bands, and has spandrels on either side; the doorway is
+smaller. Above are two windows with a niche between, and over all is a
+parapet of modern work. Flat buttresses flank the entire composition on
+either side. The wooden gates were added by Bishop Lyhart (1446-72).
+
+Returning to the Erpingham gate, and entering the Close through it,
+immediately on our left we come to the #Chapel of St. John the
+Evangelist# (converted by Edward VI., and still used as a school),
+founded by Bishop Salmon (1299-1325). This building replaced an older
+structure, used as a charnel, and provision was made for this need in
+the new edifice; the vaults under the chapel were used for the same
+purpose. The porch is a later building added by Lyhart (1446-72).
+
+#The West Front of the Cathedral# has probably received worse treatment
+than any other portion of the building, and stands now as the most
+unsatisfactory part of the whole. The design consists in its width of
+three compartments, with two separating and two flanking turrets. The
+centre compartment is of the width of the nave, and those on either side
+the width of the aisles. In the centre comes the main doorway, flanked
+on either side with niches, and over these, filling the entire breadth,
+the great nine-light west window, with the Norman turrets carried up to
+the base of the gable. The compartments on either side are finished off
+by horizontal mouldings taken across somewhat below the level of the
+springing of the archivolt of the main window, and have flanking turrets
+covered with plain pinnacles. The large west window is disproportionate,
+and even the assurance cheerfully given by most authorities, that it
+resembles the window of Westminster Hall, fails to prove that it is of
+suitable size here. It may be as well to note in order the various
+changes which have affected the west front. Mr B.W. Spaull, in Dean
+Goulburn's work on the Cathedral, made reference to the discovery of an
+alteration to the main entrance which must have been prior to that now
+existing. It consisted of a small _parvise_ or room added above at some
+time subsequent to the original foundation. As the details are not now
+apparent, it is best to refer readers to the work named for fuller
+information.
+
+The addition, however, of later Perpendicular triforium windows to the
+nave superimposed over the original Norman lights, which were blocked
+up, may have affected the west front. This can best be seen by viewing,
+for instance, the south side of the nave. The Norman roofs sloped down
+to the original triforium windows, but after the later addition were
+made almost flat, and must have necessitated some mask wall in the west
+front.
+
+[Illustration: West Front of the Cathedral.]
+
+In Britton's "History of Norwich" is a drawing which is reproduced at p.
+15. It will be seen that the turrets at each side of the west window are
+shown finished with stone cupolas, the tops of which were level with the
+apex of the gable. The two outside flanking turrets are shown finished
+by circular drums above the parapet, and covered with leaden cupolas;
+these, with the Perpendicular battlements, were probably added as the
+mask before referred to, and necessitated by the imposition of an
+additional storey at the triforium level. Certainly the west front, as
+shown then, was better far than now. However, in 1875, "_restoration_"
+set in, and these cupolas were removed, and stone "pepper-box" pinnacles
+imposed on the turrets in their stead. The gable was restored, and the
+character of the work wholly destroyed, crocketted where before plain,
+and the niche added in the place of the small light over the vault shown
+in Britton's plate. In the side compartments the Perpendicular
+battlementing was removed and the round cannon ball holes gratuitously
+inserted.
+
+The two pinnacles at the sides of the west window have since been
+removed.
+
+The earlier change in the central compartment of the front from Norman
+to Perpendicular was effected by the additions of the door and window
+still remaining. Bishop Alnwyck, who was translated to Lincoln in 1436,
+added the doorway during his episcopate, and it was probably built right
+over and covering the original Norman door and arcading. He also left
+provision in his will for the west window, and this was added by Bishop
+Lyhart (1446-72), to throw additional light on to the vaulting and
+sculptures of the nave; from the inside it will be seen that it
+completely fills the width of the nave, and follows the line of the
+vault up.
+
+The north side of the cathedral lies within the gardens of the bishop's
+palace, which can be entered from the interior of the cathedral, through
+a small door in the north aisle of the presbytery; the eastern end of
+the cathedral also lies within a private garden, but permission to enter
+it can usually be obtained.
+
+#Exterior of Nave.#--Those portions of the precincts near the western
+end of the cathedral are known as the Upper Close; and, walking round
+the exterior of the cloisters, we come to the Lower Close. The nave on
+the south side can be seen well either from the upper or lower Close,
+and can be better examined in detail from the interior of the cloisters.
+Its elevation consists of fourteen bays divided by flat Norman
+buttresses. In height it is composed of what, at first sight, appears a
+bewildering confusion of arches, arcades, and windows. Over the aisle
+windows, hidden by the north walk of cloisters, comes a Norman wall
+arcading; and over this the Norman triforium windows blocked up, and
+again, above the later Perpendicular triforium, superimposed on the old,
+and finished with a battlemented parapet. Behind this come the triforium
+roof, and then beyond the original Norman clerestory, each bay with a
+triple arch formation, the centre arch pierced for a window. And then
+above all, the lead roof over nave vault.
+
+The radical changes that have taken place since the nave was built by
+Bishop Eborard (1121-45) consist of the insertion in the aisles of later
+"Decorated" traceried windows in place of the original Norman ones, and
+of the superimposition, before referred to, at triforium level of a
+whole range of "Perpendicular" windows over the old Norman work, which
+were blocked up at this period. The pristine aspect, then, of this
+elevation of the nave would have shown a sloping roof over the aisles
+where now the later addition occurs. The battlementing, too, over the
+clerestory to the nave is later work, to correspond with battlementing
+over the triforium windows. It will be noticed that the two bays next
+the transept in the triforium are higher than the others, in order to
+throw additional light into the choir.
+
+Also on this same south side, in the seventh and eighth bays from the
+west end, two very late windows occur, inserted in the Norman arcading
+under the original triforium windows; these were inserted by Bishop
+Nykke to light the chapel he built in two bays of the south aisle of the
+nave.
+
+The curious raking of the lead rolls to the nave roof is noticeable; the
+mediæval builders did this with a view of counteracting the "crawl" of
+the lead. Lead, under the variations of temperature of the atmosphere,
+expands and contracts considerably; and from its own weight, and the
+steepness of the roofs, the contraction takes place in a downward
+direction, and starts the joints, letting in the weather. This raking of
+the vertical rolls was a device whereby the old builders in some measure
+got over their difficulty by inducing a fixed expansion and contraction.
+
+[Illustration: The Clerestory and Triforium of Choir (South Side).]
+
+#The South Transept# projects boldly forward from under the tower;
+without aisles, its ridge and parapet correspond in height to those of
+the nave; this narrowness, with the tower and spire showing over
+behind, gives it an appearance of height, as approached from the lower
+close. This effect of height is emphasised by the partition of the
+design in its width, by flat Norman buttresses, with shafts in the
+angles, and by the flat faces of the flanking turrets. The work,
+however, is without interest, from the fact that, though the _ensemble_
+in some measure has been retained, the whole of the exterior face of the
+stonework was re-cased by Salvin, 1830-40, during which period various
+restorations were effected. Before these alterations, the Norman
+flanking turrets finished with a "Perpendicular" battlementing, enriched
+with shields and quatrefoils, and with crocketted pinnacles set at the
+four angles; this battlementing was removed, and the present
+uninteresting pepper-boxes took their place. No doubt they have it in
+their favour that they _may_ be more like the original Norman
+terminations than were those they replaced, which were, however, real
+"Perpendicular," and these are only sham Norman. Originally, from the
+eastward side of the south transept, projected a semi-circular chapel,
+shown on plan by dotted lines, and corresponding to that still remaining
+on the north side of the cathedral. It was part of the original plan,
+and though we believe no record exists of its destruction, it can safely
+be premised that its fate came about through the _cultus_ of the saint
+to whom it was dedicated declining, and consequent neglect and ruin
+following made its destruction cheaper than its reparation. It was
+replaced by a sacristy in the fifteenth century, the lines of roof to
+which can still be seen over on the stonework. This later sacristy was
+destroyed by the fire of 1509, that burned as well the wooden roofs of
+the transepts, and necessitated the stone vaults added by Bishop Nykke.
+
+#The Diocesan Registry Offices# now occupy the space on which once stood
+the Norman chapel, and later the Sacristy.
+
+The building projecting eastward, south of this space, and marked A on
+plan, was once a chapel, said by Blomefield to have been dedicated to
+St. Edmund. It is now used as the #Dean's Vestry# in the lower storey,
+and as the #Chapter Clerk's Office# in the upper.
+
+At the same time that the later restorations were effected to the south
+transept, the groined #Slype# and singing-school above it were
+destroyed, and the present door in the south transept from the lower
+close was opened. A pre-restoration view is published of the east end
+of the cathedral, showing the slype, in Britton's "Norwich." The visitor
+should also bear in mind that this space immediately in front of the
+south transept was originally occupied by the #Chapter-House#, situated
+as shown by dotted lines on plan, and separated from the cathedral by
+the slype. The entrance arches to the chapter-house from the east walk
+of the cloisters still remain and fix definitely its position; it
+projected eastward about eighty feet.
+
+#The Tower and Spire# mark the crossing of the choir and transepts, the
+tower only being Norman, and square on plan, with flat Norman
+buttresses, covered with vertical shafts on the face of each. These
+buttresses start from the level of the parapets to Nave, Transept, and
+Presbytery, and rise right up until, well over the parapet of the tower,
+they are finished by crocketted pinnacles. Between these buttresses are
+horizontal bands of design: the lowest, a Norman arcade of nine arches,
+three of which are pierced as windows; then, above this, a smaller wall
+arcade with interlaced arches; and then, above again, the principal
+feature, an arcading of nine arches, three pierced for windows, and the
+others filled with wall tracery of diamonds and circles; then, between
+this last and the battlemented parapet, occur five vertical panels, each
+comprising two circles, the upper pierced for a window. Above, soaring
+upward, rises the later crocketted spire. Herbert, the founder, provided
+the foundations of tower, and probably carried up the walls to the level
+of the nave roof; the rest of the tower was finished during the reign of
+Henry I., and is a beautiful specimen of the work of that time; but here
+again our sentiment and sympathy experience a shock when we learn that
+the stonework was almost entirely refaced in 1856. The tower was crowned
+by a wooden spire from 1297; this was blown down in 1361, and probably
+brought away in its fall some part of the Norman turrets of the tower.
+It fell eastward, damaging the presbytery so badly that the clerestory
+had to be rebuilt. The wooden spire was reconstructed probably at the
+same time, though no record exists of such work, and the present Early
+Perpendicular turrets were added. The spire, we know, was again
+overtaken by misfortune in 1463, when it was struck by lightning, and
+again falling eastward, went through the presbytery roof. The present
+spire was then constructed in stone by Bishop Lyhart (1446-72), and
+was finished by his successor, Bishop Goldwell (1472-99), who added the
+battlements.
+
+[Illustration: The Tower in 1816.]
+
+It will hardly be necessary to enlarge on the beauty of this spire of
+Norwich, as the dominant feature, seen from the south-east, rising above
+the curved sweep of the apse, and strongly buttressed by the south
+transept, it stands up, clearly defined against the western sky, and
+points upward, significant and symbolical at once of the ends and
+aspirations of the church below.
+
+#The Eastern Arm of Cathedral or Presbytery# takes its history from the
+tower. Here, as in the nave, there are the original triforium windows
+blocked up, and a range of Perpendicular work superimposed on the old.
+Above and beyond this, supported between each bay by flying buttresses,
+comes the transitional Decorated to Perpendicular clerestory,
+considerably higher than the original Norman clerestory remaining to the
+nave. At the base of each flying buttress are figures of saints. The
+roof and Norman clerestory were damaged by the falling tower in 1361,
+but were rebuilt by Bishop Percy, 1355-69. This work is transitional
+Decorated to Perpendicular. The presbytery was then re-roofed with a
+framed timber construction, which was consumed by the falling of the
+burning spire, struck by lightning in 1463. The present stone vault was
+added in its place by Bishop Goldwell, 1472-99. This necessitated the
+addition as well of flying buttresses to take the thrust of the vault.
+
+The battlementing to the presbytery also was added at the same time as
+the flying buttresses.
+
+It will also be noted that here, as in the nave, an addition was made in
+the way of a range of later "Perpendicular" windows superimposed over
+the original Norman triforium, which was blocked up.
+
+#The Chapel of St. Mary-the-Less#, marked B on plan, projects southward
+from the presbytery, and dates from the fourteenth century. Between this
+and the circular Norman chapel of St. Luke, was Bishop Wakeryng's
+chapel. It has long since disappeared, but the doorway of Perpendicular
+design remained until about 1841, when it was removed and the
+compartment Normanised--a piece of wanton vandalism and the destruction
+of an historical link.
+
+The circular Norman chapels, of which two remain, are very interesting.
+In the original plan of the founder there were three; but the
+easternmost was superseded by Early English structure, which in its turn
+was demolished.
+
+#The Chapel of Saint Luke#, marked C on plan, flanking the south side of
+the apse, was much restored in the sixties; in Britton's "Norwich,"
+published in 1816, late "Decorated" windows are shown; these were
+replaced by _modern_ Norman. Its form is peculiar; on plan, that of two
+circles interpenetrating. On elevation, in the lower stage, are the
+modern Norman windows, with shafts in jambs, over which occur two tiers
+of arcading, in the higher of which window openings are pierced. The
+position of the Norman Lady Chapel is shown by dotted lines, as well as
+the rectangular shape of the Early English chapel built by Walter de
+Suffield (1245-57) about 1250. The line of the roof of the later chapel
+can still be seen plainly traced on the stonework over the arches which
+once gave entrance to it. This later chapel was destroyed by Dean
+Gardiner in Queen Elizabeth's reign. The foundations of both chapels
+have been laid open quite recently but a few feet under the level of the
+garden.
+
+[Illustration: Exterior of the Chapel of St. Luke from the East.]
+
+#The Jesus Chapel#, marked D on plan, on the north side of the apse,
+retains the early "Perpendicular" windows inserted in the Norman work;
+its other characteristics are as those described to St. Luke's Chapel in
+the south.
+
+On the north side of the presbytery, and to the west of the Jesus
+Chapel, were other chapels, shown on the plan by dotted lines; the
+positions of their roofs are clearly marked yet on the stonework. One
+must have been the #Reliquary Chapel#; the bridge chapel in the north
+aisle of presbytery formed its ante-chapel.
+
+#The North Transept#, and generally the north side of the cathedral, are
+more conveniently examined from the gardens of the bishop's palace,
+whence this portion of the exterior of the cathedral can best be seen.
+
+The details of the fabric on the north side are essentially the same as
+those described to the south side of cathedral; though here the work has
+been less restored, and consequently is of more interest to the student.
+The original Norman chapel, now used as a store-house, projects eastward
+from the north transept; a corresponding feature occurred in the south
+transept, but has long since vanished.
+
+#The Bishop's Palace# stands to the north of the cathedral, and was
+formerly connected with it by a vaulted passage, Herbert, the founder,
+built the first palace, of which portions are incorporated in the
+present building. Bishop Salmon (1299-1325) in 1318, according to the
+patent rolls of the twelfth year of the reign of Edward II., obtained
+licence to buy a piece of land 47 perches 4 feet in length, and 23
+perches 12 feet in breadth, to enlarge and rebuild thereon the palace of
+Herbert. He also built a chapel, and the great hall, measuring 120 feet
+from north to south, and 60 feet wide, with kitchen, buttery, and
+offices at the west end. The grand ruin somewhat to the east of the
+palace now is supposed to have formed part of the entrance to this hall.
+It was, however, too large to keep up, and so was leased by Bishop
+Nykke, just before his death in 1535 to the mayor, sheriff, and
+citizens, so that the Guild of S. George might hold their annual feast
+there. Later on it became a meeting-house. The present private chapel of
+the bishop was built by Bishop Reynolds in 1662 across part of the south
+end.
+
+To the north of the nave of the cathedral, and on the west side of the
+palace, was an open area called the _green-yard,_ and in Sir Thomas
+Browne's "Works," vol. iv. p. 27 (London, 1835) is an account of the
+_combination sermons_ which were preached here in the summer prior to
+the Reformation.
+
+"Before the late times the combination sermons were preached, in the
+summer time, at the Cross in the Green Yard where there was a good
+accommodation for the auditors. The mayor, aldermen, with their wives
+and officers, had a well-contrived place built against the wall of the
+Bishop's palace, covered with lead, so that they were not offended by
+rain. Upon the north side of the church, places were built gallery wise,
+one above another, where the dean, prebends and their wives, gentlemen,
+and the better sort, very well heard the sermon: the rest either stood
+or sat in the green, upon long forms provided for them, paying a penny
+or half-penny a-piece, as they did at S. Paul's Cross in London. The
+Bishop and chancellor heard the sermons at the windows of the Bishop's
+palace: the pulpit had a large covering of lead over it, and a cross
+upon it; and there were eight or ten stairs of stone about it, upon
+which the hospital boys and others stood. The preacher had his face to
+the south, and there was a painted board of a foot and a half broad and
+about a yard and a half long hanging over his head, before, upon which
+were painted the names of the benefactors towards the Combination Sermon
+which he particularly commemorated in his prayer...."
+
+On the north side of the cathedral, in the seventh compartment of the
+aisle from the west end, the walled-up entrance to the _green-yard_ is
+to be noticed.
+
+There is no doubt that this space was originally the cemetery of the
+monks, and Harrod quotes from the _Chronicle_ of John de Whethamsted to
+that effect. A stone coffin lid found here in 1848 goes to confirm this.
+
+
+
+
+CHAPTER III
+
+THE INTERIOR
+
+
+Norwich Cathedral is justly celebrated for the beauty of its interior.
+Entering from the upper close by the north aisle door, and then taking a
+position immediately under the great west window, facing east, there is
+before one the long perspective of the Norman nave, the choir and
+presbytery, while overhead comes the later vault, telling richly by
+contrast with the severe plainness of the earlier work below. The
+extreme length of the cathedral is about 407 feet. The nave, always long
+in Norman churches, is here over 200 feet from the west door to the
+choir screen. Although some critics object to the position of the organ
+on this same screen, there can be no doubt that, not only is it a most
+admirable position for the instrument acoustically, but also that its
+presence here does not detract from the general effect of the interior.
+From the west end of the nave, as a dark silhouette against the eastern
+apsidal windows, or as an object in the middle distance, it helps the
+spectator to realise the length of the cathedral. A certain sense of
+mystery and something undiscerned adds to the charm of an interior, and
+the organ here helps, with the screen, to enshrine the eastern arm and
+most sacred portion of the building, and interrupts the vista for the
+sake of which disastrous sacrifices have been made in many of our
+cathedral churches.
+
+#The Nave# consists of seven double bays; in all, fourteen compartments
+from the west end to the tower crossing.
+
+It will be noticed that, in the plan (page 113), a square of the nave,
+occupying longitudinally the space of two bays of the aisles, is
+indicated by the dotted lines; also a main pier is marked as Y and a
+subsidiary pier as z.
+
+The main piers, as at Y, are large rectangular masses, having on the
+nave side a flat buttress-like piece added, with shafts in the angles,
+and bearing on the face the two vaulting shafts. On the aisle side are
+two shafts to each transverse arch; and on the two lateral faces are
+triple shafts to the arcade arches, with four angle shafts at each
+corner of the main pier, taking the outer rings to same. The plan is the
+same at the triforium level. The smaller or subsidiary piers (as at X)
+have single vaulting shafts on the nave face, double ones to the aisle,
+and under the arcade arches convex faces, with four angle shafts, as in
+main piers. The plan of these piers determines the elevation. The nave
+arcade arches, ornamented with the billet, and triforium with a
+_chevron_ or zig-zag, are almost equal in size, and over these lower
+stages comes the typical triple Norman clerestory with walk; the whole
+covered in by the fine lierne vault.
+
+[Illustration: A Norman Capital.]
+
+The vault has thirteen complete bays and two semi-bays, one at either
+end. The junctions between this later vault and the Norman work can be
+seen. The main piers had the original double shafts cut off at the level
+of the top of the triforium arches, the later single shaft being brought
+down and joined by a peculiar branch-like connection. The original
+shafts to the subsidiary piers, which it is probable took only a minor
+part in carrying the flat Norman wooden roof, were finished by a cap at
+the impost level of the triforium, and the later shaft was brought down
+and finished by the _rebus_ of Bishop Lyhart, the constructor of the
+vault. This _rebus_ should be noticed; it is a pun in stone, with its
+hart lying in water. It will also be noticed that the outer arches of
+the triforium are not concentric with the sub-arches.
+
+[Illustration: The Nave, looking East.]
+
+The bases of the shafts have been Perpendicularised, probably when the
+vault was added, and the Norman character of the lateral shafts spoilt
+by scraping.
+
+The building of the nave is usually attributed to Bishop Eborard
+(1121-45), but some eminent archæologists believe that the whole
+cathedral, nave and all, was built by Herbert, 1091-1119, the first
+bishop and founder. We believe there is no documentary evidence against
+this theory. The _Registrum Primum_ says: "Moreover, the same Herbert
+completed the church of Norwich in his own time, as I have learned from
+the account of old people, _but have not found in writing,_ as far as
+the altar of the holy cross, which is now called the altar of S.
+William."
+
+The billet enrichment on the main arches, and the chevron or zig-zag on
+those of the triforium, have been looked upon as indicating that this
+part of the building--the five western bays of nave--is later than the
+presbytery, the arches there lacking this ornament. But as these are
+quite the earliest forms of ornament used by the Norman builders, their
+occurrence here at Norwich cannot prove much. It is better perhaps to
+reserve judgment, and be content with merely stating the facts and the
+more generally accredited theories as to the age of the western part of
+the nave.
+
+The subsidiary circular columns in the fifth bay of the nave from the
+west end should be noticed. A small enriched shaft in the clerestory of
+the north transept is here illustrated. This very beautiful style of
+treatment was common to the Norman builder, with the Romanesque, and the
+Romans before them.
+
+#The Choir Screen# crosses the nave between the subsidiary piers to the
+sixth bay. Of the original work erected by Bishop Lyhart, 1446-72, the
+sub-structure of the present screen is the only portion remaining.
+Traces of two altars, one on either side of the doorway, can still be
+seen; these were originally dedicated to St. William of Norwich and St.
+Mary. These altars were enclosed in chapels formed by screens coming
+forward to the extent of half the bay, and stopped against the main nave
+piers on either side--the double vaulting shafts on the face of which
+are stopped by corbels, carved as heads, at about the height that the
+chapels would have reached. They were vaulted over, and above came the
+rood loft and organ. The rood loft was damaged by the Puritans, and
+probably removed after the Restoration. Dean Crofts, in 1660, set up a
+new organ.
+
+In Britton's "Norwich," 1816, the upper stage of the choir screen is
+shown divided into square panels, occurring vertically over the lower
+stage; the screens to the chapels before referred to having been
+destroyed. In 1833 Salvin remodelled the choir, and turned his attention
+to the choir screen: the organ was placed in its present position, and
+cased with the frame of that instrument which Dean Crofts had set up in
+1660; and the overhanging vault to the screen was added.
+
+#The Nave Vault# (height 72 feet), which was added by Bishop Lyhart,
+1446-72, took the place of the original Norman wooden roof destroyed by
+fire in 1463. This earlier Norman roof was most probably like that now
+existing at Peterborough, and was no doubt profusely decorated with
+colour. The vault is of Perpendicular design, and known as _lierne_;
+such vaults may be distinguished by the fact that between the main ribs,
+springing from the vaulting shafts, are placed cross ribs forming a
+pattern, as it were, and bracing the main ribs, but not in any great
+measure structural. This vault at Norwich may be taken as typical of the
+last legitimate development of the stone roof; it was the precursor of
+the later fan vaulting, such as we find in Henry VII.'s chapel at
+Westminster, where legitimate construction was replaced by ostentatious
+ingenuity and the accumulation of needless ornament and detail.
+
+The carved bosses here at Norwich, occurring at the intersection of the
+ribs, are worth careful study. Those who care to go into the matter in
+the fullest detail should consult Dean Goulburn's book published in
+1876, which not only gives an admirable history of the fabric and the
+See, but enters fully into the detail and symbolic meaning of each of
+the 328 bosses.
+
+In this list, compiled from that volume, mention is made only of those
+bosses on the main longitudinal rib of the vault; it is hoped that this
+method will enable the visitor to readily enter into the meaning of any
+group of bosses, by providing a keynote to the whole. The subjects are
+taken from Bible history, and each epoch is usually grouped around some
+central incident figured on the main longitudinal ribs. In each bay No.
+4 is the large central boss.
+
+[Illustration: The Choir Screen and Organ from the Nave.]
+
+#The Easternmost Bay.--No. 1.#
+
+  (1.) The Creation of Light.
+  (2.) A Figure of the Almighty.
+  (3.) A White Hart.
+  (4.) The Temptation.
+  (5.) A White Swan.
+  (6.) The Death of Cain.
+
+#The Second Bay.--No. 2.#
+
+  (1.) Cain driven out as a Fugitive.
+  (2.) Noah building the Ark.
+  (3.) Noah's Drunkenness.
+  (4.) The Ark on the Waters.
+  (5.) Meaning indefinite.
+  (6.) Noah planting the Vine.
+
+#The Third Bay.--No. 3.#
+
+  (1.) The Building of the Tower of Babel.
+  (2.) The Tower of Babel shown as Feudal Fortress.
+  (3.) Abraham entertaining an Angel.
+  (4.) Abraham sacrificing Isaac.
+  (5.) Jacob deceiving Isaac.
+  (6.) Isaac blessing Esau.
+
+#The Fourth Bay.--No. 4.#
+
+  (1.) Sarah at the Door of Abraham's House.
+  (2.) Jacob going to Padan-Aram.
+  (3.) Jacob wrestling with the Angel.
+  (4.) Jacob pilling the Green Poplar Rods.
+  (5.) Jacob's Ladder.
+  (6.) Jacob making the Covenant with Laban.
+
+#The Fifth Bay.--No. 5.#
+
+  (1.) Jacob sending Joseph to his Brethren.
+  (2.) Joseph journeying to his Brethren.
+  (3.) Joseph stripped of his Coat of Many Colours.
+  (4.) Joseph cast into the Pit.
+  (5.) Joseph sold to the Ishmaelite Merchants.
+  (6.) Joseph set up over the Egyptians.
+
+#The Sixth Bay.--No. 6.#
+
+  (1.) Joseph selling corn.
+  (2.) Moses in the Ark of Bulrushes.
+  (3.) The Angel appearing to Moses in the Burning Bush.
+  (4.) The Overthrow of the Egyptians in the Red Sea.
+  (5.) The Ark of the Covenant.
+  (6.) Samson rending the Lion.
+
+#The Seventh Bay.--No. 7.#
+
+  (1.) Samson taking the Gates of the City of Gaza.
+  (2.) David smiting Goliath.
+  (3.) David cutting off Goliath's Head.
+  (4.) David crowned.
+  (5.) David charging Solomon.
+  (6.) Solomon enthroned.
+
+#The Eighth Bay.--No. 8.#
+
+  (1.) Solomon enthroned.
+  (2.) The Annunciation.
+  (3.) The Presentation in the Temple.
+  (4.) The Nativity.
+  (5.) The Visitation.
+  (6.) Herod decreeing the Massacre of the Innocents.
+
+#The Ninth Bay.--No. 9.#
+
+  (1.) The Flight into Egypt.
+  (2.) Christ in the midst of the Doctors.
+  (3.) The Marriage in Cana of Galilee.
+  (4.) The Baptism of Our Lord.
+  (5.) The Raising of Lazarus.
+  (6.) The Supper in Bethany.
+
+#The Tenth Bay.--No. 10.#
+
+  (1.) Christ's Entry into Jerusalem.
+  (2.) Circular Hole for Descent of Thurible.
+  (3.) Our Lord sending forth the Disciples.
+  (4.) The Last Supper.
+  (5.) Disciples preparing for the Foot-washing.
+  (6.) Our Lord washing Peter's Feet.
+
+#The Eleventh Bay.--No. 11.#
+
+  (1.) Our Lord in Gethsemane.
+  (2.) Christ crowned with Thorns.
+  (3.) Christ led to Pilate.
+  (4.) Christ before Pilate.
+  (5.) Christ Blindfolded.
+  (6.) Christ Betrayed.
+
+#The Twelfth Bay.--No. 12.#
+
+  (1.) Christ taken to the House of the High Priest.
+  (2.) Christ nailed to the Cross.
+  (3.) The Soldiers casting Lots.
+  (4.) The Crucifixion.
+  (5.) The Entombment.
+  (6.) Christ in Hades.
+
+#The Thirteenth Bay.--No. 13.#
+
+  (1.) Soldiers watching the Holy Sepulchre.
+  (2.) The Resurrection.
+  (3.) Three Apostles.
+  (4.) The Ascension.
+  (5.) The Virgin praying.
+  (6.) The Day of Pentecost.
+
+#The Fourteenth Bay.--No. 14.#
+
+  (1.) A Miracle of Exorcism.
+  (2.) The Jaws of Hell.
+  (3.) The Drunkard's Doom.
+  (4.) The Last Judgment.
+  (5.) St. Peter.
+  (6.) The Holy Trinity.
+  (7.) Bishop Lyhart, the Builder of the Vault.
+
+To all those who take an interest in early stone cutting, this vault of
+Norwich is a store of inexhaustible treasure; the bosses, rudely cut as
+they are, tell their own tales with singular truth and directness. Their
+sculpture may not display the anatomical knowledge of the work of the
+Renaissance; yet it has a distinct decorative value that has been seldom
+equalled in the later decadent period. The fourteen large central bosses
+on the main longitudinal ribs present in themselves an epitome not only
+of Bible history, but of the connecting incidents forming the theme of
+Christian teaching. In the tenth bay, on the longitudinal rib, there is,
+in place of a boss, a circular hole through the vault. It is supposed to
+have been formed to allow a thurible to be suspended therefrom into the
+church below. Harrod, quoting from Lambard's "Topographical Dictionary,"
+says: "I myself, being a child, once saw in Poule's Church at London, at
+a feast of Whitsontide, wheare the comyng down of the Holy Gost was set
+forth by a white pigeon that was let to fly _out of a hole that is yet
+to be seen in the mydst of the roof of the great ile_, and by a long
+censer which, descending out of the same place almost to the very
+ground, was swinged up and down at such a length that it reached at one
+swepe _almost to the west gate of the church, and with the other to the
+queer_ [_quire_] _stairs of the same_, breathing out over the whole
+church and companie a most pleasant perfume of such sweet things as
+burned therein."
+
+It is probable that the hole in the nave vault at Norwich was used for a
+similar purpose; and its position would seem to agree with such use,
+situated as it is about midway between the west end and where the front
+of the mediæval rood loft occurred.
+
+#The West Window#, added, as we have already noted by Bishop Lyhart, to
+light the vault, resembles that of Westminster Hall in the lines of its
+tracery; the glass by Hedgeland constitutes a memorial to Bishop Stanley
+(d. 1849).
+
+#West Door.#--The original Norman arch remains over the doorway on the
+inside.
+
+#The North Aisle of Nave#, the Norman windows of which were entirely
+replaced by Decorated ones, is covered by plain quadri-partite vaults.
+In the triforium over, as previously noted in description of exterior,
+the side walls were raised, the original Norman windows blocked up and
+Perpendicular ones placed over, the roof being at the same time raised
+on the outside to the necessary height, and made of a shallower pitch;
+this is clearly noticeable from the triforium walks.
+
+In the easternmost bays, two windows were raised still more to gain
+additional light for the choir.
+
+In the seventh bay from the west end occurs the door once leading to the
+_green yard_.
+
+[Illustration: The North Aisle of Nave, looking West.]
+
+#The South Aisle of Nave# corresponds with the north, and is covered
+with a plain quadri-partite vault, with the exception of the seventh and
+eighth bays from the west; these were converted by Bishop Nykke into a
+chapel enclosed by screens, and are marked on the plan as E.E. The
+Norman vaults were here removed and the late Perpendicular ones
+constructed in their stead; the windows appear to be of still later
+date, but are supposed to have been, and most probably were, inserted at
+this period.
+
+#Monuments in Nave.#--The nave suffered severely at the hands of the
+Puritans, who destroyed many of the early tombs and effigies. Especially
+noticeable is the lack of brasses; all these have disappeared, with the
+exception only of one in the Jesus Chapel. Another singularity is that
+the burial-place of most of the bishops who are known to have been
+interred in the cathedral is quite uncertain. The best of them seem to
+have been content with a plain slab and inscribed brass; only Nykke, of
+infamous memory, left so gorgeous a chapel behind to perpetuate it.
+
+Bishop Hall, in his "Hard Measure," gives a sketch of vivid historical
+interest of the sacrilege committed during the Puritan rebellion, and
+when, in 1643, the cathedral was in the possession of the fanatics.
+"Lord, what work was here, what clattering of glasses, what beating down
+of Walls, what tearing up of Monuments, what pulling down of Seates,
+what wresting out of Irons and Brass from the Windows and Graves. What
+defacing of Armes, what demolishing of curious stone work, that had not
+any representation in the World, but only of the cost of the Founder and
+skill of the Mason, what toting and piping upon the destroyed Organ
+pipes, and what a hideous triumph on the Market day before all the
+Countrey, when, in a kind of Sacrilegious and profane procession, all
+the Organ pipes, Vestments, both Copes and Surplices, together with the
+Leaden Crosse which had been newly sawne down from over the Green-Yard
+Pulpit, and the Service books and singing books that could be had, were
+carried to the fire in the publick Market place; A leud wretch walking
+before the Train, in his Cope trailing in the dirt, with a Service book
+in his hand, imitating in an impious scorne the tune, and usurping the
+words of the Letany; neer the Publick Crosse, all these monuments of
+Idolatry must be sacrificed to the fire, not without much Ostentation of
+a zealous joy."
+
+#Monuments in North Aisle of Nave.#--In the fifth bay of the nave arcade
+(marked I on plan) is the altar tomb of Sir Thomas Wyndham and his four
+wives. This was originally in the Lady Chapel, then, for a time, the
+Jesus Chapel, and about 1869 moved to its present position.
+
+Between the sixth and seventh bay is buried Dean Prideaux (d. 1724). The
+ninth bay of aisle is lighted by a memorial window to William Smith (d.
+1849), Professor of Modern History at Cambridge. In the tenth bay
+(marked 2 on plan) is the altar tomb, with panelled sides, to Sir John
+Hobart (d. 1507), Attorney-General to Henry VII.
+
+#Monuments in South Aisle of Nave# from the west.--In the sixth bay is a
+memorial window by Wailes to members of the Hales family. In the seventh
+bay (marked 3 on plan) is the tomb of Chancellor Spencer; the rents of
+the dean and chapter were formerly paid here. The ninth bay (marked 4 on
+plan) contains the altar tomb of Bishop Parkhurst (1560-74).
+
+[Illustration: The East Walk of the Cloisters.]
+
+#The Cloisters# and destroyed monastic buildings.--The cloisters are
+on the south side of the cathedral, the interior garth being about 145
+feet square.
+
+[Illustration: The Cloisters from the Garth.]
+
+The original Norman cloisters, which were probably of a wooden
+construction, were destroyed by the fire of 1272; and the work of
+building the present cloisters was commenced by Bishop Walpole (1289-99)
+about 1297, but they were not completely finished until 1430, in the
+time of Bishop Alnwyck (1426-36). They present an interesting, and, at
+the same time, complex study of the development of the styles during the
+one hundred and thirty-three years which passed during their erection; a
+paper by the Rev. D.J. Stewart (published in vol. 32 of the
+_Archæological Journal_) goes minutely into their construction, and the
+several parts the various bishops of Norwich played in their design.
+Those who wish to study this part of the cathedral thoroughly cannot do
+better than refer to this paper.
+
+It will be noticed that, despite the lengthy period occupied in the
+construction of the cloisters, the result is in no way inharmonious; it
+is only in the detail, and especially the open tracery to the bays, that
+the difference of style is very perceptible.
+
+Counting the angle severies as in each walk, it will be noticed that
+there are fourteen severies on the east side; and thirteen on the other
+three. Each is nearly square on plan, and vaulted over with horizontal
+longitudinal and transverse ribs, between which occur diagonals and
+_tiercerons_; with carved bosses at the intersections. The piers
+carrying the vaults consist of groups of separate cylindrical shafts of
+Purbeck marble.
+
+On the three sides--east, west, and south--there are separate storeys of
+apartments over the vaults, which were used for various purposes by the
+monks.
+
+In elevation--and of course this can best be seen from the Garth--each
+bay is divided by a projecting buttress with diagonal one in the angles;
+the arches are filled with open tracery carried by two mullions; it is
+this tracery which marks most clearly the various changes of style. The
+shape of the arch is similar throughout. This was a concession on the
+part of the later builders which ensured harmony in the whole; but on
+each side the tracery is varied. On the east side it is geometrical in
+character, the work being transitional between Early English and
+Decorated; on the south side the tracery is more flowing and has
+advanced to Decorated; on the west side again, we get the transitional
+style between Decorated and Perpendicular, with some _flamboyant_ or
+flame-like detail; while on the north and latest side it is frankly
+Perpendicular.
+
+#The East Walk# of cloisters is the earliest; access to which is gained
+from the south aisle of nave of cathedral, through the #Prior's Door#;
+of this fine specimen of early Decorated work we give an illustration.
+In the sixth bay, from, and counting the angle, may be seen the
+walled-up entrance to the Slype. In the seventh, eighth, and ninth bays
+remain the arches which once gave entrance to the chapter-house; these
+were walled up until about 1850.
+
+According to the itinerary of William of Worcester, the chapter-house,
+which was built by Bishop Walpole (1289-99), projected eastward about 80
+feet, terminating with a polygonal apse, as shown by the dotted lines to
+our plan.
+
+The prolongation of this east walk southwards beyond the south walk of
+the cloisters, led formerly to the infirmary; of which now only remain
+the three piers in the lower close; the greater part having been pulled
+down in 1804. During some time in the eighteenth century the infirmary
+was used as a workhouse.
+
+The dormitories in all monasteries were connected with one of the
+transepts, usually the south, so that the monks could at all hours
+easily gain access to the cathedral for the performance of the offices
+of their order; it is probable, therefore, that the rooms over this east
+walk of the cloisters here at Norwich may have been used as dormitories,
+with a staircase on the western side of the south transept leading to
+them. The dormitories are supposed by some antiquarians to have been
+placed south of the destroyed chapter-house; the door in the twelfth bay
+of the east wall of the cloisters (marked 5 on plan) probably giving
+rise to the supposition.
+
+The sculptured vault-bosses in this walk are illustrative of incidents
+in Gospel story and of the legends of the four evangelists.
+
+#The South Walk#, the south wall of which was also the wall of the
+refectory. A door (marked 6 on plan) at the western end of this walk led
+to the refectory. To the west were probably the kitchen and offices. The
+sculptured bosses of the vault over this walk are illustrations of
+scenes from the Book of Revelation.
+
+[Illustration: The Prior's Door.]
+
+#The West Walk.#--In the first two bays (marked 7 on plan) are the
+lavatories of the monks; and in the fourth bay, a door (marked 8 on
+plan) that formerly led to the guest hall, pulled down by Dean Gardiner,
+1573-89. The cellarer whose duty it was to look after the guests
+probably had apartments above.
+
+A door in the last bay leads to the #Choir School#; this was formerly
+the #Locutory#, where the monks indulged in their daily gossip. The
+western wall is in the Early Decorated style; the body of the room
+dating from Norman times.
+
+The door into the south aisle of the cathedral from this walk, known as
+the #Monks' Door#, is of an elaborate example of the Perpendicular
+style.
+
+Returning along the #North Walk#, the latest part of the cloisters, we
+come again to the prior's door, by entering which the rest of the
+interior may be inspected.
+
+#The Ante-choir# occupies one compartment of the nave, and is
+immediately under the organ loft. It was in mediæval times a chapel
+dedicated to Our Lady of Pity. The screens between this ante-choir and
+the aisles on north and south, were in part formed from the
+Perpendicular screen which originally divided off the Jesus Chapel from
+the north aisle of the presbytery. Here in the ante-choir they are
+certainly preferable, even as "mutilated Perpendicular," to any modern
+substitute; though it was lamentable vandalism to remove them from their
+original positions, where they are shown in Britton's "History."
+
+#The Choir.#--It may be as well here to give a brief sketch of the
+various re-modellings which have been effected in the arrangement of the
+choir and presbytery of the cathedral.
+
+Britton shows, in one of his plates published in 1816, the floor of the
+choir continued at its level until, immediately before the altar, in the
+apse, it rises by five steps to the level of the sanctuary (the
+presbytery, after the Reformation, had been cut off from the choir by a
+wooden screen, in front of which stood the communion table). Across both
+transepts, in the beginning of the century, there stood cumbrous
+two-storeyed structures containing pews not unlike boxes at a theatre,
+as shown in a drawing here reproduced. In 1837, when Salvin re-modelled
+the choir, these were removed, and on the south side replaced by a stone
+gallery, and this again has been taken down.
+
+In Dean Goulburn's time the floor of the presbytery was raised by two
+steps, which occurred one bay past the tower arch eastward.
+
+[Illustration: The Choir and Presbytery.]
+
+Quite recently, there have been further alterations carried out by
+Dean Lefroy. The eastern arm of the building was closed for two and a
+half years, and during this time the whole of the whitewash, etc.,
+covering the stonework was flaked off, with much benefit to the
+appearance of this part of the interior. The level of the presbytery
+floor has been brought forward to the tower arch, and at the same time
+the floors of both transepts and choir were brought to one level, and
+various obstructions in the way of pews and raised floors removed.
+
+The choir was opened after this work by Archbishop Benson, 2nd May 1894.
+
+[Illustration: A Stall in the Choir.]
+
+#The Choir# extends one bay, or the space of two compartments, into the
+nave, as was usual in cathedral priories, and was originally occupied
+during the offices of the Benedictines by the prior, sub-prior, and the
+sixty monks. The bishop--who was the nominal abbot--with his presbyters,
+occupied the presbytery.
+
+The stalls, sixty in number, with an additional two for the prior and
+sub-prior, facing east, are fine specimens of fifteenth-century work,
+the detail varying though the main lines are preserved in each.
+
+Each of these stalls retains the _subsellium_ or _miserere_, which,
+hinged at the back, turns up and discloses a small ledge beneath
+supported by carving, which ledge is supposed to have been used by the
+aged monks to rest on during the first long office of the Benedictines,
+which lasted four hours. Did they, however, by any chance allow the
+seat to fall, they are said to have had to go through the whole of their
+prayers again as a penance. All these _misereres_ are worth studying,
+especially as the white and grey paint which had disfigured them has
+been cleaned off since 1806.
+
+The choir was re-arranged by Salvin in 1833, and the chancellor's stall,
+shown in early prints, against the north-east tower pier, was removed at
+this time. The presbytery was filled with stalls, which have been lately
+removed, and in part refixed in the nave. During the recent alterations
+the row of fifteenth-century stalls, each with its _miserere_, has been
+removed from its original position in front of the canopied stalls, and
+placed across the transepts, and their place taken by others, made up of
+various fragments of old seating.
+
+Also the older bishop's throne, erected by Dean Lloyd late in the
+eighteenth century, "in resemblance to ancient Gothic workmanship," was
+removed from the south-east pier of the tower and placed in the
+consistory court, and its place taken (1894) by the present erection,
+designed by Pearson also in the style of ancient Gothic workmanship, and
+made by Cornish and Gaymer. The new pulpit, taking the place of that put
+up after the demolition of the chancellor's stall, was designed by J.D.
+Seddon, and executed by H. Hems of Exeter.
+
+#The Pelican Lectern#, now in the choir (see illustration, p. 110), was
+formerly hidden away in the Jesus Chapel; it is late Decorated in
+character; the three small figures were added in 1845. There is enough
+metal in this piece of mediæval work to make a dozen modern replicas.
+
+#The Presbytery# consists of two double severies, or four compartments,
+terminated by a semi-circular apse of five compartments. The four
+compartments on either side have, in the lower stages of their design,
+rich four-centred arches of Perpendicular period, with niches between on
+the piers; the spandrels are filled in to a horizontal line, above
+which, at the level of the triforium floor, is an elaborate cusped
+cresting. The triforium is Norman, lofty in scale. Over this come four
+light transitional (Decorated to Perpendicular) clerestory windows, with
+niches canopied forward in the thickness of the wall over the clerestory
+path; the windows being on the outer face of wall. From the apex of the
+ogee arches of the niches spring the vaulting ribs of the later vault,
+without any intermediate shaft. The apse preserves its Norman
+characteristics in the lower stage as well as at the triforium level.
+Here the interest of the student must surely be concentrated; as this
+eastern arm of the cathedral is the earliest part of the building.
+Herbert, the founder, laid the foundation-stone at the extreme east,
+probably in the original Norman Lady Chapel, and built westwards, and
+here, in front of the high altar, was he buried.
+
+[Illustration: The Choir and Presbytery in 1816.]
+
+The remains of the first bishop's throne, with the westward position,
+are in the central bay of the apse. Behind it, in the screen wall, can
+be discerned an arch which looks like a door head; if there be a vault
+beneath the presbytery, it is probable that this is the walled-up
+entrance.
+
+On the east side of the tower over the arch can be seen the lines of the
+original Norman roof. The Norman clerestory was so badly damaged by part
+of the tower falling in 1362 that the present clerestory was built in
+its place by Bishop Percy (1355-69), the presbytery, at the same time
+being covered over with a framed timber roof. In 1463 this (together
+with the spire) was struck by lightning, and fell burning into the
+presbytery, where it burned itself away. Here and there in the aisles,
+and wherever the Norman stonework is visible, traces of an orange
+discoloration give evidence of the heat generated by the mass.
+
+The present lierne vault was added by Bishop Goldwell (1472-99), and his
+rebus, a gold well, can be seen cut on the bosses at the intersections
+of vaulting ribs. The curious junction of the later vault with the
+ogee-shaped arches of the clerestory should be noticed.
+
+While the original triforium yet remains, the character of the main
+arcade was altered by the insertion of the four-centred "Perpendicular"
+arches, the work of Bishop Goldwell, whose tomb is under one on the
+south side. These lower arches were filled with screens, removed in
+1875.
+
+The lower apsidal arches, in the beginning of the century, were
+completely filled with imitation Norman work; this has been cleared away
+to the original height of the screen wall, with much improvement to the
+general effect.
+
+[Illustration: The Choir Stalls at the beginning of the Nineteenth
+Century.]
+
+The present altar, designed by Sir A.W. Blomfield, occupies probably the
+position of the original altar. The question where the high altar stood
+has provoked much speculation. Professor Willis placed it more to the
+westward, thinking that a quatrefoiled opening or hagioscope in the
+screen wall of the last bay on the north side of the Presbytery (marked
+9 on plan) was made to afford a view of it from the aisle. Harrod points
+out that there is a small hole in the vault above, from which probably
+hung down the light of the sacrament. The position of this hole, and the
+fact that such a light would necessarily be placed before the altar, and
+not over or behind it, is evidence that the altar was about where it is
+now. Blomfield, again, averred that the people stood in the aisle and
+confessed to the priest standing in the sanctuary, the "voice coming
+through a hole made in the wall for that purpose," the hole being the
+hagioscope referred to. But, as Harrod observes, to do this the priest
+must have assumed a recumbent position, which is neither convenient nor
+usual.
+
+The real use, no doubt, of this bay of the arcade, was for the Easter
+sepulchre; its usual position is on the north side of the sanctuary. It
+will be noticed also that in the aisle immediately behind is a raised
+gallery of Decorated character, access to which was gained from the
+sanctuary by steps on the left side of the bay of the arcade, in which
+occurs the hagioscope. This gallery formed the ante-chapel to the
+#Reliquary Chapel#, which projected northwards from the aisle of the
+cathedral; the roof line of this chapel can be seen plainly from the
+outside. From the reliquary chapel on Good Friday the crucifix and pyx
+were taken out and deposited in the Easter sepulchre below; and from the
+vault above, through the hole before referred to, was hung the great
+sepulchre light. More probably the hagioscope was intended to be used by
+the watcher at the sepulchre.
+
+[Illustration: The Choir, looking West.]
+
+The arrangement of the presbytery, as we have already noted when
+referring to the plates here reproduced from Britton, has undergone many
+changes; in the beginning of the century the level of the floor of the
+choir was continued until between the third and fourth bay from the
+tower in the presbytery, where it rose by five steps to the level of the
+sanctuary floor. Harrod speaks of two steps up at the third pier past
+the tower, and three at the fourth or point of the junction of the apse.
+In Dean Goulburn's time, the sanctuary space was enlarged by being
+brought forward one bay. The present floor, designed by Sir A.W.
+Blomfield in glass mosaic and porphyry, was executed by Powell
+Brothers. Then also was added the somewhat elaborate communicants' rail,
+executed in bronze and spars. In enlarging the sanctuary, Dean Goulburn
+moved the three steps from the fourth pier past the tower to the third,
+and at the same time the two steps at the third pier were moved forward
+to the first past the tower. And now again, during the recent works of
+reparation, the presbytery floor has been brought forward at one level
+to the tower arch, where it descends to the level of the choir floor by
+five steps: screens which filled the first bays on either side were
+removed, and similar flights of steps now descend from the presbytery
+and the north and south aisles. The cumbrous stalls were also removed,
+and in part refixed in the nave.
+
+The stained glass which fills the clerestory windows of the apse dates
+from 1846, and was made by Yarrington. The window in the triforium just
+above the altar contains modern stained-glass, dedicated to the memory
+of Canon Thurlow.
+
+#Monuments in the Presbytery.#--The monument of Herbert, the first
+bishop of Norwich, and the founder of the cathedral, was raised in the
+centre of presbytery, before the high altar. It was so much injured
+during the time of the Rebellion that a new one was erected in 1682;
+this again was levelled, and a slab placed in the floor at the same
+place now remains.
+
+In the second bay eastward from the tower (south side), marked 10 on
+plan--Bishop Goldwell's (1472-99) chantry, and the altar tomb,
+remarkable for the effigy in full pontificals (see illustration). Bloxam
+remarks that it is "the only instance of the monumental effigy of a
+bishop, prior to the Reformation, in which the _cappa pluvialis_, or
+processional cope, is represented as the outward vestment instead of the
+casula or chesible." The tomb is placed to the south of the recess; in
+the space east was an altar.
+
+In the third bay eastward was Bishop Wakering's (1416-25) tomb, the only
+part of which now remaining is visible from the south aisle, and
+consists of a series of panels with plain shields and figures two by
+two, with the several instruments of the Passion. There were formerly
+steps down into the south aisle from this bay. In the same place is a
+monument to Bishop Overall (d. 1619).
+
+[Illustration: Detail of the Presbytery Clerestory and Vaulting.]
+
+In the fourth bay (marked 11 on plan) the altar tomb of Sir William
+Boleyn of Blickling (d. 1505).
+
+Of the fourth bay eastward from tower on the south side (marked 9 on
+plan), Sir Thomas Browne says: "On the north of the choir--_the
+presbytery is meant_--between the two arches, next to Queen
+Elizabeth's seat, were buried Sir Thomas Erpingham and his wives, the
+Lady Joan, etc., whose pictures were in the painted glass windows next
+to this place, with the arms of the Erpinghams. The insides of both the
+pillars were painted in red colours, with divers figures and
+inscriptions from the top almost to the bottom, which are now washed out
+by the late whiting of the pillars.... There was a long brass
+inscription about the tombstone, which was torn away in the late times,
+the name of Erpingham only remaining."
+
+During the recent works, under this same spot was found a leaden coffin
+enclosing human bones, which were possibly the remains of Sir Thomas
+Erpingham.
+
+An amusing tale is told by Harrod of Roger Bigod's burial in the
+cathedral. He was the founder of Thetford Priory, and died in 1107,
+leaving directions that his body should be buried in his own monastery.
+The prior of Thetford was much perplexed to hear that Bishop Herbert had
+taken possession of the body, and had determined that it should be
+interred with all the due solemnities at Norwich. Herbert was anxious to
+secure for his own foundation so valuable a source of income as the
+offerings and celebrations at the tomb of a pious man like Bigod; and no
+doubt the prior was not actuated alone by love for his departed abbot.
+The bishop won, and Roger Bigod was buried in the cathedral, possibly in
+the same crypt which is supposed to contain the bones of Herbert
+himself.
+
+#The North Transept#, like the south, is without aisles or triforium,
+the wall space up to the clerestory level being decorated with wall
+arcading, varying considerably in position and detail in each
+compartment. The clerestory follows round from the nave, and overhead is
+the later lierne vault. It was, together with the eastern arm of the
+cathedral, closed for two and a half years, during which period the
+whole of the lime-white and paint encrusting the stonework was flaked
+off. The work, so far as we can understand, was really a restoration,
+inasmuch as the original stonework was restored to view. The level of
+the floor was made to correspond with that of the choir, and a raised
+wooden floor with the benches thereon removed. The transepts were built
+by Herbert, the first bishop and founder. Both originally had an apsidal
+chapel on the eastern wall, but only that on the north arm remains,
+and access to this now is not possible from the transept. Dedicated at
+one time to St. Anne, it is now used as a store-house.
+
+[Illustration: The Choir Apse.]
+
+The vault was added by Bishop Nykke, and was necessitated by a fire in
+1509, which consumed the wooden roofs of both transepts. During the
+recent works the small arcading immediately under the line of the vault
+was discovered walled up, the builders of the later vault in all
+probability having done this, as in many cases the line of the vault
+cuts over the arcading. This was opened up, and is distinctively
+interesting in helping to reconstruct the original finish to the Norman
+work under the roof.
+
+#The Tower and Triforium Walks#, to which access is gained by a
+staircase in the east wall of north transept, are of much interest. In
+the triforium the imposition of the later work on the Norman is clearly
+noticeable, and the original Norman triple windows walled up with the
+wall shafts which once supported the semi-arches of the triforium roof.
+Some of the best views of the interior are to be gained from the
+triforium and clerestory paths.
+
+#Interior of Tower.#--A continuation of the same staircase leads to the
+clerestory, and from thence access is gained to the tower galleries.
+Above the arches of the crossing there is a vaulted passage in the
+thickness of the tower walls, with six arches pierced in the inner wall,
+so that the parts of the interior can be seen from this walk. Above
+occurs a smaller wall arcade, stopped before reaching the angle to admit
+of large circular holes being deeply recessed in the walls; and above
+this again another vaulted gallery, with three windows on either side,
+pierced through the tower. In the lower of these walks openings occur
+through the thickness of the walls into the presbytery, the nave, and
+transepts, just under the vaults, and interestingly quaint peeps can be
+gained through them.
+
+The #Processional Path#, or aisles to the presbytery, consists of four
+bays to the north and south, with quadri-partite vaulting, with a
+similar five following round the line of the apse. A door in the north
+aisle leads out into the gardens of the bishop's palace, and from thence
+the exterior of this part of the cathedral is best seen.
+
+Crossing the north aisle to the presbytery, at the fourth bay eastward
+past the tower, marked F on plan, there occurs a curious bridge chapel
+spanning the aisle, access thereto being gained by a newel staircase on
+the north side. In our notes on the Presbytery, we have referred to the
+uses assigned to this structure and its connection with the Easter
+sepulchre. It formed the ante-chapel to the reliquary chapel projecting
+northward from the outer wall of the cathedral; it probably was built as
+a bridge so that relics and symbols might be exhibited thereon to
+processions passing along underneath. It is decorated in character, and
+the vault is constructed of chalk. The chapel above is decorated with
+frescoes, the subjects of which are as follow:--In the western quarter
+of the four-part vault, The Blessed Virgin between SS. Margaret and
+Catherine; in the eastern, SS. Andrew, Peter, and Paul; in the northern,
+SS. Martin, Nicholas, Richard; in the southern, SS. Edmund, Lawrence,
+and a bishop; a figure of Christ occurs centrally. Copies of these
+frescoes have been made in facsimile, and hang in the aisle and
+consistory court. Passing through the small door in the north wall of
+the north aisle before mentioned to the outside, the lines of the
+reliquary chapel can be plainly seen, and also of another to the west;
+the position of both these chapels is shown by dotted lines on the plan.
+
+[Illustration: Detail of the Clerestory, North Transept.]
+
+A coped coffin lid of Purbeck marble, now in the aisle of presbytery,
+should be noticed; an inscribed brass once occupied the bevelled edge.
+
+[Illustration: The South Aisle of Presbytery, looking East.]
+
+#The Chapels.#--In the Norman cathedral, grouped round the east end of
+the presbytery, was a trefoil of chapels; the one on the north, the
+Jesus Chapel, yet remains, and as well its fellow on the south. The Lady
+Chapel, or easternmost of the three (shown on plan by dotted lines) was
+succeeded by an Early English building, which, in its turn, was
+destroyed; the entrance arches, of beautiful proportion, alone
+remaining.
+
+[Illustration: Norman Work in the Lantern of Tower.]
+
+#The Jesus Chapel# formerly belonged to the bishop. On plan its shape is
+that of segments of circles joined, the altar placed in the smaller
+part. A simple wall arcade runs round the lower half, the whole being
+covered by a plain quadri-partite vault. The windows are insertions of
+Perpendicular work, varied in character from the Norman work of the
+chapel itself. The mural colouring is a restoration; it may be something
+like the original, but the general effect is somewhat garish.
+
+[Illustration: The Ante-Reliquary Bridge Chapel.]
+
+The altar consists of a slab of grey Barnack-stone, with Purbeck
+inlaid, the whole being supported on shafts.
+
+The tomb of Sir Thomas Wyndham, now in the north of nave, at one time
+stood here, as also the pelican lectern now in the choir.
+
+In Britton, the chapel is shown divided off from the aisle by a stone
+screen of Perpendicular character; this was removed, and used to form in
+part the present screens dividing the ante-choir from the aisles.
+
+A room over the Jesus Chapel, once the plumbery, is now used as a
+museum.
+
+The Entrance which led to the Lady Chapel is immediately behind the
+apse, and takes the form of a double arch with clustered columns to the
+jambs and central pier; the archivolt is deeply moulded and enriched
+with the typical Early English "dog-tooth" ornament. In the spandrel
+over the pier, and between the archivolts, is a quatrefoiled opening
+fitting just under the line of the semi-circular Norman vault. The
+arches, walled-in up to the impost level, are now filled with glass, as
+well as the opening. The original circular Norman Lady Chapel was
+destroyed in part by the fire of 1169; it was repaired by Bishop De
+Turbe (1146-74), but it was not until the time of Walter de Suffield
+(1245-57) that it was decided to pull it down and rebuild a chapel in
+the style of the period--viz. Early English; it was this later building
+that Dean Gardiner (1573-89) destroyed.
+
+Dean Goulburn, in his work on the cathedral, points out that it was the
+_cultus_ of the Blessed Virgin, which gathered strength all over Europe
+during the twelfth and thirteenth centuries, that led to the erection of
+such sumptuous chapels as this thirteenth-century Lady Chapel of Norwich
+must have been. When the theological reaction followed, they fell into
+disuse and neglect, and their final ruin followed when it was found
+cheaper to pull them down than keep them in repair.
+
+The beautiful proportion of the entrance arches still remaining, the
+archivolt enriched with the "dog-tooth" moulding--the only example of
+this particular ornament at Norwich--gives one an idea of what the
+chapel may have been like. During the recent works of reparation in the
+choir, pieces of stone were found with the "dog-tooth" built inwards:
+evidently the stone from the pulled down chapel had been used by the
+masons for the repair of the fabric.
+
+#St. Luke's Chapel#, on the south side of the apse corresponding with
+the Jesus Chapel on the north, was formerly the chapel of the prior. It
+is now used as the parish church of St. Mary in the Marsh. It has been
+much restored, and the Decorated windows shown in Britton's view of the
+east end of the cathedral were replaced early in the sixties, by what
+the restorer would no doubt have called Norman.
+
+The coloured glass was inserted to the east window in 1868, the south
+window in 1870, the west window in 1881. That in the east and south is
+by Hardman, in the west by Clayton & Bell. The glass in the south window
+forms a memorial to Adam Sedgwick, Professor of Geology at Cambridge,
+and canon of the cathedral for many years.
+
+The room over the St. Luke's Chapel is used as the #Treasury and
+Muniment Room#.
+
+#The Bauchon Chapel#--corrupted to Beauchamp--dedicated to St.
+Mary-the-Less, projects to the south of the third bay of the presbytery
+aisle past the tower, (marked B on plan). It was founded in the
+fourteenth century and the vault added in the fifteenth century. Its
+bosses represent the Life, Death, and Assumption of the Virgin. The
+chapel is now used as the consistory court. The bishop's throne, erected
+by Dean Lloyd late in the eighteenth century in the choir, has found a
+resting-place here.
+
+A chapel, founded by Bishop Wakering, and which is said to have been
+used as the chapter-house after the demolition of that structure, came
+between the Bauchon Chapel and the east wall of the south transept. Its
+exact position is, however, doubtful. Harrod, quoting Blomfield, speaks
+of another chapel that was dedicated to St. Osyth, and which was paved
+in 1398.
+
+[Illustration: Doorway and Screen between South Transept and Aisle of
+Presbytery.]
+
+#The South Transept.#--The screen and doorway filling the Norman arch
+between the south aisle of presbytery and the south transept should be
+noticed; it is an interesting piece of work of late Perpendicular
+design. There is a tradition that the Puritans disliked especially any
+tracery that took the form of this piece of screen work, calling windows
+in which it occurred "wicked windows." The intersection of the lines of
+the tracery made the monogram of the Blessed Virgin; and the fanatics
+destroyed such work wherever noticed. The tale is interesting, though we
+cannot vouch for its truth.
+
+[Illustration: View across the Apse from the Chapel of St. Luke.]
+
+At the time the whitewash and paint covering the south transept was
+cleaned off a range of small arcading was discovered immediately under
+the line of the vault, as in the north transept, walled-up evidently
+when the vault was added.
+
+The south transept had in Norman times a circular chapel projecting
+eastward similar to that remaining to the north transept. This was
+replaced by a later sacristy during the fifteenth century, and the line
+of this roof can be seen from the outside.
+
+Across the south end there was formerly a stone screen built by Bishop
+Lyhart (1446-72) communicating with the vestry on the east side, and on
+the west with the staircase to rooms above the east walk of cloisters.
+These rooms, as we have before noted, were in all probability the
+dormitories of the monks, placed that they might so conveniently gain
+access to the cathedral for the services.
+
+On the top of Lyhart's screen came a clock; there are records in the
+sacrists' rolls of materials used in the construction of an earlier
+clock that was made between 1322-25--of two hundred pieces of Caen stone
+and ten of "Gobetz" used to make a base, and that for making thirty
+images to represent the days of the month, no less than 47s. 4d. was
+paid.
+
+The vault was added by Bishop Nykke at the same time as that to the
+north transept; the carved bosses representing the early history of
+Christ--the Presentation, Baptism, etc. The painted glass window on the
+east side, the subject of which is the Ascension (after Raphael), was
+erected by the widow of Dean Lloyd about a century since. Speaking of
+its original position in the triforium of the presbytery, Britton says
+"it disfigures, rather than ornaments, its station"; it can safely be
+added that it fulfils the same purpose still.
+
+#Monuments.#--Chantrey's statue of Bishop Bathhurst (d. 1837),
+originally in the presbytery, has been placed here in the south
+transept. The west wall has a memorial to the men and officers of the
+9th (East Norfolk) Regiment of Foot who fell in China and Japan.
+
+The east wall has a similar tablet to those of the same regiment who
+fell in Afghanistan, 1842. A monument, originally on the west wall, to
+Bishop Scambler (1585-95), has been removed to the south aisle of nave.
+
+The county of Norfolk is peculiarly rich in painted screens of the
+fourteenth and fifteenth centuries; and it would have been strange
+indeed if no specimen of their work had been preserved in the cathedral.
+Fortunately, a superb #retable# in five panels, representing scenes in
+the Passion of our Lord was discovered by Professor Willis in 1847, and
+is now preserved in the aisle outside the Jesus Chapel.
+
+This was formerly an altar-piece to the Jesus Chapel, and was preserved
+by the happy accident of its admirable carpentry having saved it for the
+purposes of a table. It appears to have been the work of an Italian
+artist of about 1370 A.D., and is executed in a kind of _gesso_ work.
+The size is now 7 ft. 5½ ins. × 2 ft. 4 ins.; but it was formerly
+surrounded by an ornamented frame, of which portions remain on three
+sides. The subjects represented are--from the left--The Scourging,
+Bearing the Cross, the Crucifixion, the Resurrection, and the
+Ascension.[1]
+
+    [Footnote 1: Royal Arch. Institute: Norwich volume, p. 198.]
+
+Traces of other decorative painting have also been discovered in the
+Sacrist's Room, St. Luke's and the Jesus Chapels, the choir aisles, and
+other places.
+
+[Illustration: The Resurrection: from the Painted Retable formerly in
+the Jesus Chapel.]
+
+
+
+
+CHAPTER IV
+
+THE SEES OF THE EAST ANGLIAN BISHOPS
+
+
+Herbert, surnamed de Losinga, transferred the see from Thetford to
+Norwich in 1094, and it is from this period that the history of the
+cathedral may be said to commence; but, to understand rightly the
+history of the diocese, we must go back some four centuries and a half
+to that earlier period when Redwald, king of the East Angles, was first
+converted to Christianity while paying a visit to the court of Ethelbert
+in Kent. He, however, proved but a weak disciple, and on being urged by
+his wife to be true to the old gods, he tried to effect a compromise and
+worship Jehovah and Baal.
+
+He was succeeded by his son Eorpwald, who was converted by missionaries
+sent by Edwin king of Northumbria. His reign, however, was short, and at
+his death the people again relapsed into heathenism.
+
+Christianity was finally established among the East Angles by Sigeberht,
+Eorpwald's brother, and it was due to him and through his influence that
+Felix, a missionary from Burgundy, was enabled to fix his see at
+Dunwich, A.D. 630.
+
+#Felix# (630-47) must needs have been a man strong in his Faith; he
+christianised the whole of that district which now includes Norfolk,
+Suffolk, and Cambridgeshire. He died on the 8th of March, and was
+canonized after death. Felixstowe, where he is said to have founded
+schools, keeps his memory green in the East Country; but Dunwich, where
+he fixed his see, has long since been covered by the encroaching waves.
+
+Sigeberht resigned the crown to his kinsman Egric, and had entered a
+monastery to finish his days in peace. But the kingdom was invaded by
+the Mercians under Penda, and the peaceful old king was compelled to
+appear in the field to give heart and courage to the East Angles. He,
+however, declined to employ carnal weapons, and went out against his
+enemies armed with nothing more formidable than a wand. He was killed
+in the ensuing engagement, and his successor, Egric, shared the same
+fate.
+
+The administration of the two successors to Felix lasted twenty-two
+years, from A.D. 647-69. The East Anglian see was then divided by
+Theodore, Archbishop of Canterbury, into two separate administrations,
+#Acci#, the fourth successor to Felix, taking Dunwich, while #Beadwin#
+was consecrated to the see of Elham.
+
+From this date there were two lines of East Anglian Bishops; ten
+diocesans followed after Acci at Dunwich, and nine after Beadwin at
+Elmham.
+
+#St. Humbert# (828-78) was the last of the Bishops of Elmham; he crowned
+St. Edmund king of the East Angles, and both were murdered by the Danes
+under Hinguar in 870.
+
+After Humbert's death the two sees were again united under #Wildred#,
+who at this time was Bishop of Dunwich; he, however, preferred Humbert's
+see at Elham, and removed there, and so the bishopric of Dunwich became
+extinct.
+
+During the next two hundred years (870-1070), there were thirteen
+bishops of Elmham, and then Elmham shared a similar fate to Dunwich, and
+the see was moved to Thetford by #Herfast#, a chaplain of William the
+Conqueror. William of Malmesbury records that Herfast had decided to go
+down to posterity as a man _who had done something_, and fixed on this
+removal as an easy solution of the difficulty.
+
+#William Galsagus# (1086-91) or de Beaufeu succeeded Herfast, and he in
+turn was succeeded by Herbert de Losinga, who became first Bishop of
+Norwich.
+
+The history of #Herbert's# episcopate (1091-1119) is the history of the
+causes which effected the building of Norwich Cathedral, and, although
+given previously in the history of the fabric, must needs be briefly
+recapitulated here. Herbert, if not of Norman birth, had received his
+education in Normandy and was Prior of Fécamp--where he had first taken
+his vows--when offered by William Rufus the appointment of Abbot of
+Ramsey. The see of Thetford fell vacant, and Herbert procured his own
+appointment from the Red King in consideration of a sum of £1900 which
+he paid into the royal treasury. The remorse which followed on this sin
+of simony compelled him to go to Rome and seek the consolation and
+forgiveness of Pope Urban. This was in 1094. He returned, and as
+expiation for his sin founded the Priory of Norwich, the first stone of
+which was laid in 1096, the see being removed from Thetford in
+accordance with the decree of Lanfranc's Synod, held in 1075, that all
+bishops should fix their sees in the principal town in their dioceses.
+
+In cathedral monasteries the bishop, who was elected by the monks,
+appears to have represented the abbot and took precedence of the prior.
+Before Herbert's time, the chapter was composed of secular canons and
+not monks.
+
+Herbert, in 1101, placed sixty monks at Norwich, and it may be of
+interest to quote from Taylor's "_Index Monasticus_" the establishment
+of the monastery from Herbert's time up to the dissolution in 1538--
+
+    The Bishop representing the              Chaplains.
+      Abbot.                                 Precentor or chanter.
+    The Lord Prior.                          Sub-chanter.
+    The Sub-Prior.                           Infirmarer.
+    60 Monks.                                Choristers.
+    Sacrist.                                 Keeper of the Shrines.
+    Sub-sacrist.                             Lay Officers.
+    Cellarer or bursar.                      Butlers.
+    Camerarius or chamberlain.               Granarii.
+    Almoner.                                 Hostilarii.
+    Refectorer.                              Carcerarius or gaoler.
+    Pittancier.
+
+Archbishop Anselm had refused to acknowledge that the king had the right
+to exercise a suzerainty over the Church, and declined to consent to lay
+investitures. An embassy was sent to Rome, and Herbert, who went there a
+second time about 1116, represented the king. It, however, was in no way
+satisfactory; the Pope did not want to offend the king, and he wished to
+retain to himself the right of investiture, so, while congratulating the
+Archbishop's representatives, he sympathised also with those of the
+king. The exertion told on Herbert, and at Placentia, on the return
+journey, he fell sick, and stopped there until he became sufficiently
+convalescent to journey by short and easy stages to his own cathedral
+city. He lived to complete much important business, but his days of
+administration were drawing to a close. He had been Prior of Fécamp,
+Abbot of Ramsey, Sewer to William Rufus, had governed the East Anglian
+bishopric first from the episcopal see at Thetford, had transferred it
+to Norwich, and founded the Cathedral Priory, and if this were not
+sufficient, he founded and endowed many other churches and monasteries
+in the East Country. His repentance had been sincere, and in one of his
+letters he refers to "my past life, which, alas! is darkened by many
+foul sins." Dean Goulburn credits him with a third journey to Rome, and
+says that it was at Placentia, on the outward journey, that he
+contracted so grievous a sickness that he "lay ten successive days
+without taking food and without uttering a word"; in fact, never
+reaching Rome, but waiting for and rejoining his brother ambassadors on
+their return. This journey was undertaken with the view of adjusting the
+differences that had arisen between the new Primates, Ralph and
+Thurston. The embassy was not successful, the Pope declining to commit
+himself to any but the most general statements.
+
+One of the last public acts of Herbert's life was to attend the funeral
+of Queen Matilda on May-day, 1118. He died on the 22nd of July 1119 in
+the twenty-seventh year of his episcopate, and was buried before the
+high altar of his cathedral church.
+
+#Eborard# (1121-1145), who succeeded Herbert, a son by second marriage
+of Roger de Montgomery, first Earl of Arundel, was consecrated in 1121.
+
+During his episcopate Eborard had parted with the towns of Blickling and
+Cressingham, which pertained to his see, to two of the more powerful
+barons, in the hope of securing the rest of the episcopal property, and
+possibly with the idea of regaining possession of the same when the
+troubled times should have passed.
+
+He was deposed in 1145, and it may possibly be that he had favoured the
+cause of Maude in the civil wars of the period, and that it was Stephen
+who compelled him to relinquish his see and spend the rest of his life
+in exile. He had in 1139 laid the foundation of an abbey at Fontenay, in
+the south of France, and thither he repaired. He died in 1149.
+
+His successor, #William de Turbe# (1146-1174), was elected to the see,
+and in the year 1146 was consecrated at Canterbury by Archbishop
+Theobald.
+
+In 1168, Becket had written to De Turbe from Vezelay, a town on the
+borders of Burgundy and Nivernois, and ordered him, by the Pope's
+authority, to publicly excommunicate Hugh Bigot, Earl of Norfolk. He had
+robbed the Priory of Pentnay, in Norfolk, of some of its possessions. De
+Turbe obeyed, notwithstanding the fact that the king had sent officers
+to prohibit him from so doing. An absolution was obtained from the Pope,
+but the king was so far incensed that De Turbe considered it advisable
+to rest in sanctuary at Norwich until the following year, 1169, when he
+received the royal pardon.
+
+[Illustration: Norwich Castle.]
+
+Bishop William de Turbe died 17th January 1174, and was buried in the
+cathedral choir, on the left side of the founder.
+
+#John of Oxford# (1175-1200) was consecrated at Lambeth by Richard,
+Archbishop of Canterbury, December 14, 1175; he was clerk or royal
+chaplain to the king. He had presided over the council of Clarendon, the
+constitutions of which defined the king's prerogatives in regard to the
+Church, and chiefly with regard to the question of trying clerks charged
+with crimes in the civil courts. He was despatched to Rome on an embassy
+to the Pope, Alexander III., and on its failure was sent by Henry to
+the Diet at Wurzburg; the king, not having been supported by Alexander,
+determined to uphold his opponent, and as well he, in direct opposition
+to the Pope, made John of Oxford Dean of Salisbury, with the result that
+the future Bishop of Norwich incurred the penalty of excommunication by
+Becket from Vezelay, "for having fallen into a damnable heresy in taking
+a sacrilegious oath to the emperor, for having communicated with the
+schismatic of Cologne, and for having usurped to himself the deanery of
+the church of Salisbury."
+
+The dispute was referred to the Pope at Sens, where John of Oxford, with
+his fellow-ambassador, Gilbert Foliot, Bishop of London, repaired; John
+of Oxford was rebuked by the Pontiff for his misconduct, but
+diplomatically managed to effect his end and retain his deanery. Henry
+had met Becket at Chaumont, through the mediation of the Archbishop of
+Sens, and, the quarrel being patched up, John of Oxford was sent to
+escort him to England. He landed, December 1, at Sandwich, in the year
+1170, and within the month was murdered at Canterbury.
+
+In 1175, the incursion of William of Scotland was checked, and the king
+himself taken prisoner by Ranulph de Glanville. John of Oxford and
+others were commissioned to settle terms of peace; and they executed the
+treaty of Falaice, afterwards ratified by King Henry at York, by which
+the Scottish king and his barons were under the necessity of doing
+homage for their possessions. John of Oxford, who had rendered good
+service to his sovereign, was rewarded by promotion to the vacant see of
+Norwich; and during his episcopate sent by the king on an embassy to
+William, King of Sicily, to convey his majesty's consent to the marriage
+of his daughter Joan with that monarch.
+
+An important step in the administration of justice was taken during this
+reign--the king divided the country into six circuits, to which certain
+prelates and nobles were to be sent at certain times to hear suits and
+save litigants the trouble of attending the king's court at Westminster.
+John of Oxford was one of a company of five to whom was given
+jurisdiction over a portion of the country, from Norwich down to Sussex,
+and from Buckinghamshire and Bedfordshire eastward to the coast.
+
+On the 9th of July 1189, King Henry died, and was succeeded by his third
+son, Richard: John of Oxford assisting at the coronation. Richard had
+no sooner been crowned than he led the crusade to the Holy Land, which
+had been preparing in Henry's time, and John of Oxford was forced to
+proceed to the Pope to ask for his absolution of the oath he had taken
+to follow the Cross, on account of his old age and infirmity. This
+request being granted, for which he had to pay 10,000 marks, he returned
+to England.
+
+The last public act of John of Oxford--who was one of the most
+remarkable men who have held the see of Norwich--was most probably his
+attendance at the coronation of King John. He died June 2, 1200.
+
+#John de Grey# (1200-1214) was elected by the monks, and his election
+being confirmed by King John, he was consecrated by Hubert, Archbishop
+of Canterbury. It was during his episcopate, and through the quarrel
+between King John and the Pope, that the power of the latter was at
+length firmly established--a supremacy that was unquestioned until the
+sixteenth century.
+
+The metropolitan see of Canterbury fell vacant in 1205; the sub-prior,
+who was surreptitiously elected by the monks, and unknown to the king,
+travelled to Rome for the Pope's sanction of his appointment. When the
+king became aware of this he was enraged, and despatched an embassy
+upholding his nominee, John de Grey. The Pope pleased neither party, and
+named Stephen Langton as Hubert's successor. The Pope, Innocent, sent
+two legates, of whom Pandulph was one, in 1211 to England, and on John
+declining to recognise the Papal claims, he was deposed, and his crown
+offered to the French king Philip.
+
+The country had been placed under an interdict, and most of the bishops
+had left the country. John de Grey remained faithful to the king, and
+actually invaded France with a small force to attack the invading
+Philip, but soon was forced to retreat. In the end, John submitted,
+resigned his crown, which was restored to him, and was compelled to pay
+to the Church as damages 40,000 marks. John de Grey, who had been sent
+to Rome to arrange this, died on the return journey at S. Jean d'Angelo,
+near Poictiers, 18th October 1214.
+
+#Pandulph Masca# (1222-1226) was consecrated Bishop of Norwich by
+Honorius, 29th May 1222. He is supposed to have been a member of a noble
+Pisan family, and in 1211 had been sent by Pope Innocent to humble King
+John, which he successfully did. He was again employed as Papal Legate
+during the young King Henry II.'s minority, and died in Italy, 16th
+September 1226, having played a prominent part as politician and
+mediator.
+
+#Thomas de Blunville# (1226-1236), the nephew of Hubert de Burgh, Lord
+Chief-Justice of England, was consecrated in St. Catherine's Chapel at
+Westminster by Stephen, Archbishop of Canterbury. He died in 1236, and
+was succeeded by #Ralph de Norwich#, of whom but little is known; and is
+even supposed to have died before his consecration.
+
+#William de Ralegh# was consecrated on the 25th September 1239 at St.
+Paul's by Edmund Rich, Archbishop of Canterbury. He had been a chaplain
+of King Henry, and having received the education of a lawyer, from
+1224-35 he visited various parts of the kingdom as a justiciary. On the
+death of Peter de Rupibus he was elected to the see at Winchester by the
+monks, in direct defiance of the king. The Pope's intervention in the
+end secured him his see. He died at Tours in 1250.
+
+#Walter de Suffield# (1245-57) was elected bishop by the monks after
+Ralegh's translation. He chiefly busied himself in building and
+beautifying the cathedral, and there is no record that he took any
+prominent part in politics. He superintended a general inquisition
+(known as the Norwich taxation) into the value of the Church revenues
+throughout the whole of England. He died May 18, 1257, during a visit to
+Colchester.
+
+#Simon de Walton# (1258-66) was consecrated by Boniface, Archbishop of
+Canterbury, on March 10, 1258. He held (in 1246) the office of
+justice-itinerant. Of his administration little is known. He was past
+seventy when he assumed the charge of the diocese. The barons under De
+Montfort had beaten the king's army at Lewes, in 1264, and in 1266, from
+their encampment in the Isle of Ely, attacked and sacked the city. Simon
+de Walton died January 2, 1266.
+
+#Roger de Skerming# (1266-78) was elected by the monks, and was
+consecrated by Geoffrey Rages in St. Paul's Cathedral in April 1266. It
+was during his episcopate that the disturbance occurred between the
+monks and citizens over the annual fair held on Trinity Sunday, in
+Tombland. He died January 2, 1278.
+
+[Illustration: The Guildhall.]
+
+#William de Middleton# (1278-88) was consecrated at Lambeth by the
+Archbishop of Canterbury on May 29, 1278, and was enthroned, and the
+Cathedral re-dedicated after the sacrilege and fire, on Advent Sunday,
+1278, when Edward I. and his queen were present. He was appointed a
+guardian of the realm, 1279, during the king's absence in France;
+Archdeacon of Canterbury in 1276; and also steward of Bordeaux. He died
+September 1, 1288, at Terling, in Essex, and his remains were carried in
+state to Norwich, and there buried in the Lady Chapel.
+
+#Ralph de Walpole# (1289-99) was of Norfolk extraction, and an
+archdeacon of Ely. He was consecrated to the see on Mid-lent Sunday,
+1289, at Canterbury, by John Peckham archbishop. His election, however,
+was displeasing to the diocese. He was translated to Ely in 1299.
+
+#John Salmon# (1299-1325), prior of Ely, had been elected bishop by the
+monks, but was appointed to the see at Norwich at the same time that
+Walpole was translated to Ely. He was consecrated by Archbishop
+Winchelsey October 3, at Canterbury, and was one of the envoys sent to
+the Court of Philip the Fair King of France, to arrange the marriage of
+the young king Edward II. (1307). He was appointed chancellor of the
+realm in 1320. He also went to France again in 1325; and it was on his
+return that he died July 6, 1325.
+
+#William de Ayerminne# (1325-36) was elected to the see by papal bull in
+1325, and this overruled the election by the monks of Robert de Baldock.
+Ayerminne was consecrated to the see September 15, 1325. He had held a
+prebendal stall at St. Paul's in 1313 and in the next year at Lincoln.
+In 1324 he was sent as ambassador to Robert Bruce to treat for peace. He
+died at Charing, March 27, 1336; and was buried in the cathedral before
+the high altar. He appears to have been cunning and crafty, and not
+above changing his political views when occasion demanded.
+
+#Anthony de Beck# (1337-43) was nominated by the Pope, the monks having
+chosen Thomas de Hemenhale, who however, went to Worcester. Both were
+consecrated to their respective dioceses by the Pope at Avignon March
+30, 1337. He had been Dean of Lincoln. In 1342 he resisted the
+Archbishop Stratford's visitation; this must have been a foretaste to
+the monks of his imperious temper. In 1343 he was poisoned by his own
+servants.
+
+#William Bateman# (1344-54), of a Norwich family, had been archdeacon of
+Norwich, chaplain to the Pope, and dean of Lincoln. He was consecrated
+by the Pope at Avignon, 23rd May 1344. During his episcopate in (Edward
+III.'s reign) 1349, Norwich was visited by "Black Death"; over 51,000
+are supposed to have fallen victims to the dread plague. He founded
+Trinity Hall at Cambridge, 1350; was sent to Rome on an embassy there.
+He died January 6, 1354. He was buried at the church of St. Mary of
+Avignon.
+
+#Thomas Percy# (1355-69), brother of Henry Percy, Earl of Northumberland,
+against the wishes of the monks, was elected to the see. He was
+consecrated January 3, 1355, at Waverly, in Surrey, by the Bishops of
+Winchester, Sarum, and Chichester. The nobility at this time were
+securing church preferments for their families to keep pace with the
+formation of the professions and general advance of learning. He died
+August 8, 1369, and was buried in the cathedral, before the rood loft.
+
+#Henry le Dispencer# (1370-1406) was consecrated at Rome, 21st April
+1370. He was hated by the monks, who had no share in his election. He
+was of martial feeling, and took a prominent part in quelling the local
+disturbance incident on Wat Tyler's rebellion, 1381. He was employed by
+Urban VI. against his rival, Pope Clement VII.; was arrested for treason
+in 1399, and pardoned by Henry IV. He died 1406.
+
+#Alexander de Totington# (1407-13), prior of Norwich, was elected by the
+monks in September 1406. This election found no favour at the Court, and
+he was imprisoned at Windsor for nearly a year. He was then released,
+and consecrated at Gloucester by the Archbishop October 23, 1407. He
+died April 28, 1413, and was buried in the Lady Chapel.
+
+#Richard Courtenay# (1412-15) was nominated by Henry V., and consecrated
+by the Archbishop at Windsor 17th September 1413. He was Chancellor of
+the University of Oxford in 1407-11-13. He died at Harfleur in 1415,
+while on attendance to the king during the siege of that town. His body
+was brought to England, and buried in Westminster Abbey.
+
+#John Wakering# (1416-25), who was elected by the monks, had become
+keeper of the privy seal in 1415. He was consecrated at St. Paul's by
+the Archbishop May 31, 1416. He persecuted the Lollards strongly, and
+during his episcopate many were burned at the stake. Yet his character
+apparently was far from being harsh. He died at Thorpe in 1435, and was
+buried in the presbytery.
+
+#Alnwick# (1426-36) was confessor to Henry VI., and in 1420 archdeacon
+of Salisbury. He was appointed by a papal bull, and consecrated August
+18, 1426. He was translated by papal bull in 1436 to Lincoln.
+
+#Thomas Browne's# (1436-45) appointment was contained in the same bull
+that translated Alnwick. He had been previously Dean of Salisbury in
+1431, and Bishop of Rochester in 1435. During his episcopate the
+citizens again laid the priory under siege over a question of dues due
+to them, and the liberties of the city were, as a consequence, seized by
+the king. Browne died in 1445, and was buried in the nave, in the front
+and to the west side of rood.
+
+#Walter Lyhart# (1446-72) was nominated by the Pope, and consecrated
+February 1446, at Lambeth, by the Archbishop Stafford. He had been
+confessor to Henry VI.'s wife, Margaret of Anjou. He died May 17, 1472.
+
+#James Goldwell# (1472-99) had been ambassador of Edward IV. at Rome. He
+was nominated by the Pope, and consecrated at Rome, October 4, 1472. He
+died February 15, 1499.
+
+#Thomas Jane# (1499-1500) had been Canon of Windsor and Dean of Chapel
+Royal in 1497; was consecrated on October 20, 1499. He died in September
+1500.
+
+#Richard Nykke# was consecrated in 1501. He was of infamous character,
+and no doubt stimulated the zeal of the reformers, who may well have
+contended that the Church which had such prelates surely needed
+reformation. He persecuted those opposed to him, and burned many at the
+stake. He was imprisoned in 1535, for appealing to Rome touching the
+king's prerogative. He died January 14, 1536.
+
+#William Rugg# (1536-50) was the last Bishop of Norwich before the
+dissolution of the monasteries. Wolsey's downfall had occurred in 1529,
+and in 1536 the smaller monasteries were dissolved, and in 1538 the
+larger ones shared the same fate, Norwich being among the number, the
+last prior, #William Castleton#, becoming dean. William Rugg resigned
+the see in 1550.
+
+[Illustration: Monument of Bishop Goldwell.]
+
+On the foundation of the cathedral after the Dissolution the
+establishment was as follows:--
+
+    One dean.                                 Six poor men or bedesmen.
+    Six prebendaries.                         One sacrist.
+    Six minor canons.                         Two sub-sacrists.
+    One deacon reader of the Gospel.          One beadle of the poor men.
+    One deacon reader of the Epistle.         One high steward.
+    Eight lay clerks to be expert in singing. And clerks, porters,
+    One organist, eight choristers.             auditors, and a coroner.
+    One precentor.
+
+And such constitution, with but few changes, has held down to this day,
+the prebendaries have become resident canons, and the precentor is also
+a minor canon.
+
+#Thomas Thirley# (1550-54) owed his preferment to Norwich from
+Westminster to Edward VI. Queen Mary, in September 1554, promoted him to
+Ely. He was the first and only bishop Westminster has had.
+
+#John Hopton# (1554-58) was chaplain to Queen Mary, and aided in the
+persecution of the Protestants.
+
+#John Parkhurst# (1560-75) is credited with having "beautified and
+repaired" the bishop's palace.
+
+#Edmund Freke# (1575-78) was translated from Rochester, and again to
+Worcester in 1578.
+
+#Edmund Scambler# (1585-94) was translated to Norwich from Peterborough.
+
+#William Redman# (1594-1602).
+
+#John Jegon# (1602-1617) was master of Benedict College for twelve
+years.
+
+#John Overall# (1618-19) was translated from Lichfield and Coventry; he
+enjoyed the reputation of being the "best scholastic divine in the
+English nation."
+
+#Samuel Harsnet# (1619-28); translated to York in 1628.
+
+#Francis White# (1628-31); translated to Ely in 1631.
+
+#Richard Corbet# (1632) was translated from Oxford. Of him it was said
+"he was a distinguished wit in an age of wits, and a liberal man amongst
+a race of intolerant partisans."
+
+#Matthew Wren# (1635-38); translated to Ely in 1638.
+
+#Richard Montague# (1638-41); translated from Chichester.
+
+#Joseph Hall# (1641-56); translated from Exeter. We have quoted in the
+notes on nave from his "Hard Measure."
+
+#Edward Reynolds# (1661-76).
+
+#Antony Sparrow# (1676-85); translated from Exeter. He was the author of
+a "Rationale upon the Book of Common Prayer," 1657.
+
+#William Lloyd #(1685-91); translated from Llandaff to Peterborough, and
+from thence to Norwich. He was deposed in 1690 for refusing to take the
+oath of allegiance to William III.
+
+#John Moore# (1691-1707); translated to Ely in 1707.
+
+#Charles Trimmell# (1708-1721); translated to Winchester in 1721.
+
+#Thomas Green# (1721-23); translated to Ely 1723.
+
+#John Lang# (1723-27).
+
+#William Baker# (1727-32); translated from Bangor.
+
+#Robert Butts# (1733-38); translated to Ely 1738.
+
+#Sir Thomas Gooch, Bart.# (1738-48); translated from Bristol.
+
+#Samuel Lisle# (1748-49); translated from St. Asaph.
+
+#Thomas Hayter# (1749-61); translated to London in 1761.
+
+#Philip Yonge# (1761-83); translated from Bristol.
+
+#Lewis Bagot# (1783-90); translated from Bristol.
+
+#George Horne# (1791-92).
+
+#Charles Manners Sutton# (1792-1805); translated to Canterbury in 1805.
+
+#Henry Bathurst# (1805-37).
+
+#Edward Stanley# (1837-49), father of the late Dean of Westminster.
+
+#Samuel Hinds# (1849-57).
+
+#John Thomas Pelham# (1857-93).
+
+#J. Sheepshanks# (1893).
+
+[Illustration: The Pelican Lectern in the Choir.]
+
+
+
+
+CHAPTER V
+
+THE CITY
+
+
+The visitor to this ancient city will by no means wish to confine his
+attention to the Cathedral and its precincts; but the space at our
+disposal will not permit more than a list of other monuments which are
+worthy of attention. Among these the #Castle# naturally comes first.
+Occupying the site of a very ancient--probably British--stronghold, the
+first building was erected in early Norman times. For many years it was
+the principal fortress of the Bigods, Earls of Norfolk, and under them
+experienced many vicissitudes of fortune at the hands of both Flemings
+and French. The last event of importance connected with it was the
+hanging of Kett in 1549. The keep is in dimensions 96 x 92 feet, its
+height being 72 feet (see p. 99).
+
+The #Guildhall# contains many interesting relics of the civil life of
+Norwich during the sixteenth and seventeenth centuries, including those
+of the famous Guild of S. George, established in 1385 and dissolved in
+1731 (see p. 103).
+
+#St. Andrew's Hall#, a fifteenth-century building, was formerly the nave
+of the Church of the Blackfriars. It contains some good pictures of the
+English School.
+
+Among the Churches, that of St. Peter, Mancroft (fifteenth century),
+is well worth a visit. Its tower, 98 feet in height, contains one of the
+most famous peals of bells in England, and has always been the
+headquarters of a notable band of change-ringers. Of the others, St.
+Gregory, Pottergate, has some interesting antiquities; St. Giles', St.
+Helen's, and St. John the Baptist are all of importance: the latter has
+some good mural painting and monumental brasses, which should also be
+examined. St. Michael's, Coslaney, is a well-known type of the Norfolk
+flint construction.
+
+At #Pull's Ferry# the water-gate to the precincts is still standing. It
+is an interesting piece of flint work. The ferry itself, of which a view
+is given here, is a favourite sketching place.
+
+[Illustration: Pull's Ferry.]
+
+THE END
+
+       *       *       *       *       *
+
+
+
+
+[Illustration: PLAN OF THE CATHEDRAL.]
+
+
+REFERENCES TO PLAN.
+
+A. Dean's Vestry.
+B. The Chapel of St. Mary-the-Less.
+C. The Chapel of St. Luke.
+D. The Jesus Chapel.
+E. Bishop Nykke's Chapel.
+F. The Ante-Reliquary Chapel.
+G. The High Altar.
+H. Site of destroyed Chapter-House.
+J. The Locutory, now used as the Choir School.
+Y. A Main Pier in Nave.
+Z. A Subsidiary Pier in Nave.
+
+       *       *       *       *       *
+
+1. Altar Tomb of Sir Thomas Wyndham.
+2.   "   "       Sir John Hobart.
+3. Tomb of Chancellor Spencer.
+4. Altar Tomb of Bishop Parkhurst (1560-74).
+5. Door in the East Walk of Cloisters.
+6. Door once leading to Refectory.
+7. The Monks' Lavatories.
+8. Door once leading to the Guest Hall.
+9. The Easter Sepulchre and Burial-place of Sir Thomas Erpingham.
+10. Bishop Goldwell's Chantry.
+11. The Altar Tomb of Sir William Boleyn of Blickling (_d._ 1505).
+
+       *       *       *       *       *
+
+
+Transcriber's Notes:
+
+1. Words and phrases which were italicized in the original have been
+   surrounded by underscores ('_') in this version. Words or phrases
+   which were bolded have been surrounded by pound signs ('#').
+
+2. Obvious printer's errors have been corrected without note.
+
+3. Inconsistencies in hyphenation and the spelling of proper names,
+   dialect, and obsolete word spelling have been maintained as in the
+   original.
+
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of Bell's Cathedrals: The Cathedral
+Church of Norwich, by C. H. B. Quennell
+
+*** END OF THIS PROJECT GUTENBERG EBOOK NORWICH CATHEDRAL ***
+
+***** This file should be named 19715-8.txt or 19715-8.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/1/9/7/1/19715/
+
+Produced by Jonathan Ingram, David Cortesi and the Online
+Distributed Proofreading Team at http://www.pgdp.net
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+http://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit: http://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
diff --git a/19715-8.zip b/19715-8.zip
new file mode 100644
index 0000000..744e29f
--- /dev/null
+++ b/19715-8.zip
diff --git a/19715-h.zip b/19715-h.zip
new file mode 100644
index 0000000..de87bd9
--- /dev/null
+++ b/19715-h.zip
diff --git a/19715-h/19715-h.htm b/19715-h/19715-h.htm
new file mode 100644
index 0000000..345ad39
--- /dev/null
+++ b/19715-h/19715-h.htm
@@ -0,0 +1,3619 @@
+<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
+    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
+
+<html xmlns="http://www.w3.org/1999/xhtml">
+  <head>
+    <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" />
+    <title>
+      The Project Gutenberg eBook of The Cathedral Church of NORWICH by C.H.B. Quennell
+    </title>
+    <style type="text/css">
+/*<![CDATA[  XML blockout */
+<!--
+    p {  margin-top: .5em;
+         text-align: justify;
+         margin-bottom: .75em;
+         color: black;
+         text-indent: 1em;
+         }
+    h1, h2, h3, h4, h5, h6 {
+         text-align: center;
+         margin-left: auto;
+         margin-right: auto;
+         clear: both;
+         margin-bottom: 2em;
+         }
+    h1, h2 {
+         margin-top: 2em;}
+
+    hr { width: 67%;
+	 margin-top: 1em;
+	 margin-bottom: 1em;
+         margin-left: auto;
+         margin-right: auto;
+         clear: both;
+       }
+
+    table {margin-left: auto; margin-right: auto;}
+
+    body{margin-left: 10%;
+         margin-right: 10%;
+         background-color: white;
+        }
+
+    a   {text-decoration: none;}
+
+    .pagenum  { position: absolute;
+                left: 92%;
+                font-size: smaller;
+                text-align: right;
+                color: gray; background-color: white;
+              } /* page numbers */
+
+    ul        {list-style: none;}
+
+    .blockquot{margin-left: 5%; margin-right: 10%;}
+
+    .center   {text-align: center;}
+    .smcap    {font-variant: small-caps;}
+    .right    {text-align: right;}
+    .subtitle {font-size: smaller;}
+
+    img     {border: none;}
+    .caption  {font-weight: bold;}
+
+    .figcenter   {margin: auto; text-align: center; vertical-align: middle; margin-top: 1.5em; margin-bottom: 1.5em;}
+
+    .figleft     {float: left; clear: left; margin-left: 0; margin-bottom: 1em; margin-top:
+                 1em; margin-right: 1em; padding: 0; text-align: center;}
+
+    .figright    {float: right; clear: right; margin-left: 1em; margin-bottom: 1em;
+                 margin-top: 1em; margin-right: 0; padding: 0; text-align: center;}
+
+    .footnote         {margin-left: 10%; margin-right: 10%; font-size: 0.9em;}
+    .footnote .label  {position: absolute; right: 84%; text-align: right;}
+    .fnanchor         {vertical-align: super; font-size: .8em; text-decoration: none;}
+
+    .poem             {margin-left:10%; margin-right:10%; text-align: left;}
+    .poem br          {display: none;}
+    .poem .stanza     {margin: 1em 0em 1em 0em;}
+    .poem span.i0     {display: block; margin-left: 0em; padding-left: 3em; text-indent: -3em;}
+    .poem span.i2     {display: block; margin-left: 2em; padding-left: 3em; text-indent: -3em;}
+    .poem span.i4     {display: block; margin-left: 4em; padding-left: 3em; text-indent: -3em;}
+    .poem span.i10     {display: block; margin-left: 10em; padding-left: 3em; text-indent: -3em;}
+
+    .tocch            {text-align: left; }                   /* cell defs for TOC, illustration lists */
+    .tocpn            {text-align: right; }
+    .tocsb            {text-align: left; text-indent: 2em;}
+
+    .tnote            {text-decoration: none; color: blue; background-color: inherit; }  /* transcriber's notes: used with "ins" */
+    // -->
+    /* XML end  ]]>*/
+    </style>
+  </head>
+<body>
+
+
+<pre>
+
+The Project Gutenberg EBook of Bell's Cathedrals: The Cathedral Church of
+Norwich, by C. H. B. Quennell
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Bell's Cathedrals: The Cathedral Church of Norwich
+       A Description of Its Fabric and A Brief History of the Episcopal See
+
+Author: C. H. B. Quennell
+
+Release Date: November 5, 2006 [EBook #19715]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK NORWICH CATHEDRAL ***
+
+
+
+
+Produced by Jonathan Ingram, David Cortesi and the Online
+Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+</pre>
+
+
+<div class="figcenter">
+<a id="image01" name="image01"></a>
+<a href="images/image01h.jpg" >
+<img src="images/image01.jpg" alt="Norwich Cathedral from the South-East." title="Norwich Cathedral from the South-East." /></a><br />
+<span class="caption">Norwich Cathedral from the South-East.</span>
+</div>
+
+<hr />
+
+<h1>THE CATHEDRAL CHURCH OF<br />
+<big>NORWICH</big></h1>
+
+<h2>A DESCRIPTION OF ITS FABRIC<br />
+AND A BRIEF HISTORY OF THE<br />
+EPISCOPAL SEE</h2>
+
+<h4>BY</h4>
+
+<h3>C.H.B. QUENNELL</h3>
+
+<div class="figcenter">
+<h4>WITH FORTY
+<a id="image02" name="image02"></a>
+<img src="images/image02.jpg" alt="Arms of Norwich" title="Arms of Norwich" />
+ILLUSTRATIONS
+</h4></div>
+
+<h3>LONDON GEORGE BELL &amp; SONS 1898</h3>
+<h5>W.H. WHITE AND CO. LIMITED<br />
+RIVERSIDE PRESS, EDINBURGH</h5>
+
+<hr />
+
+<h2><a name="GENERAL_PREFACE" id="GENERAL_PREFACE"></a>
+GENERAL PREFACE</h2>
+
+<p><span class="pagenum"><a href="#CONTENTS">Table of Contents</a></span>
+This series of monographs has been planned to supply visitors to the
+great English Cathedrals with accurate and well illustrated guide-books
+at a popular price. The aim of each writer has been to produce a work
+compiled with sufficient knowledge and scholarship to be of value to the
+student of Archaeology and History, and yet not too technical in
+language for the use of an ordinary visitor or tourist.</p>
+
+<p>
+To specify all the authorities which have been made use of in each case
+would be difficult and tedious in this place. But amongst the general
+sources of information which have been almost invariably found useful
+are:&mdash;(1) the great county histories, the value of which, especially in
+questions of genealogy and local records, is generally recognised; (2)
+the numerous papers by experts which appear from time to time in the
+Transactions of the Antiquarian and Archaeological Societies; (3) the
+important documents made accessible in the series issued by the Master
+of the Rolls; (4) the well-known works of Britton and Willis on the
+English Cathedrals; and (5) the very excellent series of Handbooks to
+the Cathedrals originated by the late Mr John Murray; to which the
+reader may in most cases be referred for fuller detail, especially in
+reference to the histories of the respective sees.</p>
+
+<p class="right">
+GLEESON WHITE,<br />
+EDWARD F. STRANGE,<br />
+<i>Editors of the Series</i>.
+</p>
+
+<hr />
+
+<h2><a name="AUTHORS_PREFACE" id="AUTHORS_PREFACE"></a>
+AUTHOR'S PREFACE</h2>
+
+<p>The task of writing a monograph, on such an essentially Norman Cathedral
+as Norwich, has been most pleasing to one who owns to an especial
+fondness for that sturdy architecture which was evolved in England
+during one of her stormiest epochs&mdash;from the end of the eleventh till
+the end of the twelfth century.</p>
+
+<p>I would here acknowledge indebtedness and thanks due to the Very Rev.
+the Dean and Mrs Sheepshanks for the personal interest they evinced, and
+for his material help; to Mr J.B. Spencer, the sub-sacrist, for that
+help which his intimate association with the cathedral enabled him to
+offer; and to Mr S.K. Greenslade for the loan of the drawings reproduced
+under his name; as well as to the Photochrom Co. Ltd., Messrs S.B. Bolas
+&amp; Co., and Mr F.G.M. Beaumont for the use of their photographs. The
+views of the cathedral as it appeared in the early part of the
+nineteenth century are reproduced from Britton's &quot;Norwich,&quot; and from a
+volume by Charles Wild.</p>
+
+<p class="right">
+C.H.B.Q.
+</p>
+
+<hr />
+
+<h2><a name="CONTENTS" id="CONTENTS"></a>CONTENTS</h2>
+
+<table summary="TOC">
+<tr><td class="tocch"><a href="#CHAPTER_I">CHAPTER I.&mdash;History of the Fabric</a></td><td class="tocpn">3</td></tr>
+<tr><td class="tocch"><a href="#CHAPTER_II">CHAPTER II.&mdash;The Cathedral&mdash;Exterior</a></td><td class="tocpn">23</td></tr>
+<tr><td class="tocsb"><a href="#II_1">The Cathedral Precincts</a></td><td class="tocpn">23</td></tr>
+<tr><td class="tocsb"><a href="#II_2">The Erpingham Gate</a></td><td class="tocpn">23</td></tr>
+<tr><td class="tocsb"><a href="#II_3">St. Ethelbert's Gate and the Gate-House</a></td><td class="tocpn">25</td></tr>
+<tr><td class="tocsb"><a href="#II_4">Chapel of St. John the Evangelist</a></td><td class="tocpn">27</td></tr>
+<tr><td class="tocsb"><a href="#II_5">The West Front of the Cathedral</a></td><td class="tocpn">28</td></tr>
+<tr><td class="tocsb"><a href="#II_6">Exterior of Nave</a></td><td class="tocpn">31</td></tr>
+<tr><td class="tocsb"><a href="#II_7">The South Transept</a></td><td class="tocpn">32</td></tr>
+<tr><td class="tocsb"><a href="#II_8">The Diocesan Registry Offices and Slype</a></td><td class="tocpn">35</td></tr>
+<tr><td class="tocsb"><a href="#II_9">The Chapter-House</a></td><td class="tocpn">36</td></tr>
+<tr><td class="tocsb"><a href="#II_10">The Tower and Spire</a></td><td class="tocpn">36</td></tr>
+<tr><td class="tocsb"><a href="#II_11">The Eastern Arm of Cathedral or Presbytery</a></td><td class="tocpn">39</td></tr>
+<tr><td class="tocsb"><a href="#II_12">The Chapels of St. Mary-the-Less and Saint Luke</a></td><td class="tocpn">39, 40</td></tr>
+<tr><td class="tocsb"><a href="#II_13">The Jesus Chapel and Reliquary Chapel</a></td><td class="tocpn">40</td></tr>
+<tr><td class="tocsb"><a href="#II_14">The North Transept</a></td><td class="tocpn">40</td></tr>
+<tr><td class="tocsb"><a href="#II_15">The Bishop's Palace</a></td><td class="tocpn">43</td></tr>
+<tr><td class="tocch"><a href="#CHAPTER_III">CHAPTER III.&mdash;The Interior</a></td><td class="tocpn">45</td></tr>
+<tr><td class="tocsb"><a href="#III_1">The Nave</a></td><td class="tocpn">45</td></tr>
+<tr><td class="tocsb"><a href="#III_2">The Choir Screen</a></td><td class="tocpn">49</td></tr>
+<tr><td class="tocsb"><a href="#III_3">The Nave Vault</a></td><td class="tocpn">50</td></tr>
+<tr><td class="tocsb"><a href="#III_4">The West Window and West Door</a></td><td class="tocpn">55</td></tr>
+<tr><td class="tocsb"><a href="#III_5">The North and South Aisles of Nave</a></td><td class="tocpn">55, 56</td></tr>
+<tr><td class="tocsb"><a href="#III_6">Monuments in Nave and Aisles of Nave</a></td><td class="tocpn">57, 58</td></tr>
+<tr><td class="tocsb"><a href="#III_7">The Cloisters</a></td><td class="tocpn">58</td></tr>
+<tr><td class="tocsb"><a href="#III_8">The Walks&mdash;East, South, and West</a></td><td class="tocpn">62, 63</td></tr>
+<tr><td class="tocsb"><a href="#III_9">The Ante-choir and Choir</a></td><td class="tocpn">64</td></tr>
+<tr><td class="tocsb"><a href="#III_10">The Pelican Lectern</a></td><td class="tocpn">68</td></tr>
+<tr><td class="tocsb"><a href="#III_11">The Presbytery</a></td><td class="tocpn">68</td></tr>
+<tr><td class="tocsb"><a href="#III_12">Reliquary Chapel</a></td><td class="tocpn">72</td></tr>
+<tr><td class="tocsb"><a href="#III_13">Monuments in the Presbytery</a></td><td class="tocpn">74</td></tr>
+<tr><td class="tocsb"><a href="#III_14">The North Transept</a></td><td class="tocpn">76</td></tr>
+<tr><td class="tocsb"><a href="#III_15">The Tower and Triforium Walks</a></td><td class="tocpn">79</td></tr>
+<tr><td class="tocsb"><a href="#III_16">The Processional Path</a></td><td class="tocpn">79</td></tr>
+<tr><td class="tocsb"><a href="#III_17">The Jesus Chapel</a></td><td class="tocpn">83</td></tr>
+<tr><td class="tocsb"><a href="#III_18">St. Luke's Chapel</a></td><td class="tocpn">88</td></tr>
+<tr><td class="tocsb"><a href="#III_19">Treasury and Muniment Room</a></td><td class="tocpn">88</td></tr>
+<tr><td class="tocsb"><a href="#III_20">The Bauchon Chapel</a></td><td class="tocpn">88</td></tr>
+<tr><td class="tocsb"><a href="#III_21">The South Transept</a></td><td class="tocpn">88</td></tr>
+<tr><td class="tocsb"><a href="#III_22">Monuments</a></td><td class="tocpn">91</td></tr>
+<tr><td class="tocch"><a href="#CHAPTER_IV">CHAPTER IV.&mdash;The Sees of the East Anglian Bishops</a></td><td class="tocpn">95</td></tr>
+<tr><td class="tocch"><a href="#CHAPTER_V">CHAPTER V.&mdash;The City</a></td><td class="tocpn">111</td></tr>
+</table>
+
+<hr />
+
+<h2><a name="LIST_OF_ILLUSTRATIONS" id="LIST_OF_ILLUSTRATIONS"></a>
+LIST OF ILLUSTRATIONS</h2>
+
+<table summary="List of Illustrations">
+<tr><td class="tocch"><a href="#image01">Norwich Cathedral from the South-East</a></td><td class="tocpn"><i>Frontispiece</i></td></tr>
+<tr><td class="tocch"><a href="#image02">Arms of Norwich</a></td><td class="tocpn"><i>Title</i></td></tr>
+<tr><td class="tocch"><a href="#image03">The Cathedral from the South-West</a></td><td class="tocpn">2</td></tr>
+<tr><td class="tocch"><a href="#image04">The Cathedral in the Seventeenth Century</a></td><td class="tocpn">9</td></tr>
+<tr><td class="tocch"><a href="#image05">West Front of the Cathedral in 1816</a></td><td class="tocpn">15</td></tr>
+<tr><td class="tocch"><a href="#image06">The Cathedral from the South-West Angle of Cloisters</a></td><td class="tocpn">22</td></tr>
+<tr><td class="tocch"><a href="#image07">The Erpingham Gate</a></td><td class="tocpn">24</td></tr>
+<tr><td class="tocch"><a href="#image08">St. Ethelbert's Gate</a></td><td class="tocpn">25</td></tr>
+<tr><td class="tocch"><a href="#image09">The Gate-House of the Bishop's Palace</a></td><td class="tocpn">25</td></tr>
+<tr><td class="tocch"><a href="#image10">West Front of the Cathedral</a></td><td class="tocpn">28</td></tr>
+<tr><td class="tocch"><a href="#image11">The Clerestory and Triforium of Choir (South Side)</a></td><td class="tocpn">32</td></tr>
+<tr><td class="tocch"><a href="#image12">The Tower in 1816</a></td><td class="tocpn">37</td></tr>
+<tr><td class="tocch"><a href="#image13">Exterior of the Chapel of St. Luke from the East</a></td><td class="tocpn">40</td></tr>
+<tr><td class="tocch"><a href="#image14">A Norman Capital</a></td><td class="tocpn">46</td></tr>
+<tr><td class="tocch"><a href="#image15">The Nave, looking East</a></td><td class="tocpn">47</td></tr>
+<tr><td class="tocch"><a href="#image16">The Choir Screen and Organ from the Nave</a></td><td class="tocpn">50</td></tr>
+<tr><td class="tocch"><a href="#image17">The North Aisle of Nave, looking West</a></td><td class="tocpn">56</td></tr>
+<tr><td class="tocch"><a href="#image18">The East Walk of the Cloisters</a></td><td class="tocpn">58</td></tr>
+<tr><td class="tocch"><a href="#image19">The Cloisters from the Garth</a></td><td class="tocpn">59</td></tr>
+<tr><td class="tocch"><a href="#image20">The Prior's Door</a></td><td class="tocpn">63</td></tr>
+<tr><td class="tocch"><a href="#image21">The Choir and Presbytery</a></td><td class="tocpn">65</td></tr>
+<tr><td class="tocch"><a href="#image22">A Stall in the Choir</a></td><td class="tocpn">67</td></tr>
+<tr><td class="tocch"><a href="#image23">The Choir and Presbytery in 1816</a></td><td class="tocpn">69</td></tr>
+<tr><td class="tocch"><a href="#image24">The Choir Stalls at the beginning of the Nineteenth Century</a></td><td class="tocpn">70</td></tr>
+<tr><td class="tocch"><a href="#image25">The Choir, looking West</a></td><td class="tocpn">72</td></tr>
+<tr><td class="tocch"><a href="#image26">Detail of the Presbytery Clerestory and Vaulting</a></td><td class="tocpn">74</td></tr>
+<tr><td class="tocch"><a href="#image27">The Choir Apse</a></td><td class="tocpn">77</td></tr>
+<tr><td class="tocch"><a href="#image28">Detail of the Clerestory, North Transept</a></td><td class="tocpn">80</td></tr>
+<tr><td class="tocch"><a href="#image29">The South Aisle of Presbytery, looking East</a></td><td class="tocpn">81</td></tr>
+<tr><td class="tocch"><a href="#image30">Norman Work in the Lantern of Tower</a></td><td class="tocpn">83</td></tr>
+<tr><td class="tocch"><a href="#image31">The Ante-Reliquary Bridge Chapel</a></td><td class="tocpn">84</td></tr>
+<tr><td class="tocch"><a href="#image32">Doorway and Screen between South Transept and Aisle of Presbytery</a></td><td class="tocpn">88</td></tr>
+<tr><td class="tocch"><a href="#image33">View across the Apse from the Chapel of St. Luke</a></td><td class="tocpn">89</td></tr>
+<tr><td class="tocch"><a href="#image34">The Resurrection: from the Painted Retable formerly in the Jesus Chapel</a></td><td class="tocpn">93</td></tr>
+<tr><td class="tocch"><a href="#image35">Norwich Castle</a></td><td class="tocpn">99</td></tr>
+<tr><td class="tocch"><a href="#image36">The Guildhall</a></td><td class="tocpn">103</td></tr>
+<tr><td class="tocch"><a href="#image37">Monument of Bishop Goldwell</a></td><td class="tocpn">107</td></tr>
+<tr><td class="tocch"><a href="#image38">The Pelican Lectern in the Choir</a></td><td class="tocpn">110</td></tr>
+<tr><td class="tocch"><a href="#image39">Pull's Ferry</a></td><td class="tocpn">112</td></tr>
+<tr><td class="tocch"><a href="#image40">PLAN OF THE CATHEDRAL</a></td><td class="tocpn">113</td></tr>
+</table>
+
+<hr />
+<div class="figcenter">
+<a id="image03" name="image03"></a>
+<a href="images/image03h.jpg" ><img src="images/image03.jpg" alt="The Cathedral from the South-West." title="The Cathedral from the South-West." /></a><br />
+<span class="caption">The Cathedral from the South-West.</span>
+</div>
+<hr />
+
+<p class="center"><span class="pagenum"><a href="#CONTENTS">Table of Contents</a><br /><a id="Page_3" name="Page_3">[3]</a></span></p>
+<h1>NORWICH CATHEDRAL</h1>
+
+<h2><a name="CHAPTER_I" id="CHAPTER_I"></a>
+CHAPTER I<br />
+<span class="subtitle">HISTORY OF THE FABRIC OF THE CATHEDRAL CHURCH OF THE HOLY TRINITY OF NORWICH</span></h2>
+
+
+<p>Norwich Cathedral stands on the site of no earlier church: it is to-day,
+in its plan and the general bulk of its detail, as characteristically
+Norman as when left finished by the hand of Eborard, the second bishop
+of Norwich.</p>
+
+<p>The church was founded by Herbert de Losinga, the first bishop, as the
+cathedral priory of the Benedictine monastery in Norwich (a sketch of
+its constitution at this period will be found in the Notes on the
+Diocese); the foundation-stone was laid in 1096 on a piece of land
+called Cowholme,&mdash;meaning a pasture surrounded by water,&mdash;and the church
+was dedicated to the Holy Trinity.</p>
+
+<p>It may be of interest to the tourist and student to review briefly what
+sort and manner of man Herbert the founder was; what had been his
+environment prior to his appointment as the first bishop of Norwich; and
+what the causes were which had as their effect the building of the
+cathedral.</p>
+
+<p>The characteristics of the cathedral are&mdash;its long nave, which is
+typical of the Norman church; its glorious apsidal termination,
+encircled by a procession path, which recalls the plan of a French
+cathedral; and the form of this, with the remains of its old bishops'
+chair centrally placed, and with the westward position, of the throne at
+Torcello and other Italian churches, of the basilican type of plan.</p>
+
+<p>Herbert, surnamed de Losinga, transferred the see from Thetford to
+Norwich in 1094, and it is from this period that the history of the
+cathedral may be said to commence.</p>
+
+<p>Herbert was a prelate of a type that in the early days helped
+<a id="Page_4" name="Page_4"><span class="pagenum">[4]</span></a>to build
+up the Church and give her stability. His nature must have been
+curiously complex; on the one hand, a man of action and with great
+capability of administration, often justifying his means by the end he
+had in view, and not being debarred from realising his schemes by any
+delicate scruples, he yet, on the other hand, presents in his letters a
+chastened spirituality that is not compatible with the methods he
+pursued when thinking only of the temporal advantages which might accrue
+on any certain line of action. But it may be said that his letters
+appear to date from the later period of his life, and after he had
+founded the cathedral as an expiation of that sin of simony he appears
+to have so deeply repented.</p>
+
+<p>Yet in the earlier period, which we shall note, he was emphatically the
+man of action, the typical administrator, who, mixing freely in the
+political life of the times, was strengthening the position of the
+Church, and gradually leading her up to that position, which she
+ultimately gained, of Arbitress of Kings and Empires.</p>
+
+<p>He had also a morbid belief in the power of money&mdash;he probably would
+have agreed that &quot;every man has his price,&quot; and his simoniacal dealings
+with William Rufus, which procured his preferment to Norwich, afford
+evidence of this weak trait in his character.</p>
+
+<p>Herbert's birthplace is disputed, and, as Dean Goulburn remarked, this
+is but natural: a man so justly celebrated would not, or, rather,
+historians will not be content with one; so that though he cannot rival
+Homer in that seven cities desired to be accredited each as his
+birthplace, yet Herbert falls not far short, and this fact alone will
+perhaps give some idea of his popularity during his life, and the
+interest then aroused which has lasted down to our own times. From a
+small pamphlet issued by the dean and chapter in 1896, and containing
+extracts from the <i>Registrum Primum</i>, we learn that &quot;In primis Ecclesiam
+prefatam fundavit piae memoriae Herbertus Episcopus, qui Normanniae in
+pago Oximensi natus.&quot; First Herbert, the bishop, of pious memory, who
+was born in Normandy, in the district of Oximin (or Exmes).</p>
+
+<p>This seems very credible, and the old monkish chronicler who was
+responsible for the <i>Registrum Primum</i> and its rugged Latin, may have
+had authentic proof of the truth of his assertion. The manuscript dates
+from the thirteenth century, and
+<a id="Page_5" name="Page_5"><span class="pagenum">[5]</span></a>no considerable period, historically
+considered, had then passed since Herbert had been one of the prime
+movers of the religious and political life of the day.</p>
+
+<p>Blomefield, the antiquary, attributed to him a Suffolk extraction, and
+then again spoke of his Norman descent: thus agreeing in some measure
+with the <i>Registrum Primum</i>. And again, another idea is that he was born
+in the hundred of Hoxne, where he possessed property, and his father
+before him.</p>
+
+<p>Herbert had, we know, received his education in Normandy, and had taken
+his vows at, and ultimately had risen to be prior of, the Abbey of
+F&eacute;camp in Normandy; and it was while vigorously administering this
+office that he received an invitation from William Rufus to come to
+England, being offered as an inducement the appointment of Abbot of
+Ramsey.</p>
+
+<p>And no doubt from this period the spiritual side of his duties must of
+necessity have been somewhat neglected. From the position of prior of
+F&eacute;camp, his circle of power limited to the neighbourhood of his priory,
+and his duties rounded by the due observance of the rules of his order,
+he was given at once the administration of what was one of the richest
+abbeys in England, and attained at once the power of a great feudal
+lord. He was Sewer to William Rufus as well, an office endowed with fees
+and perquisites, and so to Herbert came the temptation of accumulating
+wealth for his own ambitious ends. It was not, however, the sin of a
+small man: he introduced no personal element into his greed, but rather
+thought of his party and his Church, although, of necessity, an
+environment so purely temporal told on the spiritual side of his
+character. It might be best to connect the links of the East Anglian
+bishoprics here, although in the notes on the diocese the matter is gone
+into at more length.</p>
+
+<p>Herbert de Losinga was the first bishop of Norwich, to which town the
+see was transferred in compliance with a decree of Lanfranc's Synod,
+held in 1075, that all sees should be fixed at the principal towns in
+their dioceses.</p>
+
+<p>Felix was the first bishop of East Anglia, and fixed his see at Dunwich
+in 630.</p>
+
+<p>The see was divided by Theodore, Archbishop of Canterbury, in 669 into
+those of Elmham and Dunwich; and these again were united under Wildred
+in 870, and the see fixed at
+<a id="Page_6" name="Page_6"><span class="pagenum">[6]</span></a>Elmham, and where it remained till 1070,
+when Herfast, a chaplain of William the Conqueror's, moved his see to
+Thetford.</p>
+
+<p>Now, about this time, when Herbert was abbot of Ramsey and Sewer to
+William Rufus, the see of Thetford was vacant, and Herbert gave the king
+to understand that if he was appointed to the vacant bishopric, and his
+father made Abbot of Winchester, he was willing and able to pay for such
+preferment a sum of &pound;1900: a part of his accumulated savings, no doubt,
+and a very large amount for that time.</p>
+
+<p>William II. made these appointments, and the sum mentioned was paid into
+the royal treasury; but the bishop found that he had attained his end at
+a cost other than he had reckoned on; public opinion in those days was
+quite as powerful a force as it is now, though the channels along which
+its force could be felt and its strength find expression were limited.
+Indignation was rife, and monkish versifiers and chroniclers protested
+in lines more or less uncomplimentary, and more or less forcible, their
+loathing of such sin of simony.</p>
+
+<p>Now it is probable that, in expiation of this transgression, Herbert
+came to build Norwich Cathedral. It is certain that he almost at once
+repented. In after years, in his letters, he says, &quot;I entered on mine
+office disgracefully, but by the help of God's grace I shall pass out of
+it with credit.&quot;</p>
+
+<p>In Dean Goulburn's admirable monograph on the cathedral many of
+Herbert's letters are given, and these alone would go to stamp him as a
+wonderful man. His conscience was awakened by the popular outcry against
+his sin of simony, he plunged into his new duties at Thetford with
+ardour in the vain hope of distraction, but failed to find that
+consolation he had hoped to; and so about 1093 he determined on a visit
+to Rome to tender his resignation and confess his sin to Pope Urban. He
+journeyed to Rome and was kindly received, and the absolution he desired
+readily granted. The Pope was glad to see an English bishop come to him
+for advice, and in granting him absolution he strengthened considerably
+his claim to be regarded as head of the English Church.</p>
+
+<p>This lengthy preamble may seem somewhat unjustifiable, but if we are to
+study any building aright, and if we are to interpret in any measure its
+meaning and symbolism, it cannot wholly be done on any line of abstract
+aestheticism or
+<a id="Page_7" name="Page_7"><span class="pagenum">[7]</span></a>archaeological instinct, however intuitive it may be:
+we must in some measure think of the builders of old times and of the
+influences which with them produced its inception and have left it to
+come down the ages to us.</p>
+
+<p>It is interesting to note that Herbert's early French training
+influenced him in the planning of the beautiful eastern termination to
+his cathedral, and the grand sweep of the procession path. Similar
+apsidal terminations, of slightly later date, once existed at Ely, and
+still remain in a modified form at Peterborough.</p>
+
+<p>The old tribunal arrangement of presbyters' seats with the central
+bishop's throne facing west, which was part of Herbert's first plan, no
+doubt may safely be accredited to the influence of his journey to Rome,
+and where he may have become familiar with what was the usual basilican
+arrangement.</p>
+
+<p>Herbert returned to England, penitent and forgiven for his sin, and it
+is probable that the Pope had laid on him, as a penance, an injunction
+to build churches and found religious houses, and that with the
+remainder of his wealth he determined to transfer the see from Thetford
+to Norwich and to build in the latter place his cathedral church. It
+would also have been in compliance with the decree of Lanfranc's Synod.
+The see was transferred on the 9th of April 1094, and Herbert was
+consecrated on the same day by Thomas, Archbishop of York.</p>
+
+<p>Norwich was then an important town; in the Middle Ages it ranked as the
+second city in the kingdom. Its prosperity was chiefly due to its large
+trade in wool. It is a moot point whether the town was ever a settlement
+of the Romans, no traces of such occupation having ever been discovered.
+The castle mound, no doubt, formed some part of the earthworks of an
+earlier stronghold. The word Norwich is probably of Norse origin,
+meaning the north village or the village on the North Creek
+(&quot;<i>wic</i>&quot;&mdash;<i>i.e.</i> a creek). The city stood on a tidal bay in 1004, in
+which year the Danes under Sweyn completely devastated and ruined the
+town in revenge for the massacre of their countrymen by Aethelred the
+Unready two years before. So that the history of the town of Norwich, as
+we now know it, may be said to have started directly after this.</p>
+
+<p>The foundation-stone of the cathedral was laid in 1096;
+<a id="Page_8" name="Page_8"><span class="pagenum">[8]</span></a>and upon it,
+according to the <i>Registrum Primum</i>, the following inscription is said
+to have been placed:&mdash;&quot;In nomine patris et filii et spiritus Sancti Amen
+Ego Herbertus Episcopus apposui istum lapidem.&quot; (In the Name of the
+Father and of the Son and of the Holy Ghost, Amen, I, Herbert the
+Bishop, have placed this stone.)</p>
+
+<p>It was the custom of the Norman builders to start building from the
+easternmost part of the church, as the more sacred part of the
+structure, and then build westwards; so that probably this
+foundation-stone, for which diligent search has been made in vain, was
+in the eastmost wall of the original Norman Lady Chapel&mdash;in fact, the
+<i>Registrum Primum</i> describes how Herbert began the work &quot;where is now
+the chapel of the Blessed Mary.&quot; This chapel was demolished to make way
+for the beautiful thirteenth-century Lady Chapel which Dean Gardiner
+destroyed.</p>
+
+<p>The thirteenth-century builders of the Lady Chapel may have used
+Herbert's foundation-stone in their walling; Dean Lefroy quite lately,
+while repairing parts of the tower and east end, came across pieces of
+stone with beautiful &quot;dog-tooth&quot; ornament upon them, which had been used
+to repair the masonry that, it was evident, at one time had formed part
+of the thirteenth-century Lady Chapel. This must be so, since in no
+other part of the building save the arches now remaining in the extreme
+eastern wall of the procession path, which at one time gave access to
+the Lady Chapel, does such ornament occur.</p>
+
+<p>It is probable, and the more generally accredited supposition, that
+Herbert built the presbytery with its encircling procession path and the
+original trefoil of Norman chapel radiating therefrom;&mdash;the choir and
+transepts with the two chapels projecting eastwards and the first two
+bays of the nave. Harrod advances a theory that he completely finished
+the whole of the cathedral church, as well as the offices for the
+housing of the sixty monks who were placed therein, in 1101.</p>
+
+<p>He also built the episcopal palace on the north side of the cathedral,
+of which some parts remain to this day incorporated with work of a later
+period; he seems to have founded and built other churches in Norwich and
+Yarmouth. He died on the 22nd of July 1119, in the twenty-ninth year of
+his episcopate, and was buried before the high altar in his own
+cathedral church.
+<a id="Page_9" name="Page_9"><span class="pagenum">[9]</span></a>
+</p>
+
+<div class="figcenter">
+<a id="image04" name="image04"></a>
+<a href="images/image04h.jpg" >
+	<img src="images/image04.jpg" alt="The Cathedral in the Seventeenth Century." title="The Cathedral in the Seventeenth Century." />
+</a>
+<br /><span class="caption">The Cathedral in the Seventeenth Century.</span>
+</div>
+
+<p><a id="Page_11" name="Page_11"><span class="pagenum">[11]</span></a>Bishop Eborard, who succeeded in 1121, is credited with having finished
+the nave from the point where Herbert had left it. The evidence which
+goes to support this theory is taken from the <i>Registrum Primum</i>.
+&quot;Moreover, the same Herbert completed the church of Norwich in his own
+time, as I have learned from the account of old people, but have not
+found in writing, as far as the altar of the Holy Cross, which is now
+called the altar of St. William. He also built all the episcopal
+dwelling-house, except the great hall.&quot; The altar referred to was on the
+north side of choir screen.</p>
+
+<p>Herbert also provided the base for the tower only, probably up to the
+roof level; the remainder, up to the parapet, was finished about the
+time of Henry I., but at that earlier period it was without the stone
+spire which now adds dignity to the cathedral from any point of view.</p>
+
+<p>The roofs at this time were generally of a flat wooden construction
+throughout (similar to that of Peterborough Cathedral), and probably
+decorated with lozenges, flowers, and symbolical devices. When recently,
+under Dean Lefroy, the whitewash and paint were cleaned off from the
+stonework, many indications have been found of a most beautiful scheme
+of colour decoration.</p>
+
+<p>Though we, in this part, are following up the history of the cathedral
+structure, yet it may be interesting to note that it was during the
+episcopate of Bishop Eborard that the boy saint, St. William of Norwich,
+was said to have been martyred. He was the son of country folk who
+gained a living by agriculture. During his life he worked many miracles,
+and by his death gave Norwich a share of his glory. It is related that
+he was tortured by the Jews, and on the spot where they were discovered
+secretly burying him, in Thorpe Wood, a chapel was erected called the
+Chapel of St. William in the Wood. Very little now remains of this
+structure, but the site can still be traced. The altar before referred
+to was set up to his memory in Norwich Cathedral, on the north side of
+the screen leading into the ante-choir.</p>
+
+<p>Bishop Eborard resigned the see, or was deposed in 1145, and retired to
+the abbey of Fontenay, Mont-Bard, C&ocirc;te d'Or, in the South of France. He
+had re-enforced a mandate <a id="Page_12" name="Page_12"><span class="pagenum">[12]</span></a>of Herbert's that the clergy of the diocese
+should contribute to the fund in aid of the fabric.</p>
+
+<p>During the episcopate of Eborard's successor, Bishop William de Turbe,
+the cathedral appears neither to have gained or suffered until, about
+1169 or 1170, a fire broke out in the monastic buildings; the
+fire-extinguishing appliances in those days, if indeed there were any at
+all, could not prevent it spreading to the cathedral. It is generally
+believed that the original Norman Lady Chapel was also well destroyed.</p>
+
+<p>Bishop William de Turbe, although an old man at the time (he died in
+1174), is said to have taken a vow that he would not go from within
+twelve leucas of the cathedral, unless compelled by the direst
+necessity, until the ravages of the flames had been repaired. He is
+reported to have seated himself at the door of the cathedral, and to
+have begged alms for this purpose from the worshippers. The work of
+reparation was carried on by his successor, John of Oxford, who may also
+be said to have completely finished Herbert's cathedral. He provided the
+furniture of the church, the vestments, books and ornaments, and,
+probably, entirely re-modelled the monastic buildings. He is also said
+to have built the Infirmary, of which now only three piers remain, to
+the south of the cloisters.</p>
+
+<p>In the years following, various works were doubtless carried on, but it
+is not until the time of Walter de Suffield, about 1250, that anything
+important in the way of structural alteration was effected. The fire of
+1169 had in part or whole destroyed the original Norman Lady Chapel, and
+Bishop de Turbe had restored the same in some measure. But the <i>cultus</i>
+of the Blessed Virgin in the interval had gathered strength wonderfully;
+chapels dedicated to her naturally became important, and Bishop Suffield
+determined to pull down the old Norman work and rebuild a chapel in the
+Early English style then prevalent. Dean Goulburn, in his work on the
+cathedral, estimated the size of the later chapel at 90 feet long by 30
+feet wide, and these dimensions are shown plotted in dotted lines on the
+plan in this book. This is longer and narrower than the size given in
+previous conjectures, but Dean Goulburn had the opportunity of
+inspecting the foundations of the chapel, which, with those of the still
+earlier one, lie buried but a few feet below the surface in a garden to
+the east of the <a id="Page_13" name="Page_13"><span class="pagenum">[13]</span></a>cathedral. In the same place, and over the entrance
+arches remaining, the height and lines of the later roof can be seen
+still plainly marked on the stonework. These entrance arches are
+beautifully moulded and decorated on the inside with the &quot;dog-tooth&quot;
+ornament&mdash;a decoration peculiar to the Early English style.</p>
+
+<p>The theological reaction which followed close on this movement led to
+the neglect of the chapel, and obviated the necessity of maintaining it
+as a place of worship. It had probably greatly decayed; that Dean
+Gardiner (1573-89), no longer needing it for services, was tempted to
+pull it down, as a cheaper expedient than keeping it in repair.</p>
+
+<p>In 1271 Norwich was visited by a terrific thunderstorm, when the tower
+was struck by lightning. The damage, however, was not great, as,
+fortunately, the excessive rains which followed quenched the fire that
+had been kindled. This incident, however, was the precursor of one of
+the stormiest periods in the history of the city and its cathedral
+church. Roger de Skerning occupied the episcopal chair, and the prior
+was one William de Brunham, a man of fierce and truculent disposition.
+An outbreak of hostilities between the citizens on the one hand and the
+monks on the other, was brought about by his arbitrary assumption of
+power; the bishop throughout, ostensibly preferring the safer game of a
+somewhat anomalous position of neutrality, is nevertheless believed to
+have covertly sanctioned his proceedings.</p>
+
+<p>A fair was held in Tombland&mdash;to the west of the precincts&mdash;annually on
+Trinity Sunday, and by right of ancient custom the priors reaped large
+revenues by the imposition of tolls on the sales. Tombland, derived from
+<i>Tomeland</i>, a vacant space, had originally formed part of the estate
+bequeathed by Herbert, the founder, to the monks; the boundaries in
+course of time had become matters of controversy, and it is probable
+that the citizens felt the imposition of these tolls and dues to be a
+real and serious grievance. A riot broke out and the monks were driven
+within their gates. Had the prior at this juncture chosen to act
+peacefully, it is probable that history would contain no record of the
+sacrilege that followed. He, however, decided to resist force by force,
+and carefully generaled his monks, disposing them at the various
+strategic points of his domain. At the same time he sent to Yarmouth for
+<a id="Page_14" name="Page_14"><span class="pagenum">[14]</span></a>mercenaries&mdash;these arrived and the tables were turned; the prior's
+forces sallied forth from the gates and robbed and pillaged the town.</p>
+
+<p>The citizens, roused to a pitch of madness, drove them and the soldiers
+back again within the walls of the monastery; the bishop, instead of
+acting as peacemaker, appears to have preserved his position of
+neutrality and quietly stopped in his palace. There was a short interval
+of truce, but it only served as a breath to fan the flames; the citizens
+besieged the cathedral precincts, and by the means probably of slings
+succeeded in hurling combustible materials into the buildings, with a
+result that the whole of the monastery and the cathedral itself was soon
+in flames. It seems to be an established fact that the prior had placed
+men in the tower to shoot at the citizens, and it is conjectured that
+they, and not the citizens, were the cause of the outbreak here.</p>
+
+<p>The only part of the cathedral that escaped was the Lady Chapel; the
+rest was gutted, vestments and ornaments were carried off, and the monks
+for the most part slain.</p>
+
+<p>So ended the first part of this lamentable chapter in the history of
+Norwich. A sentence of excommunication was passed on the city, and King
+Henry hastened to Norwich to preside at the trial of the prisoners.</p>
+
+<p>The accounts which have come down to us are as varied as might be
+expected, the chroniclers of the one party, of course, blaming the other
+side; it seems, however, to have been proved &quot;that, after all, the
+church was burnt by that accursed prior&quot;; but many of the citizens were
+hung, drawn and quartered, and the city had to pay in all 3000 marks
+towards repairing the church and monastical buildings, and to provide a
+gold pyx, weighing ten pounds, of gold; the monks in their turn had to
+make new gates and entrances into the precincts. The St. Ethelbert's
+Gate-house was part of the work imposed on the monks; it is of early
+Decorated character and was erected probably early in the fourteenth
+century.</p>
+
+<p>Bishop Roger de Skerning had died in retirement on the 22nd of January
+1277, and in the meantime the work of reparation had proceeded with such
+vigour that on Advent Sunday 1278 his successor, Bishop Middleton, was
+inaugurated with great state; Edward I. and his Queen with the Bishops
+<a id="Page_15" name="Page_15"><span class="pagenum">[15]</span></a><a id="Page_16" name="Page_16"><span class="pagenum">[16]</span></a><a id="Page_17" name="Page_17"><span class="pagenum">[17]</span></a>of London, Hereford, and Waterford being present. He does not seem to
+have done much in the way of building, though the work of reparation was
+carried on; he died in 1287, and it was left to his successor, Bishop
+Ralph de Walpole, to begin the work of rebuilding the cloisters. The
+original Norman cloisters, which had endured until the time of the great
+fire in 1272, were probably of wood. It was determined to rebuild them
+in stone in the prevailing style. The cloisters are described in more
+detail in the notes on the interior of the cathedral, so that it will be
+sufficient to state here that their building spread over a period of one
+hundred and thirty-three years, and that they were finished during the
+episcopate of Bishop Alnwick.</p>
+
+<div class="figcenter">
+<a id="image05" name="image05"></a>
+<a href="images/image05h.jpg" >
+	<img src="images/image05.jpg" alt="West Front of the Cathedral in 1816." title="West Front of the Cathedral in 1816." />
+</a>
+<br /><span class="caption">West Front of the Cathedral in 1816.</span>
+</div>
+
+<p>Bishop Walpole built the eastern walk of the cloisters, together with
+the chapter-house; he was translated to Ely about 1299, and the work
+carried on by his successor, Bishop Salmon, who built the south walk,
+also a chapel and hall attached to the bishop's palace. Of this nothing
+remains in the garden of the palace except a grand ruin, which is
+supposed to have formed the entrance or porch to the hall.</p>
+
+<p>He founded also the chapel dedicated to St. John the Evangelist,
+converted by Edward VI. into, and now used as, a grammar school; below
+it was a charnel-house.</p>
+
+<p>Continuing the history of the fabric, we can pass on to the episcopate
+of Bishop Percy, during which, about 1361, the wooden spire and parts of
+central tower of the cathedral were blown down by a violent gale of
+wind, and the presbytery was greatly damaged by the falling material.
+This bishop rebuilt the present clerestory, designed in the transitional
+style between Decorated and Perpendicular; the vault is later. It is
+also probable that he repaired the spire.</p>
+
+<p>During Bishop Wakering's time the Erpingham gate of the close was
+erected, and as well the cloister that formerly connected the palace on
+the north side with the cathedral. He also founded a chantry for one
+monk at his tomb.</p>
+
+<p>His successor, Alnwick, completed the cloisters. The gateway to the
+palace was built by him about 1430, and probably replaced an earlier
+structure. He also began the work of remodelling the central compartment
+of the west front. He left directions in his will to his executors to
+make a large west window, the cost to be charged to his estate. The
+doorway <a id="Page_18" name="Page_18"><span class="pagenum">[18]</span></a>under this window, built over the old Norman one, and
+encroaching on the side arcading, was executed during his episcopate,
+the window being eventually added during the time of Bishop Lyhart to
+throw additional light on to the vault he erected, and its wonderful
+sculptures.</p>
+
+<p>In 1446, on February 27th, Walter Lyhart, or le Hart, was consecrated,
+and it is to him that Norwich Cathedral owes the superb <i>lierne</i> vault
+that now spans the nave. Other important works were carried out by him;
+the spire which had been blown down in 1362 (and had probably been
+re-constructed by Bishop Percy&mdash;though there is no record of such work),
+was struck by lightning in 1463, and the burning mass fell through the
+presbytery roof, which up till this period was still in wood, completely
+destroying it, and making necessary the vault added by Lyhart's
+successor.</p>
+
+<p>During this episcopate the rood screen was erected, and a sumptuous
+monument placed over the grave of the founder.</p>
+
+<p>The stone spire must have been added about this time, replacing the
+former wooden construction.</p>
+
+<p>Bishop Lyhart left to his successor, Bishop Goldwell, in his will 2200
+marks for repairing the dilapidations caused by the fire of 1463. During
+this bishop's episcopate we find that the cathedral was brought nearly
+to that state in which we have it now,&mdash;the tower was still further
+adorned with Perpendicular battlements, the presbytery was vaulted in
+with stone, and the flying-buttresses added around the eastern apse to
+take the consequent thrust of the new vault.</p>
+
+<p>Internally, also, the lower stages of the presbytery were
+Perpendicularised by the addition of the four centred arches that still
+remain, and in the second bay of which, eastward from the tower, on the
+south side, was erected Bishop Goldwell's altar tomb.</p>
+
+<p>His successor, Lane, occupied the see but a short while, 1499-1500, and
+in turn was succeeded by Bishop Nykke&mdash;he is more generally called <i>Nix</i>
+(snow), sarcastically, as his character appears to have been of the
+blackest. During his episcopate, the cathedral was again visited by fire
+in 1509. The sacristy, with all the books and ornaments, was consumed,
+and the wooden roofs of both transepts totally destroyed.</p>
+
+<p>Bishop Nykke constructed the stone vaulting that, covering both arms of
+the church, completed the stone vaulting throughout <a id="Page_19" name="Page_19"><span class="pagenum">[19]</span></a>the cathedral. His
+chantry, which is on the south side of the nave, and occupies two bays
+of the aisle, was arranged by him before his death, and its richness is
+inversely proportionate to the degradation of his character.</p>
+
+<p>The tracery in the Norman arch leading from the south aisle of the
+presbytery into the transept, is of late Perpendicular style, and was
+added by Robert of Calton, who was destined to be the last prior but one
+of Norwich: William Castleton was the last prior and the first dean.
+Bishop Nykke died in 1535-6, and was succeeded by William Rupgg or
+Repes, who was the last bishop elected by the chapter of the monks of
+the Benedictine monastery of Norwich. Monasticism was doomed; Wolsey had
+fallen, and his property had been confiscated in 1529. The smaller
+monasteries were dissolved in 1536, and in 1538 the greater shared the
+same fate, among them Norwich.</p>
+
+<p>Most interesting is the parallel which can be drawn between the history
+of the Church and of that architecture which she especially fostered.
+Gothic or Christian art was developed from the remains of a Roman
+civilisation, and so long as it had the healthy organic growth which was
+consequent on the evolution of a series of constructive problems fairly
+faced and in turn conquered, and again, stimulated by the growth of the
+Church, to which it was handmaiden, developed style after style in
+regular sequence, until the builders, finding they had conquered
+construction, took to imposing ornament. From that time, instead of
+ornamenting construction, they constructed ornament; and as the
+Reformation came to the Church in the sixteenth century so to
+architecture came degradation. And then the Renaissance of pagan types,
+from which the Gothic had derived its being by a rational development,
+was by the revivalists of those days hotch-potched into a more or less
+homogeneous mass, which even the genius of Wren could leave but coldly
+pedantic.</p>
+
+<p>The history of the architecture of the cathedral might safely stop with
+the Dissolution of the Monasteries in 1538, since when it is a mere
+recapitulation of the doings and undoings of various sets of more or
+less deeply incriminated fanatics and restorers.</p>
+
+<p>So that we do not feel inclined to enter into more detail, in the few
+remaining notes on the history of the structure.</p>
+
+<p><a id="Page_20" name="Page_20"><span class="pagenum">[20]</span></a>Dean Gardiner, 1573-89, was a great reformer, and, as we have already
+noted, pulled down the thirteenth-century Lady Chapel, and as well the
+chapter-house.</p>
+
+<p>In 1643 the cathedral was taken possession of by Cromwell's soldiers,
+and the work of spoliation carried on. The organ was probably destroyed
+at this time, for Dean Crofts set up a new organ in 1660, the case of
+which was re-modelled in 1833, and still remains. It is also perhaps
+needless to state that the cathedral was repeatedly whitewashed during
+the eighteenth century.</p>
+
+<p>In June 1801 a fire broke out in the roof of the nave, but was
+extinguished before much damage had been done.</p>
+
+<p>The various works effected during this century are mentioned
+specifically elsewhere in these notes, under the headings of the parts
+of the building where they have occurred.
+</p>
+
+<hr />
+<div class="figcenter">
+<a id="Page_22" name="Page_22"><span class="pagenum">[22]</span></a>
+<a id="image06" name="image06"></a>
+<a href="images/image06h.jpg" >
+	<img src="images/image06.jpg" alt="The Cathedral from the South-West Angle of Cloisters." title="The Cathedral from the South-West Angle of Cloisters." />
+</a>
+<br /><span class="caption">The Cathedral from the South-West Angle of Cloisters.</span>
+</div>
+
+<p class="center"><span class="pagenum"><a href="#CONTENTS">Table of Contents</a><br /><a id="Page_23" name="Page_23">[23]</a></span></p>
+
+<h2>
+<a name="CHAPTER_II" id="CHAPTER_II"></a>
+CHAPTER II<br />
+<span class="subtitle">THE CATHEDRAL&mdash;EXTERIOR</span>
+</h2>
+
+<p>Norwich Cathedral does not tell to great advantage from the outside: its
+chief charm is undoubtedly the interior. It stands in a hollow, on what
+is probably the lowest ground in the city. The best view of the
+cathedral is obtained from the low ground to the eastward near the
+river, and close to Pull's Ferry; here the extreme length of the nave,
+which Fergusson remarked justified the addition of western towers, is
+lost partly by foreshortening, and by the projection forward of the
+south transept, over which the old Norman tower, with its later
+battlements and spire, rises grandly above the sweep of the apse, with
+the still remaining circular chapels below.</p>
+
+<p><a id="II_1" name="II_1"></a><b>The Cathedral Precincts,</b> or Close, running from Tombland eastward to
+the river, are entered by two gates to the precincts and one to the
+bishop's palace.</p>
+
+<p><a id="II_2" name="II_2"></a><b>The Erpingham Gate,</b> opposite the west front of the cathedral, was
+built by Sir Thomas Erpingham, and as an architectural compilation &quot;is
+original and unique.&quot; In elevation it consists of one lofty
+well-proportioned arch supported on either side by semi-hexagonal
+buttresses taken up as high as the apex of arch; above comes a plain
+gable, in which, centred over the arch below, is a canopied niche with
+the kneeling figure of Sir Thomas Erpingham.</p>
+
+<p>Built probably about 1420, and while yet some of the noble simplicity of
+the thirteenth had not passed into the over-wrought richness of the
+fifteenth and sixteenth centuries, it presents a type of the best
+Perpendicular work we have in England.</p>
+
+<p>The form of the arch is lofty, and may have been suggested by the wish
+to preserve a view through of the cathedral.</p>
+
+<p>The arch moulding is enriched on the outer part with figures of fourteen
+female saints, and on the inner with twelve male <a id="Page_24" name="Page_24"><span class="pagenum">[24]</span></a>saints; the
+semi-hexagonal panelled buttresses are covered with the shields of the
+families of Erpingham, Clopton, and Walton, and each has a seated figure
+of an ecclesiastic on the top.</p>
+
+<div class="figcenter">
+<a id="image07" name="image07"></a>
+<a href="images/image07h.jpg" >
+	<img src="images/image07.jpg" alt="The Erpingham Gate." title="The Erpingham Gate." />
+</a>
+<br /><span class="caption">The Erpingham Gate.</span>
+</div>
+
+<p>The richness of this lower arch stage tells against the plain <a id="Page_25" name="Page_25"><span class="pagenum">[25]</span></a>gable
+over, and is quite admirable in effect and defensible as a method of
+design; it is ornament decorating construction pure and simple, and not
+what later work generally was and is, constructed ornament, suggesting
+over-elaborate construction thereby made necessary. It will be noticed
+that labels with the word &quot;Yenk&quot; (think) sculptured thereon are placed
+between the shafts on either side of the archway; this has been
+construed &quot;pend&quot; by some writers, and from this the view was taken that
+Sir Thomas Erpingham was made to build the gate as a penance for
+favouring Lollardism, and that the figure of himself in the gable over
+the archway represents him as praying pardon for the offence.</p>
+
+<p>This interpretation, however, amusing as it is, is probably erroneous,
+and the gate, with its shields of allied families, stands to the memory
+of its founder. Sir Thomas Erpingham was at Agincourt in 1415, and
+Shakespeare, in Act iv. of Henry V., remarks of him that he was &quot;a
+knight grown grey with age and honour.&quot; Sir Thomas Browne also (p. 9 of
+his &quot;Repertorium&quot;) says: &quot;He was a Knight of the Garter in the time of
+Henry IV. and some part of Henry V., and I find his name in the list of
+the Lord Wardens of the Cinque Ports.&quot;</p>
+
+<p>Sir Thomas Erpingham had two wives, Joan Clopton and Joan Walton, whose
+arms appear on the gateway.</p>
+
+
+<p><a id="II_3" name="II_3"></a><b>St. Ethelbert's Gate,</b> to the south, is an early &quot;Decorated&quot; structure.
+Its elevation is divided into three storeys, in the lowest of which is
+the gateway, with flat buttresses on each side carried up the height of
+two storeys, and enriched with pedimented niches in both stages. In the
+compartment over the arch are seven niches, four of which are pierced
+with windows. The upper stage is in flintwork. It was built by the
+citizens as part of the fine imposed on them for their share in the
+riots and fire of 1272 by the Court of King Henry III., though probably
+not until some years had elapsed, and when Edward the First had come to
+the throne. The upper part of the front was restored early in this
+century. The back elevation is interesting&mdash;the window over the arch
+being typical of the style.<a id="Page_26" name="Page_26"><span class="pagenum">[26]</span></a></p>
+
+
+<div class="figcenter">
+<a id="image08" name="image08"></a>
+<a href="images/image08h.jpg" >
+	<img src="images/image08.jpg" alt="St. Ethelbert's Gate." title="St. Ethelbert's Gate." />
+</a>
+<br /><span class="caption">St. Ethelbert's Gate.</span>
+</div>
+
+
+<p><b>The Gate-House</b> forming the entrance to the bishop's palace, on the
+north side of the cathedral, was built by Bishop Alnwyck about 1430, and
+probably replaced an earlier structure; it is an interesting piece of
+Perpendicular work, and consists, in the lower stage, of a gate and
+doorway under a deep horizontal band ornamented with plain shields and
+monograms of the Virgin. The gateway on the left side reaches up to the
+horizontal bands, and has spandrels on either side; the doorway is
+smaller. Above are two windows with a niche <a id="Page_27" name="Page_27"><span class="pagenum">[27]</span></a>between, and over all is a
+parapet of modern work. Flat buttresses flank the entire composition on
+either side. The wooden gates were added by Bishop Lyhart (1446-72).</p>
+
+<div class="figcenter">
+<a id="image09" name="image09"></a>
+<a href="images/image09h.jpg" >
+	<img src="images/image09.jpg" alt="The Gate-House of the Bishop's Palace." title="The Gate-House of the Bishop's Palace." />
+</a>
+<br /><span class="caption">The Gate-House of the Bishop's Palace.</span>
+</div>
+
+<p><a id="II_4" name="II_4"></a>Returning to the Erpingham gate, and entering the Close through it,
+immediately on our left we come to the <b>Chapel of St. John the
+Evangelist</b> (converted by Edward VI., and still used as a school),
+founded by Bishop Salmon (1299-1325). This building replaced an older
+structure, used as a charnel, and provision was made for this need in
+the new edifice; the vaults under the chapel were used for the same
+<a id="Page_28" name="Page_28"><span class="pagenum">[28]</span></a>purpose. The porch is a later building added by Lyhart (1446-72).</p>
+
+<p><a id="II_5" name="II_5"></a><b>The West Front of the Cathedral</b> has probably received worse treatment
+than any other portion of the building, and stands now as the most
+unsatisfactory part of the whole. The design consists in its width of
+three compartments, with two separating and two flanking turrets. The
+centre compartment is of the width of the nave, and those on either side
+the width of the aisles. In the centre comes the main doorway, flanked
+on either side with niches, and over these, filling the entire breadth,
+the great nine-light west window, with the Norman turrets carried up to
+the base of the gable. The compartments on either side are finished off
+by horizontal mouldings taken across somewhat below the level of the
+springing of the archivolt of the main window, and have flanking turrets
+covered with plain pinnacles. The large west window is disproportionate,
+and even the assurance cheerfully given by most authorities, that it
+resembles the window of Westminster Hall, fails to prove that it is of
+suitable size here. It may be as well to note in order the various
+changes which have affected the west front. Mr B.W. Spaull, in Dean
+Goulburn's work on the Cathedral, made reference to the discovery of an
+alteration to the main entrance which must have been prior to that now
+existing. It consisted of a small <i>parvise</i> or room added above at some
+time subsequent to the original foundation. As the details are not now
+apparent, it is best to refer readers to the work named for fuller
+information.</p>
+
+<p>The addition, however, of later Perpendicular triforium windows to the
+nave superimposed over the original Norman lights, which were blocked
+up, may have affected the west front. This can best be seen by viewing,
+for instance, the south side of the nave. The Norman roofs sloped down
+to the original triforium windows, but after the later addition were
+made almost flat, and must have necessitated some mask wall in the west
+front. <a id="Page_29" name="Page_29"><span class="pagenum">[29]</span></a></p>
+
+<div class="figcenter">
+<a id="image10" name="image10"></a>
+<a href="images/image10h.jpg" >
+	<img src="images/image10.jpg" alt="West Front of the Cathedral." title="West Front of the Cathedral." />
+</a>
+<br /><span class="caption">West Front of the Cathedral.</span>
+</div>
+
+<p>In Britton's &quot;History of Norwich&quot; is a drawing which is reproduced at p.
+15. It will be seen that the turrets at each side of the west window are
+shown finished with stone cupolas, the tops of which were level with the
+apex of the gable. The two outside flanking turrets are shown finished
+by circular <a id="Page_31" name="Page_31"><span class="pagenum">[31]</span></a>drums above the parapet, and covered with leaden cupolas;
+these, with the Perpendicular battlements, were probably added as the
+mask before referred to, and necessitated by the imposition of an
+additional storey at the triforium level. Certainly the west front, as
+shown then, was better far than now. However, in 1875, &quot;<i>restoration</i>&quot;
+set in, and these cupolas were removed, and stone &quot;pepper-box&quot; pinnacles
+imposed on the turrets in their stead. The gable was restored, and the
+character of the work wholly destroyed, crocketted where before plain,
+and the niche added in the place of the small light over the vault shown
+in Britton's plate. In the side compartments the Perpendicular
+battlementing was removed and the round cannon ball holes gratuitously
+inserted.</p>
+
+<p>The two pinnacles at the sides of the west window have since been
+removed.</p>
+
+<p>The earlier change in the central compartment of the front from Norman
+to Perpendicular was effected by the additions of the door and window
+still remaining. Bishop Alnwyck, who was translated to Lincoln in 1436,
+added the doorway during his episcopate, and it was probably built right
+over and covering the original Norman door and arcading. He also left
+provision in his will for the west window, and this was added by Bishop
+Lyhart (1446-72), to throw additional light on to the vaulting and
+sculptures of the nave; from the inside it will be seen that it
+completely fills the width of the nave, and follows the line of the
+vault up.</p>
+
+<p>The north side of the cathedral lies within the gardens of the bishop's
+palace, which can be entered from the interior of the cathedral, through
+a small door in the north aisle of the presbytery; the eastern end of
+the cathedral also lies within a private garden, but permission to enter
+it can usually be obtained.</p>
+
+<p><a id="II_6" name="II_6"></a><b>Exterior of Nave.</b>&mdash;Those portions of the precincts near the western
+end of the cathedral are known as the Upper Close; and, walking round
+the exterior of the cloisters, we come to the Lower Close. The nave on
+the south side can be seen well either from the upper or lower Close,
+and can be better examined in detail from the interior of the cloisters.
+Its elevation consists of fourteen bays divided by flat Norman
+buttresses. In height it is composed of what, at first sight, appears a
+<a id="Page_32" name="Page_32"><span class="pagenum">[32]</span></a>bewildering confusion of arches, arcades, and windows. Over the aisle
+windows, hidden by the north walk of cloisters, comes a Norman wall
+arcading; and over this the Norman triforium windows blocked up, and
+again, above the later Perpendicular triforium, superimposed on the old,
+and finished with a battlemented parapet. Behind this come the triforium
+roof, and then beyond the original Norman clerestory, each bay with a
+triple arch formation, the centre arch pierced for a window. And then
+above all, the lead roof over nave vault.</p>
+
+<p>The radical changes that have taken place since the nave was built by
+Bishop Eborard (1121-45) consist of the insertion in the aisles of later
+&quot;Decorated&quot; traceried windows in place of the original Norman ones, and
+of the superimposition, before referred to, at triforium level of a
+whole range of &quot;Perpendicular&quot; windows over the old Norman work, which
+were blocked up at this period. The pristine aspect, then, of this
+elevation of the nave would have shown a sloping roof over the aisles
+where now the later addition occurs. The battlementing, too, over the
+clerestory to the nave is later work, to correspond with battlementing
+over the triforium windows. It will be noticed that the two bays next
+the transept in the triforium are higher than the others, in order to
+throw additional light into the choir.<a id="Page_33" name="Page_33"><span class="pagenum">[33]</span></a></p>
+
+<div class="figcenter">
+<a id="image11" name="image11"></a>
+<a href="images/image11h.jpg" >
+	<img src="images/image11.jpg" alt="The Clerestory and Triforium of Choir (South Side)." title="The Clerestory and Triforium of Choir (South Side)." />
+</a>
+<br /><span class="caption">The Clerestory and Triforium of Choir (South Side).</span>
+</div>
+
+<p>Also on this same south side, in the seventh and eighth bays from the
+west end, two very late windows occur, inserted in the Norman arcading
+under the original triforium windows; these were inserted by Bishop
+Nykke to light the chapel he built in two bays of the south aisle of the
+nave.</p>
+
+<p>The curious raking of the lead rolls to the nave roof is noticeable; the
+mediaeval builders did this with a view of counteracting the &quot;crawl&quot; of
+the lead. Lead, under the variations of temperature of the atmosphere,
+expands and contracts considerably; and from its own weight, and the
+steepness of the roofs, the contraction takes place in a downward
+direction, and starts the joints, letting in the weather. This raking of
+the vertical rolls was a device whereby the old builders in some measure
+got over their difficulty by inducing a fixed expansion and contraction.</p>
+
+<p><a id="II_7" name="II_7"></a><b>The South Transept</b> projects boldly forward from under the tower;
+without aisles, its ridge and parapet correspond in height to those of
+the nave; this narrowness, with the <a id="Page_35" name="Page_35"><span class="pagenum">[35]</span></a>tower and spire showing over
+behind, gives it an appearance of height, as approached from the lower
+close. This effect of height is emphasised by the partition of the
+design in its width, by flat Norman buttresses, with shafts in the
+angles, and by the flat faces of the flanking turrets. The work,
+however, is without interest, from the fact that, though the <i>ensemble</i>
+in some measure has been retained, the whole of the exterior face of the
+stonework was re-cased by Salvin, 1830-40, during which period various
+restorations were effected. Before these alterations, the Norman
+flanking turrets finished with a &quot;Perpendicular&quot; battlementing, enriched
+with shields and quatrefoils, and with crocketted pinnacles set at the
+four angles; this battlementing was removed, and the present
+uninteresting pepper-boxes took their place. No doubt they have it in
+their favour that they <i>may</i> be more like the original Norman
+terminations than were those they replaced, which were, however, real
+&quot;Perpendicular,&quot; and these are only sham Norman. Originally, from the
+eastward side of the south transept, projected a semi-circular chapel,
+shown on <a href="#image40">plan</a> by dotted lines, and corresponding to that still remaining
+on the north side of the cathedral. It was part of the original plan,
+and though we believe no record exists of its destruction, it can safely
+be premised that its fate came about through the <i>cultus</i> of the saint
+to whom it was dedicated declining, and consequent neglect and ruin
+following made its destruction cheaper than its reparation. It was
+replaced by a sacristy in the fifteenth century, the lines of roof to
+which can still be seen over on the stonework. This later sacristy was
+destroyed by the fire of 1509, that burned as well the wooden roofs of
+the transepts, and necessitated the stone vaults added by Bishop Nykke.</p>
+
+<p><a id="II_8" name="II_8"></a><b>The Diocesan Registry Offices</b> now occupy the space on which once stood
+the Norman chapel, and later the Sacristy.</p>
+
+<p>The building projecting eastward, south of this space, and marked A on
+<a href="#image40">plan</a>, was once a chapel, said by Blomefield to have been dedicated to
+St. Edmund. It is now used as the <b>Dean's Vestry</b> in the lower storey,
+and as the <b>Chapter Clerk's Office</b> in the upper.</p>
+
+<p>At the same time that the later restorations were effected to the south
+transept, the groined <b>Slype</b> and singing-school above it were
+destroyed, and the present door in the south transept from the lower
+close was opened. A pre-restoration view is <a id="Page_36" name="Page_36"><span class="pagenum">[36]</span></a>published of the east end
+of the cathedral, showing the slype, in Britton's &quot;Norwich.&quot; The visitor
+should also bear in mind that this space immediately in front of the
+south transept was originally occupied by the <a id="II_9" name="II_9"></a><b>Chapter-House</b>, situated
+as shown by dotted lines on <a href="#image40">plan</a>, and separated from the cathedral by
+the slype. The entrance arches to the chapter-house from the east walk
+of the cloisters still remain and fix definitely its position; it
+projected eastward about eighty feet.</p>
+
+<p><a id="II_10" name="II_10"></a><b>The Tower and Spire</b> mark the crossing of the choir and transepts, the
+tower only being Norman, and square on plan, with flat Norman
+buttresses, covered with vertical shafts on the face of each. These
+buttresses start from the level of the parapets to Nave, Transept, and
+Presbytery, and rise right up until, well over the parapet of the tower,
+they are finished by crocketted pinnacles. Between these buttresses are
+horizontal bands of design: the lowest, a Norman arcade of nine arches,
+three of which are pierced as windows; then, above this, a smaller wall
+arcade with interlaced arches; and then, above again, the principal
+feature, an arcading of nine arches, three pierced for windows, and the
+others filled with wall tracery of diamonds and circles; then, between
+this last and the battlemented parapet, occur five vertical panels, each
+comprising two circles, the upper pierced for a window. Above, soaring
+upward, rises the later crocketted spire. Herbert, the founder, provided
+the foundations of tower, and probably carried up the walls to the level
+of the nave roof; the rest of the tower was finished during the reign of
+Henry I., and is a beautiful specimen of the work of that time; but here
+again our sentiment and sympathy experience a shock when we learn that
+the stonework was almost entirely refaced in 1856. The tower was crowned
+by a wooden spire from 1297; this was blown down in 1361, and probably
+brought away in its fall some part of the Norman turrets of the tower.
+It fell eastward, damaging the presbytery so badly that the clerestory
+had to be rebuilt. The wooden spire was reconstructed probably at the
+same time, though no record exists of such work, and the present Early
+Perpendicular turrets were added. The spire, we know, was again
+overtaken by misfortune in 1463, when it was struck by lightning, and
+again falling eastward, went through the presbytery roof. The present
+spire was then constructed in stone by Bishop Lyhart (1446-72), and
+was finished by his successor, Bishop Goldwell (1472-99), who added the
+battlements.<a id="Page_37" name="Page_37"><span class="pagenum">[37]</span></a></p>
+
+<div class="figcenter">
+<a id="image12" name="image12"></a>
+<a href="images/image12h.jpg" >
+	<img src="images/image12.jpg" alt="The Tower in 1816." title="The Tower in 1816." />
+</a>
+<br /><span class="caption">The Tower in 1816.</span>
+</div>
+
+<p><a id="Page_39" name="Page_39"><span class="pagenum">[39]</span></a>It will hardly be necessary to enlarge on the beauty of this spire of
+Norwich, as the dominant feature, seen from the south-east, rising above
+the curved sweep of the apse, and strongly buttressed by the south
+transept, it stands up, clearly defined against the western sky, and
+points upward, significant and symbolical at once of the ends and
+aspirations of the church below.</p>
+
+<p><a id="II_11" name="II_11"></a><b>The Eastern Arm of Cathedral or Presbytery</b> takes its history from the
+tower. Here, as in the nave, there are the original triforium windows
+blocked up, and a range of Perpendicular work superimposed on the old.
+Above and beyond this, supported between each bay by flying buttresses,
+comes the transitional Decorated to Perpendicular clerestory,
+considerably higher than the original Norman clerestory remaining to the
+nave. At the base of each flying buttress are figures of saints. The
+roof and Norman clerestory were damaged by the falling tower in 1361,
+but were rebuilt by Bishop Percy, 1355-69. This work is transitional
+Decorated to Perpendicular. The presbytery was then re-roofed with a
+framed timber construction, which was consumed by the falling of the
+burning spire, struck by lightning in 1463. The present stone vault was
+added in its place by Bishop Goldwell, 1472-99. This necessitated the
+addition as well of flying buttresses to take the thrust of the vault.</p>
+
+<p>The battlementing to the presbytery also was added at the same time as
+the flying buttresses.</p>
+
+<p>It will also be noted that here, as in the nave, an addition was made in
+the way of a range of later &quot;Perpendicular&quot; windows superimposed over
+the original Norman triforium, which was blocked up.</p>
+
+<p><a id="II_12" name="II_12"></a><b>The Chapel of St. Mary-the-Less</b>, marked B on <a href="#image40">plan</a>, projects southward
+from the presbytery, and dates from the fourteenth century. Between this
+and the circular Norman chapel of St. Luke, was Bishop Wakeryng's
+chapel. It has long since disappeared, but the doorway of Perpendicular
+design remained until about 1841, when it was removed and the
+compartment Normanised&mdash;a piece of wanton vandalism and the destruction
+of an historical link.</p>
+
+<p>The circular Norman chapels, of which two remain, are <a id="Page_40" name="Page_40"><span class="pagenum">[40]</span></a>very interesting.
+In the original plan of the founder there were three; but the
+easternmost was superseded by Early English structure, which in its turn
+was demolished.</p>
+
+<p><b>The Chapel of Saint Luke</b>, marked C on <a href="#image40">plan</a>, flanking the south side of
+the apse, was much restored in the sixties; in Britton's &quot;Norwich,&quot;
+published in 1816, late &quot;Decorated&quot; windows are shown; these were
+replaced by <i>modern</i> Norman. Its form is peculiar; on plan, that of two
+circles interpenetrating. On elevation, in the lower stage, are the
+modern Norman windows, with shafts in jambs, over which occur two tiers
+of arcading, in the higher of which window openings are pierced. The
+position of the Norman Lady Chapel is shown by dotted lines, as well as
+the rectangular shape of the Early English chapel built by Walter de
+Suffield (1245-57) about 1250. The line of the roof of the later chapel
+can still be seen plainly traced on the stonework over the arches which
+once gave entrance to it. This later chapel was destroyed by Dean
+Gardiner in Queen Elizabeth's reign. The foundations of both chapels
+have been laid open quite recently but a few feet under the level of the
+garden.</p>
+
+<p><a id="II_13" name="II_13"></a><b>The Jesus Chapel</b>, marked D on <a href="#image40">plan</a>, on the north side of the apse,
+retains the early &quot;Perpendicular&quot; windows inserted in the Norman work;
+its other characteristics are as those described to St. Luke's Chapel in
+the south.</p>
+
+<p>On the north side of the presbytery, and to the west of the Jesus
+Chapel, were other chapels, shown on the plan by dotted lines; the
+positions of their roofs are clearly marked yet on the stonework. One
+must have been the <b>Reliquary Chapel</b>; the bridge chapel in the north
+aisle of presbytery formed its ante-chapel.</p>
+
+<p><a id="II_14" name="II_14"></a><b>The North Transept</b>, and generally the north side of the cathedral, are
+more conveniently examined from the gardens of the bishop's palace,
+whence this portion of the exterior of the cathedral can best be seen.</p>
+
+<p>The details of the fabric on the north side are essentially the same as
+those described to the south side of cathedral; though here the work has
+been less restored, and consequently is of more interest to the student.
+The original Norman chapel, now used as a store-house, projects eastward
+from the north transept; a corresponding feature occurred in the south
+transept, but has long since vanished.<a id="Page_41" name="Page_41"><span class="pagenum">[41]</span></a></p>
+
+<div class="figcenter">
+<a id="image13" name="image13"></a>
+<a href="images/image13h.jpg" >
+	<img src="images/image13.jpg" alt="Exterior of the Chapel of St. Luke from the East." title="Exterior of the Chapel of St. Luke from the East." />
+</a>
+<br /><span class="caption">Exterior of the Chapel of St. Luke from the East.</span>
+</div>
+
+<p><a id="Page_43" name="Page_43"><span class="pagenum">[43]</span></a>
+<a id="II_15" name="II_15"></a><b>The Bishop's Palace</b> stands to the north of the cathedral, and was
+formerly connected with it by a vaulted passage, Herbert, the founder,
+built the first palace, of which portions are incorporated in the
+present building. Bishop Salmon (1299-1325) in 1318, according to the
+patent rolls of the twelfth year of the reign of Edward II., obtained
+licence to buy a piece of land 47 perches 4 feet in length, and 23
+perches 12 feet in breadth, to enlarge and rebuild thereon the palace of
+Herbert. He also built a chapel, and the great hall, measuring 120 feet
+from north to south, and 60 feet wide, with kitchen, buttery, and
+offices at the west end. The grand ruin somewhat to the east of the
+palace now is supposed to have formed part of the entrance to this hall.
+It was, however, too large to keep up, and so was leased by Bishop
+Nykke, just before his death in 1535 to the mayor, sheriff, and
+citizens, so that the Guild of S. George might hold their annual feast
+there. Later on it became a meeting-house. The present private chapel of
+the bishop was built by Bishop Reynolds in 1662 across part of the south
+end.</p>
+
+<p>To the north of the nave of the cathedral, and on the west side of the
+palace, was an open area called the <i>green-yard,</i> and in Sir Thomas
+Browne's &quot;Works,&quot; vol. iv. p. 27 (London, 1835) is an account of the
+<i>combination sermons</i> which were preached here in the summer prior to
+the Reformation.</p>
+
+<p>&quot;Before the late times the combination sermons were preached, in the
+summer time, at the Cross in the Green Yard where there was a good
+accommodation for the auditors. The mayor, aldermen, with their wives
+and officers, had a well-contrived place built against the wall of the
+Bishop's palace, covered with lead, so that they were not offended by
+rain. Upon the north side of the church, places were built gallery wise,
+one above another, where the dean, prebends and their wives, gentlemen,
+and the better sort, very well heard the sermon: the rest either stood
+or sat in the green, upon long forms provided for them, paying a penny
+or half-penny a-piece, as they did at S. Paul's Cross in London. The
+Bishop and chancellor heard the sermons at the windows of the Bishop's
+palace: the pulpit had a large covering of lead over it, and a cross
+upon it; and there were eight or ten stairs of stone about it, upon
+which the hospital boys and others stood. The preacher had his face to
+the south, and there was a painted <a id="Page_44" name="Page_44"><span class="pagenum">[44]</span></a>board of a foot and a half broad and
+about a yard and a half long hanging over his head, before, upon which
+were painted the names of the benefactors towards the Combination Sermon
+which he particularly commemorated in his prayer....&quot;</p>
+
+<p>On the north side of the cathedral, in the seventh compartment of the
+aisle from the west end, the walled-up entrance to the <i>green-yard</i> is
+to be noticed.</p>
+
+<p>There is no doubt that this space was originally the cemetery of the
+monks, and Harrod quotes from the <i>Chronicle</i> of John de Whethamsted to
+that effect. A stone coffin lid found here in 1848 goes to confirm this.</p>
+
+<hr />
+<p class="center"><span class="pagenum"><a href="#CONTENTS">Table of Contents</a><br /><a id="Page_45" name="Page_45">[45]</a></span></p>
+<h2>
+<a name="CHAPTER_III" id="CHAPTER_III"></a>
+CHAPTER III<br />
+<span class="subtitle">THE INTERIOR</span></h2>
+
+<p>Norwich Cathedral is justly celebrated for the beauty of its interior.
+Entering from the upper close by the north aisle door, and then taking a
+position immediately under the great west window, facing east, there is
+before one the long perspective of the Norman nave, the choir and
+presbytery, while overhead comes the later vault, telling richly by
+contrast with the severe plainness of the earlier work below. The
+extreme length of the cathedral is about 407 feet. The nave, always long
+in Norman churches, is here over 200 feet from the west door to the
+choir screen. Although some critics object to the position of the organ
+on this same screen, there can be no doubt that, not only is it a most
+admirable position for the instrument acoustically, but also that its
+presence here does not detract from the general effect of the interior.
+From the west end of the nave, as a dark silhouette against the eastern
+apsidal windows, or as an object in the middle distance, it helps the
+spectator to realise the length of the cathedral. A certain sense of
+mystery and something undiscerned adds to the charm of an interior, and
+the organ here helps, with the screen, to enshrine the eastern arm and
+most sacred portion of the building, and interrupts the vista for the
+sake of which disastrous sacrifices have been made in many of our
+cathedral churches.</p>
+
+<p><a id="III_1" name="III_1"></a><b>The Nave</b> consists of seven double bays; in all, fourteen compartments
+from the west end to the tower crossing.</p>
+
+<p>It will be noticed that, in the <a href="#image40">plan</a> (page 113), a square of the nave,
+occupying longitudinally the space of two bays of the aisles, is
+indicated by the dotted lines; also a main pier is marked as Y and a
+subsidiary pier as z.</p>
+
+<div class="figright">
+<a id="image14" name="image14"></a>
+	<img class="plain" src="images/image14.jpg"
+	alt="A Norman Capital."
+	title="A Norman Capital." />
+</div>
+
+<p>The main piers, as at Y, are large rectangular masses, having on the
+nave side a flat buttress-like piece added, with <a id="Page_46" name="Page_46"><span class="pagenum">[46]</span></a>shafts in the angles,
+and bearing on the face the two vaulting shafts. On the aisle side are
+two shafts to each transverse arch; and on the two lateral faces are
+triple shafts to the arcade arches, with four angle shafts at each
+corner of the main pier, taking the outer rings to same. The plan is the
+same at the triforium level. The smaller or subsidiary piers (as at X)
+have single vaulting shafts on the nave face, double ones to the aisle,
+and under the arcade arches convex faces, with four angle shafts, as in
+main piers. The plan of these piers determines the elevation. The nave
+arcade arches, ornamented with the billet, and triforium with a
+<i>chevron</i> or zig-zag, are almost equal in size, and over these lower
+stages comes the typical triple Norman clerestory with walk; the whole
+covered in by the fine lierne vault.</p>
+
+<p>The vault has thirteen complete bays and two semi-bays, one at either
+end. The junctions between this later vault and the Norman work can be
+seen. The main piers had the original double shafts cut off at the level
+of the top of the triforium arches, the later single shaft being brought
+down and joined by a peculiar branch-like connection. The original
+shafts to the subsidiary piers, which it is probable took only a minor
+part in carrying the flat Norman wooden roof, were finished by a cap at
+the impost level of the triforium, and the later shaft was brought down
+and finished by the <i>rebus</i> of Bishop Lyhart, the constructor of the
+vault. This <i>rebus</i> should be noticed; it is a pun in stone, with its
+hart lying in water. It will also be noticed that the outer arches of
+the triforium are not concentric with the sub-arches.<a id="Page_47" name="Page_47"><span class="pagenum">[47]</span></a></p>
+
+<div class="figcenter">
+<a id="image15" name="image15"></a>
+<a href="images/image15h.jpg" >
+	<img src="images/image15.jpg" alt="The Nave, looking East." title="The Nave, looking East." />
+</a>
+<br /><span class="caption">The Nave, looking East.</span>
+</div>
+
+<p><a id="Page_48" name="Page_48"><span class="pagenum">[48]</span></a><a id="Page_49" name="Page_49"><span class="pagenum">[49]</span></a>The bases of the shafts have been Perpendicularised, probably when the
+vault was added, and the Norman character of the lateral shafts spoilt
+by scraping.</p>
+
+<p>The building of the nave is usually attributed to Bishop Eborard
+(1121-45), but some eminent archaeologists believe that the whole
+cathedral, nave and all, was built by Herbert, 1091-1119, the first
+bishop and founder. We believe there is no documentary evidence against
+this theory. The <i>Registrum Primum</i> says: &quot;Moreover, the same Herbert
+completed the church of Norwich in his own time, as I have learned from
+the account of old people, <i>but have not found in writing,</i> as far as
+the altar of the holy cross, which is now called the altar of S.
+William.&quot;</p>
+
+<p>The billet enrichment on the main arches, and the chevron or zig-zag on
+those of the triforium, have been looked upon as indicating that this
+part of the building&mdash;the five western bays of nave&mdash;is later than the
+presbytery, the arches there lacking this ornament. But as these are
+quite the earliest forms of ornament used by the Norman builders, their
+occurrence here at Norwich cannot prove much. It is better perhaps to
+reserve judgment, and be content with merely stating the facts and the
+more generally accredited theories as to the age of the western part of
+the nave.</p>
+
+<p>The subsidiary circular columns in the fifth bay of the nave from the
+west end should be noticed. A small enriched shaft in the clerestory of
+the north transept is here illustrated. This very beautiful style of
+treatment was common to the Norman builder, with the Romanesque, and the
+Romans before them.</p>
+
+<p><a id="III_2" name="III_2"></a><b>The Choir Screen</b> crosses the nave between the subsidiary piers to the
+sixth bay. Of the original work erected by Bishop Lyhart, 1446-72, the
+sub-structure of the present screen is the only portion remaining.
+Traces of two altars, one on either side of the doorway, can still be
+seen; these were originally dedicated to St. William of Norwich and St.
+Mary. These altars were enclosed in chapels formed by screens coming
+forward to the extent of half the bay, and stopped against the main nave
+piers on either side&mdash;the double vaulting shafts on the face of which
+are stopped by corbels, carved as heads, at about the height that the
+chapels would have reached. They were vaulted over, and above came <a id="Page_50" name="Page_50"><span class="pagenum">[50]</span></a>the
+rood loft and organ. The rood loft was damaged by the Puritans, and
+probably removed after the Restoration. Dean Crofts, in 1660, set up a
+new organ.</p>
+
+<p>In Britton's &quot;Norwich,&quot; 1816, the upper stage of the choir screen is
+shown divided into square panels, occurring vertically over the lower
+stage; the screens to the chapels before referred to having been
+destroyed. In 1833 Salvin remodelled the choir, and turned his attention
+to the choir screen: the organ was placed in its present position, and
+cased with the frame of that instrument which Dean Crofts had set up in
+1660; and the overhanging vault to the screen was added.</p>
+
+<p><a id="III_3" name="III_3"></a><b>The Nave Vault</b> (height 72 feet), which was added by Bishop Lyhart,
+1446-72, took the place of the original Norman wooden roof destroyed by
+fire in 1463. This earlier Norman roof was most probably like that now
+existing at Peterborough, and was no doubt profusely decorated with
+colour. The vault is of Perpendicular design, and known as <i>lierne</i>;
+such vaults may be distinguished by the fact that between the main ribs,
+springing from the vaulting shafts, are placed cross ribs forming a
+pattern, as it were, and bracing the main ribs, but not in any great
+measure structural. This vault at Norwich may be taken as typical of the
+last legitimate development of the stone roof; it was the precursor of
+the later fan vaulting, such as we find in Henry VII.'s chapel at
+Westminster, where legitimate construction was replaced by ostentatious
+ingenuity and the accumulation of needless ornament and detail.</p>
+
+<p>The carved bosses here at Norwich, occurring at the intersection of the
+ribs, are worth careful study. Those who care to go into the matter in
+the fullest detail should consult Dean Goulburn's book published in
+1876, which not only gives an admirable history of the fabric and the
+See, but enters fully into the detail and symbolic meaning of each of
+the 328 bosses.</p>
+
+<p>In this list, compiled from that volume, mention is made only of those
+bosses on the main longitudinal rib of the vault; it is hoped that this
+method will enable the visitor to readily enter into the meaning of any
+group of bosses, by providing a keynote to the whole. The subjects are
+taken from Bible history, and each epoch is usually grouped around some
+central incident figured on the main longitudinal ribs. In each bay No.
+4 is the large central boss.<a id="Page_51" name="Page_51"><span class="pagenum">[51]</span></a>
+</p>
+
+<div class="figcenter">
+<a id="image16" name="image16"></a>
+<a href="images/image16h.jpg" >
+	<img src="images/image16.jpg" alt="The Choir Screen and Organ from the Nave." title="The Choir Screen and Organ from the Nave." />
+</a>
+<br /><span class="caption">The Choir Screen and Organ from the Nave.</span>
+</div>
+<p><a id="Page_53" name="Page_53"><span class="pagenum">[53]</span></a></p>
+<table summary="list">
+<tr><th align="center">
+<b>The Easternmost Bay.&mdash;No. 1.</b></th></tr>
+<tr><td align="left">
+(1.) The Creation of Light.<br />
+(2.) A Figure of the Almighty.<br />
+(3.) A White Hart.<br />
+(4.) The Temptation.<br />
+(5.) A White Swan.<br />
+(6.) The Death of Cain.</td></tr>
+<tr><th align="center">
+<b>The Second Bay.&mdash;No. 2.</b></th></tr>
+<tr><td align="left">
+(1.) Cain driven out as a Fugitive.<br />
+(2.) Noah building the Ark.<br />
+(3.) Noah's Drunkenness.<br />
+(4.) The Ark on the Waters.<br />
+(5.) Meaning indefinite.<br />
+(6.) Noah planting the Vine.
+</td></tr>
+<tr><th align="center">
+<b>The Third Bay.&mdash;No. 3.</b></th></tr>
+<tr><td align="left">
+(1.) The Building of the Tower of Babel.<br />
+(2.) The Tower of Babel shown as Feudal Fortress.<br />
+(3.) Abraham entertaining an Angel.<br />
+(4.) Abraham sacrificing Isaac.<br />
+(5.) Jacob deceiving Isaac.<br />
+(6.) Isaac blessing Esau.
+</td></tr>
+<tr><th align="center">
+<b>The Fourth Bay.&mdash;No. 4.</b></th></tr>
+<tr><td align="left">
+(1.) Sarah at the Door of Abraham's House.<br />
+(2.) Jacob going to Padan-Aram.<br />
+(3.) Jacob wrestling with the Angel.<br />
+(4.) Jacob pilling the Green Poplar Rods.<br />
+(5.) Jacob's Ladder.<br />
+(6.) Jacob making the Covenant with Laban.
+</td></tr>
+<tr><th align="center">
+<b>The Fifth Bay.&mdash;No. 5.</b></th></tr>
+<tr><td align="left">
+(1.) Jacob sending Joseph to his Brethren.<br />
+(2.) Joseph journeying to  his Brethren.<br />
+(3.) Joseph stripped of his Coat of Many Colours.<br />
+(4.) Joseph cast into the Pit.<br />
+(5.) Joseph sold to the Ishmaelite Merchants.<br />
+(6.) Joseph set up over the Egyptians.
+</td></tr>
+<tr><th align="center">
+<b>The Sixth Bay.&mdash;No. 6.</b></th></tr>
+<tr><td align="left">
+(1.) Joseph selling corn.<br />
+(2.) Moses in the Ark of Bulrushes.<br />
+(3.) The Angel appearing to Moses in the Burning Bush.<br />
+(4.) The Overthrow of the Egyptians in the Red Sea.<br />
+(5.) The Ark of the Covenant.<br />
+(6.) Samson rending the Lion.
+</td></tr>
+<tr><th align="center">
+<b>The Seventh Bay.&mdash;No. 7.</b></th></tr>
+<tr><td align="left">
+(1.) Samson taking the Gates of the City of Gaza.<br />
+(2.) David smiting Goliath.<br />
+(3.) David cutting off Goliath's Head.<br />
+(4.) David crowned.<br />
+(5.) David charging Solomon.<br />
+(6.) Solomon enthroned.
+</td></tr>
+<tr><th align="center">
+<b>The Eighth Bay.&mdash;No. 8.</b></th></tr>
+<tr><td align="left">
+(1.) Solomon enthroned.<br />
+(2.) The Annunciation.<br />
+(3.) The Presentation in the Temple.<br />
+(4.) The Nativity.<br />
+(5.) The Visitation.<br />
+(6.) Herod decreeing the Massacre of the Innocents.
+<a id="Page_54" name="Page_54"><span class="pagenum">[54]</span></a></td></tr>
+<tr><th align="center">
+<b>The Ninth Bay.&mdash;No. 9.</b>
+</th></tr>
+<tr><td align="left">
+(1.) The Flight into Egypt.<br />
+(2.) Christ in the midst of the Doctors.<br />
+(3.) The Marriage in Cana of Galilee.<br />
+(4.) The Baptism of Our Lord.<br />
+(5.) The Raising of Lazarus.<br />
+(6.) The Supper in Bethany.<br />
+</td></tr>
+<tr><th align="center">
+<b>The Tenth Bay.&mdash;No. 10.</b></th></tr>
+<tr><td align="left">
+(1.) Christ's Entry into Jerusalem.<br />
+(2.) Circular Hole for Descent of Thurible.<br />
+(3.) Our Lord sending forth the Disciples.<br />
+(4.) The Last Supper.<br />
+(5.) Disciples preparing for the Foot-washing.<br />
+(6.) Our Lord washing Peter's Feet.<br />
+</td></tr>
+<tr><th align="center">
+<b>The Eleventh Bay.&mdash;No. 11.</b></th></tr>
+<tr><td align="left">
+(1.) Our Lord in Gethsemane.<br />
+(2.) Christ crowned with Thorns.<br />
+(3.) Christ led to Pilate.<br />
+(4.) Christ before Pilate.<br />
+(5.) Christ Blindfolded.<br />
+(6.) Christ Betrayed.
+</td></tr>
+<tr><th align="center">
+<b>The Twelfth Bay.&mdash;No. 12.</b></th></tr>
+<tr><td align="left">
+(1.) Christ taken to the House of the High Priest.<br />
+(2.) Christ nailed to the Cross.<br />
+(3.) The Soldiers casting Lots.<br />
+(4.) The Crucifixion.<br />
+(5.) The Entombment.<br />
+(6.) Christ in Hades.
+</td></tr>
+<tr><th align="center">
+<b>The Thirteenth Bay.&mdash;No. 13.</b></th></tr>
+<tr><td align="left">
+(1.) Soldiers watching the Holy Sepulchre.<br />
+(2.) The Resurrection.<br />
+(3.) Three Apostles.<br />
+(4.) The Ascension.<br />
+(5.) The Virgin praying.<br />
+(6.) The Day of Pentecost.
+</td></tr>
+<tr><th align="center">
+<b>The Fourteenth Bay.&mdash;No. 14.</b>
+</th></tr>
+<tr><td align="left">
+(1.) A Miracle of Exorcism.<br />
+(2.) The Jaws of Hell.<br />
+(3.) The Drunkard's Doom.<br />
+(4.) The Last Judgment.<br />
+(5.) St. Peter.<br />
+(6.) The Holy Trinity.<br />
+(7.) Bishop Lyhart, the Builder of the Vault.</td></tr>
+</table>
+
+<p>To all those who take an interest in early stone cutting, this vault of
+Norwich is a store of inexhaustible treasure; the bosses, rudely cut as
+they are, tell their own tales with singular truth and directness. Their
+sculpture may not display the anatomical knowledge of the work of the
+Renaissance; yet it has a distinct decorative value that has been seldom
+equalled in the later decadent period. The fourteen large central bosses
+on the main longitudinal ribs present <a id="Page_55" name="Page_55"><span class="pagenum">[55]</span></a>in themselves an epitome not only
+of Bible history, but of the connecting incidents forming the theme of
+Christian teaching. In the tenth bay, on the longitudinal rib, there is,
+in place of a boss, a circular hole through the vault. It is supposed to
+have been formed to allow a thurible to be suspended therefrom into the
+church below. Harrod, quoting from Lambard's &quot;Topographical Dictionary,&quot;
+says: &quot;I myself, being a child, once saw in Poule's Church at London, at
+a feast of Whitsontide, wheare the comyng down of the Holy Gost was set
+forth by a white pigeon that was let to fly <i>out of a hole that is yet
+to be seen in the mydst of the roof of the great ile</i>, and by a long
+censer which, descending out of the same place almost to the very
+ground, was swinged up and down at such a length that it reached at one
+swepe almost to the west gate of the church, and with the other to the
+queer [<i>quire</i>] stairs of the same, breathing out over the whole
+church and companie a most pleasant perfume of such sweet things as
+burned therein.&quot;</p>
+
+<p>It is probable that the hole in the nave vault at Norwich was used for a
+similar purpose; and its position would seem to agree with such use,
+situated as it is about midway between the west end and where the front
+of the mediaeval rood loft occurred.</p>
+
+<p><a id="III_4" name="III_4"></a><b>The West Window</b>, added, as we have already noted by Bishop Lyhart, to
+light the vault, resembles that of Westminster Hall in the lines of its
+tracery; the glass by Hedgeland constitutes a memorial to Bishop Stanley
+(d. 1849).</p>
+
+<p><b>West Door.</b>&mdash;The original Norman arch remains over the doorway on the
+inside.</p>
+
+<p><a id="III_5" name="III_5"></a><b>The North Aisle of Nave</b>, the Norman windows of which were entirely
+replaced by Decorated ones, is covered by plain quadri-partite vaults.
+In the triforium over, as previously noted in description of exterior,
+the side walls were raised, the original Norman windows blocked up and
+Perpendicular ones placed over, the roof being at the same time raised
+on the outside to the necessary height, and made of a shallower pitch;
+this is clearly noticeable from the triforium walks.</p>
+
+<p>In the easternmost bays, two windows were raised still more to gain
+additional light for the choir.</p>
+
+<p>In the seventh bay from the west end occurs the door once leading to the
+<i>green yard</i>.
+<a id="Page_56" name="Page_56"><span class="pagenum">[56]</span></a></p>
+<div class="figcenter">
+<a id="image17" name="image17"></a>
+<a href="images/image17h.jpg" >
+	<img src="images/image17.jpg" alt="The North Aisle of Nave, looking West." title="The North Aisle of Nave, looking West." />
+</a>
+<br /><span class="caption">The North Aisle of Nave, looking West.</span>
+</div>
+
+<p><b>The South Aisle of Nave</b> corresponds with the north, and is covered
+with a plain quadri-partite vault, with the exception of the seventh and
+eighth bays from the west; these were converted by Bishop Nykke into a
+chapel enclosed by screens, and are marked on the <a href="#image40">plan</a> as E.E. The
+Norman <a id="Page_57" name="Page_57"><span class="pagenum">[57]</span></a>vaults were here removed and the late Perpendicular ones
+constructed in their stead; the windows appear to be of still later
+date, but are supposed to have been, and most probably were, inserted at
+this period.</p>
+
+<p><a id="III_6" name="III_6"></a><b>Monuments in Nave.</b>&mdash;The nave suffered severely at the hands of the
+Puritans, who destroyed many of the early tombs and effigies. Especially
+noticeable is the lack of brasses; all these have disappeared, with the
+exception only of one in the Jesus Chapel. Another singularity is that
+the burial-place of most of the bishops who are known to have been
+interred in the cathedral is quite uncertain. The best of them seem to
+have been content with a plain slab and inscribed brass; only Nykke, of
+infamous memory, left so gorgeous a chapel behind to perpetuate it.</p>
+
+<p>Bishop Hall, in his &quot;Hard Measure,&quot; gives a sketch of vivid historical
+interest of the sacrilege committed during the Puritan rebellion, and
+when, in 1643, the cathedral was in the possession of the fanatics.
+&quot;Lord, what work was here, what clattering of glasses, what beating down
+of Walls, what tearing up of Monuments, what pulling down of Seates,
+what wresting out of Irons and Brass from the Windows and Graves. What
+defacing of Armes, what demolishing of curious stone work, that had not
+any representation in the World, but only of the cost of the Founder and
+skill of the Mason, what toting and piping upon the destroyed Organ
+pipes, and what a hideous triumph on the Market day before all the
+Countrey, when, in a kind of Sacrilegious and profane procession, all
+the Organ pipes, Vestments, both Copes and Surplices, together with the
+Leaden Crosse which had been newly sawne down from over the Green-Yard
+Pulpit, and the Service books and singing books that could be had, were
+carried to the fire in the publick Market place; A leud wretch walking
+before the Train, in his Cope trailing in the dirt, with a Service book
+in his hand, imitating in an impious scorne the tune, and usurping the
+words of the Letany; neer the Publick Crosse, all these monuments of
+Idolatry must be sacrificed to the fire, not without much Ostentation of
+a zealous joy.&quot;</p>
+
+<p><b>Monuments in North Aisle of Nave.</b>&mdash;In the fifth bay of the nave arcade
+(marked I on <a href="#image40">plan</a>) is the altar tomb of Sir Thomas Wyndham and his four
+wives. This was <a id="Page_58" name="Page_58"><span class="pagenum">[58]</span></a>originally in the Lady Chapel, then, for a time, the
+Jesus Chapel, and about 1869 moved to its present position.</p>
+
+<p>Between the sixth and seventh bay is buried Dean Prideaux (d. 1724). The
+ninth bay of aisle is lighted by a memorial window to William Smith (d.
+1849), Professor of Modern History at Cambridge. In the tenth bay
+(marked 2 on <a href="#image40">plan</a>) is the altar tomb, with panelled sides, to Sir John
+Hobart (d. 1507), Attorney-General to Henry VII.</p>
+
+<p><b>Monuments in South Aisle of Nave</b> from the west.&mdash;In the sixth bay is a
+memorial window by Wailes to members of the Hales family. In the seventh
+bay (marked 3 on <a href="#image40">plan</a>) is the tomb of Chancellor Spencer; the rents of
+the dean and chapter were formerly paid here. The ninth bay (marked 4 on
+<a href="#image40">plan</a>) contains the altar tomb of Bishop Parkhurst (1560-74).</p>
+
+<div class="figcenter">
+<a id="image18" name="image18"></a>
+<a href="images/image18h.jpg" >
+	<img src="images/image18.jpg" alt="The East Walk of the Cloisters." title="The East Walk of the Cloisters." />
+</a>
+<br /><span class="caption">The East Walk of the Cloisters.</span>
+</div>
+
+<p><a id="III_7" name="III_7"></a><b>The Cloisters</b> and destroyed monastic buildings.&mdash;The <a id="Page_59" name="Page_59"><span class="pagenum">[59]</span></a><a id="Page_60" name="Page_60"><span class="pagenum">[60]</span></a><a id="Page_61" name="Page_61"><span class="pagenum">[61]</span></a>cloisters are
+on the south side of the cathedral, the interior garth being about 145
+feet square.</p>
+
+<p>The original Norman cloisters, which were probably of a wooden
+construction, were destroyed by the fire of 1272; and the work of
+building the present cloisters was commenced by Bishop Walpole (1289-99)
+about 1297, but they were not completely finished until 1430, in the
+time of Bishop Alnwyck (1426-36). They present an interesting, and, at
+the same time, complex study of the development of the styles during the
+one hundred and thirty-three years which passed during their erection; a
+paper by the Rev. D.J. Stewart (published in vol. 32 of the
+<i>Archaeological Journal</i>) goes minutely into their construction, and the
+several parts the various bishops of Norwich played in their design.
+Those who wish to study this part of the cathedral thoroughly cannot do
+better than refer to this paper.</p>
+
+<div class="figcenter">
+<a id="image19" name="image19"></a>
+<a href="images/image19h.jpg" >
+	<img src="images/image19.jpg" alt="The Cloisters from the Garth." title="The Cloisters from the Garth." />
+</a>
+<br /><span class="caption">The Cloisters from the Garth.</span>
+</div>
+
+<p>It will be noticed that, despite the lengthy period occupied in the
+construction of the cloisters, the result is in no way inharmonious; it
+is only in the detail, and especially the open tracery to the bays, that
+the difference of style is very perceptible.</p>
+
+<p>Counting the angle severies as in each walk, it will be noticed that
+there are fourteen severies on the east side; and thirteen on the other
+three. Each is nearly square on plan, and vaulted over with horizontal
+longitudinal and transverse ribs, between which occur diagonals and
+<i>tiercerons</i>; with carved bosses at the intersections. The piers
+carrying the vaults consist of groups of separate cylindrical shafts of
+Purbeck marble.</p>
+
+<p>On the three sides&mdash;east, west, and south&mdash;there are separate storeys of
+apartments over the vaults, which were used for various purposes by the
+monks.</p>
+
+<p>In elevation&mdash;and of course this can best be seen from the Garth&mdash;each
+bay is divided by a projecting buttress with diagonal one in the angles;
+the arches are filled with open tracery carried by two mullions; it is
+this tracery which marks most clearly the various changes of style. The
+shape of the arch is similar throughout. This was a concession on the
+part of the later builders which ensured harmony in the whole; but on
+each side the tracery is varied. On the east side it is geometrical in
+character, the work being transitional between <a id="Page_62" name="Page_62"><span class="pagenum">[62]</span></a>Early English and
+Decorated; on the south side the tracery is more flowing and has
+advanced to Decorated; on the west side again, we get the transitional
+style between Decorated and Perpendicular, with some <i>flamboyant</i> or
+flame-like detail; while on the north and latest side it is frankly
+Perpendicular.</p>
+
+<p><a id="III_8" name="III_8"></a><b>The East Walk</b> of cloisters is the earliest; access to which is gained
+from the south aisle of nave of cathedral, through the <b>Prior's Door</b>;
+of this fine specimen of early Decorated work we give an illustration.
+In the sixth bay, from, and counting the angle, may be seen the
+walled-up entrance to the Slype. In the seventh, eighth, and ninth bays
+remain the arches which once gave entrance to the chapter-house; these
+were walled up until about 1850.</p>
+
+<p>According to the itinerary of William of Worcester, the chapter-house,
+which was built by Bishop Walpole (1289-99), projected eastward about 80
+feet, terminating with a polygonal apse, as shown by the dotted lines to
+our <a href="#image40">plan</a>.</p>
+
+<p>The prolongation of this east walk southwards beyond the south walk of
+the cloisters, led formerly to the infirmary; of which now only remain
+the three piers in the lower close; the greater part having been pulled
+down in 1804. During some time in the eighteenth century the infirmary
+was used as a workhouse.</p>
+
+<p>The dormitories in all monasteries were connected with one of the
+transepts, usually the south, so that the monks could at all hours
+easily gain access to the cathedral for the performance of the offices
+of their order; it is probable, therefore, that the rooms over this east
+walk of the cloisters here at Norwich may have been used as dormitories,
+with a staircase on the western side of the south transept leading to
+them. The dormitories are supposed by some antiquarians to have been
+placed south of the destroyed chapter-house; the door in the twelfth bay
+of the east wall of the cloisters (marked 5 on <a href="#image40">plan</a>) probably giving
+rise to the supposition.</p>
+
+<p>The sculptured vault-bosses in this walk are illustrative of incidents
+in Gospel story and of the legends of the four evangelists.</p>
+
+<p><b>The South Walk</b>, the south wall of which was also the wall of the
+refectory. A door (marked 6 on <a href="#image40">plan</a>) at the western end of this walk led
+to the refectory. To the west were probably the kitchen and offices. The
+sculptured bosses of <a id="Page_63" name="Page_63"><span class="pagenum">[63]</span></a>the vault over this walk are illustrations of
+scenes from the Book of Revelation.</p>
+
+<div class="figcenter">
+<a id="image20" name="image20"></a>
+<a href="images/image20h.jpg" >
+	<img src="images/image20.jpg" alt="The Prior's Door." title="The Prior's Door." />
+</a>
+<br /><span class="caption">The Prior's Door.</span>
+</div>
+
+<p><b>The West Walk.</b>&mdash;In the first two bays (marked 7 on <a href="#image40">plan</a>) are the
+lavatories of the monks; and in the fourth bay, a <a id="Page_64" name="Page_64"><span class="pagenum">[64]</span></a>door (marked 8 on
+<a href="#image40">plan</a>) that formerly led to the guest hall, pulled down by Dean Gardiner,
+1573-89. The cellarer whose duty it was to look after the guests
+probably had apartments above.</p>
+
+<p>A door in the last bay leads to the <b>Choir School</b>; this was formerly
+the <b>Locutory</b>, where the monks indulged in their daily gossip. The
+western wall is in the Early Decorated style; the body of the room
+dating from Norman times.</p>
+
+<p>The door into the south aisle of the cathedral from this walk, known as
+the <b>Monks' Door</b>, is of an elaborate example of the Perpendicular
+style.</p>
+
+<p>Returning along the <b>North Walk</b>, the latest part of the cloisters, we
+come again to the prior's door, by entering which the rest of the
+interior may be inspected.</p>
+
+<p><a id="III_9" name="III_9"></a><b>The Ante-choir</b> occupies one compartment of the nave, and is
+immediately under the organ loft. It was in mediaeval times a chapel
+dedicated to Our Lady of Pity. The screens between this ante-choir and
+the aisles on north and south, were in part formed from the
+Perpendicular screen which originally divided off the Jesus Chapel from
+the north aisle of the presbytery. Here in the ante-choir they are
+certainly preferable, even as &quot;mutilated Perpendicular,&quot; to any modern
+substitute; though it was lamentable vandalism to remove them from their
+original positions, where they are shown in Britton's &quot;History.&quot;</p>
+
+<p><b>The Choir.</b>&mdash;It may be as well here to give a brief sketch of the
+various re-modellings which have been effected in the arrangement of the
+choir and presbytery of the cathedral.</p>
+
+<p>Britton shows, in one of his plates published in 1816, the floor of the
+choir continued at its level until, immediately before the altar, in the
+apse, it rises by five steps to the level of the sanctuary (the
+presbytery, after the Reformation, had been cut off from the choir by a
+wooden screen, in front of which stood the communion table). Across both
+transepts, in the beginning of the century, there stood cumbrous
+two-storeyed structures containing pews not unlike boxes at a theatre,
+as shown in a drawing here reproduced. In 1837, when Salvin re-modelled
+the choir, these were removed, and on the south side replaced by a stone
+gallery, and this again has been taken down.</p>
+
+<p>In Dean Goulburn's time the floor of the presbytery was raised by two
+steps, which occurred one bay past the tower arch eastward.<a id="Page_65" name="Page_65"><span class="pagenum">[65]</span></a>
+</p>
+<div class="figcenter">
+<a id="image21" name="image21"></a>
+<a href="images/image21h.jpg" >
+	<img src="images/image21.jpg" alt="The Choir and Presbytery." title="The Choir and Presbytery." />
+</a>
+<br /><span class="caption">The Choir and Presbytery.</span></div>
+
+<p><a id="Page_67" name="Page_67"><span class="pagenum">[67]</span></a>Quite recently, there have been further alterations carried out by
+Dean Lefroy. The eastern arm of the building was closed for two and a
+half years, and during this time the whole of the whitewash, etc.,
+covering the stonework was flaked off, with much benefit to the
+appearance of this part of the interior. The level of the presbytery
+floor has been brought forward to the tower arch, and at the same time
+the floors of both transepts and choir were brought to one level, and
+various obstructions in the way of pews and raised floors removed.</p>
+
+<p>The choir was opened after this work by Archbishop Benson, 2nd May 1894.</p>
+
+<div class="figright">
+<a id="image22" name="image22"></a>
+<a href="images/image22h.jpg" >
+	<img src="images/image22.jpg" alt="A Stall in the Choir." title="A Stall in the Choir." />
+</a>
+<br /><span class="caption">A Stall in the Choir.</span>
+</div>
+
+<p><b>The Choir</b> extends one bay, or the space of two compartments, into the
+nave, as was usual in cathedral priories, and was originally occupied
+during the offices of the Benedictines by the prior, sub-prior, and the
+sixty monks. The bishop&mdash;who was the nominal abbot&mdash;with his presbyters,
+occupied the presbytery.</p>
+
+<p>The stalls, sixty in number, with an additional two for the prior and
+sub-prior, facing east, are fine specimens of fifteenth-century work,
+the detail varying though the main lines are preserved in each.</p>
+
+<p>Each of these stalls retains the <i>subsellium</i> or <i>miserere</i>, which,
+hinged at the back, turns up and discloses a small ledge beneath
+supported by carving, which ledge is supposed to have been used by the
+aged monks to rest on during the first long office of the Benedictines,
+which lasted four <a id="Page_68" name="Page_68"><span class="pagenum">[68]</span></a>hours. Did they, however, by any chance allow the
+seat to fall, they are said to have had to go through the whole of their
+prayers again as a penance. All these <i>misereres</i> are worth studying,
+especially as the white and grey paint which had disfigured them has
+been cleaned off since 1806.</p>
+
+<p>The choir was re-arranged by Salvin in 1833, and the chancellor's stall,
+shown in early prints, against the north-east tower pier, was removed at
+this time. The presbytery was filled with stalls, which have been lately
+removed, and in part refixed in the nave. During the recent alterations
+the row of fifteenth-century stalls, each with its <i>miserere</i>, has been
+removed from its original position in front of the canopied stalls, and
+placed across the transepts, and their place taken by others, made up of
+various fragments of old seating.</p>
+
+<p>Also the older bishop's throne, erected by Dean Lloyd late in the
+eighteenth century, &quot;in resemblance to ancient Gothic workmanship,&quot; was
+removed from the south-east pier of the tower and placed in the
+consistory court, and its place taken (1894) by the present erection,
+designed by Pearson also in the style of ancient Gothic workmanship, and
+made by Cornish and Gaymer. The new pulpit, taking the place of that put
+up after the demolition of the chancellor's stall, was designed by J.D.
+Seddon, and executed by H. Hems of Exeter.</p>
+
+<p><a id="III_10" name="III_10"></a><b>The Pelican Lectern</b>, now in the choir (see illustration, p. 110), was
+formerly hidden away in the Jesus Chapel; it is late Decorated in
+character; the three small figures were added in 1845. There is enough
+metal in this piece of mediaeval work to make a dozen modern replicas.</p>
+
+<p><a id="III_11" name="III_11"></a><b>The Presbytery</b> consists of two double severies, or four compartments,
+terminated by a semi-circular apse of five compartments. The four
+compartments on either side have, in the lower stages of their design,
+rich four-centred arches of Perpendicular period, with niches between on
+the piers; the spandrels are filled in to a horizontal line, above
+which, at the level of the triforium floor, is an elaborate cusped
+cresting. The triforium is Norman, lofty in scale. Over this come four
+light transitional (Decorated to Perpendicular) clerestory windows, with
+niches canopied forward in the thickness of the wall over the clerestory
+path; the windows being on the outer face of wall. From the apex of the
+ogee arches of the niches spring the vaulting ribs of the later vault,
+without any intermediate shaft. The apse preserves its Norman
+characteristics in the lower stage as well as at the triforium level.
+Here the interest of the student must surely be concentrated; as this
+eastern arm of the cathedral is the earliest part of the building.
+Herbert, the founder, laid the foundation-stone at the extreme east,
+probably in the original Norman Lady Chapel, and built westwards, and
+here, in front of the high altar, was he buried.<a id="Page_69" name="Page_69"><span class="pagenum">[69]</span></a></p>
+
+<div class="figcenter">
+<a id="image23" name="image23"></a>
+<a href="images/image23h.jpg" >
+	<img src="images/image23.jpg" alt="The Choir and Presbytery in 1816." title="The Choir and Presbytery in 1816." />
+</a>
+<br /><span class="caption">The Choir and Presbytery in 1816.</span>
+</div>
+
+<p><a id="Page_70" name="Page_70"><span class="pagenum">[70]</span></a>The remains of the first bishop's throne, with the westward position,
+are in the central bay of the apse. Behind it, in the screen wall, can
+be discerned an arch which looks like a door head; if there be a vault
+beneath the presbytery, it is probable that this is the walled-up
+entrance.</p>
+
+<p>On the east side of the tower over the arch can be seen the lines of the
+original Norman roof. The Norman clerestory was so badly damaged by part
+of the tower falling in 1362 that the present clerestory was built in
+its place by Bishop Percy (1355-69), the presbytery, at the same time
+being covered over with a framed timber roof. In 1463 this (together
+with the spire) was struck by lightning, and fell burning into the
+presbytery, where it burned itself away. Here and there in the aisles,
+and wherever the Norman stonework is visible, traces of an orange
+discoloration give evidence of the heat generated by the mass.</p>
+
+<p>The present lierne vault was added by Bishop Goldwell (1472-99), and his
+rebus, a gold well, can be seen cut on the bosses at the intersections
+of vaulting ribs. The curious junction of the later vault with the
+ogee-shaped arches of the clerestory should be noticed.</p>
+
+<p>While the original triforium yet remains, the character of the main
+arcade was altered by the insertion of the four-centred &quot;Perpendicular&quot;
+arches, the work of Bishop Goldwell, whose tomb is under one on the
+south side. These lower arches were filled with screens, removed in
+1875.</p>
+
+<p>The lower apsidal arches, in the beginning of the century, were
+completely filled with imitation Norman work; this has been cleared away
+to the original height of the screen wall, with much improvement to the
+general effect.<a id="Page_71" name="Page_71"><span class="pagenum">[71]</span></a></p>
+
+<div class="figcenter">
+<a id="image24" name="image24"></a>
+<a href="images/image24h.jpg" >
+	<img src="images/image24.jpg" alt="The Choir Stalls at the beginning of the Nineteenth
+Century." title="The Choir Stalls at the beginning of the Nineteenth
+Century." />
+</a>
+<br /><span class="caption">The Choir Stalls at the beginning of the Nineteenth
+Century.</span>
+</div>
+
+<p>The present altar, designed by Sir A.W. Blomfield, occupies probably the
+position of the original altar. The question where the high altar stood
+has provoked much speculation. <a id="Page_72" name="Page_72"><span class="pagenum">[72]</span></a>Professor Willis placed it more to the
+westward, thinking that a quatrefoiled opening or hagioscope in the
+screen wall of the last bay on the north side of the Presbytery (marked
+9 on <a href="#image40">plan</a>) was made to afford a view of it from the aisle. Harrod points
+out that there is a small hole in the vault above, from which probably
+hung down the light of the sacrament. The position of this hole, and the
+fact that such a light would necessarily be placed before the altar, and
+not over or behind it, is evidence that the altar was about where it is
+now. Blomfield, again, averred that the people stood in the aisle and
+confessed to the priest standing in the sanctuary, the &quot;voice coming
+through a hole made in the wall for that purpose,&quot; the hole being the
+hagioscope referred to. But, as Harrod observes, to do this the priest
+must have assumed a recumbent position, which is neither convenient nor
+usual.</p>
+
+<p>The real use, no doubt, of this bay of the arcade, was for the Easter
+sepulchre; its usual position is on the north side of the sanctuary. It
+will be noticed also that in the aisle immediately behind is a raised
+gallery of Decorated character, access to which was gained from the
+sanctuary by steps on the left side of the bay of the arcade, in which
+occurs the hagioscope. This gallery formed the ante-chapel to the
+<a id="III_12" name="III_12"></a><b>Reliquary Chapel</b>, which projected northwards from the aisle of the
+cathedral; the roof line of this chapel can be seen plainly from the
+outside. From the reliquary chapel on Good Friday the crucifix and pyx
+were taken out and deposited in the Easter sepulchre below; and from the
+vault above, through the hole before referred to, was hung the great
+sepulchre light. More probably the hagioscope was intended to be used by
+the watcher at the sepulchre.<a id="Page_73" name="Page_73"><span class="pagenum">[73]</span></a></p>
+
+<div class="figcenter">
+<a id="image25" name="image25"></a>
+<a href="images/image25h.jpg" >
+	<img src="images/image25.jpg" alt="The Choir, looking West." title="The Choir, looking West." />
+</a>
+<br /><span class="caption">The Choir, looking West.</span>
+</div>
+
+<p>The arrangement of the presbytery, as we have already noted when
+referring to the plates here reproduced from Britton, has undergone many
+changes; in the beginning of the century the level of the floor of the
+choir was continued until between the third and fourth bay from the
+tower in the presbytery, where it rose by five steps to the level of the
+sanctuary floor. Harrod speaks of two steps up at the third pier past
+the tower, and three at the fourth or point of the junction of the apse.
+In Dean Goulburn's time, the sanctuary space was enlarged by being
+brought forward one bay. The present floor, designed by Sir A.W.
+Blomfield in glass mosaic and porphyry, was executed by Powell
+Brothers. Then also was added the somewhat elaborate communicants' rail,
+executed in bronze and spars. In enlarging the sanctuary, Dean Goulburn
+moved the three steps from the fourth pier past the tower to the third,
+and at the same time the two steps <a id="Page_74" name="Page_74"><span class="pagenum">[74]</span></a>at the third pier were moved forward
+to the first past the tower. And now again, during the recent works of
+reparation, the presbytery floor has been brought forward at one level
+to the tower arch, where it descends to the level of the choir floor by
+five steps: screens which filled the first bays on either side were
+removed, and similar flights of steps now descend from the presbytery
+and the north and south aisles. The cumbrous stalls were also removed,
+and in part refixed in the nave.</p>
+
+<p>The stained glass which fills the clerestory windows of the apse dates
+from 1846, and was made by Yarrington. The window in the triforium just
+above the altar contains modern stained-glass, dedicated to the memory
+of Canon Thurlow.</p>
+
+<p><a id="III_13" name="III_13"></a><b>Monuments in the Presbytery.</b>&mdash;The monument of Herbert, the first
+bishop of Norwich, and the founder of the cathedral, was raised in the
+centre of presbytery, before the high altar. It was so much injured
+during the time of the Rebellion that a new one was erected in 1682;
+this again was levelled, and a slab placed in the floor at the same
+place now remains.</p>
+
+<p>In the second bay eastward from the tower (south side), marked 10 on
+<a href="#image40">plan</a>&mdash;Bishop Goldwell's (1472-99) chantry, and the altar tomb,
+remarkable for the effigy in full pontificals (see illustration). Bloxam
+remarks that it is &quot;the only instance of the monumental effigy of a
+bishop, prior to the Reformation, in which the <i>cappa pluvialis</i>, or
+processional cope, is represented as the outward vestment instead of the
+casula or chesible.&quot; The tomb is placed to the south of the recess; in
+the space east was an altar.</p>
+
+<p>In the third bay eastward was Bishop Wakering's (1416-25) tomb, the only
+part of which now remaining is visible from the south aisle, and
+consists of a series of panels with plain shields and figures two by
+two, with the several instruments of the Passion. There were formerly
+steps down into the south aisle from this bay. In the same place is a
+monument to Bishop Overall (d. 1619).<a id="Page_75" name="Page_75"></a><span class="pagenum">[75]</span></p>
+
+<div class="figcenter">
+<a id="image26" name="image26"></a>
+<a href="images/image26h.jpg" >
+	<img src="images/image26.jpg" alt="Detail of the Presbytery Clerestory and Vaulting." title="Detail of the Presbytery Clerestory and Vaulting." />
+</a>
+<br /><span class="caption">Detail of the Presbytery Clerestory and Vaulting.</span>
+</div>
+
+<p>In the fourth bay (marked 11 on <a href="#image40">plan</a>) the altar tomb of Sir William
+Boleyn of Blickling (d. 1505).</p>
+
+<p>Of the fourth bay eastward from tower on the south side (marked 9 on
+<a href="#image40">plan</a>), Sir Thomas Browne says: &quot;On the north of the choir&mdash;<i>the
+presbytery is meant</i>&mdash;between the two arches, <a id="Page_76" name="Page_76"></a><span class="pagenum">[76]</span>next to Queen
+Elizabeth's seat, were buried Sir Thomas Erpingham and his wives, the
+Lady Joan, etc., whose pictures were in the painted glass windows next
+to this place, with the arms of the Erpinghams. The insides of both the
+pillars were painted in red colours, with divers figures and
+inscriptions from the top almost to the bottom, which are now washed out
+by the late whiting of the pillars.... There was a long brass
+inscription about the tombstone, which was torn away in the late times,
+the name of Erpingham only remaining.&quot;</p>
+
+<p>During the recent works, under this same spot was found a leaden coffin
+enclosing human bones, which were possibly the remains of Sir Thomas
+Erpingham.</p>
+
+<p>An amusing tale is told by Harrod of Roger Bigod's burial in the
+cathedral. He was the founder of Thetford Priory, and died in 1107,
+leaving directions that his body should be buried in his own monastery.
+The prior of Thetford was much perplexed to hear that Bishop Herbert had
+taken possession of the body, and had determined that it should be
+interred with all the due solemnities at Norwich. Herbert was anxious to
+secure for his own foundation so valuable a source of income as the
+offerings and celebrations at the tomb of a pious man like Bigod; and no
+doubt the prior was not actuated alone by love for his departed abbot.
+The bishop won, and Roger Bigod was buried in the cathedral, possibly in
+the same crypt which is supposed to contain the bones of Herbert
+himself.</p>
+
+<p><a id="III_14" name="III_14"></a><b>The North Transept</b>, like the south, is without aisles or triforium,
+the wall space up to the clerestory level being decorated with wall
+arcading, varying considerably in position and detail in each
+compartment. The clerestory follows round from the nave, and overhead is
+the later lierne vault. It was, together with the eastern arm of the
+cathedral, closed for two and a half years, during which period the
+whole of the lime-white and paint encrusting the stonework was flaked
+off. The work, so far as we can understand, was really a restoration,
+inasmuch as the original stonework was restored to view. The level of
+the floor was made to correspond with that of the choir, and a raised
+wooden floor with the benches thereon removed. The transepts were built
+by Herbert, the first bishop and founder. Both originally had an apsidal
+chapel on the eastern wall, but only that on the north arm remains,
+and access to this now is not possible from the transept. Dedicated at
+one time to St. Anne, it is now used as a store-house.<a id="Page_77" name="Page_77"><span class="pagenum">[77]</span></a></p>
+
+<div class="figcenter">
+<a id="image27" name="image27"></a>
+<a href="images/image27h.jpg" >
+	<img src="images/image27.jpg" alt="The Choir Apse." title="The Choir Apse." />
+</a>
+<br /><span class="caption">The Choir Apse.</span>
+</div>
+
+<p><a id="Page_79" name="Page_79"><span class="pagenum">[79]</span></a>The vault was added by Bishop Nykke, and was necessitated by a fire in
+1509, which consumed the wooden roofs of both transepts. During the
+recent works the small arcading immediately under the line of the vault
+was discovered walled up, the builders of the later vault in all
+probability having done this, as in many cases the line of the vault
+cuts over the arcading. This was opened up, and is distinctively
+interesting in helping to reconstruct the original finish to the Norman
+work under the roof.</p>
+
+<p><a id="III_15" name="III_15"></a><b>The Tower and Triforium Walks</b>, to which access is gained by a
+staircase in the east wall of north transept, are of much interest. In
+the triforium the imposition of the later work on the Norman is clearly
+noticeable, and the original Norman triple windows walled up with the
+wall shafts which once supported the semi-arches of the triforium roof.
+Some of the best views of the interior are to be gained from the
+triforium and clerestory paths.</p>
+
+<div class="figleft">
+<a id="image28" name="image28"></a>
+<a href="images/image28h.jpg" >
+	<img src="images/image28.jpg" alt="Detail of the Clerestory, North Transept." title="Detail of the Clerestory, North Transept." />
+</a>
+<br /><span class="caption">Detail of the Clerestory, North Transept.</span>
+</div>
+
+<p><b>Interior of Tower.</b>&mdash;A continuation of the same staircase leads to the
+clerestory, and from thence access is gained to the tower galleries.
+Above the arches of the crossing there is a vaulted passage in the
+thickness of the tower walls, with six arches pierced in the inner wall,
+so that the parts of the interior can be seen from this walk. Above
+occurs a smaller wall arcade, stopped before reaching the angle to admit
+of large circular holes being deeply recessed in the walls; and above
+this again another vaulted gallery, with three windows on either side,
+pierced through the tower. In the lower of these walks openings occur
+through the thickness of the walls into the presbytery, the nave, and
+transepts, just under the vaults, and interestingly quaint peeps can be
+gained through them.</p>
+
+<p><a id="III_16" name="III_16"></a>The <b>Processional Path</b>, or aisles to the presbytery, consists of four
+bays to the north and south, with quadri-partite vaulting, with a
+similar five following round the line of the apse. A door in the north
+aisle leads out into the gardens of the bishop's palace, and from thence
+the exterior of this part of the cathedral is best seen.
+<a id="Page_80" name="Page_80"><span class="pagenum">[80]</span></a>
+</p>
+
+<p>Crossing the north aisle to the presbytery, at the fourth bay eastward
+past the tower, marked F on <a href="#image40">plan</a>, there occurs a curious bridge chapel
+spanning the aisle, access thereto being gained by a newel staircase on
+the north side. In our notes on the Presbytery, we have referred to the
+uses assigned to this structure and its connection with the Easter
+sepulchre. It formed the ante-chapel to the reliquary chapel projecting
+northward from the outer wall of the cathedral; it probably was built as
+a bridge so that relics and symbols might be exhibited thereon to
+processions passing along underneath. It is decorated in character, and
+the vault is constructed of chalk. The chapel above is decorated with
+frescoes, the subjects of which are as follow:&mdash;In the western quarter
+of the four-part vault, The Blessed Virgin between SS. Margaret and
+Catherine; in the eastern, SS. Andrew, Peter, and Paul; in the northern,
+SS. Martin, Nicholas, Richard; in the southern, SS. Edmund, Lawrence,
+and a bishop; a figure of Christ occurs centrally. Copies of these
+frescoes have been made in facsimile, and hang in the aisle and
+consistory court. Passing through the small door in the north wall of
+the north aisle before mentioned to the outside, the lines of the
+reliquary chapel can be plainly seen, and also of another to the west;
+the position of both these chapels is shown by dotted lines on the <a href="#image40">plan</a>.
+<a id="Page_81" name="Page_81"><span class="pagenum">[81]</span></a>
+</p>
+
+<div class="figcenter">
+<a id="image29" name="image29"></a>
+<a href="images/image29h.jpg" >
+	<img src="images/image29.jpg" alt="The South Aisle of Presbytery, looking East." title="The South Aisle of Presbytery, looking East." />
+</a>
+<br /><span class="caption">The South Aisle of Presbytery, looking East.</span>
+</div>
+
+<p><a id="Page_83" name="Page_83"><span class="pagenum">[83]</span></a>A coped coffin lid of Purbeck marble, now in the aisle of presbytery,
+should be noticed; an inscribed brass once occupied the bevelled edge.</p>
+
+<p><b>The Chapels.</b>&mdash;In the Norman cathedral, grouped round the east end of
+the presbytery, was a trefoil of chapels; the one on the north, the
+Jesus Chapel, yet remains, and as well its fellow on the south. The Lady
+Chapel, or easternmost of the three (shown on <a href="#image40">plan</a> by dotted lines) was
+succeeded by an Early English building, which, in its turn, was
+destroyed; the entrance arches, of beautiful proportion, alone
+remaining.</p>
+
+<div class="figcenter">
+<a id="image30" name="image30"></a>
+<a href="images/image30h.jpg" >
+	<img src="images/image30.jpg" alt="Norman Work in the Lantern of Tower." title="Norman Work in the Lantern of Tower." />
+</a>
+<br /><span class="caption">Norman Work in the Lantern of Tower.</span>
+</div>
+
+<p><a id="III_17" name="III_17"></a><b>The Jesus Chapel</b> formerly belonged to the bishop. On plan its shape is
+that of segments of circles joined, the altar placed in the smaller
+part. A simple wall arcade runs round the lower half, the whole being
+covered by a plain <a id="Page_84" name="Page_84"><span class="pagenum">[84]</span></a>quadri-partite vault. The windows are insertions of
+Perpendicular work, varied in character from the Norman work of the
+chapel itself. The mural colouring is a restoration; it may be something
+like the original, but the general effect is somewhat garish.</p>
+
+<div class="figcenter">
+<a id="image31" name="image31"></a>
+<a href="images/image31h.jpg" >
+	<img src="images/image31.jpg" alt="The Ante-Reliquary Bridge Chapel." title="The Ante-Reliquary Bridge Chapel." />
+</a>
+<br /><span class="caption">The Ante-Reliquary Bridge Chapel.</span>
+</div>
+
+<p><a id="Page_85" name="Page_85"><span class="pagenum">[85]</span></a></p>
+
+<div class="figcenter">
+<a id="image32" name="image32"></a>
+<a href="images/image32h.jpg" >
+	<img src="images/image32.jpg" alt="Doorway and Screen between South Transept and Aisle of
+Presbytery." title="Doorway and Screen between South Transept and Aisle of
+Presbytery." />
+</a>
+<br /><span class="caption">Doorway and Screen between South Transept and Aisle of
+Presbytery.</span>
+</div>
+
+<p><a id="Page_87" name="Page_87"><span class="pagenum">[87]</span></a>The altar consists of a slab of grey Barnack-stone, with Purbeck
+inlaid, the whole being supported on shafts.</p>
+
+<p>The tomb of Sir Thomas Wyndham, now in the north of nave, at one time
+stood here, as also the pelican lectern now in the choir.</p>
+
+<p>In Britton, the chapel is shown divided off from the aisle by a stone
+screen of Perpendicular character; this was removed, and used to form in
+part the present screens dividing the ante-choir from the aisles.</p>
+
+<p>A room over the Jesus Chapel, once the plumbery, is now used as a
+museum.</p>
+
+<p>The Entrance which led to the Lady Chapel is immediately behind the
+apse, and takes the form of a double arch with clustered columns to the
+jambs and central pier; the archivolt is deeply moulded and enriched
+with the typical Early English &quot;dog-tooth&quot; ornament. In the spandrel
+over the pier, and between the archivolts, is a quatrefoiled opening
+fitting just under the line of the semi-circular Norman vault. The
+arches, walled-in up to the impost level, are now filled with glass, as
+well as the opening. The original circular Norman Lady Chapel was
+destroyed in part by the fire of 1169; it was repaired by Bishop De
+Turbe (1146-74), but it was not until the time of Walter de Suffield
+(1245-57) that it was decided to pull it down and rebuild a chapel in
+the style of the period&mdash;viz. Early English; it was this later building
+that Dean Gardiner (1573-89) destroyed.</p>
+
+<p>Dean Goulburn, in his work on the cathedral, points out that it was the
+<i>cultus</i> of the Blessed Virgin, which gathered strength all over Europe
+during the twelfth and thirteenth centuries, that led to the erection of
+such sumptuous chapels as this thirteenth-century Lady Chapel of Norwich
+must have been. When the theological reaction followed, they fell into
+disuse and neglect, and their final ruin followed when it was found
+cheaper to pull them down than keep them in repair.</p>
+
+<p>The beautiful proportion of the entrance arches still remaining, the
+archivolt enriched with the &quot;dog-tooth&quot; moulding&mdash;the only example of
+this particular ornament at Norwich&mdash;gives one an idea of what the
+chapel may have been like. During the recent works of reparation in the
+choir, pieces of stone were found with the &quot;dog-tooth&quot; built inwards:
+evidently the stone from the pulled down chapel had been used by the
+masons for the repair of the fabric.</p>
+
+<p><a id="Page_88" name="Page_88"><span class="pagenum">[88]</span></a><a id="III_18" name="III_18"></a><b>St. Luke's Chapel</b>, on the south side of the apse corresponding with
+the Jesus Chapel on the north, was formerly the chapel of the prior. It
+is now used as the parish church of St. Mary in the Marsh. It has been
+much restored, and the Decorated windows shown in Britton's view of the
+east end of the cathedral were replaced early in the sixties, by what
+the restorer would no doubt have called Norman.</p>
+
+<p>The coloured glass was inserted to the east window in 1868, the south
+window in 1870, the west window in 1881. That in the east and south is
+by Hardman, in the west by Clayton &amp; Bell. The glass in the south window
+forms a memorial to Adam Sedgwick, Professor of Geology at Cambridge,
+and canon of the cathedral for many years.</p>
+
+<p><a id="III_19" name="III_19"></a>The room over the St. Luke's Chapel is used as the <b>Treasury and
+Muniment Room</b>.</p>
+
+<p><a id="III_20" name="III_20"></a><b>The Bauchon Chapel</b>&mdash;corrupted to Beauchamp&mdash;dedicated to St.
+Mary-the-Less, projects to the south of the third bay of the presbytery
+aisle past the tower, (marked B on <a href="#image40">plan</a>). It was founded in the
+fourteenth century and the vault added in the fifteenth century. Its
+bosses represent the Life, Death, and Assumption of the Virgin. The
+chapel is now used as the consistory court. The bishop's throne, erected
+by Dean Lloyd late in the eighteenth century in the choir, has found a
+resting-place here.</p>
+
+<p>A chapel, founded by Bishop Wakering, and which is said to have been
+used as the chapter-house after the demolition of that structure, came
+between the Bauchon Chapel and the east wall of the south transept. Its
+exact position is, however, doubtful. Harrod, quoting Blomfield, speaks
+of another chapel that was dedicated to St. Osyth, and which was paved
+in 1398.</p>
+
+<p><a id="III_21" name="III_21"></a><b>The South Transept.</b>&mdash;The screen and doorway filling the Norman arch
+between the south aisle of presbytery and the south transept should be
+noticed; it is an interesting piece of work of late Perpendicular
+design. There is a tradition that the Puritans disliked especially any
+tracery that took the form of this piece of screen work, calling windows
+in which it occurred &quot;wicked windows.&quot; The intersection of the lines of
+the tracery made the monogram of the Blessed Virgin; and the fanatics
+destroyed such work wherever noticed. The tale is interesting, though we
+cannot vouch for its truth.<a id="Page_89" name="Page_89"><span class="pagenum">[89]</span></a>
+</p>
+<div class="figcenter">
+<a id="image33" name="image33"></a>
+<a href="images/image33h.jpg" >
+	<img src="images/image33.jpg" alt="View across the Apse from the Chapel of St. Luke." title="View across the Apse from the Chapel of St. Luke." />
+</a>
+<br /><span class="caption">View across the Apse from the Chapel of St. Luke.</span>
+</div>
+<p><a id="Page_91" name="Page_91"><span class="pagenum">[91]</span></a>At the time the whitewash and paint covering the south transept was
+cleaned off a range of small arcading was discovered immediately under
+the line of the vault, as in the north transept, walled-up evidently
+when the vault was added.</p>
+
+<p>The south transept had in Norman times a circular chapel projecting
+eastward similar to that remaining to the north transept. This was
+replaced by a later sacristy during the fifteenth century, and the line
+of this roof can be seen from the outside.</p>
+
+<p>Across the south end there was formerly a stone screen built by Bishop
+Lyhart (1446-72) communicating with the vestry on the east side, and on
+the west with the staircase to rooms above the east walk of cloisters.
+These rooms, as we have before noted, were in all probability the
+dormitories of the monks, placed that they might so conveniently gain
+access to the cathedral for the services.</p>
+
+<p>On the top of Lyhart's screen came a clock; there are records in the
+sacrists' rolls of materials used in the construction of an earlier
+clock that was made between 1322-25&mdash;of two hundred pieces of Caen stone
+and ten of &quot;Gobetz&quot; used to make a base, and that for making thirty
+images to represent the days of the month, no less than 47s. 4d. was
+paid.</p>
+
+<p>The vault was added by Bishop Nykke at the same time as that to the
+north transept; the carved bosses representing the early history of
+Christ&mdash;the Presentation, Baptism, etc. The painted glass window on the
+east side, the subject of which is the Ascension (after Raphael), was
+erected by the widow of Dean Lloyd about a century since. Speaking of
+its original position in the triforium of the presbytery, Britton says
+&quot;it disfigures, rather than ornaments, its station&quot;; it can safely be
+added that it fulfils the same purpose still.</p>
+
+<p><a id="III_22" name="III_22"></a><b>Monuments.</b>&mdash;Chantrey's statue of Bishop Bathhurst (d. 1837),
+originally in the presbytery, has been placed here in the south
+transept. The west wall has a memorial to the men and officers of the
+9th (East Norfolk) Regiment of Foot who fell in China and Japan.</p>
+
+<p>The east wall has a similar tablet to those of the same regiment who
+fell in Afghanistan, 1842. A monument, originally on the west wall, to
+Bishop Scambler (1585-95), has been removed to the south aisle of nave.</p>
+
+<p>The county of Norfolk is peculiarly rich in painted screens <a id="Page_92" name="Page_92"><span class="pagenum">[92]</span></a>of the
+fourteenth and fifteenth centuries; and it would have been strange
+indeed if no specimen of their work had been preserved in the cathedral.
+Fortunately, a superb <b>retable</b> in five panels, representing scenes in
+the Passion of our Lord was discovered by Professor Willis in 1847, and
+is now preserved in the aisle outside the Jesus Chapel.</p>
+
+<p>This was formerly an altar-piece to the Jesus Chapel, and was preserved
+by the happy accident of its admirable carpentry having saved it for the
+purposes of a table. It appears to have been the work of an Italian
+artist of about 1370 A.D., and is executed in a kind of <i>gesso</i> work.
+The size is now 7 ft. 5&frac12; ins. x 2 ft. 4 ins.; but it was formerly
+surrounded by an ornamented frame, of which portions remain on three
+sides. The subjects represented are&mdash;from the left&mdash;The Scourging,
+Bearing the Cross, the Crucifixion, the Resurrection, and the
+Ascension.<a name="FNanchor_A_1" id="FNanchor_A_1"></a><a href="#Footnote_A_1"><span class="fnanchor">*</span></a>
+</p>
+
+<p>Traces of other decorative painting have also been discovered in the
+Sacrist's Room, St. Luke's and the Jesus Chapels, the choir aisles, and
+other places.</p>
+
+<div class="footnote">
+<p><a name="Footnote_A_1" id="Footnote_A_1"></a>
+<a href="#FNanchor_A_1">*</a> Royal Arch. Institute: Norwich volume, p. 198.
+</p>
+</div>
+<hr />
+<p><a id="Page_93" name="Page_93"><span class="pagenum">[93]</span></a></p>
+<div class="figcenter">
+
+<a id="image34" name="image34"></a>
+<a href="images/image34h.jpg" >
+	<img src="images/image34.jpg" alt="The Resurrection: from the Painted Retable formerly in
+the Jesus Chapel." title="The Resurrection: from the Painted Retable formerly in
+the Jesus Chapel." />
+</a>
+<br /><span class="caption">The Resurrection: from the Painted Retable formerly in
+the Jesus Chapel.</span>
+
+</div>
+
+<hr />
+<p class="center"><span class="pagenum"><a href="#CONTENTS">Table of Contents</a><br /><a id="Page_95" name="Page_95">[95]</a></span></p>
+<h2><a name="CHAPTER_IV" id="CHAPTER_IV"></a>
+CHAPTER IV<br />
+<span class="subtitle">THE SEES OF THE EAST ANGLIAN BISHOPS</span>
+</h2>
+
+<p>Herbert, surnamed de Losinga, transferred the see from Thetford to
+Norwich in 1094, and it is from this period that the history of the
+cathedral may be said to commence; but, to understand rightly the
+history of the diocese, we must go back some four centuries and a half
+to that earlier period when Redwald, king of the East Angles, was first
+converted to Christianity while paying a visit to the court of Ethelbert
+in Kent. He, however, proved but a weak disciple, and on being urged by
+his wife to be true to the old gods, he tried to effect a compromise and
+worship Jehovah and Baal.</p>
+
+<p>He was succeeded by his son Eorpwald, who was converted by missionaries
+sent by Edwin king of Northumbria. His reign, however, was short, and at
+his death the people again relapsed into heathenism.</p>
+
+<p>Christianity was finally established among the East Angles by Sigeberht,
+Eorpwald's brother, and it was due to him and through his influence that
+Felix, a missionary from Burgundy, was enabled to fix his see at
+Dunwich, A.D. 630.</p>
+
+<p><b>Felix</b> (630-47) must needs have been a man strong in his Faith; he
+christianised the whole of that district which now includes Norfolk,
+Suffolk, and Cambridgeshire. He died on the 8th of March, and was
+canonized after death. Felixstowe, where he is said to have founded
+schools, keeps his memory green in the East Country; but Dunwich, where
+he fixed his see, has long since been covered by the encroaching waves.</p>
+
+<p>Sigeberht resigned the crown to his kinsman Egric, and had entered a
+monastery to finish his days in peace. But the kingdom was invaded by
+the Mercians under Penda, and the peaceful old king was compelled to
+appear in the field to give heart and courage to the East Angles. He,
+however, declined to employ carnal weapons, and went out against his
+enemies <a id="Page_96" name="Page_96"><span class="pagenum">[96]</span></a>armed with nothing more formidable than a wand. He was killed
+in the ensuing engagement, and his successor, Egric, shared the same
+fate.</p>
+
+<p>The administration of the two successors to Felix lasted twenty-two
+years, from A.D. 647-69. The East Anglian see was then divided by
+Theodore, Archbishop of Canterbury, into two separate administrations,
+<b>Acci</b>, the fourth successor to Felix, taking Dunwich, while <b>Beadwin</b>
+was consecrated to the see of Elham.</p>
+
+<p>From this date there were two lines of East Anglian Bishops; ten
+diocesans followed after Acci at Dunwich, and nine after Beadwin at
+Elmham.</p>
+
+<p><b>St. Humbert</b> (828-78) was the last of the Bishops of Elmham; he crowned
+St. Edmund king of the East Angles, and both were murdered by the Danes
+under Hinguar in 870.</p>
+
+<p>After Humbert's death the two sees were again united under <b>Wildred</b>,
+who at this time was Bishop of Dunwich; he, however, preferred Humbert's
+see at Elham, and removed there, and so the bishopric of Dunwich became
+extinct.</p>
+
+<p>During the next two hundred years (870-1070), there were thirteen
+bishops of Elmham, and then Elmham shared a similar fate to Dunwich, and
+the see was moved to Thetford by <b>Herfast</b>, a chaplain of William the
+Conqueror. William of Malmesbury records that Herfast had decided to go
+down to posterity as a man <i>who had done something</i>, and fixed on this
+removal as an easy solution of the difficulty.</p>
+
+<p><b>William Galsagus</b> (1086-91) or de Beaufeu succeeded Herfast, and he in
+turn was succeeded by Herbert de Losinga, who became first Bishop of
+Norwich.</p>
+
+<p>The history of <b>Herbert's</b> episcopate (1091-1119) is the history of the
+causes which effected the building of Norwich Cathedral, and, although
+given previously in the history of the fabric, must needs be briefly
+recapitulated here. Herbert, if not of Norman birth, had received his
+education in Normandy and was Prior of F&eacute;camp&mdash;where he had first taken
+his vows&mdash;when offered by William Rufus the appointment of Abbot of
+Ramsey. The see of Thetford fell vacant, and Herbert procured his own
+appointment from the Red King in consideration of a sum of &pound;1900 which
+he paid into the royal treasury. The remorse which followed on this sin
+of simony compelled him to go to Rome and seek the consolation <a id="Page_97" name="Page_97"><span class="pagenum">[97]</span></a>and
+forgiveness of Pope Urban. This was in 1094. He returned, and as
+expiation for his sin founded the Priory of Norwich, the first stone of
+which was laid in 1096, the see being removed from Thetford in
+accordance with the decree of Lanfranc's Synod, held in 1075, that all
+bishops should fix their sees in the principal town in their dioceses.</p>
+
+<p>In cathedral monasteries the bishop, who was elected by the monks,
+appears to have represented the abbot and took precedence of the prior.
+Before Herbert's time, the chapter was composed of secular canons and
+not monks.</p>
+
+<p>Herbert, in 1101, placed sixty monks at Norwich, and it may be of
+interest to quote from Taylor's &quot;<i>Index Monasticus</i>&quot; the establishment
+of the monastery from Herbert's time up to the dissolution in 1538&mdash;</p>
+<div class="figcenter">
+<table width="75%" summary="index of monastery">
+<tr><td align="left">The Bishop representing the Abbot.</td><td align="left">Chaplains.</td></tr>
+<tr><td align="left">The Lord Prior. </td><td align="left">Precentor or chanter. </td></tr>
+<tr><td align="left">The Sub-Prior. </td><td align="left">Sub-chanter. </td></tr>
+<tr><td align="left">60 Monks. </td><td align="left">Infirmarer. </td></tr>
+<tr><td align="left">Sacrist. </td><td align="left">Choristers. </td></tr>
+<tr><td align="left">Sub-sacrist. </td><td align="left">Keeper of the Shrines. </td></tr>
+<tr><td align="left">Cellarer or bursar. </td><td align="left">Lay Officers. </td></tr>
+<tr><td align="left">Camerarius or chamberlain. </td><td align="left">Butlers. </td></tr>
+<tr><td align="left">Almoner. </td><td align="left">Granarii. </td></tr>
+<tr><td align="left">Refectorer. </td><td align="left">Hostilarii. </td></tr>
+<tr><td align="left">Pittancier. </td><td align="left">Carcerarius or gaoler. </td></tr>
+</table>
+</div>
+<p>
+Archbishop Anselm had refused to acknowledge that the king had the right
+to exercise a suzerainty over the Church, and declined to consent to lay
+investitures. An embassy was sent to Rome, and Herbert, who went there a
+second time about 1116, represented the king. It, however, was in no way
+satisfactory; the Pope did not want to offend the king, and he wished to
+retain to himself the right of investiture, so, while congratulating the
+Archbishop's representatives, he sympathised also with those of the
+king. The exertion told on Herbert, and at Placentia, on the return
+journey, he fell sick, and stopped there until he became sufficiently
+convalescent to journey by short and easy stages to his own cathedral
+city. He lived to complete much important business, but his days of
+administration were drawing to a close. He had been Prior of F&eacute;camp,
+Abbot of Ramsey, Sewer to William Rufus, had governed the East Anglian
+bishopric first from the episcopal <a id="Page_98" name="Page_98"><span class="pagenum">[98]</span></a>see at Thetford, had transferred it
+to Norwich, and founded the Cathedral Priory, and if this were not
+sufficient, he founded and endowed many other churches and monasteries
+in the East Country. His repentance had been sincere, and in one of his
+letters he refers to &quot;my past life, which, alas! is darkened by many
+foul sins.&quot; Dean Goulburn credits him with a third journey to Rome, and
+says that it was at Placentia, on the outward journey, that he
+contracted so grievous a sickness that he &quot;lay ten successive days
+without taking food and without uttering a word&quot;; in fact, never
+reaching Rome, but waiting for and rejoining his brother ambassadors on
+their return. This journey was undertaken with the view of adjusting the
+differences that had arisen between the new Primates, Ralph and
+Thurston. The embassy was not successful, the Pope declining to commit
+himself to any but the most general statements.</p>
+
+<p>One of the last public acts of Herbert's life was to attend the funeral
+of Queen Matilda on May-day, 1118. He died on the 22nd of July 1119 in
+the twenty-seventh year of his episcopate, and was buried before the
+high altar of his cathedral church.</p>
+
+<p><b>Eborard</b> (1121-1145), who succeeded Herbert, a son by second marriage
+of Roger de Montgomery, first Earl of Arundel, was consecrated in 1121.</p>
+
+<p>During his episcopate Eborard had parted with the towns of Blickling and
+Cressingham, which pertained to his see, to two of the more powerful
+barons, in the hope of securing the rest of the episcopal property, and
+possibly with the idea of regaining possession of the same when the
+troubled times should have passed.</p>
+
+<p>He was deposed in 1145, and it may possibly be that he had favoured the
+cause of Maude in the civil wars of the period, and that it was Stephen
+who compelled him to relinquish his see and spend the rest of his life
+in exile. He had in 1139 laid the foundation of an abbey at Fontenay, in
+the south of France, and thither he repaired. He died in 1149.</p>
+
+<p>His successor, <b>William de Turbe</b> (1146-1174), was elected to the see,
+and in the year 1146 was consecrated at Canterbury by Archbishop
+Theobald.</p>
+
+<p>In 1168, Becket had written to De Turbe from Vezelay, a town on the
+borders of Burgundy and Nivernois, and ordered <a id="Page_99" name="Page_99"><span class="pagenum">[99]</span></a>him, by the Pope's
+authority, to publicly excommunicate Hugh Bigot, Earl of Norfolk. He had
+robbed the Priory of Pentnay, in Norfolk, of some of its possessions. De
+Turbe obeyed, notwithstanding the fact that the king had sent officers
+to prohibit him from so doing. An absolution was obtained from the Pope,
+but the king was so far incensed that De Turbe considered it advisable
+to rest in sanctuary at Norwich until the following year, 1169, when he
+received the royal pardon.</p>
+
+<div class="figcenter">
+<a id="image35" name="image35"></a>
+<a href="images/image35h.jpg" >
+	<img src="images/image35.jpg" alt="Norwich Castle." title="Norwich Castle." />
+</a>
+<br /><span class="caption">Norwich Castle.</span>
+</div>
+
+<p>Bishop William de Turbe died 17th January 1174, and was buried in the
+cathedral choir, on the left side of the founder.</p>
+
+<p><b>John of Oxford</b> (1175-1200) was consecrated at Lambeth by Richard,
+Archbishop of Canterbury, December 14, 1175; he was clerk or royal
+chaplain to the king. He had presided over the council of Clarendon, the
+constitutions of which defined the king's prerogatives in regard to the
+Church, and chiefly with regard to the question of trying clerks charged
+with crimes in the civil courts. He was despatched to Rome on an embassy
+<a id="Page_100" name="Page_100"><span class="pagenum">[100]</span></a>to the Pope, Alexander III., and on its failure was sent by Henry to
+the Diet at Wurzburg; the king, not having been supported by Alexander,
+determined to uphold his opponent, and as well he, in direct opposition
+to the Pope, made John of Oxford Dean of Salisbury, with the result that
+the future Bishop of Norwich incurred the penalty of excommunication by
+Becket from Vezelay, &quot;for having fallen into a damnable heresy in taking
+a sacrilegious oath to the emperor, for having communicated with the
+schismatic of Cologne, and for having usurped to himself the deanery of
+the church of Salisbury.&quot;</p>
+
+<p>The dispute was referred to the Pope at Sens, where John of Oxford, with
+his fellow-ambassador, Gilbert Foliot, Bishop of London, repaired; John
+of Oxford was rebuked by the Pontiff for his misconduct, but
+diplomatically managed to effect his end and retain his deanery. Henry
+had met Becket at Chaumont, through the mediation of the Archbishop of
+Sens, and, the quarrel being patched up, John of Oxford was sent to
+escort him to England. He landed, December 1, at Sandwich, in the year
+1170, and within the month was murdered at Canterbury.</p>
+
+<p>In 1175, the incursion of William of Scotland was checked, and the king
+himself taken prisoner by Ranulph de Glanville. John of Oxford and
+others were commissioned to settle terms of peace; and they executed the
+treaty of Falaice, afterwards ratified by King Henry at York, by which
+the Scottish king and his barons were under the necessity of doing
+homage for their possessions. John of Oxford, who had rendered good
+service to his sovereign, was rewarded by promotion to the vacant see of
+Norwich; and during his episcopate sent by the king on an embassy to
+William, King of Sicily, to convey his majesty's consent to the marriage
+of his daughter Joan with that monarch.</p>
+
+<p>An important step in the administration of justice was taken during this
+reign&mdash;the king divided the country into six circuits, to which certain
+prelates and nobles were to be sent at certain times to hear suits and
+save litigants the trouble of attending the king's court at Westminster.
+John of Oxford was one of a company of five to whom was given
+jurisdiction over a portion of the country, from Norwich down to Sussex,
+and from Buckinghamshire and Bedfordshire eastward to the coast.</p>
+
+<p>On the 9th of July 1189, King Henry died, and was succeeded by his third
+son, Richard: John of Oxford assisting <a id="Page_101" name="Page_101"><span class="pagenum">[101]</span></a>at the coronation. Richard had
+no sooner been crowned than he led the crusade to the Holy Land, which
+had been preparing in Henry's time, and John of Oxford was forced to
+proceed to the Pope to ask for his absolution of the oath he had taken
+to follow the Cross, on account of his old age and infirmity. This
+request being granted, for which he had to pay 10,000 marks, he returned
+to England.</p>
+
+<p>The last public act of John of Oxford&mdash;who was one of the most
+remarkable men who have held the see of Norwich&mdash;was most probably his
+attendance at the coronation of King John. He died June 2, 1200.</p>
+
+<p><b>John de Grey</b> (1200-1214) was elected by the monks, and his election
+being confirmed by King John, he was consecrated by Hubert, Archbishop
+of Canterbury. It was during his episcopate, and through the quarrel
+between King John and the Pope, that the power of the latter was at
+length firmly established&mdash;a supremacy that was unquestioned until the
+sixteenth century.</p>
+
+<p>The metropolitan see of Canterbury fell vacant in 1205; the sub-prior,
+who was surreptitiously elected by the monks, and unknown to the king,
+travelled to Rome for the Pope's sanction of his appointment. When the
+king became aware of this he was enraged, and despatched an embassy
+upholding his nominee, John de Grey. The Pope pleased neither party, and
+named Stephen Langton as Hubert's successor. The Pope, Innocent, sent
+two legates, of whom Pandulph was one, in 1211 to England, and on John
+declining to recognise the Papal claims, he was deposed, and his crown
+offered to the French king Philip.</p>
+
+<p>The country had been placed under an interdict, and most of the bishops
+had left the country. John de Grey remained faithful to the king, and
+actually invaded France with a small force to attack the invading
+Philip, but soon was forced to retreat. In the end, John submitted,
+resigned his crown, which was restored to him, and was compelled to pay
+to the Church as damages 40,000 marks. John de Grey, who had been sent
+to Rome to arrange this, died on the return journey at S. Jean d'Angelo,
+near Poictiers, 18th October 1214.</p>
+
+<p><b>Pandulph Masca</b> (1222-1226) was consecrated Bishop of Norwich by
+Honorius, 29th May 1222. He is supposed to have been a member of a noble
+Pisan family, and in 1211 <a id="Page_102" name="Page_102"><span class="pagenum">[102]</span></a>had been sent by Pope Innocent to humble King
+John, which he successfully did. He was again employed as Papal Legate
+during the young King Henry II.'s minority, and died in Italy, 16th
+September 1226, having played a prominent part as politician and
+mediator.</p>
+
+<p><b>Thomas de Blunville</b> (1226-1236), the nephew of Hubert de Burgh, Lord
+Chief-Justice of England, was consecrated in St. Catherine's Chapel at
+Westminster by Stephen, Archbishop of Canterbury. He died in 1236, and
+was succeeded by <b>Ralph de Norwich</b>, of whom but little is known; and is
+even supposed to have died before his consecration.</p>
+
+<p><b>William de Ralegh</b> was consecrated on the 25th September 1239 at St.
+Paul's by Edmund Rich, Archbishop of Canterbury. He had been a chaplain
+of King Henry, and having received the education of a lawyer, from
+1224-35 he visited various parts of the kingdom as a justiciary. On the
+death of Peter de Rupibus he was elected to the see at Winchester by the
+monks, in direct defiance of the king. The Pope's intervention in the
+end secured him his see. He died at Tours in 1250.</p>
+
+<p><b>Walter de Suffield</b> (1245-57) was elected bishop by the monks after
+Ralegh's translation. He chiefly busied himself in building and
+beautifying the cathedral, and there is no record that he took any
+prominent part in politics. He superintended a general inquisition
+(known as the Norwich taxation) into the value of the Church revenues
+throughout the whole of England. He died May 18, 1257, during a visit to
+Colchester.</p>
+
+<p><b>Simon de Walton</b> (1258-66) was consecrated by Boniface, Archbishop of
+Canterbury, on March 10, 1258. He held (in 1246) the office of
+justice-itinerant. Of his administration little is known. He was past
+seventy when he assumed the charge of the diocese. The barons under De
+Montfort had beaten the king's army at Lewes, in 1264, and in 1266, from
+their encampment in the Isle of Ely, attacked and sacked the city. Simon
+de Walton died January 2, 1266.</p>
+
+<p><b>Roger de Skerming</b> (1266-78) was elected by the monks, and was
+consecrated by Geoffrey Rages in St. Paul's Cathedral in April 1266. It
+was during his episcopate that the disturbance occurred between the
+monks and citizens <a id="Page_103" name="Page_103"><span class="pagenum">[103]</span></a>over the annual fair held on Trinity Sunday, in
+Tombland. He died January 2, 1278.</p>
+
+<div class="figcenter">
+<a id="image36" name="image36"></a>
+<a href="images/image36h.jpg" >
+	<img src="images/image36.jpg" alt="The Guildhall." title="The Guildhall." />
+</a>
+<br /><span class="caption">The Guildhall.</span>
+</div>
+
+<p><b>William de Middleton</b> (1278-88) was consecrated at Lambeth by the
+Archbishop of Canterbury on May 29, 1278, and was enthroned, and the
+Cathedral re-dedicated after the sacrilege and fire, on Advent Sunday,
+1278, when Edward I. and his queen were present. He was appointed a
+guardian of the realm, 1279, during the king's absence in <a id="Page_104" name="Page_104"><span class="pagenum">[104]</span></a>France;
+Archdeacon of Canterbury in 1276; and also steward of Bordeaux. He died
+September 1, 1288, at Terling, in Essex, and his remains were carried in
+state to Norwich, and there buried in the Lady Chapel.</p>
+
+<p><b>Ralph de Walpole</b> (1289-99) was of Norfolk extraction, and an
+archdeacon of Ely. He was consecrated to the see on Mid-lent Sunday,
+1289, at Canterbury, by John Peckham archbishop. His election, however,
+was displeasing to the diocese. He was translated to Ely in 1299.</p>
+
+<p><b>John Salmon</b> (1299-1325), prior of Ely, had been elected bishop by the
+monks, but was appointed to the see at Norwich at the same time that
+Walpole was translated to Ely. He was consecrated by Archbishop
+Winchelsey October 3, at Canterbury, and was one of the envoys sent to
+the Court of Philip the Fair King of France, to arrange the marriage of
+the young king Edward II. (1307). He was appointed chancellor of the
+realm in 1320. He also went to France again in 1325; and it was on his
+return that he died July 6, 1325.</p>
+
+<p><b>William de Ayerminne</b> (1325-36) was elected to the see by papal bull in
+1325, and this overruled the election by the monks of Robert de Baldock.
+Ayerminne was consecrated to the see September 15, 1325. He had held a
+prebendal stall at St. Paul's in 1313 and in the next year at Lincoln.
+In 1324 he was sent as ambassador to Robert Bruce to treat for peace. He
+died at Charing, March 27, 1336; and was buried in the cathedral before
+the high altar. He appears to have been cunning and crafty, and not
+above changing his political views when occasion demanded.</p>
+
+<p><b>Anthony de Beck</b> (1337-43) was nominated by the Pope, the monks having
+chosen Thomas de Hemenhale, who however, went to Worcester. Both were
+consecrated to their respective dioceses by the Pope at Avignon March
+30, 1337. He had been Dean of Lincoln. In 1342 he resisted the
+Archbishop Stratford's visitation; this must have been a foretaste to
+the monks of his imperious temper. In 1343 he was poisoned by his own
+servants.</p>
+
+<p><b>William Bateman</b> (1344-54), of a Norwich family, had been archdeacon of
+Norwich, chaplain to the Pope, and dean of Lincoln. He was consecrated
+by the Pope at Avignon, 23rd May 1344. During his episcopate in (Edward
+III.'s reign) <a id="Page_105" name="Page_105"><span class="pagenum">[105]</span></a>1349, Norwich was visited by &quot;Black Death&quot;; over 51,000
+are supposed to have fallen victims to the dread plague. He founded
+Trinity Hall at Cambridge, 1350; was sent to Rome on an embassy there.
+He died January 6, 1354. He was buried at the church of St. Mary of
+Avignon.</p>
+
+<p><b>Thomas Percy</b> (1355-69), brother of Henry Percy, Earl of
+Northumberland, against the wishes of the monks, was elected to the see.
+He was consecrated January 3, 1355, at Waverly, in Surrey, by the
+Bishops of Winchester, Sarum, and Chichester. The nobility at this time
+were securing church preferments for their families to keep pace with
+the formation of the professions and general advance of learning. He
+died August 8, 1369, and was buried in the cathedral, before the rood
+loft.</p>
+
+<p><b>Henry le Dispencer</b> (1370-1406) was consecrated at Rome, 21st April
+1370. He was hated by the monks, who had no share in his election. He
+was of martial feeling, and took a prominent part in quelling the local
+disturbance incident on Wat Tyler's rebellion, 1381. He was employed by
+Urban VI. against his rival, Pope Clement VII.; was arrested for treason
+in 1399, and pardoned by Henry IV. He died 1406.</p>
+
+<p><b>Alexander de Totington</b> (1407-13), prior of Norwich, was elected by the
+monks in September 1406. This election found no favour at the Court, and
+he was imprisoned at Windsor for nearly a year. He was then released,
+and consecrated at Gloucester by the Archbishop October 23, 1407. He
+died April 28, 1413, and was buried in the Lady Chapel.</p>
+
+<p><b>Richard Courtenay</b> (1412-15) was nominated by Henry V., and consecrated
+by the Archbishop at Windsor 17th September 1413. He was Chancellor of
+the University of Oxford in 1407-11-13. He died at Harfleur in 1415,
+while on attendance to the king during the siege of that town. His body
+was brought to England, and buried in Westminster Abbey.</p>
+
+<p><b>John Wakering</b> (1416-25), who was elected by the monks, had become
+keeper of the privy seal in 1415. He was consecrated at St. Paul's by
+the Archbishop May 31, 1416. He persecuted the Lollards strongly, and
+during his episcopate many were burned at the stake. Yet his character
+apparently <a id="Page_106" name="Page_106"><span class="pagenum">[106]</span></a>was far from being harsh. He died at Thorpe in 1435, and was
+buried in the presbytery.</p>
+
+<p><b>Alnwick</b> (1426-36) was confessor to Henry VI., and in 1420 archdeacon
+of Salisbury. He was appointed by a papal bull, and consecrated August
+18, 1426. He was translated by papal bull in 1436 to Lincoln.</p>
+
+<p><b>Thomas Browne's</b> (1436-45) appointment was contained in the same bull
+that translated Alnwick. He had been previously Dean of Salisbury in
+1431, and Bishop of Rochester in 1435. During his episcopate the
+citizens again laid the priory under siege over a question of dues due
+to them, and the liberties of the city were, as a consequence, seized by
+the king. Browne died in 1445, and was buried in the nave, in the front
+and to the west side of rood.</p>
+
+<p><b>Walter Lyhart</b> (1446-72) was nominated by the Pope, and consecrated
+February 1446, at Lambeth, by the Archbishop Stafford. He had been
+confessor to Henry VI.'s wife, Margaret of Anjou. He died May 17, 1472.</p>
+
+<p><b>James Goldwell</b> (1472-99) had been ambassador of Edward IV. at Rome. He
+was nominated by the Pope, and consecrated at Rome, October 4, 1472. He
+died February 15, 1499.</p>
+
+<p><b>Thomas Jane</b> (1499-1500) had been Canon of Windsor and Dean of Chapel
+Royal in 1497; was consecrated on October 20, 1499. He died in September
+1500.</p>
+
+<p><b>Richard Nykke</b> was consecrated in 1501. He was of infamous character,
+and no doubt stimulated the zeal of the reformers, who may well have
+contended that the Church which had such prelates surely needed
+reformation. He persecuted those opposed to him, and burned many at the
+stake. He was imprisoned in 1535, for appealing to Rome touching the
+king's prerogative. He died January 14, 1536.</p>
+
+<p><b>William Rugg</b> (1536-50) was the last Bishop of Norwich before the
+dissolution of the monasteries. Wolsey's downfall had occurred in 1529,
+and in 1536 the smaller monasteries were dissolved, and in 1538 the
+larger ones shared the same fate, Norwich being among the number, the
+last prior, <b>William Castleton</b>, becoming dean. William Rugg resigned
+the see in 1550.</p>
+<div class="figcenter">
+<a id="Page_107" name="Page_107"><span class="pagenum">[107]</span></a>
+<a id="image37" name="image37"></a>
+<a href="images/image37h.jpg" >
+	<img src="images/image37.jpg" alt="Monument of Bishop Goldwell." title="Monument of Bishop Goldwell." />
+</a>
+<br /><span class="caption">Monument of Bishop Goldwell.</span>
+</div>
+
+<p><a id="Page_108" name="Page_108"><span class="pagenum">[108]</span></a>On the foundation of the cathedral after the Dissolution the
+establishment was as follows:&mdash;</p>
+<div class="figcenter">
+<table summary="establishment">
+<tr><td align="left">One dean. </td><td align="left">Six poor men or bedesmen. </td></tr>
+<tr><td align="left">Six prebendaries. </td><td align="left">One sacrist. </td></tr>
+<tr><td align="left">Six minor canons. </td><td align="left">Two sub-sacrists. </td></tr>
+<tr><td align="left">One deacon reader of the Gospel. </td><td align="left">One beadle of the poor men. </td></tr>
+<tr><td align="left">One deacon reader of the Epistle. </td><td align="left">One high steward. </td></tr>
+<tr><td align="left">Eight lay clerks to be expert in singing. </td><td align="left">And clerks, porters, auditors, and a coroner. </td></tr>
+<tr><td align="left">One organist, eight choristers. </td><td align="left"> </td></tr>
+<tr><td align="left">One precentor. </td><td align="left">&nbsp; </td></tr>
+</table>
+</div>
+
+<p>And such constitution, with but few changes, has held down to this day,
+the prebendaries have become resident canons, and the precentor is also
+a minor canon.</p>
+
+<p><b>Thomas Thirley</b> (1550-54) owed his preferment to Norwich from
+Westminster to Edward VI. Queen Mary, in September 1554, promoted him to
+Ely. He was the first and only bishop Westminster has had.</p>
+
+<p><b>John Hopton</b> (1554-58) was chaplain to Queen Mary, and aided in the
+persecution of the Protestants.</p>
+
+<p><b>John Parkhurst</b> (1560-75) is credited with having &quot;beautified and
+repaired&quot; the bishop's palace.</p>
+
+<p><b>Edmund Freke</b> (1575-78) was translated from Rochester, and again to
+Worcester in 1578.</p>
+
+<p><b>Edmund Scambler</b> (1585-94) was translated to Norwich from Peterborough.</p>
+
+<p><b>William Redman</b> (1594-1602).</p>
+
+<p><b>John Jegon</b> (1602-1617) was master of Benedict College for twelve
+years.</p>
+
+<p><b>John Overall</b> (1618-19) was translated from Lichfield and Coventry; he
+enjoyed the reputation of being the &quot;best scholastic divine in the
+English nation.&quot;</p>
+
+<p><b>Samuel Harsnet</b> (1619-28); translated to York in 1628.</p>
+
+<p><b>Francis White</b> (1628-31); translated to Ely in 1631.</p>
+
+<p><b>Richard Corbet</b> (1632) was translated from Oxford. Of him it was said
+&quot;he was a distinguished wit in an age of wits, and a liberal man amongst
+a race of intolerant partisans.&quot;</p>
+
+<p><b>Matthew Wren</b> (1635-38); translated to Ely in 1638.</p>
+
+<p><b>Richard Montague</b> (1638-41); translated from Chichester.</p>
+
+<p><b>Joseph Hall</b> (1641-56); translated from Exeter. We have quoted in the
+notes on nave from his &quot;Hard Measure.&quot;</p>
+
+<p><a id="Page_109" name="Page_109"><span class="pagenum">[109]</span></a><b>Edward Reynolds</b> (1661-76).</p>
+
+<p><b>Antony Sparrow</b> (1676-85); translated from Exeter. He was the author of
+a &quot;Rationale upon the Book of Common Prayer,&quot; 1657.</p>
+
+<p><b>William Lloyd</b> (1685-91); translated from Llandaff to Peterborough, and
+from thence to Norwich. He was deposed in 1690 for refusing to take the
+oath of allegiance to William III.</p>
+
+<p><b>John Moore</b> (1691-1707); translated to Ely in 1707.</p>
+
+<p><b>Charles Trimmell</b> (1708-1721); translated to Winchester in 1721.</p>
+
+<p><b>Thomas Green</b> (1721-23); translated to Ely 1723.</p>
+
+<p><b>John Lang</b> (1723-27).</p>
+
+<p><b>William Baker</b> (1727-32); translated from Bangor.</p>
+
+<p><b>Robert Butts</b> (1733-38); translated to Ely 1738.</p>
+
+<p><b>Sir Thomas Gooch, Bart.</b> (1738-48); translated from Bristol.</p>
+
+<p><b>Samuel Lisle</b> (1748-49); translated from St. Asaph.</p>
+
+<p><b>Thomas Hayter</b> (1749-61); translated to London in 1761.</p>
+
+<p><b>Philip Yonge</b> (1761-83); translated from Bristol.</p>
+
+<p><b>Lewis Bagot</b> (1783-90); translated from Bristol.</p>
+
+<p><b>George Horne</b> (1791-92).</p>
+
+<p><b>Charles Manners Sutton</b> (1792-1805); translated to Canterbury in 1805.</p>
+
+<p><b>Henry Bathurst</b> (1805-37).</p>
+
+<p><b>Edward Stanley</b> (1837-49), father of the late Dean of Westminster.</p>
+
+<p><b>Samuel Hinds</b> (1849-57).</p>
+
+<p><b>John Thomas Pelham</b> (1857-93).</p>
+
+<p><b>J. Sheepshanks</b> (1893).</p>
+
+<div class="figcenter">
+<a id="Page_110" name="Page_110"><span class="pagenum">[110]</span></a>
+<a id="image38" name="image38"></a>
+<a href="images/image38h.jpg" >
+	<img src="images/image38.jpg" alt="The Pelican Lectern in the Choir." title="The Pelican Lectern in the Choir." />
+</a>
+<br /><span class="caption">The Pelican Lectern in the Choir.</span>
+</div>
+
+<hr />
+
+<p class="center"><span class="pagenum"><a href="#CONTENTS">Table of Contents</a><br /><a id="Page_111" name="Page_111">[111]</a></span></p>
+<h2><a name="CHAPTER_V" id="CHAPTER_V"></a>
+CHAPTER V<br />
+<span class="subtitle">THE CITY</span></h2>
+
+<p>The visitor to this ancient city will by no means wish to confine his
+attention to the Cathedral and its precincts; but the space at our
+disposal will not permit more than a list of other monuments which are
+worthy of attention. Among these the <b>Castle</b> naturally comes first.
+Occupying the site of a very ancient&mdash;probably British&mdash;stronghold, the
+first building was erected in early Norman times. For many years it was
+the principal fortress of the Bigods, Earls of Norfolk, and under them
+experienced many vicissitudes of fortune at the hands of both Flemings
+and French. The last event of importance connected with it was the
+hanging of Kett in 1549. The keep is in dimensions 96 x 92 feet, its
+height being 72 feet (see p. 99).</p>
+
+<p>The <b>Guildhall</b> contains many interesting relics of the civil life of
+Norwich during the sixteenth and seventeenth centuries, including those
+of the famous Guild of S. George, established in 1385 and dissolved in
+1731 (see p. 103).</p>
+
+<p><b>St. Andrew's Hall</b>, a fifteenth-century building, was formerly the nave
+of the Church of the Blackfriars. It contains some good pictures of the
+English School.</p>
+
+<p>Among the <b>Churches</b>, that of St. Peter, Mancroft (fifteenth century),
+is well worth a visit. Its tower, 98 feet in height, contains one of the
+most famous peals of bells in England, and has always been the
+headquarters of a notable band of change-ringers. Of the others, St.
+Gregory, Pottergate, has some interesting antiquities; St. Giles', St.
+Helen's, and St. John the Baptist are all of importance: the latter has
+some good mural painting and monumental brasses, which <a id="Page_112" name="Page_112"><span class="pagenum">[112]</span></a>should also be
+examined. St. Michael's, Coslaney, is a well-known type of the Norfolk
+flint construction.</p>
+
+<div class="figcenter">
+<a id="image39" name="image39"></a>
+<a href="images/image39h.jpg" >
+	<img src="images/image39.jpg" alt="Pull's Ferry." title="Pull's Ferry." />
+</a>
+<br /><span class="caption">Pull's Ferry.</span>
+</div>
+
+<p>At <b>Pull's Ferry</b> the water-gate to the precincts is still standing. It
+is an interesting piece of flint work. The ferry itself, of which a view
+is given here, is a favourite sketching place.</p>
+
+<h3>THE END</h3>
+
+<hr />
+
+<div class="figcenter">
+<a id="image40" name="image40"></a>
+<a href="images/image40h.jpg" >
+	<img src="images/image40.jpg" alt="PLAN OF THE CATHEDRAL." title="PLAN OF THE CATHEDRAL." />
+</a>
+<br /><span class="caption">PLAN OF THE CATHEDRAL.</span>
+</div>
+<h4>REFERENCES TO PLAN.</h4>
+
+<table summary="References to plan" width="80%">
+<tr>
+<td align="left">A. Dean's Vestry.</td>
+<td align="left">1. Altar Tomb of Sir Thomas Wyndham.</td>
+</tr>
+<tr>
+<td align="left">B. The Chapel of St. Mary-the-Less.</td>
+<td align="left">2. Altar Tomb of Sir John Hobart.</td>
+</tr>
+<tr>
+<td align="left">C. The Chapel of St. Luke.</td>
+<td align="left">3. Tomb of Chancellor Spencer.</td>
+</tr>
+<tr>
+<td align="left">D. The Jesus Chapel.</td>
+<td align="left">4. Altar Tomb of Bishop Parkhurst (1560-74).</td>
+</tr>
+<tr>
+<td align="left">E. Bishop Nykke's Chapel.</td>
+<td align="left">5. Door in the East Walk of Cloisters.</td>
+</tr>
+<tr>
+<td align="left">F. The Ante-Reliquary Chapel.</td>
+<td align="left">6. Door once leading to Refectory.</td>
+</tr>
+<tr>
+<td align="left">G. The High Altar.</td>
+<td align="left">7. The Monks' Lavatories.</td>
+</tr>
+<tr>
+<td align="left">H. Site of destroyed Chapter-House.</td>
+<td align="left">8. Door once leading to the Guest Hall.</td>
+</tr>
+<tr>
+<td align="left">J. The Locutory, now used as the Choir School.</td>
+<td align="left">9. The Easter Sepulchre and Burial-place<br /> of Sir Thomas Erpingham.</td>
+</tr>
+<tr>
+<td align="left">Y. A Main Pier in Nave.</td>
+<td align="left">10. Bishop Goldwell's Chantry.</td>
+</tr>
+<tr>
+<td align="left">Z. A Subsidiary Pier in Nave.</td>
+<td align="left">11. The Altar Tomb of Sir William Boleyn<br /> of Blickling (<i>d.</i> 1505).</td>
+</tr>
+</table>
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of Bell's Cathedrals: The Cathedral
+Church of Norwich, by C. H. B. Quennell
+
+*** END OF THIS PROJECT GUTENBERG EBOOK NORWICH CATHEDRAL ***
+
+***** This file should be named 19715-h.htm or 19715-h.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/1/9/7/1/19715/
+
+Produced by Jonathan Ingram, David Cortesi and the Online
+Distributed Proofreading Team at http://www.pgdp.net
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+http://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit: http://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
+
+
+</pre>
+
+</body>
+</html>
diff --git a/19715-h/images/image01.jpg b/19715-h/images/image01.jpg
new file mode 100644
index 0000000..484138d
--- /dev/null
+++ b/19715-h/images/image01.jpg
diff --git a/19715-h/images/image01h.jpg b/19715-h/images/image01h.jpg
new file mode 100644
index 0000000..f352da2
--- /dev/null
+++ b/19715-h/images/image01h.jpg
diff --git a/19715-h/images/image02.jpg b/19715-h/images/image02.jpg
new file mode 100644
index 0000000..595901e
--- /dev/null
+++ b/19715-h/images/image02.jpg
diff --git a/19715-h/images/image03.jpg b/19715-h/images/image03.jpg
new file mode 100644
index 0000000..11dbad5
--- /dev/null
+++ b/19715-h/images/image03.jpg
diff --git a/19715-h/images/image03h.jpg b/19715-h/images/image03h.jpg
new file mode 100644
index 0000000..c9c736c
--- /dev/null
+++ b/19715-h/images/image03h.jpg
diff --git a/19715-h/images/image04.jpg b/19715-h/images/image04.jpg
new file mode 100644
index 0000000..510210a
--- /dev/null
+++ b/19715-h/images/image04.jpg
diff --git a/19715-h/images/image04h.jpg b/19715-h/images/image04h.jpg
new file mode 100644
index 0000000..50772f6
--- /dev/null
+++ b/19715-h/images/image04h.jpg
diff --git a/19715-h/images/image05.jpg b/19715-h/images/image05.jpg
new file mode 100644
index 0000000..ffeea2f
--- /dev/null
+++ b/19715-h/images/image05.jpg
diff --git a/19715-h/images/image05h.jpg b/19715-h/images/image05h.jpg
new file mode 100644
index 0000000..319eb16
--- /dev/null
+++ b/19715-h/images/image05h.jpg
diff --git a/19715-h/images/image06.jpg b/19715-h/images/image06.jpg
new file mode 100644
index 0000000..9e0d4b7
--- /dev/null
+++ b/19715-h/images/image06.jpg
diff --git a/19715-h/images/image06h.jpg b/19715-h/images/image06h.jpg
new file mode 100644
index 0000000..9633e52
--- /dev/null
+++ b/19715-h/images/image06h.jpg
diff --git a/19715-h/images/image07.jpg b/19715-h/images/image07.jpg
new file mode 100644
index 0000000..5c82b3a
--- /dev/null
+++ b/19715-h/images/image07.jpg
diff --git a/19715-h/images/image07h.jpg b/19715-h/images/image07h.jpg
new file mode 100644
index 0000000..0165c6e
--- /dev/null
+++ b/19715-h/images/image07h.jpg
diff --git a/19715-h/images/image08.jpg b/19715-h/images/image08.jpg
new file mode 100644
index 0000000..3766f12
--- /dev/null
+++ b/19715-h/images/image08.jpg
diff --git a/19715-h/images/image08h.jpg b/19715-h/images/image08h.jpg
new file mode 100644
index 0000000..845fb5a
--- /dev/null
+++ b/19715-h/images/image08h.jpg
diff --git a/19715-h/images/image09.jpg b/19715-h/images/image09.jpg
new file mode 100644
index 0000000..cc9a069
--- /dev/null
+++ b/19715-h/images/image09.jpg
diff --git a/19715-h/images/image09h.jpg b/19715-h/images/image09h.jpg
new file mode 100644
index 0000000..2f9809d
--- /dev/null
+++ b/19715-h/images/image09h.jpg
diff --git a/19715-h/images/image10.jpg b/19715-h/images/image10.jpg
new file mode 100644
index 0000000..ff26e66
--- /dev/null
+++ b/19715-h/images/image10.jpg
diff --git a/19715-h/images/image10h.jpg b/19715-h/images/image10h.jpg
new file mode 100644
index 0000000..b39ef3e
--- /dev/null
+++ b/19715-h/images/image10h.jpg
diff --git a/19715-h/images/image11.jpg b/19715-h/images/image11.jpg
new file mode 100644
index 0000000..b384361
--- /dev/null
+++ b/19715-h/images/image11.jpg
diff --git a/19715-h/images/image11h.jpg b/19715-h/images/image11h.jpg
new file mode 100644
index 0000000..dd2e848
--- /dev/null
+++ b/19715-h/images/image11h.jpg
diff --git a/19715-h/images/image12.jpg b/19715-h/images/image12.jpg
new file mode 100644
index 0000000..b7138d9
--- /dev/null
+++ b/19715-h/images/image12.jpg
diff --git a/19715-h/images/image12h.jpg b/19715-h/images/image12h.jpg
new file mode 100644
index 0000000..253dfa0
--- /dev/null
+++ b/19715-h/images/image12h.jpg
diff --git a/19715-h/images/image13.jpg b/19715-h/images/image13.jpg
new file mode 100644
index 0000000..e3d18b0
--- /dev/null
+++ b/19715-h/images/image13.jpg
diff --git a/19715-h/images/image13h.jpg b/19715-h/images/image13h.jpg
new file mode 100644
index 0000000..dd59544
--- /dev/null
+++ b/19715-h/images/image13h.jpg
diff --git a/19715-h/images/image14.jpg b/19715-h/images/image14.jpg
new file mode 100644
index 0000000..0325023
--- /dev/null
+++ b/19715-h/images/image14.jpg
diff --git a/19715-h/images/image15.jpg b/19715-h/images/image15.jpg
new file mode 100644
index 0000000..0be4c2f
--- /dev/null
+++ b/19715-h/images/image15.jpg
diff --git a/19715-h/images/image15h.jpg b/19715-h/images/image15h.jpg
new file mode 100644
index 0000000..9bc9452
--- /dev/null
+++ b/19715-h/images/image15h.jpg
diff --git a/19715-h/images/image16.jpg b/19715-h/images/image16.jpg
new file mode 100644
index 0000000..5d1f42e
--- /dev/null
+++ b/19715-h/images/image16.jpg
diff --git a/19715-h/images/image16h.jpg b/19715-h/images/image16h.jpg
new file mode 100644
index 0000000..f223b9d
--- /dev/null
+++ b/19715-h/images/image16h.jpg
diff --git a/19715-h/images/image17.jpg b/19715-h/images/image17.jpg
new file mode 100644
index 0000000..37d74fe
--- /dev/null
+++ b/19715-h/images/image17.jpg
diff --git a/19715-h/images/image17h.jpg b/19715-h/images/image17h.jpg
new file mode 100644
index 0000000..96616b5
--- /dev/null
+++ b/19715-h/images/image17h.jpg
diff --git a/19715-h/images/image18.jpg b/19715-h/images/image18.jpg
new file mode 100644
index 0000000..d52216f
--- /dev/null
+++ b/19715-h/images/image18.jpg
diff --git a/19715-h/images/image18h.jpg b/19715-h/images/image18h.jpg
new file mode 100644
index 0000000..d453684
--- /dev/null
+++ b/19715-h/images/image18h.jpg
diff --git a/19715-h/images/image19.jpg b/19715-h/images/image19.jpg
new file mode 100644
index 0000000..976797b
--- /dev/null
+++ b/19715-h/images/image19.jpg
diff --git a/19715-h/images/image19h.jpg b/19715-h/images/image19h.jpg
new file mode 100644
index 0000000..33f294a
--- /dev/null
+++ b/19715-h/images/image19h.jpg
diff --git a/19715-h/images/image20.jpg b/19715-h/images/image20.jpg
new file mode 100644
index 0000000..4665677
--- /dev/null
+++ b/19715-h/images/image20.jpg
diff --git a/19715-h/images/image20h.jpg b/19715-h/images/image20h.jpg
new file mode 100644
index 0000000..88a7eab
--- /dev/null
+++ b/19715-h/images/image20h.jpg
diff --git a/19715-h/images/image21.jpg b/19715-h/images/image21.jpg
new file mode 100644
index 0000000..98638b3
--- /dev/null
+++ b/19715-h/images/image21.jpg
diff --git a/19715-h/images/image21h.jpg b/19715-h/images/image21h.jpg
new file mode 100644
index 0000000..ff0e461
--- /dev/null
+++ b/19715-h/images/image21h.jpg
diff --git a/19715-h/images/image22.jpg b/19715-h/images/image22.jpg
new file mode 100644
index 0000000..06315c3
--- /dev/null
+++ b/19715-h/images/image22.jpg
diff --git a/19715-h/images/image22h.jpg b/19715-h/images/image22h.jpg
new file mode 100644
index 0000000..502b503
--- /dev/null
+++ b/19715-h/images/image22h.jpg
diff --git a/19715-h/images/image23.jpg b/19715-h/images/image23.jpg
new file mode 100644
index 0000000..5fab726
--- /dev/null
+++ b/19715-h/images/image23.jpg
diff --git a/19715-h/images/image23h.jpg b/19715-h/images/image23h.jpg
new file mode 100644
index 0000000..752b544
--- /dev/null
+++ b/19715-h/images/image23h.jpg
diff --git a/19715-h/images/image24.jpg b/19715-h/images/image24.jpg
new file mode 100644
index 0000000..26f06a5
--- /dev/null
+++ b/19715-h/images/image24.jpg
diff --git a/19715-h/images/image24h.jpg b/19715-h/images/image24h.jpg
new file mode 100644
index 0000000..9d0a23e
--- /dev/null
+++ b/19715-h/images/image24h.jpg
diff --git a/19715-h/images/image25.jpg b/19715-h/images/image25.jpg
new file mode 100644
index 0000000..b93f37f
--- /dev/null
+++ b/19715-h/images/image25.jpg
diff --git a/19715-h/images/image25h.jpg b/19715-h/images/image25h.jpg
new file mode 100644
index 0000000..7fd83e6
--- /dev/null
+++ b/19715-h/images/image25h.jpg
diff --git a/19715-h/images/image26.jpg b/19715-h/images/image26.jpg
new file mode 100644
index 0000000..54f559b
--- /dev/null
+++ b/19715-h/images/image26.jpg
diff --git a/19715-h/images/image26h.jpg b/19715-h/images/image26h.jpg
new file mode 100644
index 0000000..3359ec4
--- /dev/null
+++ b/19715-h/images/image26h.jpg
diff --git a/19715-h/images/image27.jpg b/19715-h/images/image27.jpg
new file mode 100644
index 0000000..c588bd1
--- /dev/null
+++ b/19715-h/images/image27.jpg
diff --git a/19715-h/images/image27h.jpg b/19715-h/images/image27h.jpg
new file mode 100644
index 0000000..cabebd9
--- /dev/null
+++ b/19715-h/images/image27h.jpg
diff --git a/19715-h/images/image28.jpg b/19715-h/images/image28.jpg
new file mode 100644
index 0000000..63dab05
--- /dev/null
+++ b/19715-h/images/image28.jpg
diff --git a/19715-h/images/image28h.jpg b/19715-h/images/image28h.jpg
new file mode 100644
index 0000000..9ca5ca1
--- /dev/null
+++ b/19715-h/images/image28h.jpg
diff --git a/19715-h/images/image29.jpg b/19715-h/images/image29.jpg
new file mode 100644
index 0000000..dceb799
--- /dev/null
+++ b/19715-h/images/image29.jpg
diff --git a/19715-h/images/image29h.jpg b/19715-h/images/image29h.jpg
new file mode 100644
index 0000000..74f243c
--- /dev/null
+++ b/19715-h/images/image29h.jpg
diff --git a/19715-h/images/image30.jpg b/19715-h/images/image30.jpg
new file mode 100644
index 0000000..427a0ea
--- /dev/null
+++ b/19715-h/images/image30.jpg
diff --git a/19715-h/images/image30h.jpg b/19715-h/images/image30h.jpg
new file mode 100644
index 0000000..925eb96
--- /dev/null
+++ b/19715-h/images/image30h.jpg
diff --git a/19715-h/images/image31.jpg b/19715-h/images/image31.jpg
new file mode 100644
index 0000000..3c7eeea
--- /dev/null
+++ b/19715-h/images/image31.jpg
diff --git a/19715-h/images/image31h.jpg b/19715-h/images/image31h.jpg
new file mode 100644
index 0000000..5774313
--- /dev/null
+++ b/19715-h/images/image31h.jpg
diff --git a/19715-h/images/image32.jpg b/19715-h/images/image32.jpg
new file mode 100644
index 0000000..9d01f2d
--- /dev/null
+++ b/19715-h/images/image32.jpg
diff --git a/19715-h/images/image32h.jpg b/19715-h/images/image32h.jpg
new file mode 100644
index 0000000..5ffa701
--- /dev/null
+++ b/19715-h/images/image32h.jpg
diff --git a/19715-h/images/image33.jpg b/19715-h/images/image33.jpg
new file mode 100644
index 0000000..6fbe2a0
--- /dev/null
+++ b/19715-h/images/image33.jpg
diff --git a/19715-h/images/image33h.jpg b/19715-h/images/image33h.jpg
new file mode 100644
index 0000000..11990d8
--- /dev/null
+++ b/19715-h/images/image33h.jpg
diff --git a/19715-h/images/image34.jpg b/19715-h/images/image34.jpg
new file mode 100644
index 0000000..1f744a6
--- /dev/null
+++ b/19715-h/images/image34.jpg
diff --git a/19715-h/images/image34h.jpg b/19715-h/images/image34h.jpg
new file mode 100644
index 0000000..3051f54
--- /dev/null
+++ b/19715-h/images/image34h.jpg
diff --git a/19715-h/images/image35.jpg b/19715-h/images/image35.jpg
new file mode 100644
index 0000000..f5ce41c
--- /dev/null
+++ b/19715-h/images/image35.jpg
diff --git a/19715-h/images/image35h.jpg b/19715-h/images/image35h.jpg
new file mode 100644
index 0000000..ca7cc09
--- /dev/null
+++ b/19715-h/images/image35h.jpg
diff --git a/19715-h/images/image36.jpg b/19715-h/images/image36.jpg
new file mode 100644
index 0000000..3987dd1
--- /dev/null
+++ b/19715-h/images/image36.jpg
diff --git a/19715-h/images/image36h.jpg b/19715-h/images/image36h.jpg
new file mode 100644
index 0000000..a8116af
--- /dev/null
+++ b/19715-h/images/image36h.jpg
diff --git a/19715-h/images/image37.jpg b/19715-h/images/image37.jpg
new file mode 100644
index 0000000..2f06217
--- /dev/null
+++ b/19715-h/images/image37.jpg
diff --git a/19715-h/images/image37h.jpg b/19715-h/images/image37h.jpg
new file mode 100644
index 0000000..d7f12aa
--- /dev/null
+++ b/19715-h/images/image37h.jpg
diff --git a/19715-h/images/image38.jpg b/19715-h/images/image38.jpg
new file mode 100644
index 0000000..20bc7d2
--- /dev/null
+++ b/19715-h/images/image38.jpg
diff --git a/19715-h/images/image38h.jpg b/19715-h/images/image38h.jpg
new file mode 100644
index 0000000..1f0b548
--- /dev/null
+++ b/19715-h/images/image38h.jpg
diff --git a/19715-h/images/image39.jpg b/19715-h/images/image39.jpg
new file mode 100644
index 0000000..cf77afa
--- /dev/null
+++ b/19715-h/images/image39.jpg
diff --git a/19715-h/images/image39h.jpg b/19715-h/images/image39h.jpg
new file mode 100644
index 0000000..9038f69
--- /dev/null
+++ b/19715-h/images/image39h.jpg
diff --git a/19715-h/images/image40.jpg b/19715-h/images/image40.jpg
new file mode 100644
index 0000000..2358dab
--- /dev/null
+++ b/19715-h/images/image40.jpg
diff --git a/19715-h/images/image40h.jpg b/19715-h/images/image40h.jpg
new file mode 100644
index 0000000..878f467
--- /dev/null
+++ b/19715-h/images/image40h.jpg
diff --git a/19715.txt b/19715.txt
new file mode 100644
index 0000000..0feabd9
--- /dev/null
+++ b/19715.txt
@@ -0,0 +1,3225 @@
+The Project Gutenberg EBook of Bell's Cathedrals: The Cathedral Church of
+Norwich, by C. H. B. Quennell
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Bell's Cathedrals: The Cathedral Church of Norwich
+       A Description of Its Fabric and A Brief History of the Episcopal See
+
+Author: C. H. B. Quennell
+
+Release Date: November 5, 2006 [EBook #19715]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK NORWICH CATHEDRAL ***
+
+
+
+
+Produced by Jonathan Ingram, David Cortesi and the Online
+Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+[Illustration: Norwich Cathedral from the South-East.]
+
+
+
+
+            THE CATHEDRAL CHURCH OF
+                   NORWICH
+          A DESCRIPTION OF ITS FABRIC
+          AND A BRIEF HISTORY OF THE
+                EPISCOPAL SEE
+
+                     BY
+              C.H.B. QUENNELL
+
+        [Illustration: Arms of Norwich]
+
+            WITH FORTY ILLUSTRATIONS
+
+
+          LONDON GEORGE BELL & SONS 1898
+
+           W.H. WHITE AND CO. LIMITED
+           RIVERSIDE PRESS, EDINBURGH
+
+       *       *       *       *       *
+
+
+
+
+GENERAL PREFACE
+
+
+This series of monographs has been planned to supply visitors to the
+great English Cathedrals with accurate and well illustrated guide-books
+at a popular price. The aim of each writer has been to produce a work
+compiled with sufficient knowledge and scholarship to be of value to the
+student of Archaeology and History, and yet not too technical in
+language for the use of an ordinary visitor or tourist.
+
+To specify all the authorities which have been made use of in each case
+would be difficult and tedious in this place. But amongst the general
+sources of information which have been almost invariably found useful
+are:--(1) the great county histories, the value of which, especially in
+questions of genealogy and local records, is generally recognised; (2)
+the numerous papers by experts which appear from time to time in the
+Transactions of the Antiquarian and Archaeological Societies; (3) the
+important documents made accessible in the series issued by the Master
+of the Rolls; (4) the well-known works of Britton and Willis on the
+English Cathedrals; and (5) the very excellent series of Handbooks to
+the Cathedrals originated by the late Mr John Murray; to which the
+reader may in most cases be referred for fuller detail, especially in
+reference to the histories of the respective sees.
+
+                                          GLEESON WHITE,
+                                          EDWARD F. STRANGE,
+                                             _Editors of the Series._
+
+       *       *       *       *       *
+
+
+
+
+AUTHOR'S PREFACE
+
+
+The task of writing a monograph, on such an essentially Norman Cathedral
+as Norwich, has been most pleasing to one who owns to an especial
+fondness for that sturdy architecture which was evolved in England
+during one of her stormiest epochs--from the end of the eleventh till
+the end of the twelfth century.
+
+I would here acknowledge indebtedness and thanks due to the Very Rev.
+the Dean and Mrs Sheepshanks for the personal interest they evinced, and
+for his material help; to Mr J.B. Spencer, the sub-sacrist, for that
+help which his intimate association with the cathedral enabled him to
+offer; and to Mr S.K. Greenslade for the loan of the drawings reproduced
+under his name; as well as to the Photochrom Co. Ltd., Messrs S.B. Bolas
+& Co., and Mr F.G.M. Beaumont for the use of their photographs. The
+views of the cathedral as it appeared in the early part of the
+nineteenth century are reproduced from Britton's "Norwich," and from a
+volume by Charles Wild.
+
+                                                              C.H.B.Q.
+
+       *       *       *       *       *
+
+
+
+
+CONTENTS
+
+                                                                    PAGE
+CHAPTER I.--History of the Fabric                                      3
+
+CHAPTER II.--The Cathedral--Exterior                                  23
+  The Cathedral Precincts                                             23
+  The Erpingham Gate                                                  23
+  St. Ethelbert's Gate and the Gate-House                             25
+  Chapel of St. John the Evangelist                                   27
+  The West Front of the Cathedral                                     28
+  Exterior of Nave                                                    31
+  The South Transept                                                  32
+  The Diocesan Registry Offices and Slype                             35
+  The Chapter-House                                                   36
+  The Tower and Spire                                                 36
+  The Eastern Arm of Cathedral or Presbytery                          39
+  The Chapels of St. Mary-the-Less and Saint Luke                 39, 40
+  The Jesus Chapel and Reliquary Chapel                               40
+  The North Transept                                                  40
+  The Bishop's Palace                                                 43
+
+CHAPTER III.--The Interior                                            45
+  The Nave                                                            45
+  The Choir Screen                                                    49
+  The Nave Vault                                                      50
+  The West Window and West Door                                       55
+  The North and South Aisles of Nave                              55, 56
+  Monuments in Nave and Aisles of Nave                            57, 58
+  The Cloisters                                                       58
+  The Walks--East, South, and West                                62, 63
+  The Ante-choir and Choir                                            64
+  The Pelican Lectern                                                 68
+  The Presbytery                                                      68
+  Reliquary Chapel                                                    72
+  Monuments in the Presbytery                                         74
+  The North Transept                                                  76
+  The Tower and Triforium Walks                                       79
+  The Processional Path                                               79
+  The Jesus Chapel                                                    83
+  St. Luke's Chapel                                                   88
+  Treasury and Muniment Room                                          88
+  The Bauchon Chapel                                                  88
+  The South Transept                                                  88
+  Monuments                                                           91
+
+CHAPTER IV.--The Sees of the East Anglian Bishops                     95
+
+CHAPTER V.--The City                                                 111
+
+
+
+
+LIST OF ILLUSTRATIONS
+
+                                                            PAGE
+Norwich Cathedral from the South-East                     _Frontispiece_
+Arms of Norwich                                                  _Title_
+The Cathedral from the South-West                                      2
+The Cathedral in the Seventeenth Century                               9
+West Front of the Cathedral in 1816                                   15
+The Cathedral from the South-West Angle of Cloisters                  22
+The Erpingham Gate                                                    24
+St. Ethelbert's Gate                                                  25
+The Gate-House of the Bishop's Palace                                 25
+West Front of the Cathedral                                           28
+The Clerestory and Triforium of Choir (South Side)                    32
+The Tower in 1816                                                     37
+Exterior of the Chapel of St. Luke from the East                      40
+A Norman Capital                                                      46
+The Nave, looking East                                                47
+The Choir Screen and Organ from the Nave                              51
+The North Aisle of Nave, looking West                                 56
+The East Walk of the Cloisters                                        58
+The Cloisters from the Garth                                          59
+The Prior's Door                                                      63
+The Choir and Presbytery                                              65
+A Stall in the Choir                                                  67
+The Choir and Presbytery in 1816                                      69
+The Choir Stalls at the beginning of the Nineteenth Century           70
+The Choir, looking West                                               72
+Detail of the Presbytery Clerestory and Vaulting                      74
+The Choir Apse                                                        77
+Detail of the Clerestory, North Transept                              80
+The South Aisle of Presbytery, looking East                           81
+Norman Work in the Lantern of Tower                                   83
+The Ante-Reliquary Bridge Chapel                                      84
+Doorway and Screen between South Transept and Aisle of Presbytery     88
+View across the Apse from the Chapel of St. Luke                      89
+The Resurrection: from the Painted Retable formerly in the
+  Jesus Chapel                                                        93
+Norwich Castle                                                        99
+The Guildhall                                                        103
+Monument of Bishop Goldwell                                          107
+The Pelican Lectern in the Choir                                     110
+Pull's Ferry                                                         112
+PLAN OF THE CATHEDRAL                                                113
+
+       *       *       *       *       *
+
+[Illustration: The Cathedral from the South-West.]
+
+
+
+
+CHAPTER I
+
+HISTORY OF THE FABRIC OF THE CATHEDRAL CHURCH OF THE HOLY TRINITY OF
+NORWICH
+
+
+Norwich Cathedral stands on the site of no earlier church: it is to-day,
+in its plan and the general bulk of its detail, as characteristically
+Norman as when left finished by the hand of Eborard, the second bishop
+of Norwich.
+
+The church was founded by Herbert de Losinga, the first bishop, as the
+cathedral priory of the Benedictine monastery in Norwich (a sketch of
+its constitution at this period will be found in the Notes on the
+Diocese); the foundation-stone was laid in 1096 on a piece of land
+called Cowholme,--meaning a pasture surrounded by water,--and the church
+was dedicated to the Holy Trinity.
+
+It may be of interest to the tourist and student to review briefly what
+sort and manner of man Herbert the founder was; what had been his
+environment prior to his appointment as the first bishop of Norwich; and
+what the causes were which had as their effect the building of the
+cathedral.
+
+The characteristics of the cathedral are--its long nave, which is
+typical of the Norman church; its glorious apsidal termination,
+encircled by a procession path, which recalls the plan of a French
+cathedral; and the form of this, with the remains of its old bishops'
+chair centrally placed, and with the westward position, of the throne at
+Torcello and other Italian churches, of the basilican type of plan.
+
+Herbert, surnamed de Losinga, transferred the see from Thetford to
+Norwich in 1094, and it is from this period that the history of the
+cathedral may be said to commence.
+
+Herbert was a prelate of a type that in the early days helped to build
+up the Church and give her stability. His nature must have been
+curiously complex; on the one hand, a man of action and with great
+capability of administration, often justifying his means by the end he
+had in view, and not being debarred from realising his schemes by any
+delicate scruples, he yet, on the other hand, presents in his letters a
+chastened spirituality that is not compatible with the methods he
+pursued when thinking only of the temporal advantages which might accrue
+on any certain line of action. But it may be said that his letters
+appear to date from the later period of his life, and after he had
+founded the cathedral as an expiation of that sin of simony he appears
+to have so deeply repented.
+
+Yet in the earlier period, which we shall note, he was emphatically the
+man of action, the typical administrator, who, mixing freely in the
+political life of the times, was strengthening the position of the
+Church, and gradually leading her up to that position, which she
+ultimately gained, of Arbitress of Kings and Empires.
+
+He had also a morbid belief in the power of money--he probably would
+have agreed that "every man has his price," and his simoniacal dealings
+with William Rufus, which procured his preferment to Norwich, afford
+evidence of this weak trait in his character.
+
+Herbert's birthplace is disputed, and, as Dean Goulburn remarked, this
+is but natural: a man so justly celebrated would not, or, rather,
+historians will not be content with one; so that though he cannot rival
+Homer in that seven cities desired to be accredited each as his
+birthplace, yet Herbert falls not far short, and this fact alone will
+perhaps give some idea of his popularity during his life, and the
+interest then aroused which has lasted down to our own times. From a
+small pamphlet issued by the dean and chapter in 1896, and containing
+extracts from the _Registrum Primum_, we learn that "In primis Ecclesiam
+prefatam fundavit piae memoriae Herbertus Episcopus, qui Normanniae in
+pago Oximensi natus." First Herbert, the bishop, of pious memory, who
+was born in Normandy, in the district of Oximin (or Exmes).
+
+This seems very credible, and the old monkish chronicler who was
+responsible for the _Registrum Primum_ and its rugged Latin, may have
+had authentic proof of the truth of his assertion. The manuscript dates
+from the thirteenth century, and no considerable period, historically
+considered, had then passed since Herbert had been one of the prime
+movers of the religious and political life of the day.
+
+Blomefield, the antiquary, attributed to him a Suffolk extraction, and
+then again spoke of his Norman descent: thus agreeing in some measure
+with the _Registrum Primum_. And again, another idea is that he was born
+in the hundred of Hoxne, where he possessed property, and his father
+before him.
+
+Herbert had, we know, received his education in Normandy, and had taken
+his vows at, and ultimately had risen to be prior of, the Abbey of
+Fecamp in Normandy; and it was while vigorously administering this
+office that he received an invitation from William Rufus to come to
+England, being offered as an inducement the appointment of Abbot of
+Ramsey.
+
+And no doubt from this period the spiritual side of his duties must of
+necessity have been somewhat neglected. From the position of prior of
+Fecamp, his circle of power limited to the neighbourhood of his priory,
+and his duties rounded by the due observance of the rules of his order,
+he was given at once the administration of what was one of the richest
+abbeys in England, and attained at once the power of a great feudal
+lord. He was Sewer to William Rufus as well, an office endowed with fees
+and perquisites, and so to Herbert came the temptation of accumulating
+wealth for his own ambitious ends. It was not, however, the sin of a
+small man: he introduced no personal element into his greed, but rather
+thought of his party and his Church, although, of necessity, an
+environment so purely temporal told on the spiritual side of his
+character. It might be best to connect the links of the East Anglian
+bishoprics here, although in the notes on the diocese the matter is gone
+into at more length.
+
+Herbert de Losinga was the first bishop of Norwich, to which town the
+see was transferred in compliance with a decree of Lanfranc's Synod,
+held in 1075, that all sees should be fixed at the principal towns in
+their dioceses.
+
+Felix was the first bishop of East Anglia, and fixed his see at Dunwich
+in 630.
+
+The see was divided by Theodore, Archbishop of Canterbury, in 669 into
+those of Elmham and Dunwich; and these again were united under Wildred
+in 870, and the see fixed at Elmham, and where it remained till 1070,
+when Herfast, a chaplain of William the Conqueror's, moved his see to
+Thetford.
+
+Now, about this time, when Herbert was abbot of Ramsey and Sewer to
+William Rufus, the see of Thetford was vacant, and Herbert gave the king
+to understand that if he was appointed to the vacant bishopric, and his
+father made Abbot of Winchester, he was willing and able to pay for such
+preferment a sum of L1900: a part of his accumulated savings, no doubt,
+and a very large amount for that time.
+
+William II. made these appointments, and the sum mentioned was paid into
+the royal treasury; but the bishop found that he had attained his end at
+a cost other than he had reckoned on; public opinion in those days was
+quite as powerful a force as it is now, though the channels along which
+its force could be felt and its strength find expression were limited.
+Indignation was rife, and monkish versifiers and chroniclers protested
+in lines more or less uncomplimentary, and more or less forcible, their
+loathing of such sin of simony.
+
+Now it is probable that, in expiation of this transgression, Herbert
+came to build Norwich Cathedral. It is certain that he almost at once
+repented. In after years, in his letters, he says, "I entered on mine
+office disgracefully, but by the help of God's grace I shall pass out of
+it with credit."
+
+In Dean Goulburn's admirable monograph on the cathedral many of
+Herbert's letters are given, and these alone would go to stamp him as a
+wonderful man. His conscience was awakened by the popular outcry against
+his sin of simony, he plunged into his new duties at Thetford with
+ardour in the vain hope of distraction, but failed to find that
+consolation he had hoped to; and so about 1093 he determined on a visit
+to Rome to tender his resignation and confess his sin to Pope Urban. He
+journeyed to Rome and was kindly received, and the absolution he desired
+readily granted. The Pope was glad to see an English bishop come to him
+for advice, and in granting him absolution he strengthened considerably
+his claim to be regarded as head of the English Church.
+
+This lengthy preamble may seem somewhat unjustifiable, but if we are to
+study any building aright, and if we are to interpret in any measure its
+meaning and symbolism, it cannot wholly be done on any line of abstract
+aestheticism or archaeological instinct, however intuitive it may be:
+we must in some measure think of the builders of old times and of the
+influences which with them produced its inception and have left it to
+come down the ages to us.
+
+It is interesting to note that Herbert's early French training
+influenced him in the planning of the beautiful eastern termination to
+his cathedral, and the grand sweep of the procession path. Similar
+apsidal terminations, of slightly later date, once existed at Ely, and
+still remain in a modified form at Peterborough.
+
+The old tribunal arrangement of presbyters' seats with the central
+bishop's throne facing west, which was part of Herbert's first plan, no
+doubt may safely be accredited to the influence of his journey to Rome,
+and where he may have become familiar with what was the usual basilican
+arrangement.
+
+Herbert returned to England, penitent and forgiven for his sin, and it
+is probable that the Pope had laid on him, as a penance, an injunction
+to build churches and found religious houses, and that with the
+remainder of his wealth he determined to transfer the see from Thetford
+to Norwich and to build in the latter place his cathedral church. It
+would also have been in compliance with the decree of Lanfranc's Synod.
+The see was transferred on the 9th of April 1094, and Herbert was
+consecrated on the same day by Thomas, Archbishop of York.
+
+Norwich was then an important town; in the Middle Ages it ranked as the
+second city in the kingdom. Its prosperity was chiefly due to its large
+trade in wool. It is a moot point whether the town was ever a settlement
+of the Romans, no traces of such occupation having ever been discovered.
+The castle mound, no doubt, formed some part of the earthworks of an
+earlier stronghold. The word Norwich is probably of Norse origin,
+meaning the north village or the village on the North Creek
+("_wic_"--_i.e._ a creek). The city stood on a tidal bay in 1004, in
+which year the Danes under Sweyn completely devastated and ruined the
+town in revenge for the massacre of their countrymen by Aethelred the
+Unready two years before. So that the history of the town of Norwich, as
+we now know it, may be said to have started directly after this.
+
+The foundation-stone of the cathedral was laid in 1096; and upon it,
+according to the _Registrum Primum_, the following inscription is said
+to have been placed:--"In nomine patris et filii et spiritus Sancti Amen
+Ego Herbertus Episcopus apposui istum lapidem." (In the Name of the
+Father and of the Son and of the Holy Ghost, Amen, I, Herbert the
+Bishop, have placed this stone.)
+
+It was the custom of the Norman builders to start building from the
+easternmost part of the church, as the more sacred part of the
+structure, and then build westwards; so that probably this
+foundation-stone, for which diligent search has been made in vain, was
+in the eastmost wall of the original Norman Lady Chapel--in fact, the
+_Registrum Primum_ describes how Herbert began the work "where is now
+the chapel of the Blessed Mary." This chapel was demolished to make way
+for the beautiful thirteenth-century Lady Chapel which Dean Gardiner
+destroyed.
+
+The thirteenth-century builders of the Lady Chapel may have used
+Herbert's foundation-stone in their walling; Dean Lefroy quite lately,
+while repairing parts of the tower and east end, came across pieces of
+stone with beautiful "dog-tooth" ornament upon them, which had been used
+to repair the masonry that, it was evident, at one time had formed part
+of the thirteenth-century Lady Chapel. This must be so, since in no
+other part of the building save the arches now remaining in the extreme
+eastern wall of the procession path, which at one time gave access to
+the Lady Chapel, does such ornament occur.
+
+It is probable, and the more generally accredited supposition, that
+Herbert built the presbytery with its encircling procession path and the
+original trefoil of Norman chapel radiating therefrom;--the choir and
+transepts with the two chapels projecting eastwards and the first two
+bays of the nave. Harrod advances a theory that he completely finished
+the whole of the cathedral church, as well as the offices for the
+housing of the sixty monks who were placed therein, in 1101.
+
+He also built the episcopal palace on the north side of the cathedral,
+of which some parts remain to this day incorporated with work of a later
+period; he seems to have founded and built other churches in Norwich and
+Yarmouth. He died on the 22nd of July 1119, in the twenty-ninth year of
+his episcopate, and was buried before the high altar in his own
+cathedral church.
+
+[Illustration: The Cathedral in the Seventeenth Century.]
+
+Bishop Eborard, who succeeded in 1121, is credited with having finished
+the nave from the point where Herbert had left it. The evidence which
+goes to support this theory is taken from the _Registrum Primum_.
+"Moreover, the same Herbert completed the church of Norwich in his own
+time, as I have learned from the account of old people, but have not
+found in writing, as far as the altar of the Holy Cross, which is now
+called the altar of St. William. He also built all the episcopal
+dwelling-house, except the great hall." The altar referred to was on the
+north side of choir screen.
+
+Herbert also provided the base for the tower only, probably up to the
+roof level; the remainder, up to the parapet, was finished about the
+time of Henry I., but at that earlier period it was without the stone
+spire which now adds dignity to the cathedral from any point of view.
+
+The roofs at this time were generally of a flat wooden construction
+throughout (similar to that of Peterborough Cathedral), and probably
+decorated with lozenges, flowers, and symbolical devices. When recently,
+under Dean Lefroy, the whitewash and paint were cleaned off from the
+stonework, many indications have been found of a most beautiful scheme
+of colour decoration.
+
+Though we, in this part, are following up the history of the cathedral
+structure, yet it may be interesting to note that it was during the
+episcopate of Bishop Eborard that the boy saint, St. William of Norwich,
+was said to have been martyred. He was the son of country folk who
+gained a living by agriculture. During his life he worked many miracles,
+and by his death gave Norwich a share of his glory. It is related that
+he was tortured by the Jews, and on the spot where they were discovered
+secretly burying him, in Thorpe Wood, a chapel was erected called the
+Chapel of St. William in the Wood. Very little now remains of this
+structure, but the site can still be traced. The altar before referred
+to was set up to his memory in Norwich Cathedral, on the north side of
+the screen leading into the ante-choir.
+
+Bishop Eborard resigned the see, or was deposed in 1145, and retired to
+the abbey of Fontenay, Mont-Bard, Cote d'Or, in the South of France. He
+had re-enforced a mandate of Herbert's that the clergy of the diocese
+should contribute to the fund in aid of the fabric.
+
+During the episcopate of Eborard's successor, Bishop William de Turbe,
+the cathedral appears neither to have gained or suffered until, about
+1169 or 1170, a fire broke out in the monastic buildings; the
+fire-extinguishing appliances in those days, if indeed there were any at
+all, could not prevent it spreading to the cathedral. It is generally
+believed that the original Norman Lady Chapel was also well destroyed.
+
+Bishop William de Turbe, although an old man at the time (he died in
+1174), is said to have taken a vow that he would not go from within
+twelve leucas of the cathedral, unless compelled by the direst
+necessity, until the ravages of the flames had been repaired. He is
+reported to have seated himself at the door of the cathedral, and to
+have begged alms for this purpose from the worshippers. The work of
+reparation was carried on by his successor, John of Oxford, who may also
+be said to have completely finished Herbert's cathedral. He provided the
+furniture of the church, the vestments, books and ornaments, and,
+probably, entirely re-modelled the monastic buildings. He is also said
+to have built the Infirmary, of which now only three piers remain, to
+the south of the cloisters.
+
+In the years following, various works were doubtless carried on, but it
+is not until the time of Walter de Suffield, about 1250, that anything
+important in the way of structural alteration was effected. The fire of
+1169 had in part or whole destroyed the original Norman Lady Chapel, and
+Bishop de Turbe had restored the same in some measure. But the _cultus_
+of the Blessed Virgin in the interval had gathered strength wonderfully;
+chapels dedicated to her naturally became important, and Bishop Suffield
+determined to pull down the old Norman work and rebuild a chapel in the
+Early English style then prevalent. Dean Goulburn, in his work on the
+cathedral, estimated the size of the later chapel at 90 feet long by 30
+feet wide, and these dimensions are shown plotted in dotted lines on the
+plan in this book. This is longer and narrower than the size given in
+previous conjectures, but Dean Goulburn had the opportunity of
+inspecting the foundations of the chapel, which, with those of the still
+earlier one, lie buried but a few feet below the surface in a garden to
+the east of the cathedral. In the same place, and over the entrance
+arches remaining, the height and lines of the later roof can be seen
+still plainly marked on the stonework. These entrance arches are
+beautifully moulded and decorated on the inside with the "dog-tooth"
+ornament--a decoration peculiar to the Early English style.
+
+The theological reaction which followed close on this movement led to
+the neglect of the chapel, and obviated the necessity of maintaining it
+as a place of worship. It had probably greatly decayed; that Dean
+Gardiner (1573-89), no longer needing it for services, was tempted to
+pull it down, as a cheaper expedient than keeping it in repair.
+
+In 1271 Norwich was visited by a terrific thunderstorm, when the tower
+was struck by lightning. The damage, however, was not great, as,
+fortunately, the excessive rains which followed quenched the fire that
+had been kindled. This incident, however, was the precursor of one of
+the stormiest periods in the history of the city and its cathedral
+church. Roger de Skerning occupied the episcopal chair, and the prior
+was one William de Brunham, a man of fierce and truculent disposition.
+An outbreak of hostilities between the citizens on the one hand and the
+monks on the other, was brought about by his arbitrary assumption of
+power; the bishop throughout, ostensibly preferring the safer game of a
+somewhat anomalous position of neutrality, is nevertheless believed to
+have covertly sanctioned his proceedings.
+
+A fair was held in Tombland--to the west of the precincts--annually on
+Trinity Sunday, and by right of ancient custom the priors reaped large
+revenues by the imposition of tolls on the sales. Tombland, derived from
+_Tomeland_, a vacant space, had originally formed part of the estate
+bequeathed by Herbert, the founder, to the monks; the boundaries in
+course of time had become matters of controversy, and it is probable
+that the citizens felt the imposition of these tolls and dues to be a
+real and serious grievance. A riot broke out and the monks were driven
+within their gates. Had the prior at this juncture chosen to act
+peacefully, it is probable that history would contain no record of the
+sacrilege that followed. He, however, decided to resist force by force,
+and carefully generaled his monks, disposing them at the various
+strategic points of his domain. At the same time he sent to Yarmouth for
+mercenaries--these arrived and the tables were turned; the prior's
+forces sallied forth from the gates and robbed and pillaged the town.
+
+The citizens, roused to a pitch of madness, drove them and the soldiers
+back again within the walls of the monastery; the bishop, instead of
+acting as peacemaker, appears to have preserved his position of
+neutrality and quietly stopped in his palace. There was a short interval
+of truce, but it only served as a breath to fan the flames; the citizens
+besieged the cathedral precincts, and by the means probably of slings
+succeeded in hurling combustible materials into the buildings, with a
+result that the whole of the monastery and the cathedral itself was soon
+in flames. It seems to be an established fact that the prior had placed
+men in the tower to shoot at the citizens, and it is conjectured that
+they, and not the citizens, were the cause of the outbreak here.
+
+The only part of the cathedral that escaped was the Lady Chapel; the
+rest was gutted, vestments and ornaments were carried off, and the monks
+for the most part slain.
+
+So ended the first part of this lamentable chapter in the history of
+Norwich. A sentence of excommunication was passed on the city, and King
+Henry hastened to Norwich to preside at the trial of the prisoners.
+
+The accounts which have come down to us are as varied as might be
+expected, the chroniclers of the one party, of course, blaming the other
+side; it seems, however, to have been proved "that, after all, the
+church was burnt by that accursed prior"; but many of the citizens were
+hung, drawn and quartered, and the city had to pay in all 3000 marks
+towards repairing the church and monastical buildings, and to provide a
+gold pyx, weighing ten pounds, of gold; the monks in their turn had to
+make new gates and entrances into the precincts. The St. Ethelbert's
+Gate-house was part of the work imposed on the monks; it is of early
+Decorated character and was erected probably early in the fourteenth
+century.
+
+Bishop Roger de Skerning had died in retirement on the 22nd of January
+1277, and in the meantime the work of reparation had proceeded with such
+vigour that on Advent Sunday 1278 his successor, Bishop Middleton, was
+inaugurated with great state; Edward I. and his Queen with the Bishops
+of London, Hereford, and Waterford being present. He does not seem to
+have done much in the way of building, though the work of reparation was
+carried on; he died in 1287, and it was left to his successor, Bishop
+Ralph de Walpole, to begin the work of rebuilding the cloisters. The
+original Norman cloisters, which had endured until the time of the great
+fire in 1272, were probably of wood. It was determined to rebuild them
+in stone in the prevailing style. The cloisters are described in more
+detail in the notes on the interior of the cathedral, so that it will be
+sufficient to state here that their building spread over a period of one
+hundred and thirty-three years, and that they were finished during the
+episcopate of Bishop Alnwick.
+
+[Illustration: West Front of the Cathedral in 1816.]
+
+Bishop Walpole built the eastern walk of the cloisters, together with
+the chapter-house; he was translated to Ely about 1299, and the work
+carried on by his successor, Bishop Salmon, who built the south walk,
+also a chapel and hall attached to the bishop's palace. Of this nothing
+remains in the garden of the palace except a grand ruin, which is
+supposed to have formed the entrance or porch to the hall.
+
+He founded also the chapel dedicated to St. John the Evangelist,
+converted by Edward VI. into, and now used as, a grammar school; below
+it was a charnel-house.
+
+Continuing the history of the fabric, we can pass on to the episcopate
+of Bishop Percy, during which, about 1361, the wooden spire and parts of
+central tower of the cathedral were blown down by a violent gale of
+wind, and the presbytery was greatly damaged by the falling material.
+This bishop rebuilt the present clerestory, designed in the transitional
+style between Decorated and Perpendicular; the vault is later. It is
+also probable that he repaired the spire.
+
+During Bishop Wakering's time the Erpingham gate of the close was
+erected, and as well the cloister that formerly connected the palace on
+the north side with the cathedral. He also founded a chantry for one
+monk at his tomb.
+
+His successor, Alnwick, completed the cloisters. The gateway to the
+palace was built by him about 1430, and probably replaced an earlier
+structure. He also began the work of remodelling the central compartment
+of the west front. He left directions in his will to his executors to
+make a large west window, the cost to be charged to his estate. The
+doorway under this window, built over the old Norman one, and
+encroaching on the side arcading, was executed during his episcopate,
+the window being eventually added during the time of Bishop Lyhart to
+throw additional light on to the vault he erected, and its wonderful
+sculptures.
+
+In 1446, on February 27th, Walter Lyhart, or le Hart, was consecrated,
+and it is to him that Norwich Cathedral owes the superb _lierne_ vault
+that now spans the nave. Other important works were carried out by him;
+the spire which had been blown down in 1362 (and had probably been
+re-constructed by Bishop Percy--though there is no record of such work),
+was struck by lightning in 1463, and the burning mass fell through the
+presbytery roof, which up till this period was still in wood, completely
+destroying it, and making necessary the vault added by Lyhart's
+successor.
+
+During this episcopate the rood screen was erected, and a sumptuous
+monument placed over the grave of the founder.
+
+The stone spire must have been added about this time, replacing the
+former wooden construction.
+
+Bishop Lyhart left to his successor, Bishop Goldwell, in his will 2200
+marks for repairing the dilapidations caused by the fire of 1463. During
+this bishop's episcopate we find that the cathedral was brought nearly
+to that state in which we have it now,--the tower was still further
+adorned with Perpendicular battlements, the presbytery was vaulted in
+with stone, and the flying-buttresses added around the eastern apse to
+take the consequent thrust of the new vault.
+
+Internally, also, the lower stages of the presbytery were
+Perpendicularised by the addition of the four centred arches that still
+remain, and in the second bay of which, eastward from the tower, on the
+south side, was erected Bishop Goldwell's altar tomb.
+
+His successor, Lane, occupied the see but a short while, 1499-1500, and
+in turn was succeeded by Bishop Nykke--he is more generally called _Nix_
+(snow), sarcastically, as his character appears to have been of the
+blackest. During his episcopate, the cathedral was again visited by fire
+in 1509. The sacristy, with all the books and ornaments, was consumed,
+and the wooden roofs of both transepts totally destroyed.
+
+Bishop Nykke constructed the stone vaulting that, covering both arms of
+the church, completed the stone vaulting throughout the cathedral. His
+chantry, which is on the south side of the nave, and occupies two bays
+of the aisle, was arranged by him before his death, and its richness is
+inversely proportionate to the degradation of his character.
+
+The tracery in the Norman arch leading from the south aisle of the
+presbytery into the transept, is of late Perpendicular style, and was
+added by Robert of Calton, who was destined to be the last prior but one
+of Norwich: William Castleton was the last prior and the first dean.
+Bishop Nykke died in 1535-6, and was succeeded by William Rupgg or
+Repes, who was the last bishop elected by the chapter of the monks of
+the Benedictine monastery of Norwich. Monasticism was doomed; Wolsey had
+fallen, and his property had been confiscated in 1529. The smaller
+monasteries were dissolved in 1536, and in 1538 the greater shared the
+same fate, among them Norwich.
+
+Most interesting is the parallel which can be drawn between the history
+of the Church and of that architecture which she especially fostered.
+Gothic or Christian art was developed from the remains of a Roman
+civilisation, and so long as it had the healthy organic growth which was
+consequent on the evolution of a series of constructive problems fairly
+faced and in turn conquered, and again, stimulated by the growth of the
+Church, to which it was handmaiden, developed style after style in
+regular sequence, until the builders, finding they had conquered
+construction, took to imposing ornament. From that time, instead of
+ornamenting construction, they constructed ornament; and as the
+Reformation came to the Church in the sixteenth century so to
+architecture came degradation. And then the Renaissance of pagan types,
+from which the Gothic had derived its being by a rational development,
+was by the revivalists of those days hotch-potched into a more or less
+homogeneous mass, which even the genius of Wren could leave but coldly
+pedantic.
+
+The history of the architecture of the cathedral might safely stop with
+the Dissolution of the Monasteries in 1538, since when it is a mere
+recapitulation of the doings and undoings of various sets of more or
+less deeply incriminated fanatics and restorers.
+
+So that we do not feel inclined to enter into more detail, in the few
+remaining notes on the history of the structure.
+
+Dean Gardiner, 1573-89, was a great reformer, and, as we have already
+noted, pulled down the thirteenth-century Lady Chapel, and as well the
+chapter-house.
+
+In 1643 the cathedral was taken possession of by Cromwell's soldiers,
+and the work of spoliation carried on. The organ was probably destroyed
+at this time, for Dean Crofts set up a new organ in 1660, the case of
+which was re-modelled in 1833, and still remains. It is also perhaps
+needless to state that the cathedral was repeatedly whitewashed during
+the eighteenth century.
+
+In June 1801 a fire broke out in the roof of the nave, but was
+extinguished before much damage had been done.
+
+The various works effected during this century are mentioned
+specifically elsewhere in these notes, under the headings of the parts
+of the building where they have occurred.
+
+
+
+
+[Illustration: The Cathedral from the South-West Angle of Cloisters.]
+
+CHAPTER II
+
+THE CATHEDRAL--EXTERIOR
+
+
+Norwich Cathedral does not tell to great advantage from the outside: its
+chief charm is undoubtedly the interior. It stands in a hollow, on what
+is probably the lowest ground in the city. The best view of the
+cathedral is obtained from the low ground to the eastward near the
+river, and close to Pull's Ferry; here the extreme length of the nave,
+which Fergusson remarked justified the addition of western towers, is
+lost partly by foreshortening, and by the projection forward of the
+south transept, over which the old Norman tower, with its later
+battlements and spire, rises grandly above the sweep of the apse, with
+the still remaining circular chapels below.
+
+#The Cathedral Precincts#, or Close, running from Tombland eastward to
+the river, are entered by two gates to the precincts and one to the
+bishop's palace.
+
+#The Erpingham Gate#, opposite the west front of the cathedral, was
+built by Sir Thomas Erpingham, and as an architectural compilation "is
+original and unique." In elevation it consists of one lofty
+well-proportioned arch supported on either side by semi-hexagonal
+buttresses taken up as high as the apex of arch; above comes a plain
+gable, in which, centred over the arch below, is a canopied niche with
+the kneeling figure of Sir Thomas Erpingham.
+
+Built probably about 1420, and while yet some of the noble simplicity of
+the thirteenth had not passed into the over-wrought richness of the
+fifteenth and sixteenth centuries, it presents a type of the best
+Perpendicular work we have in England.
+
+The form of the arch is lofty, and may have been suggested by the wish
+to preserve a view through of the cathedral.
+
+The arch moulding is enriched on the outer part with figures of fourteen
+female saints, and on the inner with twelve male saints; the
+semi-hexagonal panelled buttresses are covered with the shields of the
+families of Erpingham, Clopton, and Walton, and each has a seated figure
+of an ecclesiastic on the top.
+
+[Illustration: The Erpingham Gate.]
+
+The richness of this lower arch stage tells against the plain gable
+over, and is quite admirable in effect and defensible as a method of
+design; it is ornament decorating construction pure and simple, and not
+what later work generally was and is, constructed ornament, suggesting
+over-elaborate construction thereby made necessary. It will be noticed
+that labels with the word "Yenk" (think) sculptured thereon are placed
+between the shafts on either side of the archway; this has been
+construed "pend" by some writers, and from this the view was taken that
+Sir Thomas Erpingham was made to build the gate as a penance for
+favouring Lollardism, and that the figure of himself in the gable over
+the archway represents him as praying pardon for the offence.
+
+This interpretation, however, amusing as it is, is probably erroneous,
+and the gate, with its shields of allied families, stands to the memory
+of its founder. Sir Thomas Erpingham was at Agincourt in 1415, and
+Shakespeare, in Act iv. of Henry V., remarks of him that he was "a
+knight grown grey with age and honour." Sir Thomas Browne also (p. 9 of
+his "Repertorium") says: "He was a Knight of the Garter in the time of
+Henry IV. and some part of Henry V., and I find his name in the list of
+the Lord Wardens of the Cinque Ports."
+
+Sir Thomas Erpingham had two wives, Joan Clopton and Joan Walton, whose
+arms appear on the gateway.
+
+[Illustration: St. Ethelbert's Gate.]
+
+#St. Ethelbert's Gate#, to the south, is an early "Decorated" structure.
+Its elevation is divided into three storeys, in the lowest of which is
+the gateway, with flat buttresses on each side carried up the height of
+two storeys, and enriched with pedimented niches in both stages. In the
+compartment over the arch are seven niches, four of which are pierced
+with windows. The upper stage is in flintwork. It was built by the
+citizens as part of the fine imposed on them for their share in the
+riots and fire of 1272 by the Court of King Henry III., though probably
+not until some years had elapsed, and when Edward the First had come to
+the throne. The upper part of the front was restored early in this
+century. The back elevation is interesting--the window over the arch
+being typical of the style.
+
+[Illustration: The Gate-House of the Bishop's Palace.]
+
+#The Gate-House# forming the entrance to the bishop's palace, on the
+north side of the cathedral, was built by Bishop Alnwyck about 1430, and
+probably replaced an earlier structure; it is an interesting piece of
+Perpendicular work, and consists, in the lower stage, of a gate and
+doorway under a deep horizontal band ornamented with plain shields and
+monograms of the Virgin. The gateway on the left side reaches up to the
+horizontal bands, and has spandrels on either side; the doorway is
+smaller. Above are two windows with a niche between, and over all is a
+parapet of modern work. Flat buttresses flank the entire composition on
+either side. The wooden gates were added by Bishop Lyhart (1446-72).
+
+Returning to the Erpingham gate, and entering the Close through it,
+immediately on our left we come to the #Chapel of St. John the
+Evangelist# (converted by Edward VI., and still used as a school),
+founded by Bishop Salmon (1299-1325). This building replaced an older
+structure, used as a charnel, and provision was made for this need in
+the new edifice; the vaults under the chapel were used for the same
+purpose. The porch is a later building added by Lyhart (1446-72).
+
+#The West Front of the Cathedral# has probably received worse treatment
+than any other portion of the building, and stands now as the most
+unsatisfactory part of the whole. The design consists in its width of
+three compartments, with two separating and two flanking turrets. The
+centre compartment is of the width of the nave, and those on either side
+the width of the aisles. In the centre comes the main doorway, flanked
+on either side with niches, and over these, filling the entire breadth,
+the great nine-light west window, with the Norman turrets carried up to
+the base of the gable. The compartments on either side are finished off
+by horizontal mouldings taken across somewhat below the level of the
+springing of the archivolt of the main window, and have flanking turrets
+covered with plain pinnacles. The large west window is disproportionate,
+and even the assurance cheerfully given by most authorities, that it
+resembles the window of Westminster Hall, fails to prove that it is of
+suitable size here. It may be as well to note in order the various
+changes which have affected the west front. Mr B.W. Spaull, in Dean
+Goulburn's work on the Cathedral, made reference to the discovery of an
+alteration to the main entrance which must have been prior to that now
+existing. It consisted of a small _parvise_ or room added above at some
+time subsequent to the original foundation. As the details are not now
+apparent, it is best to refer readers to the work named for fuller
+information.
+
+The addition, however, of later Perpendicular triforium windows to the
+nave superimposed over the original Norman lights, which were blocked
+up, may have affected the west front. This can best be seen by viewing,
+for instance, the south side of the nave. The Norman roofs sloped down
+to the original triforium windows, but after the later addition were
+made almost flat, and must have necessitated some mask wall in the west
+front.
+
+[Illustration: West Front of the Cathedral.]
+
+In Britton's "History of Norwich" is a drawing which is reproduced at p.
+15. It will be seen that the turrets at each side of the west window are
+shown finished with stone cupolas, the tops of which were level with the
+apex of the gable. The two outside flanking turrets are shown finished
+by circular drums above the parapet, and covered with leaden cupolas;
+these, with the Perpendicular battlements, were probably added as the
+mask before referred to, and necessitated by the imposition of an
+additional storey at the triforium level. Certainly the west front, as
+shown then, was better far than now. However, in 1875, "_restoration_"
+set in, and these cupolas were removed, and stone "pepper-box" pinnacles
+imposed on the turrets in their stead. The gable was restored, and the
+character of the work wholly destroyed, crocketted where before plain,
+and the niche added in the place of the small light over the vault shown
+in Britton's plate. In the side compartments the Perpendicular
+battlementing was removed and the round cannon ball holes gratuitously
+inserted.
+
+The two pinnacles at the sides of the west window have since been
+removed.
+
+The earlier change in the central compartment of the front from Norman
+to Perpendicular was effected by the additions of the door and window
+still remaining. Bishop Alnwyck, who was translated to Lincoln in 1436,
+added the doorway during his episcopate, and it was probably built right
+over and covering the original Norman door and arcading. He also left
+provision in his will for the west window, and this was added by Bishop
+Lyhart (1446-72), to throw additional light on to the vaulting and
+sculptures of the nave; from the inside it will be seen that it
+completely fills the width of the nave, and follows the line of the
+vault up.
+
+The north side of the cathedral lies within the gardens of the bishop's
+palace, which can be entered from the interior of the cathedral, through
+a small door in the north aisle of the presbytery; the eastern end of
+the cathedral also lies within a private garden, but permission to enter
+it can usually be obtained.
+
+#Exterior of Nave.#--Those portions of the precincts near the western
+end of the cathedral are known as the Upper Close; and, walking round
+the exterior of the cloisters, we come to the Lower Close. The nave on
+the south side can be seen well either from the upper or lower Close,
+and can be better examined in detail from the interior of the cloisters.
+Its elevation consists of fourteen bays divided by flat Norman
+buttresses. In height it is composed of what, at first sight, appears a
+bewildering confusion of arches, arcades, and windows. Over the aisle
+windows, hidden by the north walk of cloisters, comes a Norman wall
+arcading; and over this the Norman triforium windows blocked up, and
+again, above the later Perpendicular triforium, superimposed on the old,
+and finished with a battlemented parapet. Behind this come the triforium
+roof, and then beyond the original Norman clerestory, each bay with a
+triple arch formation, the centre arch pierced for a window. And then
+above all, the lead roof over nave vault.
+
+The radical changes that have taken place since the nave was built by
+Bishop Eborard (1121-45) consist of the insertion in the aisles of later
+"Decorated" traceried windows in place of the original Norman ones, and
+of the superimposition, before referred to, at triforium level of a
+whole range of "Perpendicular" windows over the old Norman work, which
+were blocked up at this period. The pristine aspect, then, of this
+elevation of the nave would have shown a sloping roof over the aisles
+where now the later addition occurs. The battlementing, too, over the
+clerestory to the nave is later work, to correspond with battlementing
+over the triforium windows. It will be noticed that the two bays next
+the transept in the triforium are higher than the others, in order to
+throw additional light into the choir.
+
+Also on this same south side, in the seventh and eighth bays from the
+west end, two very late windows occur, inserted in the Norman arcading
+under the original triforium windows; these were inserted by Bishop
+Nykke to light the chapel he built in two bays of the south aisle of the
+nave.
+
+The curious raking of the lead rolls to the nave roof is noticeable; the
+mediaeval builders did this with a view of counteracting the "crawl" of
+the lead. Lead, under the variations of temperature of the atmosphere,
+expands and contracts considerably; and from its own weight, and the
+steepness of the roofs, the contraction takes place in a downward
+direction, and starts the joints, letting in the weather. This raking of
+the vertical rolls was a device whereby the old builders in some measure
+got over their difficulty by inducing a fixed expansion and contraction.
+
+[Illustration: The Clerestory and Triforium of Choir (South Side).]
+
+#The South Transept# projects boldly forward from under the tower;
+without aisles, its ridge and parapet correspond in height to those of
+the nave; this narrowness, with the tower and spire showing over
+behind, gives it an appearance of height, as approached from the lower
+close. This effect of height is emphasised by the partition of the
+design in its width, by flat Norman buttresses, with shafts in the
+angles, and by the flat faces of the flanking turrets. The work,
+however, is without interest, from the fact that, though the _ensemble_
+in some measure has been retained, the whole of the exterior face of the
+stonework was re-cased by Salvin, 1830-40, during which period various
+restorations were effected. Before these alterations, the Norman
+flanking turrets finished with a "Perpendicular" battlementing, enriched
+with shields and quatrefoils, and with crocketted pinnacles set at the
+four angles; this battlementing was removed, and the present
+uninteresting pepper-boxes took their place. No doubt they have it in
+their favour that they _may_ be more like the original Norman
+terminations than were those they replaced, which were, however, real
+"Perpendicular," and these are only sham Norman. Originally, from the
+eastward side of the south transept, projected a semi-circular chapel,
+shown on plan by dotted lines, and corresponding to that still remaining
+on the north side of the cathedral. It was part of the original plan,
+and though we believe no record exists of its destruction, it can safely
+be premised that its fate came about through the _cultus_ of the saint
+to whom it was dedicated declining, and consequent neglect and ruin
+following made its destruction cheaper than its reparation. It was
+replaced by a sacristy in the fifteenth century, the lines of roof to
+which can still be seen over on the stonework. This later sacristy was
+destroyed by the fire of 1509, that burned as well the wooden roofs of
+the transepts, and necessitated the stone vaults added by Bishop Nykke.
+
+#The Diocesan Registry Offices# now occupy the space on which once stood
+the Norman chapel, and later the Sacristy.
+
+The building projecting eastward, south of this space, and marked A on
+plan, was once a chapel, said by Blomefield to have been dedicated to
+St. Edmund. It is now used as the #Dean's Vestry# in the lower storey,
+and as the #Chapter Clerk's Office# in the upper.
+
+At the same time that the later restorations were effected to the south
+transept, the groined #Slype# and singing-school above it were
+destroyed, and the present door in the south transept from the lower
+close was opened. A pre-restoration view is published of the east end
+of the cathedral, showing the slype, in Britton's "Norwich." The visitor
+should also bear in mind that this space immediately in front of the
+south transept was originally occupied by the #Chapter-House#, situated
+as shown by dotted lines on plan, and separated from the cathedral by
+the slype. The entrance arches to the chapter-house from the east walk
+of the cloisters still remain and fix definitely its position; it
+projected eastward about eighty feet.
+
+#The Tower and Spire# mark the crossing of the choir and transepts, the
+tower only being Norman, and square on plan, with flat Norman
+buttresses, covered with vertical shafts on the face of each. These
+buttresses start from the level of the parapets to Nave, Transept, and
+Presbytery, and rise right up until, well over the parapet of the tower,
+they are finished by crocketted pinnacles. Between these buttresses are
+horizontal bands of design: the lowest, a Norman arcade of nine arches,
+three of which are pierced as windows; then, above this, a smaller wall
+arcade with interlaced arches; and then, above again, the principal
+feature, an arcading of nine arches, three pierced for windows, and the
+others filled with wall tracery of diamonds and circles; then, between
+this last and the battlemented parapet, occur five vertical panels, each
+comprising two circles, the upper pierced for a window. Above, soaring
+upward, rises the later crocketted spire. Herbert, the founder, provided
+the foundations of tower, and probably carried up the walls to the level
+of the nave roof; the rest of the tower was finished during the reign of
+Henry I., and is a beautiful specimen of the work of that time; but here
+again our sentiment and sympathy experience a shock when we learn that
+the stonework was almost entirely refaced in 1856. The tower was crowned
+by a wooden spire from 1297; this was blown down in 1361, and probably
+brought away in its fall some part of the Norman turrets of the tower.
+It fell eastward, damaging the presbytery so badly that the clerestory
+had to be rebuilt. The wooden spire was reconstructed probably at the
+same time, though no record exists of such work, and the present Early
+Perpendicular turrets were added. The spire, we know, was again
+overtaken by misfortune in 1463, when it was struck by lightning, and
+again falling eastward, went through the presbytery roof. The present
+spire was then constructed in stone by Bishop Lyhart (1446-72), and
+was finished by his successor, Bishop Goldwell (1472-99), who added the
+battlements.
+
+[Illustration: The Tower in 1816.]
+
+It will hardly be necessary to enlarge on the beauty of this spire of
+Norwich, as the dominant feature, seen from the south-east, rising above
+the curved sweep of the apse, and strongly buttressed by the south
+transept, it stands up, clearly defined against the western sky, and
+points upward, significant and symbolical at once of the ends and
+aspirations of the church below.
+
+#The Eastern Arm of Cathedral or Presbytery# takes its history from the
+tower. Here, as in the nave, there are the original triforium windows
+blocked up, and a range of Perpendicular work superimposed on the old.
+Above and beyond this, supported between each bay by flying buttresses,
+comes the transitional Decorated to Perpendicular clerestory,
+considerably higher than the original Norman clerestory remaining to the
+nave. At the base of each flying buttress are figures of saints. The
+roof and Norman clerestory were damaged by the falling tower in 1361,
+but were rebuilt by Bishop Percy, 1355-69. This work is transitional
+Decorated to Perpendicular. The presbytery was then re-roofed with a
+framed timber construction, which was consumed by the falling of the
+burning spire, struck by lightning in 1463. The present stone vault was
+added in its place by Bishop Goldwell, 1472-99. This necessitated the
+addition as well of flying buttresses to take the thrust of the vault.
+
+The battlementing to the presbytery also was added at the same time as
+the flying buttresses.
+
+It will also be noted that here, as in the nave, an addition was made in
+the way of a range of later "Perpendicular" windows superimposed over
+the original Norman triforium, which was blocked up.
+
+#The Chapel of St. Mary-the-Less#, marked B on plan, projects southward
+from the presbytery, and dates from the fourteenth century. Between this
+and the circular Norman chapel of St. Luke, was Bishop Wakeryng's
+chapel. It has long since disappeared, but the doorway of Perpendicular
+design remained until about 1841, when it was removed and the
+compartment Normanised--a piece of wanton vandalism and the destruction
+of an historical link.
+
+The circular Norman chapels, of which two remain, are very interesting.
+In the original plan of the founder there were three; but the
+easternmost was superseded by Early English structure, which in its turn
+was demolished.
+
+#The Chapel of Saint Luke#, marked C on plan, flanking the south side of
+the apse, was much restored in the sixties; in Britton's "Norwich,"
+published in 1816, late "Decorated" windows are shown; these were
+replaced by _modern_ Norman. Its form is peculiar; on plan, that of two
+circles interpenetrating. On elevation, in the lower stage, are the
+modern Norman windows, with shafts in jambs, over which occur two tiers
+of arcading, in the higher of which window openings are pierced. The
+position of the Norman Lady Chapel is shown by dotted lines, as well as
+the rectangular shape of the Early English chapel built by Walter de
+Suffield (1245-57) about 1250. The line of the roof of the later chapel
+can still be seen plainly traced on the stonework over the arches which
+once gave entrance to it. This later chapel was destroyed by Dean
+Gardiner in Queen Elizabeth's reign. The foundations of both chapels
+have been laid open quite recently but a few feet under the level of the
+garden.
+
+[Illustration: Exterior of the Chapel of St. Luke from the East.]
+
+#The Jesus Chapel#, marked D on plan, on the north side of the apse,
+retains the early "Perpendicular" windows inserted in the Norman work;
+its other characteristics are as those described to St. Luke's Chapel in
+the south.
+
+On the north side of the presbytery, and to the west of the Jesus
+Chapel, were other chapels, shown on the plan by dotted lines; the
+positions of their roofs are clearly marked yet on the stonework. One
+must have been the #Reliquary Chapel#; the bridge chapel in the north
+aisle of presbytery formed its ante-chapel.
+
+#The North Transept#, and generally the north side of the cathedral, are
+more conveniently examined from the gardens of the bishop's palace,
+whence this portion of the exterior of the cathedral can best be seen.
+
+The details of the fabric on the north side are essentially the same as
+those described to the south side of cathedral; though here the work has
+been less restored, and consequently is of more interest to the student.
+The original Norman chapel, now used as a store-house, projects eastward
+from the north transept; a corresponding feature occurred in the south
+transept, but has long since vanished.
+
+#The Bishop's Palace# stands to the north of the cathedral, and was
+formerly connected with it by a vaulted passage, Herbert, the founder,
+built the first palace, of which portions are incorporated in the
+present building. Bishop Salmon (1299-1325) in 1318, according to the
+patent rolls of the twelfth year of the reign of Edward II., obtained
+licence to buy a piece of land 47 perches 4 feet in length, and 23
+perches 12 feet in breadth, to enlarge and rebuild thereon the palace of
+Herbert. He also built a chapel, and the great hall, measuring 120 feet
+from north to south, and 60 feet wide, with kitchen, buttery, and
+offices at the west end. The grand ruin somewhat to the east of the
+palace now is supposed to have formed part of the entrance to this hall.
+It was, however, too large to keep up, and so was leased by Bishop
+Nykke, just before his death in 1535 to the mayor, sheriff, and
+citizens, so that the Guild of S. George might hold their annual feast
+there. Later on it became a meeting-house. The present private chapel of
+the bishop was built by Bishop Reynolds in 1662 across part of the south
+end.
+
+To the north of the nave of the cathedral, and on the west side of the
+palace, was an open area called the _green-yard,_ and in Sir Thomas
+Browne's "Works," vol. iv. p. 27 (London, 1835) is an account of the
+_combination sermons_ which were preached here in the summer prior to
+the Reformation.
+
+"Before the late times the combination sermons were preached, in the
+summer time, at the Cross in the Green Yard where there was a good
+accommodation for the auditors. The mayor, aldermen, with their wives
+and officers, had a well-contrived place built against the wall of the
+Bishop's palace, covered with lead, so that they were not offended by
+rain. Upon the north side of the church, places were built gallery wise,
+one above another, where the dean, prebends and their wives, gentlemen,
+and the better sort, very well heard the sermon: the rest either stood
+or sat in the green, upon long forms provided for them, paying a penny
+or half-penny a-piece, as they did at S. Paul's Cross in London. The
+Bishop and chancellor heard the sermons at the windows of the Bishop's
+palace: the pulpit had a large covering of lead over it, and a cross
+upon it; and there were eight or ten stairs of stone about it, upon
+which the hospital boys and others stood. The preacher had his face to
+the south, and there was a painted board of a foot and a half broad and
+about a yard and a half long hanging over his head, before, upon which
+were painted the names of the benefactors towards the Combination Sermon
+which he particularly commemorated in his prayer...."
+
+On the north side of the cathedral, in the seventh compartment of the
+aisle from the west end, the walled-up entrance to the _green-yard_ is
+to be noticed.
+
+There is no doubt that this space was originally the cemetery of the
+monks, and Harrod quotes from the _Chronicle_ of John de Whethamsted to
+that effect. A stone coffin lid found here in 1848 goes to confirm this.
+
+
+
+
+CHAPTER III
+
+THE INTERIOR
+
+
+Norwich Cathedral is justly celebrated for the beauty of its interior.
+Entering from the upper close by the north aisle door, and then taking a
+position immediately under the great west window, facing east, there is
+before one the long perspective of the Norman nave, the choir and
+presbytery, while overhead comes the later vault, telling richly by
+contrast with the severe plainness of the earlier work below. The
+extreme length of the cathedral is about 407 feet. The nave, always long
+in Norman churches, is here over 200 feet from the west door to the
+choir screen. Although some critics object to the position of the organ
+on this same screen, there can be no doubt that, not only is it a most
+admirable position for the instrument acoustically, but also that its
+presence here does not detract from the general effect of the interior.
+From the west end of the nave, as a dark silhouette against the eastern
+apsidal windows, or as an object in the middle distance, it helps the
+spectator to realise the length of the cathedral. A certain sense of
+mystery and something undiscerned adds to the charm of an interior, and
+the organ here helps, with the screen, to enshrine the eastern arm and
+most sacred portion of the building, and interrupts the vista for the
+sake of which disastrous sacrifices have been made in many of our
+cathedral churches.
+
+#The Nave# consists of seven double bays; in all, fourteen compartments
+from the west end to the tower crossing.
+
+It will be noticed that, in the plan (page 113), a square of the nave,
+occupying longitudinally the space of two bays of the aisles, is
+indicated by the dotted lines; also a main pier is marked as Y and a
+subsidiary pier as z.
+
+The main piers, as at Y, are large rectangular masses, having on the
+nave side a flat buttress-like piece added, with shafts in the angles,
+and bearing on the face the two vaulting shafts. On the aisle side are
+two shafts to each transverse arch; and on the two lateral faces are
+triple shafts to the arcade arches, with four angle shafts at each
+corner of the main pier, taking the outer rings to same. The plan is the
+same at the triforium level. The smaller or subsidiary piers (as at X)
+have single vaulting shafts on the nave face, double ones to the aisle,
+and under the arcade arches convex faces, with four angle shafts, as in
+main piers. The plan of these piers determines the elevation. The nave
+arcade arches, ornamented with the billet, and triforium with a
+_chevron_ or zig-zag, are almost equal in size, and over these lower
+stages comes the typical triple Norman clerestory with walk; the whole
+covered in by the fine lierne vault.
+
+[Illustration: A Norman Capital.]
+
+The vault has thirteen complete bays and two semi-bays, one at either
+end. The junctions between this later vault and the Norman work can be
+seen. The main piers had the original double shafts cut off at the level
+of the top of the triforium arches, the later single shaft being brought
+down and joined by a peculiar branch-like connection. The original
+shafts to the subsidiary piers, which it is probable took only a minor
+part in carrying the flat Norman wooden roof, were finished by a cap at
+the impost level of the triforium, and the later shaft was brought down
+and finished by the _rebus_ of Bishop Lyhart, the constructor of the
+vault. This _rebus_ should be noticed; it is a pun in stone, with its
+hart lying in water. It will also be noticed that the outer arches of
+the triforium are not concentric with the sub-arches.
+
+[Illustration: The Nave, looking East.]
+
+The bases of the shafts have been Perpendicularised, probably when the
+vault was added, and the Norman character of the lateral shafts spoilt
+by scraping.
+
+The building of the nave is usually attributed to Bishop Eborard
+(1121-45), but some eminent archaeologists believe that the whole
+cathedral, nave and all, was built by Herbert, 1091-1119, the first
+bishop and founder. We believe there is no documentary evidence against
+this theory. The _Registrum Primum_ says: "Moreover, the same Herbert
+completed the church of Norwich in his own time, as I have learned from
+the account of old people, _but have not found in writing,_ as far as
+the altar of the holy cross, which is now called the altar of S.
+William."
+
+The billet enrichment on the main arches, and the chevron or zig-zag on
+those of the triforium, have been looked upon as indicating that this
+part of the building--the five western bays of nave--is later than the
+presbytery, the arches there lacking this ornament. But as these are
+quite the earliest forms of ornament used by the Norman builders, their
+occurrence here at Norwich cannot prove much. It is better perhaps to
+reserve judgment, and be content with merely stating the facts and the
+more generally accredited theories as to the age of the western part of
+the nave.
+
+The subsidiary circular columns in the fifth bay of the nave from the
+west end should be noticed. A small enriched shaft in the clerestory of
+the north transept is here illustrated. This very beautiful style of
+treatment was common to the Norman builder, with the Romanesque, and the
+Romans before them.
+
+#The Choir Screen# crosses the nave between the subsidiary piers to the
+sixth bay. Of the original work erected by Bishop Lyhart, 1446-72, the
+sub-structure of the present screen is the only portion remaining.
+Traces of two altars, one on either side of the doorway, can still be
+seen; these were originally dedicated to St. William of Norwich and St.
+Mary. These altars were enclosed in chapels formed by screens coming
+forward to the extent of half the bay, and stopped against the main nave
+piers on either side--the double vaulting shafts on the face of which
+are stopped by corbels, carved as heads, at about the height that the
+chapels would have reached. They were vaulted over, and above came the
+rood loft and organ. The rood loft was damaged by the Puritans, and
+probably removed after the Restoration. Dean Crofts, in 1660, set up a
+new organ.
+
+In Britton's "Norwich," 1816, the upper stage of the choir screen is
+shown divided into square panels, occurring vertically over the lower
+stage; the screens to the chapels before referred to having been
+destroyed. In 1833 Salvin remodelled the choir, and turned his attention
+to the choir screen: the organ was placed in its present position, and
+cased with the frame of that instrument which Dean Crofts had set up in
+1660; and the overhanging vault to the screen was added.
+
+#The Nave Vault# (height 72 feet), which was added by Bishop Lyhart,
+1446-72, took the place of the original Norman wooden roof destroyed by
+fire in 1463. This earlier Norman roof was most probably like that now
+existing at Peterborough, and was no doubt profusely decorated with
+colour. The vault is of Perpendicular design, and known as _lierne_;
+such vaults may be distinguished by the fact that between the main ribs,
+springing from the vaulting shafts, are placed cross ribs forming a
+pattern, as it were, and bracing the main ribs, but not in any great
+measure structural. This vault at Norwich may be taken as typical of the
+last legitimate development of the stone roof; it was the precursor of
+the later fan vaulting, such as we find in Henry VII.'s chapel at
+Westminster, where legitimate construction was replaced by ostentatious
+ingenuity and the accumulation of needless ornament and detail.
+
+The carved bosses here at Norwich, occurring at the intersection of the
+ribs, are worth careful study. Those who care to go into the matter in
+the fullest detail should consult Dean Goulburn's book published in
+1876, which not only gives an admirable history of the fabric and the
+See, but enters fully into the detail and symbolic meaning of each of
+the 328 bosses.
+
+In this list, compiled from that volume, mention is made only of those
+bosses on the main longitudinal rib of the vault; it is hoped that this
+method will enable the visitor to readily enter into the meaning of any
+group of bosses, by providing a keynote to the whole. The subjects are
+taken from Bible history, and each epoch is usually grouped around some
+central incident figured on the main longitudinal ribs. In each bay No.
+4 is the large central boss.
+
+[Illustration: The Choir Screen and Organ from the Nave.]
+
+#The Easternmost Bay.--No. 1.#
+
+  (1.) The Creation of Light.
+  (2.) A Figure of the Almighty.
+  (3.) A White Hart.
+  (4.) The Temptation.
+  (5.) A White Swan.
+  (6.) The Death of Cain.
+
+#The Second Bay.--No. 2.#
+
+  (1.) Cain driven out as a Fugitive.
+  (2.) Noah building the Ark.
+  (3.) Noah's Drunkenness.
+  (4.) The Ark on the Waters.
+  (5.) Meaning indefinite.
+  (6.) Noah planting the Vine.
+
+#The Third Bay.--No. 3.#
+
+  (1.) The Building of the Tower of Babel.
+  (2.) The Tower of Babel shown as Feudal Fortress.
+  (3.) Abraham entertaining an Angel.
+  (4.) Abraham sacrificing Isaac.
+  (5.) Jacob deceiving Isaac.
+  (6.) Isaac blessing Esau.
+
+#The Fourth Bay.--No. 4.#
+
+  (1.) Sarah at the Door of Abraham's House.
+  (2.) Jacob going to Padan-Aram.
+  (3.) Jacob wrestling with the Angel.
+  (4.) Jacob pilling the Green Poplar Rods.
+  (5.) Jacob's Ladder.
+  (6.) Jacob making the Covenant with Laban.
+
+#The Fifth Bay.--No. 5.#
+
+  (1.) Jacob sending Joseph to his Brethren.
+  (2.) Joseph journeying to his Brethren.
+  (3.) Joseph stripped of his Coat of Many Colours.
+  (4.) Joseph cast into the Pit.
+  (5.) Joseph sold to the Ishmaelite Merchants.
+  (6.) Joseph set up over the Egyptians.
+
+#The Sixth Bay.--No. 6.#
+
+  (1.) Joseph selling corn.
+  (2.) Moses in the Ark of Bulrushes.
+  (3.) The Angel appearing to Moses in the Burning Bush.
+  (4.) The Overthrow of the Egyptians in the Red Sea.
+  (5.) The Ark of the Covenant.
+  (6.) Samson rending the Lion.
+
+#The Seventh Bay.--No. 7.#
+
+  (1.) Samson taking the Gates of the City of Gaza.
+  (2.) David smiting Goliath.
+  (3.) David cutting off Goliath's Head.
+  (4.) David crowned.
+  (5.) David charging Solomon.
+  (6.) Solomon enthroned.
+
+#The Eighth Bay.--No. 8.#
+
+  (1.) Solomon enthroned.
+  (2.) The Annunciation.
+  (3.) The Presentation in the Temple.
+  (4.) The Nativity.
+  (5.) The Visitation.
+  (6.) Herod decreeing the Massacre of the Innocents.
+
+#The Ninth Bay.--No. 9.#
+
+  (1.) The Flight into Egypt.
+  (2.) Christ in the midst of the Doctors.
+  (3.) The Marriage in Cana of Galilee.
+  (4.) The Baptism of Our Lord.
+  (5.) The Raising of Lazarus.
+  (6.) The Supper in Bethany.
+
+#The Tenth Bay.--No. 10.#
+
+  (1.) Christ's Entry into Jerusalem.
+  (2.) Circular Hole for Descent of Thurible.
+  (3.) Our Lord sending forth the Disciples.
+  (4.) The Last Supper.
+  (5.) Disciples preparing for the Foot-washing.
+  (6.) Our Lord washing Peter's Feet.
+
+#The Eleventh Bay.--No. 11.#
+
+  (1.) Our Lord in Gethsemane.
+  (2.) Christ crowned with Thorns.
+  (3.) Christ led to Pilate.
+  (4.) Christ before Pilate.
+  (5.) Christ Blindfolded.
+  (6.) Christ Betrayed.
+
+#The Twelfth Bay.--No. 12.#
+
+  (1.) Christ taken to the House of the High Priest.
+  (2.) Christ nailed to the Cross.
+  (3.) The Soldiers casting Lots.
+  (4.) The Crucifixion.
+  (5.) The Entombment.
+  (6.) Christ in Hades.
+
+#The Thirteenth Bay.--No. 13.#
+
+  (1.) Soldiers watching the Holy Sepulchre.
+  (2.) The Resurrection.
+  (3.) Three Apostles.
+  (4.) The Ascension.
+  (5.) The Virgin praying.
+  (6.) The Day of Pentecost.
+
+#The Fourteenth Bay.--No. 14.#
+
+  (1.) A Miracle of Exorcism.
+  (2.) The Jaws of Hell.
+  (3.) The Drunkard's Doom.
+  (4.) The Last Judgment.
+  (5.) St. Peter.
+  (6.) The Holy Trinity.
+  (7.) Bishop Lyhart, the Builder of the Vault.
+
+To all those who take an interest in early stone cutting, this vault of
+Norwich is a store of inexhaustible treasure; the bosses, rudely cut as
+they are, tell their own tales with singular truth and directness. Their
+sculpture may not display the anatomical knowledge of the work of the
+Renaissance; yet it has a distinct decorative value that has been seldom
+equalled in the later decadent period. The fourteen large central bosses
+on the main longitudinal ribs present in themselves an epitome not only
+of Bible history, but of the connecting incidents forming the theme of
+Christian teaching. In the tenth bay, on the longitudinal rib, there is,
+in place of a boss, a circular hole through the vault. It is supposed to
+have been formed to allow a thurible to be suspended therefrom into the
+church below. Harrod, quoting from Lambard's "Topographical Dictionary,"
+says: "I myself, being a child, once saw in Poule's Church at London, at
+a feast of Whitsontide, wheare the comyng down of the Holy Gost was set
+forth by a white pigeon that was let to fly _out of a hole that is yet
+to be seen in the mydst of the roof of the great ile_, and by a long
+censer which, descending out of the same place almost to the very
+ground, was swinged up and down at such a length that it reached at one
+swepe _almost to the west gate of the church, and with the other to the
+queer_ [_quire_] _stairs of the same_, breathing out over the whole
+church and companie a most pleasant perfume of such sweet things as
+burned therein."
+
+It is probable that the hole in the nave vault at Norwich was used for a
+similar purpose; and its position would seem to agree with such use,
+situated as it is about midway between the west end and where the front
+of the mediaeval rood loft occurred.
+
+#The West Window#, added, as we have already noted by Bishop Lyhart, to
+light the vault, resembles that of Westminster Hall in the lines of its
+tracery; the glass by Hedgeland constitutes a memorial to Bishop Stanley
+(d. 1849).
+
+#West Door.#--The original Norman arch remains over the doorway on the
+inside.
+
+#The North Aisle of Nave#, the Norman windows of which were entirely
+replaced by Decorated ones, is covered by plain quadri-partite vaults.
+In the triforium over, as previously noted in description of exterior,
+the side walls were raised, the original Norman windows blocked up and
+Perpendicular ones placed over, the roof being at the same time raised
+on the outside to the necessary height, and made of a shallower pitch;
+this is clearly noticeable from the triforium walks.
+
+In the easternmost bays, two windows were raised still more to gain
+additional light for the choir.
+
+In the seventh bay from the west end occurs the door once leading to the
+_green yard_.
+
+[Illustration: The North Aisle of Nave, looking West.]
+
+#The South Aisle of Nave# corresponds with the north, and is covered
+with a plain quadri-partite vault, with the exception of the seventh and
+eighth bays from the west; these were converted by Bishop Nykke into a
+chapel enclosed by screens, and are marked on the plan as E.E. The
+Norman vaults were here removed and the late Perpendicular ones
+constructed in their stead; the windows appear to be of still later
+date, but are supposed to have been, and most probably were, inserted at
+this period.
+
+#Monuments in Nave.#--The nave suffered severely at the hands of the
+Puritans, who destroyed many of the early tombs and effigies. Especially
+noticeable is the lack of brasses; all these have disappeared, with the
+exception only of one in the Jesus Chapel. Another singularity is that
+the burial-place of most of the bishops who are known to have been
+interred in the cathedral is quite uncertain. The best of them seem to
+have been content with a plain slab and inscribed brass; only Nykke, of
+infamous memory, left so gorgeous a chapel behind to perpetuate it.
+
+Bishop Hall, in his "Hard Measure," gives a sketch of vivid historical
+interest of the sacrilege committed during the Puritan rebellion, and
+when, in 1643, the cathedral was in the possession of the fanatics.
+"Lord, what work was here, what clattering of glasses, what beating down
+of Walls, what tearing up of Monuments, what pulling down of Seates,
+what wresting out of Irons and Brass from the Windows and Graves. What
+defacing of Armes, what demolishing of curious stone work, that had not
+any representation in the World, but only of the cost of the Founder and
+skill of the Mason, what toting and piping upon the destroyed Organ
+pipes, and what a hideous triumph on the Market day before all the
+Countrey, when, in a kind of Sacrilegious and profane procession, all
+the Organ pipes, Vestments, both Copes and Surplices, together with the
+Leaden Crosse which had been newly sawne down from over the Green-Yard
+Pulpit, and the Service books and singing books that could be had, were
+carried to the fire in the publick Market place; A leud wretch walking
+before the Train, in his Cope trailing in the dirt, with a Service book
+in his hand, imitating in an impious scorne the tune, and usurping the
+words of the Letany; neer the Publick Crosse, all these monuments of
+Idolatry must be sacrificed to the fire, not without much Ostentation of
+a zealous joy."
+
+#Monuments in North Aisle of Nave.#--In the fifth bay of the nave arcade
+(marked I on plan) is the altar tomb of Sir Thomas Wyndham and his four
+wives. This was originally in the Lady Chapel, then, for a time, the
+Jesus Chapel, and about 1869 moved to its present position.
+
+Between the sixth and seventh bay is buried Dean Prideaux (d. 1724). The
+ninth bay of aisle is lighted by a memorial window to William Smith (d.
+1849), Professor of Modern History at Cambridge. In the tenth bay
+(marked 2 on plan) is the altar tomb, with panelled sides, to Sir John
+Hobart (d. 1507), Attorney-General to Henry VII.
+
+#Monuments in South Aisle of Nave# from the west.--In the sixth bay is a
+memorial window by Wailes to members of the Hales family. In the seventh
+bay (marked 3 on plan) is the tomb of Chancellor Spencer; the rents of
+the dean and chapter were formerly paid here. The ninth bay (marked 4 on
+plan) contains the altar tomb of Bishop Parkhurst (1560-74).
+
+[Illustration: The East Walk of the Cloisters.]
+
+#The Cloisters# and destroyed monastic buildings.--The cloisters are
+on the south side of the cathedral, the interior garth being about 145
+feet square.
+
+[Illustration: The Cloisters from the Garth.]
+
+The original Norman cloisters, which were probably of a wooden
+construction, were destroyed by the fire of 1272; and the work of
+building the present cloisters was commenced by Bishop Walpole (1289-99)
+about 1297, but they were not completely finished until 1430, in the
+time of Bishop Alnwyck (1426-36). They present an interesting, and, at
+the same time, complex study of the development of the styles during the
+one hundred and thirty-three years which passed during their erection; a
+paper by the Rev. D.J. Stewart (published in vol. 32 of the
+_Archaeological Journal_) goes minutely into their construction, and the
+several parts the various bishops of Norwich played in their design.
+Those who wish to study this part of the cathedral thoroughly cannot do
+better than refer to this paper.
+
+It will be noticed that, despite the lengthy period occupied in the
+construction of the cloisters, the result is in no way inharmonious; it
+is only in the detail, and especially the open tracery to the bays, that
+the difference of style is very perceptible.
+
+Counting the angle severies as in each walk, it will be noticed that
+there are fourteen severies on the east side; and thirteen on the other
+three. Each is nearly square on plan, and vaulted over with horizontal
+longitudinal and transverse ribs, between which occur diagonals and
+_tiercerons_; with carved bosses at the intersections. The piers
+carrying the vaults consist of groups of separate cylindrical shafts of
+Purbeck marble.
+
+On the three sides--east, west, and south--there are separate storeys of
+apartments over the vaults, which were used for various purposes by the
+monks.
+
+In elevation--and of course this can best be seen from the Garth--each
+bay is divided by a projecting buttress with diagonal one in the angles;
+the arches are filled with open tracery carried by two mullions; it is
+this tracery which marks most clearly the various changes of style. The
+shape of the arch is similar throughout. This was a concession on the
+part of the later builders which ensured harmony in the whole; but on
+each side the tracery is varied. On the east side it is geometrical in
+character, the work being transitional between Early English and
+Decorated; on the south side the tracery is more flowing and has
+advanced to Decorated; on the west side again, we get the transitional
+style between Decorated and Perpendicular, with some _flamboyant_ or
+flame-like detail; while on the north and latest side it is frankly
+Perpendicular.
+
+#The East Walk# of cloisters is the earliest; access to which is gained
+from the south aisle of nave of cathedral, through the #Prior's Door#;
+of this fine specimen of early Decorated work we give an illustration.
+In the sixth bay, from, and counting the angle, may be seen the
+walled-up entrance to the Slype. In the seventh, eighth, and ninth bays
+remain the arches which once gave entrance to the chapter-house; these
+were walled up until about 1850.
+
+According to the itinerary of William of Worcester, the chapter-house,
+which was built by Bishop Walpole (1289-99), projected eastward about 80
+feet, terminating with a polygonal apse, as shown by the dotted lines to
+our plan.
+
+The prolongation of this east walk southwards beyond the south walk of
+the cloisters, led formerly to the infirmary; of which now only remain
+the three piers in the lower close; the greater part having been pulled
+down in 1804. During some time in the eighteenth century the infirmary
+was used as a workhouse.
+
+The dormitories in all monasteries were connected with one of the
+transepts, usually the south, so that the monks could at all hours
+easily gain access to the cathedral for the performance of the offices
+of their order; it is probable, therefore, that the rooms over this east
+walk of the cloisters here at Norwich may have been used as dormitories,
+with a staircase on the western side of the south transept leading to
+them. The dormitories are supposed by some antiquarians to have been
+placed south of the destroyed chapter-house; the door in the twelfth bay
+of the east wall of the cloisters (marked 5 on plan) probably giving
+rise to the supposition.
+
+The sculptured vault-bosses in this walk are illustrative of incidents
+in Gospel story and of the legends of the four evangelists.
+
+#The South Walk#, the south wall of which was also the wall of the
+refectory. A door (marked 6 on plan) at the western end of this walk led
+to the refectory. To the west were probably the kitchen and offices. The
+sculptured bosses of the vault over this walk are illustrations of
+scenes from the Book of Revelation.
+
+[Illustration: The Prior's Door.]
+
+#The West Walk.#--In the first two bays (marked 7 on plan) are the
+lavatories of the monks; and in the fourth bay, a door (marked 8 on
+plan) that formerly led to the guest hall, pulled down by Dean Gardiner,
+1573-89. The cellarer whose duty it was to look after the guests
+probably had apartments above.
+
+A door in the last bay leads to the #Choir School#; this was formerly
+the #Locutory#, where the monks indulged in their daily gossip. The
+western wall is in the Early Decorated style; the body of the room
+dating from Norman times.
+
+The door into the south aisle of the cathedral from this walk, known as
+the #Monks' Door#, is of an elaborate example of the Perpendicular
+style.
+
+Returning along the #North Walk#, the latest part of the cloisters, we
+come again to the prior's door, by entering which the rest of the
+interior may be inspected.
+
+#The Ante-choir# occupies one compartment of the nave, and is
+immediately under the organ loft. It was in mediaeval times a chapel
+dedicated to Our Lady of Pity. The screens between this ante-choir and
+the aisles on north and south, were in part formed from the
+Perpendicular screen which originally divided off the Jesus Chapel from
+the north aisle of the presbytery. Here in the ante-choir they are
+certainly preferable, even as "mutilated Perpendicular," to any modern
+substitute; though it was lamentable vandalism to remove them from their
+original positions, where they are shown in Britton's "History."
+
+#The Choir.#--It may be as well here to give a brief sketch of the
+various re-modellings which have been effected in the arrangement of the
+choir and presbytery of the cathedral.
+
+Britton shows, in one of his plates published in 1816, the floor of the
+choir continued at its level until, immediately before the altar, in the
+apse, it rises by five steps to the level of the sanctuary (the
+presbytery, after the Reformation, had been cut off from the choir by a
+wooden screen, in front of which stood the communion table). Across both
+transepts, in the beginning of the century, there stood cumbrous
+two-storeyed structures containing pews not unlike boxes at a theatre,
+as shown in a drawing here reproduced. In 1837, when Salvin re-modelled
+the choir, these were removed, and on the south side replaced by a stone
+gallery, and this again has been taken down.
+
+In Dean Goulburn's time the floor of the presbytery was raised by two
+steps, which occurred one bay past the tower arch eastward.
+
+[Illustration: The Choir and Presbytery.]
+
+Quite recently, there have been further alterations carried out by
+Dean Lefroy. The eastern arm of the building was closed for two and a
+half years, and during this time the whole of the whitewash, etc.,
+covering the stonework was flaked off, with much benefit to the
+appearance of this part of the interior. The level of the presbytery
+floor has been brought forward to the tower arch, and at the same time
+the floors of both transepts and choir were brought to one level, and
+various obstructions in the way of pews and raised floors removed.
+
+The choir was opened after this work by Archbishop Benson, 2nd May 1894.
+
+[Illustration: A Stall in the Choir.]
+
+#The Choir# extends one bay, or the space of two compartments, into the
+nave, as was usual in cathedral priories, and was originally occupied
+during the offices of the Benedictines by the prior, sub-prior, and the
+sixty monks. The bishop--who was the nominal abbot--with his presbyters,
+occupied the presbytery.
+
+The stalls, sixty in number, with an additional two for the prior and
+sub-prior, facing east, are fine specimens of fifteenth-century work,
+the detail varying though the main lines are preserved in each.
+
+Each of these stalls retains the _subsellium_ or _miserere_, which,
+hinged at the back, turns up and discloses a small ledge beneath
+supported by carving, which ledge is supposed to have been used by the
+aged monks to rest on during the first long office of the Benedictines,
+which lasted four hours. Did they, however, by any chance allow the
+seat to fall, they are said to have had to go through the whole of their
+prayers again as a penance. All these _misereres_ are worth studying,
+especially as the white and grey paint which had disfigured them has
+been cleaned off since 1806.
+
+The choir was re-arranged by Salvin in 1833, and the chancellor's stall,
+shown in early prints, against the north-east tower pier, was removed at
+this time. The presbytery was filled with stalls, which have been lately
+removed, and in part refixed in the nave. During the recent alterations
+the row of fifteenth-century stalls, each with its _miserere_, has been
+removed from its original position in front of the canopied stalls, and
+placed across the transepts, and their place taken by others, made up of
+various fragments of old seating.
+
+Also the older bishop's throne, erected by Dean Lloyd late in the
+eighteenth century, "in resemblance to ancient Gothic workmanship," was
+removed from the south-east pier of the tower and placed in the
+consistory court, and its place taken (1894) by the present erection,
+designed by Pearson also in the style of ancient Gothic workmanship, and
+made by Cornish and Gaymer. The new pulpit, taking the place of that put
+up after the demolition of the chancellor's stall, was designed by J.D.
+Seddon, and executed by H. Hems of Exeter.
+
+#The Pelican Lectern#, now in the choir (see illustration, p. 110), was
+formerly hidden away in the Jesus Chapel; it is late Decorated in
+character; the three small figures were added in 1845. There is enough
+metal in this piece of mediaeval work to make a dozen modern replicas.
+
+#The Presbytery# consists of two double severies, or four compartments,
+terminated by a semi-circular apse of five compartments. The four
+compartments on either side have, in the lower stages of their design,
+rich four-centred arches of Perpendicular period, with niches between on
+the piers; the spandrels are filled in to a horizontal line, above
+which, at the level of the triforium floor, is an elaborate cusped
+cresting. The triforium is Norman, lofty in scale. Over this come four
+light transitional (Decorated to Perpendicular) clerestory windows, with
+niches canopied forward in the thickness of the wall over the clerestory
+path; the windows being on the outer face of wall. From the apex of the
+ogee arches of the niches spring the vaulting ribs of the later vault,
+without any intermediate shaft. The apse preserves its Norman
+characteristics in the lower stage as well as at the triforium level.
+Here the interest of the student must surely be concentrated; as this
+eastern arm of the cathedral is the earliest part of the building.
+Herbert, the founder, laid the foundation-stone at the extreme east,
+probably in the original Norman Lady Chapel, and built westwards, and
+here, in front of the high altar, was he buried.
+
+[Illustration: The Choir and Presbytery in 1816.]
+
+The remains of the first bishop's throne, with the westward position,
+are in the central bay of the apse. Behind it, in the screen wall, can
+be discerned an arch which looks like a door head; if there be a vault
+beneath the presbytery, it is probable that this is the walled-up
+entrance.
+
+On the east side of the tower over the arch can be seen the lines of the
+original Norman roof. The Norman clerestory was so badly damaged by part
+of the tower falling in 1362 that the present clerestory was built in
+its place by Bishop Percy (1355-69), the presbytery, at the same time
+being covered over with a framed timber roof. In 1463 this (together
+with the spire) was struck by lightning, and fell burning into the
+presbytery, where it burned itself away. Here and there in the aisles,
+and wherever the Norman stonework is visible, traces of an orange
+discoloration give evidence of the heat generated by the mass.
+
+The present lierne vault was added by Bishop Goldwell (1472-99), and his
+rebus, a gold well, can be seen cut on the bosses at the intersections
+of vaulting ribs. The curious junction of the later vault with the
+ogee-shaped arches of the clerestory should be noticed.
+
+While the original triforium yet remains, the character of the main
+arcade was altered by the insertion of the four-centred "Perpendicular"
+arches, the work of Bishop Goldwell, whose tomb is under one on the
+south side. These lower arches were filled with screens, removed in
+1875.
+
+The lower apsidal arches, in the beginning of the century, were
+completely filled with imitation Norman work; this has been cleared away
+to the original height of the screen wall, with much improvement to the
+general effect.
+
+[Illustration: The Choir Stalls at the beginning of the Nineteenth
+Century.]
+
+The present altar, designed by Sir A.W. Blomfield, occupies probably the
+position of the original altar. The question where the high altar stood
+has provoked much speculation. Professor Willis placed it more to the
+westward, thinking that a quatrefoiled opening or hagioscope in the
+screen wall of the last bay on the north side of the Presbytery (marked
+9 on plan) was made to afford a view of it from the aisle. Harrod points
+out that there is a small hole in the vault above, from which probably
+hung down the light of the sacrament. The position of this hole, and the
+fact that such a light would necessarily be placed before the altar, and
+not over or behind it, is evidence that the altar was about where it is
+now. Blomfield, again, averred that the people stood in the aisle and
+confessed to the priest standing in the sanctuary, the "voice coming
+through a hole made in the wall for that purpose," the hole being the
+hagioscope referred to. But, as Harrod observes, to do this the priest
+must have assumed a recumbent position, which is neither convenient nor
+usual.
+
+The real use, no doubt, of this bay of the arcade, was for the Easter
+sepulchre; its usual position is on the north side of the sanctuary. It
+will be noticed also that in the aisle immediately behind is a raised
+gallery of Decorated character, access to which was gained from the
+sanctuary by steps on the left side of the bay of the arcade, in which
+occurs the hagioscope. This gallery formed the ante-chapel to the
+#Reliquary Chapel#, which projected northwards from the aisle of the
+cathedral; the roof line of this chapel can be seen plainly from the
+outside. From the reliquary chapel on Good Friday the crucifix and pyx
+were taken out and deposited in the Easter sepulchre below; and from the
+vault above, through the hole before referred to, was hung the great
+sepulchre light. More probably the hagioscope was intended to be used by
+the watcher at the sepulchre.
+
+[Illustration: The Choir, looking West.]
+
+The arrangement of the presbytery, as we have already noted when
+referring to the plates here reproduced from Britton, has undergone many
+changes; in the beginning of the century the level of the floor of the
+choir was continued until between the third and fourth bay from the
+tower in the presbytery, where it rose by five steps to the level of the
+sanctuary floor. Harrod speaks of two steps up at the third pier past
+the tower, and three at the fourth or point of the junction of the apse.
+In Dean Goulburn's time, the sanctuary space was enlarged by being
+brought forward one bay. The present floor, designed by Sir A.W.
+Blomfield in glass mosaic and porphyry, was executed by Powell
+Brothers. Then also was added the somewhat elaborate communicants' rail,
+executed in bronze and spars. In enlarging the sanctuary, Dean Goulburn
+moved the three steps from the fourth pier past the tower to the third,
+and at the same time the two steps at the third pier were moved forward
+to the first past the tower. And now again, during the recent works of
+reparation, the presbytery floor has been brought forward at one level
+to the tower arch, where it descends to the level of the choir floor by
+five steps: screens which filled the first bays on either side were
+removed, and similar flights of steps now descend from the presbytery
+and the north and south aisles. The cumbrous stalls were also removed,
+and in part refixed in the nave.
+
+The stained glass which fills the clerestory windows of the apse dates
+from 1846, and was made by Yarrington. The window in the triforium just
+above the altar contains modern stained-glass, dedicated to the memory
+of Canon Thurlow.
+
+#Monuments in the Presbytery.#--The monument of Herbert, the first
+bishop of Norwich, and the founder of the cathedral, was raised in the
+centre of presbytery, before the high altar. It was so much injured
+during the time of the Rebellion that a new one was erected in 1682;
+this again was levelled, and a slab placed in the floor at the same
+place now remains.
+
+In the second bay eastward from the tower (south side), marked 10 on
+plan--Bishop Goldwell's (1472-99) chantry, and the altar tomb,
+remarkable for the effigy in full pontificals (see illustration). Bloxam
+remarks that it is "the only instance of the monumental effigy of a
+bishop, prior to the Reformation, in which the _cappa pluvialis_, or
+processional cope, is represented as the outward vestment instead of the
+casula or chesible." The tomb is placed to the south of the recess; in
+the space east was an altar.
+
+In the third bay eastward was Bishop Wakering's (1416-25) tomb, the only
+part of which now remaining is visible from the south aisle, and
+consists of a series of panels with plain shields and figures two by
+two, with the several instruments of the Passion. There were formerly
+steps down into the south aisle from this bay. In the same place is a
+monument to Bishop Overall (d. 1619).
+
+[Illustration: Detail of the Presbytery Clerestory and Vaulting.]
+
+In the fourth bay (marked 11 on plan) the altar tomb of Sir William
+Boleyn of Blickling (d. 1505).
+
+Of the fourth bay eastward from tower on the south side (marked 9 on
+plan), Sir Thomas Browne says: "On the north of the choir--_the
+presbytery is meant_--between the two arches, next to Queen
+Elizabeth's seat, were buried Sir Thomas Erpingham and his wives, the
+Lady Joan, etc., whose pictures were in the painted glass windows next
+to this place, with the arms of the Erpinghams. The insides of both the
+pillars were painted in red colours, with divers figures and
+inscriptions from the top almost to the bottom, which are now washed out
+by the late whiting of the pillars.... There was a long brass
+inscription about the tombstone, which was torn away in the late times,
+the name of Erpingham only remaining."
+
+During the recent works, under this same spot was found a leaden coffin
+enclosing human bones, which were possibly the remains of Sir Thomas
+Erpingham.
+
+An amusing tale is told by Harrod of Roger Bigod's burial in the
+cathedral. He was the founder of Thetford Priory, and died in 1107,
+leaving directions that his body should be buried in his own monastery.
+The prior of Thetford was much perplexed to hear that Bishop Herbert had
+taken possession of the body, and had determined that it should be
+interred with all the due solemnities at Norwich. Herbert was anxious to
+secure for his own foundation so valuable a source of income as the
+offerings and celebrations at the tomb of a pious man like Bigod; and no
+doubt the prior was not actuated alone by love for his departed abbot.
+The bishop won, and Roger Bigod was buried in the cathedral, possibly in
+the same crypt which is supposed to contain the bones of Herbert
+himself.
+
+#The North Transept#, like the south, is without aisles or triforium,
+the wall space up to the clerestory level being decorated with wall
+arcading, varying considerably in position and detail in each
+compartment. The clerestory follows round from the nave, and overhead is
+the later lierne vault. It was, together with the eastern arm of the
+cathedral, closed for two and a half years, during which period the
+whole of the lime-white and paint encrusting the stonework was flaked
+off. The work, so far as we can understand, was really a restoration,
+inasmuch as the original stonework was restored to view. The level of
+the floor was made to correspond with that of the choir, and a raised
+wooden floor with the benches thereon removed. The transepts were built
+by Herbert, the first bishop and founder. Both originally had an apsidal
+chapel on the eastern wall, but only that on the north arm remains,
+and access to this now is not possible from the transept. Dedicated at
+one time to St. Anne, it is now used as a store-house.
+
+[Illustration: The Choir Apse.]
+
+The vault was added by Bishop Nykke, and was necessitated by a fire in
+1509, which consumed the wooden roofs of both transepts. During the
+recent works the small arcading immediately under the line of the vault
+was discovered walled up, the builders of the later vault in all
+probability having done this, as in many cases the line of the vault
+cuts over the arcading. This was opened up, and is distinctively
+interesting in helping to reconstruct the original finish to the Norman
+work under the roof.
+
+#The Tower and Triforium Walks#, to which access is gained by a
+staircase in the east wall of north transept, are of much interest. In
+the triforium the imposition of the later work on the Norman is clearly
+noticeable, and the original Norman triple windows walled up with the
+wall shafts which once supported the semi-arches of the triforium roof.
+Some of the best views of the interior are to be gained from the
+triforium and clerestory paths.
+
+#Interior of Tower.#--A continuation of the same staircase leads to the
+clerestory, and from thence access is gained to the tower galleries.
+Above the arches of the crossing there is a vaulted passage in the
+thickness of the tower walls, with six arches pierced in the inner wall,
+so that the parts of the interior can be seen from this walk. Above
+occurs a smaller wall arcade, stopped before reaching the angle to admit
+of large circular holes being deeply recessed in the walls; and above
+this again another vaulted gallery, with three windows on either side,
+pierced through the tower. In the lower of these walks openings occur
+through the thickness of the walls into the presbytery, the nave, and
+transepts, just under the vaults, and interestingly quaint peeps can be
+gained through them.
+
+The #Processional Path#, or aisles to the presbytery, consists of four
+bays to the north and south, with quadri-partite vaulting, with a
+similar five following round the line of the apse. A door in the north
+aisle leads out into the gardens of the bishop's palace, and from thence
+the exterior of this part of the cathedral is best seen.
+
+Crossing the north aisle to the presbytery, at the fourth bay eastward
+past the tower, marked F on plan, there occurs a curious bridge chapel
+spanning the aisle, access thereto being gained by a newel staircase on
+the north side. In our notes on the Presbytery, we have referred to the
+uses assigned to this structure and its connection with the Easter
+sepulchre. It formed the ante-chapel to the reliquary chapel projecting
+northward from the outer wall of the cathedral; it probably was built as
+a bridge so that relics and symbols might be exhibited thereon to
+processions passing along underneath. It is decorated in character, and
+the vault is constructed of chalk. The chapel above is decorated with
+frescoes, the subjects of which are as follow:--In the western quarter
+of the four-part vault, The Blessed Virgin between SS. Margaret and
+Catherine; in the eastern, SS. Andrew, Peter, and Paul; in the northern,
+SS. Martin, Nicholas, Richard; in the southern, SS. Edmund, Lawrence,
+and a bishop; a figure of Christ occurs centrally. Copies of these
+frescoes have been made in facsimile, and hang in the aisle and
+consistory court. Passing through the small door in the north wall of
+the north aisle before mentioned to the outside, the lines of the
+reliquary chapel can be plainly seen, and also of another to the west;
+the position of both these chapels is shown by dotted lines on the plan.
+
+[Illustration: Detail of the Clerestory, North Transept.]
+
+A coped coffin lid of Purbeck marble, now in the aisle of presbytery,
+should be noticed; an inscribed brass once occupied the bevelled edge.
+
+[Illustration: The South Aisle of Presbytery, looking East.]
+
+#The Chapels.#--In the Norman cathedral, grouped round the east end of
+the presbytery, was a trefoil of chapels; the one on the north, the
+Jesus Chapel, yet remains, and as well its fellow on the south. The Lady
+Chapel, or easternmost of the three (shown on plan by dotted lines) was
+succeeded by an Early English building, which, in its turn, was
+destroyed; the entrance arches, of beautiful proportion, alone
+remaining.
+
+[Illustration: Norman Work in the Lantern of Tower.]
+
+#The Jesus Chapel# formerly belonged to the bishop. On plan its shape is
+that of segments of circles joined, the altar placed in the smaller
+part. A simple wall arcade runs round the lower half, the whole being
+covered by a plain quadri-partite vault. The windows are insertions of
+Perpendicular work, varied in character from the Norman work of the
+chapel itself. The mural colouring is a restoration; it may be something
+like the original, but the general effect is somewhat garish.
+
+[Illustration: The Ante-Reliquary Bridge Chapel.]
+
+The altar consists of a slab of grey Barnack-stone, with Purbeck
+inlaid, the whole being supported on shafts.
+
+The tomb of Sir Thomas Wyndham, now in the north of nave, at one time
+stood here, as also the pelican lectern now in the choir.
+
+In Britton, the chapel is shown divided off from the aisle by a stone
+screen of Perpendicular character; this was removed, and used to form in
+part the present screens dividing the ante-choir from the aisles.
+
+A room over the Jesus Chapel, once the plumbery, is now used as a
+museum.
+
+The Entrance which led to the Lady Chapel is immediately behind the
+apse, and takes the form of a double arch with clustered columns to the
+jambs and central pier; the archivolt is deeply moulded and enriched
+with the typical Early English "dog-tooth" ornament. In the spandrel
+over the pier, and between the archivolts, is a quatrefoiled opening
+fitting just under the line of the semi-circular Norman vault. The
+arches, walled-in up to the impost level, are now filled with glass, as
+well as the opening. The original circular Norman Lady Chapel was
+destroyed in part by the fire of 1169; it was repaired by Bishop De
+Turbe (1146-74), but it was not until the time of Walter de Suffield
+(1245-57) that it was decided to pull it down and rebuild a chapel in
+the style of the period--viz. Early English; it was this later building
+that Dean Gardiner (1573-89) destroyed.
+
+Dean Goulburn, in his work on the cathedral, points out that it was the
+_cultus_ of the Blessed Virgin, which gathered strength all over Europe
+during the twelfth and thirteenth centuries, that led to the erection of
+such sumptuous chapels as this thirteenth-century Lady Chapel of Norwich
+must have been. When the theological reaction followed, they fell into
+disuse and neglect, and their final ruin followed when it was found
+cheaper to pull them down than keep them in repair.
+
+The beautiful proportion of the entrance arches still remaining, the
+archivolt enriched with the "dog-tooth" moulding--the only example of
+this particular ornament at Norwich--gives one an idea of what the
+chapel may have been like. During the recent works of reparation in the
+choir, pieces of stone were found with the "dog-tooth" built inwards:
+evidently the stone from the pulled down chapel had been used by the
+masons for the repair of the fabric.
+
+#St. Luke's Chapel#, on the south side of the apse corresponding with
+the Jesus Chapel on the north, was formerly the chapel of the prior. It
+is now used as the parish church of St. Mary in the Marsh. It has been
+much restored, and the Decorated windows shown in Britton's view of the
+east end of the cathedral were replaced early in the sixties, by what
+the restorer would no doubt have called Norman.
+
+The coloured glass was inserted to the east window in 1868, the south
+window in 1870, the west window in 1881. That in the east and south is
+by Hardman, in the west by Clayton & Bell. The glass in the south window
+forms a memorial to Adam Sedgwick, Professor of Geology at Cambridge,
+and canon of the cathedral for many years.
+
+The room over the St. Luke's Chapel is used as the #Treasury and
+Muniment Room#.
+
+#The Bauchon Chapel#--corrupted to Beauchamp--dedicated to St.
+Mary-the-Less, projects to the south of the third bay of the presbytery
+aisle past the tower, (marked B on plan). It was founded in the
+fourteenth century and the vault added in the fifteenth century. Its
+bosses represent the Life, Death, and Assumption of the Virgin. The
+chapel is now used as the consistory court. The bishop's throne, erected
+by Dean Lloyd late in the eighteenth century in the choir, has found a
+resting-place here.
+
+A chapel, founded by Bishop Wakering, and which is said to have been
+used as the chapter-house after the demolition of that structure, came
+between the Bauchon Chapel and the east wall of the south transept. Its
+exact position is, however, doubtful. Harrod, quoting Blomfield, speaks
+of another chapel that was dedicated to St. Osyth, and which was paved
+in 1398.
+
+[Illustration: Doorway and Screen between South Transept and Aisle of
+Presbytery.]
+
+#The South Transept.#--The screen and doorway filling the Norman arch
+between the south aisle of presbytery and the south transept should be
+noticed; it is an interesting piece of work of late Perpendicular
+design. There is a tradition that the Puritans disliked especially any
+tracery that took the form of this piece of screen work, calling windows
+in which it occurred "wicked windows." The intersection of the lines of
+the tracery made the monogram of the Blessed Virgin; and the fanatics
+destroyed such work wherever noticed. The tale is interesting, though we
+cannot vouch for its truth.
+
+[Illustration: View across the Apse from the Chapel of St. Luke.]
+
+At the time the whitewash and paint covering the south transept was
+cleaned off a range of small arcading was discovered immediately under
+the line of the vault, as in the north transept, walled-up evidently
+when the vault was added.
+
+The south transept had in Norman times a circular chapel projecting
+eastward similar to that remaining to the north transept. This was
+replaced by a later sacristy during the fifteenth century, and the line
+of this roof can be seen from the outside.
+
+Across the south end there was formerly a stone screen built by Bishop
+Lyhart (1446-72) communicating with the vestry on the east side, and on
+the west with the staircase to rooms above the east walk of cloisters.
+These rooms, as we have before noted, were in all probability the
+dormitories of the monks, placed that they might so conveniently gain
+access to the cathedral for the services.
+
+On the top of Lyhart's screen came a clock; there are records in the
+sacrists' rolls of materials used in the construction of an earlier
+clock that was made between 1322-25--of two hundred pieces of Caen stone
+and ten of "Gobetz" used to make a base, and that for making thirty
+images to represent the days of the month, no less than 47s. 4d. was
+paid.
+
+The vault was added by Bishop Nykke at the same time as that to the
+north transept; the carved bosses representing the early history of
+Christ--the Presentation, Baptism, etc. The painted glass window on the
+east side, the subject of which is the Ascension (after Raphael), was
+erected by the widow of Dean Lloyd about a century since. Speaking of
+its original position in the triforium of the presbytery, Britton says
+"it disfigures, rather than ornaments, its station"; it can safely be
+added that it fulfils the same purpose still.
+
+#Monuments.#--Chantrey's statue of Bishop Bathhurst (d. 1837),
+originally in the presbytery, has been placed here in the south
+transept. The west wall has a memorial to the men and officers of the
+9th (East Norfolk) Regiment of Foot who fell in China and Japan.
+
+The east wall has a similar tablet to those of the same regiment who
+fell in Afghanistan, 1842. A monument, originally on the west wall, to
+Bishop Scambler (1585-95), has been removed to the south aisle of nave.
+
+The county of Norfolk is peculiarly rich in painted screens of the
+fourteenth and fifteenth centuries; and it would have been strange
+indeed if no specimen of their work had been preserved in the cathedral.
+Fortunately, a superb #retable# in five panels, representing scenes in
+the Passion of our Lord was discovered by Professor Willis in 1847, and
+is now preserved in the aisle outside the Jesus Chapel.
+
+This was formerly an altar-piece to the Jesus Chapel, and was preserved
+by the happy accident of its admirable carpentry having saved it for the
+purposes of a table. It appears to have been the work of an Italian
+artist of about 1370 A.D., and is executed in a kind of _gesso_ work.
+The size is now 7 ft. 51/2 ins. x 2 ft. 4 ins.; but it was formerly
+surrounded by an ornamented frame, of which portions remain on three
+sides. The subjects represented are--from the left--The Scourging,
+Bearing the Cross, the Crucifixion, the Resurrection, and the
+Ascension.[1]
+
+    [Footnote 1: Royal Arch. Institute: Norwich volume, p. 198.]
+
+Traces of other decorative painting have also been discovered in the
+Sacrist's Room, St. Luke's and the Jesus Chapels, the choir aisles, and
+other places.
+
+[Illustration: The Resurrection: from the Painted Retable formerly in
+the Jesus Chapel.]
+
+
+
+
+CHAPTER IV
+
+THE SEES OF THE EAST ANGLIAN BISHOPS
+
+
+Herbert, surnamed de Losinga, transferred the see from Thetford to
+Norwich in 1094, and it is from this period that the history of the
+cathedral may be said to commence; but, to understand rightly the
+history of the diocese, we must go back some four centuries and a half
+to that earlier period when Redwald, king of the East Angles, was first
+converted to Christianity while paying a visit to the court of Ethelbert
+in Kent. He, however, proved but a weak disciple, and on being urged by
+his wife to be true to the old gods, he tried to effect a compromise and
+worship Jehovah and Baal.
+
+He was succeeded by his son Eorpwald, who was converted by missionaries
+sent by Edwin king of Northumbria. His reign, however, was short, and at
+his death the people again relapsed into heathenism.
+
+Christianity was finally established among the East Angles by Sigeberht,
+Eorpwald's brother, and it was due to him and through his influence that
+Felix, a missionary from Burgundy, was enabled to fix his see at
+Dunwich, A.D. 630.
+
+#Felix# (630-47) must needs have been a man strong in his Faith; he
+christianised the whole of that district which now includes Norfolk,
+Suffolk, and Cambridgeshire. He died on the 8th of March, and was
+canonized after death. Felixstowe, where he is said to have founded
+schools, keeps his memory green in the East Country; but Dunwich, where
+he fixed his see, has long since been covered by the encroaching waves.
+
+Sigeberht resigned the crown to his kinsman Egric, and had entered a
+monastery to finish his days in peace. But the kingdom was invaded by
+the Mercians under Penda, and the peaceful old king was compelled to
+appear in the field to give heart and courage to the East Angles. He,
+however, declined to employ carnal weapons, and went out against his
+enemies armed with nothing more formidable than a wand. He was killed
+in the ensuing engagement, and his successor, Egric, shared the same
+fate.
+
+The administration of the two successors to Felix lasted twenty-two
+years, from A.D. 647-69. The East Anglian see was then divided by
+Theodore, Archbishop of Canterbury, into two separate administrations,
+#Acci#, the fourth successor to Felix, taking Dunwich, while #Beadwin#
+was consecrated to the see of Elham.
+
+From this date there were two lines of East Anglian Bishops; ten
+diocesans followed after Acci at Dunwich, and nine after Beadwin at
+Elmham.
+
+#St. Humbert# (828-78) was the last of the Bishops of Elmham; he crowned
+St. Edmund king of the East Angles, and both were murdered by the Danes
+under Hinguar in 870.
+
+After Humbert's death the two sees were again united under #Wildred#,
+who at this time was Bishop of Dunwich; he, however, preferred Humbert's
+see at Elham, and removed there, and so the bishopric of Dunwich became
+extinct.
+
+During the next two hundred years (870-1070), there were thirteen
+bishops of Elmham, and then Elmham shared a similar fate to Dunwich, and
+the see was moved to Thetford by #Herfast#, a chaplain of William the
+Conqueror. William of Malmesbury records that Herfast had decided to go
+down to posterity as a man _who had done something_, and fixed on this
+removal as an easy solution of the difficulty.
+
+#William Galsagus# (1086-91) or de Beaufeu succeeded Herfast, and he in
+turn was succeeded by Herbert de Losinga, who became first Bishop of
+Norwich.
+
+The history of #Herbert's# episcopate (1091-1119) is the history of the
+causes which effected the building of Norwich Cathedral, and, although
+given previously in the history of the fabric, must needs be briefly
+recapitulated here. Herbert, if not of Norman birth, had received his
+education in Normandy and was Prior of Fecamp--where he had first taken
+his vows--when offered by William Rufus the appointment of Abbot of
+Ramsey. The see of Thetford fell vacant, and Herbert procured his own
+appointment from the Red King in consideration of a sum of L1900 which
+he paid into the royal treasury. The remorse which followed on this sin
+of simony compelled him to go to Rome and seek the consolation and
+forgiveness of Pope Urban. This was in 1094. He returned, and as
+expiation for his sin founded the Priory of Norwich, the first stone of
+which was laid in 1096, the see being removed from Thetford in
+accordance with the decree of Lanfranc's Synod, held in 1075, that all
+bishops should fix their sees in the principal town in their dioceses.
+
+In cathedral monasteries the bishop, who was elected by the monks,
+appears to have represented the abbot and took precedence of the prior.
+Before Herbert's time, the chapter was composed of secular canons and
+not monks.
+
+Herbert, in 1101, placed sixty monks at Norwich, and it may be of
+interest to quote from Taylor's "_Index Monasticus_" the establishment
+of the monastery from Herbert's time up to the dissolution in 1538--
+
+    The Bishop representing the              Chaplains.
+      Abbot.                                 Precentor or chanter.
+    The Lord Prior.                          Sub-chanter.
+    The Sub-Prior.                           Infirmarer.
+    60 Monks.                                Choristers.
+    Sacrist.                                 Keeper of the Shrines.
+    Sub-sacrist.                             Lay Officers.
+    Cellarer or bursar.                      Butlers.
+    Camerarius or chamberlain.               Granarii.
+    Almoner.                                 Hostilarii.
+    Refectorer.                              Carcerarius or gaoler.
+    Pittancier.
+
+Archbishop Anselm had refused to acknowledge that the king had the right
+to exercise a suzerainty over the Church, and declined to consent to lay
+investitures. An embassy was sent to Rome, and Herbert, who went there a
+second time about 1116, represented the king. It, however, was in no way
+satisfactory; the Pope did not want to offend the king, and he wished to
+retain to himself the right of investiture, so, while congratulating the
+Archbishop's representatives, he sympathised also with those of the
+king. The exertion told on Herbert, and at Placentia, on the return
+journey, he fell sick, and stopped there until he became sufficiently
+convalescent to journey by short and easy stages to his own cathedral
+city. He lived to complete much important business, but his days of
+administration were drawing to a close. He had been Prior of Fecamp,
+Abbot of Ramsey, Sewer to William Rufus, had governed the East Anglian
+bishopric first from the episcopal see at Thetford, had transferred it
+to Norwich, and founded the Cathedral Priory, and if this were not
+sufficient, he founded and endowed many other churches and monasteries
+in the East Country. His repentance had been sincere, and in one of his
+letters he refers to "my past life, which, alas! is darkened by many
+foul sins." Dean Goulburn credits him with a third journey to Rome, and
+says that it was at Placentia, on the outward journey, that he
+contracted so grievous a sickness that he "lay ten successive days
+without taking food and without uttering a word"; in fact, never
+reaching Rome, but waiting for and rejoining his brother ambassadors on
+their return. This journey was undertaken with the view of adjusting the
+differences that had arisen between the new Primates, Ralph and
+Thurston. The embassy was not successful, the Pope declining to commit
+himself to any but the most general statements.
+
+One of the last public acts of Herbert's life was to attend the funeral
+of Queen Matilda on May-day, 1118. He died on the 22nd of July 1119 in
+the twenty-seventh year of his episcopate, and was buried before the
+high altar of his cathedral church.
+
+#Eborard# (1121-1145), who succeeded Herbert, a son by second marriage
+of Roger de Montgomery, first Earl of Arundel, was consecrated in 1121.
+
+During his episcopate Eborard had parted with the towns of Blickling and
+Cressingham, which pertained to his see, to two of the more powerful
+barons, in the hope of securing the rest of the episcopal property, and
+possibly with the idea of regaining possession of the same when the
+troubled times should have passed.
+
+He was deposed in 1145, and it may possibly be that he had favoured the
+cause of Maude in the civil wars of the period, and that it was Stephen
+who compelled him to relinquish his see and spend the rest of his life
+in exile. He had in 1139 laid the foundation of an abbey at Fontenay, in
+the south of France, and thither he repaired. He died in 1149.
+
+His successor, #William de Turbe# (1146-1174), was elected to the see,
+and in the year 1146 was consecrated at Canterbury by Archbishop
+Theobald.
+
+In 1168, Becket had written to De Turbe from Vezelay, a town on the
+borders of Burgundy and Nivernois, and ordered him, by the Pope's
+authority, to publicly excommunicate Hugh Bigot, Earl of Norfolk. He had
+robbed the Priory of Pentnay, in Norfolk, of some of its possessions. De
+Turbe obeyed, notwithstanding the fact that the king had sent officers
+to prohibit him from so doing. An absolution was obtained from the Pope,
+but the king was so far incensed that De Turbe considered it advisable
+to rest in sanctuary at Norwich until the following year, 1169, when he
+received the royal pardon.
+
+[Illustration: Norwich Castle.]
+
+Bishop William de Turbe died 17th January 1174, and was buried in the
+cathedral choir, on the left side of the founder.
+
+#John of Oxford# (1175-1200) was consecrated at Lambeth by Richard,
+Archbishop of Canterbury, December 14, 1175; he was clerk or royal
+chaplain to the king. He had presided over the council of Clarendon, the
+constitutions of which defined the king's prerogatives in regard to the
+Church, and chiefly with regard to the question of trying clerks charged
+with crimes in the civil courts. He was despatched to Rome on an embassy
+to the Pope, Alexander III., and on its failure was sent by Henry to
+the Diet at Wurzburg; the king, not having been supported by Alexander,
+determined to uphold his opponent, and as well he, in direct opposition
+to the Pope, made John of Oxford Dean of Salisbury, with the result that
+the future Bishop of Norwich incurred the penalty of excommunication by
+Becket from Vezelay, "for having fallen into a damnable heresy in taking
+a sacrilegious oath to the emperor, for having communicated with the
+schismatic of Cologne, and for having usurped to himself the deanery of
+the church of Salisbury."
+
+The dispute was referred to the Pope at Sens, where John of Oxford, with
+his fellow-ambassador, Gilbert Foliot, Bishop of London, repaired; John
+of Oxford was rebuked by the Pontiff for his misconduct, but
+diplomatically managed to effect his end and retain his deanery. Henry
+had met Becket at Chaumont, through the mediation of the Archbishop of
+Sens, and, the quarrel being patched up, John of Oxford was sent to
+escort him to England. He landed, December 1, at Sandwich, in the year
+1170, and within the month was murdered at Canterbury.
+
+In 1175, the incursion of William of Scotland was checked, and the king
+himself taken prisoner by Ranulph de Glanville. John of Oxford and
+others were commissioned to settle terms of peace; and they executed the
+treaty of Falaice, afterwards ratified by King Henry at York, by which
+the Scottish king and his barons were under the necessity of doing
+homage for their possessions. John of Oxford, who had rendered good
+service to his sovereign, was rewarded by promotion to the vacant see of
+Norwich; and during his episcopate sent by the king on an embassy to
+William, King of Sicily, to convey his majesty's consent to the marriage
+of his daughter Joan with that monarch.
+
+An important step in the administration of justice was taken during this
+reign--the king divided the country into six circuits, to which certain
+prelates and nobles were to be sent at certain times to hear suits and
+save litigants the trouble of attending the king's court at Westminster.
+John of Oxford was one of a company of five to whom was given
+jurisdiction over a portion of the country, from Norwich down to Sussex,
+and from Buckinghamshire and Bedfordshire eastward to the coast.
+
+On the 9th of July 1189, King Henry died, and was succeeded by his third
+son, Richard: John of Oxford assisting at the coronation. Richard had
+no sooner been crowned than he led the crusade to the Holy Land, which
+had been preparing in Henry's time, and John of Oxford was forced to
+proceed to the Pope to ask for his absolution of the oath he had taken
+to follow the Cross, on account of his old age and infirmity. This
+request being granted, for which he had to pay 10,000 marks, he returned
+to England.
+
+The last public act of John of Oxford--who was one of the most
+remarkable men who have held the see of Norwich--was most probably his
+attendance at the coronation of King John. He died June 2, 1200.
+
+#John de Grey# (1200-1214) was elected by the monks, and his election
+being confirmed by King John, he was consecrated by Hubert, Archbishop
+of Canterbury. It was during his episcopate, and through the quarrel
+between King John and the Pope, that the power of the latter was at
+length firmly established--a supremacy that was unquestioned until the
+sixteenth century.
+
+The metropolitan see of Canterbury fell vacant in 1205; the sub-prior,
+who was surreptitiously elected by the monks, and unknown to the king,
+travelled to Rome for the Pope's sanction of his appointment. When the
+king became aware of this he was enraged, and despatched an embassy
+upholding his nominee, John de Grey. The Pope pleased neither party, and
+named Stephen Langton as Hubert's successor. The Pope, Innocent, sent
+two legates, of whom Pandulph was one, in 1211 to England, and on John
+declining to recognise the Papal claims, he was deposed, and his crown
+offered to the French king Philip.
+
+The country had been placed under an interdict, and most of the bishops
+had left the country. John de Grey remained faithful to the king, and
+actually invaded France with a small force to attack the invading
+Philip, but soon was forced to retreat. In the end, John submitted,
+resigned his crown, which was restored to him, and was compelled to pay
+to the Church as damages 40,000 marks. John de Grey, who had been sent
+to Rome to arrange this, died on the return journey at S. Jean d'Angelo,
+near Poictiers, 18th October 1214.
+
+#Pandulph Masca# (1222-1226) was consecrated Bishop of Norwich by
+Honorius, 29th May 1222. He is supposed to have been a member of a noble
+Pisan family, and in 1211 had been sent by Pope Innocent to humble King
+John, which he successfully did. He was again employed as Papal Legate
+during the young King Henry II.'s minority, and died in Italy, 16th
+September 1226, having played a prominent part as politician and
+mediator.
+
+#Thomas de Blunville# (1226-1236), the nephew of Hubert de Burgh, Lord
+Chief-Justice of England, was consecrated in St. Catherine's Chapel at
+Westminster by Stephen, Archbishop of Canterbury. He died in 1236, and
+was succeeded by #Ralph de Norwich#, of whom but little is known; and is
+even supposed to have died before his consecration.
+
+#William de Ralegh# was consecrated on the 25th September 1239 at St.
+Paul's by Edmund Rich, Archbishop of Canterbury. He had been a chaplain
+of King Henry, and having received the education of a lawyer, from
+1224-35 he visited various parts of the kingdom as a justiciary. On the
+death of Peter de Rupibus he was elected to the see at Winchester by the
+monks, in direct defiance of the king. The Pope's intervention in the
+end secured him his see. He died at Tours in 1250.
+
+#Walter de Suffield# (1245-57) was elected bishop by the monks after
+Ralegh's translation. He chiefly busied himself in building and
+beautifying the cathedral, and there is no record that he took any
+prominent part in politics. He superintended a general inquisition
+(known as the Norwich taxation) into the value of the Church revenues
+throughout the whole of England. He died May 18, 1257, during a visit to
+Colchester.
+
+#Simon de Walton# (1258-66) was consecrated by Boniface, Archbishop of
+Canterbury, on March 10, 1258. He held (in 1246) the office of
+justice-itinerant. Of his administration little is known. He was past
+seventy when he assumed the charge of the diocese. The barons under De
+Montfort had beaten the king's army at Lewes, in 1264, and in 1266, from
+their encampment in the Isle of Ely, attacked and sacked the city. Simon
+de Walton died January 2, 1266.
+
+#Roger de Skerming# (1266-78) was elected by the monks, and was
+consecrated by Geoffrey Rages in St. Paul's Cathedral in April 1266. It
+was during his episcopate that the disturbance occurred between the
+monks and citizens over the annual fair held on Trinity Sunday, in
+Tombland. He died January 2, 1278.
+
+[Illustration: The Guildhall.]
+
+#William de Middleton# (1278-88) was consecrated at Lambeth by the
+Archbishop of Canterbury on May 29, 1278, and was enthroned, and the
+Cathedral re-dedicated after the sacrilege and fire, on Advent Sunday,
+1278, when Edward I. and his queen were present. He was appointed a
+guardian of the realm, 1279, during the king's absence in France;
+Archdeacon of Canterbury in 1276; and also steward of Bordeaux. He died
+September 1, 1288, at Terling, in Essex, and his remains were carried in
+state to Norwich, and there buried in the Lady Chapel.
+
+#Ralph de Walpole# (1289-99) was of Norfolk extraction, and an
+archdeacon of Ely. He was consecrated to the see on Mid-lent Sunday,
+1289, at Canterbury, by John Peckham archbishop. His election, however,
+was displeasing to the diocese. He was translated to Ely in 1299.
+
+#John Salmon# (1299-1325), prior of Ely, had been elected bishop by the
+monks, but was appointed to the see at Norwich at the same time that
+Walpole was translated to Ely. He was consecrated by Archbishop
+Winchelsey October 3, at Canterbury, and was one of the envoys sent to
+the Court of Philip the Fair King of France, to arrange the marriage of
+the young king Edward II. (1307). He was appointed chancellor of the
+realm in 1320. He also went to France again in 1325; and it was on his
+return that he died July 6, 1325.
+
+#William de Ayerminne# (1325-36) was elected to the see by papal bull in
+1325, and this overruled the election by the monks of Robert de Baldock.
+Ayerminne was consecrated to the see September 15, 1325. He had held a
+prebendal stall at St. Paul's in 1313 and in the next year at Lincoln.
+In 1324 he was sent as ambassador to Robert Bruce to treat for peace. He
+died at Charing, March 27, 1336; and was buried in the cathedral before
+the high altar. He appears to have been cunning and crafty, and not
+above changing his political views when occasion demanded.
+
+#Anthony de Beck# (1337-43) was nominated by the Pope, the monks having
+chosen Thomas de Hemenhale, who however, went to Worcester. Both were
+consecrated to their respective dioceses by the Pope at Avignon March
+30, 1337. He had been Dean of Lincoln. In 1342 he resisted the
+Archbishop Stratford's visitation; this must have been a foretaste to
+the monks of his imperious temper. In 1343 he was poisoned by his own
+servants.
+
+#William Bateman# (1344-54), of a Norwich family, had been archdeacon of
+Norwich, chaplain to the Pope, and dean of Lincoln. He was consecrated
+by the Pope at Avignon, 23rd May 1344. During his episcopate in (Edward
+III.'s reign) 1349, Norwich was visited by "Black Death"; over 51,000
+are supposed to have fallen victims to the dread plague. He founded
+Trinity Hall at Cambridge, 1350; was sent to Rome on an embassy there.
+He died January 6, 1354. He was buried at the church of St. Mary of
+Avignon.
+
+#Thomas Percy# (1355-69), brother of Henry Percy, Earl of Northumberland,
+against the wishes of the monks, was elected to the see. He was
+consecrated January 3, 1355, at Waverly, in Surrey, by the Bishops of
+Winchester, Sarum, and Chichester. The nobility at this time were
+securing church preferments for their families to keep pace with the
+formation of the professions and general advance of learning. He died
+August 8, 1369, and was buried in the cathedral, before the rood loft.
+
+#Henry le Dispencer# (1370-1406) was consecrated at Rome, 21st April
+1370. He was hated by the monks, who had no share in his election. He
+was of martial feeling, and took a prominent part in quelling the local
+disturbance incident on Wat Tyler's rebellion, 1381. He was employed by
+Urban VI. against his rival, Pope Clement VII.; was arrested for treason
+in 1399, and pardoned by Henry IV. He died 1406.
+
+#Alexander de Totington# (1407-13), prior of Norwich, was elected by the
+monks in September 1406. This election found no favour at the Court, and
+he was imprisoned at Windsor for nearly a year. He was then released,
+and consecrated at Gloucester by the Archbishop October 23, 1407. He
+died April 28, 1413, and was buried in the Lady Chapel.
+
+#Richard Courtenay# (1412-15) was nominated by Henry V., and consecrated
+by the Archbishop at Windsor 17th September 1413. He was Chancellor of
+the University of Oxford in 1407-11-13. He died at Harfleur in 1415,
+while on attendance to the king during the siege of that town. His body
+was brought to England, and buried in Westminster Abbey.
+
+#John Wakering# (1416-25), who was elected by the monks, had become
+keeper of the privy seal in 1415. He was consecrated at St. Paul's by
+the Archbishop May 31, 1416. He persecuted the Lollards strongly, and
+during his episcopate many were burned at the stake. Yet his character
+apparently was far from being harsh. He died at Thorpe in 1435, and was
+buried in the presbytery.
+
+#Alnwick# (1426-36) was confessor to Henry VI., and in 1420 archdeacon
+of Salisbury. He was appointed by a papal bull, and consecrated August
+18, 1426. He was translated by papal bull in 1436 to Lincoln.
+
+#Thomas Browne's# (1436-45) appointment was contained in the same bull
+that translated Alnwick. He had been previously Dean of Salisbury in
+1431, and Bishop of Rochester in 1435. During his episcopate the
+citizens again laid the priory under siege over a question of dues due
+to them, and the liberties of the city were, as a consequence, seized by
+the king. Browne died in 1445, and was buried in the nave, in the front
+and to the west side of rood.
+
+#Walter Lyhart# (1446-72) was nominated by the Pope, and consecrated
+February 1446, at Lambeth, by the Archbishop Stafford. He had been
+confessor to Henry VI.'s wife, Margaret of Anjou. He died May 17, 1472.
+
+#James Goldwell# (1472-99) had been ambassador of Edward IV. at Rome. He
+was nominated by the Pope, and consecrated at Rome, October 4, 1472. He
+died February 15, 1499.
+
+#Thomas Jane# (1499-1500) had been Canon of Windsor and Dean of Chapel
+Royal in 1497; was consecrated on October 20, 1499. He died in September
+1500.
+
+#Richard Nykke# was consecrated in 1501. He was of infamous character,
+and no doubt stimulated the zeal of the reformers, who may well have
+contended that the Church which had such prelates surely needed
+reformation. He persecuted those opposed to him, and burned many at the
+stake. He was imprisoned in 1535, for appealing to Rome touching the
+king's prerogative. He died January 14, 1536.
+
+#William Rugg# (1536-50) was the last Bishop of Norwich before the
+dissolution of the monasteries. Wolsey's downfall had occurred in 1529,
+and in 1536 the smaller monasteries were dissolved, and in 1538 the
+larger ones shared the same fate, Norwich being among the number, the
+last prior, #William Castleton#, becoming dean. William Rugg resigned
+the see in 1550.
+
+[Illustration: Monument of Bishop Goldwell.]
+
+On the foundation of the cathedral after the Dissolution the
+establishment was as follows:--
+
+    One dean.                                 Six poor men or bedesmen.
+    Six prebendaries.                         One sacrist.
+    Six minor canons.                         Two sub-sacrists.
+    One deacon reader of the Gospel.          One beadle of the poor men.
+    One deacon reader of the Epistle.         One high steward.
+    Eight lay clerks to be expert in singing. And clerks, porters,
+    One organist, eight choristers.             auditors, and a coroner.
+    One precentor.
+
+And such constitution, with but few changes, has held down to this day,
+the prebendaries have become resident canons, and the precentor is also
+a minor canon.
+
+#Thomas Thirley# (1550-54) owed his preferment to Norwich from
+Westminster to Edward VI. Queen Mary, in September 1554, promoted him to
+Ely. He was the first and only bishop Westminster has had.
+
+#John Hopton# (1554-58) was chaplain to Queen Mary, and aided in the
+persecution of the Protestants.
+
+#John Parkhurst# (1560-75) is credited with having "beautified and
+repaired" the bishop's palace.
+
+#Edmund Freke# (1575-78) was translated from Rochester, and again to
+Worcester in 1578.
+
+#Edmund Scambler# (1585-94) was translated to Norwich from Peterborough.
+
+#William Redman# (1594-1602).
+
+#John Jegon# (1602-1617) was master of Benedict College for twelve
+years.
+
+#John Overall# (1618-19) was translated from Lichfield and Coventry; he
+enjoyed the reputation of being the "best scholastic divine in the
+English nation."
+
+#Samuel Harsnet# (1619-28); translated to York in 1628.
+
+#Francis White# (1628-31); translated to Ely in 1631.
+
+#Richard Corbet# (1632) was translated from Oxford. Of him it was said
+"he was a distinguished wit in an age of wits, and a liberal man amongst
+a race of intolerant partisans."
+
+#Matthew Wren# (1635-38); translated to Ely in 1638.
+
+#Richard Montague# (1638-41); translated from Chichester.
+
+#Joseph Hall# (1641-56); translated from Exeter. We have quoted in the
+notes on nave from his "Hard Measure."
+
+#Edward Reynolds# (1661-76).
+
+#Antony Sparrow# (1676-85); translated from Exeter. He was the author of
+a "Rationale upon the Book of Common Prayer," 1657.
+
+#William Lloyd #(1685-91); translated from Llandaff to Peterborough, and
+from thence to Norwich. He was deposed in 1690 for refusing to take the
+oath of allegiance to William III.
+
+#John Moore# (1691-1707); translated to Ely in 1707.
+
+#Charles Trimmell# (1708-1721); translated to Winchester in 1721.
+
+#Thomas Green# (1721-23); translated to Ely 1723.
+
+#John Lang# (1723-27).
+
+#William Baker# (1727-32); translated from Bangor.
+
+#Robert Butts# (1733-38); translated to Ely 1738.
+
+#Sir Thomas Gooch, Bart.# (1738-48); translated from Bristol.
+
+#Samuel Lisle# (1748-49); translated from St. Asaph.
+
+#Thomas Hayter# (1749-61); translated to London in 1761.
+
+#Philip Yonge# (1761-83); translated from Bristol.
+
+#Lewis Bagot# (1783-90); translated from Bristol.
+
+#George Horne# (1791-92).
+
+#Charles Manners Sutton# (1792-1805); translated to Canterbury in 1805.
+
+#Henry Bathurst# (1805-37).
+
+#Edward Stanley# (1837-49), father of the late Dean of Westminster.
+
+#Samuel Hinds# (1849-57).
+
+#John Thomas Pelham# (1857-93).
+
+#J. Sheepshanks# (1893).
+
+[Illustration: The Pelican Lectern in the Choir.]
+
+
+
+
+CHAPTER V
+
+THE CITY
+
+
+The visitor to this ancient city will by no means wish to confine his
+attention to the Cathedral and its precincts; but the space at our
+disposal will not permit more than a list of other monuments which are
+worthy of attention. Among these the #Castle# naturally comes first.
+Occupying the site of a very ancient--probably British--stronghold, the
+first building was erected in early Norman times. For many years it was
+the principal fortress of the Bigods, Earls of Norfolk, and under them
+experienced many vicissitudes of fortune at the hands of both Flemings
+and French. The last event of importance connected with it was the
+hanging of Kett in 1549. The keep is in dimensions 96 x 92 feet, its
+height being 72 feet (see p. 99).
+
+The #Guildhall# contains many interesting relics of the civil life of
+Norwich during the sixteenth and seventeenth centuries, including those
+of the famous Guild of S. George, established in 1385 and dissolved in
+1731 (see p. 103).
+
+#St. Andrew's Hall#, a fifteenth-century building, was formerly the nave
+of the Church of the Blackfriars. It contains some good pictures of the
+English School.
+
+Among the Churches, that of St. Peter, Mancroft (fifteenth century),
+is well worth a visit. Its tower, 98 feet in height, contains one of the
+most famous peals of bells in England, and has always been the
+headquarters of a notable band of change-ringers. Of the others, St.
+Gregory, Pottergate, has some interesting antiquities; St. Giles', St.
+Helen's, and St. John the Baptist are all of importance: the latter has
+some good mural painting and monumental brasses, which should also be
+examined. St. Michael's, Coslaney, is a well-known type of the Norfolk
+flint construction.
+
+At #Pull's Ferry# the water-gate to the precincts is still standing. It
+is an interesting piece of flint work. The ferry itself, of which a view
+is given here, is a favourite sketching place.
+
+[Illustration: Pull's Ferry.]
+
+THE END
+
+       *       *       *       *       *
+
+
+
+
+[Illustration: PLAN OF THE CATHEDRAL.]
+
+
+REFERENCES TO PLAN.
+
+A. Dean's Vestry.
+B. The Chapel of St. Mary-the-Less.
+C. The Chapel of St. Luke.
+D. The Jesus Chapel.
+E. Bishop Nykke's Chapel.
+F. The Ante-Reliquary Chapel.
+G. The High Altar.
+H. Site of destroyed Chapter-House.
+J. The Locutory, now used as the Choir School.
+Y. A Main Pier in Nave.
+Z. A Subsidiary Pier in Nave.
+
+       *       *       *       *       *
+
+1. Altar Tomb of Sir Thomas Wyndham.
+2.   "   "       Sir John Hobart.
+3. Tomb of Chancellor Spencer.
+4. Altar Tomb of Bishop Parkhurst (1560-74).
+5. Door in the East Walk of Cloisters.
+6. Door once leading to Refectory.
+7. The Monks' Lavatories.
+8. Door once leading to the Guest Hall.
+9. The Easter Sepulchre and Burial-place of Sir Thomas Erpingham.
+10. Bishop Goldwell's Chantry.
+11. The Altar Tomb of Sir William Boleyn of Blickling (_d._ 1505).
+
+       *       *       *       *       *
+
+
+Transcriber's Notes:
+
+1. Words and phrases which were italicized in the original have been
+   surrounded by underscores ('_') in this version. Words or phrases
+   which were bolded have been surrounded by pound signs ('#').
+
+2. Obvious printer's errors have been corrected without note.
+
+3. Inconsistencies in hyphenation and the spelling of proper names,
+   dialect, and obsolete word spelling have been maintained as in the
+   original.
+
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of Bell's Cathedrals: The Cathedral
+Church of Norwich, by C. H. B. Quennell
+
+*** END OF THIS PROJECT GUTENBERG EBOOK NORWICH CATHEDRAL ***
+
+***** This file should be named 19715.txt or 19715.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/1/9/7/1/19715/
+
+Produced by Jonathan Ingram, David Cortesi and the Online
+Distributed Proofreading Team at http://www.pgdp.net
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+http://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit: http://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
diff --git a/19715.zip b/19715.zip
new file mode 100644
index 0000000..571d090
--- /dev/null
+++ b/19715.zip
diff --git a/LICENSE.txt b/LICENSE.txt
new file mode 100644
index 0000000..6312041
--- /dev/null
+++ b/LICENSE.txt
@@ -0,0 +1,11 @@
+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
+Procedures for determining public domain status are described in
+the "Copyright How-To" at https://www.gutenberg.org.
+
+No investigation has been made concerning possible copyrights in
+jurisdictions other than the United States. Anyone seeking to utilize
+this eBook outside of the United States should confirm copyright
+status under the laws that apply to them.
diff --git a/README.md b/README.md
new file mode 100644
index 0000000..2ccdaa9
--- /dev/null
+++ b/README.md
@@ -0,0 +1,2 @@
+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #19715 (https://www.gutenberg.org/ebooks/19715)