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+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #62810 (https://www.gutenberg.org/ebooks/62810)
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-Project Gutenberg's How to Visit the English Cathedrals, by Esther Singleton
-
-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/license
-
-
-Title: How to Visit the English Cathedrals
-
-Author: Esther Singleton
-
-Release Date: August 1, 2020 [EBook #62810]
-
-Language: English
-
-Character set encoding: UTF-8
-
-*** START OF THIS PROJECT GUTENBERG EBOOK HOW TO VISIT THE ENGLISH ***
-
-
-
-
-Produced by Sonya Schermann, Chuck Greif and the Online
-Distributed Proofreading Team at https://www.pgdp.net (This
-file was produced from images generously made available
-by The Internet Archive)
-
-
-
-
-
-
-
-
-
-                  How to Visit the English Cathedrals
-
-                        BOOKS BY MISS SINGLETON
-
-
-     TURRETS, TOWERS, AND TEMPLES. Great Buildings of the World
-     Described by Great Writers.
-
-     GREAT PICTURES. Described by Great Writers.
-
-     WONDERS OF NATURE. Described by Great Writers.
-
-     ROMANTIC CASTLES AND PALACES. Described by Great Writers.
-
-     FAMOUS PAINTINGS. Described by Great Writers.
-
-     HISTORIC BUILDINGS. Described by Great Writers.
-
-     FAMOUS WOMEN. Described by Great Writers.
-
-     GREAT PORTRAITS. Described by Great Writers.
-
-     HISTORIC BUILDINGS OF AMERICA. Described by Great Writers.
-
-     HISTORIC LANDMARKS OF AMERICA. Described by Great Writers.
-
-     GREAT RIVERS OF THE WORLD. Described by Great Writers.
-
-     FAMOUS CATHEDRALS. Described by Great Writers.
-
-     FAMOUS SCULPTURE. Described by Great Writers.
-
-     MODERN PAINTINGS. Described by Great Writers.
-
-     WONDERS OF THE WORLD. Described by Great Writers.
-
-     PARIS. Described by Great Writers.
-
-     LONDON. Described by Great Writers.
-
-     RUSSIA. Described by Great Writers.
-
-     JAPAN. Described by Great Writers.
-
-     VENICE. Described by Great Writers.
-
-     HOLLAND. Described by Great Writers.
-
-     ROME. Described by Great Writers.
-
-     GERMANY. Described by Great Writers.
-
-     SWITZERLAND. Described by Great Writers.
-
-     TURKEY AND THE BALKAN STATES. Described by Great Writers.
-
-     FLORENCE. Described by Great Writers.
-
-     EGYPT. Described by Great Writers.
-
-     CHINA. Described by Great Writers.
-
-     LOVE IN LITERATURE AND ART.
-
-     THE GOLDEN ROD FAIRY BOOK.
-
-     THE WILD FLOWER FAIRY BOOK.
-
-     A GUIDE TO THE OPERA.
-
-     A GUIDE TO MODERN OPERA.
-
-     DUTCH NEW YORK. Manners and Customs of New Amsterdam in the
-     Seventeenth Century.
-
-     HOW TO VISIT THE GREAT PICTURE GALLERIES.
-
-     HOW TO VISIT THE ENGLISH CATHEDRALS.
-
-                 [Illustration: SALISBURY: CLOISTERS]
-
-
-
-
-                             How to Visit
-                        The English Cathedrals
-
-                                  By
-                           Esther Singleton
-                  Member of the Royal Society of Arts
-
-                     _With Numerous Illustrations_
-
-                            [Illustration]
-
-                               New York
-                        Dodd, Mead and Company
-                                 1912
-
-                          COPYRIGHT, 1912, BY
-                        DODD, MEAD AND COMPANY
-                        _Published April, 1912_
-
-
-
-
-PREFACE
-
-
-This little book is offered to the tourist in the most modest spirit and
-with the hope that in this convenient form some gleanings from the works
-of specialists may afford help and pleasure to those who run quickly
-through the Cathedral towns of England. The subject has been done so
-often and so well that an additional book would demand an apology if it
-pretended to compete with the labours of those who have spent long years
-in the study of special cathedrals, or with the charming recollections
-of travel that others have given the world from time to time.
-
-My plan has been merely to present in a single volume concise
-descriptions of the great ecclesiastical buildings of England, together
-with the story of their construction and historical associations
-supplemented with criticisms from the best authorities of their most
-striking architectural and artistic features. These authorities are duly
-acknowledged by initials.--E. S.
-
-     NEW YORK, _March, 1912_.
-
-
-
-
-STYLES OF ENGLISH ARCHITECTURE
-
-
-The cathedral usually grew architecturally from age to age, or rose like
-a phœnix from the ashes of an earlier building.
-
-     “Not only is there built into a mediæval cathedral the accumulated
-     thought of all the men who had occupied themselves with building
-     during the preceding centuries, but you have the dream and
-     aspiration of the bishop, abbot, or clergy for whom it was
-     designed; the master mason’s skilled construction; the work of the
-     carver, the painter, the glazier, the host of men who, each in his
-     own craft, knew all that had been done before them, and had spent
-     their lives in struggling to surpass the works of their
-     forefathers. It is more than this: there is not one shaft, one
-     moulding, one carving, not one chisel-mark in such a building, that
-     was not designed specially for the place where it is found, and
-     which was not the best that the experience of the age could invent
-     for the purpose to which it is applied; nothing was borrowed; and
-     nothing that was designed for one purpose was used for another. A
-     thought or a motive peeps out through every joint; you may wander
-     in such a building for weeks or for months together, and never know
-     it all.”--(Fergusson.)
-
-Most English cathedrals are built in the form of a Latin cross, the arms
-of which are called the transepts. Over their point of intersection the
-central tower is usually erected. The part of the church running
-westward from this point to the entrance door is the nave and that
-running eastward to the high altar is the choir.
-
-Behind, or east of the choir, is situated the Lady-Chapel, or Chapel of
-the Virgin, which sometimes contained additional altars to other
-saints. Along the aisles we frequently find side chapels, containing
-tombs and chantries of dignitaries, local saints and benefactors.
-
-The nave usually consists of the main arcade; the _triforium_ (which
-opens into a passage or gallery); and the _clerestory_.
-
-The _triforium_ is the arcaded story between the lower range of piers
-and arches and the clerestory. The name is supposed to be derived from
-_tres_ and _fores_--three doors or openings, for such is often the
-number of arches in each bay. Professor Willis, however, believed that
-the word is traced to a monkish Latin word for thoroughfare.
-
-_Clerestory_, or _clearstory_, is the upper story of the nave of the
-church above the aisles and pierced with windows. The windows of the
-clerestories of Norman work are less important than in the later styles.
-They become larger in the Early English period and more important in the
-Decorated, always lengthening as the _triforium_ diminishes.
-
-Sometimes the choir occupies two bays of the nave, but usually begins
-with the screen placed on the east side of the central tower. In olden
-days this was the rood-screen, so called because a large crucifix, or
-rood, stood on it. All roods were destroyed during the Reformation. At
-the present time the organ is frequently placed here; and there is
-diversity of opinion about the artistic propriety of its position.
-
-Entering the choir we see the high altar often with a reredos (French
-_l’arrière dos_, i.e., embroidered hangings). Along the sides of the
-choir are the seats, or stalls, usually of carved oak, surmounted with
-tracery, arches and pinnacles. Among these is the bishop’s seat, or
-throne. Frequently the stalls exhibit beautiful tabernacle-work and the
-misereres (_miséricorde_), which turn up and afford support to a person
-in a position between sitting and standing, are generally carved with
-grotesque and quaint figures and caricatures. Vestries for the use of
-priests and choristers are often situated near the choir.
-
-At the back of the choir (the retro-choir) was placed the chief shrine,
-where relics of the great saint of the cathedral were kept and to which
-the streams of pilgrims passed. In many churches the steps and pavements
-are worn away. Near the shrine was a watching-chamber, where a monk
-guarded the shrine and its treasures.
-
-Further east the Lady-Chapel was situated, though in a few cases it is
-found on the north side, e. g. Bristol and Ely.
-
-     “In Italy the bones of a saint or martyr were almost invariably
-     deposited either beneath or immediately in front of the altar. But
-     in the Gothic nations this original notion of the burial-place of
-     the Saints became obscured, in the increasing desire to give them a
-     more honourable place. According to the precise system of
-     orientation adopted by the German and Celtic nations, the eastern
-     portion of the church was in those countries regarded as
-     pre-eminently sacred. Thither the high altar was generally moved,
-     and to it the eyes of the congregation were specially directed. And
-     in the eagerness to give a higher and holier even than the highest
-     and holiest place to any great saint, on whom popular devotion was
-     fastened, there sprang up in most of the larger churches during the
-     Thirteenth Century a fashion of throwing out a still further
-     eastern end, in which the shrine or altar of the saint might be
-     erected,--and to which, therefore, not merely the gaze of the whole
-     congregation, but of the officiating priest himself, even as he
-     stood before the high altar, might be constantly turned. Thus,
-     according to Fuller’s quaint remark, the superstitious reverence
-     for the dead reached its highest pitch, ‘the porch saying to the
-     churchyard, the church to the porch, the chancel to the church, the
-     east end to all--“Stand further off, I am holier than thou.”’ This
-     notion happened to coincide in point of time with the burst of
-     devotion towards the Virgin Mary, which took place under the
-     Pontificate of Innocent III., during the first years of the
-     Thirteenth Century; and, therefore, in all cases where there was no
-     special local saint, this eastern end was dedicated to Our Lady and
-     the chapel thus formed was called The Lady-Chapel. Such was the
-     case in the Cathedrals of Salisbury, Norwich, Hereford, Wells,
-     Gloucester and Chester. But when the popular feeling of any city or
-     neighbourhood had been directed to some indigenous object of
-     devotion, this at once took the highest place, and the Lady-Chapel,
-     if any there were, was thrust down to a less honourable position.
-     Of this arrangement, the most notable instances in England are, or
-     were (for in many cases the very sites have perished), the shrines
-     of St. Alban in Hertfordshire, St. Edmund at Bury, St. Edward in
-     Westminster Abbey, St. Cuthbert at Durham, and St. Etheldreda at
-     Ely.”--(A. P. S.)
-
-_Sedilia_, seats used by the priest, deacon and sub-deacon during the
-pauses in the mass, are generally cut into the south walls of churches,
-separated by shafts or species of mullions and surmounted by canopies,
-pinnacles or other elaborate adornments. The _piscina_ and _aumbry_ are
-sometimes attached to them.
-
-The _piscina_ is a hollowed out niche with drain to carry away the water
-used in the ablutions during mass. After the Thirteenth Century there is
-scarcely an altar in England without one. Sometimes the _piscina_ is in
-the form of a double niche.
-
-Beneath the cathedral there is often a crypt--in reality a second
-church, often of great size.
-
-     “We may be tempted to ask, what is the purpose of a crypt? Some
-     have said that it was merely meant to give dignity to the church,
-     or to avoid the damp. It appears, however, to be a custom taken
-     from the very early Christian churches at Rome, which were in many
-     cases built over the tomb of a martyr, and had therefore a lower
-     and an upper church. Indeed if we imagine the central portion of
-     the choir steps removed so that the nave floor might extend without
-     interruption to the crypt, and a clear view of the crypt be open to
-     the nave, we should have an arrangement precisely similar to that
-     of several Italian churches, notably that of San Zenone, at
-     Verona.”--(F. and R.)
-
-As a rule, the monastic buildings, refectory, dormitory, infirmary,
-etc., were built on the south side, and here were also the cloisters,
-those pleasant walks and seats for exercise and recreation surrounding a
-peaceful quadrangle. The slype, or passage on the east side, led to the
-monks’ cemetery.
-
-In the chapter-house the monks transacted their business.
-
-The chapter-house, often one of the richest and most beautiful portions
-of the cathedral, may be of any form. Those of Canterbury, Exeter,
-Chester and Gloucester are oblong; those of Salisbury, Wells, Lincoln,
-York and Westminster are octagonal; and that of Worcester is circular.
-At Salisbury, Wells, Lincoln and Worcester a single massive shaft
-supports the vault.
-
-In examining a cathedral we must remember that many changes have taken
-place since the first stone was laid. If the monks were fortunate enough
-to have a full treasury, they kept up with the architectural styles.
-They would pull down the old nave, or choir, or transepts, and erect new
-buildings, lower the pitch of the roof, add a new porch or door, or
-insert new windows in the ancient walls. Fires were frequent and
-lightning and winds often played havoc with towers and spires. Such
-manifestations of the displeasure of the elements or saints necessitated
-rebuilding; and, as a rule, this rebuilding was undertaken in the latest
-fashion. Therefore, we find in most cathedrals specimens of many styles
-of architecture.
-
-     “As we see our cathedrals now, the view that meets us differs much
-     from that which would have greeted us in mediæval times. Then all
-     was ablaze with colours. Through the beautiful ancient glass the
-     light gleamed on tints of gorgeous hues, and rich tapestries and
-     hangings, on walls bedight with paintings, and every monument, pier
-     and capital were aglow with coloured decorations. We have lost
-     much, but still much remains. At the Reformation the avaricious
-     courtiers of Henry VIII. plundered our sacred shrines, and carried
-     off under the plea of banishing superstition vast stores of costly
-     plate and jewels, tapestry and hangings. In the Civil War time
-     riotous, fanatical soldiers wrought havoc everywhere, hacking
-     beautifully-carved tombs and canopies, destroying brasses, and
-     mutilating all that they could find. Ages of neglect have also left
-     their marks upon our churches; and above all the hand of the
-     ignorant and injudicious ‘restorer’ has fallen heavily on these
-     legacies of Gothic art, destroying much that was of singular
-     beauty, and replacing it by the miserable productions of early
-     Nineteenth Century fabrication.”--(P. H. D.)
-
-And now, in order to make our visits more enjoyable, let us refresh our
-memories with a slight _résumé_ of the four leading styles of English
-Architecture.
-
-The Pointed Arch appeared almost simultaneously in all the civilized
-countries of Europe. It was probably discovered by the Crusaders in the
-Holy Land and brought home by them. None of its charming and beautiful
-accessories, however, accompanied it; the graceful clusters of pillars,
-the tracery and mullions were to be developed by the Europeans. One of
-the first to use the word _Gothic_ to define Pointed Architecture was
-Sir Henry Wotton; and it seems that the word was finally determined as a
-definition by Sir Christopher Wren. An English critic says:
-
-     “The pointed arch was a graft on the Romanesque, Lombard and
-     Byzantine architecture of Europe, just as the circular arch of the
-     Romans had been on the columnar ordinances of the Greeks; but with
-     a widely different result. The amalgamation in the latter case
-     destroyed the beauty of both the stock and the scion; while in the
-     former the stock lent itself to the modifying influence of its
-     parasitical nursling, gradually gave up its heavy, dull and
-     cheerless forms, and was eventually lost in its beautiful
-     offspring, as the unlovely caterpillar is in the gay and graceful
-     butterfly.”
-
-Although Pointed or Gothic Architecture developed with almost equal
-vigour in every country of Europe, it reached its greatest perfection in
-France. Many of the finest earliest buildings in England were, to a
-great extent, French in their origin, or development; but, in the course
-of time, English Gothic Architecture became very original. In this
-country
-
-     “Gothic architecture seems to have attained its ultimate perfection
-     in the Fourteenth Century, at which period everything belonging to
-     it was conceived and executed in a free and bold spirit, all the
-     forms were graceful and natural, and all the details of foliage and
-     other sculptures were copied from living types, with a skill and
-     truth of drawing which has never been surpassed. Conventional forms
-     were in a great measure abandoned, and it seems to have been
-     rightly and truly considered that the fittest monuments for the
-     House of God were faithful copies of His works; and so long as this
-     principle continued to be acted on, so long did Gothic architecture
-     remain pure. But in the succeeding century, under the later Henrys
-     and Edwards, a gradual decline took place: everything was moulded
-     to suit a preconceived idea, the foliage lost its freshness, and
-     was moulded into something of a rectangular form; the arches were
-     depressed, the windows lowered, the flowing curves of the tracery
-     converted into straight lines, panelling profusely used, and the
-     square form everywhere introduced; until at length the prevalence
-     of the horizontal line led easily and naturally to the Renaissance
-     of the classic styles, though in an impure and much degraded form.
-     The mixture of the two styles first appears in the time of Henry
-     VII.,--a period in which (though remarkable for the beauty and
-     delicacy of its details) the grand conceptions of form and
-     proportion of the previous century seem to have been lost.
-     Heaviness or clumsiness of form, combined with exquisite beauty of
-     detail, are the characteristics of this era.”--(J. H. P.)
-
-The styles are generally classified as follows: I. Norman, or
-Romanesque; II. Early English; III. Decorated; IV. Perpendicular.
-
-     “Soon after the Norman Conquest a great change took place in the
-     art of building in England. On consulting the history of our
-     cathedral churches, we find that in almost every instance the
-     church was rebuilt from its foundations by the first Norman bishop,
-     either on the same site or on a new one; sometimes, as at Norwich
-     and Peterborough, the cathedral was removed to a new town
-     altogether, and built on a spot where there was no church before;
-     in other cases, as at Winchester, the new church was built near the
-     old one, which was not pulled down until after the relics had been
-     translated with great pomp from the old church to the new. In other
-     instances, as in York and Canterbury, the new church was erected on
-     the site of the old one, which was pulled down piecemeal as the new
-     work progressed. These new churches were in all cases on a much
-     larger and more magnificent scale than the old.
-
-     “Strictly speaking, the Norman is one of the Romanesque styles,
-     which succeeded to the old Roman; but the Gothic was so completely
-     developed from the Norman that it is impossible to draw a line of
-     distinction between them; it is also convenient to begin with the
-     Norman, because the earliest complete buildings that we have in
-     this country are of the Norman period, and the designs of the
-     Norman architects, at the end of the Eleventh Century and the
-     beginning of the Twelfth, were on so grand a scale that many of our
-     finest cathedrals are built on the foundations of the churches of
-     that period, and a great part of the walls are frequently found to
-     be really Norman in construction, although their appearance is so
-     entirely altered that it is difficult at first to realise this; for
-     instance, in the grand cathedral of Winchester, William of Wykeham
-     did not rebuild it, but so entirely altered the appearance that it
-     is now properly considered as one of the earliest examples of the
-     English Perpendicular style, of which he was the inventor; this
-     style is entirely confined to England; it is readily distinguished
-     from any of the Continental styles by the _perpendicular lines_ in
-     the tracery of the windows, and in the panelling on the walls; in
-     all the foreign styles these lines are flowing or flame-like, and
-     for that reason they are called Flamboyant; a few windows with
-     tracery of that style are met with in England, but they are quite
-     exceptions.”--(J. H. P.)
-
-The works of this period were colossal. Peterborough was begun in 1117
-and finished in 1143; the nave of Norwich was built between 1122 and
-1145; Canterbury was finished in 1130; and part of Rochester in the same
-year.
-
-In the time of William Rufus all the Saxon cathedrals were being rebuilt
-on a larger scale. From this reign date the crypt of Worcester; crypt,
-arches of the nave and part of the transepts of Gloucester; the choir
-and transepts of Durham; and the choir and transepts of Norwich.
-
-In the reign of Henry I. the choirs of Ely, Rochester, Norwich and
-Canterbury were dedicated; and among the new works begun were the nave
-of Durham and the choir of Peterborough.
-
-     “The piers in the earlier period are either square solid masses of
-     masonry, or recessed in the angles in the same manner as the
-     arches, or they are plain, round massive pillars, with frequently
-     only an impost of very simple character, but often with capitals.
-
-     “The capitals in early work are either plain, cubical masses with
-     the lower angles rounded off, forming a sort of rude cushion shape,
-     as at Winchester, or they have a sort of rude volute, apparently in
-     imitation of the Ionic, cut upon the angles; and in the centre of
-     each face a plain square block in the form of the Tau cross is left
-     projecting, as if to be afterwards carved. The scalloped capital
-     belongs to rather a later period than the plain cushion or the rude
-     Ionic, and does not occur before the time of Henry I. This form of
-     capital was perhaps the most common of all in the first half of the
-     Twelfth Century, and continued in use to the end of the Norman
-     style. The capitals were frequently carved at a period subsequent
-     to their erection, as in the crypt at Canterbury, where some of the
-     capitals are finished, others half-finished, with two sides blank
-     and others not carved at all. In later Norman work the capitals are
-     frequently ornamented with foliage, animals, groups of figures,
-     etc., in endless variety. The abacus throughout the style is the
-     most characteristic member, and will frequently distinguish a
-     Norman capital when other parts are doubtful.
-
-     “Norman ornaments are of endless variety; the most common is the
-     chevron, or zigzag, and this is used more and more abundantly as
-     the work gets later; it is found at all periods even in Roman work
-     of the Third Century and probably earlier, but in all early work it
-     is used sparingly, and the profusion with which it is used in late
-     work is one of the most ready marks by which to distinguish that
-     the work is late. The sunk star is a very favourite ornament
-     throughout the style; it occurs on the abacus of the capitals in
-     the chapel of the White Tower, London, and it seems to have been
-     the forerunner of the tooth-ornament. The billet is used in the
-     early part of Peterborough, but discontinued in the later work,
-     and does not often occur in late work. It is sometimes square,
-     more frequently rounded. The beak-head, the cat’s-head, the small
-     medallions with figures and the signs of the zodiac, all belong to
-     the later Norman period. In the later Norman mouldings a mixture of
-     Byzantine character is seen on the ornaments as at Durham. It has
-     also been observed that in the sculpture of the period of the late
-     Norman style there is frequently a certain mixture of the Byzantine
-     Greek character brought home from the East by the Crusaders, who
-     had returned. This is also one of the characteristics of the period
-     of the Transition.”--(J. H. P.)
-
-The next period--that of the Transition--in which the science of
-vaulting received great impetus and construction became more elegant and
-graceful in line, is splendidly exhibited at Canterbury in the work of
-the French William of Sens and his successor, the English William.
-Christ Church Cathedral, Oxford, is also a fine example of late Norman
-and Transitional work.
-
-The Early English Style covers the reigns of Richard I., John and Henry
-III., from 1189 to 1272. It is known also as the First Pointed, or
-Lancet, and is a purely English variety of Gothic Architecture. The
-developments were always in the line of greater lightness and elegance.
-There was also throughout this period a great use of delicate shafts of
-polished Purbeck marble for doorways, windows and arcades.
-
-Canterbury, Rochester and Lincoln are famous examples. Canterbury was
-completed in 1184; Rochester in 1201-1227; and much of Lincoln was
-finished (especially the choir and eastern transept with its chapels)
-before 1200.
-
-Salisbury Cathedral, however, is usually considered as _The Type_ of the
-Early English style, because it is less mixed than any other building
-of the same importance. It was commenced in 1220 and consecrated in
-1258.
-
-The choir and apse of Westminster Abbey and the north transept of York
-Minster are also good examples of this period. We may note here that it
-was customary to build the west front immediately after the choir and
-leave the nave to be filled in afterwards.
-
-     “New ideas and a new life seem to have been given to architecture,
-     and the builders appear to have revelled in it even to exuberance
-     and excess, and it was necessary afterwards in some degree to
-     soften down and subdue it. At no period has ‘the principle of
-     verticality’ been so completely carried out as in the Early English
-     style, and even in some of the earliest examples of it.”--(J. H.
-     P.)
-
-     “The characteristic elegance of the general architectural design
-     was carried out in all the details. The mouldings were delicately
-     rounded and alternated with hollows so drawn as to give here
-     delicate and there most forcible effects of light and shade. Thus
-     the dark line produced by marble in a pier was continued by means
-     of a dark shadow in the arch; and without considerable knowledge of
-     the science of moulding, it is impossible to do justice to this
-     part of the English Early Pointed work, which has never been
-     surpassed, if, indeed, it has ever been equalled at any period
-     elsewhere. The groined roofs were still simple in design, but a
-     ridge rib was often added to the necessary transverse and diagonal
-     ribs of the previous period. This gave a certain hardness of line
-     to the vault; it was the first step to the more elaborate and later
-     systems of vaulting, and was soon followed by the introduction of
-     other ribs on the surface of the vaulting cells. Few works are more
-     admirable than some of the towers and spires of this period.”--(G.
-     S. S.)
-
-The characteristic of lancet windows applies only to the early part of
-the style from 1190 to about 1220 or 1230. After that time circles in
-the head of the windows of two or more lights came in, and the circles
-became foliated by about 1230, and continued to 1260 or 1270, when the
-Decorated style began to come into fashion.
-
-     “The windows in the earlier examples are plain, lancet-shaped and
-     generally narrow; sometimes they are richly moulded within and
-     without, but frequently have nothing but a plain chamfer outside
-     and a wide splay within. In the Early English style we have, in the
-     later examples, tracery in the heads of the windows, but it is
-     almost invariably in the form of circles, either plain or foliated,
-     and is constructed in a different manner from genuine Decorated
-     tracery.
-
-     “At first the windows have merely openings pierced through the
-     solid masonry of the head, the solid portions thus left gradually
-     becoming smaller and the openings larger, until the solid parts are
-     reduced to nearly the same thickness as the mullions; but they are
-     not moulded, and do not form continuations of the mullions until we
-     arrive at real Decorated tracery. This kind of tracery was called
-     by Professor Willis plate tracery; being in fact, a plate of stone
-     pierced with holes: it is extensively used in early French work.
-     The more usual kind of tracery is called _bar_ tracery, to
-     distinguish it from the earlier kind.”--(J. H. P.)
-
-Doorways are generally pointed or trefoiled, but sometimes round-headed,
-and small doorways are frequently flat-headed, with the angles corbelled
-in the form called the square-headed trefoil, or the shouldered arch.
-Trefoiled arches are characteristic of this style. Arches are
-frequently, but not always, acutely pointed; and in the more important
-buildings are generally richly moulded, as in Westminster Abbey, either
-with or without the tooth-ornament, as the arches at York Minster. The
-pillars are of various forms, frequently clustered; but the most
-characteristic pillar of the style is the one with detached shafts,
-which are generally of Purbeck marble. These are frequently very long
-and slender and only connected with the central shaft by the capital and
-base, with or without one or two bands at intervals. These bands
-sometimes consist of rings of copper gilt, as in the choir of Worcester
-Cathedral, and are sometimes necessary for holding together the slender
-shafts of Purbeck marble. The bases generally consist of two rounds, the
-lowest one the largest, both frequently filleted, with a deep hollow
-between, placed horizontally, as at Canterbury. In pure Early English
-work, the upper member of the capital, called the abacus, is circular
-and consists, in the earlier examples, simply of two rounds, the upper
-one the largest, with a hollow between them; but in later examples the
-mouldings are frequently increased in number and filleted.
-
-Mouldings are chiefly bold rounds, with equally bold and deeply cut
-hollows, which produce a strong effect of light and shade. Vaults are
-bolder than during the Norman period and differ from succeeding styles
-by their greater simplicity, as at Salisbury. In the earlier examples
-there are ribs on the angles of the groins only; at a later period the
-vaulting becomes more complicated, as at Westminster. There is a
-longitudinal rib, and a cross rib along the ridge of the cross vaults,
-and frequently also an intermediate rib on the surface of the vault. The
-bosses are rare at first, more abundant afterwards: they are generally
-well worked and enriched with foliage. English vaults are sometimes of
-wood only, as in York Minster, and the cloisters at Lincoln. A vault is,
-in fact, a ceiling, having always an outer roof over it. There is a
-marked distinction in the construction of Gothic vaults in England and
-France. In England, from the earliest period, each stone is cut to fit
-its place; in France the stones are cut square or rather oblong, as in
-the walls, and only wedged out by the thickness of the mortar at the
-back in the joints. Fan-tracery vaulting is peculiar to England, and it
-begins, in principle, as early as in the cloister of Lincoln about 1220,
-where the vault is of wood, but the springings are of stone, and cut to
-fit the ribs of the wooden vault.
-
-Buttresses project boldly, and flying-buttresses become a prominent
-feature. There is a fine example of a compound flying-buttress at
-Westminster Abbey, which supports the vaults of the choir, the triforium
-and the aisles and carries the thrust of the whole over the cloister to
-the ground. Early English towers are generally more lofty than the
-Norman, and their buttresses have a greater projection. The spire is
-usually a noticeable feature. The East End is usually square; but
-sometimes terminates with the apse, generally a half-octagon or a
-half-hexagon, as at Westminster Abbey.
-
-     “Throughout the Early English period there is an ornament used in
-     the hollow mouldings which is as characteristic of this style as
-     the zigzag is of the Norman; this consists of a small pyramid, more
-     or less acute, cut into four leaves or petals meeting in the point,
-     but separate below as in Chester Cathedral. When very acute, and
-     seen in profile, it may be imagined to have somewhat the appearance
-     of a row of dog’s-teeth, and from this it has been called the
-     ‘dog-tooth[1] ornament,’ or, by some, the shark’s tooth ornament,
-     more commonly the tooth-ornament. It is used with the greatest
-     profusion on arches, between clustered shafts, on the architraves
-     and jambs of doors, windows, piscinas and indeed in every place
-     where such ornament can be introduced. It is very characteristic of
-     this style, and begins quite at the commencement of the style, as
-     in St. Hugh’s work at Lincoln; for though in the Norman we find an
-     approach to it, in the Decorated various modifications of it occur;
-     still the genuine tooth-ornament may be considered to belong
-     exclusively to the Early English.
-
-     “Another peculiarity consists of the _foliage_, which differs
-     considerably from the Norman: in the latter it has more or less the
-     appearance of being imitated from that of the Classic orders, while
-     in this it is entirely original. Its essential form seems to be
-     that of a trefoil leaf, but this is varied in such a number of ways
-     that the greatest variety is produced. It is used in cornices, the
-     bosses of groining, the mouldings of windows and doorways, and
-     various other places, but particularly in capitals to which it
-     gives a peculiar and distinctive character. The foliage of these
-     capitals is technically called ‘stiff-leaf foliage,’ but this
-     alludes only to the stiff stem or stalk of the leaf, which rises
-     from the ring of the capital; the foliage itself is frequently as
-     far removed from stiffness as any can be, as for instance in the
-     capitals of Lincoln. The stiff stalk is, however, a ready mark to
-     distinguish the Early English capital from that of the succeeding
-     style. We must bear in mind, however, that foliage is by no means
-     an essential feature of the Early English style; many of our finest
-     buildings, such as Westminster Abbey, have their capitals formed of
-     a plain bell reversed, with mouldings round the abacus like rings
-     put upon it, and round the neck.
-
-     “The ornaments so well known by the name of crockets were first
-     introduced in this style. The name is taken from the shepherd’s
-     crook, adopted by the bishops as emblematical of their office. They
-     occur at Lincoln, in St. Hugh’s work, the earliest example of this
-     style, and are there used in the unusual position of being in a
-     vertical line between the detached shafts. They are found in the
-     same position also in the beautiful work of the west front of
-     Wells. Afterwards they were used entirely on the outside of
-     pediments, or in similar situations, projecting from the face of
-     the work, or the outer surface of the moulding, as in the very
-     beautiful tomb of Archbishop Walter Grey in York Cathedral; and
-     they continued in use in the subsequent styles, although their form
-     and character gradually change with the style.”--(J. H. P.)
-
-The transition from the Early English to the Decorated was very gradual.
-It took place during the reign of Edward I. The transepts of Westminster
-Abbey are held up as models of this transition and contain some of the
-most beautiful work that can be found anywhere. The crosses erected by
-Edward I. at all places where the body of Queen Eleanor had rested, on
-the march from Lincolnshire to Westminster Abbey, where she was buried,
-are usually regarded as fine early examples of the Decorated style. Easy
-attitudes and graceful draperies characterise the sculpture of human
-figures.
-
-The Decorated Period dates from 1300 to 1377. It is also called the
-Middle Pointed, Geometrical Pointed and the Flowing, or Curvilinear, and
-also the Edwardian, because it covers the reigns of Edward I., II. and
-III.
-
-Exeter Cathedral is a superb example of this style. The nave of York
-Minster and the lantern of Ely are also noteworthy illustrations.
-
-     “The general appearance of Decorated buildings is at once simple
-     and magnificent; simple from the small number of parts, and
-     magnificent from the size of the windows, and the easy flow of the
-     lines of tracery. In the interior of large buildings we find great
-     breadth, and an enlargement of the _clerestory_ windows, with a
-     corresponding diminution of the _triforium_, which is now rather a
-     part of the _clerestory_ opening than a distinct member of the
-     division. The roofing, from the increased richness of the groining,
-     becomes an object of more attention. On the whole the nave of York,
-     from the uncommon grandeur and simplicity of the design, is
-     certainly the finest example; ornament is nowhere spared, yet there
-     is a simplicity which is peculiarly pleasing.”--(Rickman.)
-
-     “The Decorated style is distinguished by its large windows divided
-     by mullions, and the tracery either in flowing lines, or forming
-     circles, trefoils and other geometrical figures, and not running
-     perpendicularly; its ornaments are numerous and very delicately
-     carved, more strictly faithful to nature and more essentially parts
-     of the structure than in any other style. There is a very fine
-     window with reticulated tracery and richly moulded in the south
-     walk of the cloisters at Westminster. No rule whatever is followed
-     in the form of the arch over windows in this style; some are very
-     obtuse, others very acute and the ogee arch is not uncommon.
-     Decorated tracery is usually divided into three general
-     classes--geometrical, flowing and flamboyant; the variety is so
-     great that many sub-divisions may be made, but they were all used
-     simultaneously for a considerable period. The earliest Decorated
-     windows have geometrical tracery; Exeter Cathedral is, perhaps, on
-     the whole, the best typical example of the early part of this
-     style. The fabric rolls are preserved, and it is now evident that
-     the existing windows are, for the most part, of the time of Bishop
-     Quivil, from 1279 to 1291. In some instances windows with
-     geometrical tracery have the mouldings and the mullions covered
-     with the ball-flower ornament in great profusion, even to excess;
-     these examples occur chiefly in Herefordshire, as at Leominster;
-     and in Gloucestershire, as in the south aisle of the nave of the
-     Cathedral at Gloucester: they are for the most part, if not
-     entirely, of the time of Edward II. What is called the netlike
-     character of tracery, from its general resemblance to a fisherman’s
-     net, is very characteristic of this style at its best period, about
-     the middle of the Fourteenth Century. Square-headed windows are
-     very common. Windows in towers are usually different from those in
-     other parts of the church. In the upper story, where the bells are,
-     there is no glass; in some parts of the country there is pierced
-     stonework for keeping out the birds, but more usually they are of
-     wood only. These are called sound-holes. Clerestory windows of this
-     style are often small, and either circular with quatrefoil cusps,
-     or trefoils or quatrefoils; or the spherical triangle with cusps,
-     which forms an elegant window. The clever manner in which these
-     windows are splayed within and especially below, to throw down the
-     light, should be noticed.”--(J. H. P.)
-
-The large rose-window, so conspicuous a feature on the Continent, is
-rarely seen in England. When it does occur it is usually found in the
-transept ends.
-
-The East Front generally consists of one large window at the end of the
-choir, flanked by tall buttresses. A smaller buttress appears at the end
-of each aisle. The arrangement of the West Front is the same, with a
-doorway beneath the central window. The towers of the Decorated style
-are usually placed at the west end and are, as a rule, similar to the
-Early English. The spires differ slightly from those of the Early
-English, except that there are generally more spire-lights and small
-windows at the bases and sides of the spire. Lichfield Cathedral is one
-of the best examples of the exterior of a perfect church of the
-Decorated style. Its three spires are perfect.
-
-The ogee arch is frequently used in small arcades and in the heads of
-windows. The dripstones, or hood moulds, are generally supported by
-heads and are frequently enriched with crockets and finials. The arcades
-that ornament the walls and those over the _sedilia_ are characteristic
-features of the style. Pillars are clustered and arches richly moulded;
-they often have the hood-moulding over them. Very often they have what
-is called a stilted base. The capitals are ornamented with beautiful
-foliage: each leaf is copied from nature and often arranged round the
-bell of the capital. The ornamental sculptures in the hollow mouldings
-are numerous, but there are two which require more particular notice;
-they are nearly as characteristic of the Decorated style as the zigzag
-is of the Norman, or the tooth-ornament of the Early English. The first
-is the ball-flower, which is a globular flower half opened, and showing
-within a small round ball. It is used with the utmost profusion in the
-mouldings of windows, doorways, canopies, cornices, arches, etc. The
-other ornament is the four-leaved flower. This has a raised centre, and
-four petals cut in high relief; it is frequently much varied, but may be
-distinguished by its being cut distinctly into four petals, and by its
-boldness: it is sometimes used abundantly, though not quite so profusely
-as the ball-flower. In some instances the centre is sunk instead of
-being raised. The battlement, as an ornamental feature in the interior
-of buildings, is frequently used in this style, although it is more
-common in the Perpendicular.
-
-The foliage in this style is more faithfully copied from nature than in
-any other: the vine-leaf, the maple and the oak with the acorn, are the
-most usual. The surface of the wall is often covered with flat foliage,
-arranged in small squares called diaper-work, which is believed to have
-originated in an imitation of the rich hangings then in general use, and
-which bore the same name.
-
-The groined roofs or vaults are distinguished from those of the
-preceding style, chiefly by an additional number of ribs, and by the
-natural foliage on the bosses. Many fine examples of these remain, as in
-the Cathedral of Exeter and at York in the chapter-house; at Norwich in
-the cloisters; at Chester the vault is of wood with stone springers.
-
-After culminating in the Decorated style, Gothic Architecture began to
-decline in the Fifteenth and Sixteenth Centuries. The transition from
-the Decorated to the Perpendicular took place from 1360 to 1399:
-
-     “This change began to show itself in the choir and transepts of
-     Gloucester Cathedral before the middle of the Fourteenth Century.
-     The panelling and the window-tracery have so much the appearance of
-     the Perpendicular Style, that they have been commonly supposed to
-     have been rebuilt or altered at a late period; but the vaultings
-     and the mouldings are pure Decorated, and the painted glass of the
-     Fourteenth Century is evidently made for the places which it now
-     occupies in the heads of the windows with Perpendicular tracery; it
-     must therefore be considered as the earliest known example of this
-     great change of style. In this work of alteration the walls and
-     arches of the Norman church were not rebuilt but cased with
-     panelling over the inner surface, so as to give the effect of the
-     latter style to the interior. This was just the same process as was
-     afterwards followed at Winchester by William of Wykeham, in
-     changing the Norman to the Perpendicular style without any actual
-     rebuilding.”--(J. H. P.)
-
-The work at Gloucester was begun as early as 1337. Another fine example
-is the nave of Winchester Cathedral.
-
-Bishop Edington, who died in 1366, began to alter Winchester into the
-Perpendicular style. His work was continued by William of Wykeham.
-
-     “Before the death of Bishop Edington the great principles of the
-     Perpendicular style were fully established. These chiefly consist
-     of the Perpendicular lines through the head of the window, and in
-     covering the surface of the wall with panelling of the same kind.
-     These features are as distinctly marked at Winchester as in any
-     subsequent building, or as they well could be.”--(J. H. P.)
-
-The cloisters of Gloucester Cathedral are decidedly Perpendicular in the
-fan-tracery of the vaults, but are partly of earlier date and character.
-Another example of the transition from Decorated to Perpendicular is the
-choir of York Minster, begun in 1361 and finished in 1408. Its general
-appearance is Perpendicular.
-
-     “This style is exclusively English, _it is never found_ on the
-     Continent, and it has the advantage of being more _economical_ in
-     execution than the earlier styles. It remains to describe its
-     characteristic features. The broad distinction of the Perpendicular
-     style lies in the form of the tracery in the head of the windows;
-     and in fully developed examples the distinction is sufficiently
-     obvious. We have no longer the head of the window filled with the
-     gracefully flowing lines of the Decorated tracery, but their place
-     is supplied by the rigid lines of the mullions, which are carried
-     through to the architrave mouldings, the spaces between being
-     frequently divided and subdivided by similar Perpendicular lines;
-     so that _Perpendicularity_ is so clearly the characteristic of
-     these windows that no other word could have been found which would
-     at once so well express the predominating feature. The same
-     character prevails throughout the buildings of this period: the
-     whole surface of a building, including its buttresses, parapets,
-     basements, and every part of the flat surface, is frequently
-     covered with panelling in which the Perpendicular line clearly
-     predominates; and to such an excess is this carried that the
-     windows frequently appear to be only openings in the panel-work.
-     Panelling, indeed, now forms an important feature of the style; for
-     though it was used in the earlier styles, it was not to the same
-     extent, and was of very different character, the plain surfaces in
-     those styles being relieved chiefly by diaper-work.”--(J. H. P.)
-
-The great idea of the architect was to correct and restrain the
-exuberant tracery by introducing vigorous straight vertical and
-horizontal lines. Another feature of the Perpendicular style was the
-groined roof. The ribs of the vaulting were now enriched by cross ribs,
-which were intersected by more ribs into small panels, which were filled
-in with tracery. The key-stones were formed into pendants. This network
-of ribs is called fan-tracery because the ribs spread out like the
-sticks of a fan. Very beautiful examples occur in Henry VII.’s Chapel,
-Westminster Abbey, and in the cloisters of Gloucester Cathedral.
-
-     “The light and elegant style of vaulting known as fan-tracery,
-     which is peculiar to this style, with its delicate pendants and
-     lace-like ornaments, harmonises finely with the elaborate ornament
-     of the tabernacle-work ornament. Fan-tracery vaulting is
-     _peculiarly English_. The principle of it began with the earliest
-     English Gothic style, as in the cloisters of Lincoln Cathedral,
-     each stone of the vaulting being cut to fit its place. In France
-     this is never done, each block of stone is oblong, as in those for
-     the walls, and is only made to curve over in a vault by the mortar
-     between the joints.
-
-     “Arches are not so acute as in the earlier periods; capitals and
-     bases of columns are distinguished by the shallowness of the
-     mouldings; mullions are carried straight through the arch of the
-     windows; doorways consist of a depressed arch within a square frame
-     with a label above; the label moulding is frequently filled with
-     foliage and the space round the arch parallel; towers are often
-     extremely rich and elaborately ornamented with four or five stories
-     of windows, canopies, pinnacles and tabernacles; porches are also
-     fine, highly enriched with panel-work, buttresses and pinnacles,
-     and often with a richly-groined vault in the interior; and
-     mouldings are generally more shallow than the earlier ones.
-
-     “There is an ornament which was introduced in this style and which
-     is very characteristic. This is called the ‘Tudor-flower,’ not
-     because it was introduced in the time of the Tudors, but because it
-     was so much used at that period. It generally consists of some
-     modification of the fleur-de-lis alternately with a small trefoil
-     or ball, and is much used as a crest for screens on fonts, niches,
-     capitals and in almost all places where such ornament can be used.
-     The foliage of this style is frequently very beautifully executed,
-     almost as faithful to nature as in the Decorated style, in which
-     the fidelity to nature is one of the characteristic features. There
-     is comparatively a squareness about the Perpendicular foliage,
-     which takes from the freshness and beauty which distinguished that
-     of the Decorated style. Indeed, the use of square and angular forms
-     is one of the characteristics of the style; we have square panels,
-     square foliage, square crockets and finials, square forms in the
-     windows--caused by the introduction of so many transoms--and an
-     approach to squareness in the depressed and low pitch of the roofs
-     in late examples.”--(J. H. P.)
-
-The woodwork of the Perpendicular period is very beautiful: open timber
-roofs (met with in the eastern counties), screens and lofts across the
-chancel-arch and richly carved bench ends exist in considerable numbers.
-
-     “The frequent use of figures, simply as corbels between the windows
-     of the clerestory to carry the roof, is a good characteristic of
-     the late Perpendicular style; they are generally of the time of
-     Henry the Seventh or Eighth. The figure used is generally that of
-     an angel, and each angel is sometimes represented as carrying a
-     different musical instrument so as to make up a heavenly
-     choir.”--(J. H. P.)
-
-Among the best examples of late Perpendicular are Henry VII.’s Chapel,
-Westminster Abbey; St. George’s Chapel, Windsor; King’s College Chapel,
-Cambridge; and Bath Abbey Church.
-
-In writing of the latter W. D. Howells so beautifully describes this
-style that no excuse is needed for bringing his definition into this
-place. He says:
-
-     “It is mostly of that Perpendicular Gothic which I suppose more
-     mystically lifts the soul than any other form of architecture, and
-     it is in a gracious harmony with itself through its lovely
-     proportions; from the stems of its clustered column, the tracery of
-     their fans spreads and delicately feels its way over the vaulted
-     roof as if it were a living growth of something rooted in the earth
-     beneath.”
-
-
-
-
-ABBREVIATIONS OF AUTHORS QUOTED
-
-    A. A.--Alexander Ansted
-
-    F. B.--Frederic Bond
-    J. E. B.--J. E. Bygate
-
-    A. B. C.--A. B. Clifton
-    A. C.-B.--A. Clutton-Brock
-    J. C.-B.--J. Cavis-Brown
-    H. C. C.--Hubert C. Corlette
-
-    A. D.--Arthur Dimock
-    C. D.--Charles Dickens, Jr.
-    P. D.--Percy Dearmer
-    P. H. D.--P. H. Ditchfield
-    T. F. D.--Thomas Frognall Dibdin
-
-    A. H. F.--A. Hugh Fisher
-    E. A. F.--E. A. Freeman
-    F. W. F.--F. W. Farrar
-    W. H. F.--W. H. Fremantle
-
-    H.--Hope
-    C. H.--Cecil Hallet
-    L. H.--Leigh Hunt
-    W. H. H.--W. H. Hart
-
-    A. F. K.--A. F. Kendrick
-    G. W. K.--Dean Kitchin
-    R. J. K.--Richard J. Knight
-
-    L.--Dr. Luckock
-    W. J. L.--W. J. Loftie
-
-    M.--Dean Milman
-    J. McC.--Justin McCarthy
-    H. J. L. J. M.--H. J. L. J. Massé
-
-    P.--Dean Patrick
-    P.-C.--Dean Pury-Cust
-    F. A. P.--F. A. Paley
-    G. H. P.--G. H. Palmer
-    J. H. P.--J. H. Parker
-    T. P.--T. Perkins
-
-    C. H. B. Q.--C. H. B. Quennell
-
-    R.--Rickman
-    F. and R.--Field and Routledge
-
-    S.--Dean Spence
-    A. P. S.--Dean Stanley
-    E. F. S.--Edward F. Strange
-    G. G. S.--G. G. Scott
-    W. D. S.--W. D. Sweeting
-
-    T.--Canon Talbot
-
-    W.--Willis
-    Wal.--Walcott
-    A.-à-W.--Anthony-à-Wood
-    C. W.--Winston
-    E. W.--Edward Walford
-    F. S. W.--F. S. Waller
-    G. W.--Gleeson White
-    Geo. W.--George Worley
-    H. W.--Hartley Wither
-
-
-
-
-CONTENTS
-
-                                                                    PAGE
-
-CANTERBURY                                                             1
-
-ROCHESTER                                                             33
-
-WINCHESTER                                                            46
-
-CHICHESTER                                                            66
-
-SALISBURY                                                             76
-
-EXETER                                                                90
-
-WELLS                                                                107
-
-BATH ABBEY                                                           134
-
-BRISTOL                                                              140
-
-GLOUCESTER                                                           151
-
-HEREFORD                                                             174
-
-WORCESTER                                                            188
-
-LICHFIELD                                                            200
-
-CHESTER                                                              215
-
-MANCHESTER                                                           222
-
-CARLISLE                                                             227
-
-DURHAM                                                               233
-
-RIPON                                                                249
-
-YORK MINSTER                                                         260
-
-LINCOLN                                                              284
-
-SOUTHWELL                                                            313
-
-PETERBOROUGH                                                         319
-
-ELY                                                                  334
-
-NORWICH                                                              349
-
-ST. ALBANS                                                           360
-
-OXFORD                                                               375
-
-ST. PAUL’S, LONDON                                                   393
-
-ST. SAVIOUR’S, SOUTHWARK                                             415
-
-WESTMINSTER ABBEY                                                    425
-
-INDEX                                                                445
-
-
-
-
-ILLUSTRATIONS
-
-
-Salisbury: Cloisters                                       _Frontispiece_
-
-                                                             FACING PAGE
-
-Canterbury: South Porch                                               12
-
-Canterbury: Nave, east                                                13
-
-Canterbury: Choir, east                                               24
-
-Rochester: West front                                                 25
-
-Rochester: Nave, east                                                 40
-
-Rochester: Choir, west                                                41
-
-Winchester: Nave, west                                                52
-
-Winchester: Font                                                      53
-
-Winchester: Choir, east                                               64
-
-Winchester: West front                                                65
-
-Chichester                                                            72
-
-Chichester: Nave, east                                                73
-
-Chichester: Screen                                                    76
-
-Salisbury: North                                                      77
-
-Salisbury: Nave, east                                                 88
-
-Exeter: South-west                                                    89
-
-Exeter: Nave, east                                                    98
-
-Exeter: Choir, east                                                   99
-
-Wells: West front                                                    114
-
-Wells: North Porch                                                   115
-
-Wells: Nave, east                                                    128
-
-Wells: South-west                                                    129
-
-Bath Abbey: West front                                               136
-
-Bath Abbey: Choir, west                                              137
-
-Bristol: North                                                       144
-
-Bristol: Nave, east                                                  145
-
-Gloucester: East                                                     154
-
-Gloucester: Tomb of Edward II                                        155
-
-Gloucester: Choir, east                                              164
-
-Gloucester: Cloisters                                                165
-
-Hereford: Nave, east                                                 176
-
-Hereford: North-east                                                 177
-
-Hereford: Choir                                                      186
-
-Worcester: South-west                                                187
-
-Worcester: Nave, east                                                192
-
-Worcester: Choir, east                                               193
-
-Lichfield: West front                                                200
-
-Lichfield: Nave, east                                                201
-
-Lichfield: from East window                                          212
-
-Chester: North                                                       213
-
-Chester: Choir, west                                                 218
-
-Chester: Choir-stalls                                                219
-
-Manchester: South                                                    224
-
-Manchester: Nave, east                                               225
-
-Carlisle: South-west                                                 228
-
-Carlisle: Choir                                                      229
-
-Carlisle: East End                                                   232
-
-Durham: West front                                                   233
-
-Durham: Nave, east                                                   240
-
-Durham: Galilee Chapel                                               241
-
-Durham: Neville Screen                                               248
-
-Ripon: South                                                         249
-
-Ripon: Nave, east                                                    254
-
-Ripon: Choir, east                                                   255
-
-York Minster: West front                                             268
-
-York Minster: South                                                  269
-
-York Minster: Choir, east                                            278
-
-York Minster: Choir, west                                            279
-
-Lincoln: West front                                                  288
-
-Lincoln: Great West Door                                             289
-
-Lincoln: Angel Choir                                                 298
-
-Lincoln: Choir, east                                                 299
-
-Lincoln: East Window                                                 306
-
-Southwell: North-west                                                307
-
-Southwell: Chapter-House                                             316
-
-Peterborough: West front                                             317
-
-Peterborough: Choir, east                                            328
-
-Peterborough: South                                                  329
-
-Ely: West Towers                                                     336
-
-Ely: Choir, east                                                     337
-
-Ely: East End and Lady-Chapel                                        346
-
-Ely: Lady-Chapel                                                     347
-
-Norwich: East                                                        356
-
-Norwich: Choir                                                       357
-
-St. Albans: North                                                    366
-
-St. Albans: Nave, east                                               367
-
-Oxford: Tower and Entrance                                           382
-
-Oxford: Choir, east                                                  383
-
-Oxford: Latin Chapel                                                 392
-
-St. Paul’s: West front                                               393
-
-St. Paul’s: Choir, east                                              414
-
-St. Saviour’s, Southwark                                             415
-
-St. Saviour’s, Southwark: Nave, east                                 424
-
-Westminster Abbey: West front                                        425
-
-Westminster Abbey: Poets’ Corner                                     432
-
-Westminster Abbey: Choir, east                                       433
-
-Westminster Abbey: Chapel and Shrine of
-  Edward the Confessor                                               436
-
-Westminster Abbey: Henry VII.’s Chapel                               437
-
-Westminster Abbey: Cloisters                                         440
-
-Westminster Abbey: South-west                                        441
-
-
-
-
-CANTERBURY
-
-     DEDICATION: CHRIST CHURCH. FORMERLY THE CHURCH OF A BENEDICTINE
-     MONASTERY.
-
-     SPECIAL FEATURES: BECKET’S CROWN; DOOR OF CHAPTER-HOUSE; WEST
-     DOORWAY; CRYPT.
-
-
-Canterbury Cathedral presents a beautiful effect when seen from a
-distance, keeping watch over the city that lies in the valley of the
-Stour, girdled by hills. On one of these hills stands the village of
-Harbledown, the “Bob Up and Down,” where Chaucer’s Pilgrims halted, and
-from which a charming view of the ancient Cathedral is to be enjoyed.
-
-Another fine prospect is gained from St. Martin’s:
-
-     “Let any one sit on the hill of the little church of St. Martin,
-     and look on the view which is there spread before his eyes.
-     Immediately below are the towers of the great Abbey of St.
-     Augustine, where Christian learning and civilisation first struck
-     root in the Anglo-Saxon race; and within which now, after a lapse
-     of many centuries, a new institution has arisen, intended to carry
-     far and wide to countries of which Gregory and Augustine never
-     heard, the blessings which they gave to us. Carry your view
-     on,--and there rises high above all the magnificent pile of our
-     Cathedral equal in splendour and state to any, the noblest temple
-     or church, that Augustine could have seen in ancient Rome, rising
-     on the very ground which derives its consecration from him. And
-     still more than the grandeur of the outward buildings that rose
-     from the little church of St. Augustine, and the little palace of
-     Ethelbert, have been the institutions of all kinds, of which these
-     are the earliest cradle. From Canterbury, the first English
-     Christian city--from Kent, the first English Christian
-     kingdom--has, by degrees, arisen the whole constitution of Church
-     and State in England, which now binds together the whole British
-     Empire.”--(A. P. S.)
-
-This great Cathedral stands on the site of the primitive Roman, or
-British, Church, attributed to King Lucius and granted by Ethelbert,
-King of Kent, to St. Augustine (who had converted him in 597). It is,
-therefore, the earliest monument of the English union of Church and
-State, and the cradle of English Christianity. Pope Gregory had intended
-to fix the Primacy in London and York alternately; but the sentiment of
-St. Augustine’s landing in Kent prevailed; and, therefore, the
-Archbishop of Canterbury, the See of which was founded in 597, is still
-Primate of England. He crowns the King and ranks next to royalty.
-
-The first Cathedral was injured by the Danes in 1011 and it was burned
-down during the Norman Conquest in 1067. Lanfranc, the first Archbishop
-after the Conquest (1070-1089), reconstructed both church and monastery
-from their foundations. Anselm (1093-1109), took down the eastern part
-of the church and reërected it with far greater magnificence. Ernulf,
-Prior of the monastery, was responsible for the architecture; but the
-chancel being finished by his successor, Prior Conrad, and beautifully
-decorated, became known as the “glorious Choir of Conrad.” Canterbury
-Cathedral was dedicated by Archbishop William in 1130. Henry I., King of
-England, David, King of Scotland, and all the Bishops of England were
-present at what Gervase calls “the most famous dedication that had ever
-been heard of on the earth since that of the temple of Solomon.” In
-1170, Thomas à Becket was murdered here, having fled for protection to
-the church after a violent scene in his chamber with Henry’s knights.
-Becket was buried at the east end of the Crypt and remained there
-forty-six years.
-
-     “Most men were persuaded that a new burst of miraculous powers,
-     such as had been suspended for many generations, had broken out at
-     the tomb; and the contemporary monk, Benedict, fills a volume with
-     extraordinary cures, wrought within a very few years after the
-     ‘Martyrdom.’ Far and wide the fame of ‘St. Thomas of Canterbury’
-     spread. The very name of Christ Church, or of the Holy Trinity, by
-     which the Cathedral was properly designated, was in popular usage
-     merged in that of The Church of St. Thomas. For the few years
-     immediately succeeding his death there was no regular shrine. The
-     popular enthusiasm still clung to the two spots immediately
-     connected with the murder. The Transept in which he died, within
-     five years from that time acquired the name by which it has ever
-     since been known, ‘The Martyrdom.’ The flagstone on which his skull
-     was fractured and the solid corner of the masonry in front of which
-     he fell, are probably the only parts which remain unchanged. But
-     against that corner may still be seen the marks of the space
-     occupied by a wooden altar, which continued in its original
-     simplicity through all the subsequent magnificence of the church
-     till the time of the Reformation. It was probably the identical
-     memorial erected in the first haste of enthusiasm after the
-     reopening of the Cathedral for worship in 1172. It was called the
-     Altar of the Martyrdom or more commonly the Altar of the Sword’s
-     Point (_Altare ad Punctum Ensis_) from the circumstance that in a
-     wooden shed placed upon it was preserved the fragment of Le Bret’s
-     sword, which had been left on the pavement after accomplishing its
-     bloody work. Under a piece of rock crystal surmounting the chest,
-     was kept a portion of the brains. To this altar a regular keeper
-     was appointed from among the monks, under the name of ‘_Custos
-     Martyrii_.’ In the first frenzy of desire for relics of St. Thomas,
-     even this guarantee was inadequate.
-
-     “Next to the actual scene of the murder, the object which this
-     event invested with especial sanctity was the tomb in which his
-     remains were deposited in the Crypt behind the Altar of the Virgin.
-     It was to this spot that the first great rush of pilgrims was made
-     when the church was reopened in 1172, and it was here that Henry
-     performed his penance. Hither on the 21st of August, 1179, came the
-     first King of France who ever set foot on the shores of England,
-     Louis VII., warned by St. Thomas in dreams, and, afterwards, as he
-     believed, receiving his son back from a dangerous illness through
-     the Saint’s intercession. He knelt by the tomb and offered upon it
-     the celebrated jewel,[2] as also his own rich cup of gold.”--(A. P.
-     S.)
-
-In 1174 a fire destroyed “Conrad’s Glorious Choir.” Rebuilding was
-immediately begun under a French architect, William of Sens, who fell
-from a scaffolding and had to relinquish the work to another William,
-who completed the Choir and eastern buildings in 1184.
-
-Everything was now in readiness for the removal of the Martyr’s remains.
-Stephen Langton gave two years’ notice of the intended “Translation”;
-and a marvellous assemblage gathered from all parts of Europe on July 7,
-1220. The Archbishop opened the tomb the night before the coffin was
-carried to the Shrine above in Trinity Chapel, and the “Vigil of the
-Translation,” July 6, was kept in the English church until 1537. The
-great procession to the Shrine was led by Henry III., then aged
-thirteen. Pilgrims came to the new Shrine, as they had done to the one
-below, in thousands. Seven great “jubilees” were held before 1530.
-
-     “The outer aspect of the Cathedral can be imagined without much
-     difficulty. A wide cemetery, which, with its numerous gravestones,
-     such as that on the south side of Petersborough Cathedral, occupied
-     the vacant space still called the Churchyard, divided from the
-     garden beyond by the old Norman arch since removed to a more
-     convenient spot. In the cemetery were interred such pilgrims as
-     died during their stay in Canterbury. The external aspect of the
-     Cathedral itself, with the exception of the numerous statues which
-     then filled its now vacant niches, must have been much what it is
-     now. Not so its interior. Bright colours on the roof, on the
-     windows, on the monuments; hangings suspended from the rods which
-     may still be seen running from pillar to pillar; chapels and
-     altars, and chantries intercepting the view, where now all is
-     clear, must have rendered it so different, that at first we should
-     hardly recognise it to be the same building.”--(A. P. S.)
-
-At the church door the company of pilgrims arranged themselves “every
-one after his degree,” and a monk sprinkled their heads with holy water
-with the “Sprengel.” The great tide of pilgrims then passed through the
-Cathedral. Sometimes they paid their devotions to the Shrine first, and
-sometimes they visited the lesser objects first and the Shrine last. In
-this case, they entered the Transept of the Martyrdom, through the dark
-passage under the steps leading to the Choir. Before the wooden altar
-and in the soft radiance of the glorious representation of the Martyr in
-the transept window (of which there remains only the central band with
-the donors, Edward IV., his Queen, with their daughters and the two sons
-who perished in the Tower), while the priest showed them the relics of
-which he had charge, including the rusty fragment of Le Bret’s sword,
-which all kissed in turn. Proceeding down the steps on the way to the
-Crypt, new guardians exhibited in the dim light of a row of lamps
-suspended from rings in the roof, the actual relics of St. Thomas,--part
-of his skull cased in silver, which all kissed devoutly, and his shirt
-and drawers of haircloth.
-
-Mounting the steps of the Choir, the pilgrims were then shown the great
-array of about four hundred relics preserved in ivory, gilt or silver
-coffers, including the arm of St. George. And now, passing behind the
-altar and up the steps, which many ascended on their knees, chanting the
-hymn to St. Thomas, they entered Trinity Chapel. They were first led
-beyond the Shrine to the easternmost apse to see a golden head of the
-Saint studded with gems, in which the scalp or crown of the Saint was
-preserved.
-
-     “The Shrine occupied the central part of the upper platform, and
-     the extent of the railed space round it may be readily perceived by
-     examining the floor on which the depression made by the feet of the
-     pilgrims is plainly visible. The pavement inside this limit is
-     composed of the original steps and platform of the Shrine, and
-     consists in part of rich African marbles, as do also two whole
-     pillars to north and south, and two half pillars to the east. These
-     are said to have been the gift of a Pope to the Shrine, and,
-     indeed, to have once formed part of a Roman Temple. The Shrine
-     itself was simply the coffin of the Saint, richly adorned and cased
-     with gold and precious stones. It rested on a structure of stone
-     arches some five or six feet high, and was, as a rule, concealed
-     under a wooden cover, working on pulleys, like many covers of fonts
-     in our churches now. When raised the cover would reveal to the
-     venerating gaze of the pilgrims, plates of precious metal studded
-     with jewels of fabulous value, the most remarkable of which would
-     be pointed out by the attendant with a white wand. When the Shrine
-     was destroyed, by order of Henry VIII., these treasures filled two
-     great chests ‘such as six or seven strong men could no more than
-     convey one of them out of the church.’ West of the Shrine stood an
-     altar, and west of the altar a gate in the railings, in fact just
-     between the altar and the beautiful fragment of Italian marble
-     pavement.”--(F. and R.)
-
-We can imagine the long line of kneeling pilgrims and those who were
-allowed behind the iron gates rubbing themselves against the marble, so
-that the wonder-working body within could effect a cure in anticipation
-of the moment when the wooden canopy would be lifted.
-
-     “At a given signal this canopy was drawn up by ropes, and the
-     Shrine then appeared blazing with gold and jewels; the wooden sides
-     were plated with gold and damasked with gold wire; cramped together
-     on this gold ground were innumerable jewels, pearls, sapphires,
-     blassas, diamonds, rubies and emeralds, and ‘in the midst of the
-     gold’ rings or cameos of sculptured agates, cornelians and onyx
-     stones.
-
-     “As soon as this magnificent sight was disclosed, every one dropped
-     on his knees, and probably the tinkling of the silver bells
-     attached to the canopy would indicate the moment to all the
-     hundreds of pilgrims in whatever part of the Cathedral they might
-     be. The body of the Saint in the inner iron chest was not to be
-     seen except by mounting a ladder, which would be but rarely
-     allowed. But whilst the votaries knelt around, the Prior, or some
-     other great officer of the monastery, came forward, and with a
-     white wand touched the several jewels, naming the giver of each,
-     and for the benefit of foreigners, adding the French name of each,
-     with a description of its value and marvellous qualities. A
-     complete list of them has been preserved to us, curious, but devoid
-     of general interest. There was one, however, which far outshone the
-     rest, and indeed was supposed to be the finest in Europe. It was
-     the great carbuncle, ruby, or diamond, said to be as large as a
-     hen’s egg or a thumb-nail, and commonly called ‘The Regale of
-     France.’ The attention of the spectators was riveted by the figure
-     of an angel pointing to it. It had been given to the original tomb
-     in the Crypt by Louis VII. of France, when here on his
-     pilgrimage.[3]
-
-     “The lid once more descended on the golden ark; the pilgrims
-
-                    ‘telling heartily their beads
-    Prayed to St. Thomas in such wise as they could,’
-
-     and then withdrew, down the opposite flight of steps from which
-     they had ascended.”--(A. P. S.)
-
-Next the pilgrims received the small leaden bottles, or _ampulles_,
-filled with water mixed with the Martyr’s blood; and in the numerous
-booths and stalls that lined Mercery Lane, the narrow street running
-from the Cathedral to the Chequers Inn, bought other memorials of the
-Pilgrimage, particularly the leaden brooches representing the mitred
-head of the saint with the legend, _Caput Thomæ_.
-
-From the middle of the Fourteenth to the end of the Fifteenth Century a
-wonder-working well was shown to pilgrims in the Precincts.
-
-Among the great visitors to the shrine of the “holy blissful Martyr”
-were all the English kings from Henry II. to Henry VIII.; Edward I.
-(1299), who presented the golden crown of Scotland, the crown given by
-Edward to John Balliol and carried off by him, but recaptured at Dover;
-Richard and John of England; Louis VII. of France; Isabella, wife of
-Edward II.; John, the captive king of France; Henry V. on his return
-from Agincourt; Emmanuel, Emperor of the East in 1400, and Sigismund,
-Emperor of the West in 1417; and great lords and ladies from England,
-France and Scotland. The barons of the Cinque Ports, after every
-coronation, presented the canopies of silk and gold which they held and
-still hold over the head of the king.
-
-In 1538 Henry VIII. issued a writ of summons against Thomas à Becket
-accusing him of treason, contumacy and rebellion and had the document
-read before the Martyr’s tomb. The suit was tried in Westminster, and
-the long defunct Archbishop condemned. His bones were ordered to be
-burnt and all his offerings handed over to the Crown. Becket’s body,
-however, escaped burning and was re-buried. The Shrine was destroyed and
-all the offerings of jewels and gold carried off. They filled twenty-six
-carts. Becket was deprived of the name of Saint and his images destroyed
-throughout the country.
-
-Returning now to the architectural history of the Cathedral, Prior
-Chillenden (1378-1410) took down Lanfranc’s Nave and Transepts. About
-1473 Prior Goldstone II. added the splendid Angel Tower that rises from
-the centre of the roof, and upon which the figure of a golden angel
-welcomed the pilgrims to Canterbury.
-
-In 1642, the Puritans battered the windows, hacked and hewed the altars
-and monuments and committed ravages of all kinds under a ringleader,
-Richard Culmer, known as “Blue Dick.”
-
-After the Restoration, £10,000 was devoted to repairs. At a later period
-the Choir-stalls, said to be carved by Grinling Gibbons, were replaced.
-
-In 1834, the northwest (Arundel) tower had to be pulled down. It was
-rebuilt on a different plan.
-
-Nothing of importance happened until 1872, when a fire broke out on the
-roof of Trinity Chapel at half-past ten in the morning. Little damage
-was done, however; but the Black Prince’s Tomb was in danger and the
-relics above it were temporarily removed.
-
-Canterbury was four centuries in building. It, therefore, exhibits
-specimens of nearly all the classes of Pointed Architecture. It is
-chiefly, however, Transitional Norman and Perpendicular.
-
-     “The existing cathedral, although of such various dates, covers, as
-     nearly as can be ascertained, the same ground as the original
-     building of Lanfranc, with the exception of the Nave, which is of
-     greater length westward, and of the Retro-Choir, or extreme eastern
-     portion, which is also longer.”--(R. J. K.)
-
-Passing the traditional site of the Chequers Inn, where Chaucer’s
-Pilgrims were housed, we walk up Mercery Lane to =Christ Church Gate=,
-built by Prior Goldstone in 1517. It is a fine example of late
-Perpendicular and once contained a figure of Christ in the central
-niche.
-
-This gate leads into the =Precincts= of the Cathedral. The close is
-surrounded by the gardens of the Canons’ houses. We now look upon the
-beautiful south side of the Cathedral.
-
-     “In the immediate Precincts, a delightful picture is presented from
-     the Green Court, which was once the main outer court of the
-     monastery. Here are noble trees and beautifully kept turf, at once
-     in perfect harmony and agreeable contrast with the rugged walls of
-     the weather-beaten Cathedral: the quiet, soft colouring of the
-     ancient buildings and that look of cloistered seclusion only to be
-     found in the peaceful nooks of cathedral cities are seen here at
-     their very best.
-
-     “The chief glory of the exterior of Canterbury Cathedral is the
-     central Angel, or Bell, Tower. This is one of the most perfect
-     structures that Gothic architecture inspired by the loftiest
-     purpose that ever stimulated the work of any art, has produced. It
-     was completed by Prior Selling, who held office in 1472, and has
-     been variously called the Bell Harry Tower from the mighty Dunstan
-     bell, weighing three tons and three hundredweight, and the Angel
-     Tower from the gilded figure of an angel poised on one of the
-     pinnacles, which has long ago disappeared. The tower itself is of
-     two stages, with two-light windows in each stage; the windows are
-     transomed in each face, and the lower tier is canopied; each angle
-     is rounded off with an octagonal turret; and the whole structure is
-     a marvellous example of architectural harmony and in every way a
-     work of transcendent beauty.”--(H. W.)
-
-The =South-west=, or =Chichele, Tower=, (formerly St. Dunstan’s Tower) was
-completed by Prior Goldstone (1449-1468). It is now the Bell Tower. The
-=Northern=, or Arundel, steeple was rebuilt by Austen in 1840 in place of
-the old Norman Tower, which had become dangerous.
-
-     “The western towers are built each of six stages: each of the two
-     upper tiers contains two two-light windows, while below there is a
-     large four-light window uniform with the windows of the aisles. The
-     base tier is ornamented with rich panelling. The parapet is
-     battlemented and the angles are finished with fine double
-     pinnacles. At the west end there is a large window of seven-light
-     transoms. The gable contains a window of very curious shape, filled
-     with intricate tracery. The space above the aisle windows is
-     ornamented with quatrefoiled squares, and the clerestory is pierced
-     by windows of three lights.”--(H. W.)
-
-Above the aisle windows are quatrefoiled squares. The clerestory, Choir
-and Becket’s Crown contain lancet windows. In the main transept there is
-a fine Perpendicular window of eight lights.
-
-The South side of the Cathedral is the one most generally admired.
-
-     “On the south side is seen the porch; the nave (a beautiful
-     design); and the charming pinnacle of the south-west transept. East
-     of the Warrior’s Chapel is the projecting end of Stephen Langton’s
-     tomb. East of this, the two lower rows of windows are those of
-     Conrad’s Choir; the upper row that of William of Sens. The middle
-     windows in the south-east transept were the clerestory windows of
-     Conrad; the windows above them are those of William of Sens. The
-     three upper stages of the tower on the south of this transept are
-     late Norman work; one of the prettiest bits in Canterbury. Farther
-     east we have French design, pure and simple; here, for the first
-     time in English architecture, the flying-buttresses are openly
-     displayed; notice how flat and plain they are; it had not yet
-     occurred to architects to make them decorative. The grand sweep of
-     apse and ambulatory seems to send one straight back to France. Then
-     comes the broken rocky outline of the _corona_--the great puzzle of
-     Canterbury. North-east of the _corona_ are two groups of ruined
-     Norman pillars and arches discoloured by fire; once they were
-     continuous, forming one very long building, the Monk’s Infirmary,
-     of which the west end was originally an open dormitory, open to the
-     roof, and the east end, separated off by a screen, the Chapel;
-     which has a late Geometrical window. On the north side of Trinity
-     Chapel is seen the Chantry of Henry IV.; then St. Andrew’s Tower
-     and the barred Treasury; the lower part of the latter is late
-     Norman work, largely rebuilt.”--(F. B.)
-
-The =Porch= on the south side of Chichele Tower is the work of Prior
-Chillenden. It has a central niche on which the _Martyrdom of Becket_
-was represented on a panel of the Fifteenth Century. The niches are
-filled with statues. Through it we now pass into the Cathedral.
-
-The =Nave= (Perpendicular) resembles the bolder nave of Winchester, built
-at the same period. The most striking feature is the manner in which the
-Choir is raised above the level of the floor, owing to the fact that it
-stands over the crypt. The
-
-[Illustration: CANTERBURY: SOUTH PORCH]
-
-[Illustration: CANTERBURY: NAVE, EAST]
-
-flight of steps placed between the Nave and the Choir adds to the
-effect.
-
-     “The nave, of eight bays, has no triforium. Each bay consists of a
-     huge arch resting on filleted pillars, and is subdivided into the
-     pier-arch, with the clerestory and panelling reaching to the
-     string-course above. It is paved with Portland stone. The vaulting
-     and vaulting-shafts are the prominent features of the nave, and the
-     pier-arches are quite subordinate; these shafts are banded, as at
-     Bath, like Early English. The main transept has no aisles.”--(W. J.
-     L.)
-
-Of the Nave windows none remain entire. The great =West Window= is made up
-of fragments from the others. It contains the arms of Richard II.
-impaling the Confessor’s; and those of Anne of Bohemia (north); and
-Isabella of France (south).
-
-The beautifully carved =Screen= of solid stone, separating the Nave from
-the Choir, was placed there in the Fifteenth Century. Of the six crowned
-figures in the lower niches, the one holding the church is supposed to
-be Ethelbert; and the one on the extreme right, Richard II. The figures
-of Christ and the Twelve Apostles, which filled the thirteen mitred
-niches around the arch, were destroyed by “Blue Dick” and his
-companions. A staircase leads to the top of the Screen.
-
-Another Screen partly fills the space between the two western piers of
-the central, or Angel, Tower.
-
-     “The piers which support the central tower are probably the
-     original piers of Lanfranc’s erection, cased with Perpendicular
-     work by Prior Chillenden at the same time with the building of the
-     nave. To this Prior Goldstone II. (1495-1517) added the vaulting of
-     the tower, and all the portion above the roof, together with the
-     remarkable buttressing-arches supporting the piers below, which had
-     perhaps shown some signs of weakness. These arches have on them
-     the Prior’s rebus, a shield with three golden bars, or stones. The
-     central arch occupies the place of the ancient roodloft, and
-     probably the great rood was placed on it until the
-     Reformation.”--(R. J. K.)
-
-The =Choir= of five bays shows the earliest instance of the Pointed Arch
-in England and groining on a large scale. The clerestory of the Choir is
-filled with windows representing the genealogy of the Saviour. The
-carvings on the stalls are said to be by Grinling Gibbons.
-
-In 1096, Prior Ernulf began a longer and wider Choir than originally
-existed; and this was dedicated in 1114, before he left Canterbury to
-become Bishop of Rochester. Prior Conrad, his successor, finished the
-decoration of it and “the glorious Choir of Conrad,” as it was somewhat
-unjustly called, was consecrated in 1130. In 1174 it was destroyed by
-fire to the great distress of everybody. All that remains is a portion
-of the pavement consisting of large slabs of “stone or veined marble of
-a delicate brown colour,” between the two Transepts.
-
-     “About four years after the murder on the 5th of September, 1174, a
-     fire broke out in the Cathedral which reduced the Choir--hitherto
-     its chief architectural glory--to ashes. The grief of the people is
-     described in terms which show how closely the expression of
-     Mediæval feeling resembled what can now only be seen in Italy or
-     the East--‘They tore their hair; they beat the walls and pavements
-     of the church with their shoulders and the palms of their hands;
-     they uttered tremendous curses against God and his saints--even to
-     the patron saint of the church; they wished they had rather have
-     died than seen such a day.’ How far more like the description of a
-     Neapolitan mob in disappointment at the slow liquefaction of the
-     blood of St. Januarius than of the citizens of a quiet cathedral
-     town in the county of Kent! The monks, though appalled by the
-     calamity for a time, soon recovered themselves; workmen and
-     architects, French and English, were procured; and among the
-     former, William, from the city of Sens, so familiar to all
-     Canterbury at that period as the scene of Becket’s exile. No
-     observant traveller can have seen the two Cathedrals without
-     remarking how closely the details of William’s workmanship at
-     Canterbury were suggested by his recollections of his own church at
-     Sens, built a short time before. The forms of the pillars, the
-     vaulting of the roof, even the very bars and patterns of the
-     windows are almost identical.... The French architect unfortunately
-     met with an accident which disabled him from continuing his
-     operations. After a vain struggle to superintend the works by being
-     carried round the church in a litter, he was compelled to surrender
-     the task to a namesake, an Englishman, and it is to him that we owe
-     the design of that part of the Cathedral which was destined to
-     receive the sacred Shrine.”--(A. P. S.)
-
-     “On entering the choir, the visitor is immediately struck by the
-     singular bend with which the walls approach each other at the
-     eastern end. By this remarkable feature, together with the great
-     length of the Choir (180 feet; it is the longest in England) and
-     the lowness of the vaulting; the antique character of the
-     architecture enforced by the strongly contrasted Purbeck and Caen
-     stone, and the consequent fine effects of light and shadow. The
-     style is throughout Transition, having Norman and Early English
-     characteristics, curiously intermixed. The pillars with their
-     pier-arches, the clerestory wall above and the great vault up to
-     the Transepts, were entirely finished by William of Sens. The whole
-     work differed greatly from that of the former choir. The richly
-     foliated and varied capitals of the pillars, the great vault with
-     its ribs of stone, and the numerous slender shafts of marble in the
-     triforia, were all novelties exciting the great admiration of the
-     monks.”--(R. J. K.)
-
-William of Sens, however, retained the second or Eastern Transepts,
-which had existed in the former church.
-
-Before the Reformation the Choir contained the high altar and the
-altar-shrines of St. Alphege and St. Dunstan. No trace of the former
-remains; but on the south wall of the Choir, between the monuments of
-Archbishops Stratford and Sudbury, there is some diaper-work of open
-lilies that adorned St. Dunstan’s altar.
-
-The =High Altar= is on a higher level than the floor of the choir. It is
-approached by two flights of steps (one on either side) in the
-Presbytery, about 25 feet higher than the floor of the Nave. The Altar
-was placed over the new Crypt, which is a good deal higher than the
-older, or western, Crypt. The =Reredos=, erected in 1870, was designed in
-the style of the screen-work in the Lady-Chapel in the Crypt. The
-crimson velvet altar-coverings, now in use, were presented by Queen
-Mary, wife of William III., and the gold chalice by the Earl of Arundell
-in 1636. The =Archbishop’s Throne=, a gift of Archbishop Howley (£1200),
-was carved by Flemish workmen from designs by Austen. The stone-pulpit,
-by Butterfield, was erected in 1846. The eagle used as a Litany desk is
-dated 1663.
-
-The organ, built by Samuel Green, is believed to be the one used at the
-Händel Festival in Westminster Abbey in 1784. It was remodelled in 1886.
-Among the tombs and monuments of Archbishops and Cardinals are: Cardinal
-Bourchier, who crowned Edward IV., Richard III. and Henry VII.;
-Archbishop Howley, who crowned Queen Victoria; Stratford, Grand
-Judiciary to Edward III.; Simon of Sudbury, whose head was cut off
-during Wat Tyler’s rebellion; and Cardinal Kemp, who was present at
-Agincourt.
-
-In the north aisle, in a coloured and gilt altar-tomb, lies Archbishop
-Chichele (died 1443), according to Shakespeare, the instigator of the
-war with France (see _Henry V._, Act I., Sc. I.). Here also lies Orlando
-Gibbons, Charles I.’s organist.
-
-Of the six splendid =windows= in the north aisle of the Choir described by
-the old authorities, only two remain.
-
-     “They should not be overlooked by the visitor, as they are full of
-     curious symbolism. The birth of Christ and His early life are
-     depicted in the central panels and the types from the Old Testament
-     with them. Observe the Magi all asleep in one bed; Shem, Ham and
-     Japhet, dividing the earth, which one of them holds in his hands,
-     like a gorgeously painted map; and in the sixth panel of the first
-     window a very curious scene, in which we see depicted a bronze idol
-     or statue, similar, no doubt, to some the artist had seen as of
-     Roman work. Whoever he was who designed the work, he knew what was
-     classical art. The exaggerated muscular development which came in
-     again under Michael Angelo and his contemporaries in Italy, is seen
-     here quite plainly.”--(W. J. L.)
-
-The same fire that destroyed the Choir also damaged the Transepts. The
-windows and arcades in them are more completely reconstructed than those
-in the side aisles. One feature here is the double range of triforia, or
-open galleries. The lower triforium belongs to Ernulf’s time: the
-windows in the upper one were his clerestory.
-
-The pilgrims were usually conducted into the =North Transept=, or =Transept
-of the Martyrdom= through the dark passage under the choir steps. In the
-west wall here, a door opened into the cloister, through which Becket
-passed to his tragic death.
-
-Directly opposite, on the other side of the Choir, the =Warriors’ Chapel=
-is situated.
-
-The apse, approached by a broad flight of steps, is entirely occupied by
-the =Chapel of the Holy Trinity=, which contained the =Martyr’s Shrine=. The
-work here shows the influence of the French. From the =Transept of the
-Martyrdom= the pilgrims were conducted through the North Aisle of the
-Choir on their way to the great Shrine; and, at the end of the aisle,
-close to the steps ascending to the =Retro-Choir=, we find the door of =St.
-Andrew’s Tower=. This is part of Lanfranc’s building and now used as a
-vestry; but it was once the sacristy, where the rich offerings and
-precious relics connected with Becket were exhibited to privileged
-pilgrims.
-
-The =Retro-Choir= is reached by steep flights of steps necessitated by the
-height of the Crypt below. Up these steps the pilgrims climbed on their
-knees, chanting the hymn to St. Thomas:
-
-    “Tu per Thomæ sanguinem
-     Quem pro te impendit,
-     Fac nos Christo scandere
-     Quo Thomas ascendit.”
-
-All this part of the Cathedral is the work of English William, which is
-lighter, in general character, than that of William of Sens.
-
-The =Chapel of the Holy Trinity= (or that of =St. Thomas=) occupies the
-central portion of the Retro-Choir between the piers formed by double
-columns. In the old Chapel of the Trinity (destroyed by fire at the same
-time as Conrad’s Choir) Becket celebrated his first Mass as Archbishop.
-His body lay in the Crypt immediately below this spot.
-
-     “In earlier times the easternmost chapel had contained an altar of
-     the Holy Trinity, where Becket had been accustomed to say mass.
-     Partly for the sake of preserving the two old Norman towers of St.
-     Anselm and St. Andrew, which stood on the north and south side of
-     this part of the church--but chiefly for the sake of fitly uniting
-     to the church this eastern chapel on an enlarged scale, the pillars
-     of the choir were contracted with that singular curve which
-     attracts the eye of every spectator, as Gervase foretold that it
-     would, when, in order to explain this peculiarity, he stated the
-     two aforesaid reasons. The eastern end of the Cathedral, thus
-     enlarged, formed, as at Ely, a more spacious receptacle for the
-     honoured remains; the new Trinity Chapel, reaching considerably
-     beyond the extreme limit of its predecessor, and opening beyond
-     into a yet further chapel, popularly called Becket’s Crown. The
-     windows were duly filled with the richest painted glass of the
-     period, and amongst those on the northern side may still be traced
-     elaborate representations of the miracles wrought at the
-     subterranean tomb, or by visions and intercessions of the mighty
-     Saint. High in the tower of St. Anselm, on the south side of the
-     destined site of so great a treasure, was prepared--a usual
-     accompaniment of costly shrines--the Watching Chamber. It is a rude
-     apartment with a fireplace where the watcher could warm himself
-     during the long winter nights, and a narrow gallery between the
-     pillars, whence he could overlook the whole platform of the shrine,
-     and at once detect any sacrilegious robber who was attracted by the
-     immense treasures there collected. On the occasion of fires the
-     Shrine was additionally guarded by a troop of fierce ban-dogs.
-
-     “When the Cathedral was thus duly prepared, the time came for what,
-     in the language of those days, was termed the ‘Translation’ of the
-     relics.”--(A. P. S.)
-
-Becket’s body was removed here on July 7, 1220 (See page 4), and
-remained the only occupant of this chapel for more than a hundred
-years.
-
-It only proves in what deep affection the English nation held the Black
-Prince to have placed his remains by the side of Becket. His body lay in
-state in Westminster from June 8, 1376, to September 29; and on the
-Feast of Michaelmas it was taken to Canterbury, which he had selected
-for his resting-place. The procession from London to Canterbury was
-magnificent; and the idol of the nation was laid not in the Crypt, as he
-had expected, but in Trinity Chapel.
-
-     “In this sacred spot--believed at that time to be the most sacred
-     spot in England--the tomb stood in which ‘alone in his glory,’ the
-     Prince was to be deposited, to be seen and admired by all the
-     countless pilgrims who crawled up the stone steps beneath it on
-     their way to the shrine of the saint.
-
-     “Let us turn to that tomb, and see how it sums up his whole life.
-     Its bright colours have long since faded, but enough still remains
-     to show us what it was as it stood after the sacred remains of him
-     had been placed within it. There he lies; no other memorial of him
-     exists in the world so authentic. There he lies, as he had
-     directed, in full armour, his head resting on his helmet, his feet
-     with the likeness of ‘the spurs he won’ at Cressy, his hands joined
-     as in that last prayer which he had offered up on his deathbed.
-     There you can see his fine face with the Plantagenet features, the
-     flat cheeks and the well-chiselled nose, to be traced perhaps in
-     the effigy of his father in Westminster Abbey, and his grandfather
-     in Gloucester Cathedral. On his armour you can still see the marks
-     of the bright gilding with which the figure was covered from head
-     to foot, so as to make it look like an image of pure gold. High
-     above are suspended the brazen gauntlets, the helmet, with what was
-     once its gilded leopard-crest, and the wooden shield, the velvet
-     coat also, embroidered with the arms of France and England, now
-     tattered and colourless, but then blazing with blue and scarlet.
-     There, too, still hangs the empty scabbard of the sword, wielded
-     perhaps at his three great battles, and which Oliver Cromwell, it
-     is said, carried away. On the canopy, over the tomb, there is the
-     faded representation--painted after the strange fashion of those
-     times--of the Persons of the Holy Trinity, according to the
-     peculiar devotion which he had entertained. In the pillars you can
-     see the hooks to which was fastened the black tapestry, with its
-     crimson border and curious embroidery, which he directed in his
-     will should be hung round his tomb and the shrine of Becket. Round
-     about the tomb, too, you will see the ostrich feathers, which,
-     according to the old, but doubtful tradition, we are told he won at
-     Cressy from the blind King of Bohemia, who perished in the thick of
-     the fight; and interwoven with them the famous motto, with which he
-     used to sign his name, ‘Houmout,’ ‘Ich diene.’ If, as seems most
-     likely, they are German words, they exactly express what we have
-     seen so often in his life, the union of _Hoch muth_ that is _high
-     spirit_, with _Ich dien_, _I serve_. They bring before us the very
-     scene itself after the battle of Poitiers, where, after having
-     vanquished the whole French nation, he stood behind the captive
-     king, and served him like an attendant.
-
-     “And, lastly, carved about the tomb, is the long inscription,
-     selected by himself before his death, in Norman French, and still
-     the language of the court, written, as he begged, clearly and
-     plainly, that all might read it. Its purport is to contrast his
-     former splendour and vigour and beauty with the wasted body which
-     is now all that is left.”--(A. P. S.)
-
-The Black Prince’s effigy of brass was once entirely gilt. Round the
-tomb are escutcheons of arms, and on the canopy there is a
-representation of the Holy Trinity with emblems of the Evangelists at
-the corners.
-
-At the foot of the Black Prince’s Tomb is the monument of =Archbishop
-Courtenay= (1381-1396), the great opponent of the Wycliffites; and
-directly opposite is the =Tomb of Henry IV.= and his Queen, =Joan of
-Navarre=, whose effigies lie under a most elaborate and beautiful
-canopy.
-
-     “In spite of some damage they remain the most interesting
-     representations, not only of the costume of the time, but also, we
-     cannot doubt, of the actual features of the persons. When the tomb
-     was opened some time ago the features of the king were seen for a
-     moment and corresponded closely with the representation on the
-     tomb. The figures at the foot of the Queen, known in heraldry as
-     genets, and to the ordinary person perhaps as weasels, appear also
-     in the canopy combined with eagles and the motto ‘Soverayne and
-     Atemperance.’ The defaced painting on wood at the foot of the tomb
-     represented the Martyrdom of St. Thomas.”--(F. and R.)
-
-Adjoining this tomb is the =Chapel of Henry IV.’s Chantry=, built, as
-directed in the will of King Henry, who died in 1413, “a chauntrie
-perpetual with twey prestis for to sing and pray for my soul.” It
-contains the first example in Canterbury of the “fan-vaulting,” so
-splendidly represented in the =Dean’s Chapel=.
-
-The windows here and in the Corona should be studied.
-
-     “They are of the Thirteenth Century, and among the finest of this
-     date in Europe, excelling in many respects those of Bourges, Troyes
-     and Chartres; ‘for excellence of drawing, harmony of colouring and
-     purity of design they are justly considered unequalled. The skill
-     with which the minute figures are represented, cannot even at this
-     day be surpassed’ (Stanley). Remark especially the great value
-     given to the brilliant colours by the profusion of white and
-     neutral tints. The scrolls and borders surrounding the medallions
-     are also of beauty.
-
-     “The three windows remaining in the aisles surrounding the Trinity
-     Chapel are entirely devoted, as were all the rest, to the miracles
-     of Becket, which commenced immediately on the death of the great
-     martyr. The miracles represented in the medallions are of various
-     characters. The Lucerna Angliæ, a true St. Thomas of Kandelberg, as
-     the Germans called him, restores sight to the blind. Loss of smell
-     is recovered at the shrine of this _Arbor Aromatica_. Frequently
-     he assists sailors, the rude crews of the Cinque Ports in his own
-     immediate neighbourhood. At the Norway fishing his figure came
-     gliding over the seas in the dusk, and descended, burning like
-     fire, to the imperilled ships of the Crusaders. In the window
-     toward the east, on the north of the Shrine, is represented a
-     remarkable series of miracles, occurring in the household of a
-     knight named Jordan, son of Eisulf, whose son is restored to life
-     by the water from St. Thomas’s well, which, mixed with his blood,
-     was always carried off by the pilgrims. The father vows an offering
-     to the martyr before Mid-Lent. This is neglected; the whole
-     household again suffer, and the son dies once more. The knight and
-     his wife, both sick, drag themselves to Canterbury, perform their
-     vow and the son is finally restored. On a medallion in one of the
-     windows on the north side is a representation of Becket’s Shrine,
-     with the martyr issuing from it in full pontificals to say Mass at
-     the altar.”--(R. J. K.)
-
-At the extreme east end, just behind Trinity Chapel, is the circular
-apse called =Becket’s Crown=, or the =Corona=. On the north side lies
-Cardinal Pole, Bloody Mary’s cousin, who died the day after she did.
-
-     “The great lightness and beauty of the Corona, the extreme east end
-     of the Cathedral, are remarkable. It is English William’s work.
-     When Archbishop Anselm was at Rome in the early part of his
-     episcopate and attending a council in the Lateran, a question arose
-     as to his proper place, since no Archbishop of Canterbury had as
-     yet been present at a Roman council. Pope Pascal II. decided it by
-     assigning to the ‘_alterius orbis papa_,’ a seat in the ‘corona,’
-     the most honourable position. It is possible that this fact may
-     have led the architects, on the rebuilding of the choir, to make
-     the addition of an eastern apse, or corona, which did not exist in
-     the earlier church. In it were the shrines of Archbishop Odo and
-     Wilfrid of York, and a golden reliquary in the form of a head,
-     containing some relic of Becket, perhaps the severed scalp. By a
-     confusion of its proper name with this relic the eastern apse came
-     to be generally known as Becket’s Crown. On the north side is the
-     tomb of Cardinal Pole, Queen Mary’s Archbishop (1556-1558) and the
-     last Archbishop buried at Canterbury. His royal blood gave him a
-     title to so distinguished a place of sepulture.”--(R. J. K.)
-
-From here one gains the best view of the Cathedral as a whole.
-Canterbury is one of the longest of cathedrals (514 feet).
-
-The central window (Thirteenth Century) in =Becket’s Crown= is very
-ornate.
-
-     “It is very complete and an admirable example of the intricate
-     symbolism of the time. The subjects are arranged in three
-     quatrefoils and two lozenges: the Crucifixion occupying a square
-     panel at the foot, surrounded by representations of the spies
-     carrying the great bunch of grapes; of Moses striking the rock; of
-     the sacrifice of a lamb in the Temple, and of Abraham offering up
-     Isaac on Mount Moriah. Next above is a lozenge-shaped panel,
-     painted with the Entombment, adjoining which we have Joseph’s
-     brethren putting him in the pit; Samson shorn in his sleep by
-     Delilah; Daniel in a walled city, labelled Babilonia, and Jonah let
-     down into the jaws of the whale by two men in a ship. Above these
-     scenes is a quatrefoil, in the centre of which we see the
-     Resurrection, surrounded by representations of Moses and the
-     burning bush; Noah in the Ark; Rahab letting the spies down by the
-     wall, and Jonah landing near Nineveh from the mouth of a great
-     whale. Then another lozenge represents the Ascension and the scenes
-     surrounding it are the Ark of the Mercy-Seat; Elijah ascending in a
-     chariot of fire; the burial of Moses, and Hezekiah sick, while an
-     angel gives him the sign of the shadow on the dial of Ahaz. The
-     last of the series is at the top. In a square panel we see the
-     great event of the Day of Pentecost. Above it Christ sits enthroned
-     in glory. Moses receiving the Two Tables of the Law is below. On
-     one side is the first ordination of deacons, and on the other the
-     descent of the Holy Spirit on the disciples. The whole style of
-     this window is later than that of the Becket series.”--(W. J. L.)
-
-[Illustration: CANTERBURY: CHOIR, EAST]
-
-[Illustration: ROCHESTER: WEST FRONT]
-
-Passing west, down the steps worn by the pious pilgrims we reach =St.
-Anselm’s Tower= and =Chapel=. Anselm’s Tower (like St. Andrew’s opposite)
-is Prior Ernulf’s work. The elaborate south window (1336) is Decorated
-of five lights.
-
-St. Anselm’s Tower is entered through splendid gates of ancient wrought
-iron.
-
-At the east end behind the Altar of SS. Peter and Paul, the great Anselm
-(1093-1109) was buried. Over the chapel is a small room with a window
-looking into the Cathedral. This was the =Watching Chamber=, in which, as
-we have seen, a monk was stationed at night to keep watch over the
-Shrine of St. Thomas. There is a tradition that King John of France was
-imprisoned here.
-
-We now reach the =South-east Transept=, the work of both William of Sens
-and English William on Ernulf’s walls.
-
-At the corner of the =South-west choir-aisle= architects love to notice
-the round arch and double zigzag of the Norman style fitted into the
-Pointed Arch and dogtooth of the restoration of 1180. Under the windows
-are the tomb of =Archbishop Reynolds= and the monument to =Hubert Walter=,
-the latter the warrior-prelate and Crusader who kept the Realm for
-Richard Cœur de Lion and raised the ransom for his release.
-
-The steps leading down into the great =South Transept= are similar to
-those of the opposite Transept of the Martyrdom.
-
-Opening east from this Transept is =St. Michael’s=, or =The Warriors’
-Chapel=, so named because of the martial monuments and tombs contained in
-it.
-
-The famous East Kent Regiment “The Buffs” place their memorials here.
-This Chapel is particularly notable for containing the tomb of =Stephen
-Langton=, the author of the Magna Charta, which is of earlier date than
-the chapel. A very beautiful alabaster monument of =Lady Margaret Holland=
-with her two husbands, John Beaufort, son of John of Gaunt, and the Duke
-of Clarence, son of Henry IV., beautifully represents the armour and
-dress of the Fifteenth Century.
-
-The Warriors’ Chapel is Perpendicular (about 1370), with a complex
-lierne vault. The architect is unknown.
-
-Directly opposite, on the other side of the Choir, is the =Transept of
-the Martyrdom=. Here was erected a wooden altar to the Virgin, where a
-portion of the Martyr’s brains were exhibited under a piece of
-rock-crystal and fragments of Le Bret’s sword.
-
-Before this altar Edward I. was married to Queen Margaret in 1299. A
-rude representation of the altar may be seen over the south-west door of
-the Cathedral.
-
-Returning to the =North-west Transept=, we visit the scene of the
-Martyrdom which took place near St. Benedict’s apsidal chapel (now
-occupied by the Dean’s Chapel) Dec. 29, 1170, during vespers. The west
-door from the cloisters by which Becket entered and the pavement by the
-wall, where he fell, remain. He was mounting the stairs to the north
-aisle (now removed) when the knights attacked him.
-
-We have already noticed the great =Window= here, which was the gift, in
-1465, of Edward IV. and his Queen, whose
-     “figures still remain in it, together with those of his daughters
-     and of the two Princes murdered in the Tower. The ‘remarkably soft
-     and silvery appearance’ of this window has been noticed by Mr.
-     Winston. In its original state the Virgin was pictured in it ‘in
-     seven several glorious appearances’ and in the centre was Becket
-     himself at full length, robed and mitred. This part was demolished
-     in 1642 by Richard Culmer, called Blue Dick, the great iconoclast
-     of Canterbury, who ‘rattled down proud Becket’s glassie bones’ with
-     a pike, and who, when thus engaged, narrowly escaped martyrdom
-     himself at the hands of a malignant fellow-townsman.”--(R. J. K.)
-
-In this transept stands the monument of =Archbishop Peckham= (1279-1292)
-with his effigy in Irish oak. This is the earliest complete monument in
-the Cathedral.
-
-We now pass into the =Dean’s Chapel=, occupying the site of St. Benedict’s
-Chapel. It was formerly the Lady-Chapel, built by Prior Goldstone in
-1460 and dedicated to the Virgin. The beautiful fan-vault is similar to
-that in Henry VII.’s Chapel in Westminster Abbey and to the roof of the
-staircase leading to the dining-hall of Christ Church College, Oxford.
-The Dean’s Chapel received its present name from the number of tombs and
-monuments to deans here, one of the most curious of which is that of
-=Dean Boys=, who died in 1625. He is represented as he was found dead in
-his Library, and the arrangement of the books with the edges turned
-outward from the shelves strikes every one as singular.
-
-=Archbishop Warham=, the last Archbishop before the Reformation, also lies
-here, his heavy tomb in great contrast to that of Archbishop Peckham,
-already mentioned, near it,--good examples of the styles between 1292
-and 1533.
-
-The =East Window= is also notable.
-
-     “The figures of Dean Neville and his brother, against the eastern
-     wall, were transferred to this place on the destruction of the
-     chapel which formerly projected from the south side of the nave,
-     and of which the marks in the wall are clearly visible. In the east
-     window some points may be noted. We see the Neville arms, and a red
-     shield with white saltire, and also the elaborate Bouchier arms,
-     the most distinguishable features of which are the water ‘budgets,’
-     two curious red skins joined together at the top, sometimes given
-     as an honourable blazon to those who supplied an army with water.
-     We also see the Bouchier knot alternating in most of the panes with
-     the oak leaf and acorn. This is the mark of Woodstock.”--(F. and
-     R.)
-
-A door here leads into the Great Cloister.
-
-Opposite to St. Anselm’s, =St. Andrew’s Chapel=, now used as the Choir
-Vestry, contains interesting remains of coloured decorations. In olden
-days St. Andrew’s was a sacristy, where, as we have seen, were kept the
-very precious offerings to the Shrine. On the inner side is a building
-of late Norman work--this was originally the Treasury.
-
-The =North-east Transept= is a repetition of the South-east Transept. It,
-however, contains a monument to Archbishop Tait, designed by Boehm; and
-in the north wall are three slits called hagiscopes. Through these “holy
-spy holes,” the Prior could see Mass being celebrated at the High Altar
-and in the altars in the Chapels of St. Martin and St. Stephen in the
-Transept below.
-
-Before descending into the Crypt we must stop to look at =St. Augustine’s
-Chair=, by tradition the throne on which the kings of Kent were crowned
-and given by Ethelbert to St. Augustine. All the Archbishops of
-Canterbury have taken office in it.
-
-     “This chair, which is sometimes called the chair of St. Augustine,
-     but which belongs to the Thirteenth Century, is composed of Purbeck
-     marble. In it each successive archbishop for the last six hundred
-     years has sat when he has been admitted to his metropolitan
-     functions.”--(W. H. F.)
-
-The famous =Crypt= is usually entered from the South Transept. It is the
-oldest part of the Church, having been built between 1093 and 1107 in
-the reigns of William II. and Henry I. It is heavy, massive, dark and
-low, like all Norman work. The capitals of the pillars are quaintly and
-sometimes harmoniously carved; one under St. Anselm’s Chapel, for
-instance, represents a concert of beasts playing on musical instruments.
-The whole crypt was dedicated to the Blessed Virgin and in the centre
-stood her altar and chapel. “The Virgin Mother,” Erasmus wrote, “has
-there an habitation, but somewhat dark, enclosed with a double iron
-rail, for fear of thieves; for indeed I never saw anything more loaded
-with riches. Lights being brought we saw a more than royal spectacle.
-This chapel is not shown but to noblemen and particular friends.”
-
-The beautiful =Screen=, which resembles the screen behind the High Altar
-of the choir, is thought to have been added with other decorations of
-the Crypt at the time of the Black Prince’s marriage to the Fair Maid of
-Kent (1363), when he founded two chantries in the Crypt. These now form
-the entrance to the =French Church=, where the descendants of the Huguenot
-and Walloon refugees still hold service in the ritual of their
-ancestors.
-
-Queen Elizabeth gave up the whole of the Crypt in 1561 to the Flemish
-and French refugees “whom the rod of Alva bruised.” The silk-weavers
-set up their looms here.
-
-Before the magnificent shrine of the Virgin lies Henry VII.’s minister,
-=Cardinal Morton=, whose tomb is enriched with the crown and roses of York
-and Lancaster, the Cardinal’s hat, the Tudor portcullis and a passing
-allusion to his name--Mort (hawk) and Ton or Tun (a barrel). He assisted
-in building Bell Harry (or the Angel) Tower.
-
-Another famous tomb in the Crypt is that of =Isabel, Countess of Atholl=,
-granddaughter of King John and sister-in-law of John Balliol, King of
-Scotland. She owned the castle of Chilham near Canterbury and died in
-1292. Her tomb stands at the entrance to the =Chapel of St. Gabriel=. The
-latter is extremely dark, but shows, when lighted up, some remarkable
-frescoes of the Twelfth Century, representing the _Nativity of Christ_
-and of _John the Baptist_.
-
-     “Further beyond the Duchess of Atholl’s tomb the crypt is much
-     loftier and becomes almost a church in itself. This is the part
-     beyond the apse of the original Cathedral, the place of Becket’s
-     first burial, where Henry II. did penance, passing the night in
-     fasting and in the morning baring his back and receiving three
-     lashes from each of the monks. Here the miracles began to be
-     wrought and the Tumba, even after its contents were removed, was
-     still reckoned a holy place. The present lofty crypt was built over
-     and round the Tumba after the great fire of 1174; and, some forty
-     years after its completion and that of the Trinity Chapel above it,
-     the remains of Becket were translated by Stephen Langton, with
-     great pomp, to the shrine prepared for them in the sanctuary
-     above.”--(W. H. F.)
-
-The Crypt is largely the work of Ernulf; and the diaper pattern and
-marble shaft by the door that leads from the S. E. corner of the
-Martyrdom, occur again in Rochester, where Ernulf became bishop (See
-page 34). A statue of Ernulf, intended for the west front of the
-Cathedral, is now in his Crypt.
-
-The lower part of the Crypt ends towards the east in a semi-circular
-sweep of pillars. The end of the Crypt was built by Ernulf in 1096.
-
-The old Benedictine Convent of Christ’s Church that St. Augustine
-established grew to be of the utmost importance. Portions of the massive
-wall by which they were surrounded still remain. The monastic buildings
-were numerous and extensive. The Prior, who had the right of wearing the
-mitre and carrying the episcopal staff, lived in great dignity. In a set
-of state chambers, known as the Meist’ Omers and belonging to the Prior,
-pilgrims of high rank were lodged. Somewhere in the vicinity of the
-Infirmary and its chapel was the miraculous =Well of St. Thomas=, which
-appeared in the Fourteenth Century. A passage and the =Dark Entry=,
-haunted by the ghost of Nell Cook of the _Ingoldsby Legends_, takes us
-into the =Priors’=, or =Green Court=, planted with linden trees, or limes,
-as the English call them. Here we find remains of the great Dormitory,
-the Guest House, built by Prior Goldstone, the Norman Almonry Gate and
-the =Norman Staircase=, the only construction of its kind existing. The
-Hall above was built in 1855.
-
-The beautiful =Cloisters=, the work of Prior Chillenden (about 1400), are
-decorated on the roof with the arms of Kentish families. In the
-northwest corner is the doorway through which Becket passed to his
-doom.
-
-     “The cloister occupies the same space as the Norman cloister built
-     by Lanfranc, but of the Norman work only a doorway remains at the
-     north-east corner; there is some Early English arcading on the
-     north side, but the present tracery and fan-worked roof belong to
-     the end of the Fourteenth Century, when Archbishops Sudbury,
-     Arundell and Courtenay, and Prior Chillenden (1390-1411) rebuilt
-     the nave, the cloister and the chapter-house. The latter work cuts
-     across the older in the most unceremonious way, as is seen
-     especially in the square doorway by which we shall presently enter
-     the Martyrdom, which cuts into a far more beautiful portal of the
-     Decorated period. If we take our stand at the north-west corner of
-     the cloister, from which a very fine view is gained of the
-     Cathedral, especially about sunset, we may picture to ourselves the
-     life of the monks. Above the north-eastern side of the cloister are
-     the old Norman arches of their dormitory, now taken in to the new
-     library; on the eastern side is the chapter-house, with its fine
-     geometrical ceiling, where they transacted their business; on the
-     south the great church, the services of which occupied so many
-     hours of the day.”--(W. H. F.)
-
-
-
-
-ROCHESTER
-
-     DEDICATION: ST. ANDREW. FORMERLY THE CHURCH OF A BENEDICTINE
-     MONASTERY.
-
-     SPECIAL FEATURES: DOOR OF CHAPTER-HOUSE; WEST DOORWAY; CRYPT.
-
-
-After landing in 567, St. Augustine preached in Rochester, where
-Ethelbert soon founded the church of St. Andrew for secular canons. In
-604, a bishop was appointed,--St. Augustine’s companion, Justus. Justus
-became Archbishop of Canterbury in 624, and was succeeded in Rochester
-by Paulinus; and he, in his turn, by the first English bishop, St.
-Ythamar (644-655). Rochester’s three chief saints in early days were,
-therefore, Justus, Paulinus and Ythamar.
-
-Gundulf, a monk of Bec in Normandy, was appointed to Rochester in 1076.
-He immediately turned it into a Benedictine monastery and built a church
-for his monks. Gundulf was one of the greatest architects of his day: he
-also built the great Keep of Rochester Castle, portions of the Tower of
-London and the Castle of Dover. The Saxon Cathedral had suffered from
-the ravages of the Danes and upon the ruins, Gundulf, with assistance
-from Archbishop Lanfranc of Canterbury, completed a larger cathedral
-between 1080 and 1089. The plan was peculiar: it was neither English nor
-Norman.
-
-     “All this work of Gundulf’s is now gone except portions of the
-     crypt, the keep and the nave. Of Gundulf’s nave there remain on the
-     south side five arches, together with the lower parts of the walls
-     of both aisles. It is very doubtful whether he built any part of
-     the triforium or clerestory. At present his work can only be seen
-     in its original condition from the side of the aisles. The
-     pierarches had originally two square orders, which remain unaltered
-     on the side of the aisle (cf. Winchester transept). Gundulf’s
-     masonry was in rough tufa.”--(F. B.)
-
-Gundulf placed the relics of St. Paulinus in a silver shrine at the
-eastern end of his new cathedral.
-
-Ernulf, Prior of Canterbury, began the second Norman church about 1120.
-This was continued by his successor, John of Canterbury.
-
-     “Subsequently the choir was re-arranged and the nave partly
-     rebuilt, partly re-faced, added to, and finished with the west
-     front, which, to a great extent, still remains. This later Norman
-     work was carried out from east to west during the episcopate of
-     Ernulf (1115-24) and John of Canterbury (1125-37). The upper part
-     of the west front and some of the carving may not have been
-     completed within even that period. What seems certain is, that we
-     are indebted to later Norman builders for the re-casing of the
-     piers of the nave arcade, the greater richness of their capitals,
-     the outer decorated order of the arches, the triforium with its
-     richly diapered tympana, and the west front. Assigning most of
-     these works to the time of Bishop John, as seems best, we can point
-     to others that testify to Ernulf’s architectural skill. He is
-     recorded to have built the refectory, dormitory and chapter-house.
-     Portions of these still remain, and one feature, in the
-     ornamentation of the chapter-house, especially, marks it as his
-     work. This is a peculiar lattice-like diaper, which occurs
-     elsewhere at Rochester--in fragments that belonged probably to a
-     beginning by him of the renovation of the choir--but has only been
-     noticed at one other place: by the entrance to the crypt at
-     Canterbury, where also it is due to him.”--(G. H. P.)
-
-The Cathedral was dedicated in 1130; but while King Henry I., the
-Archbishop of Canterbury and many of the nobility were still in the
-city a fire broke out “without any regard to the majesty of the King,
-grandeur of the church or solemnity of the occasion,” as an old
-chronicle quaintly observes, and greatly damaged the new church.
-
-Two other fires occurred in the same century, and in 1179 the monks set
-to work to rebuild the whole cathedral.
-
-     “As usual they arranged their building operations so as to avoid
-     interfering with the services in the choir as long as possible.
-     First they rebuilt the north aisle of the choir, but not so high as
-     it is at present. The aisle remained narrow because Gundulf’s tower
-     was in the way. But the south aisle of the choir they doubled in
-     width. Next they set to work at the east end, planning it, as at
-     Hereford, as an eastern transept with an eastern aisle and
-     projecting eastward an oblong sanctuary (cf. Southwell). The new
-     transept was lofty and broad; and it is quite possible that it was
-     built over the top of Gundulf’s east end without disturbing daily
-     services within it. Then when all was finished Gundulf’s east end
-     was pulled down. Unlike the Worcester monks they preserved the
-     level of the Eleventh Century choir, and consequently had to
-     continue Gundulf’s crypt eastward. In the new presbytery is seen
-     the same curious mixture of quadripartite and sexpartite vaulting
-     as in St. Hugh’s eastern transept at Lincoln. All this work was
-     finished in 1227.”--(G. H. P.)
-
-The monks were enabled to undertake rebuilding on this large scale
-because in 1201 they acquired a new saint. A baker of Perth, named
-William, famed for his piety, started to the Holy Land. He got as far as
-the road to Canterbury, where his servant killed him for his money. The
-monks found the body and buried it in the choir of St. Andrew’s. St.
-William soon began to work miracles and attracted many of the pilgrims
-on their way to the Shrine of St. Thomas at Canterbury. The choir,
-rebuilt by means of the offerings, was first used for service in 1227.
-
-     “The choir and transepts of Rochester Cathedral are a very
-     beautiful and remarkable example of Early English. The architect
-     was William de Hoo, first sacristan, then prior, and there is some
-     reason to believe that he is the same person as William the young
-     Englishman, who assisted William of Sens after his fall from the
-     scaffold at Canterbury, and completed the work there. A young man
-     at Canterbury in 1185, able to carry on and complete such a work,
-     may very well have become the architect on his own account of the
-     daughter church of Rochester in 1201-1227, and there is great
-     resemblance in style between Rochester and the later work at
-     Canterbury.”--(J. H. P.)
-
-About this time the monks resolved to have a central tower and to
-rebuild the nave. While all this work was going on, the church was
-desecrated by the troops of Simon de Montfort. A chronicler relates that
-
-     “They entered the church of St. Andrew on the day on which the Lord
-     hung on the cross for sinners. Armed knights on their horses,
-     coursing around the altars, dragged away with impious hands some
-     who fled for refuge thither, the gold and silver and other precious
-     things being with violence carried off thence. The buildings were
-     turned into horses’ stables, and everywhere filled with the dung of
-     animals and the defilement of dead bodies.”
-
-In 1343 the central tower was completed by Bishop Hamo de Hythe, who
-hung in its wooden spire four bells, named Dunstan, Paulinus, Ythamar
-and Lanfranc. Bishop Hamo is said to have reconstructed in alabaster and
-marble the shrines of Paulinus and Ythamar. To the middle of the
-Fourteenth Century belongs also the beautiful doorway leading into the
-Chapter-House and Library.
-
-In the Fifteenth Century, the clerestory and vaulting of the
-north-choir-aisle were finished and Perpendicular windows were placed in
-the nave aisles. The great west window was inserted about 1470, and the
-whole of the Norman clerestory was taken off and a new clerestory and a
-new wooden roof were put up. The northern pinnacle of the west gable was
-also rebuilt. About 1490, the Lady-Chapel was erected in the corner
-between the south transept and the nave.
-
-In 1540 the Cathedral surrendered to the King; and became known as the
-Cathedral Church of Christ and the Blessed Virgin Mary. In 1558 the body
-of Cardinal Pole rested here one night on its way to Canterbury. An
-eyewitness speaks of
-
-     “the funeral pompe which trulie was great and answerable both to
-     his birth and calling, with store of burning torches and mourning
-     weedes. At what time his coffin, being brought into the church, was
-     covered with a cloth of black velvet, with a great cross of white
-     satten over all the length and bredth of the same, in the midst of
-     which cross his Cardinal’s hat was placed.”
-
-The church suffered from the Puritans in 1642.
-
-Samuel Pepys speaks of repairs in 1661. More were made in 1742-43. In
-1749, the steeple was rebuilt. A new organ was acquired in 1791; and at
-the close of the Eighteenth Century the upper part of Gundulf’s tower
-was taken down.
-
-Throughout the Nineteenth Century repairs and restorations were
-constantly made. The glass chiefly consists of memorials to heroes of
-the wars of the Nineteenth Century.
-
-The best approach is from the High Street through the =College Gate=,
-which marks the entrance to the Precincts, or Green Church Haw. This is
-also known as Chertseys, or Cemetery Gate, which lovers of Dickens
-remember as Jasper’s Gateway; for Cloisterham of _Edwin Drood_ is
-Rochester. The =Deanery Gate= dating from the reign of Edward III. was
-formerly the Sacristy Gate. The =Priors’ Gate= dates from the Fourteenth
-Century.
-
-The north side of the nave shows two-lighted Perpendicular windows with
-irregular quatrefoils in their heads; the north transept (Early English)
-a high gable with three circular windows and pinnacles. And on the north
-side of the choir =Gundulf’s Tower= to which there are two entrances,--one
-through an opening in the north wall, the other through a doorway in the
-south-west corner. In the angle between the south aisle and transept we
-note the Lady-Chapel (Perpendicular) with three-lighted windows three
-bays long from east to west and well-buttressed; the south side of the
-choir contains three lancet windows and a fine doorway that used to open
-into the cloisters. The south transept (Early Decorated) is well
-buttressed and its gable adorned with pinnacles and gargoyles. The
-lowest row of windows belongs to the crypt.
-
-=The West Front= has been restored. The great central window, and the flat
-gable above, are Perpendicular (restored), but all the rest is either
-original Norman work, or as accurate a reproduction of this as possible.
-
-The great =West Doorway= (late Norman) dates from the first half of the
-Twelfth Century.
-
-     “It is formed by five receding arches and every stone of each of
-     these is carved with varying ornamental designs. Between the second
-     and third of them runs a line of cable moulding, an ornament which
-     occurs also inside the door. Each arch has its own shaft and the
-     groups of five on each side are elaborately banded. The shafts have
-     richly sculptured capitals, and in those on the south side, as well
-     as in the tympanum, the signs of the Evangelists appear. The shafts
-     second from the door on either side are carved with statues, two of
-     the oldest in England. These are much mutilated, but they were
-     thought worthy of great praise by Flaxman. That on the spectator’s
-     left is said to represent King Henry I. and the other his wife, the
-     ‘good Queen Maud.’ This attribution is probably correct, as these
-     sovereigns were both great benefactors to the Cathedral and were
-     living when the front was being built. The figure of the Queen has
-     suffered the more; it is recorded to have been especially ill-used
-     by the Parliamentarians in the days of the great Civil War. The
-     tympanum contains a figure of Our Lord, seated in Glory, within an
-     aureole supported by two angels. His right hand is raised in
-     benediction and his left hand holds a book. Outside the aureole are
-     the symbols of the four Evangelists: the Angel of St. Matthew and
-     the Eagle of St. John, one on each side above the Winged Lion of
-     St. Mark and the Ox of St. Luke similarly placed below. A straight
-     band of masonry crosses beneath the lunette, and has carved on it
-     twelve figures, now much mutilated, but supposed to have
-     represented the twelve Apostles. All the sculptured work of the
-     portal has suffered greatly from age and exposure and from the hand
-     of man. In the recent restoration the coping has been renewed, the
-     shafts have been given separate bases once more and many of the
-     most worn stones have been replaced by new ones carved in
-     facsimile.”--(G. H. P.)
-
-This doorway resembles those on the Continent and shows the influence of
-the East. Freeman says: “The superb western portal at Rochester
-Cathedral is by far the finest example of this kind, if not the finest
-of all Norman doorways.”
-
-The Mayor and Corporation of Rochester still have the right of entry in
-their robes by this door, through which we now pass. Immediately we
-descend four steps into the =Nave=:
-
-     “The nave, 150 feet long to the cross of the lantern, is Norman, as
-     far as the last two bays eastward. If, as is most probable, it is a
-     part of Gundulf’s work, it was, no doubt, a copy of the Norman nave
-     at Canterbury; and we are thus enabled to judge fairly what the
-     appearance of the metropolitan cathedral was in this part of it.
-     Its architecture is plainer than that of the contemporary examples
-     in France, though owing to its having been always destined for a
-     wooden roof, the piers and the design generally are lighter than
-     where preparation was made for a stone vault. The triforium is
-     richly ornamented; and the arches open to the space above the
-     side-aisles as well as to the nave, a peculiarity which both
-     Rochester and Canterbury may have received from the church of St.
-     Stephen’s at Caen, where the same arrangement may still be seen.
-     Lanfranc, the builder of the Norman church at Canterbury, had been
-     Abbot of St. Stephen’s. The clerestory windows above, like those of
-     the aisles, are Perpendicular; and the roof seems to have been
-     raised at the time of their insertion. This is of timber and quite
-     plain.
-
-     “In passing beyond the Norman portion of the nave to the Early
-     English, of which nearly all the rest of the Cathedral consists,
-     the strong influence of Canterbury is at once apparent. The double
-     transepts, the numberless shafts of Petworth marble, and perhaps
-     the flights of stairs ascending from either side of the crypt,
-     recall immediately the works of the two Williams in the
-     metropolitan church, which always maintained the closest connection
-     with Rochester, her earliest daughter.”--(R. J. K.)
-
-At the end of the northern aisle we note the early Fourteenth Century
-doorway for the use of the parishioners of St. Nicholas’s altar. The
-lower end of the southern aisle terminates in a blind arcade of three
-arches. Each aisle end has also a round-headed Norman window. The great
-=West Window= is divided into eight lights separated into
-
-[Illustration: ROCHESTER: NAVE, EAST]
-
-[Illustration: ROCHESTER: CHOIR, WEST]
-
-two rows by a horizontal mullion. The glass commemorates the officers
-and men of the Royal Engineers who fell in the South African and Afghan
-campaigns. The subjects are Biblical scenes and heroes.
-
-In the south-west corner of the Nave, a charming little Norman doorway
-opens into the tower. A fine embattled moulding runs round the arch.
-
-The crossing is noticeable for the finely clustered shafts of the
-tower-piers.
-
-The =North Transept= (Early English) dates from about 1235. The =South
-Transept= (Early Decorated) is later. The north transept is the richer of
-the two. The corbels of monastic heads of great excellence deserve
-notice.
-
-In the east wall, opposite the entrance to the Perpendicular
-Lady-Chapel, two bays were included under one arch to form a recess for
-the altar of the Virgin Mary, about 1320.
-
-The south transept underwent some alteration when the Lady-Chapel was
-built. On the wall under the central window a monument to Richard Watts
-was erected in 1736. Watts, a member of Queen Elizabeth’s second
-Parliament, entertained her at “Satis House” in 1573. He also left
-provisions in his will for the poor and founded in 1579 the “House of
-the Six Poor Travellers,” where nightly six poor wayfarers are provided
-with supper, bed and breakfast and presented with fourpence when they
-leave.
-
-Near the Watts monument a brass tablet to Charles Dickens, who made the
-House of the Six Poor Travellers famous, connects “his memory with the
-scenes in which his earliest and latest years were passed and with the
-associations of Rochester Cathedral and its neighbourhood, which
-extended over all his life.”
-
-The =Choir=, reached by a flight of ten steps, is higher than the nave. It
-is entered through iron gates in the central doorway of the screen,
-which represent St. Andrew, King Ethelbert, St. Justus, St. Paulinus,
-Bishop Gundulf, William de Hoo, Bishop Walter de Merton and Cardinal
-John Fisher, designed by Mr. John Pearson.
-
-The organ is on the screen beneath the choir-arch. The Choir, remodelled
-in 1825-1830,
-
-     “is entered by a flight of steps rendered necessary, as at
-     Canterbury, by the height of the crypt below. It was completed
-     sufficiently for use in 1127. It is thoroughly developed Early
-     English, although much has evidently been borrowed, even in detail,
-     from the Canterbury transition work. It is narrow and somewhat
-     heavy; defects not lightened by the woodwork of the stalls, which
-     is indifferent, or by the use of colour,--a single line of which,
-     however, is carried along the ribs of the vaulting with very good
-     effect.
-
-     “The brackets of Early English foliage, from which the blind
-     wall-arches spring, should be noticed. Two large ones especially,
-     at the angles of the eastern transept, are excellent specimens of
-     this period, before the naturalism of the Decorated had begun to
-     develop itself. A fragment of mural painting, apparently of the
-     same date as the choir itself, remains on the wall, close above the
-     pulpit. The painting, when entire, is said to have represented a
-     subject not uncommon in early churches--the Wheel of Fortune with
-     various figures--king, priest, husbandman and others--climbing
-     it.”--(R. J. K.)
-
-This painting (5 feet 10 inches high and 2 feet 2 inches wide) dates
-from the Thirteenth Century. Fortune dressed as a queen, and in yellow,
-moves the wheel with her right hand.
-
-Passing into the =North-choir-transept=, still Early English and a part
-of William de Hoo’s work, the first point of interest is =St. William’s
-Tomb=, at the north-east corner, of Purbeck marble, with a floriated
-cross.
-
-Towards the centre of the transept is a flat stone marked with six
-crosses, upon which =St. William’s Shrine= is said to have rested. The
-steps which descend into the north aisle of the Choir are, as at
-Canterbury, deeply worn by the constant ascent of pilgrims.
-
-West of the Saint’s tomb lies =Walter de Merton=, founder of Merton
-College, Oxford, and Bishop of Rochester from 1274 to 1277. His tomb is
-a very beautiful example of Early Decorated.
-
-The present arrangement of the east end is the work of Sir G. Scott. The
-=Choir-stalls= were designed by Sir G. Scott, who incorporated as much of
-the old work as possible.
-
-Just behind the =Altar=, above which is a picture of _The Angels appearing
-to the Shepherds_, by Benjamin West (placed there in 1788), is a fine
-=Piscina=. Opposite three stone =Sedilia= (late Perpendicular) deserve
-notice.
-
-In the railed-off transept aisle, known as =St. John the Baptist’s
-Chapel=, or =Warner Chapel=, because of the monuments to members of the
-Warner family (“Palladian” in style, 1666-1698), there is an old
-weather-worn =statue= which tradition says is a portrait of =Gundulf=.
-
-In the eastern aisle of the north-east transept is the =Tomb of Bishop
-John De Sheppy= (1353-1360). It is
-
-     “probably the most perfect specimen of ancient colour-work now
-     existing in England. It had been bricked up within the arch where
-     it still remains, and was discovered during the repairs in 1825.
-     The colours and monuments deserve the most careful attention, as
-     well for their own beauty as for their great value as authorities.
-     In the maniple held over the left arm, some of the crystals with
-     which it was studded still remain. Remark the couchant dogs at the
-     feet. About their necks are scarlet collars, hung with bells. An
-     inscription with the Bishop’s name surrounds the effigy.”--(R. J.
-     K.)
-
-The short =sacrarium=, or chancel, east of the transepts, probably formed
-part of William de Hoo’s work. The beautiful =windows= at the east end are
-Decorated. In the south side of the sacrarium, next the altar, a tomb of
-plain marble is thought to be that of =Gundulf=.
-
-In the east wall of the south-choir-transept we come to one of the
-finest pieces of English Decorated in existence,--the =Chapter-House
-Doorway=. It dates from the middle of the Fourteenth Century.
-
-     “The full-length figures, one on each side of the door, symbolising
-     the Church and the Synagogue, were both headless when Mr.
-     Cottingham restored the doorway, between 1825 and 1830. Much fault
-     has been found with him for turning the first, which is thought to
-     have been like the other, a female figure, into a mitred, bearded
-     bishop holding a cross in his right hand and the model of a church
-     in his left. The blindfolded ‘Synagogue,’ by her broken staff and
-     the tables of the law held reversed in her right hand, typifies the
-     overthrow of the Mosaic dispensation. Above are figures, two on
-     each side, seated at book-desks under canopies. These are supposed
-     to be the four great Doctors of the Church: Saints Augustine,
-     Gregory, Jerome and Ambrose. Quite at the head of the arch, under a
-     lofty pyramidal canopy, we see a tiny nude figure which represents,
-     probably, a pure soul just released from Purgatory. If this is so,
-     it would account for the flames from which the angels, on each
-     side, bearing scrolls, seem to be rising. It has been suggested
-     likewise that the distorted heads, which alternate with squares of
-     foliage in the wider inside moulding of the doorway, typify the
-     sufferings of the soul in its passage. The outside moulding is also
-     interesting, being a wide hollow in the bottom of which circular
-     holes are cut at intervals. Through these can be seen the broad
-     stem from which spring the leaves that ornament the intervening
-     spaces. The arch-head is ogee-shaped outside, with large external
-     and smaller, but not less rich, internal crockets. The square back
-     to it, and the spaces beneath the corbels, on which the Church and
-     Synagogue figures stand, are filled with noteworthy diapers. The
-     first is divided diagonally into sunken squares, each containing a
-     flower; and the others have lion masks in quatrefoils, with
-     five-petalled roses in the alternate spaces.”--(G. H. P.)
-
-A steep flight of stairs leads from this Transept to =St. Edmund’s
-Chapel=, south of the Choir. From this we enter the =Crypt=,
-
-     “which extends under the whole of the choir and is one of the best
-     specimens of its class to be found in England. The west and east
-     parts are evidently of a much earlier date than the central, which
-     is Early English, and of the same period as the choir above. In
-     building this, the ancient crypt was probably broken through, and
-     in part reconstructed. The earlier portions are distinguished by
-     very massive piers and circular arches. Between the piers are small
-     pillars, with plain broad capitals. It is not impossible that this
-     part of the crypt may date from before the Conquest. At all events,
-     it is the earliest portion of the existing cathedral, and cannot be
-     later than the work of Bishop Gundulf.”--(R. J. K.)
-
-
-
-
-WINCHESTER
-
-     DEDICATION: THE HOLY AND INDIVISIBLE TRINITY. FORMERLY THE CHURCH
-     OF A BENEDICTINE MONASTERY.
-
-     SPECIAL FEATURES: NORMAN NAVE; TOWER; WEST WINDOW; CHOIR-STALLS;
-     FONT; REREDOS.
-
-
-Winchester is the largest cathedral in England and affords good examples
-of every style from pure Norman to early Renaissance. It is the fifth
-cathedral that has occupied this site, for tradition says that a British
-church was founded here by Lucius, King of the Britons.
-
-This first church was destroyed in 266 and the clergy martyred during
-the persecutions of the Christians by Diocletian. The second church,
-erected under Constantine, was in 515 transformed by Cerdic, founder of
-the Kingdom of Wessex, into a Temple of Dagon, in which he was crowned
-in 519 and buried in 534. Cerdic’s great grandson, Kynegils, converted
-by St. Birinus, the first of Saxon bishops, began the third church which
-his son, Kenwalk, completed in 648. Kenwalk’s buildings were, in their
-turn, enlarged and repaired by Swithun, a prior of the Benedictine
-monastery established here. Swithun, who became Bishop of Winchester and
-tutor to King Alfred and Ethelwold, was, according to the chroniclers,
-“a diligent builder of churches in places where there were none before,
-and a repairer of those that had been destroyed or ruined.” When he died
-in 862, he was buried, according to his own desire, in the churchyard of
-Winchester, where “passersby might tread on his grave, and where the
-rain from the eaves might fall on it.”
-
-When this third church was destroyed by the Danes in 867, portions were
-restored by Alfred the Great, St. Ethelwold and St. Alphege. St.
-Ethelwold removed the body of St. Swithun to the golden shrine within
-the cathedral, now dedicated to St. Swithun, St. Peter and St. Paul; but
-the Translation being delayed by rain, gave the saint reputation as a
-weather prophet. Hence the weather on the anniversary (July 15) is
-foretold by the old rhyme:
-
-    “St. Swithun’s Day, if thou dost rain,
-     For forty days it will remain;
-     St. Swithun’s Day, if thou be fair,
-     Forty days ’twill rain na mair.”
-
-One of the features of St. Ethelwold’s cathedral was a magnificent “pair
-of organs,” of tremendous size and power, with twelve bellows above and
-fourteen below and seventy strong men as blowers to fill the four
-hundred pipes. Below, at two keyboards, sat two brethren in “unity of
-spirit.”
-
-Ethelwold was buried in the southern crypt.
-
-This Saxon church was succeeded by the present cathedral, begun in 1079,
-by Walkelyn, the first Norman bishop.
-
-Walkelyn was of noble birth and related to William Rufus, who granted
-him license to search for stone in the Isle of Wight and as much wood
-from the forest of Hanepinges (on the Alresford road) as his carpenters
-could take in four days and nights. The wily Bishop collected a large
-force of men and within the assigned time cut down the whole forest. The
-King was furious. The new Cathedral was finished in 1093, having been
-rebuilt by Walkelyn, from the west front to the great tower, including
-the transepts. He also removed, and with great pomp, St. Swithun’s
-shrine from the old altar to the new one. Walkelyn died in 1098 and was
-buried in the nave.
-
-Bishop Lucy, Bishop William of Edington and William of Wykeham are the
-next three great architects of Winchester.
-
-     “It was Bishop Edington who commenced the alteration of Winchester
-     Cathedral into the Perpendicular style; he died in 1366, and the
-     work was continued by William of Wykeham, who mentions in his will
-     that Edington had finished the west end, with two windows on the
-     north side and one on the south: the change in the character of the
-     work is very distinctly marked. Bishop Edington’s work at
-     Winchester was executed at a later period than that at Edington,
-     and, as might be expected, the new idea is more fully developed;
-     but on a comparison between the west window of Winchester and the
-     east window of Edington, it will at once be seen that the principle
-     of construction is the same; there is a central division carried up
-     to the head of the window, and sub-arches springing from each side:
-     it may be observed that whenever this arrangement of the sub-arches
-     occurs in Decorated work, it is a sign that the work is late in the
-     style. Before the death of Bishop Edington the great principles of
-     the Perpendicular Style were fully established. These chiefly
-     consist of the Perpendicular lines through the head of the window,
-     and in covering the surface of the wall with panelling of the same
-     kind. These features are as distinctly marked at Winchester as in
-     any subsequent building, or as they well could be.”--(J. H. P.)
-
-In the eastern part of the Crypt there is ancient masonry undoubtedly
-belonging to the time of St. Ethelwold; then we find above it the
-massive Norman work of Bishop Walkelyn; then, to the east, the graceful
-Early English of Bishop Lucy; along the nave, the Perpendicular columns
-of Bishop Edington and William of Wykeham, on which rests the exquisite
-groined roof. Above this roof the great rough-hewn beams cut from the
-King’s forest by Walkelyn more than eight hundred years ago can still be
-seen and in a perfect state of soundness.
-
-     “In this great church many stirring scenes of English history have
-     been enacted. The early kings made Winchester their home and the
-     Cathedral their chapel. Here it was that Egbert, after being
-     crowned _in regem totius Britanniæ_, with assent of all parties,
-     issued an edict in 828, ordering that the island should thereafter
-     be always styled England and its people Englishmen. Here King
-     Alfred was crowned and lived and died. Here, in 1035, Cnut’s body
-     lay in state before the high altar, over which was hung henceforth
-     for many a year, a most precious relic, the great Norseman’s crown.
-     Here William the Conqueror often came, and wore his crown at the
-     Easter Gemôt; here, too, clustered many of the national legends:
-     St. Swithun here did his mighty works, and here were the forty
-     dismal days of rain; hard by is the scene of the great fight
-     between Colbrand the Dane and Guy of Warwick; in the nave of the
-     church Queen Emma trod triumphant on the red-hot plough-shares as
-     on a bed of roses; hither came Earl Godwin’s body after his
-     marvellous and terrible death, one of the well-known group of
-     malignant Norman tales. It was in Winchester Cathedral that Henry
-     Beauclerk took to wife his queen, Matilda, to the great joy of all
-     English-speaking folk. Here Stephen of Blois was crowned King; and
-     here, on the other hand, the Empress Maud was welcomed by city and
-     people with high rejoicings; here, too, was drawn up and issued the
-     final compact, in 1153, which closed the civil war of that weary
-     reign and secured the crown to the young Prince Henry. He in his
-     turn often sojourned in Winchester, and befriended in his strong
-     way the growing city. The Cathedral witnessed another compact in
-     the dark days of King John: the King was here reconciled to the
-     English Church in the person of Stephen Langton; Henry III. and
-     his Queen Eleanor, were here in 1242; and on May-day of that year
-     ‘came the Queen into the Chapter-house to receive society.’ In 1275
-     Edward I., with his Queen, was welcomed with great honour by the
-     prior and brethren of St. Swithun, and attended service in the
-     church. The christening of Arthur, Prince of Wales, elder brother
-     of Henry VIII., was here; and here Henry VIII. met his astute
-     rival, the Emperor Charles V. It was in Winchester Cathedral that
-     the marriage of Philip and Mary took place, and the chair in which
-     she sat is still to be seen in the church. The Stuart Kings loved
-     the place. Here in the great rebellion was enacted that strange
-     scene when, after the capture of the city, the mob rushed into the
-     Cathedral, wild for booty and mischief, and finding in the chests
-     nothing but bones, amused themselves by throwing them at the
-     stained windows of the choir. It was at this time that Colonel
-     Nathaniel Fiennes, a Parliamentary officer and an old Wykehamist,
-     stood with drawn sword at the door of Wykeham’s chantry to protect
-     it from violence. Since the days of the Merry Monarch, who was
-     often at Winchester, and loved it so well that he built his palace
-     here, no striking historical events have been enacted within its
-     walls. The church by degrees recovered from the ruin of the
-     Commonwealth time, and has had a quiet, happy life from that time
-     onward, a tranquil grey building sleeping amidst its trees, in the
-     heart of the most charming of all south English cities.”--(G. W.
-     K.)
-
-The best view of Winchester Cathedral is from the top of St. Catherine’s
-hill, where the great mass rises solemnly over the distant city. Its
-enormous length is broken by the bold transepts, which extend three bays
-beyond the aisles. People are, as a rule, disappointed with their first
-view of the exterior, because of its lack of decoration and the lowness
-of the heavy Norman tower in the centre. The bright-green turf of the
-Precincts and the trees, however, make with the grey walls an impressive
-picture. A short avenue of trees leads through the Close to the western
-door.
-
-The =West Front= was originally the work of Edington (1345-1366). It is
-118 feet in breadth and composed of a panelled gable of Perpendicular
-style with hexagonal turrets. Immediately under the window in a gallery
-over the entrance, the bishop used to give his benediction to the
-people. The figure of William of Wykeham stands in the gable, replacing
-an ancient bishop removed in 1860. No one seems to know whether it
-represented William of Wykeham, Bishop Edington, or St. Swithun. Very
-probably it was the latter, as its companions on the gable were St.
-Peter and St. Paul, the three patron saints of the Saxon Cathedral.
-
-The great =West Window= is divided by cross mullions into three
-perpendicular and six horizontal compartments. It is said to be filled
-with glass, collected from different parts of the building, after the
-general smashing by the Parliamentary soldiers in 1646. Winston says
-these pieces are very early Perpendicular glass, and may have been
-placed together in the window, as we now see them, in Bishop Edington’s
-time.
-
-     “Before entering, the visitor should remark the grand view of the
-     interior obtained through the open central door. The length of
-     Winchester (520 feet from this entrance to the extreme eastern
-     buttresses) exceeds that of any other cathedral on this side of the
-     Alps, with the exception of Ely (560 feet) and of Canterbury, which
-     is about five feet longer than Winchester. A certain coldness,
-     arising from want of colour, is perhaps felt at first; but the eye
-     soon learns to dwell contentedly on the magnificent forest of
-     piers, and on all the graceful details above and around them. The
-     string-course of corbel-heads and the light balustrade of the
-     triforium in the nave should here be noticed as remarkably aiding
-     the general effect.”--(R. J. K.)
-
-The ground-plan shows a nave of eleven bays, a transept of three, a
-choir of five, a presbytery of three and a Lady-Chapel at the east end
-of three. All are furnished with side aisles.
-
-Winchester is the longest cathedral in England, and the =Nave= is one of
-the longest in the world. Fergusson says it is “perhaps the most
-beautiful nave in England or elsewhere.” The view is overwhelmingly
-grand and noble and the groining of the roof is striking in the extreme.
-
-The triforium was sacrificed and the old Norman piers, recased, were
-left to carry the lofty Perpendicular arches and exquisitely vaulted
-roof. The Perpendicular lining and panelling disguise the fact that the
-interior is really Norman.
-
-     “The nave gains a special grandeur by the vaulting shafts rising
-     from the very floor so that the eye follows them upwards tardily,
-     as if they were more lofty than they actually are, to the capitals
-     whence the groined roof springs. The aisle windows have a beauty
-     worthy of careful notice.
-
-     “A striking yet beautiful peculiarity is that Winchester nave,
-     setting an example followed generally in Perpendicular churches,
-     has no proper triforium--a balcony close above the nave arches
-     taking its place. Owing to the thickness of the Norman masonry this
-     arrangement was unavoidable.
-
-     “The seven westerly piers on the south side retain the Norman
-     stone-work faced with new mouldings. Norman arches remain behind
-     the triforium wall; Norman shafts may be seen above the vaulting;
-     and Norman flat buttresses are traceable outside between the
-     southerly clerestory windows.”--(G. W. K.)
-
-The Nave of Winchester, therefore, presents one of the most curious
-examples of transformation from one style of architecture to another;
-for here we have a perfect specimen of the Fourteenth and
-
-[Illustration: WINCHESTER: NAVE, WEST]
-
-[Illustration: WINCHESTER: FONT]
-
-Fifteenth Centuries, yet it is from the ground to the roof the original
-Norman building begun by Walkelyn. The extreme western part was rebuilt
-by Edington, who began the transformation of the Nave from the Norman to
-the Perpendicular, and continued by his successor William of Wykeham
-(1366-1404).
-
-At Wykeham’s death in 1404 the south side of the Nave was finished and
-the north begun. The work was continued and finished by his successors,
-Cardinal Beaufort and Bishop Waynflete (1404-1486). The arms on the
-bosses of the vault of the nave are those of Wykeham, Cardinal Beaufort
-and John of Gaunt (the latter’s father); the chained white hart is the
-device of Richard II. and the lily that of Bishop Waynflete.
-
-Students may compare the Nave of Winchester with the Choir of
-Gloucester, which is also Norman in plan, “overlaid with a veneer of
-masonry in the Pointed Style.” The Gloucester Choir is, however, of
-later date, and instead of showing an amalgamation of the two styles, as
-at Winchester, the Pointed is added to the Round-arched style.
-
-The curious black basaltic stone =Font= was probably the gift of Bishop
-Henry de Blois (1129-71), and some antiquarians think that it was
-brought from Constantinople during the Second Crusade. The carvings
-represent St. Nicholas of Myra, the patron saint of children, and much
-honoured by the Normans.
-
-     “Within the walls the most striking object of interest is
-     undoubtedly the famous Norman font of black basaltic stone, which
-     was probably placed in the church in the days of Walkelyn; it
-     portrays in bold if rude relief the life and miracles of St.
-     Nicholas of Myra. Next after the font may perhaps be noted the
-     fine carved spandrels, Fourteenth Century work, of the
-     choir-stalls, with the quaint _misereres_ of the seats; then Prior
-     Silkstede’s richly carved pulpit of the Fifteenth Century, and the
-     very interesting and valuable Renaissance panels of the pews, put
-     in by William Kingsmill, last prior and first dean, in 1540. The
-     chantries and tombs in this church are of unusual beauty and
-     interest.”--(G. W. K.)
-
-At the west end of the north aisle a square stone gallery called the
-tribune is part of Edington’s work. It was used as a =Minstrels’ Gallery=
-on great occasions.
-
-The nave =Pulpit= was a gift from New College, Oxford, in 1885.
-
-In the north aisle there is a monumental brass in memory of =Jane Austen=,
-the authoress, and near the south-west door are fixed the flags of the
-97th Regiment and memorials of the Crimean War. The west window of the
-south aisle is filled with stained glass to their memory.
-
-On the south side of the Nave and in the second bay from the Choir is
-=Bishop Edington’s Chantry=. It was somewhat altered when the piers
-against which it stands were transformed from Norman to Perpendicular.
-This is the first of a number of very fine chantries, the most
-interesting of which is that of =William of Wykeham=, which occupies the
-entire space between two piers of the Nave on the south side in the
-fifth bay from the west end.
-
-This chapel was built by Wykeham on the site of an altar dedicated to
-the Virgin, where he used to worship when a boy.
-
-     “The design of William’s chantry is very beautiful; and it is one
-     of the best remaining specimens of a Fourteenth Century monumental
-     chapel. The foundation of the altar is still visible. The Bishop’s
-     effigy, the comeliness of which, it has been suggested, may have
-     induced Anthony Wood to describe him as having been of ‘a courtly
-     presence,’ reposes on an altar-tomb in the centre, arrayed in cope
-     and mitre. The pillow at the head is supported by two angels. At
-     the feet three monks are represented offering up prayers for the
-     repose of the departed soul. They are said, but questionably, to
-     represent Wykeham’s three assistants in the cathedral
-     works--William Wynford, his architect; Simon de Membury, his
-     surveyor of the works; and John Wayte, controller.”--(R. J. K.)
-
-The =Choir= is entered through a screen of stonework, by Garbett,
-decorated with figures of James I. and Charles I., taken from an older
-screen by Inigo Jones. The figure of Charles I. was much injured by the
-Parliamentary troops who stabled their horses in the cathedral. It was
-made by Hubert Le Seur, a pupil of John of Bologna and much employed by
-Charles I.
-
-The Choir consists of the old choir of the monks under the tower and of
-the presbytery beyond it. This portion of the cathedral is of various
-dates: the tower is late Norman; the piers, arches and clerestory of the
-presbytery are Decorated (about 1350); the screen enclosing it is
-Perpendicular (the work of Bishop Fox about 1524); the vaulting of the
-presbytery (also the work of Bishop Fox); and the ceiling under the
-tower, dates from 1634.
-
-The visitor is struck by the enormous piers of the =Tower=, rebuilt after
-1107 when Walkelyn’s tower, under which William Rufus was buried, fell.
-Many thought “that the fall of the tower was a judgment for his sins.”
-
-     “Early in the Twelfth Century occurred the fall of the tower of
-     this Cathedral, celebrated from the peculiar circumstances with
-     which it was accompanied, which are thus described by William of
-     Malmsbury, who was living at the time:--‘A few country men conveyed
-     the body [of the King, William Rufus], placed on a cart, to the
-     cathedral of Winchester, the blood dripping all the way. Here it
-     was committed to the ground _within the tower_, attended by many of
-     the nobility, but lamented by few. The next year (1097) the tower
-     fell; though I forbear to mention the different opinions on this
-     subject, lest I should seem to assent too readily to unsupported
-     trifles; most especially that the building might have fallen
-     _through imperfect construction_, even though he had never been
-     buried there.’ That this was really the case, the building itself
-     affords us abundant evidence, and proves that even the Normans at
-     this period were still bad masons and very imperfectly acquainted
-     with the principles of construction. The tower which was rebuilt
-     soon after the fall is still standing, and the enormous masses of
-     masonry which were piled together to support it, and prevent it
-     from falling again, show such an amazing waste of labour and
-     material as clearly to prove that it was the work of very unskilful
-     builders.”--(J. H. P.)
-
-The tower was originally intended to serve as a lantern; but was ceiled
-over in the reign of Charles I. In the centre is a medallion of the Holy
-Family, the date 1634, and medallions of Charles I. and Henrietta Maria.
-
-The very narrow arches opening to the transepts should be noticed.
-
-The =Choir Stalls= are magnificent.
-
-     “The stalls which extend from the eastern tower-piers to the first
-     pier of the nave, are of oak, as black as ebony, and probably
-     exhibit the very finest woodwork of their date and style (which is
-     the best) in the Kingdom. They are early Decorated (Geometrical)
-     work and their canopies and gables bear considerable resemblance to
-     those of the tomb of Edmund Crouchback in Westminster Abbey. This
-     would place their date about 1296. The beauty and variety of the
-     carvings are wonderful. There is no repetition; and the grace and
-     elegance, as well as the fidelity, with which the foliage is
-     represented, are nowhere to be surpassed. The human heads are full
-     of expression; and the monkeys and other animals sporting among the
-     branches have all the same exquisite finish. The mode in which the
-     cusps of the circles in the canopies are terminated, is worthy of
-     attention; and in short, at this period of the revival of
-     wood-carving, no better examples could be found for study and
-     imitation. The _misereres_ below are of early character and
-     interesting. Their date is rather later than those (Early English)
-     in Exeter Cathedral--the most ancient in the Kingdom. The desks and
-     stools in front of the upper range bear the initials of Henry
-     VIII., Bishop Stephen Gardiner, and Dean Kingsmill and the date
-     1540. The rich pulpit on the north side bears the name of its donor
-     ‘Thomas Silkstede, prior’ on different parts of it.”--(R. J. K.)
-
-The =Presbytery= is Early English, the work of Bishop Lucy (1189-1204). It
-has a central alley of three bays. The arcading is very graceful. The
-presbytery is closed at the sides by screens of stone tracery, most of
-them erected by Bishop Fox, and bear his motto, _Est Deo Gratia_. Upon
-these screens stand six mortuary chests (also the work of Bishop Fox)
-containing the bones of the West Saxon Kings and bishops removed from
-the crypt of the old Saxon cathedral into Walkelyn’s church by Bishop
-Henry de Blois and placed in leaden sarcophagi. The chests are of wood,
-carved, painted and gilded in the Renaissance Style, which was being
-introduced into England in Fox’s time.
-
-     “The vaulting of the presbytery (of wood) is the work of Bishop Fox
-     (1500-1520), and displays on its bosses, a mass of heraldry besides
-     (at the east end) the various emblems of the Passion together with
-     a number of faces representing Pilate and his wife, Herod, Annas
-     and Caiaphas, Judas, Malchus with the sword of Peter dividing his
-     ear, Peter himself and many others. All are curious and are best
-     seen from the gallery below the east window.
-
-     “The east window of the choir is filled with Perpendicular glass, a
-     little earlier than 1525, the work of Bishop Fox, whose arms
-     impaled with those of the sees he held (Exeter, Bath and Wells,
-     Durham and Winchester) and his motto _Est Deo Gratia_ are
-     introduced in it.”--(R. J. K.)
-
-Winston thinks that the only part of the glass in its original position
-consists of the two figures occupying the two southernmost of the lower
-lights and all the tracery lights except the top central one and the
-three immediately below it.
-
-     “The top central light is filled principally with some glass of
-     Wykeham’s time and all the rest of the window with glass of Fox’s
-     time, removed from other windows. In point of execution it is as
-     nearly as perfect as painted glass can be. In it the shadows have
-     attained their proper limit. It was at this period that glass
-     painting attained its highest perfection as an art.”--(C. W.)
-
-Beyond the tower-piers in the presbytery a plain tomb of Purbeck marble
-was once the resting-place of =William Rufus=, killed in the New Forest in
-1100 and first buried, as we have seen, under the Tower. His bones were
-removed in the Twelfth Century by his nephew Bishop Henry de Blois and
-are now mingled with those of Canute, Queen Emma and two Saxon bishops
-in one of the mortuary chests on the screen of the Presbytery.
-
-The piers and arches of the Presbytery are Decorated, dating from 1320
-and 1350.
-
-At the High Altar of the Choir Queen Mary was married to Philip of Spain
-in July, 1554, by Bishop Gardiner. In Philip’s train were Alva, the
-future scourge of the Low Countries, and Egmont, his famous victim. The
-chair in which the bride sat is preserved in the Chapel of the Guardian
-Angels.
-
-At the back of the altar rises the magnificent =Reredos=, dating from the
-latter end of the Fifteenth Century. In 1899 the final restoration of
-the screen was completed by filling a niche that had been vacant for
-three centuries. The altar-rails are of the time of Charles I. A
-representation of the _Incarnation_ hangs over the altar placed there in
-1899, when Benjamin West’s _Raising of Lazarus_ was removed to the South
-Transept.
-
-     “The Reredos is said to have been commenced by Cardinal Beaufort
-     and completed by Bishop Fox and Prior Silkstede. It is an excellent
-     specimen of Perpendicular work, executed in a fine, white soft
-     stone; its elaborately canopied niches, pierced and crocketted
-     pinnacles, pilaster buttresses, and centre projecting canopy, are
-     surmounted at a height reaching nearly to the corbels, with a
-     triple frieze of running leaves, Tudor flowers and quatrefoils.
-     This Reredos is of the same type as those at Christ Church Priory
-     and St. Alban’s, but its dimensions are greater and better
-     proportioned. Its restoration is carried out with remarkable
-     fidelity to the original work. The back is closely panelled in the
-     upper part, and the lower part is richly decorated. No description
-     could do justice to the beauty and effect of the whole work. Milner
-     describes its exquisite workmanship as being as magnificent as this
-     or any other nation can exhibit. The central part was restored as a
-     memorial to the late Archdeacon Jacob.”--(G. W. K.)
-
-On either side of the altar a door opens to the space behind the
-Reredos, which in early days was the =Feretory=, a place for the =feretra=,
-or shrines of the patron saints.
-
-     “The Feretory, or Capitular Chapel, is immediately behind the altar
-     and communicates with the sanctuary. Here the magnificent shrine of
-     St. Swithun, of solid silver gilt and garnished with precious
-     stones, the gift of King Edgar, used to be kept except on the
-     festivals of the saint, when it was exposed to view on the Altar,
-     or before it.
-
-     “Many portions of statuary formerly belonging to the Great Screen
-     and other parts of the building are here carefully preserved. From
-     the platform behind the reredos may be observed the admirable
-     connection of Fox’s new with De Lucy’s earlier work.”--(G. W. K.)
-
-The old statue of the bishop, taken from the west front, may also be
-seen here.
-
-Back of the Reredos again stands the famous Edwardian =Arcade=, with nine
-canopies (or tabernacles). Beneath it is the ancient entrance, the “=Holy
-Hole=,” leading into the Crypt.
-
-The presbytery aisles are greatly admired. Here we find beautiful
-examples of Early English work and many splendid monuments and
-chantries. Beyond lies the =Lady-Chapel=, with the =Chapel of the Guardian
-Angels= on the north side and the =Bishop de Langton’s Chantry= on the
-south.
-
-The Lady-Chapel (1470) was founded by Elizabeth of York, Queen of Henry
-VII., after the birth of her son, Arthur, as a testimony of her
-gratitude. The arms of Henry VII., Elizabeth and the Prince of
-Wales--the feathers divided by roses--are among the ornaments.
-
-A plain slab of grey marble in front of the Lady-Chapel is supposed to
-mark the =Tomb of Bishop de Lucy=, the builder of all this part of the
-Cathedral. At the back of the Lady-Chapel a Reredos was placed by Dean
-Branston in 1876.
-
-Ascending the steps from the transept, we reach the north aisle of the
-presbytery, and gain a fine view beyond this of the eastern portion of
-the church, with its splendid chantries and chapels.
-
-With the exception of the extreme east end of the Lady-Chapel, it is
-all the work of Bishop Godfrey de Lucy (1189-1204), and consequently a
-very early example of Early English. The design and details are of great
-beauty. The three aisles or alleys (called procession paths or the _via
-processionum_) are separated from each other by three arches on each
-side and terminate eastward in chapels. These aisles were formed in
-order to facilitate the circulation of processions.
-
-The north chapel (part of De Lucy’s work) is called that of the =Guardian
-Angels=, from the figures of angels still remaining on the vaulting; the
-south chapel (De Lucy’s work) was fitted up as a chantry by Bishop
-Langton, who died in 1500. The woodwork is rich and beautiful and the
-vault elaborate with carved rebuses on his name.
-
-     “The north and south walls, as far as the east walls of the two
-     side chapels, are De Lucy’s work, and retain his rich Early English
-     arcade. The eastern compartment on each side, as well as the east
-     wall, have respectively a large Perpendicular window of seven
-     lights with transom and tracery of a peculiar kind of
-     subordination, or rather interpretation of patterns well worth a
-     careful study. The vault is a complex and beautiful specimen of
-     lierne-work. The capitals and bases of the vaulting-shafts are
-     unusual and very beautiful. The carved panelling of the western
-     half of this chapel, the seats, desk and screen of separation, are
-     all excellent, and should be noticed. All this Perpendicular work
-     is due to Prior Hunton (1470-1498) and his successor, Prior
-     Silkstede (1498-1524). On the vault round the two central keys--one
-     representing the Almighty, the other the Blessed Virgin--are the
-     rebuses of the two priors: the letter T, the syllable Hun, the
-     figure of a ton for Thomas Hunton; the figure 1 and the letters Por
-     for Prior: the letter T, the syllable silk, the word sted with a
-     horse below it, the figure 1 with letters as before, for Thomas
-     Silkstede, prior. The walls of this chapel are covered with the
-     remains of some very curious paintings illustrating the legendary
-     history of the Virgin.
-
-     “These are all the work of Prior Silkstede, whose portrait, with an
-     inscription, is still faintly visible over the piscina.”--(R. J.
-     K.)
-
-Between the pillars of the central aisle are the =Chantries= of =Waynflete=
-and =Beaufort=. Both were much injured by Cromwell’s troops and have been
-restored. The delicacy and beauty of Waynflete’s canopy should be noted.
-The lily, his device, constantly appears. His effigy lies here.
-
-Beaufort appears in his Cardinal’s robes. He was half-brother to Henry
-IV. and was bishop, statesman, soldier and banker to the royal family.
-He is said to have burst into tears at the burning of Joan of Arc at
-Rouen and to have left the scene. However, he persecuted the Lollards.
-Between these two chantries lies the effigy of a =Thirteenth Century
-Knight= in chain-mail and cross-legged. It is the only ancient military
-figure in the cathedral. He is either Sir W. de Foix or Sir Arnold de
-Gavaston.
-
-Beyond the pier which connects De Lucy’s work with the Presbytery on the
-north side is the =Chantry of Bishop Gardiner= (1531-1555), the “hammer of
-heretics,” secretary to Cardinal Wolsey and Henry VIII.’s ambassador to
-the Pope regarding his marriage. Bishop Gardiner also married “Bloody
-Mary” to the King of Spain.
-
-Opposite is =Bishop Fox’s Chantry=, built by Fox himself. It is the most
-elaborate chantry in the Cathedral. The arches were once filled with
-stained glass. The Bishop’s emblem, the pelican, appears everywhere. Fox
-was secretary and Lord Privy Seal to Henry VII. and founder of Corpus
-Christi, Oxford. This college restored the Bishop’s chantry. Blind
-several years before his death, Fox used to be led every day to the
-small oratory attached to his Chantry.
-
-The visitor should study these chantries, beginning with Edington’s in
-the Nave and ending with Gardiner’s, for they form a continuous record
-of the growth and development of Perpendicular and Tudor architecture
-from 1366 to 1555.
-
-     “In no English church except Westminster Abbey and St. Paul’s, lie
-     so many men of name. For just as the features of the Cathedral
-     represent all the successive phases and changes of the art of
-     building, until it has been styled a ‘School of English
-     Architecture,’ so it may be said to be the home and centre of our
-     early history. Long is the roll of kings and statesmen who came
-     hither and whose bones here lie at rest. Cynegils and Cenwalh, West
-     Saxon Kings, founders of the church, are here; Egbert was buried
-     here in 838; Ethelwulf also and Edward the Elder and Edred. The
-     body of Alfred the Great lay a while in the church, then was
-     transferred to the new minster he had built, and finally rested at
-     Hyde Abbey. And, most splendid name of all, the great Cnut was
-     buried here, as was also his son, Harthacnut, as bad and mean as
-     his father was great. The roll of kings was closed when Red
-     William’s blood-dripping corpse came jolting hither in the country
-     cart from New Forest.”--(G. W. K.)
-
-The two =Transepts= are similar. Both have east and west aisles and both
-are of two periods. The earlier parts are plain rude Norman, massive and
-grand in effect. The arches, both of triforium and clerestory, are
-square-edged like the pier-arches below them. They should be compared
-with Ely Cathedral, the work of Walkelyn’s brother, Simeon. It is
-interesting to note that the central towers of both fell,--Walkelyn’s
-in 1107 and Simeon’s in 1321.
-
-The =North Transept= contains five altars. On the south side against the
-organ screen is the =Chapel of the Holy Sepulchre=, the walls of which are
-covered with rude wall-paintings illustrative of the passion of our
-Saviour.
-
-The =South Transept= is similar to the North transept. In its eastern
-aisles are two chapels formed by screens of stone tracery work. The
-south chapel is called =Silkstede’s Chapel=, from Prior Silkstede, whose
-name, Thomas, is carved on the screen with the monogram M. A. of the
-Virgin and a skein of silk, his rebus. The beautiful iron-work is of a
-later period. A plain black marble slab in Prior Silkstede’s Chapel
-marks the =Tomb of Izaak Walton=, “the prince of fishermen,” who died in
-1683.
-
-Entrances from both transepts lead to the crypt.
-
-In the west aisle of the south transept is the =Chapter-House= (formerly
-the sacristy), above which is the Library. The doorway in the south wall
-led to the domestic buildings of the monastery.
-
-The =Crypt= is entered from the north transept. It is Norman, dark and
-massive, and suggestive of a remote age. It is frequently flooded; for
-the level of the river seems to have risen since the Eleventh Century.
-Like other crypts, it serves to show the original plan of the Norman
-Church. It is in three parts: the western, consisting of the
-substructure of the original choir; a long aisleless chapel of three
-bays beneath the present retro-choir; and the substructure of
-Courtenay’s Lady-Chapel built between 1486 and 1492. Beneath the
-
-[Illustration: WINCHESTER: CHOIR, EAST]
-
-[Illustration: WINCHESTER: WEST FRONT]
-
-high altar is the sacred well, the centre of Saxon worship before the
-Cathedral had an existence.
-
-The =Roofs= of this cathedral also deserve a visit.
-
-     “In the roof of the nave may be seen the original Norman shafts
-     running up above Wykeham’s vault, and in those of the aisles the
-     Norman arches of the triforium, best developed at the east end of
-     the nave aisle-roof. The transept roofs show to this day what
-     Bishop Walkelyn did with Hempage-wood. From the leads of the tower
-     there is a very striking view over the city and its environs.”--(R.
-     J. K.)
-
-The =Bells= hang in the great central tower: three are dated 1734, the
-others 1737, 1742, 1772, 1804 and 1814. The tenor bell was recast in
-1892.
-
-Within the Precincts stood the Royal Castle at the time of the Norman
-Conquest. This was pulled down by Henry de Blois in the Twelfth
-Century.
-
-
-
-
-CHICHESTER
-
-     DEDICATION: THE HOLY TRINITY. A CHURCH SERVED BY SECULAR CANONS.
-
-     SPECIAL FEATURES: FIVE AISLES; SPIRE; CAMPANILE.
-
-
-Chichester (the camp of Cissa) stands at the head of an arm of the
-English Channel. Its Cathedral is the only one in England that can be
-seen from the sea.
-
-In 1082 the South Saxon See was removed from Selsey to Chichester. The
-church of the monastery, dedicated to St. Peter, seems to have been used
-until Bishop Ralph Luffa (about whom little or nothing is known) founded
-the existing Cathedral. This was completed in 1108, partly destroyed by
-fire in 1114 and partly restored by the same Ralph, who died in 1123.
-
-     “Chichester Cathedral, though one of the smallest, is to the
-     student of Mediæval architecture one of the most interesting and
-     important of our cathedrals. At Salisbury one or two styles of
-     architecture are represented; at Canterbury two or three; at
-     Chichester every single style is to be seen without a break from
-     the Eleventh to the Sixteenth Century. It is an epitome of English
-     architectural history for five hundred years. Early Norman, late
-     Norman, late Transitional, early Lancet, late Lancet, early
-     Geometrical, late Geometrical, Curvilinear, Perpendicular and Tudor
-     work all appear in the structure side by side. We have many other
-     heterogeneous and composite cathedrals, but nowhere, except perhaps
-     at Hereford, can the whole sequence of Mediæval styles be read so
-     well as at Chichester.”--(F. B.)
-
-Chichester was consecrated in 1148, again suffered from fire in
-1186-1187 and was restored and enlarged by Bishop Seffrid II.
-(1180-1204).
-
-     “The fire of 1186 was not as serious as that of Canterbury in 1182,
-     so that there was no need of rebuilding. Bishop Seffrid, however,
-     covered the Cathedral with a stone vault and added the necessary
-     buttresses and flying-buttresses. He also built the Choir, making
-     great use of Purbeck marble. He removed the Norman apse and built
-     the aisled retro-choir of two bays.
-
-     “This is the architectural gem of the Cathedral. The idea of it
-     probably came from Hereford, where the retro-choir is a few years
-     earlier. At Hereford, however, the retro-choir projects
-     picturesquely and forms an eastern transept. The central piers of
-     the Chichester retro-choir are remarkably beautiful. They consist
-     of a central column surrounded by four shafts very widely detached;
-     columns and shafts are of Purbeck marble. The capitals are
-     Corinthianesque; their height is proportioned to the diameters of
-     the column and shafts. This beautiful capital was reproduced a few
-     years later by St. Hugh at Lincoln. The triforium is of quite
-     exceptional beauty, as indeed is the whole design. Semicircular
-     arches occur in the pier arcade and triforium, and some of the
-     abaci are square; otherwise the design is pure Gothic. Here, as at
-     Abbey Dore, St. Thomas’s, Portsmouth, Boxgrove and Wells, we see
-     the transition to the ‘pure and undefiled Gothic’ of St. Hugh’s
-     choir at Lincoln. In these beautiful churches the ancient
-     Romanesque style breathed its last.
-
-     “The aisles of the new retro-choir were continued on either side of
-     the first bay of the Norman Lady-Chapel whose three bays had
-     probably been remodelled before the fire in Transitional fashion.
-     The capitals of the Lady-Chapel are of exceptional interest and
-     importance, as showing experimental foliation which had not yet
-     settled down into the conventional leafage of early Gothic. The
-     apse also of the south transept was replaced by a square chapel,
-     now used as a Library, in the vaulting of which the Norman zigzag
-     occurs.
-
-     “A little later in the Lancet period was built (1199-1245) the
-     lovely south porch, with small exquisite mouldings, and the
-     charming foliated capitals and corbels. The difference between
-     early Transitional, late Transitional and Lancet foliation may be
-     well seen by examining successively the capitals of the
-     Lady-Chapel, the triforium of the retro-choir and the south porch.
-     The north porch is almost equally fine. The vaulting ribs, square
-     in section, show that the two porches both belong to the very first
-     years of the Thirteenth Century. Rather later, the sacristy was
-     built on to the south porch, with a massive vault supported by
-     foliated corbels.”--(F. B.)
-
-Chichester’s saint was one of its own bishops--Richard de la Wych--who
-died in 1253. He was canonized in 1261. In 1276, his remains were
-removed from their first resting-place to the shrine in the south
-transept opposite the beautiful Early Decorated window (one of the
-loveliest examples of this style in England). Edward I., his Queen and
-the Court were present at the Translation. From that time the shrine
-received many visits from pilgrims.
-
-The central tower was built during the first half of the Fourteenth
-Century, and the spire was completed at the end of the Fourteenth
-Century. The campanile was built by Bishop John de Langton (1305-1336).
-Bishop Sherborne (1507-1536) added the upper portion of the choir-stalls
-and the decorations of the south transept. These are the ornamentations
-referred to by Fuller, who quaintly says Bishop Seffrid “bestowed the
-cloth and making on the church, while Bishop Sherborne gave the trimming
-and best lace thereto, in the reign of Henry VII.”
-
-In 1643, the Parliamentarian troops broke the organ, defaced the
-monuments and hacked the seats and stalls, which, of course,
-necessitated restorations and repairs. Repairs, restorations and
-alterations were also made from 1843 to 1856, the most important of
-which was the reconstruction of the central tower and spire under Sir
-Gilbert Scott. In 1867 the floor of the Lady-Chapel was lowered to its
-original level and the Gilbert Chapel restored; and during the last half
-of the Nineteenth Century, the cloister was restored and the roof of the
-Lady-Chapel, and a new north-western tower designed by Mr. J. L.
-Pearson.
-
-     “The Cathedral stands on the south of West Street, where a fine
-     view may be had of the whole of the north side of the building and
-     of the detached Campanile. The Close occupies entirely the
-     south-west quadrant of the city, being bounded by South and West
-     Streets and the City Wall. The central tower and spire, rising to a
-     height of 277 feet, are conspicuous for many miles around, but the
-     west front is much shut in. Perhaps the most pleasing view is that
-     seen from the meadows on the south of the city, from which point
-     the Campanile fits in admirably with the general mass of the
-     building.”--(J. C.-B.)
-
-This =Campanile=, in which eight bells hang, stands on the north side of
-the Cathedral, and was built in the Fourteenth Century. It covers a
-square of 50 feet and consists of two cubes with an octagonal lantern (8
-feet).
-
-The =Central Tower= and its delicate =Spire= have had a peculiar history.
-Exposed to the south-west gales from the Channel, the authorities in the
-Seventeenth Century had fears for its safety; and, consequently the
-upper part was taken down and rebuilt by Sir Christopher Wren, who
-placed within it a pendulum-stage of wood and iron to steady it. This
-ingenious invention lasted until 1861; and it is said that Wren’s
-contrivance prevented the spire from toppling over when the collapse
-occurred.
-
-About 1859 this spire showed signs of weakness, and underpinning was of
-no avail. On the 21st of February it inclined slightly to the
-south-west, then seemed to right itself; and then, amid a great cloud of
-dust, descended perpendicularly into the walls of the tower, doing no
-harm to the roof of the church. The fall only lasted a few seconds. As
-this happened in Queen Victoria’s reign, the old Sussex prophecy was
-fulfiled:
-
-    “If Chichester Church steeple fall
-     In England there’s no King at all.”
-
-The rebuilding was entrusted to Sir Gilbert Scott with a stipulation
-that the new tower and spire should be exact reproductions of the
-originals. Scott, however, added six feet to the height.
-
-     “The central tower, which is battlemented, with octagonal turrets
-     at the angles, also battlemented, has in its principal or second
-     story, two couplets in each face, with a quatrefoil in the head,
-     each under a pointed arch. The spire is of beautiful design,
-     octagonal; in each face is a window of two lights, flanked by
-     pinnacled turrets, crocketed and canopied. Its elegance has
-     constantly led to its being compared with that of Salisbury, which,
-     however, differs from it in age and many other particulars, as well
-     as size. It forms not only the central but the principal feature of
-     the church, all whose lines are designed to work in with it, a very
-     perfect effect of unity, as at Salisbury, being attained. It is
-     locally said that the master built Salisbury and the man,
-     Chichester.”--(W. J. L.)
-
-The =West Front= is composed of three stories, a gable, porch and two
-towers. The northern tower is modern, copied from its twin, which is
-Early English above the third story. The great =West Window= is modern,
-copied from Fourteenth Century examples. The central porch (Early
-English) is of the same date and character as the south porch, which
-opens into the cloisters. The north porch (Early English) lies between
-the aisle and the north-west tower.
-
-The north wall of the nave has some curious buttresses. In the south
-transept notice a richly traceried window (Decorated), of seven lights,
-with a beautiful rose window above. A trefoiled string-course ornaments
-the parapet in the transept and choir. The =East Window= consists of three
-lancet windows, with a rose window of seven foliated circles of the
-choir in the gable; it is flanked by arcaded pinnacles with small
-spires.
-
-The first view of the interior of Chichester is somewhat severe.
-
-     “On entering the nave the eye is at once caught by the five aisles,
-     a peculiarity shared by no other English cathedral but that of
-     Manchester, although some parish churches have it on a smaller
-     scale, as Taunton and Coventry. On the Continent the increased
-     number of aisles is common, witness Beauvais, Cologne, Milan,
-     Seville, and seven-aisled Antwerp. Grand effects of light and shade
-     are produced by these five aisles: remark especially the view from
-     the extreme north-east corner of the north aisle, looking across
-     the cathedral. The great depth of the triforium shadows is owing to
-     the unusual width of this wall passage. The breadth of the nave (91
-     feet) is greater than that of any English cathedral except York
-     (103 feet).
-
-     “The first two stories of the south-west tower at the end of the
-     nave deserve examination. The rude, long capitals, and plain
-     circular arches, probably indicate that it formed a part of the
-     first church completed by Bishop Ralph in 1108. The nave itself, as
-     far as the top of the triforium, and the two aisles immediately
-     adjoining, are the work of the same Bishop (died 1123),--or should
-     perhaps be described as having formed part of the Norman cathedral
-     completed in 1148. The clerestory above, and the shafts of Purbeck
-     marble which lighten the piers, are Seffrid’s additions (died
-     1204). The vaulting is perhaps somewhat later; and it was because
-     it was determined, after the burning of 1187, to replace with a
-     stone vault the wooden roofs to which the frequent fires had been
-     owing that Seffrid carried up his vaulting-shafts along the face of
-     the Norman piers, some of which he re-cased. The two exterior
-     aisles, north and south, were probably added by Bishop Neville
-     (died 1244), when it became necessary to provide additional room
-     for chantries and relic shrines. The positions of the various
-     altars are marked by piscinas and aumbries in the walls. The two,
-     however, occur together in the south aisle alone; in the north are
-     aumbries only, an arrangement possibly resulting from the feeling
-     with which that quarter was always anciently regarded. A certainly
-     triplicity pervades all this part of the cathedral, which was
-     dedicated by Bishop Seffrid to the Holy Trinity. The side shafts
-     are triple throughout. The bearing-shafts of the vaulting are
-     clustered in threes, and branch out with three triple vaulting-ribs
-     above. The transitional character of Bishop Seffrid’s work is
-     especially marked in the clerestory, the inner arcade of which is
-     pointed, whilst the windows themselves are round-headed.”--(R. J.
-     K.)
-
-The nave is full of monuments and tablets, some of which are by Flaxman.
-The one in the =Chapel of the Four Virgins= (north side) is a memorial to
-Collins the poet. Near it are the two figures of the =Earl of Arundel= and
-=Maud=, his wife. Arundel was beheaded in 1297. He is represented in full
-armour and at his feet is a lion.
-
-     “The most beautiful monument now remaining in the church is that
-     which is said to represent Maud, Countess of Arundel (1270). The
-     modelling of the whole figure and the long flowing lines of her
-     robes are worthy of careful study. The hands are clasped over the
-     breast with the forearms bent upwards slightly towards the face. On
-     each of the long sides of the base supporting the figure are six
-     elongated quatrefoil panels, containing in all six female figures
-     and six shields. Between the quatrefoils are winged heads of ten
-     angelic figures. The blazoning of the shields is entirely gone, and
-     the brilliant colouring that once covered the entire monument is
-     only to be traced in a few places. The outer robe still shows
-
-[Illustration: CHICHESTER.]
-
-[Illustration: CHICHESTER: NAVE, EAST]
-
-     some signs of the rich blue with which it used to be covered. The
-     face of the figure appears to be badly mutilated, but the damage to
-     the features has been done principally by an endeavour to preserve
-     them.”--(H. C. C.)
-
-In the =choir= we find stalls that have been in use since the Fourteenth
-Century. On the backs of the =choir-stalls= pictures by Bernardi represent
-Ceadwalla and Henry VIII. confirming privileges to the bishops of their
-day.
-
-In the =south transept= is a beautiful window, better seen from the
-Cloisters because the bad glass spoils the effect of the tracery.
-
-At the end of the south side in the =Chapel of St. Mary Magdalene= St.
-Richard’s head was preserved in a silver reliquary in the aumbry in the
-north wall.
-
-The Chapel of St. Mary Magdalene is balanced by the =Chapel of St.
-Katherine= at the end of the north-choir-aisle. In the =south-choir-aisle=,
-two curiously carved =Slabs=, representing the _Raising of Lazarus_ and
-_Martha and Mary meeting Jesus_, are supposed to have been brought from
-the first Cathedral in Selsey when the See was transferred to Chichester
-in 1082.
-
-A doorway in the north-choir-aisle leads to the old =Chapel of St. John
-the Baptist and St. Edmund the King=. The vaulting is unlike any other in
-the Cathedral. The zigzag, or chevron, occurs upon the moulding of the
-ribs. A finely carved head appears on the spring of the arch. This
-chapel is now used as the =Library=.
-
-     “At Chichester there were built, one after another, four sets of
-     chapels--of St. George and St. Clement on the south of the south
-     aisle, and of St. Thomas, St. Anne and St. Edmund on the north of
-     the north aisle. The WINDOWS should be studied in the above order;
-     they form quite an excellent object-lesson of the evolution of
-     bar-tracery from plate-tracery, itself a derivative from such
-     designs as that of the east window of the south transept chapel.
-     When the chapels were completed, the Norman aisle-walls were
-     pierced, and arches were inserted where Norman windows had been;
-     and the Lancet buttresses, which had been added when the nave vault
-     was erected, now found themselves inside the church, buttressing
-     piers instead of walls. The new windows on the south side were
-     built so high that the vaulting of the chapels had to be tilted up
-     to allow room for their heads; externally they were originally
-     crowned with gables, the weatherings of which may be seen outside.
-     In St. Thomas’s chapel is a charming example of a simple Thirteenth
-     Century reredos.”--(F. B.)
-
-Above the south porch there is a small chamber popularly known as the
-“=Lollards’ Prison=.”
-
-Between the back of the reredos (modern) and the entrance to the
-Lady-Chapel is the Retro-choir, or presbytery, which many critics
-consider the chief glory of Chichester.
-
-     “The design in detail of these two bays is very different in
-     character from the three in the choir, which are like those in the
-     nave. The two piers of Purbeck marble are circular, and about them
-     are grouped four detached shafts of the same material. They are
-     united only at the base and by the abacus above the capitals, which
-     are beautifully carved. The main arches in the two bays are not
-     pointed, but round, like those in the nave and choir; but, unlike
-     the latter, they have deeply cut mouldings in three orders. The
-     triforium arcade above, on the north and south sides, has moulded
-     and carved details of a similar character. Some of the beautifully
-     carved figure-work still remains in the spandrels between the
-     subsidiary pointed arches. But the most beautiful piece of design
-     in all this work is in the arches of the triforium passage across
-     the east wall, above the entrance to the Lady-Chapel.”--(F. B.)
-
-=St. Richard’s Shrine= stood on a platform in the bay in the presbytery
-immediately behind the High Altar. This platform was removed at the
-time of the general restoration in 1861-1867.
-
-The =Lady-Chapel= was once decorated with designs in colour, remains of
-which are still to be seen. The new =Reredos= is of alabaster. The glass
-of the window is also modern. Here is the =Tomb of Bishop Ralph=, founder
-of the original Norman church.
-
-The visitor should walk around the =Cloisters= for the sake of the
-exterior views of the Cathedral. The south transept window is well seen
-here. Note the beautiful tracery of the circular window above it. The
-position of the Cloisters, lying eastward under the Transept and Choir,
-instead of westward along the Nave, is unusual.
-
-     “The cloister which was added in the Fifteenth Century is of a
-     peculiarly irregular shape, and encloses the south transept within
-     the paradise. It has been much restored at different times. The
-     present roof is of tiles and is carried on common rafters. Each has
-     a cross tie, and the struts are shaped so as to give a pointed arch
-     form to each one. The old Fifteenth Century wooden cornice still
-     remains in some sections. The tracery is divided into four
-     compartments by mullions, and each head is filled with cusped work.
-     Round the cloister are placed the old houses of the Treasurer, the
-     Royal Chaplains, and Wiccamical Prebendaries. Above the door
-     leading to the house of the Royal Chaplains is an interesting
-     monument of the Tudor Period. It is a panel divided into two
-     compartments by a moulded stone fragment. Leading out of the south
-     walk is a doorway, through which the deanery may be seen beyond the
-     end of a long walled passage known as ST. RICHARD’S WALK. Looking
-     back northwards, there is fine view of the spire and transept from
-     the end of this walk.”--(H. C. C.)
-
-In the south-east corner the Cloister passes under the west end of =St.
-Faith’s Chapel=, founded in the Fourteenth Century.
-
-
-
-
-SALISBURY
-
-     DEDICATION: ST. MARY; A CHURCH SERVED BY SECULAR CANONS.
-
-     SPECIAL FEATURES: SPIRE; CHAPTER-HOUSE.
-
-
-Salisbury, on the edge of the great Salisbury Plain, haunted by
-Ingoldsby’s “Dead Drummer” and not far from weird Stonehenge, is famous
-for its beautiful Early English Cathedral.
-
-     “The visitor who sees it first on a bright day can never forget the
-     impression it has made on his mind. Unlike the architects of the
-     so-called ‘Great Gothic Revival,’ the builders of Salisbury put
-     their trust in proportion. Incidentally they made their details as
-     elaborate and as perfect as possible; but they were subordinated to
-     the general effect, and when, during the frightful ravages of the
-     ‘restorers,’ let loose upon the church in the past and present
-     centuries, many of the best and most precious of these details and
-     ornaments perished or were renewed, the main building survives,
-     raising its exquisitely graceful spire into the blue sky, its
-     thousand pinnacles all pointing upward and gleaming white against
-     the deep green of the old trees and the emerald turf of the
-     surrounding close. England can show no fairer sight. ‘How long,’
-     asked an American visitor, ‘does it take to grow such turf?’ ‘Oh!
-     not long,’ was the reply; ‘only a couple of centuries.’ One feels
-     at Salisbury that whether the answer was given there or at Oxford,
-     of no place could it be more true. Though, when we look near
-     enough, we can see that fresh and white as is the general effect,
-     the masonry of Salisbury is of great antiquity, except of course
-     where it has been restored; and antiquity adds another charm, for
-     Salisbury was the first complete cathedral built after the
-     Romanesque tradition had died out, as St. Paul’s is the first built
-     after it had been revived. In other cathedrals there are fragments
-     of the same style, and they are always the most
-
-[Illustration: CHICHESTER: SCREEN]
-
-[Illustration: SALISBURY: NORTH]
-
-     beautiful features of the whole building. We can recall the western
-     porch at Ely, and the Angel Choir at Lincoln, and the chapter-house
-     at Southwell; but, here, at Salisbury, we have the whole vast
-     cathedral, all in the same supreme style, every part fitting into
-     its place, and adding its contribution to the general effect, never
-     in contrast but always in harmony until the effect is attained.
-     What that is may be read in countless books of travel or criticism.
-     Salisbury Cathedral, like the Parthenon and all other--there are
-     not many--buildings which tempt one to call them poems in
-     stone--produces a different feeling in the minds of all who see
-     it.”--(W. J. L.)
-
-Salisbury was built on a site unoccupied by a former church. The
-“Bishop’s Stool” had long been at Old Sarum on Salisbury Plain, a
-fortified castle and cathedral; but the castle became too important and
-Bishop Poore and his canons removed the See in the early part of the
-Thirteenth Century. An old legend says that the site of the new
-Cathedral was determined by an arrow shot by an archer from the ramparts
-into the green vale below.
-
-The first stone was laid for the Pope, who had consented to the removal
-of the church from Old Sarum; the second, for Stephen Langton,
-Archbishop of Canterbury, then with young Henry III. in Wales; the
-third, for Bishop Poore; the fourth was laid by William Longespée, Earl
-of Salisbury; and the fifth, by the Countess Ela, his wife. When the
-King returned from Wales many of his courtiers visited Salisbury, “and
-each laid his stone, binding himself to some special contribution for a
-period of seven years.”
-
-The building was undertaken by Elias of Dereham, clerk of the works; and
-his successors were Nicholas of Portland and Richard of Fairleigh. The
-latter completed the spire in 1375.
-
-The Cathedral was consecrated in 1258, by the Archbishop of Canterbury
-in the presence of Henry III. and his Queen.
-
-The Cloisters and Chapter-House were built in the Thirteenth Century and
-the Spire (which seems, however, to have formed part of the original
-plan) in the Fourteenth.
-
-     “The history of no English cathedral is so clear and so readily
-     traceable as that of Salisbury. It was the first great church built
-     in England in what was then the new or pointed style (Early
-     English); of which it still remains, as a whole, one of the finest
-     and most complete examples. The Abbey Church of Westminster,
-     commenced in 1245, and completed to the east end of the choir in
-     1269, is the only great building of this age in England which can
-     be considered finer than Salisbury; and it is probable that Henry
-     III. was induced to undertake the rebuilding of Westminster from
-     admiration of the rising glories of the new Wiltshire cathedral,
-     which he had several times visited. On the Continent, the great
-     rival of Salisbury is Amiens; commenced in the same year (1220) and
-     completed, nearly as at present, in 1272.
-
-     “The usual alterations took place in Salisbury Cathedral at the
-     Reformation, when much of the painted glass is said to have been
-     removed by Bishop Jewell. Although desolate and abandoned, it
-     escaped material profanation during the Civil War, and workmen were
-     even employed to keep it in repair. On the Restoration, a report of
-     the general condition of the cathedral was supplied by Sir
-     Christopher Wren, and certain additions for the strengthening of
-     the spire were made at his recommendation. The great work of
-     destruction was reserved for a later period and more competent
-     hands. Under Bishop Barrington (1782-1791) the architect Wyatt was,
-     unhappily, let loose upon Salisbury; and his untiring use of axe
-     and hammer will stand a very fair comparison with the labours of an
-     iconoclast emperor, or with the burning zeal of an early Mohammedan
-     caliph. He swept away screens, chapels and porches; desecrated and
-     destroyed the tombs of warriors and prelates; obliterated ancient
-     paintings; flung stained glass by cartloads into the city ditch;
-     and levelled with the ground the Campanile--of the same date as the
-     Cathedral itself--which stood on the north side of the churchyard.
-     His operations at the time were pronounced ‘tasteful, effective and
-     judicious.’ The best point of view is from the north-east, which
-     Rickman has pronounced ‘the best general view of a cathedral to be
-     had in England, displaying the various portions of this interesting
-     building to the greatest advantage.’ The Cathedral is built (and
-     roofed) throughout with freestone obtained from the Chilmark
-     quarries, situated about twelve miles from Salisbury towards
-     Hendon, and still worked. The stone belongs to the Portland beds of
-     the oölite. The pillars and pilasters of the interior are of
-     Purbeck marble. The local rhyme in which the cathedral is
-     celebrated may here be quoted; it is attributed by Godwin, who
-     gives a Latin version of it, to a certain Daniel Rogers:
-
-    “‘As many days as in one year there be,
-     So many windows in this church you see.
-     As many marble pillars here appear
-     As there are hours through the fleeting year.
-     As many gates as moons one here does view,
-     Strange tale to tell, yet not more strange than true.’
-
-     The great point to which the attention of the stranger is at once
-     drawn is, of course, the grand peculiarity of Salisbury, the
-     ‘silent finger’ of its _spire_. This is the loftiest in England,
-     rising 400 feet above the pavement (Chichester said, but very
-     doubtfully, to have been built in imitation of it, is 271 feet in
-     height; Norwich 313 feet) and its summit is 30 feet above the top
-     of St. Paul’s.”--(R. J. K.)
-
-Dean Stanley said that Westminster is all-glorious within and Salisbury,
-all-glorious without.
-
-     “Much has been written on the beauty of the Cathedral church of
-     Salisbury, the chastity of its style and the purity of its detail.
-     The east end may be said to display the utmost refinement of the
-     Early English era. Every subordinate feature is so perfectly
-     disposed, so admirably carried out and adapted to its purpose, so
-     necessary to the full effect of the whole, so simple and yet so
-     rich, that nothing, even by the most critical, can be found wanting
-     there or considered _de trop_. The northern side is scarcely less
-     perfect; the simple lancet openings of its eastern transept, the
-     more fully developed quatrefoils of the central gable and the still
-     more advanced northern porch beyond these, all mark the progress of
-     construction. At the intersection rises the still later tower and
-     spire, the final limb of the whole, on an embattled lower stage of
-     earlier date. It is rich to the utmost limit. Every ballflower,
-     every projecting shaft and moulding sparkles for itself and casts
-     its own diminutive shadow upon its fellow, entirely relieving the
-     wall-surface of that flatness which is and must be the fault in
-     every view purporting to suggest its elegance. The church stands
-     alone; like a model of itself; in its entirety perhaps the most
-     stately of which we can boast.”--(A. A.)
-
-In the close, which is about half a square mile, there are three gates:
-the South, or =Harnham=; the East, or =St. Anne’s=; and the North, or =Close
-Gate=, built about 1327.
-
-     “The first thing to be noticed in Salisbury is the ample breadth of
-     the space in which its cathedral stands, the beauty of which space
-     is enhanced by rows and avenues of magnificent trees; so that it is
-     difficult to conceive a more appropriate enclosure in which to find
-     ‘the most chaste of English’ churches. Salisbury covers no less
-     than eight acres of ground.
-
-     “Entering from the High Street, the visitor finds himself almost in
-     another township. A street lined with houses conducts to the
-     Cathedral lawn, where from the north-eastern extremity the full
-     proportions of the church may be comprehended. The whole north side
-     of the close is thus open. On the east we find another gateway and
-     the entrance to the Palace; on the other side the Choristers’
-     Green, in itself another little close. The west is occupied by a
-     group of interesting and extremely handsome houses of various
-     dates. Here are the Deanery, standing in its own grounds opposite
-     the Cathedral façade; the King’s House, a long, many-gabled mansion
-     of the early Fifteenth Century, with mullioned windows and a
-     vaulted porch, the occasional resting-place of the English monarchs
-     on their passage through Salisbury; and the Wardrobe, distinguished
-     by its heavy roof, its projecting double gables, and the immense
-     square windows, back and front, through which the evening sun
-     penetrates with a curious half-ghostly gleam. These form the most
-     effective line of buildings of the enclosure, which at this least
-     trim but not the less picturesque side, terminates at the Harnham
-     Gate.”--(A. A.)
-
-Raising our eyes to the =Tower= and =Spire=, we note:
-
-     “The Early English portion, however, terminates with the first
-     story, about eight feet above the roof; the two additional stories
-     and the spire above them date from the reign of Edward III. The
-     walls of the upper stories of the tower are covered with a blind
-     arcade, richly canopied, and pierced for light with double windows
-     on all four sides. Above each story is a parapet with
-     lozenge-shaped traceries, which are repeated in the three bands
-     encircling the spire. At each angle of the tower is an octagonal
-     stair-turret, crowned with a small crocketed spire. The great
-     spire, itself octagonal, rises from between four small
-     richly-decorated pinnacles. Its walls are two feet in thickness
-     from the bottom to a height of twenty feet; from thence to the
-     summit their thickness is only nine inches. The spire is filled
-     with a remarkable frame of timber-work, which served as a scaffold
-     during its erection. While making some repairs in 1762, the workmen
-     found a cavity on the south side of the capstone in which was a
-     leaden box, enclosing a second of wood which contained a piece of
-     much decayed silk or fine linen, no doubt a relic (possibly of the
-     Virgin, to whom the cathedral is dedicated) placed there in order
-     to avert lightning and tempest.”--(R. J. K.)
-
-Entering by the west door we look down the =Nave=.
-
-     “The interior is indeed very fine. It could hardly help being fine;
-     a nave so spacious and so proportioned could under no circumstances
-     be a failure. It is immensely high and as long in proportion. The
-     proportion of height to span (2½ to 1) is better than in most
-     English churches. The harmony of the design--practically the same
-     from east to west and from north to south--is unique in England,
-     and is most impressive. The charming way, too, in which the
-     architect has contrived that we should have a vista of another
-     miniature church in the Lady-Chapel--a cathedral within a
-     cathedral--is worthy of all commendation. But, as in Lincoln nave,
-     to the eye every support is alarmingly insufficient for the work it
-     has to do; the piers are too tall and slender, the walls too thin
-     and pierced with too many openings. The triforium is a most
-     unfortunate design: in harmony neither with the arcade below, nor
-     with the clerestory above; its outer arches ugly in themselves and
-     discordant with every other arch in the church; nor could it be
-     expected that its dark marble shafts would tell against a dark
-     background--black on black. Add to this the dreadfully new look of
-     everything--partly due to the very perfection of the masonry,
-     partly because Scott has been here--and the overpowering glare: one
-     almost feels as if one were in the Crystal Palace.”--(F. B.)
-
-The most interesting tomb in the nave is that of =William Longespée=, the
-first Earl of Salisbury, son of Henry II. and Fair Rosamond, who died at
-his castle of Old Sarum in 1226.
-
-     “The effigy is entirely in chain-mail, covering the mouth as well
-     as the chin in an unusual manner. Over the mail is the short
-     cyclas, or surcoat. On the earl’s shield are the six golden
-     lioncels also borne by his grandfather Geoffrey, Count of Anjou.
-     Longespée acquired the earldom of Salisbury through marriage with
-     its heiress, the Countess Ela. He took an active part in public
-     affairs throughout the reign of John; joined the Earl of Chester in
-     an expedition to the Holy Land, and was present at the battle of
-     Damietta in 1221, where the Christians were defeated. He fought
-     much in Flanders and in France; was present on the King’s side at
-     Runnymede; and was one of the witnesses to the Great Charter.”--(R.
-     J. K.)
-
-The curious monument of the =Boy Bishop= was removed to its present
-position about 1680, when it was found buried under the seating of the
-choir. It is Early English and represents an effigy of the boy in
-bishop’s robes and mitre, holding a crozier in his left hand. The
-boy-bishop was elected by the choir-boys in many of the English
-cathedrals on St. Nicholas’s Day (Dec. 6) and he held office until Holy
-Innocents’ Day (Dec. 28), during which time he was practically bishop.
-Law provided that if a boy-bishop died during his term of power, he was
-to be buried in his vestments and with all the pomp of an episcopal
-funeral; and, therefore, we must conclude that this boy died during his
-short rule.
-
-From the nave we enter the =North Transept=,
-
-     “passing under the wide Perpendicular arch, which (as at Canterbury
-     and Wells) was inserted early in the Fifteenth Century by way of
-     counter-thrust against the weight of the central tower, under which
-     the central piers had already given away to some extent, as will be
-     at once perceived. It is owing to this settlement of the piers that
-     the spire is out of the perpendicular. The triforium and clerestory
-     of the nave are carried round the transept; the triforium on the
-     north side, being replaced by two-light window of very elegant
-     character. The clerestory window above, with its slender pilasters,
-     and graceful flow of lines, deserves especial notice. Each transept
-     has an eastern aisle divided by clustered piers into three bays.
-     The screens which formerly enclosed the chapel in each of these
-     bays were swept away by Wyatt. A staircase in the angle of the
-     transept leads upward to the tower, which may be ascended by
-     staircases in each of its flanking turrets. The top of the tower is
-     called the Eight Doors, from the double doors on each side, through
-     which the visitor will obtain magnificent views over the town and
-     surrounding country. The first story of the tower is of Early
-     English date, and originally formed a lantern, open to the nave. It
-     is surrounded by an arcade of slender pilasters. The ascent of the
-     spire--which is a formidable undertaking--is made internally by a
-     series of slender ladders as far as a little door about forty feet
-     below the vane, and from that point the adventurous climber has to
-     scale the outside by means of hooks attached to the walls. The
-     interior is filled with a timber frame consisting of a central
-     piece with arms and braces.”--(R. J. K.)
-
-The =South Transept= is a counterpart of the north transept. The windows
-at the south end are filled with stained-glass. The glass in the upper
-lights is Early English.
-
-The lierne vault above the central tower arches is Perpendicular. From
-here we enter the =Choir=, passing under a screen of wrought metal
-(modern). In the second arcade on each side of the =choir= is placed the
-new and divided organ built by Willis.
-
-     “The Choir and Presbytery are very similar to the nave in the main
-     features of their design. The piers show a different plan, which
-     provides for eight shafts of Purbeck marble to each. The inner
-     mouldings of the arches exhibit the dog-tooth ornamentation of
-     their period. The triforium and clerestory differ slightly from the
-     corresponding parts of the nave. In each of the last two bays of
-     the presbytery the triforium has five small cinquefoil arches. At
-     the east wall of the choir above the reredos is an arcade of five
-     simply-pointed arches, below a triplet window in the gable, which
-     is filled with stained glass, given by the Earl of Radnor in 1781,
-     and representing _The Brazen Serpent_, after a design by Mortimer.
-
-     “The choir still bears traces of Wyatt’s destruction. He removed
-     the original reredos behind the high altar and the screen before
-     the Lady-Chapel, so that both, with the low eastern aisle, were
-     thrown into the choir. He shifted the high altar from the choir to
-     the extreme east end of the Lady-Chapel, sacrificing several
-     chantries and tombs to do so. Views of the cathedral after his
-     reign of terror fail to show any gain to compensate for so much
-     loss; the extreme length is not apparently an advantage, while the
-     bare look of the interior seems decidedly intensified by the
-     increased vista that he was so delighted to obtain, and for which,
-     with a light heart, he effaced the silent records of dead
-     centuries. The decorations of the roof of the choir and presbytery
-     are reproductions of the original series of paintings, dating, it
-     is thought, from the Thirteenth Century. The subjects are the
-     prophets and saints, Christ and the four Evangelists and the twelve
-     months.”--(G. W.)
-
-On the north side of the choir is =Bishop Audley’s Chantry=, built by the
-bishop in 1520, four years before his death. It is late Perpendicular
-and resembles the chantry of Bishop Fox at Winchester. The fan-tracery
-of the roof was originally coloured. In the corresponding bay on the
-south side is the chantry founded by =Walter, Lord Hungerford=, in 1429.
-It was removed from the nave in 1778.
-
-The =Choir-Stalls= are composed of pieces of various dates with some
-additions by Sir Christopher Wren and canopies by Wyatt. The =Reredos= is
-modern, the gift of Earl Beauchamp in memory of his ancestor, whose
-chantry Wyatt destroyed. It was designed by Sir Gilbert Scott.
-
-Many of the Earls of Pembroke and their wives are buried near the choir.
-
-In the =South-choir-aisle= an interesting monument to =Bishop Davenport=,
-probably one of the translators of the Bible, is of white marble with
-black Corinthian pillars. Near it is the tomb of =Sir Richard Mompesson=
-and his wife. He is in armour and Katherine in a black robe with gold
-flowers. The black Corinthian columns with vine leaves and grapes in
-green and gold twisted around them are striking. Near the south
-transept, still in the choir-aisle, is the altar-tomb of =Bishop Mitford=
-(1407), with carved shields. On the cornice with the lilies, birds are
-holding in their beaks scrolls with the words _Honor Deo et gloria_.
-
-In the floor of the north-east-choir-aisle is the =brass= to =Bishop
-Wyvill=, generally regarded as one of the most wonderful existing
-examples. Bishop Wyvill (1329-1375) recovered for this See the castle of
-Sherborne and the chase of Bere. The brass, therefore, represents the
-contested castle with keep and portcullis. At the door of the first ward
-the bishop appears, bestowing his benediction on his champion, who
-stands at the gate of the outer ward with battle-axe and shield. The
-rabbits and hares before the castle refer to the chase of Bere, within
-Windsor Forest.
-
-=Bishop Giles de Bridport= (died 1262) lies opposite William of York’s
-tomb, between the choir-aisle and the eastern-aisle of the transept. His
-monument is one of the most important and interesting in the Cathedral.
-
-     “All the details of this remarkable monument deserve the most
-     careful examination. The effigy, at the head of which are small
-     figures of censing angels, lies beneath a canopy, supported north
-     and south by two open arches with quatrefoils in the heads. Each
-     arch is subdivided by a central pilaster, and springs from
-     clustered shafts, detached. A triangular hood-moulding, with
-     crockets and finials of leafage, projects above each arch; and
-     between and beyond the arches pilasters rise to the top of the
-     canopy, supporting finials of very excellent design. The whole
-     character of the tomb is most graceful, but an especial interest is
-     given to it by the reliefs with which the spandrels of the arches
-     are filled, and by the small sculptured figures on various parts of
-     the monument. The subjects, beginning on the south side, have been
-     thus interpreted. The first, a female figure with an infant and
-     attendants, represents the birth of the future bishop: in the three
-     next spandrels are his confirmation; either his own education or
-     his instruction of others; and, possibly, his first preferment. The
-     shield hung from a tree in this compartment, bears Az., a cross,
-     or, between 4 bezants, no doubt his own arms. On the north side of
-     the monument are the bishop doing homage for his see--a procession
-     with a cross-bearer, perhaps referring to the dedication of
-     Salisbury Cathedral--the bishop’s death and the presentation of his
-     soul for judgment. Little or nothing is known of the life of Bishop
-     Bridport.”--(R. J. K.)
-
-At the end of the north aisle of the Lady-Chapel and at the end of the
-south aisle, directly opposite, are two monuments that will interest the
-visitor. The first is a medley of obelisks, globes, spheres and the Four
-Cardinal Virtues and effigies of =Sir Thomas Gorges= and his widow,
-maid-of-honour to Queen Elizabeth. The second is a gorgeous tribute to
-=Edward, Earl of Hertford=, son of the Protector Somerset and of his wife,
-Catherine, Lady Jane Grey’s sister. The effigies are praying; the Earl
-is in armour. The whole piece is gilded and coloured.
-
-Very little ancient glass remains in Salisbury.
-
-     “The fragments that survived were collected some fifty years since,
-     and placed in the nave windows, and in parts of some of the others.
-     The most important are in the great west triple lancet, wherein the
-     glass ranges in date from the Twelfth to the Fifteenth Century. Mr.
-     Winston, in his Paper read in 1849 before the Archæological
-     Institute and printed in the Salisbury volume for that year,
-     considered that the earliest fragments are from a Stem of Jesse
-     about 1240 and some medallions about 1270. He describes two of the
-     ovals that are on each side of the throned bishop, a prominent
-     figure in the lower half of the central light, one of the Christ
-     enthroned, the other of the Virgin. The two medallions below them
-     he believes represent Zacharias in the Temple and the Adoration of
-     the Magi. The later glass now in the same window may be either
-     Flemish work brought hither from Dijon, or possibly partly from
-     Rouen, and partly from a church near Exeter. It has been
-     conjectured that in the south lancet the figures represent SS.
-     Peter and Francis, in the central one the Crucifixion, the
-     Coronation of the Virgin and the Invention of the Cross, and in the
-     north light the Betrayal of Christ and St. Catherine. In two of
-     the side windows of the nave are the arms of John Aprice
-     (1555-1558) and Bishop Jewell (1562).”--(G. W.)
-
-In the south-choir-aisle is =Jacob’s Dream= in memory of the Duke of
-Albany and there are also two of the proposed six angel-windows--=Angeli
-Ministrantes= and the =Angeli Laudantes=--designed by Sir Edward
-Burne-Jones and made by William Morris. These are considered among the
-best examples of glass-painting since the Middle Ages.
-
-The =Chapter-House= is a very fine type of an English chapter-house of the
-Thirteenth Century, when geometrical tracery was in vogue. It probably
-dates from the reign of Edward the First.
-
-     “The architecture is somewhat later in style than that of the
-     cloisters, and if it be not, as its admirers claim, the most
-     beautiful in England, it has few rivals. Like Westminster, Wells
-     and other English examples, except York and Southwell, it has a
-     central pillar, from which the groining of the roof springs
-     gracefully in harmonious lines. A raised bench of stone runs round
-     the interior. At its back forty-nine niches of a canopied arcade
-     borne on slight Purbeck marble shafts marked out as many seats.
-     They are apportioned as follows: those at each side of the entrance
-     to the Chancellor and Treasurer respectively, the rest to the
-     Bishop, Dean, Archdeacons and other members of the chapter.
-
-     “The plan of the building is octagonal, about fifty-eight feet in
-     diameter and fifty-two feet in height. Each side has a large
-     fan-light window with traceried head. Below these windows and above
-     the canopies of the seats is a very remarkable series of
-     bas-reliefs. The bosses of the roof are somewhat elaborately
-     carved: one north of the west doorway has groups of figures on it,
-     apparently intended to represent armourers, musicians, and
-     apothecaries, possibly commemorating guilds who were benefactors to
-     the building; the others have foliage chiefly with grotesque
-     monsters. On the base of the central
-
-[Illustration: SALISBURY: NAVE, EAST]
-
-[Illustration: EXETER: SOUTH-WEST]
-
-     pillar is a series of carvings taken probably from one of the many
-     books of fables so popular in the Middle Ages. These were
-     reproduced from the originals, which are preserved in the
-     cloisters.”--(G. W.)
-
-The vaulted roof is re-painted in accordance with the original.
-
-The =Cloisters= are on the south-west side of the Cathedral, their western
-wall being on a line with the west front. These fine covered walks, the
-largest in England (181 feet long), surround a great sward (140 feet
-square), where a group of dark cedars contrasts beautifully with the
-grey walls. The style is late Thirteenth Century. The windows formed of
-double arches with quatrefoils united at the main head with a large
-six-foiled circle are much admired.
-
-
-
-
-EXETER
-
-     DEDICATION: ST. PETER. A CHURCH SERVED BY SECULAR CANONS.
-
-     SPECIAL FEATURES: SCREEN ON WEST FRONT; MISERERES; BISHOP’S THRONE;
-     MINSTRELS’ GALLERY; LADY-CHAPEL; EAST WINDOW.
-
-
-     “As the last cathedral church we visited, namely Salisbury, may be
-     taken as the most complete example of Early English work, so Exeter
-     in its present state is the best specimen of the Decorated style
-     that is to be met with in England. For though, unlike Salisbury, it
-     was not built afresh from the ground, yet under Bishops Quivil,
-     Bitton, Stapledon and Grandisson, between the years 1280 and 1369,
-     the fabric was so entirely remodelled that it may be regarded as
-     practically a new building; and since the work of remodelling began
-     about the time that the Early English style was passing into the
-     Decorated, and was completed before the time when the Perpendicular
-     had superseded the Decorated, it naturally is characterised by the
-     features of that style which flourished during the first half of
-     the Fourteenth Century. Much indeed of the work found at Exeter is
-     the very finest that the Fourteenth Century produced.”--(T. P.)
-
-As early as the reign of Athelstan a Benedictine monastery, dedicated to
-St. Peter, existed at Crediton and was much injured by the Northmen in
-the Tenth and Eleventh Centuries. When the Sees for Devon and Cornwall
-were removed from Crediton to Exeter in 1050, the old church of St.
-Peter was chosen for the new Cathedral. Of the Saxon church, however,
-nothing remains. William Warelwast (1107-1136), the third bishop after
-the Conquest, began the new church about 1112, in the “marvellous and
-sumptuous” architecture of the Normans. During its erection it suffered
-from fire when Stephen besieged Exeter in 1136. Of this building the two
-transept towers remain. Bishop Peter Quivil built the greater part of
-the present Cathedral before 1291; Bishop Stapledon, who was murdered by
-the Londoners at the “great cross in Chepe” in 1326, the eastern part of
-the Choir, the sedilia and the choir-screen; Bishop Grandisson finished
-the Nave about 1350 and the west front, in all probability, a little
-later; and Bishop Brantingham, the Cloisters. The Lady-Chapel was built
-during the episcopates of Bronescomb and Quivil, and the chapels of St.
-Mary Magdalene and of St. Gabriel the Archangel, north and south of the
-Lady-Chapel, are the work of Bishop Bronescomb.
-
-Many of the ancient decorations and arrangements were either removed, or
-defaced, by Queen Elizabeth’s “visitors,” who, in 1559, were appointed
-to compel the general observance of the Protestant formularies. During
-the Commonwealth the Cathedral was divided into two portions by a brick
-wall so that an Independent preacher named Stuckeley, one of Cromwell’s
-chaplains, could preach in “West Peter’s,” and a Presbyterian, named
-Ford, in the Choir, or “East Peter’s,” as the Puritans now named these
-portions of the Cathedral.
-
-The finest view is perhaps from Waddlesdown, about four miles from
-Exeter. Taking a view of the exterior,
-
-     “The visitor should especially remark the Norman towers, the
-     cresting of the roof, the flying-buttresses and the north porch.
-     The Norman towers, in connection with the long unbroken roof,
-     should perhaps be regarded as constituting the specialty of Exeter.
-     At all events, the peculiarity of their present position is so
-     great and so striking as at once to attract attention; and the
-     question of their place in the original Norman church is one of
-     very considerable interest. Each tower consists of six stages, the
-     two lowest of which are plain: the other four have blind arcades
-     and circular window openings, the details and arrangements of which
-     vary in the two towers. At the angles are square buttresses, which
-     rise above the uppermost story. The south tower is Norman
-     throughout; that on the north was altered by Bishop Courtenay for
-     the reception of the great bell from Llandaff, and its final stage
-     is Perpendicular. The _fleur-de-lis_ cresting of the roof is of
-     lead (with which the whole of the roof is covered), and its form is
-     very graceful and effective. The flying-buttresses derive a very
-     grand effect from the fact that the aisle-roofs slope outwards, and
-     not, as usual, inwards. Resulting also from this peculiarity are,
-     the great height of the aisles on the exterior, and an unusual
-     development of the clerestory, without any intervening space
-     between it and the aisle-roofs; and within the nave, the absence of
-     the triforium; the place of which is, however, indicated by the
-     blind arcade above the piers. The north porch with its triple
-     canopy is part of Grandisson’s work, and very beautiful.”--(R. J.
-     K.)
-
-Many people are at first disappointed with their first view of the =West
-Front= and more particularly of the =Screen= with its noble array of
-statues. The impression that it produces has been well described by W.
-D. Howells, who writes on his visit to Exeter:
-
-     “To the first glance it is all a soft gray blur of age-worn
-     carving, in which no point or angle seems to have failed of the
-     touch which has blent all archaic sanctities and royalties of the
-     glorious screen in a dim sumptuous harmony of figures and faces.”
-
-Now let us examine it more in detail.
-
-     “The west front, usually regarded as the latest work of Bishop
-     Grandisson, who died in 1369, is of very high interest; and
-     although it cannot compete with those of Wells or Lincoln (both of
-     earlier date), may justly claim great beauty as an architectural
-     composition. It recedes in three stories, the lowest of which is
-     formed by the sculptured screen; the second contains the great west
-     window, on each side of which is a graduated arcade; and in the
-     third, or gable, is a triangular window surmounted by a niche,
-     containing a figure of St. Peter, the patron saint of the
-     cathedral. The SCREEN deserves the most careful examination. It is
-     pierced by three doorways, and surrounded by a series of niches, in
-     which are the statues of kings, warriors, saints and apostles,
-     guardians, as it were, of the entrance to the sanctuary. These
-     figures are arranged in three rows. From pedestals crowned with
-     battlements spring angels, each of whom supports a triple pilaster,
-     with capitals. The statues on these capitals, forming the second
-     row, are for the most part those of kings and knights; above the
-     canopies which surmount them appears the third row, chiefly saints
-     and apostles. The positions of the angels are admirably varied.
-
-     “The two statues with shields of arms in niches above the upper row
-     are certainly those of Athelstan and Edward the Confessor, the
-     Saxon king who expelled the Britons from Exeter, and the founder of
-     the existing bishopric. In all these figures the general
-     arrangement of the hair as well as the fashion of the crowns and of
-     the armour, are those of the reign of Edward III., in which the
-     work was probably completed.
-
-     “The platform above the screen no doubt served, as in many foreign
-     cathedrals, as a station from which the church minstrels and
-     choristers might duly welcome distinguished persons on their
-     arrival; and from which the bishop might bestow his benediction on
-     the people. The three doorways are much enriched. Round that in the
-     centre, within the porch, is a moulding of carved foliage which
-     deserves notice. On the central boss of the groining is a
-     representation of the Crucifixion. The recess within the south
-     doorway contains two sculptures, The Appearance of the Angel to
-     Joseph in a Dream and The Adoration of the Shepherds. Both, like
-     the figures on the screen, have suffered not a little from time,
-     and the assaults of Cromwell’s Puritans.”--(R. J. K.)
-
-Exeter is distinguished among English cathedrals in not having a central
-tower. This gives the exterior a unique appearance and the interior
-gains by the absence of tower piers to block the view. Exeter has,
-therefore, the most open and impressive vista of any English cathedral.
-The screen being low, the whole design is immediately comprehended. It
-has been compared to the Cathedral of Bourges.
-
-In our walks through Exeter it may be well to remember that Quivil’s
-architect determined to see what he could do with lowness and breadth.
-
-     “Everything should be broad and low, outside as well as inside.
-     Look at the east end of the choir--its two arches broad and low;
-     above it the great window--broad and low. Nowhere but at Exeter do
-     you find these squat windows with their truncated jambs; here they
-     are everywhere--in the aisles, in the clerestory, in choir,
-     chapels, transepts and nave; even in the great window of the
-     western front: broad and low windows everywhere. Still more
-     original is the external realisation of the design; central tower
-     and spire, western towers and spires, alike are absent. Long and
-     low, massive and stable stretches out uninterruptedly the long
-     horizontal line of nave and choir. Breadth gives in itself the
-     satisfactory feeling of massiveness, steadfastness and solidity;
-     and this is just what is wanting in the all-too aërial work of
-     Salisbury and Beauvais; vaulted roofs at a dizzy height resting on
-     unsubstantial supports and sheets of glass. But the Exeter
-     architect has emphasised this satisfactory feeling of stability
-     still further. The window tracery is heavy and strong; the vault is
-     barred all over with massive ribs; in the piers there are no
-     pretty, fragile, detached shafts; the massive clustered columns
-     look as if they were designed, as they were, to carry the weight of
-     a Norman wall.”--(F. B.)
-
-The heaviness was counteracted by transparency: the arrangement of the
-windows flood the Cathedral with light; for the aisle and clerestory
-are almost a continuous sheet of glass.
-
-     “Another distinctive feature in Exeter as in Salisbury, is that the
-     architect produces his effect mainly by architectural means--is not
-     driven to rely on sculpture. All the principal capitals have
-     mouldings not foliage. Only in the great corbels of the vaulting
-     shafts and in the bosses of the vault does he permit himself
-     foliage and sculpture. Wonderful carving it is; the finest work of
-     the best period, when the naturalistic treatment of foliage was
-     fresh and young. Very remarkable these corbels are, with their
-     life-like treatment of vine and grape, oak and acorn, hazel leaf
-     and nut. Unfortunately the corbels, and still more the bosses, are
-     so high up that their lovely detail is thrown away; and they are
-     out of scale.
-
-     “And the patterns of the window tracery are wonderfully diverse. It
-     is not, as in Lichfield nave or King’s College Chapel, where every
-     window is like its neighbour; when you have seen one, you have seen
-     all. Here, all down each side of the church every window differs.
-     In dimensions, in general character, they agree; in details they
-     differ; each window is a fresh delight; we have, what even in
-     Gothic architecture we rarely get--diversity within
-     simplicity.”--(F. B.)
-
-First we examine the splendid =Nave=.
-
-     “The first view of the NAVE is rich and striking. Its present
-     length is 140 feet. The view looking east is intercepted by the
-     organ, which is placed above the screen at the entrance to the
-     choir; but the general impression, notwithstanding a want of
-     height, is that of great richness and beauty. The roof especially,
-     springing from slender vaulting shafts, studded with delicately
-     carved and varied bosses, and extending unbroken to the east end of
-     the choir, is exceeded in grace and lightness by no other of the
-     same date in the kingdom and by few on the Continent. The carved
-     bosses, all of which retain traces of colour, represent foliage,
-     animals (near the centre of the nave is a sow with a litter of
-     pigs), grotesque figures, heraldic shields, subjects from early
-     ‘bestiaries’ and romances, such as the centaur with a sword, and
-     the knight riding on a lion toward the eastern end, heads of the
-     Virgin and Saviour, the Passion and Crucifixion, and in the centre
-     of the second bay, the murder of Becket. Grandisson wrote a life of
-     the great Archbishop, which remains in MS., but was very popular in
-     its day. The episcopal figure on the adjoining boss may either
-     represent Becket or Grandisson himself. Clustered pillars of
-     Purbeck marble (contrasting well with the lighter stone from
-     Silverton and Bere) of which the walls and roof are constructed,
-     separate the nave from the aisles and divide it into seven
-     compartments or ‘bays.’
-
-     “The corbels between the arches, which support the vaulting shafts
-     of the roof, are, perhaps, peculiar to this cathedral, and should
-     be especially noticed. They are wrought into figures, twisted
-     branches and long sprays of foliage, and afford excellent examples
-     of the very best period of naturalism. Every leaf is varied and the
-     character of the different kinds (here for the most part oak and
-     vine) is admirably retained. The second corbel on the south side of
-     the nave exhibits the Virgin treading on an evil spirit, and
-     carrying the Divine Infant. Above is her coronation. The
-     easternmost nave-corbels display on the north side Moses with his
-     hands supported by Aaron and Hur; and on the south the risen
-     Saviour, with cross and banner. The brackets at the foot of these
-     corbels are crowned heads; and possibly represent Edward I. and
-     Edward II., the first beardless as usual, the other more defaced.
-     The second corbel on the north side represents St. Cecilia, with a
-     somewhat grotesque angel listening to her music.
-
-     “A blind arcade, taking the place of the triforium, deeply recessed
-     and arranged in groups of four arches under each bay, runs above
-     the nave arches; and in the central bay on the north side projects
-     the Minstrels’ Gallery, an arrangement for the accommodation of
-     musicians on high festivals, which occur in this perfection nowhere
-     else in England. There are, indeed, other examples at Wells and at
-     Winchester, but of far less interest and importance. Each of the
-     twelve niches into which its front is divided contains the figure
-     of a winged angel playing on a musical instrument and surmounted by
-     a rich canopy. The instruments beginning from the west are, a
-     cittern, bagpipes, flageolet, crowth or violin, harp, an unknown or
-     unseen instrument (the fingers are put close to the mouth),
-     trumpet, organ, guitar, wind instrument, tambour and cymbals. The
-     two corbelled heads below, supporting niches, are possibly those of
-     Edward III. and Philippa. The manner in which the hands and arms
-     are raised above the heads is unusual. Above the arcade and
-     minstrels’ gallery is the clerestory, along which a gallery is
-     pierced in the thickness of the wall.
-
-     “The windows of the nave, all of the best and purest (geometrical)
-     Decorated, are said to exhibit a greater variety of tracery than
-     can be found in any other building in the kingdom. They are
-     arranged in pairs, on opposite sides of the cathedral; so that no
-     two side by side will be found to resemble each other. The varied
-     and graceful patterns of the lead-work should also be noticed. The
-     stained glass in the great west window is, for the most part,
-     modern and worthless (it dates from 1766) injuring the beauty of
-     the window itself by its entire want of harmony and meaning. The
-     ruby glass in this window is said to be some of the latest that was
-     manufactured in England before M. Bontemps revived the art.”--(R.
-     J. K.)
-
-Walking back to the west end, we stop to examine the =Chantry of St.
-Radegunde=,
-
-     “constructed in the thickness of the screen by Bishop Grandisson
-     for the place of his own sepulture. His tomb formerly existed here,
-     but it was destroyed by Elizabeth’s visitors and the high-born
-     prelate’s ashes scattered ‘no man knoweth where.’”--(R. J. K.)
-
-Opening from the first bay of the Nave is the small =Chapel of St.
-Edmund=, of earlier date than the Nave. In the fifth bay, on the same
-side, is the =North Porch=. In the last bay on the south side is an Early
-English doorway that formerly opened into the cloisters; and between the
-first two buttresses on the south side a finely carved consecration
-cross attracts our notice.
-
-The Pulpit dates from 1684.
-
-The =Transepts=, one bay each, occupy the space under the towers. East of
-the =North transept= is the =Chapel of St. Paul=, built by Quivil and now
-used as a vestry. In the corner we find the tomb and chantry of =Sylke=, a
-sub-chanter, who founded this chantry in 1485 and was buried in it in
-1508. His effigy lies here. Against the east wall are memorials to the
-soldiers of the 20th, or East Devon Regiment who fell in the Crimean
-War. Here is also the famous clock which has two dials. It is supposed
-to date from the reign of Edward III.
-
-A door below the clock opens to the stairs into the =North tower=, in
-which is hung the =Great=, or =Peter Bell=, the second largest bell in
-England. It weighs 12,500 pounds.
-
-     “The Peter bell was crazed on Nov. 5, 1611, most probably from a
-     too violent ringing in commemoration of the Gunpower Plot, and was
-     recast in 1676. Its diameter at the mouth is 6 feet 3 inches; its
-     height nearly 4 feet 8 inches. It is, of course, never rung, but
-     the hours are struck on it by an enormous hammer. The visitor who
-     happens to be in the tower at the time of striking will experience
-     a new sensation,--the humming of the great mass of metal lingers
-     for many minutes among the huge beams and rafters. A superb view of
-     the city surrounded by trees and gardens, of the river and of its
-     junction with the sea at Exmouth, is obtained from the top of the
-     tower, the upper part of which (of Perpendicular character) was
-     raised and adapted by Bishop Courtenay for the reception of Great
-     Peter, which he brought from Llandaff.”--(R. J. K.)
-
-The =South Transept= is a counterpart of the north, and the =Chapel of St.
-John the Baptist=
-
-[Illustration: EXETER: NAVE, EAST]
-
-[Illustration: EXETER: CHOIR, EAST]
-
-(also Quivil’s work) corresponds with St. Paul’s opposite. In the Tower
-are eleven bells, ten of which are rung in peal. They date from the
-Seventeenth Century. Between this Transept and the Chapter-House lies
-the =Chapel of the Holy Ghost=, formerly used as a baptistery. It is
-Norman. The Chapter-House, opening from what is still called the
-=Cloisters= (although the cloisters were demolished during Cromwell’s
-rule), was begun in the Thirteenth Century and finished in the
-Fifteenth.
-
-When Bishop Grandisson dedicated the =High Altar=, Dec. 18, 1328, he wrote
-to the Pope that the Cathedral, then half finished, would be superior in
-its kind to any church in France or England.
-
-     “High as this praise was, the beauty of the vaulted roof and the
-     extreme grace of the details are proofs that it was scarcely
-     exaggerated. The roof bosses and corbels are of the same character
-     as those in the nave; but the latter are even more admirable in
-     design, and far more varied in foliage. Maple, oak, ash, the
-     filbert with its clusters of nuts, and the vine with fruit and
-     tendrils, could hardly be reproduced more faithfully. On the corbel
-     above the organ-screen, on the north side, is a Coronation of the
-     Virgin and on that beyond it a Virgin and Child with censing
-     angels.”--(R. J. K.)
-
-The =Choir=, Decorated, is very fine:
-
-     “We approach the choir, entered by a door in the beautiful screen
-     supporting the organ. This was the old rood-screen, on which
-     formerly stood the rood, or figure of our Lord on the Cross. It was
-     erected in the Fourteenth Century.
-
-     “The bosses of the vaulted roof are worthy of especial examination,
-     so remarkable are they for the delicacy of the carved foliage. The
-     choir has been carefully restored in recent years, and the stalls,
-     pulpit and reredos are modern and were designed by Sir Gilbert
-     Scott. Notice the old misereres, which are very remarkable and
-     probably the oldest and most curious in England. The foliage
-     denotes the Early English period and they were probably designed by
-     Bishop Bruere (1224-1244). Notice the mermaid and merman on the
-     south side, the elephant, knight slaying a leopard, a minstrel,
-     etc. The lofty bishop’s throne was erected by Stapledon, and is
-     said to have been taken down and hidden away during the Civil War
-     period. The painted figures represent the four great
-     bishops--Warelwast, Quivil, Stapledon and Grandisson. The sedilia
-     by Stapledon are very fine. Notice the carved lions’ heads and the
-     heads of Leofric, Edward the Confessor and his wife Editha. The
-     east window is Early Perpendicular, inserted by Bishop Brantingham
-     in 1390, and contains much old glass.”--(P. H. D.)
-
-The =miserere seats= (Thirteenth Century) are curious and beautiful. They
-are probably the earliest in England.
-
-     “They are fifty in number and their subjects are of the usual
-     character,--foliage, grotesques, animals (among which is an
-     elephant) and knights in combat, whose heater shields, flat helmets
-     and early armour are especially noticeable. Remark, on the _south_
-     side of the choir a mermaid and a merman holding some circular
-     instrument between them, the elephant mentioned above and a knight
-     sitting in a boat drawn by a swan, an illustration of the romance
-     of the _Chevalier au Cygne_. On the north side a knight attacking a
-     leopard, a monster on whose back is a saddle with stirrups, a
-     minstrel with tabor and pipe, a knight thrusting his sword into a
-     grotesque bird and a mermaid holding a fish. The Early English
-     character of the foliage, as well as its graceful arrangement,
-     should be noticed throughout.”
-
-     “On the south side, the superb BISHOP’S THRONE towering almost to
-     the roof. This was the gift of Bishop Bothe (1465-1478). It is said
-     to have been taken down and hidden during Monmouth’s
-     Rebellion.”--(R. J. K.)
-
-     “The Bishop’s Throne (A.D. 1316), intended for his Lordship with a
-     chaplain on either side; ‘a magnificent sheaf of carved oak, put
-     together without a single nail, and rising to a height of 57 feet.
-     The lightness of its ascending stages almost rival the famous
-     _sheaf of fountains_ of the Nuremberg tabernacle. The cost of this
-     vast and exquisitely carved canopy (about twelve guineas) is
-     surprisingly small, even for those days. The carved work consists
-     chiefly of foliage, with finials of great beauty, surmounting
-     tabernacled niches, with a sadly untenanted look, however, for lack
-     of their statuettes. The pinnacle corners are enriched with heads
-     of oxen, sheep, dogs, pigs and monkeys.’ Next came what is perhaps
-     the most exquisite work in stone in England, as the throne is
-     unparalleled in woodwork--the SEDILIA; the seats of the priest to
-     the east and to the west of him, those of the Gospeller and
-     Epistoler. The sedilia have been preferred even to the shrine of
-     Beverley and the Lady-Chapel of Ely. ‘The canopy of the seat
-     nearest the altar,’ says Mr. Garland, ‘deserves particular
-     attention. It is adorned with a wreath of vine leaves on each side,
-     which meet at the point and there form a finial; and never did
-     Greek sculptor of the best age trace a more exact portrait of the
-     leaf of the vine, nor design a more graceful wreath, nor execute
-     his design with a more masterly finish.’ It is regrettable that the
-     carving of the sedilia is attributed to a Frenchman.”--(F. B.)
-
-Of the high altar and reredos, perhaps the most magnificent in Europe,
-carved at the same period, not a fragment remains.
-
-The two most important tombs in the choir are those of =Bishop Lacey=, who
-died in 1455, and =Walter de Stapledon=, who was murdered in London in
-1326. Lacey has but a plain slab at which many miracles are said to have
-been done. Bishop Stapledon lies under a Perpendicular canopy, a fine
-figure holding a crozier with his left hand and a book with his right.
-Under the canopy is a figure of the Saviour, and at its side the small
-figure of a king crowned and wearing a scarlet robe, supposed to be
-Edward II. Bishop Stapledon’s body was removed from London to Exeter
-Cathedral by the Queen’s command and interred with great magnificence.
-
-From the choir two chapels open. On the north, =St. Andrew’s=, very early
-Decorated, is exactly like the opposite one, =St. James’s=. Beneath the
-latter is the ancient =Crypt=. Both chapels have chambers above them.
-
-Beyond the Choir, the ambulatory, or procession-path (Early Decorated),
-with =Speke’s Chantry= on the left or north and =Bishop Oldham’s= on the
-right or south, leads to the =Lady Chapel=. This was built by Quivil, and
-is remarkable for its beautiful foliage carvings, old reredos, graceful
-openings to the chantries on either side and magnificent east window.
-
-     “Quivil first transformed the Lady-Chapel; to him are due the
-     shafts, sedilia, double piscina, and the vaulting, the
-     rib-mouldings of which are of earlier character than those of the
-     choir; and the windows, which closely resemble those of Merton
-     College, Oxford, which we know was commenced in 1277. In the centre
-     of the Lady-Chapel Bishop Quivil is buried; he died in 1291. The
-     chapels on either side may have been remodelled or partly
-     remodelled by Bronescombe; but the east windows are later in style,
-     and are Quivil’s. The piers hereabout are very interesting. Those
-     of the Lady-Chapel looking into the side chapels are composed of
-     four columns. The north-east and south-east piers of the choir have
-     clusters of eight shafts instead of four; while in the pier between
-     them the cluster of eight is developed into a cluster of sixteen
-     columns. Finally notice that these piers are set diamond-wise, with
-     four flat faces, and the angles to the north, west, south and
-     east.”--(F. B.)
-
-In the centre of the pavement is the tombstone of =Bishop Peter Quivil=
-(died 1291), author of the present plan of the cathedral. Other effigies
-of bishops are interesting works of art, but those of =Sir John= and =Lady
-Doddridge= are very curious. Sir John (died 1628), one of James I’s
-judges of the King’s Bench, was called “the sleepy judge,” because he
-always sat on the bench with closed eyes; but more interesting is Lady
-Doddridge, who wears a rich dress brocaded with roses and carnations and
-also a remarkable ruff and headdress.
-
-Under the arches opening from the Lady-Chapel to the side chapels are
-tombs of =Bishops Bronescomb= and =Stafford=. Bishop Bronescomb’s effigy
-(1280), on the south side, is a fine piece of carving. Stafford’s
-opposite (1419) is of alabaster, and it is famous for the rich
-tabernacle-work above the head.
-
-We have been long attracted by the lovely =East window=. Now we can see
-the details.
-
-     “The east window is early Perpendicular and was inserted by Bishop
-     Brantingham about 1390. The stained glass with which it is filled
-     is for the most part ancient and very fine. Much of it dates
-     apparently from the first half of the Fourteenth Century (temp.
-     Edward I. and II.) and was removed from the earlier window; the
-     shields below are those of early bishops and benefactors; the
-     figures of saints above, most of which are to be recognised by
-     their emblems, deserve careful notice. Beginning with the lowest
-     row, and at the left hand, are St. Margaret, St. Catherine, St.
-     Mary Magdalene, St. Barbara, the Virgin and Child, St. Martin, St.
-     Peter, St. Paul and St. Andrew. All these figures are under very
-     rich and varied canopies. The first three and the last three are of
-     the first period; the others of Brantingham’s time. In the _middle
-     row_ are St. Sidwell, or Sativola, believed to have been a British
-     lady of noble birth, and contemporary with St. Winifred of Crediton
-     (first half of the Eighth Century). Her legend asserts that she was
-     beheaded by a mower at the instigation of her stepmother, who
-     coveted her possessions, near a well outside the walls of Exeter.
-     In the window St. Sativola appears with a scythe in her left hand,
-     whilst at her right is a well with a stream of water flowing from
-     it. These emblems may either form a rebus of her name (scythe-well)
-     or refer to her martyrdom. Beyond St. Sidwell are St. Helena, St.
-     Michael, St. Margaret, St. Catherine, Edward the Confessor and St.
-     Edmund. All the figures in this row are of Brantingham’s period.
-     The three figures in the uppermost row are Abraham, Moses and
-     Isaiah. These are of the first period. The tone of colour
-     throughout this window is very fine and solemn. The heraldry in the
-     upper part of the window is modern. In the north clerestory windows
-     of the central bay are four headless figures of early Decorated
-     character. The beautiful running pattern forming the ground on
-     which they are placed should be noticed.”--(R. J. K.)
-
-In the =north-choir-aisle= is a curious tomb with a cross-legged effigy of
-a Fourteenth Century knight in armour with one esquire at his head and
-another holding a horse at his feet. This is supposed to be a memorial
-to Sir Richard de Stapledon, a brother of the Bishop.
-
-Returning as we came, we pass the =Chantry of St. George=, founded by Sir
-Thomas Speke in 1518. It is a mass of rich carving. The effigy of the
-founder lies within.
-
-Opposite is =Bishop Oldham’s Chantry=, also a mass of carving, where the
-owl in the panels refers to his name (the word _old_ is pronounced
-_owld_ in Lancashire, where the Bishop was born). The Bishop’s effigy
-lies in a niche in the south wall.
-
-     “The Tudor work (1485-1519) is exceptional in importance. It
-     includes the north entrance and other late portions of the western
-     screen, two exquisite chapels both built by Bishop Oldham--his own
-     chantry (St. Saviour’s) on the south side of the retro-choir, the
-     Speke chantry (St. George’s) on the north--and in addition, Prior
-     Sylke’s chantry on the north transept. All this work is admirable
-     in design and execution. In Oldham’s chantry is a charming series
-     of owls with the scroll _Dam_, a rebus on his name, proceeding from
-     the beak of each little owl. To Bishop Oldham also (1504-1519) is
-     due the grand set of stone screens--one of the glories of the
-     cathedral--no less than ten, which veil all the nine chapels and
-     Prior Sylke’s chantry, and add fresh beauty to the beautiful
-     choir.”--(F. B.)
-
-At the extreme end of the east aisle is the =Chapel of St. Mary
-Magdalene=, probably the work of Bishop Bronescomb, who died in 1280. The
-east window, which resembles that of the opposite chapel of St. Gabriel,
-contains some stained glass of the Fifteenth Century. In this chapel a
-fine Elizabethan monument to Sir Gawain Carew, his wife and their nephew
-Sir Peter should be noticed. It dates from 1589. A staircase here leads
-to the roofs of the north-choir-aisle and of the ambulatory. The views
-of the Cathedral obtained here are very fine, especially of the
-flying-buttresses.
-
-=St. Gabriel’s Chapel= is similar to that of St. Mary Magdalene. Bishop
-Bronescomb’s patron saint was St. Gabriel the Archangel, whose feast
-was, in consequence, celebrated in Exeter Cathedral with the same
-solemnity as those of Christmas and Easter. A monument by Flaxman to
-=General Simcoe=, who died in 1806, having distinguished himself at the
-head of the Queen’s Rangers during the American war, and a splendid
-statue of =Northcote=, the painter, by Chantrey claim attention.
-
-Finally summing up the characteristics of this glorious fane:
-
-     “Whatever else the student and lover of Gothic architecture omits,
-     he must not omit to visit Exeter. He will find it fresh and
-     different from anything he has seen before. Its unique plan,
-     without central or western towers, the absence of obstructive
-     piers at the crossing, the consequently uninterrupted vista, the
-     singleness and unity of the whole design, the remarkable system of
-     proportions, based on breadth rather than height, the satisfying
-     massiveness and solidity of the building, inside and outside, and
-     at the same time the airiness and lightness of the interior, the
-     magnificence of its piers of marble, the delightful colour-contrast
-     of marble column and sandstone arch, the amazing diversity of the
-     window tracery, the exquisite carving of the corbels and bosses,
-     the abundant and admirable Tudor work, the wealth of chantries and
-     monuments, the superb sedilia, screen and throne, the _misereres_,
-     the vaults, the extraordinary engineering feats from which its
-     present form results, the originality of the west front and of the
-     whole interior and exterior, place Exeter in the very forefront of
-     the triumphs of the Mediæval architecture of our country.”--(F. B.)
-
-
-
-
-WELLS
-
-     DEDICATION: ST. ANDREW.
-
-     SPECIAL FEATURES: WEST FRONT; EAST END; INVERTED ARCHES IN NAVE;
-     CHAPTER-HOUSE; CARVINGS OF CAPITALS; CHAIN-GATE.
-
-
-The site of this beautiful cathedral had long been sacred to the Britons
-on account of its wells, or springs, when the early Christians on coming
-to Glastonbury placed these waters under the protection of St. Andrew.
-King Ina’s house of secular canons was established here in 704, not far
-from the older Glastonbury, which, according to legend, was established
-by Joseph of Arimathea. At the beginning of the Tenth Century, a new
-bishopric was founded by Edward the Elder for the province of Somerset;
-and the Abbot of Glastonbury was made Bishop of Wells.
-
-     “Seen from a distance, the picturesque group of towers and
-     pinnacles derives increased effect from the beauty and variety of
-     the surrounding landscape. On one side rises the long ridge of the
-     Mendips, with its rocky outliers; whilst in the southern distance
-     the lofty peak of Glastonbury Tor lifts itself above the marches,
-     marking the site of what was generally believed, throughout the
-     Middle Ages, to have been the earliest Christian church in Britain,
-     if not the first in Christendom. The Cathedral itself seems to
-     nestle under its protecting hills; and the waters of the Bishop’s
-     moat, sparkling in the sunshine, indicate the spring or great well
-     which led King Ina to establish his church here, and which had
-     perhaps rendered the site a sacred one as well in the days of the
-     Druids as in those of that primitive British Christianity which
-     disappeared before the heathendom of the advancing Saxons.
-
-     “From whatever direction the visitor enters the Close, he must pass
-     under one of the three gatehouses built by Bishop Beckington
-     (1443-1464), all of which display his shield of arms and his
-     rebus,--a beacon inflamed issuing from a tun or barrel. Over the
-     Chain-Gate passes the gallery which connects the Vicars’ College
-     with the Cathedral. The gate, called the Penniless Porch, opens to
-     the Market-place; but the Cathedral will be best approached for the
-     first time through Browne’s gate, at the end of Sadler-street. From
-     this point an excellent view of the west front is obtained, rising
-     at the end of a broad lawn of greensward, bordered with trees. The
-     Cathedral close of Wells is scarcely so picturesque as those of
-     Salisbury or of Winchester. It is more open, however, and its
-     short, bright turf contrasts very effectively with the grey stone
-     of the buildings which encircle it and with the grand old church
-     itself. This, with the exception of its pilasters of Purbeck, is
-     built throughout with stone from the Doulting quarries, about nine
-     miles from Wells.”--(R. J. K.)
-
-During the rule of Robert (1135-1166) discord and jealousy between the
-men of Bath and Wells rose to such a pitch that it was determined the
-bishops should in future be styled “of Bath and Wells” and elected by an
-equal number of monks and canons from the abbey and collegiate church.
-Bishop Robert rebuilt and repaired the Saxon cathedral which had fallen
-into decay. Robert’s work has entirely perished. The next builders were
-Bishop Reginald Fitz-Jocelyn (1171-1191) and Bishop Jocelin of Wells
-(1206-1242), who rebuilt the Cathedral as we see it to-day. Jocelin was
-able to consecrate parts of it in 1239.
-
-Jocelin, the great “maker of Wells,” bishop from 1206 to 1242, and his
-brother, Hugh (afterwards Bishop of Lincoln), were natives of Wells;
-here Jocelin served as canon and Hugh as archdeacon. Both were rich.
-Hugh, who lavished money upon Lincoln, also gave much to Jocelin for
-Wells. Jocelin spent his entire fortune upon his beloved Cathedral. This
-Jocelin must not be confused with the earlier Reginald Fitz-Jocelyn,
-bishop from 1171 to 1191.
-
-     “The part which he built, there can be little doubt, included the
-     three western bays of the choir (which then formed the presbytery),
-     the transepts, north porch and the eastern bays of the nave. That
-     is to say, on entering the church, one is looking upon Reginald’s
-     work, and not Jocelin’s; for, although the rest of the nave was
-     completed by Jocelin, it was done in accordance with Reginald’s
-     original plan. It is of great importance to remember this fact,
-     since until recently the nave, with the other parts just mentioned,
-     was attributed by Professor Willis, Professor Freeman, and most
-     authorities to Jocelin.”--(P. D.)
-
-Jocelin also built the famous west front and began the Bishop’s Palace.
-
-In 1248 an earthquake did some damage to the central tower, and repairs
-were at once undertaken. The canons generously contributed funds which
-were augmented by the help of a local saint. Bishop William Bytton,
-nephew of the bishop of the same name (who lies in St. Catherine’s
-Chapel), died in 1274; and his remains soon began to cure the toothache.
-His tomb in the south-choir-aisle was visited by sufferers, and the
-famous western capitals in the transept doubtless refer to their cures.
-
-For the next fifty years and more, much was done to the Cathedral by the
-energetic John de Godelee, dean from 1306 to 1333, who finished the Lady
-Chapel in 1326.
-
-In 1318 the canons voluntarily offered a fifth of their salaries to
-raise the central tower, which was carried up three more stages and
-finished in 1321; and in 1325 they began new stalls, each canon having
-agreed to pay for his own stall. In 1337 and 1338 the whole church was
-thrown into dismay on account of fractures in the tower; for the tower
-appears to have sunk deeply into the earth, owing to pressure on the
-arches. All the masonry was disturbed; and in order to remedy this
-trouble, the curious double arches were inserted, to help support the
-strain. The original arches were also patched up and filled in with
-great blocks of stone and strengthened in various ways.
-
-Much was due to Bishop Ralph of Shrewsbury (1329-1363), who was buried
-before the High Altar in the Choir he had founded. He also finished the
-Palace begun by Jocelin. Bishop Harewell, who died in 1386, gave
-two-thirds of the cost of the south-west tower called by his name; and
-the executors of Bishop Bubwith finished the northwest tower that bears
-his name.
-
-Bishop Beckington built the lovely gateways, and Dean Gunthorpe (died
-1498), the Deanery.
-
-The eastern walk of the Cloister and the Library above date from between
-1407 and 1424; and the western and southern Cloister walks, between 1443
-and 1464.
-
-     “Late researches have shown that Bishop Reginald began the present
-     church and that the Early English work should be divided into four
-     periods: (1) The three western arches of the choir, with the four
-     western bays of its aisles, the transepts and the four eastern bays
-     of the nave, which are Reginald’s work (1174-1191), and so early as
-     to be still in a state of transition from the Norman. It is a
-     unique example of transitional building, and Willis calls it ‘an
-     improved Norman, worked with considerable lightness and richness,
-     but distinguished from the Early English by greater massiveness and
-     severity.’ The characteristics of this late Twelfth Century work
-     are bold round mouldings, square abaci, capitals, some with traces
-     of the classical volute, others interwoven with fanciful imagery
-     that reminds us of the Norman work of Glastonbury; while in the
-     north porch, which must be the earliest of all, we even find the
-     zigzag Norman moulding. (2) The rest of the nave, which was
-     finished in Jocelin’s time--that is to say, in the first half of
-     the Thirteenth Century--preserves the main characteristics of the
-     earlier work, though the flowing sculptured foliage becomes more
-     naturalistic, and lacks the quaint intermingling of figure
-     subjects. (3) The west front, which is Jocelin’s work, and alone
-     can claim to be of pure Early English style. (4) The chapter-house
-     crypt, which is so late as to be almost Transitional, though,
-     curiously enough, it contains the characteristic Early English
-     dog-tooth moulding which is found nowhere else except in the west
-     window. From this, we reach the Early Decorated of the staircase,
-     the full Decorated of the chapter-house itself, the later Decorated
-     of the Lady-Chapel, the transitional Decorated of the presbytery,
-     and the full Perpendicular of the western towers. Much of the
-     masonry in the transepts, choir, choir aisles, and even in the
-     eastern transepts, bears the peculiar diagonal lines which are the
-     marks of Norman tooling. This does not, of course, prove that any
-     part of Bishop Robert’s church is standing, for mediæval builders
-     were notoriously economical in using up old masonry, but it does
-     show that there are more remains of his work in the building than
-     was generally supposed.”--(P. D.)
-
-The Cathedral was much damaged during the Reformation and also during
-Monmouth’s rebellion in 1685, when the Duke’s followers stabled their
-horses in it and enjoyed a barrel of beer on the high altar.
-
-There is a nave of nine bays, a space under the tower, a choir opening
-eastward of it and two transepts (each of four bays) with aisles opening
-north and south. The choir from the screen to the high altar occupies
-six bays; a retro-choir of two bays lies behind the altar; and beyond it
-again is an apsidal Lady-Chapel. The west front has been much admired,
-but some critics consider it too heavy for the short towers that abut on
-it. The windows of the nave and transepts are Decorated. The windows of
-the choir are more ornate, although in the same style, and those of the
-Lady-Chapel are still more so. The central tower (Perpendicular) is
-entirely covered with panelling. There is no spire. On the south side
-large cloisters open from the south-western tower and from the western
-aisle of the south transept; but there are only three walks, there being
-none on the north side. The Chapter-House is approached from the north
-side of the choir by a short passage and a flight of steps: a crypt lies
-under it. A beautiful porch, with parvise, opens into the sixth bay of
-the north aisle. From the eastern aisle of the north transept the
-Chain-Gate passes to the Vicars’ College, a double row of picturesque
-houses, dating from 1360.
-
-     “The Chain-Gate, in its association with the Chapter-House and the
-     Vicars’ Close, is unique. The incline of the steps, easily to be
-     distinguished from without, gives the corner a character quite its
-     own. And the entrance to the Green by this gate, with the Cathedral
-     on one side, balanced by the varied gables and roofs of the houses
-     opposite, is particularly striking. The exterior of the
-     Chapter-House comes into full view; the great central tower stands
-     boldly up against the sky; the eastern gable presents its curious
-     apex, and the Lady-Chapel below stands like a thing separate from
-     the rest. Beyond, and under the Chain-Gateway, an arch admits to
-     the Vicars’ Close--a charming street, lined on either side with
-     diminutive dwelling-houses, once the separate residences of the
-     vicars choral. At the top of the close is a small Perpendicular
-     chapel with a library above. The interior is profusely--almost
-     grotesquely--decorated in a manner to remind one to some extent of
-     those strange little oratories so frequently met with in other
-     parts of Europe. But to many it will possess a certain charm,
-     despite its florid adornments, not often realised in this country.
-     The Vicars’ Hall, a considerable portion of which is of the
-     Fourteenth Century, with additions of a tower and other features,
-     probably by Bishop Beckington, stands at the bottom of the street
-     and communicates through the gallery of the Chain-Gate with the
-     Chapter-House staircase, and thus with the cathedral. By this
-     gallery the choristers passed into the church.”--(A. A.)
-
-The celebrated =West Front=
-
-     “consists of a centre, in which are the three lancets of the
-     western window and above them a gable receding in stages, with
-     small pinnacles at the angles; and of two wings or western towers,
-     projecting beyond the nave, as at Salisbury. The upper part of
-     these towers is of Perpendicular character. That to the north-west
-     was completed by Bishop Bubwith (1407-1424), whose statue remains
-     in one of the niches: that to the south-west was the work of Bishop
-     Harewell (1366-1386). Both these towers, fine as are their details,
-     have a somewhat truncated appearance; and it is probable that the
-     original Early English design terminated at the uppermost band of
-     sculpture. The three western doors are of unusually small
-     dimensions, perhaps in order to leave ample room for the tiers of
-     figures which rise above them. Six narrow buttresses at the angles
-     of which are slender shafts of Purbeck marble, supporting canopies,
-     divide the entire front into five portions. The whole of the
-     statues which fill the niches are of Doulting stone.”--(R. J. K.)
-
-Many visitors are at the first sight disappointed at the mutilated and
-archaic expression of the figures; but they have commanded the greatest
-admiration ever since old Fuller wrote: “The west front of Wells is a
-masterpiece of art indeed, made of imagery in just proportion, so that
-we may call them _vera et spirantis signa_. England affordeth not the
-like.”
-
-The =West Front= should be considered as a great screen intended for the
-display of statuary rather than as the west termination of the nave. The
-stone population, numbering about three hundred life-size or colossal
-figures, is only equalled by that of Rheims and that of Chartres. All
-critics agree that these statues, so notable for their graceful
-draperies and spiritual expressions, rank with the contemporary
-masterpieces of Italy and France. They are thought to have been made by
-Italian sculptors at the time when Niccola Pisano was reviving sculpture
-in Italy under the inspiration of classical models. The kings, queens,
-princes, knights and nobles wear the costume of the Thirteenth Century.
-The other figures are prophets, angels, martyrs and “the holy church
-throughout the world.”
-
-Unlike the monumental west fronts of France, with their splendid porches
-and doors, the doors of Wells have been compared to “rabbit-holes on a
-mountain-side.”
-
-The western towers projecting beyond the aisles of the nave give
-additional breadth to the west front. The arrangement resembles that of
-Rouen. The two towers are very similar. Both have two belfry windows on
-each side and a stair turret on the outer western angle. The spires were
-never added.
-
-The =Central Tower= is Early English to the level of the roof, and the two
-upper stages are Decorated. From its summit a beautiful view is to be
-enjoyed.
-
-The =North Porch= (Norman) is the oldest part
-
-[Illustration: WELLS: WEST FRONT]
-
-[Illustration: WELLS: NORTH PORCH]
-
-of the church. Some architects consider it the finest piece of
-architecture at Wells.
-
-     “The entrance is doubly recessed and has the zigzag ornament among
-     its mouldings, an indication, if not of its early construction, at
-     least of lingering Norman traditions among its builders. These
-     mouldings deserve the most careful attention. The outer or
-     dripstone, is formed of a very beautiful combination of Early
-     English foliage. Square panels on either side of the arch contain
-     figures of mystic animals, one of which is a cockatrice. The gable
-     above has a blind arcade, in the centre of which a small triplet
-     gives light to a parvise chamber. From the buttress at the angles
-     rise slender spire-capped pinnacles. The buttresses themselves are
-     flat and narrow.
-
-     “The interior of the porch is divided into two bays, and its walls
-     are lined with a double arcade, the upper row of arches being more
-     deeply recessed than the tower. The vault springs from a central
-     group of triple shafts. The sculptures of the capitals on the east
-     side possibly represent the death of King Edmund the Martyr (A.D.
-     870),--bound to a tree as a mark for the Danish arrows and
-     afterwards beheaded. The figures are well designed, and full of
-     life and character. The double doorway leading into the nave
-     displays, like the exterior arch, the Norman zigzag.”--(R. J. K.)
-
-On entering the =Nave= the visitor is at once struck by the noble
-proportions, the impression of great length, the broad horizontal band
-of the triforium, and the wealth of spirited and varied carving of the
-capitals and corbels; but the most striking feature of all is the great
-inverted, or double, arch that struts across the central piers forming a
-St. Andrew’s Cross, by which name it is generally known, and giving a
-grotesque (we are almost tempted to say Chinese) appearance.
-
-     “Undoubtedly the first thing that the stranger notices in Wells
-     Cathedral, and the last that he is likely to forget, is the
-     curious contrivance by which the central tower is supported. Of the
-     three pairs of arches (the upper arch resting inverted upon the
-     lower) which stretch across the nave and each of the transepts,
-     that in the nave is seen at once, and lends a unique character to
-     the whole church. At first these arches give one something of a
-     shock, so unnecessarily frank are they, so excessively sturdy, so
-     very English, we may think. They carry their burden as a
-     great-limbed labourer will carry a child in a crowd, to the great
-     advantage of the burden and the natural dissatisfaction of the
-     crowd. In fact, they seem to block up the view, and to deform what
-     they do not hide.
-
-     “That is the first impression, but it does not last for long.
-     Familiarity breeds respect for this simple, strong device, which
-     arrested the fall of the tower in the Fourteenth Century, and has
-     kept its walls ever since in perfect security, so that the great
-     structure has stood like a rock upon the watery soil of Wells for
-     nearly seven centuries, with its rents and breaks just as they were
-     when the damage was first repaired. The ingenuity, too, of these
-     strange flying-buttresses becomes more and more evident; the
-     ‘ungainly props’ are seen to be so worked into the tower they
-     support, that they almost seem like part of the original design of
-     the first builders. One discovers that it is the organ, and not the
-     arches, that really blocks the view, and one marvels that so huge a
-     mass of masonry can look so light as to present, with the great
-     circles in the spandrels where the arches meet, a kind of pattern
-     of gigantic geometrical tracery. Indeed I think no one who has been
-     in Wells a week could wish to see the inverted arches removed.
-
-     “To appreciate the work fully, it should be looked at from some
-     spot, such as the north-east corner of the north transept, whence
-     the three great pairs of arches can be seen together. The effect
-     from here is very fine, especially when the nave is lighted up and
-     strong shadows are cast. The extreme boldness of the mouldings, the
-     absence of shafts and capitals and of all ornament, give them a
-     primitive vigour, and their great intermingling curves, which
-     contrast so magnificently with the little shafts of the piers
-     beyond, seem more like a part of some great mountain cavern than a
-     mere device of architectural utility.”--(P. D.)
-
-The general effect of the Nave is that of length rather than height,
-largely due to the continuous arcade of the triforium which leads the
-eye irresistibly eastwards, and the comparatively restricted height of
-the Cathedral has been increased by bold vaulting, and by the way the
-lantern arches fit into the vault. A little study will show the visitor
-the separation between the late Twelfth Century work of Reginald de
-Bohun, or Fitz-Jocelyn, and the Thirteenth Century work of Jocelin.
-These differences lie in the masonry and the carved heads and the
-capitals.
-
-The heads of a king and bishop, projecting from the south side between
-the fourth and fifth piers, mark the point of change eastward: the
-masonry of piers, walls and aisle walls is in small courses of stone;
-westward, the blocks are larger, eastward, small human heads project at
-the angles of the pier-arches and westward there are none; eastward, the
-tympana of the triforium arcade are filled with carvings of grotesque
-animals and small heads at the corners, and westward, the tympana are
-filled with foliage and ornamented with larger heads. There are also
-other differences.
-
-     “Certainly it is an unusual instance of an architect deliberately
-     setting himself to complete the works of an earlier period in
-     faithful accordance with the original plan; and we may well be
-     grateful to him for his modesty.
-
-     “All the carving is most interesting and beautiful: the caps and
-     corbels of the vaulting shafts; the little heads at the angles of
-     the arches, which are vivid sketches of every type of contemporary
-     character; and the carvings in the tympana, which are best in the
-     seventh, eighth and ninth bays (counting from the west end), those
-     on the north excelling in design and execution, while those on the
-     south are more grotesque. But the capitals of the piers are the
-     best of all, and the most hurried visitor should spare some time
-     for the study of these remarkable specimens of sculpture, vigorous
-     and lifelike, yet always subordinated to their architectural
-     purpose. Those in the transepts[4] are perhaps the best, but the
-     following in the nave should not be missed:--
-
-     North side, Sixth Pier (by north porch): Birds pluming their wings:
-     Beast licking himself: Ram: Bird with human head, holding knife
-     (?).
-
-     “Eighth Pier. Fox stealing goose, peasant following with stick:
-     Birds pruning their feathers. (Within Bubwith’s Chapel) Human
-     monster with fish’s tail, holding a fish: Bird holding frog in his
-     beak, which is extremely long and delicate.
-
-     “Ninth Pier. Pedlar carrying his pack on his shoulders, a string of
-     large beads in one hand. Toothless monster with hands on knees.
-
-     “South side, Seventh Pier. Birds with human heads, one wearing a
-     mitre.
-
-     “Eighth Pier. Peasant with club, seized by lion: Bird with curious
-     foliated tail (within St. Edmund’s chapel). Owl: Peasant with
-     mallet (?).”
-
-If we look back towards the west end of the Nave we note an arcade of
-five arches, the middle one widest of all to accommodate the two small
-arches of the doorway. The three lancet windows are Perpendicular,
-remodelled, and some of their dogtooth moulding, medallions in the
-spandrels and little corbel heads of Early English work remain. There is
-a gallery below the sill of the window.
-
-The two western towers form two small transepts that project beyond the
-aisles. Each is connected with the aisle by an arch. The Chapel of the
-Holy Cross under Bubwith’s Tower (north) is the choir-boys’ vestry. The
-chapel under Harewell’s Tower (south) is used by the bell-ringers. An
-Early English doorway leads from it into the Cloister.
-
-     “The nave, as far as the piers of the central tower, consists of
-     ten bays, divided by octangular piers, with clustered shafts in
-     groups of three. The capitals are enriched with Early English
-     foliage, much of which is of unusually classical character,--one of
-     the many indications of a lingering local school, with its Norman
-     traditions. Birds, animals and monsters of various forms--among
-     which is the bird with a man’s face, said to feed on human
-     flesh--twine and perch among the foliage. Above the pier arches
-     runs the triforium, very deeply set, and extending backward over
-     the whole of the side aisles. The roof retains its original
-     position. (The whole arrangement should be compared with the Norman
-     triforia of Norwich and Ely, both of which extend over the
-     side-aisles; but their exterior walls have been raised and
-     Perpendicular windows inserted). The narrow lancet openings toward
-     the nave are arranged in groups of three, with thick wall-plates
-     between them. The head with each lancet is filled with a solid
-     tympanum, displaying foliage and grotesques, of which those toward
-     the upper end of the south side are especially curious. At the
-     angles of the lancets are bosses of foliage and human heads, full
-     of character. In the upper spaces between each arch are medallions
-     with leafage. Triple shafts, with enriched capitals, form the
-     vaulting-shafts, the corbels supporting which deserve examination.
-     A clerestory window (the tracery is Perpendicular, and was inserted
-     by Bishop Beckington (1443-1464)) opens between each bay of the
-     vaulting, which is groined, with moulded ribs and bosses of foliage
-     at the intersections.”--(R. J. K.)
-
-In the clerestory of the sixth bay on the south side there is a =Music
-Gallery=, early Perpendicular, the front of which consists of three
-panels with large quartrefoils containing shields. It is very fine, but
-not equal to the Minstrels’ Gallery in Exeter. It is finished with an
-embattled cornice.
-
-The aisles of the Nave are of the same architectural character as the
-Nave itself. Among the striking capitals are:
-
-Fifth shaft. Peasants carrying sheep, with a dog.
-
-Ninth shaft. Man in a rough coat carrying foliage on his back.
-
-Tenth shaft. Mason carrying a hod of mortar and a mallet; opposite side
-of arch: Peasant in hood with staff and opposite this two heads,
-evidently with toothache.
-
-The greater part of the glass of the =West Window= was collected by Bishop
-Creyghton in 1660-1670, excellent Sixteenth Century representations of
-the history of _John the Baptist_. Possibly Creyghton added the figures
-of _King Ina_ and _Bishop Ralph_ in the other lights, for the southern
-one also bears his arms. The top and bottom of the middle light are said
-to have come from Rouen in 1813.
-
-Now we will examine the =transepts=.
-
-     “The transepts seem to have been built before the nave, but some of
-     the carved work of the capitals and corbels is of later date than
-     the nave. The capitals on the west side of both transepts are among
-     the finest in England. Many refer to the toothache.
-
-     “North Transept: first Pier.--(Inside the Priest Vicars’ vestry) A
-     prophet(?) with scroll on which there is no name: Man carrying
-     goose. (Outside) Head with tongue on teeth.
-
-     “Second Pier.--Aaron writing his name on a scroll: Moses with the
-     tables of stone.
-
-     “Third Pier.--Woman with a bandage across her face. Above this cap
-     the corbel consists of a seated figure, naked, with distorted mouth
-     and an agonised expression.
-
-     “South Transept, second pier (from the south end). Two men are
-     stealing grapes, one holds the basket full, the other plucks
-     grapes, holding a knife in his other hand: The farmers in pursuit,
-     one carries a spade and
-
-the other a pitchfork: The man with the fork, a vigorous figure, catches
-one thief: The man with the spade hits the other (whose face is most
-woe-begone) on the head.
-
-“Third pier.--Woman pulling thorn out of her foot: Man with one eye,
-finger in his mouth: Baboon head: Cobbler; this figure shows very
-plainly the method of shoemaking at this time; the cobbler in his apron,
-sits with the shoe on one knee, his strap passes over the knee and round
-the other foot, his foot is turned over so as to present the side and
-not the sole to the strap: Woman’s head with long hair.
-
-“Fourth pier.--Head perfectly hairless: Elias P. (the prophet) with hand
-on cheek as if he, too, has the toothache: Head in hood, with tongue on
-the one remaining tooth.
-
-“It may be well here to say a word about the general classification of
-these earlier capitals, since their date is a matter of great
-architectural interest. I would venture to divide them into five
-groups--
-
-“(1) Those of the three western bays of the choir: simple carved foliage
-of distinctly Norman character, as in the north porch: these belong to
-the time of Reginald (1174-1191).
-
-“(2) The four eastern bays of the nave and its aisles. Some of these may
-belong to the first period, though later than the choir: they are more
-advanced in the foliage, and teem with grotesque birds and beasts. Some,
-however, of the caps in these bays are of quite different character;
-they contain _genre_ subjects of perfectly naturalistic treatment, very
-different to the St. Edmund of the north porch capital; but exactly
-similar to the figure caps of the transepts. They must therefore have
-been carved later than the death of Saint William Bytton.
-
-“(3) The western bays of the nave. These, which are of much less
-interest, belong to the period of Jocelin’s reconstruction (1220-1242).
-They are characteristic examples of rich stiff-leaf foliage, freer than
-that of the earlier work, but much less varied and without either human
-figures or grotesques.
-
-“(4) On the eastern range of transept piers. These would seem also to
-come within Jocelin’s period, with the exception of the third pier of
-the south transept.
-
-     “(5) On the western range of transept piers, with which must be
-     classed those later caps already referred to in the nave under
-     group 2. Their date is settled by the fact that they abound in
-     unmistakable representations of the toothache. Now Saint William
-     Bytton died in 1274, and his tomb became immediately famous for
-     cures of this malady. In 1286, the chapter decided to repair the
-     old work, no doubt because the offerings at his tomb had brought
-     money to the church.”--(P. D.)
-
-In studying these fascinating grotesques, however, we have neglected to
-examine the two chantries in the nave--=Bishop Bubwith’s= and =Dean
-Sugar’s=. They are opposite one another and are alike in general
-characteristics. The screen work and cornices of Bubwith’s composed of
-light and elaborate tracery are very much admired. Light doorways permit
-entrance. The altar here was dedicated to St. Saviour. Bishop Bubwith
-(who built the north-west tower) died in 1424. His arms, containing
-holly-leaves, are beautifully carved.
-
-Sugar’s Chantry, about sixty years later in date, is even more
-elaborate. Like Bubwith’s, it is hexagonal and the canopy over the altar
-is vaulted with delicate fan-tracery. Critics now consider it the finer
-of the two.
-
-Adjoining Sugar’s Chantry the stone =Pulpit=, built in the reign of Henry
-VIII., calls for attention. In front are the arms of Bishop Knight, who
-built it and who is buried near it (he died in 1547). Beside it, is a
-brass lectern presented in 1660; upon this rests a Bible of the same
-date.
-
-In the =South transept=, we find the =Font=, interesting because it is the
-one relic of Bishop Robert’s Norman church. It may have stood in the
-earlier Saxon cathedral. The cover is Jacobean.
-
-In the south end of the south transept is the =Tomb of Bishop de Marchia=
-(died 1302). The effigy of the bishop, lying in a recess under a canopy
-bristling with crockets and finials and brilliant with scarlet and
-crimson, green and gold, is very striking. Some of the angels
-surrounding the figure are charming. It is interesting to compare this
-with the =Tomb of Lady Lisle=, also adorned with crockets and brightly
-coloured.
-
-Perpendicular stone screens divide the transepts from their small
-chapels. The chapels of the south transept are =St. Martin’s= (now the
-canon’s vestry) and that of =St. Calixtus=, enclosed on the side of the
-choir-aisle by some beautiful ironwork from Beckington’s tomb. On the
-south side of St. Calixtus’s chapel we must pause to examine =Dean
-Husse’s tomb=, of alabaster, and noted for its carved panels even in this
-cathedral of splendid carvings.
-
-=St. David’s Chapel= in the =north transept= compels us to pause again to
-look at the capital of the second transept pier--a handsome head with
-curls and a smile on his face--and a fine corbel carved into the form of
-a lizard eating leaves of a plant with berries. In this chapel lies an
-interesting effigy of =Bishop Still= (1543-1607) in a red robe lined with
-white fur. Next comes the =Chapel of the Holy Cross= in which is the =tomb
-of Bishop Cornish= (died 1513), thought also to have been used as the
-Easter Sepulchre, where the Host was laid during Holy Week.
-
-The north transept contains a relic of the past that delights every one
-who happens to be there at the striking of the hour. The famous clock
-that once belonged to Glastonbury Abbey is still in working order. A
-little figure known locally as “Jack Blandiver” kicks the quarters with
-his heels on two little bells and at the hour four figures on horseback
-above the clock rush around and charge each other. The curious clock was
-made by Peter Lightfoot, a monk of the abbey. It was said to have been
-in constant use at Glastonbury for 250 years before it was removed to
-Wells at the Dissolution of the monasteries.
-
-From the east aisle of the north transept a door opens to the =Staircase=
-that leads to the Chapter-House and also to the celebrated Chain-Gate,
-or carved bridge that connects the Vicars’ College with the Cathedral.
-Through this gallery the Vicars could pass from their own Close into the
-Cathedral. The common hall of their college (1340) opens from it.
-
-     “There are few things in English architecture that can be compared
-     with it for strange impressive beauty; the staircase goes upward
-     for eighteen steps and then part of it sweeps off to the
-     Chapter-house on the right, while the other part goes on and up
-     till it reaches the chain-bridge; thus the steps lie, worn here and
-     there by the tread of many feet, like fallen leaves, the last of
-     them lost in the brighter light of the bridge. Here one is still
-     almost within the cathedral, and yet the carts are passing
-     underneath, and their rattle mixes with the sound of the organ
-     within.
-
-     “The main gallery of the Chain-Gate is shut off by a door, which,
-     if it were kept open, would make the prospect even more beautiful
-     than it is. Two corbels which support the vaulting-shafts of the
-     lower staircase should be noticed; they both represent figures
-     thrusting their staves into the mouth of a dragon, but that on the
-     east (wearing a hood and a leathern girdle round his surcoat) is as
-     vigorous in action as the figure on the west side is feeble. A
-     small barred opening in the top of the east wall lights a curious
-     little chamber, which is reached from the staircase that leads to
-     the roof.”--(P. D.)
-
-The =Chapter-House= is famous among these beautiful adjuncts to English
-cathedrals. It has been called “a glorious development of window and
-vault.” It was built in the latter half of the Geometrical period
-(1280-1315). Note the profusion of ball-flower ornament round the
-windows and the ogee dripstones outside.
-
-     “Of octagonal plan, its vaulting ribs branch out from sixteen
-     Purbeck shafts which cluster round the central pillar, typifying
-     the diocesan church with all its members gathered round its common
-     father, the bishop. Each of the eight sides of the room is occupied
-     by a window of four lights, with graceful tracery of an advanced
-     geometrical type. These windows, which are among the finest
-     examples of the period, have no shafts, but their arch mouldings
-     are enriched with a continuous series of the ball-flower ornament.
-     Most of the old glass in which ruby and white are the predominant
-     colours, remains in the upper lights. Under the windows runs an
-     arcade which forms fifty-one stalls, separated into groups of seven
-     by the blue lias vaulting-shafts at the angles, but in the side
-     which is occupied by the doorway there are only two stalls, one on
-     either side of the entrance. Two rows of stone benches are under
-     the stalls, and there is a bench of Purbeck round the base of the
-     central pier.”--(P. D.)
-
-Another authority says:
-
-     “At the springs of the arches are sculptured heads full of
-     expression, kings, bishops, monks, ladies, jesters; and at the
-     angles, grotesques of various kinds. A line of the ball-flower
-     ornament is carried round above the canopies.
-
-     “The double arches at the entrance show traces of a door on the
-     exterior. Remark the curious boss in the vaulting, composed of four
-     bearded faces. The diameter of the chapter-house is fifty feet, its
-     height forty-one feet. Its unusual, and indeed unique, features
-     are--its separation from the cloisters from which the chapter-house
-     generally opens; and its crypt, or lower story, which rendered
-     necessary the staircase by which it is approached.
-
-     “A most striking view of the chapter-house is obtained from the
-     fourth angle of the staircase, close to the doorway of the Vicars’
-     College. The effect of the double-door arches with their tracery,
-     of the central pier, the branched ribs of the vaulting, and the
-     fine windows is magnificent; and when the latter were filled with
-     stained glass, must have been quite unrivalled. The chapter-house
-     is by no means the least important of the many architectural
-     masterpieces which combine to place Wells so high in the ranks of
-     English cathedrals.”--(R. J. K.)
-
-The =Crypt=, finished by 1286, represents the last development of the
-Early English style. It was used as the treasury where valuables were
-kept. It is reached by a dark passage from the north-choir-aisle. The
-odd corbels should be noted. The walls are very thick, the windows
-narrow with wide splays and the vaulting-ribs spring from round and
-massive pillars with much effect. This Crypt is unusually high, because
-the many springs at Wells would not permit of a subterranean chamber.
-
-But again we have been led astray from the main body of the Cathedral.
-Returning the same way, we again enter the north transept and stand
-beneath the splendid fan-tracery vault of the tower, a vault, beautiful
-as it is, that hides the lantern with its arcades. These, however, can
-be seen during the ascent of the tower.
-
-The =Screen= dates from the Fourteenth Century.
-
-     “The first impression on entering the choir will not readily be
-     forgotten. Owing to the peculiar and most beautiful arrangement of
-     the Lady-chapel and the retro-choir, to the manner in which the
-     varied groups of arches and pilasters are seen beyond the low altar
-     screen, to the rich splendours of the stained glass, to the
-     beautiful architectural details of the choir itself, and to the
-     grace and finish of the late restorations, it may safely be said
-     that the choir of no English cathedral affords a view more
-     impressive or more picturesque. It is difficult to determine
-     whether the effect is more striking at early morning, when the
-     blaze of many-coloured light from all the eastern windows is
-     reflected upon the slender shafts of Purbeck and upon the vaulted
-     roof, or at the late winter services, when the darkened figures of
-     saints and prophets in the clerestory combine with the few lights
-     burning at the choristers’ stalls to add something of mystery and
-     solemn gloom to the maze of half-seen aisles and chapels.
-
-     “The first three piers and arches of the choir are Early English,
-     of the same character as those of the nave and transepts, and are
-     probably the work of Bishop Jocelin. The remaining portion,
-     including the whole of the vaulting as well as the clerestory above
-     the first three bays, is very rich early Decorated (geometrical)
-     and deserves the most careful study.
-
-     “The tabernacle work and the window tracery of the first three
-     bays, although of the same date, are less rich than those of the
-     eastern half of the choir. In this latter portion remark the triple
-     banded shafts of Purbeck, carried quite to the roof as
-     vaulting-shafts, and the tabernacle-work occupying the place of the
-     triforium, deeper and wider than in the lower bays. Under each arch
-     is a short triple shaft, supporting a bracket richly carved in
-     foliage. The sculpture of the capitals and of these brackets is
-     very good and should be noticed. The foliage has become
-     unconventional, and has evidently been studied from nature. Its
-     diminutive character, as compared with the Early English work in
-     the nave, is very striking.
-
-     “The east end of the choir is formed of three arches divided by
-     slender piers above which is some very rich tabernacle-work,
-     surmounted by an east window of unusual design. At the back of the
-     altar, and between the piers, is a low diapered screen, beyond
-     which are seen the arches and stained windows of the retro-choir
-     and Lady-chapel.”--(R. J. K.)
-
-The stone vault is unusual, a sort of “coved roof,” Freeman calls it,
-“with cells cut in it for the clerestory windows.”
-
-The three western bays are Bishop Reginald’s of the Twelfth Century.
-Here we are in the very oldest part of the Cathedral. Triple
-vaulting-shafts of Purbeck marble are carried down to the floor.
-
-     “The clerestory windows contain flowing tracery of an advanced and
-     not very good type. In some the plain mullions are carried on
-     through the head of the window and intersect each other. Above the
-     tabernacle-work of the east end is the EAST WINDOW of seven lights,
-     the last bit of the Fourteenth Century reconstruction, the last
-     flicker of Decorated freedom. Its curious tracery is still
-     beautiful, doubly so for the glass it enshrines, but the rule and
-     square of Perpendicular domination have already set their mark upon
-     it; the two principal mullions run straight up to the window head,
-     and part of the tracery between them is rectangular.”--(P. D.)
-
-The Cathedral possesses sixty-four =Misericords=, from the old
-choir-stalls, regarded as among the best examples of mediæval
-wood-carving in England. The skilful hand of the carver has wonderfully
-represented griffins fighting, mermaids, apes, goats, dragons, wyverns,
-popinjays, cats, foxes, peacocks, monsters, angels, eagles, hawks,
-rabbits, kings, peasants--and many other birds, animals and grotesques.
-
-The soft yet brilliant light sifts in from the =Jesse Window= above the
-high altar. We lift our eyes and with some pains discern the twining
-branches of the vine with the recumbent figure of Jesse at the base,
-resting his head on his hand. From him rises the leading shoot of the
-tree, with the figures of the Virgin and the Child each with radiant
-nimbus and beneath a golden canopy. The tendrils of the vine enwreath
-prophets, priests and kings,--the ancestors of the Babe of Bethlehem.
-Above is a representation of the _Crucifixion_; and at the very
-
-[Illustration: WELLS: NAVE, EAST]
-
-[Illustration: WELLS: SOUTH-WEST]
-
-top of the window, the outstretched wings of the Holy Spirit.
-
-The choir-aisles are of the same character as the choir itself and are
-entered from the transepts through ogee arches, ornamented with crockets
-and finials.
-
-The south-choir-aisle contains the =Tomb of Saint William Bytton=, at
-which (the oldest incised slab in England) offerings were made by those
-suffering from toothache, as we have already seen. Further away is the
-=Tomb of Beckington=, surrounded by a beautiful iron-screen of the same
-date as the tomb (1452). The carving is very fine, especially the wings
-of the angels. A little colour is left here and there. His effigy rests
-upon it, with old and wrinkled face. This bishop said mass for his own
-soul here in January, 1452, thirteen years before he died.
-
-In the south-east transept, we find the =Chapel of St. John Baptist=,
-where a Decorated piscina with canopy deserves attention.
-
-At the extreme end of the north-choir-aisle is =Saint Stephen’s Chapel=
-and at the extreme end of the south-choir-aisle is the corresponding
-=Saint Catherine’s Chapel=. Both contain effigies of bishops, tombs and
-monuments. Between and back of these is the Lady-Chapel.
-
-We now return to the =Retro-choir=. Four slender piers of Purbeck marble
-bear up the vault. The arrangement of the columns should be particularly
-noticed here. It is hard to realise that this =Retro-choir= was merely a
-device for connecting the Lady-Chapel with the Choir, it seems so
-entirely a part of the scheme.
-
-     “The beauty of the retro-choir, or ‘procession aisles,’ the
-     arrangement of its piers and clustered columns, and the admirable
-     manner in which it unites the Lady-chapel with the choir should be
-     here remarked. It is throughout Early Decorated. The foliage of the
-     capitals and the bosses of the vaulting will repay careful
-     examination. Many of the vaulting ribs appear to spring from two
-     grotesque heads--one on either side of the low choir-screen--which
-     hold them between their teeth. The four supporting pillars and
-     shafts are placed _within_ the line of the choir-piers, thus
-     producing the unusual intricacy and variety of the eastward view
-     from the choir. At Salisbury, and in all other English cathedrals,
-     the piers of the procession-aisles are placed in a line with those
-     of the choir.”--(R. J. K.)
-
-Mr. Bond thinks the Wells architect got his idea for the octagonal
-Lady-Chapel by tacking on the elongated octagonal of the Lichfield
-Chapter-House to the rectangular retro-choir of Salisbury.
-
-     “The Lady-chapel is an early work of the Curvilinear period; for it
-     seems to have been complete in 1324. The windows have beautiful
-     reticulated tracery of early type. There is lovely carving in the
-     capitals, bosses, reredos, sedilia and piscina. The Curvilinear
-     foliated capitals here and in the choir should be compared with the
-     somewhat earlier capitals of the chapter-house, with the early
-     Geometrical capitals of the staircase, the Lancet capitals of the
-     west front and the late Transitional ones of porch, nave and
-     transepts. The ancient glass here and in the Jesse window of the
-     choir is superb in colour.
-
-     “As every one knows, it is the most beautiful east end we have in
-     England. It may be worth while to see how this design was arrived
-     at--a design as exceptional as it is effective. The simplest form
-     of an east end in English Gothic is seen at York and Lincoln: it
-     consists merely of a low wall with a big window above it. The next
-     improvement is to build an aisle or processional path behind the
-     east end; at the same time piercing the east wall with one, two or
-     three arches. This was done at Hereford about 1180; and on a
-     magnificent scale in the Chapels of Nine Altars at Durham and at
-     Fountains early in the Thirteenth Century. But the French apsidal
-     cathedrals--of which we have an example in Westminster--have not
-     only an encircling processional aisle, but also a chevet of chapels
-     radiating out from it; thus providing ever-changing vistas of
-     entrancing beauty. The next step in England also was to provide our
-     rectangular choirs with a chevet as well as with a processional
-     aisle. An early example of this plan is to be seen at Abbey Dore,
-     in Herefordshire, about 1190. It occurs early in the Thirteenth
-     Century on a still grander scale at Salisbury, where one finds not
-     one but two processional aisles, as well as chapels to the east of
-     them; and, in addition, a Lady-chapel projecting still farther to
-     the east, thus producing a design of great complexity and beauty.
-     Nevertheless, at Salisbury, since the chief supporting piers of the
-     retro-choir and the chevet are in a line with those of the choir,
-     there is by no means the same changeful intricacy of vista that
-     affords one ever fresh delight in an apsidal church. At Wells,
-     however, the architect attained all the success of the Continental
-     builder simply because he built his Lady-chapel not rectangular but
-     octagonal. For to get this octagon, of which only five sides were
-     supported by walls, he had to plant in the retro-choir two piers to
-     support the remaining three sides; and these piers are necessarily
-     out of line with the piers of the choir. He had got the Continental
-     vista. He saw it; but he saw also that it could be improved upon.
-     And he did improve it, by putting up an outer ring of four more
-     piers round the western part of the octagon of the Lady-chapel. It
-     was an intuition of genius: it makes the vistas into the
-     retro-choir and the Lady-chapel a veritable glimpse into fairyland;
-     and provides here alone in England a rival to the glorious eastern
-     terminations of Amiens and Le Mans. And that is not all. We saw in
-     the chapter-house the grand effect of the central stalk branching
-     upward and outward in all directions, like some palm tree
-     transmuted into stone. This beautiful effect he transfers to the
-     retro-choir, but multiplied--four palm trees in place of one; for
-     each of the four external piers of the octagon emulates the
-     chapter-house’s central stalk.”--(F. B.)
-
-The large windows are filled with fine specimens of Fourteenth Century
-glass unfortunately now jumbled together. The =East Window= is composed
-of odd pieces put together by Willement. David and other patriarchs
-occupy the upper tier, and the Virgin, Eve and the Serpent and Moses and
-the Brazen Serpent, the lower tier. The upper lights display angels with
-the instruments of the Passion, emblems of the Evangelists and busts of
-bishops and patriarchs.
-
-     “From the south-west transept we pass into the CLOISTERS, which
-     occupy an unusual amount of space, but have only three walks
-     instead of the usual four.
-
-     “The difference between a true monastic cloister and this of Wells
-     should be remarked. The canons of Wells were not monks and did not
-     require a cloister in the ordinary sense. This is merely an
-     ornamental walk around the cemetery. It did not lead to either
-     dormitory, refectory or chapter-house. It served as a passage to
-     the Bishop’s Palace; and the wall of the east walk is Early English
-     of the same date as the palace itself. The lavatory in the east
-     walk should be remarked, as well as the grotesque bosses of the
-     roof in the portion built by Bishop Beckington. Over the western
-     cloister is the Chapter Grammar School. The central space is known
-     as the ‘Palm Churchyard,’ from the yew-tree in its centre, the
-     branches of which were formerly carried in procession as palms.
-     From the south-east angle of the cloisters we descend into the open
-     ground within the gateway adjoining the marketplace, and opposite
-     the episcopal palace. This is surrounded by a moat, as well as by
-     strong external walls and bastions, and would have been capable of
-     sustaining a long siege according to the mediæval system of
-     warfare. The moat is fed by springs from St. Andrew’s, or the
-     ‘bottomless well’--the original ‘great well’ of King Ina,--which
-     rise close to the palace and fall into the moat in a cascade at the
-     north-east corner. Both walls and moat were the work of Bishop
-     Ralph of Shrewsbury (1329-1365).”--(R. J. K.)
-
-Wells is famous for its ancient houses. The old Palace and the Deanery
-are still occupied by the bishop and the dean; the canons and vicars
-also live in the individual houses built for these ecclesiastics. Wells
-was never a monastery with a common refectory and dormitory: there were
-always secular priests here and each man lived in his own house. Of all
-the domestic buildings the Bishop’s Palace is the most beautiful. It is
-considered the most perfect specimen of an Early English house that
-exists.
-
-
-
-
-BATH ABBEY
-
-     DEDICATION: ST. PETER AND ST. PAUL. A CHURCH SERVED BY SECULAR
-     CANONS.
-
-     SPECIAL FEATURE: WEST FRONT.
-
-
-Standing before the =West Front=, we notice, first of all, that upon the
-angles of the nave on either side of the great window are two turrets,
-on the face of each of which is carved a ladder with angels ascending or
-descending. The space above the window is also carved with angels; and,
-under a canopy above the group, stands a figure of God the Father. Of
-this strange decoration the following story is told:
-
-Oliver King, Bishop of Exeter, was translated to the See of Bath and
-Wells in 1495. He went at once to Bath, and found the church in a
-dilapidated condition. While there, he had a repetition of Jacob’s
-famous dream of a ladder reaching from heaven to earth with angels
-ascending and descending. Above them stood the Lord, who said: “Let an
-Olive establish the crown and a King restore the church.” Taking the
-hint, Bishop Oliver King immediately set to work to rebuild the church
-and had his dream recorded upon the west front. He also had an
-olive-tree and crown carved on each of the corner buttresses.
-
-Bishop King’s new church was smaller than the old one. It only occupied
-the site of the former nave. He died before it was finished. Prior
-William Birde continued the work, not forgetting a chantry for himself,
-which is regarded as the best thing in the church. Birde died in 1525;
-and the work was still unfinished when it was seized by the king’s
-commissioners. The roofless and neglected church soon fell into decay;
-but in 1572 it was patched up a little in order that services might be
-held in it. The east window was glazed and the choir was roofed. The
-nave, however, was not roofed until Bishop Montague’s rule (1608-1616).
-
-At the beginning of the Nineteenth Century, many mean houses that had
-clustered around Bath Abbey were removed, and buttresses and pinnacles
-were added to strengthen the walls. Repeated restorations have made it
-exceedingly trim in appearance.
-
-About 775, Offa, the Mercian king, founded here a college of secular
-canons, who were expelled by Dunstan in the Tenth Century and superseded
-by monks.
-
-One great event in the abbey church was the coronation of King Edgar on
-the Feast of Pentecost, 973; and for centuries afterwards it was the
-custom to select on Whitsunday a “King of Bath” from among its citizens,
-in honour of this circumstance.
-
-John de Villula, a Frenchman from Tours, who was Bishop of Somerset in
-the reign of William Rufus, greatly preferred Bath to Wells. He was able
-to merge Bath Abbey into the bishopric; and then he began to rebuild the
-church dedicated to St. Peter. When it was finished, he transferred the
-bishop’s seat from Wells to Bath. This did not satisfy Wells, however,
-and when Robert of Lewes became bishop of Bath and Wells, he seems to
-have arranged matters by allowing the Bishop of Somerset to have a
-throne at St. Andrew’s in Wells and at St. Peter’s in Bath, the bishop
-to be chosen by the monks of Bath and the canons of Wells (See page
-108).
-
-The church built by John of Tours having suffered from fire, Robert was
-compelled to rebuild it; but subsequent bishops neglected Bath; and at
-the end of the Fifteenth Century, when Oliver King was removed here from
-Exeter, he found the church was in a ruinous condition and began to
-rebuild it, as we have seen.
-
-Bath Abbey is a very interesting example of late Perpendicular. It was
-nearing completion when it surrendered to Henry VIII. in 1539, and is,
-therefore, the last expression of Gothic Art. The most interesting part
-of the church is the =West Front=, with its large window flanked by the
-turrets with the ladders, already described. Each turret contains a
-staircase; rises far above the parapet of the nave; and terminates in an
-embattled parapet surmounted by an eight-sided and crocketed pyramid.
-
-     “The great west window is one of seven lights, divided horizontally
-     into four parts. Below it is a battlemented parapet with a niche in
-     the centre, in which, no doubt, a statue formerly stood, and in
-     which a new statue has recently been placed. At the base of it are
-     the arms and supporters of Henry VII. Below it is the west door,
-     beneath a rectangular label. The spandrels contain emblems of the
-     Passion. On either side stand statues of St. Peter and St. Paul, to
-     whom the church was jointly dedicated; these seem to be of
-     Elizabethan date. The doors themselves were the gift to the church
-     of the Lord Chief Justice, Sir Henry Montague, brother of the
-     bishop who completed the church. On them may be seen shields
-     bearing the arms of the Montagues and of the Bishop of Bath and
-     Wells.”--(T. P.)
-
-The =Central Tower= is oblong and rises two stages above the roof. It
-contains two pairs of windows
-
-[Illustration: BATH ABBEY: WEST FRONT]
-
-[Illustration: BATH ABBEY: CHOIR, WEST]
-
-with rectangular heads and each corner is ornamented by a heavy
-octagonal turret also terminating in octagonal pyramids decorated with
-crockets. Similar pyramids terminate the turrets that flank the sides of
-the east window of the choir.
-
-There is no Lady-Chapel.
-
-Let us survey the exterior:
-
-     “The nave consists of five bays. The clerestory windows are
-     unusually lofty, and are divided by transoms; they are of five
-     lights. Along the top of the clerestory wall is a battlemented,
-     pierced parapet; but the pattern of the pierced openings differs
-     from that of the parapet which runs along the top of the aisle
-     walls. The aisles have five light windows without transoms; their
-     heads are four centred arches; between each bay are projecting
-     buttresses of three stages with gabled offsets, finished with
-     crocketed pinnacles; against them rest flying-buttresses formed of
-     a lower semi-arch, with a straight rectilinear truss. From the
-     points where the arched flying-buttresses abut against the
-     clerestory walls, vertical, slightly projecting buttresses are
-     built upwards against the wall and rising above the parapet, are
-     finished by crocketed pinnacles. The same design is carried right
-     round the church. The clerestory of the transepts resembles those
-     of the nave and the choir.”--(T. P.)
-
-Entering, our first and general view is impressive, because of the
-fan-vaulting and height of the =Nave=. Owing to the absence of horizontal
-lines, the vault seems higher than it really is. There is no triforium.
-A string-course runs above the arches of the main arcade beneath the
-clerestory windows, which are unusually tall. On account of the enormous
-windows and the absence of painted glass, Bath Abbey received the name
-of the “Lantern of the West”; but now that the windows of the nave and
-choir-aisles have been supplied with painted lights, the name is less
-appropriate. The tracery of these windows is, of course, Perpendicular.
-The one in the south-transept is a thanksgiving for the recovery of the
-Prince of Wales in 1872. The lower lights depict the recovery of
-Hezekiah and the royal arms of the Prince and Princess of Wales and also
-those of the city of Bath. The upper part represents the Tree of Jesse.
-The great east and west windows have seven lights. The west window
-contains subjects from Old Testament history, and the east-window,
-representations of the life of Christ.
-
-     “There is little variety in the arches and shafts throughout the
-     church. This repetition is a well-known feature in Perpendicular
-     work. The piers have no general capital. The shaft which carries
-     the inner order of the arch has a capital, and so, at the same
-     level, have the vaulting-shafts of the high vault and that of the
-     aisles. These shafts spring from the bases of the main pillars. The
-     capitals at this level are plain, and so are the capitals of the
-     vaulting-shafts of the nave from which the vaulting-ribs spring.
-     But in the choir the place of these plain bands is taken by carved
-     angels. Carved angels also form the termination of the
-     hood-moulding of the lower windows of the south transept, and
-     probably those of the north transept also, though these windows are
-     hidden by the wooden pipes of the organ.
-
-     “Over the heads of the clerestory windows of the nave are small
-     shields, and shields may also be seen in the centre of the
-     fan-tracery in the nave, choir and transept. In the aisles the
-     fan-tracery is somewhat different, as in the centre of each bay
-     there is a pendant. The vaulting of the nave and its aisles and
-     that of the south transept are modern, put up, under the direction
-     of Sir Gilbert Scott, to match the roof of the choir and its aisles
-     and north transept respectively. The reredos was designed by the
-     same architect. The oak screen across the eastern part of the south
-     choir aisle is due to his son. The font is also modern. In fact,
-     beyond the walls and the roofing of the eastern part of the church,
-     there is little old about it. In the clerestory windows are a few
-     fragments of Seventeenth-Century glass--heraldic shields.”--(T. P.)
-
-Although Bath Abbey is full of monuments (there are over six hundred
-memorial tablets besides statues), the only tombs that deserve attention
-are those of =Bishop Montague=, in the fourth arch of the nave on the
-north side, and =Lady Waller’s Monument= under the southern window of the
-transept. The figure of her husband, Sir William Waller, who commanded
-the Parliamentary army in the Battle of Landsdown, near Bath, clad in
-mail, gazes down upon his dead wife. Two weeping children kneel at her
-feet.
-
-Between the choir and the south-aisle =Prior Birde’s Chantry= occupies two
-bays. It is a most elaborate piece of carving. The rebus of the founder
-(a bird and a W) appears frequently. Fan-tracery decorates the vault.
-
-The very fine organ is placed in the transept. The bells of Bath are
-famous.
-
-
-
-
-BRISTOL
-
-     DEDICATION: THE HOLY TRINITY. A CHURCH SERVED BY AUGUSTINIAN
-     CANONS.
-
-     SPECIAL FEATURES: EAST WINDOW (TRACERY AND GLASS); CHAPTER-HOUSE;
-     GREAT GATEWAY.
-
-
-The =West Front= of Bristol gives us a slight suggestion of a French
-cathedral, for here we find a rose window and a large doorway, at the
-side of which rise two square towers. The balustrade above the crocketed
-gable of the doorway partly hides the rose-window.
-
-The towers were built in 1887 and 1888: the north-west is Bishop
-Butler’s Tower and the south-west, the Colston Tower. The Butler tower
-is enriched with statues of St. Michael, St. Gabriel and the Angel of
-Praise; the Colston, with the Angel of the Gospel, St. Raphael and the
-Angel of the Sun. On our right is the Great Gateway.
-
-The exterior of Bristol is not very striking. The buttresses of the
-Elder-Lady-Chapel are Decorated and of the same date as the east window
-of the same chapel. We should also view the great east window of the
-Lady-Chapel from without and the =Central Tower=.
-
-     “Early in the Fifteenth Century a central tower was added. Here
-     again one is struck by the originality of the British people: it is
-     as beautiful as it is original. The designer had noticed how
-     beautiful is the effect of a close-packed range of tall clerestory
-     windows, such as those of Leighton Buzzard Church. So instead of
-     restricting himself on each side of the tower to one or two
-     windows, he inserts no less than five. The range of clerestory
-     windows, which the Fourteenth Century builder refused to the
-     choir, becomes the special ornament and glory of the tower.”--(F.
-     B.)
-
-As we enter through the =North Porch=, which occupies the space between
-two buttresses and is adorned with statues of the Four Evangelists, we
-may remember that when Henry VIII. created the diocese of Bristol there
-had been a church and monastery of Augustine canons on this site for
-four hundred years. This monastery was founded in 1142 by Robert
-Fitzhardinge, Lord of Berkeley Castle. Of his Norman church little
-remains but portions of the walls in both transepts, a staircase in the
-north-aisle leading to the tower, and some fragments in the choir. The
-Norman nave was removed in 1542, because it was thought unsafe. The new
-nave and western towers were completed in 1888 by Mr. Street, who copied
-from the old, repeating the vaulting and the recesses of the eastern
-end.
-
-The ground plan consists of a nave with an aisle on either side; a
-central tower and transepts; then the choir with north and south aisles;
-and finally, the Lady-Chapel at the end. On the north of the
-north-choir-aisle is the first Lady-Chapel--built in the Early English
-style, and called Elder-Lady-Chapel to distinguish it from the later
-Lady-Chapel at the east end.
-
-At the south-east end of the south-choir-aisle we find the Berkeley
-Chapel; and at the end of the south transept, the Newton Chapel. Beyond
-it is the Chapter-House with its Vestibule, and on the south and west
-the remains of the Cloisters.
-
-Our best position for viewing the =Nave= is from the north or between the
-two big towers. It is 120 feet long, 60 feet high and 69 broad
-including the aisles. One peculiarity of Bristol is that the aisles are
-of the same height as the Nave; and another, that this Cathedral has
-neither clerestory, nor triforium. The windows of the Nave are very
-large and are strengthened by transoms.
-
-The =West Window= has for its subject the _Adoration of the Lamb_. The
-=Choir= consists of four bays. It is in the Decorated style and dates from
-1306 to 1332.
-
-     “The piers of the choir carry triple shafts which support the
-     vaulting of the choir, and others for the aisles, which are here of
-     the same height as the choir. Capitals of great delicacy and
-     beauty, modelled from real foliage, serve to break the line of the
-     mouldings and accentuate the springing of the vault. Graceful
-     though the span of the roof is admitted to be, the lines of the
-     arcade of the choir are finer, and the effect of the contrast of
-     their soft mouldings carried up and around without a break is
-     excellent. The iron screen-work that separates the choir from its
-     aisles is uninteresting and too small in scale.”--(H. J. L. J. M.)
-
-On either side of the high altar are canopied recesses containing
-monuments. The reredos is a memorial to Bishop Ellicott and is rather
-too high, therefore interfering with a good view of the splendid east
-window in the Lady-Chapel. The mosaic pavement is new, and the stalls
-are also modern. Some of the old =Misereres= have been preserved, however,
-and consist of grotesques. Some of them illustrate _Reynard the Fox_.
-
-In both aisles of the Choir we are struck by the very peculiar vaulting
-designed by Abbot Knowle to strengthen the building and help carry the
-lateral thrust occasioned by the heavy central vaulting. These bridges,
-or transoms, therefore, do the work of flying-buttresses as faithfully
-to-day as when they were erected six hundred years ago.
-
-     “The transoms, features which were repeated in the windows of the
-     aisles of the choir, and in a much heavier form in the windows of
-     the nave, are additionally strengthened by the graceful arches
-     below which spring from capitals almost similar to those on the
-     choir side of the piers. From the centre of each transom rises a
-     cluster of groining ribs. It has been customary to speak rather
-     disparagingly of this clever piece of work of Abbot Knowle and to
-     term it carpentry work in stone. It may be so, but the student of
-     to-day may thank the Fourteenth Century Abbot for a most
-     instructive lesson. The transoms have crowned heads at either end
-     and in the centre, and they, unlike the transoms in the aisles of
-     the nave, are ornamented with little flowers. Beneath the windows,
-     which are Decorated in character, is a string-course, with
-     ball-flower ornament, a feature which is found all round this
-     eastern part. In the south aisle the vaulting was intended to be
-     the same as in the north aisle, having been planned by the same
-     architect, but a difference in the westernmost bay shows it was
-     superintended by a different mind. In all probability it was
-     Knowle’s successor, Abbot Snow, who, from 1332-1341, went on with
-     his predecessor’s work, adding that part called the Newton
-     Chapel.”--(H. J. L. J. M.)
-
-There is not a great deal of old glass in Bristol, but some of the
-=Windows= in this east end are worthy of careful study.
-
-     “The east windows of the choir aisles are filled with glass
-     coloured with enamels in accordance with the practice of the
-     Seventeenth Century instead of glass coloured in its manufacture.
-     They date from the reign of Charles II.; and although it is
-     traditionally said that they were presented by Nell Gwynne, it is
-     more probable that they were the offerings of Henry Glenham, Dean
-     of Bristol from 1661 to 1667, and afterwards Bishop of St. Asaph.
-     The arms of Glemham (Or, a chevron gules between three torteaux)
-     are repeated three times in the window of the south aisle and once
-     in that of the north. The subjects (arranged as type and antitype)
-     in the north aisle are--in the centre, the Resurrection; below
-     Jonah delivered from the whale. On the right, above, the Ascension;
-     below, Elijah taken up to heaven. On the left, above, the Agony in
-     the garden; below, Abraham about to offer up his son.”--(R. J. K.)
-
-In the third bay of the north wall of this north-choir-aisle a doorway
-opens into a peculiar passage designed by Abbot Knowle to take the place
-of a triforium. The passage leads to a staircase communicating with the
-central tower and the belfry.
-
-North of the north-choir-aisle we come to the greatly admired Early
-English Chapel, the Elder Lady-Chapel.
-
-     “The Lady-Chapel (generally called the Elder Lady-Chapel because
-     the altar of the Virgin was removed to the east end of the church
-     after Abbot Knowle had rebuilt the choir) is entered from the
-     north-east corner of the transept. The chapel is Early English, and
-     dates, according to Mr. Godwin, from the time of Abbot John
-     (1196-1215). The chapel is of four bays, the windows in which are
-     triplets with inner arches, of which those at the side are
-     gracefully foliated. The detached vaulting-shafts are of Purbeck
-     marble. The sculpture of the capitals and string-courses is
-     unusually good; and the spandrels of the wall-arcade are filled
-     with grotesque designs which are full of spirit and character,
-     greatly resembling the sculpture in Wells Cathedral, much of which
-     is of the same date. Remember especially--a goat blowing a horn and
-     carrying a hare slung over his back; a ram and an ape playing on
-     musical instruments; and St. Michael with the dragon(?); below is a
-     fox carrying off a foliage. The vaulting of the roof would seem to
-     stamp the English character.”--(R. J. K.)
-
-This chapel was originally detached from the rest of the Cathedral.
-Beneath the two arches
-
-[Illustration: BRISTOL: NORTH]
-
-[Illustration: BRISTOL: NAVE, EAST]
-
-between it and the north-choir-aisle stands the =Tomb of Maurice=, ninth
-Lord Berkeley (died 1368). Here he lies with =Elizabeth=, his wife. The
-knight is in armour and his head lies on a mitre. A good groined canopy
-overshadows these figures.
-
-Retracing our steps into the choir and passing into the
-=South-choir-aisle=, we examine the Glenham window, which is of the same
-date as the corresponding one in the north-choir-aisle.
-
-The subjects are--in the centre, above, _Our Lord Driving the Money
-Changers from the Temple_; below, _Jacob’s Dream_; on the right, above,
-the _Tribute Money_; below, _Melchisedec_ and _Abraham_; the subject on
-the left, above, is uncertain; below, the _Sacrifice of Gideon_.
-
-From the western bay of the south-choir-aisle we enter the =Newton
-Chapel=, where members of the Newton family lie. This dates from
-1332-1341. The style is late Decorated. The south wall divides it from
-the Chapter-House, with which it is parallel.
-
-On the right, after passing out of the Newton Chapel, we come to one of
-Abbot Knowle’s recesses. The foliage consists of oak leaves and acorns
-interspersed here and there with tiny sprays of mistletoe, an unusual
-ornament, in church decoration.
-
-We next pass the =Tomb of Thomas, Lord Berkeley=, who died in 1243. He is
-represented in armour. His crossed legs show that he was a
-knight-templar. This is the oldest monument in the cathedral. The next
-recess contains the effigy of =Maurice, Lord Berkeley=, who died in 1281.
-He is also in armour. In the next bay we pass up one step to the
-entrance of a =Vestibule= (once a sacristy, now a music-room for the
-choristers), a fine specimen of Decorated work. Through this we pass
-into =Berkeley Chapel=.
-
-     “Opposite the entrance door on the south side are three ogee arches
-     with niches between. In one of these, the third from the west, was
-     a hearth upon which the sacramental bread was baked. The
-     ornamentation in the spandrels and the finials is curiously
-     interesting work in foliage. The vaulting of the roof would seem to
-     stamp the work as that of Abbot Knowle. It consists of curved ribs,
-     quite detached, large in section, springing from small capitals.
-     The bosses are particularly fine, the foliage being very flowing
-     and free. It is difficult to realise that the mason has here done
-     in stone what many wood-carvers would fail to do in their softer
-     material. The door into the Berkeley Chapel is enriched with a
-     niche overhead, and a moulding below consisting of medlers.”--(H.
-     J. L. J. M.)
-
-The Berkeley Chapel was dedicated to the Virgin Mary. It is thought that
-an altar also stood here to St. Keyne, who turned to stone all the
-snakes in the vicinity. The ammonites were probably suggested by finding
-one or two in a piece of stone.
-
-     “There are two windows toward the east, the soffetes of which are
-     ornamented with a gigantic ball-flower; and the peculiar foliage on
-     some of the capitals should be remarked. Under each of the windows
-     was an altar, the steps and piscinæ of which remain. The altars
-     were separated by a screen, the marks of which were visible in the
-     old pavement. Between the chapel and the aisle the wall is pierced
-     by the peculiar arch of Abbot Knowle; and under it, in the
-     thickness of the wall, is an altar-tomb much ornamented and
-     containing five shields charged with the coats of the Berkeley,
-     Ferrers and De Quincey families. The tomb in its present state is
-     no doubt that of Thomas, Lord Berkeley (died 1321), whose wives
-     were of those families; but the lower part, with its very fine
-     foliage, is of Early English date, and may possibly have been
-     removed from another part of the church.”--(R. J. K.)
-
-The =Lady-Chapel= is of the same date as the Choir. The east end was
-rebuilt about 1280 and a window with geometrical tracery, consisting of
-foliated circles, was inserted. Until 1895 it was used as a chancel. It
-is 42 feet long and 32 feet broad and consists of two bays. It is
-lighted by five windows. The central one is a Jesse window, and each of
-the four side windows has a transom with rich tracery below. This rich
-tracery we noticed from the street. In a good light relics of the
-ancient painting on the walls, representing angels, each with a golden
-nimbus, can be seen.
-
-The =Reredos= of the Lady-Chapel is partly Abbot Knowle’s work and partly
-Perpendicular. On the first bay of the south side are the =Sedilia=,
-restorations of the original cut away to make room for an Elizabethan
-tomb of =Sir John Young= and his family. They are in four divisions with
-rich canopies of leafage supported by shafts of red serpentine.
-
-The various recesses contain tombs and effigies of dignitaries of the
-Cathedral, and, while the general lines of these recesses are similar,
-there is much variety in the treatment of details.
-
-The splendid =East Window= is pure Decorated and of great beauty in
-tracery and design. Most of the glass is old, which adds another charm
-to the lovely effect of the tracery. There is much beautiful silvery
-white glass from which the brilliant colours sparkle with great effect,
-and we have no difficulty in tracing the _Tree of Jesse_:
-
-     “The lower lights are separated by vine tendrils into oval panels,
-     twenty-one in all. In the lowest tier in the centre is Jesse with
-     David on the right and Solomon on the left hand. To the left of the
-     latter are the prophets Micah, Haggai, Malachi; to the right of
-     David are Jeremiah, Daniel and Amos. In the next tier the central
-     figure is the Virgin and Child with Hezekiah on the left and Ahaz
-     on the right, the four kings, David, Solomon, Hezekiah and Ahaz,
-     representing the descent of the promise. To the left of Hezekiah
-     are the prophets Jonah, Habakkuk, Zechariah; and to the right of
-     Ahaz are Isaiah, Ezekiel and Hosea. Above these two rows of regular
-     panels are three panels, containing four subjects--the central one
-     giving us the Crucifixion, with our Lord in glory in the upper part
-     of the light. In the right hand light is the Virgin Mary, in that
-     on the left is St. John.
-
-     “In the head of this window there are now seventeen blazons of
-     arms. In the quatrefoil at the top--the arms of England as used
-     before the time of Edward III., viz., the three lions; in the two
-     trefoils immediately below are Berkeley of Stoke Gifford (L),
-     Berkeley of Berkeley Castle (R).
-
-     “Most of the glass in this upper part is original and is supposed
-     by Mr. Winston to date between 1312-1322, as the arms of Gaveston,
-     who was murdered in 1312, are not in the window, while the arms of
-     De Bohun, who was slain in open rebellion in 1322, are clearly
-     here. The glass, then, is of Knowle’s time, and being contemporary
-     with the masonry, affords a rich example of the harmony of form and
-     colour about which one hears so much but which one so seldom sees.
-     It is probable that the tracery of the window may have been
-     designed for Abbot Knowle by the builder of the window at Carlisle,
-     also an Augustinian house. There is a strong resemblance in the two
-     windows, both of which are excellent work.”--(H. J. L. J. M.)
-
-The four side windows contain rich and interesting glass of the same
-date. The one bearing the arms of Mortimer, Earl of March, has a picture
-of the _Martyrdom of St. Edmund_, the last of the native kings of East
-Anglia, who taken prisoner by the Danes in 870 refused to abjure his
-faith. He was put to death. Here we find, according to legend, the grey
-wolf watching over the severed head. The costume of the soldiers gives
-us 1320 as the date of this magnificent window. Beneath St. Edmund are
-an archbishop and two knights, bearing the arms of the Berkeleys.
-
-The tracery of the large north window was inserted in 1704.
-
-The =South Transept= contains the tomb of Bishop Butler, more famed as the
-author of the _Analogy of Religion_ than as Bishop of Bristol
-(1738-1750). The epitaph is by Southey.
-
-The =Cloisters=, on the south side of the cathedral, are entered from the
-south transept. From them the =Chapter-House= is entered.
-
-The entrance, or vestibule, of the Chapter-House shows a very early
-example of what may be called a pointed arch. The mouldings and members
-are quite of the circular style and character. From north to south the
-arches are round-headed, but east and west they are pointed. This
-Transitional Norman work--dating from Fitzhardinge’s time--is of special
-interest.
-
-     “The chapter-house is one of the oldest parts of the earlier fabric
-     of the cathedral, and as Britton truly says, ‘in its original state
-     must have been one of the most interesting of the kind in the
-     kingdom and perhaps in Europe.’ In spite of what it has undergone
-     at the hands of architects, restorers and rioters, it is most
-     interesting still, a regular parallelogram in shape, measuring 42
-     feet in length by 25 in breadth and 25 feet in height, divided into
-     two bays.
-
-     “The eastern wall, which dates from 1831, has three windows, and
-     the west wall has also three round-headed arches, the central one
-     being the main door, while the side ones serve as windows, each
-     being subdivided by a small pier. Each of these main openings has a
-     label of cable-moulding. Above this cable-moulding is an arcade of
-     interlacing arches, borne by thirteen tall piers, alternately
-     plain and twisted; and above this is a semicircular space, also
-     filled with rounded-headed intersecting arches, so arranged as to
-     fill the semicircular space. The north and south walls have a plain
-     round-headed arcading below, with a bold round moulding, while
-     above is an elaborate arcading, similar to the lower tier on the
-     west wall, but with much richer capitals. Above this is interlaced
-     lattice-work, and above this in one bay a space covered with zigzag
-     mouldings. The shafts of the arcading on the walls are alternately
-     richly carved or almost plain. The clustered shafts, from which the
-     main arch of the vaulting springs, are peculiarly rich in
-     ornamentation.”--(H. J. L. J. M.)
-
-In the Chapter-House there is preserved a fine piece of archaic
-sculpture, which was found under the floor in 1831 after the destructive
-fire of that date, in use as a slab covering an ancient coffin. It
-represents the descent of the Saviour into Hell and the delivery of
-Adam, and is probably of the same date as the slabs in Chichester.
-
-The famous =Great Gateway=, the arcading of which is much in the style of
-the Chapter-House, is supposed to stand on the site of the principal
-entrance to Fitzhardinge’s monastery. Though Norman in style and
-probably containing a lot of Norman masonry, critics believe that it is
-a Perpendicular restoration of the old work.
-
-This archway is composed of four recessed orders enriched with chevron
-and other mouldings and ornaments. This must not be confused with the
-less elaborate =Gateway in Lower College Green=, probably of
-Fitzhardinge’s time and strengthened by Abbot Newland. The latter was
-the gateway to the abbot’s dwelling and afterwards to the Bishop’s
-Palace.
-
-
-
-
-GLOUCESTER
-
-     DEDICATION: ST. PETER: FORMERLY THE CHURCH OF A BENEDICTINE ABBEY.
-
-     SPECIAL FEATURES: CENTRAL TOWER; CHOIR; LADY-CHAPEL; EAST WINDOW;
-     CLOISTERS.
-
-
-Gloucester presents a fine view from all points of approach.
-
-     “As a rule, visitors see it first from the south side, and the
-     south-west general view is one of the best, equalled, but not
-     surpassed, by that from the north-west. The north view from the
-     Great Western Railway, with the school playing-fields in the
-     foreground, makes a striking picture, but it is more sombre than
-     the picture formed by the south front. Viewed from the north-west
-     corner of the cloister-garth, the pile is seen perhaps at its best.
-     From this point it is easy to study so much the varied architecture
-     of the whole, and with little effort to transport the mind back for
-     a space of four hundred years. The eye first rests upon the turf of
-     the garth now tastefully laid out after many years of comparative
-     neglect. Flanking the garth on every side are the exquisite windows
-     of the Cloister--a cloister which no other can surpass. Above the
-     Cloister will be seen on the eastern side the sober, impressive
-     Norman work of the Chapter-house in which so much of our English
-     history has been made. To the south of this is the Library, built
-     close against the walls of the north transept, which tower above,
-     and lead the eye upward to the great tower which, ‘in the middest
-     of the church,’ crowns the whole.
-
-     “Placed where it is, almost in the centre of the long line of the
-     nave, continued in the choir and Lady-chapel, at the point where
-     the transept line intersects it, it is the chief feature of the
-     massive pile. All else seems to be grouped with a view to the
-     enhancing of the effect of the central position of the tower. The
-     other members of the building seem merely to be steps, by means of
-     which approach can be made to it. It is the grandest and most
-     impressive feature of the outside. No matter from whence one looks
-     at it, the charm is there. Seen from the gardens in the side
-     streets close by when the pear-trees are in bloom, or in the full
-     blaze of a hot summer day, or again later in the autumn when the
-     leaves are beginning to turn, or, better still, in snow time, it is
-     always full of beauty. On a bright hot day the pinnacles seem so
-     far off in the haze as to suggest a dream fairyland. On a wet day,
-     after a shower, the tower has the appearance of being so close at
-     hand that it almost seems to speak. Viewed by moonlight, the tower
-     has an unearthly look, which cannot well be described. The tower is
-     225 feet high to the top of the pinnacles, and the effect of it is
-     extremely fine. From the main cornice upwards, the whole of the
-     stone-work is open, and composed of what at a distance appears to
-     be delicate tracery, and mullions and crocketed pinnacles.”--(H. J.
-     L. J. M.)
-
-In it hang the venerable _bells_ that escaped the king’s commissioners
-at the Dissolution of the monasteries in 1553.
-
-Gloucester is notable for its examples of the Transition from Decorated
-to Perpendicular, which probably originated in this Cathedral.
-
-The abbey of Gloucester was founded by Osric, viceroy of King Edward, in
-681. It was dedicated to St. Peter. Osric’s sister, Kyneburga, who died
-in 710, was the first Abbess of this double foundation for monks and
-nuns. Osric and Kyneburga were buried in the Abbey church in front of
-the altar of St. Petronilla. In 823, secular priests were placed here by
-the King of Mercia; and in 1022 they were expelled by Canute for
-Benedictine monks. When the monastery was burned to the ground, Aldred,
-Bishop of Worcester, re-established the monks in 1058, and began the
-building of a new church also to St. Peter,--“a little further from the
-place where it had first stood, and nearer to the side of the city.”
-
-The monastery failed to flourish; Aldred was translated to York in 1060;
-and when Serlo, who had been William the Conqueror’s chaplain, succeeded
-to Wilstan, or Wulstan, Aldred’s successor, he had under him only two
-monks and eight novices. After fifteen years of energetic rule
-(1072-1103), Serlo rebuilt the Cathedral.
-
-In August, 1089, an earthquake damaged the then existing building.
-Eleven years later (1100), in the last year of the reign of William
-Rufus, “the church,” as Florence of Worcester wrote, “which Abbot Serlo,
-of revered memory, had built from the foundations at Gloucester, was
-dedicated (on Sunday, July 15th) with great pomp by Samson, Bishop of
-Worcester; Gundulf, Bishop of Rochester; Gerard, Bishop of Hereford; and
-Herveas, Bishop of Bangor.” It is thought that part of the church was
-finished for the dedication, such as the presbytery, choir, the
-transepts, the Abbot’s cloister, the chapter-house, and the greater part
-of the nave.
-
-The Saxon Chronicle tells us that in 1122, while the monks were singing
-mass, fire burst out from the upper part of the steeple, and burnt the
-whole monastery. Between 1164 and 1179 one of the western towers fell
-down.
-
-Repairs were consequently necessary.
-
-Offerings at the Tomb of Edward II. were a great aid in providing funds.
-
-     “Instead of going on with Abbot Morwent’s rebuilding of the nave,
-     the monks now turned their attention to the central tower. The
-     tower was of no use as a lantern, for the lierne vault of the choir
-     had been carried beneath it. So it long remained unaltered. But in
-     the days of Abbot Seabroke (1460-1482), it was rebuilt under the
-     superintendence of a monk named Tully, to be in character with the
-     new exterior of choir and transepts. A very imposing tower it is;
-     fully able, from its massiveness as well as from its height, to
-     gather together the masses of the building--all the more so because
-     the transepts are so short. It succeeds where the central towers of
-     Worcester and Hereford fail; in fact, it is as effective in its way
-     as Salisbury spire. The pinnacles, again, bear witness to the love
-     of these later artists for harmony and unity; each pinnacle, with
-     its two ranges of windows, is a repeat of the two stages of the
-     tower below.
-
-     “Then--after the tower had been erected--it was decided to rebuild
-     the Lady-chapel. So an immense detached building was constructed to
-     the east of the great window of the presbytery; without aisles, but
-     with little transepts; almost one continuous sheet of glass, and
-     with a superb vault. This Lady-chapel had to be joined up to the
-     presbytery, but the great east window was in the way. However, the
-     difficulty was got over by a series of ingenious shifts and dodges,
-     which must be seen to be appreciated (1457-1499).
-
-     “And so ended this great building-period at Gloucester (1330-1499),
-     which turned the course of English architecture; so that the
-     Curvilinear style of 1315 to 1360 did not find its natural
-     development in Flamboyant, as on the Continent, but was switched
-     off to Perpendicular and Tudor design.”--(F. B.)
-
-Let us see what the “shifts and dodges” referred to above consisted of.
-
-     “The method of joining the Lady-chapel to the choir is best noticed
-     from the outside. It is a piece of exceedingly clever and graceful
-     construction, and there is the minimum of obstruction to the light
-     passing through to the east window, and the maximum of support to
-     the elliptical east window. Viewing the Lady-chapel from the north
-     side, the play of light through the windows on the south side has a
-     very grand effect. Under the east end of the Lady-chapel is a
-     passage which has given rise to much speculation in bygone times.
-     The Lady-chapel, at
-
-[Illustration: GLOUCESTER: EAST]
-
-[Illustration: GLOUCESTER: TOMB OF EDWARD II.]
-
-     the time of its erection, was carried out to the farthest limit of
-     the land possessed by the Abbey. As the east wall of the chapel was
-     actually on the western boundary wall the passage was made to give
-     access from the north to the south of the grounds, without the need
-     of going right round the precincts by the west front.”--(H. J. L.
-     J. M.)
-
-During the reign of Henry VIII., the Abbey which had
-
-     “existed for more than eight centuries under different forms, in
-     poverty and in wealth, in meanness and in magnificence, in
-     misfortune and success, finally succumbed to the royal will. The
-     day came, and that a drear winter day, when its last Mass was sung,
-     its last censer waved, its last congregation bent in rapt and lowly
-     adoration before the altar there; and, doubtless, as the last tones
-     of that day’s evensong died away in the vaulted roof, there were
-     not wanting those who lingered in the solemn stillness of the old
-     massive pile, and who, as the lights disappeared one by one, felt
-     that there was a void which could never be filled, because their
-     old abbey, with its beautiful services, its frequent means of
-     grace, its hospitality to strangers, and its loving care for God’s
-     poor, had passed away like a morning dream, and was gone for
-     ever.”--(W. H. H.)
-
-Gloucester has suffered from the hands of restorers. In 1847, Mr. F. S.
-Waller made extensive repairs. At this time the gardens were added.
-
-The exterior presents a great variety of battlements and pinnacles and
-another interesting feature in the exterior is the construction of the
-two passages which make up the greater part of the so-called Whispering
-Gallery. This connects the north and south triforium of the choir.
-
-The =West Front= of Gloucester, restored in 1874, is comparatively
-uninteresting. The buttresses of the great window are pieced, as are
-also the parapets. Plain transoms cross the lights of the great west
-window, the tracery of which is very elaborate when looked at from
-within. The old towers have disappeared.
-
-The =South Porch= is the principal entrance. It is the work of Morwent
-(1421-1437). Over the doorway stand St. Peter and St. Paul and the four
-Evangelists, and below them are King Osric and Abbot Serlo, the founders
-of the Abbey church. In the niches of the buttress stand St. Jerome, St.
-Ambrose, St. Augustine and St. Gregory. The windows of this porch have
-been formed by piercing the tracery of the inside. Over the porch is an
-unfinished parvis. The doors date from the Fifteenth Century.
-
-We now enter the =Nave=.
-
-     “The first impression of the nave changes all earlier thoughts of
-     the age of the building. It is unmistakably Norman, grand beyond
-     expression, but cold, severe and deathly white. The stained glass
-     (mostly modern) of the Norman and Decorated windows fails to supply
-     the evident lack of colour.
-
-     “There was a time when lines of blue and scarlet and gold relieved
-     the white vaulted roof, when altars agleam with colour and pale
-     flickering lights gave light and brightness to the chill whiteness
-     of this vast and mighty colonnade. On Sunday evenings, when the
-     nave is filled with worshippers and the bright searching daylight
-     is replaced by the yellow gleam of the little tongues of fire above
-     the great and massive arches, the want of colour is little felt,
-     and the noble and severe beauty of the matchless Norman work in the
-     great nave strikes the beholder. The nave of Gloucester, to be
-     loved and admired as it deserves, and as it appeared to men in the
-     days of the Plantagenet Kings, must be seen in one of the many
-     crowded evening services.
-
-     “Save that the altars with their wealth of colour and light are
-     gone, and the lines of colouring and the glint of gold of the
-     Norman wooden ceiling no longer are visible on the stone-vaulted
-     roof above and the south aisle Norman windows are replaced with
-     exquisite Decorated work of the time of the second Edward, there is
-     no great structural change since the day at the close of the
-     Eleventh Century when Abbot Fulda from Shrewsbury preached his
-     famous sermon to the Gloucester folk, the sermon in which he
-     foretold the death of the imperious and cruel Rufus in words so
-     plain, so unmistakable, that Abbot Serlo of Gloucester, who loved
-     the great wicked King, in spite of his many sins, was alarmed and
-     at once sent to warn his master, but in vain. Rufus disregarded the
-     Gloucester note of alarm, and a few hours later the news of the
-     King of England’s bloody death, in the leafy glades of the New
-     Forest, rang through Normandy and England.
-
-     “Yes, it is the same nave, only colder and whiter, on which Anselm,
-     the saintly archbishop, and Rufus gazed; the same avenue of massy
-     pillars--then scarcely finished--through which Maud the Empress
-     often went to her prayers with her chivalrous half-brother, Earl
-     Robert. Beauclerc, her father, too, and some grey-haired survivors
-     of Hastings must have looked on these huge columns crowned with
-     their round arches which excite our wonder to-day. They were a
-     curious fancy of the architect of Serlo; or was it not probably a
-     design of a yet older artist of Edward the Confessor? These
-     enormous round shafts, which are the peculiar feature of the nave
-     of our storied abbey, have only once been repeated, probably by the
-     same architect, in the neighbouring abbey of Tewkesbury, a few
-     years later. There is nothing like them on either side of the
-     silver streak of sea. The Tewkesbury copies are slightly smaller;
-     otherwise they are exact reproductions of Gloucester.”--(S.)
-
-The Nave differs from other Norman naves like those of Peterborough, Ely
-and Norwich.
-
-     “The unique features here are the great height of the massive
-     circular columns, fourteen in number, and the consequently dwarfed
-     triforium or gallery running over the main arches. There are traces
-     to be seen of the original Norman clerestory under the
-     Perpendicular windows, and, judging from this, the height of the
-     clerestory, as originally constructed, must have been but little
-     less than that of the piers in the nave.
-
-     “This Norman clerestory was altered at the same time that the roof
-     of the nave was vaulted--viz. in 1242, in the time of Henry Foliot.
-     This work was done by the monks themselves, who thought, as
-     Professor Willis suggests, that they could do it better than common
-     workmen. Their work is made of a light and porous kind of stone,
-     treated with plaster on the under-side, and it was rendered
-     necessary by the previous roof, which was of wood, having been
-     destroyed by fire in 1190. Of this fire the piers certainly show
-     the traces to this day, all having become reddened and slightly
-     calcined. To make the new clerestory the whole of the original
-     Norman work over the arcade of the triforium was removed, with the
-     exception of the jambs of the side-lights (which extended beyond
-     the arches of the triforium) and the wall between them.”--(H. J. L.
-     J. M.)
-
-All the stone-work was originally painted.
-
-     “The painting may be thus generally described. The hollow of the
-     abacus of the capitals was red, the lower member of the same,
-     green; the whole of the bell red, the leaves alternately green and
-     yellow, with the stalks, running down, of the same colours, into
-     the red bell of the capital. The vertical mouldings between the
-     marble shafts were red and blue alternately; the lower shafts green
-     and blue, with red in the hollows, and the foliage on these also is
-     green and yellow. Some of the horizontal mouldings are partly
-     coloured also. The bosses in the groining are yellow and green, as
-     in the capitals. All the colouring, which was very rich, was
-     effected with water colours; in one instance only has any gold been
-     discerned, and that was upon one of the bosses in the roof.”--(F.
-     S. W.)
-
-Abbot Morwent pulled down the west end of the Nave in 1421-1437 and
-reconstructed it in the Perpendicular style. It is supposed that the
-original =west front= was like that of the Abbey at Tewkesbury.
-
-The west window contains nine lights, filled with modern glass.
-
-The =South aisle=, originally Norman, was remodelled about 1318. The
-tracery of the windows is unusual. The ball-flower is seen in great
-profusion in this part of the Cathedral.
-
-In this aisle there is a monument to Dr. Jenner of vaccination fame, to
-whom the five-light west window here is also a memorial.
-
-The tracery of the windows of the clerestory is attributed to Abbot
-Morwent.
-
-The =North aisle= retains its original Norman vaulting, and the Norman
-piers, which correspond to the piers in the Nave, are divided into
-several members. Some of their capitals are richly carved. In each bay
-there is some Perpendicular tracing. A stone bench along the wall is
-also Perpendicular.
-
-The door into the Cloister at the west end of the aisle is very fine,
-and the side niches and canopy work over it deserve study.
-
-The door at the eastern end of the aisle leading to the Cloisters is
-also Perpendicular. Both doors have fan-vaulted recesses, like the great
-west door of the Nave.
-
-The west end of the aisle is the work of Abbot Morwent (1421-1437).
-
-A heavy stone screen, dating from 1820, closes the east end of the nave.
-We pass through a small arch in this screen, and beneath the broad
-platform on which the great organ stands.
-
-This was originally built in 1663-1665 by Thomas Harris, and was painted
-and gilded in 1666. The oak case is in the Renaissance Style.
-
-Little idea of the beauty of the =Choir= can be obtained from the Nave. We
-enter from the north aisle. It is 140 feet long; 33 feet 7 inches broad;
-and 86 feet high.
-
-     “Looking upwards, the visitor will note the beauty of the vaulting
-     and the bosses placed at the intersection of the ribs. These bosses
-     at the east end of the choir chiefly represent a choir of angels
-     playing on various kinds of musical instruments, and a figure of
-     Our Lord in the attitude of blessing. All the roof was originally
-     probably painted and decorated, but the existing colour and gilding
-     is recent work, having been done by Clayton & Bell. At first sight
-     the groining of the roof looks most complicated, but, if analysed
-     and dotted down on paper, it will be seen to be in reality a simple
-     geometrical pattern. The bosses will repay careful examination with
-     a glass.
-
-     “Viewed from the door in the screen, the choir looks in very truth
-     a piece of Perpendicular work, as the Norman substructure is then
-     for the most part concealed. A closer examination, however, will
-     prove that the Norman work is all there--that it has been veiled
-     over with tracery from the floor level to the vaulting with open
-     screen-work, fixed on to the Norman masonry, which was pared down
-     to receive it.”--(H. J. L. J. M.)
-
-The general impression is striking:
-
-     “The choir on which you are now looking is very long--not too long,
-     however, for its great height--for the fretted roof, a delicate
-     mosaic of tender colours set in pale gold, soars high above the
-     vaulting of the nave. The proportions are simply admirable. From
-     the lofty traceried roof down to the elaborately tiled floor, the
-     walls are covered with richly carved panelled work, broken here and
-     there with delicate screens of stone. The eastern end, hard by the
-     high altar, is the home of several shrines. There is happily no
-     lack of colour in this part of our cathedral. The western end is
-     furnished with sixty richly-carved canopied stalls of dark oak,
-     mostly the handiwork of the Fourteenth Century. The curiously and
-     elaborately fretted work of the roof we have already spoken of as
-     a rich mosaic of gold and colours. The floor, if one dare breathe
-     a criticism in this charmed building, is too bright and glistening,
-     but it is in its way varied and beautiful. The carving of the
-     reredos, a work of our own day, is, to the writer’s mind, open to
-     criticism, but is still very fair, telling in every detail of
-     loving work and true reverence.”--(S.)
-
-The =High Altar= occupies the same site as the ancient one. The sixty
-=Choir-stalls= have been restored in part; the sub-stalls date from Sir
-Gilbert Scott’s restoration (1873). On the south side of the High Altar
-there are four =Sedilia= also restored. Redfern’s figures in the niches
-are Abbot Edric, Bishop Wulstan, and Abbots Aldred, Serlo, Foliot,
-Thokey, Wygmore, Horton, Froucester, Morwent, Seabroke and Hanley. The
-three angels over the canopies, playing on a tambour and trumpets,
-deserve notice.
-
-On the north side of the =Presbytery= we pause to look at the chantry =Tomb
-of Abbot Parker=, where the carving of vine and grapes on the stone
-screen is fine. The curious cross in the form of a growing tree at the
-foot of the tomb is also striking. Parker, who died in 1539, was buried
-elsewhere. Then we pass to the more famous =Tomb of Edward II.=, erected
-by Edward III. The alabaster figure is probably the earliest of its kind
-in England. The tomb was opened in 1855 to satisfy curiosity as to
-whether the king was really buried there after his murder in Berkeley
-Castle nearby.
-
-     “Though it awakens our recollection of a feeble-minded king, and
-     his barbarously brutal murder, it also compels our admiration at
-     the beauty of the work. It has been restored, renovated or
-     re-edified, but in spite of that, appeals to us from the wealth of
-     very highly ornate tabernacle work, the richness, and at the same
-     time the lightness and elegance of the whole. The details too are
-     well worth careful examination. It may be, judging from the
-     expression of the face, that there has been some attempt at
-     portraiture, but repair and restoration have practically made it
-     impossible to settle what would otherwise be an interesting
-     question. The superb canopy has suffered much at the hands of
-     restorers--e.g. in 1737, 1789, 1798 and in 1876.”--(H. J. L. J. M.)
-
-The next monument is to =King Osric=, erected in “late dayes,” _i.e._ in
-the time of Abbot Parker, whose arms are in the spandrels of the canopy
-(1514-1539).
-
-The Norman piers, cut away to receive the tomb, are decorated on their
-capitals with the white hart chained and gorged, with a ducal coronet,
-the device of Richard II. Osric is represented as clad in tunic, laced
-mantle and a fur hood or collar, bearing the model of a church in his
-left hand.
-
-The next tomb westwards is, as Leland says, that of “=King Edward of
-Caernarvon= (who) lyeth under a fayre tombe, in an arch at the head of
-King Osric tombe.”
-
-The transepts and ambulatory of the choir are usually entered through
-the iron gateway in the south aisle of the nave.
-
-These =Ambulatories=, or aisles, have nothing uncommon in their form or
-arrangement below, but above occurs the great peculiarity of this
-church. The upper range of chapels surrounding the Choir is perhaps not
-to be met with in any other church in Europe.
-
-Another peculiarity of the Choir is its six-light west window. This was
-rendered necessary by the difference in height of the Nave and Choir;
-for the vaulting of the choir is about twenty feet higher than that of
-the Nave. The glass consists chiefly of patchwork from other windows in
-the Cathedral. It represents a figure of our Lord, with angels on either
-side. Below angels play musical instruments.
-
-The =Triforium= of the Choir is considered by some critics the finest in
-existence.
-
-     “It occupies the space over the ground floors of the aisles or
-     ambulatory of the choir, and originally extended of a like width
-     round the east end of the Norman Church, but at the time when the
-     Fourteenth-Century work of the present choir was executed, the
-     whole of the east end of the old Norman choir, with the
-     corresponding part of the triforium, was removed in order to make
-     room for the existing large window, the small east chapel being
-     allowed to remain.”--(F. S. W.)
-
-The =Triforium= is reached by the staircases in the western turrets of the
-two transepts and by arcaded passages passing under the great windows of
-the transepts.
-
-     “The first chapel in the triforium contains two brackets with rich
-     canopies, and there is a very well preserved double piscina.
-     Ball-flowers in two rows will be found in the mouldings of the east
-     window. Remains of two canopies in the jambs of the windows are
-     also to be traced.
-
-     “The massive Norman piers should be carefully studied, as the way
-     in which the later casing work has been applied can be more easily
-     seen in the triforium than elsewhere.
-
-     “The picture on the west side of this part of the triforium was
-     discovered in 1718, against the then eastern end of the nave,
-     underneath the panelled wainscot at the back of the seats occupied
-     by the clergy when the nave was used for service.”--(H. J. L. J.
-     M.)
-
-This painting of _The Last Judgment_ is supposed to date from the reign
-of Henry VIII., or Edward VI. It was suggested by the great altar-piece
-at Dantzig (1467).
-
-As an entrance to the east chapel of the triforium, the narrow gallery,
-called the =Whispering Gallery=, was made. It is a passage of Norman work,
-very much altered and re-used. It is 74 feet long, 3 feet wide, 6⅛
-feet high, and is carried on segmental arches from the east end of the
-south triforium to the west wall of the Lady Chapel, and thence in the
-same way to the north triforium.
-
-On the way towards the Whispering Gallery, the flying-buttresses
-inserted in 1347-1350 to support the walls of the clerestory, which were
-weakened by the insertion of the great east window of the Choir, should
-be noticed.
-
-Visitors are always interested in the Whispering Gallery, where the
-lightest whisper can be easily and distinctly heard at the other end of
-the gallery. It inspired the following lines, by Maurice Wheeler
-(head-master of the King’s School, 1684-1712):
-
-    “Doubt not but God, who sits on high,
-      Thy secret prayers can hear,
-     When a dead wall thus cunningly
-      Conveys soft whispers to the ear.”
-
-The =East Window= is larger than the East Window of York Minster. It
-measures 78 × 38 feet; that at York is 78 × 33.
-
-Though it has suffered much mutilation, restorers have done little harm,
-and it is possible to get some idea of its original splendour.
-
-     “It is worthy of remark that the tracery, heads and cusps, as seen
-     from the inside of this window, are not repeated on the outside, a
-     plain transom only crossing the lights. This peculiarity is
-     repeated in the great west
-
-[Illustration: GLOUCESTER: CHOIR, EAST]
-
-[Illustration: GLOUCESTER: CLOISTERS]
-
-     window and in many other windows in the cathedral.”--(F. S. W.)
-
-The stone-work of the window was restored in 1862 and the glass cleaned
-and re-leaded. The window consists of fourteen lights--six on the centre
-with four on either side. The subjects are the Coronation of the Virgin
-Mary with Christ and the Apostles, saints and kings. The heraldic
-shields fix the date of the glass between 1347 and 1350. The canopies
-and nearly all the figures are of white glass enriched with yellow. The
-tones of red and blue are particularly rich. The drawing of the figures
-has been much criticised.
-
-     “The whole of this, the loveliest choir in England, is lit by a
-     mighty wall of jewelled glass behind the great golden reredos.
-
-     “This vast east window which floods the choir of Gloucester,
-     beautiful as a dream with its soft, silvery light faintly coloured
-     with jewelled shafts of the richest blue and red, and here and
-     there a vein of pale gold--this vast window could not have been
-     seen out of England, or, at least, one of the grey and misty
-     northern countries, where gleams of light or shafts of sunshine are
-     exceedingly precious. In south or central Europe the effect of such
-     a mighty window would be simply dazzling to the eye, would be
-     painful from its excess of light.
-
-     “This great east window is the largest painted window in
-     England--the largest, the writer believes, in Europe. Its stonework
-     exceeds in size the magnificent east window of York, which stands
-     next to it. The respective measurements are Gloucester, seventy-two
-     feet high by thirty-eight wide; York, seventy-eight by thirty-three
-     feet. The lower parts of the centre compartments at Gloucester are
-     not completely glazed, owing to the opening into the Lady-chapel.
-     The glass of Gloucester is, on the whole, light-coloured, the
-     designers being evidently anxious that the beautiful stone panels
-     and screen-work should be seen in all their exquisite details. The
-     glass has suffered marvellously little from the ravages of weather
-     and the fanaticism of revolutionary times; the busy restorer, too,
-     has dealt gently with it. There are forty-nine figures, and of
-     these thirty-seven are pronounced by our lynx-eyed experts to be
-     absolutely genuine. Of the eighteen armorial shields in the lower
-     lights thirteen are certainly the identical shields inserted by the
-     survivors of Cressy. The whole of the gorgeous canopy-work has been
-     untouched. The subject of the paintings is the _Coronation of the
-     Virgin_ and the figures consist of winged angels, apostles, saints,
-     kings and abbots. The coats-of-arms are those borne by King Edward
-     III., the Black Prince, and their knightly companions, such as the
-     Lords of Berkeley, Arundel, Pembroke, Warwick, Northampton, Talbot
-     and others who took part in the famous campaign in which occurred
-     the battle of Cressy, and who in some degree were connected with
-     Gloucestershire. The window was, in fact, a memorial of the great
-     English victory, and may fairly be termed the Cressy window.”--(S.)
-
-The =Vestibule= to the Lady-Chapel is a beautiful work. The lower portions
-of the west wall, parts of the old Norman apsidal chapel, are pierced by
-the opening for the door and by two perpendicular windows.
-
-The lierne vaulting is very delicate (the ribs are run differently in
-the four quarters of the roof), and the pendants form a cross. Over the
-vestibule is the small chapel which is entered from the Whispering
-Gallery.
-
-The beautiful =Lady-Chapel= was built between 1457 and 1499 on the site of
-a smaller one.
-
-The Lady-Chapel, 91 feet 6 inches long, 25 feet 6 inches high, and 46
-feet 6 inches high, consists of four bays, which, as the wall of the
-chapel is so low, are chiefly composed of fine tracery and glass.
-
-     “All the wall below the windows is arcaded with foiled arches, with
-     quatrefoils above them. The wall between the windows is panelled
-     with delicate tracery like that in the windows, and in its three
-     chief tiers contains brackets for figures, with richly carved
-     canopies overhead. Many of these canopies (like the walls) show
-     traces of colour.
-
-     “Vaulting shafts of great beauty support one of the grandest
-     Perpendicular roofs that has ever been made. Each boss in the roof
-     is worth minute inspection, and since the restoration (1896) it is
-     possible to see the bosses in practically the same condition as
-     they were when they left the masons’ hands in the Fifteenth
-     Century. With three exceptions they are all representations of
-     foliage.
-
-     “It has been said above that the chapel is cruciform. The arms of
-     the cross are represented by the two side chapels, like diminutive
-     transepts on the north and south sides, with oratories above them,
-     to which access is given by small staircases in the angles of the
-     wall. Both these side chapels contain some exquisite fan-tracery
-     vaulting, which is supported upon flying arches, fashioned in
-     imitation of the graceful flying arches in the choir.
-
-     “On the north side the chapel contains a full-length effigy of
-     Bishop Goldsborough (who died in 1604) robed in his white rochet,
-     black chimere, with lawn sleeves, scarf, ruff and skull-cap.
-
-     “The east window in this chapel is in memory of Lieut. Arthur John
-     Lawford (1885), and is dedicated to St. Martin.
-
-     “The chapel above has a vaulted roof with bosses of foliage, and
-     there are small portions of ancient glass.
-
-     “The Lady-chapel is one of the largest in the kingdom, and is said,
-     at the time of the Dissolution, to have been one of the richest. A
-     great part of it is said to have been gilded and gloriously
-     ornamented. Traces of the colour can be seen in the mouldings of
-     the panellings and in the carving upon the walls.”--(H. J. L. J.
-     M.)
-
-The =Reredos= still retains traces of its gorgeous colours. It is very
-richly ornamented.
-
-The =East Window=, consisting of nine lights, dates from 1472-1479. The
-monuments are not especially remarkable. The tiles of the floor and the
-sedilia are notable.
-
-On our right, as we leave the Lady Chapel, we come to =Abbot Boteler’s
-Chapel= (1437-1450). It contains a fine ancient reredos, interesting
-tiles and a curious wooden =effigy of Robert, Duke of Normandy=, son of
-William the Conqueror. Critics think it nearly contemporary with the
-Duke himself. The figure rests on a Fifteenth Century chest.
-
-Next we come to =St. Paul’s Chapel= (north-west) entered by a doorway. The
-reredos here is very fine. It was repaired in 1870. St. Peter, St. Paul
-and St. Luke, by Redfern, ornament the niches.
-
-An ancient stone reading-desk, from which pilgrims to the shrine of
-Edward II. were addressed, attracts our attention near the door leading
-into the =North Transept=. This is originally Norman, cased over with
-Perpendicular panelling, more developed, however, than that in the south
-transept. The work here was done in 1368-1373. Angular mouldings are
-used in the place of round mouldings and the mullions run right up to
-the roof, which is much richer than that in the south transept. The
-vaulting of the north transept somewhat resembles the fan-tracery of the
-cloisters. This transept is 8 feet lower than that on the south side and
-it is 2 feet shorter.
-
-Beneath the north window is a greatly admired piece of Early English
-(1240), supposed to have been a =Reliquary=. The middle of the three
-divisions is a doorway. Beautifully carved foliage and Purbeck marble
-shafts are the chief ornamentation.
-
-Opposite, between the tower-piers, is a small chapel, said to have been
-dedicated to St. Anthony. It is used as the Dean’s vestry.
-
-The =South Transept= (=St. Andrew’s Aisle=) was transformed from the Norman
-in 1329-1337. The vaulting is lierne with short ribs. The walls are
-panelled.
-
-On the north side of the south transept, we find the =Seabroke Chapel=.
-
-     “The alabaster effigy represents the Abbot in his alb, stole,
-     tunic, dalmatic, chasuble, amice and mitre, with his pastoral staff
-     on his right side. The chapel has been partially restored. Traces
-     of colour are to be seen in the reredos and the roof over it.
-
-     “Almost opposite to this, but nearer to the iron gate, is a
-     recessed tomb to a knight in mixed armour of mail and plate, and by
-     his side his lady, with kirtle, mantle and flowing hair. Both wear
-     SS. collars, and this helps to give the age of the monument, by
-     narrowing the date down to a year not earlier than 1399.”--(H. J.
-     L. J. M.)
-
-On the east side the =Chapel of St. Andrew= occupies a corresponding
-position to that of =St. Paul= in the north transept. This chapel has been
-restored. Some of the best glass in the Cathedral is contained in the
-east window over St. Andrew’s Chapel. It dates from about 1330 and
-consists of the head of a white scroll-work of vine leaves, etc., on a
-fine ruby-coloured ground, and below plain quarries with very simple
-borders.
-
-Opposite Boteler’s Chapel we find =St. Philip’s Chapel= (south-east),
-restored in 1864. There is some dog-tooth moulding near the piscina. A
-fine Perpendicular arch, supporting the triforium above, attracts
-attention before the Lady-Chapel is entered.
-
-The =Crypt= is entered from the eastern door in the south transept. It is
-one of the five great eastern crypts erected before 1085[5] and consists
-of an apse, three small apsidal chapels and two chapels underneath the
-eastern chapels of the north and south transepts.
-
-     “Great alterations have from time to time been made in the crypt.
-     The large semicircular columns against the walls, though of great
-     antiquity, are not parts of the original structure, but are casings
-     built round, and enclosing the former smaller piers, and the ribs
-     springing from their capitals are built _under_, with a view to
-     support the vaulting.”--(F. S. W.)
-
-Through a door in the organ screen in the north aisle of the nave we
-enter the =Cloisters=, which are among the most perfect and beautiful in
-England. They form a quadrangle and each walk is divided into ten
-compartments. Fan-tracery is thought to have originated here in the
-vaulting. They were begun by Abbot Horton (1351-1377) and completed by
-Abbot Froucester (1381-1412).
-
-     “The view looking down either of the walks is very fine, mainly
-     owing to the richness of the groined roof, which is the earliest
-     example of the fan-vault. This style of vaulting is entirely
-     peculiar to England; and Professor Willis has suggested that the
-     school of masons who were employed in this cathedral may have
-     originated it. The wall sides of the cloisters are panelled; and
-     the windows, divided by a transom, have rich Perpendicular tracery.
-     The lights above the transom were glazed. Each walk is divided into
-     ten compartments. In the south walk are the Carrels--places for
-     writing or study, twenty in number, formed by a series of arches,
-     running below the main windows. In each carrel is a small and
-     graceful window of two lights.[6] The very fine view at the angle
-     of the south and west walks should especially be noticed. In the
-     north walk are the lavatories, projecting into the cloister garth;
-     these are very perfect. Under the windows is a long trough or
-     basin into which the water flowed. The roof is groined. Opposite in
-     the wall of the cloister, is the recess for towels, or
-     _manutergia_. The windows of the east walk are filled with memorial
-     glass by Hardman (the eighth is by Ballantyne, as is one window in
-     the west walk).”--(R. J. K.)
-
-A small cloister, or slype, opens from the east walk between the
-cathedral and the chapter-house. This is also called the =Abbot’s
-Cloister=. This is Norman in its western portion and Perpendicular
-beyond.[7] Above this is situated the Chapter Library, a long, dark
-Perpendicular room with a roof of dark oak, a large Perpendicular window
-east and a row of small windows on the north side.
-
-Though the cloisters are quadrangular, the length of the four walks is
-not quite the same. The width (12½ feet) and height (18½ feet) are
-alike.
-
-In the =North Alley=, the Monks’ Lavatory is
-
-     “one of the most perfect of its date. It projects 8 feet into the
-     garth, and is entered from the cloister alley by eight tall arches
-     with glazed traceried openings above. Internally it is 47 feet long
-     and 6½ feet wide, and is lighted by eight two-light windows
-     towards the garth and by a similar window at each end. One light of
-     the east window has a small square opening below, perhaps for the
-     admission of the supply pipes, for which there seems to be no other
-     entrance either in the fan vault or the side walls. Half the width
-     of the lavatory is taken up by a broad, flat ledge or platform
-     against the wall, on which stood a lead cistern or laver, with a
-     row of taps, and in front a hollow trough, originally lined with
-     lead, at which the monks washed their hands and faces. From this
-     the waste water ran away into a recently discovered (1889) tank in
-     the garth.”--(H.)
-
-From the =West Alley= the monks entered their great dining-hall; and at
-the south-west corner a vaulted passage called the =Slype= lies under part
-of the old lodging of the Abbots, now the Deanery. In this passage, a
-sort of outer parlour, the monks held conversation with strangers. In
-the =South Alley= the monks studied after dinner until evensong. It has
-ten windows of six lights and twenty recesses, or “carrels,” below the
-transoms.
-
-The roof of the =East Alley= is a perfectly plain barrel vault without
-ribs. In the south-west corner we find a hollowed bracket, or cresset
-stone, in which a wick, floating in tallow, was kept to light the
-passage.
-
-Opposite the fifth bay a doorway, containing some good Norman work,
-slightly restored, leads into the =Chapter-House=.
-
-Originally consisting of three Norman bays, it probably, like the
-chapter-houses at Norwich, Reading, and Durham, terminated in a
-semi-circular apse. The present east end is Late Perpendicular, and
-makes a fourth bay. The vaulting of the later part is well groined, and
-the window is good. The roof of the three Norman bays is a lofty barrel
-vault supported by three slightly pointed arches springing from the
-capitals of the columns, which are curiously set back, and separate the
-bays.
-
-Norman arcading of twelve arches--_i.e._ four to each bay--runs along
-the three westernmost bays on the north and south walls.
-
-     “The west end is arranged in the usual Benedictine fashion, with a
-     central door, flanked originally by two large unglazed window
-     openings, with three large windows above. Only one of the windows
-     flanking the doorway can now be seen, the other having been partly
-     destroyed and covered by Perpendicular panelling when the new
-     library stair was built in the south-west corner of the
-     room.”--(H.)
-
-Of the four old gateways remaining the finest is =St. Mary’s Gate=, a
-typical specimen of Early English work. It leads into St. Mary’s Square.
-In the northwest corner of the Precincts the famous vineyard was
-situated.
-
-
-
-
-HEREFORD
-
-     DEDICATION: ST. MARY AND ST. ETHELBERT. A CHURCH SERVED BY SECULAR
-     CANONS.
-
-     SPECIAL FEATURES: NORTH TRANSEPT AND EAST END.
-
-
-Hereford is situated in the fertile and cultivated valley of the Wye.
-
-     “Almost in the midst of the city the sturdy mass of the cathedral
-     building reposes in a secluded close, from which the best general
-     view is obtained. The close is entered either from Broad Street,
-     near the west window, or from Castle Street; the whole of the
-     building lying on the south side of the close between the path and
-     the river. The space between the Wye and the Cathedral is filled by
-     the Bishop’s Palace and the college of the Vicars’ Choral. On the
-     east are the foundations of the castle, which was formerly one of
-     the strongest on the Welsh marshes.”--(A. H. F.)
-
-A stone church was begun here about 830 in honour of St. Ethelbert, the
-East Anglian king, murdered by Offa near Hereford in 792. At his shrine
-miracles were wrought. This church was rebuilt in Edward the Confessor’s
-reign; but was plundered and burnt by the Welsh and Irish. The present
-building was begun by Robert de Losinga about 1079 and finished by the
-middle of the Twelfth Century. The most remarkable part of the building
-is the north transept. This is supposed to have been built by Bishop
-Aquablanca (see page 177), who was succeeded by Thomas de Cantilupe, the
-great saint of the Cathedral (see page 178).
-
-Hereford has suffered greatly from calamities and restorations. In 1786
-the western tower and west front fell. They were reconstructed by Wyatt.
-He also shortened the nave by one bay and destroyed the Norman
-triforium. Repairs and restorations were undertaken in 1841, 1852 and
-1858.
-
-The most striking feature of the exterior is the central =Tower=--of two
-stories above the roof with buttresses and exhibiting the ball-flower in
-great profusion. The four pinnacles at the corners were added in 1830.
-The Lady-Chapel with its tall lancet-shaped windows and bold buttresses
-is also interesting. On the south side the Audley Chantry projects with
-great effect; and from the west we gain a good view of the =Bishop’s
-Cloisters=, with the square turreted tower called the =Lady Arbour=, though
-nobody knows why. Only the east and the south walks now remain. They are
-Perpendicular with fine window openings and richly carved roof.
-
-We enter the Cathedral by the =North porch=, completed in 1530. It is of
-two stages, and projects beyond an inner porch of the Decorated period.
-The doorway opening into the church is also Decorated.
-
-On entering the =Nave=, we pass to the west end to get the best general
-view.
-
-     “The nave, which is separated from the aisles by eight massive
-     Norman piers (part of the original church), of which the capitals
-     are worthy of notice, has somewhat suffered by restorations at the
-     hands of Wyatt. The triforium, the clerestory, the vaulting of the
-     roof and the western wall and doorway are all his work; and it must
-     not be forgotten that he shortened the original nave by one entire
-     bay. Walking to the west end, from which the best general view is
-     to be obtained, one is impressed by the striking effect of the
-     great Norman piers and arches and the gloom of the choir beyond.
-     Through the noble circular arches, which support the central tower
-     and the modern screen on the eastern side of it, we see the eastern
-     wall of the choir, pierced above by three lancet windows and below
-     by a wide circular arch receding in many orders. A central pillar
-     divides this lower arch, two pointed arches springing from its
-     capital, and leaving a spandrel between them, which is covered with
-     modern sculpture. In the far distance may be distinguished the east
-     wall of the Lady-chapel and its brilliant lancet lights. Throughout
-     the Cathedral the Norman work is remarkable for the richness of its
-     ornament as compared with other buildings of the same date, such as
-     Peterborough or Ely.
-
-     “The main arches of the nave are ornamented with the billet and
-     other beautiful mouldings and the capitals of both piers and shafts
-     are also elaborately decorated. The double half shafts set against
-     the north and south fronts of the huge circular piers are in the
-     greater part restorations.
-
-     “Over each pier-arch there are two triforium arches imitated from
-     the Early English of Salisbury. They are divided by slender
-     pillars, but there is no triforium passage. During the Late
-     Decorated period the nave-aisles were practically rebuilt, the
-     existing walls and windows being erected upon the bases of the
-     Norman walls, which were retained for a few feet above the
-     foundations. The vaulting of the roofs of the nave-aisles and the
-     roof of the nave itself were coloured under the direction of Mr.
-     Cottingham.”--(A. H. F.)
-
-In the second bay of the south aisle stands an ancient =Font= of late
-Norman design, decorated with figures of the Apostles, on a base with
-four demi-griffins or lions. Among the monuments in the nave is an
-alabaster =Effigy of Sir Richard Pembridge=, in plate and mail armour with
-his greyhound. He died in 1375. Here are also the =effigy= and =tomb= of
-=Bishop Booth= (died 1535), who built
-
-[Illustration: HEREFORD: NAVE, EAST]
-
-[Illustration: HEREFORD: NORTH-EAST]
-
-the north porch. The handsome iron grille in front of the tomb is of the
-same date.
-
-The =Central Tower= rests on massive piers with Norman arches. The entire
-space is open from the floor of the Cathedral to the wooden floor of the
-bell-chamber, painted beneath in blue and gold. From this floor hangs a
-corona of wrought iron, coloured like the screen. The tower contains a
-fine peal of ten bells.
-
-Through the north arch of the tower we pass into the =North Transept=,
-said to be the work of Peter of Savoy, who became Bishop of Hereford. He
-was called Bishop Aquablanca from his birthplace near Chambéry. He died
-in 1268 intensely hated. The original Norman north transept was pulled
-down about 1260 for this new one, rebuilt
-
-     “on a design which is perhaps the most original, as it certainly is
-     one of the most beautiful in the history of English Gothic
-     architecture. To the north and west were built enormous windows,
-     with tracery of cusped circles, quite exceptional in their
-     elongation, more like late German than English work. On the east
-     side was built an aisle of exquisite beauty. Its arches, almost
-     straight-sided--its triforium windows, a ring of cusped circles set
-     under a semicircular arch--its clerestory windows, spherical
-     triangles, enclosing a cusped circular window--the composition of
-     the triforium--the north and west windows--are quite unique, except
-     so far as they were copied in later work in the city and
-     neighbourhood. At the south end of the aisle is the exquisite TOMB
-     of Bishop Peter Aquablanca (died 1268); no doubt built in his
-     lifetime. The tomb is as unique as the transept, and chiefly
-     resembles it in design. The inference is that Bishop Aquablanca
-     built the transept. The credit of it, however, is constantly given
-     to his successors, apparently on account of his private vices. But
-     saints as well as sinners have liked to leave memorials behind them
-     in stone; and, moreover, Aquablanca had his good points. To this
-     day four thousand loaves are distributed every year out of funds
-     which he bequeathed. It is recorded, too, that of a fine which was
-     imposed on the citizens for encroachments on his episcopal rights,
-     he remitted one half and handed over the other for works on the
-     cathedral.”--(F. B.)
-
-Aquablanca was succeeded by Thomas Cantilupe, as much loved as the
-former was hated. Dying on a homeward journey from Rome, in 1282, his
-bones were removed from the flesh by boiling and carried to Hereford to
-be placed in the Lady-Chapel. Forty years later he was canonized. Many
-miracles were effected at his shrine, removed to the transept in 1287.
-King Edward I. sent sick falcons to be cured and people thronged with
-large offerings. We shall soon see all that is left of the =Cantilupe
-Shrine=.
-
-     “The Norman arches opening to the aisles of the nave and choir
-     resemble those which correspond to them on the south side of the
-     church. The transept beyond them was, as we have seen, entirely
-     rebuilt, and is one of the most remarkable examples of the period
-     remaining in England. The unusual form of its arches, and its pure,
-     lofty windows, are sufficiently impressive now; but their effect
-     must have been wonderfully increased when the windows were filled
-     with glass displaying the history and miracles of the sainted
-     Bishop, and when the shrine itself was standing on its pedestal
-     within the eastern aisle, rich with the gold and jewels offered by
-     the numerous pilgrims who knelt daily before it.
-
-     “The west side of the transept (which is of two bays beyond the
-     aisle passage) is entirely filled by two very lofty windows of
-     three lights each. The heads of the narrow lights are sharply
-     pointed; and the tracery above is formed by three circles enclosing
-     trefoils. These windows are set back within triangular-headed
-     arches. On the north side is a double window of the same character
-     divided by a group of banded shafts. The triple lights on either
-     side of these shafts, and the foiled circles above them, precisely
-     resemble the windows on the west side of the transept.
-
-     “The vaulting springs from clustered shafts, the corbels supporting
-     which, on the east side, are beautiful and singular, and resemble
-     bunches of reeds, terminating in a small open flower. The small
-     heads below these corbels, at the intersection of the main arches,
-     should also be noticed.
-
-     “The eastern aisles, lighted by three very beautiful windows, each
-     of three lights, with three quatrefoils in the tracery, are set
-     back within wider arches, as is the case with the windows in the
-     main transept. In this aisle, in a line with the central pier, is
-     the pedestal of the _Cantilupe Shrine_. This is a long
-     parallelogram, narrowing toward the lower end, and is entirely of
-     Purbeck marble. It has two divisions; the lower closed, like an
-     altar-tomb, the upper a flat canopy, supported on small open
-     arches. Upon this rested the actual shrine, containing the relics
-     of the saint. Cantilupe was Provincial Grand Master of the Knights
-     Templars in England; and round the lower division of the pedestal
-     are fifteen figures of Templars in various attitudes, placed in the
-     recesses of a foliated arcade. All are fully armed, in chain-mail,
-     with surcoat, shield and sword. All are seated, and tread on
-     various monsters, among which are dragons and swine, muzzled. The
-     spandrels in this arcade, and the spandrels between the arches in
-     the upper division, are filled with leafage of the first Decorated
-     period, retaining some of the stiff arrangement of the Early
-     English, but directly copied from nature. In the lower spandrels it
-     is arranged in sprays; in the upper it is often laid in rows of
-     leaves, among which occur oak, maple and trefoil. The whole of this
-     work will repay the most careful examination. (It should be
-     compared with the foliage of the capitals of the shafts surrounding
-     the central pier of the aisle, which is far more stiff and
-     conventional). On the top of the lower division of the pedestal was
-     a brass of the Bishop, of which the matrix alone remains.
-
-     “The position of the shrine in this transept may be compared with
-     that of St. Frideswide at Oxford, and with that of St. Richard de
-     la Wych at Chichester. All had an altar immediately adjoining the
-     shrine, which was dedicated to the saint, and at which the
-     offerings of pilgrims were made. In these cases, however, the usual
-     position of a great shrine--at the back of the high altar--was, for
-     some special reason, departed from. At Hereford, this position of
-     highest honour was probably occupied by the shrine of St.
-     Ethelbert.”--(R. J. K.)
-
-Close by is the interesting =monument= of =Bishop d’Aquablanca=, just by the
-north-choir-aisle. This Early English monument was once richly coloured.
-
-The effigy of this foreign priest--Peter of Savoy--lies under a canopy
-supported by delicate shafts of Purbeck marble, the gables surmounted by
-floriated crosses, the central cross bearing a figure of the Saviour.
-The richly canopied =tomb= under the great north window bears the effigy
-of =Bishop Thomas Charlton=, treasurer of England in 1329 (died 1369).
-
-Under the north-west-window is the canopied =tomb of Bishop Swinfield=
-(1283-1317). His effigy disappeared long ago, and some unknown figure
-lies there. The ball-flower is conspicuous in the mouldings of the
-canopy and behind the tomb there is a mutilated carving of the
-_Crucifixion_, surrounded by vine-leaves and tendrils, quite similar to
-the leafage of the Cantilupe Shrine. In a neighbouring recess decorated
-with the ball-flower lies the effigy of an unknown lady of the
-Fourteenth Century.
-
-The =North-choir-aisle= is entered through the original Norman arch. In
-the north wall of this aisle in a series of arched recesses (Decorated)
-lie the effigies of various ecclesiastics. Beyond the first one, =Bishop
-Geoffry de Clive= (died 1120), a door opens upon the turret staircase
-leading to a typical monastic =Library=, containing more than 2,000
-volumes, MSS. and ancient deeds, the accumulations of eight centuries.
-These are kept in eighty old oak cupboards and the ancient books are
-chained.
-
-Descending and passing to the corner of the north-east transept we come
-to =Bishop Stanbery’s Chantry=, a rich example of late Perpendicular, with
-two windows on the north side. The ceiling is richly groined. The
-capitals at the corners of the chapel are very grotesque. Opposite the
-chantry, on the north side of the choir, is the alabaster effigy of
-Bishop Stanbery (died 1474).
-
-In the wall of the aisle above is a =Decorated window=. The glass is in
-memory of =Dr. Musgrave=, Archbishop of York, previously Bishop of
-Hereford. The subject is St. Paul, the story of whose life is continued
-in the windows of the chantry.
-
-Immediately beyond, the =north-east-transept= opens. It is Early
-Decorated, retaining some Norman characteristics. In the centre rises an
-octagonal pier which helps to carry the quadripartite vaulting, which
-has good bosses of leafage. This pier gives a peculiar character to this
-transept. The windows are Early Decorated.
-
-The =South transept= retains much that is Norman, although it was altered
-during the Perpendicular period, when two huge windows were cut into the
-walls. Perpendicular panelling surrounds that in the south wall. The
-lierne vaulting is also of the same date. The east wall has five series
-of Norman arcades. Two Norman windows in the clerestory contribute
-light.
-
-The =Denton tomb=, with its effigies in alabaster showing traces of
-colour, dates from 1576.
-
-The =organ=, in the first archway on the south side of the choir, was the
-gift of Charles II. It has been twice enlarged.
-
-Effigies of bishops fill the four Decorated arched recesses on the south
-wall of the =south-choir-aisle= and on the north wall, under an arch
-opening to the choir, is the tomb of =Bishop De Lorraine=, or =Losinga=
-(died 1095). Here is also the monument and tomb to =Bishop Mayhew=, of
-Magdalen College (1504-1516); some old windows restored by Warrington;
-and the famous =Map of the World=, one of the most valuable relics of
-mediæval geography in existence. It was designed about 1314 by Richard
-of Haldingham, a Lincolnshire monk. It was discovered more than a
-hundred years ago under the floor of Bishop Audley’s Chapel.
-
-The =South-east-transept=, between the retro-choir and the chapter-house,
-opens into the latter. The style is in the main Decorated, though the
-window tracery is later quite Flamboyant. One single octagonal pillar
-separates it from its eastern aisle. From this transept a lovely view of
-the Lady-Chapel can be enjoyed.
-
-The peculiar darkness of the =Choir= is due to the arrangement of the
-transepts, which prevents the admission of light except from the
-clerestory.
-
-     “The main arches of the choir are of three orders, and spring from
-     massive composite piers, with broad, square bases. The capitals of
-     the semi-detached shafts are enriched with leafage and grotesque
-     heads. The _triforium_ in each bay consists of one wide Norman arch
-     circumscribing two smaller, divided by a central shaft, and
-     springing on either side from two massive semicircular piers, with
-     small capitals. Both outer and inner arches spring from these
-     piers. The capitals of the central shafts have square abaci, and
-     are enriched. The tympana of the outer arches are covered with
-     scallop, leaf and billet ornament. At the base of the triforium
-     runs a square string-course, enriched with minute carving. The
-     lozenge ornament prevails round the main arches of the choir, as
-     does the zigzag round those of the nave.
-
-     “Broad square pilasters, with semi-detached shafts at their angels,
-     fill the spaces between the piers. They terminate at the spring of
-     the triforium arches in double triangular headings, with crocketed
-     sides and finials of leafage. These headings are Early English, of
-     the same date as the clerestory and vaulting; and between each pair
-     rises a group of so-called vaulting-shafts, with capitals of
-     leafage, terminating at the base of the clerestory; and connected
-     (under the actual base of the clerestory) by a band of open
-     flowers. The clerestory consists of one lofty pointed arch in each
-     bay, divided by a central; on either side is a smaller trefoiled
-     arch. The windows, of two lights, with a quatrefoil in the heading,
-     are placed at the back of the wall-passage, and form in effect a
-     double plane with the large inner arches. They are filled on each
-     side with indifferent stained glass. The choir vaulting is plain
-     quadripartite, with bosses of leafage at the intersections.”--(R.
-     J. K.)
-
-The =Choir-stalls= are Decorated. Some of the =Misereres= are quaint. The
-=Bishop’s Throne= dates from the Fourteenth Century. The Cathedral also
-possesses an ancient episcopal chair, which, it is said, King Stephen
-sat in when he visited Hereford.
-
-Within a great Norman arch of five orders stands the modern =Reredos=, at
-the back of which rises a great pier from which spring two pointed
-arches. The spandrel, or Tympanum, is covered with modern sculpture--the
-Saviour in Majesty and the Evangelists; and below a statue of King
-Ethelbert, who was said to have been buried in the first Saxon church
-somewhere about this spot.
-
-From the =Retro-choir= we pass into the =Vestibule= of the Lady-Chapel, the
-walls of which are broken with transitional Norman window
-openings,--pointed arches with massive mouldings. The foliage of the
-capitals is Early English.
-
-Five steps (necessitated by the height of the crypt below) lead up to
-the =Lady-Chapel=, very rich Early English, dating from the first half of
-the Thirteenth Century. It is 24 × 45 feet and of three bays. On the
-north side each bay contains two large windows; on the south side, the
-third bay is filled by the Audley Chapel.
-
-     “The very rich clustered shafts and arches of the side windows
-     should be especially noticed. The capitals of the shafts are Early
-     English leafage; and there are small heads at the intersections and
-     crowns of the arches. A circle enclosing a quatrefoil pierces the
-     wall above these windows. The vaulting is plain quadripartite, and
-     springs from shafts which descend upon a base raised slightly above
-     the pavement. The modern pavement of the Lady-chapel is laid with
-     red and green tiles in large square panels. The whole design is
-     broad and good in outline; and is somewhat richer at the altar end,
-     which is raised on one step.”
-
-Ferguson has remarked that
-
-     “Nowhere on the Continent are such combinations to be found as the
-     Five Sisters at York, the east end of Ely, or such a group as that
-     which terminates the east end of Hereford.”
-
-Many of its features were hidden until the restorations and repairs were
-undertaken in 1841.
-
-     “The glorious EAST-WINDOW consists of five narrow lancets recessed
-     within arches supported by clustered shafts, the wall above being
-     perforated with five quatrefoil openings, of which the outside ones
-     are circular and the centre three are oval. It was as a memorial to
-     Dean Merewether, to whom the cathedral owes so much, that the
-     stained glass designed by Cottingham was placed in the east
-     windows in the narrow lancets that he loved so dearly. It
-     represents scenes in the early life of the Virgin and the life of
-     Christ, the last being the supper in the house of Mary and Martha.
-     In the side windows the visitor should especially notice the rich
-     clustered shafts and arches, the Early English capitals and the
-     ornamentation of the arches. The double PISCINA and AUMBRY south of
-     the altar are restorations necessitated by the dilapidated state of
-     the originals.”--(A. H. F.)
-
-In the central bay on the north side lies the effigy of =Sir Peter de
-Grandison= (died 1358) under a canopy of open tabernacle work. The armour
-is very interesting. Once the effigy was supposed to be Humphrey de
-Bohun, Earl of Hereford. On the same side lies =Joanna de Bohun=, Countess
-of Hereford (died 1327). Her effigy is a splendid study in costume. She
-left a large estate to the Cathedral.
-
-A black marble slab, with brass, marks the resting-place of =Dean
-Merewether= (died 1850). =Dean Berew=, or =Beaurieu=, in the south wall of
-the vestibule, is one of the best specimens of sculpture in the
-Cathedral. He died in 1462.
-
-It was not every bishop who could build two chantries; but =Bishop Audley=
-(1492-1502) built himself a charming Tudor chapel, two stories high,
-projecting from the south side of the Lady Chapel, a circular staircase
-giving access to the upper room. He intended it for his tomb; but as he
-was translated to Salisbury in 1502, he had the trouble of building
-another one there, in which he was buried.
-
-     “The lower chamber is shut off from the Lady-chapel by a screen of
-     painted stone with open-work panelling in two stages. The chapel is
-     pentagonal in plan, and has two windows, while a third opens into
-     the Lady-chapel through the screen. The ceiling is vaulted, and
-     bears evidence of having in former times been elaborately painted.
-
-     “There are five windows in the upper chamber and the groined roof
-     is distinctly good. The boss in the centre represents the Virgin
-     crowned in glory. On other parts of the ceiling are the arms of
-     Bishop Audley and those of the Deanery, as well as a shield bearing
-     the letters R. I. The upper part of the chantry, which is divided
-     from the Lady-chapel by the top of the screen which serves as a
-     kind of rail, may have been used as an oratory; but no remains of
-     an altar have been found. On the door opening on the staircase is
-     some good iron-work, and Bishop Audley’s initials may be noticed on
-     the lock. Standing by the door of this chapel, the visitor has a
-     lovely view westward: two pillars rising in the roof and across the
-     top of the reredos; to the right, the Norman arches of the north
-     transept and further on still the nave.”--(A. H. F.)
-
-From the south side of the Lady-Chapel we enter the =Crypt= by steps
-leading down from an Early English porch. It is 50 feet long, and
-consists of a nave and aisles. Because the crypt was used as a
-charnel-house, it is called _Golgotha_. It is lighted by plain lancets.
-
-There are only a few fragments of old glass in the windows, some of the
-best (early Fourteenth Century) is in one of the lancets on the south
-side of the Lady-Chapel. The subjects are Christ surrounded by symbols
-of the Four Evangelists; Lamb and flag; Angel and Marys at the
-Sepulchre; Crucifixion; Christ carrying the Cross.
-
-A window in the north-east transept contains Fourteenth Century glass,
-restored by Warrington in 1864: St. Katherine; St. Michael; St. Gregory;
-and St. Thomas of Canterbury. In the south-east transept a similar
-window exhibits St. Mary Magdalene; St. Ethelbert; St. Augustine; and
-St. George. The many memorial windows do not call
-
-[Illustration: HEREFORD: CHOIR]
-
-[Illustration: WORCESTER: SOUTH-WEST]
-
-for special attention. One, however, in the north transept, erected to
-Archdeacon Lane =Freer=, is to be noticed on account of the tracery. It is
-one of the largest in England of the period of Edward I.
-
-From the south-east transept we enter a narrow passage, the =Vicars’
-Cloister=, that leads to the College of Vicars-Choral (1396). It is a
-picturesque quadrangle with an inner cloister (Perpendicular, about
-1474).
-
-The Bishop’s Palace lies south, between the Cathedral and the river
-Wye.
-
-
-
-
-WORCESTER
-
-     DEDICATION: THE BLESSED VIRGIN, ST. PETER AND THE HOLY CONFESSORS,
-     OSWALD AND WULSTAN. FORMERLY THE CHURCH OF A BENEDICTINE MONASTERY.
-
-     SPECIAL FEATURES: NAVE; CHOIR-STALLS; TOMB OF KING JOHN; CHANTRY OF
-     PRINCE ARTHUR; ARCADE ACROSS TRANSEPTS AND LADY-CHAPEL; CRYPT.
-
-
-The Cathedral of Worcester is severe and plain; but its very severity
-appeals to some critics, as do the general lines of the entire edifice.
-
-     “The beautiful proportions of the great tower harmonise so well
-     with the general plan and mass of the rest of the fabric that
-     although it has no pride of place like Durham or Lincoln, it still
-     dominates the whole city and vicinity in a great and unmistakable
-     manner. The flat meadow-land of the Severn valley in this part of
-     the county, unbroken westward up to the very foot of the Malvern
-     hills, gives the Cathedral on this side the importance of the chief
-     feature in many miles of landscape. And as one approaches from the
-     eastward, over the slight eminences on which the battle of
-     Worcester was chiefly fought, a glimpse of the tower is the
-     earliest evidence of the existence of the city.”--(E. F. S.)
-
-The history of Worcester Cathedral begins with Oswald, a Benedictine
-monk, consecrated Bishop of Worcester by Dunstan in 961. Oswald’s
-cathedral, finished in 983, was destroyed by the Danes in 1041, and
-rebuilt in 1084-1089 by Wulstan, a monk of Worcester, who became Bishop
-in 1062. Wulstan placed his church a little to the south of the first
-one. His crypt still remains,--the most famous crypt in England.
-Wulstan’s tomb was miraculously preserved when a fire burned parts of
-the cathedral in 1113, eight years after his death. Miracles were
-performed and cures effected. Finally in 1203 Wulstan was canonized.
-
-When King John died in 1216, he was buried before the High Altar between
-the tombs of Oswald and Wulstan.
-
-The Cathedral was dedicated in 1218 in the presence of King Henry III.
-and bishops, abbots, priors and nobles from all parts of the kingdom.
-
-The church suffered from fires and storms; and the central tower fell in
-1175. Rebuilding was frequently a necessity; and, therefore, many styles
-are to be found throughout the fabric.
-
-Repairs were undertaken between 1702 and 1712, when the choir was paved
-and when it is supposed that the spires on the corners of the
-presbytery, transepts and nave were added.
-
-An important series of repairs and restorations were undertaken by
-Wilkinson from 1748 to 1756. At this period
-
-     “the north end of the nave transept was rebuilt, the stone pulpit
-     removed from the nave to the choir, and the latter re-paved with
-     blue and white stone. The old right-of-way through the cathedral
-     was replaced by a more proper and convenient passage round the west
-     end; and many gravestones were removed from the floors of the side
-     aisles of the choir, and from the nave, which were re-paved with
-     white stone. The Jesus Chapel was opened to the nave and the font
-     therein erected.
-
-     “The great flying buttresses at the east end were erected between
-     1736 and 1789. The great west window was rebuilt in 1789, and that
-     of the east end in 1792. In 1812 a new altar-screen and
-     choir-screen were built, and the tall pinnacles taken down after
-     1832.
-
-     “In 1857 began the great restoration of the cathedral under the
-     auspices of Mr. Perkins, the architect to the dean and chapter,
-     whose work was continued and amplified by Sir Gilbert Scott, who
-     was employed after 1864.
-
-     “The results of this restoration, probably the most complete and
-     far-reaching undergone by any British cathedral, include the
-     exterior and interior of the tower, the pavements throughout the
-     building; the decoration of the choir and Lady-chapel; all the
-     windows, and almost the whole of the furniture and fittings,
-     including a new reredos, choir-screen, organ and pulpit. The
-     restored cathedral was reopened, with a magnificent choral service
-     on the 8th of April, 1874. Since that date many additions have been
-     made, splendid evidences of the survival of the old local
-     patriotism; for almost everything is due to the munificence of
-     local donors.”--(E. F. S.)
-
-The chief feature is the central =Tower=, supposed to have been completed
-in 1374. It has been restored carefully.
-
-     “It is of two stages. The first has two lancets on each side,
-     within an arcade of seven bays. Each of the upper stages has two
-     louvred windows surmounted by crocketed canopies, and ornamented by
-     three large sculptured figures in niches, of the whole twelve of
-     which, six are modern. The whole is crowned by an open rail, or
-     parapet, with six spirelets on either side and a crocketed pinnacle
-     at each corner.”--(E. F. S.)
-
-The =West End= contains one large modern window of eight lights with a
-wheel window above. The gable, with three small lancet windows, is
-surmounted by a cross and flanked by two buttresses topped by pinnacles.
-The doorway in the west front is also modern (1857-1873); but parts of
-the old Norman doorway have been inserted.
-
-On the north side, the =North Porch= (24 feet long and 8 feet broad)
-consists of two bays. The front was restored. The sculptured figures in
-the canopied niches are Christ and the Twelve Apostles. Above these is a
-row of saints and then Perpendicular battlements. An exterior turret
-and staircase lead to the rooms above it, occupied by the porter. Two
-bays, each with a window, follow; then comes the Jesus Chapel; then one
-more bay; and then the north-transept, with its gable, cross and
-pinnacles; then four more bays; then the choir; then three more bays;
-and, finally, the Lady-Chapel. The south side is similar, with the
-exception of the projecting Chapel of St. John.
-
-Pinnacles are a striking feature on all sides of the edifice.
-
-On entering we are struck with the long vista, for the closed
-choir-screen, found in so many English cathedrals, is conspicuously
-absent. The proportions of the =Nave= are justly admired. It
-
-     “consists of nine bays, of which the two westernmost are of widely
-     different character and date from the remaining seven. Its breadth,
-     including the aisles, is 78 feet, its length 170 feet, and its
-     height 68 feet; which dimensions may be compared with those of
-     Salisbury, 82 feet, 229 feet 6 inches, and 81 feet; and of Wells,
-     82 feet, 161 feet, and 67 feet, respectively. The two western
-     severies are of great interest. The pier arches are pointed, but
-     rise from Late Norman capitals; the triforium stages have each two
-     three-light round-headed windows, of which the centre one is
-     considerably the highest, surmounted with zigzag ornament and
-     decorated with characteristic lozenges, the whole enclosed within a
-     pointed moulding. The clerestory has, in each bay, a central
-     round-headed light, with Norman ornament above it, flanked by blank
-     pointed windows, considerably smaller.
-
-     “On the north side, the whole of the walls of the five eastern
-     bays, and the pier arches of the next two towards the west belong
-     to the Decorated period, and may be dated between 1317 and 1327.
-     The remainder of the two latter bays and the whole of the seven
-     eastern bays of the south side are very early Perpendicular. Willis
-     considers that this work was probably begun in the middle of the
-     fourteenth century, and completed by the date of the vaulting of
-     the nave, 1377, which would establish it as one of the earliest
-     specimens of Perpendicular work in the country. The triforium
-     arcade consists of two pointed arches, each subdivided again into
-     two; and the clerestory has a large central light, with a smaller
-     light on either side in each bay. On the north side these are the
-     ordinary pointed arches of the Decorated period; on the south the
-     lateral arches are straight sided, and the central arch only has a
-     small curve on joining the vertical piers. Similar arches, but a
-     century earlier in date, occur in the north transepts of Hereford
-     and of Rochester Cathedrals.”--(E. F. S.)
-
-The vaulting was finished in 1377. The glass of the windows is modern,
-as is also the handsome =pulpit=, designed by Sir Gilbert Scott, Italian
-in style and made of alabaster and grey and green marble.
-
-The monuments and tombs call for no special description, with the
-exception of the altar-tomb of =John Beauchamp=, fourth bay from the east.
-It dates from the early Fifteenth Century and is panelled in five
-compartments with coloured armorial bearings. The knight lies here in
-full armour, with pointed basinet, sleeveless jupon and baldric. His
-lady beside him is in the costume of the period. Her head rests on a
-swan and a dog lies at her feet.
-
-The =North aisle= (1317-1327) is Decorated. Beyond the north porch, we
-come to =Jesus Chapel=, enclosed by a stone screen (Perpendicular) and
-containing a wooden altar with a full-size Madonna and Child.
-
-The =North transept= is a mixture of Norman and Perpendicular. It consists
-of two bays; and in the north-west corner is the circular stair-turret.
-The =South transept= is similar to the north, and has, likewise, a
-stair-turret in the south-west corner.
-
-[Illustration: WORCESTER: NAVE, EAST]
-
-[Illustration: WORCESTER: CHOIR, EAST]
-
-The west window is of Perpendicular tracery. A fine Norman arch, partly
-closed by a Perpendicular screen, marks the entrance to the Chapel of
-St. John. Both transepts are aisleless. The =South aisle= of the nave is
-Norman and Transitional. The Font is modern.
-
-The =Choir= was begun in 1224. The eastern transepts were added at the
-same time. A little of the old Norman work betrays itself here and
-there. No one seems to know why Bishop Godfrey de Giffard (1268-1301)
-placed gilded brass rings around the columns, unless it was for the sake
-of adding extra strength.
-
-     “The beauty of the pier-arches and those of the triforium, relieved
-     so handsomely by the black shafts of Purbeck marble bearing Bishop
-     Giffard’s brass rings, and by the finely proportioned spandrels of
-     each bay, is by no means to be under-estimated.
-
-     “The choir is of five bays, including the eastern crossing, which
-     is of greater width than the others. The pier-arch mouldings are of
-     two patterns, one very similar to those of the choir and presbytery
-     at Salisbury, having one of the ribs flanked by a double range of
-     dog-tooth. The piers themselves, as well as those in the
-     Lady-chapel, are octagonal, and have detached Purbeck shafts,
-     eleven of which are fixed with a narrow course of marble embracing
-     the shaft in the manner of a ring; and the remaining eight with
-     brass rings; the two processes being used symmetrically, so that
-     shafts similarly fixed stand opposite to each other.
-
-     “The triforium consists of two large arches in each bay, subdivided
-     again into two. During the restoration the pillars, which had been
-     whitewashed, were restored to their original rich black colour, and
-     the rings which bind them made visible. The sculptures in the
-     spandrels are restorations by Boulton. The inner wall of the
-     triforium walk is decorated with a finely-proportioned arcade,
-     which adds greatly to the general effect. The clerestory has a
-     triplet of pointed lights in each bay, the centre one being
-     considerably higher than those at the side, although they rise from
-     pillars of equal height. The vault of the roof springs, in each
-     severy, from a single shaft terminated with a foliated capital; it
-     is simple in character, and was probably completed before the end
-     of the first half of the thirteenth century. The elaborate pavement
-     of Devonshire marble and encaustic tiles is modern.”--(E. F. S.)
-
-The =Choir-stalls= (restored) date from 1379. The thirty-seven _miserere_
-seats represent Biblical, mythological and contemporary figures.
-
-The =Reredos=, behind the High Altar, composed of alabaster, inlaid with
-coloured marbles, lapis lazuli, agates and malachite, is modern. The
-=Bishop’s Throne= is also modern; but the richly carved =Pulpit= of white
-stone dates from about 1630. It bears the arms of England, France,
-Scotland and Ireland.
-
-In the centre of the choir in front of the altar steps stands the =Tomb
-of King John=. When John died in the Castle of Newark in 1216, his body
-was brought to Worcester Cathedral and buried before the High Altar. In
-1797 the tomb was opened. The effigy, now gilded, is the earliest royal
-effigy in England. It dates from the early Thirteenth Century and is
-probably a good likeness of the Magna Charta king. Bloxam’s description
-in 1862, gives an idea of its original appearance:
-
-     “The effigy was originally the cover of the stone coffin in which
-     the remains of that monarch were deposited in the Chapel of the
-     Virgin, at the east end of the cathedral. The altar tomb is of a
-     much later period, probably constructed early in the sixteenth
-     century, when the tomb of Prince Arthur was erected.... The sides
-     of this tomb are divided into three square compartments by panelled
-     buttresses; each compartment contains a shield bearing the royal
-     arms within a quatrefoil richly cusped; the spandrels are also
-     foliated and cusped.... It is, however, the effigy of the king,
-     sculptured in the early part of the Thirteenth Century, and
-     probably the earliest sepulchral effigy in the cathedral, to which
-     our chief attention should be drawn. This effigy represents him in
-     the royal habiliments; first, the tunic, yellow, or of cloth of
-     gold, reaching nearly to the ankles, with close-fitting sleeves, of
-     which little is apparent. Over the tunic is seen the dalmatic, of a
-     crimson colour, with wide sleeves edged with a gold and jewelled
-     border, and girt about the waist by a girdle buckled in front, the
-     pendant end of the girdle, which is jewelled, falling down as low
-     as the skirt of the dalmatic. Of the yellow mantle lined with green
-     little is visible. On the feet are black shoes, to the heels of
-     which are affixed spurs. On the hands are gloves, jewelled at the
-     back; the right hand held a sceptre, the lower portion of which
-     only is left; the left grasps the hilt of the sword. On the head is
-     the crown; there are moustaches and beard, and the light-brown hair
-     is long. On either side of the head is the figure of a bishop
-     holding a censer, perhaps intended to represent St. Oswald and St.
-     Wulstan, between whose tombs the king was interred in the Chapel of
-     the Virgin.”
-
-On the south side of the sanctuary we find the =Chantry of Prince Arthur=,
-son of Henry VII., who died at Ludlow Castle in 1502. This is the most
-famous piece of work in the Cathedral, and one of the best examples of
-Tudor architecture in existence. It was erected in 1504, and
-
-     “consists of six bays of open tracery divided by panels of canopied
-     niches containing figures and heraldic bearings surmounted by a
-     battlemented rail and pinnacles. Within is a richly groined roof,
-     with unusual flying supports, east and west. At the east end are
-     the mutilated remains of a rich stone reredos, containing a figure
-     of our Lord, and others hardly recognisable, which was above the
-     altar formerly placed here. At the west end is a small figure of
-     Henry VII. seated.
-
-     “The tomb itself of the Prince stands in the centre of the chantry.
-     It is singularly plain, in contrast to the richness of its
-     surroundings, almost the only ornament being the arms of England
-     and France within panels on the sides. Around the top runs a
-     painted inscription, obviously a late substitute for a brass which
-     has been removed, to this effect: ‘Here lyeth buried prince Arthur,
-     the first begotten sonne of the righte renowned Kinge henry the
-     Seventhe, whiche noble Prince departed oute of this transitory life
-     ate the Castle of Ludlowe, in the seventeenth yeere of hys father’s
-     reign, and in the yeere of our Lorde god on thousande fyve hundred
-     and two.’”--(E. F. S.)
-
-The =Chapel of St. John=, projecting from two bays of the
-south-choir-aisle, is on the site of a Norman chapel. The Norman arch at
-the west end is its finest feature. It has three windows filled with
-modern glass and a piscina in the south wall.
-
-The =Eastern transepts= demand careful attention.
-
-     “The design of the walls ... is extremely beautiful. Two lofty
-     triplets of lancet lights are placed the one above the other. The
-     lower triplet has a gallery in front of it immediately above the
-     arcaded wall, and at the same level as the sill of the adjacent
-     side aisle windows. The upper triplet has a similar gallery at the
-     level of the triforium. Rich clustered shafts rise from the lower
-     gallery in two orders; the inner order carries molded arches to
-     correspond with the heads of the lower triplet; the shafts of the
-     outer order rise from the lower gallery up to the impost of the
-     upper triplet, grouping themselves with the shafts that stand in
-     front of the upper triplet, and uniting in one group of capitals at
-     the impost, where they carry a range of three arches with deep rich
-     mouldings. Thus the entire composition represents a gigantic window
-     of six lights.”--(W.)
-
-One of the finest features of the Cathedral is the arcade that runs
-along the whole extent of the eastern transepts and across the
-Lady-Chapel.
-
-     “This is a series of trefoil headed arcades of three mouldings,
-     resting on slender Early English shafts, each spandrel having been
-     filled with carvings which take high rank among the best of the
-     English school of the Thirteenth Century. They have now been, to a
-     great extent, restored (by Boulton), and many, including all at the
-     east end, are entirely new. The best of the old ones are figured by
-     Aldis; and the most interesting, whether entirely ancient or partly
-     restored, are as follows, starting from the west wall of the
-     south-eastern transept:
-
-     “Two crusaders fighting a lion. A centaur. An angel weighing a
-     soul, and the devil pulling down the scale. Devils roasting a soul
-     in hell. The Jaws of Death. A body borne to burial. Expulsion of
-     Adam and Eve. An angel leading a righteous soul to heaven. The dead
-     rising from coffins. Christ enthroned. The archangel blowing the
-     last trump. An angel holding a cross.
-
-     “_South Aisle._--Two monks building. A queen instructing an
-     architect. Two monks discussing plans. A devil with bird’s claws,
-     riding on a man’s shoulders. The Crucifixion.
-
-     “_Lady-Chapel._--Centaur and crusader. Prophets and Bible subjects
-     (modern), grotesque.
-
-     “_North Aisle._--Bishop offering a model of the cathedral at an
-     altar (perhaps Bishop Henry de Blois, d. 1236). The Annunciation.
-     The Visitation. The Nativity.
-
-     “_North Transept._--Old Testament subjects. A bishop. A monk
-     chastising a novice.”--(E. F. S.)
-
-The tracery of the windows in the choir aisles and the Lady-Chapel is
-modern, patterned on Early English models. The entire east wall is
-modern. The window consists of five lights in two tiers. The glass dates
-from 1860 and represents the _Crucifixion_ and the _Ascension_.
-
-In the south aisle of the Lady-Chapel we notice one of the finest
-effigies in the building. It is a Fourteenth Century lady, whose left
-hand holds the cord of her cloak. A little dog lies at her feet. It is
-interesting to compare this with another unknown effigy of a lady of the
-Thirteenth Century in the north aisle of the Lady-Chapel. The left hand
-holds a glove.
-
-In front of the altar and on the floor of the Lady-Chapel are the
-effigies of =Bishop William de Blois= (died 1236) and his successor =Bishop
-Walter de Cantelupe= (died 1265). The latter is in higher relief than the
-former and was originally set with gems. In the north aisle we must also
-note the large effigy of =Sir James de Beauchamp=, in complete armour with
-surcoat and long shield of Henry III.’s reign. Beneath the reredos lies
-the richly robed figure of =Hawford=, Dean of Worcester in 1553-1557. On
-the south side lies =William, Earl of Dudley=, in white marble on arches
-of alabaster. The Lady-Chapel is of the same date as the choir.
-
-From the south transept of the nave we enter the famous =Crypt=, which
-dates from 1084. It was built after that of Winchester (1079) and before
-those of Gloucester (1089) and Canterbury (1096). Three rows of pillars
-form four walks, with an outer aisle of two rows of pillars. It was
-surrounded by several chapels, but only the southern chapel is now
-accessible. The pillars are admired for their grace and lightness, when
-illuminated. It suggests the Mosque of Cordova. In comparing the crypts
-of Winchester, Gloucester, Canterbury, and Worcester, Willis says:
-
-     “The height of all these crypts is nearly the same; so that at
-     Winchester and Gloucester the arches are flattened into ellipses,
-     the pillars are low and squat, and the crypts appear as sepulchral
-     vaults; while at Worcester, where the arches are semicircular and
-     the pillars more slender, the crypt is a complex and beautiful
-     temple.”
-
-The =Cloisters= form an irregular quadrangle enclosing a lovely green
-garth, 83 feet square. The roof of the walks is richly vaulted. The
-glass in the windows in the south alley depicted the history and
-miracles of St. Wulstan, but the glass was destroyed by the Puritans.
-
-Beyond the south walk is the =Refectory=, a handsome building of red
-sandstone, dating from about 1372. It is now used as a class-room of the
-Cathedral School founded by King Henry VIII. The monks’ lavatory
-occupies two bays in the north alley.
-
-From the west walk we enter the =Chapter-House=, originally a Norman
-building of the Eleventh Century. It was repaired about 1400, when the
-Norman windows and vaults were supplanted by those we now see. The
-present Chapter-House
-
-     “consists of ten bays, with a Perpendicular vaulted roof rising
-     from a central Norman Column. Each bay contains a light traceried
-     window, of which two are entirely, and two half, blocked up. Below
-     these is a series of slightly hollowed niches in grey, blue and
-     yellow stone in alternate courses, resting on three courses of
-     rough red masonry. These niches have slight traces of ancient
-     fresco painting; they are surmounted by an arcade of intersecting
-     circular arches containing smaller arches. Similar ornamentation is
-     to be found in the chapter-houses at Bristol and Rochester, and in
-     the external wall of Ernulf’s crypt at Canterbury.”--(E. F. S.)
-
-
-
-
-LICHFIELD
-
-     DEDICATION: ST. CHAD AND ST. MARY. A CHURCH SERVED BY SECULAR
-     CANONS.
-
-     SPECIAL FEATURES: SPIRES; WEST FRONT; NAVE; LADY-CHAPEL; HERKENRODE
-     GLASS.
-
-
-Lichfield is famed for its three beautiful spires, the only church in
-England with this distinguishing feature. They are locally known as
-“Ladies of the Vale,” or “Ladies of the Valley.”
-
-The central spire, which always groups so charmingly with the two that
-rise above the west front, dates from the Restoration, and is an
-imitation of the western ones. Its predecessor, destroyed during the
-Civil Wars, was supposed to have been rebuilt about 1250. The two
-western spires are said to have been built by Roger de Norbury
-(1322-1359), but the north-west one was rebuilt in Perpendicular times
-in imitation of the earlier style. The south-west, or =Jesus Tower=, also
-the belfry, got its name from the Jesus Bell, given by Dean Heyward in
-1477, and destroyed during the Civil Wars. The Jesus is a little higher
-than the other tower. Both spires are octagonal. At intervals they are
-broken by windows.
-
-     “Of all the cathedral churches of England, Lichfield may be said to
-     be the most lovely. Other cathedrals are larger--indeed, this is
-     one of the smallest;--many are grander, or more magnificent; but
-     for simple beauty, for charm, for delicacy of construction and
-     appearance, Lichfield may rightly claim to take the foremost place.
-     Peterborough, when we stand inside the west door and look down its
-     line of enormous piers, fills us with awe at its immensity and
-
-[Illustration: LICHFIELD: WEST FRONT]
-
-[Illustration: LICHFIELD: NAVE, EAST]
-
-     strength; a feeling which is perhaps a little impaired by the
-     present position of its stalls. Salisbury appeals to us with its
-     perfect simplicity and symmetry, and York with its unequalled
-     grandeur and splendour; but after viewing all the cathedrals of
-     England, it is Lichfield which is most likely to be remembered
-     among them for something which may be most aptly called charm. What
-     can be more delightful than the view which confronts the traveller
-     who, approaching from the town, pauses to look across the sparkling
-     water of the pool at the three graceful spires standing out amid a
-     wealth of green trees and shrubs? Truly a picture to be long
-     remembered.
-
-     “The cathedral stands in a close which was once surrounded by
-     strong walls with bastions and a moat. Nature had supplied the moat
-     on the south side, and the Cathedral Pool, as it is now called, is
-     still there. The artificial moat has been drained, but its course
-     can be easily traced running round the bishop’s palace, and its
-     water has been replaced by lovely gardens and gravel walks. Some
-     bits of the old wall remain, the north-east bastion in the palace
-     gardens and a turret on a house at the south corner: the ‘beautiful
-     gates’ of Bishop Langton are gone; but in the Vicars’ Close at the
-     west of the cathedral are two small irregular courtyards with
-     houses so old that we feel sure that their wooden beams and plaster
-     were there when the Royalists of the neighbourhood housed
-     themselves within the fortified close.
-
-     “The close is not large, and of course, as Lichfield is a cathedral
-     of the old establishment, there are no monastical buildings, no
-     ruined cloisters. On the north side the ground rises rapidly in a
-     grassy slope to a terrace, behind which are some of the canons’
-     houses. Opposite the north transept is the deanery, a substantial
-     red brick house in the style of the middle of the last century;
-     next to it, and farther east, is the bishop’s palace.”--(A. B. C.)
-
-Lichfield was built in the Thirteenth and Fourteenth Centuries and is,
-therefore, almost entirely in the styles of Early English and Decorated.
-The Early English may be studied in the transepts which were begun
-first; Early Decorated in the nave; and fully developed Decorated in
-the Lady-Chapel and Presbytery.
-
-There is a curious similarity between the building of Lichfield and
-York:
-
-     “The Norman Cathedral of York was built in 1080, and that of
-     Lichfield at an uncertain date. Between 1154-1181, Archbishop Roger
-     substituted for the original chancel at York a long, square-ended
-     choir, with the aisle carried behind the end. At Lichfield, during
-     the same period, the large chapel was built at the end of the
-     Norman apse; and about the beginning of the Thirteenth Century the
-     whole Norman eastern termination was, as at York, replaced by a
-     long, square-ended choir with the low aisles behind. Next, at York
-     the Norman transepts were rebuilt in Early English: the south
-     transept, 1230-1241; followed by the north transept, 1241-1260.
-     Also at Lichfield the Norman transepts were rebuilt in Early
-     English, beginning with the south and ending with the north. The
-     Early English work of this cathedral is shown by the licenses to
-     dig stone to have been in progress in 1235 and 1238. York nave and
-     Lichfield were next rebuilt in Early Decorated--the first in
-     1291-1324. Lastly, at Lichfield, the elongation of the eastern part
-     was begun at the extreme east, beyond the existing choir by the
-     Lady-chapel, in late Decorated under Bishop Langton, 1296-1321, and
-     followed by taking down the choir, and continuing the same work on
-     its site westward. The works at York followed in the same order,
-     but forty or fifty years later, by first erecting the presbytery
-     outside the existing choir, and then taking down the latter and
-     continuing the work of the presbytery to form the new choir. The
-     plans of the two cathedrals rival each other in the simplicity of
-     their proportions.”--(W.)
-
-Nothing definite is known of the early history of this Cathedral, as all
-records were destroyed during the Civil Wars. In all probability there
-was the same old story of a Saxon church in the Seventh Century
-succeeded by several other churches until the Norman Cathedral was
-built, probably like Peterborough, only smaller.
-
-This, of course, fell a victim to the change of fashion, and was pulled
-down gradually as the new building--the one we know to-day--arose. The
-first thing that was done was the building of a new choir (Early
-English) from the central tower to the seventh bay of the present choir.
-Some of this was destroyed at a later period. The sacristy and adjoining
-room were also built. Then, about 1220, the south transept was begun,
-then the nave, north transept and west front, with the two towers.
-
-Walter de Langton (1296-1321) began the Lady-Chapel; and while this was
-being built the Early English presbytery was pulled down and rebuilt in
-the Decorated style, to be uniform with the Lady-Chapel. The old
-clerestory of the choir was also rebuilt in the same style. Walter de
-Langton also built the Bishop’s Palace, which was destroyed in 1643,
-bridged the Cathedral Pool, and erected a splendid shrine to St. Chad,
-which cost £2,000. This stood behind the high altar in the eastern bay
-of the retro-choir, with an altar to this saint on its west.
-
-St. Chad, or Ceadda (669-672), was the patron saint of Lichfield, who,
-when Bishop of Mercia, chose Lichfield as his seat and thus founded the
-diocese; and he built a small church near St. Chad’s Well. His service
-was short and he died in 672.
-
-Miracles were immediately performed at his shrine in Stowe Church; but
-his remains were removed to the Cathedral. St. Chad’s Head was placed in
-a separate chapel (see page 213).
-
-When Henry VIII. despoiled the shrine he found a great horde of
-treasures--jewels, golden and silver crosses, chalices, maces, and
-copes, and other vestments had accumulated in great number. In the
-Fourteenth Century a document mentions “the head of Blessed Chad, in a
-certain painted wooden case; also an arm of Blessed Chad; also bones of
-the said saint in a certain portable shrine.”
-
-Lichfield suffered greatly during the Civil Wars. The Royalists hoisted
-the king’s flag on the central steeple and defied the Roundheads led by
-Lord Brooke. The Cathedral was besieged in March, 1643; and on the
-second day of that month, which happened to be St. Chad’s Day, Lord
-Brooke was killed by a shot fired by a son of Sir Richard Dyott, called
-“Dumb Dyott,” because he was deaf and dumb. This was regarded as a
-miracle. A contemporary letter notes:
-
-     “We have had the honour in these parts to bring my Lord Brooke to a
-     quiet condition. That enemy of our Church (March 2) was slain in
-     his quarrel against our Church, by the God of our Church, with a
-     shot out of the Cathedral, by a bullet made of Church lead, through
-     the mouth which reviled our Church; and (if this be worth your
-     reading) this Cathedral was dedicated to the memory of an old Saxon
-     holy man (called Ceadda, commonly Chad); the blow of death came
-     from St. Chad’s Church upon St. Chad’s Day.”
-
-The Cathedral remained in a ruinous condition for a year or more after
-the Restoration. Then Bishop Hackett (1661-1671) went to work to clear
-away the rubbish and make repairs. In eight years’ time the Cathedral
-was ready for a new dedication.
-
-Perpendicular tracery was inserted in some of the windows in the
-Fifteenth Century, when the Cathedral was at the height of its beauty.
-
-The present =West Front= is a restoration of the beautiful work of the
-Middle Ages.
-
-In 1820 the west front was completely covered with cement which
-concealed all its beauty until 1877, when the authorities began to
-remove it. Only five of the original statues remained and it was decided
-to fill all the 113 niches. Tradition said the long row of figures over
-the doors represented the Saxon and English kings with St. Chad in the
-centre; but the others were unknown. They are now as follows:
-
-     “The two rows on the northern tower to the north of the great west
-     window: higher row, St. Editha, David, St. Helena, Solomon, St.
-     Gabriel, Zechariah, Nahum, Amos, Jeremiah; lower row, Dean
-     Bickersteth, St. Mark, Queen Victoria, St. Luke, St. Uriel,
-     Malachi, Habakkuk, Obadiah, Daniel (Jeremiah just above Daniel by
-     the window).
-
-     “The two rows on the southern tower to the south of the great west
-     window: higher row, Isaiah, Hosea, Jonah, Zephaniah, St. Michael,
-     Bishop Hacket, Bishop Lonsdale, Bishop Selwyn; lower row, Ezekiel,
-     Joel, Micah, Haggai, St. Raphael, Bishop Clinton, Bishop
-     Patteshall, Bishop Langton.
-
-     “Next is the long row of kings with St. Chad in the centre,
-     stretching right across the cathedral: William the Conqueror,
-     William Rufus, Henry I., Stephen, Henry II., Richard I., John,
-     Henry III., Edward I., Edward II., Edward III., Richard II., St.
-     Chad, Penda, Wilphere, Ethelred, Offa, Egbert, Ethelwolf,
-     Ethelbert, Ethelred, Alfred, Edgar, Canute, Edward the Confessor.
-
-     “Lowest row, broken three times by the doors: St. Cyprian, St.
-     Bartholomew, St. Simon, St. James the Less, St. Thomas (northern
-     door), St. Philip, St. Andrew (central door), St. Paul, St. Matthew
-     (southern door), St. James the Greater, St. Jude, St. Stephen, St.
-     Clement, St. Werburga.”
-
-The Duke of York (James II.) gave the money for the tracery of the large
-=West Window= after the original had been destroyed during the Civil Wars.
-This was removed in 1869, for another more in sympathy with the style
-of the Fourteenth Century.
-
-The =West Door= is one of the most beautiful in England, taking rank with
-the Prior’s Door of Lincoln Cathedral. The porch is recessed and the
-outer arch, cusped. Within, a central support rises to form two arches.
-The whole is richly carved. Above the central pillar is a bas-relief
-representing Christ in Glory, with angels by his side. On the central
-column stands a figure of the Virgin and Child, and on either side of
-the door beneath canopies are Mary Magdalene and St. John the Evangelist
-(north), and Mary, wife of Cleophas, and St. Peter (south).
-
-What the original statues were is not known. Most of the ironwork on the
-doors is supposed to be original.
-
-The two side doors are deeply recessed. The figures in the northern
-doorway are of princes and princesses who promoted Christianity in
-England; and in the southern, the chief missionaries. The gable and
-towers are also adorned with statues of Biblical fame.
-
-The nave is ornamented and strengthened by buttresses and
-flying-buttresses. In the north transept we find a handsome =North
-Doorway=, a splendid specimen of Early English with traces of the Norman.
-It is deeply recessed and revealing a double arch carved with foliage.
-The mouldings are also carved. The outer one contains bas-reliefs
-showing the genealogy of Christ, beginning with Jesse and ending with
-the Virgin and Child. On the right side, opposite Jesse, is St. Chad
-baptizing the sons of King Wulphere, and above are the Apostles. The
-architrave is surmounted by a weather moulding in the form of a gable
-on the top of which is a cross. The pillars on each side of the doorway
-have finely carved capitals and dog-tooth ornamentation. The graceful
-centre pillar consists of four slender shafts with carved capitals. Next
-comes the octagonal Chapter-House; then the choir and presbytery; and
-then the Lady-Chapel, entirely restored and with new saints in the
-niches. On the south side of the Lady-Chapel are mortuary chapels.
-
-The south side shows the buttresses of the choir; then the turrets of
-the sacristy with their crocketed pinnacles; and then the =South
-Transept=, the gable of which contains a beautiful rose window. The =South
-Door=, much restored, resembles the northern one, only it is not so fine.
-The heavy buttresses on this side are Wyatt’s. Now we have again come to
-the Jesus tower (south-west), in which the ten bells are hung.
-
-Entering by the west door, the beauty of the interior bursts upon us. We
-have an unbroken vista and the Cathedral therefore impresses us as
-immensely long. The beautiful arches of the roof carry the eye straight
-down to the windows of the Lady-Chapel.
-
-The =Nave= is transitional from Early English to Decorated and is dated by
-various authorities from 1250 to 1280.
-
-The large piers are composed of clustered shafts with richly carved
-capitals of foliage. From these spring mouldings. The top of each arch
-touches the string-course, and then comes the triforium, so beautiful
-here with its row of double arches, each one sub-divided into two
-lights, above which is geometrical tracery. Dog-tooth ornament decorates
-the mouldings of these triforium arches, and also the string-course
-that separates the triforium from the clerestory. The clerestory windows
-are curious: spherical triangles enclosing three circles with quatrefoil
-cusps. Dog-tooth ornamentation runs around the windows. A large circle
-with five cusps ornaments the spandrels of most of the pier-arches
-across which the vault shaft passes. At the intersection of the various
-ribs (five ribs) are finely carved bosses. Much of the effect is
-obtained from the size of the triforium.
-
-The glass in the big west window dates from 1869, a memorial to Canon
-Hutchinson, who was a zealous worker for the Cathedral’s restoration, by
-Sir Gilbert Scott.
-
-In the north aisle of the nave we note the tablet placed there by Ann
-Seward to the memory of her father, Canon Seward, his wife and daughter,
-upon which Sir Walter Scott added lines to the memory of the poetess.
-There is also a neighbouring tablet to Lady Mary Wortley Montagu, who
-was born in Lichfield.
-
-In the =north transept= we find a curious monument to Dean Heywood (died
-1492) showing the skeleton of this worthy. The upper part (which
-represented him in full canonical costume) has gone. Similar monuments
-are in Exeter and Lincoln. In the =South Transept= there are busts and
-memorials to Dr. Samuel Johnson, a native of Lichfield (died 1784), and
-to David Garrick (died 1779), an early resident of Lichfield. In the
-first bay of the aisle, there is a monument to the officers and men of
-the 80th Regiment (Staffordshire Volunteers), over which hang colours
-taken from the Sikhs. At the south end we note a fine altar to one of
-Nelson’s captains, Admiral Sir William Parker (died 1866). Note the big
-south window (Perpendicular) in which there is some Herkenrode glass
-(see page 212).
-
-There is another memorial window in the south aisle of the nave to the
-officers of the 64th (2d Staffordshire Regiment) who fell in the Indian
-Mutiny.
-
-The =Transepts=, as we have seen, were built before the nave. Each
-consists of three bays with eastern aisles. Most of the windows are
-Perpendicular.
-
-     “At the south end was probably a large five-light Early English
-     window, surmounted by a rose window. The rose window still remains,
-     but, being above the present groining, cannot be seen from inside
-     the cathedral; the five lights are replaced by a nine-light
-     obtuse-headed window, which seems much too large for the transept;
-     and this effect is increased by the extreme whiteness and
-     transparency of its glass. At the north end, the five-light window
-     is surmounted with three small lights, but these last again are
-     hidden in the roof.”--(A. B. C.)
-
-Now we come to the =Choir=, which, including the presbytery and
-retro-choir, has eight bays. It has no triforium.
-
-The splays of the windows are beautifully decorated with quatrefoil
-ornamentation. There is only one of the original Decorated windows (east
-on south side). The others are Perpendicular.
-
-     “The vaulting is very much the same as in the nave, but the
-     vaulting-shafts divide into seven instead of five ribs; the bosses,
-     as everywhere else in the cathedral, are very deeply and richly
-     carved.
-
-     “On the four eastern sets of piers long slender shafts run up from
-     the base of the piers in the same way as in the nave, and similarly
-     the spandrels are ornamented with foliated circles, of which nearly
-     all trace had disappeared before the recent restoration. This,
-     however, is not the arrangement on the three western pairs. It was
-     found here that these shafts did not reach the ground; and so Sir
-     Gilbert Scott, having discovered a portion of the sculptured wing
-     of an angel just above the dean’s present stall, decided upon
-     finishing the shafts with corbels in the form of angels occupied in
-     minstrelsy. Above each of these angels--which were innovations--he
-     placed, under richly crocketed canopies and standing on very
-     finely-carved brackets, the figures of six saints.”--(A. B. C.)
-
-Architects love to study the merging of the two styles in this part of
-the Cathedral, and one of the best illustrations is the entrance to the
-vestibule of the Chapter-House. The arch at the west end of the
-north-choir-aisle is very old and interesting and so is the arcading in
-the aisles.
-
-     “In the first three western bays in both aisles the large arcading,
-     with its plain trefoiled arches, is clearly Early English. The
-     arcading in the other bays is equally clearly of the Decorated
-     period, and is considerably smaller. In the four eastern bays in
-     each aisle the arches go right up to the course which forms the top
-     of the arcading, and the triangular spandrels thus formed are
-     ornamented each with a curious little head, having queer headgear;
-     the rest of the spandrel is carved with foliage, and in the plates
-     of the foliated arches are quaint animals. The arcading in the
-     remaining bay is similar, but angels’ heads with wings take up the
-     whole spandrel. Some of the arcading, notably that in the three
-     easterly bays of the south aisle, is unrestored. The inferiority of
-     the modern work in the next bay is only too patent.”--(A. B. C.)
-
-The window over the tomb of Bishop Hackett in the =South-choir-aisle= is
-adorned by lovely foliage. Here, too, we find the very interesting
-=Minstrels’ Gallery=. It was probably placed here in the Fifteenth Century
-because the arcading has been cut away to make room for it. The little
-gallery rests upon fan-shaped vaulting. As it stands directly in front
-of the chapel of the Head of St. Chad, it may have been used for the
-purpose of exhibiting this relic to the devout in the aisle below. (See
-page 213.) It is similar in style to the minstrel gallery of the
-Mediæval halls: hence its name. A staircase in the wall leads to the
-gallery.
-
-The =Choir-screen=, of ornamental metal-work, designed by Sir Gilbert
-Scott, is similar to those of Salisbury, Hereford and Worcester. The
-Choir-stalls, Bishop’s Throne and elaborate Reredos are all modern. The
-south-choir-aisle contains a number of interesting monuments. There is a
-monument to “=Hodson of Hodson’s Horse=,” killed in the Indian Mutiny.
-Under the cross is the King of Delhi surrendering his sword to Major
-Hodson, with figures of Justice, Fortitude, Temperance and Mercy and
-statuettes of Joshua, David, St. Thomas of India and St. George of
-England. Here is also the monument of =Bishop Langton= (died 1296) with
-mutilated effigy. Opposite is the curious monument to =Sir John Stanley=
-of Pipe, the effigy representing the knight naked to the waist, and the
-legs in armour. It seems that Captain Stanley had been excommunicated
-for some offence, and, after atonement, had been allowed burial here on
-condition that evidence of his punishment should appear on his effigy.
-The most famous monument of all, however, is that of =The Sleeping
-Children=, by Sir Francis Chantrey in 1817. It established his fame and
-is an early example of the natural style just coming into favour. It
-represents two young daughters of William Robinson, Prebendary of the
-Cathedral, sleeping in each other’s arms.
-
-We must notice in the north-choir-aisle one window in which King David
-is teaching the singers of the House of God. The glass is old Flemish.
-
-Now we have the =Lady-Chapel=, the gem of the whole Cathedral, rendered
-exceptionally beautiful because of the old glass in the windows.
-
-     “In shape it forms a symmetrical extension, both in height and
-     width, to the choir, but without aisles; and it has an octagonal
-     apse--the only example, it is said, of such a termination in the
-     country. It is lighted by nine high windows, with Decorated
-     tracery. This tracery has recently been restored in the style of
-     that in the three end windows; until this was done most of the
-     windows contained Perpendicular tracery.
-
-     “The windows rest on an arcade of very beautiful design. The arcade
-     may be said to consist of a series of small decorated canopies,
-     supported by shafts with carved capitals, and separated by
-     ornamented buttresses. The canopies, which bow forward, have
-     trefoil ogee arches, surmounted with crockets and finials. Above
-     the arcade is a similar embattled parapet to that in the choir,
-     with a similar passage round the chapel behind it.
-
-            *       *       *       *       *
-
-     “The vaulting of the roof is like that in the choir; the same
-     number of ribs diverging from the slender shafts which run right
-     down to the bends of the arcade. Halfway up these shafts are
-     niches, the brackets and canopies to which are beautifully carved.
-     These are old, but until recently were empty, and no authentic
-     record remained as to what were the characters represented.”--(A.
-     B. C.)
-
-In 1895 ten virgin saints and martyrs, by C. E. Kempe, were placed here.
-
-Of course, all the glass was crashed during the siege of Lichfield; and,
-therefore, the windows are filled with other than the original. The
-seven most eastern windows contain what is called the =Herkenrode glass=,
-originally in the Abbey of Herkenrode near Liège. The designs are
-supposed to be by Lambert Lombard of the Sixteenth Century. Two of the
-windows depict founders and benefactors of the abbey, and the other
-five, scenes in the life of Christ. The Herkenrode glass (340 pieces)
-was bought by
-
-[Illustration: LICHFIELD: FROM EAST WINDOW]
-
-[Illustration: CHESTER: NORTH]
-
-Sir Brooke Boothby in Belgium in 1802, for £200, now valued at £15,000.
-What remained was used to fill other windows in the Cathedral. On the
-south side of the Lady-Chapel are three “Mortuary Chapels,” with groined
-roofs. In the central one lies the effigy of =Bishop Selwyn= (buried
-outside), Bishop of New Zealand, who organized the church in that
-far-away country. This accounts for the frescoes showing the Maoris. The
-two end windows are also old glass supposed to have come from the Low
-Countries. One is a symbolic picture of _Baptism_; the other, the
-legendary _Death of the Virgin_.
-
-We have yet to examine the =Sacristy= of the Chapter-House. The sacristy
-is on the south side (Early English). Its upper floor was the =Chapel of
-St. Chad=, which, as we have seen, was entered from the minstrels’
-gallery (see page 211). The restored chapel was re-dedicated on St.
-Chad’s Day (March 2), 1897.
-
-     “The Chapel of St. Chad, first Bishop of Lichfield, and, with the
-     Blessed Virgin Mary, patron of our Cathedral Church, was destroyed
-     in all probability when the rest of the Cathedral was laid in ruins
-     in 1643, the siege beginning on St. Chad’s Day, March 2nd of that
-     year. Little was left: the four walls remained in a broken
-     condition, with the vaulting-shafts and caps for the springers of
-     the stone groining, and the wall-ribs, to mark its original lines;
-     also the very beautiful Early English windows--twelve lancets in
-     groups of three--which, singularly enough, were little injured.
-     Externally these are very plain, but internally they are full of
-     interest, and there is nothing better of the kind in the Cathedral.
-     The site of the old altar is clearly marked; indeed, a small
-     portion of it has been preserved. The piscina also still remains.
-     The aumbry remains in which antiquarians suppose that St. Chad’s
-     relics were preserved.”--(L.)
-
-The =Chapter-House= and the vestibule leading to it were built about the
-middle of the Thirteenth Century (Early English). The vestibule contains
-beautiful arcading; the capitals of the pillars are finely carved. The
-entrance door into the Chapter-House is very handsome, with deeply cut
-mouldings, and capitals of the grouped shafts richly carved with leaves.
-Dog-tooth and trefoils are also used as ornamentation. The Chapter-House
-is octagonal. The central pillar, composed of clustered shafts with
-richly carved capitals of foliage, carries the eye upward, where the
-ribs spread out beautifully over the roof and bosses mark their
-intersection. The windows are Early English, of two lights. Below them
-runs a fine arcading.
-
-
-
-
-CHESTER
-
-     DEDICATION: CHRIST AND THE BLESSED VIRGIN. ORIGINALLY THE CHURCH OF
-     A BENEDICTINE ABBEY.
-
-     SPECIAL FEATURES: CHOIR; CHOIR-STALLS; CHAPTER-HOUSE.
-
-
-Chester was the church of the Benedictine Abbey of St. Werburgh when
-Henry VIII. founded the See after the dissolution of the monasteries. It
-had been originally an establishment of secular canons. The patron
-saint, St. Werburgh, was a niece of St. Etheldreda of Ely; and she took
-the veil at Ely, where she eventually became abbess. St. Werburgh was
-buried at Hanbury; but when the Danes were ravaging Mercia, the monks of
-Hanbury fled with the relics of St. Werburgh to Chester, where they were
-richly enshrined in the old church of St. Peter and St. Paul. This
-church was rebuilt in the Tenth Century; and when a new foundation was
-made in 1095 by Hugh Lupus, Earl of Chester, at the desire of St.
-Anselm, the church was rebuilt, the canons replaced by Benedictine monks
-and the house called the Abbey of St. Werburgh.
-
-Rebuilding was again necessary in 1194 and was continued for centuries.
-The eastern portion of the church is Early English, the rest is
-Decorated with alterations and additions in the Perpendicular style.
-
-Ancient and royal Chester is one of the most picturesque cities in
-England. It was so important in Roman times that it was called the “City
-of Legions.” It was also a stronghold of Saxons and Danes. From the
-Norman Conquest until the reign of Henry III. the Earls of Chester had
-their own courts and parliaments at Chester. Since Henry III. bestowed
-the title of Earl of Chester upon his oldest son, the heir to the throne
-has always held the earldom. The old church did not become a cathedral
-until 1541.
-
-Chester Cathedral, being built of soft red sandstone, suffered from the
-weather. Restoration was a necessity. Consequently the exterior is
-almost exclusively of the Nineteenth Century. It is handsome and
-effective, though, unfortunately, owing to the situation, somewhat below
-the level of the street, and the crowding of buildings, a good view of
-the Cathedral is hard to obtain.
-
-At one time it was one of the most beautiful, as well as the richest, in
-England. It was terribly defaced during the Civil War, when the Puritans
-used it for a stable and broke the windows. Subsequent repairs and
-restorations have greatly transformed it.
-
-One of the curious features of the Cathedral is the south transept. It
-was claimed as the Parish church of St. Oswald until 1881. Oswald
-(604-642), be it remembered, was the son of King Ethelfrid, and became
-King of Northumbria. He was a convert to Christianity, which he
-introduced among the Anglo-Saxons. Killed by Penda, the King of Mercia,
-he was canonised by the Roman Catholic Church.
-
-     “On approaching the cathedral on the south side, the transept, or
-     church of St. Oswald, is a remarkable feature. Projecting to nearly
-     the same length as the nave, with its lofty clerestory and great
-     south window, it attracts attention as well by its own importance
-     as by the unusual ground-plan which it gives to the entire
-     building.”--(R. J. K.)
-
-Let us look at the chief features of the exterior:
-
-     “The WEST FRONT consists of an eight-light canopied Perpendicular
-     window, with a band of elaborate tracery succeeded by ordinary
-     tracery of the period in the head, set between two banded octagonal
-     turrets, which are battlemented. The west door is peculiar; it
-     consists of an arch under a square head, with foliated spandrels
-     and a range of angels in the mouldings, deeply recessed under a
-     larger arch with another square head. On each side are four
-     crocketed niches, with pedestals denuded of their statues. To the
-     west is a four-light canopied window, under a panelled band and
-     flanked by a rich but empty niche on either side.
-
-     “The door of the SOUTH PORCH is Tudor with two-light, square-headed
-     windows and a canopied niche, and an intervening rich band. The
-     windows of the aisles and clerestory of the nave are Perpendicular;
-     the parapet is shallow. The SOUTH TRANSEPT, as long as the choir
-     and as broad as the nave, has a Perpendicular clerestory and south
-     windows, the former of four lights and with two transoms. The
-     windows of the aisle are Late Decorated and of four lights
-     separated by buttresses. This description applies to the south side
-     of the choir, but the aisles are extended within one bay of the
-     east end of the Lady-chapel, which has Perpendicular windows; the
-     great east window is of the same date. Traces of Early English
-     architecture appear in the north side of the choir and
-     Chapter-house. The north window of the transept and windows of the
-     nave are Perpendicular.”--(Wal.)
-
-We can enter, as we prefer, by the west door, or the south porch. The
-=Nave= is uninteresting. It consists of six bays, the piers are groups of
-attached shafts terminating in foliage capitals. The roof is modern.
-
-Decorated windows light the =South aisle=. The =North aisle= contains some
-old Norman work. Here we find an ancient Italian font, presented in
-1885, and an old piece of tapestry that has been in the Cathedral since
-1668.
-
-The =North transept= is small, owing to the monastic buildings on this
-side. Here we find Norman work. Some of the windows exhibit
-Perpendicular tracery. The roof is Perpendicular.
-
-Until 1881 the =South Transept= was, as we have said, the Parish Church of
-St. Oswald. It has Decorated windows. Perpendicular windows light the
-west aisle.
-
-We now enter the =Choir=. The screen is modern and by Sir G. Scott.
-
-     “The choir is remarkable for the great beauty of the wood-work
-     which it contains, as well as for its architectural merits. The
-     style is that of the transition between the Early English and
-     Decorated. The north side differs from the south, especially in
-     regard to the mouldings. The north side is earlier than the south,
-     the building having been commenced at the east end of that side.
-     The mouldings on the north are bold rounds, while those on the
-     south are shallow and small hollows. The triforium has a series of
-     elaborately-carved cusped arches, and the clerestory windows are
-     light and graceful with geometrical tracery. The vault is modern,
-     constructed of good English oak. At the east there are figures of
-     the sixteen prophets and at the west are angels playing musical
-     instruments. There are some curious grotesque corbels, from which
-     the vaulting shafts spring.
-
-     “The carving of the CHOIR STALLS is equal, if not superior, to
-     anything in England. These are Fourteenth Century work and rival
-     the noble stalls of Amiens. They have been restored with much
-     accuracy and taste. The carving of the dean’s stall should be
-     noticed, as it represents the Jesse tree, surmounted by the
-     Coronation of the Virgin. That representing Jacob’s Dream is
-     modern. The _misereres_ are extremely interesting and curious and
-     full of religious instruction, though often conveyed in the way of
-     sarcastic reproof. There are forty-eight, of which three are
-     modern. Some of the most curious are: a pelican feeding her young;
-     St. Werburgh and the stolen goose; a wife beating her husband; the
-     strategy of the fox; stag hunt; Richard I. pulling out the heart of
-     a lion; a fox in the garb of a
-
-[Illustration: CHESTER: CHOIR, WEST]
-
-[Illustration: CHESTER: CHOIR-STALLS]
-
-     monk presenting a gift to a nun; various wild men; wrestlers;
-     unicorn resting its head on a virgin’s knee, and numerous
-     grotesques.”--(P. H. D.)
-
-The =Altar= is modern and is made of oak of Bashan, olive-wood from the
-Mount of Olives and the cedar of Lebanon. The Reredos, a mosaic of the
-Last Supper, the Pulpit and the Bishop’s Throne are all modern.
-
-For many years the =Shrine of St. Werburgh= was used for the latter. We
-pause to look at this interesting piece of Fourteenth Century work,
-remembering how many eyes of Mediæval pilgrims have gazed with reverence
-upon it.
-
-     “At the end of the stalls on the south side is the Bishop’s Throne.
-     This has been formed from the base of the shrine of St. Werburgh,
-     which seems to have served its present purpose since the foundation
-     of the See in the Sixteenth Century. It has, however, so greatly
-     altered during the late ‘restoration,’ that it is difficult to
-     ascertain the ancient arrangement. The lower part, with niches for
-     figures, is ancient. The part resting on this, as high as the small
-     gilt figures, is modern. The figures themselves are old, and before
-     the alteration they rested on the ancient base. The pinnacles and
-     all the upper portion are modern. The ancient portions are early
-     Decorated work of the Thirteenth Century. The niches in front and
-     at the sides of the base are lined with a small arcade and vaulted.
-     Above them are foliaged canopies. The gilt figures hold scrolls,
-     once perhaps bearing names. They are conjectured to represent kings
-     and queens of Mercia, connected either directly or collaterally
-     with St. Werburgh. It is possible that when the shrine itself was
-     perfect, the lower part, with niches, formed a portion of the base,
-     whilst the small figures may have been a canopy supported by marble
-     shafts. Under this canopy and on the base the feretory or actual
-     shrine, with the relics, may have rested. This, however, is but
-     conjecture, since no drawing or description exists of the shrine
-     before the Reformation.”--(R. J. K.)
-
-The =North aisle= of the choir will detain the student because there is
-much Norman work here. Here can also be traced the termination of the
-old Norman apse. The arch in the east wall of the transept is also
-Norman, and early, too. The doorway from the north aisle is Fourteenth
-Century work. The apse was rebuilt in the Early English period and made
-to end in a square. In the Perpendicular period it was extended further.
-Note the gates of old Spanish workmanship across both aisles. They date
-from 1558.
-
-At the end stands the =Lady-Chapel=.
-
-     “The Lady-Chapel is of Early English design, and was built about
-     1266, previous to the present choir. Many alterations were made
-     subsequently, including the removal of the ancient steep and lofty
-     roof and the substitution of a flat roof and the insertion of
-     Perpendicular windows. Most of these additions have been removed
-     and the Early English character restored. The east window of five
-     lights was designed by Scott, and the original form of the roof has
-     been restored. The vault, which is original Early English, has a
-     boss representing the murder of Thomas à Becket. The mosaics were
-     designed by Sir A. Blomfield. Here the consistory court was held at
-     the time of the Reformation, and George Marsh, the Chester martyr,
-     was condemned to be burnt.”--(P. H. D.)
-
-Through a Norman doorway in the north aisle of the choir, we enter the
-=Cloisters=.
-
-     “The south walk is entirely new, having been restored by Scott. The
-     west walk adjoins a fine Early Norman chamber, probably the great
-     cellar of the abbot’s house. The cloisters are Perpendicular work.
-     In the south and west walks there is a double arcade on the
-     cloister-garth side, which contained the _carrels_, or enclosed
-     studies of wainscot, where the monks read or wrote, and on the
-     opposite side are recesses which are not tombs, but _Armaria_ or
-     cupboards, where their books and materials for illuminations were
-     stored. In the Perpendicular period the roof of the cloisters was
-     raised, which was not an advantage, as it caused the aisle windows
-     and those of the refectory to be partly blocked up, and the
-     vaulting cuts into the earlier work. The _Lavatorium_ is near the
-     _Refectory_, an Early English building with Perpendicular windows.
-     It is a noble structure, shorn of some of its length, and now used
-     as a music room. The stone pulpit is remarkably fine, of Early
-     English design, which rivals the famous pulpit of Beaulieu
-     Abbey.”--(P. H. D.)
-
-A doorway in the east walk carries us into the =Vestibule= of the
-Chapter-House.
-
-In the vestibule (Early English) light graceful piers support the
-vaulting. The mouldings are very much admired.
-
-The =Chapter-House= is also Early English and ranks high among these very
-national productions. It dates from about 1240. The east window of five
-lights is a handsome example of its date.
-
-
-
-
-MANCHESTER
-
-     DEDICATION: ST. MARY THE VIRGIN, ST. GEORGE AND ST. DENIS. FORMERLY
-     SERVED BY SECULAR CANONS.
-
-     SPECIAL FEATURES: CHOIR-STALLS; GORDON WINDOW.
-
-
-Manchester was built for a parish church and only became a cathedral in
-1847. It is a very fine specimen of Perpendicular Gothic of the early
-Fifteenth Century, though there are some remains of older work here and
-there. The oldest is the arch leading into the Lady-Chapel. This shows
-some influences of the Decorated style.
-
-The choir, aisles and chapter-house date from 1422-1458; the nave was
-built in 1465-1481; Chapel of the Holy Trinity, 1498; Jesus Chapel,
-1506; St. James’ Chantry (Ducie Chapel), 1507; St. George’s Chapel,
-1508; Ely Chapel, 1515; and Lady-Chapel in 1518. The Cathedral suffered
-during the Civil Wars and has been much restored.
-
-The exterior is not particularly impressive. The walls are grimy with
-smoke and there is no emerald sward, nor are there ivy-covered walls.
-
-The one tower (built in 1864-1868) rises above a still more recent
-=Western porch=, designed by Basil Champneys and ornamented with a parapet
-and a single crocketed turret, which gives it a very unsymmetrical
-appearance. The square tower contains a clock in the first stage, soars
-140 feet and is finished with a pierced battlement with pinnacles at the
-corners.
-
-Turning round the corner, we come to the =South porch=, two bays and two
-stories (modern) and elaborately carved. Next comes the Jesus Chapel;
-then the octagonal Chapter-House; then the Fraser memorial chapel; and
-then we turn the corner and come to the Lady-Chapel, unusually small and
-projecting only about eighteen feet. The windows are Eighteenth Century,
-though the tracery is Decorated in general character.
-
-Passing the window of the north-choir-aisle and the eastern end of the
-Derby Chapel, we again turn the corner. The first projection is the Ely
-Chapel and the next and smaller one is an engine room used for working
-the organ. The small door next opens into the ante-chapel of the Derby
-Chapel. Finally we reach the north porch.
-
-     “It is a dimly lighted building; this is due chiefly to two causes:
-     first to the fact that it is enormously wide, and the aisle windows
-     are therefore far from the central nave, and secondly to the fact
-     that almost all the windows both of aisles and clerestory are
-     filled with painted glass, in many cases of a deep colour, and
-     rendered still more impervious to light by the incrustation of
-     carbon deposited on their outside by the perpetual smoke of the
-     city. So dark is the church that in the winter months it has
-     generally to be lit with gas all the day long, and even in the
-     summer, in comparatively bright weather, some gas burners will
-     generally be found alight. The mist also of the exterior atmosphere
-     finds its way into the building, and hangs beneath the roof,
-     lending an air of mystery to the whole place, and giving rise to
-     most beautiful effects when the sunlight streams through the
-     clerestory windows. The tone also of the nave arcading and
-     clerestory rebuilt in recent years, of warm, rose-coloured
-     sandstone, is very lovely.”--(T. P.)
-
-The =Nave= is wider than it is long. With its double aisles it measures
-114 feet; its length is only 85 feet. The choir is about the same
-proportion. The Lady-Chapel, at the extreme east, is very small. The
-sides of the nave and choir are still further extended by chapels,
-partitioned off by screens. On the south side of the nave we have first
-=St. George’s Chapel= (founded in 1508) and =St. Nicholas’s Chapel= (founded
-in 1186, before the present church was built); and on the north side the
-space once occupied by the =Holy Trinity Chapel= (1498) and =St. James’s
-Chapel= (1507).
-
-     “This church differs from most of our cathedral and abbey churches
-     in having no triforium.[8] And the clerestory is not lofty, so that
-     the church is rather low for its width, though the height of the
-     arches of the main arcade prevents this being felt. The roofs of
-     the aisles are all modern, but that of the nave, though extensively
-     repaired, has much of the original work in it, and, with the
-     exception of a few bosses, the choir roof is old. All the roofs are
-     of timber; in the nave the intersections of the main beams are
-     covered by beautiful bosses carved out of the solid wood. On either
-     side, at the points from which the main cross beams spring, is a
-     series of angelic figures splendidly carved in wood: those on the
-     south side playing stringed instruments, those on the north side
-     wind instruments.
-
-     “The pillars of the main arcade of the nave are modern work built
-     in imitation of the original ones. They are light and graceful,
-     and, like many other pillars of fifteenth century date, are formed
-     of shafts of which only half have separate capitals, the other
-     mouldings running round the arch. The spaces between the arches are
-     elaborately carved with heraldic shields.”--(T. P.)
-
-In the nave we find the one interesting window in the Cathedral (the
-most eastern one in the Ducie Chapel), a memorial to =General Gordon=
-killed at Khartoum in 1888. It consists of five lights. Gordon is in the
-centre, his hand on the head of a native boy. Natives and angels occupy
-the other lights.
-
-Towards the east end of the nave stands the
-
-[Illustration: MANCHESTER: SOUTH]
-
-[Illustration: MANCHESTER: NAVE, EAST]
-
-modern pulpit and then an ancient rood-screen with three wide openings
-and double doors.
-
-Passing through the screen, we enter the =Choir=, sometimes called the
-=Radcliffe Choir=, because members of this family were buried here.
-
-The =Choir-stalls= date from the early Sixteenth Century and resemble
-those in Ripon Cathedral and Beverley Minster.
-
-     “There are twelve stalls on either side, and three on each side of
-     the entrance through the rood-screen facing east. The stalls are
-     furnished with _misereres_, which, in common with many others both
-     in England and on the Continent, represent all manner of quaint
-     subjects, monsters, animals, hunting scenes, etc.
-
-     “The carved elbows of the stalls and the end of the book desks are
-     also worthy of careful examination, especially the Eagle and Child
-     and general carving of the Dean’s Stall, which is a marvel of
-     beautiful workmanship, and said by high authorities to be
-     unequalled.
-
-     “Between the stalls the floor is one step higher than that of the
-     nave, and at the east end of the stall, there is a further rise of
-     two steps as we pass into the presbytery. Here, on the south side,
-     we see the bishop’s throne--modern work, carved with a view to be
-     in harmony with the stalls, but comparing unfavourably with them in
-     execution. There is a rise of two more steps into the sanctuary,
-     and the altar itself is raised two steps higher; this gives a good
-     effect. Behind the altar is an elaborately carved wooden reredos of
-     modern work, richly painted and gilt.”--(T. P.)
-
-A fine ancient screen runs across the arch at the opening of the
-=Lady-Chapel=.
-
-Along the south side of the south-choir-aisle we first come to the
-vestry, then to the =Jesus Chapel= (now a library), separated from the
-aisle by a handsome screen of the Sixteenth Century. Then we reach the
-fine entrance to the =Chapter-House=, beneath a large arch. At the end is
-the =Fraser= =Chapel=, with an altar cenotaph to the second Bishop of
-Manchester, James Fraser (died 1885), buried elsewhere.
-
-On the north aisle of the choir the space is occupied by the =Derby
-Chapel=, dedicated to St. John the Baptist. It was the private chapel of
-the Stanley family, to which the Earls of Derby belong. It was begun by
-James Stanley (1485-1509), who became Bishop of Ely. He died in 1515 and
-was buried near the =Ely Chapel=, where the original tomb and brass are
-still to be seen.
-
-
-
-
-CARLISLE
-
-     DEDICATION: THE HOLY TRINITY. FORMERLY SERVED BY AUGUSTINIAN
-     CANONS.
-
-     SPECIAL FEATURES: CHOIR AND EAST WINDOW.
-
-
-In the ancient town of North Cumberland--the famous border town
-appearing so frequently in ballads as “Merry Carlisle”--the Cathedral
-shares the honours with the Castle. Both date from about 1092.
-
-When William Rufus II. rebuilt and fortified Carlisle, he left one
-Walter, a Norman priest, as governor. He began to build a church and
-priory, but died in the meantime and Henry I. continued the work. The
-church was dedicated in 1101; the monastery of Augustinians was founded
-in 1121; and the Cathedral established in 1133. It was built in the
-Norman style, a nave with aisles, transepts and a tower at the
-intersection of the latter. The architect was Hugh, once abbot of
-Beaulieu. The Norman choir was taken down early in the Thirteenth
-Century and rebuilt in the Early English style. Two fires--especially
-the one in 1292--wrought much damage. About the middle of the Fourteenth
-Century the choir was completed in the Decorated style, and the
-magnificent East window was also inserted at this time. Robert Bruce
-took up his quarters in the Cathedral after the Battle of Bannockburn
-(1314). In 1392 the north transept suffered from fire. Bishop Strickland
-(1400-1419) restored it and rebuilt the central tower, adding to it a
-wooden spire. Henry VIII. disestablished the monastery and formed a
-Cathedral.
-
-During the Civil War the Puritan soldiers were quartered in the
-Cathedral and did much damage.
-
-They pulled down two-thirds of the Norman nave in order to get stones
-with which to repair the fortifications. At the rising of Charles
-Edward, “Bonnie Prince Charlie,” in 1745, his soldiers captured Carlisle
-and used the Cathedral for their headquarters; and when the Duke of
-Cumberland arrived, the church was again used as barracks and many of
-the Jacobites were confined in its walls.
-
-Carlisle is a fine place to study all the styles of Early English in
-simple, pointed, geometric and flowing. It is famed for its wonderful
-East Window and the superb Choir, one of the finest in England.
-
-     “A good view is obtained from the castle. The usual approach is
-     from the east end, whence we observe the grand east window with its
-     beautiful Late Decorated tracery. It is flanked by buttresses, with
-     niches and crocketed pinnacles. In the niches are statues of SS.
-     Peter, Paul, James and John. A foliated cross crowns the gable and
-     on each side are four similar crosses. In the gable is a triangular
-     window, having three trefoils, and below is a niche with a figure
-     of the Virgin. The Central Tower, built by Bishop Strickland
-     (1400-1419) on the old Norman piers, is too small for the huge
-     choir and lacks dignity. Formerly it was crowned with a wooden
-     spire, but this has been removed. There is a turret set at the
-     north-east angle, and in the north side is a niche with the figure
-     of an angel. The lower part of the choir is Early English, with the
-     exception of a Perpendicular window at the west, and a Decorated
-     one in the east bay. The clerestory is Late Decorated, and the
-     windows have flowing tracery. The ball-flower ornament is
-     extensively used in the cornice. The sculpture at Carlisle is
-     worthy of notice. Carved heads and curious gargoyles abound. The
-     North Transept is
-
-[Illustration: CARLISLE: SOUTH-WEST]
-
-[Illustration: CARLISLE: CHOIR]
-
-     nearly all modern. It was rebuilt by Strickland in the Fifteenth
-     Century, and again rebuilt when the church was restored. There is,
-     however, an Early English window in the west wall. On the east side
-     there was formerly a chapel, which has not survived the repeated
-     alterations. The greater part of the Nave was taken down by
-     Cromwell’s soldiers. What is left is of unmistakable Norman
-     character. There is some modern imitation work, and late
-     architectural detail. Most of the windows are modern, and also the
-     doorway. The south side is similar to the north. The South Transept
-     preserves the old Norman walls. On the south is a modern doorway
-     with a window over it. On the east is St. Catherine’s Chapel, a
-     Late Early English or Early Decorated building. The south side of
-     the choir is similar to the north, and presents Early English
-     details of construction. The monastic buildings once stood on the
-     south side of the church but they have been pulled down with the
-     exception of the fratry and gatehouse, the stone being used for
-     repairing the fortifications of the city by Puritan soldiery. The
-     refectory, or fratry, was rebuilt in the Fifteenth Century, and is
-     now used as a chapter-house. There is a fine reader’s pulpit here.
-     The gateway was erected by Prior Slee in 1527. The Deanery is a
-     fine old house, and was formerly the prior’s lodging. It was
-     rebuilt in 1507.”--(P. H. D.)
-
-The =Nave= is Norman, but of the eight bays only two now remain. The piers
-are low, the arches semicircular, and it appears that later hands carved
-the Early English foliage on the capitals. The triforium shows plain
-round-headed arches. The clerestory has three arches in each bay,
-resting on shafts with carved capitals. The west end is modern. Sir
-Walter Scott was married here in 1797.
-
-The =North Transept= was rebuilt in the Fifteenth Century and the north
-end again in modern times. The large window is modern and Decorated in
-style. An Early English window in the west end is a good example of
-plate-tracery. The roof is modern; the arch of the choir aisle,
-Decorated. Norman piers support the =Tower=, to which Bishop Strickland
-added additional columns, Perpendicular with foliated capitals. The
-crescent and fetterlock on the capital of the eastern arch are emblems
-of the Percy family; the rose and scallop shell on the western side, of
-the Dacres and Nevilles.
-
-The =South Transept= is only one bay: The arch into the choir-aisle is
-Norman with zigzag ornaments and cushion capitals. Another Norman arch
-opens into =St. Catherine’s Chapel=, now a vestry. It was founded by John
-de Capella, a wealthy citizen. The beautiful screen is Late Decorated.
-
-The =Choir= consists of eight pointed arches: it is 138 feet long and 72
-feet high.
-
-     “We now enter the choir by the door in the organ-screen. This is
-     one of the finest in England--spacious, lofty, well-proportioned
-     and rich in all its details. The arches of the main arcade are
-     Early English, as the mouldings and dog-tooth ornament testify.
-     These remained after the fire of 1292 and were retained. The piers
-     are Early Decorated and were evidently built to support the arches
-     after the fire. The capitals were carved later in the Late
-     Decorated period, when the upper parts of the choir, triforium,
-     clerestory, roof and east end were rebuilt. The builders were
-     probably Bishops Welton and Appleby (1353-1395). When the choir was
-     rebuilt in Early English times, the architect determined to enlarge
-     it, and as the monastic buildings on the south prevented any
-     expansion in that direction, the south piers of the choir retained
-     their old position, while the north were moved further northward,
-     and a new north aisle added. Thus the choir and the tower and nave
-     are not quite symmetrical, and there is a blank wall at the
-     north-west end of the choir which is thus accounted for. The
-     details of the architecture of the choir merit close attention,
-     especially the sculpture. Small figures of men, animals and
-     monsters are mingled with the foliage. There are some admirable
-     representations of the seasons, beginning with the second capital
-     on the south, counting from the east end. There is a very fine
-     timber roof, constructed about the middle of the Fourteenth
-     Century. The scheme of colour decoration is, unfortunately, not
-     original.”--(P. H. D.)
-
-The =East Window= is one of the finest Decorated windows in existence. The
-stone-work is not new, but it is believed to be an exact reproduction of
-the original. It is composed of 86 distinct pieces of stone and is
-struck from 263 centres. There are nine lights. The glass of the upper
-portion is ancient, dating from the reign of Richard II. The pictures
-are the Resurrection, the Final Judgment and the New Jerusalem. Hell is
-shown with all the terrors familiar to the Mediæval mind. The modern
-glass below represents scenes from the life of Christ.
-
-The =Stalls= are Late Perpendicular and are beautifully carved. The fine
-tabernacle-work is dated about 1433. The _misereres_ represent the usual
-grotesque monsters, such as dragons, griffins and fables in which the
-crafty fox is prominent. A Fifteenth Century brass to Bishop Bell (1495)
-on the floor of the choir deserves notice.
-
-A Renaissance screen partitions off the north-choir-aisle. Here we
-notice the Early English arcade and the windows with two lights,
-dog-tooth ornament and deep mouldings. The last bay eastward is Late
-Decorated; the last bay westward contains a Perpendicular window.
-
-In the north wall two Early English sepulchral recesses are unique
-because of their chevron moulding. The effigy lying in one of them is
-supposed to be Silvester of Everdon (1254). The stalls in the
-=North-choir-aisle= are ornamented with very strange paintings of the
-Fifteenth Century illustrating the lives of St. Anthony and St.
-Cuthbert, with descriptive verses.
-
-The =South-choir-aisle=, with a similar screen to the opposite one, also
-contains painted stalls representing the life of St. Augustine. It
-resembles the north-choir-aisle.
-
-The narrow =Retro-choir= is of the same date as the big window.
-
-The lower part of the Choir is Early English with the exception of the
-Perpendicular window in the west bay and a Decorated one in the east
-bay. The clerestory is Late Decorated, the windows noticeable for their
-flowing tracery. Everywhere the ball-flower ornament abounds, and carved
-heads and weird gargoyles are omnipresent.
-
-The south side resembles the north with the exception of St. Catherine’s
-Chapel, a Late Early English, or Early Decorated construction. The
-monastic buildings have disappeared with the exception of the =Refectory=,
-rebuilt in the Fifteenth Century, now used as the =Chapter-House=, and the
-gateway built in 1527. The fine old =Deanery=, formerly the prior’s house,
-was rebuilt in 1507.
-
-[Illustration: CARLISLE: EAST END]
-
-[Illustration: DURHAM: WEST FRONT]
-
-
-
-
-DURHAM
-
-     DEDICATION: ST. CUTHBERT. FORMERLY THE CHURCH OF A BENEDICTINE
-     MONASTERY.
-
-     SPECIAL FEATURES: GALILEE CHAPEL; CHAPEL OF THE NINE ALTARS;
-     NEVILLE SCREEN; JOSEPH’S WINDOW.
-
-
-Durham is the most beautifully situated of all English cathedrals. It is
-perched upon a rocky and wooded eminence above the Wear River, and with
-the castle by its side makes a noble picture. When seen from the
-opposite side of the river the west end of the Cathedral is very
-charming; for the Galilee Chapel, the western towers and gable, the tall
-central tower and the roof of the nave show variety of line and mass.
-The Galilee Chapel completely hides the western doorway; but above it
-rises the big window of 1346, the semicircular arch and the small gable
-between the twin towers.
-
-Durham Cathedral owed its existence to St. Cuthbert (one of the three
-great English saints), and was fortunate enough to possess his shrine.
-Therefore, it is well to recall his life before visiting the church. St.
-Cuthbert was born about 635, and in Ireland, according to tradition. He
-is first heard of as a shepherd-boy in Northumbria, where, in 651, while
-watching his flocks by night, he had a vision of the heavens opening and
-angels carrying thither the soul of St. Aidan, the pious bishop of
-Lindisfarne. He decided to become a monk and entered the monastery of
-Melrose, where he became prior. After a few years he went to
-Lindisfarne, and also became prior there. In 676 he became an anchorite
-on Farne Island, where he died, March 20, 687. The fame of St. Cuthbert
-increased after his death and his anniversary was a great festival in
-the English Church. Many churches in the north were dedicated to him.
-His body rested quietly in Lindisfarne for two hundred years, but in
-875, when the Danes were ravaging Northumbria, the pious monks of Holy
-Island, bearing the body on their shoulders, fled inland and found a
-temporary resting-place in Chester-le-Street, half-way between Newcastle
-and Durham. In 995 they transferred the body of St. Cuthbert to Ripon;
-but in the same year removed it to Durham.
-
-Legend says that after the monks left Chester-le-Street, St. Cuthbert
-appeared and announced that he desired to rest at Dun-holm. The monks
-wandered about in search of this place. Finally they heard a woman
-asking another if she had seen her lost cow. The other answered: “It’s
-down in Dun-holm.” The monks remembering that Dun-holm meant
-hill-meadow, carried the body of St. Cuthbert into the lonely field.
-
-Here they built a stone chapel to protect the body; and Bishop Aldhun
-soon began a great church. This “White Church” was consecrated in 999.
-Aldhun died in 1018. The next important bishop was William of Saint
-Carileph (1080-1096), appointed by William the Conqueror. He turned the
-place into a Benedictine monastery. Then he determined to build a better
-Cathedral, and laid the foundation-stone in 1093. When he died, three
-years later, the walls of the choir, the eastern walls of the transepts,
-the arches of the tower and a part of the first bay of the nave were
-finished. A temporary shrine was also made for St. Cuthbert’s body.
-Ranulph Flambard (1099-1128) was the next great builder. The nave, the
-aisles, the west doorway, the lower part of the western towers and the
-vaulting of the aisles are his. In 1104 he removed the body of St.
-Cuthbert from the cloister-garth to the splendid shrine behind the high
-altar. Here the sacred relics were supposed to work miracles, and
-pilgrims flocked in great numbers to this holy place. William the
-Conqueror, Henry III., Edward II., and Henry VI. were among the royal
-personages who did homage to the saint.
-
-When Henry VIII. suppressed the monasteries in 1540, the shrine was
-destroyed; but the monks secured St. Cuthbert’s body and buried it
-beneath the platform on which the shrine had stood. In 1827 the grave
-was opened. A coffin was found that had been made in 1541; this enclosed
-another, supposed to date from 1104; and this, a third, that agreed with
-the description of the one made in 698. In the latter was found St.
-Cuthbert’s body, wrapped in five robes of embroidered silk. Thus it
-almost seemed as if there were some reason for the legend that his body
-was supposed to be incorrupt.
-
-William the Conqueror, anxious to see this incorrupt body, ordered the
-shrine to be opened; but, at the first stroke, such sickness and terror
-fell upon him that he rushed from the Cathedral; and, mounting his
-horse, he never drew bridle until he had crossed the Tees.
-
-Until the Reformation the banner of St. Cuthbert hung over his shrine.
-It was made from a cloth used by St. Cuthbert in celebrating mass and it
-was believed to insure victory to the army in whose ranks it was
-carried. Flodden was one of the many fields in which the defeat of the
-Scots was ascribed to the Standard of St. Cuthbert. Another was
-Neville’s Cross, near Durham, when 15,000 Scots perished. A thanksgiving
-hymn was ordered to be sung on top of the Cathedral tower on each
-anniversary of the battle. This custom is still observed.
-
-Returning now to the architectural history of the Cathedral, the next
-great builder was Hugh Pudsey (1153-1195), in whose time the Norman
-style was passing out of fashion. Pudsey began to build a Lady-Chapel at
-the east end; but when he saw great cracks appearing in the walls, he
-thought that St. Cuthbert was manifesting his displeasure. Consequently
-he removed all his building materials, including the Purbeck marble
-columns, and began and finished the wonderful Galilee Chapel at the west
-end, about 1175.
-
-Pudsey was a great prince as well as a fine builder. He was only
-twenty-five when he became Bishop of Durham. He bought the earldom of
-Northumberland and also a manor. When King Henry decided to go to
-Jerusalem after his capture by the Saracens, Pudsey fitted out ships and
-had a seat of silver for himself in one of them. The King died, and
-Pudsey remained at home; and while King Richard went on the trip Pudsey
-and the Bishop of Ely quarrelled. Pudsey was decoyed to London and
-thrown into the Tower. He was released. He died on another journey from
-Durham to London in 1195.
-
-Bishop Poore (1229-1237), arriving from Salisbury Cathedral (see page
-77), planned the Chapel of the Nine Altars, another special feature of
-Durham and one of the best examples of Early English in existence. As
-soon as he arrived in Durham, Bishop Poore began to plan the eastern
-transept, for the apse of Carileph’s choir had been deemed unsafe.
-Building, however, was not undertaken until after his death.
-
-In the Fourteenth Century the large window in the north transept and the
-west windows of the nave were added. Then the cloisters were built and
-several halls. The refectory was turned into a library in 1661-1684.
-
-The central tower was repaired and rebuilt in the Fifteenth Century.
-
-Wyatt, who had charge of the restorations in 1796, destroyed the fine
-Norman Chapter-House (built in 1133-1140), rebuilt the turrets on the
-Chapel of the Nine Altars and placed a window of his own design in the
-east end, removing for the purpose the great Early English window. The
-original glass was also taken out and piled up in baskets. After much
-had been stolen the remainder was locked up in the Galilee. Some of it
-was inserted in the great round window.
-
-Wyatt came very near destroying the Galilee Chapel so that he could open
-the west doorway; but he was fortunately stopped.
-
-The chief restorations of late years have been those of 1870-1876, when
-the new choir-screen and pulpit were erected, the choir-stalls replaced
-and the floor of the choir paved with marble mosaic.
-
-From the large open space between the Cathedral and Castle, known as the
-Palace Green, we gain a fine view of the northern side of the building;
-the tall central tower and transept with its splendid window (1362) (The
-Four Doctors of the Church); and the north aisle to the Chapel of the
-Nine Altars that completes the eastern end.
-
-From this side we can study the towers to advantage. The two square,
-solid western towers date from Norman time; but the Norman work ends at
-the roof of the nave; then begins what is probably work of the
-Thirteenth Century. Here we have four stories ornamented with arcading,
-blind and open. The first and third have pointed arches, and the second
-and fourth round arches. The open parapets and pinnacles were added at
-the end of the Eighteenth Century.
-
-The =Central Tower= dates from about 1474, replacing an older tower that
-had been condemned. The belfry had been struck by lightning in 1429. The
-tower consists of two stories separated by a narrow gallery with a
-pierced and embattled parapet. This is called the Bell Ringers’ Gallery.
-The windows are arranged in pairs surmounted by ogee label moldings,
-crocketed and ornamented with finials. The tower is finished with an
-open-worked parapet, and at each corner are buttresses with canopied
-niches containing figures.
-
-We walk eastward to gain a nearer view of the Chapel of the Nine Altars
-with the Early Decorated window and turrets crowned with pyramids. We
-particularly want to see on the north-west turret the panel of the =Dun
-Cow=, a modern reproduction of an ancient work, commemorating the legend.
-
-We now turn and walk westwards. Then we enter the =North Door=, the
-principal entrance to the Cathedral. The exterior is the work of Wyatt;
-and though we take some pleasure in the carvings of foliage, figures,
-chevrons and lozenges that ornament the capitals and arch-moulds, it is
-the doorway, with its sanctuary knocker, that attracts our attention.
-
-Criminals were wont to claim sanctuary at Durham from 740 to 1524. As
-soon as the fugitive grasped the ring he was safe. This knocker is a
-grotesque head of bronze with a ring hanging from the grinning mouth.
-
-     “The north entrance door tells an interesting tale. The present
-     door is a modern restoration, and some of the original features of
-     the famous entrance have been obliterated. Towards this door many a
-     poor wretch hastening to escape the hands of the avenger has sped
-     his fearful steps in days gone by. Attached to the door still
-     glares a fearful-looking metallic head holding a ring in its mouth.
-     In its now eyeless sockets were once in all probability balls of
-     crystal, or enamel. When once the ring was grasped by the hand of
-     the fugitive he was safe. He had claimed the ‘peace’ of St.
-     Cuthbert, and the sanctity of the neighbouring shrine shielded him.
-     Above the door by day and night watched relays of monks to admit
-     those who claimed sanctuary. So soon as ever a fugitive had reached
-     the door he was admitted. This done he had to confess the crime of
-     which he was guilty, and his statement was taken down in writing.
-     All the while a bell was tolling to give notice that some one had
-     taken refuge in the church. Then the culprit was arrayed in a black
-     gown with a yellow cross on his left shoulder, and remained within
-     the precincts for thirty-seven days. If, at the end of that time,
-     he could not obtain a pardon of the civil authorities, he was
-     conveyed across the seas to begin life elsewhere.”--(T.)
-
-The exterior has not prepared us for the great impression that we
-experience on entering the =Nave= with its enormous columns and noble
-arches. These columns are deeply cut, some with spirals, some with
-zigzags, some with reeds, etc. The whole effect is solemn. Fortunately
-the modern screen allows the gaze to traverse the entire length of the
-nave and choir until it is checked by the famous =Neville Screen=.
-
-     “The triforium is almost uniform throughout the whole church. In
-     each sub-bay it consists of two small arches under one large one,
-     with the tympanum solid. Here also the capitals are cushions and
-     perfectly plain.
-
-     “Above the triforium is the clerestory, which contains one light to
-     each sub-bay, and surmounting all is the vaulting, which springs
-     from the piers and from grotesquely carved corbels between the
-     triforium arches. The vaulting ribs are ornamented with chevrons on
-     either side of a bold semicircular moulding. So much for the
-     general arrangement of the bays. Some idea of the massiveness of
-     the structures may be gathered when it is known that each group of
-     the clustered pillars separating the bays covers an area of two
-     hundred and twenty-five square feet at its base, while those of the
-     cylindrical columns of the sub-bays are twelve feet square, and the
-     columns themselves have a circumference of over twenty-three feet.
-     There is little room to doubt that the effect obtained by the old
-     builders of Durham was intentional. The masterly way in which great
-     masses of solid masonry, greater than was constructively necessary,
-     are handled, and the reticence and delicacy of the ornament combine
-     to prove this. There is in the whole scheme a delightful union of
-     great power and vigour in the masses, and of tenderness and loving
-     care in the detail.”--(J. E. B.)
-
-At the west end of the nave stands the =Font=, a modern work in the Norman
-style carved with medallions depicting scenes from the life of St.
-Cuthbert. It is covered by a large wooden canopy, dating from 1663 and
-curiously carved with a mixture of Classic and Gothic ornamentation.
-
-Durham is built in the form of a Latin cross, with transept, and in the
-centre of the arms rises the tower. At the east end another transept
-runs--the Chapel of the Nine Altars. At the west end we have the =Galilee
-Chapel=.
-
-[Illustration: DURHAM: NAVE, EAST]
-
-[Illustration: DURHAM: GALILEE CHAPEL]
-
-No one seems to know the origin of the word Galilee. According to Canon
-Talbot:
-
-     “Its name of Galilee has probably some reference to Galilee of the
-     Gentiles, and implies that it was considered less sacred than the
-     rest of the Cathedral. St. Cuthbert had a more than monkish fear of
-     women, and they were not allowed to approach the shrine. A cross
-     let into the pavement of the nave at the far west end curiously
-     marks the far-removed spot nearer than which women might not
-     approach. The prejudices of the good saint were thus perpetuated
-     long after his death. The whole effect is light and graceful, and
-     if the women were not allowed to enter farther than the western
-     extremity of the church, they certainly had a most beautiful place
-     of worship.”
-
-The Galilee Chapel is the most beautiful example of Transitional Norman.
-
-     “Entering the chapel by the steps leading from the Norman nave, the
-     visitor is at once impressed with the lightness and delicacy of the
-     work before him, as compared with the massive grandeur of the
-     Norman cathedral behind. Here we have, in fact, one of the latest
-     uses of the round arch influenced by the rapidly developing Early
-     English Gothic. In plan the chapel consists of a nave with double
-     aisles, which perhaps might be more properly called five aisles.
-     These are divided by arcades, each of which is of four bays. These
-     arches and the columns which support them are the chief beauty and
-     characteristic of the chapel. The arches are semicircular, of one
-     order, with three lines of chevrons, one on each face, and one on
-     the soffit between two roll mouldings. The capitals are light and
-     graceful and carved with a volute, and the columns clusters of
-     marble and freestone shafts. The whole seems to have been coloured
-     in fresco, and remains of this are still to be seen. The stone
-     shafts, which alternate with those of marble, do not carry any of
-     the weight of the arch, and are, undoubtedly, an addition, probably
-     in the time of Cardinal Langley, when they must have been added,
-     with a view to improving the appearance. The dimensions of the
-     chapel are forty-seven feet from east to west, and seventy-six
-     feet from north to south. The existing roof and the three
-     Perpendicular windows on the west end are also additions by
-     Cardinal Langley. On the walls above what were once the altars of
-     the Virgin and Our Lady of Pity, remains of fresco painting may be
-     noticed, all that remains of what has evidently been beautiful
-     work. These were only brought to light by the removal of successive
-     coats of whitewash with which they had been covered.”--(J. E. B.)
-
-The two doorways at the end of the north aisle and south aisle of the
-nave were made by Cardinal Langley, who closed up the great =West door=,
-reopened in 1846. This was built by Flambard (1099-1128) and consists of
-an arch of four orders decorated with chevrons. Grotesque animals also
-appear in medallions. Langley also made a new roof, for which he raised
-the walls.
-
-In front of the principal altar stands =Langley’s Tomb=, erected by
-himself; but of far more interest is the resting-place of a greater man.
-
-No visitor can look upon the stone slab that marks the grave of the
-=Venerable Bede= without awe. Bede, so famed for his learning and piety,
-was a contemporary of St. Cuthbert and spent his long life chiefly in
-the monasteries of Monkwearmouth and Jarrow. He died in 735 and was
-buried at Jarrow. In 1022 his remains were stolen and placed in the same
-coffin with those of St. Cuthbert. Pudsey removed them into the new
-Galilee Chapel. “There, in a silver casket gilt with gold, hee laid the
-bones of Venerable Bede, and erected a costly and magnificent shrine
-over it,” so the _Rites of Durham_ inform us. When the shrine was
-destroyed in 1542, the bones were interred beneath the site of the
-shrine and were left undisturbed until 1831, when they were exhumed,
-examined, enclosed in a lead-lined coffin and replaced in the tomb.
-
-     “The most interesting monument here is the plain altar-slab which
-     marks the burial-place of the great Northumbrian scholar. On the
-     tomb are engraved the well-known words, _Hac sunt in fossâ Bedæ
-     Venerabilis ossa_ (In this grave lie the bones of the Venerable
-     Bede). According to the old legend the monk, who was casting about
-     for a word to complete the scansion of his line between _Bedæ_ and
-     _ossa_, left a space blank until he could in the morning return to
-     his task with a mind refreshed. However, during the night an
-     unknown hand added the metrically suitable _Venerabilis_. This,
-     according to the legend, is the origin of the peculiar preface
-     Venerable, always associated with the name of Bede.”--(T.)
-
-There are few monuments and tombs in Durham Cathedral. The most
-interesting is that of =Lord Ralph Neville= and his wife, =Lady Alice=, in
-the south side of the nave. Unfortunately the effigies of 1367 and 1364
-are much mutilated. Near them is the altar-tomb of =Lord John Neville=
-(died, 1386), and his wife, the daughter of Lord Henry Percy, the famous
-“Hotspur.” Their effigies are headless and mutilated, but traces of
-colour and gilding are to be seen. The carving of the canopies is very
-beautiful and between each of the niches are two square panels bearing
-the arms of Neville and Percy.
-
-We now come to the =transepts=. Each consists of two bays, with an aisle
-on the eastern side, to which three steps lead. In these at one time
-altars stood--to St. Nicholas and St. Giles, to St. Gregory and St.
-Benedict in the north transept; and to St. Faith and St. Thomas the
-Apostle, to Our Lady of Bolton and Our Lady of Houghhall, in the south
-transept. A large window ornaments and lights each end.
-
-The one in the north end is supposed to date from 1362. It is composed
-of six lights, and the head shows late geometrical tracery. The transom
-crossing the mullions is not visible from the outside. Below it a second
-set of mullions supports a small gallery which leads to the triforium.
-This window was repaired in 1512 and filled with glass of the period
-representing its chief figures--St. Augustine, St. Jerome, St. Gregory
-and St. Ambrose. Therefore it became known as =The Four Doctors of the
-Church=. Prior Castell, who had charge of the repairs, placed himself
-here kneeling before the Virgin. The opposite window, in the south end
-of the transept, is called the =Te Deum=. It contains six lights and is
-Perpendicular in style, dating between 1416 and 1446. There are
-corresponding stairways in the north-west and south-west corners of the
-transepts.
-
-Now we come to the =Tower=, supported on four large Norman piers with
-semicircular arches. We look above about seventy feet and see the first
-story of the lantern with a gallery. Panels, grotesque heads, corbels,
-crockets and finials and a string-course ornamented with the Tudor
-flower give us plenty to study. Then come the windows, each with two
-lights and divided by a transom, and, last of all, the handsome groined
-roof with bosses on the ribs.
-
-The =Choir= is the earliest part of the church. It contains Early Norman,
-Early English and Early Decorated work. The two later styles occur in
-the eastern part, and much beautiful detail is to be enjoyed. Where the
-one leaves off and the other begins affords interesting study.
-
-Carileph’s work is seen in the western bays. Arcades adorn the piers on
-both sides of the choir. The lower row has six arches and the upper
-three. All these are carved with foliage, heads and half figures. On
-each pier of the upper arcade there is an angel under a canopy. The
-vaulting dates from the Thirteenth Century. It is quadripartite. Square
-leaves and the dog-tooth decorate the ribs. The bosses at the points of
-intersection are very fine.
-
-An altar-tomb with the effigy of =Bishop Hatfield= (1345-1381), beneath
-the Bishop’s Throne, reminds us of the days when bishops were princes
-and warriors. Hatfield led eighty archers to the siege of Calais; and
-during his rule at Durham the battle of Neville’s Cross occurred (see
-page 236). Such a magnificent bishop had to have a magnificent tomb; and
-so, according to the custom of the day, he designed one for himself.
-Here he lies beneath a canopy that once was bright with painting and
-gilding. His effigy shows his splendid robes.
-
-The =Screen=, separating the choir from the nave, dates from 1870-1876.
-The =Choir-stalls= were made from 1660 to 1672 to replace the originals
-destroyed by the Scottish prisoners incarcerated in the Cathedral in
-1650 after the battle of Dunbar.
-
-Above the high altar rises the splendid =Neville Screen=, erected about
-1380 chiefly at the expense of John, Lord Neville of Raby. It runs along
-the entire choir, and forms _sedilia_ of four seats on either side. The
-screen was originally filled with 107 statues. The Virgin stood in the
-centre, and one side of her was St. Cuthbert, and on the other St.
-Oswald.
-
-     “The prior of the day employed at his own expense seven masons for
-     nearly a year to fix the screen, the execution of which is supposed
-     to have been the fruit of the labours of French artists. The screen
-     originally was much more elaborate than at present, being covered
-     with rich colour and every niche filled with sculptured figures,
-     but even now its present appearance is graceful.”--(T.)
-
-The Neville screen is pierced by two doors that lead directly to the
-=Shrine of St. Cuthbert= in the Chapel of the Nine Altars just behind it;
-for in this chapel repose the bones of the patron saint. Facing the
-great rose window there is an oblong platform (37 × 23 feet), about six
-feet higher than the floor. The shrine was placed here in 1104 and
-remained until 1540, when the body was taken from it and buried beneath
-this spot.
-
-The =Chapel of the Nine Altars= was so named because beneath the nine
-lancet windows formerly stood nine altars to the following saints: (1),
-St. Andrew and St. Mary Magdalen; (2), St. John the Baptist and St.
-Margaret; (3), St. Thomas of Canterbury and St. Catherine; (4), St.
-Oswald and St. Lawrence; (5), St. Cuthbert and St. Bede; (6), St.
-Martin; (7), St. Peter and St. Paul; (8), St. Aidan and St. Helen; (9),
-St. Michael the Archangel.
-
-     “It is approached from the aisles by steps, the floor level being
-     lower than that of the church proper. It is altogether a remarkable
-     and interesting structure. With its lightness and loftiness
-     contrasting grandly with the massive Norman nave and choir, its
-     clustered columns of polished marble alternating with stone, its
-     fine bold sculpture, its splendid vaulted roof and rich arcading,
-     it forms a perfect example of the Early English style. Though
-     regular and symmetrical in general design, the detail shows great
-     variety, and even irregularity, a quality so often present in old
-     work, and so much to its advantage.
-
-     “The ‘New Work,’ as it was always called, was commenced in the year
-     1242. The eastern wall, with its rose and nine lancet windows, is
-     the earliest part of the chapel, the north and south walls being
-     later. The joining and blending of the work with the Norman of
-     Carileph’s choir had evidently been accomplished when the chapel
-     was almost completed. The eastern wall is of three bays, each bay
-     having three lofty lancet windows. The bays are not of equal width,
-     the centre one being regulated by the width of the nave of the
-     church, and narrower than the north and south bays.
-
-     “A very beautiful arcade runs completely round the walls. It is of
-     trefoil arches deeply and richly moulded, supported on marble
-     columns carved with foliage. Over the arches is a hood-mould
-     terminating with heads. In the spandrels are a series of deeply
-     sunk and moulded quatrefoils, two of which contain sculpture. The
-     bases of the columns rest on a plinth. Surmounting this arcade is a
-     moulded string from the level of which rise the windows, and above
-     the windows another string-course and a second range of windows. In
-     the centre bay, however, is the large rose window, which is over
-     thirty feet in diameter.
-
-     “The division of the chapel into three bays is effected by two main
-     vaulting arches, which spring on the western side from the piers of
-     the east end of the choir, and on the eastern side from responds of
-     clustered shafts alternately of marble and stone, banded at
-     intervals and having richly carved capitals. The arches themselves
-     are deeply moulded and ornamented with dog-tooth ornament and
-     foliage. The vault of the central bay has eight ribs--two springing
-     from each of the clusters just described, and two from each of the
-     choir piers. The vaulting of the remaining bays is quadripartite,
-     but has peculiarities which are worthy of notice, arising from
-     inequality of width. We must not omit to call attention to the
-     exquisite sculpture of the vaulting. The centre has figures of the
-     Four Evangelists, while in the north is a beautifully executed
-     carving of vine and grapes, and in the south, figure subjects.
-     Among the sculptured heads on the wall arcade at the south end, at
-     the western side of the two bays into which the south wall is
-     divided, are two which are portraits of the men to whom we owe the
-     design and execution of the beautiful sculpture of this chapel. One
-     is an elderly man, the other much younger, and both wear linen
-     dust-caps over their heads.”--(J. E. B.)
-
-The rich and varied carving of the capitals of the vaulting-shafts and
-vaulting-bosses will delight the lover of beautiful sculpture.
-
-The beautiful Early Decorated north window of six lights was originally
-filled with glass illustrating the history of Joseph. Hence it was
-called =Joseph’s Window=. It is a particularly fine example of the tracery
-of the period.
-
-The two windows in the south end of this transept were once filled with
-glass representing the life and miracles of St. Cuthbert. They show
-tracery of the Perpendicular period. Each window is divided by a central
-mullion and is widely splayed inwards.
-
-The rose window over the lancets of the middle bay consists of an outer
-circle of twenty-four and an inner circle of twelve radiating lights,
-the mullions of which are received on a foliated circle in the centre.
-This is Wyatt’s work, for, as we have seen, he removed the fine Early
-English window from this place.
-
-The =Cloisters= and the =Chapter-House= we find on the south side of the
-Cathedral. The cloisters were begun in 1388-1406 and completed about
-1438. They are much altered and restored. From them various halls of the
-monks could be entered.
-
-From the eastern alley we pass into the Chapter-House, a restoration of
-what was considered the finest Norman Chapter-House in England when
-Wyatt pulled it down.
-
-[Illustration: DURHAM: NEVILLE SCREEN]
-
-[Illustration: RIPON: SOUTH]
-
-
-
-
-RIPON
-
-     DEDICATION: ST. PETER AND ST. WILFRID. FORMERLY A COLLEGIATE CHURCH
-     SERVED BY AUGUSTINIAN CANONS.
-
-     SPECIAL FEATURES: NAVE; ST. WILFRID’S NEEDLE; ROOD-SCREEN; EAST
-     WINDOW; CHOIR-STALLS.
-
-
-Ripon did not become a cathedral until 1836. From the Eighth Century
-until that date it was in the diocese of York, and the Archbishop of
-York, having his throne in the choir, gave the church great importance.
-
-Ripon monastery was established in the Seventh Century. The monks came
-from Melrose Abbey on the Tweed and represented the Christianity that
-was introduced into the north by way of Ireland through St. Columba’s
-missionaries. Their great abbot was Wilfrid, who became Bishop of
-Northumbria. In 669 he began a stone monastery, on the site, in all
-probability, of the earlier one; and this was dedicated in 670 to St.
-Peter. Wilfrid died in 709 and was buried in his church at Ripon.
-Miracles took place at his tomb, which drew such large crowds that the
-monks tried to restrain them. In 948, when Eadred was quelling a
-rebellion in Northumbria, “was that famed minster burned at Ripon which
-St. Wilfrid built.”
-
-The next date of interest is the rebuilding of the church by Roger de
-Pont l’Évêque (1154-1181), the great rival of Thomas à Becket. It was a
-cruciform edifice; its nave was without aisles. Of this, the two
-transepts, half of the central tower, and portions of the nave and
-choir remain. Ripon is, therefore, one of the most important examples
-extant of the transition from Norman to Early English.
-
-Archbishop Walter de Gray (1216-1255) translated the relics of St.
-Wilfrid to a new shrine in 1224.
-
-The west front with its two towers was built about this time; and the
-eastern part of the choir was rebuilt in the Decorated style by
-Archbishop John Romanus (1286-1296).
-
-The church was used as a refuge and fortress by the people of Ripon when
-the Scots invaded it in 1317. Many necessary repairs were made under
-Archbishop de Melton (1317-1340). The central tower fell in 1450 and had
-to be rebuilt; also the east side of the south transept and the south
-side of the choir. The present rood-screen and canopied stalls were
-erected at the end of the Fifteenth Century. Then the nave was rebuilt;
-but progress was delayed by the outbreak of a plague in 1506. St.
-Wilfrid’s Shrine was demolished by Henry VIII. In 1593 the central spire
-was injured by lightning. During the Civil Wars the Parliamentary
-soldiers shattered the splendid glass of the east window and did other
-damage. In 1660 the central spire fell and injured some of the canopies
-of the choir-stalls; and, therefore, in 1664, the western spires were
-removed for fear that they might fall also. Many repairs were made in
-1829. Restorations on a large scale were undertaken by Sir Gilbert Scott
-in 1862-1870.
-
-The =West Front= is Early English. It has two square towers and a central
-gable. String-courses divide the façade into four stages. In the first
-are three doorways adorned with gables and crosses. The central door,
-which is larger than the others, consists of five orders and five triple
-shafts. The two others have three orders and three shafts. Some of the
-mouldings are filled with the dog-tooth ornament. All three doors open
-into the nave. Between the gables spouts issue from the heads of
-animals. Above the doors comes a row of five lancet windows and above
-them a group of three small lancets placed very high. The towers are
-ornamented with arcades and lancets, buttresses, parapets and pinnacles.
-The ten bells hang in the south tower.
-
-The =Central Tower= is interesting because it is composed of two styles of
-architecture. On the north and west sides it is Twelfth Century and on
-the two others Perpendicular. The windows on all sides are round-headed.
-The dog-tooth ornament appears in the moulding. Ripon, though finely
-proportioned, is somewhat cold and severe in general appearance. The
-north transept with its round-headed windows and its interesting
-doorway, with a rather curious inner arch and capitals of carved
-foliage, is a good example of the Twelfth Century. The south side of the
-nave is preferred to the north side by critics. In the south transept we
-have Archbishop Roger’s work again. The doorway is elaborate. The
-foliage on the capitals of the columns approaches the Early English
-style. The lintel is square. The south side of the choir is partly
-hidden by the Chapter-House with the Lady-Loft above. The buttresses
-that follow are of the Twelfth Century. The three western bays are
-Perpendicular; the others, Decorated. The two flying-buttresses are like
-those on the north side. Gargoyles appear at intervals along the string
-of the roof. The east end is Decorated. Its chief feature is the
-splendid window, of which the tracery alone remains.
-
-Entering the west doorway we look upon one of the great naves of the
-Perpendicular period, ranking next in size after York, Winchester,
-Chichester and after St. Paul’s in width.
-
-     “Among very late Gothic buildings there are few indeed which are of
-     so good a quality as this nave of Ripon, which, like the late
-     church towers of Somerset, shows that Mediæval art took long to die
-     out in regions remote from London. It is, indeed, the architecture
-     of the days of Agincourt rather than of the eve of the English
-     Renaissance. The pillars are characteristic of the Perpendicular
-     style, their section being a square with a semicircle projecting
-     from each side, and the corners hollowed. Their bases have complex
-     plinths of considerable height and are polygonal, but follow
-     roughly the form of the pillar, and the mouldings, as usual in this
-     style, overhang the plinth. The capitals, with small mouldings and
-     many angles, are of somewhat the same form as the bases. On the
-     westernmost complete pillar of the north arcade are two shields,
-     charged respectively with the arms of Ripon (a horn) and of Pigott
-     of Clotherholme. The arches, instead of being of that depressed
-     form which is so common in late work, are very beautifully
-     proportioned, and their mouldings are bold, numerous and well-cut.
-     There is no triforium; but a passage, at a slightly lower level
-     than in Archbishop Roger’s bays, runs below the great clerestory
-     windows, which were once, no doubt, gorgeous with stained glass.
-     Their arches are moulded, but the splay is left plain. The
-     roof-shafts, which are in clusters of three and have fillets upon
-     them, spring from semi-octagonal corbels, and where each cluster
-     passes the string-course there is an angel holding a shield. A sign
-     of decadence may be found, perhaps, in the way in which the
-     hood-moulds of the windows intersect with these shafts. Though the
-     two sides of the nave are not quite of the same date, they are
-     almost alike, but for some slight differences in the capitals, the
-     arch-mouldings, and the hollows on the pillars; the builders
-     feeling, doubtless, that any marked variation would mar the general
-     perspective--a consideration which, of course, could not bind them
-     in designing the north aisle. The original Perpendicular roof may
-     have resembled that which now covers the transepts. About 1829
-     Blore put up an almost flat ceiling of deal. The present oaken
-     vault, by Sir Gilbert Scott, was copied from that of the transepts
-     of York Minster, and is adapted to the old roof-shafts, between
-     which have been added angel corbels of wood. As the ribs intersect
-     near their springing, they weave a network over the whole vault,
-     and the carved bosses at the intersections amount to 107. A passing
-     notice is merited by the pulpit, which is Jacobean.”--(C. H.)
-
-The two great tower arches under the west towers are Early English;
-those of the central tower are round. Their great piers are composed of
-clusters of engaged shafts. Massive arches also mark the opening of each
-aisle of the nave into the transept. In the south aisle stands a blue
-marble =Font=, and near it an older one, probably of the Twelfth Century.
-Tradition says that the altar-tomb here is that of an Irish prince who
-brought home from Palestine a tame lion. On the bas-relief a lion, a
-kneeling man and two birds are represented, which gives cause for the
-story. The work is presumably of the Fourteenth Century. Above the font
-we can see the only Mediæval glass in the Cathedral--fragments of
-Fourteenth Century work left from the wreckage of the Puritan soldiers.
-St. Peter, St. Paul and St. Andrew will easily be recognized. There is
-also a shield bearing the English arms in this window. In the south wall
-of the nave there is a fine =Piscina= dating from the Twelfth Century. At
-this point we shall have to interrupt our walk through the Cathedral to
-examine =St. Wilfrid’s Needle=, the popular name for the Saxon =Crypt=.
-
-     “From a trap-door in the pavement below the piscina a flight of
-     twelve steps winds down into a flat-roofed and descending passage
-     2½ feet wide and slightly over 6 feet high, which, running a few
-     feet northwards and bending at right angles round the south-west
-     tower pier, extends eastward for about 10 yards, with a descent of
-     one step near the end, and terminates in a blank wall. There is a
-     square-headed niche at the turn and a round-headed niche at the
-     end, both meant, doubtless, to hold lights. Three feet from the end
-     a round-headed doorway, 2 feet wide and over 6 feet high, opens
-     northwards with a descent of two more steps, into a barrel-vaulted
-     chamber, 11 feet 5 inches long from east to west, 7 feet 7 inches
-     wide and 9 feet 10 inches high. In the north wall of this chamber,
-     and approached by three wide steps, is the celebrated St. Wilfrid’s
-     Needle, a round-headed aperture pierced through into a passage that
-     runs behind. This aperture was connected with one of those
-     superstitions that so often flourished before the Reformation in
-     notable centres of religion, and ability to pass through it, or
-     ‘thread the needle,’ was regarded as a test of female chastity; but
-     it was, of course, in the later middle ages that this superstition
-     arose, and the ‘needle’ (or rather needle’s eye) is evidently only
-     one of the original niches with the back knocked out. Of these
-     niches (which again were doubtless for lights) there are four in
-     the chamber besides the ‘needle,’--one in each wall,--and, like the
-     niche at the end of the passage of entrance, they all have
-     semicircular heads, each cut in a single stone. That in the west
-     wall has a hole or cup at the bottom, probably to hold oil in which
-     a wick might float, while the others (except the ‘needle’) have a
-     sort of funnel at the top, doubtless to catch the soot from
-     lamps.”--(C. H.)
-
-The =North Transept= is a fine specimen of the transitional from Norman to
-Early English, and is almost in its original condition. It is 34 feet
-wide, or 52 feet including the aisle. Here we find a stone pulpit of the
-Perpendicular period, its five
-
-[Illustration: RIPON: NAVE, EAST]
-
-[Illustration: RIPON: CHOIR, EAST]
-
-sides embellished with panelling. At the north wall was probably
-situated the =Markenfield Chantry=; for the aisle is still called by this
-name. Two family tombs remain.
-
-The =South Transept= is slightly narrower than the north. Parts of it were
-altered in the Perpendicular period. In the aisle we find the =Mallory
-Chapel=, where members of the Studley family are buried. The northern bay
-is filled by a stone stairway, at the top of which are two doors. One
-opens into a chamber containing the bellows of the organ and the other
-into the Lady-Loft, or Library. This stairway was erected by Sir Gilbert
-Scott to replace an older one.
-
-The elegant =Rood Screen= is of the Fifteenth Century. It contains a
-central doorway surmounted by a crocketed ogee hood, beneath which is a
-mutilated carving of The Trinity. Four large niches stand on either side
-of the door and a row of twenty-four smaller ones runs above these.
-Cinquefoils and feathered cusps decorate the whole screen, which is
-twelve feet thick. In the passage through it a door on the right opens
-into a winding staircase to the loft above and one on the left into a
-deep pit.
-
-We pass on to the =Choir=. This is of three styles: the first three bays
-on the north side are Twelfth Century; the first three on the south
-side, Perpendicular; and the last three on both sides, Decorated. The
-triforium windows are filled with glass.
-
-     “The great window in the central compartment is one of the finest
-     examples of Geometrical tracery, if not one of the largest windows,
-     in England. It is over 50 feet high, is 25 feet wide, and has seven
-     lights. Of these the three at either end are comprised under a
-     sub-arch, in the head of which are three cinquefoiled circles,
-     while the central light of the seven is surmounted by an arch, not
-     so high as its neighbours, but impaling upon its acute point a huge
-     circle which fills the head of the window and contains six trefoils
-     radiating from its centre. The arch of this superb window is rather
-     acutely pointed and richly moulded, and has two very slender shafts
-     worked on the stones of either jamb, with foliage on their
-     capitals.
-
-     “The huge window, which is not splayed, has a deep rear-vault
-     bounded by a massive rib, whose outer edge rests on slender engaged
-     shafts with foliage on their capitals, while the inner edge ends in
-     bunches of foliage. Between this rib and the tracery is another rib
-     springing on the north side from a bunch of foliage and on the
-     south from a grotesque corbel. The inner arch has slender shafts,
-     and so has the moulding next to the tracery, but in the latter case
-     the capitals are plain. Few acts of vandalism are more to be
-     regretted, probably, than the destruction in 1643 of the
-     magnificent Fourteenth Century glass which once occupied this
-     window. The present very poor glass, by Wailes of Newcastle,
-     commemorates the revival of the See of Ripon in 1863.
-
-     “Over the window may be seen the mark of one of the earlier roofs.
-     The choir is thought to have received a groined vault of oak after
-     the rebuilding of the east end, but this vault was probably renewed
-     more than once, especially after the accident to the tower about
-     1450, and the fall of the spire in 1660. Sir Gilbert Scott found a
-     vault of lath and plaster (probably the work of Blore) for which he
-     substituted the present roof, a groined wooden vault, admirable in
-     its lofty pitch and judicious colouring. Its chief feature,
-     however, is the splendid bosses along the ridge, which are
-     survivals from either the Decorated or a subsequent Perpendicular
-     vault. In some of these bosses the figures are five feet
-     long.”--(C. H.)
-
-The =Choir-Stalls= are splendid specimens of the Fifteenth Century, with
-very ornate canopies of tabernacle-work bristling with spires and
-pinnacles.
-
-     “There are ribbed vaults under the canopies, and upon the pendants
-     in front are hovering angels. The canopies on the south side were
-     wrecked by the fall of the spire in 1660, and those over the eight
-     easternmost stalls were then reconstructed in the ‘Jacobean’ style
-     with a gallery above, while of the canopies now over the other
-     nine, eight are said to have been brought across from the eastern
-     end of the north range, where more Jacobean canopies were erected
-     in their place. Sir Gilbert Scott removed all this Seventeenth
-     Century work and set up reproductions of the Fifteenth Century
-     design. Thus the eight easternmost canopies on either side are
-     modern. The _misereres_ and arms of the stalls are exquisitely
-     carved.
-
-     “The subjects upon the former are as follows, beginning from the
-     archway in the screen:--
-
-     “_North side_:--(1) (CANON IN RESIDENCE) lion attacked by dogs; (2)
-     dragon attacked by dogs; (3) angel with shield; (4) dragon and
-     birds; (5) hart’s-tongue ferns; (6) conventional flowers; (7) ape
-     attacked by lion; (8) vine; (9) birds pecking fruit; (10)
-     antelopes; (11) fox preaching to goose and cock; (12) fox running
-     off with geese; (13) fox caught by dogs; (14) dragons fighting;
-     (15) fruit and flowers issuing from inverted head; (16) man holding
-     club with oak leaves and acorns; (17) (MAYOR’S STALL) griffin
-     catching rabbit.
-
-     “_South side_:--(1) (DEAN) angel with book; (2) angel with shield
-     bearing date 1489; (3) lion _versus_ griffin; (4) griffin devouring
-     a human leg; (5) owl; (6) mermaid with mirror and hair-brush; (7)
-     two pigs dancing to bagpipe played by a third; (8) Jonah thrown to
-     the whale; (9) man wheeling another who holds a reed and a bag;
-     (10) fox caught carrying off goose by dog and by woman with
-     distaff; (11) winged animal; (12) hart, gorged and chained; (13)
-     pelican feeding young; (14) Jonah emerging from the whale; (15)
-     Samson carrying the gates; (16) head (modern); (17) (BISHOP’S
-     THRONE) Caleb and Joshua carrying the grapes and watched by Anakim.
-
-     “Most of these _misereres_ have exquisite conventional flowers
-     (especially roses) cut upon them in addition to the
-     figure-subjects. The desks in front of the stalls have rich
-     finials, and their panelled fronts form the backs of a lower tier
-     of seats, the arms of which are supported each on a square shaft
-     set diamondwise. In front of these lower seats the desks again
-     have carved finials and panelled fronts and on those parallel with
-     the Rood-Screen the tracery is distinctly Flamboyant. The finial
-     before the stall of the Canon in Residence has a griffin attached
-     to it and that in front of the Dean’s stall a lion. Before both
-     these stalls the ends of the two tiers of desks are richly carved.
-     The Bishop’s throne and Mayor’s stall have each a canopied niche on
-     the exterior toward the east, and two small apertures in the east
-     side to enable the occupant to see the altar, and in front of these
-     two stalls the ends of the two tiers of desks are again richly
-     carved. The Mayor’s stall is wider than the others, and attached to
-     the finial in front is a grotesque ape, beneath which the
-     supporting shaft is of open work. The end of this desk displays a
-     shield charged with two keys in saltire, for the see of York.
-
-     “The Bishop’s throne was originally occupied by the Archbishops of
-     York. The Jacobean canopy, which succeeded that of the Fifteenth
-     Century, comprised the space of two stalls, as did also the modern
-     structure by which it was itself succeeded and which is now in the
-     Consistory Court. The present canopy resembles those of the other
-     stalls but is higher and more elaborate. Upon the back of the
-     throne inside is a small mitre. The finial in front consists of an
-     elephant carrying a man in his trunk, and bearing on his back a
-     castle filled with armed soldiery, and in front of the elephant is
-     a centaur (renewed), the shaft under which is again of open-work.
-     The end of this desk displays a large mitre above a shield charged
-     with the three stars of St. Wilfrid and supported by two angels,
-     between whom is a scroll with the date of 1494.”
-
-The altar stands against the east wall of the presbytery. The =Reredos= is
-a restoration of the original Decorated one. The =Sedilia= and a =Piscina=
-are placed on the south side.
-
-Sir Gilbert Scott considered them Late Decorated work, but they have
-rather the appearance of Late Perpendicular.
-
-Some historians think that the shrine of St. Wilfrid stood in the east
-end of the north-choir-aisle. The remains were kept in a superb coffer,
-which was carried in processions.
-
-Passing down the south-choir-aisle from the east we first come to the
-vestry; then to the Chapter-House; and then to the Mallory Chapel. A
-round-headed door in the west wall of the Chapter-House opens upon a
-stairway that leads into another =Crypt= that belonged to Norman times.
-
-The =Chapter-House= is of the Twelfth Century. Above it is a =Lady-Chapel=,
-called here the =Lady-Loft=. It is unusual to find a Lady-Chapel on the
-south side of the Choir and on an upper floor. It dates from about the
-middle of the Fifteenth Century. It is now used as a Library.
-
-
-
-
-YORK MINSTER
-
-     DEDICATION: ST. PETER. SERVED BY SECULAR CANONS.
-
-     SPECIAL FEATURES: WEST FRONT; CHOIR; CHAPTER-HOUSE; WINDOWS.
-
-
-York, “the King of Cathedrals,” is one of the noblest and best examples
-of Gothic architecture. In form and proportion, in detail of ornament,
-in exterior and interior, the famous Minster takes rank with the
-greatest ecclesiastical buildings. Not only is it enormous--a forest of
-architecture--but it contains, perhaps, more ancient stained glass than
-any other building in the world.
-
-     “Other English cathedrals are more finely placed, several are
-     richer in ornament, one or two have a more delicately varied
-     outline. None are so stately and so magnificent; and there is
-     hardly a church in Europe that appears so vast as the Minster,
-     viewed from the north.
-
-     “The low-pitched roof of the Minster, the solidity of the central
-     tower, the simple and tranquil front of the north transept, give
-     the building an air of masculine and stately repose, and of perfect
-     finish seldom to be found in foreign churches; while the apparent
-     uniformity of style, though the architecture is of three different
-     periods, frees it from the picturesque inconsequence of many
-     English cathedrals. Yet neither inside nor outside does the Minster
-     appear to be the expression of the spiritual aspirations of a
-     people. It represents rather a secular magnificence, the temporal
-     power of a Church that has played a great part in the history of
-     the nation. The archbishops of York have been forced by
-     circumstances to be militant prelates, contending with Canterbury
-     for precedence, leading armies against the Scotch, sometimes even
-     heading rebellions against the king; and in their cathedral they
-     have expressed their ambition and their pride.”--(A. C.-B.)
-
-The visitor who has a short time to visit York Minster will study the
-west front, the choir, the Chapter-House, and the windows.
-
-     “If the beauty in the form of our _flos florum_ is due to its
-     architecture, very much of its beauty in colour depends on the
-     glowing and mellowed tints with which its windows are filled. But
-     it is a large subject to enter upon, for as regards quantity there
-     are no less than one hundred and three windows in the Minster, most
-     of them entirely, and the remainder, only excepting the tracery,
-     filled with real old Mediæval glass. Some of the windows, too, are
-     of great size. The east window, which is entirely filled with old
-     glass, consists of nine lights and measures seventy-eight feet in
-     height, thirty-one feet two inches in width. The two choir transept
-     windows, that in the north transept to St. William, and the south
-     to St. Cuthbert, measure seventy-three feet by sixteen feet. They
-     have both been restored, the latter very recently, but by far the
-     greater part of them is old glass. On each side of the choir, the
-     aisles contain nine windows measuring fourteen feet nine inches by
-     twelve feet, only the tracery lights of which are modern; the same
-     number of windows fill the clerestory above, the greater portions
-     of which are ancient.
-
-     “The famous window of the north transept, the Five Sisters,
-     consists of five lights, each measuring fifty-three feet six inches
-     by five feet one inch, and is entirely of old glass. There are six
-     windows in the north and six in the south aisles of the nave, with
-     only a little modern glass in the tracery. The superb Flamboyant
-     window at the west end of the centre aisle measures fifty-six feet
-     three inches by twenty-five feet four inches, and consists, I
-     believe, entirely of old glass, except the faces of the figures.
-     The clerestory windows are studded with ancient shields, but a
-     great part of the glass is, I fancy, modern; those of the
-     vestibule, eight in number, measuring thirty-two feet by eighteen,
-     are of old glass, including the tracery lights. The east window has
-     been clumsily restored by Willement. In the side windows of the
-     transept there is some old glass, and the great rose window over
-     the south entrance still retains much of the old glass; while far
-     overhead in the tower there are some really fine bold designs of
-     late, but genuine, design and execution. Altogether, according to
-     actual measurements, there are 25,531 superficial feet of Mediæval
-     glass in the Minster, i.e., more than half an acre--a possession,
-     we should think, unequalled by any church in England, if not in
-     Christendom.”--(P.-C.)
-
-York, or, to use its older name, Eboracum, had been an important British
-settlement long before the Romans made it the principal seat of their
-power in the north between the years 70 and 80 A.D. It continued to be a
-Roman court until the Emperor Honorius left Britain in 409. Hadrian
-lived here; Severus and Constantine Chlorus died here; and here
-Constantine the Great was proclaimed Emperor. Many churches in the
-vicinity were dedicated to the latter’s mother, St. Helena, the
-legendary discoverer of the True Cross.
-
-York was therefore the great military post and the great ecclesiastical
-seat in the north of England.
-
-The question of precedence between York and Canterbury arose as early as
-the days of St. Augustine. Gregory the Great instructed the latter to
-appoint twelve bishops, one of whom was to be the Bishop of York, who
-was to ordain other bishops in the north of England. He was to be
-subordinate to Augustine; but subsequently precedence should be
-determined by priority of consecration. This occasioned dissensions for
-centuries, culminating in the murder of Thomas à Becket (see page 2),
-which Roger de Pont l’Évêque is said to have instigated. It was this
-Archbishop of York who, refusing to take a lower seat at the Council of
-Westminster in 1176, sat himself in the lap of Becket’s successor only
-to be pulled off and soundly beaten. The question was not finally
-settled until the time of John of Thorsby (1352-1373), when Innocent VI.
-determined that the Archbishop of Canterbury should be styled Primate of
-All England and the Archbishop of York, Primate of England.
-
-The first archbishop was Paulinus, Bishop of Rochester (see page 33),
-who accompanied Ethelburga, daughter of the King of Kent, when she went
-to Northumbria to marry King Edwin. Edwin embraced Christianity and was
-baptised in 627, by Paulinus, in a temporary wooden church on the site
-of the present glorious York Minster. Immediately afterwards Edwin began
-to build a stone church in this same place, which he dedicated to St.
-Peter. This church was repaired by the next archbishop--the great
-Wilfrid--about 669.
-
-When Thomas of Bayeux, the first Norman archbishop, arrived in 1070, he
-found the Cathedral in ruins, owing to the Danish invasion and to the
-wars of the Conqueror; and, if William of Malmsbury may be believed,
-Thomas began the church from its foundations and also finished it.
-
-Roger de Pont l’Évêque (1154-1181) rebuilt the choir.
-
-About this time York acquired its patron saint, William Fitzherbert,
-great-grandson of the Conqueror, who became Bishop of York in 1143.
-Expelled from office in 1147, he was restored in 1153. On his return he
-performed a miracle and died almost immediately afterwards, so suddenly,
-in fact, that he was thought to have been poisoned out of the holy
-chalice. The monks buried him in the Cathedral. His tomb attracted
-pilgrims because of the marvellous cures. St. William was canonised in
-1284; and in that year his relics were translated from the nave to the
-choir. Edward I. and Queen Eleanor were present and gave jewels to the
-shrine, which was placed at the eastern end of the nave under a huge
-canopy. St. William’s head was preserved in a silver reliquary.
-
-There is now no Norman work visible in York Minster except in the crypt
-and in parts of the nave and tower. In 1200, however, the nave, choir,
-towers, and transepts were Norman. About 1230 it was decided to rebuild
-the transepts on a big scale. Walter de Grey (1216-1265) began the south
-transept (Early English); and he lies there under an arch, in a splendid
-tomb. John Romeyn, treasurer of York, built the north transept and also
-an Early English tower to replace the Early Norman tower. His son, John
-Romeyn, also archbishop from 1286 to 1296, began the new nave.
-
-John of Thorsby (1352-1373) began the present choir in 1361. The work
-was started at the extreme east end. Thorsby was a Yorkshireman, who
-
-     “had the further development of the glories of the Minster
-     thoroughly at heart. At once he sacrificed his palace at Sherburn
-     to provide materials for an appropriate Lady-Chapel, gave
-     successive munificent donations of £100 at each of the great
-     festivals of the Christian year, and called on clergy and laity
-     alike to submit cheerfully to stringent self-denial to supply the
-     funds.
-
-     “During his tenure of office of twenty-three years the Lady-Chapel
-     was completed, a chaste and dignified specimen of early
-     Perpendicular style, into which the Decorated gradually blended
-     after the year 1360, and unique in its glorious east window,
-     seventy-eight feet high and thirty-three feet wide, still the
-     largest painted window in the world, enriched with its double
-     mullions, which give such strength and lightness to its graceful
-     proportions, and with its elaborate glass executed by Thornton of
-     Coventry, at the beginning of the following century. But Roger’s
-     choir, which was still standing, must now have looked sadly dwarfed
-     between the lofty Lady-Chapel and the tower and
-     transepts.”--(P.-C.)
-
-Edward I. made York his capital during the war with Scotland, to the
-expense of which the archbishop and clergy gave one-fifth of their
-income. Parliament assembled there in 1318. The archbishops were great
-politicians and intriguers, now plotting against the king and now
-supporting him; great military leaders, sometimes defeated, like Melton
-at Myton-on-Swale, where he led 10,000 men against the Scots, or
-victorious, like William La Zouche (1342-1352) at Neville’s Cross near
-Durham; and nearly always great builders and benefactors of the
-Cathedral. Richard Scrope’s rebellion is famous. Lord Chancellor of
-England and Bishop of Lichfield before he became Bishop of York in 1398,
-Scrope was advanced by Richard II. In 1405 he headed a rebellion and was
-captured. The Chief Justice refused to try him. He was taken to his own
-palace at Bishopthorpe, condemned to death and beheaded near York in
-1405. Buried in the Minster, thousands flocked to his tomb in the
-north-choir-aisle. Naturally enough the king who had murdered him tried
-to check the stream of offerings; but Scrope’s tomb became more popular
-than that of St. William. Scrope was a Yorkshireman, the son of Lord
-Scrope, of Masham, and the Scropes had a chantry in the chapel of St.
-Stephen, now destroyed.
-
-The great central tower was erected in 1400-1423 and the church was
-re-consecrated on July 3, 1472; and so, at the close of the Fifteenth
-Century, York Minster existed as we see it: save for two fires (1829
-and 1840) and a judicious repairing and restoration in 1871, the great
-Minster has not been changed.
-
-When Henry VIII. disestablished the monasteries there were many
-outbreaks in York, and the famous “Pilgrimage of Grace” (1536) was much
-excited by the seizure of St. William’s head, still a beloved relic of
-the Cathedral. Lee, then archbishop, was taken by the rebels and forced
-to support them. Before this, however, Thomas Wolsey had been arrested
-at Cawood. Though Archbishop (1514-1530), it is said that he was never
-at York.
-
-When York was besieged by the Parliamentarians in 1644, Fairfax
-restrained his soldiers to some degree, which explains why so much of
-the ancient glass is left. Thomas Mace’s description of the siege,
-however, shows how little respect the army really had for the Minster:
-
-     “The enemy was very near and fierce upon them, especially on that
-     side of the city where the church stood; and had planted their
-     great guns mischievously against the church; with which constantly
-     in prayer’s time, they would not fail to make their hellish
-     disturbance by shooting against and battering the church; insomuch
-     that sometimes a cannon bullet has come in at the windows and
-     bounced about from pillar to pillar (even like some furious fiend
-     or evil spirit) backwards and forwards and all manner of sideways,
-     as it has happened to meet with square or round opposition amongst
-     the pillars.”
-
-On February 2, 1829, Jonathan Martin, brother of the painter, John
-Martin, hid himself behind the tomb of Archbishop Greenfield, in the
-north transept during evening service; and after the church had been
-closed, set fire to the choir. The stalls, organ, and vault were
-destroyed and much of the stone-work was damaged. Restorations were
-started in 1832. Another fire occurred in 1840 in the south-west tower,
-occasioned by some workmen who were repairing the clock in the
-south-west tower. The wooden vault of the nave and the tower and bells
-were damaged. In 1871 some of the side walls were rebuilt.
-
-Every one is familiar with the =West Front= of York; but the traveller who
-looks upon it for the first time is, nevertheless, overwhelmed.
-
-     “The West Front is more architecturally perfect as a composition in
-     its details than that of any other English Cathedral, and is
-     unquestionably the best cathedral façade in this country. The lower
-     part, with the entrances and lower windows, belongs to the Early
-     Decorated period. Above the windows the work is Late Decorated and
-     the towers above the roof Perpendicular. Numerous niches cover the
-     surface. It is doubtful whether they ever contained statues. The
-     principal entrance is divided by a clustered pier, and above it is
-     a circle filled with cusped tracery. Over the whole doorway is a
-     deeply-recessed arch, and over that a gable with niches, one of
-     which contains the statue of an archbishop, supposed to be John le
-     Romeyn, who began the nave in 1291, and other niches have figures
-     of a Percy and a Vavasour, who gave the wood and stone for the
-     building. The favourite ballflower ornament of the Decorated style
-     is seen on the gable, and the mouldings in the arches have figures
-     representing the history of Adam and Eve. Above the entrance is a
-     large eight-light window, pronounced by many to be too large even
-     for York Minster, containing very elaborate and beautiful tracery,
-     and over it is a pointed gable. On each side of the west window are
-     buttresses covered with panelling and niches. The noble towers
-     rising on each side of the west front, have buttresses similarly
-     adorned, and each three windows, and over the second an open
-     battlement forms a walk along the whole front. The towers have
-     battlements and pinnacles. The south-west tower (1433-1457) was
-     injured by fire in 1840; and the north tower (1470-1474) has the
-     largest bell in the kingdom, Great Peter, which cost £2,000 in 1845
-     and weighs ten tons.”--(P. H. D.)
-
-The twin-towers rise to a height of two hundred feet and are ornamented
-with windows, battlements, and pinnacles.
-
-The =Central Tower= at the crossing of the transepts, built in 1410-1433,
-Perpendicular, is also two hundred feet high. It is the largest in
-England, and is considered not only one of the triumphs of Fifteenth
-Century architects, but one of the finest towers in the world. Much of
-it is supposed to be the work of Walter Skirlawe, Bishop of Durham, and
-its resemblance to the central tower of Durham Cathedral justifies the
-assumption. It has never been finished.
-
-     “The central tower rises a single story above the ridge of the roof
-     and is open inside to the top. But for small gables on the
-     buttresses, it is quite plain up to the level of the roof ridge.
-     Above this it contains two long and narrow Perpendicular windows on
-     each side, of three lights each, with a transom. These windows are
-     ornamented ogee gables, and between them are three niches, one
-     above the other, with canopies. The external buttresses are split
-     up with vertical mouldings and ornamented with niches and
-     panelling. The tower is crowned with a battlement. Horizontal
-     string-courses with gargoyles divide the buttresses at intervals.
-     There are no pinnacles on these buttresses, and they appear never
-     to have been finished. It is possible that it was intended to set
-     another story on the top of the present one, but this is merely
-     conjecture.
-
-     “The English architects of the Fifteenth Century, if they were
-     inferior to earlier builders in invention and vigour, were at any
-     rate supreme in the management of towers. Their wonderful sense of
-     proportion, their habitual use of vertical lines, and the character
-     of their windows helped them to build what are perhaps the finest
-     towers in Europe, and the central tower of York Minster
-
-[Illustration: YORK MINSTER: WEST FRONT]
-
-[Illustration: YORK MINSTER: SOUTH]
-
-     is one of the finest of all. Even the absence of pinnacles, if it
-     is an accident, seems to be a lucky accident, and gives this tower
-     an unrivalled dignity and an air of restraint suitable to the
-     character of the whole cathedral.”--(A. C.-B.)
-
-We enter the Cathedral by the south door of the =South Transept= and are
-introduced to what is considered one of the most superb architectural
-views in the world. The enormous width of the church and length of the
-transepts and the tremendous lantern produce almost the effect of St.
-Paul’s or St. Peter’s. Neither the east nor the west end is visible, for
-we are looking right across the arms of the crossing straight to the
-north end of the transept, where the =Five Sisters= display their jewels.
-
-The =Lantern= is very lofty--180 feet from the floor--each transept is
-four bays long--223 feet from north to south--and 93 feet wide. To the
-top of the roof they measure 99 feet.
-
-     “The transepts, therefore, are unusually prominent, even for an
-     English cathedral, and they have many other unusual features. Taken
-     in conjunction with the lantern, they produce an effect to be found
-     in no other Gothic church in the world. In England there are none
-     so wide and so lofty. In France there are interiors even loftier,
-     but in France the transepts are seldom a prominent feature of the
-     design. Often they do not project beyond the outer wall of the
-     aisles of the nave, and oftener still there is no central tower
-     large enough to allow of a lantern at all. It is a great piece of
-     good fortune, also, that the five vast lancets of the north
-     transept end, known as the Five Sisters, still keep their beautiful
-     original glass. If we look at these windows and consider how
-     utterly ineffective they would be if they were glazed with plain
-     glass, we can understand how little remains of the original beauty
-     of the interior of Salisbury.
-
-     “The Five Sisters are, no doubt, the largest lancet windows in
-     England, and it was a bold idea to fill almost the whole of that
-     great front with them, but the boldness was entirely justified by
-     the result.
-
-     “The glass in the Five Sisters is Early English of the simplest and
-     most beautiful design. The colour, an almost uniform scheme of
-     greyish green, is a curious contrast to the vivid blues and yellows
-     of the period which preceded it, and examples of which may be seen
-     in the choir of Canterbury. The pattern is an elaborate but
-     restrained arrangement of the foliage of the _Planta Benedicta_
-     (herb benet). The plain border surrounding the Early English glass
-     was inserted in 1715. At the foot of the central light is a panel
-     of Norman glass, the subject of which is either the dream of Jacob,
-     or Daniel in the lions’ den.”--(A. C.-B.)
-
-The glass in the lancets above the Five Sisters is modern.
-
-In the eastern aisle of the south transept (Early English) the =Tomb of
-Walter de Grey= (died 1255), shows an effigy in full canonicals. The
-right hand is raised in blessing, the left grasps a crozier, and the
-feet crush a dragon. The columns at the sides are ornamented with leaves
-at equal distances. On either side of the gable over the Archbishop’s
-head an angel stands. The canopy is supported by nine pillars. In the
-eastern aisle of the north transept we stop to look at the tomb of
-=Archbishop Greenfield= (died 1315). This is decorated with an ornamented
-canopy.
-
-A rich and elaborate =Rood Screen= separates the choir from the crossing.
-It dates from 1475-1505 and is composed of a central doorway and fifteen
-canopied niches containing statues of English kings from William the
-Conqueror to Henry VI. The latter is the only modern one. Above these
-are angels by Bernasconi. The central arch is surmounted with an ogee
-moulding decorated with foliage and a niche, on either side of which is
-an angel with a censer. The capitals of the shafts are carved; and
-rosettes and rows of foliage appear between the shafts. The canopies are
-very ornate. It is interesting to compare this screen with the one at
-Exeter.
-
-The =Choir=, including the retro-choir, consists of nine bays--the largest
-and loftiest choir in England and one of the most beautiful. It was
-begun in 1361 at the east end and completed in 1405. It has been
-described as an “interesting example of a Perpendicular building carried
-out on the lines of an earlier Decorated design.”
-
-     “The choir itself is like an enormous college chapel. The aisles
-     exist, but play no part in the design, which still culminates in
-     the splendid blaze of glass from the eastern transepts and the
-     great east window, and once culminated on the still more splendid
-     blaze of the altar.
-
-     “The retro-choir, far too short and wide to be judged as an avenue
-     of stone, is still more dependent for its effect on its glass. As
-     most of that glass luckily remains, it is a miracle of airy
-     splendour; one may see from it what were the objects, and how great
-     the success of the much-maligned Perpendicular architects at their
-     best.
-
-     “To sum up, then, this choir has not the delicate and spiritual
-     beauty of the choirs of Lincoln or Ely. That is never found even in
-     the finest work of Perpendicular architects; but for stateliness
-     and magnificence it has not a rival in England. These qualities may
-     be best appreciated standing midway between the two transepts and
-     in front of the altar. From that point glittering screens of glass
-     and soaring shafts of stone are to be seen on all sides; the whole
-     effect is one of triumphant light and space and colour, not to be
-     surpassed by the splendours even of Moorish or Italian
-     architecture.”--(A. C.-B.)
-
-The magnificent Perpendicular stalls perished in the fire of 1829, so
-did the Perpendicular altar-screen. The present stalls and screen are
-reproductions of these. The reredos of terra-cotta and wood is modern.
-
-The vault of the choir is of wood, an imitation of the vault destroyed
-by fire in 1829. The windows of the clerestory are Perpendicular and
-contain five lights.
-
-     “The glass in the choir is almost wholly Perpendicular. As in the
-     nave, it is very fragmentary and disordered. The change in the
-     character of the design will be easily noticed. The Perpendicular
-     glass is not so clear and delicate in colour, and the architectural
-     and other patterns are less pronounced. This glass, regarded simply
-     as decorative, is perhaps superior to that in the nave.
-
-     “Mr. Winston has pointed out that the earliest Perpendicular glass
-     in the choir is contained in the third window from the east in the
-     south aisle; in the third and fourth windows from the east in the
-     north clerestory; and in the fourth clerestory window from the east
-     on the opposite side. These windows date from the close of the
-     Fourteenth Century. There is also an early Perpendicular Jesse in
-     the third window from the west in the south aisle of the choir. The
-     other windows of the choir aisles east of the small eastern
-     transepts, as well as the glass in the lancet windows on the east
-     side of the great western transepts, appears, he says, to be of the
-     time of Henry IV.; the rest of the glass in the choir is of the
-     reigns of Henry V. and VI., chiefly of the latter. He notices also,
-     that the white glass in the windows is generally less green in tint
-     than usual, and that he has learnt from Mr. Browne that it is all
-     of English manufacture.”--(A. C.-B.)
-
-We now come to the smaller transepts situated between the four eastern
-and four western bays of the choir. They are practically one bay of the
-choir with the triforium and clerestory removed. At each end are immense
-windows. Each is 73 feet long by 16 feet wide. Both have been restored;
-but the glass is original and very splendid. The north window contains
-scenes from the life of =St.= =William=; the south window depicts the
-history of =St. Cuthbert=, and is thought to date from about 1437. In it
-are members of the house of Lancaster.
-
-The east end of the choir is almost entirely filled with the great =East
-Window=.
-
-The space behind the altar is sometimes called the =Lady-Chapel=. This
-occupies four bays. It was built in 1361-1405, and is Perpendicular in
-style. The Altar of the Virgin stood under the great east window and
-here also was a chantry founded by the Percys.
-
-     “The great east window was glazed by John Thornton of Coventry. The
-     terms of the contract for this work, dated 1405, are extant. They
-     provide that Thornton shall ‘portray the said window with his own
-     hands, and the histories, images, and other things to be painted on
-     it.’ It was to be finished within three years. Glass, lead and
-     workmen were to be provided at the expense of the chapter, and
-     Thornton was to receive 4s. a week, £5 a year and £10 at completion
-     for his trouble.
-
-     “The window is 78 feet high and 32 feet wide, and contains nine
-     lights. It is entirely filled with old glass, except for certain
-     pitches of modern glass, rather crude in colour, and inserted, it
-     is said, after the fire of 1829. It contains 200 panels of figures.
-     The subjects in the upper part are from the Old Testament, reaching
-     from the creation of the world to the death of Absalom. The lower
-     part contains illustrations from the Book of Revelations. In the
-     loftiest row of all are representations of kings and archbishops.
-
-     “In the top lights are figures of prophets, saints and kings. At
-     the apex of the window is a representation of the Saviour in
-     Judgment.
-
-     “This window is probably the finest example of Perpendicular glass
-     in England.
-
-     “The great east window, like the windows of the transepts, has a
-     double plane of tracery reaching to about half the height of the
-     whole. Between the two planes a passage runs at the base of the
-     window, between two doors which lead to staircases in the turrets
-     on each side of the windows. These staircases, in their turn, lead
-     to a gallery across the window on the top of the inner plane of
-     tracery. The view from this gallery is very fine.”--(A. C.-B.)
-
-Of the numerous tombs and monuments in the east end below the windows in
-the retro-choir and choir-aisles, we note only two. That of =Archbishop
-Bowet= (died 1423), in the retro-choir (south side), is one of the finest
-Perpendicular monuments in existence, much mutilated, it is true; but
-still exhibiting its clusters of tabernacles and pinnacles joined to the
-arch beneath with fan-tracery. Bowet was still alive when this monument
-was erected in 1415. The other is =William of Hatfield= (died 1344),
-second son of Edward III., aged eight. The Plantagenista ornaments the
-canopy. Unfortunately the effigy of the little prince is much damaged.
-
-The =Nave= is also superb and all the decoration most elaborate.
-
-     “The first impression on viewing this nave is a sense of its
-     magnitude. Archbishop Romeyn and his builders determined to build a
-     vast church which would eclipse all other rivals. They would have
-     large windows, high, towering piers, a huge, vaulted roof, and
-     everything that was grand and impressive. Edward I. was then
-     fighting with the Scots and made York his chief city. It was
-     immensely prosperous and the ecclesiastical treasury was replete
-     with the offerings of knights and nobles, kings and pilgrims.
-     Nowhere should there be so mighty a church as York Minster. In
-     order to have space for large windows they made the triforium
-     unusually small, which is formed only by a continuation of the
-     arches of the clerestory windows. The design for the stone vaulted
-     roof was never carried out. The builders feared that the great
-     weight of a roof with so large a span would be too much for the
-     walls, so a wooden vault was substituted. The piers have octagonal
-     bases and consist of various sized shafts closely connected. The
-     capitals are beautifully enriched with foliage of oak and thorn,
-     and sometimes a figure is seen amidst the foliage. We notice
-     thirty-two sculptured busts at the intersection of the
-     hood-moulding with the vaulting shafts. Coats-of-arms of the
-     benefactors of York appear on each side of the main arches. The
-     clerestory windows have each five lights. The old roof was
-     destroyed by fire in 1840. The present one has a vast number of
-     bosses representing the Annunciation, Nativity, Magi, Resurrection,
-     besides a quantity of smaller ones.”--(P. H. D.)
-
-Looking up at the west end of the nave we have a double study in the
-splendid =West Window= (only surpassed by the famous window of Carlisle
-Cathedral); for the tracery of the Curvilinear, or flowing Decorated
-style has been carefully restored, and the window, which measures 56 ×
-25 feet, is almost entirely filled with the original glass given by
-Archbishop Melton in 1338.
-
-     “This is remarkable not only for the purity and boldness of its
-     scheme of colours, but for the admirable way in which the design of
-     the glass fits the elaborate pattern of the tracery. It will be
-     noticed that both the figures and the architectural ornaments are
-     in bolder relief than in the earlier glass of the Five Sisters, or
-     the later of the choir. Some of the faces of the figures have been
-     restored by Peckett, but not so as to interfere with the decorative
-     effect of the whole. The window contains three rows of figures, the
-     lowest a row of eight archbishops, the next a row of eight saints,
-     including St. Peter, St. Paul, St. James and St. Katharine, and
-     above this a row of smaller figures unidentified.
-
-     “The window contains eight lights. These lights are coupled in
-     pairs by four arches with a quatrefoil in the head of each, and
-     again formed in groups of four by an ogee arch above the other
-     arches. The flowing curves of these ogee arches are most
-     ingeniously and beautifully worked into the pattern of the upper
-     part of the window, which contains five main divisions of
-     stonework, each like the skeleton of a leaf in shape and in the
-     delicacy of its pattern. Of these five divisions the top one is
-     made by splitting up the central mullion; two diverge from it at
-     the top of the lower lights; and two others curve inwards from the
-     outside arch. The central mullion runs up almost to the top of the
-     arch. The mullions are alike in moulding and size. Below the window
-     is the west door, the head of which is filled with ancient stained
-     glass. There is a gable above it, running up to the bottom of the
-     window and containing three niches. There are kneeling figures on
-     each side of the gable, so that the top of it may have held a
-     figure of Christ. All that portion of the west end not occupied by
-     the window and the porch is filled with stories of niches and
-     arcading.”--(A. C.-B.)
-
-The windows of the aisles of the nave are Decorated.
-
-The =Nave= contains eight bays. Each bay consists of two main divisions:
-the upper half containing the triforium and clerestory; and the lower
-half, the main arches. A slender moulding runs between the two
-divisions. The piers consist of a group of separate shafts and the
-capitals are very delicate in design. The triforium is little more than
-an extension of the clerestory window-lights; but a band of stone
-ornamented with quatrefoils separates triforium and clerestory. The
-clerestory windows are geometrical Decorated. The design is much
-admired.
-
-     “It consists of five lights, the two outer of which are grouped in
-     a single arch, with a quatrefoil piercing in its head. Between
-     these two arches and on the top of the arch of the central light is
-     a circle fitting into the arch of the window, and ornamented with
-     four quatrefoils, four trefoil piercings, and other smaller lights.
-     There are capitals to the outside shafts of the windows, and to the
-     main shafts of the two inner mullions. All these mullions are very
-     delicately moulded.
-
-     “The first window from the west end is plain. The glass in the
-     other windows is rather finer and less fragmentary than in the
-     north aisle.
-
-     “The second window appears to have been largely restored. The
-     tabernacle work is very crude in colour. It contains figures of St.
-     Laurence, St. Christopher, another saint, and three coats-of-arms
-     below. The top lights are fine, and perhaps of Perpendicular date.
-
-     “The third window is one of the richest in colour in the minster,
-     with its gorgeous arrangement of crimsons, greens and blues. There
-     are inscriptions by Peckett, with the date at the bottom, 1789. His
-     deep blues on the top lights are particularly unfortunate.
-
-     “The sixth window is also very bright. It probably contains Norman
-     fragments. All the windows except the fifth contain insertions by
-     Peckett.
-
-     “The clerestory window contains fragments and coats-of-arms.
-
-     “In the westernmost light of the second window from the west, on
-     the north side, are portions of an Early English Jesse window. The
-     wheel of this window, and those of the next five, also contain
-     fragments of Early English glass. And in the lower lights of the
-     fifth and seventh windows from the west are remains of the same
-     date.
-
-     “The wheels in the clerestory windows on the south side of the nave
-     all contain Early English glass, except the third from the west.
-     There is also some Early English glass in their lower lights.
-
-     “The aisles of the nave are bolder in design and altogether more
-     satisfactory than the nave itself. Like the nave they are unusually
-     wide and lofty. In the two farthest bays to the west, above which
-     are the western towers, the rough wooden roof, which has never been
-     covered with a vault, may be seen. The vault of the aisles is of
-     stone, with only structural ribs, finely moulded and with carved
-     bosses. The aisle windows are, like those of the clerestory, of the
-     geometrical Decorated Style, but of an earlier and simpler, uniform
-     design. They each contain three lights. Above the three lights are
-     three quatrefoils, pyramidally arranged.”--(A. C.-B.)
-
-The second window from the east in the north aisle of the nave is said
-to have been given by a guild of bell-founders, or by Richard Tunnoc
-(died 1330), Lord Mayor of York. Tunnoc appears in the design kneeling
-before the Archbishop and around the picture of the casting of a bell is
-the legend “_Richard Tunnoc me fist_.” Above Tunnoc is a window. Bells
-appear in the border of the glass.
-
-The window at the west end of the north-aisle of the nave is also very
-fine. It represents the Virgin and Child and St. Catherine with her
-wheel. In the west window of the south-aisle of the nave the subject is
-the Crucifixion. The head of Christ is supposed to be of the Eighteenth
-Century.
-
-The choir-aisles are very similar to those of the nave. They have stone
-vaults and their windows are very beautiful. They have been described as
-representing “a design of which the tracery is arrested half-way in its
-process of stiffening from the curved lines of the Decorated style to
-the straight of the Perpendicular.” Each window is divided into three
-lights, each ending in an obtuse arch. Above these are three other
-arches and above them again two quatrefoils, and above them a sexfoiled
-opening.
-
-For a description of the glass in these aisles we turn to A.
-Clutton-Brock:
-
-     “In the north aisle the east window is also very fine. It contains
-     a representation of the Crucifixion, with St. John, St. James and
-     the Virgin.
-
-     “The first window from the east is very fragmentary. The windows in
-     the south aisle are rather fragmentary. In the first two from the
-     west the top lights are empty.
-
-     “The second window is remarkable for the delicate modelling and
-     drawing of the heads. The head of the Virgin reminds one of one of
-     Lippo Lippi’s Madonnas. That of an old man with a beard in the
-     central light is German in character. If these are compared with
-     the crude
-
-[Illustration: YORK MINSTER: CHOIR, EAST]
-
-[Illustration: YORK MINSTER: CHOIR, WEST]
-
-     and simple design of the heads in the other windows, it will be
-     obvious that they are of a different origin. Nothing, however, is
-     known of their history.
-
-     “The third window has borders by Peckett. It contains the Jesse
-     noted before.
-
-     “The fourth window is very fragmentary. It contains a beautiful
-     figure of a saint in one of the top lights; the other top lights
-     are by Peckett. In the central division, at the bottom, is the name
-     of Archbishop Lamplugh, with a coat-of-arms. (Lamplugh’s tomb is
-     close to this window.)
-
-     “The last of those windows contains painted glass given by Lord
-     Carlisle in 1804, and bought from a church at Rouen. It is a
-     representation of the Visitation, Mr. Winton says, taken from a
-     picture by Baroccio, and dates from the end of the Sixteenth
-     Century. The upper lights contain the original glass.
-
-     “The east window of this aisle is very fine in colouring, and
-     fairly coherent in design. The subject is not clear.”
-
-In the westernmost bay of the north-choir-aisle the eight-year-old son
-of Edward III.--=William of Hatfield=--was buried (see page 274). West of
-the tomb of =Archbishop Sterne= (died 1683), which has been called “an
-example of almost everything that a monument should not be,” we find the
-tomb of =Archbishop Scrope=, beheaded by Henry IV. (see page 265),
-interesting because it was a place of pilgrimage in the Middle Ages.
-
-From the north-choir-aisle we enter the =Crypt=. This was discovered after
-the fire of 1829. Here we find Norman work and some authorities go so
-far as to say some portions of the wall are of the Saxon church, built
-by Edwin in the Seventh Century. The capitals of the pillars (time of
-Roger Pont l’Évêque) are varied and very interesting.
-
-     “Entering the vestibule we notice the exact place where the Early
-     English builders finished their work and the Decorated style
-     begins. The difference between the styles in the Chapter-House and
-     vestibule shows that the former was erected first. It has a wall
-     arcade, and above are windows of curious tracery, filled with
-     beautiful old glass. The shafts of the arcade support trefoiled
-     arches, with a cinquefoil ornamented with a sculptured boss. Each
-     boss and capital is beautifully carved with foliage, amidst which
-     the heads of men and dragons appear. The glass is Early Decorated,
-     and contains representations of Royal personages.
-
-     “The Chapter-House is one of the most beautiful in England. The
-     entrance is an arch, divided into two arches by a canopied pier,
-     which bears a mutilated statue of the Virgin and Child. Clustered
-     shafts, with capitals, are on each side of the doors, which have
-     remarkably good scrolled iron-work. The chamber itself is very
-     magnificent. It is octagonal and in each bay there are six canopied
-     stalls under a five-light window. The window tracery is superb.
-     Clustered shafts support the vaulted roof. Everywhere we see richly
-     carved stone-work, the finest in any cathedral, the foliage of
-     maple, oak, vine and other trees. Here are pigs and squirrels
-     feeding on acorns, men gathering grapes, birds, and coiled dragons
-     and reptiles. The grotesques are most curious and interesting. In
-     1845, unfortunately, the building was restored and the painted
-     figures of kings and bishops were destroyed, a poor tiled floor
-     laid down; but, in spite of all, it can still maintain its proud
-     boast:
-
-    ‘_Ut Rosa flos florum_
-     _Sic est Domus ista Domorum._’
-
-     [‘As the Rose is the flower of flowers, so is this House the chief
-     of Houses.’]”
-
-The date of this building is generally given as 1320.
-
-A curious doorway at the north-east end of the north transept opens into
-the vestibule that takes us into the Chapter-House. This is a narrow
-passage running north for three bays, then turning at right angles and
-running east for two bays. It is Decorated in style. Traces of ancient
-painting may be observed, and the windows display their original glass,
-chiefly Decorated. In the upper lights there are some fragments of
-Norman and Early English glass.
-
-The =Chapter-House= differs from most chapter-houses in having no central
-pillar. It is octagonal and is divided into eight bays. An
-acutely-arched window, with geometrical Decorated tracery, fills each of
-the seven bays. The space over the entrance is occupied with blank
-tracery like that of the windows. The windows contain five lights, each
-light terminating in a trefoiled arch. The glass, chiefly medallions and
-shields, dates from the time of Edward II. and Edward III. The one
-modern window declares itself.
-
-Passing to the =East Front= we find that it is square, and, like the West
-Front, it is almost entirely filled with an enormous window. The great
-=East Window= contains nine lights, beautifully divided by mullions and
-crossed by three transoms. The arch of the head is filled with a great
-number of small divisions. Over the window is an ogee gable, surmounted
-by a pinnacle. Panelling forms a kind of background for it. Buttresses,
-tall and narrow, and containing six tiers of niches, flank the window on
-either side. Each is finished with a spire. The two aisle windows also
-have ogee gables, surmounted with finials. Above them runs a band of
-panelling. At each corner rises a tall buttress, finished with a lofty
-spire.
-
-     “The Choir and Lady-Chapel are Perpendicular work. The four eastern
-     bays constituting the Lady-Chapel, are earlier than the later ones
-     of the choir and vary in detail. The triforium passage in the
-     former is outside the building, and the windows are recessed.
-     Strange gargoyles, with figures of apes and demons, adorn the
-     buttresses. The east end is mainly filled with the huge window,
-     the largest in England, which does not leave much space for
-     architectural detail. Above it is the figure of Archbishop
-     Thoresby, the builder of this part of the Cathedral. Panelling
-     covers the surface of the stone, and below the window is a row of
-     seventeen busts, representing our Lord and his Apostles, Edward
-     III. and Archbishop Thoresby. There are two aisle windows;
-     buttresses adorned with niches separate the aisles from the central
-     portion, and others, capped with spires, stand on the north and
-     south of this front.”--(P. H. D.)
-
-From the south-east we gain a very satisfactory view of the central
-tower and the ornate and elegant =South Transept= (Early English), dating
-from 1216-1241. The gable, with its large rose-window, cusped lights,
-turrets, buttresses, and lancet windows, all make a harmonious
-architectural picture. The south porch is considered rather small and
-has been much restored. Dog-tooth moulding is plentiful along the
-arches. It also occurs on the windows and gable.
-
-Pinnacles and weird gargoyles decorate the =Nave=, divided into seven bays
-by tall buttresses.
-
-The north side of the Minster is far less ornate than the south. Of
-course, the chief features here are the =Chapter-House=, with its curious
-roof and lovely windows, and the =North Transept=, very fine Early English
-of 1241-1260. Here we have the famous group of lancets, the Five Sisters
-(see page 270), and seven beautifully arranged lancets in the gable
-above--a very fine contrast to the gable of the south transept, with its
-rose-window. A vestibule leads from the North Transept to the
-Chapter-House, that splendid octagonal building, perhaps the finest
-example of Early Decorated in existence. Buttresses, topped with
-pinnacles, project at each of the eight corners. The strange pyramidal
-roof is surrounded by a battlement and curious gargoyles; among them
-bears peer out into space.
-
-
-
-
-LINCOLN
-
-     DEDICATION: ST. MARY. A CHURCH SERVED BY SECULAR CANONS.
-
-     SPECIAL FEATURES: ST. HUGH’S CHOIR; ANGEL CHOIR; EAST WINDOW;
-     CENTRAL TOWER.
-
-
-Lincoln Cathedral possesses a commanding site and three splendid towers
-that form a beautiful picture. Distance lends enchantment to the view at
-all times of the day and seasons of the year.
-
-     “Throughout a vast district around the city, the one great feature
-     of the landscape is the mighty minster, which, almost like that of
-     Laon, crowns the edge of the ridge, rising, with a steepness
-     well-nigh unknown in the streets of English towns, above the lower
-     city and the plain at its feet. Next in importance to the minster
-     is the castle, which, marred as it is by modern changes, still
-     crowns the height as no unworthy yoke-fellow of its ecclesiastical
-     neighbour. The proud polygonal keep of the fortress still groups
-     well with the soaring towers, the sharp-pointed gables, the long
-     continuous line of roof, of the church of Remigius and Saint
-     Hugh.”--(E. A. F.)
-
-Lincoln Cathedral is also a landmark in the history of architecture, for
-here was developed the first complete and pure form of the third great
-form of architecture--the architecture of the Pointed Arch.
-
-     “The best informed French antiquaries acknowledge that they have
-     nothing like it in France for thirty years afterwards; they thought
-     it was copied from Notre-Dame at Dijon, to which there is a
-     considerable resemblance, but that church was not consecrated till
-     1230, so that the Dijon architect might have copied from the
-     Lincoln one, but the Lincoln could not have copied from
-     Dijon.”--(J. H. P.)
-
-To the historian, as well as to the student of architecture, Lincoln
-makes a strong appeal for many visits. Those whose time is limited will
-be impatient to inspect St. Hugh’s Choir, and the more beautiful Angel
-Choir beyond it. We must, however, pause a moment to recapitulate its
-history before we begin our walk through the Cathedral.
-
-     “The surface or exterior of Lincoln Cathedral presents at least
-     four perfect specimens of the succeeding styles of the first four
-     orders of Gothic architecture. The greater part of the front may be
-     as old as the time of its founder, Bishop Remigius, at the end of
-     the Eleventh Century; but even here may be traced invasions and
-     intermixtures, up to the Fifteenth Century. The large indented
-     windows are of this latter period, and exhibit a frightful heresy.
-     The western towers carry you to the end of the Twelfth Century;
-     then succeeds a wonderful extent of the Early English, or the
-     pointed arch. The transepts begin with the Thirteenth, and come
-     down to the middle of the Fourteenth Century; and the interior,
-     especially the choir and the side aisles, abounds with the most
-     exquisitely varied specimens of that period. Fruits, flowers,
-     vegetables, insects, _capriccios_ of every description, encircle
-     the arches or shafts, and sparkle upon the capitals of pillars.
-     Even down to the reign of Henry VIII. there are two private
-     chapels, to the left of the smaller south porch, on entrance, which
-     are perfect gems of art.”--(T. F. D.)
-
-In the Seventh Century, Paulinus, Bishop of York, made converts in the
-Roman hill-town of Lincoln, and several churches were founded. The
-“bishop’s stool” was at Sidnacester and Dorchester-on-Thames before it
-was fixed at Lincoln.
-
-     “The king” (William the Conqueror) “had given Remigius, who had
-     been a monk at Fescamp, the bishopric of Dorchester which is
-     situated on the Thames. This bishopric, being larger than all
-     others in England, stretching from the Thames to the Humber, the
-     bishop thought it troublesome to have his episcopal See at the
-     extreme limit of his diocese. He was also displeased with the
-     smallness of the town, the most illustrious city appearing far more
-     worthy to be the See of a bishop. He therefore bought certain lands
-     on the highest parts of the city, near the castle standing aloft
-     with its strong towers, and built a church, strong as the place was
-     strong, and fair as the place was fair, dedicated to the Virgin of
-     Virgins, which should both be a joy to the servants of God, and as
-     befitted the time unconquerable by enemies.”
-
-Such is Henry of Huntingdon’s account of the transference of the See,
-which took place between 1072 and 1075.
-
-The church built by Remigius, on the site of an earlier church, was
-completed in twenty years. Remigius died three days before the date
-appointed for the consecration, May 9, 1092, and was buried before the
-Altar of the Holy Cross in front of the rood-screen. This first church
-was 300 feet long. It was severely plain; but so strong that Stephen
-used it as a fortress in 1141, when the castle opposite was held by his
-enemies.
-
-The next great builder was Alexander the Magnificent (1123-1148), nephew
-of Roger, Bishop of Salisbury. A fire destroying the roof in 1141
-necessitated repairs. Alexander remodeled parts of the church. He added
-the elaborate doorways in the west front in 1146; the Norman arcade
-along the west front; and built the western towers.
-
-     “Part of the west front of Lincoln was built by Bishop Remi, or
-     Remigius, 1085-1092: the small portion which remains of this work
-     is a very valuable specimen of early Norman, the more so that the
-     insertion of later and richer Norman doorways by Bishop Alexander,
-     about fifty years afterwards, enables us to compare early and late
-     Norman work, while the jointing of the masonry leaves no doubt of
-     the fact that these doorways are insertions and, therefore,
-     confirms the early date of the three lofty arches under which they
-     are inserted. A comparison of the capitals and details of these two
-     periods, thus placed in juxtaposition, is extremely interesting.
-     The wide-jointing of the masonry and the shallowness of the carving
-     distinguish the old work from the new. Several capitals of the
-     later period are inserted in the older work, as is shewn on careful
-     examination by the jointing of the masonry, and by the form of the
-     capitals themselves: the earlier capitals are short, and have
-     volutes at the angles, forming a sort of rude Ionic; the later
-     capitals are more elongated, and have a sort of rude Corinthian, or
-     Composite foliage.”--(J. H. P.)
-
-In 1185 an earthquake injured the Cathedral; and so, when Hugh of Avalon
-became Bishop of Lincoln in 1186, he began to collect money for repairs
-and rebuilding. The eastern end of the original Cathedral was removed,
-and in 1192 Bishop Hugh laid the foundations of his very original Choir.
-The architect was Geoffrey de Noyers. J. H. Parker, who studied Lincoln
-Cathedral for thirty years, considers this work of St. Hugh (A.D.
-1192-1200) pure Early English Gothic and the earliest building of that
-style in the world.
-
-     “Canterbury was completed in 1184 and in 1185 St. Hugh of Grenoble,
-     also called St. Hugh of Burgundy, was appointed Bishop of Lincoln,
-     and immediately began to rebuild his cathedral. It is therefore
-     plain that this portion of the building was completed before 1200,
-     and a careful examination enables us to distinguish clearly the
-     work completed in the time of Bishop Hugh, which comprises his
-     choir and the eastern transepts with its chapels. The present
-     vaults of St. Hugh’s Choir, and of both the transepts, were
-     introduced subsequent to the fall of the tower, which occurred in
-     1240.
-
-     “The architecture in the north of Lincolnshire and the south of
-     Yorkshire appears to have been a little in advance of any other in
-     Europe at that period. St. Hugh’s Choir at Lincoln is the earliest
-     building of the pure Gothic style free from any mixture of the
-     Romanesque that has been hitherto found in Europe, or in the world.
-     The Oriental styles are not Gothic, though they helped to lead to
-     it. The French Gothic has a strong mixture of the Romanesque with
-     it down to a later period than the Choir of Lincoln. St. Hugh of
-     Lincoln certainly did not bring the Gothic style with him from his
-     own country Dauphiny, or from the Grande Chartreuse where he was
-     educated, for nothing of the kind existed there at that period.
-     Grenoble (the place from which St. Hugh was brought to England) and
-     its neighbourhood was quite half-a-century behind England in the
-     character of its buildings, in the time of Henry II. of England and
-     of Anjou, in whose time this style was developed.
-
-     “Nothing can well exceed the freedom, delicacy and beauty of this
-     work; the original arcade of the time of St. Hugh is of the same
-     free and beautiful style as the additions of his successors. The
-     crockets, arranged vertically one over the other behind the
-     detached marble shafts of the pillars, are a remarkable and not a
-     common feature, which seems to have been in use for a few years
-     only; it occurs also in the west front of Wells Cathedral, the work
-     of Bishop Jocelin, a few years after this at Lincoln; or perhaps
-     under him, of Hugh de Wells.”--(J. H. P.)
-
-The eight years during which Hugh carried on the work
-
-     “were busy ones at Lincoln. Contemporary records enable us to
-     picture him encouraging the workmen by his presence and example,
-     even shewing his zeal by carrying the stones on his own shoulders.
-     He did not live to see his work completed, as Remigius had done.
-     But he had set the example and given the pattern, and the work was
-     continued by his successors until the building was again entire.
-     Hugh had already finished the apse, the eastern transept, the
-     choir, and part of the western transept (i.e., the whole eastern
-     portion of the church) when he fell ill. Finding
-
-[Illustration: LINCOLN: WEST FRONT]
-
-[Illustration: LINCOLN: GREAT WEST DOOR]
-
-     his death approaching, he sent for his architect Geoffrey de
-     Noyers, and enjoined him to hasten the completion of the altar of
-     St. John the Baptist, his patron. He then gave directions for his
-     funeral, and instructions that he was to be buried in the
-     mother-church of his diocese dedicated to the Mother of God, near
-     the altar of St. John the Baptist. The personality of the great
-     bishop comes vividly before us when we read that he also wished his
-     tomb to be placed near the wall, in a convenient place, lest it
-     should be a stumbling-block to those approaching. On the 16th of
-     November, 1200, Hugh breathed his last, lying, as he had wished, on
-     the bare ground, on a cross of consecrated ashes. His instructions
-     regarding the funeral were carried out; but such a light as Hugh’s
-     could not be hid, and within a century we find his remains enclosed
-     in a costly golden shrine, borne on the shoulders of kings and
-     bishops, and placed at last in a structure erected specially for
-     their reception, ‘one of the loveliest of human works,’ the
-     celebrated Angel Choir. The original place of Hugh’s burial has
-     been somewhat disputed. The _Magna Vita_ tells us that he was
-     buried near the altar he had named, _a boreali ipsius aedis
-     regione_. On the east side of the eastern transept, Hugh had placed
-     four apsidal chapels, two north and two south of the central apse.
-     From the words above quoted, it has been considered that the
-     northern-most of these chapels was the site of his tomb.”--(A. F.
-     K.)
-
-The western transept and the nave were next finished (Thirteenth
-Century), and a central tower was built to replace the one that fell in
-1237-1239. To this period belongs Bishop Hugh de Wells, brother of
-Jocelin (see page 108), who contributed largely to the funds for
-building and roofing.
-
-He was succeeded by Roger Bacon’s friend, Robert Grosseteste
-(1235-1253). In his time the new nave was completed. The large screen of
-the west front, the central gable and the octagonal turrets at the
-corners, belong to this period; also the lower part of the central
-tower, the Canon’s Vestry at the eastern transept, and the Galilee Porch
-at the western transept. The trellis ornament always marks
-Grosseteste’s work. He made many changes in the windows.
-
-To the treasurer, John de Welburne (died 1380), the Cathedral is
-indebted for its splendid choir-stalls.
-
-The Russell and Longland chantries, the upper parts of the tower, and
-many windows date from the Perpendicular period.
-
-John Evelyn, visiting Lincoln in 1654, gives us an idea how the
-Cathedral suffered in the Civil Wars:
-
-     “Lincoln is an old confused town, very long, uneven, steep and
-     ragged, formerly full of good houses, especially churches and
-     abbeys. The minster almost comparable to that of York itself,
-     abounding with marble pillars, and having a fair front (here was
-     interred Queen Eleanora, the loyal and loving wife who sucked the
-     poison out of her husband’s wound); the abbot founder, with rare
-     carving in the stone; the great bell, or Tom, as they call it. I
-     went up the steeple, from whence is a goodly prospect all over the
-     country. The soldiers had lately knocked off most of the brasses
-     from the gravestones, so as few inscriptions were left; they told
-     us that these men went in with axes and hammers, and shut
-     themselves in, till they had rent and torn off some bargeloads of
-     metal, not sparing even the monuments of the dead; so hellish an
-     avarice possessed them: besides which, they exceedingly ruined the
-     city.”
-
-We are now able to analyze the =West Front=, knowing the periods of the
-great screen wall, with its Gothic arcading and the octagonal stair
-turrets capped by tall pyramids that terminate the ends; the two tall
-square towers, Norman below, Perpendicular above; the three great
-recesses pierced with windows and doors; the gable above the recess with
-seven arches (two pierced with windows and two containing statues) in a
-row and one above with angels.
-
-We must note that upon the southern turret stands a statue of St. Hugh;
-and The Swineherd of Stow, who contributed a peck of silver pennies
-towards building the Cathedral, ornaments the northern one. It is a copy
-of the original, now in the Cloisters.
-
-The tracery of the windows in the three recesses is supposed to date
-from the end of the Fourteenth Century. The big west window and the
-cinquefoil window above were placed there in Grosseteste’s rule
-(1235-1253).
-
-The central door and those on either side of it, date from the Twelfth
-Century, and give the best possible idea of the Romanesque period just
-before it merged into Gothic.
-
-Above the central door are eleven kings, from William the Conqueror to
-Edward III. These statues date from 1350 and were originally coloured
-and gilt.
-
-The two western towers (Norman) were built in the Twelfth Century. The
-arcading (which is not the same in both) shows where they ended and
-where the Perpendicular stories were added, carrying them two hundred
-feet higher. Like the central tower, they were originally crowned with
-tall wooden spires, covered with lead. These spires became unsafe and
-were removed in 1807. In the northern, or =St. Mary’s=, hung “Great Tom of
-Lincoln” and its successor until 1834. The southern tower, called =St.
-Hugh’s=, has a ring of eight bells. Under St. Hugh’s the =Ringers’ Chapel=
-is naturally situated; and there is a corresponding chapel under =St.
-Mary’s Tower=.
-
-Beneath =St. Mary’s Tower= we find the =Northwest Chapel=; under =St. Hugh’s=,
-the =Ringers’ Chapel=. Both chapels are vaulted with stone and date from
-the first half of the Thirteenth Century.
-
-The =Nave=, a very characteristic example of the first half of the
-Thirteenth Century,
-
-     “exhibits an Early English style in its highest stage of
-     development: massive without heaviness, rich in detail without
-     exuberance, its parts symmetrically proportioned and carefully
-     studied throughout, the foliated carving bold and effective, there
-     seems no deficiency in any way to deteriorate from its
-     merits.”--(G. G. S.)
-
-There are seven bays. The first bay was converted into a sort of
-vestibule by arches constructed in the Eighteenth Century to add
-strength to the western towers. The big arch, separating the vestibule
-from the nave, dates from about 1730. The vaulting under the western
-towers dates from the Fourteenth Century; also the tracery covering the
-walls of these compartments.
-
-     “Each pier is surrounded by round shafts of Purbeck marble. The
-     arch mouldings, like those of St. Hugh’s choir, were considered
-     ‘beautiful specimens’ by Rickman. They are deeply cut, and throw
-     good, bold shadows. In the triforium each bay contains two arches,
-     supported by clustered columns with foliaged capitals. The
-     spandrels are decorated with sunk trefoils or quatrefoils. In most
-     cases the arches are each divided into three sub-arches with
-     clustered shafts, the tympanum being pierced with quatrefoils. A
-     difference is noticeable, however, in the easternmost arch and the
-     two westernmost bays (five arches altogether) on both sides. Here
-     the sub-arches are only two in number. The narrowness of the two
-     western bays accounts for the variation at that end. The clerestory
-     is the same throughout its length, having three tall narrow windows
-     in each bay, with slender banded shafts. In the nave we have,
-     according to Fergusson, ‘a type of the first perfected form of
-     English vaulting.’ He calls it ‘very simple and beautiful.’ At the
-     junctions of the ribs are elaborate bosses of foliage. The
-     compartments are covered with plaster, once decorated in colours
-     and gold. In the second bay from the east is the name: W. L.
-     PARIS:--evidently intended as a record of some repairs to the
-     vault. The springers rest on clusters of three long slender
-     vaulting-shafts, rising from foliaged corbels just above the
-     capitals of the nave piers.
-
-     “In the aisles, each bay has two lancet windows, except the
-     easternmost bay on the south side, which has only one. In the jambs
-     are slender Purbeck shafts, twice banded. Just beneath these
-     windows, an arcade of trefoiled arches runs along the whole length
-     of the nave, being continued on the screen walls to the western
-     chapels. The arches are deep, with bold mouldings, and are
-     supported by clustered columns. There are five arches in each bay,
-     but they are not placed in the same manner on both sides of the
-     nave. On the south, the arches are arranged in groups of five, with
-     blank spaces of wall between, in front of which pass the
-     vaulting-shafts. On the north, the arcade is continuous, and is so
-     arranged that each cluster of shafts supporting the vault passes in
-     front of an arch. The work on the south side is more elaborate;
-     tooth ornament is used, a string-course runs along at the height of
-     the capitals, and foliaged bosses are found in the lower corners of
-     the spandrels. In addition to the clustered vaulting-shafts already
-     mentioned, there is a single vaulting-shaft in the centre of each
-     bay, between the windows, rising from a corbel above the
-     wall-arcade. On the north side these corbels merely have plain
-     mouldings, but on the south side they are foliated. The arrangement
-     of the vaulting-ribs is different in the north and south aisles;
-     and in the latter it will be noticed that some of the bosses have
-     figure-subjects, besides the foliage met with on the north side.
-     The _Agnus Dei_ carved on the boss in the fourth bay from the west
-     should be noticed. To such minor differences, continually found in
-     the corresponding parts of a Gothic edifice, the style undoubtedly
-     owes a peculiar charm.”--(A. F. K.)
-
-The great =West Window= was inserted, as we have seen, in Bishop
-Grosseteste’s time (1235-1253). Its tracery, however, dates from the
-end of the Fourteenth Century and is Early Perpendicular. The upper
-lights are filled with fragments of Fourteenth Century glass; but the
-glass in the lower lights is modern. The cinquefoil above, of the same
-date, contains modern glass also. The central figure represents
-Remigius, with his bishop’s staff in one hand and the church in the
-other. The rest of the glass in the nave is also modern.
-
-Under the last arch on the north side of the nave we come to a slab
-supposed to mark the original burial-place of Remigius. This slab was
-discovered in the cloisters and is supposed to date from the time of
-that worthy prelate.
-
-The neighbouring =Pulpit= is probably of the Eighteenth Century. On the
-other side of the nave stands the black basalt Norman =Font=, reminding us
-of the font in Winchester. Around the sides of the square basin a row of
-grotesque monsters is carved in low relief.
-
-Now we come to the =Central Tower=. Four massive piers carry the four
-arches from which it rises. Foliage decorates the top of each arch. The
-spandrels are ornamented by two rows of arcading with slender-clustered
-shafts. The vaulting is of the Fourteenth Century. The iron rings on the
-piers were placed there for the purpose of fastening the bell-ropes of
-the “Lady Bells” that once hung in this tower.
-
-A beautiful stone =Rood-Screen=, Decorated in style and dating from the
-end of the Thirteenth Century, fills the eastern tower arch, and marks
-the boundary of St. Hugh’s Choir. Traces of colour and gilding reveal
-themselves to an earnest scrutiny.
-
-     “On either side of the central doorway are four deep arches
-     supported by detached pillars, decorated with grotesque heads and
-     small figures of bishops. The wall behind is richly carved with
-     diaper designs, shewing much freedom and variety. This screen was
-     once decorated with colours and gilding, traces of which are still
-     visible. It appears to have suffered a good deal at the hands of
-     iconoclasts; many statues have doubtless been removed, and one must
-     be very cautious with regard to the decoration which remains, as it
-     was considerably restored by a mason named James Pink during the
-     second half of last century. The screen now carries the organ
-     erected in 1826.
-
-     “The two side doorways leading into the north and south aisles of
-     the choir are somewhat earlier than the screen between them. They
-     are beautiful examples of carving, dating from the end of the Early
-     English period. The exquisite openwork foliage which runs round the
-     arch is executed with the utmost skill and care, and is without the
-     laboured effect of so much of our later stone-work. The injured
-     parts were carefully restored about 1770 by James Pink, who was
-     also employed by Essex on the canopy of the reredos. The doorways
-     have modern iron gates.”--(A. F. K.)
-
-The =Choir= now includes St. Hugh’s Choir and two bays of the Angel Choir
-beyond.
-
-=St. Hugh’s Choir= is the earliest example of pure Gothic in the world.
-People are frequently disappointed in it because of its low vault and
-squat arches; but it must be remembered that the fall of the central
-tower in 1237-1239 greatly damaged this part of the building. In order
-to strengthen the choir some heavy columns without capitals replaced the
-original slender shafts. The arches were also partly reconstructed.
-Arcaded screens between the piers divide the choir from the aisles north
-and south, and aid in the support.
-
-     “The foliage of the capitals is exquisitely beautiful, and though
-     distinguished technically by the name of _stiff-leaf foliage_,
-     because there are stiff stalks to the leaves rising from the ring
-     of the capital, the leaves themselves curl over in the most
-     graceful manner, with a freedom and elegance not exceeded at any
-     subsequent period. The mouldings are also as bold and as deep as
-     possible, and there is scarcely a vestige of Norman character
-     remaining in any part of the work.”--(R.)
-
-Viollet-le-Duc, who fixes the date of St. Hugh’s Choir at 1220 or 1210
-at the earliest, says:
-
-     “We have in Normandy, especially in the cathedral of Rouen and the
-     church of Eu, architecture of the date of 1190; it is purely
-     French, that is to say, it corresponds exactly with the
-     architecture of the ‘Isle de France’ except in certain details. At
-     Eu, at the cathedral of Le Mans, at Seez, we have architecture
-     which resembles that of the choir of Lincoln, but that architecture
-     is from 1210 to 1220, it is the Norman school of the Thirteenth
-     Century. There is, indeed, at Lincoln, an effort at, a tendency to
-     originality, a style of ornament which attempts to emancipate
-     itself; nevertheless the character is purely Anglo-Norman.
-
-     “The construction is English, the profiles of the mouldings are
-     English, the ornaments are English, the execution of the work
-     belongs to the English school of workmen of the beginning of the
-     Thirteenth Century.
-
-     “On the exterior the choir of the Cathedral of Lincoln is
-     thoroughly English or Norman, if you will; one can perceive all the
-     Norman influence; arches acutely pointed, blank windows in the
-     clerestory, reminding one of the basilica covered with a wooden
-     roof; a low triforium; each bay of the aisles divided into two by a
-     small buttress; shafts banded. In the interior vaults which have
-     not at all the same construction as the French vaults of the end of
-     the Twelfth Century; arch-mouldings, slender and deeply undercut;
-     the abacus round; the tooth-ornament; which do not at all resemble
-     the ornaments which we find at Paris, Sens, St. Denis, etc.”
-
-The =Choir-Stalls=, dating from the Fourteenth Century, are among the
-finest in England. Pugin considered them quite the best.
-
-     “The stalls are in two rows, the upper of 62 seats, and the lower
-     of 46; the former number has now been increased by six and the
-     latter by two. The upper stalls have elaborate trefoiled canopies,
-     surmounted by an intricate maze of buttresses and pinnacles, rising
-     to a height of 24 feet 6 inches above the choir floor. The niches
-     above the canopies have recently been filled with statues of saints
-     in the Anglican Calendar. The stalls in both rows are provided with
-     hinged seats or _misereres_, intended to serve as supports in the
-     long services during which the occupants of the stalls were
-     required to stand. These seats, as well as the elbow-rests and
-     finials, are richly carved with those grotesque subjects in which
-     the Mediæval artist so greatly delighted. The carver has given full
-     scope to a most fertile imagination. Scriptural subjects do
-     certainly occur on some of the _misereres_ in the upper row, but
-     others are of a playful character. The fox is seen preaching to
-     birds and beasts, and then running riot among them; monkeys are at
-     play, or occupied in the more serious business of hanging one of
-     their number and burying him afterwards; we also find men fighting
-     with wild animals; the labours of husbandry; kings, knights,
-     ladies, dragons, griffins, lions, hogs, and wyverns. Whether there
-     is a hidden meaning in any of these quaint subjects, it is perhaps
-     difficult now to say, but the preaching fox is certainly
-     suggestive.”--(A. F. K.)
-
-At the east end of the stalls on the south side rises the =Bishop’s
-Throne= with tall Gothic canopy. It was designed by James Essex in 1778,
-and carved by Lumby. Opposite is Sir Gilbert Scott’s =Pulpit= of carved
-oak (1863-1864).
-
-The brass chandelier of sixteen lights, suspended from the vault, is
-dated 1698; and the brass eagle lectern, 1667.
-
-The stone =Reredos= is a mixture of work of the Thirteenth Century and
-that of James Essex in the Eighteenth Century. James Pink carved the
-central canopy in 1769 after designs by Essex.
-
-The =Eastern Transept= was also the work of St. Hugh. He joined the ends
-by means of an apse, which extended to the second bay of the Angel
-Choir. Some historians say that he was buried in the northern of the
-four chapels that he built along the apse.
-
-St. Hugh died in London in 1200. When his body arrived in Lincoln it was
-met by King John and carried on the shoulders of archbishops and bishops
-to the Choir that he had erected. He was buried on November 24; and,
-according to an old ballad:
-
-    “A’ the bells o’ merrie Lincoln
-       Without men’s hands were rung,
-     And a’ the books o’ merrie Lincoln
-       Were read without man’s tongue;
-     And ne’er was such a burial
-       Sin’ Adam’s days begun.”
-
-Pilgrims came in such numbers to his shrine that it was deemed necessary
-to make his tomb more important, and the apse was removed for the famous
-=Angel Choir=, which, like the Choir of St. Hugh, marks a new period in
-the history of architecture.
-
-     “Thus the Angel Choir of Lincoln was erected to contain the shrine
-     of one of Lincoln’s noblest bishops and one of England’s greatest
-     saints, whose lowly tomb, placed in a corner at his own desire for
-     fear of its being in the way, had become the resort of such a vast
-     concourse of pilgrims as to require the transformation of the
-     eastern arm of the minster. In 1255, license was obtained from
-     Henry III. for the removal of part of the eastern city wall, which
-     stood in the way, and in the next year the Angel Choir was probably
-     begun. The work was carried on so rapidly that within a quarter of
-     a century the translation took place. The choir was not, however,
-     fully completed till the Fourteenth Century was well on its way.
-
-     “The 6th October, 1280, was the proudest day in the
-
-[Illustration: LINCOLN: ANGEL CHOIR]
-
-[Illustration: LINCOLN: CHOIR, EAST]
-
-     history of the city. Perhaps never, before or since, has such an
-     august assembly gathered within her walls. The body of the Saint of
-     Lincoln was to be translated to the costly shrine in the centre of
-     the Angel Choir. The ceremony was magnificent. Edward himself was
-     present, and supported on his own shoulder the saint’s remains as
-     they were carried to their new resting-place; with him was his
-     beloved queen Eleanor, whose effigy was so soon to be placed
-     beneath the same roof. The king and queen were accompanied by
-     Edmund, Earl of Kent, brother of Edward, and his wife; the Earls of
-     Gloucester and Warwick; the Archbishop of Canterbury; the bishops
-     of Lincoln, Bath, Ely, Norwich, Worcester, Llandaff, Bangor, and
-     St. Asaph; the bishop-elect of Exeter; and two hundred and fifty
-     knights. The shrine, ornamented with gold and silver and precious
-     stones, was raised on a lofty stone pedestal, and about thirty
-     years after was protected by an iron grille, wrought by Simon the
-     Smith. It is recorded that the fastenings of the grille were still
-     to be seen in the pavement at the middle of the last century, but
-     all traces have now entirely disappeared. It must have been soon
-     after the translation that the head was removed from the body, and
-     enclosed in a metal case, enriched with gold and silver and
-     precious stones. A keeper was appointed to guard the precious relic
-     during the day, and two had this charge at night. Yet, in spite of
-     all such precautions, it was stolen from the church in the year
-     1364; the head was thrown into a field, and the case sold in London
-     for twenty marks. The thieves were robbed of their ill-gotten gains
-     on their way back, and were afterwards convicted of the crime, and
-     hanged at Lincoln. The head was found and restored to the
-     cathedral. The treasurer, John de Welburne (d. 1380), either
-     restored the old shrine or made a new one of the same
-     materials.”--(A. F. K.)
-
-Fergusson called the Angel Choir “the most beautiful presbytery in
-England.” It dates from 1256 to 1280, when the Early English was merging
-into the Decorated. The sculptural angels that ornament the spandrels of
-the triforium account for the name.
-
-     “It is in five bays carried eastward at a uniform height and
-     breadth with the choir of St. Hugh. Lincoln stone is used
-     throughout, relieved with shafts and capitals of Purbeck marble.
-     The spandrels of the great arches, which are plain in other parts
-     of the building are here decorated with sunk geometrical forms.
-     Each bay of the triforium is divided, as elsewhere, into two
-     arches, both of which enclose two sub-arches; but the details are
-     richer than in the earlier parts of the minster. The clerestory has
-     one window of four lights in each bay, with an eight-foil and two
-     trefoils in the head. The compartments of the vault were originally
-     coated with plaster, which has been scraped away so as to shew the
-     stone surface underneath. It is a question whether it does not now
-     look better than with the old plaster, and the gaudy colouring
-     which once, most probably, decorated it. The springers of the
-     vaulting are supported by slender shafts, which rest on elaborately
-     foliaged corbels in the spandrels of the great arches. The
-     beautiful foliaged bosses along the ridge rib are best seen from
-     the triforium or the clerestory.”--(A. F. K.)
-
-In olden times the Angel Choir contained the Shrine of St. Hugh and a
-monument to Queen Eleanor, of which the one now standing in Westminster
-Abbey is probably a copy. It was an altar-monument of marble with the
-Queen’s effigy in gilded brass, and was destroyed during the Civil Wars
-in the Seventeenth Century. Eleanor died not far from Lincoln, from
-which city the funeral procession started to London. A modern stone
-monument, with a brass effigy of Queen Eleanor, was placed under the
-East Window in 1891.
-
-Just behind the reredos there is a row of four table-tombs. The north
-one was placed there by Bishop Fuller, to mark the resting place of =St.
-Hugh=; next comes =Bishop Fuller= himself (died 1675); next, =Bishop
-Gardiner= (died 1705); and next, =Subdean Gardiner= and his daughter,
-Susanna (died 1731 and 1732). Near the latter stands the alabaster and
-red marble monument to =Dean Butler= (died 1894). In corresponding
-position and next to St. Hugh’s tomb we see =Bishop Wordsworth’s= effigy
-under a tall ornate Gothic canopy. This Bishop of Lincoln (died 1885),
-was a nephew of William Wordsworth. Nearer the East Window we find a
-group of Fourteenth Century monuments to the =Burghersh= family, one of
-whom was Bishop of Lincoln (1320-1340), and another, a hero of Crécy,
-and Constable of Dover, and Warden of the Cinque Ports. Opposite is the
-monument to =Nicholas de Cantelupe= (died 1355), a mutilated effigy under
-a Gothic canopy. Near it lies =Prior Wimbische=. His effigy, also
-headless, lies under a canopy.
-
-Leland, writing in the time of Henry VIII., mentions two mutilated
-tombs: =Catherine Swynford=, the third wife of John of Gaunt, made Earl of
-Lincoln in 1362, and that of her daughter, Joan Beaufort, who married
-the Earl of Westmoreland.
-
-On the north side of the choir is the =Easter Sepulchre=, a fine piece of
-Thirteenth Century carving, in the Decorated style. It consists of four
-canopies with trefoiled arches. Three sleeping soldiers ornament three
-of the panels.
-
-On a spandrel on the north side, under a corbel above the most easterly
-pier, sits the =Lincoln Imp=--one of those grotesques that the Mediæval
-carvers delighted in creating; and here he has been sitting with crossed
-leg and grinning grimly for centuries. He is of the same family as =The
-Devil Looking over Lincoln= (see page 309).
-
-In the =South Aisle= of the choir we pause again before another spot,
-sacred in Mediæval days. Here stood until the Seventeenth Century the
-=Shrine of= =Little St. Hugh=, a child said to have been crucified by the
-Jews in 1255. According to the ballads the ball of the eight-year-old
-boy fell into a Jew’s garden; and when he ran in to get it, the Jews
-murdered him.
-
-The canons of Lincoln obtained the body and buried it in the Cathedral.
-Hugh became a local saint; and the Jews of Lincoln were promptly
-persecuted. When the stone coffin was opened in 1791, the skeleton of a
-child three feet long, encased in lead, was found.
-
-=Henry of Huntingdon= (died about 1155), the chronicler of Lincoln, was
-also buried in this aisle.
-
-On the north and south of the Angel Choir is a small chantry. That on
-the north is the =Fleming Chantry=, built by Richard Fleming, Bishop of
-Lincoln in 1419-1431, and the corresponding one the =Russell Chantry=,
-built by John Russell, who held the See from 1480 to 1494. This is
-similar to the Fleming Chantry, Perpendicular in style. Very similar is
-the =Longland Chantry=, on the other side of the south door, or Bishop’s
-Porch. This chantry was built by John Longland, Bishop of Lincoln, in
-1521-1547.
-
-There is no Lady-Chapel.
-
-The great =East Window= is the finest specimen of its kind in England. It
-is formed of eight lights; and the great wheel of the head is composed
-of a six-foil, surrounded by six quatrefoils.
-
-     “Bar-tracery being fully developed, the general appearance of ‘the
-     window is rather Decorated than Early English, but the mouldings
-     still belong to the earlier style.’ ‘This window ... together with
-     the whole of that part of the choir is singularly and beautifully
-     accommodated to the style of the rest of the building.’”--(R.)
-
-The glass is modern and deals with scenes from the life of Christ, and
-the Old Testament.
-
-     “The aisle windows are each of three lights, with three circles in
-     the head, two filled with cinquefoils and one with a quatrefoil.
-     The two east windows of the aisles are similar to the others. The
-     wall below the windows is decorated all round with arcading of a
-     richer design than that in the nave. Two trefoiled arches are
-     included in a larger arch, with a quatrefoil within a circle
-     filling the head. The spandrels have sunk trefoils. The bosses of
-     the stone vaults to the aisles are carved with sacred subjects,
-     foliage, and grotesque figures.
-
-     “The east windows of the north and south aisles are filled with
-     beautiful stained glass of the Early English period. The subjects
-     are arranged within medallions, and, though somewhat difficult to
-     decipher, appear to represent scenes in the lives of two saints
-     whose story has many points of resemblance--St. Thomas of
-     Canterbury and St. Hugh of Lincoln. The glass is said to have been
-     moved about the end of the last century from the windows of the
-     nave aisles. The date of the medallions may be placed towards the
-     middle of the Thirteenth Century, about the time of the erection of
-     the nave, and, of course, earlier than the windows which they now
-     occupy. The _grisaille_ into which they are now reglazed, is
-     considered by Westlake to be the earliest in England.”--(A. F. K.)
-
-One of St. Hugh’s characteristics was the peculiar double arcading on
-his walls. We find it in the choir and transepts.
-
-The =Western Transept= was begun by St. Hugh; and his work is thought to
-end at the walls of the six chapels that run along the eastern side.
-These are dedicated to St. Nicholas, St. Denis, St. James, St. Edward
-the Martyr, St. John the Evangelist and St. Giles, and are separated
-from the transept by screens placed between the piers. Four of these
-screens are of carved oak and date from the Fifteenth Century; but the
-one of carved stone is of the Fourteenth. The western transept is famed
-for its two large circular windows in each end. As one looked upon the
-Deanery and the other upon the Bishop’s Palace, they were called
-respectively the Dean’s Eye and the Bishop’s Eye. These nicknames appear
-in the _Metrical Life of St. Hugh_, written between 1220 and 1225.
-
-The =Dean’s Eye=, in the north end, dates from about 1220. Here we have
-not only exquisite tracery, but splendid glass of the Thirteenth
-Century.
-
-     “It represents the Church on Earth and the Church in Heaven. In the
-     centre is our Saviour seated in the midst of the Blessed in Heaven.
-     Around are four large compartments, containing portions of
-     different subjects, which do not appear to have all originally
-     belonged to their present positions. The most interesting is that
-     shewing the translation of the relics of St. Hugh, represented as
-     borne on the shoulders of crowned and mitred personages. Of the
-     sixteen outer circles, the topmost represents our Saviour seated on
-     a rainbow; on either side are angels with the instruments of the
-     Passion; in the next circles St. Peter and other saints are
-     conducting holy persons to heaven; below these is the general
-     Resurrection; the lowest five circles each contain the figure of an
-     archbishop or bishop. The subjects can be best seen from the
-     neighbouring triforium or from the passage which runs just beneath
-     the window; it will be noticed that the glass in some of the
-     compartments is much mutilated, as might naturally be expected,
-     considering its antiquity. From below, the subjects are confused
-     and not easy to distinguish, but the rich and harmonious blending
-     of the colours can be seen to the fullest advantage, and the
-     general effect is much finer. Rickman believes the form of the
-     tracery to be quite unique in England, but states that there is a
-     window exactly similar at Laon.”--(A. F. K.)
-
-An arcade of seven lancet arches runs beneath the window. The wall
-behind is pierced with windows filled with fragments of old glass. Two
-larger lancet windows brighten each side of the doorway. They contain
-fragments of old glass. The western one represents angels playing
-musical instruments in the midst of foliage. The other window is filled
-with geometrical patterns. The doorway leads into the Dean’s Porch.
-
-The =Bishop’s Eye=, at the south and opposite end, is about a hundred
-years later than its companion. It is Fourteenth Century and Decorated.
-
-     “It is filled with delicate and beautiful flowing tracery, which
-     has been compared to the fibres of a leaf. Rickman considers it to
-     be the richest remaining example of its period. It is enclosed
-     within a kind of arch formed by two rows of openwork quatrefoils;
-     an open frame-work of a similar nature is often to be seen round
-     circular windows in French cathedrals. The glass consists of
-     fragments from other windows, chiefly of the Early English period.
-     Although the pieces are placed quite at random, forming no subject
-     whatever, yet the effect of the colouring is good, especially when
-     seen from the opposite end of the transept. Of all the modern
-     windows in the minster, with their elaborate subjects, it may
-     safely be said that not one can be compared in effect with this
-     mass of glowing colour.”--(A. F. K.)
-
-The four lancet windows below contain Early English glass, collected
-from various parts of the Cathedral.
-
-Near the Bishop’s Eye =John de Dalderby’s= shrine was situated. This was
-of “massey silver” incrusted with diamonds and rubies. John de Dalderby,
-Bishop of Lincoln from 1300 to 1320, was reverenced as a local saint.
-Henry VIII. removed his altar-tomb, fragments of which may be seen near
-the =Galilee Porch=, situated at the corner of the south arm of the
-western transept, different in position to the Galilees of both Durham
-and Ely. Lincoln’s was built about 1230 for the bishop’s state entrance.
-The south and west ends are open; and it may, therefore, be entered from
-either. Two enormous oak doors open from the east side into the
-transept. The porch is vaulted and ornamented profusely with the
-dog-tooth. The Perpendicular parapet running along the top of the porch
-is, of course, a later addition.
-
-Retracing our steps--no great hardship in a place of such beauty and
-interest--we walk up the south-choir-aisle to the =Eastern Transept=,
-where we have two semicircular chapels on the right hand, and on the
-left the =Dean’s Chapel=. We are now at St. Hugh’s earliest work; and his
-double arcading is again seen in the north wall leading to the
-cloisters. Here also we find on two of the columns crockets that were
-novelties at this period. They occur at Wells, the work of Jocelin. The
-name of Dean’s Chapel is a misnomer--no one knows what it was used for
-originally. It has been suggested that it was the original burial-place
-of St. Hugh.
-
-Two semicircular chapels also border the eastern side of the south end
-of this transept, and the =Choristers’ Vestry= occupies the corresponding
-corner to the Dean’s Chapel. A stone screen (Decorated) separates it
-from the south aisle of St. Hugh’s Choir. The double arcading and
-sculptured angels are constantly seen. Two other vestries lie beyond,
-towards the south wall.
-
-By means of an oak doorway, leading from the north wall of the eastern
-transept, we enter a long, narrow passageway, with stone vaulting and
-windows filled with tracery and glass. This takes us into the Cloisters,
-for at Lincoln these secluded
-
-[Illustration: LINCOLN: EAST WINDOW]
-
-[Illustration: SOUTHWELL FROM NORTH-WEST]
-
-walks lie on the north instead of the usual south side of the Cathedral.
-
-Only three walks remain of the original constructions dating from the
-end of the Thirteenth Century. The fourth walk (north) was replaced by a
-colonnade, designed by Sir Christopher Wren, in 1674, whose uncle was
-Bishop of Lincoln at that time.
-
-From the east walk of the Cloister we enter the =Chapter-House=, which
-dates from the early Thirteenth Century. It is a decagon, with two
-lancet windows in each bay. First, on entering, we note the massive
-central column with its ten Purbeck marble shafts banded together in the
-middle. The Chapter-House has been restored, but it has not suffered.
-The glass in the windows is modern. The arcade running below the windows
-is ornamented with shafts of Purbeck marble, foliaged capitals, and a
-great display of the dog-tooth. The stone vault is later than the rest
-of the room and is very graceful.
-
-Many fine views can be had of the East Front. The splendid Decorated
-window is always the most conspicuous object. The window above it is
-also Decorated and nearly fills the gable. In the trefoil over the top
-circle is a figure of the Virgin. The richly crocketed pyramids of the
-turrets on either side make a beautiful effect. The aisle windows are
-separated from the big window by bold buttresses. Around the base runs
-the arcade that we constantly find at Lincoln. The Chapter-House with
-its sharply-pointed pyramidal roof groups beautifully with the rest of
-the Cathedral.
-
-Next we look at the =Angel Choir=, with its crocketed gables and
-pinnacles, its elaborate tracery, and panelled buttresses that divide
-it into five bays. Grotesque figures project from all of these gables.
-One represents an =Imp on the back of a Witch=. Large windows with rich
-tracery fill the wall spaces here.
-
-Next we reach the beautiful =South Doorway= with the =Russell= and =Longland
-chantries= (Perpendicular) on either side.
-
-     “It was probably constructed, like the Galilee doorway, as a state
-     entrance for the bishop. The porch fills the third bay, and
-     projects as far as the buttresses; its sides recede inwards to the
-     pair of doors giving access to the Angel Choir. Although the
-     doorways of our cathedrals, as a rule, cannot in any way be
-     compared with the magnificent portals to be seen in France, yet
-     this single example of Lincoln would be quite enough to prove that
-     English architects were capable of designing a really magnificent
-     doorway. In the tympanum is the subject of the Last Judgment in
-     relief. The archivolt is richly decorated with sculpture. In the
-     inner band is a row of niches with twelve seated figures,
-     apparently kings and queens: next a double band of delicate
-     open-work foliage; outside this a row of sixteen slender standing
-     figures enclosed by interlacing stems, richly decorated with
-     foliage. The doorway is formed of two cinquefoiled arches,
-     separated by a central pillar having the canopy and base for a
-     figure of the Virgin, which has been removed. On either side of the
-     doorway is a triple canopy for statues, and behind this a row of
-     slender columns with foliated capitals.”--(A. F. K.)
-
-Next come St. Hugh’s two semicircular chapels, and then St. Hugh’s
-transept, slender and filled with so many windows that the wall space is
-nearly taken up by them. On top of each of the two turrets, surmounted
-by pyramidal roofs, stands an angel. Next comes the =Canon’s Vestry= and
-then the western transept with the conspicuous =Bishop’s Eye=. We pause to
-admire this beautiful window from the outside and then look above it at
-the horizontal band of seven elaborately carved quatrefoils. Above this
-again is a Fourteenth Century window with flowing tracery. Around the
-gable runs a border of open Gothic tracery. The peak bears a cross.
-
-Next comes the =Nave=, the seven bays of which are separated by
-buttresses. Over the roof of the aisle flying buttresses are thrown. A
-slender buttress also separates the windows of the aisle. The clerestory
-windows are in groups of three. Over the clerestory is a wavy parapet of
-the Fourteenth Century, where stand canopied niches for statues.
-Grotesque figures project from their bases. Grotesque figures also
-project from the crocketed roofs of the pinnacles of the great transept.
-
-The chapel, used as the Consistory Court, follows with two windows
-facing south and two east. On the east end of the latter, in front of
-the windows, our eyes are arrested by the grotesque =Devil Looking over
-Lincoln=. The sculptured figures near by are pilgrims. Next comes =St.
-Hugh’s Chapel=, or the Ringers’ Chapel, with one window facing the south.
-
-From the road at the north-east corner we get a good general view of the
-Cathedral and the Chapter-House. St. Hugh’s transept is hidden, but we
-can see the end of the western transept with the =Dean’s Eye=--the large
-quatrefoil encircled by sixteen small circles. The lancet window of five
-lights in the gable above it is also visible.
-
-The second bay on the north side of the Angel Choir contains the =Fleming
-Chantry=, on which the two chapels on the south side were modelled. Then
-we come to the north doorway of the =Angel= =Choir=, corresponding to the
-more ornate entrance on the south.
-
-We have now completed our survey of the Cathedral and have not yet
-noticed the =Central Tower=, considered by many critics the finest tower
-in England. It rises to a height of 271 feet. Two lofty windows adorn
-each side of the upper story with their crocketed pillars and canopied
-heads. Octagonal panelled turrets, surmounted by pinnacles, ornament the
-four corners. Grosseteste’s lattice-work pattern covers the lower part
-within and without. The tower in its present state dates from 1775, when
-James Essex built the parapet and advised battlements and pinnacles
-instead of a spire. The tall spire of timber, coated with lead, that
-completed the tower of 1311, was blown down in 1547, carrying the
-parapet with it; and again in 1715 three of the pinnacles were blown
-down and replaced in 1728. In 1883 the western side was damaged by a
-storm, but was repaired. Here “Great Tom of Lincoln,” the fourth largest
-bell in England (5 tons, 8 cwt.), seven feet in diameter, hangs. Too
-large to ring, the hours are struck on it with a hammer.
-
-The original =Great Tom= hung in the north-west tower.
-
-     “It is not known how it was acquired; some say it was a gift,
-     others say it was stolen from the Abbey of Beauchief, Derbyshire,
-     or from Peterborough. The origin of its name, too, has been a
-     subject of dispute. Stukeley considered it possible that it had
-     been consecrated to St. Thomas of Canterbury. Others think it took
-     its name from that of the old bell of Christ Church, Oxford, which
-     bore the curious inscription, _In Thomae laude, resono Bim Bom sine
-     fraude_. It should be remembered that Oxford was in the diocese of
-     Lincoln in olden days, and that several Bishops of Lincoln were
-     chancellors of Oxford. Wherever the first ‘Great Tom’ came from,
-     it was recast in the minster yard by two bell founders from
-     Nottingham and Leicester early in the Seventeenth Century, when the
-     weight was increased from 8,743 pounds to 9,894½ pounds. ‘The
-     bell was cast and hung upp and upon Sonday the xxvij of this month
-     [January, 1611] ronge owte and all safe and well.’ It was tolled
-     until 1802, when it was found that this process shook the tower too
-     much. The following extract from the _Stamford Mercury_ of the 6th
-     August, 1802, is given by North in his ‘Church Bells of
-     Lincolnshire’:--‘Great Tom o’ Lincoln is to be rung no more! The
-     full swing of four tons and a half is found to injure the tower
-     where he hangs. He has therefore been chained and riveted down; so
-     that instead of the full mouthful he has been used to send forth,
-     he is enjoined in future merely to wag his tongue.’ Towards the end
-     of the year 1827 experienced ears detected that something was
-     wrong, and by Christmas it became plainly evident that the bell was
-     cracked. It was finally decided to have it recast in a larger size.
-     For this purpose it was broken to pieces with its own clapper, and
-     sent to London. To provide the extra metal, the six Lady Bells were
-     unfortunately sacrificed. The cathedral thus lost the distinction
-     of being the only one in the kingdom possessed of two rings of
-     bells. ‘Great Tom’ was recast by Thomas Mears at the Whitechapel
-     Bell foundry on the 15th November, 1834. It was taken by road to
-     Lincoln, drawn by eight horses, and raised to its new position in
-     the central tower. Two new quarter bells, cast at the same time,
-     were also hung in this tower. The number of quarter bells was
-     increased in 1880 to four.”--(A. F. K.)
-
-The six “Lady Bells,” referred to above, hung in this central tower (see
-page 294). When they were removed in 1834 it was seen that four were
-dated 1593; one, 1633; and one, 1737.
-
-In the Thirteenth Century the =Minster Yard=, as many still call the
-Cathedral Close, was enclosed by a wall. Several massive gates formed
-the entrances. Of these the =Exchequer=, a large archway, with a postern
-on each side and an upper story, remains at the western end. =Pottergate
-Arch=, at the top of the new road, shows us what an early Fourteenth
-Century single gate was like. Near it the =Grecian Stairs= lead up to the
-Close.
-
-
-
-
-SOUTHWELL
-
-DEDICATION: ST. MARY.
-
-CHIEF FEATURE: CHAPTER-HOUSE.
-
-
-For many centuries the Church of St. Mary, Southwell, was under the
-dominion of York. The clergy had many privileges, held property, lived
-in their own houses, like country gentlemen, and hunted in the forests
-which Robin Hood and his merry men had made romantic; for Southwell is
-not far from legendary Sherwood.
-
-The church became a Cathedral in 1884. It dates in the main from the
-Twelfth Century, though a few fragments are older. It is supposed that
-the first Saxon church was destroyed by the Danes; the next is said to
-have been built by King Edgar in 960; and in the time of Henry I. was
-rebuilt in the Norman style. Walter de Grey, Archbishop of York (see
-page 264), rebuilt the nave of Southwell, and was assisted by John
-Romeyn, subdean (see page 264).
-
-     “In the Curvilinear Period (1315-1360) was erected quite the
-     loveliest choir-screen in England; next comes that of Lincoln,
-     evidently by the same hand. Eastern and western sides are entirely
-     different in design; on the western side the artist parts
-     reluctantly with the beautiful geometrical design of the Thirteenth
-     Century; on the eastern side he accepts unreservedly the reign of
-     the ogee arch. Magnificent sedilia and stone stalls of similar
-     character were erected, which only survive in part. Very beautiful,
-     too, is the cusping of the reticulated windows inserted in the
-     north transept chapel. The upper parts of the Chapter-House and the
-     north transept chapel also were remodelled in the Curvilinear
-     Period. For two hundred years and more, the highest and best of
-     Mediæval art found cultivated and wealthy patrons in the canons of
-     Southwell. Norman, Lancet, Geometrical, Curvilinear work are all
-     seen here at their best. Few of our cathedrals, from the point of
-     view either of architectural design or sculptural detail, can be
-     mentioned in the same breath with Southwell. It is one of the
-     greatest delights of Southwell that this lovely minster is little
-     known and almost unvisited: one feels as if one were ‘the first
-     that ever burst into the silent sea’!”--(F. B.)
-
-The general appearance of the Cathedral is Norman.
-
-     “The WEST FRONT has been altered in character from its original
-     Norman work. We see a huge Perpendicular window with an embattled
-     parapet over it, an alteration made in the Fifteenth Century. The
-     windows in the lower stages of the towers are modern imitations of
-     Norman work. The towers have seven stages and the sixth is enriched
-     with fine arcading composed of intersecting arches. The present
-     spires are modern imitations of the originals destroyed by fire in
-     1711. These were immediately restored but removed in 1802, and have
-     now again been replaced. The old Norman doorway is remarkably fine.
-     It has five orders, the zigzag and the filleted edge roll being the
-     chief mouldings.
-
-     “Passing to the south side we see the walls of the nave pierced by
-     apparent Norman windows, but these are modern imitations. The most
-     western window in the north side is the only original Norman
-     window; the rest are copied from it, and were erected in 1847. Four
-     Perpendicular windows were inserted in the Fifteenth Century. There
-     is a row of small square windows above which light the triforium,
-     and the clerestory has a curious series of circular windows which
-     are unique in this country. The roof is high-pitched, having been
-     erected in modern times by the architect Christian, and the
-     parapets are Perpendicular in style. The south doorway should be
-     noticed, of Norman workmanship with zigzag string-course over
-     it.”--(P. H. D.)
-
-The Choir is Early English and much resembles that of Lincoln. The
-dog-tooth is very evident. The windows are lancet. The two
-flying-buttresses on the south were added in the Decorated period.
-
-The Chapter-House is on the north, and its similarity to that of York
-will strike every one who has seen the _flos florum_ of the great
-Minster of the north. It is supposed the same architect (probably John
-Romeyn) designed both. This is octagonal. The windows are of three
-lights, with trefoil and circular ones in the heads. The roof is modern.
-
-The North porch is much admired. The inner doorway has a zigzag and
-beak-head moulding. In the parvise above (very unusual in a porch of
-this date), the wife of William Clay, a hunted Royalist, was hidden
-during the Civil War. Here her child was born.
-
-We enter by the west door and gain a view of the =Nave=.
-
-     “Looking down the nave (1110-1150) we are impressed by the massive
-     appearance of the interior. The piers are rather short, only 19
-     feet high, six on each side, with square bases and round capitals.
-     The triforium is large, and above is the clerestory with its unique
-     plain circular windows. The Norman mouldings, zigzag, billet,
-     hatchet, etc., are easily recognized. The present roof was erected
-     in 1881. The Font, erected in 1661, is a poor substitute for the
-     one destroyed by the soldiers of Cromwell. The Pulpit is modern.
-     The second pillar from the east on the south side is called Pike’s
-     Pillar, and retains faint traces of a mural painting of the
-     Annunciation; the nave aisles have some good vaulting. A plain
-     stone bench runs along the walls. This was common in old churches
-     and was the origin of the saying ‘Let the weakest go to the wall,’
-     where they could sit and rest, as the days of pews were not yet.
-     The only original Norman window which remains is at the west end of
-     the north aisle.”--(P. H. D.)
-
-The =Transepts= are Norman. At the east end of each the original plan
-included an apsidal chapel. The south transept still retains the arch
-with its zigzag and cable mouldings that connected it with the transept.
-The chapel at the east end of the north transept has also gone, but here
-we find on its site a Late Early English construction, with still later
-windows (Decorated). In the upper floor the Library is situated.
-
-The =Tower= is Norman, built in 1150. A cable moulding runs around the
-four large arches. It contains a peal of bells.
-
-     “A stone screen of rich Decorated work separates the transept from
-     the choir, over which is now the organ (a modern instrument). The
-     screen is richly ornamented, and a noble specimen of the work of
-     the period. There are three arches opening to the space beneath the
-     tower, separated by slight piers of clustered shafts, the capitals
-     carved with foliage of a Late Decorated character. The walls of the
-     screen support the old rood-loft, access to which is gained by two
-     staircases.
-
-     “Entering the Choir we see on each side of the doorway three
-     prebendal stalls with _misereres_, on which are carved some
-     foliage. The Bishop’s Stall was once occupied by Cardinal Wolsey.
-     The choir was built by Archbishop Grey in Early English style
-     (1230-1250). There are six arches, with piers of eight clustered
-     shafts. The dogtooth moulding is conspicuous in the arches and on
-     the vaulting of the roof. It will be noticed that the triforium and
-     clerestory are blended together. The east window consists of two
-     rows of lancets, the lower ones containing old glass brought from
-     Paris in 1815, where it was formerly in the Chapel of the Knights
-     Templar. The Baptism of Our Lord; Raising of Lazarus (Francis I. is
-     to be seen in a crimson cap); Christ entering Jerusalem (Luther is
-     near Our Lord, Louis XI. and the Duke of Orleans); the Mocking of
-     Our Lord (the figure of Dante appears).
-
-     “The Sedilia were erected in 1350 and are good Decorated
-
-[Illustration: SOUTHWELL: CHAPTER-HOUSE AND DOOR]
-
-[Illustration: PETERBOROUGH: WEST FRONT]
-
-     work. They have the unusual number of five seats on the same level.
-     The arches are ogee-shaped and are richly carved. The sculptured
-     figures are remarkable, and represent the Creation and the
-     Redemption. Beginning at the east we see the Father holding the
-     world (two groups uncertain), Joseph’s Dream, the Nativity and
-     Flight into Egypt.
-
-     “The Lectern belonged to the monks of Newstead Abbey, who threw it
-     into the lake to hide it from the commissioners of Henry VIII. Its
-     date is about 1500.”--(P. H. D.)
-
-Entering a beautiful doorway in the north-choir-aisle we pass through a
-vestibule into the =Chapter-House=.
-
-     “The transition between the Early English work of the choir and the
-     Decorated style of the Chapter-House is very gradual. The doorway,
-     with its two arches and shafts of Purbeck marble, is remarkably
-     fine. There is a small cloister court, with a stone-covered well.
-     In the vestibule we see the walls covered with beautiful arcading
-     of lancet arches of an Early English character. The capitals are
-     beautifully carved with foliage. There is a curious boss of
-     sculpture representing a secular priest shaking the regular monk by
-     the hair, which figuratively depicts the supremacy of the former in
-     the church of Southwell.
-
-     “The Chapter-House (1285-1300) is described by Ruskin as ‘the gem
-     of English architecture,’ and all architects agree in singing the
-     praises of this noble building. It much resembles that of York, but
-     is smaller and perhaps more beautiful. It is octagonal, has no
-     central pillar, and is remarkable for its fine sculpture. The
-     historian of Southwell says: ‘The foliage everywhere is most
-     beautiful: the oak, the vine, the maple, the white-thorn, the rose,
-     with a vast variety of other plants, are sculptured with exquisite
-     freedom and delicacy; and no two capitals, or bosses or spandrels
-     are found alike. Everywhere we meet, in ever-changing and
-     ever-charming variety, with some fresh object of interest and
-     admiration. Figures are introduced amid the foliage, heads with
-     branches issuing out of their mouths, birds and lizard-like
-     monsters. In the capitals a man reclines beneath a tree, puffing
-     lustily at a horn, or a goat is gnawing the leaves, or a bird
-     pecking the berries, or a pair of pigs are grunting up the acorns,
-     or a brace of hounds just grabbing a hare. All this is the work of
-     no mere chiseller of stone, but of a consummate artist; than whom
-     it may be doubted whether any sculptor of any age or country ever
-     produced anything more life-like and exquisitely graceful.’ The
-     entrance doorway is remarkably fine and is worthy of close study.
-     The main arch is divided into two by a slender shaft, and over them
-     is a quatrefoiled circle of beautiful design. The leaf ornament is
-     largely used, both in the smaller arches and in the main arch.
-     Filleted rounds and hollows are the other mouldings used.”--(P. H.
-     D.)
-
-
-
-
-PETERBOROUGH
-
-DEDICATION: ST. PETER. CHURCH OF A BENEDICTINE MONASTERY.
-
-SPECIAL FEATURES: THE WEST FRONT; THE NEW BUILDING.
-
-
-The great fenland monastery of St. Peter, the holy house of
-Medeshampstead, attracting houses around it, grew into a borough, and
-finally into a city--Peterborough. The village was first called
-Medeshampstead--homestead in the meadows. For centuries the settlement
-had no interests outside the monastery. In the Seventh Century Penda,
-King of Mercia, and his family were converted to Christianity, and it
-was his son Penda who founded the monastery here in 654. The first
-monastery was destroyed by the Danes in 870. It lay in ruins for a
-hundred years. With the religious revival under Duncan and King Edgar,
-the holy house of Medeshampstead was rebuilt by Bishop Ethelwold, of
-Winchester, and henceforth known as the Burgh.
-
-The foundations of the old Saxon church still remain under the east wall
-of the south transept. It is related that when King Edgar visited the
-monastery and saw some old deeds he wept for joy on reading the
-privileges of the place and granted a new charter renewing and
-confirming these. The church seems to have been, even in those days,
-dedicated to St. Peter. The Abbey flourished for a time; then it was
-plundered by Hereward, the Saxon leader, and suffered also from fire
-while the monks were carousing. In the time of Henry I. a great fire
-destroyed the whole building. The picturesque imagination of the period
-attributed it to a servant, who, trying unsuccessfully to light a fire
-in the bakehouse, lost his temper and called upon Satan for aid, crying
-“_Veni, Diabole, et insuffla ignem._”
-
-John de Sais, who was then Abbot (1114-1125), began the building of a
-new minster, the one that we now see. As usual the work was begun at the
-east end. The choir was finished with an apse. A small apse also
-terminated each choir-aisle. The whole church was in progress of
-building for eighty years. This was all Norman work of course.
-
-The western transept, dating from the close of the Twelfth and beginning
-of the Thirteenth Century, shows a change.
-
-     “The Norman style was giving place to the lighter and more elegant
-     architecture of the Early English period, the round arch was
-     beginning to be superseded by the pointed arch, and the massive
-     ornamentation which marks the earlier style was displaced by the
-     conventional foliage that soon came to be very generally employed.
-     Most wisely, however, the Peterborough builders made their work at
-     the west end of the nave intentionally uniform with what was
-     already built. Very numerous indications of this can be seen by
-     careful observers. The bases of the western pillars, the change in
-     the depth of the mouldings, characteristic changes in the capitals
-     in the triforium range, and especially the grand arches below the
-     transept towers, which are pointed but enriched with ornamentation
-     of pronounced Norman character, all point to the later date of this
-     western transept.
-
-     “At the west wall of the church all trace of Norman work
-     disappears. The arcade near the ground, the large round arch above
-     the door, the great west window and its adjacent arches (not, of
-     course, including the late tracery), are all of distinct Early
-     English character. The whole of this wall may be held to be an
-     integral part of the west front, and not of the transept which it
-     bounds.
-
-     “When we come to the most distinctive feature of the cathedral, the
-     glorious west front, we find we have no help whatever from the
-     chronicles. Nowhere is there the smallest reference to its
-     building. Other works raised by the Abbots of the period are named,
-     but the noble western portico is never once mentioned.”--(W. D. S.)
-
-According to Matthew Paris the church was dedicated in 1238 by the
-Bishop of Lincoln, Robert Grosseteste.
-
-In the Thirteenth Century many changes were made. The bell-tower was
-built, and bells from London, called _Les Londreis_, were hung in it.
-The Lady-Chapel (now destroyed) was built in 1272 at the east of the
-north transept (as at Ely).
-
-In the Fourteenth Century the great round east and west arches of the
-central tower were changed into pointed ones, perhaps because the tower
-at Ely had fallen in 1321 and the monks wanted to strengthen theirs.
-Then they began to change all the triforium windows in the nave and
-choir from Norman to Decorated. Next, the central porch was added to the
-west front. During the Perpendicular period all the Norman windows that
-had not been altered were now filled with Perpendicular tracery; the
-great west window was also brought up to date, the battlements were
-added to the corner turrets, and the New Building tacked on to the East
-End of the choir.
-
-A popular story related that Henry VIII. spared the church because his
-queen, Katherine of Aragon, was buried there. At any rate, he made
-Peterborough a cathedral in 1541, when he suppressed the monasteries.
-
-The great historical event in connection with Peterborough was the
-burial of Mary, Queen of Scots, in 1587.
-
-Cromwell’s soldiers made sad havoc. Dean Patrick informs us that
-
-     “The next day after their arrival, early in the morning they break
-     open the church doors, pull down the organs of which there were two
-     pair.
-
-     “Then the soldiers enter the quire, and their first business was to
-     tear in pieces all the common prayer-books that could be found.
-     Next they break down all the seats, stalls and wainscot that was
-     behind them, being adorned with several historical passages out of
-     the Old Testament.
-
-     “Now behind the communion-table there stood a curious piece of
-     stone-work, admired much by strangers and travellers: a stately
-     skreen it was, well wrought, painted and gilt, which rose up as
-     high almost as the roof of the church, in a row of three lofty
-     spires, with other lesser spires growing out of them. This now had
-     no imagery work upon it, or anything else that might justly give
-     offence, and yet because it bore the name of the high altar, was
-     pulled down with ropes, lay’d low and level with the ground.
-
-     “Over this place, in the roof of the church, in a large oval yet to
-     be seen, was the picture of Our Saviour seated on a throne; one
-     hand erected and holding a globe in the other, attended with the
-     four Evangelists and saints on each side, with crowns in their
-     hands, intended, I suppose, for a representation of Our Saviour’s
-     coming to judgment. This was defaced and spoilt by the discharge of
-     muskets.
-
-     “Then they rob and rifle the tombs and violate the monuments of the
-     dead....
-
-     “When they had thus demolished the chief monuments, at length the
-     very gravestones and marbles on the floor did not escape their
-     sacrilegious hands. For where there was anything on them of
-     sculptures or inscriptions in brass, these they force and tear off.
-
-     “Having thus done their work on the floor below, they are now at
-     leisure to look up at the windows above.
-
-     “Now the windows of this church were very fair, being adorned and
-     beautified with several historical passages out of Scripture and
-     ecclesiastical story; such were those in the body of the church, in
-     the aisles, in the New Building, and elsewhere. But the cloister
-     windows were most famed of all, for their great art and pleasing
-     variety. One side of the quadrangle containing the history of the
-     Old Testament; another, that of the New; a third, the founding and
-     founders of the church; a fourth, all the kings of England
-     downwards from the first Saxon king. All which notwithstanding were
-     most shamefully broken and destroyed. Yea, to encourage them the
-     more in this trade of breaking and battering windows down, Cromwell
-     himself (as ’twas reported) espying a little crucifix in a window
-     aloft, which none perhaps before had scarce observed, gets a ladder
-     and breaks it down zealously with his own hand.
-
-     “Thus, in a short time, a fair and goodly structure was quite
-     stript of all its ornamental beauty, and made a ruthful spectacle,
-     a very chaos of desolation and confusion, nothing scarce remaining
-     but only bare walls, broken seats and shattr’d windows on every
-     side.”--(P.)
-
-The old story of neglect--“scarce any cathedral in England is more
-neglected,” wrote Browne Willis in 1742--is told of Peterborough in the
-Eighteenth Century; but in 1764-1791 Dean Tarrant collected all the
-fragments of stained glass and inserted them in the two central windows
-of the apse. They deal chiefly with scenes in the life of St. Peter. The
-late history of the Cathedral is only that of repairs, restorations, and
-gifts.
-
-We enter the Minster Precincts by the western gateway, built by Abbot
-Benedict, in the Norman style, in the Twelfth Century. It was altered at
-the end of the Fourteenth Century. The approach is monastic in the
-extreme. The room over the gate was once the Chapel of St. Nicholas.
-After passing through this gate, on the left hand we see all that
-remains of the Chapel of St. Thomas of Canterbury (Fourteenth Century).
-The various gateways, doors, arcades, and remains of ancient buildings
-harmonize well with the venerable and elegant Cathedral.
-
-     “A fine view of the best feature of Peterborough, the west front,
-     is immediately opened with a foreground of smooth turf. The great
-     portico, with its three arches, eighty feet high, of pure Early
-     English style, is unlike anything else in England, and inspires
-     universal surprise and admiration. It was built on the old Norman
-     church, but does not actually touch the western walls.
-
-     “The spires of the portico are of different sizes and designs. The
-     northern does not group well with the transeptal tower behind it,
-     and there is a certain confusion to the eye when so many towers are
-     in our view. The southern transeptal tower was never carried above
-     the roof. The central tower over the choir after being repeatedly
-     repaired and restored, fell in 1884, destroying the interior
-     fittings and stalls, but, on the whole, doing less damage than
-     might have been expected. The tower has been rebuilt, but not to
-     the old pattern, and the four corner turrets have
-     disappeared.”--(W. J. L.)
-
-The =West Front=, with its three magnificent doorways and original wooden
-doors, was the work of Abbots Zachary and Robert of Lindsay (about 1200
-to 1222).
-
-     “Immediately before us we see the noble West Front ‘the pride and
-     glory of Peterborough,’ the finest portico in Europe. With the
-     exception of the porch, the style is pure Early English. On the
-     north and south are two lofty turrets, flanked at the angles with
-     clustered shafts, and crowned with spires. Between these are three
-     pointed arches, supported by clustered shafts, six on each side
-     with foliated capitals. The central arch is narrower than the rest,
-     but its mouldings are ornamented with crockets and dog-tooth. A
-     string-course runs along the top of the arches, and the spandrels
-     have trefoils, quatrefoils and niches with statues. Above the
-     string-course is a series of trefoiled arches, some of which have
-     statues. Between the three gables are pinnacles much ornamented.
-     The gables have circular windows of beautiful design and a cross
-     on the apex; they are ornamented with dog-tooth and have niches
-     with statues--St. Peter in the centre, with SS. John and Andrew on
-     either side. The turrets on the north and south have six stages
-     panelled with arches. The spires are good examples of the
-     difference between those of the Early Decorated and Perpendicular
-     periods. The south spire is connected with the pinnacles of the
-     tower by clustered pinnacles springing from an arch; these are
-     decorated with crockets, and the spire belongs to the early
-     Fourteenth Century; whereas the spire on the north has no such
-     connection and is Early Perpendicular.
-
-     “We now notice the Porch with the parvise over it. This was built
-     late in the Fourteenth Century in order to give additional strength
-     to the west front and act as a kind of buttress to the piers of the
-     central arch. The design is very beautiful. The entrance has an
-     obtuse arch, and above a Perpendicular window with elliptical arch.
-     Buttresses empanelled with niches stand on each side. It has a
-     stone vault of good design. One boss is curious, representing the
-     Trinity. The attitude of the Saviour shows that the figure was
-     designed by a freemason, and bears witness to the antiquity of that
-     fraternity. The parvise is now a library.”--(P. H. D.)
-
-In the latter years of the Fourteenth Century the central porch, with
-its upper room, =Parvise=, was added between the two middle piers of the
-west front. It has been regarded by some critics as a blemish and by
-others as an improvement, but it was probably a necessity for the
-purpose of extra stability.
-
-     “The construction of this elegant little edifice is extremely
-     scientific, especially in the matter in which the thrust is
-     distributed through the medium of the side turrets so as to fall
-     upon the buttresses in front. These turrets being erected against
-     one side of the triangular columns, on the right and the left hand,
-     support them in two directions at once, viz., from collapsing
-     towards each other, and from falling forward. The latter pressure
-     is thrown wholly upon the buttresses in front, which project seven
-     feet beyond the base of the great pillars.”--(F. A. P.)
-
-Turning now to a description:
-
-     “It is vaulted in two bays, the first being of the same dimensions
-     as the inner width of the portico; the western bay (of the same
-     size) thus reaches beyond the two great piers and the corner
-     turrets and buttresses in all project about seven feet. This gives
-     a very substantial support to the piers. The whole composition is
-     very fine, and quite worthy of the great portico to which it is an
-     adjunct. It must be left to each spectator to decide for himself if
-     it improves or diminishes the effect of the whole. It is of late
-     Decorated date, highly enriched with profuse carving. The staircase
-     turrets, as well as the great window, are embattled. The spaces
-     north and south, and within the portico, have tracery on the walls
-     similar to the window. The groining is very fine. One of the
-     central bosses has a representation of the Trinity. The Father is
-     represented as the Ancient of Days, with a Dove for the Holy Spirit
-     above the shoulder and the figure of the Saviour on the Cross in
-     front. Freemasons are recommended to look for a special symbol
-     which they alone can understand and appreciate. The floor of the
-     portico is paved with gravestones, some apparently in their
-     original position. The place was at one time appropriated as a
-     burial-place for the Minor Canons.”--(W. D. S.)
-
-This porch hides the fine central doorway, which is divided by a central
-pillar. A Benedictine monk tortured by demons--probably a hint to the
-brothers--is carved upon it.
-
-     “With a few exceptions, the whole of the interior of the Cathedral
-     is in the Norman style, and many judge it to be the most perfect
-     specimen in England. The plan consists of a nave of ten bays, with
-     aisles and a western transept; transepts of four bays, terminating
-     in an apse, nearly semicircular, with aisles; and beyond the apse a
-     large square-ended addition for more chapels having a groined
-     stone-roof of fan-tracery, now known as the New Building. The
-     ritual choir, as distinguished from the architectural choir,
-     extends two bays into the nave. This arrangement is a return to the
-     ancient one used by the Benedictines, the choir in Dean Monk’s
-     alterations having been limited to the position east of the central
-     tower.
-
-     “As we enter at the west door we see at a glance the entire length
-     and the whole beauty of the admirable proportion of the several
-     parts. While many may wish that the great arches of the tower which
-     can be seen from the west end had never been altered from the round
-     form of the Norman builders, few will regret that the Decorated
-     arches which took their place were retained when the tower was
-     rebuilt, instead of having new arches in the Norman style
-     substituted. The want of colour which is so marked a defect in many
-     English cathedrals is not so conspicuous here, because of the
-     painted ceiling.”--(W. D. S.)
-
-There is no Norman work at the west wall. The great doorway has a round
-arch, but the arcade at the base consists of pointed arches. The
-mouldings here are Early English; and it is inside an Early English arch
-that the =West Window= of Perpendicular tracery is set. We may note that
-the glass is modern and a memorial to officers and soldiers who were
-killed in the South African War.
-
-The =West Transept= extends beyond the aisles. The enormous pointed arches
-have Norman mouldings. In the south end is a =Font= of the Thirteenth
-Century; the north end is a vestry.
-
-     “As we enter we notice the distinctive character of the Norman work
-     of which this Cathedral is a notable and excellent example. In the
-     extreme west there is a blending of the two styles of Norman and
-     Early English, but the monks of Peterborough clung tenaciously to
-     their old ideas and to Norman and Romanesque models, and right up
-     to the end of the Twelfth Century built in this style, not from any
-     desire to imitate the work of their predecessors (as some writers
-     assert), but from an obstinate adherence to conservative tradition.
-     Even when the glorious tide of English Gothic was rising, and they
-     could no longer resist the flood, they clung to the old zigzag
-     mouldings. It is evident from the construction of the third column
-     that they intended to end their church there; but happily the
-     Thirteenth Century brethren decided to rear the noble twin-towered
-     front and the perfect portico. Some of the later columns show
-     Transition work; on one side we see a Norman base or capital, on
-     the other an Early English.
-
-     “There is a grand uninterrupted view of the whole length of the
-     Cathedral from west to east. It will be observed that the lower
-     arch is Decorated, and this adds to the beauty of this view. Before
-     leaving the west we notice some dog-tooth carved in wood, which is
-     somewhat rare.”--(P. H. D.)
-
-The =Nave= consists of ten bays, with Norman arches. The triforium arches
-are Norman; the clerestory windows are Perpendicular. The ceiling is
-very peculiar and very interesting, and is, moreover, original Norman.
-
-     “All agree that the style of the painting is perfectly
-     characteristic of the period. The divisions are of the lozenge
-     shape; in each lozenge of the central line is a figure, and in each
-     alternate one of the sides. The middle set has more elongated
-     lozenges than the others. The borders are black and white, with
-     some coloured lines, in odd zigzag patterns. The figures, which are
-     mostly seated, are very quaint and strange. Some are sacred, some
-     grotesque. We can see St. Peter with the keys, kings, queens and
-     minstrels; we find also a head with two faces, a monkey riding
-     backwards on a goat, a human figure with head and hoof of an ass, a
-     horse playing a harp, a winged dragon, a dancing lion, an eagle,
-     and other curious devices.”--(W. D. S.)
-
-The =Choir= begins with the two east bays of the nave (the same
-arrangement occurs at Norwich), and runs through the space under the
-tower and
-
-[Illustration: PETERBOROUGH: CHOIR, EAST]
-
-[Illustration: PETERBOROUGH: SOUTH]
-
-takes up four bays east of the tower. The piers are alternately round
-and polygonal.
-
-     “This portion was the earliest part of the Cathedral, and was
-     constructed by Abbot de Sais (1114-1125). The hatchet moulding is
-     conspicuous. The triforium arches are double like the nave, and the
-     clerestory has triple arches, the centre one being the highest. The
-     apse is particularly fine. The Decorated style is evident in the
-     windows, which were inserted in the Fourteenth Century instead of
-     the old Norman ones, and the hanging tracery of graceful design was
-     then added. The roof of the choir is late Fourteenth Century work
-     except at the east end where the roof is flat. Here Cromwell’s
-     soldiers discharged their muskets at the figure of our Lord in
-     glory, which they deemed to be an idol. This ceiling was decorated
-     in 1884 by Sir Gilbert Scott. The bosses of the rest of the roof
-     are curious. Nearly all the old glass was destroyed in the Puritan
-     desecration; the remaining fragments have been placed in the two
-     highest east windows. The fittings of the choir are modern except
-     an ancient lectern of Fifteenth Century date, given by Abbot Ramsay
-     and Prior Malden, as the inscription testifies, though it is now
-     scarcely legible. The choir-stalls are remarkably fine. The carved
-     figures contain a history of the Cathedral written in wood.”--(P.
-     H. D.)
-
-Passing behind the High Altar we come to the Retro-Choir, or =New
-Building=:
-
-     “The New Building built beyond the apse is a very noble specimen of
-     late Perpendicular work. It was begun by Abbot Richard Ashton
-     (1438-1471) and completed by Abbot Robert Kirton (1496-1528): the
-     works seem to have been suspended between these periods. The roof
-     has the beautiful fan tracery, very similar on a small scale to
-     that at King’s College Chapel at Cambridge. The building is of the
-     width of the choir and aisles together.
-
-     “The junction of this addition with the original Norman apse is
-     admirable, and should be specially noticed. Parts of the original
-     external string-course of the apse can be seen. The ornamentation
-     on the bosses of the roof and in the cavetto below the windows, and
-     round the great arches from the choir aisles, is very varied.
-
-     “It must be sufficient here to indicate some of the designs. Most
-     need little explanation, but a few are hard to understand. On the
-     roof may be seen the three lions of England, a cross between four
-     martlets, three crowns each pierced by an arrow, and another
-     design. The smaller designs include four-leaved flowers, Tudor
-     roses, fleur-de-lys, the portcullis, some undescribable creatures,
-     crossed keys, crossed swords, crossed crosiers, crosses, crowns,
-     crowns pierced with arrows, crowned female head, an eagle, the head
-     of the Baptist in a charger, an angel, mitres, three feathers
-     rising from a crown, St. Andrew’s cross, and perhaps others. There
-     are also some rebuses and some lettering. On the north wall, in six
-     several scrolls, the letters AR before a church and a bird on a tun
-     occur more than once. This certainly refers to Abbot Robert Kirton;
-     but what the bird means is not clear. In the moulding over the
-     large arch to the south choir are four sets of letters. They form
-     the last verse of the psalter. The words are contracted: they stand
-     for _Omnis spiritus laudet Dominum_.”--(W. D. S.)
-
-The relic of greatest interest in the New Building is the famous =Monks’
-Stone=, which, according to tradition, was constructed in commemoration
-of the massacre of Abbot Hedda and his monks by the Danes in 870.
-Critics are divided in opinion. Some think it Norman, but many accept
-the theory that it is Saxon work. In 1887 remains were found of the
-original Saxon church, which was sacked by the Danes, rebuilt and
-visited by King Edgar and Dunstan. Traces of the fire that destroyed it
-were also found. The east wall stood at the piers of the present south
-transept.
-
-Queen Katherine of Aragon was buried in the north-choir-aisle outside
-the most eastern arch (1535). This was violated by the Puritans. Dean
-Patrick says: “First they demolish Queen Katherine’s tomb; they break
-down the rails that enclosed the place and take away the black velvet
-pall which covered the hearse; overthrow the hearse itself, displace the
-gravestone that lay over her body, and have left nothing now remaining
-of that tomb, but only a monument of their own shame and villainy.” A
-few slabs were recently found beneath the floor; and a marble stone
-bearing coats-of-arms and inscription has lately been placed over this
-spot.
-
-In the south-choir-aisle a tablet tells us that here Mary Stuart was
-buried in 1587, just within the choir. The body was removed to
-Westminster Abbey in 1612. Remains of the hearse between the pillars
-were seen as late as 1800. These royal arms and escutcheons were also
-defaced and torn by the Puritans.
-
-The =Transepts= are Norman, and characteristic Norman mouldings are
-universal. A Perpendicular screen in each separates the transept from a
-sort of eastern aisle, divided by pillars into chapels. In the =North
-Transept= the two chapels of St. John and St. James have been thrown into
-one--now the =Morning Chapel=. Some old Saxon coffin lids are preserved
-here.
-
-The chapels of St. Oswald, St. Benedict, and St. Kyneburga and St.
-Kyneswitha still remain in the =South Transept=. West of the South
-Transept we come to the old =Chapter-House= (very small), now a music
-room. It is late Norman, but it has a Perpendicular doorway.
-
-At the north-east corner of the close we come to the =Deanery Gateway=,
-leading to the Deanery. It is a fine specimen of Late Perpendicular, and
-was erected by Abbot Kirton (Kirkton), whose rebus (a church on a tun)
-appears over the side-door. It has a Tudor arch, with the arms of the
-See in spandrels, and is also ornamented with the Tudor rose and
-portcullis and the Prince of Wales’s feathers. We gain here a very good
-view of the north side of the Cathedral.
-
-The north side is very fine. The arcading on the side of the tower is
-identical with that on the west front. Next we must notice the big
-windows of the western transept, early and fine specimens of cusped and
-traceried windows. The jambs are very peculiar because one side is
-Norman with square capitals, and the other side Early English. The arch
-of the window reaches as high as those of the triforium. Above is a
-round-headed window, and the gable, surmounted by a cross and bordered
-with the wavy ornament, contains a rose-window. Pinnacles, resembling
-those on the west front, adorn the sides of this west transept. The nave
-rises in five stages: a tier of small lights separates the triforium
-from the aisle.
-
-The =Dean’s Door= on this side of the nave is Norman. The three shafts on
-either side, with their cushion capitals, carry round arches with
-characteristic and different mouldings. There are ten windows, very
-broad, of five lights each, under depressed arches. They were inserted
-in the Thirteenth Century. The parapet at the top is Early English.
-
-The north transept has seven stages of windows (Perpendicular), and
-blind arcades and a battlemented gable, flanked by octagonal turrets.
-
-Here we gain a view of the lantern tower, rebuilt in 1884. Then we come
-to the choir, and lastly to the =New Building=. The Decorated windows of
-the apse are particularly fine.
-
-     “The east end of Peterborough is rather peculiar. There remains the
-     old Norman apse with Decorated windows inserted, and this is
-     surrounded by what is called the New Building, though it is 400
-     years old, formed by extending the walls of the choir and building
-     a square end to the Cathedral. This was erected by Abbot Kirton.
-     His work possesses the best features of Perpendicular style. It is
-     richly ornamented and when we examine his work we cannot say that
-     the glories of Gothic achievement had quite departed. We see the
-     twelve buttresses, each terminated with a seated figure, usually
-     said to be one of the Apostles.”--(P. H. D.)
-
-Turning round the east end we come to the ruins of the Infirmary,
-erected about 1260. Some fine arcading is still to be seen. Afterwards
-we come to the =Slype=, once vaulted, but now open to the sky, which
-formerly connected the Refectory with the Chapter-House, on the east
-side of the =Cloister=. Only the south and west walls of the =Cloister
-Court= remain. This is always called =Laurel Court=, though the origin is
-unknown.
-
-The south side of the Cathedral is more beautiful than the north, from
-which it differs by having two doorways into the nave from the
-cloisters, and a very fine south-west spire, early Fourteenth Century
-work. A beautiful view of this spire and the bell-tower is obtained from
-=Laurel Court=.
-
-
-
-
-ELY
-
-     DEDICATION: ST. ETHELREDA. CHURCH OF A BENEDICTINE MONASTERY.
-
-     SPECIAL FEATURES: THE OCTAGON; GALILEE PORCH; LADY-CHAPEL; BISHOP
-     ALCOCK’S CHAPEL; BISHOP WEST’S CHAPEL; MONK’S DOOR.
-
-
-Ely is perhaps the most singular and beautiful of English cathedrals,
-when seen from a distance; for the massive building, with its turrets,
-buttresses, and pinnacles, rises with splendid majesty from the green
-meads that make a perfect foreground.
-
-     “The first glimpse of Ely overwhelms us, not only by its
-     stateliness and variety of its outline, but by its utter
-     strangeness, its unlikeness to anything else. Ely, with its vast
-     single western tower, with its central octagon unlike anything else
-     in the whole world, has an outline altogether peculiar to
-     itself.”--(E. A. F.)
-
-About 655 Etheldreda, daughter of the King of East Anglia, went to live
-in the fen-land district, known as the Isle of Ely, that had come into
-her possession according to the terms of her marriage settlement with
-Tonbert, one of the noblemen of her father’s court. The civil government
-of her territory she gave to a steward named Ovin, while she devoted
-herself to good works. She was induced to marry Egfrid, son of Oswy,
-King of Northumberland, who became king in 670. Etheldreda, wearied of
-court life, became a nun; and when Egfrid determined to force her to
-return to court she fled from Coldingham to the Isle of Ely, where she
-established a religious house. She began to build in 673. The monastery
-over which Etheldreda presided as abbess was a mixed community. Bede
-calls it a nunnery. Etheldreda died in 679 and was buried, according to
-her own request, in the nuns’ graveyard. Her body was, however, removed
-into the church on October 17, 695. When the body was placed in a marble
-sarcophagus it was found in perfect preservation, and miracles took
-place. Two hundred years later the Danes ravaged Ely and destroyed the
-monastery (870), which was rebuilt in 970 by King Edgar and Bishop
-Ethelwold, of Winchester. The prior of Winchester, Brithnoth (970-981),
-was appointed its first abbot. There were no nuns in the new monastery.
-
-The monks of Ely educated Edward the Confessor, who had been offered on
-this altar in infancy by his parents. After he became king he continued
-his “favourable regard to the place.” His brother, Alfred, whose eyes
-were put out by Earl Godwin, died and was buried in Ely. Ely was the
-last stronghold of Hereward; and it took the monks a long time to make
-their peace with the Conqueror. In order to raise enough money to
-purchase forgiveness they were forced to sell almost every article of
-gold and silver that they owned. Thurston, the last Saxon abbot
-(1066-1072), remained in charge of the monastery until his death. When
-Simeon, prior of Winchester, and brother of Walkelyn, Bishop of
-Winchester, was made abbot in 1081, it was deemed necessary to build a
-more sumptuous church. Simeon contributed a great part of his large
-fortune. He began with the transepts; and built the central tower, often
-called “Simeon’s Tower.”
-
-Richard (1100-1107), a Norman, and relative of the king, finished the
-east end in 1106. Two bays of the nave next to the tower were also his
-work, and he continued Simeon’s Tower. During Richard’s rule the remains
-of St. Etheldreda, St. Sexburga, St. Ermenilda, and St. Withburga, the
-first four abbesses, were re-buried before the high altar.
-
-In 1109 Ely was made a cathedral; but nothing seems to have been done to
-the building until Bishop Riddell (1174-1189) “carried on the new work
-and Tower at the west end of the church, almost to the top.”
-
-Eustache (1198-1215), one of the bishops appointed to excommunicate King
-John, built the celebrated =Galilee Porch= at the west end. He contributed
-large sums out of his private fortune.
-
-Hugh Norwold, or Northwold (1229-1254), built the six eastern bays of
-the presbytery, and the palace. Again were the remains of St.
-Etheldreda, St. Sexburga, St. Ermenilda, and St. Withburga removed to
-this part of the church, and the Cathedral was dedicated in 1252. King
-Henry III. and Prince Edward were present. When Bishop Norwold died
-(1254), he was buried at the feet of St. Etheldreda. His monument was
-removed to the north side of the presbytery, third arch from the east.
-
-John Hotham (1316-1337) built the choir. It was during his bishopric
-that the Tower fell, and he provided for the building of the wrecked
-western bays.
-
-The Fourteenth Century brings us to the greatest of all the Ely
-builders, the supreme artist and architect, Alan de Walsingham,
-sub-prior, sacrist, and finally prior. In 1321 he began the =Lady-Chapel=,
-which was finished in 1349. Its position is
-
-[Illustration: ELY: WEST TOWERS]
-
-[Illustration: ELY: CHOIR, EAST]
-
-peculiar--north-east of the north transept. Its site was chosen in all
-probability because St. Etheldreda’s shrine occupied the sacred east
-end. Walsingham’s great work, however, is the celebrated =Octagon=.
-
-On the eve of St. Ermenilda’s Day, February 12, 1322, just after the
-monks had finished matins, the central tower fell and destroyed three
-bays of the choir. There was no wicked king in this case to blame for
-the calamity, as was the case with the similar tower built by Simeon’s
-brother at Winchester (see pages 55-56).
-
-     “No one could possibly have been found in the whole kingdom better
-     qualified to cope with the great disaster that took place at Ely in
-     1322 than the officer of the house who had the special custody of
-     the fabric. The originality and skill with which he designed and
-     carried out the noble work that takes the place of the central
-     tower, which is without a rival in the architecture of the whole
-     world, are beyond all praise. The exquisite work in the Lady-Chapel
-     would in itself have been sufficient to establish Walsingham’s
-     reputation as an architect of the very highest order of merit; but
-     it would have revealed nothing, if it stood alone, of the
-     consummate constructive genius which he displayed in the conception
-     of the octagon.
-
-     “The building was begun as soon as the space was cleared. The
-     stonework was finished in 1328, little more than six years after
-     the tower fell. The woodwork of the vaulting and lantern took
-     longer time; but this also was quite complete in 1342. Walsingham
-     had become prior in the previous year. The weight of the lantern,
-     it need hardly be said, is not borne, though it looks like it from
-     below, by the vaulting that we see. There is a perfect forest of
-     oak hidden from sight, the eight great angle posts being no less
-     than 3 feet 4 inches by 2 feet 8 inches in section.
-
-     “With such a man as Walsingham on the spot we cannot be wrong in
-     assigning to him the authorship of all the architectural designs
-     that were carried out in his lifetime. It is believed--for the
-     date is not exactly known--that he died in 1364. Besides the
-     Lady-Chapel and Octagon, he must have designed the singularly
-     beautiful bays of the presbytery between the Octagon and
-     Northwold’s work. The exquisite way in which the main
-     characteristics of the Early English work are adapted to the
-     Decorated style demands our highest admiration. The arrangement of
-     the three western bays on each side is exactly like Northwold’s
-     work, while the additional grace and beauty of ornamentation mark
-     the advance in taste that distinguished the Decorated period.
-     Bishop Hotham undertook the whole expense of rebuilding this
-     portion of the cathedral. He did not live to see it completed, as
-     he died in 1337, but he left money for the purpose.”--(W. D. S.)
-
-Walsingham, though elected bishop by the monks, was not confirmed by the
-Pope. However, when they placed the brass over his resting-place in
-front of the choir they represented “The Flower of Craftsmen” (_Flos
-operatorum_ was his epitaph), with mitre and crozier.
-
-Ely suffered less than many churches during the Puritan wars.
-
-The most important work of late years has been the restoration of the
-octagon and lantern, as originally designed by Alan de Walsingham.
-
-The great =West Tower= (Early English and Decorated) was built before the
-Galilee Porch, about the last year of the Twelfth Century. It is
-surmounted by an octagon with a window of three lights in each face. An
-octagonal turret ornaments each corner. Windows and arcades mark each
-story. A fine view of it is obtained from the south side.
-
-The =Galilee Porch= is one of the finest examples of Early English in
-existence and is only surpassed by Bishop Hugh’s Choir at Lincoln.
-
-     “Each side externally, is covered with lancet arcading in four
-     tiers. In the upper tier the lancets are trefoiled with dog-tooth
-     in the moulding; in the next lower tier the lancets are
-     cinquefoiled, with two sets of dog-tooth. The lancets in the west
-     face are all cinquefoiled, and the three lower tiers have trefoils
-     in the spandrels. Nearly all are highly enriched with dog-tooth;
-     while the mouldings of the west door have conventional foliage as
-     well. The lancets here are deeper than on the sides of the porch,
-     and were probably designed to hold figures. Of the three large
-     lancets in the west window the central one is slightly more lofty
-     than the others.
-
-     “The interior of the porch is even more beautiful; the profusion of
-     ornamentation on the inner doorway and the exceeding gracefulness
-     of the double arcades in the sides are quite unsurpassed. Both
-     doorways are divided by a shaft and both have open tracery of
-     exceptional beauty above.”--(W. D. S.)
-
-In addition to this feature, Ely has the unique =Octagon=, a good view of
-which is obtained from the north-west. It is beautifully proportioned
-and beautifully decorated with windows of exquisite tracery.
-
-     “The way in which the octagon and lantern combine in producing a
-     perfectly harmonious composition is in great part due to two points
-     of difference, points which very few observers detect. These are,
-     firstly, that the lantern is a regular octagon, having all its
-     sides equal, in this respect being unlike the stone octagon beneath
-     it; and, secondly, that the eight faces of the lantern are not
-     parallel to the eight faces of the octagon. The new windows of the
-     lantern are similar to the large ones below, but are not mere
-     copies of them. The upper stage of the lantern, above the roof as
-     seen from within, was once a bell-chamber; its lights are not, and
-     never have been, glazed. The whole of the lantern is of wood,
-     covered with lead. Two flying-buttresses rise from the corners of
-     the nave and transept aisles to the corbel table of the clerestory
-     range. There are also eight elegant flying-buttresses, one to each
-     of the angles of the lantern. These are part of the new work, the
-     originals having long disappeared.”--(W. D. S.)
-
-The north-western part of the north transept fell in 1699, and was
-rebuilt by Sir Christopher Wren, nephew of Bishop Wren, then in office.
-The north end of the transept contains Norman windows, and above them
-are two Perpendicular windows, each of three lights. In the east wall of
-the transept the lower lights are Decorated; the upper windows are the
-original Norman.
-
-Next we come to the =Lady-Chapel=, the east window of which (seven lights)
-was inserted by Bishop Barnet (1366-1373), who also “beautified five of
-the windows in the presbytery.” The west window (eight lights) is of a
-little later date. In the side walls of the Lady-Chapel are five large
-windows, the tracery of which is very beautiful.
-
-The =East End= is a superb illustration of Early English, although
-slightly altered from its original state by the introduction of the
-windows in the chapels of Alcock and West, and a plain wall for the
-original windows in the south aisle.
-
-Flying-buttresses support the roof of the presbytery and choir. The
-Perpendicular window of seven lights attracts our notice in the south
-end of the south transept.
-
-The entrance to the Cathedral from the south opens from the eastern end
-of the cloisters and is called the =Monks’ Door=.
-
-The ornamentation is very rich. One spiral column is especially fine.
-The arch is trefoiled with cusps, having circular terminations with star
-ornament, and in the spandrels are quaint, crouching monks, each
-holding a pastoral staff. Two twisted dragons writhe above.
-
-At the west end of the north alley of the cloisters we come to the
-=Prior’s Door=, a fine specimen of late Norman. In the tympanum is a
-carving in high relief of the Saviour.
-
-Entering through the West we have a full view of the Cathedral, the
-vista fortunately not broken, for the open screen permits the gaze to
-wander the whole length to the east end. The massive Perpendicular
-arches here were built beneath the Norman ones to secure stability for
-the big tower that we have just examined.
-
-The =Nave= is one of the most perfect specimens of late Norman. It is very
-similar to that of Peterborough. Ely, however, offers no suggestion of
-the transition of the next style, as does Peterborough. The Ely nave is
-supposed to have been finished before 1173, a little before
-Peterborough’s, and after that of Norwich. It contains twelve bays and
-measures 208 feet. The piers are of alternate design. In front of each a
-shaft runs up to the roof. As we follow this with our eyes we see that
-the ceiling is painted with Biblical subjects; but these pictures need
-not detain us, as they are modern. The billet moulding decorates the
-string-course above the main arcade. Most of the capitals are cushion.
-
-The =Octagon= is the gem of the whole Cathedral.
-
-     “Few visitors will perhaps be disposed to examine any of the
-     objects of interest in the cathedral before an inspection of the
-     beauties of this magnificent erection, the first sight of which,
-     from one of the smaller arches towards the aisles, is a thing never
-     to be forgotten. There is not one of the many able artists and
-     architects who have written about the Octagon that has not spoken
-     of it as being without rival in the whole world; and the admiration
-     that was expressed fifty and more years ago would have been far
-     greater, and the enthusiasm more profound, had the writers seen it
-     in its present state of perfect restoration. No description can do
-     adequate justice to the grandeur of the conception or to the
-     brilliancy of the execution of this renowned work.
-
-     “The four great arches rise to the full height of the roof; that to
-     the east, indeed, is higher than the vaulted roof of the choir and
-     presbytery, the intervening space being occupied with tracery of
-     woodwork on painted boards, the Saviour on the Cross being painted
-     in the middle. The wooden vaulting of the Octagon springs from the
-     capitals on the same level as those of the great arches. The four
-     small arches to the aisles are of course no higher than the roofs
-     of the aisles: above these, on each side, are three figures of
-     apostles, under canopies with crockets. The figures are seated, and
-     each holds an emblem, by which it can be seen for whom the figure
-     is intended. It may be noticed (in the central figure on the
-     south-west side) that St. Paul, not St. Matthias, is put in the
-     place of Iscariot. The hood-moulds of the arches are terminated by
-     heads, of which six are portraits. King Edward III. and Queen
-     Philippa are at the north-east, Bishop Hotham and Prior Crauden at
-     the south-east, Walsingham and his master-mason (so it is believed)
-     at the north-west; those to the south-west are mere grotesques.
-     Above the seated figures on each side is a window of four broad
-     lights, filled with stained glass. The eight chief vaulting shafts
-     rise from the ground as slight triple shafts; they support, a
-     little above the spring of the side arches, large corbels, which
-     form bases for exquisitely designed niches, and through these
-     spring more shafts reaching to the vault. On each of the corbels is
-     a boldly carved scene from the career of St. Etheldreda; they
-     commence at the north-west arch. The subjects (two to each arch)
-     are as follows:
-
-     “North-west arch: St. Etheldreda’s second marriage. Her taking the
-     veil at Coldingham.
-
-     “North-east arch: Her staff taking root. Her preservation in the
-     flood at St. Abb’s Head.
-
-     “South-east arch: Her installation as Abbess of Ely. Her death and
-     burial (two scenes).
-
-     “South-west arch: One of her miracles. Her translation.
-
-     “In order to understand these wonderful sculptures more fully we
-     refer to the _Liber Eliensis_ which describes Etheldreda as
-     hurrying away from Coldingham with two ladies, Sewenna and Sewara,
-     and as reaching a rocky place on the coast where they were
-     overtaken by the king, but the three ladies crossed the Humber and
-     proceeded south, dressed as pilgrims. One night, while the queen
-     slept, her staff, placed in the ground, burst into leaf and flower.
-     On this spot a church was built and dedicated to St. Etheldreda.
-     When the three pilgrims arrived in the Isle of Ely, they were
-     joined by Wilfrid, the archbishop of York, who induced Etheldreda
-     to take the veil. The miracle referred to in the south-west arch
-     shows St. Etheldreda and St. Benedict appearing to a monk named
-     Brytstan, who was charged with seeking refuge in a monastery in
-     order to escape punishment for robberies of which he had been
-     guilty. The miracle was told to Queen Matilda, who freed
-     Brytstan.”--(W. D. S.)
-
-The =Screen= separating the choir from the Octagon was designed by Scott.
-It is of oak, delicately carved in geometric patterns, and bearing a
-cross on the cresting that runs along the top. The gates are brass.
-
-The first three bays of the choir were begun about 1240; the last six,
-forming the presbytery, were finished in 1340. The space of a hundred
-years thus lies between them.
-
-     “In the juxtaposition of these two magnificent specimens of the
-     Early English and Decorated periods of architecture there is an
-     opportunity of comparison which on such a scale occurs nowhere
-     else. It is to be remembered that in neither case is the treatment
-     of the upper part quite in accordance with the usual practice of
-     the period. When the presbytery was being built there were still
-     standing east of the central tower the four original bays of the
-     Norman choir. These, it may be assumed, were very similar in
-     character to those in the nave. There would, beyond question, have
-     been in each bay large triforium arches, each with a couple of
-     subordinate arches; and a single window in the clerestory with a
-     blank arch on each side. Bishop Northwold’s work was purposely made
-     to correspond with these bays as far as Early English work could do
-     so; and when after the fall of the tower it became necessary to
-     rebuild the choir, Bishop Hotham in like manner made his Decorated
-     work correspond with the Early English presbytery. The choir is, as
-     would be expected, richer in detail as well as more elaborate in
-     design; and it would be difficult to find in England anything to
-     surpass the tracery of the clerestory windows and triforium arches,
-     the beautiful cusped inner arches of the clerestory range, the open
-     parapets at the base of the two stages, or the long corbels,
-     covered with foliage, that support the vaulting shafts. In the
-     choir the clerestory windows have four lights each; in the
-     presbytery are triplets. The old colouring has been renewed
-     throughout. On the north side of the choir the three bays are
-     precisely alike; but on the south there is a variation in the
-     tracery of the western triforium arch. There are also shields of
-     arms (of the See of Ely and of Bishop Hotham) in the spandrels of
-     the triforium and arch below; and the shaft between this arch and
-     the next is enlarged at the top into a base for a statue (probably
-     of St. Etheldreda); while level with the string above is a very
-     fine large canopy (called by the workmen ‘the table’), which is
-     like nothing else in the cathedral. The clerestory windows also on
-     the south have different tracery.
-
-     “The difference between the two styles of architecture is well
-     marked in the groining of the roof, the Decorated portion being
-     much more elaborate. Some of the bosses are very remarkable: one
-     has St. Etheldreda with pastoral staff; one has the coronation of
-     the Virgin Mary; one has the foundress bearing the model of a
-     church, in which (as Dean Stubbs has pointed out) both arms of the
-     western transept are represented, so that it is a fair inference
-     that at the time this roof was constructed the whole of the western
-     transept was standing.
-
-     “Between the choir and presbytery there rise the massive Norman
-     piers built as the entrance to the apse; and these are the only
-     remains of the Norman church east of the octagon.”--(W. D. S.)
-
-The magnificent =Choir-Stalls=, with their beautiful canopies, are thought
-to be Walsingham’s work. They are considered the finest Decorated stalls
-in existence. The misereres show wonderful carvings.
-
-The =Reredos=, of alabaster, designed by Scott, stands in the centre of
-the screen of stone that runs along the whole of the presbytery, the
-lower part of which is a diaper pattern and the upper portion an open
-arcade of six arches (Early Decorated style).
-
-     “The east end of Ely is the grandest example of the grouping of
-     lancets.... Ely is also undoubtedly the head of all east ends and
-     eastern limbs of that class in which the main body of the church is
-     of the same height throughout, and in which the aisles are brought
-     out to the full length of the building.”--(E. A. F.)
-
-At the end of the north-choir-aisle we come to the =Chapel of Bishop
-Alcock= (died 1500), Bishop of Ely from 1486 to 1500. He was a great
-architect, built the great hall in the Bishop’s palace at Ely and also
-this very ornate chapel. It dates from 1488. The roof is composed of
-fan-tracery, with a large pendant; and the walls are covered with
-canopies, tabernacles, crockets, niches, panels and other decorations
-with lavish display. The figures have gone from the niches. A cock on a
-globe--Alcock’s rebus--occurs on the stone-work very frequently.
-
-At the end of the south-choir-aisle we find the corresponding =Chapel of
-Bishop West= (died 1533). This is similar in style to the Alcock chapel,
-but less ornate.
-
-Several bishops are buried in this chapel. Though we may care little or
-nothing for the careers of the dignitaries who lie there, or who are
-perpetuated by monuments, we find among the tombs some fine examples of
-sculpture and ornament of the past.
-
-For instance, that of =Bishop Louth= (died 1298), under the first arch of
-the presbytery in the south-choir-aisle, is a fine example of Early
-Decorated.
-
-In the last arch, before reaching Bishop West’s Chapel, the tomb of
-=Bishop Hotham= (died 1337) calls for attention.
-
-Under the four arches of the presbytery on the north, between the stalls
-and the altar, is that of =Bishop Redman= (died 1505), a very fine
-specimen of enriched Perpendicular work.
-
-Next is the effigy of =Bishop Kilkenny= (died 1256), a fine example of
-Early English.
-
-In the next arch a large Decorated structure of two stories, believed by
-Scott to have been built by Walsingham as the base for the =Shrine of St.
-Etheldreda=, was formerly known as Bishop Hotham’s shrine.
-
-In the arch north of the altar is the tomb of the builder of the
-presbytery, =Bishop Northwold= (died 1254), who is represented in full
-vestments.
-
-It is only natural that the transepts should show similarity with those
-of Winchester, consecrated in 1093, seven years before Simeon of
-Winchester came to Ely. He began his work, as we have seen, here, and
-got up as far as the triforium. The clerestory was added by his
-successor. Alterations took place at later periods, and now both
-triforium and clerestory are almost identical with those in the nave.
-
-In the south transept Perpendicular windows of
-
-[Illustration: ELY: EAST END AND LADY-CHAPEL]
-
-[Illustration: ELY: LADY-CHAPEL]
-
-three lights have replaced the western windows of the triforium. Two
-large Perpendicular windows ornament the north end and a curious window
-of seven lights adorns the south. Galleries, arches, and arcades afford
-exceedingly interesting study.
-
-On the east of the north transept are three chapels, one of which has
-been restored for private devotion. Old paintings of the Martyrdom of
-St. Edmund on the roof have given it the name of =St. Edmund’s Chapel=.
-The screen in front dates from about 1350.
-
-From the north transept we enter the =Lady-Chapel=.
-
-     “Notwithstanding the cruel mutilation of the sculpture all round
-     this chapel, it can be seen that for perfection of exquisite work
-     there is no building of the size in this country worthy for one
-     moment to be compared with this in its unmutilated state. Its
-     single defect strikes the beholder at once: the span of the roof is
-     too broad and the vaulting too depressed for the size of the
-     chapel. The windows on the north have been restored. The end
-     windows, which are of great size, are of later date; that to the
-     east has a look of Transition work about it. The building was
-     finished in 1349, and the east window was inserted by Bishop
-     Barnet, _circa_ 1373. The great beauty of the interior consists in
-     the series of tabernacle work and canopies that run round all the
-     four sides below and between the windows. The heads of the canopies
-     project. In the tracery beneath, at the head of the mullion, was a
-     statue. The delicate carving of the cusps and other tracery is
-     varied throughout. On the spandrels were incidents connected with
-     the history of the Virgin Mary (mainly legendary) and of Julian the
-     Apostate; and though in no single instance is a perfect uninjured
-     specimen left, yet enough remains, in all but a few cases, for the
-     original subjects to be identified. All was once enriched with
-     colour, and many traces remain; and in various parts of the windows
-     there are fragments of stained glass. Most of the monumental
-     tablets which once disfigured the arcade below the windows have
-     been happily removed into the vestibule. The arches and canopies at
-     the east end are arranged differently from those on the sides. In
-     the roof, which reminds us of the contemporary roof in the choir,
-     are some carved bosses, not large, but singularly good. Among the
-     subjects can be recognised a Crucifixion, with half-figures beside
-     the cross; Adam and Eve; the Virgin Mary and Elizabeth, holding
-     between them a book inscribed ‘Magnificat’; the Annunciation, with
-     ‘Ave Maria Gratia plena’; the Ascension, indicated by the skirt and
-     feet of the Saviour and five heads of apostles; the Coronation of
-     the Virgin; and the Virgin in an aureole.”--(W. D. S.)
-
-
-
-
-NORWICH
-
-     DEDICATION: THE HOLY TRINITY. CHURCH OF A BENEDICTINE MONASTERY.
-
-
-This Cathedral was begun in 1096 by Herbert de Losinga, the bishop
-appointed by William Rufus, who had received his education in Normandy,
-and who became prior of Fécamp. No earlier church stood on the site. It
-was dedicated to the Holy Trinity.
-
-     “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.
-
-     “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 and St.
-     Bartholomew’s.
-
-     “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.”--(C. H. B. Q.)
-
-Norwich acquired its chief saint in the Twelfth Century, and a saint,
-moreover, that much resembled Little Saint Hugh of Lincoln. A young
-boy, William, the child of simple country people, was murdered by the
-Jews in the city. Immediately after his death miracles took place. The
-monks placed his altar near the ante-choir, and raked in the offerings.
-
-The Cathedral suffered from fires, and the tower was struck by lightning
-in 1271. There was also a terrible riot between the people and the monks
-in the Thirteenth Century, when the Cathedral was besieged. The
-monastery and the Cathedral were burned, and many monks were killed.
-Some citizens of Norwich were hanged, drawn and quartered, and the city
-had to repair the church. The monks were compelled to erect new gates
-and entrances, one of which, St. Ethelbert’s Gate, still exists (see
-page 351).
-
-About 1361 the spire and parts of the tower were blown down, and the
-presbytery was damaged. Therefore, the clerestory was rebuilt, and in
-the transitional style from Decorated to Perpendicular. The Cloisters
-date from about this time, and so does the Erpingham Gate. In the middle
-of the Fifteenth Century the nave vault was constructed; and it was
-under the two rules of Bishop Lyhart and Bishop Goldwell that the
-Cathedral was practically completed as we see it to-day. Dean Gardiner
-pulled down the Lady-Chapel and the Chapter-House in the Sixteenth
-Century, and in the Seventeenth Century Cromwell’s soldiers took
-possession.
-
-Bishop Hall tells us how they behaved:
-
-     “Lord, what work was here, what clattering of glasses, what beating
-     down the Walls, what tearing up of Monuments, what pulling down of
-     Seats, 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.”
-
-The Precincts are, like those of all English cathedrals, lovely, and
-these are fortunate enough to be entered by several ancient gates. The
-one on the south, =St. Ethelbert’s Gate= (Early Decorated), was built in
-the Thirteenth Century, after the riots and fire of 1272. The =Gate House=
-(Perpendicular), on the north, is the entrance to the Bishop’s Palace.
-
-Opposite the west front we find the =Erpingham Gate=, built about 1420, by
-Sir Thomas Erpingham, whose figure stands in the niche over the wide
-arch. It is a greatly admired piece of Perpendicular work.
-
-The =West Front= (Perpendicular) clearly defines the width of the nave and
-the aisles on either side. Over the centre door is the large west window
-of nine lights, often compared to the window of Westminster Hall. Above
-is a gable, surmounted by a cross. The doors date from 1436, and the
-west window from Bishop Lyhart’s time (1446-1472). There are no towers
-here; for the pinnacles placed on the side turrets in 1875 are not
-deserving of this name.
-
-     “The Tower and Spire stand at the intersection of the choir and
-     transepts, covered with vertical shafts on the face of each. The
-     tower is Norman buttress, which is finished by a crocketed
-     pinnacle. 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 crocketed spire. The rest of the
-     tower was finished during the reign of Henry I., and is a beautiful
-     specimen of the work of that time; the stonework was almost
-     entirely refaced in 1856. The tower was crowned by a wooden spire
-     from 1297; this was blown down in 1361, damaging the presbytery so
-     badly that the clerestory had to be rebuilt. The wooden spire was
-     constructed probably at the same time, and the present Early
-     Perpendicular turrets were added. The spire was again in 1463
-     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.
-
-     “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, or presbytery, takes its history from the tower.
-     Here, as in the nave, the original triforium windows are 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, 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.”--(C. H. B. Q.)
-
-The south transept projects under the central tower.
-
-Next follows the =Chapel of St. Mary the Less= (Fourteenth Century)
-projecting southward, then the circular =Chapel of St. Luke= (Norman),
-very peculiar in form, with two rows of arcading.
-
-The north side is well viewed from the =Bishop’s Gardens=. It differs
-little from the south side, except in the fact that it has been less
-restored. The chapel corresponding with the Chapel of St. Luke is the
-=Jesus Chapel=, and is also circular. Here we find Perpendicular windows
-inserted in the Norman work.
-
-     “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 the 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
-     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.”--(C. H. B. Q.)
-
-Norwich Cathedral is famous for its magnificent interior. A noble view
-is obtained on entering, for the great =Nave= reaches 200 feet to the
-choir-screen; and if the organ on the latter were removed, the view
-would be longer, for the extreme length of the Cathedral is 407 feet.
-The perspective is splendid, as it is, and very largely is it so because
-of the lierne vault of Perpendicular days, which relieves the severity
-of the Norman work below.
-
-The nave consists of seven double bays (fourteen compartments) from the
-west end to the transepts. The main piers are, of course, large, and the
-arcade arches are ornamented with the billet. The triforium arches are
-decorated with a chevron or zigzag. Over it is the typical Norman
-clerestory and above all spreads the handsome lierne vault
-(Perpendicular). This splendid vault (72 feet), built by Bishop Lyhart
-(1446-1472), after the Norman roof had been destroyed by fire in 1463,
-is of great value to the student. There are 328 carved bosses at the
-intersection of the ribs, the subjects of which are taken from Biblical
-history.
-
-     “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.
-
-     “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.”--(C. H. B. Q.)
-
-In the aisles we find Decorated windows, and in the triforium,
-Perpendicular windows.
-
-The =Choir-Screen= was erected by Bishop Lyhart in 1446-1472, but only the
-lower part survived the fury of the Puritan mob. The organ was placed in
-its present position in 1833. Immediately under the organ loft is a
-single compartment, blocked off from the north and south aisles by
-screens that originally belonged to one old screen (Perpendicular). This
-=ante-chapel= was formerly the chapel of Our Lady of Pity.
-
-The =Choir= extends a little into the nave, and, therefore, beyond the
-tower and transepts. There are sixty splendid =Choir-stalls= of the
-Fifteenth Century, with ornate _misereres_. The Bishop’s Throne and
-Pulpit are modern. The old Pelican Lectern, in the Decorated style,
-should be noticed.
-
-[Illustration: NORWICH: EAST]
-
-[Illustration: NORWICH: CHOIR]
-
-The =Presbytery= is the earliest part of the cathedral. It consists of
-four compartments, or bays, and terminates in a semicircular apse of
-five compartments. We find here Perpendicular arches, a lofty Norman
-triforium, and clerestory windows of the transitional period from
-Decorated to Perpendicular. The whole effect is Norman and noble.
-Unfortunately the old glass of the windows has perished.
-
-The aisles of the presbytery are also called the =Processional Path=, and
-consist of four bays, and five around the apse. A door in the north
-aisle opens into the gardens of the Bishop’s Palace; and in this aisle,
-at the fourth bay east of the tower, there is a very peculiar
-bridge-chapel that spans the aisle. Critics say that it formed the
-ante-chapel to the reliquary chapel projecting northward from the outer
-wall of the Cathedral, and that it was probably built as a bridge for
-exhibiting relics as the processions passed along underneath.
-
-On the south side of the presbytery (third bay) is the =Chapel of St.
-Mary the Less=, or =Bauchon Chapel= (Fourteenth Century). It projects
-beyond the wall. The vault is Fifteenth Century, and the bosses
-represent the Life, Death and Assumption of the Virgin. This is now the
-Consistory Court.
-
-The =north transept= is without aisles or triforium. Arcading decorates
-the wall up to the clerestory. Above is a lierne vault of later date, of
-course, than the transept. The old apsidal chapel on the east (dedicated
-to St. Anne) is now used as a storeroom.
-
-A staircase in the east wall of the north transept leads to the
-tower-galleries and walks, very interesting in themselves and affording
-glimpses through their openings into the nave, presbytery and transepts
-below.
-
-Between the south aisle of the presbytery and the =south transept= a
-beautiful screen of late Perpendicular tracery fills the Norman arch.
-The roof, like that of the north transept, originally of wood, was
-destroyed by fire in 1509, and a new vault added in Perpendicular times.
-
-Of the three chapels grouped around the presbytery the =Jesus Chapel= on
-the north and the chapel on the south, =St. Luke’s=, remain. The
-=Lady-Chapel=, at the extreme east, has perished.
-
-The Norman Lady-Chapel was partly destroyed by the fire of 1169, and was
-succeeded by an Early English chapel of the Thirteenth Century. This was
-destroyed in the Sixteenth Century; but the finely proportioned entrance
-arches still remain. They are ornamented with the dog-tooth.
-
-It is not often that ancient altar-pieces are found in the English
-cathedrals; but Norwich possesses a =Retable=, supposed to be the work of
-an Italian painter of the Fourteenth Century. It is in five panels--The
-Scourging, Bearing the Cross, Crucifixion, Resurrection and Ascension.
-It was formerly in the Jesus Chapel.
-
-The =Cloisters= are in their usual position--on the south. Originally
-these were Norman, and perished by fire in 1272. The present ones were
-133 years in building, and so they reveal the developments of
-architecture during 1297-1430. The cloister garth is about 145 feet
-square.
-
-     “The arches are filled with open tracery carried by two mullions.
-
-     “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.”--(C. H. B. Q.)
-
-They are entered from the south side of the nave, of course. The =Monk’s
-Door=, opening into the East Walk, is an ornate specimen of
-Perpendicular; and the =Prior’s Door=, opening into the West Walk, a fine
-specimen of Early Decorated.
-
-
-
-
-ST. ALBANS
-
-     DEDICATION: ST. ALBAN. CHURCH OF A BENEDICTINE MONASTERY.
-
-
-When Sir Gilbert Scott began to restore and repair the old abbey church
-of St. Albans, in 1870, he found it in a very dilapidated condition.
-Among other base uses to which various parts of the Cathedral had been
-put, the Lady-Chapel had been converted into a grammar-school, and a
-thoroughfare had been made through the retro-choir. After Scott’s death,
-in 1878, Lord Grimthorpe, who had been diligent and liberal for years
-regarding restorations, succeeded in getting control of the entire work.
-He made various changes and additions, and inserted windows at his own
-pleasure, not always with judgment, nor in the best taste. The
-consequence is that St. Albans is open to much criticism. Yet it remains
-an interesting old pile in many respects.
-
-St. Albans did not become a cathedral until 1877. It was a famous old
-abbey church, dating back to the days of Offa II., King of the Mercians,
-who founded a Benedictine monastery here about 793. From this time until
-the suppression of the monasteries by Henry VIII., the Abbey of St.
-Albans was of the greatest importance. Its Abbot had a seat in the House
-of Lords, and took precedence of all the abbots in the kingdom.
-Naturally, therefore, the list of abbots is notable. Some of them were
-related to the royal family. Among those especially distinguished were:
-Paul of Caen, John de Cella, William of Trumpington, John of Hertford,
-Roger of Norton, Hugh of Eversden, Richard of Wallingford, Thomas de la
-Mare, John de la Moote, John of Wheathampstead, and Thomas Wolsey, the
-great cardinal.
-
-Royalty was entertained in the Abbey on many occasions as both guest and
-prisoner. When the Abbey was consecrated in 1115 by the Archbishop of
-Rouen, Henry I. and his queen, Matilda, with their courtiers, were
-entertained from December 27 until January 6; Richard II. stayed here
-for eight days after Wat Tyler’s rebellion had subsided; and here the
-conspiracy against him was planned, when the Duke of Gloucester and the
-Prior of Westminster were dining with the abbot, John de la Moote. In
-1399 John of Gaunt’s body rested here; and Richard II., and Henry, Duke
-of Lancaster (Henry IV.) were here in the same year. During the Wars of
-the Roses the Abbey of St. Albans was frequently used as a prison. In
-the first battle of St. Albans (May 23, 1455), when the White Roses were
-victorious, Henry was confined in the monastery; but in the second
-battle (February 17, 1461), the king, having been captured, was set at
-liberty by his brave wife, Margaret of Anjou, who marched from Wakefield
-with 18,000 men. The royal party went to the Abbey, where the monks
-chanted thanksgiving and in every way received them with delight. The
-undisciplined horde of soldiers unfortunately ran wild in the town and
-plundered the Abbey. Their behaviour was such that Abbot John Stokes
-changed his politics, and became an ardent Yorkist.
-
-Among the celebrated monks of St. Albans Matthew Paris takes the lead,
-the great historian whose book begins with the creation and continues to
-1259.
-
-St. Albans for a long period received “Peter’s Pence.” This was first
-levied by the King of the West Saxons in 727, and was a tax of one penny
-on each family owning lands. The receipt amounted to thirty pence a year
-and went to the support of a Saxon College at Rome; and because it was
-collected on August 1 (the day of St. Peter ad Vincula) it was called
-“Peter’s Pence.” Offa induced the Pope to give it to the Abbey of St.
-Albans.
-
-The monastic buildings have all perished, and the only remnant of the
-Abbey is the =Great Gate=, built in the days of Thomas de la Mare, about
-1365. Over the archway there is a large room in which sessions used to
-be held, and below the road the curious may inspect the dungeons. This
-Gateway was a law-court and prison; and, as the Abbot of St. Albans had
-civil jurisdiction over all the town, as well as his monastery, many
-offenders were tried and condemned here. In the days of Wat Tyler’s
-rebellion John Ball and his seventeen companions were tried here and
-spent their last days in the dungeons. Another scene that we can picture
-is that of the monks bringing out ale and wine to quell the fury of the
-mob that stormed the Gatehouse before the news of Wat Tyler’s death
-arrived.
-
-St. Albans was a favorite place of pilgrimage, for it sheltered the
-remains of the first Christian martyr in Britain. Alban, or Albans, was
-a young soldier, who, during the persecution of the Christians in the
-Fourth Century, befriended a deacon named Amphibalus by receiving him in
-his house. Amphibalus converted him. Alban exchanged clothing with him
-so that he might escape. Amphibalus was captured, however, and executed
-near Verulamium. Alban was also beheaded; and a few years after his
-death a church was built over the spot where his blood had been shed.
-The north transept of the existing church is said to cover this place.
-
-Matthew Paris states that the body of St. Alban was, during an invasion,
-removed from the church for safety, and afterward placed in its original
-grave. Offa II. found the coffin containing the remains of the martyr
-and laid them in a splendid reliquary, taking care first to place a
-golden band around the head with the inscription “_Hoc est caput Sancti
-Albani_.” Offa also had the martyr canonized. With a miracle-working
-shrine, the richly-endowed monastery continued to flourish.
-
-The Abbey Church was deemed quite large enough until Paul of Caen
-(1077-1093) was appointed abbot by William the Conqueror. In about
-eleven years only (1077-1088) he rebuilt St. Albans, using many of the
-Roman bricks from the ruins of the neighbouring Verulamium and timber
-already collected. His was an enormous Norman edifice (460 feet), longer
-even than Canterbury (290 feet).
-
-After a hundred years or so, Abbot John de Cella (1195-1214) made
-various changes. Money was raised in various ways for the purpose, and
-among them the abbot persuaded his monks to do without wine for fifteen
-years and contribute the savings to the fund for building.
-
-After him came William of Trumpington (1214-1235), who continued the
-work of building. He also constructed the cloister. Let us see exactly
-in what their work consisted:
-
-     “Abbot John de Cella (1195-1214) pulled down the west front and
-     began to build a new one in its place. He laid the foundation of
-     the whole front, but then went on with the north side first. The
-     north porch was nearly finished in his time; the central porch was
-     carried up as far as the spring of the arch; the southern porch was
-     carried hardly any way up from the foundations. The porches are
-     described by those who saw them before Lord Grimthorpe swept away
-     the whole west front as some of the choicest specimens of
-     Thirteenth Century work in England. The mouldings were of great
-     delicacy, and were enriched with dog-tooth ornament. It is said
-     that Abbot John was not a good man of business, and that he was
-     sorely robbed and cheated by his builders, and so had not money
-     enough to finish the work that he had planned. To his successor,
-     William of Trumpington, it therefore fell to carry on the work. He
-     was a man of a more practical character, though not equal to his
-     predecessor in matters of taste. He finished the main part of the
-     western front. Oddly enough no dog-tooth ornament was used in the
-     central and southern porches, and the character of the carved
-     foliage differs also from that of the north porch. In Abbot John’s
-     undoubted work the curling leaves overlap, and have strongly
-     defined stems resembling the foliage of Lincoln choir, while that
-     of Abbot William’s time had the ordinary character of the Early
-     English style. There is evidence to show that he intended to vault
-     the church with a stone roof; this may be seen from the marble
-     vaulting-shafts on the north side of the nave between the arches of
-     the main arcade, which, however, are not carried higher than the
-     string-course below the triforium. The idea of a stone vault was,
-     however, abandoned before the two eastern Early English bays on the
-     south side were built, for no preparation for vaulting shafts
-     exists there.
-
-     “Abbot John de Cella had begun to build afresh the western towers,
-     or, according to some authorities, to build the first western
-     towers that the church ever had; we have no record of their
-     completion, and it is said that Abbot William abandoned the idea.
-     We have only the foundations by which we can determine their size.
-     William of Trumpington transformed the windows of the aisles into
-     Early English ones. He also added a wooden lantern to the tower,
-     somewhat in the style of the wooden octagon on the central tower of
-     Ely.”--(T. P.)
-
-The next changes were made in the east end. These were begun in the last
-half of the Thirteenth Century. The walls of the presbytery were raised;
-the Saint’s Chapel built; then the retro-choir; and then the Lady-Chapel
-(1326).
-
-Then Hugh of Eversden (1308-1326) became abbot and had to rebuild the
-part of the nave that fell in 1323. His work was continued by Richard of
-Wallingford (1326-1335) and completed by Michael of Mentmore in 1345.
-
-John de Wheathampstead, who was twice abbot (1420-1440, and 1451-1464),
-rebuilt the upper part of the west front, made changes in the roofs,
-inserted Perpendicular windows in the ends of the transept, and also
-converted the Norman triforium arches into windows by filling them with
-Perpendicular tracery. His chantry was built after his death. William of
-Wallingford (1476-1484) contributed the gorgeous screen.
-
-The exterior has no interest for the student of architecture. The
-enormous church is plain, and Lord Grimthorpe has been at work
-everywhere. The only feature that has any real beauty is the fine Norman
-tower.
-
-     “It is 144 feet high and is not quite square in plan, measuring 47
-     feet from east to west, and two feet less from north to south. The
-     walls are about seven feet thick; in the thickness, however,
-     passages are cut. It has three stages above the ridges of the roof.
-     The lower stage has plain windows in each face, lighting the church
-     below; the next stage, or ringing room, has two pairs of double
-     windows; and the upper or belfry stage, two double windows of large
-     size, furnished with louvre boards. The parapet is battlemented,
-     and of course of later work than the tower itself. The tower is
-     flanked by pilaster buttresses, which merge into cylindrical
-     turrets in the upper story. For simple dignity the tower stands
-     unrivalled in this country. It must have been splendidly built to
-     have stood as it has done so many centuries without accident.
-     Winchester tower fell not long after its building, Peterborough
-     tower has been rebuilt in modern days; but Paul of Caen did not
-     scamp his work as the monks of Peterborough did, and no evil-living
-     king was buried below the tower, as was the case at Winchester,
-     thus, according to the beliefs of the time, leading to its
-     downfall. Tewkesbury tower alone can vie with that of St. Albans,
-     and the Seventeenth Century pinnacles on that tower spoil the
-     general effect, so that the foremost place among central Norman
-     towers as we see them to-day may safely be claimed for that at St.
-     Albans. Few more beautiful architectural objects can be seen than
-     this tower of Roman brick, especially when the warmth of its colour
-     is accentuated by the ruddy flush thrown over it by the rays of a
-     setting sun.”--(T. P.)
-
-The pilgrims to St. Alban’s shrine used to enter by the =North Door of
-the Transept=, carrying the candles that they had bought at the Waxhouse
-Gate. This Norman doorway, with a Norman window on each side (modern
-glass), still exists. The upper part of the north wall with the wheel
-window was rebuilt by Lord Grimthorpe.
-
-The nave is immensely long--about a tenth of a mile. It is Norman, grim,
-and cold, but impressive.
-
-     “As we stand just inside the west door of the church we are struck
-     by the length of ritual nave, about 200 feet, the flatness of the
-     roofs, and the massiveness of the arcading dividing the nave from
-     the aisles; for, though the four western bays on the north side and
-     five on the south are Early English in date, there is none of that
-     lightness and grace that we are accustomed to associate with work
-     of this period, no detached shafts of Purbeck marble such as we see
-     at Salisbury, no exquisitely carved capitals such
-
-[Illustration: ST. ALBANS: NORTH]
-
-[Illustration: ST. ALBANS: NAVE, EAST]
-
-     as we meet with at Wells. William of Trumpington seems to have
-     aimed at making his work harmonize with the Norman work that he
-     left untouched; and when the rest of the main arcade on the south
-     side was rebuilt in the next century, it was made to differ but
-     little in general appearance and dimensions from Abbot William’s.
-
-     “On entering by the west door a peculiarity will at once be
-     noticed. About fifteen feet from the inner side of the west wall
-     there is a rise of five steps which stretch right across the church
-     from north to south. The floor to the east of these steps slopes
-     imperceptibly upwards for eight bays, when a rise of three more
-     steps is met with. On this higher level stands the altar, which is
-     backed up by the rood screen. There is another step to be ascended
-     to the level of the choir, and another to reach the space below the
-     tower. Five steps lead from this into the presbytery; there is
-     another step at the high altar rails, and four more lead up to the
-     platform on which the high altar will stand. From the space below
-     the tower one step leads up into the north aisle and two more into
-     the north arm of the transept. From the level of the south choir
-     aisle and south transept two steps lead up into the south aisle of
-     the presbytery; from this aisle there is a rise of four steps into
-     the aisle south of the Saint’s Chapel, and from this into the
-     chapel itself a rise of four more. So that the floor of this chapel
-     is, with the exception of the high altar platform, which is one
-     step higher, the highest in the whole church, or nineteen steps
-     above the floor just inside the west door. From the aisle of the
-     Saint’s Chapel one step leads into the retro-choir, and two more
-     into the Lady-Chapel; hence the floor of the Lady-Chapel is one
-     step lower than that of the Saint’s Chapel. If we take seven inches
-     as the average height of a step, it would appear that the floor of
-     the Lady-Chapel is about ten feet higher than the floor at the west
-     end of the nave.”--(T. P.)
-
-The nave is blocked behind the altar with a =Rood screen=, of Fourteenth
-Century work, much restored. It is pierced by two doors (also Fourteenth
-Century), through which processions passed into the choir. Upon it the
-organ is placed.
-
-The eastern part of the nave was rebuilt after the calamity that
-happened on St. Paulinus’s Day (October 10), 1323. Mass had just been
-celebrated, and the church was still crowded with men, women and
-children, when two of the great piers of the main arcade on the south
-side fell outwards, crushing the south wall of the aisle and cloisters.
-Soon the wooden roof of the nave also fell. Strange to relate nobody was
-injured; and although the shrine of St. Amphibalus was damaged, still
-the chest that contained his relics suffered no harm.
-
-All this part of the church had to be rebuilt; and, of course, the south
-arcade differs from the northern one.
-
-A massive pier, either the original Norman or one rebuilt in the Norman
-style, divides the five Early English bays on the west from the
-Decorated ones on the east. West we find the characteristic tooth
-ornament; and east, the characteristic ball-flower.
-
-When the pestilence was raging in London (only twenty miles away) in
-1543, 1589, and 1593, courts of justice were held in this nave. On the
-north side a pier bears an inscription to the memory of Sir John
-Mandeville, the famous traveller, who was born at St. Albans in the
-Fourteenth Century and educated in the monastery school.
-
-The massive piers were coated with plaster and then painted. Each has
-traces of the same picture of the Crucifixion, with a second subject
-below it. This subject differs on every column. The soffits of the
-arches were also bright with colour, so that the severity and plainness
-that we now feel were originally missing.
-
-     “Although in the four western bays of the main arcade the Early
-     English work is very plain, yet the triforium is ornate. The
-     arcading consists of two pointed arches in each bay, each
-     comprising two sub-arches; the supporting columns are slender and
-     enriched with dog-tooth mouldings, with which also the
-     string-course below the triforium is decorated. The shafts, which
-     probably were intended to support a stone vault over the nave,
-     should be noticed.
-
-     “The triforium over the Norman main arcade consists of large,
-     wide-splayed, round-headed openings, in which the tracery and
-     glazing introduced in the Fifteenth Century, when the aisle roof
-     was lowered in pitch so as to expose the north side of the
-     triforium to the sky, still remains. One of the triforium arches,
-     namely, the third from the tower, was simply walled up at this
-     time, and so retains its original form. The clerestory in this part
-     of the church consists of plain, round-headed openings. Between
-     each bay the outer southern face of each Norman pier is continued
-     in the form of the flat pilaster buttress up to the roof.”--(T. P.)
-
-The piers of the choir, like those of the nave, were originally painted.
-So was the ceiling. Wall-paintings were likewise discovered between the
-clerestory windows in 1875. The choir-stalls and Bishop’s Throne are
-modern. In the south-choir-aisle the tomb of =Roger and Sigar=, two local
-hermits, was once a place of pious pilgrimage.
-
-The arches of the =Tower= are fifty-five feet high. The four inside faces
-of the lantern contain windows above the arcade, and the ceiling of the
-lantern (102 feet from the floor) is painted with the red and white
-roses of Lancaster and York, and various coats-of-arms. The effect of
-the tower is impressive. The peal consists of eight bells, cast in
-London in 1699. Some of the bells have been recast.
-
-Beneath the =Presbytery= notable abbots, monks and laymen were given
-burial. The presbytery is divided from the aisles by solid walls, broken
-by the Ramryge and Wheathampstead chantries, and two doorways: it is
-closed in on the east side by a magnificent screen, constructed during
-William of Wallingford’s rule (1476-1484), and generally known as the
-=Wallingford Screen=. It is hard to realize that the lace-like canopies,
-of which it is composed, are made of stone. The material is clunch, a
-hard stone from the lower chalk formation. This great reredos has been
-restored of late years and filled with statues. There are no records to
-describe or even name the original figures; but those now occupying the
-niches, by Mr. H. Hems, of Exeter, are, beginning on the left and
-reading downwards: (1) St. Titus, St. Timothy, St. Barnabas, Angel
-Gabriel; (2) King Edmund, St. Cuthbert, St. Augustine; (3) St. Oswyn,
-St. Giles, St. Cecilia, St. Boniface, St. Katherine, St. David; (4) King
-Offa, St. Helen, oak door; (5) St. Ethelbert, St. Leonard, St. Agnes,
-St. Nicholas, St. Frideswide, St. Chad; (6) Edward the Confessor, St.
-Benedict, St. Alban; (7) Angel, Angel, Angel; (8) Angel, Blessed Virgin
-Mary; (9) Crucifix; (10) Angel, St. John; (11) Angel, Angel, Angel; (12)
-St. Hugh of Lincoln, St. Patrick, St. Amphibalus; (13) Edward King of
-West Saxons, St. Lawrence, St. Lucy, St. Wolfstan, St. Osyth, St.
-Alphege; (14) Pope Adrian IV., St. Etheldreda, oak door; (15) St.
-George, St. Benedict, Biscop, St. Ethelberga, St. Richard; (17) The
-Venerable Bede, St. Germain, St. Erkenwald, St. Margaret, St. Ælfric;
-(18) St. Paul, St. Luke, St. Mark, St. Mary the Virgin. Below the
-Crucifix stands a row of smaller statues representing Christ and the
-Twelve Apostles. On Christ’s right: St. James Minor, St. Philip, St.
-John, St. James Major, St. Andrew, St. Peter; and on his left: St.
-Thomas, St. Bartholomew, St. Matthew, St. Simon, St. Matthias and St.
-Jude.
-
-On the right and left of the altar are chantries. The south one is that
-of =John of Wheathampstead=, who was twice Abbot (1420-1440, and
-1451-1464). His effigy is robed in full vestments, carries a pastoral
-staff and wears a mitre. His rebus--three ears of wheat--and his
-motto--_Valles habundabunt_--appear in various places.
-
-On the other side of the steps the handsomer =Ramryge Chantry=
-commemorates Abbot Thomas Ramryge, who also has a rebus--a ram wearing a
-collar with the letters R. Y. G. E. upon it. He entered office in 1492,
-and, strange to relate, no details of his rule are known. The date of
-his death is also a blank. Yet here is his fine monument in the
-Perpendicular style.
-
-Behind the Wallingford Screen lies the =Saint’s Chapel=, with the =Shrine
-of St. Alban= in the centre.
-
-     “The bones of St. Alban were of course counted as the chief
-     treasure of the Abbey, in some respects the most valuable relics in
-     the kingdom, since they were the bones of the first Christian
-     martyr in the island. It was meet and fitting, then, that the most
-     splendid resting-place should be chosen for them. The bones
-     themselves were enclosed in an outer and an inner case; the inner
-     was the work of the sixteenth Abbot, Geoffrey of Gorham
-     (1119-1149), and the outer of the nineteenth Abbot, Symeon
-     (1167-1183). These coffers were of special metal encrusted with
-     rich gems. It is recorded that the reliquary was so heavy that it
-     required four men to carry it, which they probably did by two
-     poles, each passing through two rings on either side of the coffer.
-     It is said to have been placed in a lofty position by Abbot Symeon;
-     but the pedestal of which we see the reconstruction to-day was
-     erected during the early part of the Fourteenth Century, in the
-     time of the twenty-sixth Abbot, John de Marinis (1302-1308). This
-     was built of Purbeck marble and consists of a basement 2 feet 6
-     inches high, 8 feet 6 inches long, and 3 feet 2 inches wide, above
-     which were four canopied niches at each side and one at each end;
-     these were richly painted and probably contained other relics; in
-     the spandrels were carved figures, at the corners angels censing.
-     At the west end was a representation of St. Alban’s martyrdom; on
-     the south side in the centre was, and still is, a figure of King
-     Offa holding the model of a church; in the next spandrel to the
-     east the figure of another king; on the east side a representation
-     of the scourging of St. Alban, and on the north other figures, of
-     which the only one remaining is that of a bishop or mitred abbot.
-     In the pediments or gables were carvings of foliage, and round the
-     top of the pedestal ran a richly-carved cornice; round the base
-     stood fourteen detached shafts, on which perhaps the movable canopy
-     rested, and outside three other shafts of twisted pattern on each
-     side, which carried six huge candles, probably kept burning day and
-     night, certainly during the night, to light the chamber holding the
-     shrine. On this lofty pedestal, 8 feet 3 inches high, the glorious
-     shrine rested. It was rendered still more ornate than it was in
-     Abbot Symeon’s time by the addition of a silver-gilt turret, on the
-     lower part of which was a representation of the Resurrection with
-     two angels and four knights (suggested by the guard of Roman
-     soldiers) keeping the tomb. A silver-gilt eagle of cunning
-     craftsmanship stood on the shrine. All these additions were given
-     by Abbot Thomas de la Mare (1349-1396). A certain monk also gave
-     two representations of the sun in solid gold, surrounded by rays of
-     silver tipped with precious stones. Over all was a canopy which,
-     like many modern font-covers, was probably suspended by a rope
-     running over a pulley in the roof, by which it might be raised.
-     There is a mark in the roof remaining, possibly caused by the
-     fastening of the pulley. An altar, dedicated to St. Alban, stood at
-     the west end of the pedestal.
-
-     “Such a precious thing as this jewelled shrine and the still more
-     precious bones within it could not be left for a moment unguarded
-     and unwatched, for stealing relics, when a favourable opportunity
-     arose, was a temptation too great to be resisted by any monks,
-     however holy. So on the south side of the shrine was erected a
-     watching loft; the one that remains was constructed probably during
-     the reign of Richard II., and his badge appears on it, but, no
-     doubt, from the first there was some such place provided for the
-     purpose of keeping guard. The chamber had two stories: the lower
-     contained cupboards, in which vestments and relics were kept, these
-     are now filled with various antiquarian curiosities, Roman pottery
-     from Verulamium, architectural fragments, etc. An oaken staircase
-     leads up into the chamber where the ‘custos feretri’ sat watching
-     the shrine day and night, guard of course being changed at
-     intervals. It must have been trying work watching there during the
-     night-time in frosty weather, but monks were accustomed to bear
-     cold. The watching chamber was built of oak and was richly carved.
-     On the south side of the cornice are angels, the hart--badge of
-     Richard II., the martyrdom of St. Alban, Time the reaper, and the
-     seasons; on the north the months of the year are represented.”--(T.
-     P.)
-
-On the south side is buried =Humphrey, Duke of Gloucester=, son of Henry
-IV., brother of Henry V., and uncle of Henry VI. He died in 1447. The
-handsome tomb was probably erected by the Abbot Wheathampstead, who was
-a great friend of Duke Humphrey’s.
-
-In the north aisle of the Saint’s Chapel we come to the pedestal of the
-=Shrine of St. Amphibalus= (see page 362). It stood in the centre of the
-retro-choir until Lord Grimthorpe removed it to its present position.
-
-An oak screen separates the Saint’s Chapel from the =Retro-Choir=. This is
-Lord Grimthorpe’s work, and through it we pass. The Retro-Choir dates
-from the end of the Thirteenth Century, and has been greatly restored.
-In the centre once stood the shrine of St. Amphibalus (now removed to
-the north aisle of the Saint’s Chapel), and there were several altars:
-to Our Lady of the Four Tapers; to St. Michael; to St. Edmund, King and
-Martyr; to St. Peter; and to St. Amphibalus.
-
-The =Lady-Chapel=, greatly restored, dates from the latter part of the
-Thirteenth and early part of the Fourteenth Centuries. Several changes
-of style may be noted. The side windows are fine examples of the
-Decorated, and the statuettes ornamenting the jambs and mullions still
-remain. The eastern window of five lights is a strange combination of
-tracery and tabernacle work. Originally the Lady-Chapel was separated
-from the retro-choir by a screen. The glass in the windows is modern,
-and the stone vaulting is also modern. Historical associations are
-numerous.
-
-Beneath the floor lie the hated Edmund Beaufort, Duke of Somerset,
-grandson of John of Gaunt; Henry Percy, Earl of Northumberland, son of
-the famous Hotspur; and Thomas, Lord Clifford: whose bodies were found
-lying dead in the streets of St. Albans, after the first battle in 1455,
-in which they fell fighting for the Red Rose party.
-
-Beyond the eastern bay on the south side was built the =Chapel of the
-Transfiguration=, dedicated in 1430. Of late years this addition was
-rebuilt for a vestry. The walls were made lower than the original ones,
-so as to show the fine window above that consists of a traceried arch
-within a curvilinear triangle, beneath which is a row of niches. Beneath
-these is a very fine row of _sedilia_ and _piscinœ_. The carving in the
-new chapel is very naturalistic, and represents the poppy, buttercup,
-primrose, gooseberry, rose, blackberry, pansy, ivy, maple, and
-convolvulus and other local flowers and leaves.
-
-
-
-
-OXFORD
-
-     DEDICATION: THE HOLY TRINITY, ST. MARY AND ST. FRIDESWIDE.
-
-     SPECIAL FEATURES: CEILING IN CHOIR; WINDOWS; SHRINE OF ST.
-     FRIDESWIDE.
-
-
-This Cathedral is peculiar in being almost hidden from sight in a series
-of college buildings, gardens and quadrangles. It is the chapel of
-Christ Church, as well as a cathedral; and to enter it we have to pass
-through the gateway of the famous =Tom Tower=, and across the great
-quadrangle, familiarly known as =Tom Quad=.
-
-The big bell =Tom= gives its name to the tower and quadrangle, is seven
-feet one inch in diameter, and weighs 17,000 tons. It was brought from
-Oseney Abbey with the other bells, the “merry Christ Church bells,” that
-now hang in the bell-tower above the =hall staircase=. Tom was recast in
-1680.
-
-The lower story of Tom Tower was built by Cardinal Wolsey. The cupola
-was added by Sir Christopher Wren. Three sides of the quadrangle were
-built by Wolsey, and the north side by Bishop Fell. As we pass through
-Tom Tower we note that a statue of Cardinal Wolsey faces St. Aldgate’s,
-and a statue of Queen Anne faces the quadrangle.
-
-=Christ Church= is the largest college in the University of Oxford, and
-stands on the site of the ancient priory of St. Frideswide.
-
-In 1524 Cardinal Wolsey obtained authority from Henry VIII. and Clement
-VIII. to suppress a number of religious houses in various parts of
-England, and to appropriate their revenues to the building and endowing
-of a College. After he had made considerable progress in the building of
-Christ Church he fell into disgrace with the King, who seized the
-property and distributed it among his courtiers. At a later period Henry
-VIII. refounded the establishment, and added to it the Abbey of Oseney,
-which was then the Cathedral of the See of Oxford. Christ Church (the
-present Cathedral) was at that time called the College of Henry VIII.,
-and was a Collegiate Church. In 1546, on the suppression of Oseney
-Abbey, St. Frideswide became the Cathedral Church of Oxford. Oseney is
-depicted in the King window (see page 391).
-
-The foundation was converted into one of secular canons in the Eighth or
-Ninth Century; and these were in turn succeeded by the regular canons,
-who built their chapter-house, dormitory, refectory and cloisters. In
-1158 they began the present Cathedral, which was completed in 1180,
-having swept away the Saxon church rebuilt by King Ethelred in 1004,
-according to some critics, while other antiquaries think that much of
-the present Cathedral is St. Ethelred’s. The church was dedicated to the
-Holy Trinity, St. Mary, and St. Frideswide, and was somewhat peculiar
-for the Twelfth Century, in being more elegant than was usual at that
-time. Cramped for room the south transept was cut off for the sake of
-the cloisters; and aisles were given to the north transept. There was no
-room for a Lady-Chapel at the east end; and, consequently, an additional
-aisle north of the north aisle of the choir was built. The same
-arrangement occurs at Ripon; the Elder Lady Chapel at Bristol holds a
-similar position.
-
-     “St. Frideswide Church, now Christ Church Cathedral, Oxford, is a
-     fine example of late Norman and transitional work of early
-     character. It was consecrated in 1180, and was probably building
-     for about twenty years previously: the confirmation, by Pope
-     Hadrian IV. (Breakspeare, the only English Pope), of the charters
-     granting the Saxon monastery of St. Frideswide to the Norman monks
-     was not obtained until 1158, and it is not probable that they began
-     to rebuild their church until their property was secured. The Prior
-     at this period was Robert of Cricklade, called Canutus, a man of
-     considerable eminence, some of whose writings were in existence in
-     the time of Leland. Under his superintendence the church was
-     entirely rebuilt from the foundations, and without doubt on a
-     larger scale than before, as the Saxon church does not appear to
-     have been destroyed until this period.
-
-     “The design of the present structure is very remarkable; the lofty
-     arched recesses, which are carried up over the actual arches and
-     the triforium, giving the idea of a subsequent work carried over
-     the older work; but an examination of the construction shows that
-     this is not the case, that it was all built at one time, and that
-     none of it is earlier than about 1160. In this church the central
-     tower is not square, the nave and choir being wider than the
-     transepts, and consequently the east and west arches are
-     round-headed, while the north and south are pointed: this would not
-     in itself be any proof of transition, but the whole character of
-     the work is late, though very rich and good, and the clerestory
-     windows of the nave are pointed without any necessity for it, which
-     is then a mark of transition.”--(J. H. P.)
-
-St. Frideswide (Bond of Peace), or “the Lady,” as she was called in
-Oxford, lived early in the Eighth Century, when Ethelbald was king of
-Mercia. Her father, Didan, was a prince who lived in the city of Oxford
-about 727, where Frideswide was born. Of her early piety, her refusal of
-marriage, her foundation of this nunnery at Oxford, her miracles of
-healing and her “glorious death,” there are many pretty stories.
-
-St. Frideswide’s Church was burned in 1002, when Ethelred the Unready
-ordained the Massacre of the Danes.
-
-Ethelred afterwards made a vow that he would rebuild St. Frideswide’s
-Church; and in 1004 he began the splendid edifice, of unusual
-magnificence for the period.
-
-Robert of Cricklade, prior from 1141 to 1180, seems to have restored
-Ethelred’s church; and in that year the relics of St. Frideswide were
-translated to a more conspicuous place in the church.
-
-Many distinguished noblemen and prelates were present:
-
-     “After they were meet, and injoyned fasting and prayers were past,
-     as also those ceremonies that are used at such times was with all
-     decency performed, then those bishops that were appointed,
-     accompanied with Alexio, the pope’s legat for Scotland, went to the
-     place where she was buried, and opening the sepulchre, took out
-     with great devotion the remainder of her body that was left after
-     it had rested there 480 yeares, and with all the sweet odours and
-     spices imaginable to the great rejoycing of the multitude then
-     present mingled them amongst her bones and laid them up in a rich
-     gilt coffer made and consecrated for that purpose, and placed it on
-     the north side of the quire, somewhat distant from the ground, and
-     inclosed it with a partition from the sight hereafter of the
-     vulgar.”--(A.-à-W.)
-
-In 1289 these relics were again translated and placed in the position of
-the old shrine, probably in the north-choir-aisle, where the marble base
-recently discovered now stands (see page 385).
-
-     “In the Lancet period (1190-1245) the works went on apace. An upper
-     stage was added to the tower and on that the spire was built--the
-     first large stone spire in England. It is a Broach spire, i.e., the
-     cardinal sides of the spire are built right out to the eaves, so
-     that there is no parapet. On the other hand, instead of having
-     broaches at the angle it has pinnacles. Moreover, to bring down the
-     thrusts more vertically, heavy dormer windows are inserted at the
-     foot of each of the cardinal sides of the spire,--altogether a very
-     logical and scientific piece of engineering, much more common in
-     the early spires of Northern France than in England.”--(F. B.)
-
-About the Thirteenth Century the monks built the Chapter-House now
-standing; then the Lady-Chapel; altered the Norman windows to Decorated;
-and in the Fifteenth Century made many changes in the new Perpendicular
-style.
-
-Wolsey destroyed half of the nave in order to build Tom Quad. His idea
-was to erect a magnificent church on a large scale; but in the meantime
-his fall occurred. In 1546 St. Frideswide’s was made, as already noted,
-the Cathedral Church of Oxford.
-
-In the Seventeenth Century the tracery of many windows was altered for
-the sake of glass by the Dutchman Abraham Van Ling, for which old
-windows depicting scenes from St. Frideswide’s life and ancient arms
-were sacrificed. In later times some of Van Ling’s windows suffered the
-same fate, for modern work. One of his windows, however, remains (see
-page 382). Some of the windows were smashed during the Puritan wars; but
-on the whole the Cathedral escaped damage.
-
-Christ Church being a royal college, during the Civil War a University
-regiment of Cavaliers was drilled in Tom Quad; and when Charles I.
-occupied Oxford, after Edgehill, he held court in Christ Church.
-
-The Cathedral went through the fate of all English cathedrals in the
-Nineteenth Century; and finally, in 1870, a thorough restoration was
-undertaken by Dean Liddell and Sir Gilbert Scott, whose conservative
-alterations and restorations of windows, etc., have brought all the
-parts of the Cathedral into harmony. The windows of Burne-Jones are a
-great addition to the charm of the interior.
-
-     “The whole church is exceedingly interesting. It fills a niche in
-     the history of English architecture all by itself. It is not the
-     early and rude Traditional work of the Cistercians. On the other
-     hand, it has not yet the lightness and grace of Ripon; still less
-     the charm of the Canterbury choir, Chichester presbytery, Wells and
-     Abbey Dore--Gothic in all but name. In spite of a pointed arch here
-     and there, it is a Romanesque design.
-
-     “The work commenced, as usual, at the east, as is shown by the
-     gradual improvement westward in the designs of the capitals. The
-     evidence of the vaulting, too, points in the same direction. In the
-     choir-aisle the ribs are massive and heavy; in the western aisle of
-     the north transept they are lighted; in the south aisle of the nave
-     they are pointed and filleted.”--(F. B.)
-
-Owing to its secluded position it is almost impossible to get a view of
-the Cathedral; but the tower and spire can be seen from the cloisters.
-
-The =Cloisters= line three sides of the square only, for the west side was
-destroyed by Wolsey for the hall staircase, which is surmounted by the
-=Bell Tower=, in which the bells from the Abbey of Oseney hang.
-
-     “From the same position at the west of the cloister one can enjoy
-     the best view of the tower and spire of the church. One is close
-     enough to see all the detail and yet from this angle nothing is
-     lost of the general effect. On a moonlit evening the effect is
-     particularly solemn and beautiful. From this point also should be
-     noticed the difference in the masonry of the south transept. The
-     lower story is entirely rubble, while the upper story is partly of
-     good ashlar work.
-
-     “On the south side of the cloister is the Old Library, as it is now
-     called, which was formerly the refectory of the monastery, and is
-     all that now remains of the conventual buildings. Its large
-     Perpendicular windows, rising like a clerestory above it, look on
-     to the cloister, but they were spoilt on the inside by a staircase,
-     when the building was turned into undergraduates’ rooms. On the
-     other side, facing the meadow buildings, there is a curious little
-     oriel window, its lights now walled up, that once contained the
-     pulpit whence the lessons were read during meals.”--(P. D.)
-
-We may remember, as we stand here, that Cranmer was unfrocked in this
-quadrangle.
-
-Entering through the porch in Tom Quad, cut through one of the canonical
-houses, we come into a sort of ante-chapel with the organ screen before
-us. Passing under the screen we have an unbroken view of the =Nave=, the
-Choir with its wonderful ceiling and the handsome wheel-window rising
-above the arcade and two round-headed windows at the east end.
-
-     “Christ Church is the smallest of our cathedrals; for even with the
-     new ante-chapel it measures about 175 feet in length. Instead of
-     being of the usual cruciform plan, it is now almost square,--in
-     fact, the length from the reredos to the organ-screen is 132 feet,
-     while the breadth across from the Latin Chapel to St. Lucy’s Chapel
-     is 108 feet. The church is made up of the shortened nave with its
-     two aisles, and ante-chapel, the central tower, the north transept
-     with its one aisle, the south transept, and the eastern half of the
-     church, which itself contains no less than six divisions,--the
-     choir, with its two aisles, the Lady-Chapel on the north, and the
-     Latin Chapel (or St. Catherine’s) on the north again of that, while
-     on the south is the small chapel of St. Lucy.
-
-     “If the unusual appearance of the cathedral is partly due to
-     Wolsey’s destruction, it is partly due also to its being used as a
-     college chapel, and partly to the fact that in general plan, and to
-     some extent in detail, it is Ethelred’s design, commenced seventy
-     years before the great developments of Norman architecture
-     began.”--(P. D.)
-
-We stop at the west end of the north aisle of the nave to examine the
-one remaining window designed by Van Ling.
-
-     “There are various opinions about this window, which represents
-     Jonah sitting under his gourd, and the town of Nineveh in the
-     distance. We must confess to a great admiration for it; the foliage
-     is fine and rich, and if it is a little over-strong in its green,
-     that only makes it more characteristic of its age. And, however
-     that may be, there cannot be two opinions as to beauty of the town
-     in the background, which reminds one irresistibly of Dürer; and,
-     with its rich brown houses, bluish roofs, touches of greenery, and
-     fair purple hills beyond, makes the right-hand light of the window
-     a picture of which one never wearies. The whole is leaded in
-     rectangular panes, like Bishop King’s window.”--(P. D.)
-
-We now cross to the west end of the south aisle of the nave to see
-Burne-Jones’s =Faith, Hope and Charity= window, a memorial to Edward
-Denison (died 1870), son of the Bishop of Salisbury, and a pioneer
-worker in the East End of London.
-
-     “The figure of Hope has a greyish-blue drapery, varied in tint and
-     diapered with the pattern of a flower in stain. The scarf floating
-     round the figure is sky-blue in tone and lighter than the dress.
-     The figure of Charity has a ruby over-mantle, with a white dress
-     underneath; while the figure of Faith has a blue dress beautifully
-     and richly diapered, the upper portion with a sumptuous Venetian
-     design familiar on the brocades of the Sixteenth Century, and the
-     lower portion with a sprig of foliage. The tone of the backgrounds
-     is a rich, warm green, and is very carefully painted with foliage,
-     and the contrast yielded by
-
-[Illustration: OXFORD: TOWER AND ENTRANCE]
-
-[Illustration: OXFORD: CHOIR, EAST]
-
-     the pale blue of the drapery, and the rich, warm green of the
-     background in the two outside windows, is most harmonious and
-     striking. The detail in this window is very elaborate, and every
-     part of it bears traces of care and thought.”--(P. D.)
-
-The =Choir= consists of four bays, with the presbytery beyond.
-Perpendicular alterations are noticeable in the upper part. The
-triforium is late Norman. The pillars are larger than those in the nave
-and their capitals are very fine specimens of stone carving. Some
-critics go so far as to say they are Saxon.
-
-The most striking feature of the whole Cathedral is the pendant =ceiling=
-of the Choir.
-
-     “Fergusson considers this work to be the most satisfactory attempt
-     ever made to surmount the great difficulty presented in all
-     fan-tracery by the awkward, flat, central space which is left in
-     each bay by the four cones of the vault. At Gloucester, King’s
-     College Chapel, Cambridge, Henry VII.’s Chapel, Westminster, and
-     other places, various attempts were made to deceive the eye, and
-     hide the unmanageable space; in Henry VII.’s Chapel the well-known
-     pendants were boldly introduced with this object. None were wholly
-     satisfactory, but, says Fergusson:--
-
-     “‘Strange as it may appear from its date, the most satisfactory
-     roof of this class is that erected by Cardinal Wolsey over the
-     choir of Oxford Cathedral. In this instance the pendants are thrust
-     so far forward, and made so important, that the central part of the
-     roof is practically quadripartite. The remaining difficulty was
-     obviated by abandoning the circular, horizontal outline of true
-     fan-tracery, and adopting a polygonal form instead. As the whole is
-     done in a constructive manner and with appropriate detail, this
-     roof, except in size, is one of the best and most remarkable ever
-     executed.’
-
-     “Fan-tracery is a peculiarly English feature, and was invented,
-     according to Fergusson, in order to get rid of the endless
-     repetition of inverted pyramids which earlier vaulting produced. He
-     therefore considers it an improvement on the vaulting of the early
-     English and Decorated periods; and, as he thinks the ceiling of
-     Christ Church Cathedral to be the best example of fan-tracery, he
-     comes near to pronouncing it the finest in the world.”--(P. D.)
-
-The East End is Scott’s restoration in the style of the Twelfth Century.
-The large wheel-window (an imitation from Canterbury) and the two
-round-headed windows below produce a fine effect.
-
-On the left of the Choir we come to the most curious part of the
-Cathedral. Columns and arches mark the divisions of the
-north-choir-aisle, the =Lady-Chapel= further north and the =Latin Chapel=
-beyond--practically three aisles. The east end of each aisle contains a
-beautiful Burne-Jones window. The north transept forms the western
-boundary of these three aisles, which are in reality only an extension
-of this transept.
-
-     “Here the eye wanders among pillars and arches which branch away in
-     so many directions that the grandest churches can scarcely give
-     more thoroughly the idea of infinity. And here one stands on the
-     site of St. Frideswide’s first little church, with the very arches
-     that she had built for her, still standing in all their primitive
-     simplicity.
-
-     “At the end of the north-choir-aisle is the St. Cecilia window,
-     presented in honour of the patroness of music by Dr. Corfe, a
-     former organist, in 1873. In the centre light the saint is
-     represented playing her regal or small hand-organ; two angels
-     holding other musical instruments, with palms in their hands, stand
-     by her. The drapery is wrought in white glass, the angels have
-     pale-blue wings, and the flesh tints matted over with red tell warm
-     against the drapery. In the lower panels are three scenes from her
-     life: ‘Here St. Cecilia teaches her husband,’ ‘Here an angel of the
-     Lord teaches St. Cecilia,’ ‘Here St. Cecilia wins a heavenly
-     crown;’ the saint’s figure in the last panel is most touchingly
-     drawn. These lower panels are richer in colour than the rest, and a
-     greater variety of tints is introduced; but the colours are so
-     delicate, and so skilfully blended, that they fall in most
-     harmoniously with the main parts of the window.”--(P. D.)
-
-In the most eastern arch between the north-choir-aisle and the
-Lady-Chapel we stop to examine the =Shrine of St. Frideswide=.
-
-     “The coffer or shrine, which was made for the translation in 1289
-     (its base being therefore the most ancient monument in the
-     cathedral), was knocked to pieces at the Reformation (1538), and,
-     being of wood, must have entirely perished. But gradually, and from
-     different places, fragments of the base were brought together:
-     first, several pieces of delicately carved marble were discovered
-     in the sides of a square well in the yard south-west of the
-     cathedral; then a part of the plinth on the south side was found to
-     be in use as a step, luckily with the carved portion turned
-     inwards; next a spandrel was detected by Mr. Francis, the head
-     verger, in the wall of the cemetery; and last of all a piece of the
-     plinth was found in a wall in Tom Quad. Though some portions are
-     still wanting, it is not impossible that more may yet be found.
-
-     “As the monument stands now, it cannot, of course, impress one as
-     it would have done in its perfect state, with the rich
-     superstructure crowning it: especially as the restored shafts are
-     merely square stone supports of the clumsiest description, so
-     studiously careful has the restorer been not to confuse them with
-     the original work. Still, though the base of St. Frideswide’s
-     shrine is only a collection of fragments, these fragments are of
-     remarkable beauty and interest. It is of Forest marble, measuring
-     seven feet by three and a half; and consists of an arcade of two
-     richly cusped arches at the sides and one at each end. On the top
-     of this was fixed the _feretrum_, containing the jewelled casket
-     that held the relics themselves. The spandrels are filled with
-     wonderfully carved foliage, unusually naturalistic, and preserving
-     still the traces of colour and gilding to remind one of its former
-     glories. On the south side there is maple in the central spandrel,
-     with a wreath of what is probably crow’s-foot in a boss below: the
-     two side spandrels contain columbine and the greater celandine. On
-     the north side the foliage is mostly oak, with acorns and numerous
-     empty cups; sycamore and ivy filling the adjoining spandrels. At
-     the east end one of the spandrels contains vine leaves and grapes,
-     the other fig-leaves, but without the fruit; the cusp under the
-     vine has a leaf which may be that of hog-leaf. At the west end
-     there is hawthorn and bryony. The choice of all this foliage was
-     doubtless made for symbolical reasons, referring first to St.
-     Frideswide’s life in the oak woods near Abingdon, and next to her
-     care for the sick and suffering at Thornberrie (now Binsey). And in
-     this connection it is pleasant to think that the sculptor, with
-     tender fancy, chose plants which were famous for their healing
-     virtue.”--(P. D.)
-
-The =Lady-Chapel= (Thirteenth Century and Early English) is sometimes
-called the Dormitory, because many canons are buried here.
-Characteristic curling foliage decorates the capitals. The shafts are
-filleted. Traces of colouring can be observed here and there and also
-figures of angels on the roof. The Decorated window (restored) at the
-east end contains glass designed by Burne-Jones and made by William
-Morris, a memorial to Frederick Vyner, murdered by brigands at Marathon
-in 1870.
-
-The figures represent Samuel the Prophet, David, King of Israel, John
-the Evangelist, and Timothy the Bishop. In the panels beneath are, Eli
-instructing the young Samuel, David slaying Goliath, St. John at the
-Last Supper, and Timothy as a little boy learning from his mother.
-
-Here also is the tomb of =Elizabeth Lady Montacute=, who gave Christ
-Church Meadow to the Priory for the support of two priests for her
-chantry in this Lady-Chapel. Her effigy lies on the top of the tomb, and
-portraits of her children appear in the panels below. The whole was
-originally brilliantly coloured.
-
-Four arches divide the Lady-Chapel. Under the easternmost one is a
-large tomb known as the =Watching Chamber=.
-
-     “Its real nature is still a matter of dispute: some maintaining it
-     to have been used as a chantry chapel for the welfare of those who
-     were buried below; others, that it served as a ‘watching chamber’
-     to protect the gold and jewels which hung about the shrine of St.
-     Frideswide.
-
-     “Most elaborately carved and crocketed, the ‘watching chamber’ is a
-     beautiful example of full-blown Perpendicular workmanship; ‘most
-     lovely English work, both of heart and hand,’ according to Mr.
-     Ruskin. It consists of four stories, the two lower, in stone,
-     forming an altar tomb and canopy, and the two upper in wood. A door
-     from the Latin Chapel leads one up a small and well-worn stone
-     staircase into the interior of the little upper chapel, which is
-     now a rough wooden room. Its extreme roughness suggests that it was
-     once panelled and otherwise adorned, while there are marks at its
-     east end, which may be the site of an altar, or of the _feretrum_
-     itself.”--(P. D.)
-
-Lastly we come to the =Latin-Chapel= also called =St. Catherine’s=, in
-honour of the patron of students of theology.
-
-     “The Decorated vaulting was built when the chapel was enlarged in
-     the Fourteenth Century. The foliage of its bosses is very
-     beautiful; the water-lilies especially of the third boss, so
-     suggestive of Oxford streams, and the roses a little further east,
-     are a happy combination of naturalistic treatment with decorative
-     restraint. It will be noticed that the vaulting does not run true
-     in the third bay, the Decorated work there having been somewhat
-     awkwardly joined to the Early English of the second bay.
-
-     “A prominent feature in the Latin-Chapel is the old oak stalling,
-     which a second inspection proves to be patchwork. The returned
-     stalls at the west end probably belonged to the choir of the
-     conventual church, and in that case would have been fitted in here
-     when Dean Duppa ‘adorned’ the choir by destroying the old
-     wood-work. Near to these is some of the work prepared for Cardinal
-     Wolsey’s new chapel. The poppy-heads are good specimens of
-     wood-carving, and contain a monogram I.H.S., a heart in a crown of
-     thorns, a cardinal’s hat, and other devices. The pulpit, with its
-     delicate canopy, an excellent specimen of Seventeenth Century
-     wood-work, was formerly the Vice-Chancellor’s seat in another part
-     of the church, occupied by him during university sermons. It was
-     then used by the Regius Professor of Divinity for his lectures, but
-     since the altar was restored six years ago, the chapel has been no
-     longer used as a lecture-room.”--(P. D.)
-
-Here we find some of the best glass in the Cathedral. At the east end is
-the famous =St. Frideswide window= by Burne-Jones; and the three windows
-on the north are beautiful specimens of the Fourteenth Century, replaced
-here by Dean Liddell. In the middle of each light is a figure and the
-rest of the space is covered with the diamond-shaped pieces of glass
-bearing leaves and flowers, technically called “quarries.” Medallions
-and borders with various beasts--even monkeys--decorate the spaces in
-the tracery. The first window depicts St. Catherine, a Virgin and Child,
-and next a figure, probably St. Frideswide; the second window represents
-an archbishop and angels; and the third, St. Frideswide with St.
-Margaret on one side and St. Catherine on the other. It is very
-interesting to compare these with the Burne-Jones’s St. Frideswide at
-the east end:
-
-     “Though this is one of the first windows that Burne-Jones ever
-     designed it is one of his best. Better suited (as many think) to
-     the purpose of a window, at all events in this enclosed chapel,
-     than the freer method of the other glass, it carries on the best
-     traditions of the craft, in its infinite variety of gem-like colour
-     and complexity of detail; while it attains a degree of perfection
-     in pictorial effect and figure-drawing which was impossible during
-     the great era of mediæval glass-painting. The death of the saint,
-     with its lovely effect of light through the latticed window, for
-     instance, and the picture of her in the pig-sty, would be perfect
-     as finished pictures, and yet do not for an instant outstep the
-     convention which is necessary for their function as part of a
-     window.
-
-     “The colour is, in spite (or rather because) of its radiant
-     variety, not so immediately attractive to every one as that of the
-     other Burne-Jones windows; but when one has sat down for five or
-     ten minutes and deciphered the various scenes, its unapproachable
-     beauty becomes apparent, and each succeeding visit deepens the
-     impression of the splendour and poetry of this incomparable work.
-
-     “The scenes depicted are, by the artist’s own account, as
-     follows:--
-
-     “_First Light_: St. Frideswide and her companions brought up by St.
-     Cecilia and St. Catherine; St. Frideswide founds her first convent;
-     A messenger from the King of Mercia demands her in marriage; The
-     King comes to take her by force, and the first convent is broken
-     up.
-
-     “_Second Light_: Flight of St. Frideswide to Abingdon; The King of
-     Mercia and his soldiers in pursuit; The Flight continued; The
-     Pursuit continued; St. Frideswide takes refuge in a pig-sty.
-
-     “_Third Light_: Flight of St. Frideswide to Binsey; The King of
-     Mercia in pursuit; St. Frideswide founds a new convent at Binsey;
-     Her merciful deeds.
-
-     “_Fourth Light_: Return of St. Frideswide to Oxford; The Siege of
-     Oxford by the King of Mercia; The Siege continued; The King struck
-     blind; The Death of St. Frideswide.
-
-     “In the tracery above are the trees of life and of knowledge, and a
-     ship of souls convoyed by angels.”--(P. D.)
-
-Passing into the north transept we note that the eastern aisle has been
-merged into the Lady-Chapel and Latin-Chapel of which it forms the
-western bays; but that the western aisle remains.
-
-The north window (modern glass) was restored back to its original design
-by Sir Gilbert Scott. Beneath it is a panelled tomb of Henry VII.’s
-period. It is supposed to be that of a monk named =Zouch= (died 1503),
-probably a scribe, because his ink-horn and pen-case appear on the
-shields of his tomb. He left a bequest to pay for the vaulting.
-
-The =Tower= is not perfectly square. The nave and choir sides are wider
-than those of the transepts, and therefore the north and south arches
-are pointed and the east and west arches are round. Foliage decorates
-the capitals of the shafts. The lantern is open and is ornamented with
-arcades and arches. At the south-east pier the break in the masonry
-indicates, in the opinion of some students, the place where the builders
-stopped work when Sweyn drove Ethelred out of England.
-
-The fine Jacobean =Pulpit= (1635), elaborately carved with grotesques on
-the panels, deserves at least a passing glance.
-
-The south transept has no aisles, for the western aisle was cut off by
-the cloisters and the eastern aisle became =St. Lucy’s Chapel=, in the
-second bay. Though there are many old royalist tombs the chief interest
-here is the beautiful =Window= of three lights, the Flamboyant tracery of
-which frames the most splendid glass in the whole cathedral. It dates
-from about 1330.
-
-     “In the uppermost compartment of the tracery is a figure of our
-     Lord seated in glory; below there are angels with censers, and next
-     two Augustinian monks in blue and white robes, kneeling with
-     outstretched arms; then come coats-of-arms, and various grotesque
-     beasts, all most richly coloured in ruby and blue and green and
-     gold. Below, in the principal spaces, are (1) St. Martin on
-     horseback giving his coat to the beggar; (2) the martyrdom of St.
-     Thomas à Becket: St. Thomas’ head has been knocked out by some
-     fanatic, and replaced with white glass; the armour and shields of
-     the knights should be noticed; (3) St. Augustine, who holds a
-     pastoral staff, is teaching his monks and others. In the next four
-     spaces are:--The head of a king; St. Cuthbert, carrying the head
-     of St. Oswald, and wearing a green chasuble; St. Blaise, in a
-     mulberry-coloured chasuble; the head of a queen. The glass in the
-     three main lights was destroyed, and then replaced by some of
-     Seventeenth Century work, but this too is now gone, all except a
-     portion of the upper part which shows that the design was
-     architectural in character and the colour that of fog-smitten
-     stone-work.”--(P. D.)
-
-The =South-Choir-Aisle= is of earlier date than the nave and transept
-aisles. Scott rebuilt the southern windows in the Norman style. Heads of
-men and monkeys decorate the corbels that support the vault. The
-original half-flower moulding adorns the Decorated east window
-(restored) which contains one of Burne-Jones’s famous designs. It is a
-memorial to =Edith Liddell= (1876), whose portrait appears in the central
-figure as St. Catherine. In the tracery above angels are playing musical
-instruments and in the panels below are scenes from the life and death
-of St. Catherine.
-
-The third window in the wall near St. Lucy’s Chapel is of great
-interest. It is the only one of the original Romanesque windows that
-remains. The old glass shows a portrait of =Bishop King=, Abbot of Oseney
-and first Bishop of Oxford. He died in 1557 and was buried in Christ
-Church Cathedral.
-
-     “This window, with some others, was taken down during the Civil
-     War, buried for safety by a member of the family, and put up again
-     at the Restoration. The Bishop is represented standing vested in a
-     jewelled cope of cloth of gold, and mitre, a pastoral staff in his
-     gloved hand. In the background, among the trees, is a picture of
-     Oseney Abbey in its already ruined condition (c. 1630), drawn
-     without much feeling for its architecture, but of great value as
-     almost the only picture of the place we possess. The western tower
-     was the first home of what are now the Christ Church bells. Three
-     coats-of-arms (being those of the Bishop, impaled with the Abbey
-     of Oseney and the See of Oxford) complete the richness of what is a
-     very good example of Seventeenth Century _painted_ glass, in the
-     strict sense of the word.”--(P. D.)
-
-South of the South Transept the slype, a vaulted passage including part
-of the transept, leads into the Cloisters.
-
-South of the slype lies the =Chapter-House=, deserving a visit because it
-is a fine example of Early English. The monks’ heads carved on the
-corbels, the bosses of the roof, and the arcade of five arches at the
-east end are the chief features of the interior.
-
-[Illustration: OXFORD: LATIN CHAPEL]
-
-[Illustration: ST. PAUL’S: WEST FRONT]
-
-
-
-
-ST. PAUL’S, LONDON
-
-     DEDICATION: ST. PAUL. A CHURCH FORMERLY SERVED BY SECULAR CANONS.
-
-     SPECIAL FEATURES: DOME; CHOIR STALLS; TOMBS AND MONUMENTS.
-
-
-The present building in the Renaissance style is the third Christian
-church erected on this site. It is said that a Roman temple to Diana
-stood here; but the earliest church of which records exist was erected
-by Ethelbert, King of Kent, in 610, in which he was assisted by Siebert,
-King of the East Saxons, his nephew, who founded the monastery of St.
-Peter, called Westminster, on Thorney Island. This Cathedral, which owed
-much of its prosperity to St. Erkenwald, fourth Bishop of London, to
-whose memory a golden shrine was erected here, suffered from fire in 961
-and was completely destroyed in 1086. On the ruins a Norman church was
-immediately erected, the architect for which was Bishop Maurice. Though
-injured by fire in 1193 it was a stately and beautiful building, in the
-Norman style. It was cruciform, with two western towers for bells and a
-high tower in the centre with a spire. In addition to the high altar
-there were seventy or eighty chantries with their own altars, and behind
-the high altar the golden shrine containing the body of St. Erkenwald.
-The nave contained twelve bays and also the choir rebuilt in 1221. The
-Lady-Chapel was added in 1225. It was the largest Cathedral in England.
-St. Paul’s was rich in relics and in treasure of all kinds--pictures
-and frescoes, vestments, gold, silver and jewels. In 1312 the nave was
-paved with marble and in 1315 a new wooden spire 460 feet high was
-added.
-
-This great Cathedral became the very centre of the life of the citizens.
-Here men met to defend their liberties, summoned by the great bells of
-St. Paul’s, from the days of King Stephen until the magnificent
-Cathedral perished in the Great Fire.
-
-     “Again and again the tocsin sounded, as St. Paul’s bell rang clear
-     and loud, and the citizens seized their weapons and formed their
-     battalions beneath the shadow of the great church. Now it was to
-     help Simon de Montfort against the King; now to seize the person of
-     the obnoxious Queen Eleanor, who was trying to escape by water from
-     the Tower to Windsor, and who was rescued from their hands by the
-     Bishop of London, and found refuge in his palace. Now the
-     favourites of Edward II. excited their rage, especially the Bishop
-     of Exeter, the King’s regent, who dared to ask the Lord Mayor for
-     the keys of the city and paid for his temerity with his life.[9]
-
-     “The chronicles of the Cathedral tell the story of the troublous
-     times of the Wars of the Roses. We see Henry IV. pretending bitter
-     sorrow for the death of the murdered Richard, and covering with
-     cloth-of-gold the body, which had been exhibited to the people in
-     St. Paul’s. We see Henry V. returning in triumph from the French
-     wars, riding in state to the Cathedral attended by ‘the mayor and
-     brethren of the City companies, wearing red gowns with hoods of red
-     and white, well-mounted and gorgeously horsed with rich collars and
-     great chains, rejoicing at his victorious return.’ Then came Henry
-     VI. attended by bishops, the dean and canons, to make his offering
-     at the altar. Here the false Duke of York took his oath on the
-     Blessed Sacrament to be loyal to the King. Here the rival houses
-     swore to lay aside their differences, and to live at peace. But a
-     few years later saw the new King Edward IV., at St. Paul’s,
-     attended by great Warwick, the king-maker, with his body-guard of
-     800 men-at-arms. Strange were the changes of fortune in those days.
-     Soon St. Paul’s saw the exhibition of the dead body of the
-     king-maker, and not long afterwards that of the poor dethroned
-     Henry, and Richard came in state here amid the shouts of the
-     populace. After the defeat of the conspiracy of Lambert Simnel,
-     Henry VII. celebrated a joyous thanksgiving in the Cathedral, and
-     here, amid much rejoicing, the youthful marriage of Prince Arthur
-     with Katherine of Aragon took place, when the conduits of Cheapside
-     and on the west of the Cathedral ran with wine, and the bells rang
-     joyfully, and all wished happiness to the Royal children whose
-     wedded life was destined to be so brief.
-
-     “St. Paul’s became the gathering-place for lords and courtiers and
-     professional people, who met every day from eleven till twelve and
-     from three till six to discuss the news of the day and to transact
-     business.
-
-     “Here lawyers received their clients; here men sought service; here
-     usurers met their victims, and the tombs and font were mightily
-     convenient for counters for the exchange of money and the
-     transaction of bargains, and the rattle of gold and silver was
-     constantly heard amidst the loud talking of the crowd. Gallants
-     enter the Cathedral wearing spurs, having just left their steeds at
-     The Bell and Savage and are immediately besieged by the choristers,
-     who have the right of demanding spur money from any one entering
-     the building wearing spurs. Nor are the fair sex absent, and Paul’s
-     Walk was used as a convenient place for assignations. Old plays are
-     full of references to this practice. Later on the nave was nothing
-     but a public thoroughfare, where men tramped, carrying baskets of
-     bread and fish, flesh and fruit, vessels of ale, sacks of coal, and
-     even dead mules and horses and other beasts. Hucksters and peddlers
-     sold their wares. Duke Humphrey’s tomb was the great meeting-place
-     of all beggars and low rascals, and they euphemistically called
-     their gathering ‘a dining with Duke Humphrey.’ Much more could be
-     written of this assembly of all sorts and conditions of men, but we
-     have said enough to show that the Cathedral had suffered greatly
-     from desecration and abuse. Indeed an old writer in 1561 declared
-     that the burning of the steeple in that year was a judgment for the
-     scenes of profanation which were daily witnessed in old St.
-     Paul’s.”--(P. H. D.)
-
-Cromwell’s army demolished shrines and destroyed all the relics and
-works of art, and seamstresses and hucksters took up their abode in the
-western portico, built by Charles I. after designs by Inigo Jones. At
-the Restoration plans to repair and restore the Cathedral were being
-made by Wren when the Great Fire destroyed it. Wren had the task of
-rebuilding it, and produced a masterpiece that takes rank with St.
-Peter’s in Rome and even surpasses it in some of its details.
-
-“The stones of Paul’s,” wrote Evelyn, “flew like granados, the melting
-lead running down the streets in a stream and the very pavements glowing
-with fiery redness, so as no horse or man was able to tread on them, and
-the demolition had stopped all the passages, so that no help could be
-applied.”
-
-It took a long time to remove the ruins and to decide upon the plan for
-the successor of Old St. Paul’s. Wren made numerous designs and drawings
-and there was great delay. At length the royal warrant was obtained and
-the first stone was laid June 21, 1675, at the south-east corner of the
-choir. The Cathedral was building for thirty-five years. The choir was
-finished and service held in it on December 2, 1697. It is sad to
-remember that the great architect was a victim of jealousy and intrigue,
-and pleasant to know that he lived to see the glorious church that had
-taken form in his mind completed. It was finished in 1710.
-
-     “Was there ever known in the history of the world any cathedral
-     which suffered from fire like St. Paul’s? The whole career of the
-     church was an ordeal by fire. It was injured by fire a hundred
-     years before Westminster Hall was built; it was totally destroyed
-     by fire in the Eleventh Century and it took nearly two centuries to
-     restore it to anything like its former magnificence. ‘Away! we
-     lose ourselves in light,’ might have been its motto, for it was all
-     but completely destroyed by fire in the Fifteenth Century, and its
-     spire, which was then claimed to be the highest in the world, was
-     destroyed by fire a century later. Thus we have brought it to the
-     terrible days of 1666, when it went under with so much of London to
-     accompany it--one of the most tremendous conflagrations recorded in
-     the history of great cities. Then came the Commission to rebuild
-     it, of which brave John Evelyn was a member, and then Sir
-     Christopher Wren raised the monument to his fame which those who
-     would question his renown have only to look upon and be
-     satisfied.”--(J. McC.)
-
-Coming along from Ludgate Hill we gain a splendid view of the impressive
-Dome emerging through the mists in the very heart of the City.
-
-     “St. Paul’s is often called Classical, or Roman, or Italian; it is
-     not one of these three: it is English Renaissance. It was, too, a
-     distinctly happy thought of Fergusson to suggest that the Cathedral
-     takes a like place in English architecture to that which the
-     immortal ‘Paradise Lost’ does in English literature. The plan is
-     that of a mediæval church; the pilasters and entablature are Roman;
-     the round arch is found in both Roman and Romanesque, and that
-     commanding feature, the Dome, is the common property of many styles
-     and many ages. The general plan resembles the long or Latin Cross,
-     with transepts of greater breadth than length; and the uniformity
-     is broken by an apse at the east, and the two chapels at the west
-     end.”--(A. D.)
-
-Before we begin our tour of the Cathedral let us take a little note of
-our surroundings.
-
-     “In olden times St. Paul’s Churchyard was one of the great business
-     centres of London. About the church men met to discuss the doings
-     of the day, the last piece of news from Flanders, France or Spain,
-     or the rumours from the country. Here the citizens gathered angrily
-     when there was any talk of an invasion of their cherished
-     liberties, grumbled over the benevolence demanded by his Majesty
-     for the pay of the troops engaged in the French war, or jeered at
-     some poor wretch nailed by his ears in the pillory. Here the
-     heralds would proclaim the news of our victories by sea and land;
-     here the public newsmen would read out their budgets; vendors of
-     infallible nostrums would wax eloquent as to the virtues of their
-     wares; and the wives and daughters of the citizens would gather to
-     gossip and flirt. It was at once the exchange, the club, and the
-     meeting-place of London. Paul’s Cross was the heart of the City;
-     here men threw up their bonnets when they heard of Crécy and of
-     Agincourt; here they listened to the preachings of the first
-     followers of Wycliffe; here they erected their choicest pageants
-     when a new sovereign visited the City for the first time, or
-     brought his new-made spouse to show her to his lieges; and gathered
-     with frowning brows beneath iron caps when London threw in its lot
-     with the Parliament, and the train bands marched off to fight the
-     King’s forces. The business mart of the City lies now in front of
-     the Mansion House, but a great deal of business is still done under
-     the shadow of the Cathedral.”--(C. D.)
-
-All the streets bear names that remind us of the vicinity of St.
-Paul’s--Creed Lane, Ave Maria Lane, Sermon Lane, Canon Alley, Amen
-Corner and Paternoster Row known throughout the world as the
-headquarters of the book trade and publishers, while Cheapside, Ludgate
-Hill, Fleet Street and St. Paul’s Churchyard swarm with ghosts and
-memories of London’s stirring events.
-
-     “The modern passenger through St. Paul’s Churchyard has not only
-     the last home of Nelson and others to venerate as he goes by. In
-     the ground of the old church were buried, and here therefore
-     remains whatever dust may survive them, the gallant Sir Philip
-     Sidney (the _beau idéal_ of the age of Elizabeth), and Vandyke, who
-     immortalised the youth and beauty of the court of Charles the
-     First. One of Elizabeth’s great statesmen also lay
-     there--Walsingham--who died so poor that he was buried by stealth
-     to prevent his body from being arrested. Another, Sir Christopher
-     Hatton, who is supposed to have danced himself into the office of
-     Her Majesty’s Chancellor, had a tomb which his contemporaries
-     thought too magnificent, and which was accused of ‘shouldering the
-     altar.’
-
-     “Old St. Paul’s was much larger than now, and the Churchyard was of
-     proportionate dimensions. The wall by which it was bounded ran
-     along by the present streets of Ave Maria Lane, Paternoster Row,
-     Old Change, Carter Lane and Creed Lane; and therefore included a
-     large space and many buildings which are not now considered to be
-     within the precincts of the Cathedral. This spacious area had grass
-     inside, and contained a variety of appendages to the establishment.
-     One of these was the cross of which Stow did not know the
-     antiquity. It was called Paul’s Cross, and stood on the north side
-     of the church, a little to the east of the entrance of Cannon
-     Alley.”--(L. H.)
-
-At first the space around it was used for the meeting of the
-populace--the Folkmote--when their magistrates were elected, public
-affairs discussed and criminals tried and sentenced. At a later period
-=Paul’s Cross= was chiefly used for proclamations, and from the pulpit,
-which in Stow’s time was an hexagonal piece of wood “covered with lead,
-elevated upon a flight of stone steps and surmounted by a large cross,”
-sermons were preached.
-
-In 1879 the foundations of Paul’s Cross were discovered on the
-north-east side of the present Choir. A monument is now being erected on
-the spot.
-
-If we wish to examine the north and south fronts more particularly we
-first go to the former and
-
-     “We note the two-storied constructions, the graceful Corinthian
-     pillars, arranged in pairs, with round-headed windows between
-     them; the entablature; and then, in the second story, another row
-     of beautiful pilasters of the Composite order. Between these are
-     niches where one would have expected windows; but this story is
-     simply a screen to hide the flying-buttresses supporting the
-     clerestory, as Wren thought them a disfigurement. The walls are
-     finished with a cornice, which Wren was compelled by hostile
-     critics to add, much against his own judgment. There are some
-     excellently carved festoons of foliage and birds and cherubs, which
-     are well worthy of close observation. The North and South Fronts
-     have Corinthian pillars, which support a semicircular entablature.
-     Figures of the Apostles adorn the triangular-shaped heads and
-     balustrade. The Royal Arms appear on the north side, and a Phœnix
-     is the suitable ornament on the south, signifying the resurrection
-     of the building from its ashes. The south side is almost similar to
-     the north. The east end has an apse.”--(P. H. D.)
-
-On the south-west is the Dean’s yard, leading past the Deanery to the
-Choir House in Great Carter Lane where the choir-boys are trained.
-Doctors’ Commons, where marriage licenses used to be issued, only
-survives in name.
-
-Opposite the north porch of the Cathedral is the Chapter-House and from
-this side St. Paul’s Bridge, the plan for which was adopted in 1909,
-will start. It will cost no less than £1,600,000, and will cross the
-Thames between Blackfriars and Southwark.
-
-Facing Ludgate Hill stands a statue of Queen Anne, a modern replica of
-the original statue by Bird. At the foot of the 22 marble steps leading
-up to the doorway is a marble slab commemorating the Diamond Jubilee
-Thanksgiving (June 22, 1897). From time immemorial national thanksgiving
-services have been offered at St. Paul’s. The first in this building was
-a special thanksgiving for the Peace of Ryswick. Queen Anne returned
-thanks for Marlborough’s victories in the Low Countries and the
-destruction of the Spanish fleet at Vigo and for the victory of Blenheim
-(1702 and 1704). Here thanks were also offered for the recovery of the
-Prince of Wales (Edward VII.) from a serious illness in 1872 and by
-Queen Victoria for the sixtieth anniversary of her reign (1897); by King
-Edward and Queen Alexandra for the restoration of peace in South Africa
-(June 8, 1902); by King Edward on October 18, 1902, for his recovery
-from the illness that delayed the Coronation; and by King George and
-Queen Mary.
-
-     “The WEST FRONT has a magnificent portico, divided, like the rest
-     of the building, into two stories. The lower consists of twelve
-     coupled and fluted columns; that, above, has only eight, which bear
-     an entablature and pediment of which the tympanum is sculptured in
-     bas-relief, representing the conversion of St. Paul. On the apex of
-     the pediment is a figure of the Saint himself, and at its
-     extremities, on the right and left of St. Paul, are figures of St.
-     Peter and St. James. The transepts are terminated upwards by
-     pediments, over coupled pilasters at the quoins, and two single
-     pilasters in the intermediate space. On each side of the western
-     portico a square pedestal rises over the upper order, and on each
-     pedestal a steeple, or campanile tower, supported upon triangular
-     groups of Corinthian columns finishing in small domes formed by
-     curves of contrary flexure very like bells. Lower down in front of
-     these campaniles, the Four Evangelists are represented with their
-     emblems. In the face of the southern campanile a clock is inserted.
-     A flight of steps extending the whole length of the portico forms
-     the basement. In the southwest tower is the Great Bell of St.
-     Paul’s, cast in 1709 by Richard Phelps and Langley Bradley. It is
-     ten feet in diameter, ten inches thick in metal and weighs 11,474
-     pounds.”--(M.)
-
-First we will take a general view of the exterior:
-
-     “The form of St. Paul’s is that of the long or Latin cross. Its
-     extreme length, including the porch, is 500 feet; the greatest
-     breadth, that is to say across the transept but within the doors of
-     the porticoes, 250 feet; the width of the nave, 118 feet. There
-     are, however, at the foot or western end of the cross, projections
-     northward and southward, which make the breadth 190 feet. One of
-     these, namely, on the north side, is used as a morning chapel, and
-     the other, on the south side, contains the Wellington Monument, but
-     was formerly used as the Consistory Court. At the internal angle of
-     the cross are small square bastion-like adjuncts, whose real use is
-     to strengthen the piers of the dome; but they are inwardly
-     serviceable as vestries and a staircase. The height of the
-     Cathedral on the south side to the top of the cross is 365 feet.
-
-     “The exterior consists throughout of two orders, the lower being
-     Corinthian, the upper composite. It is built externally in two
-     stories, in both of which, except at the north and south porticoes
-     and at the west front, the whole of the entablatures rest on
-     coupled pilasters, between which in the lower order a range of
-     circular-headed windows is introduced. But in the order above, the
-     corresponding spaces are occupied by dressed niches, standing on
-     pedestals pierced with openings to light the passages in the roof
-     over the side aisles. The upper order is nothing but a screen to
-     hide the flying-buttresses carried across from the outer walls to
-     resist the thrust of the great vaulting.”--(M.)
-
-The =Dome=, the great feature of the church, is very beautiful when seen
-from a distance, as from one of the bridges, rising with its graceful
-curves far above the roofs and other spires.
-
-     “The dome, which is by far the most magnificent and elegant feature
-     in the building, rises from the body of the church in great
-     majesty. It is 145 feet in outward and 108 feet in inward diameter.
-     Twenty feet above the roof of the church is a circular range of
-     twenty-two columns, every fourth intercolumniation being filled
-     with masonry, so disposed as to form an ornamental niche or recess,
-     by which arrangement the projecting buttresses of the cupola are
-     concealed. These, which form a peristyle of the Composite Order,
-     with an unbroken entablature, enclose the interior order. They
-     support a handsome gallery adorned with a balustrade. Above these
-     columns is a range of pilasters, with windows between them, forming
-     an attic order, and on these the great dome stands. The general
-     idea of the cupola, as appears from the _Parentalia_, was taken
-     from the Pantheon at Rome. On the summit of the dome, which is
-     covered with lead, is a gilt circular balcony, and from its centre
-     rises the lantern, adorned with Corinthian columns. The whole is
-     terminated by a gilt ball and cross.
-
-     “But with the matchless exterior ceases the superiority, and
-     likewise, to a great degree, the responsibility of Wren. His
-     designs for the interior were not only carried out, but he was in
-     every way thwarted, controlled, baffled in his old age to the
-     eternal disgrace of all concerned; the victim of the pitiful
-     jealousy of some, the ignorance of others, the ingratitude of
-     all.”--(M.)
-
-It is singular to note that when Wren laid the corner-stone on June 11,
-1675, there was no solemn ceremonial. The King, the Court, the
-Archbishop of Canterbury and the Lord Mayor of London were all notably
-absent, but when he laid the last stone in the lantern of the cupola in
-1710
-
-     “all London poured forth for the spectacle, which had been publicly
-     announced, and were looking up in wonder to the old man, or his
-     son, if not the old man himself, who was, on that wondrous height,
-     setting the seal, as it were, to his august labours.
-
-     “When one enters the west door one cannot fail to be struck with
-     the vastness of the space enclosed within its massive walls; there
-     is no screen to break the view towards the east, and, as one stands
-     beneath the dome and looks up into its enormous hollow, the sense
-     of overpowering height is felt as in no other church in
-     England.”--(T. P.)
-
-Entering through the western door we are struck with the immensity of
-the =Nave= and overspreading dome, the effect of the lights, and, if
-service is being held, the peculiar beauty of the chants of the
-choristers, whose voices seem to come from the dome and float through
-the misty light to our ears.
-
-It would be interesting to know if Wagner ever heard the choir-boys of
-St. Paul’s and sought to reproduce the effect in _Parsifal_, by
-arranging the voices of knights, squires and youths at various stages in
-the dome of Montsalvat to sing softly of the “wondrous work of mercy and
-salvation.”
-
-     “The interior of the nave is formed by an arcade resting on massive
-     pillars and dividing the church into a body and two aisles. The
-     eastern piers of the nave serve at the same time for the supports
-     of the cupola. They are wider than the other piers, and are flanked
-     by pilasters at their angles and have shallow oblong recesses in
-     the intercolumniations. The roof over these piers is a boldly
-     coffered waggon-vault, which contrasts very effectively with the
-     rest of the vaulting.
-
-     “The nave is separated from the choir by the area over which the
-     cupola rises. From the centre of this area, the transepts, or
-     traverse of the cross, diverge to the north and south, each
-     extending one severy, or arch, in length. The choir, which is
-     vaulted and domed over, like the nave and transepts, from the top
-     of the attic order, is terminated eastward by a semicircular
-     tribune, of which the diameter is, in general terms, the same as
-     the width of the choir itself. The western end of the choir has
-     pillars similar to those at the eastern end of the nave, uniform
-     with which there are at its eastern end piers of the same extent
-     and form, except that they are pierced for a communication with the
-     side aisles. Above the entablature and under the cupola is the
-     Whispering Gallery, and in the concave above are representations of
-     the principal passages of St. Paul’s life in eight compartments,
-     painted by Sir James Thornhill.”--(M.)
-
-We should note that there are three stages--the main arcade, the
-triforium and the clerestory. The piers are faced with Corinthian
-pilasters that divide off the bays east and west. The arches spring from
-an entablature. They are very high. The “triforium belt,” as the “attic”
-is termed by those critics who have dropped the Classical nomenclature,
-and clerestory above are easily understood at a glance.
-
-     “The great arches overhead divide the vault as the greater
-     pilasters and their continuations do the walls. Between these
-     arches are the small saucer-shaped domes, 26 feet in diameter. The
-     reason for these and their accessories, the pendentives, may best
-     be understood from Wren’s own words. He says that his method of
-     vaulting is the most geometrical, and ‘_is composed of Hemispheres,
-     and their Sections only; and whereas a Sphere may be cut all Manner
-     of Ways, and that still into Circles.... I have for just Reasons
-     followed this way in the Vaulting of the Church of St. Paul’s....
-     It is the lightest Manner, and requires less Butment than the
-     Cross-vaulting, as well that it is of an agreeable View....
-     Vaulting by Parts of Hemispheres I have therefore followed in the
-     Vaultings of St. Paul’s, and with good reason preferred it above
-     any other way used by Architects._’ The saucer-shaped domes are
-     sections of spheres, as are both the pendentives, and the sides of
-     the clerestory windows. The wreaths, garlands, and festoons, and
-     the various conventional patterns with which the edges and surfaces
-     of the various parts of the vaulting is adorned cannot be estimated
-     from the pavement.”--(A. D.)
-
-From the Crypt to the dome the space measures 190 feet.
-
-     “When Wren planned his dome interior he had the difficulty caused
-     by the four limbs and their side aisles to overcome. He must have
-     turned to his uncle’s cathedral at Ely for enlightenment. In the
-     earlier years of the Fourteenth Century the central tower of Ely
-     collapsed, and the sacrist Alan de Walsingham, who acted as
-     architect, seeing that the breadth of his nave, choir and transepts
-     happened to agree, took for his base this common breadth, and
-     cutting off the angles, obtained a spacious octagon. The four sides
-     terminating the main aisles are longer than the four alternate
-     aisles at the angles of the side aisles; but at Ely this presents
-     no difficulty, owing to the use of the pointed arch. As you stand
-     in the centre of the octagon under the lantern you see eight
-     spacious arches of two different widths, all springing from the
-     same level and rising to the same height of eighty-five feet, the
-     terminal arch of the Norman nave pointed like its opposite
-     neighbour of the choir. Amongst Gothic churches the interior of Ely
-     reigns unique and supreme, certainly in England if not in Europe.
-     Wren was familiar with this cathedral, and even designed some
-     restorations for it; and he adopted the eight arches in preference
-     to any possible scheme of four great arches of sixty feet: but the
-     use of the round arch, as distinct from the pointed, deprived him
-     of Sacrist Alan’s liberty, who without incongruity made his
-     intermediate arches of the shorter sides, springing from the same
-     level, rise to the same height as the others. Wren was compelled to
-     make use of some expedient to reconcile his two different spaces
-     between piers of forty feet and twenty-six feet, and accordingly
-     arched these four smaller intermediate spaces as follows. A smaller
-     arch, rising from the architrave of the great pier, spans each
-     shorter side of the octagon, and has a ceiling or semi-dome in the
-     background, coming down to the terminal arches of the side aisles.
-     A blank wall space above is relieved by a section of an ornamental
-     arch of larger span, resting on the centre of the cornice; and
-     above this a third arch, rising from the level of the triforium
-     cornice, rests more upon the _outer_ side of the great supporting
-     pier, and thereby obtains the required equal span of forty feet,
-     and equal height of eighty-nine feet from the ground. This also has
-     a semi-dome; and the platform beneath on a level with the
-     clerestory is railed.
-
-     “The reduction of the octagon to the circle is facilitated by
-     giving the spandrels between the arches the necessary concave
-     surface; and this stage is finished off with a cantilever cornice,
-     the work (at least in part) of one Jonathan Maine. The eight great
-     keystones of the arches by Caius Gabriel Cibber are seven feet by
-     five, and eighteen inches in relief.”--(A. D.)
-
-About a hundred feet from the pavement and the same distance across is
-the celebrated =Whispering Gallery=, where a curious effect is obtained.
-
-The attendant whispering across the whole area can be distinctly heard,
-an acoustic property seemingly caused by the nearness of the concave
-hemisphere above.
-
-The =Cross= is quite 260 feet above us. The gallery projects so that the
-lectern steps and the pulpit are underneath.
-
-Now we come to the =Drum=. The actual bend inwards now begins, but for
-this part only in straight lines. First comes the plain band or Podium,
-panelled and of a height of twenty feet. On this stand thirty-two
-pilasters, in reality, as well as in appearance, out of the horizontal.
-Three out of each four
-
-     “intervening spaces are pierced with square-headed windows; and
-     from them such light as the dome receives, streams down through the
-     windows of the exterior colonnade. The alternate fourth recesses,
-     apparently nothing more than ornamental niches, conceal the
-     supports which bear the weight above. In the recent scheme of
-     decoration they have been filled with statues of Early Fathers--the
-     four eastern, SS. Chrysostom, Gregory Nazianzen, Basil, and
-     Athanasius; and the four western, SS. Ambrose, Augustine of Hippo,
-     Jerome, and Gregory.
-
-     “The straight lines bearing inwards give way to the sphere; and
-     here, too, the three separate coverings, which constitute the dome,
-     begin. The circular opening below the lantern coincides with the
-     lower edge of the fluting of the exterior shell, and is about two
-     hundred and fifteen feet from the pavement.
-
-     “These upper regions, hidden in an almost perpetual gloom, were
-     decorated in monochrome by Sir James Thornhill; but his work has
-     failed to resist the chemical action of the surcharged atmosphere.
-     In these compartments are scenes from the life of the patronal
-     saint: (1) The Conversion, (2) Elymas, (3) Cripple at Lystra, (4)
-     Jailer at Philippi, (5) Mars Hill, (6) Burning Books at Ephesus,
-     (7) Before Agrippa, (8) Shipwreck. We have all heard the story of
-     the painter, on a platform at a great height, who stepped back to
-     get a better view of his work. As he did so, an assistant, standing
-     by, brush in hand, observed with alarm that the slightest further
-     backward step would entail his falling headlong and being dashed to
-     pieces. He deliberately daubed the painting; and the artist,
-     stepping instinctively forward to prevent this, saved his life. The
-     painter is said to be Thornhill: the scene, the giddy height under
-     the dome.”--(A. D.)
-
-The beautiful iron-work of the gates is by Tijou, both at the ends of
-the aisles and doorways of the reredos arch. The =Choir-stalls= are by
-Grinling Gibbons and are very ornate and handsome. The Lord Mayor’s
-stall is on the left, or north side, and the Bishop of London’s on the
-right, or south. The latter’s throne is near the altar. There are
-thirty-one stalls altogether.
-
-     “The exquisite carvings of Grinling Gibbons in the stall-work of
-     the choir were not merely in themselves admirable, but in perfect
-     harmony with the character of the architecture. They rivalled, if
-     they did not surpass, all Mediæval works of their class in grace,
-     variety, richness; they kept up an inimitable unison of the lines
-     of the building and the decoration. In the words of Walpole ‘there
-     is no instance of a man before Gibbons who gave to wood the loose
-     and airy lightness of flowers and chained together the various
-     productions of the elements with a fine disorder natural to each
-     species.’”--(M.)
-
-The =Organ= is one of the finest in the world. It was reconstructed by
-Willis in 1897, and still contains parts of the original organ built by
-the German, Schmidt, in 1697. It consists of 4,822 pipes and 102 stops
-and is divided into two parts, placed on either side of the choir. These
-are connected by pneumatic tubes beneath the floor. The keyboard is on
-the north side.
-
-The older part of the case with its foliage, figures and architectural
-devices was also designed by Grinling Gibbons.
-
-The =Altar= stands between the great eastern piers and is surmounted by a
-tall reredos of white marble.
-
-     “The symbolism is expressed in the frieze above the Crucifixion,
-     ‘Sic Deus dilexit mundum’ (‘God so loved the world’). The lower
-     part is pierced with doors on either side; and ‘Vas Electionis’ (‘A
-     chosen vessel’) over the north door refers to St. Paul, and ‘Pasce
-     oves meos’ (‘Feed my sheep’) over the other to St. Peter; and here
-     are the crossed swords, the arms of the diocese. The section above
-     has the Entombment in the centre, and the Nativity and Resurrection
-     on either side. A Crucifixion occupies the central position. The
-     framework is of Roman design, with pilasters and a round arch; and
-     remembering Wren’s conception, it is interesting that the columns
-     of Brescia marble, supporting the entablature above, are twisted.
-     This is flanked with a colonnade; the figure on the north being the
-     Angel Gabriel, and to the south the Virgin. Above the pediment is a
-     canopy with the Virgin and Child, and St. Peter and St. Paul to the
-     north and south; and above all, and nearly seventy feet from the
-     ground, the Risen Christ completes this most reverent design.
-
-     “The altar cross is adorned with precious stones and lapis lazuli;
-     and the massive copper candlesticks are imitations of the original
-     four said to have been sold during the Protectorate.”--(A. D.)
-
-The apse behind the altar cut off by the reredos is now called the =Jesus
-Chapel=. Over the altar here is a copy of Cima de Conegliano’s _Doubting
-Thomas_ (in the National Gallery).
-
-The apse and the vaulting and the walls of the choir and ambulatory have
-in recent years been decorated by Sir William Richmond with
-richly-coloured mosaics. The chief panels of the apse represent our
-Lord enthroned, with recording angels on either side. In the choir the
-three “saucer domes,” or cupolas, represent three Days of Creation:
-Beasts, Fishes and birds. The four pendentives of each bay are decorated
-with herald Angels, with extended arms. Mosaics of the Crucifixion,
-Entombment, Resurrection and Ascension, also by Sir William Richmond,
-adorn the “quarter domes.”
-
-The eight paintings by Thornhill, of scenes from the life of St. Paul,
-can be viewed properly only from the Whispering Gallery. In the niches
-above this Gallery are statues of the Fathers of the Church. The
-spandrels between the great arches are decorated by eight large mosaics
-representing apostles and prophets: St. Matthew and St. John are by G.
-F. Watts; St. Mark and St. Luke, by A. Brittan; and the four prophets
-are the work of Alfred Stevens.
-
-The =Transepts= are of one arch only. The windows are modern and represent
-bishops and kings of early days. In the south transept aisle there is a
-window commemorating the recovery of the Prince of Wales (Edward VII.)
-in 1872; and a bronze tablet by Princess Louise in memory of “4,300 sons
-of Britain beyond the seas” who were killed in the South African war of
-1899-1901.
-
-To the left of the chief entrance is =St. Dunstan’s Chapel=, sometimes
-called the =North-West=, or =Morning Chapel=. It is richly decorated and
-contains a Salviati mosaic representing the _Three Marys at the
-Sepulchre_.
-
-In the south aisle, opposite, is the =Chapel of the Order of St. Michael
-and St. George=, a Colonial order, conferred only for distinguished
-services beyond the seas. The Sovereign’s stall is at the western end;
-and on each side of it is that of the Grand Master (Prince of Wales) and
-the Duke of Connaught. From these diverge the oak stalls of the Knights
-Grand Cross of the Order, over each of which is suspended a silk banner
-with his personal arms. The richly-gilded ceiling is decorated with the
-arms of the King, the Prince of Wales, the late Duke of Cambridge and
-Sir Robert Herbert, who were responsible for the scheme. In the south
-window is a kneeling figure of the donor, Sir Walter Wilkin. The chapel
-was dedicated on June 13, 1906, in the presence of King Edward, the
-Prince of Wales and many Knights.
-
-Above this chapel the Library is situated to which the curious
-=Geometrical Staircase= leads. This is circular, of a diameter of
-twenty-five feet, and each step is supported by the one below it. This
-is in the South tower.
-
-St. Paul’s is second only to Westminster Abbey in the number of
-Monuments to the celebrated dead. Immediately within the west door
-stands a gilt monument to the officers and men of the =Coldstream Guards=
-who fell in the South African War. In the north aisle of the nave we
-come to monuments of =General Gordon=, a recumbent figure on a sarcophagus
-by Sir Joseph Edgar Boehm; =Wellington=, by Alfred Stevens; =Lord Leighton=;
-=Lord Melbourne=. In the north transept =Sir Joshua Reynolds=, by Flaxman;
-and =Admiral Rodney=, by Rossi; in the south transept =Nelson=, by Flaxman,
-who thus describes his work:
-
-     “Britannia is directing the young seamen’s attention to their great
-     example, Lord Nelson. On the die of the pedestal which supports
-     the hero’s statue are figures in basso-relievo, representing the
-     Frozen Ocean, the German Ocean, the Nile, and the Mediterranean. On
-     the cornice and in the frieze of laurel wreaths are the words,
-     Copenhagen, Nile, Trafalgar. The British Lion sits on the plinth,
-     guarding the pedestal.”
-
-In the South transept: =Lord Cornwallis=, by Rossi, commemorates his
-Indian career. He appears in his mantle of the Garter, with an
-allegorical female figure of the Eastern Empire and a male figure
-representing an Indian river.
-
-At the east side of the south transept is the entrance to the =Crypt=,
-sombre, dimly lighted and sepulchral. In the centre a circle of pillars
-surrounds the tomb of =Nelson=, whose remains lie in a plain tomb under a
-black-and-white sarcophagus (Sixteenth Century), which was made for
-Cardinal Wolsey’s monument and confiscated with his other possessions.
-Through a grating here the dim light from the far-away dome sifts down
-upon England’s great admiral. To the left of Nelson lies =Collingwood=,
-and, to the right, =Cornwallis=. Not far away we come to the simple tomb
-of =Arthur, Duke of Wellington=, a great block of porphyry on a granite
-base.
-
-In the east recess of the south-choir-aisle is the grave of Sir
-Christopher Wren marked by a plain black marble slab. On the wall is the
-celebrated inscription: “_Lector, si monumentum requiris, circumspice_.”
-Then comes =Painters’ Corner= with Sir Joshua Reynolds, Benjamin West,
-Lawrence, Turner, Landseer, Millais, Leighton and others.
-
-We have yet to make the ascent of St. Paul’s. The way is long and grows
-more tedious and steeper as we ascend. It will be well to stop at the
-Stone Gallery (200 feet high), for although the Golden Gallery, at the
-top of the dome, is a hundred feet higher, the view is not so distinct.
-The Stone Gallery is safe, and delightful views are to be had in the
-spaces between the balustrades. The view extends from Harrow on the
-north-west, to the Crystal Palace, Shooter’s Hill and Greenwich
-Observatory in the south-east. The tourist will, however, take more
-pleasure in looking over the territory covered by the Great Fire of 1666
-and all the Wren steeples (there are thirty at least) that rise through
-the mists below us. Here we again think of Sir Christopher’s genius and
-remember again his epitaph: “If you wish an estimate of his genius, look
-around.” It is interesting, too, to trace Fleet Street, Cheapside and
-the other great arteries of traffic and travel, to look at the Thames
-and understand its peculiar windings and to view from this height the
-grim old Tower half a mile below London Bridge--the oldest building in
-England and the most romantic. Without the Tower of London and without
-St. Paul’s what would London be? Westminster Abbey is the church of the
-King and the government; St. Paul’s is the church of the citizens, the
-church that, as we have seen, has been a central point for the stirring
-events of the City of London. Whenever the traveller thinks of London,
-he sees its majestic dome rising above London Bridge or Ludgate Hill, or
-Cheapside, purple in the mists, golden in the sunlight--the emblem of
-London’s antiquity and its present immensity.
-
-     “I always endow St. Paul’s Cathedral with life and human nature and
-     sympathy. I cannot well explain what early associations and chances
-     have made St. Paul’s a more living influence to me than the much
-     grander and nobler Westminster Abbey; but so it is and I feel as
-     if St. Paul’s were a living influence over all that region of the
-     metropolis which is surveyed by its ball and its cross. But in
-     another sense it is unlike other buildings to me. It is not one
-     long-lived, long-living cathedral; it is rather a generation of
-     cathedrals. Westminster Abbey takes us back in unbroken continuity
-     of history to the earlier days of England’s budding greatness.
-     Westminster itself, nevertheless, was only called so in the
-     beginning to distinguish it from the earlier East Minster, which
-     was either the existing St. Paul’s or a cathedral standing on Tower
-     Hill. It would seem, then, that St. Paul’s rather than Westminster
-     Abbey ought to represent the gradual movement of English history
-     and English thought and the growth of the metropolis. But observe
-     the difference. Westminster Abbey has always since its erection
-     been sedately watching over London. It has been reconstructed here
-     and there, of course--repaired and renovated, touched up and
-     decorated with new adornments in tribute of grateful piety; but it
-     is ever and always the same Westminster Abbey. Now observe the
-     history of St. Paul’s. St. Paul’s has fallen and died time after
-     time, and been revived and restored. It has risen new upon new
-     generations. It has perished in flame again and again, like a
-     succession of martyrs, and has come up afresh and with new spangled
-     ore flamed in the forehead of the morning sky. St. Paul’s is a
-     religious or ecclesiastical dynasty rather than a cathedral. It has
-     been destroyed so often and risen again in so many different
-     shapes, that it seems as if each succeeding age were putting its
-     fresh stamp and mint-mark on it and so commending it to the special
-     service of each new generation.”--(J. McC.)
-
-[Illustration: ST. PAUL’S: CHOIR, EAST]
-
-[Illustration: ST. SAVIOUR’S, SOUTHWARK]
-
-
-
-
-ST. SAVIOUR’S, SOUTHWARK
-
-     FORMERLY THE COLLEGIATE CHURCH OF ST. SAVIOUR; AND ST. MARY OVERIE,
-     SOUTHWARK.
-
-     SPECIAL FEATURES: CENTRAL TOWER; CHOIR-SCREEN; TOMB OF JOHN GOWER;
-     HARVARD WINDOW; WINDOWS TO ELIZABETHAN DRAMATISTS.
-
-
-Although St. Saviour’s, Southwark, is one of the oldest buildings in
-London, it is one of the youngest of cathedrals in England, having been
-formally inaugurated as a Cathedral by King Edward on July 3, 1905. It
-was recently restored at a cost of £40,000. Parts of the Norman nave,
-dating from the Twelfth Century, were incorporated by Sir Arthur
-Blomfield in the new nave built in 1891-1896.
-
-St. Saviour’s stands on the south or Surrey side of London in the
-Borough, a district of very little interest in comparison with London
-north of the Thames; but very rich in historical associations. After
-crossing London Bridge we find this church on our right on a lower level
-than the road, which sunken situation prevents a good view of the
-venerable pile. Adjoining the church is the Borough Market for fruit and
-vegetables and west of it in Park Street, close to Southwark Bridge, is
-Barclay’s Brewery on the site of Shakespeare’s Globe Theatre. Going down
-Borough High Street we pass the site of the old _Tabard Inn_, from which
-Chaucer’s Canterbury Pilgrims started on their journey; and still lower
-down the street, the successor to the _White Hart_, where Mr. Pickwick
-found the immortal Sam Weller. In the vicinity the Marshalsea prison
-stood until the middle of the Nineteenth Century, within the sound of
-St. Saviour’s bells.
-
-St. Saviour’s is now almost the only remaining landmark of “Old
-Southwark.”
-
-Its early history is lost in legend. Stow, on the authority of Linstede,
-the last of the priors, attributed the building of the original London
-Bridge to the profits made by a ferryman here, who left his money to his
-daughter Mary. He tells the story as follows:
-
-     “East from the Bishop of Winchester’s house, directly over against
-     it, standeth a fair church called St. Mary-over-the-Rie, or Overie;
-     that is, over the water. This church, or some other in place
-     thereof, was, of old time, long before the Conquest, a house of
-     sisters, founded by a maiden named Mary; unto the which house and
-     sisters she left, as was left to her by her parents, the oversight
-     and profits of a cross ferry, or traverse ferry over the Thames,
-     there kept before that any bridge was built. This house of sisters
-     was after by Swithun, a noble lady, converted into a college of
-     priests, who in place of the ferry built a bridge of timber, and
-     from time to time kept the place in good reparations; but lastly,
-     the same bridge was built of stone; and then in the year 1106 was
-     this church again founded for canons regular by William Pont de la
-     Arch, and William Dauncey, Knights, Normans.”
-
-Modern historians have made a few corrections in this statement,
-particularly as regards the person who changed the nunnery into a
-college of priests. This was not a “noble lady,” but St. Swithun, Bishop
-of Winchester (832-856) (see page 46). It became a monastery of the
-Augustinian order in 1106, and the Norman knights who aided in its
-foundation also built the new Norman nave. After a severe fire that
-occurred early in the Thirteenth Century, when much of Southwark was
-destroyed, the church suffered greatly. Repairs were, of course,
-necessary; and the Bishop of Winchester, who took charge, rebuilt the
-nave in the lighter Early English style and also the choir and
-retro-choir.
-
-Another fire in the reign of Richard II. occasioned other repairs in the
-new Perpendicular style which was continued by Cardinal Beaufort, Bishop
-of Winchester (1405-1447), who restored the south transept. The Cardinal
-was the son of John of Gaunt and Catherine Swynford. In this church he
-married his niece Jane Beaufort to James I. of Scotland in 1423, with
-whom the royal poet fell in love during his imprisonment at Windsor.
-
-After the Dissolution of the monasteries in 1536 St. Mary Overy, which
-had already been united with St. Mary Magdalene, was now combined with
-St. Margaret’s and in the year of Linstede’s surrender to Henry VIII.
-(1540) the three parishes were united under the name of the Collegiate
-Church of St. Saviour.
-
-St. Saviour’s was several times repaired and altered in the Eighteenth
-Century, and then fell into neglect.
-
-The East End is an enlargement or addition to the choir. It consists, as
-we see, of four bays separated by buttresses and surmounted by gables.
-Each gable is lighted by a triplet of lancet windows. Larger windows of
-the same general style light the bays below. At the north-east corner is
-a short hexagonal stair turret. Above the Lady-Chapel rises the East End
-or gable of the choir. This has also a three-light lancet window, with a
-small circular window with seven cusps above. On the north-east corner
-the turret is capped by a pinnacle. Above rises the venerable square
-tower--St. Saviour’s best feature.
-
-The =Tower= at the intersection of the nave and transepts was partly built
-by Bishop Fox in the Perpendicular style.
-
-     “At the intersection of the nave, transepts and choir, rises a
-     noble tower, thirty-five feet square and one hundred and fifty feet
-     in height, resting on four massive pillars adorned with clustered
-     columns. The sharp-pointed arches are very lofty. The interior of
-     the tower is in four stories, in the uppermost of which is a fine
-     peal of twelve bells. Externally the tower, which is not older than
-     the Sixteenth Century, somewhat resembles that of St. Sepulchre’s
-     Church, close by Newgate. It is divided into two parts, with
-     handsome pointed windows, in two stories, on each front; it has
-     tall pinnacles at each corner, and the battlements are of flint, in
-     squares or chequer-work.”--(E. W.)
-
-The South transept, like the north transept, was built in the Decorated
-style in the first half of the Fourteenth Century, but was rebuilt by
-Cardinal Beaufort. It has been restored in the style of his time, and
-the window of five lights is Transitional in style from Decorated to
-Perpendicular.
-
-We enter by the =Doorway= at the south-west, the principal entrance to the
-Cathedral.
-
-     “In all probability the door was placed in this position when the
-     Norman nave was built by Bishop Giffard (_circa_ 1106); but its
-     character was altered by Peter de Rupibus, a century later, to
-     bring it into harmony with the rest of his Early English work, when
-     he remodelled the nave in that style.
-
-     “The porch that we now have agrees in its main features with the
-     drawings taken of the earlier one before it was destroyed. A deeply
-     recessed and acutely pointed arch is divided into two by a central
-     shaft, with moulded base and foliaged capital. The jambs contain
-     five shafts on each side, which differ from that in the centre, in
-     that they are of Purbeck marble, and banded, in pleasing contrast
-     to the plain stone of their own bases and capitals, and of the
-     (unbanded) central shaft. In the tympanum of the double doorway
-     thus formed, there is a pointed arcading, consisting of a central
-     arch and two smaller arches on either side. The deep soffit of the
-     arch in which this elegant arcading is enclosed, is adorned with a
-     series of quatrefoil panels.”--(Geo. W.)
-
-On entering we get a fine view of more than two hundred feet.
-
-The =Nave= was rebuilt in 1890-1897 and is a reproduction of the Early
-English nave in nearly every detail. As we look down the long vista we
-are reminded of Salisbury. Here, however, we have the magnificent screen
-and the handsome East window above it. The clerestory is lighted by
-plain lancet windows, enclosed in an elegant arcading.
-
-Walking down the north aisle of the nave we soon come to the most
-interesting monument in the Cathedral--the tomb of =John Gower=, who died
-in 1408, eight years after his friend Chaucer, to whom the window above
-(1900) is appropriately enough a memorial and bears the latter’s
-portrait.
-
-     “He had been a liberal benefactor to the Church, and founded a
-     chantry in the Chapel of St. John the Baptist, where he was
-     eventually buried. The chapel and chantry are no more, but the
-     monument marks the spot, having been restored in 1894 to its first
-     position. It is in the Perpendicular style, and consists of an
-     altar-tomb, with a dado, ornamented by seven panels in front, on
-     which lies the effigy of the poet, surmounted by a canopy of three
-     ogee arches, with an inner order of five cusps, and terminating in
-     crocketed pinnacles. There is a pilaster set angle-wise at each
-     end, banded at the separate divisions of the monument, and also
-     rising into crocketed pinnacles. There are similar pinnacles
-     between the arches of the canopy. Behind the canopy is a screen,
-     divided into open panels of three trefoil-headed lights. The
-     cornice at the top is modern, and the hands and nose of the figure
-     are restorations.
-
-     “The poet is represented lying on his back, with his hands joined
-     in prayer, and his head resting upon the three volumes on which his
-     fame depends, the _Speculum Meditantis_, _Vox Clamantis_, and
-     _Confessio Amantis_. He is vested in a long dark habit, buttoned
-     down to the feet, after the manner of a cassock, the ordinary dress
-     of an English gentleman at the time. There is a garland of four
-     roses round his head, and at his feet a lion couchant. The SS.
-     collar adorns the neck, with a pendant jewel, on which a swan is
-     engraved--the device of Richard II., to whom Gower was Poet
-     Laureate. On the wall of the canopy, at the foot of the tomb, there
-     is a sculptured and coloured representation of the poet’s own
-     shield of arms, crest and helmet. On the back wall of the recess,
-     above the effigy, there were formerly three painted figures,
-     representing Charity, Mercy, and Piety, each bearing a scroll with
-     an invocation, in Norman-French, for the soul of the departed.
-     After undergoing repainting more than once, with modifications, the
-     figures were scarcely recognisable in 1832, when the monument was
-     repaired, but the figures were unfortunately obliterated. The
-     inscription along the ledge of the tomb, which had also been
-     destroyed, is now replaced: ‘Hic jacet I. Gower, Arm. Angl: poeta
-     celeberrimus ac hoc sacro benefac. insignis. Vixit temporibus Edw.
-     III., Ric. II., et Henri IV.’”--(Geo. W.)
-
-Now we have reached the =North Transept=, supposed to have been originally
-a chapel dedicated to St. Peter. It is now used as a sort of museum for
-the relics and antiquities of the church--old bosses, chests,
-stone-coffins, etc. The large north window was unveiled in 1898 to
-commemorate doubly the Prince Consort and Queen Victoria’s Diamond
-Jubilee. Its four lights depict Gregory the Great, King Ethelbert,
-Stephen Langton and William of Wykeham.
-
-Passing to the tower we can now look upward as far as the floor of the
-bell-ringers. The bosses on the new oaken roof date from the Fifteenth
-Century. From it hangs a fine =Chandelier= of 1680.
-
-The =South Transept= was rebuilt by Cardinal Beaufort, whose arms we see
-on a pier by the transept door. The great south window of five lights,
-described by Sir Arthur Blomfield, the designer, as “transitional
-between Flowing Decorated and Perpendicular,” is filled with modern
-glass. The design is a “Tree of Jesse.”
-
-Returning now to the =Choir= we pause here to study it in detail. It was
-built by Peter de Rupibus in the Thirteenth Century, and is Early
-English. It consists of five bays. The piers are alternate circular and
-octagonal, with plain capitals and well-cut base mouldings. Four arched
-openings occur in each bay of the triforium. Corbels with sculptured
-heads occur on the arches of the south side.
-
-The =Altar= stands on a platform and above it rises the wonderful =Screen=,
-erected by Bishop Fox in 1520. It almost fills the entire eastern end of
-the choir.
-
-     “The screen is about thirty feet in height, and extends to the main
-     arcades on either side. Three tiers of canopied niches, ten in each
-     tier, divided down the centre by a Perpendicular series of three
-     large niches, all occupied by statues, made up a composition which
-     was at once ‘a thing of beauty’ and an object lesson on the
-     Incarnation. The total number of niches (thirty-three) suggested a
-     mystic reference to the years of our Lord’s earthly life, while the
-     image of the Pelican ‘in her piety,’ here and there, besides being
-     a reminder of Bishop Fox (whose peculiar device it was), also
-     typified the sacrament of the altar. The original materials of
-     which the screen was built are quoted as ‘Caen and fire-stone,’ for
-     which Mr. Wallace substituted stone from Painswick in
-     Gloucestershire, as more easily obtained and agreeing in colour
-     with the old work.
-
-     “The doors on each side will be noticed, with their depressed ogee
-     headings, which indicate that this screen is of somewhat later date
-     than the corresponding one (also by Bishop Fox) at Winchester.
-     Another indication to the same effect has been detected in the
-     grotesque carvings in the spandrels, which are here of a humorous
-     character, whereas at Winchester the minor decorations are entirely
-     sacred, e.g., the Annunciation and Visitation.”--(Geo. W.)
-
-The =East Window= above contains three lancets, the glass representing the
-Crucifixion in the centre with St. John on one side and the Virgin on
-the other. It is placed in a quintuple arcade. The prevailing colour is
-blue.
-
-On the north side of the choir under the first arch we notice the
-=Monument of Richard Humble=, a good specimen of the Jacobean period.
-Here, under an arched canopy, Richard Humble is kneeling before an
-altar, with his two wives behind him. The second one wears a conical
-hat.
-
-The =Retro-Choir=, now called the =Lady-Chapel=, was erected by Peter de
-Rupibus. It is one of the best examples of Early English extant. Six
-slender columns support the groined vault. If we look at it from the
-south-east corner we gain a good view showing the altar on the north
-side and the =tomb of Bishop Andrews= (died 1626) on the west, an example
-of the Renaissance style, with a painted effigy. This Bishop of
-Winchester (who often visited St. Saviour’s, the most important church
-in his diocese after the Cathedral of Winchester) was buried in a little
-chapel east of the retro-choir. The “Bishop’s Chapel,” as it was called,
-was destroyed in 1830 and the body of Bishop Andrews was transferred to
-its present place.
-
-Of the windows in the Retro-Choir the most admired is the one in the
-north side of three lights containing figures of Charles I., Thomas à
-Becket and Archbishop Laud. The tracery is in the Decorated style.
-
-Walking along the north-choir-aisle we pass the effigy of a knight and
-soon come to the most conspicuous monument in this aisle, that of =John
-Trehearne=, servant to Queen Elizabeth and “Gentleman Portar” to James I.
-On the top of the tomb are Trehearne and his wife with big ruffs. They
-proudly hold a tablet which is a eulogy of Trehearne’s remarkable
-qualities. Their four children kneel on a bas-relief below. It is a very
-interesting example of Seventeenth Century mortuary art.
-
-A door leads from the north-choir-aisle into the =Chapel of St. John the
-Divine=, now famous for the =Harvard Window= in its eastern wall.
-
-     “Henceforth the chapel will be associated with the name of John
-     Harvard, who was born in the parish, and baptised in the church on
-     29th November, 1607, and its restoration is intended to take the
-     form of a memorial to that great and good man.
-
-     “The first practical step in this direction was taken by the Hon.
-     Joseph H. Choate, who manifested great interest in the ancient
-     fabric while he was American Ambassador, and presented the east
-     window to the chapel in commemoration of John Harvard, founder of
-     the renowned university which bears his name. The window, unveiled
-     by Mr. Choate on Monday, 2nd May, 1905, is of three lights,
-     transomed, as designed by Sir Arthur Blomfield and Sons, the glass
-     being made in America under the supervision of Mr. Charles F.
-     McKim, the famous American architect. The design is by Mr. John La
-     Farge. In the central light of the lower division the Baptism of
-     Christ is depicted, attendant angels occupying the sides. The upper
-     division contains the arms of Emmanuel College, Cambridge, where
-     John Harvard was educated, and of the Harvard University, with its
-     mottoes, _Veritas_ and _Christo et Ecclesiae_. The base bears the
-     inscription, ‘In memory of John Harvard, founder of Harvard
-     University in America, baptised in this church, Nov. 29, 1607.’
-
-     “The window is a noteworthy example of modern work, and the
-     treatment of the familiar subject is distinctly original, in which
-     respect, as well as in colouring, it presents a very striking
-     contrast to the other windows, especially to those of mediæval
-     character, throughout the church. Perhaps it is fortunate that it
-     occupies an isolated position in the chapel, where the brilliance
-     and peculiarity of the colouring are seen to full advantage without
-     detriment to the other windows.”--(Geo. W.)
-
-We again find our way back to the tower and into the south-aisle of the
-nave for the particular purpose of looking at the windows representing
-the =Elizabethan players and dramatists=, associated with the Southwark
-theatres. Some of them, John Fletcher, Philip Massinger and Edmund
-Shakespeare, are buried here. The first of this series of windows is a
-memorial to =Edward Alleyn= (1566-1626); next to =Francis Beaumont=
-(1585-1616); next to =John Fletcher= (1579-1625); next to =Philip Massinger=
-(1583-1639); next to =Shakespeare=, who lived not far from his theatre,
-the Globe, in the parish of St. Saviour’s Church.
-
-[Illustration: ST. SAVIOUR’S, SOUTHWARK: NAVE, EAST]
-
-[Illustration: WESTMINSTER ABBEY: WEST FRONT]
-
-
-
-
-WESTMINSTER ABBEY
-
-     DEDICATED TO ST. PETER. CHURCH OF A BENEDICTINE MONASTERY.
-
-     SPECIAL FEATURES: EDWARD THE CONFESSOR’S CHAPEL; SHRINE OF THE
-     CONFESSOR; THE “POETS’ CORNER”; HENRY VII.’S CHAPEL.
-
-
-Westminster Abbey, though not a cathedral, is, perhaps, the most famous
-church in England. It is, however, visited on account of its historical
-associations rather than because of its architecture. Yet architects
-know full well that it is the equal of Salisbury, Lincoln, Ely, or
-Canterbury. In it all British sovereigns have been crowned since the
-days of the Conqueror and in it rest the remains of the nation’s most
-honoured dead.
-
-According to tradition, in the Seventh Century, Siebert, King of the
-East Saxons, built a church to St. Peter on what was then Thorney
-Island. It became known as Westminster.
-
-Dunstan established a Benedictine monastery here; but the Abbey that we
-know was begun by Edward the Confessor in 1050. This King died soon
-after the Choir was finished in 1065, and was buried there. We gain an
-idea of his church from the Bayeux tapestry, which depicts Edward the
-Confessor’s funeral. Some portions of it remain below the present Choir.
-
-During William Rufus’s reign the transepts and first bay of the nave
-were finished.
-
-Henry III. determined to build a new church in the French style; and
-this was begun in 1245 and completed as far as the fourth bay of the
-nave in 1269. It is the most finished production of the first half of
-the Thirteenth Century in England.
-
-Henry III. also built a Lady-Chapel, afterwards destroyed by Henry VII.
-for his exquisite chapel--the most perfect example of Perpendicular
-work. During the reign of Richard II. the old nave was reconstructed.
-
-To many, the exterior of Westminster Abbey is not as impressive as St.
-Paul’s. It is disappointing in size and somewhat too narrow for its
-height. It is only when we enter and see the superb architecture and
-impressive monuments that its grandeur and solemnity grow upon us,
-notwithstanding the fact that the black-gowned vergers conducting
-parties of tourists from tomb to tomb and chapel to chapel, in
-business-like fashion, do all they can to dispel reverence by rattling
-off stories of Queen Hanne and ‘Enery VII., not always with
-unimpeachable accuracy.
-
-     “The WEST FRONT is flanked by two towers 225 feet high, built by
-     Wren and finished by his pupil Hawksmoor, about 1740. In the centre
-     of the front is the great Perpendicular window, beneath which is a
-     row of niches. The entrance porch has a groined roof. The nave is
-     remarkable for its length and height. On the north side we notice
-     that there is a wealth of buttresses. Strong buttresses support the
-     aisle walls, and from these flying-buttresses stretch across to the
-     walls built on the central arcade. The four eastern buttresses
-     comprise the part of the church finished by Henry III.; the rest of
-     the nave, with the exception of Wren’s towers, was built during the
-     last half of the Fourteenth Century and the beginning of the
-     Fifteenth. The figures in the niches are modern.”--(P. H. D.)
-
-The =North Front= is new, designed by Sir G. Scott and Mr. Pearson.
-
-     “It is a very elaborate work and much of it is beautiful; but it
-     does not seem to harmonise with the rest of the building. There is
-     a large rose-window; on each side tall buttresses crowned with
-     turrets and covered with niches. There is an arcade of open-work
-     below and then some deeply-recessed Early English windows, and
-     below three doorways under one string-course, the centre one having
-     a high gable. The door is divided by a pier having a finely-carved
-     figure of the Virgin and Child. The tympanum is divided into three
-     panels. In the highest is Our Lord in glory surrounded by angels
-     and below him are the Twelve Apostles, while in the lowest tier are
-     figures representing Art, History, Philosophy, War, Legislation and
-     Science, with the builders of the Abbey, Edward the Confessor,
-     Henry III. and Richard II. The niches are filled with figures of
-     persons in some way connected with the Abbey. The Choir is in the
-     form of an apse, with radiating chapels, planned on the model of
-     the French _chevet_, according to the taste of Henry III., which he
-     had cultivated during his sojourn in France. The Lady-Chapel at the
-     east end, commonly called Henry VII.’s Chapel, is one of the
-     noblest examples of the best Perpendicular work in the kingdom, and
-     ranks with St. George’s Chapel, Windsor, and King’s College,
-     Cambridge. The monastic buildings are on the south side of the
-     Abbey.”--(P. H. D.)
-
-The ground plan is French, with a French _chevet_ and chapels radiating
-from the Choir, and not only in the plan but in the narrowness and
-height of the bays of the Choir and in the tracery of the windows.
-French characteristics declare themselves. The nave is bordered with
-aisles. Beyond the Choir rises the central tower; and on either side the
-north and south transepts. The latter is known as the “Poets’ Corner.”
-Beyond comes the altar, around which many tombs crowd closely; and
-beyond them the North and South Ambulatory. Beyond again runs a circle
-of chapels. Then beyond this apse a flight of steps leading to Henry
-VII.’s Chapel, also crowded with tombs.
-
-The Cloisters and Chapter-House lie on the south side of the Abbey; and
-on the right of the chief or West entrance, we find the famous Jerusalem
-Chamber, Jericho, and the Dining-Hall and Court--all part of the old
-Palace and demonstrating to strangers from over-sea the close connection
-between the religious and civic life of the British nation.
-
-     “One never enters the Abbey Church without a thrill of admiration
-     for the daring genius who raised those lofty vaults. That they were
-     the first of their kind in England is almost certain, but the name
-     of their designer does not seem to have been preserved. It is more
-     likely that he was an Englishman who had studied in France, than
-     that he was a Frenchman. Certain it is that though the plan, if not
-     all the design, is purely French, the arrangement of the chapels
-     being in fact peculiar to Westminster amongst English churches, the
-     workmanship is very superior to that in any contemporary building
-     on the Continent.”--(W. J. L.)
-
-The =Nave= is the loftiest in England. It is two feet higher than that of
-York Minster.
-
-     “The view of the interior is very impressive. Standing at the west
-     end of the nave we cannot fail to admire the magnificent beauty of
-     this noble shrine. This nave of twelve bays, with its clustered
-     columns, its beautiful triforium, and its lofty and firmly
-     proportioned roof soaring to the height of 101 feet, is very
-     striking. A close inspection will show the difference between the
-     piers of the portion finished by Henry III. and the newer work of
-     the Fourteenth Century. The tracery of the triforium openings is
-     very fine. The choir-screen which crosses the nave at the eighth
-     pier, is modern, and also the pulpit. The west window is
-     Perpendicular, and has some Georgian glass containing figures of
-     the Patriarchs. Much architectural beauty has been sacrificed for
-     the sake of ponderous monuments, but many of these have much
-     interest and for many visitors will prove the most attractive
-     features of the Abbey.”--(P. H. D.)
-
-The general effect of the interior has changed little since Washington
-Irving wrote his sympathetic essay on England’s Walhalla:
-
-     “I pursued my walk to an arched door opening to the interior of the
-     Abbey. On entering here the magnitude of the building breaks fully
-     upon the mind, contrasted with the vaults of the cloisters. The eye
-     gazes with wonder at clustered columns of gigantic dimensions with
-     arches springing from them to such an amazing height; and man
-     wandering about their bases shrunk into insignificance in
-     comparison with his own handiwork. The spaciousness and gloom of
-     this vast edifice produce a profound and mysterious awe. We step
-     cautiously and softly about as if fearful of disturbing the
-     hallowed silence of the tomb; while every footfall whispers along
-     the walls, and chatters among the sepulchres, making us more
-     sensible of the quiet we have interrupted.
-
-     “It seems as if the awful nature of the place presses down upon the
-     soul, and hushes the beholder into noiseless reverence. We feel
-     that we are surrounded by the congregated bones of the great men of
-     past times who have filled history with their deeds and the earth
-     with their renown.
-
-     “I passed some time in Poets’ Corner, which occupies an end of one
-     of the transepts, or cross aisles of the Abbey. The monuments are
-     generally simple; for the lives of literary men afford no striking
-     themes for the sculptor. Shakespeare and Addison have statues
-     erected to their memories, but the greater part have busts,
-     medallions and sometimes mere inscriptions.
-
-     “From Poets’ Corner I continued my stroll towards that part of the
-     Abbey which contains the sepulchres of the kings. I wandered among
-     what once were chapels, but which are now occupied by the tombs and
-     monuments of the great. At every turn I met with some illustrious
-     name, or the cognizance of some powerful house renowned in history.
-     As the eye darts into these dusky chambers of death, it catches
-     glimpses of quaint effigies: some kneeling in niches, as if in
-     devotion; others stretched upon the tombs, with hands piously
-     pressed together; warriors in armour, as if reposing after battle;
-     prelates, with crosiers and mitres; and nobles in robes and
-     coronets, lying as it were in state. In glancing over this scene,
-     so strangely populous, yet where every form is so still and silent,
-     it seems almost as if we were treading a mansion of that fabled
-     city, where every being had been suddenly transmuted into stone.”
-
-The =West Window= dates from the reign of George II., whose arms are in
-the centre. It contains twenty-four large and fourteen small
-compartments depicting Moses, Aaron and the patriarchs.
-
-The =North-west Tower=, also called =Belfry Tower=, has been called the
-“Whigs’ Corner,” on account of the monuments there. The glass in the
-window is old. The =south-west=, or =Baptistery Tower=, used to contain the
-font (now in Henry VII.’s Chapel). Here are also many monuments and
-busts. The stained glass window, in memory of George Herbert and William
-Cowper, was the gift of Mr. G. W. Childs, of Philadelphia.
-
-The nave pulpit was placed here in 1862; and though the inner stone-work
-of the =Choir-screen= is of the Thirteenth Century, what is visible is
-modern.
-
-     “The splendid arcade which forms the TRIFORIUM is one of the
-     greatest glories of Westminster, for it is filled with tracery
-     similar in every respect to the best window tracery of the Early
-     English period. Above the triforium comes the grand tier of windows
-     composing the clerestory. Each is divided by a single central
-     mullion which, in the older portions, terminates with two plain
-     arches surmounted by a circle foliated in six divisions, and in the
-     newer portions with trefoil-headed arches surmounted by a circle
-     divided into only four parts. The fine vaulting, of which the
-     rib-work is enriched with sculptured bosses at its points of
-     intersection, completes the centre of the nave in such a fashion
-     that its decorative effect is in complete harmony with the richness
-     of the arch mouldings.”--(C. H.)
-
-The aisles are greatly disfigured by the innumerable monuments. Much
-beautiful sculpture has been cut away to make room for them. The north
-aisle has one doorway; the south aisle has three, two of which lead into
-the Cloisters and the third (the most western one) into the Deanery.
-Above it is the =Abbot’s Pew=, an oaken gallery built by Abbot Islip early
-in the Sixteenth Century.
-
-The most important monument in the north aisle is that of =Ben Jonson=,
-with the famous inscription “O rare Ben Jonson.” In the south aisle lies
-=Major John André=.
-
-The =Transepts= of Westminster Abbey contain some of the most beautiful
-work that can be found anywhere.
-
-The =North Transept= is entered by the famous =Solomon’s Porch=. It consists
-of four bays and is bordered with aisles. The eastern aisle is divided
-into three chapels--St. Andrew, St. Michael and St. John the
-Evangelist--all of which are filled with monuments.
-
-     “The transept end consists of five stages, of which the lowest is
-     composed of four obtusely pointed arches, two of them being
-     doorways. The spandrels are very richly sculptured. In the second
-     compartment is an arcade of six trefoil-headed arches springing
-     from clustered columns. Above this arcade are six lancet windows on
-     slender columns. The soffits of the arches are decorated with
-     sculpture and at both ends there are statues in niches. The fourth
-     stage is a continuation of the triforium arcade. There are three
-     arches, each enclosing two trefoiled arches, with a cinquefoiled
-     circle between them. It is possible that there were once windows in
-     this compartment, but these have been filled up. The transept end
-     is completed by a great rose-window filled with modern stained
-     glass representing the Apostles and Evangelists. Here we find the
-     celebrated CENSING ANGELS.
-
-     “The triforium is the place from which we can best see those famous
-     sculptures known as the ‘censing angels.’ The artist who placed
-     these figures in the north and south transepts must have had a
-     genius which brought him nearer to the great Greek sculptors of the
-     Periclean period than any who has lived since their time. What must
-     the central statues have been like to be worthy of such
-     accessories? Perhaps if one had to select the best public statue in
-     England, it would be impossible to overlook the angel on the north
-     transept on the western side. He appears to be literally hovering
-     in the air, or rather--for this the sculptor has most marvellously
-     expressed--he is supposed to be swinging his censer in the presence
-     of his Lord, and to be floating in a sea of light, which forces him
-     to bow his head and avert his face from its dazzling
-     effulgence.”--(W. J. L.)
-
-Among the monuments in the north transept the most interesting are to
-Admiral Vernon, George Canning, D’Israeli, Gladstone, Sir Robert Peel,
-William Pitt and Warren Hastings.
-
-The =South Transept= is popularly known as the =Poets’ Corner=, a name given
-by Goldsmith. It is so crowded with tombs and cenotaphs that the
-architectural features are rarely noticed. It is not uniform with the
-north transept though both are of Henry III.’s reign, Early English
-merging into Decorated. A door in the south wall leads into the =Chapel
-of St. Faith=, long used as a vestry and now as a chapel for private
-prayer.
-
-The most interesting tomb here is that of =Geoffrey Chaucer=, who for
-years lived in a house in the monastery garden pulled down to make room
-
-[Illustration: WESTMINSTER ABBEY: POETS’ CORNER]
-
-[Illustration: WESTMINSTER ABBEY: CHOIR, EAST]
-
-for Henry VII.’s Chapel. It is a small altar-tomb supposed to date from
-1451, with a canopy of Purbeck marble of later date. The memorial window
-above dates from 1868. Here lie Dryden, Francis Beaumont, Browning,
-Tennyson and Edmund Spencer among others; and a bust of Longfellow was
-placed here in 1884.
-
-     “The Choir, which has been the scene of so many solemn and
-     memorable services, has no ancient woodwork. The stalls were
-     erected about the middle of the last century. The altar and reredos
-     are modern. There are some large figures, and a mosaic of the Last
-     Supper. Here the coronations of our monarchs take place. The
-     pavement is interesting, as it was brought from Rome by Abbot Ware
-     in 1268, and beneath it he rests with other abbots of Westminster.
-     The sedilia are Thirteenth Century work, and were decorated with
-     paintings. The figures of King Siebert, the first founder, and of
-     Henry III., the munificent re-founder, remain. Above the base of
-     the tomb of Anne of Cleves, one of Henry VIII.’s many wives, is a
-     remarkable painting of Richard II., and behind it some ancient
-     tapestry.”--(P. H. D.)
-
-On the north side of the sanctuary three ancient tombs harmonise
-perfectly with their architectural surroundings. The most westerly is
-that of =Aveline of Lancaster=, who died about 1273, a wealthy heiress,
-daughter of the Earl of Albemarle, who was married in the Abbey in 1269
-to Edmund Crouchback, Earl of Lancaster, younger son of Henry III. A
-single cusped arch with a high gable in the spandrel of which is a
-trefoiled panel forms the canopy. Two dogs are at the feet of the effigy
-draped in flowing mantle. The tomb is Early Decorated. Next comes the
-tomb of =Aymer de Valence=, Earl of Pembroke (died 1323). The Earl, in
-full armour, rests his feet on a lion couchant. Beyond is the tomb of
-=Edmund Crouchback= (died 1296). The effigy of the Earl in chain armour
-lies under a triple canopy, richly ornamented. The aisles are crowded
-with tombs and monuments. The aisles of the choir are filled with tombs
-and monuments.
-
-Behind the altar is situated the =Confessor’s Chapel= containing the
-famous =Shrine of Edward the Confessor=.
-
-     “When we enter St. Edward’s Chapel, or the Chapel of the Kings
-     (_Capella Regum_), we find ourselves in what may fairly be
-     described as the most important part of the Abbey, alike from the
-     ecclesiastical and historical points of view. The chapel is
-     distinguished from the rest of the church by its superior height
-     above the ground. In the centre is the Confessor’s shrine, around
-     which are the tombs of five Kings and six Queens of England. The
-     entrance is by some wooden steps through a small space between one
-     of the columns and Edward I.’s tomb. The chapel is separated from
-     the sanctuary by a Fifteenth Century screen, which, though much
-     mutilated, is still beautiful. The sculptures deal with the life
-     and visions of the Confessor.”--(C. H.)
-
-The =Confessor’s Shrine=, though mutilated, is the most important monument
-in the Abbey. The present tomb was finished in 1269 at the instance of
-King Henry, and was the work of one Peter, a Roman citizen. At the
-Dissolution of the Monasteries the body of the King was removed and the
-golden ornaments of the tomb disappeared; but in Queen Mary’s time Abbot
-Feckenham had the body re-interred, the shrine repaired and the wooden
-superstructure erected. James II. had the old coffin enclosed in another
-case. This remains still within the shrine.
-
-On the north side of the shrine is the =Tomb of Henry III.=, of two
-stages, in the upper one of which the body rests. An effigy in gilt
-bronze rests on the top. Next is the tomb of =Edward I.= On the other side
-(east) lies =Eleanor of Castile= (died 1290) in a tomb of Purbeck marble,
-the sides of which are embellished with trefoiled heads, a fine example
-of Gothic, probably designed by Torel. Immediately behind the
-Confessor’s Shrine comes the =Chantry of Henry V.= (where an altar once
-stood). It is a splendid piece of ornate Perpendicular work, with
-elaborate sculptured figures representing St. George, St. Denys and the
-story of the hero’s life--his fights, coronation and court. The effigy
-is mutilated. Above the tomb hang the monarch’s shield, saddle and
-helmet, which were carried in his funeral procession.
-
-The next tomb is that of =Queen Philippa of Hainault=, Queen of Edward
-III., who died in 1369. Next comes =Edward III.= (died 1377) and next that
-of =Richard II.= and his first wife, =Anne of Bohemia=. Next, =Siebert’s
-Tomb=, consisting of an arched recess in the wall and supposed to contain
-the body of the legendary founder of the Abbey. It dates from 1308. Next
-comes the tomb of =Anne of Cleves=.
-
-In this chapel stand the =Coronation Chairs=. The one on the left was made
-in the reign of Edward I. to enclose the stone of Scone, supposed to be
-the stone on which Jacob slept at Beth-el. The chair was once painted
-and jewelled. The other chair was made for the coronation of William and
-Mary. Between these hang the sword and shield of state of Edward III.,
-used at his and all other coronations.
-
-The little =Chapel of St. Benedict= is closed to the public. Under an arch
-is an altar tomb of four children of Henry III. and four of Edward I.
-
-Then comes =St. Edmund’s Chapel=, filled with tombs; then =St. Nicholas’s
-Chapel=, separated from the ambulatory by an embattled stone screen
-(Perpendicular), probably erected in the reign of Henry IV. On the other
-side of the steps leading to Henry VII.’s Chapel is =St. Paul’s Chapel=,
-corresponding with St. Nicholas’s Chapel. Next we find the =Chapel of St.
-John Baptist= with the =Chapel of St. Erasmus= forming the entrance. The
-doorway, dating from the reign of Richard II., is beautiful, a low arch,
-supported by clustered pillars. Next to this comes =Islip’s Chapel=,
-screened off and vaulted by Abbot Islip (died 1532), to hold his own
-tomb. The abbot’s rebus, an eye with a slip of a tree grasped in a hand,
-or a man slipping from the branch of a tree, occurs frequently inside
-and outside the chapel. In the upper part of Islip’s chapel are
-preserved the remarkable collection of wax-works.
-
-     “The wax-works of Westminster Abbey have not been seen by many
-     people, but are deservedly famous. At first, it was customary when
-     a king or any other great personage was to be buried, to place on
-     the coffin his effigy formed of boiled leather. When the art of
-     modelling in _cuir bouilli_ was lost, wax was employed for making
-     the image, and wax, notwithstanding its proverbial pliancy, is a
-     very enduring substance. From the north aisle of the apse we ascend
-     a narrow staircase, passing by the way some of the most beautiful
-     sculpture in the Abbey fronting the chapel of Abbot Islip. At a
-     turn in the stair which leads to a kind of upper gallery we are
-     suddenly confronted with the lifelike figure of King Charles II.,
-     whose face, as rendered familiar by numerous and contemporary
-     engravings, with its black eyes and swarthy complexion, looks out
-     from behind the glass of a cupboard only a few inches from the spot
-     we have reached. The royal figure is dressed in crimson velvet, now
-     sadly browned, and adorned
-
-[Illustration: WESTMINSTER ABBEY: CHAPEL AND SHRINE OF EDWARD THE
-CONFESSOR]
-
-[Illustration: WESTMINSTER ABBEY: HENRY VII’S CHAPEL]
-
-     with the finest lace of the period. When we have recovered
-     composure and breath, and can look around, we find ourselves in the
-     presence of a series of most interesting and curious portraits. The
-     wooden presses, with glass fronts, are, to judge from the pattern
-     of the hinges, of about the time of the monarch whose effigy was
-     the first to confront us. The rest, taken chronologically, consist
-     of ten figures beginning with Queen Elizabeth and ending with Lord
-     Nelson, but neither of these, the first and last, were really
-     funeral effigies.”--(W. J. L.)
-
-Directly behind the Confessor’s Chapel we come to =Henry VII.’s Chapel=,
-originally designed to hold the remains of Henry VI., who was buried at
-Windsor, but the plan was not carried out.
-
-     “At the entrance to the chapel we are brought to what Dean Stanley
-     calls a ‘solemn architectural pause.’ Here we may study three
-     distinct architectural periods. ‘First,’ as Mr. Loftie says, ‘there
-     is the early work of Henry III., who, it will be remembered, made a
-     Lady-Chapel here before he recommenced the rebuilding of the
-     Confessor’s church. Secondly, the next pier shows us the work done
-     when the body of Henry V. was brought hither from France in 1422.
-     Lastly, alongside of these two is the first column of the new and
-     gorgeous structure with which Henry VII. replaced the Lady-Chapel
-     of Henry III.’ The dimness of the approach materially enhances the
-     effect of the superb building beyond, and it cannot be doubted that
-     this comparative gloom, so far from being an accident, was
-     deliberately intended. The building of the chapel occupied the
-     first twelve years of the Sixteenth Century. It measures inside 104
-     feet 6 inches long by 69 feet 10 inches broad, and consists of a
-     nave and aisles of four bays, the nave terminating in five small
-     polygonal chapels, the style throughout being Perpendicular. The
-     entrance is under a large central and two smaller side arches,
-     which have six bronze doors of superb design and splendid
-     workmanship, in which a number of Henry VII.’s devices
-     appear.”--(C. H.)
-
-Washington Irving’s impressions were as follows:
-
-     “I stood before the entrance to Henry the Seventh’s Chapel. A
-     flight of steps leads up to it, through a deep and gloomy, but
-     magnificent arch. Great gates of brass, rich and delicately
-     wrought, turn heavily upon their hinges, as if proudly reluctant to
-     admit the feet of common mortals into this most gorgeous of
-     sepulchres.
-
-     “On entering, the eye is astonished by the pomp of architecture and
-     the elaborate beauty of sculptured detail. The very walls are
-     wrought into universal ornament, encrusted with tracery and scooped
-     into niches, crowded with the statues of saints and martyrs. Stone
-     seems, by the cunning labour of the chisel, to have been robbed of
-     its weight and density, suspended aloft, as if by magic, and the
-     fretted roof achieved with the wonderful minuteness and airy
-     security of a cobweb.
-
-     “Along the sides of the chapel are the lofty stalls of the Knights
-     of the Bath, richly carved of oak, though with the grotesque
-     decorations of Gothic architecture. On the pinnacles of the stalls
-     are affixed the helmets and crests of the knights with their scarfs
-     and swords; and above them are suspended their banners, emblazoned
-     with armorial bearings, and contrasting the splendour of gold and
-     purple and crimson, with the cold grey fretwork of the roof. In the
-     midst of this grand mausoleum stands the sepulchre of its
-     founder,--his effigy, with that of his queen, extended on a
-     sumptuous tomb, and the whole surrounded by a superbly wrought
-     brazen railing.
-
-     “There is a sad dreariness in this magnificence; this strange
-     mixture of tombs and trophies; these emblems of living and aspiring
-     ambition, close beside mementoes which show the dust and oblivion
-     in which all must sooner or later terminate.
-
-     “Two small aisles on each side of this chapel present a touching
-     instance of the equality of the grave, which brings down the
-     oppressor to a level with the oppressed, and mingles the dust of
-     the bitterest enemies together. In one is the sepulchre of the
-     haughty Elizabeth; in the other is that of her victim, the lovely
-     and unfortunate Mary. Not an hour in the day but some ejaculation
-     of pity is uttered over the fate of the latter, mingled with
-     indignation at her oppressor. The walls of Elizabeth’s sepulchre
-     continually echo with the sighs of sympathy heaved at the grave of
-     her rival.
-
-     “A peculiar melancholy reigns over the aisle where Mary lies
-     buried. The light struggles dimly through windows darkened by dust.
-     The greater part of the place is in deep shadow, and the walls are
-     stained and tinted by time and weather. A marble figure of Mary is
-     stretched upon the tomb, round which is an iron railing much
-     corroded, bearing her national emblem--the thistle.”
-
-Dean Stanley writes:
-
-     “It was to be his chantry as well as his tomb, for he was
-     determined not to be behind the Lancastrian princes in devotion;
-     and this unusual anxiety for the sake of a soul not too heavenward
-     in its affections expended itself in the immense apparatus of
-     service which he provided. Almost a second Abbey was needed to
-     contain the new establishment of monks who were to sing in their
-     stalls ‘as long as the world shall endure.’ Almost a second shrine
-     surrounded by its blazing tapers and shining like gold with its
-     glittering bronze, was to contain his remains.
-
-     “To the Virgin Mary, to whom the chapel was dedicated, he had a
-     special devotion. Her ‘in all his necessities he had made his
-     continual refuge’; and her figure, accordingly, looks down upon his
-     grave from the east end, between the apostolic patrons of the
-     Abbey, Peter and Paul, with ‘the holy company of heaven--that is to
-     say, angels, archangels, patriarchs, prophets, apostles,
-     evangelists, martyrs, confessors and virgins,’ to ‘whose singular
-     mediation and prayers he also trusted,’ including the royal saints
-     of Britain, St. Edward, St. Edmund, St. Oswald, St. Margaret of
-     Scotland, who stand, as he directed, sculptured tier above tier, on
-     every side of the Chapel; some retained from the ancient
-     Lady-Chapel; the greater part of the work of his own age. Around
-     his tomb stand his ‘accustomed Avours or guardian saints to whom he
-     calls and cries’--St. Michael, St. John the Baptist, St. John the
-     Evangelist, St. George, St. Anthony, St. Edward, St. Vincent, St.
-     Anne, St. Mary Magdalene and St. Barbara, each with their peculiar
-     emblems--‘so to aid, succour and defend him, that the ancient and
-     ghostly enemy, nor none other evil or damnable spirit, have no
-     power to invade him, nor with their wickedness to annoy him, but
-     with holy prayers to be intercessors to his Maker and Redeemer.’
-     These were the adjurations of the last Mediæval King, as the Chapel
-     was the climax of the latest Mediæval architecture.”
-
-     “But although the Chapel hangs on tenaciously to the skirts of the
-     ancient Abbey and the ancient Church, yet that solemn architectural
-     pause between the two--which arrests the most careless observer,
-     and renders it a separate structure, a foundation ‘adjoining the
-     Abbey,’ rather than forming part of it--corresponds with marvellous
-     fidelity to the pause and break in English history of which Henry
-     VII.’s reign is the expression. It is the close of the Middle Ages:
-     the apple of Granada in its ornaments shows that the last Crusade
-     was over; its flowing draperies and classical attributes indicate
-     that the Renaissance had already begun. It is the end of the Wars
-     of the Roses combining Henry’s right of conquest with his fragile
-     claim of hereditary descent. On the one hand, it is a glorification
-     of the victory of Bosworth. The angels at the four corners of the
-     tomb, held or hold the likeness of the crown which he won on that
-     famous day. In the stained glass we see the same crown hanging on
-     the green bush in the fields of Leicestershire. On the other hand,
-     like the Chapel of King’s College at Cambridge, it asserts
-     everywhere the memory of the ‘holy Henry’s shade’; the Red Rose of
-     Lancaster appears in every pane of glass: in every corner is the
-     Portcullis--the _Alters securitas_, as he termed it, with an
-     allusion to its own meaning, and the double safeguard of his
-     succession--which he derived through John of Gaunt from the
-     Beaufort Castle in Anjou inherited from Blanche of Navarre by
-     Edmund Crouchback; whilst Edward IV. and Elizabeth of York are
-     commemorated by intertwining these Lancastrian symbols with the
-     Greyhound of Cecilia Neville, wife of Richard, Duke of York, with
-     the Rose in the Sun, which scattered the mist at Barnet, and the
-     Falcon on the Fetterlock, by which the first Duke of York expressed
-     to his descendants that ‘he was locked up from the hope of the
-     kingdom, but advising them to be quiet and silent, as God knoweth
-     what may come to pass.’
-
-     “It is also the revival of the ancient Celtic-British
-
-[Illustration: WESTMINSTER ABBEY: CLOISTERS]
-
-[Illustration: WESTMINSTER ABBEY: SOUTH-WEST]
-
-     element in the English monarchy, after centuries of eclipse. It is
-     a strange and striking thought, as we mount the steps of Henry
-     VII.’s Chapel, that we enter there a mausoleum of princes, whose
-     boast it was to be descended not from the Confessor or the
-     Conqueror, but from Arthur and Llewellyn; and that roundabout the
-     tomb, side by side with the emblems of the great English Houses, is
-     to be seen the Red Dragon of the last British King
-     Cadwallader--‘the dragon of the great Pendragonship,’ of Wales,
-     thrust forward by the Tudor King in every direction, to supplant
-     the hated White Boar of his departed enemy--the fulfilment, in
-     another sense than the old Welsh bards had dreamt, of their
-     prediction that the progeny of Cadwallader should reign
-     again.”--(A. P. S.)
-
-And now we will begin a more detailed survey:
-
-     “We now enter Henry VII.’s Chapel, the most perfect example of the
-     Perpendicular style at its best in the country. At the entrance are
-     beautiful bronze doors covered with designs symbolical of the
-     titles of the Royal founder. It is impossible to describe in words
-     the richness and beauty of the interior of this noble chapel. The
-     vault is very beautiful with fan-tracery. The banners of the
-     Knights of the Order of the Bath hang over their stalls. The
-     _misereres_ are wonderfully carved, and are worthy of close
-     examination. The black marble tomb of the founder is considered to
-     be the best example of the Renaissance style in England. It was
-     fashioned by Torregiano. Very numerous monuments are found here.
-     The tombs of Mary Queen of Scots and of Queen Elizabeth have
-     especial interest. Oliver Cromwell’s body once lay in the most
-     eastern chapel, but the Royalists at the Restoration wrought
-     vengeance on his corpse, and on that of other regicides, and did
-     not suffer them to remain in these hallowed precincts.”--(P. H. D.)
-
-The tombs that attract the most attention are those of =Queen Elizabeth=
-and =Mary, Queen of Scots=. Queen Elizabeth’s, erected by James I.,
-consists of a canopy supported on ten Corinthian pillars, under which
-the effigy of the queen lies on a slab borne by lions. Mary I. rests in
-the same tomb. Mary Stuart’s tomb bears an effigy. At her feet is the
-crowned lion of Scotland. Her body was removed from Peterborough (see
-page 331) by James I.
-
-From the east walk of the Cloisters, finished in 1345, we enter the
-=Chapter-House=, dating from 1350. It is octagonal and is noted for its
-fine tracery. The House of Commons used to meet here (before 1340). The
-speaker sat in the abbot’s seat.
-
-     “The Chapter-House is visited by comparatively few of the myriads
-     who come to the Abbey; but those who know what to look for may well
-     linger for some time in this deeply interesting building. The
-     splendour and loveliness of the entrance to it show the important
-     place which it held in the general estimation; the stones under the
-     left arcade of the vestibule are still deeply worn by the feet of
-     generations of monks, as they walked two and two to their weekly
-     assemblies. The vaulting and its bosses are quaint and rich. The
-     quaint entrance door itself, bleared and ruined as it now is, was
-     once rich with gold and scarlet.
-
-     “Entering the Chapter-House we see at a glance an octagon of the
-     noblest proportions, of which the roof is supported by a slender
-     and graceful pillar of polished Purbeck, thirty-five feet high,
-     ‘surrounded by eight subordinate shafts, attached to it by three
-     moulded bands.’ The painted windows were placed there as a memorial
-     to Dean Stanley. One was given by the Queen, and one by Americans.
-     In the central light at the summit of each is represented the
-     greatest man of each century--the Venerable Bede, St. Anselm, Roger
-     Bacon, Chaucer, Caxton and Shakespeare. In the window over the door
-     is Queen Victoria. The central band of the windows represents many
-     of the great historical events connected with the Abbey.”--(F. W.
-     F.)
-
-     “The Chapel of the Pyx is approached from the East Cloister Walk by
-     a massive door with seven locks. It is beneath the old dormitory
-     and occupies two bays of the Confessor’s building, and,
-     historically considered, is perhaps the most interesting portion of
-     the Abbey buildings. The pyx is a box containing the standard
-     pieces of gold and silver coin of the realm which were used for
-     testing the accuracy of the currency. It has now been removed to
-     the Mint, where the trial of the pyx takes place.”--(C. H.)
-
-The =Cloisters= with their arches, beautiful tracery and ancient memorials
-are strangely impressive, particularly as they are situated in the midst
-of London’s roar; yet here there is quiet.
-
-The most famous part of the =Deanery= is the =Jerusalem Chamber= projecting
-just beyond the south-west tower. It probably was so called on account
-of the tapestry representing the history of Jerusalem that adorned it.
-Henry IV. died in it in 1413, according to the prophecy that he should
-die in Jerusalem. (See _Henry IV._, Part II., Act IV., Scene 4.) In this
-room the Assembly of Divines met in 1643; and the Revisers of the Old
-and New Testaments of late years. A small room with carved panelling,
-built by Abbot Islip, leading from it, is known as the =Jericho
-Parlour=.
-
-
-
-
-INDEX
-
-
-Abbey of St. Werburgh, 215.
-
-Abbot’s Cloister, 171.
-
-Abbot’s Pew, 431.
-
-Abbots of St. Albans, 360-361.
-
-Aisles, Five, 71.
-
-Aldred, 152, 153.
-
-Alfred, King, 46, 47, 49.
-
-Alleyn, Edward, 424.
-
-Altar:--Canterbury, 16;
-  Chester, 219;
-  of the Martyrdom, 3;
-  St. Paul’s, 409;
-  of the Sword’s Point, 3;
-  of the Virgin, 4.
-
-Ambulatories:--Exeter, 102;
-  Gloucester, 162.
-
-Amen Corner, 398.
-
-André, Major John (tomb), 431.
-
-Andrews, Bishop (tomb), 422.
-
-Angel Choir, 285, 289, 298-300, 307, 309.
-
-Angel Tower (Canterbury), 9, 10, 11, 13, 30.
-
-Angel Windows (Salisbury), 88.
-
-Anne of Bohemia (tomb), 435.
-
-Anne of Cleves (tomb), 435.
-
-Anselm, 12;
-  burial-place of, 25.
-
-Aquablanca, Thomas, 174, 177, 180.
-
-Arcade, Winchester, 60.
-
-Archbishop of Canterbury, 2, 263.
-
-Archbishop of York, 263, 265.
-
-Arches, Inverted (Wells), 110, 116.
-
-Arundel, Earl, and Maud (tomb), 72.
-
-Arundel Tower, 9, 11.
-
-Athelstan, 90.
-
-Atholl, Countess (tomb), 30.
-
-Austen, Jane (brass), 54.
-
-Aveline of Lancaster (tomb), 433.
-
-Ave Maria Lane, 398.
-
-
-Ball-flower, 143, 159, 163, 175.
-
-Ball and Cross, St. Paul’s, 403.
-
-Baptistry Tower, 430.
-
-Bath Abbey, 134-139.
-
-Bayeux Tapestry, 425.
-
-Beauchamp, James de (effigy), 198.
-
-Beauchamp, John (tomb), 192.
-
-Beaufort, Cardinal, 53, 59, 417, 418.
-
-Beaufort, Jane, 417, 421.
-
-Beaumont, Francis, 424, 433.
-
-Becket, Thomas à, 2, 3, 10, 18, 19, 249, 262.
-
-Becket’s Crown, 19, 23-24.
-
-Beckington, Bishop, 108, 110, 119.
-
-Beckington (tomb), 129.
-
-Bede, Venerable, grave of, 242-243.
-
-Belfry Tower, 430.
-
-Bell Harry Tower, 11, 30.
-
-Bell Tower, 380.
-
-Bell:--Dunstan (Canterbury), 11;
-  (Rochester), 36;
-  Great Peter, 268;
-  Peter, 98;
-  Tom of Lincoln, 310-311;
-  Tom of Oxford, 375.
-
-Bells:--Canterbury, 36;
-  Exeter, 92;
-  Gloucester, 152;
-  Lincoln, 310-311;
-  Oxford, 375, 380;
-  Peterborough, 321;
-  St. Albans, 369;
-  St. Saviour’s, 418;
-  Winchester, 65;
-  York, 268.
-
-Bell Ringer’s Gallery, 238.
-
-Ben Jonson, 431.
-
-Berkeley, Maurice (tomb), 145.
-
-Birde, William, 134-135.
-
-Bishop’s Cloisters (Hereford), 175.
-
-Bishops’ Gardens (Norwich), 303, 357.
-
-Bishop’s Eye (Lincoln), 305, 308.
-
-Bishop’s Palace (Wells), 132, 133.
-
-Bishop’s Throne:--Chester, 219;
-  Exeter, 99, 100-101;
-  Hereford, 183;
-  Lincoln, 297;
-  Ripon, 258.
-
-Bitton, Bishop, 90.
-
-Black Prince (tomb), 9, 20-21.
-
-Blois, William de (effigy), 198.
-
-Blue Dick, 9, 13, 27.
-
-Bohun, Joanne de, 185.
-
-Booth, Bishop (effigy), 176.
-
-Booth (tomb), 176.
-
-Borough, The, 415.
-
-Bouchier, Cardinal, 16.
-
-Bowet, Archbishop (tomb), 274.
-
-Boy Bishop, 82-83.
-
-Boys, Dean (tomb), 27.
-
-Brantingham, 91, 100.
-
-Bridport, Giles de (tomb), 86-87.
-
-Brithnoth, 335.
-
-Bristol, 140-150.
-
-Bronescomb, Bishop, 91, 102.
-
-Bronescomb (tomb), 103.
-
-Browne’s Gate, 108.
-
-Bruce, Robert, 227.
-
-Bubwith, Bishop, 110.
-
-Bubwith Tower, 113, 114, 118.
-
-Burne-Jones, Windows by, 88, 380, 382, 384, 386, 388, 391.
-
-Butler, Bishop (tomb), 149.
-
-Butler Tower, 140.
-
-Bytton, St. William (tomb), 129.
-
-
-Campanile, 69.
-
-Canon Alley, 398.
-
-Cantelupe, Walter de (effigy), 198.
-
-Canterbury, 1-32.
-
-Carileph, 244.
-
-Carlisle, 227-232.
-
-Carving:--Carlisle, 228;
-  Exeter, 95, 96;
-  Lincoln, 285, 295-296;
-  Wells, 117-118, 120-122, 130;
-  Worcester, 196-197;
-  York, 280;
-  Southwell, 317-318.
-
-Cathedral Pool, 201, 203.
-
-Celia, John de, 363, 364.
-
-Cemetery, 5.
-
-Cemetery Gate, 38.
-
-Censing Angels, 432.
-
-Cerdic, 46.
-
-Chain-Gate, 102, 112, 113, 124.
-
-Chantry:--Audley, 85, 175, 185-186;
-  Beaufort, 62;
-  Birde, 139;
-  Bubwith, 122;
-  Edington, 54, 162;
-  Fleming, 302, 309;
-  Fox, 62, 85;
-  Gardiner, 62;
-  Henry IV, 22;
-  Henry V, 435;
-  Hungerford, 85;
-  Langton, 60, 61;
-  Longland, 302, 308;
-  Oldham, 102, 104-105;
-  Prince Arthur, 195-196;
-  Ramryge, 370, 371;
-  Russell, 302, 308;
-  Speke, 102;
-  St. George, 104;
-  St. Radegunde, 97;
-  Stanbery, 181;
-  Sugar, 122;
-  Sylke, 98;
-  Waynflete, 62;
-  Wheathampstead, 370, 371;
-  William of Wykeham, 54-55.
-
-Chapel:--Alcock, Bishop, 345;
-  Berkeley, 141, 146;
-  Botelers, 168;
-  Christ Church, 375;
-  Derby, 223, 226;
-  Dean’s (Canterbury), 22, 26, 27;
-  Dean’s (Lincoln), 306;
-  Ducie, 222, 225;
-  Four Virgins, 72;
-  Fraser, 223, 226;
-  Guardian Angels, 60, 61;
-  Holy Cross, 118, 123;
-  Holy Ghost, 99;
-  Holy Sepulchre, 64;
-  Holy Trinity, 224;
-  Islip, 436;
-  Jesus, 192, 222, 223, 225, 409;
-  Mallory, 255, 259;
-  Morning, 410;
-  Newton, 141, 145;
-  Nine Altars, 130, 236, 237, 238, 240, 246-247;
-  of the Pyx, 443;
-  Order of St. Michael and St. George, 410;
-  Ringers, 309;
-  Saints, 367, 371;
-  Seabroke, 169;
-  Silkstede’s, 64;
-  of the Transfiguration, 374;
-  Warriors’, 18, 25, 26;
-  West, Bishop, 345;
-  St. Andrews, 102, 169;
-  St. Benedict, 331, 435;
-  St. Calixtus, 123;
-  St. Catherine, 129, 387;
-  St. Chad, 210-211, 213;
-  St. David, 123;
-  St. Dunstan, 410;
-  St. Edward the Confessor, 434;
-  St. Edmund, 45, 97, 436;
-  St. Erasmus, 436;
-  St. Faith, 75, 432;
-  St. Gabriel, 30, 105;
-  St. George, 224;
-  St. Hugh, 309;
-  St. James, 102, 224;
-  St. John, 193, 196;
-  St. John the Baptist, 43, 98, 129, 436;
-  St. John the Baptist and St. Edmund the King, 73;
-  St. John the Divine, 423;
-  St. Katherine, 73;
-  St. Kyneburga, 331;
-  St. Kyneswitha, 331;
-  St. Lucy, 381, 390;
-  St. Luke, 353, 358;
-  St. Martin, 123;
-  St. Mary the Less, 353, 357;
-  St. Mary Magdalene, 73, 105;
-  St. Nicholas, 224, 436;
-  St. Oswald, 331;
-  St. Paul, 98, 168, 436;
-  St. Philip, 169;
-  St. Stephen, 129;
-  St. Thomas of Canterbury, 323;
-  Trinity, 6, 9, 12, 18, 19, 20;
-  Warner, 43.
-
-Chapels:--Ely, 223, 226;
-  Lincoln, 292.
-
-Chapter-House:--Bristol, 141;
-  Carlisle, 232;
-  Chester, 221, 225;
-  Durham, 237, 248;
-  Gloucester, 149-150, 151, 172;
-  Lichfield, 130, 207, 213, 214;
-  Lincoln, 307;
-  Peterborough, 331;
-  Oxford, 379, 392;
-  Ripon, 259;
-  Salisbury, 78, 88-89;
-  Southwell, 313, 317-318;
-  Wells, 112, 113, 124, 125-126;
-  Westminster Abbey, 428, 442;
-  Winchester, 64;
-  Worcester, 199;
-  York, 261, 280, 281, 282.
-
-Chapter-House Doorway (Rochester), 44-45.
-
-Charles Edward, 228.
-
-Charlton, Bishop (tomb), 180.
-
-Chaucer, 1, 10, 415.
-
-Chaucer (tomb), 432, 433.
-
-Chaucer Window, 419.
-
-Cheapside, 398.
-
-Chequers Inn, 8, 10.
-
-Chertsey’s Gate, 38.
-
-Chests, Mortuary, 57.
-
-Chester, 215-221.
-
-Chichele Tower, 11, 12.
-
-Chichele, Archbishop (tomb), 17.
-
-Chichester, 66-75.
-
-Chillenden, Prior, 9, 12, 13, 31, 32.
-
-Choate, Joseph H., 423.
-
-Choir:--Bath Abbey, 138;
-  Bristol, 142;
-  Canterbury, 14-17;
-  Carlisle, 227, 228, 230-232;
-  Chester, 218;
-  Chichester, 73;
-  Durham, 237, 244;
-  Ely, 343-345;
-  Exeter, 99-102;
-  Gloucester, 53, 160-163;
-  Hereford, 182-183;
-  Lincoln, 295-297;
-  Lichfield, 209-211;
-  Manchester, 225;
-  Norwich, 356;
-  Oxford, 381, 383;
-  Peterborough, 328-329;
-  Ripon, 255-256;
-  Rochester, 42;
-  Salisbury, 84-85;
-  Southwell, 316;
-  St. Alban’s, 356;
-  St. Paul’s, 404;
-  St. Saviour’s, 421;
-  Wells, 126-129;
-  Westminster Abbey, 427, 433;
-  Winchester, 55;
-  Worcester, 193-194;
-  York, 271-272, 281.
-
-Choir of Conrad, glorious, 2, 4, 12, 14.
-
-Choir-screen (Lichfield), 211.
-
-Choir-screen (Southwell), 313, 316.
-
-Choir-stalls:--Canterbury, 9, 14;
-  Carlisle, 231;
-  Chester, 218-219;
-  Chichester, 73;
-  Durham, 245;
-  Ely, 345;
-  Exeter, 57;
-  Gloucester, 161;
-  Hereford, 183;
-  Manchester, 225;
-  Norwich, 356;
-  Peterborough, 329;
-  Ripon, 256-257;
-  Rochester, 43;
-  Salisbury, 85;
-  St. Albans, 369;
-  St. Paul’s, 408;
-  Winchester, 56-57;
-  Worcester, 194;
-  York, 271.
-
-Choristers’ Green, 80.
-
-Choristers’ Vestry, 306.
-
-Christ Church Gate, 10.
-
-Christ Church, Oxford, 375.
-
-Clive, Geoffrey de (tomb), 180.
-
-Clock (Exeter), 98.
-
-Cloisters:--Bristol, 141, 149;
-  Canterbury, 28, 31-32;
-  Chester, 220-221;
-  Chichester, 75;
-  Durham, 248;
-  Ely, 340, 341;
-  Exeter, 99;
-  Gloucester, 151, 159, 170-172;
-  Oxford, 350, 358, 359, 380, 392;
-  Peterborough, 333;
-  Salisbury, 78, 89;
-  Wells, 110, 132;
-  Westminster Abbey, 428;
-  Worcester, 198-199.
-
-Cloister Court, 333.
-
-Close (Salisbury), 80;
-  (Wells), 108.
-
-Close Gate, 80.
-
-Coldstream Guards, 411.
-
-College Gate, 37.
-
-Collingwood, 412.
-
-Colston Tower, 140.
-
-Conrad, Prior, 2, 14.
-
-Cornish, Bishop (tomb), 123.
-
-Cornwallis, Lord, 412.
-
-Constantine, 46, 262.
-
-Corona, 12, 23-24.
-
-Coronation Chairs, 435.
-
-Courtenay, Archbishop, 21.
-
-Creed Lane, 398.
-
-Cricklade, Robert of, 377, 378.
-
-Cross, St. Paul’s, 407.
-
-Crouchback, Edmund (tomb), 434.
-
-Crypt:--Canterbury, 29-31;
-  Exeter, 102;
-  Gloucester, 169-170;
-  Hereford, 186;
-  Ripon, 254, 259;
-  Rochester, 45;
-  St. Paul’s, 412;
-  Wells, 126;
-  Winchester, 64;
-  Worcester, 198;
-  York, 279-280.
-
-
-Dark Entry, 31.
-
-Davenport, Bishop, 85.
-
-Deanery (Carlisle), 232, 443.
-
-Deanery Gate, 38.
-
-Deanery Gateway, 331-332.
-
-Dean’s Door, 332.
-
-Dean’s Eye (Lincoln), 304, 309.
-
-Dean’s Yard, St. Paul’s, 400.
-
-Decorated:--Bristol, 145, 147;
-  Canterbury, 32;
-  Carlisle, 227, 231, 232;
-  Chester, 215, 217;
-  Ely, 338, 343, 344, 345, 346;
-  Exeter, 90;
-  Hereford, 175, 180, 182;
-  Lichfield, 202, 207, 209, 210;
-  Lincoln, 301, 305, 307;
-  Norwich, 350, 353, 354, 359;
-  Oxford, 379, 387;
-  Peterborough, 321, 325, 326, 327, 329, 333;
-  Ripon, 250, 252;
-  Rochester, 38, 41, 44-45;
-  Southwell, 315, 316, 317;
-  St. Albans, 368, 374;
-  St. Saviour’s, 418;
-  Wells, 111, 112, 114;
-  Worcester, 191, 192;
-  York, 279, 280, 281.
-
-Devil Looking over Lincoln, 301, 309.
-
-Dickens, Charles, 38, 41.
-
-Diocletian, 46.
-
-Doddridge, Sir John and Lady (tomb), 103.
-
-Dog-tooth, 207, 208, 214, 230, 231, 251, 307, 315, 324, 368.
-
-Dome (St. Paul’s), 397, 402, 412.
-
-Doorway, Southwest (St. Saviour’s), 418.
-
-Drum (St. Paul’s), 407.
-
-Duncan, 319, 330.
-
-Dun Cow, 234, 338.
-
-Dunstan, 425.
-
-Durham, 233-248.
-
-
-Earl of Hertford (monument), 87.
-
-Early Decorated:--Hereford, 181;
-  Lichfield, 201;
-  Wells, 130;
-  York, 267, 282.
-
-Early English:--Bristol, 141, 144;
-  Carlisle, 230;
-  Chester, 215, 217, 220, 221;
-  Chichester, 70;
-  Durham, 236;
-  Ely, 338, 340, 344, 346;
-  Exeter, 97;
-  Gloucester, 168;
-  Hereford, 184;
-  Lichfield, 201, 207, 210, 214;
-  Lincoln, 292, 295;
-  Oxford, 386;
-  Peterborough, 320, 324, 327, 328, 332;
-  Ripon, 250, 252;
-  Rochester, 38, 40, 41;
-  Salisbury, 76, 78;
-  Southwell, 315, 316;
-  St. Albans, 364, 368;
-  Wells, 111, 118, 119, 127, 133;
-  Westminster Abbey, 430, 432;
-  Winchester, 48, 57, 60;
-  Worcester, 196;
-  York, 202, 282.
-
-Earthquakes, 109, 153, 287.
-
-Easter Sepulchre, 301.
-
-Eastern Transept (Lincoln), 297-298.
-
-East End:--Hereford, 184;
-  Wells, 130, 131;
-  St. Saviour’s, 417.
-
-East Front (York), 281.
-
-East Window:--Bristol, 147-148;
-  Canterbury, 28;
-  Carlisle, 227, 228, 231;
-  Chichester, 70;
-  Exeter, 100, 103;
-  Gloucester, 164-166, 167;
-  Hereford, 184;
-  Lincoln, 302-303;
-  Oxford, 391;
-  Ripon, 252;
-  Southwell, 316;
-  St. Saviour’s, 419, 422;
-  Wells, 132;
-  Winchester, 58;
-  York, 261, 264, 273-274, 281.
-
-Eboracum, 262.
-
-Edfrid, 334.
-
-Edgar, 313, 317, 330, 335.
-
-Edgar, Coronation of, 135.
-
-Edington, Bishop, 48, 49, 51, 53, 54.
-
-Edward I., 265, 274.
-
-Edward I. (tomb), 435.
-
-Edward II. (tomb), 152, 161-162.
-
-Edward III. (tomb), 435.
-
-Edward IV., 5.
-
-Edward of Caernarvon (tomb), 162.
-
-Edward the Confessor, 335, 425.
-
-Edwin Drood, 38.
-
-Edwin, King, 263.
-
-Eleanor, Queen (monument), 300;
- (tomb), 435.
-
-Elder Lady Chapel (Bristol), 141, 144.
-
-Elias of Dereham, 77.
-
-Elizabeth, Queen (tomb), 438, 441.
-
-Elizabeth, Lady Montacute (tomb), 386.
-
-Elizabethan Players and Dramatists, 424.
-
-Ely, 19, 63, 334-348;
-  Isle of, 334.
-
-Erasmus, 29.
-
-Ernulf, 2, 14, 25, 30, 31, 34.
-
-Erpingham Gate, 350, 351.
-
-Ethelbert, King of Kent, 2, 33.
-
-Ethelred, the Unready, 376, 378.
-
-Ethelwold, St., 46, 47, 48, 319, 335.
-
-Evelyn, John, 290, 396.
-
-Exchequer Gate, 311.
-
-Exeter, 90-106.
-
-
-Faith, Hope and Charity (window), 382.
-
-Fan-tracery, 22, 27, 126, 137, 138, 170, 329, 383.
-
-Feretory, 59.
-
-Fire:--Bath Abbey 136;
-  Canterbury, 4, 9, 14-15, 17, 18;
-  Carlisle, 227;
-  Chichester, 66, 67;
-  Exeter, 91;
-  Gloucester, 153, 158;
-  Lincoln, 286;
-  Norwich, 350, 355, 358;
-  Peterborough, 319, 330;
-  Rochester, 35;
-  St. Paul’s, 393;
-  St. Saviour’s, 416, 417;
-  York, 266-267.
-
-Fitzhardinge, Robert, 141, 149, 150.
-
-Fitzjocelyn, Bishop, 108, 117.
-
-Five Sisters (York), 261, 269-270, 282.
-
-Flambard, Randolph, 235, 242.
-
-Fleet Street, 398.
-
-Fletcher, John, 424.
-
-Flos Florum, 261, 280.
-
-Flying-buttresses:--Canterbury, 12;
-  Ely, 339, 340;
-  Gloucester, 164.
-
-Font:--Durham, 240;
-  Hereford, 176;
-  Lincoln, 294;
-  Peterborough, 327;
-  Ripon, 253;
-  Wells, 122;
-  Winchester, 53-64.
-
-Four Doctors of the Church (Durham), 237, 244.
-
-Fox, Bishop, 55, 57, 59, 421.
-
-French Church (Canterbury), 29.
-
-
-Galilee Chapel (Durham), 233, 236, 240-242;
-  Porch (Ely), 336, 338;
-  Porch (Lincoln), 305-306.
-
-Garrick, David, 208.
-
-Gateway, Great (Bristol), 150.
-
-Geometrical Staircase, 411.
-
-Gibbons, Grinling, 9, 14, 408-409.
-
-Gibbons, Orlando, 17.
-
-Glass:--Lincoln, 294;
-  Oxford, 390-391;
-  York, 261-262, 264, 269, 270, 272.
-
-Glastonbury, 107.
-
-Glastonbury Clock, 124.
-
-Glenham Window (Bristol), 143, 145.
-
-Globe Theatre, 424.
-
-Gloucester, 151-173.
-
-Godelee, John de, 109.
-
-Goldstone II, 9, 10, 11, 13, 27, 31.
-
-Goldwell, Bishop, 350, 352.
-
-Golden Gallery, 413.
-
-Gorges, Thomas (monument), 87.
-
-Gordon, General, 411.
-
-Gower, John (tomb), 419-420.
-
-Grandison, Bishop, 90, 91, 92, 97, 99.
-
-Grandison, Sir Peter, 185.
-
-Gray (Grey), Walter de, 250, 264, 313, 316;
-  (tomb), 270.
-
-Great Fire, 396, 412.
-
-Great Gate, St. Albans, 362.
-
-Grecian Stairs, 312.
-
-Green Church Haw, 37.
-
-Green Court, 10, 31.
-
-Gregory, Pope, 1, 2.
-
-Grimthorpe, Lord, 360, 364, 365, 373.
-
-Grosseteste, Robert, 289, 293, 310, 321.
-
-Gundulf, 33, 40, 153;
-  (tomb), 44;
-  (tower), 35, 37.
-
-Gunthorpe, Dean, 110.
-
-
-Hackett, Bishop, 204.
-
-Hackett (tomb), 210.
-
-Hadrian, 262.
-
-Hagiscopes, 28.
-
-Hamo de Hythe, 36.
-
-Harbledown, 1.
-
-Harewell, Bishop, 110.
-
-Harewell Tower, 113, 114, 118.
-
-Harnham Gate, 80.
-
-Harvard Window, 423.
-
-Hatfield, Bishop (tomb), 245.
-
-Hawford (effigy), 198.
-
-Henry III., 4, 77, 78, 425;
-  (tomb), 434-435.
-
-Henry IV. (tomb), 21-22.
-
-Henry V., Chantry, 435.
-
-Henry VII.’s Chapel, 427, 437-441.
-
-Henry VIII., 6, 9, 321, 360, 376.
-
-Henry of Huntingdon, 286, 301.
-
-Hereford, 35, 67, 130, 174-187.
-
-Hereward, 319.
-
-Herkenrode Glass, 209, 212-213.
-
-Hugh of Avalon, 287.
-
-Hugh of Eversden, 365.
-
-Hugh de Wells, 288, 289.
-
-Hodson of Hodson’s Horse, 211.
-
-Holland, Lady M., 26.
-
-Holy Hole, 60.
-
-Hotham, John, 336, 338, 342, 343;
-  (tomb), 346.
-
-House of the Six Poor Travellers, 41.
-
-Howley, Archbishop, 16.
-
-Humble Richard (tomb), 422.
-
-Hunton, Prior, 61.
-
-Husse, Dean (tomb), 123.
-
-
-Imp on Back of Witch, 308.
-
-Ina, King, 107.
-
-Ingoldsby Legends, 31, 76.
-
-Islip, Abbot, 431, 436, 443.
-
-Irving, W., 429, 438.
-
-
-Jack Blandiver, 124.
-
-James I., 417.
-
-Jericho Parlour, 428, 443.
-
-Jerusalem Chamber, 428, 443.
-
-Jesse Window (Wells), 128.
-
-Jesus Chapel, Norwich, 353, 358.
-
-Jesus Tower, 200.
-
-Jewell, Bishop, 78.
-
-Joan of Navarre (tomb), 21-22.
-
-Jocelin, Bishop, 108, 109, 111, 117.
-
-John, King (tomb), 194-195.
-
-John of Canterbury, 34.
-
-John Le Romeyn, 267.
-
-John of Thorsby, 264, 283.
-
-Johnson, Dr. Samuel, 208.
-
-Joseph of Arimathea, 107.
-
-Joseph’s Window (Durham), 248.
-
-Justus, 33.
-
-
-Katherine of Aragon, 321, 330.
-
-Kemp, Cardinal, 16.
-
-Kenwalk, 46.
-
-Kilkenny, Bishop, 346.
-
-“King of Bath,” 135.
-
-King, Oliver, 134.
-
-King Window, 391.
-
-Kirton, Abbott, 332, 333.
-
-Knight (effigy), 62 (Fourteenth Century).
-
-Knight (tomb), 104.
-
-Knowle, Abbot, 142, 143, 144, 145, 146, 147.
-
-Kyneburga, 152.
-
-Kynegils, 46.
-
-
-Lacey, Bishop (tomb), 101.
-
-Lady Arbour, 175.
-
-Lady Bells, Lincoln, 294,311.
-
-Lady Chapel:--Bristol, 141, 147;
-  Canterbury, 27;
-  Chester, 220;
-  Chichester, 67, 69, 74-75;
-  Durham, 236;
-  Ely, 336, 337, 338, 339, 340, 347;
-  Exeter, 102;
-  Gloucester, 151, 154-155, 166-167;
-  Hereford, 175, 183-184;
-  Lichfield, 203, 207, 211-212;
-  Manchester, 222, 223, 225;
-  Oxford, 374, 379, 384, 385, 386;
-  Peterborough, 321;
-  Ripon, 259;
-  Rochester, 37, 38, 41;
-  St. Alban’s, 367;
-  St. Saviour’s, 417, 422;
-  Wells, 109, 112, 126, 129, 130-131;
-  Westminster Abbey, 426; Winchester, 60;
-  Worcester, 196, 197, 198;
-  York, 264, 273, 282.
-
-Lady Lisle (tomb), 123.
-
-Lady Loft, 259.
-
-Lady, Fourteenth Century (effigy), 97.
-
-La Farge, John, 423.
-
-Lancet, 67.
-
-Lanfranc, 2, 13, 18, 33.
-
-Langley, Cardinal (tomb), 242.
-
-Langton, John de, 68.
-
-Langton, Stephen, 4, 77.
-
-Langton, Stephen (tomb), 26.
-
-Langton, Walter de, 203.
-
-Lantern (Ely), 339;
-  York, 269.
-
-Lantern of the West, 137.
-
-Late Decorated (York), 267.
-
-Latin Chapel, 381, 384, 387.
-
-Laurel Court, 333.
-
-Lee, Archbishop, 266.
-
-Leighton, Lord, 411.
-
-Library:--Chichester, 73;
-  Gloucester, 151, 171;
-  Hereford, 181;
-  St. Paul’s, 411;
-  Wells, 110.
-
-Lichfield, 200-214.
-
-Liddell, Edith (window), 391.
-
-Lincoln, 284.
-
-Lincoln Imp, 301.
-
-Ling, A. Van, 379, 382.
-
-Lollards’ Prison, 74.
-
-London Bridge, 415-416.
-
-Longespée, William, 77;
-  (tomb), 82.
-
-Longfellow (bust), 433.
-
-Losinga, Robert de, 174;
-  (tomb), 182.
-
-Losinga, Herbert de, 349.
-
-Louth, Bishop (tomb), 346.
-
-Louis VII., 4, 8.
-
-Lucius, King, 2, 46.
-
-Lucy, Bishop, 48, 57, 61;
-  (tomb), 60.
-
-Ludgate Hill, 398, 400.
-
-Luffa, Bishop, 66.
-
-Lyhard, Bishop, 350, 352, 355, 356.
-
-
-Manchester, 222-226.
-
-Mandeville, Sir John, 368.
-
-Map of the World, 182.
-
-Marchia, Bishop (tomb), 123.
-
-Margaret of Anjou, 361.
-
-Massinger, Philip, 424.
-
-Maurice, Lord Berkeley (effigy), 145.
-
-Mary, Queen of Scots, 322, 331;
-  (tomb), 438, 439, 441, 442.
-
-Meist’ Omers, 31.
-
-Melbourne, Lord, 411.
-
-Melrose Abbey, 249.
-
-Melton Arch, 275.
-
-Mercery Lane, 8, 10.
-
-Merton, Walter de, 43.
-
-Minster Yard, 311.
-
-Minstrels’ Gallery:--Exeter, 96;
-  Winchester, 54;
-  Lichfield, 210-211.
-
-Misereres, Exeter, 99-100.
-
-Misericords, Wells, 128;
-  Bristol, 142.
-
-Mitford, Bishop (tomb), 85.
-
-Mompesson, Sir Richard (tomb), 85.
-
-Monks’ Door:--Ely, 340;
-  Norwich, 359.
-
-Monks’ Stone, 330.
-
-Monmouth Rebellion, 111.
-
-Montagu, Lady Mary Wortley, 208.
-
-Montague, Bishop, 135;
-  (tomb), 139.
-
-Morning Chapel, 331.
-
-Morton, Cardinal (tomb), 30.
-
-Morwent, Abbot, 156, 158, 159.
-
-Music Gallery (Wells), 119.
-
-
-Nave:--Bath, 137;
-  Bristol, 141;
-  Canterbury, 12-13;
-  Carlisle, 229;
-  Chester, 217;
-  Chichester, 71-72;
-  Durham, 239-240;
-  Ely, 341;
-  Exeter, 95-96;
-  Gloucester, 156-158;
-  Hereford, 175-176;
-  Lichfield, 207-208;
-  Lincoln, 292-294, 309;
-  Manchester, 223-224;
-  Norwich, 353, 354-355, 366;
-  Oxford, 381;
-  Peterborough, 328;
-  Ripon, 252-253;
-  Rochester, 40-41;
-  Salisbury, 81-82;
-  Southwell, 315;
-  St. Albans, 367, 368;
-  St. Paul’s, 404;
-  St. Saviour’s, 419;
-  Wells, 115-120;
-  Westminster Abbey, 428;
-  Winchester, 12, 51-53;
-  Worcester, 191-192;
-  York, 274-276, 282.
-
-Nelson, Lord, 411-412.
-
-Neville, Lady Alice, 243.
-
-Neville, Lord John (tomb), 243, 245.
-
-Neville, Lord Ralph (tomb), 243.
-
-Neville Screen, 240, 245-246.
-
-New Building, 321, 329-330, 333.
-
-New Work (Durham), 246.
-
-Nicholas of Portland, 77.
-
-Norman:--Bristol, 141, 149, 150;
-  Canterbury, 25, 29, 32;
-  Carlisle, 229;
-  Chester, 220;
-  Durham, 238, 241;
-  Ely, 340, 341, 344;
-  Exeter, 91, 92;
-  Gloucester, 151, 156, 157, 158, 159, 160, 168, 172;
-  Hereford, 175, 176, 178;
-  Lincoln, 286;
-  Norwich, 349, 352, 353, 354, 355, 357, 358;
-  Oxford, 383;
-  Peterborough, 320, 326, 327, 328, 329, 330, 331, 332, 333;
-  Rochester, 34, 38, 40, 41;
-  Southwell, 314, 315, 316;
-  St. Albans, 363, 365, 369;
-  Welles, 110, 111, 114-115;
-  Winchester, 48, 52, 57, 63;
-  Worcester, 191, 192;
-  York, 202, 264, 279.
-
-Northcote (Chantreys), 105.
-
-North Door:--Durham, 238;
-  Lichfield, 206-207.
-
-North Front (Westminster Abbey), 426-427.
-
-North Porch:--Bristol, 141;
-  Exeter, 97, 190-191;
-  Hereford, 175, 177;
-  Manchester, 223;
-  Southwell, 315;
-  Wells, 114-115;
-  Worcester, 190-191.
-
-North Transept:--Hereford, 174, 177-180;
-  Norwich, 357;
-  St. Saviour’s, 420;
-  Westminster Abbey, 431-432;
-  York, 282.
-
-Northwold (Norwold), Bishop, 336, 337, 343;
-  (tomb), 346.
-
-Norwich, 349-359.
-
-
-Octagon (Ely), 334, 338, 339, 341.
-
-Offa, King, 135, 136, 174, 360, 363.
-
-Old St. Paul’s, 393-395.
-
-Osric, 152, 156.
-
-Osric (monument), 162.
-
-Oswald, 188, 216.
-
-Organ:--Canterbury, 16;
-  Gloucester, 159;
-  Hereford, 182;
-  Rochester, 37;
-  Salisbury, 84;
-  St. Paul’s, 408-409.
-
-Organs, Ancient, 47.
-
-Oseney Abbey, 380, 391.
-
-Oxford, 375-392.
-
-
-Painters’ Corner, 412.
-
-Palace Green, 237.
-
-Paris, Matthew, 321, 362, 363.
-
-Parker, Abbot (tomb), 161.
-
-Parvise, 325-326.
-
-Paternoster Row, 398.
-
-Paulinus, 33, 34, 263, 285.
-
-Paul of Caen, 363.
-
-Paul’s Cross, 398, 399.
-
-Paul’s Walk, 395.
-
-Peckham, Archbishop, 27.
-
-Pembridge, Sir Richard (effigy), 176.
-
-Penda, 319.
-
-Penniless Porch, 108.
-
-Pepys, Samuel, 37.
-
-Perpendicular:--Bath Abbey, 136;
-  Canterbury, 12, 26;
-  Chester, 215, 217, 220;
-  Ely, 340, 341, 347;
-  Gloucester, 157, 158, 159, 160, 168, 169, 170, 171, 172;
-  Hereford, 175, 181, 187;
-  Lichfield, 204, 209, 210;
-  Lincoln, 294, 308;
-  Manchester, 222;
-  Norwich, 350, 352, 353, 354, 359;
-  Oxford, 379, 383;
-  Peterborough, 321, 325, 328, 329, 331, 332, 333;
-  Ripon, 251, 252;
-  Rochester, 38, 41;
-  Southwell, 314;
-  St. Albans, 365;
-  St. Saviour’s, 418;
-  Wells, 111, 113, 118, 119;
-  Winchester, 48, 49, 51, 52, 57;
-  Worcester, 191, 192; York, 267, 268, 271, 273, 281.
-
-Peterborough, 319-333.
-
-Peter’s Pence, 362.
-
-Philippa of Hainault (tomb), 435.
-
-Pilgrimage of Grace, 266.
-
-Pilgrims, 4, 5, 6, 7, 8, 10, 17, 18, 31, 43, 68, 168, 235, 265, 366, 415.
-
-Piscina:--Ripon, 253, 258;
-  Rochester, 43;
-  Wells, 129.
-
-Poets’ Corner, 427, 429, 432.
-
-Pole, Cardinal, 37;
-  (tomb), 23.
-
-Pont l’Évêque, Roger de, 249, 250, 262, 263.
-
-Poore, Bishop, 77, 236.
-
-Porch (Central), Chichester, 70.
-
-Portico (Peterborough), 324.
-
-Pottergate Arch, 312.
-
-Precincts (Canterbury), 10.
-
-Presbytery:--Norwich, 357;
-  St. Alban’s, 369-370;
-  Winchester, 57.
-
-Primate of England, 2, 263.
-
-Primate of All England, 263.
-
-Priors’ Court, 31.
-
-Priors’ Door:--Ely, 341;
-  Norwich, 359.
-
-Priors’ Gate, 38.
-
-Processional Path, 357.
-
-Pudsey, Hugh, 236.
-
-Pulpit:--Oxford, 390;
-  Wells, 122.
-
-Puritans, desecrations by, 9, 27, 37, 216,
-    204, 228, 322-323, 330-331, 350-351, 379.
-
-
-Quivil, Bishop, 90, 91, 98, 99, 102;
-  (tomb), 102.
-
-
-Ralph, Bishop (tomb), 75.
-
-Ralph of Shrewsbury, 110.
-
-Redman, Bishop, 346.
-
-Refectory:--Carlisle, 232;
-  Worcester, 199.
-
-Regale of France, 4, 7.
-
-Relics of St. Thomas, 3, 5, 6.
-
-Relics, 368, 378.
-
-Remigins, 286, 294.
-
-Reredos:--Bristol, 147;
-  Canterbury, 16;
-  Gloucester (Lady Chapel), 167;
-  Hereford, 183;
-  Lincoln, 297;
-  St. Albans, 59;
-  Winchester, 59;
-  Worcester, 194.
-
-Retable (Italian), 358.
-
-Retro-Choir:--Canterbury, 18;
-  Carlisle, 232;
-  Chichester, 67, 74;
-  Peterborough, 329-330;
-  Salisbury, 130, 131;
-  St. Albans, 373;
-  St. Saviour’s, 422;
-  Wells, 126, 129-130.
-
-Reynolds, Sir Joshua, 411.
-
-Reynolds, Archbishop (tomb), 25.
-
-Richard of Fairleigh, 77.
-
-Richard of Wallingford, 365.
-
-Richard, Sir W., 409-410.
-
-Ringers’ Chapel, 291, 292.
-
-Robert of Lewes, 135.
-
-Robert, Bishop, 108.
-
-Robert, Duke of Normandy (effigy), 168.
-
-Rochester, 33-45.
-
-Rodney, Admiral, 411.
-
-Roger de Norbury, 200.
-
-Roger and Sigar, 369.
-
-Romeyn, John, 264, 313.
-
-Romeyn, John II., 264.
-
-Rood-Screen:--Exeter, 99;
-  Lincoln, 294;
-  Ripon, 255;
-  St. Albans, 367;
-  York, 270.
-
-Roofs (Winchester), 65.
-
-Royal Children (tomb), 435.
-
-Rupibus, Peter de, 418, 421, 422.
-
-
-Sacrarium, 44.
-
-Sais, John de, 320, 329.
-
-Salisbury, 76-89.
-
-Sanctuary (Durham), 239.
-
-Saxon:--Oxford, 376, 383;
-  Peterborough, 330;
-  Ripon, 254;
-  Winchester, 47;
-  York, 279.
-
-Scott, Sir G., 68, 70, 82, 85,
-    99, 192, 211, 250, 256, 258, 329, 343, 345, 360, 380.
-
-Screen:--Canterbury, 13, 29;
-  Ely, 343;
-  Exeter, 99;
-  Lincoln, 306;
-  St. Saviour’s, 421;
-  Winchester, 55.
-
-Screen (exterior):--Exeter, 92-93;
-  Wells, 126.
-
-Scrope, Richard, 265;
-  (tomb), 279.
-
-Sedilia:--Bristol, 147;
-  Exeter, 101;
-  Gloucester, 161;
-  Ripon, 258; Rochester, 43;
-  Southwell, 316;
-  St. Albans, 374.
-
-Seffrid II., 66, 68, 72.
-
-Selwyn, Bishop (effigy), 213.
-
-Serlo, 153, 156, 157.
-
-Sermon Lane, 398.
-
-Shakespeare, 424.
-
-Sherborne, Bishop, 68.
-
-Sheppy, John de (tomb), 43-44.
-
-Shrine of:--St. Alban, 371-373;
-  St. Amphibalus, 368, 373;
-  Cantilupe, 178, 179;
-  Edward the Confessor, 434;
-  St. Etheldreda, 346, 357;
-  St. Erkenwald, 393;
-  St. Frideswide, 378, 385-386;
-  John of Dalderby, 305;
-  Little St. Hugh, 302;
-  St. Albans, 371;
-  St. Chad, 203, 204;
-  St. Cuthbert, 235, 246;
-  St. Hugh, 299, 300;
-  St. Paulinus, 34, 36;
-  St. Richard, 74;
-  St. Swithun, 48, 59;
-  St. Thomas, 3, 4, 5, 6, 7, 9, 18;
-  St. Werburgh, 19;
-  St. Wilfrid, 250;
-  St. William, 43,
-  St. Ythmar, 36.
-
-Siebert, 425;
-  (tomb), 435.
-
-Silkstede, Prior, 59, 64;
-  pulpit of, 57.
-
-Simcoe, General, 105.
-
-Simeon of Ely, 63, 64, 335, 337, 346.
-
-Simeon’s Tower, 335, 336, 337.
-
-Simon de Montfort, 36.
-
-Skirlowe, Walter, 268.
-
-Slabs, carved, 73.
-
-Sleeping Children (Chantrey), 211.
-
-Slype:--Oxford, 392;
-  Peterborough, 333.
-
-Solomon’s Porch, 431.
-
-South Porch:--Canterbury, 12;
-  Chester, 217;
-  Gloucester, 156;
-  Manchester, 222.
-
-Southwark Bridge, 415.
-
-South Transept:--Chester, 217;
-  Lichfield, 207;
-  Westminster Abbey (see Poets’ Corner);
-  York, 269, 282, 358, 432.
-
-Southwell, 35, 313-318.
-
-South Door:--Lichfield, 207;
-  Lincoln, 308.
-
-Spire:--Chichester, 68, 69, 79;
-  Norwich, 79, 352;
-  Oxford, 379;
-  Peterborough, 333;
-  Salisbury, 77, 78, 79, 81, 249.
-
-Spires (Lichfield), 200.
-
-St. Aiden, 233.
-
-St. Alban, 362, 363.
-
-St. Albans, 360-374.
-
-St. Albans, Battle of, 361.
-
-St. Alphege, 47.
-
-St. Amphibalus, 362-363.
-
-St. Augustine, 1, 2, 33.
-
-St. Birinus, 46.
-
-St. Chad, 203.
-
-St. Columba, 249.
-
-St. Cuthbert, 233-234, 235, 240.
-
-St. Ermenilda, 336.
-
-St. Etheldreda, 215, 334, 335, 336, 342-343, 344.
-
-St. Frideswide, 377.
-
-St. Helena, 262.
-
-St. Hugh of Grenoble, 287-289.
-
-St. Hugh of Lincoln, 108, 298, 300, 306.
-
-St. Hugh, Little, 302.
-
-St. Mary Overie, 416, 417.
-
-St. Paul’s, 393-414.
-
-St. Saviour’s, 415-424.
-
-St. Sexburga, 336.
-
-St. Swithun, 46, 51, 416.
-
-St. Thomas, 3, 6-9.
-
-St. Werburgh, 215.
-
-St. Wilfrid, 249, 250.
-
-St. William, 264, 265.
-
-St. William of Perth, 35.
-
-St. William Bytton, 109, 121, 122.
-
-St. William of Norwich, 350.
-
-St. Withburga, 336.
-
-St. Andrew’s Chapel, 28.
-
-St. Andrew’s Tower, 18, 19.
-
-St. Anne’s Gate, 80.
-
-St. Anselm’s Chapel, 25.
-
-St. Anselm’s Tower, 19, 25.
-
-St. Augustine’s Choir, 28-29.
-
-St. Catherine’s Window, 391.
-
-St. Cecelia’s Window, 384-385.
-
-St. Cuthbert’s Window, 248, 261, 273.
-
-St. Dunstan’s Tower, 11.
-
-St. Edmund’s Chapel, 347.
-
-St. Ethelbert’s Gate, 350, 351.
-
-St. Frideswide’s Priory, 375.
-
-St. Frideswide’s Window, 388-389.
-
-St. Hugh’s Choir, 67, 285, 287-289, 295, 306.
-
-St. Hugh’s Tower, 297.
-
-St. Hugh’s Transept, 35, 308.
-
-St. Lucy’s Chapel, 381.
-
-St. Mary’s Gate, 173.
-
-St. Mary’s Tower, 291, 292.
-
-St. Michael’s Chapel, 25.
-
-St. Oswald, Church of, 216-217, 218.
-
-St. Paul’s Bridge, 400.
-
-St. Paul’s Cathedral, 392-414.
-
-St. Paul’s Churchyard, 397-398.
-
-St. Richard’s Walk, 75.
-
-St. Wilfrid’s Needle, 254.
-
-St. William’s Head, 264, 266.
-
-St. William’s Window, 261, 273.
-
-St. William, Tomb of, 43.
-
-Stafford, Bishop (tomb), 103.
-
-Staircase (Wells), 124.
-
-Stanley, Sir John, 211.
-
-Stapledon, Bishop (tomb), 101.
-
-Still, Bishop (effigy), 123.
-
-Stone Gallery (St. Paul’s), 412-413.
-
-Stratford, Archbishop, 16.
-
-Strickland, Bishop, 227, 228.
-
-Swinfield, Bishop (tomb), 180.
-
-Swynford, Catherine (tomb), 301.
-
-
-Tabard Inn, 415.
-
-Tait, Archbishop, 28.
-
-Te Deum Window, 244.
-
-Thanksgiving at St. Paul’s, 400.
-
-Thomas of Bayeux, 263.
-
-Thomas, Lord Berkeley (tomb), 145.
-
-Throne, Archbishop’s, 16.
-
-Tijou, 408.
-
-Tom of Lincoln, Great, 291, 310.
-
-Tom of Oxford, 375.
-
-Tom Quad, 375, 379.
-
-Tom Tower, 375.
-
-Tower, Central:--Bath, 136-137;
-  Bristol, 140;
-  Carlisle, 228;
-  Chichester, 68, 69;
-  Durham, 235, 238, 244, 268;
-  Ely, 63, 321, 336, 337;
-  Gloucester, 153, 154;
-  Hereford, 175, 177;
-  Lincoln, 294, 310;
-  Oxford, 378, 390;
-  Peterborough, 324;
-  Ripon, 251; Rochester, 36;
-  St. Albans, 365, 369;
-  St. Saviour’s, 418;
-  Wells, 109, 114;
-  Winchester, 55-56, 63, 64;
-  Worcester, 190;
-  York, 265-266, 268.
-
-Tower:--North, Exeter, 98;
-  Simeon’s, Ely, 64, 405, 406;
-  Salisbury, 81;
-  Walkelyn’s, Winchester, 64.
-
-Towers:--Lincoln, 291-292;
-  Norwich, 352;
-  Wells, 113;
-  York, 268.
-
-Tracery:--Exeter, 95;
-  Hereford, 187;
-  Lincoln, 291, 294, 302, 304;
-  Wells, 128; York, 278.
-
-Transept of the Martyrdom, 3, 5, 17, 18, 26.
-
-Transepts:--Canterbury, 15, 17, 25, 28;
-  Carlisle, 229, 230;
-  Chester, 218;
-  Durham, 243;
-  Ely, 346;
-  Exeter, 98;
-  Gloucester, 168-169;
-  Hereford, 181, 182;
-  Lichfield, 209;
-  Peterborough,
-331;
-  Ripon, 254-255;
-  Rochester, 41, 42-43;
-  Salisbury, 83-84;
-  St. Hugh’s, 308;
-  St. Paul’s, 410;
-  St. Saviour’s, 418;
-  Wells, 120;
-  Winchester, 63, 64, 196;
-  Worcester, 192-193;
-  York, 269-270, 272.
-
-Translation of St. Thomas, 4, 19;
-  St. Swithun, 47.
-
-Trehearne, John, 423.
-
-Tully, 154.
-
-
-Valence, A. de (tomb), 433.
-
-Vaulting (Norwich), 355-356.
-
-Vicars’ Cloister, 187.
-
-Vicars’ Close (Lichfield), 201.
-
-Vicars’ College, 108, 112.
-
-Vigil of the Translation, 4.
-
-Villula, John de, 135.
-
-
-Wakefield, Battle of, 361.
-
-Walkelyn, Bishop, 47, 48, 64.
-
-Walsingham, Alan, 336, 337, 338, 342, 345, 405.
-
-Waller, Lady (monument), 139.
-
-Wallingford, William of, 365.
-
-Wallingford Screen, 370-371.
-
-Walter, Hubert, 25.
-
-Walton, Izaak (tomb), 64.
-
-Warelwast, William, 90, 100.
-
-Warham, Archbishop (tomb), 27.
-
-Wars of the Roses, 361.
-
-Watching Chamber, 19, 25, 387.
-
-Wat Tyler’s Rebellion, 361, 362.
-
-Watts, Richard, 41.
-
-Waxhouse Gate, 366.
-
-Waxworks (Westminster Abbey), 436-437.
-
-Waynflete, Bishop, 53.
-
-Well, Sacred (Winchester), 65.
-
-Well of St. Thomas, 31.
-
-Wellington, 411, 412.
-
-Wells, 107-133.
-
-West Door:--Durham, 242;
-  Lichfield, 206;
-  Rochester, 38-39.
-
-West End (Worcester), 190.
-
-West Front:--Bath, 134, 136;
-  Bristol, 140;
-  Canterbury, 11;
-  Chester, 217;
-  Chichester, 70;
-  Durham, 233;
-  Exeter, 92;
-  Ely, 338;
-  Gloucester, 155-156;
-  Lichfield, 204-205;
-  Lincoln, 290-291;
-  Norwich, 351;
-  Peterborough, 324-325;
-  Ripon, 250, 251;
-  Rochester, 38;
-  Southwell, 314;
-  St. Paul’s, 401;
-  Westminster Abbey, 426;
-  Winchester, 51;
-  Wells, 113, 114;
-  York, 267-268.
-
-West Tower (Ely), 338.
-
-West Window:--Bristol, 142;
-  Canterbury, 13, 14;
-  Chichester, 70;
-  Gloucester, 162;
-  Lichfield, 205;
-  Lincoln, 293-294;
-  Peterborough, 327;
-  Rochester, 40-41;
-  Wells, 120;
-  Westminster Abbey, 430;
-  Winchester, 51;
-  York, 275.
-
-West, Benjamin, 43, 59.
-
-Western Porch (Manchester), 222.
-
-Western Transept:--Lincoln, 303;
-  Peterborough, 327.
-
-Westminster Abbey, 78, 414, 425-443.
-
-Wheathampstead, John de, 365.
-
-Wheel of Fortune, 42.
-
-Whispering Gallery:--Gloucester, 155, 164;
-  St. Paul’s, 404, 407, 410.
-
-White Church, 234.
-
-Winchester, 46-65;
-  burials in, 63;
-  coronations in, 49-50.
-
-Winchester Historical Associations, 49-50, 58.
-
-William the Conqueror, 235.
-
-William, Earl of Dudley (effigy), 198.
-
-William, English, 4, 18, 25, 36.
-
-William, Fitzherbert (tomb), 263.
-
-William of Hatfield (tomb), 274.
-
-William de Hoo, 36, 43, 44.
-
-William of Malmsbury, 263.
-
-William Rufus, 47, 55-56, 58, 157, 359, 425.
-
-William of Sens, 4, 12, 15, 18, 25, 36.
-
-William of St. Carileph, 234.
-
-William of Trumpington, 363, 364, 367.
-
-William of Wykeham, 48, 49, 51, 53.
-
-William La Zouche, 265.
-
-Window (Decorated):--Chichester, 68;
-  Diamond Jubilee, 420;
-  Edward IV. (Canterbury), 5, 26-27;
-  Edward VII., 410;
-  Flamboyant (Oxford), 390;
-  South (St. Saviour’s), 421.
-
-Windows:--Bath, 136, 137, 138;
-  Bristol, 142, 144, 145, 146, 148;
-  Canterbury, 11, 13, 17, 22-23, 24, 25;
-  Carlisle, 229;
-  Durham, 243, 248;
-  Ely, 340, 346, 347;
-  Exeter, 94, 97;
-  Gloucester, 159;
-  Hereford, 181, 182, 186-187;
-  Lichfield, 209, 212;
-  Lincoln, 291, 307;
-  Norwalk, 356;
-  Oxford, 379, 380;
-  Peterborough, 328, 332;
-  Rochester, 37, 38;
-  Salisbury, 84, 87-88;
-  Southwell, 314, 315, 316;
-  St. Saviour’s, 423, 424;
-  Wells, 118, 119, 128;
-  Westminster Abbey, 430;
-  Winchester, 58;
-  York, 276-279.
-
-Wolsey, Thomas, 266, 316, 375, 379, 412.
-
-Worcester, 188-199.
-
-Wordsworth, Bishop (tomb), 301.
-
-Wren, Bishop, 340.
-
-Wren, Sir C., 69, 78, 85, 307, 340, 375, 396, 397, 403, 405-406, 412, 426.
-
-Wulstan, 153, 188, 189.
-
-Wyatt, 78, 84, 175, 237, 248.
-
-Wyvill, Bishop (brass), 85-86.
-
-Wych, Richard de la, 68.
-
-
-York, 202, 260-283.
-
-York and Lichfield, 202.
-
-Young, Sir John (tomb), 147.
-
-Ythamar, 33.
-
-
-Zouch (tomb), 390.
-
-
-FOOTNOTES:
-
-[1] The dog-tooth being in the form of a four-leaved flower with a
-projecting centre, has caused some authorities to think it derived from
-the dog-tooth violet.--(E. S.)
-
-[2] The Regale of France, the glory of the Shrine, was long worn
-by Henry himself in the ring which after the manner of those times
-encircled his enormous thumb. It last appears in history among the
-“diamonds” of the golden collar of his daughter, Queen Mary.
-
-[3] See page 4.
-
-[4] See p. 120.
-
-[5] Canterbury, Rochester, Winchester, Worcester, Gloucester.
-
-[6] Similar stalls, or carrels, existed at Durham.
-
-[7] The cloister, of which the inner walls only remain, itself extended
-beyond this passage eastward.
-
-[8] A triforium in purely Perpendicular buildings is rare.
-
-[9] See pp. 99, 101.
-
-
-
-
-
-
-
-
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-Project Gutenberg's How to Visit the English Cathedrals, by Esther Singleton
-
-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/license
-
-
-Title: How to Visit the English Cathedrals
-
-Author: Esther Singleton
-
-Release Date: August 1, 2020 [EBook #62810]
-
-Language: English
-
-Character set encoding: UTF-8
-
-*** START OF THIS PROJECT GUTENBERG EBOOK HOW TO VISIT THE ENGLISH ***
-
-
-
-
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-file was produced from images generously made available
-by The Internet Archive)
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-
-
-</pre>
-
-<hr class="full" />
-
-<p class="figcenter">
-<a href="images/cover.jpg">
-<img src="images/cover.jpg" alt="[Image of
-the book's cover unavailable.]" height="550" /></a>
-</p>
-
-<table border="0" cellpadding="0" cellspacing="0" summary=""
-style="border: 2px black solid;margin:auto auto;max-width:50%;
-padding:1%;">
-<tr><td>
-
-<p class="c"><a href="#CONTENTS">Contents.</a><br />
-<a href="#INDEX">Index</a></p>
-<p class="c"><a href="#ILLUSTRATIONS">List of Illustrations</a><br /> <span class="nonvis">(In certain versions of this etext [in certain browsers]
-clicking on the image will bring up a larger version.)</span></p>
-
-<p class="c">(etext transcriber's note)</p></td></tr>
-</table>
-
-<p class="cb">How to Visit the English Cathedrals</p>
-
-<div class="bbox">
-<p class="c">BOOKS BY MISS SINGLETON</p>
-
-<div class="blockquoth"><p><span class="smcap">Turrets, Towers, and Temples.</span> Great Buildings of the World
-Described by Great Writers.</p>
-
-<p><span class="smcap">Great Pictures.</span> Described by Great Writers.</p>
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-<p><span class="smcap">Romantic Castles and Palaces.</span> Described by Great Writers.</p>
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-
-<p><span class="smcap">Great Rivers of the World.</span> Described by Great Writers.</p>
-
-<p><span class="smcap">Famous Cathedrals.</span> Described by Great Writers.</p>
-
-<p><span class="smcap">Famous Sculpture.</span> Described by Great Writers.</p>
-
-<p><span class="smcap">Modern Paintings.</span> Described by Great Writers.</p>
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-<p><span class="smcap">Wonders of the World.</span> Described by Great Writers.</p>
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-<p><span class="smcap">Paris.</span> Described by Great Writers.</p>
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-<p><span class="smcap">London.</span> Described by Great Writers.</p>
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-<p><span class="smcap">Russia.</span> Described by Great Writers.</p>
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-<p><span class="smcap">Florence.</span> Described by Great Writers.</p>
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-<p><span class="smcap">Egypt.</span> Described by Great Writers.</p>
-
-<p><span class="smcap">China.</span> Described by Great Writers.</p>
-
-<p><span class="smcap">Love in Literature and Art.</span></p>
-
-<p><span class="smcap">The Golden Rod Fairy Book.</span></p>
-
-<p><span class="smcap">The Wild Flower Fairy Book.</span></p>
-
-<p><span class="smcap">A Guide to the Opera.</span></p>
-
-<p><span class="smcap">A Guide to Modern Opera.</span></p>
-
-<p><span class="smcap">Dutch New York.</span> Manners and Customs of New Amsterdam in the
-Seventeenth Century.</p>
-
-<p><span class="smcap">How to Visit the Great Picture Galleries.</span></p>
-
-<p><span class="smcap">How to Visit the English Cathedrals.</span></p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_i" id="page_i">{i}</a></span>&nbsp; </p>
-
-<p><span class="pagenum"><a name="page_ii" id="page_ii">{ii}</a></span>&nbsp; </p>
-
-<p><span class="pagenum"><a name="page_iii" id="page_iii">{iii}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="fig_001" id="fig_001"></a>
-<a href="images/frontis.jpg">
-<img src="images/frontis.jpg" height="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Salisbury: Cloisters</span></p></div>
-</div>
-
-<h1>
-How to Visit<br />
-The English Cathedrals</h1>
-
-<p class="cb">By<br />
-Esther Singleton<br />
-Member of the Royal Society of Arts<br />
-<br />
-<i>With Numerous Illustrations</i><br />
-<br />
-<img src="images/colophon.jpg"
-width="100"
-alt=""
-/>
-<br />
-<br />
-New York<br />
-Dodd, Mead and Company<br />
-<span class="pagenum"><a name="page_iv" id="page_iv">{iv}</a></span>1912<br />
-<br />
-<span class="smcap">Copyright, 1912, by</span><br />
-DODD, MEAD AND COMPANY<br />
-<i>Published April, 1912</i></p>
-
-<p><span class="pagenum"><a name="page_v" id="page_v">{v}</a></span>&nbsp; </p>
-
-<h2><a name="PREFACE" id="PREFACE"></a>PREFACE</h2>
-
-<p class="nind"><span class="smcap">This</span> little book is offered to the tourist in the most modest spirit and
-with the hope that in this convenient form some gleanings from the works
-of specialists may afford help and pleasure to those who run quickly
-through the Cathedral towns of England. The subject has been done so
-often and so well that an additional book would demand an apology if it
-pretended to compete with the labours of those who have spent long years
-in the study of special cathedrals, or with the charming recollections
-of travel that others have given the world from time to time.</p>
-
-<p>My plan has been merely to present in a single volume concise
-descriptions of the great ecclesiastical buildings of England, together
-with the story of their construction and historical associations
-supplemented with criticisms from the best authorities of their most
-striking architectural and artistic features. These authorities are duly
-acknowledged by initials.&mdash;E. S.</p>
-
-<p><span class="smcap">New York</span>, <i>March, 1912</i>.</p>
-
-<p><span class="pagenum"><a name="page_vi" id="page_vi">{vi}</a></span>&nbsp; </p>
-
-<p><span class="pagenum"><a name="page_vii" id="page_vii">{vii}</a></span>&nbsp; </p>
-
-<h2><a name="STYLES_OF_ENGLISH_ARCHITECTURE" id="STYLES_OF_ENGLISH_ARCHITECTURE"></a>STYLES OF ENGLISH ARCHITECTURE</h2>
-
-<p class="nind"><span class="smcap">The</span> cathedral usually grew architecturally from age to age, or rose like
-a phœnix from the ashes of an earlier building.</p>
-
-<div class="blockquot"><p>“Not only is there built into a mediæval cathedral the accumulated
-thought of all the men who had occupied themselves with building
-during the preceding centuries, but you have the dream and
-aspiration of the bishop, abbot, or clergy for whom it was
-designed; the master mason’s skilled construction; the work of the
-carver, the painter, the glazier, the host of men who, each in his
-own craft, knew all that had been done before them, and had spent
-their lives in struggling to surpass the works of their
-forefathers. It is more than this: there is not one shaft, one
-moulding, one carving, not one chisel-mark in such a building, that
-was not designed specially for the place where it is found, and
-which was not the best that the experience of the age could invent
-for the purpose to which it is applied; nothing was borrowed; and
-nothing that was designed for one purpose was used for another. A
-thought or a motive peeps out through every joint; you may wander
-in such a building for weeks or for months together, and never know
-it all.”&mdash;(Fergusson.)</p></div>
-
-<p>Most English cathedrals are built in the form of a Latin cross, the arms
-of which are called the transepts. Over their point of intersection the
-central tower is usually erected. The part of the church running
-westward from this point to the entrance door is the nave and that
-running eastward to the high altar is the choir.</p>
-
-<p>Behind, or east of the choir, is situated the Lady-Chapel, or Chapel of
-the Virgin, which sometimes<span class="pagenum"><a name="page_viii" id="page_viii">{viii}</a></span> contained additional altars to other
-saints. Along the aisles we frequently find side chapels, containing
-tombs and chantries of dignitaries, local saints and benefactors.</p>
-
-<p>The nave usually consists of the main arcade; the <i>triforium</i> (which
-opens into a passage or gallery); and the <i>clerestory</i>.</p>
-
-<p>The <i>triforium</i> is the arcaded story between the lower range of piers
-and arches and the clerestory. The name is supposed to be derived from
-<i>tres</i> and <i>fores</i>&mdash;three doors or openings, for such is often the
-number of arches in each bay. Professor Willis, however, believed that
-the word is traced to a monkish Latin word for thoroughfare.</p>
-
-<p><i>Clerestory</i>, or <i>clearstory</i>, is the upper story of the nave of the
-church above the aisles and pierced with windows. The windows of the
-clerestories of Norman work are less important than in the later styles.
-They become larger in the Early English period and more important in the
-Decorated, always lengthening as the <i>triforium</i> diminishes.</p>
-
-<p>Sometimes the choir occupies two bays of the nave, but usually begins
-with the screen placed on the east side of the central tower. In olden
-days this was the rood-screen, so called because a large crucifix, or
-rood, stood on it. All roods were destroyed during the Reformation. At
-the present time the organ is frequently placed here; and there is
-diversity of opinion about the artistic propriety of its position.</p>
-
-<p>Entering the choir we see the high altar often with a reredos (French
-<i>l’arrière dos</i>, i.e., embroidered hangings). Along the sides of the
-choir are the seats, or stalls, usually of carved oak, surmounted with
-tracery, arches and pinnacles. Among<span class="pagenum"><a name="page_ix" id="page_ix">{ix}</a></span> these is the bishop’s seat, or
-throne. Frequently the stalls exhibit beautiful tabernacle-work and the
-misereres (<i>miséricorde</i>), which turn up and afford support to a person
-in a position between sitting and standing, are generally carved with
-grotesque and quaint figures and caricatures. Vestries for the use of
-priests and choristers are often situated near the choir.</p>
-
-<p>At the back of the choir (the retro-choir) was placed the chief shrine,
-where relics of the great saint of the cathedral were kept and to which
-the streams of pilgrims passed. In many churches the steps and pavements
-are worn away. Near the shrine was a watching-chamber, where a monk
-guarded the shrine and its treasures.</p>
-
-<p>Further east the Lady-Chapel was situated, though in a few cases it is
-found on the north side, e. g. Bristol and Ely.</p>
-
-<div class="blockquot"><p>“In Italy the bones of a saint or martyr were almost invariably
-deposited either beneath or immediately in front of the altar. But
-in the Gothic nations this original notion of the burial-place of
-the Saints became obscured, in the increasing desire to give them a
-more honourable place. According to the precise system of
-orientation adopted by the German and Celtic nations, the eastern
-portion of the church was in those countries regarded as
-pre-eminently sacred. Thither the high altar was generally moved,
-and to it the eyes of the congregation were specially directed. And
-in the eagerness to give a higher and holier even than the highest
-and holiest place to any great saint, on whom popular devotion was
-fastened, there sprang up in most of the larger churches during the
-Thirteenth Century a fashion of throwing out a still further
-eastern end, in which the shrine or altar of the saint might be
-erected,&mdash;and to which, therefore, not merely the gaze of the whole
-congregation, but of the officiating priest himself, even as he
-stood before the high altar, might be constantly turned. Thus,
-according to<span class="pagenum"><a name="page_x" id="page_x">{x}</a></span> Fuller’s quaint remark, the superstitious reverence
-for the dead reached its highest pitch, ‘the porch saying to the
-churchyard, the church to the porch, the chancel to the church, the
-east end to all&mdash;“Stand further off, I am holier than thou.”<span class="lftspc">’</span> This
-notion happened to coincide in point of time with the burst of
-devotion towards the Virgin Mary, which took place under the
-Pontificate of Innocent III., during the first years of the
-Thirteenth Century; and, therefore, in all cases where there was no
-special local saint, this eastern end was dedicated to Our Lady and
-the chapel thus formed was called The Lady-Chapel. Such was the
-case in the Cathedrals of Salisbury, Norwich, Hereford, Wells,
-Gloucester and Chester. But when the popular feeling of any city or
-neighbourhood had been directed to some indigenous object of
-devotion, this at once took the highest place, and the Lady-Chapel,
-if any there were, was thrust down to a less honourable position.
-Of this arrangement, the most notable instances in England are, or
-were (for in many cases the very sites have perished), the shrines
-of St. Alban in Hertfordshire, St. Edmund at Bury, St. Edward in
-Westminster Abbey, St. Cuthbert at Durham, and St. Etheldreda at
-Ely.”&mdash;(A. P. S.)</p></div>
-
-<p><i>Sedilia</i>, seats used by the priest, deacon and sub-deacon during the
-pauses in the mass, are generally cut into the south walls of churches,
-separated by shafts or species of mullions and surmounted by canopies,
-pinnacles or other elaborate adornments. The <i>piscina</i> and <i>aumbry</i> are
-sometimes attached to them.</p>
-
-<p>The <i>piscina</i> is a hollowed out niche with drain to carry away the water
-used in the ablutions during mass. After the Thirteenth Century there is
-scarcely an altar in England without one. Sometimes the <i>piscina</i> is in
-the form of a double niche.</p>
-
-<p>Beneath the cathedral there is often a crypt&mdash;in reality a second
-church, often of great size.<span class="pagenum"><a name="page_xi" id="page_xi">{xi}</a></span></p>
-
-<div class="blockquot"><p>“We may be tempted to ask, what is the purpose of a crypt? Some
-have said that it was merely meant to give dignity to the church,
-or to avoid the damp. It appears, however, to be a custom taken
-from the very early Christian churches at Rome, which were in many
-cases built over the tomb of a martyr, and had therefore a lower
-and an upper church. Indeed if we imagine the central portion of
-the choir steps removed so that the nave floor might extend without
-interruption to the crypt, and a clear view of the crypt be open to
-the nave, we should have an arrangement precisely similar to that
-of several Italian churches, notably that of San Zenone, at
-Verona.”&mdash;(F. and R.)</p></div>
-
-<p>As a rule, the monastic buildings, refectory, dormitory, infirmary,
-etc., were built on the south side, and here were also the cloisters,
-those pleasant walks and seats for exercise and recreation surrounding a
-peaceful quadrangle. The slype, or passage on the east side, led to the
-monks’ cemetery.</p>
-
-<p>In the chapter-house the monks transacted their business.</p>
-
-<p>The chapter-house, often one of the richest and most beautiful portions
-of the cathedral, may be of any form. Those of Canterbury, Exeter,
-Chester and Gloucester are oblong; those of Salisbury, Wells, Lincoln,
-York and Westminster are octagonal; and that of Worcester is circular.
-At Salisbury, Wells, Lincoln and Worcester a single massive shaft
-supports the vault.</p>
-
-<p>In examining a cathedral we must remember that many changes have taken
-place since the first stone was laid. If the monks were fortunate enough
-to have a full treasury, they kept up with the architectural styles.
-They would pull down the old nave, or choir, or transepts, and erect new
-buildings, lower the pitch of<span class="pagenum"><a name="page_xii" id="page_xii">{xii}</a></span> the roof, add a new porch or door, or
-insert new windows in the ancient walls. Fires were frequent and
-lightning and winds often played havoc with towers and spires. Such
-manifestations of the displeasure of the elements or saints necessitated
-rebuilding; and, as a rule, this rebuilding was undertaken in the latest
-fashion. Therefore, we find in most cathedrals specimens of many styles
-of architecture.</p>
-
-<div class="blockquot"><p>“As we see our cathedrals now, the view that meets us differs much
-from that which would have greeted us in mediæval times. Then all
-was ablaze with colours. Through the beautiful ancient glass the
-light gleamed on tints of gorgeous hues, and rich tapestries and
-hangings, on walls bedight with paintings, and every monument, pier
-and capital were aglow with coloured decorations. We have lost
-much, but still much remains. At the Reformation the avaricious
-courtiers of Henry VIII. plundered our sacred shrines, and carried
-off under the plea of banishing superstition vast stores of costly
-plate and jewels, tapestry and hangings. In the Civil War time
-riotous, fanatical soldiers wrought havoc everywhere, hacking
-beautifully-carved tombs and canopies, destroying brasses, and
-mutilating all that they could find. Ages of neglect have also left
-their marks upon our churches; and above all the hand of the
-ignorant and injudicious ‘restorer’ has fallen heavily on these
-legacies of Gothic art, destroying much that was of singular
-beauty, and replacing it by the miserable productions of early
-Nineteenth Century fabrication.”&mdash;(P. H. D.)</p></div>
-
-<p>And now, in order to make our visits more enjoyable, let us refresh our
-memories with a slight <i>résumé</i> of the four leading styles of English
-Architecture.</p>
-
-<p>The Pointed Arch appeared almost simultaneously in all the civilized
-countries of Europe. It was probably discovered by the Crusaders in the<span class="pagenum"><a name="page_xiii" id="page_xiii">{xiii}</a></span>
-Holy Land and brought home by them. None of its charming and beautiful
-accessories, however, accompanied it; the graceful clusters of pillars,
-the tracery and mullions were to be developed by the Europeans. One of
-the first to use the word <i>Gothic</i> to define Pointed Architecture was
-Sir Henry Wotton; and it seems that the word was finally determined as a
-definition by Sir Christopher Wren. An English critic says:</p>
-
-<div class="blockquot"><p>“The pointed arch was a graft on the Romanesque, Lombard and
-Byzantine architecture of Europe, just as the circular arch of the
-Romans had been on the columnar ordinances of the Greeks; but with
-a widely different result. The amalgamation in the latter case
-destroyed the beauty of both the stock and the scion; while in the
-former the stock lent itself to the modifying influence of its
-parasitical nursling, gradually gave up its heavy, dull and
-cheerless forms, and was eventually lost in its beautiful
-offspring, as the unlovely caterpillar is in the gay and graceful
-butterfly.”</p></div>
-
-<p>Although Pointed or Gothic Architecture developed with almost equal
-vigour in every country of Europe, it reached its greatest perfection in
-France. Many of the finest earliest buildings in England were, to a
-great extent, French in their origin, or development; but, in the course
-of time, English Gothic Architecture became very original. In this
-country</p>
-
-<div class="blockquot"><p>“Gothic architecture seems to have attained its ultimate perfection
-in the Fourteenth Century, at which period everything belonging to
-it was conceived and executed in a free and bold spirit, all the
-forms were graceful and natural, and all the details of foliage and
-other sculptures were copied from living types, with a skill and
-truth of drawing which has never been surpassed. Conventional forms
-were in a great measure abandoned, and it seems to have been
-rightly and truly considered that the fittest<span class="pagenum"><a name="page_xiv" id="page_xiv">{xiv}</a></span> monuments for the
-House of God were faithful copies of His works; and so long as this
-principle continued to be acted on, so long did Gothic architecture
-remain pure. But in the succeeding century, under the later Henrys
-and Edwards, a gradual decline took place: everything was moulded
-to suit a preconceived idea, the foliage lost its freshness, and
-was moulded into something of a rectangular form; the arches were
-depressed, the windows lowered, the flowing curves of the tracery
-converted into straight lines, panelling profusely used, and the
-square form everywhere introduced; until at length the prevalence
-of the horizontal line led easily and naturally to the Renaissance
-of the classic styles, though in an impure and much degraded form.
-The mixture of the two styles first appears in the time of Henry
-VII.,&mdash;a period in which (though remarkable for the beauty and
-delicacy of its details) the grand conceptions of form and
-proportion of the previous century seem to have been lost.
-Heaviness or clumsiness of form, combined with exquisite beauty of
-detail, are the characteristics of this era.”&mdash;(J. H. P.)</p></div>
-
-<p>The styles are generally classified as follows: I. Norman, or
-Romanesque; II. Early English; III. Decorated; IV. Perpendicular.</p>
-
-<div class="blockquot"><p>“Soon after the Norman Conquest a great change took place in the
-art of building in England. On consulting the history of our
-cathedral churches, we find that in almost every instance the
-church was rebuilt from its foundations by the first Norman bishop,
-either on the same site or on a new one; sometimes, as at Norwich
-and Peterborough, the cathedral was removed to a new town
-altogether, and built on a spot where there was no church before;
-in other cases, as at Winchester, the new church was built near the
-old one, which was not pulled down until after the relics had been
-translated with great pomp from the old church to the new. In other
-instances, as in York and Canterbury, the new church was erected on
-the site of the old one, which was pulled down piecemeal as the new
-work progressed. These new churches were in all cases on a much
-larger and more magnificent scale than the old.<span class="pagenum"><a name="page_xv" id="page_xv">{xv}</a></span></p>
-
-<p>“Strictly speaking, the Norman is one of the Romanesque styles,
-which succeeded to the old Roman; but the Gothic was so completely
-developed from the Norman that it is impossible to draw a line of
-distinction between them; it is also convenient to begin with the
-Norman, because the earliest complete buildings that we have in
-this country are of the Norman period, and the designs of the
-Norman architects, at the end of the Eleventh Century and the
-beginning of the Twelfth, were on so grand a scale that many of our
-finest cathedrals are built on the foundations of the churches of
-that period, and a great part of the walls are frequently found to
-be really Norman in construction, although their appearance is so
-entirely altered that it is difficult at first to realise this; for
-instance, in the grand cathedral of Winchester, William of Wykeham
-did not rebuild it, but so entirely altered the appearance that it
-is now properly considered as one of the earliest examples of the
-English Perpendicular style, of which he was the inventor; this
-style is entirely confined to England; it is readily distinguished
-from any of the Continental styles by the <i>perpendicular lines</i> in
-the tracery of the windows, and in the panelling on the walls; in
-all the foreign styles these lines are flowing or flame-like, and
-for that reason they are called Flamboyant; a few windows with
-tracery of that style are met with in England, but they are quite
-exceptions.”&mdash;(J. H. P.)</p></div>
-
-<p>The works of this period were colossal. Peterborough was begun in 1117
-and finished in 1143; the nave of Norwich was built between 1122 and
-1145; Canterbury was finished in 1130; and part of Rochester in the same
-year.</p>
-
-<p>In the time of William Rufus all the Saxon cathedrals were being rebuilt
-on a larger scale. From this reign date the crypt of Worcester; crypt,
-arches of the nave and part of the transepts of Gloucester; the choir
-and transepts of Durham; and the choir and transepts of Norwich.</p>
-
-<p>In the reign of Henry I. the choirs of Ely, Rochester, Norwich and
-Canterbury were dedicated;<span class="pagenum"><a name="page_xvi" id="page_xvi">{xvi}</a></span> and among the new works begun were the nave
-of Durham and the choir of Peterborough.</p>
-
-<div class="blockquot"><p>“The piers in the earlier period are either square solid masses of
-masonry, or recessed in the angles in the same manner as the
-arches, or they are plain, round massive pillars, with frequently
-only an impost of very simple character, but often with capitals.</p>
-
-<p>“The capitals in early work are either plain, cubical masses with
-the lower angles rounded off, forming a sort of rude cushion shape,
-as at Winchester, or they have a sort of rude volute, apparently in
-imitation of the Ionic, cut upon the angles; and in the centre of
-each face a plain square block in the form of the Tau cross is left
-projecting, as if to be afterwards carved. The scalloped capital
-belongs to rather a later period than the plain cushion or the rude
-Ionic, and does not occur before the time of Henry I. This form of
-capital was perhaps the most common of all in the first half of the
-Twelfth Century, and continued in use to the end of the Norman
-style. The capitals were frequently carved at a period subsequent
-to their erection, as in the crypt at Canterbury, where some of the
-capitals are finished, others half-finished, with two sides blank
-and others not carved at all. In later Norman work the capitals are
-frequently ornamented with foliage, animals, groups of figures,
-etc., in endless variety. The abacus throughout the style is the
-most characteristic member, and will frequently distinguish a
-Norman capital when other parts are doubtful.</p>
-
-<p>“Norman ornaments are of endless variety; the most common is the
-chevron, or zigzag, and this is used more and more abundantly as
-the work gets later; it is found at all periods even in Roman work
-of the Third Century and probably earlier, but in all early work it
-is used sparingly, and the profusion with which it is used in late
-work is one of the most ready marks by which to distinguish that
-the work is late. The sunk star is a very favourite ornament
-throughout the style; it occurs on the abacus of the capitals in
-the chapel of the White Tower, London, and it seems to have been
-the forerunner of the tooth-ornament. The billet is used in the
-early part of Peterborough, but discontinued in the later work,
-and<span class="pagenum"><a name="page_xvii" id="page_xvii">{xvii}</a></span> does not often occur in late work. It is sometimes square,
-more frequently rounded. The beak-head, the cat’s-head, the small
-medallions with figures and the signs of the zodiac, all belong to
-the later Norman period. In the later Norman mouldings a mixture of
-Byzantine character is seen on the ornaments as at Durham. It has
-also been observed that in the sculpture of the period of the late
-Norman style there is frequently a certain mixture of the Byzantine
-Greek character brought home from the East by the Crusaders, who
-had returned. This is also one of the characteristics of the period
-of the Transition.”&mdash;(J. H. P.)</p></div>
-
-<p>The next period&mdash;that of the Transition&mdash;in which the science of
-vaulting received great impetus and construction became more elegant and
-graceful in line, is splendidly exhibited at Canterbury in the work of
-the French William of Sens and his successor, the English William.
-Christ Church Cathedral, Oxford, is also a fine example of late Norman
-and Transitional work.</p>
-
-<p>The Early English Style covers the reigns of Richard I., John and Henry
-III., from 1189 to 1272. It is known also as the First Pointed, or
-Lancet, and is a purely English variety of Gothic Architecture. The
-developments were always in the line of greater lightness and elegance.
-There was also throughout this period a great use of delicate shafts of
-polished Purbeck marble for doorways, windows and arcades.</p>
-
-<p>Canterbury, Rochester and Lincoln are famous examples. Canterbury was
-completed in 1184; Rochester in 1201-1227; and much of Lincoln was
-finished (especially the choir and eastern transept with its chapels)
-before 1200.</p>
-
-<p>Salisbury Cathedral, however, is usually considered as <i>The Type</i> of the
-Early English style, because<span class="pagenum"><a name="page_xviii" id="page_xviii">{xviii}</a></span> it is less mixed than any other building
-of the same importance. It was commenced in 1220 and consecrated in
-1258.</p>
-
-<p>The choir and apse of Westminster Abbey and the north transept of York
-Minster are also good examples of this period. We may note here that it
-was customary to build the west front immediately after the choir and
-leave the nave to be filled in afterwards.</p>
-
-<div class="blockquot"><p>“New ideas and a new life seem to have been given to architecture,
-and the builders appear to have revelled in it even to exuberance
-and excess, and it was necessary afterwards in some degree to
-soften down and subdue it. At no period has ‘the principle of
-verticality’ been so completely carried out as in the Early English
-style, and even in some of the earliest examples of it.”&mdash;(J. H.
-P.)</p></div>
-
-<div class="blockquot"><p>“The characteristic elegance of the general architectural design
-was carried out in all the details. The mouldings were delicately
-rounded and alternated with hollows so drawn as to give here
-delicate and there most forcible effects of light and shade. Thus
-the dark line produced by marble in a pier was continued by means
-of a dark shadow in the arch; and without considerable knowledge of
-the science of moulding, it is impossible to do justice to this
-part of the English Early Pointed work, which has never been
-surpassed, if, indeed, it has ever been equalled at any period
-elsewhere. The groined roofs were still simple in design, but a
-ridge rib was often added to the necessary transverse and diagonal
-ribs of the previous period. This gave a certain hardness of line
-to the vault; it was the first step to the more elaborate and later
-systems of vaulting, and was soon followed by the introduction of
-other ribs on the surface of the vaulting cells. Few works are more
-admirable than some of the towers and spires of this period.”&mdash;(G.
-S. S.)</p></div>
-
-<p>The characteristic of lancet windows applies only to the early part of
-the style from 1190 to about<span class="pagenum"><a name="page_xix" id="page_xix">{xix}</a></span> 1220 or 1230. After that time circles in
-the head of the windows of two or more lights came in, and the circles
-became foliated by about 1230, and continued to 1260 or 1270, when the
-Decorated style began to come into fashion.</p>
-
-<div class="blockquot"><p>“The windows in the earlier examples are plain, lancet-shaped and
-generally narrow; sometimes they are richly moulded within and
-without, but frequently have nothing but a plain chamfer outside
-and a wide splay within. In the Early English style we have, in the
-later examples, tracery in the heads of the windows, but it is
-almost invariably in the form of circles, either plain or foliated,
-and is constructed in a different manner from genuine Decorated
-tracery.</p>
-
-<p>“At first the windows have merely openings pierced through the
-solid masonry of the head, the solid portions thus left gradually
-becoming smaller and the openings larger, until the solid parts are
-reduced to nearly the same thickness as the mullions; but they are
-not moulded, and do not form continuations of the mullions until we
-arrive at real Decorated tracery. This kind of tracery was called
-by Professor Willis plate tracery; being in fact, a plate of stone
-pierced with holes: it is extensively used in early French work.
-The more usual kind of tracery is called <i>bar</i> tracery, to
-distinguish it from the earlier kind.”&mdash;(J. H. P.)</p></div>
-
-<p>Doorways are generally pointed or trefoiled, but sometimes round-headed,
-and small doorways are frequently flat-headed, with the angles corbelled
-in the form called the square-headed trefoil, or the shouldered arch.
-Trefoiled arches are characteristic of this style. Arches are
-frequently, but not always, acutely pointed; and in the more important
-buildings are generally richly moulded, as in Westminster Abbey, either
-with or without the tooth-ornament, as the arches at York Minster. The
-pillars are of various forms, frequently clus<span class="pagenum"><a name="page_xx" id="page_xx">{xx}</a></span>tered; but the most
-characteristic pillar of the style is the one with detached shafts,
-which are generally of Purbeck marble. These are frequently very long
-and slender and only connected with the central shaft by the capital and
-base, with or without one or two bands at intervals. These bands
-sometimes consist of rings of copper gilt, as in the choir of Worcester
-Cathedral, and are sometimes necessary for holding together the slender
-shafts of Purbeck marble. The bases generally consist of two rounds, the
-lowest one the largest, both frequently filleted, with a deep hollow
-between, placed horizontally, as at Canterbury. In pure Early English
-work, the upper member of the capital, called the abacus, is circular
-and consists, in the earlier examples, simply of two rounds, the upper
-one the largest, with a hollow between them; but in later examples the
-mouldings are frequently increased in number and filleted.</p>
-
-<p>Mouldings are chiefly bold rounds, with equally bold and deeply cut
-hollows, which produce a strong effect of light and shade. Vaults are
-bolder than during the Norman period and differ from succeeding styles
-by their greater simplicity, as at Salisbury. In the earlier examples
-there are ribs on the angles of the groins only; at a later period the
-vaulting becomes more complicated, as at Westminster. There is a
-longitudinal rib, and a cross rib along the ridge of the cross vaults,
-and frequently also an intermediate rib on the surface of the vault. The
-bosses are rare at first, more abundant afterwards: they are generally
-well worked and enriched with foliage. English vaults are sometimes of
-wood only, as in York Minster, and the cloisters at Lincoln. A vault is,
-in fact, a ceil<span class="pagenum"><a name="page_xxi" id="page_xxi">{xxi}</a></span>ing, having always an outer roof over it. There is a
-marked distinction in the construction of Gothic vaults in England and
-France. In England, from the earliest period, each stone is cut to fit
-its place; in France the stones are cut square or rather oblong, as in
-the walls, and only wedged out by the thickness of the mortar at the
-back in the joints. Fan-tracery vaulting is peculiar to England, and it
-begins, in principle, as early as in the cloister of Lincoln about 1220,
-where the vault is of wood, but the springings are of stone, and cut to
-fit the ribs of the wooden vault.</p>
-
-<p>Buttresses project boldly, and flying-buttresses become a prominent
-feature. There is a fine example of a compound flying-buttress at
-Westminster Abbey, which supports the vaults of the choir, the triforium
-and the aisles and carries the thrust of the whole over the cloister to
-the ground. Early English towers are generally more lofty than the
-Norman, and their buttresses have a greater projection. The spire is
-usually a noticeable feature. The East End is usually square; but
-sometimes terminates with the apse, generally a half-octagon or a
-half-hexagon, as at Westminster Abbey.</p>
-
-<div class="blockquot"><p>“Throughout the Early English period there is an ornament used in
-the hollow mouldings which is as characteristic of this style as
-the zigzag is of the Norman; this consists of a small pyramid, more
-or less acute, cut into four leaves or petals meeting in the point,
-but separate below as in Chester Cathedral. When very acute, and
-seen in profile, it may be imagined to have somewhat the appearance
-of a row of dog’s-teeth, and from this it has been called the
-‘dog-tooth<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a> ornament,’ or, by some, the<span class="pagenum"><a name="page_xxii" id="page_xxii">{xxii}</a></span> shark’s tooth ornament,
-more commonly the tooth-ornament. It is used with the greatest
-profusion on arches, between clustered shafts, on the architraves
-and jambs of doors, windows, piscinas and indeed in every place
-where such ornament can be introduced. It is very characteristic of
-this style, and begins quite at the commencement of the style, as
-in St. Hugh’s work at Lincoln; for though in the Norman we find an
-approach to it, in the Decorated various modifications of it occur;
-still the genuine tooth-ornament may be considered to belong
-exclusively to the Early English.</p>
-
-<p>“Another peculiarity consists of the <i>foliage</i>, which differs
-considerably from the Norman: in the latter it has more or less the
-appearance of being imitated from that of the Classic orders, while
-in this it is entirely original. Its essential form seems to be
-that of a trefoil leaf, but this is varied in such a number of ways
-that the greatest variety is produced. It is used in cornices, the
-bosses of groining, the mouldings of windows and doorways, and
-various other places, but particularly in capitals to which it
-gives a peculiar and distinctive character. The foliage of these
-capitals is technically called ‘stiff-leaf foliage,’ but this
-alludes only to the stiff stem or stalk of the leaf, which rises
-from the ring of the capital; the foliage itself is frequently as
-far removed from stiffness as any can be, as for instance in the
-capitals of Lincoln. The stiff stalk is, however, a ready mark to
-distinguish the Early English capital from that of the succeeding
-style. We must bear in mind, however, that foliage is by no means
-an essential feature of the Early English style; many of our finest
-buildings, such as Westminster Abbey, have their capitals formed of
-a plain bell reversed, with mouldings round the abacus like rings
-put upon it, and round the neck.</p>
-
-<p>“The ornaments so well known by the name of crockets were first
-introduced in this style. The name is taken from the shepherd’s
-crook, adopted by the bishops as emblematical of their office. They
-occur at Lincoln, in St. Hugh’s work, the earliest example of this
-style, and are there used in the unusual position of being in a
-vertical line between the detached shafts. They are found in the
-same position also in the beautiful work of the<span class="pagenum"><a name="page_xxiii" id="page_xxiii">{xxiii}</a></span> west front of
-Wells. Afterwards they were used entirely on the outside of
-pediments, or in similar situations, projecting from the face of
-the work, or the outer surface of the moulding, as in the very
-beautiful tomb of Archbishop Walter Grey in York Cathedral; and
-they continued in use in the subsequent styles, although their form
-and character gradually change with the style.”&mdash;(J. H. P.)</p></div>
-
-<p>The transition from the Early English to the Decorated was very gradual.
-It took place during the reign of Edward I. The transepts of Westminster
-Abbey are held up as models of this transition and contain some of the
-most beautiful work that can be found anywhere. The crosses erected by
-Edward I. at all places where the body of Queen Eleanor had rested, on
-the march from Lincolnshire to Westminster Abbey, where she was buried,
-are usually regarded as fine early examples of the Decorated style. Easy
-attitudes and graceful draperies characterise the sculpture of human
-figures.</p>
-
-<p>The Decorated Period dates from 1300 to 1377. It is also called the
-Middle Pointed, Geometrical Pointed and the Flowing, or Curvilinear, and
-also the Edwardian, because it covers the reigns of Edward I., II. and
-III.</p>
-
-<p>Exeter Cathedral is a superb example of this style. The nave of York
-Minster and the lantern of Ely are also noteworthy illustrations.</p>
-
-<div class="blockquot"><p>“The general appearance of Decorated buildings is at once simple
-and magnificent; simple from the small number of parts, and
-magnificent from the size of the windows, and the easy flow of the
-lines of tracery. In the interior of large buildings we find great
-breadth, and an enlargement of the <i>clerestory</i> windows, with a
-corresponding diminution of the <i>triforium</i>, which is now rather a
-part of the <i>clerestory</i> opening than a distinct member of<span class="pagenum"><a name="page_xxiv" id="page_xxiv">{xxiv}</a></span> the
-division. The roofing, from the increased richness of the groining,
-becomes an object of more attention. On the whole the nave of York,
-from the uncommon grandeur and simplicity of the design, is
-certainly the finest example; ornament is nowhere spared, yet there
-is a simplicity which is peculiarly pleasing.”&mdash;(Rickman.)</p>
-
-<p>“The Decorated style is distinguished by its large windows divided
-by mullions, and the tracery either in flowing lines, or forming
-circles, trefoils and other geometrical figures, and not running
-perpendicularly; its ornaments are numerous and very delicately
-carved, more strictly faithful to nature and more essentially parts
-of the structure than in any other style. There is a very fine
-window with reticulated tracery and richly moulded in the south
-walk of the cloisters at Westminster. No rule whatever is followed
-in the form of the arch over windows in this style; some are very
-obtuse, others very acute and the ogee arch is not uncommon.
-Decorated tracery is usually divided into three general
-classes&mdash;geometrical, flowing and flamboyant; the variety is so
-great that many sub-divisions may be made, but they were all used
-simultaneously for a considerable period. The earliest Decorated
-windows have geometrical tracery; Exeter Cathedral is, perhaps, on
-the whole, the best typical example of the early part of this
-style. The fabric rolls are preserved, and it is now evident that
-the existing windows are, for the most part, of the time of Bishop
-Quivil, from 1279 to 1291. In some instances windows with
-geometrical tracery have the mouldings and the mullions covered
-with the ball-flower ornament in great profusion, even to excess;
-these examples occur chiefly in Herefordshire, as at Leominster;
-and in Gloucestershire, as in the south aisle of the nave of the
-Cathedral at Gloucester: they are for the most part, if not
-entirely, of the time of Edward II. What is called the netlike
-character of tracery, from its general resemblance to a fisherman’s
-net, is very characteristic of this style at its best period, about
-the middle of the Fourteenth Century. Square-headed windows are
-very common. Windows in towers are usually different from those in
-other parts of the church. In the upper story, where the bells are,
-there is no glass; in some parts of the country there is pierced<span class="pagenum"><a name="page_xxv" id="page_xxv">{xxv}</a></span>
-stonework for keeping out the birds, but more usually they are of
-wood only. These are called sound-holes. Clerestory windows of this
-style are often small, and either circular with quatrefoil cusps,
-or trefoils or quatrefoils; or the spherical triangle with cusps,
-which forms an elegant window. The clever manner in which these
-windows are splayed within and especially below, to throw down the
-light, should be noticed.”&mdash;(J. H. P.)</p></div>
-
-<p>The large rose-window, so conspicuous a feature on the Continent, is
-rarely seen in England. When it does occur it is usually found in the
-transept ends.</p>
-
-<p>The East Front generally consists of one large window at the end of the
-choir, flanked by tall buttresses. A smaller buttress appears at the end
-of each aisle. The arrangement of the West Front is the same, with a
-doorway beneath the central window. The towers of the Decorated style
-are usually placed at the west end and are, as a rule, similar to the
-Early English. The spires differ slightly from those of the Early
-English, except that there are generally more spire-lights and small
-windows at the bases and sides of the spire. Lichfield Cathedral is one
-of the best examples of the exterior of a perfect church of the
-Decorated style. Its three spires are perfect.</p>
-
-<p>The ogee arch is frequently used in small arcades and in the heads of
-windows. The dripstones, or hood moulds, are generally supported by
-heads and are frequently enriched with crockets and finials. The arcades
-that ornament the walls and those over the <i>sedilia</i> are characteristic
-features of the style. Pillars are clustered and arches richly moulded;
-they often have the hood-moulding over them. Very often they have what
-is called a stilted base. The capitals are ornamented with beautiful<span class="pagenum"><a name="page_xxvi" id="page_xxvi">{xxvi}</a></span>
-foliage: each leaf is copied from nature and often arranged round the
-bell of the capital. The ornamental sculptures in the hollow mouldings
-are numerous, but there are two which require more particular notice;
-they are nearly as characteristic of the Decorated style as the zigzag
-is of the Norman, or the tooth-ornament of the Early English. The first
-is the ball-flower, which is a globular flower half opened, and showing
-within a small round ball. It is used with the utmost profusion in the
-mouldings of windows, doorways, canopies, cornices, arches, etc. The
-other ornament is the four-leaved flower. This has a raised centre, and
-four petals cut in high relief; it is frequently much varied, but may be
-distinguished by its being cut distinctly into four petals, and by its
-boldness: it is sometimes used abundantly, though not quite so profusely
-as the ball-flower. In some instances the centre is sunk instead of
-being raised. The battlement, as an ornamental feature in the interior
-of buildings, is frequently used in this style, although it is more
-common in the Perpendicular.</p>
-
-<p>The foliage in this style is more faithfully copied from nature than in
-any other: the vine-leaf, the maple and the oak with the acorn, are the
-most usual. The surface of the wall is often covered with flat foliage,
-arranged in small squares called diaper-work, which is believed to have
-originated in an imitation of the rich hangings then in general use, and
-which bore the same name.</p>
-
-<p>The groined roofs or vaults are distinguished from those of the
-preceding style, chiefly by an additional number of ribs, and by the
-natural foliage on the bosses. Many fine examples of these remain, as in
-the Cathedral of Exeter and at York<span class="pagenum"><a name="page_xxvii" id="page_xxvii">{xxvii}</a></span> in the chapter-house; at Norwich in
-the cloisters; at Chester the vault is of wood with stone springers.</p>
-
-<p>After culminating in the Decorated style, Gothic Architecture began to
-decline in the Fifteenth and Sixteenth Centuries. The transition from
-the Decorated to the Perpendicular took place from 1360 to 1399:</p>
-
-<div class="blockquot"><p>“This change began to show itself in the choir and transepts of
-Gloucester Cathedral before the middle of the Fourteenth Century.
-The panelling and the window-tracery have so much the appearance of
-the Perpendicular Style, that they have been commonly supposed to
-have been rebuilt or altered at a late period; but the vaultings
-and the mouldings are pure Decorated, and the painted glass of the
-Fourteenth Century is evidently made for the places which it now
-occupies in the heads of the windows with Perpendicular tracery; it
-must therefore be considered as the earliest known example of this
-great change of style. In this work of alteration the walls and
-arches of the Norman church were not rebuilt but cased with
-panelling over the inner surface, so as to give the effect of the
-latter style to the interior. This was just the same process as was
-afterwards followed at Winchester by William of Wykeham, in
-changing the Norman to the Perpendicular style without any actual
-rebuilding.”&mdash;(J. H. P.)</p></div>
-
-<p>The work at Gloucester was begun as early as 1337. Another fine example
-is the nave of Winchester Cathedral.</p>
-
-<p>Bishop Edington, who died in 1366, began to alter Winchester into the
-Perpendicular style. His work was continued by William of Wykeham.</p>
-
-<div class="blockquot"><p>“Before the death of Bishop Edington the great principles of the
-Perpendicular style were fully established. These chiefly consist
-of the Perpendicular lines through the head of the window, and in
-covering the surface of<span class="pagenum"><a name="page_xxviii" id="page_xxviii">{xxviii}</a></span> the wall with panelling of the same kind.
-These features are as distinctly marked at Winchester as in any
-subsequent building, or as they well could be.”&mdash;(J. H. P.)</p></div>
-
-<p>The cloisters of Gloucester Cathedral are decidedly Perpendicular in the
-fan-tracery of the vaults, but are partly of earlier date and character.
-Another example of the transition from Decorated to Perpendicular is the
-choir of York Minster, begun in 1361 and finished in 1408. Its general
-appearance is Perpendicular.</p>
-
-<div class="blockquot"><p>“This style is exclusively English, <i>it is never found</i> on the
-Continent, and it has the advantage of being more <i>economical</i> in
-execution than the earlier styles. It remains to describe its
-characteristic features. The broad distinction of the Perpendicular
-style lies in the form of the tracery in the head of the windows;
-and in fully developed examples the distinction is sufficiently
-obvious. We have no longer the head of the window filled with the
-gracefully flowing lines of the Decorated tracery, but their place
-is supplied by the rigid lines of the mullions, which are carried
-through to the architrave mouldings, the spaces between being
-frequently divided and subdivided by similar Perpendicular lines;
-so that <i>Perpendicularity</i> is so clearly the characteristic of
-these windows that no other word could have been found which would
-at once so well express the predominating feature. The same
-character prevails throughout the buildings of this period: the
-whole surface of a building, including its buttresses, parapets,
-basements, and every part of the flat surface, is frequently
-covered with panelling in which the Perpendicular line clearly
-predominates; and to such an excess is this carried that the
-windows frequently appear to be only openings in the panel-work.
-Panelling, indeed, now forms an important feature of the style; for
-though it was used in the earlier styles, it was not to the same
-extent, and was of very different character, the plain surfaces in
-those styles being relieved chiefly by diaper-work.”&mdash;(J. H. P.)</p></div>
-
-<p>The great idea of the architect was to correct and restrain the
-exuberant tracery by introducing<span class="pagenum"><a name="page_xxix" id="page_xxix">{xxix}</a></span> vigorous straight vertical and
-horizontal lines. Another feature of the Perpendicular style was the
-groined roof. The ribs of the vaulting were now enriched by cross ribs,
-which were intersected by more ribs into small panels, which were filled
-in with tracery. The key-stones were formed into pendants. This network
-of ribs is called fan-tracery because the ribs spread out like the
-sticks of a fan. Very beautiful examples occur in Henry VII.’s Chapel,
-Westminster Abbey, and in the cloisters of Gloucester Cathedral.</p>
-
-<div class="blockquot"><p>“The light and elegant style of vaulting known as fan-tracery,
-which is peculiar to this style, with its delicate pendants and
-lace-like ornaments, harmonises finely with the elaborate ornament
-of the tabernacle-work ornament. Fan-tracery vaulting is
-<i>peculiarly English</i>. The principle of it began with the earliest
-English Gothic style, as in the cloisters of Lincoln Cathedral,
-each stone of the vaulting being cut to fit its place. In France
-this is never done, each block of stone is oblong, as in those for
-the walls, and is only made to curve over in a vault by the mortar
-between the joints.</p>
-
-<p>“Arches are not so acute as in the earlier periods; capitals and
-bases of columns are distinguished by the shallowness of the
-mouldings; mullions are carried straight through the arch of the
-windows; doorways consist of a depressed arch within a square frame
-with a label above; the label moulding is frequently filled with
-foliage and the space round the arch parallel; towers are often
-extremely rich and elaborately ornamented with four or five stories
-of windows, canopies, pinnacles and tabernacles; porches are also
-fine, highly enriched with panel-work, buttresses and pinnacles,
-and often with a richly-groined vault in the interior; and
-mouldings are generally more shallow than the earlier ones.</p>
-
-<p>“There is an ornament which was introduced in this style and which
-is very characteristic. This is called the ‘Tudor-flower,’ not
-because it was introduced in the time of the Tudors, but because it
-was so much used at that period.<span class="pagenum"><a name="page_xxx" id="page_xxx">{xxx}</a></span> It generally consists of some
-modification of the fleur-de-lis alternately with a small trefoil
-or ball, and is much used as a crest for screens on fonts, niches,
-capitals and in almost all places where such ornament can be used.
-The foliage of this style is frequently very beautifully executed,
-almost as faithful to nature as in the Decorated style, in which
-the fidelity to nature is one of the characteristic features. There
-is comparatively a squareness about the Perpendicular foliage,
-which takes from the freshness and beauty which distinguished that
-of the Decorated style. Indeed, the use of square and angular forms
-is one of the characteristics of the style; we have square panels,
-square foliage, square crockets and finials, square forms in the
-windows&mdash;caused by the introduction of so many transoms&mdash;and an
-approach to squareness in the depressed and low pitch of the roofs
-in late examples.”&mdash;(J. H. P.)</p></div>
-
-<p>The woodwork of the Perpendicular period is very beautiful: open timber
-roofs (met with in the eastern counties), screens and lofts across the
-chancel-arch and richly carved bench ends exist in considerable numbers.</p>
-
-<div class="blockquot"><p>“The frequent use of figures, simply as corbels between the windows
-of the clerestory to carry the roof, is a good characteristic of
-the late Perpendicular style; they are generally of the time of
-Henry the Seventh or Eighth. The figure used is generally that of
-an angel, and each angel is sometimes represented as carrying a
-different musical instrument so as to make up a heavenly
-choir.”&mdash;(J. H. P.)</p></div>
-
-<p>Among the best examples of late Perpendicular are Henry VII.’s Chapel,
-Westminster Abbey; St. George’s Chapel, Windsor; King’s College Chapel,
-Cambridge; and Bath Abbey Church.</p>
-
-<p>In writing of the latter W. D. Howells so beautifully describes this
-style that no excuse is needed for bringing his definition into this
-place. He says:</p>
-
-<div class="blockquot"><p>“It is mostly of that Perpendicular Gothic which I suppose more
-mystically lifts the soul than any other form<span class="pagenum"><a name="page_xxxi" id="page_xxxi">{xxxi}</a></span> of architecture, and
-it is in a gracious harmony with itself through its lovely
-proportions; from the stems of its clustered column, the tracery of
-their fans spreads and delicately feels its way over the vaulted
-roof as if it were a living growth of something rooted in the earth
-beneath.”</p></div><p><span class="pagenum"><a name="page_xxxiii" id="page_xxxiii">{xxxiii}</a></span></p><p><span class="pagenum"><a name="page_xxxii" id="page_xxxii">{xxxii}</a></span></p>
-
-<h2><a name="ABBREVIATIONS_OF_AUTHORS_QUOTED" id="ABBREVIATIONS_OF_AUTHORS_QUOTED"></a>ABBREVIATIONS OF AUTHORS QUOTED</h2>
-
-<table border="0" cellpadding="0" cellspacing="0" summary="">
-<tr valign="top"><td>
-A. A.&mdash;Alexander Ansted<br />
-<br />
-F. B.&mdash;Frederic Bond<br />
-J. E. B.&mdash;J. E. Bygate<br />
-<br />
-A. B. C.&mdash;A. B. Clifton<br />
-A. C.-B.&mdash;A. Clutton-Brock<br />
-J. C.-B.&mdash;J. Cavis-Brown<br />
-H. C. C.&mdash;Hubert C. Corlette<br />
-<br />
-A. D.&mdash;Arthur Dimock<br />
-C. D.&mdash;Charles Dickens, Jr.<br />
-P. D.&mdash;Percy Dearmer<br />
-P. H. D.&mdash;P. H. Ditchfield<br />
-T. F. D.&mdash;Thomas Frognall Dibdin<br />
-<br />
-A. H. F.&mdash;A. Hugh Fisher<br />
-E. A. F.&mdash;E. A. Freeman<br />
-F. W. F.&mdash;F. W. Farrar<br />
-W. H. F.&mdash;W. H. Fremantle<br />
-<br />
-H.&mdash;Hope<br />
-C. H.&mdash;Cecil Hallet<br />
-L. H.&mdash;Leigh Hunt<br />
-W. H. H.&mdash;W. H. Hart<br />
-<br />
-A. F. K.&mdash;A. F. Kendrick<br />
-G. W. K.&mdash;Dean Kitchin<br />
-R. J. K.&mdash;Richard J. Knight<br />
-<br />
-L.&mdash;Dr. Luckock<br />
-W. J. L.&mdash;W. J. Loftie<br />
-<br />
-M.&mdash;Dean Milman<br />
-</td><td>
-J. McC.&mdash;Justin McCarthy<br />
-H. J. L. J. M.&mdash;H. J. L. J. Massé<br />
-<br />
-P.&mdash;Dean Patrick<br />
-P.-C.&mdash;Dean Pury-Cust<br />
-F. A. P.&mdash;F. A. Paley<br />
-G. H. P.&mdash;G. H. Palmer<br />
-J. H. P.&mdash;J. H. Parker<br />
-T. P.&mdash;T. Perkins<br />
-<br />
-C. H. B. Q.&mdash;C. H. B. Quennell<br />
-<br />
-R.&mdash;Rickman<br />
-F. and R.&mdash;Field and Routledge<br />
-<br />
-S.&mdash;Dean Spence<br />
-A. P. S.&mdash;Dean Stanley<br />
-E. F. S.&mdash;Edward F. Strange<br />
-G. G. S.&mdash;G. G. Scott<br />
-W. D. S.&mdash;W. D. Sweeting<br />
-<br />
-T.&mdash;Canon Talbot<br />
-<br />
-W.&mdash;Willis<br />
-Wal.&mdash;Walcott<br />
-A.-à-W.&mdash;Anthony-à-Wood<br />
-C. W.&mdash;Winston<br />
-E. W.&mdash;Edward Walford<br />
-F. S. W.&mdash;F. S. Waller<br />
-G. W.&mdash;Gleeson White<br />
-Geo. W.&mdash;George Worley<br />
-H. W.&mdash;Hartley Wither<br />
-</td></tr>
-</table>
-
-<p><span class="pagenum"><a name="page_xxxiv" id="page_xxxiv">{xxxiv}</a></span>&nbsp; </p>
-
-<p><span class="pagenum"><a name="page_xxxv" id="page_xxxv">{xxxv}</a></span>&nbsp; </p>
-
-<h2><a name="CONTENTS" id="CONTENTS"></a>CONTENTS</h2>
-
-<table border="0" cellpadding="4" cellspacing="0" summary="">
-
-<tr><td>&nbsp;</td><td class="rt"><small>PAGE</small></td></tr>
-
-<tr><td class="smcap" valign="top"><a href="#CANTERBURY">Canterbury</a></td><td class="rt" valign="bottom"><a href="#page_1">1</a></td></tr>
-
-<tr><td class="smcap" valign="top"><a href="#ROCHESTER">Rochester</a></td><td class="rt" valign="bottom"><a href="#page_33">33</a></td></tr>
-
-<tr><td class="smcap" valign="top"><a href="#WINCHESTER">Winchester</a></td><td class="rt" valign="bottom"><a href="#page_46">46</a></td></tr>
-
-<tr><td class="smcap" valign="top"><a href="#CHICHESTER">Chichester</a></td><td class="rt" valign="bottom"><a href="#page_66">66</a></td></tr>
-
-<tr><td class="smcap" valign="top"><a href="#SALISBURY">Salisbury</a></td><td class="rt" valign="bottom"><a href="#page_76">76</a></td></tr>
-
-<tr><td class="smcap" valign="top"><a href="#EXETER">Exeter</a></td><td class="rt" valign="bottom"><a href="#page_90">90</a></td></tr>
-
-<tr><td class="smcap" valign="top"><a href="#WELLS">Wells</a></td><td class="rt" valign="bottom"><a href="#page_107">107</a></td></tr>
-
-<tr><td class="smcap" valign="top"><a href="#BATH_ABBEY">Bath Abbey</a></td><td class="rt" valign="bottom"><a href="#page_134">134</a></td></tr>
-
-<tr><td class="smcap" valign="top"><span class="pagenum"><a name="page_xxxvi" id="page_xxxvi">{xxxvi}</a></span>
-<a href="#BRISTOL">Bristol</a></td><td class="rt" valign="bottom"><a href="#page_140">140</a></td></tr>
-
-<tr><td class="smcap" valign="top"><a href="#GLOUCESTER">Gloucester</a></td><td class="rt" valign="bottom"><a href="#page_151">151</a></td></tr>
-
-<tr><td class="smcap" valign="top"><a href="#HEREFORD">Hereford</a></td><td class="rt" valign="bottom"><a href="#page_174">174</a></td></tr>
-
-<tr><td class="smcap" valign="top"><a href="#WORCESTER">Worcester</a></td><td class="rt" valign="bottom"><a href="#page_188">188</a></td></tr>
-
-<tr><td class="smcap" valign="top"><a href="#LICHFIELD">Lichfield</a></td><td class="rt" valign="bottom"><a href="#page_200">200</a></td></tr>
-
-<tr><td class="smcap" valign="top"><a href="#CHESTER">Chester</a></td><td class="rt" valign="bottom"><a href="#page_215">215</a></td></tr>
-
-<tr><td class="smcap" valign="top"><a href="#MANCHESTER">Manchester</a></td><td class="rt" valign="bottom"><a href="#page_222">222</a></td></tr>
-
-<tr><td class="smcap" valign="top"><a href="#CARLISLE">Carlisle</a></td><td class="rt" valign="bottom"><a href="#page_227">227</a></td></tr>
-
-<tr><td class="smcap" valign="top"><a href="#DURHAM">Durham</a></td><td class="rt" valign="bottom"><a href="#page_233">233</a></td></tr>
-
-<tr><td class="smcap" valign="top"><a href="#RIPON">Ripon</a></td><td class="rt" valign="bottom"><a href="#page_249">249</a></td></tr>
-
-<tr><td class="smcap" valign="top"><a href="#YORK_MINSTER">York Minster</a></td><td class="rt" valign="bottom"><a href="#page_260">260</a></td></tr>
-
-<tr><td class="smcap" valign="top"><a href="#LINCOLN">Lincoln</a></td><td class="rt" valign="bottom"><a href="#page_284">284</a></td></tr>
-
-<tr><td class="smcap" valign="top"><a href="#SOUTHWELL">Southwell</a></td><td class="rt" valign="bottom"><a href="#page_313">313</a></td></tr>
-
-<tr><td class="smcap" valign="top"><a href="#PETERBOROUGH">Peterborough</a></td><td class="rt" valign="bottom"><a href="#page_319">319</a></td></tr>
-
-<tr><td class="smcap" valign="top"><a href="#ELY">Ely</a></td><td class="rt" valign="bottom"><a href="#page_334">334</a></td></tr>
-
-<tr><td class="smcap" valign="top"><a href="#NORWICH">Norwich</a></td><td class="rt" valign="bottom"><a href="#page_349">349</a></td></tr>
-
-<tr><td class="smcap" valign="top"><a href="#ST_ALBANS">St. Albans</a></td><td class="rt" valign="bottom"><a href="#page_360">360</a></td></tr>
-
-<tr><td class="smcap" valign="top"><a href="#OXFORD">Oxford</a></td><td class="rt" valign="bottom"><a href="#page_375">375</a></td></tr>
-
-<tr><td class="smcap" valign="top"><a href="#ST_PAULS_LONDON">St. Paul’s, London</a></td><td class="rt" valign="bottom"><a href="#page_393">393</a></td></tr>
-
-<tr><td class="smcap" valign="top"><a href="#ST_SAVIOURS_SOUTHWARK">St. Saviour’s, Southwark</a></td><td class="rt" valign="bottom"><a href="#page_415">415</a></td></tr>
-
-<tr><td class="smcap" valign="top"><a href="#WESTMINSTER_ABBEY">Westminster Abbey</a></td><td class="rt" valign="bottom"><a href="#page_425">425</a></td></tr>
-
-<tr><td class="smcap" valign="top"><a href="#INDEX">Index</a>:
-<a href="#A">A</a>,
-<a href="#B">B</a>,
-<a href="#C">C</a>,
-<a href="#D">D</a>,
-<a href="#E">E</a>,
-<a href="#F">F</a>,
-<a href="#G">G</a>,
-<a href="#H">H</a>,
-<a href="#I">I</a>,
-<a href="#J">J</a>,
-<a href="#K">K</a>,
-<a href="#L">L</a>,
-<a href="#M">M</a>,
-<a href="#N">N</a>,
-<a href="#O">O</a>,
-<a href="#P">P</a>,
-<a href="#Q">Q</a>,
-<a href="#R">R</a>,
-<a href="#S">S</a>,
-<a href="#T">T</a>,
-<a href="#V">V</a>,
-<a href="#W">W</a>,
-<a href="#Y">Y</a>,
-<a href="#Z">Z</a></td><td class="rt" valign="bottom"><a href="#page_445">445</a></td></tr>
-</table>
-
-<p><span class="pagenum"><a name="page_xxxvii" id="page_xxxvii">{xxxvii}</a></span>&nbsp; </p>
-
-<h2><a name="ILLUSTRATIONS" id="ILLUSTRATIONS"></a>ILLUSTRATIONS</h2>
-
-<table border="0" cellpadding="3" cellspacing="0" summary="">
-
-<tr><td valign="top"><a href="#fig_001">Salisbury: Cloisters</a></td><td class="rt" valign="bottom"><a href="#fig_001"><i>Frontispiece</i></a></td></tr>
-
-<tr><td>&nbsp;</td><td class="rt"><small>FACING PAGE</small></td></tr>
-
-<tr><td valign="top"><a href="#fig_002">Canterbury: South Porch</a></td><td class="rt" valign="bottom"><a href="#page_12">12</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_003">Canterbury: Nave, east</a></td><td class="rt" valign="bottom"><a href="#page_13">13</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_004">Canterbury: Choir, east</a></td><td class="rt" valign="bottom"><a href="#page_24">24</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_005">Rochester: West front</a></td><td class="rt" valign="bottom"><a href="#page_25">25</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_006">Rochester: Nave, east</a></td><td class="rt" valign="bottom"><a href="#page_40">40</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_007">Rochester: Choir, west</a></td><td class="rt" valign="bottom"><a href="#page_41">41</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_008">Winchester: Nave, west</a></td><td class="rt" valign="bottom"><a href="#page_52">52</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_009">Winchester: Font</a></td><td class="rt" valign="bottom"><a href="#page_53">53</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_010">Winchester: Choir, east</a></td><td class="rt" valign="bottom"><a href="#page_64">64</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_011">Winchester: West front</a></td><td class="rt" valign="bottom"><a href="#page_65">65</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_012">Chichester</a></td><td class="rt" valign="bottom"><a href="#page_72">72</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_013">Chichester: Nave, east</a></td><td class="rt" valign="bottom"><a href="#page_73">73</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_014">Chichester: Screen</a></td><td class="rt" valign="bottom"><a href="#page_76">76</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_015">Salisbury: North</a></td><td class="rt" valign="bottom"><a href="#page_77">77</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_016">Salisbury: Nave, east</a></td><td class="rt" valign="bottom"><a href="#page_88">88</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_017">Exeter: South-west</a></td><td class="rt" valign="bottom"><a href="#page_89">89</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_018">Exeter: Nave, east</a></td><td class="rt" valign="bottom"><a href="#page_98">98</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_019">Exeter: Choir, east</a></td><td class="rt" valign="bottom"><a href="#page_99">99</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_020">Wells: West front</a></td><td class="rt" valign="bottom"><a href="#page_114">114</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_021">Wells: North Porch</a></td><td class="rt" valign="bottom"><a href="#page_115">115</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_022">Wells: Nave, east</a></td><td class="rt" valign="bottom"><a href="#page_128">128</a></td></tr>
-
-<tr><td valign="top"><span class="pagenum"><a name="page_xxxviii" id="page_xxxviii">{xxxviii}</a></span>
-
-<a href="#fig_023">Wells: South-west</a></td><td class="rt" valign="bottom"><a href="#page_129">129</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_024">Bath Abbey: West front</a></td><td class="rt" valign="bottom"><a href="#page_136">136</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_025">Bath Abbey: Choir, west</a></td><td class="rt" valign="bottom"><a href="#page_137">137</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_026">Bristol: North</a></td><td class="rt" valign="bottom"><a href="#page_144">144</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_027">Bristol: Nave, east</a></td><td class="rt" valign="bottom"><a href="#page_145">145</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_028">Gloucester: East</a></td><td class="rt" valign="bottom"><a href="#page_154">154</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_029">Gloucester: Tomb of Edward II</a></td><td class="rt" valign="bottom"><a href="#page_155">155</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_030">Gloucester: Choir, east</a></td><td class="rt" valign="bottom"><a href="#page_164">164</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_031">Gloucester: Cloisters</a></td><td class="rt" valign="bottom"><a href="#page_165">165</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_032">Hereford: Nave, east</a></td><td class="rt" valign="bottom"><a href="#page_176">176</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_033">Hereford: North-east</a></td><td class="rt" valign="bottom"><a href="#page_177">177</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_034">Hereford: Choir</a></td><td class="rt" valign="bottom"><a href="#page_186">186</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_035">Worcester: South-west</a></td><td class="rt" valign="bottom"><a href="#page_187">187</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_036">Worcester: Nave, east</a></td><td class="rt" valign="bottom"><a href="#page_192">192</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_037">Worcester: Choir, east</a></td><td class="rt" valign="bottom"><a href="#page_193">193</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_038">Lichfield: West front</a></td><td class="rt" valign="bottom"><a href="#page_200">200</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_039">Lichfield: Nave, east</a></td><td class="rt" valign="bottom"><a href="#page_201">201</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_040">Lichfield: from East window</a></td><td class="rt" valign="bottom"><a href="#page_212">212</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_041">Chester: North</a></td><td class="rt" valign="bottom"><a href="#page_213">213</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_042">Chester: Choir, west</a></td><td class="rt" valign="bottom"><a href="#page_218">218</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_043">Chester: Choir-stalls</a></td><td class="rt" valign="bottom"><a href="#page_219">219</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_044">Manchester: South</a></td><td class="rt" valign="bottom"><a href="#page_224">224</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_045">Manchester: Nave, east</a></td><td class="rt" valign="bottom"><a href="#page_225">225</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_046">Carlisle: South-west</a></td><td class="rt" valign="bottom"><a href="#page_228">228</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_047">Carlisle: Choir</a></td><td class="rt" valign="bottom"><a href="#page_229">229</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_048">Carlisle: East End</a></td><td class="rt" valign="bottom"><a href="#page_232">232</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_049">Durham: West front</a></td><td class="rt" valign="bottom"><a href="#page_233">233</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_050">Durham: Nave, east</a></td><td class="rt" valign="bottom"><a href="#page_240">240</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_051">Durham: Galilee Chapel</a></td><td class="rt" valign="bottom"><a href="#page_241">241</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_052">Durham: Neville Screen</a></td><td class="rt" valign="bottom"><a href="#page_248">248</a></td></tr>
-
-<tr><td valign="top"><span class="pagenum"><a name="page_xxxix" id="page_xxxix">{xxxix}</a></span>
-<a href="#fig_053">Ripon: South</a></td><td class="rt" valign="bottom"><a href="#page_249">249</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_054">Ripon: Nave, east</a></td><td class="rt" valign="bottom"><a href="#page_254">254</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_055">Ripon: Choir, east</a></td><td class="rt" valign="bottom"><a href="#page_255">255</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_056">York Minster: West front</a></td><td class="rt" valign="bottom"><a href="#page_268">268</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_057">York Minster: South</a></td><td class="rt" valign="bottom"><a href="#page_269">269</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_058">York Minster: Choir, east</a></td><td class="rt" valign="bottom"><a href="#page_278">278</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_059">York Minster: Choir, west</a></td><td class="rt" valign="bottom"><a href="#page_279">279</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_060">Lincoln: West front</a></td><td class="rt" valign="bottom"><a href="#page_288">288</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_061">Lincoln: Great West Door</a></td><td class="rt" valign="bottom"><a href="#page_289">289</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_062">Lincoln: Angel Choir</a></td><td class="rt" valign="bottom"><a href="#page_298">298</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_063">Lincoln: Choir, east</a></td><td class="rt" valign="bottom"><a href="#page_299">299</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_064">Lincoln: East Window</a></td><td class="rt" valign="bottom"><a href="#page_306">306</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_065">Southwell: North-west</a></td><td class="rt" valign="bottom"><a href="#page_307">307</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_066">Southwell: Chapter-House</a></td><td class="rt" valign="bottom"><a href="#page_316">316</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_067">Peterborough: West front</a></td><td class="rt" valign="bottom"><a href="#page_317">317</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_068">Peterborough: Choir, east</a></td><td class="rt" valign="bottom"><a href="#page_328">328</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_069">Peterborough: South</a></td><td class="rt" valign="bottom"><a href="#page_329">329</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_070">Ely: West Towers</a></td><td class="rt" valign="bottom"><a href="#page_336">336</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_071">Ely: Choir, east</a></td><td class="rt" valign="bottom"><a href="#page_337">337</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_072">Ely: East End and Lady-Chapel</a></td><td class="rt" valign="bottom"><a href="#page_346">346</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_073">Ely: Lady-Chapel</a></td><td class="rt" valign="bottom"><a href="#page_347">347</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_074">Norwich: East</a></td><td class="rt" valign="bottom"><a href="#page_356">356</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_075">Norwich: Choir</a></td><td class="rt" valign="bottom"><a href="#page_357">357</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_076">St. Albans: North</a></td><td class="rt" valign="bottom"><a href="#page_366">366</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_077">St. Albans: Nave, east</a></td><td class="rt" valign="bottom"><a href="#page_367">367</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_078">Oxford: Tower and Entrance</a></td><td class="rt" valign="bottom"><a href="#page_382">382</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_079">Oxford: Choir, east</a></td><td class="rt" valign="bottom"><a href="#page_383">383</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_080">Oxford: Latin Chapel</a></td><td class="rt" valign="bottom"><a href="#page_392">392</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_081">St. Paul’s: West front</a></td><td class="rt" valign="bottom"><a href="#page_393">393</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_082">St. Paul’s: Choir, east</a></td><td class="rt" valign="bottom"><a href="#page_414">414</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_083">St. Saviour’s, Southwark</a></td><td class="rt" valign="bottom"><a href="#page_415">415</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_084">St. Saviour’s, Southwark: Nave, east</a></td><td class="rt" valign="bottom"><a href="#page_424">424</a></td></tr>
-
-<tr><td valign="top"><span class="pagenum"><a name="page_xl" id="page_xl">{xl}</a></span>
-<a href="#fig_085">Westminster Abbey: West front</a></td><td class="rt" valign="bottom"><a href="#page_425">425</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_086">Westminster Abbey: Poets’ Corner</a></td><td class="rt" valign="bottom"><a href="#page_432">432</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_087">Westminster Abbey: Choir, east</a></td><td class="rt" valign="bottom"><a href="#page_433">433</a></td></tr>
-
-<tr><td valign="top">
-<a href="#fig_088">Westminster Abbey: Chapel and Shrine of Edward the Confessor</a></td><td class="rt" valign="bottom"><a href="#page_436">436</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_089">Westminster Abbey: Henry VII.’s Chapel</a></td><td class="rt" valign="bottom"><a href="#page_437">437</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_090">Westminster Abbey: Cloisters</a></td><td class="rt" valign="bottom"><a href="#page_440">440</a></td></tr>
-
-<tr><td valign="top"><a href="#fig_091">Westminster Abbey: South-west</a></td><td class="rt" valign="bottom"><a href="#page_441">441</a></td></tr>
-</table>
-
-<p><span class="pagenum"><a name="page_1" id="page_1">{1}</a></span>&nbsp; </p>
-
-<h2><a name="CANTERBURY" id="CANTERBURY"></a>CANTERBURY</h2>
-
-<div class="blockquotcent"><p><span class="smcap">Dedication: Christ Church. Formerly the Church of a Benedictine
-Monastery.</span></p>
-
-<p><span class="smcap">Special features: Becket’s Crown; Door of Chapter-House; West
-Doorway; Crypt.</span></p></div>
-
-<p class="nind"><span class="smcap">Canterbury Cathedral</span> presents a beautiful effect when seen from a
-distance, keeping watch over the city that lies in the valley of the
-Stour, girdled by hills. On one of these hills stands the village of
-Harbledown, the “Bob Up and Down,” where Chaucer’s Pilgrims halted, and
-from which a charming view of the ancient Cathedral is to be enjoyed.</p>
-
-<p>Another fine prospect is gained from St. Martin’s:</p>
-
-<div class="blockquot"><p>“Let any one sit on the hill of the little church of St. Martin,
-and look on the view which is there spread before his eyes.
-Immediately below are the towers of the great Abbey of St.
-Augustine, where Christian learning and civilisation first struck
-root in the Anglo-Saxon race; and within which now, after a lapse
-of many centuries, a new institution has arisen, intended to carry
-far and wide to countries of which Gregory and Augustine never
-heard, the blessings which they gave to us. Carry your view
-on,&mdash;and there rises high above all the magnificent pile of our
-Cathedral equal in splendour and state to any, the noblest temple
-or church, that Augustine could have seen in ancient Rome, rising
-on the very ground which derives its consecration from him. And
-still more than the grandeur of the outward buildings that rose
-from the little church of St. Augustine, and the little palace of
-Ethelbert, have been the institutions of all kinds, of which these
-are the earliest cradle. From Canterbury, the first English
-Christian city&mdash;from Kent, the first English Christian
-kingdom&mdash;has, by degrees, arisen the whole constitution of Church
-and State<span class="pagenum"><a name="page_2" id="page_2">{2}</a></span> in England, which now binds together the whole British
-Empire.”&mdash;(A. P. S.)</p></div>
-
-<p>This great Cathedral stands on the site of the primitive Roman, or
-British, Church, attributed to King Lucius and granted by Ethelbert,
-King of Kent, to St. Augustine (who had converted him in 597). It is,
-therefore, the earliest monument of the English union of Church and
-State, and the cradle of English Christianity. Pope Gregory had intended
-to fix the Primacy in London and York alternately; but the sentiment of
-St. Augustine’s landing in Kent prevailed; and, therefore, the
-Archbishop of Canterbury, the See of which was founded in 597, is still
-Primate of England. He crowns the King and ranks next to royalty.</p>
-
-<p>The first Cathedral was injured by the Danes in 1011 and it was burned
-down during the Norman Conquest in 1067. Lanfranc, the first Archbishop
-after the Conquest (1070-1089), reconstructed both church and monastery
-from their foundations. Anselm (1093-1109), took down the eastern part
-of the church and reërected it with far greater magnificence. Ernulf,
-Prior of the monastery, was responsible for the architecture; but the
-chancel being finished by his successor, Prior Conrad, and beautifully
-decorated, became known as the “glorious Choir of Conrad.” Canterbury
-Cathedral was dedicated by Archbishop William in 1130. Henry I., King of
-England, David, King of Scotland, and all the Bishops of England were
-present at what Gervase calls “the most famous dedication that had ever
-been heard of on the earth since that of the temple of Solomon.” In
-1170, Thomas à Becket was murdered here, having fled for protection to<span class="pagenum"><a name="page_3" id="page_3">{3}</a></span>
-the church after a violent scene in his chamber with Henry’s knights.
-Becket was buried at the east end of the Crypt and remained there
-forty-six years.</p>
-
-<div class="blockquot"><p>“Most men were persuaded that a new burst of miraculous powers,
-such as had been suspended for many generations, had broken out at
-the tomb; and the contemporary monk, Benedict, fills a volume with
-extraordinary cures, wrought within a very few years after the
-‘Martyrdom.’ Far and wide the fame of ‘St. Thomas of Canterbury’
-spread. The very name of Christ Church, or of the Holy Trinity, by
-which the Cathedral was properly designated, was in popular usage
-merged in that of The Church of St. Thomas. For the few years
-immediately succeeding his death there was no regular shrine. The
-popular enthusiasm still clung to the two spots immediately
-connected with the murder. The Transept in which he died, within
-five years from that time acquired the name by which it has ever
-since been known, ‘The Martyrdom.’ The flagstone on which his skull
-was fractured and the solid corner of the masonry in front of which
-he fell, are probably the only parts which remain unchanged. But
-against that corner may still be seen the marks of the space
-occupied by a wooden altar, which continued in its original
-simplicity through all the subsequent magnificence of the church
-till the time of the Reformation. It was probably the identical
-memorial erected in the first haste of enthusiasm after the
-reopening of the Cathedral for worship in 1172. It was called the
-Altar of the Martyrdom or more commonly the Altar of the Sword’s
-Point (<i>Altare ad Punctum Ensis</i>) from the circumstance that in a
-wooden shed placed upon it was preserved the fragment of Le Bret’s
-sword, which had been left on the pavement after accomplishing its
-bloody work. Under a piece of rock crystal surmounting the chest,
-was kept a portion of the brains. To this altar a regular keeper
-was appointed from among the monks, under the name of ‘<i>Custos
-Martyrii</i>.’ In the first frenzy of desire for relics of St. Thomas,
-even this guarantee was inadequate.</p>
-
-<p>“Next to the actual scene of the murder, the object which this
-event invested with especial sanctity was the tomb<span class="pagenum"><a name="page_4" id="page_4">{4}</a></span> in which his
-remains were deposited in the Crypt behind the Altar of the Virgin.
-It was to this spot that the first great rush of pilgrims was made
-when the church was reopened in 1172, and it was here that Henry
-performed his penance. Hither on the 21st of August, 1179, came the
-first King of France who ever set foot on the shores of England,
-Louis VII., warned by St. Thomas in dreams, and, afterwards, as he
-believed, receiving his son back from a dangerous illness through
-the Saint’s intercession. He knelt by the tomb and offered upon it
-the celebrated jewel,<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a> as also his own rich cup of gold.”&mdash;(A. P.
-S.)</p></div>
-
-<p>In 1174 a fire destroyed “Conrad’s Glorious Choir.” Rebuilding was
-immediately begun under a French architect, William of Sens, who fell
-from a scaffolding and had to relinquish the work to another William,
-who completed the Choir and eastern buildings in 1184.</p>
-
-<p>Everything was now in readiness for the removal of the Martyr’s remains.
-Stephen Langton gave two years’ notice of the intended “Translation”;
-and a marvellous assemblage gathered from all parts of Europe on July 7,
-1220. The Archbishop opened the tomb the night before the coffin was
-carried to the Shrine above in Trinity Chapel, and the “Vigil of the
-Translation,” July 6, was kept in the English church until 1537. The
-great procession to the Shrine was led by Henry III., then aged
-thirteen. Pilgrims came to the new Shrine, as they had done to the one
-below, in thousands. Seven great “jubilees” were held before 1530.<span class="pagenum"><a name="page_5" id="page_5">{5}</a></span></p>
-
-<div class="blockquot"><p>“The outer aspect of the Cathedral can be imagined without much
-difficulty. A wide cemetery, which, with its numerous gravestones,
-such as that on the south side of Petersborough Cathedral, occupied
-the vacant space still called the Churchyard, divided from the
-garden beyond by the old Norman arch since removed to a more
-convenient spot. In the cemetery were interred such pilgrims as
-died during their stay in Canterbury. The external aspect of the
-Cathedral itself, with the exception of the numerous statues which
-then filled its now vacant niches, must have been much what it is
-now. Not so its interior. Bright colours on the roof, on the
-windows, on the monuments; hangings suspended from the rods which
-may still be seen running from pillar to pillar; chapels and
-altars, and chantries intercepting the view, where now all is
-clear, must have rendered it so different, that at first we should
-hardly recognise it to be the same building.”&mdash;(A. P. S.)</p></div>
-
-<p>At the church door the company of pilgrims arranged themselves “every
-one after his degree,” and a monk sprinkled their heads with holy water
-with the “Sprengel.” The great tide of pilgrims then passed through the
-Cathedral. Sometimes they paid their devotions to the Shrine first, and
-sometimes they visited the lesser objects first and the Shrine last. In
-this case, they entered the Transept of the Martyrdom, through the dark
-passage under the steps leading to the Choir. Before the wooden altar
-and in the soft radiance of the glorious representation of the Martyr in
-the transept window (of which there remains only the central band with
-the donors, Edward IV., his Queen, with their daughters and the two sons
-who perished in the Tower), while the priest showed them the relics of
-which he had charge, including the rusty fragment of Le Bret’s sword,
-which all kissed in turn. Proceeding down the steps on the<span class="pagenum"><a name="page_6" id="page_6">{6}</a></span> way to the
-Crypt, new guardians exhibited in the dim light of a row of lamps
-suspended from rings in the roof, the actual relics of St. Thomas,&mdash;part
-of his skull cased in silver, which all kissed devoutly, and his shirt
-and drawers of haircloth.</p>
-
-<p>Mounting the steps of the Choir, the pilgrims were then shown the great
-array of about four hundred relics preserved in ivory, gilt or silver
-coffers, including the arm of St. George. And now, passing behind the
-altar and up the steps, which many ascended on their knees, chanting the
-hymn to St. Thomas, they entered Trinity Chapel. They were first led
-beyond the Shrine to the easternmost apse to see a golden head of the
-Saint studded with gems, in which the scalp or crown of the Saint was
-preserved.</p>
-
-<div class="blockquot"><p>“The Shrine occupied the central part of the upper platform, and
-the extent of the railed space round it may be readily perceived by
-examining the floor on which the depression made by the feet of the
-pilgrims is plainly visible. The pavement inside this limit is
-composed of the original steps and platform of the Shrine, and
-consists in part of rich African marbles, as do also two whole
-pillars to north and south, and two half pillars to the east. These
-are said to have been the gift of a Pope to the Shrine, and,
-indeed, to have once formed part of a Roman Temple. The Shrine
-itself was simply the coffin of the Saint, richly adorned and cased
-with gold and precious stones. It rested on a structure of stone
-arches some five or six feet high, and was, as a rule, concealed
-under a wooden cover, working on pulleys, like many covers of fonts
-in our churches now. When raised the cover would reveal to the
-venerating gaze of the pilgrims, plates of precious metal studded
-with jewels of fabulous value, the most remarkable of which would
-be pointed out by the attendant with a white wand. When the Shrine
-was destroyed, by order of Henry VIII., these treasures filled two
-great chests ‘such as six or seven strong men could<span class="pagenum"><a name="page_7" id="page_7">{7}</a></span> no more than
-convey one of them out of the church.’ West of the Shrine stood an
-altar, and west of the altar a gate in the railings, in fact just
-between the altar and the beautiful fragment of Italian marble
-pavement.”&mdash;(F. and R.)</p></div>
-
-<p>We can imagine the long line of kneeling pilgrims and those who were
-allowed behind the iron gates rubbing themselves against the marble, so
-that the wonder-working body within could effect a cure in anticipation
-of the moment when the wooden canopy would be lifted.</p>
-
-<div class="blockquot"><p>“At a given signal this canopy was drawn up by ropes, and the
-Shrine then appeared blazing with gold and jewels; the wooden sides
-were plated with gold and damasked with gold wire; cramped together
-on this gold ground were innumerable jewels, pearls, sapphires,
-blassas, diamonds, rubies and emeralds, and ‘in the midst of the
-gold’ rings or cameos of sculptured agates, cornelians and onyx
-stones.</p>
-
-<p>“As soon as this magnificent sight was disclosed, every one dropped
-on his knees, and probably the tinkling of the silver bells
-attached to the canopy would indicate the moment to all the
-hundreds of pilgrims in whatever part of the Cathedral they might
-be. The body of the Saint in the inner iron chest was not to be
-seen except by mounting a ladder, which would be but rarely
-allowed. But whilst the votaries knelt around, the Prior, or some
-other great officer of the monastery, came forward, and with a
-white wand touched the several jewels, naming the giver of each,
-and for the benefit of foreigners, adding the French name of each,
-with a description of its value and marvellous qualities. A
-complete list of them has been preserved to us, curious, but devoid
-of general interest. There was one, however, which far outshone the
-rest, and indeed was supposed to be the finest in Europe. It was
-the great carbuncle, ruby, or diamond, said to be as large as a
-hen’s egg or a thumb-nail, and commonly called ‘The Regale of
-France.’ The attention of the spectators was riveted by the figure
-of an angel pointing to it. It had been given to the original tomb
-in the<span class="pagenum"><a name="page_8" id="page_8">{8}</a></span> Crypt by Louis VII. of France, when here on his
-pilgrimage.<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a></p>
-
-<p>“The lid once more descended on the golden ark; the pilgrims</p>
-
-<div class="poetry">
-<div class="poem"><div class="stanza">
-<span class="i8">‘telling heartily their beads<br /></span>
-<span class="i0">Prayed to St. Thomas in such wise as they could,’<br /></span>
-</div></div>
-</div>
-
-<p class="nind">and then withdrew, down the opposite flight of steps from which
-they had ascended.”&mdash;(A. P. S.)</p></div>
-
-<p>Next the pilgrims received the small leaden bottles, or <i>ampulles</i>,
-filled with water mixed with the Martyr’s blood; and in the numerous
-booths and stalls that lined Mercery Lane, the narrow street running
-from the Cathedral to the Chequers Inn, bought other memorials of the
-Pilgrimage, particularly the leaden brooches representing the mitred
-head of the saint with the legend, <i>Caput Thomæ</i>.</p>
-
-<p>From the middle of the Fourteenth to the end of the Fifteenth Century a
-wonder-working well was shown to pilgrims in the Precincts.</p>
-
-<p>Among the great visitors to the shrine of the “holy blissful Martyr”
-were all the English kings from Henry II. to Henry VIII.; Edward I.
-(1299), who presented the golden crown of Scotland, the crown given by
-Edward to John Balliol and carried off by him, but recaptured at Dover;
-Richard and John of England; Louis VII. of France; Isabella, wife of
-Edward II.; John, the captive king of France; Henry V. on his return
-from Agincourt; Emmanuel, Emperor of the East in 1400, and Sigismund,
-Emperor of the West in 1417; and great lords and ladies from England,
-France and Scotland. The barons of the Cinque Ports, after every
-coronation, presented the canopies of<span class="pagenum"><a name="page_9" id="page_9">{9}</a></span> silk and gold which they held and
-still hold over the head of the king.</p>
-
-<p>In 1538 Henry VIII. issued a writ of summons against Thomas à Becket
-accusing him of treason, contumacy and rebellion and had the document
-read before the Martyr’s tomb. The suit was tried in Westminster, and
-the long defunct Archbishop condemned. His bones were ordered to be
-burnt and all his offerings handed over to the Crown. Becket’s body,
-however, escaped burning and was re-buried. The Shrine was destroyed and
-all the offerings of jewels and gold carried off. They filled twenty-six
-carts. Becket was deprived of the name of Saint and his images destroyed
-throughout the country.</p>
-
-<p>Returning now to the architectural history of the Cathedral, Prior
-Chillenden (1378-1410) took down Lanfranc’s Nave and Transepts. About
-1473 Prior Goldstone II. added the splendid Angel Tower that rises from
-the centre of the roof, and upon which the figure of a golden angel
-welcomed the pilgrims to Canterbury.</p>
-
-<p>In 1642, the Puritans battered the windows, hacked and hewed the altars
-and monuments and committed ravages of all kinds under a ringleader,
-Richard Culmer, known as “Blue Dick.”</p>
-
-<p>After the Restoration, £10,000 was devoted to repairs. At a later period
-the Choir-stalls, said to be carved by Grinling Gibbons, were replaced.</p>
-
-<p>In 1834, the northwest (Arundel) tower had to be pulled down. It was
-rebuilt on a different plan.</p>
-
-<p>Nothing of importance happened until 1872, when a fire broke out on the
-roof of Trinity Chapel at half-past ten in the morning. Little damage
-was done, however; but the Black Princ<span class="pagenum"><a name="page_10" id="page_10">{10}</a></span>e’s Tomb was in danger and the
-relics above it were temporarily removed.</p>
-
-<p>Canterbury was four centuries in building. It, therefore, exhibits
-specimens of nearly all the classes of Pointed Architecture. It is
-chiefly, however, Transitional Norman and Perpendicular.</p>
-
-<div class="blockquot"><p>“The existing cathedral, although of such various dates, covers, as
-nearly as can be ascertained, the same ground as the original
-building of Lanfranc, with the exception of the Nave, which is of
-greater length westward, and of the Retro-Choir, or extreme eastern
-portion, which is also longer.”&mdash;(R. J. K.)</p></div>
-
-<p>Passing the traditional site of the Chequers Inn, where Chaucer’s
-Pilgrims were housed, we walk up Mercery Lane to <b>Christ Church Gate</b>,
-built by Prior Goldstone in 1517. It is a fine example of late
-Perpendicular and once contained a figure of Christ in the central
-niche.</p>
-
-<p>This gate leads into the <b>Precincts</b> of the Cathedral. The close is
-surrounded by the gardens of the Canons’ houses. We now look upon the
-beautiful south side of the Cathedral.</p>
-
-<div class="blockquot"><p>“In the immediate Precincts, a delightful picture is presented from
-the Green Court, which was once the main outer court of the
-monastery. Here are noble trees and beautifully kept turf, at once
-in perfect harmony and agreeable contrast with the rugged walls of
-the weather-beaten Cathedral: the quiet, soft colouring of the
-ancient buildings and that look of cloistered seclusion only to be
-found in the peaceful nooks of cathedral cities are seen here at
-their very best.</p>
-
-<p>“The chief glory of the exterior of Canterbury Cathedral is the
-central Angel, or Bell, Tower. This is one of the most perfect
-structures that Gothic architecture inspired by the loftiest
-purpose that ever stimulated the work of any art, has produced. It
-was completed by<span class="pagenum"><a name="page_11" id="page_11">{11}</a></span> Prior Selling, who held office in 1472, and has
-been variously called the Bell Harry Tower from the mighty Dunstan
-bell, weighing three tons and three hundredweight, and the Angel
-Tower from the gilded figure of an angel poised on one of the
-pinnacles, which has long ago disappeared. The tower itself is of
-two stages, with two-light windows in each stage; the windows are
-transomed in each face, and the lower tier is canopied; each angle
-is rounded off with an octagonal turret; and the whole structure is
-a marvellous example of architectural harmony and in every way a
-work of transcendent beauty.”&mdash;(H. W.)</p></div>
-
-<p>The <b>South-west</b>, or <b>Chichele, Tower</b>, (formerly St. Dunstan’s Tower) was
-completed by Prior Goldstone (1449-1468). It is now the Bell Tower. The
-<b>Northern</b>, or Arundel, steeple was rebuilt by Austen in 1840 in place of
-the old Norman Tower, which had become dangerous.</p>
-
-<div class="blockquot"><p>“The western towers are built each of six stages: each of the two
-upper tiers contains two two-light windows, while below there is a
-large four-light window uniform with the windows of the aisles. The
-base tier is ornamented with rich panelling. The parapet is
-battlemented and the angles are finished with fine double
-pinnacles. At the west end there is a large window of seven-light
-transoms. The gable contains a window of very curious shape, filled
-with intricate tracery. The space above the aisle windows is
-ornamented with quatrefoiled squares, and the clerestory is pierced
-by windows of three lights.”&mdash;(H. W.)</p></div>
-
-<p>Above the aisle windows are quatrefoiled squares. The clerestory, Choir
-and Becket’s Crown contain lancet windows. In the main transept there is
-a fine Perpendicular window of eight lights.</p>
-
-<p>The South side of the Cathedral is the one most generally admired.<span class="pagenum"><a name="page_12" id="page_12">{12}</a></span></p>
-
-<div class="blockquot"><p>“On the south side is seen the porch; the nave (a beautiful
-design); and the charming pinnacle of the south-west transept. East
-of the Warrior’s Chapel is the projecting end of Stephen Langton’s
-tomb. East of this, the two lower rows of windows are those of
-Conrad’s Choir; the upper row that of William of Sens. The middle
-windows in the south-east transept were the clerestory windows of
-Conrad; the windows above them are those of William of Sens. The
-three upper stages of the tower on the south of this transept are
-late Norman work; one of the prettiest bits in Canterbury. Farther
-east we have French design, pure and simple; here, for the first
-time in English architecture, the flying-buttresses are openly
-displayed; notice how flat and plain they are; it had not yet
-occurred to architects to make them decorative. The grand sweep of
-apse and ambulatory seems to send one straight back to France. Then
-comes the broken rocky outline of the <i>corona</i>&mdash;the great puzzle of
-Canterbury. North-east of the <i>corona</i> are two groups of ruined
-Norman pillars and arches discoloured by fire; once they were
-continuous, forming one very long building, the Monk’s Infirmary,
-of which the west end was originally an open dormitory, open to the
-roof, and the east end, separated off by a screen, the Chapel;
-which has a late Geometrical window. On the north side of Trinity
-Chapel is seen the Chantry of Henry IV.; then St. Andrew’s Tower
-and the barred Treasury; the lower part of the latter is late
-Norman work, largely rebuilt.”&mdash;(F. B.)</p></div>
-
-<p>The <b>Porch</b> on the south side of Chichele Tower is the work of Prior
-Chillenden. It has a central niche on which the <i>Martyrdom of Becket</i>
-was represented on a panel of the Fifteenth Century. The niches are
-filled with statues. Through it we now pass into the Cathedral.</p>
-
-<p>The <b>Nave</b> (Perpendicular) resembles the bolder nave of Winchester, built
-at the same period. The most striking feature is the manner in which the
-Choir is raised above the level of the floor, owing to the fact that it
-stands over the crypt. The</p>
-
-<div class="figcenter">
-<a name="fig_002" id="fig_002"></a>
-<a href="images/fp12.jpg">
-<img src="images/fp12.jpg" width="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Canterbury: South Porch</span></p></div>
-</div>
-
-<div class="figcenter"><br />
-<a name="fig_003" id="fig_003"></a>
-<a href="images/fp13.jpg">
-<img src="images/fp13.jpg" width="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Canterbury: Nave, east</span></p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_13" id="page_13">{13}</a></span></p>
-
-<p class="nind">flight of steps placed between the Nave and the Choir adds to the
-effect.</p>
-
-<div class="blockquot"><p>“The nave, of eight bays, has no triforium. Each bay consists of a
-huge arch resting on filleted pillars, and is subdivided into the
-pier-arch, with the clerestory and panelling reaching to the
-string-course above. It is paved with Portland stone. The vaulting
-and vaulting-shafts are the prominent features of the nave, and the
-pier-arches are quite subordinate; these shafts are banded, as at
-Bath, like Early English. The main transept has no aisles.”&mdash;(W. J.
-L.)</p></div>
-
-<p>Of the Nave windows none remain entire. The great <b>West Window</b> is made up
-of fragments from the others. It contains the arms of Richard II.
-impaling the Confessor’s; and those of Anne of Bohemia (north); and
-Isabella of France (south).</p>
-
-<p>The beautifully carved <b>Screen</b> of solid stone, separating the Nave from
-the Choir, was placed there in the Fifteenth Century. Of the six crowned
-figures in the lower niches, the one holding the church is supposed to
-be Ethelbert; and the one on the extreme right, Richard II. The figures
-of Christ and the Twelve Apostles, which filled the thirteen mitred
-niches around the arch, were destroyed by “Blue Dick” and his
-companions. A staircase leads to the top of the Screen.</p>
-
-<p>Another Screen partly fills the space between the two western piers of
-the central, or Angel, Tower.</p>
-
-<div class="blockquot"><p>“The piers which support the central tower are probably the
-original piers of Lanfranc’s erection, cased with Perpendicular
-work by Prior Chillenden at the same time with the building of the
-nave. To this Prior Goldstone II. (1495-1517) added the vaulting of
-the tower, and all the portion above the roof, together with the
-remarkable buttressing-arches supporting the piers below, which had
-perhaps shown some signs of weakness. These<span class="pagenum"><a name="page_14" id="page_14">{14}</a></span> arches have on them
-the Prior’s rebus, a shield with three golden bars, or stones. The
-central arch occupies the place of the ancient roodloft, and
-probably the great rood was placed on it until the
-Reformation.”&mdash;(R. J. K.)</p></div>
-
-<p>The <b>Choir</b> of five bays shows the earliest instance of the Pointed Arch
-in England and groining on a large scale. The clerestory of the Choir is
-filled with windows representing the genealogy of the Saviour. The
-carvings on the stalls are said to be by Grinling Gibbons.</p>
-
-<p>In 1096, Prior Ernulf began a longer and wider Choir than originally
-existed; and this was dedicated in 1114, before he left Canterbury to
-become Bishop of Rochester. Prior Conrad, his successor, finished the
-decoration of it and “the glorious Choir of Conrad,” as it was somewhat
-unjustly called, was consecrated in 1130. In 1174 it was destroyed by
-fire to the great distress of everybody. All that remains is a portion
-of the pavement consisting of large slabs of “stone or veined marble of
-a delicate brown colour,” between the two Transepts.</p>
-
-<div class="blockquot"><p>“About four years after the murder on the 5th of September, 1174, a
-fire broke out in the Cathedral which reduced the Choir&mdash;hitherto
-its chief architectural glory&mdash;to ashes. The grief of the people is
-described in terms which show how closely the expression of
-Mediæval feeling resembled what can now only be seen in Italy or
-the East&mdash;‘They tore their hair; they beat the walls and pavements
-of the church with their shoulders and the palms of their hands;
-they uttered tremendous curses against God and his saints&mdash;even to
-the patron saint of the church; they wished they had rather have
-died than seen such a day.’ How far more like the description of a
-Neapolitan mob in disappointment at the slow liquefaction of the
-blood of St. Januarius than of the citizens of a quiet cathedral
-town in the county of Kent! The<span class="pagenum"><a name="page_15" id="page_15">{15}</a></span> monks, though appalled by the
-calamity for a time, soon recovered themselves; workmen and
-architects, French and English, were procured; and among the
-former, William, from the city of Sens, so familiar to all
-Canterbury at that period as the scene of Becket’s exile. No
-observant traveller can have seen the two Cathedrals without
-remarking how closely the details of William’s workmanship at
-Canterbury were suggested by his recollections of his own church at
-Sens, built a short time before. The forms of the pillars, the
-vaulting of the roof, even the very bars and patterns of the
-windows are almost identical.... The French architect unfortunately
-met with an accident which disabled him from continuing his
-operations. After a vain struggle to superintend the works by being
-carried round the church in a litter, he was compelled to surrender
-the task to a namesake, an Englishman, and it is to him that we owe
-the design of that part of the Cathedral which was destined to
-receive the sacred Shrine.”&mdash;(A. P. S.)</p></div>
-
-<div class="blockquot"><p>“On entering the choir, the visitor is immediately struck by the
-singular bend with which the walls approach each other at the
-eastern end. By this remarkable feature, together with the great
-length of the Choir (180 feet; it is the longest in England) and
-the lowness of the vaulting; the antique character of the
-architecture enforced by the strongly contrasted Purbeck and Caen
-stone, and the consequent fine effects of light and shadow. The
-style is throughout Transition, having Norman and Early English
-characteristics, curiously intermixed. The pillars with their
-pier-arches, the clerestory wall above and the great vault up to
-the Transepts, were entirely finished by William of Sens. The whole
-work differed greatly from that of the former choir. The richly
-foliated and varied capitals of the pillars, the great vault with
-its ribs of stone, and the numerous slender shafts of marble in the
-triforia, were all novelties exciting the great admiration of the
-monks.”&mdash;(R. J. K.)</p></div>
-
-<p>William of Sens, however, retained the second or Eastern Transepts,
-which had existed in the former church.<span class="pagenum"><a name="page_16" id="page_16">{16}</a></span></p>
-
-<p>Before the Reformation the Choir contained the high altar and the
-altar-shrines of St. Alphege and St. Dunstan. No trace of the former
-remains; but on the south wall of the Choir, between the monuments of
-Archbishops Stratford and Sudbury, there is some diaper-work of open
-lilies that adorned St. Dunstan’s altar.</p>
-
-<p>The <b>High Altar</b> is on a higher level than the floor of the choir. It is
-approached by two flights of steps (one on either side) in the
-Presbytery, about 25 feet higher than the floor of the Nave. The Altar
-was placed over the new Crypt, which is a good deal higher than the
-older, or western, Crypt. The <b>Reredos</b>, erected in 1870, was designed in
-the style of the screen-work in the Lady-Chapel in the Crypt. The
-crimson velvet altar-coverings, now in use, were presented by Queen
-Mary, wife of William III., and the gold chalice by the Earl of Arundell
-in 1636. The <b>Archbishop’s Throne</b>, a gift of Archbishop Howley (£1200),
-was carved by Flemish workmen from designs by Austen. The stone-pulpit,
-by Butterfield, was erected in 1846. The eagle used as a Litany desk is
-dated 1663.</p>
-
-<p>The organ, built by Samuel Green, is believed to be the one used at the
-Händel Festival in Westminster Abbey in 1784. It was remodelled in 1886.
-Among the tombs and monuments of Archbishops and Cardinals are: Cardinal
-Bourchier, who crowned Edward IV., Richard III. and Henry VII.;
-Archbishop Howley, who crowned Queen Victoria; Stratford, Grand
-Judiciary to Edward III.; Simon of Sudbury, whose head was cut off
-during Wat Tyler’s rebellion; and Cardinal Kemp, who was present at
-Agincourt.<span class="pagenum"><a name="page_17" id="page_17">{17}</a></span></p>
-
-<p>In the north aisle, in a coloured and gilt altar-tomb, lies Archbishop
-Chichele (died 1443), according to Shakespeare, the instigator of the
-war with France (see <i>Henry V.</i>, Act I., Sc. I.). Here also lies Orlando
-Gibbons, Charles I.’s organist.</p>
-
-<p>Of the six splendid <b>windows</b> in the north aisle of the Choir described by
-the old authorities, only two remain.</p>
-
-<div class="blockquot"><p>“They should not be overlooked by the visitor, as they are full of
-curious symbolism. The birth of Christ and His early life are
-depicted in the central panels and the types from the Old Testament
-with them. Observe the Magi all asleep in one bed; Shem, Ham and
-Japhet, dividing the earth, which one of them holds in his hands,
-like a gorgeously painted map; and in the sixth panel of the first
-window a very curious scene, in which we see depicted a bronze idol
-or statue, similar, no doubt, to some the artist had seen as of
-Roman work. Whoever he was who designed the work, he knew what was
-classical art. The exaggerated muscular development which came in
-again under Michael Angelo and his contemporaries in Italy, is seen
-here quite plainly.”&mdash;(W. J. L.)</p></div>
-
-<p>The same fire that destroyed the Choir also damaged the Transepts. The
-windows and arcades in them are more completely reconstructed than those
-in the side aisles. One feature here is the double range of triforia, or
-open galleries. The lower triforium belongs to Ernulf’s time: the
-windows in the upper one were his clerestory.</p>
-
-<p>The pilgrims were usually conducted into the <b>North Transept</b>, or <b>Transept
-of the Martyrdom</b> through the dark passage under the choir steps. In the
-west wall here, a door opened into the cloister, through which Becket
-passed to his tragic death.<span class="pagenum"><a name="page_18" id="page_18">{18}</a></span></p>
-
-<p>Directly opposite, on the other side of the Choir, the <b>Warriors’ Chapel</b>
-is situated.</p>
-
-<p>The apse, approached by a broad flight of steps, is entirely occupied by
-the <b>Chapel of the Holy Trinity</b>, which contained the <b>Martyr’s Shrine</b>. The
-work here shows the influence of the French. From the <b>Transept of the
-Martyrdom</b> the pilgrims were conducted through the North Aisle of the
-Choir on their way to the great Shrine; and, at the end of the aisle,
-close to the steps ascending to the <b>Retro-Choir</b>, we find the door of <b>St.
-Andrew’s Tower</b>. This is part of Lanfranc’s building and now used as a
-vestry; but it was once the sacristy, where the rich offerings and
-precious relics connected with Becket were exhibited to privileged
-pilgrims.</p>
-
-<p>The <b>Retro-Choir</b> is reached by steep flights of steps necessitated by the
-height of the Crypt below. Up these steps the pilgrims climbed on their
-knees, chanting the hymn to St. Thomas:</p>
-
-<div class="poetry">
-<div class="poem"><div class="stanza">
-<span class="i0">“Tu per Thomæ sanguinem<br /></span>
-<span class="i1">Quem pro te impendit,<br /></span>
-<span class="i1">Fac nos Christo scandere<br /></span>
-<span class="i1">Quo Thomas ascendit.”<br /></span>
-</div></div>
-</div>
-
-<p>All this part of the Cathedral is the work of English William, which is
-lighter, in general character, than that of William of Sens.</p>
-
-<p>The <b>Chapel of the Holy Trinity</b> (or that of <b>St. Thomas</b>) occupies the
-central portion of the Retro-Choir between the piers formed by double
-columns. In the old Chapel of the Trinity (destroyed by fire at the same
-time as Conrad’s Choir) Becket celebrated his first Mass as Archbishop<span class="pagenum"><a name="page_19" id="page_19">{19}</a></span>.
-His body lay in the Crypt immediately below this spot.</p>
-
-<div class="blockquot"><p>“In earlier times the easternmost chapel had contained an altar of
-the Holy Trinity, where Becket had been accustomed to say mass.
-Partly for the sake of preserving the two old Norman towers of St.
-Anselm and St. Andrew, which stood on the north and south side of
-this part of the church&mdash;but chiefly for the sake of fitly uniting
-to the church this eastern chapel on an enlarged scale, the pillars
-of the choir were contracted with that singular curve which
-attracts the eye of every spectator, as Gervase foretold that it
-would, when, in order to explain this peculiarity, he stated the
-two aforesaid reasons. The eastern end of the Cathedral, thus
-enlarged, formed, as at Ely, a more spacious receptacle for the
-honoured remains; the new Trinity Chapel, reaching considerably
-beyond the extreme limit of its predecessor, and opening beyond
-into a yet further chapel, popularly called Becket’s Crown. The
-windows were duly filled with the richest painted glass of the
-period, and amongst those on the northern side may still be traced
-elaborate representations of the miracles wrought at the
-subterranean tomb, or by visions and intercessions of the mighty
-Saint. High in the tower of St. Anselm, on the south side of the
-destined site of so great a treasure, was prepared&mdash;a usual
-accompaniment of costly shrines&mdash;the Watching Chamber. It is a rude
-apartment with a fireplace where the watcher could warm himself
-during the long winter nights, and a narrow gallery between the
-pillars, whence he could overlook the whole platform of the shrine,
-and at once detect any sacrilegious robber who was attracted by the
-immense treasures there collected. On the occasion of fires the
-Shrine was additionally guarded by a troop of fierce ban-dogs.</p>
-
-<p>“When the Cathedral was thus duly prepared, the time came for what,
-in the language of those days, was termed the ‘Translation’ of the
-relics.”&mdash;(A. P. S.)</p></div>
-
-<p>Becket’s body was removed here on July 7, 1220 (<a href="#page_4">See page 4</a>), and
-remained the only occupant of this chapel for more than a hundred
-years.<span class="pagenum"><a name="page_20" id="page_20">{20}</a></span></p>
-
-<p>It only proves in what deep affection the English nation held the Black
-Prince to have placed his remains by the side of Becket. His body lay in
-state in Westminster from June 8, 1376, to September 29; and on the
-Feast of Michaelmas it was taken to Canterbury, which he had selected
-for his resting-place. The procession from London to Canterbury was
-magnificent; and the idol of the nation was laid not in the Crypt, as he
-had expected, but in Trinity Chapel.</p>
-
-<div class="blockquot"><p>“In this sacred spot&mdash;believed at that time to be the most sacred
-spot in England&mdash;the tomb stood in which ‘alone in his glory,’ the
-Prince was to be deposited, to be seen and admired by all the
-countless pilgrims who crawled up the stone steps beneath it on
-their way to the shrine of the saint.</p>
-
-<p>“Let us turn to that tomb, and see how it sums up his whole life.
-Its bright colours have long since faded, but enough still remains
-to show us what it was as it stood after the sacred remains of him
-had been placed within it. There he lies; no other memorial of him
-exists in the world so authentic. There he lies, as he had
-directed, in full armour, his head resting on his helmet, his feet
-with the likeness of ‘the spurs he won’ at Cressy, his hands joined
-as in that last prayer which he had offered up on his deathbed.
-There you can see his fine face with the Plantagenet features, the
-flat cheeks and the well-chiselled nose, to be traced perhaps in
-the effigy of his father in Westminster Abbey, and his grandfather
-in Gloucester Cathedral. On his armour you can still see the marks
-of the bright gilding with which the figure was covered from head
-to foot, so as to make it look like an image of pure gold. High
-above are suspended the brazen gauntlets, the helmet, with what was
-once its gilded leopard-crest, and the wooden shield, the velvet
-coat also, embroidered with the arms of France and England, now
-tattered and colourless, but then blazing with blue and scarlet.
-There, too, still hangs the empty scabbard of the sword, wielded
-perhaps at his three great battles, and<span class="pagenum"><a name="page_21" id="page_21">{21}</a></span> which Oliver Cromwell, it
-is said, carried away. On the canopy, over the tomb, there is the
-faded representation&mdash;painted after the strange fashion of those
-times&mdash;of the Persons of the Holy Trinity, according to the
-peculiar devotion which he had entertained. In the pillars you can
-see the hooks to which was fastened the black tapestry, with its
-crimson border and curious embroidery, which he directed in his
-will should be hung round his tomb and the shrine of Becket. Round
-about the tomb, too, you will see the ostrich feathers, which,
-according to the old, but doubtful tradition, we are told he won at
-Cressy from the blind King of Bohemia, who perished in the thick of
-the fight; and interwoven with them the famous motto, with which he
-used to sign his name, ‘Houmout,’ ‘Ich diene.’ If, as seems most
-likely, they are German words, they exactly express what we have
-seen so often in his life, the union of <i>Hoch muth</i> that is <i>high
-spirit</i>, with <i>Ich dien</i>, <i>I serve</i>. They bring before us the very
-scene itself after the battle of Poitiers, where, after having
-vanquished the whole French nation, he stood behind the captive
-king, and served him like an attendant.</p>
-
-<p>“And, lastly, carved about the tomb, is the long inscription,
-selected by himself before his death, in Norman French, and still
-the language of the court, written, as he begged, clearly and
-plainly, that all might read it. Its purport is to contrast his
-former splendour and vigour and beauty with the wasted body which
-is now all that is left.”&mdash;(A. P. S.)</p></div>
-
-<p>The Black Prince’s effigy of brass was once entirely gilt. Round the
-tomb are escutcheons of arms, and on the canopy there is a
-representation of the Holy Trinity with emblems of the Evangelists at
-the corners.</p>
-
-<p>At the foot of the Black Prince’s Tomb is the monument of <b>Archbishop
-Courtenay</b> (1381-1396), the great opponent of the Wycliffites; and
-directly opposite is the <b>Tomb of Henry IV.</b> and his Queen, <b>Joan of
-Navarre</b>, whose effigies lie under a most elaborate and beautiful
-canopy.<span class="pagenum"><a name="page_22" id="page_22">{22}</a></span></p>
-
-<div class="blockquot"><p>“In spite of some damage they remain the most interesting
-representations, not only of the costume of the time, but also, we
-cannot doubt, of the actual features of the persons. When the tomb
-was opened some time ago the features of the king were seen for a
-moment and corresponded closely with the representation on the
-tomb. The figures at the foot of the Queen, known in heraldry as
-genets, and to the ordinary person perhaps as weasels, appear also
-in the canopy combined with eagles and the motto ‘Soverayne and
-Atemperance.’ The defaced painting on wood at the foot of the tomb
-represented the Martyrdom of St. Thomas.”&mdash;(F. and R.)</p></div>
-
-<p>Adjoining this tomb is the <b>Chapel of Henry IV.’s Chantry</b>, built, as
-directed in the will of King Henry, who died in 1413, “a chauntrie
-perpetual with twey prestis for to sing and pray for my soul.” It
-contains the first example in Canterbury of the “fan-vaulting,” so
-splendidly represented in the <b>Dean’s Chapel</b>.</p>
-
-<p>The windows here and in the Corona should be studied.</p>
-
-<div class="blockquot"><p>“They are of the Thirteenth Century, and among the finest of this
-date in Europe, excelling in many respects those of Bourges, Troyes
-and Chartres; ‘for excellence of drawing, harmony of colouring and
-purity of design they are justly considered unequalled. The skill
-with which the minute figures are represented, cannot even at this
-day be surpassed’ (Stanley). Remark especially the great value
-given to the brilliant colours by the profusion of white and
-neutral tints. The scrolls and borders surrounding the medallions
-are also of beauty.</p>
-
-<p>“The three windows remaining in the aisles surrounding the Trinity
-Chapel are entirely devoted, as were all the rest, to the miracles
-of Becket, which commenced immediately on the death of the great
-martyr. The miracles represented in the medallions are of various
-characters. The Lucerna Angliæ, a true St. Thomas of Kandelberg, as
-the Germans called him, restores sight to the blind. Loss of smell
-is recovered at the shrine of this <i>Arbor Aro<span class="pagenum"><a name="page_23" id="page_23">{23}</a></span>matica</i>. Frequently
-he assists sailors, the rude crews of the Cinque Ports in his own
-immediate neighbourhood. At the Norway fishing his figure came
-gliding over the seas in the dusk, and descended, burning like
-fire, to the imperilled ships of the Crusaders. In the window
-toward the east, on the north of the Shrine, is represented a
-remarkable series of miracles, occurring in the household of a
-knight named Jordan, son of Eisulf, whose son is restored to life
-by the water from St. Thomas’s well, which, mixed with his blood,
-was always carried off by the pilgrims. The father vows an offering
-to the martyr before Mid-Lent. This is neglected; the whole
-household again suffer, and the son dies once more. The knight and
-his wife, both sick, drag themselves to Canterbury, perform their
-vow and the son is finally restored. On a medallion in one of the
-windows on the north side is a representation of Becket’s Shrine,
-with the martyr issuing from it in full pontificals to say Mass at
-the altar.”&mdash;(R. J. K.)</p></div>
-
-<p>At the extreme east end, just behind Trinity Chapel, is the circular
-apse called <b>Becket’s Crown</b>, or the <b>Corona</b>. On the north side lies
-Cardinal Pole, Bloody Mary’s cousin, who died the day after she did.</p>
-
-<div class="blockquot"><p>“The great lightness and beauty of the Corona, the extreme east end
-of the Cathedral, are remarkable. It is English William’s work.
-When Archbishop Anselm was at Rome in the early part of his
-episcopate and attending a council in the Lateran, a question arose
-as to his proper place, since no Archbishop of Canterbury had as
-yet been present at a Roman council. Pope Pascal II. decided it by
-assigning to the ‘<i>alterius orbis papa</i>,’ a seat in the ‘corona,’
-the most honourable position. It is possible that this fact may
-have led the architects, on the rebuilding of the choir, to make
-the addition of an eastern apse, or corona, which did not exist in
-the earlier church. In it were the shrines of Archbishop Odo and
-Wilfrid of York, and a golden reliquary in the form of a head,
-containing some relic of Becket, perhaps the severed scalp. By a
-confusion of its proper name with this relic the eastern apse came
-to be generally known as Becket’s Crown. On<span class="pagenum"><a name="page_24" id="page_24">{24}</a></span> the north side is the
-tomb of Cardinal Pole, Queen Mary’s Archbishop (1556-1558) and the
-last Archbishop buried at Canterbury. His royal blood gave him a
-title to so distinguished a place of sepulture.”&mdash;(R. J. K.)</p></div>
-
-<p>From here one gains the best view of the Cathedral as a whole.
-Canterbury is one of the longest of cathedrals (514 feet).</p>
-
-<p>The central window (Thirteenth Century) in <b>Becket’s Crown</b> is very
-ornate.</p>
-
-<div class="blockquot"><p>“It is very complete and an admirable example of the intricate
-symbolism of the time. The subjects are arranged in three
-quatrefoils and two lozenges: the Crucifixion occupying a square
-panel at the foot, surrounded by representations of the spies
-carrying the great bunch of grapes; of Moses striking the rock; of
-the sacrifice of a lamb in the Temple, and of Abraham offering up
-Isaac on Mount Moriah. Next above is a lozenge-shaped panel,
-painted with the Entombment, adjoining which we have Joseph’s
-brethren putting him in the pit; Samson shorn in his sleep by
-Delilah; Daniel in a walled city, labelled Babilonia, and Jonah let
-down into the jaws of the whale by two men in a ship. Above these
-scenes is a quatrefoil, in the centre of which we see the
-Resurrection, surrounded by representations of Moses and the
-burning bush; Noah in the Ark; Rahab letting the spies down by the
-wall, and Jonah landing near Nineveh from the mouth of a great
-whale. Then another lozenge represents the Ascension and the scenes
-surrounding it are the Ark of the Mercy-Seat; Elijah ascending in a
-chariot of fire; the burial of Moses, and Hezekiah sick, while an
-angel gives him the sign of the shadow on the dial of Ahaz. The
-last of the series is at the top. In a square panel we see the
-great event of the Day of Pentecost. Above it Christ sits enthroned
-in glory. Moses receiving the Two Tables of the Law is below. On
-one side is the first ordination of deacons, and on the other the
-descent of the Holy Spirit on the disciples. The whole style of
-this window is later than that of the Becket series.”&mdash;(W. J. L.)</p></div>
-
-<div class="figcenter"><br />
-<a name="fig_004" id="fig_004"></a>
-<a href="images/fp24.jpg">
-<img src="images/fp24.jpg" width="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Canterbury: Choir, east</span></p></div>
-</div>
-
-<div class="figcenter"><br />
-<a name="fig_005" id="fig_005"></a>
-<a href="images/fp25.jpg">
-<img src="images/fp25.jpg" width="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Rochester: West front</span></p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_25" id="page_25">{25}</a></span></p>
-
-<p>Passing west, down the steps worn by the pious pilgrims we reach <b>St.
-Anselm’s Tower</b> and <b>Chapel</b>. Anselm’s Tower (like St. Andrew’s opposite)
-is Prior Ernulf’s work. The elaborate south window (1336) is Decorated
-of five lights.</p>
-
-<p>St. Anselm’s Tower is entered through splendid gates of ancient wrought
-iron.</p>
-
-<p>At the east end behind the Altar of SS. Peter and Paul, the great Anselm
-(1093-1109) was buried. Over the chapel is a small room with a window
-looking into the Cathedral. This was the <b>Watching Chamber</b>, in which, as
-we have seen, a monk was stationed at night to keep watch over the
-Shrine of St. Thomas. There is a tradition that King John of France was
-imprisoned here.</p>
-
-<p>We now reach the <b>South-east Transept</b>, the work of both William of Sens
-and English William on Ernulf’s walls.</p>
-
-<p>At the corner of the <b>South-west choir-aisle</b> architects love to notice
-the round arch and double zigzag of the Norman style fitted into the
-Pointed Arch and dogtooth of the restoration of 1180. Under the windows
-are the tomb of <b>Archbishop Reynolds</b> and the monument to <b>Hubert Walter</b>,
-the latter the warrior-prelate and Crusader who kept the Realm for
-Richard Cœur de Lion and raised the ransom for his release.</p>
-
-<p>The steps leading down into the great <b>South Transept</b> are similar to
-those of the opposite Transept of the Martyrdom.</p>
-
-<p>Opening east from this Transept is <b>St. Michael’s</b>, or <b>The Warriors’
-Chapel</b>, so named because of the martial monuments and tombs contained in
-it.<span class="pagenum"><a name="page_26" id="page_26">{26}</a></span></p>
-
-<p>The famous East Kent Regiment “The Buffs” place their memorials here.
-This Chapel is particularly notable for containing the tomb of <b>Stephen
-Langton</b>, the author of the Magna Charta, which is of earlier date than
-the chapel. A very beautiful alabaster monument of <b>Lady Margaret Holland</b>
-with her two husbands, John Beaufort, son of John of Gaunt, and the Duke
-of Clarence, son of Henry IV., beautifully represents the armour and
-dress of the Fifteenth Century.</p>
-
-<p>The Warriors’ Chapel is Perpendicular (about 1370), with a complex
-lierne vault. The architect is unknown.</p>
-
-<p>Directly opposite, on the other side of the Choir, is the <b>Transept of
-the Martyrdom</b>. Here was erected a wooden altar to the Virgin, where a
-portion of the Martyr’s brains were exhibited under a piece of
-rock-crystal and fragments of Le Bret’s sword.</p>
-
-<p>Before this altar Edward I. was married to Queen Margaret in 1299. A
-rude representation of the altar may be seen over the south-west door of
-the Cathedral.</p>
-
-<p>Returning to the <b>North-west Transept</b>, we visit the scene of the
-Martyrdom which took place near St. Benedict’s apsidal chapel (now
-occupied by the Dean’s Chapel) Dec. 29, 1170, during vespers. The west
-door from the cloisters by which Becket entered and the pavement by the
-wall, where he fell, remain. He was mounting the stairs to the north
-aisle (now removed) when the knights attacked him.</p>
-
-<p>We have already noticed the great <b>Window</b> here, which was the gift, in
-1465, of Edward IV. and his Queen, whose<span class="pagenum"><a name="page_27" id="page_27">{27}</a></span></p>
-<div class="blockquot"><p>“figures still remain in it, together with those of his daughters
-and of the two Princes murdered in the Tower. The ‘remarkably soft
-and silvery appearance’ of this window has been noticed by Mr.
-Winston. In its original state the Virgin was pictured in it ‘in
-seven several glorious appearances’ and in the centre was Becket
-himself at full length, robed and mitred. This part was demolished
-in 1642 by Richard Culmer, called Blue Dick, the great iconoclast
-of Canterbury, who ‘rattled down proud Becket’s glassie bones’ with
-a pike, and who, when thus engaged, narrowly escaped martyrdom
-himself at the hands of a malignant fellow-townsman.”&mdash;(R. J. K.)</p></div>
-
-<p>In this transept stands the monument of <b>Archbishop Peckham</b> (1279-1292)
-with his effigy in Irish oak. This is the earliest complete monument in
-the Cathedral.</p>
-
-<p>We now pass into the <b>Dean’s Chapel</b>, occupying the site of St. Benedict’s
-Chapel. It was formerly the Lady-Chapel, built by Prior Goldstone in
-1460 and dedicated to the Virgin. The beautiful fan-vault is similar to
-that in Henry VII.’s Chapel in Westminster Abbey and to the roof of the
-staircase leading to the dining-hall of Christ Church College, Oxford.
-The Dean’s Chapel received its present name from the number of tombs and
-monuments to deans here, one of the most curious of which is that of
-<b>Dean Boys</b>, who died in 1625. He is represented as he was found dead in
-his Library, and the arrangement of the books with the edges turned
-outward from the shelves strikes every one as singular.</p>
-
-<p><b>Archbishop Warham</b>, the last Archbishop before the Reformation, also lies
-here, his heavy tomb in great contrast to that of Archbishop Peckham,
-already mentioned, near it,&mdash;good examples of the styles between 1292
-and 1533.<span class="pagenum"><a name="page_28" id="page_28">{28}</a></span></p>
-
-<p>The <b>East Window</b> is also notable.</p>
-
-<div class="blockquot"><p>“The figures of Dean Neville and his brother, against the eastern
-wall, were transferred to this place on the destruction of the
-chapel which formerly projected from the south side of the nave,
-and of which the marks in the wall are clearly visible. In the east
-window some points may be noted. We see the Neville arms, and a red
-shield with white saltire, and also the elaborate Bouchier arms,
-the most distinguishable features of which are the water ‘budgets,’
-two curious red skins joined together at the top, sometimes given
-as an honourable blazon to those who supplied an army with water.
-We also see the Bouchier knot alternating in most of the panes with
-the oak leaf and acorn. This is the mark of Woodstock.”&mdash;(F. and
-R.)</p></div>
-
-<p>A door here leads into the Great Cloister.</p>
-
-<p>Opposite to St. Anselm’s, <b>St. Andrew’s Chapel</b>, now used as the Choir
-Vestry, contains interesting remains of coloured decorations. In olden
-days St. Andrew’s was a sacristy, where, as we have seen, were kept the
-very precious offerings to the Shrine. On the inner side is a building
-of late Norman work&mdash;this was originally the Treasury.</p>
-
-<p>The <b>North-east Transept</b> is a repetition of the South-east Transept. It,
-however, contains a monument to Archbishop Tait, designed by Boehm; and
-in the north wall are three slits called hagiscopes. Through these “holy
-spy holes,” the Prior could see Mass being celebrated at the High Altar
-and in the altars in the Chapels of St. Martin and St. Stephen in the
-Transept below.</p>
-
-<p>Before descending into the Crypt we must stop to look at <b>St. Augustine’s
-Chair</b>, by tradition the throne on which the kings of Kent were crowned
-and given by Ethelbert to St. Augustine. All the Archbishops of
-Canterbury have taken office in it.<span class="pagenum"><a name="page_29" id="page_29">{29}</a></span></p>
-
-<div class="blockquot"><p>“This chair, which is sometimes called the chair of St. Augustine,
-but which belongs to the Thirteenth Century, is composed of Purbeck
-marble. In it each successive archbishop for the last six hundred
-years has sat when he has been admitted to his metropolitan
-functions.”&mdash;(W. H. F.)</p></div>
-
-<p>The famous <b>Crypt</b> is usually entered from the South Transept. It is the
-oldest part of the Church, having been built between 1093 and 1107 in
-the reigns of William II. and Henry I. It is heavy, massive, dark and
-low, like all Norman work. The capitals of the pillars are quaintly and
-sometimes harmoniously carved; one under St. Anselm’s Chapel, for
-instance, represents a concert of beasts playing on musical instruments.
-The whole crypt was dedicated to the Blessed Virgin and in the centre
-stood her altar and chapel. “The Virgin Mother,” Erasmus wrote, “has
-there an habitation, but somewhat dark, enclosed with a double iron
-rail, for fear of thieves; for indeed I never saw anything more loaded
-with riches. Lights being brought we saw a more than royal spectacle.
-This chapel is not shown but to noblemen and particular friends.”</p>
-
-<p>The beautiful <b>Screen</b>, which resembles the screen behind the High Altar
-of the choir, is thought to have been added with other decorations of
-the Crypt at the time of the Black Prince’s marriage to the Fair Maid of
-Kent (1363), when he founded two chantries in the Crypt. These now form
-the entrance to the <b>French Church</b>, where the descendants of the Huguenot
-and Walloon refugees still hold service in the ritual of their
-ancestors.</p>
-
-<p>Queen Elizabeth gave up the whole of the Crypt in 1561 to the Flemish
-and French refugees<span class="pagenum"><a name="page_30" id="page_30">{30}</a></span> “whom the rod of Alva bruised.” The silk-weavers
-set up their looms here.</p>
-
-<p>Before the magnificent shrine of the Virgin lies Henry VII.’s minister,
-<b>Cardinal Morton</b>, whose tomb is enriched with the crown and roses of York
-and Lancaster, the Cardinal’s hat, the Tudor portcullis and a passing
-allusion to his name&mdash;Mort (hawk) and Ton or Tun (a barrel). He assisted
-in building Bell Harry (or the Angel) Tower.</p>
-
-<p>Another famous tomb in the Crypt is that of <b>Isabel, Countess of Atholl</b>,
-granddaughter of King John and sister-in-law of John Balliol, King of
-Scotland. She owned the castle of Chilham near Canterbury and died in
-1292. Her tomb stands at the entrance to the <b>Chapel of St. Gabriel</b>. The
-latter is extremely dark, but shows, when lighted up, some remarkable
-frescoes of the Twelfth Century, representing the <i>Nativity of Christ</i>
-and of <i>John the Baptist</i>.</p>
-
-<div class="blockquot"><p>“Further beyond the Duchess of Atholl’s tomb the crypt is much
-loftier and becomes almost a church in itself. This is the part
-beyond the apse of the original Cathedral, the place of Becket’s
-first burial, where Henry II. did penance, passing the night in
-fasting and in the morning baring his back and receiving three
-lashes from each of the monks. Here the miracles began to be
-wrought and the Tumba, even after its contents were removed, was
-still reckoned a holy place. The present lofty crypt was built over
-and round the Tumba after the great fire of 1174; and, some forty
-years after its completion and that of the Trinity Chapel above it,
-the remains of Becket were translated by Stephen Langton, with
-great pomp, to the shrine prepared for them in the sanctuary
-above.”&mdash;(W. H. F.)</p></div>
-
-<p>The Crypt is largely the work of Ernulf; and the diaper pattern and
-marble shaft by the door<span class="pagenum"><a name="page_31" id="page_31">{31}</a></span> that leads from the S. E. corner of the
-Martyrdom, occur again in Rochester, where Ernulf became bishop (See
-page 34). A statue of Ernulf, intended for the west front of the
-Cathedral, is now in his Crypt.</p>
-
-<p>The lower part of the Crypt ends towards the east in a semi-circular
-sweep of pillars. The end of the Crypt was built by Ernulf in 1096.</p>
-
-<p>The old Benedictine Convent of Christ’s Church that St. Augustine
-established grew to be of the utmost importance. Portions of the massive
-wall by which they were surrounded still remain. The monastic buildings
-were numerous and extensive. The Prior, who had the right of wearing the
-mitre and carrying the episcopal staff, lived in great dignity. In a set
-of state chambers, known as the Meist’ Omers and belonging to the Prior,
-pilgrims of high rank were lodged. Somewhere in the vicinity of the
-Infirmary and its chapel was the miraculous <b>Well of St. Thomas</b>, which
-appeared in the Fourteenth Century. A passage and the <b>Dark Entry</b>,
-haunted by the ghost of Nell Cook of the <i>Ingoldsby Legends</i>, takes us
-into the <b>Priors’</b>, or <b>Green Court</b>, planted with linden trees, or limes,
-as the English call them. Here we find remains of the great Dormitory,
-the Guest House, built by Prior Goldstone, the Norman Almonry Gate and
-the <b>Norman Staircase</b>, the only construction of its kind existing. The
-Hall above was built in 1855.</p>
-
-<p>The beautiful <b>Cloisters</b>, the work of Prior Chillenden (about 1400), are
-decorated on the roof with the arms of Kentish families. In the
-northwest corner is the doorway through which Becket passed to his
-doom.<span class="pagenum"><a name="page_32" id="page_32">{32}</a></span></p>
-
-<div class="blockquot"><p>“The cloister occupies the same space as the Norman cloister built
-by Lanfranc, but of the Norman work only a doorway remains at the
-north-east corner; there is some Early English arcading on the
-north side, but the present tracery and fan-worked roof belong to
-the end of the Fourteenth Century, when Archbishops Sudbury,
-Arundell and Courtenay, and Prior Chillenden (1390-1411) rebuilt
-the nave, the cloister and the chapter-house. The latter work cuts
-across the older in the most unceremonious way, as is seen
-especially in the square doorway by which we shall presently enter
-the Martyrdom, which cuts into a far more beautiful portal of the
-Decorated period. If we take our stand at the north-west corner of
-the cloister, from which a very fine view is gained of the
-Cathedral, especially about sunset, we may picture to ourselves the
-life of the monks. Above the north-eastern side of the cloister are
-the old Norman arches of their dormitory, now taken in to the new
-library; on the eastern side is the chapter-house, with its fine
-geometrical ceiling, where they transacted their business; on the
-south the great church, the services of which occupied so many
-hours of the day.”&mdash;(W. H. F.)</p></div><p><span class="pagenum"><a name="page_33" id="page_33">{33}</a></span></p>
-
-<h2><a name="ROCHESTER" id="ROCHESTER"></a>ROCHESTER</h2>
-
-<div class="blockquotcent"><p><span class="smcap">Dedication: St. Andrew. Formerly the Church of a Benedictine
-Monastery.</span></p>
-
-<p><span class="smcap">Special features: Door of Chapter-House; West doorway; Crypt.</span></p></div>
-
-<p class="nind"><span class="smcap">After</span> landing in 567, St. Augustine preached in Rochester, where
-Ethelbert soon founded the church of St. Andrew for secular canons. In
-604, a bishop was appointed,&mdash;St. Augustine’s companion, Justus. Justus
-became Archbishop of Canterbury in 624, and was succeeded in Rochester
-by Paulinus; and he, in his turn, by the first English bishop, St.
-Ythamar (644-655). Rochester’s three chief saints in early days were,
-therefore, Justus, Paulinus and Ythamar.</p>
-
-<p>Gundulf, a monk of Bec in Normandy, was appointed to Rochester in 1076.
-He immediately turned it into a Benedictine monastery and built a church
-for his monks. Gundulf was one of the greatest architects of his day: he
-also built the great Keep of Rochester Castle, portions of the Tower of
-London and the Castle of Dover. The Saxon Cathedral had suffered from
-the ravages of the Danes and upon the ruins, Gundulf, with assistance
-from Archbishop Lanfranc of Canterbury, completed a larger cathedral
-between 1080 and 1089. The plan was peculiar: it was neither English nor
-Norman.</p>
-
-<div class="blockquot"><p>“All this work of Gundulf’s is now gone except portions of the
-crypt, the keep and the nave. Of Gundulf’s nave there remain on the
-south side five arches, together<span class="pagenum"><a name="page_34" id="page_34">{34}</a></span> with the lower parts of the walls
-of both aisles. It is very doubtful whether he built any part of
-the triforium or clerestory. At present his work can only be seen
-in its original condition from the side of the aisles. The
-pierarches had originally two square orders, which remain unaltered
-on the side of the aisle (cf. Winchester transept). Gundulf’s
-masonry was in rough tufa.”&mdash;(F. B.)</p></div>
-
-<p>Gundulf placed the relics of St. Paulinus in a silver shrine at the
-eastern end of his new cathedral.</p>
-
-<p>Ernulf, Prior of Canterbury, began the second Norman church about 1120.
-This was continued by his successor, John of Canterbury.</p>
-
-<div class="blockquot"><p>“Subsequently the choir was re-arranged and the nave partly
-rebuilt, partly re-faced, added to, and finished with the west
-front, which, to a great extent, still remains. This later Norman
-work was carried out from east to west during the episcopate of
-Ernulf (1115-24) and John of Canterbury (1125-37). The upper part
-of the west front and some of the carving may not have been
-completed within even that period. What seems certain is, that we
-are indebted to later Norman builders for the re-casing of the
-piers of the nave arcade, the greater richness of their capitals,
-the outer decorated order of the arches, the triforium with its
-richly diapered tympana, and the west front. Assigning most of
-these works to the time of Bishop John, as seems best, we can point
-to others that testify to Ernulf’s architectural skill. He is
-recorded to have built the refectory, dormitory and chapter-house.
-Portions of these still remain, and one feature, in the
-ornamentation of the chapter-house, especially, marks it as his
-work. This is a peculiar lattice-like diaper, which occurs
-elsewhere at Rochester&mdash;in fragments that belonged probably to a
-beginning by him of the renovation of the choir&mdash;but has only been
-noticed at one other place: by the entrance to the crypt at
-Canterbury, where also it is due to him.”&mdash;(G. H. P.)</p></div>
-
-<p>The Cathedral was dedicated in 1130; but while King Henry I., the
-Archbishop of Canterbury and<span class="pagenum"><a name="page_35" id="page_35">{35}</a></span> many of the nobility were still in the
-city a fire broke out “without any regard to the majesty of the King,
-grandeur of the church or solemnity of the occasion,” as an old
-chronicle quaintly observes, and greatly damaged the new church.</p>
-
-<p>Two other fires occurred in the same century, and in 1179 the monks set
-to work to rebuild the whole cathedral.</p>
-
-<div class="blockquot"><p>“As usual they arranged their building operations so as to avoid
-interfering with the services in the choir as long as possible.
-First they rebuilt the north aisle of the choir, but not so high as
-it is at present. The aisle remained narrow because Gundulf’s tower
-was in the way. But the south aisle of the choir they doubled in
-width. Next they set to work at the east end, planning it, as at
-Hereford, as an eastern transept with an eastern aisle and
-projecting eastward an oblong sanctuary (cf. Southwell). The new
-transept was lofty and broad; and it is quite possible that it was
-built over the top of Gundulf’s east end without disturbing daily
-services within it. Then when all was finished Gundulf’s east end
-was pulled down. Unlike the Worcester monks they preserved the
-level of the Eleventh Century choir, and consequently had to
-continue Gundulf’s crypt eastward. In the new presbytery is seen
-the same curious mixture of quadripartite and sexpartite vaulting
-as in St. Hugh’s eastern transept at Lincoln. All this work was
-finished in 1227.”&mdash;(G. H. P.)</p></div>
-
-<p>The monks were enabled to undertake rebuilding on this large scale
-because in 1201 they acquired a new saint. A baker of Perth, named
-William, famed for his piety, started to the Holy Land. He got as far as
-the road to Canterbury, where his servant killed him for his money. The
-monks found the body and buried it in the choir of St. Andrew’s. St.
-William soon began to work miracles and attracted many of the pilgrims
-on their<span class="pagenum"><a name="page_36" id="page_36">{36}</a></span> way to the Shrine of St. Thomas at Canterbury. The choir,
-rebuilt by means of the offerings, was first used for service in 1227.</p>
-
-<div class="blockquot"><p>“The choir and transepts of Rochester Cathedral are a very
-beautiful and remarkable example of Early English. The architect
-was William de Hoo, first sacristan, then prior, and there is some
-reason to believe that he is the same person as William the young
-Englishman, who assisted William of Sens after his fall from the
-scaffold at Canterbury, and completed the work there. A young man
-at Canterbury in 1185, able to carry on and complete such a work,
-may very well have become the architect on his own account of the
-daughter church of Rochester in 1201-1227, and there is great
-resemblance in style between Rochester and the later work at
-Canterbury.”&mdash;(J. H. P.)</p></div>
-
-<p>About this time the monks resolved to have a central tower and to
-rebuild the nave. While all this work was going on, the church was
-desecrated by the troops of Simon de Montfort. A chronicler relates that</p>
-
-<div class="blockquot"><p>“They entered the church of St. Andrew on the day on which the Lord
-hung on the cross for sinners. Armed knights on their horses,
-coursing around the altars, dragged away with impious hands some
-who fled for refuge thither, the gold and silver and other precious
-things being with violence carried off thence. The buildings were
-turned into horses’ stables, and everywhere filled with the dung of
-animals and the defilement of dead bodies.”</p></div>
-
-<p>In 1343 the central tower was completed by Bishop Hamo de Hythe, who
-hung in its wooden spire four bells, named Dunstan, Paulinus, Ythamar
-and Lanfranc. Bishop Hamo is said to have reconstructed in alabaster and
-marble the shrines of Paulinus and Ythamar. To the middle of the
-Fourteenth Century belongs also the beautiful doorway leading into the
-Chapter-House and Library.<span class="pagenum"><a name="page_37" id="page_37">{37}</a></span></p>
-
-<p>In the Fifteenth Century, the clerestory and vaulting of the
-north-choir-aisle were finished and Perpendicular windows were placed in
-the nave aisles. The great west window was inserted about 1470, and the
-whole of the Norman clerestory was taken off and a new clerestory and a
-new wooden roof were put up. The northern pinnacle of the west gable was
-also rebuilt. About 1490, the Lady-Chapel was erected in the corner
-between the south transept and the nave.</p>
-
-<p>In 1540 the Cathedral surrendered to the King; and became known as the
-Cathedral Church of Christ and the Blessed Virgin Mary. In 1558 the body
-of Cardinal Pole rested here one night on its way to Canterbury. An
-eyewitness speaks of</p>
-
-<div class="blockquot"><p>“the funeral pompe which trulie was great and answerable both to
-his birth and calling, with store of burning torches and mourning
-weedes. At what time his coffin, being brought into the church, was
-covered with a cloth of black velvet, with a great cross of white
-satten over all the length and bredth of the same, in the midst of
-which cross his Cardinal’s hat was placed.”</p></div>
-
-<p>The church suffered from the Puritans in 1642.</p>
-
-<p>Samuel Pepys speaks of repairs in 1661. More were made in 1742-43. In
-1749, the steeple was rebuilt. A new organ was acquired in 1791; and at
-the close of the Eighteenth Century the upper part of Gundulf’s tower
-was taken down.</p>
-
-<p>Throughout the Nineteenth Century repairs and restorations were
-constantly made. The glass chiefly consists of memorials to heroes of
-the wars of the Nineteenth Century.</p>
-
-<p>The best approach is from the High Street through the <b>College Gate</b>,
-which marks the entrance to the Precincts, or Green Church Haw.<span class="pagenum"><a name="page_38" id="page_38">{38}</a></span> This is
-also known as Chertseys, or Cemetery Gate, which lovers of Dickens
-remember as Jasper’s Gateway; for Cloisterham of <i>Edwin Drood</i> is
-Rochester. The <b>Deanery Gate</b> dating from the reign of Edward III. was
-formerly the Sacristy Gate. The <b>Priors’ Gate</b> dates from the Fourteenth
-Century.</p>
-
-<p>The north side of the nave shows two-lighted Perpendicular windows with
-irregular quatrefoils in their heads; the north transept (Early English)
-a high gable with three circular windows and pinnacles. And on the north
-side of the choir <b>Gundulf’s Tower</b> to which there are two entrances,&mdash;one
-through an opening in the north wall, the other through a doorway in the
-south-west corner. In the angle between the south aisle and transept we
-note the Lady-Chapel (Perpendicular) with three-lighted windows three
-bays long from east to west and well-buttressed; the south side of the
-choir contains three lancet windows and a fine doorway that used to open
-into the cloisters. The south transept (Early Decorated) is well
-buttressed and its gable adorned with pinnacles and gargoyles. The
-lowest row of windows belongs to the crypt.</p>
-
-<p><b>The West Front</b> has been restored. The great central window, and the flat
-gable above, are Perpendicular (restored), but all the rest is either
-original Norman work, or as accurate a reproduction of this as possible.</p>
-
-<p>The great <b>West Doorway</b> (late Norman) dates from the first half of the
-Twelfth Century.</p>
-
-<div class="blockquot"><p>“It is formed by five receding arches and every stone of each of
-these is carved with varying ornamental designs. Between the second
-and third of them runs a line<span class="pagenum"><a name="page_39" id="page_39">{39}</a></span> of cable moulding, an ornament which
-occurs also inside the door. Each arch has its own shaft and the
-groups of five on each side are elaborately banded. The shafts have
-richly sculptured capitals, and in those on the south side, as well
-as in the tympanum, the signs of the Evangelists appear. The shafts
-second from the door on either side are carved with statues, two of
-the oldest in England. These are much mutilated, but they were
-thought worthy of great praise by Flaxman. That on the spectator’s
-left is said to represent King Henry I. and the other his wife, the
-‘good Queen Maud.’ This attribution is probably correct, as these
-sovereigns were both great benefactors to the Cathedral and were
-living when the front was being built. The figure of the Queen has
-suffered the more; it is recorded to have been especially ill-used
-by the Parliamentarians in the days of the great Civil War. The
-tympanum contains a figure of Our Lord, seated in Glory, within an
-aureole supported by two angels. His right hand is raised in
-benediction and his left hand holds a book. Outside the aureole are
-the symbols of the four Evangelists: the Angel of St. Matthew and
-the Eagle of St. John, one on each side above the Winged Lion of
-St. Mark and the Ox of St. Luke similarly placed below. A straight
-band of masonry crosses beneath the lunette, and has carved on it
-twelve figures, now much mutilated, but supposed to have
-represented the twelve Apostles. All the sculptured work of the
-portal has suffered greatly from age and exposure and from the hand
-of man. In the recent restoration the coping has been renewed, the
-shafts have been given separate bases once more and many of the
-most worn stones have been replaced by new ones carved in
-facsimile.”&mdash;(G. H. P.)</p></div>
-
-<p>This doorway resembles those on the Continent and shows the influence of
-the East. Freeman says: “The superb western portal at Rochester
-Cathedral is by far the finest example of this kind, if not the finest
-of all Norman doorways.”</p>
-
-<p>The Mayor and Corporation of Rochester still have the right of entry in
-their robes by this door,<span class="pagenum"><a name="page_40" id="page_40">{40}</a></span> through which we now pass. Immediately we
-descend four steps into the <b>Nave</b>:</p>
-
-<div class="blockquot"><p>“The nave, 150 feet long to the cross of the lantern, is Norman, as
-far as the last two bays eastward. If, as is most probable, it is a
-part of Gundulf’s work, it was, no doubt, a copy of the Norman nave
-at Canterbury; and we are thus enabled to judge fairly what the
-appearance of the metropolitan cathedral was in this part of it.
-Its architecture is plainer than that of the contemporary examples
-in France, though owing to its having been always destined for a
-wooden roof, the piers and the design generally are lighter than
-where preparation was made for a stone vault. The triforium is
-richly ornamented; and the arches open to the space above the
-side-aisles as well as to the nave, a peculiarity which both
-Rochester and Canterbury may have received from the church of St.
-Stephen’s at Caen, where the same arrangement may still be seen.
-Lanfranc, the builder of the Norman church at Canterbury, had been
-Abbot of St. Stephen’s. The clerestory windows above, like those of
-the aisles, are Perpendicular; and the roof seems to have been
-raised at the time of their insertion. This is of timber and quite
-plain.</p>
-
-<p>“In passing beyond the Norman portion of the nave to the Early
-English, of which nearly all the rest of the Cathedral consists,
-the strong influence of Canterbury is at once apparent. The double
-transepts, the numberless shafts of Petworth marble, and perhaps
-the flights of stairs ascending from either side of the crypt,
-recall immediately the works of the two Williams in the
-metropolitan church, which always maintained the closest connection
-with Rochester, her earliest daughter.”&mdash;(R. J. K.)</p></div>
-
-<p>At the end of the northern aisle we note the early Fourteenth Century
-doorway for the use of the parishioners of St. Nicholas’s altar. The
-lower end of the southern aisle terminates in a blind arcade of three
-arches. Each aisle end has also a round-headed Norman window. The great
-<b>West Window</b> is divided into eight lights separated into</p>
-
-<div class="figcenter"><br />
-<a name="fig_006" id="fig_006"></a>
-<a href="images/fp40.jpg">
-<img src="images/fp40.jpg" width="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Rochester: Nave, east</span></p></div>
-</div>
-
-<div class="figcenter"><br />
-<a name="fig_007" id="fig_007"></a>
-<a href="images/fp41.jpg">
-<img src="images/fp41.jpg" width="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Rochester: Choir, west</span></p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_41" id="page_41">{41}</a></span></p>
-
-<p class="nind">two rows by a horizontal mullion. The glass commemorates the officers
-and men of the Royal Engineers who fell in the South African and Afghan
-campaigns. The subjects are Biblical scenes and heroes.</p>
-
-<p>In the south-west corner of the Nave, a charming little Norman doorway
-opens into the tower. A fine embattled moulding runs round the arch.</p>
-
-<p>The crossing is noticeable for the finely clustered shafts of the
-tower-piers.</p>
-
-<p>The <b>North Transept</b> (Early English) dates from about 1235. The <b>South
-Transept</b> (Early Decorated) is later. The north transept is the richer of
-the two. The corbels of monastic heads of great excellence deserve
-notice.</p>
-
-<p>In the east wall, opposite the entrance to the Perpendicular
-Lady-Chapel, two bays were included under one arch to form a recess for
-the altar of the Virgin Mary, about 1320.</p>
-
-<p>The south transept underwent some alteration when the Lady-Chapel was
-built. On the wall under the central window a monument to Richard Watts
-was erected in 1736. Watts, a member of Queen Elizabeth’s second
-Parliament, entertained her at “Satis House” in 1573. He also left
-provisions in his will for the poor and founded in 1579 the “House of
-the Six Poor Travellers,” where nightly six poor wayfarers are provided
-with supper, bed and breakfast and presented with fourpence when they
-leave.</p>
-
-<p>Near the Watts monument a brass tablet to Charles Dickens, who made the
-House of the Six Poor Travellers famous, connects “his memory with the
-scenes in which his earliest and latest years were passed and with the
-associations of<span class="pagenum"><a name="page_42" id="page_42">{42}</a></span> Rochester Cathedral and its neighbourhood, which
-extended over all his life.”</p>
-
-<p>The <b>Choir</b>, reached by a flight of ten steps, is higher than the nave. It
-is entered through iron gates in the central doorway of the screen,
-which represent St. Andrew, King Ethelbert, St. Justus, St. Paulinus,
-Bishop Gundulf, William de Hoo, Bishop Walter de Merton and Cardinal
-John Fisher, designed by Mr. John Pearson.</p>
-
-<p>The organ is on the screen beneath the choir-arch. The Choir, remodelled
-in 1825-1830,</p>
-
-<div class="blockquot"><p>“is entered by a flight of steps rendered necessary, as at
-Canterbury, by the height of the crypt below. It was completed
-sufficiently for use in 1127. It is thoroughly developed Early
-English, although much has evidently been borrowed, even in detail,
-from the Canterbury transition work. It is narrow and somewhat
-heavy; defects not lightened by the woodwork of the stalls, which
-is indifferent, or by the use of colour,&mdash;a single line of which,
-however, is carried along the ribs of the vaulting with very good
-effect.</p>
-
-<p>“The brackets of Early English foliage, from which the blind
-wall-arches spring, should be noticed. Two large ones especially,
-at the angles of the eastern transept, are excellent specimens of
-this period, before the naturalism of the Decorated had begun to
-develop itself. A fragment of mural painting, apparently of the
-same date as the choir itself, remains on the wall, close above the
-pulpit. The painting, when entire, is said to have represented a
-subject not uncommon in early churches&mdash;the Wheel of Fortune with
-various figures&mdash;king, priest, husbandman and others&mdash;climbing
-it.”&mdash;(R. J. K.)</p></div>
-
-<p>This painting (5 feet 10 inches high and 2 feet 2 inches wide) dates
-from the Thirteenth Century. Fortune dressed as a queen, and in yellow,
-moves the wheel with her right hand.</p>
-
-<p>Passing into the <b>North-choir-transept</b>, still Early<span class="pagenum"><a name="page_43" id="page_43">{43}</a></span> English and a part
-of William de Hoo’s work, the first point of interest is <b>St. William’s
-Tomb</b>, at the north-east corner, of Purbeck marble, with a floriated
-cross.</p>
-
-<p>Towards the centre of the transept is a flat stone marked with six
-crosses, upon which <b>St. William’s Shrine</b> is said to have rested. The
-steps which descend into the north aisle of the Choir are, as at
-Canterbury, deeply worn by the constant ascent of pilgrims.</p>
-
-<p>West of the Saint’s tomb lies <b>Walter de Merton</b>, founder of Merton
-College, Oxford, and Bishop of Rochester from 1274 to 1277. His tomb is
-a very beautiful example of Early Decorated.</p>
-
-<p>The present arrangement of the east end is the work of Sir G. Scott. The
-<b>Choir-stalls</b> were designed by Sir G. Scott, who incorporated as much of
-the old work as possible.</p>
-
-<p>Just behind the <b>Altar</b>, above which is a picture of <i>The Angels appearing
-to the Shepherds</i>, by Benjamin West (placed there in 1788), is a fine
-<b>Piscina</b>. Opposite three stone <b>Sedilia</b> (late Perpendicular) deserve
-notice.</p>
-
-<p>In the railed-off transept aisle, known as <b>St. John the Baptist’s
-Chapel</b>, or <b>Warner Chapel</b>, because of the monuments to members of the
-Warner family (“Palladian” in style, 1666-1698), there is an old
-weather-worn <b>statue</b> which tradition says is a portrait of <b>Gundulf</b>.</p>
-
-<p>In the eastern aisle of the north-east transept is the <b>Tomb of Bishop
-John De Sheppy</b> (1353-1360). It is</p>
-
-<div class="blockquot"><p>“probably the most perfect specimen of ancient colour-work now
-existing in England. It had been bricked up<span class="pagenum"><a name="page_44" id="page_44">{44}</a></span> within the arch where
-it still remains, and was discovered during the repairs in 1825.
-The colours and monuments deserve the most careful attention, as
-well for their own beauty as for their great value as authorities.
-In the maniple held over the left arm, some of the crystals with
-which it was studded still remain. Remark the couchant dogs at the
-feet. About their necks are scarlet collars, hung with bells. An
-inscription with the Bishop’s name surrounds the effigy.”&mdash;(R. J.
-K.)</p></div>
-
-<p>The short <b>sacrarium</b>, or chancel, east of the transepts, probably formed
-part of William de Hoo’s work. The beautiful <b>windows</b> at the east end are
-Decorated. In the south side of the sacrarium, next the altar, a tomb of
-plain marble is thought to be that of <b>Gundulf</b>.</p>
-
-<p>In the east wall of the south-choir-transept we come to one of the
-finest pieces of English Decorated in existence,&mdash;the <b>Chapter-House
-Doorway</b>. It dates from the middle of the Fourteenth Century.</p>
-
-<div class="blockquot"><p>“The full-length figures, one on each side of the door, symbolising
-the Church and the Synagogue, were both headless when Mr.
-Cottingham restored the doorway, between 1825 and 1830. Much fault
-has been found with him for turning the first, which is thought to
-have been like the other, a female figure, into a mitred, bearded
-bishop holding a cross in his right hand and the model of a church
-in his left. The blindfolded ‘Synagogue,’ by her broken staff and
-the tables of the law held reversed in her right hand, typifies the
-overthrow of the Mosaic dispensation. Above are figures, two on
-each side, seated at book-desks under canopies. These are supposed
-to be the four great Doctors of the Church: Saints Augustine,
-Gregory, Jerome and Ambrose. Quite at the head of the arch, under a
-lofty pyramidal canopy, we see a tiny nude figure which represents,
-probably, a pure soul just released from Purgatory. If this is so,
-it would account for the flames from which the angels, on each
-side, bearing scrolls, seem to be rising. It has been suggested
-likewise that the<span class="pagenum"><a name="page_45" id="page_45">{45}</a></span> distorted heads, which alternate with squares of
-foliage in the wider inside moulding of the doorway, typify the
-sufferings of the soul in its passage. The outside moulding is also
-interesting, being a wide hollow in the bottom of which circular
-holes are cut at intervals. Through these can be seen the broad
-stem from which spring the leaves that ornament the intervening
-spaces. The arch-head is ogee-shaped outside, with large external
-and smaller, but not less rich, internal crockets. The square back
-to it, and the spaces beneath the corbels, on which the Church and
-Synagogue figures stand, are filled with noteworthy diapers. The
-first is divided diagonally into sunken squares, each containing a
-flower; and the others have lion masks in quatrefoils, with
-five-petalled roses in the alternate spaces.”&mdash;(G. H. P.)</p></div>
-
-<p>A steep flight of stairs leads from this Transept to <b>St. Edmund’s
-Chapel</b>, south of the Choir. From this we enter the <b>Crypt</b>,</p>
-
-<div class="blockquot"><p>“which extends under the whole of the choir and is one of the best
-specimens of its class to be found in England. The west and east
-parts are evidently of a much earlier date than the central, which
-is Early English, and of the same period as the choir above. In
-building this, the ancient crypt was probably broken through, and
-in part reconstructed. The earlier portions are distinguished by
-very massive piers and circular arches. Between the piers are small
-pillars, with plain broad capitals. It is not impossible that this
-part of the crypt may date from before the Conquest. At all events,
-it is the earliest portion of the existing cathedral, and cannot be
-later than the work of Bishop Gundulf.”&mdash;(R. J. K.)</p></div><p><span class="pagenum"><a name="page_46" id="page_46">{46}</a></span></p>
-
-<h2><a name="WINCHESTER" id="WINCHESTER"></a>WINCHESTER</h2>
-
-<div class="blockquotcent"><p><span class="smcap">Dedication: The Holy and Indivisible Trinity. Formerly the Church
-of a Benedictine Monastery.</span></p>
-
-<p><span class="smcap">Special features: Norman Nave; Tower; West Window; Choir-stalls;
-Font; Reredos.</span></p></div>
-
-<p class="nind"><span class="smcap">Winchester</span> is the largest cathedral in England and affords good examples
-of every style from pure Norman to early Renaissance. It is the fifth
-cathedral that has occupied this site, for tradition says that a British
-church was founded here by Lucius, King of the Britons.</p>
-
-<p>This first church was destroyed in 266 and the clergy martyred during
-the persecutions of the Christians by Diocletian. The second church,
-erected under Constantine, was in 515 transformed by Cerdic, founder of
-the Kingdom of Wessex, into a Temple of Dagon, in which he was crowned
-in 519 and buried in 534. Cerdic’s great grandson, Kynegils, converted
-by St. Birinus, the first of Saxon bishops, began the third church which
-his son, Kenwalk, completed in 648. Kenwalk’s buildings were, in their
-turn, enlarged and repaired by Swithun, a prior of the Benedictine
-monastery established here. Swithun, who became Bishop of Winchester and
-tutor to King Alfred and Ethelwold, was, according to the chroniclers,
-“a diligent builder of churches in places where there were none before,
-and a repairer of those that had been destroyed or ruined.” When he died
-in 862, he was buried, according to his own desire, in the churchyard of
-Winchester, where<span class="pagenum"><a name="page_47" id="page_47">{47}</a></span> “passersby might tread on his grave, and where the
-rain from the eaves might fall on it.”</p>
-
-<p>When this third church was destroyed by the Danes in 867, portions were
-restored by Alfred the Great, St. Ethelwold and St. Alphege. St.
-Ethelwold removed the body of St. Swithun to the golden shrine within
-the cathedral, now dedicated to St. Swithun, St. Peter and St. Paul; but
-the Translation being delayed by rain, gave the saint reputation as a
-weather prophet. Hence the weather on the anniversary (July 15) is
-foretold by the old rhyme:</p>
-
-<div class="poetry">
-<div class="poem"><div class="stanza">
-<span class="i0">“St. Swithun’s Day, if thou dost rain,<br /></span>
-<span class="i1">For forty days it will remain;<br /></span>
-<span class="i1">St. Swithun’s Day, if thou be fair,<br /></span>
-<span class="i1">Forty days ’twill rain na mair.”<br /></span>
-</div></div>
-</div>
-
-<p>One of the features of St. Ethelwold’s cathedral was a magnificent “pair
-of organs,” of tremendous size and power, with twelve bellows above and
-fourteen below and seventy strong men as blowers to fill the four
-hundred pipes. Below, at two keyboards, sat two brethren in “unity of
-spirit.”</p>
-
-<p>Ethelwold was buried in the southern crypt.</p>
-
-<p>This Saxon church was succeeded by the present cathedral, begun in 1079,
-by Walkelyn, the first Norman bishop.</p>
-
-<p>Walkelyn was of noble birth and related to William Rufus, who granted
-him license to search for stone in the Isle of Wight and as much wood
-from the forest of Hanepinges (on the Alresford road) as his carpenters
-could take in four days and nights. The wily Bishop collected a large
-force of men and within the assigned time cut down the whole forest. The
-King was furious. The new Cathedral was<span class="pagenum"><a name="page_48" id="page_48">{48}</a></span> finished in 1093, having been
-rebuilt by Walkelyn, from the west front to the great tower, including
-the transepts. He also removed, and with great pomp, St. Swithun’s
-shrine from the old altar to the new one. Walkelyn died in 1098 and was
-buried in the nave.</p>
-
-<p>Bishop Lucy, Bishop William of Edington and William of Wykeham are the
-next three great architects of Winchester.</p>
-
-<div class="blockquot"><p>“It was Bishop Edington who commenced the alteration of Winchester
-Cathedral into the Perpendicular style; he died in 1366, and the
-work was continued by William of Wykeham, who mentions in his will
-that Edington had finished the west end, with two windows on the
-north side and one on the south: the change in the character of the
-work is very distinctly marked. Bishop Edington’s work at
-Winchester was executed at a later period than that at Edington,
-and, as might be expected, the new idea is more fully developed;
-but on a comparison between the west window of Winchester and the
-east window of Edington, it will at once be seen that the principle
-of construction is the same; there is a central division carried up
-to the head of the window, and sub-arches springing from each side:
-it may be observed that whenever this arrangement of the sub-arches
-occurs in Decorated work, it is a sign that the work is late in the
-style. Before the death of Bishop Edington the great principles of
-the Perpendicular Style were fully established. These chiefly
-consist of the Perpendicular lines through the head of the window,
-and in covering the surface of the wall with panelling of the same
-kind. These features are as distinctly marked at Winchester as in
-any subsequent building, or as they well could be.”&mdash;(J. H. P.)</p></div>
-
-<p>In the eastern part of the Crypt there is ancient masonry undoubtedly
-belonging to the time of St. Ethelwold; then we find above it the
-massive Norman work of Bishop Walkelyn; then, to the east, the graceful
-Early English of Bishop Lucy; along<span class="pagenum"><a name="page_49" id="page_49">{49}</a></span> the nave, the Perpendicular columns
-of Bishop Edington and William of Wykeham, on which rests the exquisite
-groined roof. Above this roof the great rough-hewn beams cut from the
-King’s forest by Walkelyn more than eight hundred years ago can still be
-seen and in a perfect state of soundness.</p>
-
-<div class="blockquot"><p>“In this great church many stirring scenes of English history have
-been enacted. The early kings made Winchester their home and the
-Cathedral their chapel. Here it was that Egbert, after being
-crowned <i>in regem totius Britanniæ</i>, with assent of all parties,
-issued an edict in 828, ordering that the island should thereafter
-be always styled England and its people Englishmen. Here King
-Alfred was crowned and lived and died. Here, in 1035, Cnut’s body
-lay in state before the high altar, over which was hung henceforth
-for many a year, a most precious relic, the great Norseman’s crown.
-Here William the Conqueror often came, and wore his crown at the
-Easter Gemôt; here, too, clustered many of the national legends:
-St. Swithun here did his mighty works, and here were the forty
-dismal days of rain; hard by is the scene of the great fight
-between Colbrand the Dane and Guy of Warwick; in the nave of the
-church Queen Emma trod triumphant on the red-hot plough-shares as
-on a bed of roses; hither came Earl Godwin’s body after his
-marvellous and terrible death, one of the well-known group of
-malignant Norman tales. It was in Winchester Cathedral that Henry
-Beauclerk took to wife his queen, Matilda, to the great joy of all
-English-speaking folk. Here Stephen of Blois was crowned King; and
-here, on the other hand, the Empress Maud was welcomed by city and
-people with high rejoicings; here, too, was drawn up and issued the
-final compact, in 1153, which closed the civil war of that weary
-reign and secured the crown to the young Prince Henry. He in his
-turn often sojourned in Winchester, and befriended in his strong
-way the growing city. The Cathedral witnessed another compact in
-the dark days of King John: the King was here reconciled to the
-English Church in the person of Stephen Langton; Henry III. and<span class="pagenum"><a name="page_50" id="page_50">{50}</a></span>
-his Queen Eleanor, were here in 1242; and on May-day of that year
-‘came the Queen into the Chapter-house to receive society.’ In 1275
-Edward I., with his Queen, was welcomed with great honour by the
-prior and brethren of St. Swithun, and attended service in the
-church. The christening of Arthur, Prince of Wales, elder brother
-of Henry VIII., was here; and here Henry VIII. met his astute
-rival, the Emperor Charles V. It was in Winchester Cathedral that
-the marriage of Philip and Mary took place, and the chair in which
-she sat is still to be seen in the church. The Stuart Kings loved
-the place. Here in the great rebellion was enacted that strange
-scene when, after the capture of the city, the mob rushed into the
-Cathedral, wild for booty and mischief, and finding in the chests
-nothing but bones, amused themselves by throwing them at the
-stained windows of the choir. It was at this time that Colonel
-Nathaniel Fiennes, a Parliamentary officer and an old Wykehamist,
-stood with drawn sword at the door of Wykeham’s chantry to protect
-it from violence. Since the days of the Merry Monarch, who was
-often at Winchester, and loved it so well that he built his palace
-here, no striking historical events have been enacted within its
-walls. The church by degrees recovered from the ruin of the
-Commonwealth time, and has had a quiet, happy life from that time
-onward, a tranquil grey building sleeping amidst its trees, in the
-heart of the most charming of all south English cities.”&mdash;(G. W.
-K.)</p></div>
-
-<p>The best view of Winchester Cathedral is from the top of St. Catherine’s
-hill, where the great mass rises solemnly over the distant city. Its
-enormous length is broken by the bold transepts, which extend three bays
-beyond the aisles. People are, as a rule, disappointed with their first
-view of the exterior, because of its lack of decoration and the lowness
-of the heavy Norman tower in the centre. The bright-green turf of the
-Precincts and the trees, however, make with the grey walls an impressive
-picture. A short avenue of trees leads through the Close to the western
-door.<span class="pagenum"><a name="page_51" id="page_51">{51}</a></span></p>
-
-<p>The <b>West Front</b> was originally the work of Edington (1345-1366). It is
-118 feet in breadth and composed of a panelled gable of Perpendicular
-style with hexagonal turrets. Immediately under the window in a gallery
-over the entrance, the bishop used to give his benediction to the
-people. The figure of William of Wykeham stands in the gable, replacing
-an ancient bishop removed in 1860. No one seems to know whether it
-represented William of Wykeham, Bishop Edington, or St. Swithun. Very
-probably it was the latter, as its companions on the gable were St.
-Peter and St. Paul, the three patron saints of the Saxon Cathedral.</p>
-
-<p>The great <b>West Window</b> is divided by cross mullions into three
-perpendicular and six horizontal compartments. It is said to be filled
-with glass, collected from different parts of the building, after the
-general smashing by the Parliamentary soldiers in 1646. Winston says
-these pieces are very early Perpendicular glass, and may have been
-placed together in the window, as we now see them, in Bishop Edington’s
-time.</p>
-
-<div class="blockquot"><p>“Before entering, the visitor should remark the grand view of the
-interior obtained through the open central door. The length of
-Winchester (520 feet from this entrance to the extreme eastern
-buttresses) exceeds that of any other cathedral on this side of the
-Alps, with the exception of Ely (560 feet) and of Canterbury, which
-is about five feet longer than Winchester. A certain coldness,
-arising from want of colour, is perhaps felt at first; but the eye
-soon learns to dwell contentedly on the magnificent forest of
-piers, and on all the graceful details above and around them. The
-string-course of corbel-heads and the light balustrade of the
-triforium in the nave should here be noticed as remarkably aiding
-the general effect.”&mdash;(R. J. K.)</p></div><p><span class="pagenum"><a name="page_52" id="page_52">{52}</a></span></p>
-
-<p>The ground-plan shows a nave of eleven bays, a transept of three, a
-choir of five, a presbytery of three and a Lady-Chapel at the east end
-of three. All are furnished with side aisles.</p>
-
-<p>Winchester is the longest cathedral in England, and the <b>Nave</b> is one of
-the longest in the world. Fergusson says it is “perhaps the most
-beautiful nave in England or elsewhere.” The view is overwhelmingly
-grand and noble and the groining of the roof is striking in the extreme.</p>
-
-<p>The triforium was sacrificed and the old Norman piers, recased, were
-left to carry the lofty Perpendicular arches and exquisitely vaulted
-roof. The Perpendicular lining and panelling disguise the fact that the
-interior is really Norman.</p>
-
-<div class="blockquot"><p>“The nave gains a special grandeur by the vaulting shafts rising
-from the very floor so that the eye follows them upwards tardily,
-as if they were more lofty than they actually are, to the capitals
-whence the groined roof springs. The aisle windows have a beauty
-worthy of careful notice.</p>
-
-<p>“A striking yet beautiful peculiarity is that Winchester nave,
-setting an example followed generally in Perpendicular churches,
-has no proper triforium&mdash;a balcony close above the nave arches
-taking its place. Owing to the thickness of the Norman masonry this
-arrangement was unavoidable.</p>
-
-<p>“The seven westerly piers on the south side retain the Norman
-stone-work faced with new mouldings. Norman arches remain behind
-the triforium wall; Norman shafts may be seen above the vaulting;
-and Norman flat buttresses are traceable outside between the
-southerly clerestory windows.”&mdash;(G. W. K.)</p></div>
-
-<p>The Nave of Winchester, therefore, presents one of the most curious
-examples of transformation from one style of architecture to another;
-for here we have a perfect specimen of the Fourteenth and</p>
-
-<div class="figcenter"><br />
-<a name="fig_008" id="fig_008"></a>
-<a href="images/fp52.jpg">
-<img src="images/fp52.jpg" height="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Winchester: Nave, west</span></p></div>
-</div>
-
-<div class="figcenter"><br />
-<a name="fig_009" id="fig_009"></a>
-<a href="images/fp53.jpg">
-<img src="images/fp53.jpg" width="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Winchester: Font</span></p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_53" id="page_53">{53}</a></span></p>
-
-<p>Fifteenth Centuries, yet it is from the ground to the roof the original
-Norman building begun by Walkelyn. The extreme western part was rebuilt
-by Edington, who began the transformation of the Nave from the Norman to
-the Perpendicular, and continued by his successor William of Wykeham
-(1366-1404).</p>
-
-<p>At Wykeham’s death in 1404 the south side of the Nave was finished and
-the north begun. The work was continued and finished by his successors,
-Cardinal Beaufort and Bishop Waynflete (1404-1486). The arms on the
-bosses of the vault of the nave are those of Wykeham, Cardinal Beaufort
-and John of Gaunt (the latter’s father); the chained white hart is the
-device of Richard II. and the lily that of Bishop Waynflete.</p>
-
-<p>Students may compare the Nave of Winchester with the Choir of
-Gloucester, which is also Norman in plan, “overlaid with a veneer of
-masonry in the Pointed Style.” The Gloucester Choir is, however, of
-later date, and instead of showing an amalgamation of the two styles, as
-at Winchester, the Pointed is added to the Round-arched style.</p>
-
-<p>The curious black basaltic stone <b>Font</b> was probably the gift of Bishop
-Henry de Blois (1129-71), and some antiquarians think that it was
-brought from Constantinople during the Second Crusade. The carvings
-represent St. Nicholas of Myra, the patron saint of children, and much
-honoured by the Normans.</p>
-
-<div class="blockquot"><p>“Within the walls the most striking object of interest is
-undoubtedly the famous Norman font of black basaltic stone, which
-was probably placed in the church in the days of Walkelyn; it
-portrays in bold if rude relief the life and miracles of St.
-Nicholas of Myra. Next after the<span class="pagenum"><a name="page_54" id="page_54">{54}</a></span> font may perhaps be noted the
-fine carved spandrels, Fourteenth Century work, of the
-choir-stalls, with the quaint <i>misereres</i> of the seats; then Prior
-Silkstede’s richly carved pulpit of the Fifteenth Century, and the
-very interesting and valuable Renaissance panels of the pews, put
-in by William Kingsmill, last prior and first dean, in 1540. The
-chantries and tombs in this church are of unusual beauty and
-interest.”&mdash;(G. W. K.)</p></div>
-
-<p>At the west end of the north aisle a square stone gallery called the
-tribune is part of Edington’s work. It was used as a <b>Minstrels’ Gallery</b>
-on great occasions.</p>
-
-<p>The nave <b>Pulpit</b> was a gift from New College, Oxford, in 1885.</p>
-
-<p>In the north aisle there is a monumental brass in memory of <b>Jane Austen</b>,
-the authoress, and near the south-west door are fixed the flags of the
-97th Regiment and memorials of the Crimean War. The west window of the
-south aisle is filled with stained glass to their memory.</p>
-
-<p>On the south side of the Nave and in the second bay from the Choir is
-<b>Bishop Edington’s Chantry</b>. It was somewhat altered when the piers
-against which it stands were transformed from Norman to Perpendicular.
-This is the first of a number of very fine chantries, the most
-interesting of which is that of <b>William of Wykeham</b>, which occupies the
-entire space between two piers of the Nave on the south side in the
-fifth bay from the west end.</p>
-
-<p>This chapel was built by Wykeham on the site of an altar dedicated to
-the Virgin, where he used to worship when a boy.</p>
-
-<div class="blockquot"><p>“The design of William’s chantry is very beautiful; and it is one
-of the best remaining specimens of a Fourteenth Century monumental
-chapel. The foundation of the<span class="pagenum"><a name="page_55" id="page_55">{55}</a></span> altar is still visible. The Bishop’s
-effigy, the comeliness of which, it has been suggested, may have
-induced Anthony Wood to describe him as having been of ‘a courtly
-presence,’ reposes on an altar-tomb in the centre, arrayed in cope
-and mitre. The pillow at the head is supported by two angels. At
-the feet three monks are represented offering up prayers for the
-repose of the departed soul. They are said, but questionably, to
-represent Wykeham’s three assistants in the cathedral
-works&mdash;William Wynford, his architect; Simon de Membury, his
-surveyor of the works; and John Wayte, controller.”&mdash;(R. J. K.)</p></div>
-
-<p>The <b>Choir</b> is entered through a screen of stonework, by Garbett,
-decorated with figures of James I. and Charles I., taken from an older
-screen by Inigo Jones. The figure of Charles I. was much injured by the
-Parliamentary troops who stabled their horses in the cathedral. It was
-made by Hubert Le Seur, a pupil of John of Bologna and much employed by
-Charles I.</p>
-
-<p>The Choir consists of the old choir of the monks under the tower and of
-the presbytery beyond it. This portion of the cathedral is of various
-dates: the tower is late Norman; the piers, arches and clerestory of the
-presbytery are Decorated (about 1350); the screen enclosing it is
-Perpendicular (the work of Bishop Fox about 1524); the vaulting of the
-presbytery (also the work of Bishop Fox); and the ceiling under the
-tower, dates from 1634.</p>
-
-<p>The visitor is struck by the enormous piers of the <b>Tower</b>, rebuilt after
-1107 when Walkelyn’s tower, under which William Rufus was buried, fell.
-Many thought “that the fall of the tower was a judgment for his sins.”</p>
-
-<div class="blockquot"><p>“Early in the Twelfth Century occurred the fall of the tower of
-this Cathedral, celebrated from the peculiar circumstances with
-which it was accompanied, which are thus<span class="pagenum"><a name="page_56" id="page_56">{56}</a></span> described by William of
-Malmsbury, who was living at the time:&mdash;‘A few country men conveyed
-the body [of the King, William Rufus], placed on a cart, to the
-cathedral of Winchester, the blood dripping all the way. Here it
-was committed to the ground <i>within the tower</i>, attended by many of
-the nobility, but lamented by few. The next year (1097) the tower
-fell; though I forbear to mention the different opinions on this
-subject, lest I should seem to assent too readily to unsupported
-trifles; most especially that the building might have fallen
-<i>through imperfect construction</i>, even though he had never been
-buried there.’ That this was really the case, the building itself
-affords us abundant evidence, and proves that even the Normans at
-this period were still bad masons and very imperfectly acquainted
-with the principles of construction. The tower which was rebuilt
-soon after the fall is still standing, and the enormous masses of
-masonry which were piled together to support it, and prevent it
-from falling again, show such an amazing waste of labour and
-material as clearly to prove that it was the work of very unskilful
-builders.”&mdash;(J. H. P.)</p></div>
-
-<p>The tower was originally intended to serve as a lantern; but was ceiled
-over in the reign of Charles I. In the centre is a medallion of the Holy
-Family, the date 1634, and medallions of Charles I. and Henrietta Maria.</p>
-
-<p>The very narrow arches opening to the transepts should be noticed.</p>
-
-<p>The <b>Choir Stalls</b> are magnificent.</p>
-
-<div class="blockquot"><p>“The stalls which extend from the eastern tower-piers to the first
-pier of the nave, are of oak, as black as ebony, and probably
-exhibit the very finest woodwork of their date and style (which is
-the best) in the Kingdom. They are early Decorated (Geometrical)
-work and their canopies and gables bear considerable resemblance to
-those of the tomb of Edmund Crouchback in Westminster Abbey. This
-would place their date about 1296. The beauty and variety of the
-carvings are wonderful. There is no repetition; and the grace and
-elegance, as well as<span class="pagenum"><a name="page_57" id="page_57">{57}</a></span> the fidelity, with which the foliage is
-represented, are nowhere to be surpassed. The human heads are full
-of expression; and the monkeys and other animals sporting among the
-branches have all the same exquisite finish. The mode in which the
-cusps of the circles in the canopies are terminated, is worthy of
-attention; and in short, at this period of the revival of
-wood-carving, no better examples could be found for study and
-imitation. The <i>misereres</i> below are of early character and
-interesting. Their date is rather later than those (Early English)
-in Exeter Cathedral&mdash;the most ancient in the Kingdom. The desks and
-stools in front of the upper range bear the initials of Henry
-VIII., Bishop Stephen Gardiner, and Dean Kingsmill and the date
-1540. The rich pulpit on the north side bears the name of its donor
-‘Thomas Silkstede, prior’ on different parts of it.”&mdash;(R. J. K.)</p></div>
-
-<p>The <b>Presbytery</b> is Early English, the work of Bishop Lucy (1189-1204). It
-has a central alley of three bays. The arcading is very graceful. The
-presbytery is closed at the sides by screens of stone tracery, most of
-them erected by Bishop Fox, and bear his motto, <i>Est Deo Gratia</i>. Upon
-these screens stand six mortuary chests (also the work of Bishop Fox)
-containing the bones of the West Saxon Kings and bishops removed from
-the crypt of the old Saxon cathedral into Walkelyn’s church by Bishop
-Henry de Blois and placed in leaden sarcophagi. The chests are of wood,
-carved, painted and gilded in the Renaissance Style, which was being
-introduced into England in Fox’s time.</p>
-
-<div class="blockquot"><p>“The vaulting of the presbytery (of wood) is the work of Bishop Fox
-(1500-1520), and displays on its bosses, a mass of heraldry besides
-(at the east end) the various emblems of the Passion together with
-a number of faces representing Pilate and his wife, Herod, Annas
-and Caiaphas, Judas, Malchus with the sword of Peter dividing his
-ear, Peter himself and many others. All are curious and are best
-seen from the gallery below the east window.<span class="pagenum"><a name="page_58" id="page_58">{58}</a></span></p>
-
-<p>“The east window of the choir is filled with Perpendicular glass, a
-little earlier than 1525, the work of Bishop Fox, whose arms
-impaled with those of the sees he held (Exeter, Bath and Wells,
-Durham and Winchester) and his motto <i>Est Deo Gratia</i> are
-introduced in it.”&mdash;(R. J. K.)</p></div>
-
-<p>Winston thinks that the only part of the glass in its original position
-consists of the two figures occupying the two southernmost of the lower
-lights and all the tracery lights except the top central one and the
-three immediately below it.</p>
-
-<div class="blockquot"><p>“The top central light is filled principally with some glass of
-Wykeham’s time and all the rest of the window with glass of Fox’s
-time, removed from other windows. In point of execution it is as
-nearly as perfect as painted glass can be. In it the shadows have
-attained their proper limit. It was at this period that glass
-painting attained its highest perfection as an art.”&mdash;(C. W.)</p></div>
-
-<p>Beyond the tower-piers in the presbytery a plain tomb of Purbeck marble
-was once the resting-place of <b>William Rufus</b>, killed in the New Forest in
-1100 and first buried, as we have seen, under the Tower. His bones were
-removed in the Twelfth Century by his nephew Bishop Henry de Blois and
-are now mingled with those of Canute, Queen Emma and two Saxon bishops
-in one of the mortuary chests on the screen of the Presbytery.</p>
-
-<p>The piers and arches of the Presbytery are Decorated, dating from 1320
-and 1350.</p>
-
-<p>At the High Altar of the Choir Queen Mary was married to Philip of Spain
-in July, 1554, by Bishop Gardiner. In Philip’s train were Alva, the
-future scourge of the Low Countries, and Egmont, his famous victim. The
-chair in which the bride sat is preserved in the Chapel of the Guardian
-Angels.<span class="pagenum"><a name="page_59" id="page_59">{59}</a></span></p>
-
-<p>At the back of the altar rises the magnificent <b>Reredos</b>, dating from the
-latter end of the Fifteenth Century. In 1899 the final restoration of
-the screen was completed by filling a niche that had been vacant for
-three centuries. The altar-rails are of the time of Charles I. A
-representation of the <i>Incarnation</i> hangs over the altar placed there in
-1899, when Benjamin West’s <i>Raising of Lazarus</i> was removed to the South
-Transept.</p>
-
-<div class="blockquot"><p>“The Reredos is said to have been commenced by Cardinal Beaufort
-and completed by Bishop Fox and Prior Silkstede. It is an excellent
-specimen of Perpendicular work, executed in a fine, white soft
-stone; its elaborately canopied niches, pierced and crocketted
-pinnacles, pilaster buttresses, and centre projecting canopy, are
-surmounted at a height reaching nearly to the corbels, with a
-triple frieze of running leaves, Tudor flowers and quatrefoils.
-This Reredos is of the same type as those at Christ Church Priory
-and St. Alban’s, but its dimensions are greater and better
-proportioned. Its restoration is carried out with remarkable
-fidelity to the original work. The back is closely panelled in the
-upper part, and the lower part is richly decorated. No description
-could do justice to the beauty and effect of the whole work. Milner
-describes its exquisite workmanship as being as magnificent as this
-or any other nation can exhibit. The central part was restored as a
-memorial to the late Archdeacon Jacob.”&mdash;(G. W. K.)</p></div>
-
-<p>On either side of the altar a door opens to the space behind the
-Reredos, which in early days was the <b>Feretory</b>, a place for the <b>feretra</b>,
-or shrines of the patron saints.</p>
-
-<div class="blockquot"><p>“The Feretory, or Capitular Chapel, is immediately behind the altar
-and communicates with the sanctuary. Here the magnificent shrine of
-St. Swithun, of solid silver gilt and garnished with precious
-stones, the gift of King Edgar, used to be kept except on the
-festivals of the<span class="pagenum"><a name="page_60" id="page_60">{60}</a></span> saint, when it was exposed to view on the Altar,
-or before it.</p>
-
-<p>“Many portions of statuary formerly belonging to the Great Screen
-and other parts of the building are here carefully preserved. From
-the platform behind the reredos may be observed the admirable
-connection of Fox’s new with De Lucy’s earlier work.”&mdash;(G. W. K.)</p></div>
-
-<p>The old statue of the bishop, taken from the west front, may also be
-seen here.</p>
-
-<p>Back of the Reredos again stands the famous Edwardian <b>Arcade</b>, with nine
-canopies (or tabernacles). Beneath it is the ancient entrance, the “<b>Holy
-Hole</b>,” leading into the Crypt.</p>
-
-<p>The presbytery aisles are greatly admired. Here we find beautiful
-examples of Early English work and many splendid monuments and
-chantries. Beyond lies the <b>Lady-Chapel</b>, with the <b>Chapel of the Guardian
-Angels</b> on the north side and the <b>Bishop de Langton’s Chantry</b> on the
-south.</p>
-
-<p>The Lady-Chapel (1470) was founded by Elizabeth of York, Queen of Henry
-VII., after the birth of her son, Arthur, as a testimony of her
-gratitude. The arms of Henry VII., Elizabeth and the Prince of
-Wales&mdash;the feathers divided by roses&mdash;are among the ornaments.</p>
-
-<p>A plain slab of grey marble in front of the Lady-Chapel is supposed to
-mark the <b>Tomb of Bishop de Lucy</b>, the builder of all this part of the
-Cathedral. At the back of the Lady-Chapel a Reredos was placed by Dean
-Branston in 1876.</p>
-
-<p>Ascending the steps from the transept, we reach the north aisle of the
-presbytery, and gain a fine view beyond this of the eastern portion of
-the church, with its splendid chantries and chapels.</p>
-
-<p>With the exception of the extreme east end of<span class="pagenum"><a name="page_61" id="page_61">{61}</a></span> the Lady-Chapel, it is
-all the work of Bishop Godfrey de Lucy (1189-1204), and consequently a
-very early example of Early English. The design and details are of great
-beauty. The three aisles or alleys (called procession paths or the <i>via
-processionum</i>) are separated from each other by three arches on each
-side and terminate eastward in chapels. These aisles were formed in
-order to facilitate the circulation of processions.</p>
-
-<p>The north chapel (part of De Lucy’s work) is called that of the <b>Guardian
-Angels</b>, from the figures of angels still remaining on the vaulting; the
-south chapel (De Lucy’s work) was fitted up as a chantry by Bishop
-Langton, who died in 1500. The woodwork is rich and beautiful and the
-vault elaborate with carved rebuses on his name.</p>
-
-<div class="blockquot"><p>“The north and south walls, as far as the east walls of the two
-side chapels, are De Lucy’s work, and retain his rich Early English
-arcade. The eastern compartment on each side, as well as the east
-wall, have respectively a large Perpendicular window of seven
-lights with transom and tracery of a peculiar kind of
-subordination, or rather interpretation of patterns well worth a
-careful study. The vault is a complex and beautiful specimen of
-lierne-work. The capitals and bases of the vaulting-shafts are
-unusual and very beautiful. The carved panelling of the western
-half of this chapel, the seats, desk and screen of separation, are
-all excellent, and should be noticed. All this Perpendicular work
-is due to Prior Hunton (1470-1498) and his successor, Prior
-Silkstede (1498-1524). On the vault round the two central keys&mdash;one
-representing the Almighty, the other the Blessed Virgin&mdash;are the
-rebuses of the two priors: the letter T, the syllable Hun, the
-figure of a ton for Thomas Hunton; the figure 1 and the letters Por
-for Prior: the letter T, the syllable silk, the word sted with a
-horse below it, the figure 1 with letters as before, for Thomas
-Silkstede, prior. The walls of this chapel are covered with the
-remains of some<span class="pagenum"><a name="page_62" id="page_62">{62}</a></span> very curious paintings illustrating the legendary
-history of the Virgin.</p>
-
-<p>“These are all the work of Prior Silkstede, whose portrait, with an
-inscription, is still faintly visible over the piscina.”&mdash;(R. J.
-K.)</p></div>
-
-<p>Between the pillars of the central aisle are the <b>Chantries</b> of <b>Waynflete</b>
-and <b>Beaufort</b>. Both were much injured by Cromwell’s troops and have been
-restored. The delicacy and beauty of Waynflete’s canopy should be noted.
-The lily, his device, constantly appears. His effigy lies here.</p>
-
-<p>Beaufort appears in his Cardinal’s robes. He was half-brother to Henry
-IV. and was bishop, statesman, soldier and banker to the royal family.
-He is said to have burst into tears at the burning of Joan of Arc at
-Rouen and to have left the scene. However, he persecuted the Lollards.
-Between these two chantries lies the effigy of a <b>Thirteenth Century
-Knight</b> in chain-mail and cross-legged. It is the only ancient military
-figure in the cathedral. He is either Sir W. de Foix or Sir Arnold de
-Gavaston.</p>
-
-<p>Beyond the pier which connects De Lucy’s work with the Presbytery on the
-north side is the <b>Chantry of Bishop Gardiner</b> (1531-1555), the “hammer of
-heretics,” secretary to Cardinal Wolsey and Henry VIII.’s ambassador to
-the Pope regarding his marriage. Bishop Gardiner also married “Bloody
-Mary” to the King of Spain.</p>
-
-<p>Opposite is <b>Bishop Fox’s Chantry</b>, built by Fox himself. It is the most
-elaborate chantry in the Cathedral. The arches were once filled with
-stained glass. The Bishop’s emblem, the pelican, appears everywhere. Fox
-was secretary and Lord Privy Seal to Henry VII. and founder of Corpus
-Christi,<span class="pagenum"><a name="page_63" id="page_63">{63}</a></span> Oxford. This college restored the Bishop’s chantry. Blind
-several years before his death, Fox used to be led every day to the
-small oratory attached to his Chantry.</p>
-
-<p>The visitor should study these chantries, beginning with Edington’s in
-the Nave and ending with Gardiner’s, for they form a continuous record
-of the growth and development of Perpendicular and Tudor architecture
-from 1366 to 1555.</p>
-
-<div class="blockquot"><p>“In no English church except Westminster Abbey and St. Paul’s, lie
-so many men of name. For just as the features of the Cathedral
-represent all the successive phases and changes of the art of
-building, until it has been styled a ‘School of English
-Architecture,’ so it may be said to be the home and centre of our
-early history. Long is the roll of kings and statesmen who came
-hither and whose bones here lie at rest. Cynegils and Cenwalh, West
-Saxon Kings, founders of the church, are here; Egbert was buried
-here in 838; Ethelwulf also and Edward the Elder and Edred. The
-body of Alfred the Great lay a while in the church, then was
-transferred to the new minster he had built, and finally rested at
-Hyde Abbey. And, most splendid name of all, the great Cnut was
-buried here, as was also his son, Harthacnut, as bad and mean as
-his father was great. The roll of kings was closed when Red
-William’s blood-dripping corpse came jolting hither in the country
-cart from New Forest.”&mdash;(G. W. K.)</p></div>
-
-<p>The two <b>Transepts</b> are similar. Both have east and west aisles and both
-are of two periods. The earlier parts are plain rude Norman, massive and
-grand in effect. The arches, both of triforium and clerestory, are
-square-edged like the pier-arches below them. They should be compared
-with Ely Cathedral, the work of Walkelyn’s brother, Simeon. It is
-interesting to note that the central towers of<span class="pagenum"><a name="page_64" id="page_64">{64}</a></span> both fell,&mdash;Walkelyn’s
-in 1107 and Simeon’s in 1321.</p>
-
-<p>The <b>North Transept</b> contains five altars. On the south side against the
-organ screen is the <b>Chapel of the Holy Sepulchre</b>, the walls of which are
-covered with rude wall-paintings illustrative of the passion of our
-Saviour.</p>
-
-<p>The <b>South Transept</b> is similar to the North transept. In its eastern
-aisles are two chapels formed by screens of stone tracery work. The
-south chapel is called <b>Silkstede’s Chapel</b>, from Prior Silkstede, whose
-name, Thomas, is carved on the screen with the monogram M. A. of the
-Virgin and a skein of silk, his rebus. The beautiful iron-work is of a
-later period. A plain black marble slab in Prior Silkstede’s Chapel
-marks the <b>Tomb of Izaak Walton</b>, “the prince of fishermen,” who died in
-1683.</p>
-
-<p>Entrances from both transepts lead to the crypt.</p>
-
-<p>In the west aisle of the south transept is the <b>Chapter-House</b> (formerly
-the sacristy), above which is the Library. The doorway in the south wall
-led to the domestic buildings of the monastery.</p>
-
-<p>The <b>Crypt</b> is entered from the north transept. It is Norman, dark and
-massive, and suggestive of a remote age. It is frequently flooded; for
-the level of the river seems to have risen since the Eleventh Century.
-Like other crypts, it serves to show the original plan of the Norman
-Church. It is in three parts: the western, consisting of the
-substructure of the original choir; a long aisleless chapel of three
-bays beneath the present retro-choir; and the substructure of
-Courtenay’s Lady-Chapel built between 1486 and 1492. Beneath the</p>
-
-<div class="figcenter"><br />
-<a name="fig_010" id="fig_010"></a>
-<a href="images/fp64.jpg">
-<img src="images/fp64.jpg" width="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Winchester: Choir, east</span></p></div>
-</div>
-
-<div class="figcenter"><br />
-<a name="fig_011" id="fig_011"></a>
-<a href="images/fp65.jpg">
-<img src="images/fp65.jpg" width="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Winchester: West front</span></p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_65" id="page_65">{65}</a></span></p>
-
-<p class="nind">high altar is the sacred well, the centre of Saxon worship before the
-Cathedral had an existence.</p>
-
-<p>The <b>Roofs</b> of this cathedral also deserve a visit.</p>
-
-<div class="blockquot"><p>“In the roof of the nave may be seen the original Norman shafts
-running up above Wykeham’s vault, and in those of the aisles the
-Norman arches of the triforium, best developed at the east end of
-the nave aisle-roof. The transept roofs show to this day what
-Bishop Walkelyn did with Hempage-wood. From the leads of the tower
-there is a very striking view over the city and its environs.”&mdash;(R.
-J. K.)</p></div>
-
-<p>The <b>Bells</b> hang in the great central tower: three are dated 1734, the
-others 1737, 1742, 1772, 1804 and 1814. The tenor bell was recast in
-1892.</p>
-
-<p>Within the Precincts stood the Royal Castle at the time of the Norman
-Conquest. This was pulled down by Henry de Blois in the Twelfth
-Century.<span class="pagenum"><a name="page_66" id="page_66">{66}</a></span></p>
-
-<h2><a name="CHICHESTER" id="CHICHESTER"></a>CHICHESTER</h2>
-
-<div class="blockquotcent"><p><span class="smcap">Dedication: The Holy Trinity. A Church served by Secular Canons.</span></p>
-
-<p><span class="smcap">Special Features: Five Aisles; Spire; Campanile.</span></p></div>
-
-<p class="nind"><span class="smcap">Chichester</span> (the camp of Cissa) stands at the head of an arm of the
-English Channel. Its Cathedral is the only one in England that can be
-seen from the sea.</p>
-
-<p>In 1082 the South Saxon See was removed from Selsey to Chichester. The
-church of the monastery, dedicated to St. Peter, seems to have been used
-until Bishop Ralph Luffa (about whom little or nothing is known) founded
-the existing Cathedral. This was completed in 1108, partly destroyed by
-fire in 1114 and partly restored by the same Ralph, who died in 1123.</p>
-
-<div class="blockquot"><p>“Chichester Cathedral, though one of the smallest, is to the
-student of Mediæval architecture one of the most interesting and
-important of our cathedrals. At Salisbury one or two styles of
-architecture are represented; at Canterbury two or three; at
-Chichester every single style is to be seen without a break from
-the Eleventh to the Sixteenth Century. It is an epitome of English
-architectural history for five hundred years. Early Norman, late
-Norman, late Transitional, early Lancet, late Lancet, early
-Geometrical, late Geometrical, Curvilinear, Perpendicular and Tudor
-work all appear in the structure side by side. We have many other
-heterogeneous and composite cathedrals, but nowhere, except perhaps
-at Hereford, can the whole sequence of Mediæval styles be read so
-well as at Chichester.”&mdash;(F. B.)</p></div>
-
-<p>Chichester was consecrated in 1148, again suffered from fire in
-1186-1187 and was restored and enlarged by Bishop Seffrid II.
-(1180-1204).<span class="pagenum"><a name="page_67" id="page_67">{67}</a></span></p>
-
-<div class="blockquot"><p>“The fire of 1186 was not as serious as that of Canterbury in 1182,
-so that there was no need of rebuilding. Bishop Seffrid, however,
-covered the Cathedral with a stone vault and added the necessary
-buttresses and flying-buttresses. He also built the Choir, making
-great use of Purbeck marble. He removed the Norman apse and built
-the aisled retro-choir of two bays.</p>
-
-<p>“This is the architectural gem of the Cathedral. The idea of it
-probably came from Hereford, where the retro-choir is a few years
-earlier. At Hereford, however, the retro-choir projects
-picturesquely and forms an eastern transept. The central piers of
-the Chichester retro-choir are remarkably beautiful. They consist
-of a central column surrounded by four shafts very widely detached;
-columns and shafts are of Purbeck marble. The capitals are
-Corinthianesque; their height is proportioned to the diameters of
-the column and shafts. This beautiful capital was reproduced a few
-years later by St. Hugh at Lincoln. The triforium is of quite
-exceptional beauty, as indeed is the whole design. Semicircular
-arches occur in the pier arcade and triforium, and some of the
-abaci are square; otherwise the design is pure Gothic. Here, as at
-Abbey Dore, St. Thomas’s, Portsmouth, Boxgrove and Wells, we see
-the transition to the ‘pure and undefiled Gothic’ of St. Hugh’s
-choir at Lincoln. In these beautiful churches the ancient
-Romanesque style breathed its last.</p>
-
-<p>“The aisles of the new retro-choir were continued on either side of
-the first bay of the Norman Lady-Chapel whose three bays had
-probably been remodelled before the fire in Transitional fashion.
-The capitals of the Lady-Chapel are of exceptional interest and
-importance, as showing experimental foliation which had not yet
-settled down into the conventional leafage of early Gothic. The
-apse also of the south transept was replaced by a square chapel,
-now used as a Library, in the vaulting of which the Norman zigzag
-occurs.</p>
-
-<p>“A little later in the Lancet period was built (1199-1245) the
-lovely south porch, with small exquisite mouldings, and the
-charming foliated capitals and corbels. The difference between
-early Transitional, late Transitional and Lancet foliation may be
-well seen by examining successively the capitals of the
-Lady-Chapel, the triforium of the retro<span class="pagenum"><a name="page_68" id="page_68">{68}</a></span>-choir and the south porch.
-The north porch is almost equally fine. The vaulting ribs, square
-in section, show that the two porches both belong to the very first
-years of the Thirteenth Century. Rather later, the sacristy was
-built on to the south porch, with a massive vault supported by
-foliated corbels.”&mdash;(F. B.)</p></div>
-
-<p>Chichester’s saint was one of its own bishops&mdash;Richard de la Wych&mdash;who
-died in 1253. He was canonized in 1261. In 1276, his remains were
-removed from their first resting-place to the shrine in the south
-transept opposite the beautiful Early Decorated window (one of the
-loveliest examples of this style in England). Edward I., his Queen and
-the Court were present at the Translation. From that time the shrine
-received many visits from pilgrims.</p>
-
-<p>The central tower was built during the first half of the Fourteenth
-Century, and the spire was completed at the end of the Fourteenth
-Century. The campanile was built by Bishop John de Langton (1305-1336).
-Bishop Sherborne (1507-1536) added the upper portion of the choir-stalls
-and the decorations of the south transept. These are the ornamentations
-referred to by Fuller, who quaintly says Bishop Seffrid “bestowed the
-cloth and making on the church, while Bishop Sherborne gave the trimming
-and best lace thereto, in the reign of Henry VII.”</p>
-
-<p>In 1643, the Parliamentarian troops broke the organ, defaced the
-monuments and hacked the seats and stalls, which, of course,
-necessitated restorations and repairs. Repairs, restorations and
-alterations were also made from 1843 to 1856, the most important of
-which was the reconstruction of the central tower and spire under Sir
-Gilbert Scott.<span class="pagenum"><a name="page_69" id="page_69">{69}</a></span> In 1867 the floor of the Lady-Chapel was lowered to its
-original level and the Gilbert Chapel restored; and during the last half
-of the Nineteenth Century, the cloister was restored and the roof of the
-Lady-Chapel, and a new north-western tower designed by Mr. J. L.
-Pearson.</p>
-
-<div class="blockquot"><p>“The Cathedral stands on the south of West Street, where a fine
-view may be had of the whole of the north side of the building and
-of the detached Campanile. The Close occupies entirely the
-south-west quadrant of the city, being bounded by South and West
-Streets and the City Wall. The central tower and spire, rising to a
-height of 277 feet, are conspicuous for many miles around, but the
-west front is much shut in. Perhaps the most pleasing view is that
-seen from the meadows on the south of the city, from which point
-the Campanile fits in admirably with the general mass of the
-building.”&mdash;(J. C.-B.)</p></div>
-
-<p>This <b>Campanile</b>, in which eight bells hang, stands on the north side of
-the Cathedral, and was built in the Fourteenth Century. It covers a
-square of 50 feet and consists of two cubes with an octagonal lantern (8
-feet).</p>
-
-<p>The <b>Central Tower</b> and its delicate <b>Spire</b> have had a peculiar history.
-Exposed to the south-west gales from the Channel, the authorities in the
-Seventeenth Century had fears for its safety; and, consequently the
-upper part was taken down and rebuilt by Sir Christopher Wren, who
-placed within it a pendulum-stage of wood and iron to steady it. This
-ingenious invention lasted until 1861; and it is said that Wren’s
-contrivance prevented the spire from toppling over when the collapse
-occurred.</p>
-
-<p>About 1859 this spire showed signs of weakness, and underpinning was of
-no avail. On the<span class="pagenum"><a name="page_70" id="page_70">{70}</a></span> 21st of February it inclined slightly to the
-south-west, then seemed to right itself; and then, amid a great cloud of
-dust, descended perpendicularly into the walls of the tower, doing no
-harm to the roof of the church. The fall only lasted a few seconds. As
-this happened in Queen Victoria’s reign, the old Sussex prophecy was
-fulfiled:</p>
-
-<div class="poetry">
-<div class="poem"><div class="stanza">
-<span class="i0">“If Chichester Church steeple fall<br /></span>
-<span class="i1">In England there’s no King at all.”<br /></span>
-</div></div>
-</div>
-
-<p>The rebuilding was entrusted to Sir Gilbert Scott with a stipulation
-that the new tower and spire should be exact reproductions of the
-originals. Scott, however, added six feet to the height.</p>
-
-<div class="blockquot"><p>“The central tower, which is battlemented, with octagonal turrets
-at the angles, also battlemented, has in its principal or second
-story, two couplets in each face, with a quatrefoil in the head,
-each under a pointed arch. The spire is of beautiful design,
-octagonal; in each face is a window of two lights, flanked by
-pinnacled turrets, crocketed and canopied. Its elegance has
-constantly led to its being compared with that of Salisbury, which,
-however, differs from it in age and many other particulars, as well
-as size. It forms not only the central but the principal feature of
-the church, all whose lines are designed to work in with it, a very
-perfect effect of unity, as at Salisbury, being attained. It is
-locally said that the master built Salisbury and the man,
-Chichester.”&mdash;(W. J. L.)</p></div>
-
-<p>The <b>West Front</b> is composed of three stories, a gable, porch and two
-towers. The northern tower is modern, copied from its twin, which is
-Early English above the third story. The great <b>West Window</b> is modern,
-copied from Fourteenth Century examples. The central porch (Early
-English) is of the same date and character as the south porch, which
-opens into the cloisters. The north<span class="pagenum"><a name="page_71" id="page_71">{71}</a></span> porch (Early English) lies between
-the aisle and the north-west tower.</p>
-
-<p>The north wall of the nave has some curious buttresses. In the south
-transept notice a richly traceried window (Decorated), of seven lights,
-with a beautiful rose window above. A trefoiled string-course ornaments
-the parapet in the transept and choir. The <b>East Window</b> consists of three
-lancet windows, with a rose window of seven foliated circles of the
-choir in the gable; it is flanked by arcaded pinnacles with small
-spires.</p>
-
-<p>The first view of the interior of Chichester is somewhat severe.</p>
-
-<div class="blockquot"><p>“On entering the nave the eye is at once caught by the five aisles,
-a peculiarity shared by no other English cathedral but that of
-Manchester, although some parish churches have it on a smaller
-scale, as Taunton and Coventry. On the Continent the increased
-number of aisles is common, witness Beauvais, Cologne, Milan,
-Seville, and seven-aisled Antwerp. Grand effects of light and shade
-are produced by these five aisles: remark especially the view from
-the extreme north-east corner of the north aisle, looking across
-the cathedral. The great depth of the triforium shadows is owing to
-the unusual width of this wall passage. The breadth of the nave (91
-feet) is greater than that of any English cathedral except York
-(103 feet).</p>
-
-<p>“The first two stories of the south-west tower at the end of the
-nave deserve examination. The rude, long capitals, and plain
-circular arches, probably indicate that it formed a part of the
-first church completed by Bishop Ralph in 1108. The nave itself, as
-far as the top of the triforium, and the two aisles immediately
-adjoining, are the work of the same Bishop (died 1123),&mdash;or should
-perhaps be described as having formed part of the Norman cathedral
-completed in 1148. The clerestory above, and the shafts of Purbeck
-marble which lighten the piers, are Seffrid’s additions (died
-1204). The vaulting is perhaps somewhat later; and it was because
-it was determined, after the burning of 1187, to replace with a
-stone vault the<span class="pagenum"><a name="page_72" id="page_72">{72}</a></span> wooden roofs to which the frequent fires had been
-owing that Seffrid carried up his vaulting-shafts along the face of
-the Norman piers, some of which he re-cased. The two exterior
-aisles, north and south, were probably added by Bishop Neville
-(died 1244), when it became necessary to provide additional room
-for chantries and relic shrines. The positions of the various
-altars are marked by piscinas and aumbries in the walls. The two,
-however, occur together in the south aisle alone; in the north are
-aumbries only, an arrangement possibly resulting from the feeling
-with which that quarter was always anciently regarded. A certainly
-triplicity pervades all this part of the cathedral, which was
-dedicated by Bishop Seffrid to the Holy Trinity. The side shafts
-are triple throughout. The bearing-shafts of the vaulting are
-clustered in threes, and branch out with three triple vaulting-ribs
-above. The transitional character of Bishop Seffrid’s work is
-especially marked in the clerestory, the inner arcade of which is
-pointed, whilst the windows themselves are round-headed.”&mdash;(R. J.
-K.)</p></div>
-
-<p>The nave is full of monuments and tablets, some of which are by Flaxman.
-The one in the <b>Chapel of the Four Virgins</b> (north side) is a memorial to
-Collins the poet. Near it are the two figures of the <b>Earl of Arundel</b> and
-<b>Maud</b>, his wife. Arundel was beheaded in 1297. He is represented in full
-armour and at his feet is a lion.</p>
-
-<div class="blockquot"><p>“The most beautiful monument now remaining in the church is that
-which is said to represent Maud, Countess of Arundel (1270). The
-modelling of the whole figure and the long flowing lines of her
-robes are worthy of careful study. The hands are clasped over the
-breast with the forearms bent upwards slightly towards the face. On
-each of the long sides of the base supporting the figure are six
-elongated quatrefoil panels, containing in all six female figures
-and six shields. Between the quatrefoils are winged heads of ten
-angelic figures. The blazoning of the shields is entirely gone, and
-the brilliant colouring that once covered the entire monument is
-only to be traced in a few places. The outer robe still shows</p></div>
-
-<div class="figcenter"><br />
-<a name="fig_012" id="fig_012"></a>
-<a href="images/fp72.jpg">
-<img src="images/fp72.jpg" height="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Chichester.</span></p></div>
-</div>
-
-<div class="figcenter"><br />
-<a name="fig_013" id="fig_013"></a>
-<a href="images/fp73.jpg">
-<img src="images/fp73.jpg" width="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Chichester: Nave, east</span></p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_73" id="page_73">{73}</a></span></p>
-
-<div class="blockquot"><p class="nind">some signs of the rich blue with which it used to be covered. The
-face of the figure appears to be badly mutilated, but the damage to
-the features has been done principally by an endeavour to preserve
-them.”&mdash;(H. C. C.)</p></div>
-
-<p>In the <b>choir</b> we find stalls that have been in use since the Fourteenth
-Century. On the backs of the <b>choir-stalls</b> pictures by Bernardi represent
-Ceadwalla and Henry VIII. confirming privileges to the bishops of their
-day.</p>
-
-<p>In the <b>south transept</b> is a beautiful window, better seen from the
-Cloisters because the bad glass spoils the effect of the tracery.</p>
-
-<p>At the end of the south side in the <b>Chapel of St. Mary Magdalene</b> St.
-Richard’s head was preserved in a silver reliquary in the aumbry in the
-north wall.</p>
-
-<p>The Chapel of St. Mary Magdalene is balanced by the <b>Chapel of St.
-Katherine</b> at the end of the north-choir-aisle. In the <b>south-choir-aisle</b>,
-two curiously carved <b>Slabs</b>, representing the <i>Raising of Lazarus</i> and
-<i>Martha and Mary meeting Jesus</i>, are supposed to have been brought from
-the first Cathedral in Selsey when the See was transferred to Chichester
-in 1082.</p>
-
-<p>A doorway in the north-choir-aisle leads to the old <b>Chapel of St. John
-the Baptist and St. Edmund the King</b>. The vaulting is unlike any other in
-the Cathedral. The zigzag, or chevron, occurs upon the moulding of the
-ribs. A finely carved head appears on the spring of the arch. This
-chapel is now used as the <b>Library</b>.</p>
-
-<div class="blockquot"><p>“At Chichester there were built, one after another, four sets of
-chapels&mdash;of St. George and St. Clement on the south of the south
-aisle, and of St. Thomas, St. Anne and St. Edmund on the north of
-the north aisle. The <small>WINDOWS</small><span class="pagenum"><a name="page_74" id="page_74">{74}</a></span> should be studied in the above order;
-they form quite an excellent object-lesson of the evolution of
-bar-tracery from plate-tracery, itself a derivative from such
-designs as that of the east window of the south transept chapel.
-When the chapels were completed, the Norman aisle-walls were
-pierced, and arches were inserted where Norman windows had been;
-and the Lancet buttresses, which had been added when the nave vault
-was erected, now found themselves inside the church, buttressing
-piers instead of walls. The new windows on the south side were
-built so high that the vaulting of the chapels had to be tilted up
-to allow room for their heads; externally they were originally
-crowned with gables, the weatherings of which may be seen outside.
-In St. Thomas’s chapel is a charming example of a simple Thirteenth
-Century reredos.”&mdash;(F. B.)</p></div>
-
-<p>Above the south porch there is a small chamber popularly known as the
-“<b>Lollards’ Prison</b>.”</p>
-
-<p>Between the back of the reredos (modern) and the entrance to the
-Lady-Chapel is the Retro-choir, or presbytery, which many critics
-consider the chief glory of Chichester.</p>
-
-<div class="blockquot"><p>“The design in detail of these two bays is very different in
-character from the three in the choir, which are like those in the
-nave. The two piers of Purbeck marble are circular, and about them
-are grouped four detached shafts of the same material. They are
-united only at the base and by the abacus above the capitals, which
-are beautifully carved. The main arches in the two bays are not
-pointed, but round, like those in the nave and choir; but, unlike
-the latter, they have deeply cut mouldings in three orders. The
-triforium arcade above, on the north and south sides, has moulded
-and carved details of a similar character. Some of the beautifully
-carved figure-work still remains in the spandrels between the
-subsidiary pointed arches. But the most beautiful piece of design
-in all this work is in the arches of the triforium passage across
-the east wall, above the entrance to the Lady-Chapel.”&mdash;(F. B.)</p></div>
-
-<p><b>St. Richard’s Shrine</b> stood on a platform in the bay in the presbytery
-immediately behind the High<span class="pagenum"><a name="page_75" id="page_75">{75}</a></span> Altar. This platform was removed at the
-time of the general restoration in 1861-1867.</p>
-
-<p>The <b>Lady-Chapel</b> was once decorated with designs in colour, remains of
-which are still to be seen. The new <b>Reredos</b> is of alabaster. The glass
-of the window is also modern. Here is the <b>Tomb of Bishop Ralph</b>, founder
-of the original Norman church.</p>
-
-<p>The visitor should walk around the <b>Cloisters</b> for the sake of the
-exterior views of the Cathedral. The south transept window is well seen
-here. Note the beautiful tracery of the circular window above it. The
-position of the Cloisters, lying eastward under the Transept and Choir,
-instead of westward along the Nave, is unusual.</p>
-
-<div class="blockquot"><p>“The cloister which was added in the Fifteenth Century is of a
-peculiarly irregular shape, and encloses the south transept within
-the paradise. It has been much restored at different times. The
-present roof is of tiles and is carried on common rafters. Each has
-a cross tie, and the struts are shaped so as to give a pointed arch
-form to each one. The old Fifteenth Century wooden cornice still
-remains in some sections. The tracery is divided into four
-compartments by mullions, and each head is filled with cusped work.
-Round the cloister are placed the old houses of the Treasurer, the
-Royal Chaplains, and Wiccamical Prebendaries. Above the door
-leading to the house of the Royal Chaplains is an interesting
-monument of the Tudor Period. It is a panel divided into two
-compartments by a moulded stone fragment. Leading out of the south
-walk is a doorway, through which the deanery may be seen beyond the
-end of a long walled passage known as <span class="smcap">St. Richard’s Walk</span>. Looking
-back northwards, there is fine view of the spire and transept from
-the end of this walk.”&mdash;(H. C. C.)</p></div>
-
-<p>In the south-east corner the Cloister passes under the west end of <b>St.
-Faith’s Chapel</b>, founded in the Fourteenth Century.<span class="pagenum"><a name="page_76" id="page_76">{76}</a></span></p>
-
-<h2><a name="SALISBURY" id="SALISBURY"></a>SALISBURY</h2>
-
-<div class="blockquotcent"><p><span class="smcap">Dedication: St. Mary; a Church served by Secular Canons.</span></p>
-
-<p><span class="smcap">Special features: Spire; Chapter-House.</span></p></div>
-
-<p class="nind"><span class="smcap">Salisbury</span>, on the edge of the great Salisbury Plain, haunted by
-Ingoldsby’s “Dead Drummer” and not far from weird Stonehenge, is famous
-for its beautiful Early English Cathedral.</p>
-
-<div class="blockquot"><p>“The visitor who sees it first on a bright day can never forget the
-impression it has made on his mind. Unlike the architects of the
-so-called ‘Great Gothic Revival,’ the builders of Salisbury put
-their trust in proportion. Incidentally they made their details as
-elaborate and as perfect as possible; but they were subordinated to
-the general effect, and when, during the frightful ravages of the
-‘restorers,’ let loose upon the church in the past and present
-centuries, many of the best and most precious of these details and
-ornaments perished or were renewed, the main building survives,
-raising its exquisitely graceful spire into the blue sky, its
-thousand pinnacles all pointing upward and gleaming white against
-the deep green of the old trees and the emerald turf of the
-surrounding close. England can show no fairer sight. ‘How long,’
-asked an American visitor, ‘does it take to grow such turf?’ ‘Oh!
-not long,’ was the reply; ‘only a couple of centuries.’ One feels
-at Salisbury that whether the answer was given there or at Oxford,
-of no place could it be more true. Though, when we look near
-enough, we can see that fresh and white as is the general effect,
-the masonry of Salisbury is of great antiquity, except of course
-where it has been restored; and antiquity adds another charm, for
-Salisbury was the first complete cathedral built after the
-Romanesque tradition had died out, as St. Paul’s is the first built
-after it had been revived. In other cathedrals there are fragments
-of the same style, and they are always the most</p></div>
-
-<div class="figcenter"><br />
-<a name="fig_014" id="fig_014"></a>
-<a href="images/fp76.jpg">
-<img src="images/fp76.jpg" height="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Chichester: Screen</span></p></div>
-</div>
-
-<div class="figcenter"><br />
-<a name="fig_015" id="fig_015"></a>
-<a href="images/fp77.jpg">
-<img src="images/fp77.jpg" width="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Salisbury: North</span></p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_77" id="page_77">{77}</a></span></p>
-
-<div class="blockquot"><p class="nind">beautiful features of the whole building. We can recall the western
-porch at Ely, and the Angel Choir at Lincoln, and the chapter-house
-at Southwell; but, here, at Salisbury, we have the whole vast
-cathedral, all in the same supreme style, every part fitting into
-its place, and adding its contribution to the general effect, never
-in contrast but always in harmony until the effect is attained.
-What that is may be read in countless books of travel or criticism.
-Salisbury Cathedral, like the Parthenon and all other&mdash;there are
-not many&mdash;buildings which tempt one to call them poems in
-stone&mdash;produces a different feeling in the minds of all who see
-it.”&mdash;(W. J. L.)</p></div>
-
-<p>Salisbury was built on a site unoccupied by a former church. The
-“Bishop’s Stool” had long been at Old Sarum on Salisbury Plain, a
-fortified castle and cathedral; but the castle became too important and
-Bishop Poore and his canons removed the See in the early part of the
-Thirteenth Century. An old legend says that the site of the new
-Cathedral was determined by an arrow shot by an archer from the ramparts
-into the green vale below.</p>
-
-<p>The first stone was laid for the Pope, who had consented to the removal
-of the church from Old Sarum; the second, for Stephen Langton,
-Archbishop of Canterbury, then with young Henry III. in Wales; the
-third, for Bishop Poore; the fourth was laid by William Longespée, Earl
-of Salisbury; and the fifth, by the Countess Ela, his wife. When the
-King returned from Wales many of his courtiers visited Salisbury, “and
-each laid his stone, binding himself to some special contribution for a
-period of seven years.”</p>
-
-<p>The building was undertaken by Elias of Dereham, clerk of the works; and
-his successors were Nicholas of Portland and Richard of Fairleigh. The
-latter completed the spire in 1375.<span class="pagenum"><a name="page_78" id="page_78">{78}</a></span></p>
-
-<p>The Cathedral was consecrated in 1258, by the Archbishop of Canterbury
-in the presence of Henry III. and his Queen.</p>
-
-<p>The Cloisters and Chapter-House were built in the Thirteenth Century and
-the Spire (which seems, however, to have formed part of the original
-plan) in the Fourteenth.</p>
-
-<div class="blockquot"><p>“The history of no English cathedral is so clear and so readily
-traceable as that of Salisbury. It was the first great church built
-in England in what was then the new or pointed style (Early
-English); of which it still remains, as a whole, one of the finest
-and most complete examples. The Abbey Church of Westminster,
-commenced in 1245, and completed to the east end of the choir in
-1269, is the only great building of this age in England which can
-be considered finer than Salisbury; and it is probable that Henry
-III. was induced to undertake the rebuilding of Westminster from
-admiration of the rising glories of the new Wiltshire cathedral,
-which he had several times visited. On the Continent, the great
-rival of Salisbury is Amiens; commenced in the same year (1220) and
-completed, nearly as at present, in 1272.</p>
-
-<p>“The usual alterations took place in Salisbury Cathedral at the
-Reformation, when much of the painted glass is said to have been
-removed by Bishop Jewell. Although desolate and abandoned, it
-escaped material profanation during the Civil War, and workmen were
-even employed to keep it in repair. On the Restoration, a report of
-the general condition of the cathedral was supplied by Sir
-Christopher Wren, and certain additions for the strengthening of
-the spire were made at his recommendation. The great work of
-destruction was reserved for a later period and more competent
-hands. Under Bishop Barrington (1782-1791) the architect Wyatt was,
-unhappily, let loose upon Salisbury; and his untiring use of axe
-and hammer will stand a very fair comparison with the labours of an
-iconoclast emperor, or with the burning zeal of an early Mohammedan
-caliph. He swept away screens, chapels and porches; desecrated and
-destroyed the tombs of warriors and prelates; obliterated ancient
-paintings; flung<span class="pagenum"><a name="page_79" id="page_79">{79}</a></span> stained glass by cartloads into the city ditch;
-and levelled with the ground the Campanile&mdash;of the same date as the
-Cathedral itself&mdash;which stood on the north side of the churchyard.
-His operations at the time were pronounced ‘tasteful, effective and
-judicious.’ The best point of view is from the north-east, which
-Rickman has pronounced ‘the best general view of a cathedral to be
-had in England, displaying the various portions of this interesting
-building to the greatest advantage.’ The Cathedral is built (and
-roofed) throughout with freestone obtained from the Chilmark
-quarries, situated about twelve miles from Salisbury towards
-Hendon, and still worked. The stone belongs to the Portland beds of
-the oölite. The pillars and pilasters of the interior are of
-Purbeck marble. The local rhyme in which the cathedral is
-celebrated may here be quoted; it is attributed by Godwin, who
-gives a Latin version of it, to a certain Daniel Rogers:</p>
-
-<div class="poetry">
-<div class="poem"><div class="stanza">
-<span class="i0">“<span class="lftspc">‘</span>As many days as in one year there be,<br /></span>
-<span class="i1">So many windows in this church you see.<br /></span>
-<span class="i1">As many marble pillars here appear<br /></span>
-<span class="i1">As there are hours through the fleeting year.<br /></span>
-<span class="i1">As many gates as moons one here does view,<br /></span>
-<span class="i1">Strange tale to tell, yet not more strange than true.’<br /></span>
-</div></div>
-</div>
-
-<p class="nind">The great point to which the attention of the stranger is at once
-drawn is, of course, the grand peculiarity of Salisbury, the
-‘silent finger’ of its <i>spire</i>. This is the loftiest in England,
-rising 400 feet above the pavement (Chichester said, but very
-doubtfully, to have been built in imitation of it, is 271 feet in
-height; Norwich 313 feet) and its summit is 30 feet above the top
-of St. Paul’s.”&mdash;(R. J. K.)</p></div>
-
-<p>Dean Stanley said that Westminster is all-glorious within and Salisbury,
-all-glorious without.</p>
-
-<div class="blockquot"><p>“Much has been written on the beauty of the Cathedral church of
-Salisbury, the chastity of its style and the purity of its detail.
-The east end may be said to display the utmost refinement of the
-Early English era. Every subordinate feature is so perfectly
-disposed, so admirably carried out and adapted to its purpose, so
-necessary to the<span class="pagenum"><a name="page_80" id="page_80">{80}</a></span> full effect of the whole, so simple and yet so
-rich, that nothing, even by the most critical, can be found wanting
-there or considered <i>de trop</i>. The northern side is scarcely less
-perfect; the simple lancet openings of its eastern transept, the
-more fully developed quatrefoils of the central gable and the still
-more advanced northern porch beyond these, all mark the progress of
-construction. At the intersection rises the still later tower and
-spire, the final limb of the whole, on an embattled lower stage of
-earlier date. It is rich to the utmost limit. Every ballflower,
-every projecting shaft and moulding sparkles for itself and casts
-its own diminutive shadow upon its fellow, entirely relieving the
-wall-surface of that flatness which is and must be the fault in
-every view purporting to suggest its elegance. The church stands
-alone; like a model of itself; in its entirety perhaps the most
-stately of which we can boast.”&mdash;(A. A.)</p></div>
-
-<p>In the close, which is about half a square mile, there are three gates:
-the South, or <b>Harnham</b>; the East, or <b>St. Anne’s</b>; and the North, or <b>Close
-Gate</b>, built about 1327.</p>
-
-<div class="blockquot"><p>“The first thing to be noticed in Salisbury is the ample breadth of
-the space in which its cathedral stands, the beauty of which space
-is enhanced by rows and avenues of magnificent trees; so that it is
-difficult to conceive a more appropriate enclosure in which to find
-‘the most chaste of English’ churches. Salisbury covers no less
-than eight acres of ground.</p>
-
-<p>“Entering from the High Street, the visitor finds himself almost in
-another township. A street lined with houses conducts to the
-Cathedral lawn, where from the north-eastern extremity the full
-proportions of the church may be comprehended. The whole north side
-of the close is thus open. On the east we find another gateway and
-the entrance to the Palace; on the other side the Choristers’
-Green, in itself another little close. The west is occupied by a
-group of interesting and extremely handsome houses of various
-dates. Here are the Deanery, standing in its own grounds opposite
-the Cathedral façade; the King’s House, a long, many-gabled mansion
-of the early Fif<span class="pagenum"><a name="page_81" id="page_81">{81}</a></span>teenth Century, with mullioned windows and a
-vaulted porch, the occasional resting-place of the English monarchs
-on their passage through Salisbury; and the Wardrobe, distinguished
-by its heavy roof, its projecting double gables, and the immense
-square windows, back and front, through which the evening sun
-penetrates with a curious half-ghostly gleam. These form the most
-effective line of buildings of the enclosure, which at this least
-trim but not the less picturesque side, terminates at the Harnham
-Gate.”&mdash;(A. A.)</p></div>
-
-<p>Raising our eyes to the <b>Tower</b> and <b>Spire</b>, we note:</p>
-
-<div class="blockquot"><p>“The Early English portion, however, terminates with the first
-story, about eight feet above the roof; the two additional stories
-and the spire above them date from the reign of Edward III. The
-walls of the upper stories of the tower are covered with a blind
-arcade, richly canopied, and pierced for light with double windows
-on all four sides. Above each story is a parapet with
-lozenge-shaped traceries, which are repeated in the three bands
-encircling the spire. At each angle of the tower is an octagonal
-stair-turret, crowned with a small crocketed spire. The great
-spire, itself octagonal, rises from between four small
-richly-decorated pinnacles. Its walls are two feet in thickness
-from the bottom to a height of twenty feet; from thence to the
-summit their thickness is only nine inches. The spire is filled
-with a remarkable frame of timber-work, which served as a scaffold
-during its erection. While making some repairs in 1762, the workmen
-found a cavity on the south side of the capstone in which was a
-leaden box, enclosing a second of wood which contained a piece of
-much decayed silk or fine linen, no doubt a relic (possibly of the
-Virgin, to whom the cathedral is dedicated) placed there in order
-to avert lightning and tempest.”&mdash;(R. J. K.)</p></div>
-
-<p>Entering by the west door we look down the <b>Nave</b>.</p>
-
-<div class="blockquot"><p>“The interior is indeed very fine. It could hardly help being fine;
-a nave so spacious and so proportioned could under no circumstances
-be a failure. It is immensely<span class="pagenum"><a name="page_82" id="page_82">{82}</a></span> high and as long in proportion. The
-proportion of height to span (2⅛ to 1) is better than in most
-English churches. The harmony of the design&mdash;practically the same
-from east to west and from north to south&mdash;is unique in England,
-and is most impressive. The charming way, too, in which the
-architect has contrived that we should have a vista of another
-miniature church in the Lady-Chapel&mdash;a cathedral within a
-cathedral&mdash;is worthy of all commendation. But, as in Lincoln nave,
-to the eye every support is alarmingly insufficient for the work it
-has to do; the piers are too tall and slender, the walls too thin
-and pierced with too many openings. The triforium is a most
-unfortunate design: in harmony neither with the arcade below, nor
-with the clerestory above; its outer arches ugly in themselves and
-discordant with every other arch in the church; nor could it be
-expected that its dark marble shafts would tell against a dark
-background&mdash;black on black. Add to this the dreadfully new look of
-everything&mdash;partly due to the very perfection of the masonry,
-partly because Scott has been here&mdash;and the overpowering glare: one
-almost feels as if one were in the Crystal Palace.”&mdash;(F. B.)</p></div>
-
-<p>The most interesting tomb in the nave is that of <b>William Longespée</b>, the
-first Earl of Salisbury, son of Henry II. and Fair Rosamond, who died at
-his castle of Old Sarum in 1226.</p>
-
-<div class="blockquot"><p>“The effigy is entirely in chain-mail, covering the mouth as well
-as the chin in an unusual manner. Over the mail is the short
-cyclas, or surcoat. On the earl’s shield are the six golden
-lioncels also borne by his grandfather Geoffrey, Count of Anjou.
-Longespée acquired the earldom of Salisbury through marriage with
-its heiress, the Countess Ela. He took an active part in public
-affairs throughout the reign of John; joined the Earl of Chester in
-an expedition to the Holy Land, and was present at the battle of
-Damietta in 1221, where the Christians were defeated. He fought
-much in Flanders and in France; was present on the King’s side at
-Runnymede; and was one of the witnesses to the Great Charter.”&mdash;(R.
-J. K.)</p></div>
-
-<p>The curious monument of the <b>Boy Bishop</b> was removed to its present
-position about 1680, when<span class="pagenum"><a name="page_83" id="page_83">{83}</a></span> it was found buried under the seating of the
-choir. It is Early English and represents an effigy of the boy in
-bishop’s robes and mitre, holding a crozier in his left hand. The
-boy-bishop was elected by the choir-boys in many of the English
-cathedrals on St. Nicholas’s Day (Dec. 6) and he held office until Holy
-Innocents’ Day (Dec. 28), during which time he was practically bishop.
-Law provided that if a boy-bishop died during his term of power, he was
-to be buried in his vestments and with all the pomp of an episcopal
-funeral; and, therefore, we must conclude that this boy died during his
-short rule.</p>
-
-<p>From the nave we enter the <b>North Transept</b>,</p>
-
-<div class="blockquot"><p>“passing under the wide Perpendicular arch, which (as at Canterbury
-and Wells) was inserted early in the Fifteenth Century by way of
-counter-thrust against the weight of the central tower, under which
-the central piers had already given away to some extent, as will be
-at once perceived. It is owing to this settlement of the piers that
-the spire is out of the perpendicular. The triforium and clerestory
-of the nave are carried round the transept; the triforium on the
-north side, being replaced by two-light window of very elegant
-character. The clerestory window above, with its slender pilasters,
-and graceful flow of lines, deserves especial notice. Each transept
-has an eastern aisle divided by clustered piers into three bays.
-The screens which formerly enclosed the chapel in each of these
-bays were swept away by Wyatt. A staircase in the angle of the
-transept leads upward to the tower, which may be ascended by
-staircases in each of its flanking turrets. The top of the tower is
-called the Eight Doors, from the double doors on each side, through
-which the visitor will obtain magnificent views over the town and
-surrounding country. The first story of the tower is of Early
-English date, and originally formed a lantern, open to the nave. It
-is surrounded by an arcade of slender pilasters. The ascent of the
-spire&mdash;which is a formidable undertaking&mdash;is made internally by a
-series of slender ladders as far as a little door about forty feet
-below the vane, and from that point<span class="pagenum"><a name="page_84" id="page_84">{84}</a></span> the adventurous climber has to
-scale the outside by means of hooks attached to the walls. The
-interior is filled with a timber frame consisting of a central
-piece with arms and braces.”&mdash;(R. J. K.)</p></div>
-
-<p>The <b>South Transept</b> is a counterpart of the north transept. The windows
-at the south end are filled with stained-glass. The glass in the upper
-lights is Early English.</p>
-
-<p>The lierne vault above the central tower arches is Perpendicular. From
-here we enter the <b>Choir</b>, passing under a screen of wrought metal
-(modern). In the second arcade on each side of the <b>choir</b> is placed the
-new and divided organ built by Willis.</p>
-
-<div class="blockquot"><p>“The Choir and Presbytery are very similar to the nave in the main
-features of their design. The piers show a different plan, which
-provides for eight shafts of Purbeck marble to each. The inner
-mouldings of the arches exhibit the dog-tooth ornamentation of
-their period. The triforium and clerestory differ slightly from the
-corresponding parts of the nave. In each of the last two bays of
-the presbytery the triforium has five small cinquefoil arches. At
-the east wall of the choir above the reredos is an arcade of five
-simply-pointed arches, below a triplet window in the gable, which
-is filled with stained glass, given by the Earl of Radnor in 1781,
-and representing <i>The Brazen Serpent</i>, after a design by Mortimer.</p>
-
-<p>“The choir still bears traces of Wyatt’s destruction. He removed
-the original reredos behind the high altar and the screen before
-the Lady-Chapel, so that both, with the low eastern aisle, were
-thrown into the choir. He shifted the high altar from the choir to
-the extreme east end of the Lady-Chapel, sacrificing several
-chantries and tombs to do so. Views of the cathedral after his
-reign of terror fail to show any gain to compensate for so much
-loss; the extreme length is not apparently an advantage, while the
-bare look of the interior seems decidedly intensified by the
-increased vista that he was so delighted to obtain, and for which,
-with a light heart, he effaced the silent records of dead
-centuries. The decorations of the roof of the choir and presbytery
-are reproductions of the original series of<span class="pagenum"><a name="page_85" id="page_85">{85}</a></span> paintings, dating, it
-is thought, from the Thirteenth Century. The subjects are the
-prophets and saints, Christ and the four Evangelists and the twelve
-months.”&mdash;(G. W.)</p></div>
-
-<p>On the north side of the choir is <b>Bishop Audley’s Chantry</b>, built by the
-bishop in 1520, four years before his death. It is late Perpendicular
-and resembles the chantry of Bishop Fox at Winchester. The fan-tracery
-of the roof was originally coloured. In the corresponding bay on the
-south side is the chantry founded by <b>Walter, Lord Hungerford</b>, in 1429.
-It was removed from the nave in 1778.</p>
-
-<p>The <b>Choir-Stalls</b> are composed of pieces of various dates with some
-additions by Sir Christopher Wren and canopies by Wyatt. The <b>Reredos</b> is
-modern, the gift of Earl Beauchamp in memory of his ancestor, whose
-chantry Wyatt destroyed. It was designed by Sir Gilbert Scott.</p>
-
-<p>Many of the Earls of Pembroke and their wives are buried near the choir.</p>
-
-<p>In the <b>South-choir-aisle</b> an interesting monument to <b>Bishop Davenport</b>,
-probably one of the translators of the Bible, is of white marble with
-black Corinthian pillars. Near it is the tomb of <b>Sir Richard Mompesson</b>
-and his wife. He is in armour and Katherine in a black robe with gold
-flowers. The black Corinthian columns with vine leaves and grapes in
-green and gold twisted around them are striking. Near the south
-transept, still in the choir-aisle, is the altar-tomb of <b>Bishop Mitford</b>
-(1407), with carved shields. On the cornice with the lilies, birds are
-holding in their beaks scrolls with the words <i>Honor Deo et gloria</i>.</p>
-
-<p>In the floor of the north-east-choir-aisle is the <b>brass</b> to <b>Bishop
-Wyvill</b>, generally regarded as one<span class="pagenum"><a name="page_86" id="page_86">{86}</a></span> of the most wonderful existing
-examples. Bishop Wyvill (1329-1375) recovered for this See the castle of
-Sherborne and the chase of Bere. The brass, therefore, represents the
-contested castle with keep and portcullis. At the door of the first ward
-the bishop appears, bestowing his benediction on his champion, who
-stands at the gate of the outer ward with battle-axe and shield. The
-rabbits and hares before the castle refer to the chase of Bere, within
-Windsor Forest.</p>
-
-<p><b>Bishop Giles de Bridport</b> (died 1262) lies opposite William of York’s
-tomb, between the choir-aisle and the eastern-aisle of the transept. His
-monument is one of the most important and interesting in the Cathedral.</p>
-
-<div class="blockquot"><p>“All the details of this remarkable monument deserve the most
-careful examination. The effigy, at the head of which are small
-figures of censing angels, lies beneath a canopy, supported north
-and south by two open arches with quatrefoils in the heads. Each
-arch is subdivided by a central pilaster, and springs from
-clustered shafts, detached. A triangular hood-moulding, with
-crockets and finials of leafage, projects above each arch; and
-between and beyond the arches pilasters rise to the top of the
-canopy, supporting finials of very excellent design. The whole
-character of the tomb is most graceful, but an especial interest is
-given to it by the reliefs with which the spandrels of the arches
-are filled, and by the small sculptured figures on various parts of
-the monument. The subjects, beginning on the south side, have been
-thus interpreted. The first, a female figure with an infant and
-attendants, represents the birth of the future bishop: in the three
-next spandrels are his confirmation; either his own education or
-his instruction of others; and, possibly, his first preferment. The
-shield hung from a tree in this compartment, bears Az., a cross,
-or, between 4 bezants, no doubt his own arms. On the north side of
-the monument are the bishop doing homage for his see&mdash;a proces<span class="pagenum"><a name="page_87" id="page_87">{87}</a></span>sion
-with a cross-bearer, perhaps referring to the dedication of
-Salisbury Cathedral&mdash;the bishop’s death and the presentation of his
-soul for judgment. Little or nothing is known of the life of Bishop
-Bridport.”&mdash;(R. J. K.)</p></div>
-
-<p>At the end of the north aisle of the Lady-Chapel and at the end of the
-south aisle, directly opposite, are two monuments that will interest the
-visitor. The first is a medley of obelisks, globes, spheres and the Four
-Cardinal Virtues and effigies of <b>Sir Thomas Gorges</b> and his widow,
-maid-of-honour to Queen Elizabeth. The second is a gorgeous tribute to
-<b>Edward, Earl of Hertford</b>, son of the Protector Somerset and of his wife,
-Catherine, Lady Jane Grey’s sister. The effigies are praying; the Earl
-is in armour. The whole piece is gilded and coloured.</p>
-
-<p>Very little ancient glass remains in Salisbury.</p>
-
-<div class="blockquot"><p>“The fragments that survived were collected some fifty years since,
-and placed in the nave windows, and in parts of some of the others.
-The most important are in the great west triple lancet, wherein the
-glass ranges in date from the Twelfth to the Fifteenth Century. Mr.
-Winston, in his Paper read in 1849 before the Archæological
-Institute and printed in the Salisbury volume for that year,
-considered that the earliest fragments are from a Stem of Jesse
-about 1240 and some medallions about 1270. He describes two of the
-ovals that are on each side of the throned bishop, a prominent
-figure in the lower half of the central light, one of the Christ
-enthroned, the other of the Virgin. The two medallions below them
-he believes represent Zacharias in the Temple and the Adoration of
-the Magi. The later glass now in the same window may be either
-Flemish work brought hither from Dijon, or possibly partly from
-Rouen, and partly from a church near Exeter. It has been
-conjectured that in the south lancet the figures represent SS.
-Peter and Francis, in the central one the Crucifixion, the
-Coronation of the Virgin and the Invention of the Cross, and in the
-north light the Be<span class="pagenum"><a name="page_88" id="page_88">{88}</a></span>trayal of Christ and St. Catherine. In two of
-the side windows of the nave are the arms of John Aprice
-(1555-1558) and Bishop Jewell (1562).”&mdash;(G. W.)</p></div>
-
-<p>In the south-choir-aisle is <b>Jacob’s Dream</b> in memory of the Duke of
-Albany and there are also two of the proposed six angel-windows&mdash;<b>Angeli
-Ministrantes</b> and the <b>Angeli Laudantes</b>&mdash;designed by Sir Edward
-Burne-Jones and made by William Morris. These are considered among the
-best examples of glass-painting since the Middle Ages.</p>
-
-<p>The <b>Chapter-House</b> is a very fine type of an English chapter-house of the
-Thirteenth Century, when geometrical tracery was in vogue. It probably
-dates from the reign of Edward the First.</p>
-
-<div class="blockquot"><p>“The architecture is somewhat later in style than that of the
-cloisters, and if it be not, as its admirers claim, the most
-beautiful in England, it has few rivals. Like Westminster, Wells
-and other English examples, except York and Southwell, it has a
-central pillar, from which the groining of the roof springs
-gracefully in harmonious lines. A raised bench of stone runs round
-the interior. At its back forty-nine niches of a canopied arcade
-borne on slight Purbeck marble shafts marked out as many seats.
-They are apportioned as follows: those at each side of the entrance
-to the Chancellor and Treasurer respectively, the rest to the
-Bishop, Dean, Archdeacons and other members of the chapter.</p>
-
-<p>“The plan of the building is octagonal, about fifty-eight feet in
-diameter and fifty-two feet in height. Each side has a large
-fan-light window with traceried head. Below these windows and above
-the canopies of the seats is a very remarkable series of
-bas-reliefs. The bosses of the roof are somewhat elaborately
-carved: one north of the west doorway has groups of figures on it,
-apparently intended to represent armourers, musicians, and
-apothecaries, possibly commemorating guilds who were benefactors to
-the building; the others have foliage chiefly with grotesque
-monsters. On the base of the central</p></div>
-
-<div class="figcenter"><br />
-<a name="fig_016" id="fig_016"></a>
-<a href="images/fp88.jpg">
-<img src="images/fp88.jpg" height="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Salisbury: Nave, east</span></p></div>
-</div>
-
-<div class="figcenter"><br />
-<a name="fig_017" id="fig_017"></a>
-<a href="images/fp89.jpg">
-<img src="images/fp89.jpg" width="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Exeter: South-west</span></p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_89" id="page_89">{89}</a></span></p>
-
-<div class="blockquot"><p class="nind">pillar is a series of carvings taken probably from one of the many
-books of fables so popular in the Middle Ages. These were
-reproduced from the originals, which are preserved in the
-cloisters.”&mdash;(G. W.)</p></div>
-
-<p>The vaulted roof is re-painted in accordance with the original.</p>
-
-<p>The <b>Cloisters</b> are on the south-west side of the Cathedral, their western
-wall being on a line with the west front. These fine covered walks, the
-largest in England (181 feet long), surround a great sward (140 feet
-square), where a group of dark cedars contrasts beautifully with the
-grey walls. The style is late Thirteenth Century. The windows formed of
-double arches with quatrefoils united at the main head with a large
-six-foiled circle are much admired.<span class="pagenum"><a name="page_90" id="page_90">{90}</a></span></p>
-
-<h2><a name="EXETER" id="EXETER"></a>EXETER</h2>
-
-<div class="blockquotcent"><p><span class="smcap">Dedication: St. Peter. A Church served by Secular Canons.</span></p>
-
-<p><span class="smcap">Special features: Screen on west front; Misereres; Bishop’s Throne;
-Minstrels’ Gallery; Lady-Chapel; East Window.</span></p></div>
-
-<div class="blockquot"><p>“As the last cathedral church we visited, namely Salisbury, may be
-taken as the most complete example of Early English work, so Exeter
-in its present state is the best specimen of the Decorated style
-that is to be met with in England. For though, unlike Salisbury, it
-was not built afresh from the ground, yet under Bishops Quivil,
-Bitton, Stapledon and Grandisson, between the years 1280 and 1369,
-the fabric was so entirely remodelled that it may be regarded as
-practically a new building; and since the work of remodelling began
-about the time that the Early English style was passing into the
-Decorated, and was completed before the time when the Perpendicular
-had superseded the Decorated, it naturally is characterised by the
-features of that style which flourished during the first half of
-the Fourteenth Century. Much indeed of the work found at Exeter is
-the very finest that the Fourteenth Century produced.”&mdash;(T. P.)</p></div>
-
-<p>As early as the reign of Athelstan a Benedictine monastery, dedicated to
-St. Peter, existed at Crediton and was much injured by the Northmen in
-the Tenth and Eleventh Centuries. When the Sees for Devon and Cornwall
-were removed from Crediton to Exeter in 1050, the old church of St.
-Peter was chosen for the new Cathedral. Of the Saxon church, however,
-nothing remains. William Warelwast (1107-1136), the third bishop after
-the Conquest, began the new church about 1112, in the “marvellous and
-sumptuous” architecture of the<span class="pagenum"><a name="page_91" id="page_91">{91}</a></span> Normans. During its erection it suffered
-from fire when Stephen besieged Exeter in 1136. Of this building the two
-transept towers remain. Bishop Peter Quivil built the greater part of
-the present Cathedral before 1291; Bishop Stapledon, who was murdered by
-the Londoners at the “great cross in Chepe” in 1326, the eastern part of
-the Choir, the sedilia and the choir-screen; Bishop Grandisson finished
-the Nave about 1350 and the west front, in all probability, a little
-later; and Bishop Brantingham, the Cloisters. The Lady-Chapel was built
-during the episcopates of Bronescomb and Quivil, and the chapels of St.
-Mary Magdalene and of St. Gabriel the Archangel, north and south of the
-Lady-Chapel, are the work of Bishop Bronescomb.</p>
-
-<p>Many of the ancient decorations and arrangements were either removed, or
-defaced, by Queen Elizabeth’s “visitors,” who, in 1559, were appointed
-to compel the general observance of the Protestant formularies. During
-the Commonwealth the Cathedral was divided into two portions by a brick
-wall so that an Independent preacher named Stuckeley, one of Cromwell’s
-chaplains, could preach in “West Peter’s,” and a Presbyterian, named
-Ford, in the Choir, or “East Peter’s,” as the Puritans now named these
-portions of the Cathedral.</p>
-
-<p>The finest view is perhaps from Waddlesdown, about four miles from
-Exeter. Taking a view of the exterior,</p>
-
-<div class="blockquot"><p>“The visitor should especially remark the Norman towers, the
-cresting of the roof, the flying-buttresses and the north porch.
-The Norman towers, in connection with the long unbroken roof,
-should perhaps be regarded as constituting the specialty of Exeter.
-At all events, the<span class="pagenum"><a name="page_92" id="page_92">{92}</a></span> peculiarity of their present position is so
-great and so striking as at once to attract attention; and the
-question of their place in the original Norman church is one of
-very considerable interest. Each tower consists of six stages, the
-two lowest of which are plain: the other four have blind arcades
-and circular window openings, the details and arrangements of which
-vary in the two towers. At the angles are square buttresses, which
-rise above the uppermost story. The south tower is Norman
-throughout; that on the north was altered by Bishop Courtenay for
-the reception of the great bell from Llandaff, and its final stage
-is Perpendicular. The <i>fleur-de-lis</i> cresting of the roof is of
-lead (with which the whole of the roof is covered), and its form is
-very graceful and effective. The flying-buttresses derive a very
-grand effect from the fact that the aisle-roofs slope outwards, and
-not, as usual, inwards. Resulting also from this peculiarity are,
-the great height of the aisles on the exterior, and an unusual
-development of the clerestory, without any intervening space
-between it and the aisle-roofs; and within the nave, the absence of
-the triforium; the place of which is, however, indicated by the
-blind arcade above the piers. The north porch with its triple
-canopy is part of Grandisson’s work, and very beautiful.”&mdash;(R. J.
-K.)</p></div>
-
-<p>Many people are at first disappointed with their first view of the <b>West
-Front</b> and more particularly of the <b>Screen</b> with its noble array of
-statues. The impression that it produces has been well described by W.
-D. Howells, who writes on his visit to Exeter:</p>
-
-<div class="blockquot"><p>“To the first glance it is all a soft gray blur of age-worn
-carving, in which no point or angle seems to have failed of the
-touch which has blent all archaic sanctities and royalties of the
-glorious screen in a dim sumptuous harmony of figures and faces.”</p></div>
-
-<p>Now let us examine it more in detail.</p>
-
-<div class="blockquot"><p>“The west front, usually regarded as the latest work of Bishop
-Grandisson, who died in 1369, is of very high<span class="pagenum"><a name="page_93" id="page_93">{93}</a></span> interest; and
-although it cannot compete with those of Wells or Lincoln (both of
-earlier date), may justly claim great beauty as an architectural
-composition. It recedes in three stories, the lowest of which is
-formed by the sculptured screen; the second contains the great west
-window, on each side of which is a graduated arcade; and in the
-third, or gable, is a triangular window surmounted by a niche,
-containing a figure of St. Peter, the patron saint of the
-cathedral. The <small>SCREEN</small> deserves the most careful examination. It is
-pierced by three doorways, and surrounded by a series of niches, in
-which are the statues of kings, warriors, saints and apostles,
-guardians, as it were, of the entrance to the sanctuary. These
-figures are arranged in three rows. From pedestals crowned with
-battlements spring angels, each of whom supports a triple pilaster,
-with capitals. The statues on these capitals, forming the second
-row, are for the most part those of kings and knights; above the
-canopies which surmount them appears the third row, chiefly saints
-and apostles. The positions of the angels are admirably varied.</p>
-
-<p>“The two statues with shields of arms in niches above the upper row
-are certainly those of Athelstan and Edward the Confessor, the
-Saxon king who expelled the Britons from Exeter, and the founder of
-the existing bishopric. In all these figures the general
-arrangement of the hair as well as the fashion of the crowns and of
-the armour, are those of the reign of Edward III., in which the
-work was probably completed.</p>
-
-<p>“The platform above the screen no doubt served, as in many foreign
-cathedrals, as a station from which the church minstrels and
-choristers might duly welcome distinguished persons on their
-arrival; and from which the bishop might bestow his benediction on
-the people. The three doorways are much enriched. Round that in the
-centre, within the porch, is a moulding of carved foliage which
-deserves notice. On the central boss of the groining is a
-representation of the Crucifixion. The recess within the south
-doorway contains two sculptures, The Appearance of the Angel to
-Joseph in a Dream and The Adoration of the Shepherds. Both, like
-the figures on the screen, have suffered not a little from time,
-and the assaults of Cromwell’s Puritans.”&mdash;(R. J. K.)</p></div><p><span class="pagenum"><a name="page_94" id="page_94">{94}</a></span></p>
-
-<p>Exeter is distinguished among English cathedrals in not having a central
-tower. This gives the exterior a unique appearance and the interior
-gains by the absence of tower piers to block the view. Exeter has,
-therefore, the most open and impressive vista of any English cathedral.
-The screen being low, the whole design is immediately comprehended. It
-has been compared to the Cathedral of Bourges.</p>
-
-<p>In our walks through Exeter it may be well to remember that Quivil’s
-architect determined to see what he could do with lowness and breadth.</p>
-
-<div class="blockquot"><p>“Everything should be broad and low, outside as well as inside.
-Look at the east end of the choir&mdash;its two arches broad and low;
-above it the great window&mdash;broad and low. Nowhere but at Exeter do
-you find these squat windows with their truncated jambs; here they
-are everywhere&mdash;in the aisles, in the clerestory, in choir,
-chapels, transepts and nave; even in the great window of the
-western front: broad and low windows everywhere. Still more
-original is the external realisation of the design; central tower
-and spire, western towers and spires, alike are absent. Long and
-low, massive and stable stretches out uninterruptedly the long
-horizontal line of nave and choir. Breadth gives in itself the
-satisfactory feeling of massiveness, steadfastness and solidity;
-and this is just what is wanting in the all-too aërial work of
-Salisbury and Beauvais; vaulted roofs at a dizzy height resting on
-unsubstantial supports and sheets of glass. But the Exeter
-architect has emphasised this satisfactory feeling of stability
-still further. The window tracery is heavy and strong; the vault is
-barred all over with massive ribs; in the piers there are no
-pretty, fragile, detached shafts; the massive clustered columns
-look as if they were designed, as they were, to carry the weight of
-a Norman wall.”&mdash;(F. B.)</p></div>
-
-<p>The heaviness was counteracted by transparency: the arrangement of the
-windows flood the Cathe<span class="pagenum"><a name="page_95" id="page_95">{95}</a></span>dral with light; for the aisle and clerestory
-are almost a continuous sheet of glass.</p>
-
-<div class="blockquot"><p>“Another distinctive feature in Exeter as in Salisbury, is that the
-architect produces his effect mainly by architectural means&mdash;is not
-driven to rely on sculpture. All the principal capitals have
-mouldings not foliage. Only in the great corbels of the vaulting
-shafts and in the bosses of the vault does he permit himself
-foliage and sculpture. Wonderful carving it is; the finest work of
-the best period, when the naturalistic treatment of foliage was
-fresh and young. Very remarkable these corbels are, with their
-life-like treatment of vine and grape, oak and acorn, hazel leaf
-and nut. Unfortunately the corbels, and still more the bosses, are
-so high up that their lovely detail is thrown away; and they are
-out of scale.</p>
-
-<p>“And the patterns of the window tracery are wonderfully diverse. It
-is not, as in Lichfield nave or King’s College Chapel, where every
-window is like its neighbour; when you have seen one, you have seen
-all. Here, all down each side of the church every window differs.
-In dimensions, in general character, they agree; in details they
-differ; each window is a fresh delight; we have, what even in
-Gothic architecture we rarely get&mdash;diversity within
-simplicity.”&mdash;(F. B.)</p></div>
-
-<p>First we examine the splendid <b>Nave</b>.</p>
-
-<div class="blockquot"><p>“The first view of the <small>NAVE</small> is rich and striking. Its present
-length is 140 feet. The view looking east is intercepted by the
-organ, which is placed above the screen at the entrance to the
-choir; but the general impression, notwithstanding a want of
-height, is that of great richness and beauty. The roof especially,
-springing from slender vaulting shafts, studded with delicately
-carved and varied bosses, and extending unbroken to the east end of
-the choir, is exceeded in grace and lightness by no other of the
-same date in the kingdom and by few on the Continent. The carved
-bosses, all of which retain traces of colour, represent foliage,
-animals (near the centre of the nave is a sow with a litter of
-pigs), grotesque figures, heraldic shields, subjects from early
-‘bestiaries’ and<span class="pagenum"><a name="page_96" id="page_96">{96}</a></span> romances, such as the centaur with a sword, and
-the knight riding on a lion toward the eastern end, heads of the
-Virgin and Saviour, the Passion and Crucifixion, and in the centre
-of the second bay, the murder of Becket. Grandisson wrote a life of
-the great Archbishop, which remains in MS., but was very popular in
-its day. The episcopal figure on the adjoining boss may either
-represent Becket or Grandisson himself. Clustered pillars of
-Purbeck marble (contrasting well with the lighter stone from
-Silverton and Bere) of which the walls and roof are constructed,
-separate the nave from the aisles and divide it into seven
-compartments or ‘bays.’</p>
-
-<p>“The corbels between the arches, which support the vaulting shafts
-of the roof, are, perhaps, peculiar to this cathedral, and should
-be especially noticed. They are wrought into figures, twisted
-branches and long sprays of foliage, and afford excellent examples
-of the very best period of naturalism. Every leaf is varied and the
-character of the different kinds (here for the most part oak and
-vine) is admirably retained. The second corbel on the south side of
-the nave exhibits the Virgin treading on an evil spirit, and
-carrying the Divine Infant. Above is her coronation. The
-easternmost nave-corbels display on the north side Moses with his
-hands supported by Aaron and Hur; and on the south the risen
-Saviour, with cross and banner. The brackets at the foot of these
-corbels are crowned heads; and possibly represent Edward I. and
-Edward II., the first beardless as usual, the other more defaced.
-The second corbel on the north side represents St. Cecilia, with a
-somewhat grotesque angel listening to her music.</p>
-
-<p>“A blind arcade, taking the place of the triforium, deeply recessed
-and arranged in groups of four arches under each bay, runs above
-the nave arches; and in the central bay on the north side projects
-the Minstrels’ Gallery, an arrangement for the accommodation of
-musicians on high festivals, which occur in this perfection nowhere
-else in England. There are, indeed, other examples at Wells and at
-Winchester, but of far less interest and importance. Each of the
-twelve niches into which its front is divided contains the figure
-of a winged angel playing on a musical instrument and surmounted by
-a rich<span class="pagenum"><a name="page_97" id="page_97">{97}</a></span> canopy. The instruments beginning from the west are, a
-cittern, bagpipes, flageolet, crowth or violin, harp, an unknown or
-unseen instrument (the fingers are put close to the mouth),
-trumpet, organ, guitar, wind instrument, tambour and cymbals. The
-two corbelled heads below, supporting niches, are possibly those of
-Edward III. and Philippa. The manner in which the hands and arms
-are raised above the heads is unusual. Above the arcade and
-minstrels’ gallery is the clerestory, along which a gallery is
-pierced in the thickness of the wall.</p>
-
-<p>“The windows of the nave, all of the best and purest (geometrical)
-Decorated, are said to exhibit a greater variety of tracery than
-can be found in any other building in the kingdom. They are
-arranged in pairs, on opposite sides of the cathedral; so that no
-two side by side will be found to resemble each other. The varied
-and graceful patterns of the lead-work should also be noticed. The
-stained glass in the great west window is, for the most part,
-modern and worthless (it dates from 1766) injuring the beauty of
-the window itself by its entire want of harmony and meaning. The
-ruby glass in this window is said to be some of the latest that was
-manufactured in England before M. Bontemps revived the art.”&mdash;(R.
-J. K.)</p></div>
-
-<p>Walking back to the west end, we stop to examine the <b>Chantry of St.
-Radegunde</b>,</p>
-
-<div class="blockquot"><p>“constructed in the thickness of the screen by Bishop Grandisson
-for the place of his own sepulture. His tomb formerly existed here,
-but it was destroyed by Elizabeth’s visitors and the high-born
-prelate’s ashes scattered ‘no man knoweth where.’<span class="lftspc">”</span>&mdash;(R. J. K.)</p></div>
-
-<p>Opening from the first bay of the Nave is the small <b>Chapel of St.
-Edmund</b>, of earlier date than the Nave. In the fifth bay, on the same
-side, is the <b>North Porch</b>. In the last bay on the south side is an Early
-English doorway that formerly opened into the cloisters; and between the
-first two but<span class="pagenum"><a name="page_98" id="page_98">{98}</a></span>tresses on the south side a finely carved consecration
-cross attracts our notice.</p>
-
-<p>The Pulpit dates from 1684.</p>
-
-<p>The <b>Transepts</b>, one bay each, occupy the space under the towers. East of
-the <b>North transept</b> is the <b>Chapel of St. Paul</b>, built by Quivil and now
-used as a vestry. In the corner we find the tomb and chantry of <b>Sylke</b>, a
-sub-chanter, who founded this chantry in 1485 and was buried in it in
-1508. His effigy lies here. Against the east wall are memorials to the
-soldiers of the 20th, or East Devon Regiment who fell in the Crimean
-War. Here is also the famous clock which has two dials. It is supposed
-to date from the reign of Edward III.</p>
-
-<p>A door below the clock opens to the stairs into the <b>North tower</b>, in
-which is hung the <b>Great</b>, or <b>Peter Bell</b>, the second largest bell in
-England. It weighs 12,500 pounds.</p>
-
-<div class="blockquot"><p>“The Peter bell was crazed on Nov. 5, 1611, most probably from a
-too violent ringing in commemoration of the Gunpower Plot, and was
-recast in 1676. Its diameter at the mouth is 6 feet 3 inches; its
-height nearly 4 feet 8 inches. It is, of course, never rung, but
-the hours are struck on it by an enormous hammer. The visitor who
-happens to be in the tower at the time of striking will experience
-a new sensation,&mdash;the humming of the great mass of metal lingers
-for many minutes among the huge beams and rafters. A superb view of
-the city surrounded by trees and gardens, of the river and of its
-junction with the sea at Exmouth, is obtained from the top of the
-tower, the upper part of which (of Perpendicular character) was
-raised and adapted by Bishop Courtenay for the reception of Great
-Peter, which he brought from Llandaff.”&mdash;(R. J. K.)</p></div>
-
-<p>The <b>South Transept</b> is a counterpart of the north, and the <b>Chapel of St.
-John the Baptist</b></p>
-
-<div class="figcenter"><br />
-<a name="fig_018" id="fig_018"></a>
-<a href="images/fp98.jpg">
-<img src="images/fp98.jpg" width="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Exeter: Nave, east</span></p></div>
-</div>
-
-<div class="figcenter"><br />
-<a name="fig_019" id="fig_019"></a>
-<a href="images/fp99.jpg">
-<img src="images/fp99.jpg" width="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Exeter: Choir, east</span></p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_99" id="page_99">{99}</a></span></p>
-
-<p>(also Quivil’s work) corresponds with St. Paul’s opposite. In the Tower
-are eleven bells, ten of which are rung in peal. They date from the
-Seventeenth Century. Between this Transept and the Chapter-House lies
-the <b>Chapel of the Holy Ghost</b>, formerly used as a baptistery. It is
-Norman. The Chapter-House, opening from what is still called the
-<b>Cloisters</b> (although the cloisters were demolished during Cromwell’s
-rule), was begun in the Thirteenth Century and finished in the
-Fifteenth.</p>
-
-<p>When Bishop Grandisson dedicated the <b>High Altar</b>, Dec. 18, 1328, he wrote
-to the Pope that the Cathedral, then half finished, would be superior in
-its kind to any church in France or England.</p>
-
-<div class="blockquot"><p>“High as this praise was, the beauty of the vaulted roof and the
-extreme grace of the details are proofs that it was scarcely
-exaggerated. The roof bosses and corbels are of the same character
-as those in the nave; but the latter are even more admirable in
-design, and far more varied in foliage. Maple, oak, ash, the
-filbert with its clusters of nuts, and the vine with fruit and
-tendrils, could hardly be reproduced more faithfully. On the corbel
-above the organ-screen, on the north side, is a Coronation of the
-Virgin and on that beyond it a Virgin and Child with censing
-angels.”&mdash;(R. J. K.)</p></div>
-
-<p>The <b>Choir</b>, Decorated, is very fine:</p>
-
-<div class="blockquot"><p>“We approach the choir, entered by a door in the beautiful screen
-supporting the organ. This was the old rood-screen, on which
-formerly stood the rood, or figure of our Lord on the Cross. It was
-erected in the Fourteenth Century.</p>
-
-<p>“The bosses of the vaulted roof are worthy of especial examination,
-so remarkable are they for the delicacy of the carved foliage. The
-choir has been carefully restored in recent years, and the stalls,
-pulpit and reredos are modern and were designed by Sir Gilbert
-Scott. Notice the old misereres, which are very remarkable and<span class="pagenum"><a name="page_100" id="page_100">{100}</a></span>
-probably the oldest and most curious in England. The foliage
-denotes the Early English period and they were probably designed by
-Bishop Bruere (1224-1244). Notice the mermaid and merman on the
-south side, the elephant, knight slaying a leopard, a minstrel,
-etc. The lofty bishop’s throne was erected by Stapledon, and is
-said to have been taken down and hidden away during the Civil War
-period. The painted figures represent the four great
-bishops&mdash;Warelwast, Quivil, Stapledon and Grandisson. The sedilia
-by Stapledon are very fine. Notice the carved lions’ heads and the
-heads of Leofric, Edward the Confessor and his wife Editha. The
-east window is Early Perpendicular, inserted by Bishop Brantingham
-in 1390, and contains much old glass.”&mdash;(P. H. D.)</p></div>
-
-<p>The <b>miserere seats</b> (Thirteenth Century) are curious and beautiful. They
-are probably the earliest in England.</p>
-
-<div class="blockquot"><p>“They are fifty in number and their subjects are of the usual
-character,&mdash;foliage, grotesques, animals (among which is an
-elephant) and knights in combat, whose heater shields, flat helmets
-and early armour are especially noticeable. Remark, on the <i>south</i>
-side of the choir a mermaid and a merman holding some circular
-instrument between them, the elephant mentioned above and a knight
-sitting in a boat drawn by a swan, an illustration of the romance
-of the <i>Chevalier au Cygne</i>. On the north side a knight attacking a
-leopard, a monster on whose back is a saddle with stirrups, a
-minstrel with tabor and pipe, a knight thrusting his sword into a
-grotesque bird and a mermaid holding a fish. The Early English
-character of the foliage, as well as its graceful arrangement,
-should be noticed throughout.”</p>
-
-<p>“On the south side, the superb <span class="smcap">Bishop’s Throne</span> towering almost to
-the roof. This was the gift of Bishop Bothe (1465-1478). It is said
-to have been taken down and hidden during Monmouth’s
-Rebellion.”&mdash;(R. J. K.)</p></div>
-
-<div class="blockquot"><p>“The Bishop’s Throne (<small>A.D.</small> 1316), intended for his Lordship with a
-chaplain on either side; ‘a magnificent sheaf of carved oak, put
-together without a single nail, and rising to a height of 57 feet.
-The lightness of its ascend<span class="pagenum"><a name="page_101" id="page_101">{101}</a></span>ing stages almost rival the famous
-<i>sheaf of fountains</i> of the Nuremberg tabernacle. The cost of this
-vast and exquisitely carved canopy (about twelve guineas) is
-surprisingly small, even for those days. The carved work consists
-chiefly of foliage, with finials of great beauty, surmounting
-tabernacled niches, with a sadly untenanted look, however, for lack
-of their statuettes. The pinnacle corners are enriched with heads
-of oxen, sheep, dogs, pigs and monkeys.’ Next came what is perhaps
-the most exquisite work in stone in England, as the throne is
-unparalleled in woodwork&mdash;the <small>SEDILIA</small>; the seats of the priest to
-the east and to the west of him, those of the Gospeller and
-Epistoler. The sedilia have been preferred even to the shrine of
-Beverley and the Lady-Chapel of Ely. ‘The canopy of the seat
-nearest the altar,’ says Mr. Garland, ‘deserves particular
-attention. It is adorned with a wreath of vine leaves on each side,
-which meet at the point and there form a finial; and never did
-Greek sculptor of the best age trace a more exact portrait of the
-leaf of the vine, nor design a more graceful wreath, nor execute
-his design with a more masterly finish.’ It is regrettable that the
-carving of the sedilia is attributed to a Frenchman.”&mdash;(F. B.)</p></div>
-
-<p>Of the high altar and reredos, perhaps the most magnificent in Europe,
-carved at the same period, not a fragment remains.</p>
-
-<p>The two most important tombs in the choir are those of <b>Bishop Lacey</b>, who
-died in 1455, and <b>Walter de Stapledon</b>, who was murdered in London in
-1326. Lacey has but a plain slab at which many miracles are said to have
-been done. Bishop Stapledon lies under a Perpendicular canopy, a fine
-figure holding a crozier with his left hand and a book with his right.
-Under the canopy is a figure of the Saviour, and at its side the small
-figure of a king crowned and wearing a scarlet robe, supposed to be
-Edward II. Bishop Stapledon’s body was removed from London to Exeter
-Cathedral by<span class="pagenum"><a name="page_102" id="page_102">{102}</a></span> the Queen’s command and interred with great magnificence.</p>
-
-<p>From the choir two chapels open. On the north, <b>St. Andrew’s</b>, very early
-Decorated, is exactly like the opposite one, <b>St. James’s</b>. Beneath the
-latter is the ancient <b>Crypt</b>. Both chapels have chambers above them.</p>
-
-<p>Beyond the Choir, the ambulatory, or procession-path (Early Decorated),
-with <b>Speke’s Chantry</b> on the left or north and <b>Bishop Oldham’s</b> on the
-right or south, leads to the <b>Lady Chapel</b>. This was built by Quivil, and
-is remarkable for its beautiful foliage carvings, old reredos, graceful
-openings to the chantries on either side and magnificent east window.</p>
-
-<div class="blockquot"><p>“Quivil first transformed the Lady-Chapel; to him are due the
-shafts, sedilia, double piscina, and the vaulting, the
-rib-mouldings of which are of earlier character than those of the
-choir; and the windows, which closely resemble those of Merton
-College, Oxford, which we know was commenced in 1277. In the centre
-of the Lady-Chapel Bishop Quivil is buried; he died in 1291. The
-chapels on either side may have been remodelled or partly
-remodelled by Bronescombe; but the east windows are later in style,
-and are Quivil’s. The piers hereabout are very interesting. Those
-of the Lady-Chapel looking into the side chapels are composed of
-four columns. The north-east and south-east piers of the choir have
-clusters of eight shafts instead of four; while in the pier between
-them the cluster of eight is developed into a cluster of sixteen
-columns. Finally notice that these piers are set diamond-wise, with
-four flat faces, and the angles to the north, west, south and
-east.”&mdash;(F. B.)</p></div>
-
-<p>In the centre of the pavement is the tombstone of <b>Bishop Peter Quivil</b>
-(died 1291), author of the present plan of the cathedral. Other effigies
-of bishops are interesting works of art, but those of<span class="pagenum"><a name="page_103" id="page_103">{103}</a></span> <b>Sir John</b> and <b>Lady
-Doddridge</b> are very curious. Sir John (died 1628), one of James I’s
-judges of the King’s Bench, was called “the sleepy judge,” because he
-always sat on the bench with closed eyes; but more interesting is Lady
-Doddridge, who wears a rich dress brocaded with roses and carnations and
-also a remarkable ruff and headdress.</p>
-
-<p>Under the arches opening from the Lady-Chapel to the side chapels are
-tombs of <b>Bishops Bronescomb</b> and <b>Stafford</b>. Bishop Bronescomb’s effigy
-(1280), on the south side, is a fine piece of carving. Stafford’s
-opposite (1419) is of alabaster, and it is famous for the rich
-tabernacle-work above the head.</p>
-
-<p>We have been long attracted by the lovely <b>East window</b>. Now we can see
-the details.</p>
-
-<div class="blockquot"><p>“The east window is early Perpendicular and was inserted by Bishop
-Brantingham about 1390. The stained glass with which it is filled
-is for the most part ancient and very fine. Much of it dates
-apparently from the first half of the Fourteenth Century (temp.
-Edward I. and II.) and was removed from the earlier window; the
-shields below are those of early bishops and benefactors; the
-figures of saints above, most of which are to be recognised by
-their emblems, deserve careful notice. Beginning with the lowest
-row, and at the left hand, are St. Margaret, St. Catherine, St.
-Mary Magdalene, St. Barbara, the Virgin and Child, St. Martin, St.
-Peter, St. Paul and St. Andrew. All these figures are under very
-rich and varied canopies. The first three and the last three are of
-the first period; the others of Brantingham’s time. In the <i>middle
-row</i> are St. Sidwell, or Sativola, believed to have been a British
-lady of noble birth, and contemporary with St. Winifred of Crediton
-(first half of the Eighth Century). Her legend asserts that she was
-beheaded by a mower at the instigation of her stepmother, who
-coveted her possessions, near a well outside the walls of Exeter.
-In the window St. Sativola appears<span class="pagenum"><a name="page_104" id="page_104">{104}</a></span> with a scythe in her left hand,
-whilst at her right is a well with a stream of water flowing from
-it. These emblems may either form a rebus of her name (scythe-well)
-or refer to her martyrdom. Beyond St. Sidwell are St. Helena, St.
-Michael, St. Margaret, St. Catherine, Edward the Confessor and St.
-Edmund. All the figures in this row are of Brantingham’s period.
-The three figures in the uppermost row are Abraham, Moses and
-Isaiah. These are of the first period. The tone of colour
-throughout this window is very fine and solemn. The heraldry in the
-upper part of the window is modern. In the north clerestory windows
-of the central bay are four headless figures of early Decorated
-character. The beautiful running pattern forming the ground on
-which they are placed should be noticed.”&mdash;(R. J. K.)</p></div>
-
-<p>In the <b>north-choir-aisle</b> is a curious tomb with a cross-legged effigy of
-a Fourteenth Century knight in armour with one esquire at his head and
-another holding a horse at his feet. This is supposed to be a memorial
-to Sir Richard de Stapledon, a brother of the Bishop.</p>
-
-<p>Returning as we came, we pass the <b>Chantry of St. George</b>, founded by Sir
-Thomas Speke in 1518. It is a mass of rich carving. The effigy of the
-founder lies within.</p>
-
-<p>Opposite is <b>Bishop Oldham’s Chantry</b>, also a mass of carving, where the
-owl in the panels refers to his name (the word <i>old</i> is pronounced
-<i>owld</i> in Lancashire, where the Bishop was born). The Bishop’s effigy
-lies in a niche in the south wall.</p>
-
-<div class="blockquot"><p>“The Tudor work (1485-1519) is exceptional in importance. It
-includes the north entrance and other late portions of the western
-screen, two exquisite chapels both built by Bishop Oldham&mdash;his own
-chantry (St. Saviour’s) on the south side of the retro-choir, the
-Speke chantry (St. George’s) on the north&mdash;and in addition, Prior
-Sylke’s chantry on the north transept. All this<span class="pagenum"><a name="page_105" id="page_105">{105}</a></span> work is admirable
-in design and execution. In Oldham’s chantry is a charming series
-of owls with the scroll <i>Dam</i>, a rebus on his name, proceeding from
-the beak of each little owl. To Bishop Oldham also (1504-1519) is
-due the grand set of stone screens&mdash;one of the glories of the
-cathedral&mdash;no less than ten, which veil all the nine chapels and
-Prior Sylke’s chantry, and add fresh beauty to the beautiful
-choir.”&mdash;(F. B.)</p></div>
-
-<p>At the extreme end of the east aisle is the <b>Chapel of St. Mary
-Magdalene</b>, probably the work of Bishop Bronescomb, who died in 1280. The
-east window, which resembles that of the opposite chapel of St. Gabriel,
-contains some stained glass of the Fifteenth Century. In this chapel a
-fine Elizabethan monument to Sir Gawain Carew, his wife and their nephew
-Sir Peter should be noticed. It dates from 1589. A staircase here leads
-to the roofs of the north-choir-aisle and of the ambulatory. The views
-of the Cathedral obtained here are very fine, especially of the
-flying-buttresses.</p>
-
-<p><b>St. Gabriel’s Chapel</b> is similar to that of St. Mary Magdalene. Bishop
-Bronescomb’s patron saint was St. Gabriel the Archangel, whose feast
-was, in consequence, celebrated in Exeter Cathedral with the same
-solemnity as those of Christmas and Easter. A monument by Flaxman to
-<b>General Simcoe</b>, who died in 1806, having distinguished himself at the
-head of the Queen’s Rangers during the American war, and a splendid
-statue of <b>Northcote</b>, the painter, by Chantrey claim attention.</p>
-
-<p>Finally summing up the characteristics of this glorious fane:</p>
-
-<div class="blockquot"><p>“Whatever else the student and lover of Gothic architecture omits,
-he must not omit to visit Exeter. He will find it fresh and
-different from anything he has seen before. Its unique plan,
-without central or western towers,<span class="pagenum"><a name="page_106" id="page_106">{106}</a></span> the absence of obstructive
-piers at the crossing, the consequently uninterrupted vista, the
-singleness and unity of the whole design, the remarkable system of
-proportions, based on breadth rather than height, the satisfying
-massiveness and solidity of the building, inside and outside, and
-at the same time the airiness and lightness of the interior, the
-magnificence of its piers of marble, the delightful colour-contrast
-of marble column and sandstone arch, the amazing diversity of the
-window tracery, the exquisite carving of the corbels and bosses,
-the abundant and admirable Tudor work, the wealth of chantries and
-monuments, the superb sedilia, screen and throne, the <i>misereres</i>,
-the vaults, the extraordinary engineering feats from which its
-present form results, the originality of the west front and of the
-whole interior and exterior, place Exeter in the very forefront of
-the triumphs of the Mediæval architecture of our country.”&mdash;(F. B.)</p></div><p><span class="pagenum"><a name="page_107" id="page_107">{107}</a></span></p>
-
-<h2><a name="WELLS" id="WELLS"></a>WELLS</h2>
-
-<div class="blockquotcent"><p><span class="smcap">Dedication: St. Andrew.</span></p>
-
-<p><span class="smcap">Special features: West Front; East End; Inverted Arches in Nave;
-Chapter-House; Carvings of Capitals; Chain-Gate.</span></p></div>
-
-<p class="nind"><span class="smcap">The</span> site of this beautiful cathedral had long been sacred to the Britons
-on account of its wells, or springs, when the early Christians on coming
-to Glastonbury placed these waters under the protection of St. Andrew.
-King Ina’s house of secular canons was established here in 704, not far
-from the older Glastonbury, which, according to legend, was established
-by Joseph of Arimathea. At the beginning of the Tenth Century, a new
-bishopric was founded by Edward the Elder for the province of Somerset;
-and the Abbot of Glastonbury was made Bishop of Wells.</p>
-
-<div class="blockquot"><p>“Seen from a distance, the picturesque group of towers and
-pinnacles derives increased effect from the beauty and variety of
-the surrounding landscape. On one side rises the long ridge of the
-Mendips, with its rocky outliers; whilst in the southern distance
-the lofty peak of Glastonbury Tor lifts itself above the marches,
-marking the site of what was generally believed, throughout the
-Middle Ages, to have been the earliest Christian church in Britain,
-if not the first in Christendom. The Cathedral itself seems to
-nestle under its protecting hills; and the waters of the Bishop’s
-moat, sparkling in the sunshine, indicate the spring or great well
-which led King Ina to establish his church here, and which had
-perhaps rendered the site a sacred one as well in the days of the
-Druids as in those of that primitive British Christianity which
-disappeared before the heathendom of the advancing Saxons.<span class="pagenum"><a name="page_108" id="page_108">{108}</a></span></p>
-
-<p>“From whatever direction the visitor enters the Close, he must pass
-under one of the three gatehouses built by Bishop Beckington
-(1443-1464), all of which display his shield of arms and his
-rebus,&mdash;a beacon inflamed issuing from a tun or barrel. Over the
-Chain-Gate passes the gallery which connects the Vicars’ College
-with the Cathedral. The gate, called the Penniless Porch, opens to
-the Market-place; but the Cathedral will be best approached for the
-first time through Browne’s gate, at the end of Sadler-street. From
-this point an excellent view of the west front is obtained, rising
-at the end of a broad lawn of greensward, bordered with trees. The
-Cathedral close of Wells is scarcely so picturesque as those of
-Salisbury or of Winchester. It is more open, however, and its
-short, bright turf contrasts very effectively with the grey stone
-of the buildings which encircle it and with the grand old church
-itself. This, with the exception of its pilasters of Purbeck, is
-built throughout with stone from the Doulting quarries, about nine
-miles from Wells.”&mdash;(R. J. K.)</p></div>
-
-<p>During the rule of Robert (1135-1166) discord and jealousy between the
-men of Bath and Wells rose to such a pitch that it was determined the
-bishops should in future be styled “of Bath and Wells” and elected by an
-equal number of monks and canons from the abbey and collegiate church.
-Bishop Robert rebuilt and repaired the Saxon cathedral which had fallen
-into decay. Robert’s work has entirely perished. The next builders were
-Bishop Reginald Fitz-Jocelyn (1171-1191) and Bishop Jocelin of Wells
-(1206-1242), who rebuilt the Cathedral as we see it to-day. Jocelin was
-able to consecrate parts of it in 1239.</p>
-
-<p>Jocelin, the great “maker of Wells,” bishop from 1206 to 1242, and his
-brother, Hugh (afterwards Bishop of Lincoln), were natives of Wells;
-here Jocelin served as canon and Hugh as archdeacon. Both were rich.
-Hugh, who lavished<span class="pagenum"><a name="page_109" id="page_109">{109}</a></span> money upon Lincoln, also gave much to Jocelin for
-Wells. Jocelin spent his entire fortune upon his beloved Cathedral. This
-Jocelin must not be confused with the earlier Reginald Fitz-Jocelyn,
-bishop from 1171 to 1191.</p>
-
-<div class="blockquot"><p>“The part which he built, there can be little doubt, included the
-three western bays of the choir (which then formed the presbytery),
-the transepts, north porch and the eastern bays of the nave. That
-is to say, on entering the church, one is looking upon Reginald’s
-work, and not Jocelin’s; for, although the rest of the nave was
-completed by Jocelin, it was done in accordance with Reginald’s
-original plan. It is of great importance to remember this fact,
-since until recently the nave, with the other parts just mentioned,
-was attributed by Professor Willis, Professor Freeman, and most
-authorities to Jocelin.”&mdash;(P. D.)</p></div>
-
-<p>Jocelin also built the famous west front and began the Bishop’s Palace.</p>
-
-<p>In 1248 an earthquake did some damage to the central tower, and repairs
-were at once undertaken. The canons generously contributed funds which
-were augmented by the help of a local saint. Bishop William Bytton,
-nephew of the bishop of the same name (who lies in St. Catherine’s
-Chapel), died in 1274; and his remains soon began to cure the toothache.
-His tomb in the south-choir-aisle was visited by sufferers, and the
-famous western capitals in the transept doubtless refer to their cures.</p>
-
-<p>For the next fifty years and more, much was done to the Cathedral by the
-energetic John de Godelee, dean from 1306 to 1333, who finished the Lady
-Chapel in 1326.</p>
-
-<p>In 1318 the canons voluntarily offered a fifth of their salaries to
-raise the central tower, which was carried up three more stages and
-finished in<span class="pagenum"><a name="page_110" id="page_110">{110}</a></span> 1321; and in 1325 they began new stalls, each canon having
-agreed to pay for his own stall. In 1337 and 1338 the whole church was
-thrown into dismay on account of fractures in the tower; for the tower
-appears to have sunk deeply into the earth, owing to pressure on the
-arches. All the masonry was disturbed; and in order to remedy this
-trouble, the curious double arches were inserted, to help support the
-strain. The original arches were also patched up and filled in with
-great blocks of stone and strengthened in various ways.</p>
-
-<p>Much was due to Bishop Ralph of Shrewsbury (1329-1363), who was buried
-before the High Altar in the Choir he had founded. He also finished the
-Palace begun by Jocelin. Bishop Harewell, who died in 1386, gave
-two-thirds of the cost of the south-west tower called by his name; and
-the executors of Bishop Bubwith finished the northwest tower that bears
-his name.</p>
-
-<p>Bishop Beckington built the lovely gateways, and Dean Gunthorpe (died
-1498), the Deanery.</p>
-
-<p>The eastern walk of the Cloister and the Library above date from between
-1407 and 1424; and the western and southern Cloister walks, between 1443
-and 1464.</p>
-
-<div class="blockquot"><p>“Late researches have shown that Bishop Reginald began the present
-church and that the Early English work should be divided into four
-periods: (1) The three western arches of the choir, with the four
-western bays of its aisles, the transepts and the four eastern bays
-of the nave, which are Reginald’s work (1174-1191), and so early as
-to be still in a state of transition from the Norman. It is a
-unique example of transitional building, and Willis calls it ‘an
-improved Norman, worked with considerable lightness and richness,
-but distinguished from the Early English by greater massiveness and
-severity.’ The<span class="pagenum"><a name="page_111" id="page_111">{111}</a></span> characteristics of this late Twelfth Century work
-are bold round mouldings, square abaci, capitals, some with traces
-of the classical volute, others interwoven with fanciful imagery
-that reminds us of the Norman work of Glastonbury; while in the
-north porch, which must be the earliest of all, we even find the
-zigzag Norman moulding. (2) The rest of the nave, which was
-finished in Jocelin’s time&mdash;that is to say, in the first half of
-the Thirteenth Century&mdash;preserves the main characteristics of the
-earlier work, though the flowing sculptured foliage becomes more
-naturalistic, and lacks the quaint intermingling of figure
-subjects. (3) The west front, which is Jocelin’s work, and alone
-can claim to be of pure Early English style. (4) The chapter-house
-crypt, which is so late as to be almost Transitional, though,
-curiously enough, it contains the characteristic Early English
-dog-tooth moulding which is found nowhere else except in the west
-window. From this, we reach the Early Decorated of the staircase,
-the full Decorated of the chapter-house itself, the later Decorated
-of the Lady-Chapel, the transitional Decorated of the presbytery,
-and the full Perpendicular of the western towers. Much of the
-masonry in the transepts, choir, choir aisles, and even in the
-eastern transepts, bears the peculiar diagonal lines which are the
-marks of Norman tooling. This does not, of course, prove that any
-part of Bishop Robert’s church is standing, for mediæval builders
-were notoriously economical in using up old masonry, but it does
-show that there are more remains of his work in the building than
-was generally supposed.”&mdash;(P. D.)</p></div>
-
-<p>The Cathedral was much damaged during the Reformation and also during
-Monmouth’s rebellion in 1685, when the Duke’s followers stabled their
-horses in it and enjoyed a barrel of beer on the high altar.</p>
-
-<p>There is a nave of nine bays, a space under the tower, a choir opening
-eastward of it and two transepts (each of four bays) with aisles opening
-north and south. The choir from the screen to<span class="pagenum"><a name="page_112" id="page_112">{112}</a></span> the high altar occupies
-six bays; a retro-choir of two bays lies behind the altar; and beyond it
-again is an apsidal Lady-Chapel. The west front has been much admired,
-but some critics consider it too heavy for the short towers that abut on
-it. The windows of the nave and transepts are Decorated. The windows of
-the choir are more ornate, although in the same style, and those of the
-Lady-Chapel are still more so. The central tower (Perpendicular) is
-entirely covered with panelling. There is no spire. On the south side
-large cloisters open from the south-western tower and from the western
-aisle of the south transept; but there are only three walks, there being
-none on the north side. The Chapter-House is approached from the north
-side of the choir by a short passage and a flight of steps: a crypt lies
-under it. A beautiful porch, with parvise, opens into the sixth bay of
-the north aisle. From the eastern aisle of the north transept the
-Chain-Gate passes to the Vicars’ College, a double row of picturesque
-houses, dating from 1360.</p>
-
-<div class="blockquot"><p>“The Chain-Gate, in its association with the Chapter-House and the
-Vicars’ Close, is unique. The incline of the steps, easily to be
-distinguished from without, gives the corner a character quite its
-own. And the entrance to the Green by this gate, with the Cathedral
-on one side, balanced by the varied gables and roofs of the houses
-opposite, is particularly striking. The exterior of the
-Chapter-House comes into full view; the great central tower stands
-boldly up against the sky; the eastern gable presents its curious
-apex, and the Lady-Chapel below stands like a thing separate from
-the rest. Beyond, and under the Chain-Gateway, an arch admits to
-the Vicars’ Close&mdash;a charming street, lined on either side with
-diminutive dwelling-houses, once the separate residences of the
-vicars choral. At the top of the close is a small Per<span class="pagenum"><a name="page_113" id="page_113">{113}</a></span>pendicular
-chapel with a library above. The interior is profusely&mdash;almost
-grotesquely&mdash;decorated in a manner to remind one to some extent of
-those strange little oratories so frequently met with in other
-parts of Europe. But to many it will possess a certain charm,
-despite its florid adornments, not often realised in this country.
-The Vicars’ Hall, a considerable portion of which is of the
-Fourteenth Century, with additions of a tower and other features,
-probably by Bishop Beckington, stands at the bottom of the street
-and communicates through the gallery of the Chain-Gate with the
-Chapter-House staircase, and thus with the cathedral. By this
-gallery the choristers passed into the church.”&mdash;(A. A.)</p></div>
-
-<p>The celebrated <b>West Front</b></p>
-
-<div class="blockquot"><p>“consists of a centre, in which are the three lancets of the
-western window and above them a gable receding in stages, with
-small pinnacles at the angles; and of two wings or western towers,
-projecting beyond the nave, as at Salisbury. The upper part of
-these towers is of Perpendicular character. That to the north-west
-was completed by Bishop Bubwith (1407-1424), whose statue remains
-in one of the niches: that to the south-west was the work of Bishop
-Harewell (1366-1386). Both these towers, fine as are their details,
-have a somewhat truncated appearance; and it is probable that the
-original Early English design terminated at the uppermost band of
-sculpture. The three western doors are of unusually small
-dimensions, perhaps in order to leave ample room for the tiers of
-figures which rise above them. Six narrow buttresses at the angles
-of which are slender shafts of Purbeck marble, supporting canopies,
-divide the entire front into five portions. The whole of the
-statues which fill the niches are of Doulting stone.”&mdash;(R. J. K.)</p></div>
-
-<p>Many visitors are at the first sight disappointed at the mutilated and
-archaic expression of the figures; but they have commanded the greatest
-admiration ever since old Fuller wrote: “The west front of Wells is a
-masterpiece of art indeed, made<span class="pagenum"><a name="page_114" id="page_114">{114}</a></span> of imagery in just proportion, so that
-we may call them <i>vera et spirantis signa</i>. England affordeth not the
-like.”</p>
-
-<p>The <b>West Front</b> should be considered as a great screen intended for the
-display of statuary rather than as the west termination of the nave. The
-stone population, numbering about three hundred life-size or colossal
-figures, is only equalled by that of Rheims and that of Chartres. All
-critics agree that these statues, so notable for their graceful
-draperies and spiritual expressions, rank with the contemporary
-masterpieces of Italy and France. They are thought to have been made by
-Italian sculptors at the time when Niccola Pisano was reviving sculpture
-in Italy under the inspiration of classical models. The kings, queens,
-princes, knights and nobles wear the costume of the Thirteenth Century.
-The other figures are prophets, angels, martyrs and “the holy church
-throughout the world.”</p>
-
-<p>Unlike the monumental west fronts of France, with their splendid porches
-and doors, the doors of Wells have been compared to “rabbit-holes on a
-mountain-side.”</p>
-
-<p>The western towers projecting beyond the aisles of the nave give
-additional breadth to the west front. The arrangement resembles that of
-Rouen. The two towers are very similar. Both have two belfry windows on
-each side and a stair turret on the outer western angle. The spires were
-never added.</p>
-
-<p>The <b>Central Tower</b> is Early English to the level of the roof, and the two
-upper stages are Decorated. From its summit a beautiful view is to be
-enjoyed.</p>
-
-<p>The <b>North Porch</b> (Norman) is the oldest part</p>
-
-<div class="figcenter"><br />
-<a name="fig_020" id="fig_020"></a>
-<a href="images/fp114.jpg">
-<img src="images/fp114.jpg" width="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Wells: West front</span></p></div>
-</div>
-
-<div class="figcenter"><br />
-<a name="fig_021" id="fig_021"></a>
-<a href="images/fp115.jpg">
-<img src="images/fp115.jpg" height="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Wells: North Porch</span></p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_115" id="page_115">{115}</a></span></p>
-
-<p class="nind">of the church. Some architects consider it the finest piece of
-architecture at Wells.</p>
-
-<div class="blockquot"><p>“The entrance is doubly recessed and has the zigzag ornament among
-its mouldings, an indication, if not of its early construction, at
-least of lingering Norman traditions among its builders. These
-mouldings deserve the most careful attention. The outer or
-dripstone, is formed of a very beautiful combination of Early
-English foliage. Square panels on either side of the arch contain
-figures of mystic animals, one of which is a cockatrice. The gable
-above has a blind arcade, in the centre of which a small triplet
-gives light to a parvise chamber. From the buttress at the angles
-rise slender spire-capped pinnacles. The buttresses themselves are
-flat and narrow.</p>
-
-<p>“The interior of the porch is divided into two bays, and its walls
-are lined with a double arcade, the upper row of arches being more
-deeply recessed than the tower. The vault springs from a central
-group of triple shafts. The sculptures of the capitals on the east
-side possibly represent the death of King Edmund the Martyr (<small>A.D.</small>
-870),&mdash;bound to a tree as a mark for the Danish arrows and
-afterwards beheaded. The figures are well designed, and full of
-life and character. The double doorway leading into the nave
-displays, like the exterior arch, the Norman zigzag.”&mdash;(R. J. K.)</p></div>
-
-<p>On entering the <b>Nave</b> the visitor is at once struck by the noble
-proportions, the impression of great length, the broad horizontal band
-of the triforium, and the wealth of spirited and varied carving of the
-capitals and corbels; but the most striking feature of all is the great
-inverted, or double, arch that struts across the central piers forming a
-St. Andrew’s Cross, by which name it is generally known, and giving a
-grotesque (we are almost tempted to say Chinese) appearance.</p>
-
-<div class="blockquot"><p>“Undoubtedly the first thing that the stranger notices in Wells
-Cathedral, and the last that he is likely to forget,<span class="pagenum"><a name="page_116" id="page_116">{116}</a></span> is the
-curious contrivance by which the central tower is supported. Of the
-three pairs of arches (the upper arch resting inverted upon the
-lower) which stretch across the nave and each of the transepts,
-that in the nave is seen at once, and lends a unique character to
-the whole church. At first these arches give one something of a
-shock, so unnecessarily frank are they, so excessively sturdy, so
-very English, we may think. They carry their burden as a
-great-limbed labourer will carry a child in a crowd, to the great
-advantage of the burden and the natural dissatisfaction of the
-crowd. In fact, they seem to block up the view, and to deform what
-they do not hide.</p>
-
-<p>“That is the first impression, but it does not last for long.
-Familiarity breeds respect for this simple, strong device, which
-arrested the fall of the tower in the Fourteenth Century, and has
-kept its walls ever since in perfect security, so that the great
-structure has stood like a rock upon the watery soil of Wells for
-nearly seven centuries, with its rents and breaks just as they were
-when the damage was first repaired. The ingenuity, too, of these
-strange flying-buttresses becomes more and more evident; the
-‘ungainly props’ are seen to be so worked into the tower they
-support, that they almost seem like part of the original design of
-the first builders. One discovers that it is the organ, and not the
-arches, that really blocks the view, and one marvels that so huge a
-mass of masonry can look so light as to present, with the great
-circles in the spandrels where the arches meet, a kind of pattern
-of gigantic geometrical tracery. Indeed I think no one who has been
-in Wells a week could wish to see the inverted arches removed.</p>
-
-<p>“To appreciate the work fully, it should be looked at from some
-spot, such as the north-east corner of the north transept, whence
-the three great pairs of arches can be seen together. The effect
-from here is very fine, especially when the nave is lighted up and
-strong shadows are cast. The extreme boldness of the mouldings, the
-absence of shafts and capitals and of all ornament, give them a
-primitive vigour, and their great intermingling curves, which
-contrast so magnificently with the little shafts of the piers
-beyond, seem more like a part of some<span class="pagenum"><a name="page_117" id="page_117">{117}</a></span> great mountain cavern than a
-mere device of architectural utility.”&mdash;(P. D.)</p></div>
-
-<p>The general effect of the Nave is that of length rather than height,
-largely due to the continuous arcade of the triforium which leads the
-eye irresistibly eastwards, and the comparatively restricted height of
-the Cathedral has been increased by bold vaulting, and by the way the
-lantern arches fit into the vault. A little study will show the visitor
-the separation between the late Twelfth Century work of Reginald de
-Bohun, or Fitz-Jocelyn, and the Thirteenth Century work of Jocelin.
-These differences lie in the masonry and the carved heads and the
-capitals.</p>
-
-<p>The heads of a king and bishop, projecting from the south side between
-the fourth and fifth piers, mark the point of change eastward: the
-masonry of piers, walls and aisle walls is in small courses of stone;
-westward, the blocks are larger, eastward, small human heads project at
-the angles of the pier-arches and westward there are none; eastward, the
-tympana of the triforium arcade are filled with carvings of grotesque
-animals and small heads at the corners, and westward, the tympana are
-filled with foliage and ornamented with larger heads. There are also
-other differences.</p>
-
-<div class="blockquot"><p>“Certainly it is an unusual instance of an architect deliberately
-setting himself to complete the works of an earlier period in
-faithful accordance with the original plan; and we may well be
-grateful to him for his modesty.</p>
-
-<p>“All the carving is most interesting and beautiful: the caps and
-corbels of the vaulting shafts; the little heads at the angles of
-the arches, which are vivid sketches of every type of contemporary
-character; and the carvings in the tympana, which are best in the
-seventh, eighth and ninth bays (counting from the west end), those
-on the<span class="pagenum"><a name="page_118" id="page_118">{118}</a></span> north excelling in design and execution, while those on the
-south are more grotesque. But the capitals of the piers are the
-best of all, and the most hurried visitor should spare some time
-for the study of these remarkable specimens of sculpture, vigorous
-and lifelike, yet always subordinated to their architectural
-purpose. Those in the transepts<a name="FNanchor_4_4" id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a> are perhaps the best, but the
-following in the nave should not be missed:&mdash;</p>
-
-<p>North side, Sixth Pier (by north porch): Birds pluming their wings:
-Beast licking himself: Ram: Bird with human head, holding knife
-(?).</p>
-
-<p>“Eighth Pier. Fox stealing goose, peasant following with stick:
-Birds pruning their feathers. (Within Bubwith’s Chapel) Human
-monster with fish’s tail, holding a fish: Bird holding frog in his
-beak, which is extremely long and delicate.</p>
-
-<p>“Ninth Pier. Pedlar carrying his pack on his shoulders, a string of
-large beads in one hand. Toothless monster with hands on knees.</p>
-
-<p>“South side, Seventh Pier. Birds with human heads, one wearing a
-mitre.</p>
-
-<p>“Eighth Pier. Peasant with club, seized by lion: Bird with curious
-foliated tail (within St. Edmund’s chapel). Owl: Peasant with
-mallet (?).”</p></div>
-
-<p>If we look back towards the west end of the Nave we note an arcade of
-five arches, the middle one widest of all to accommodate the two small
-arches of the doorway. The three lancet windows are Perpendicular,
-remodelled, and some of their dogtooth moulding, medallions in the
-spandrels and little corbel heads of Early English work remain. There is
-a gallery below the sill of the window.</p>
-
-<p>The two western towers form two small transepts that project beyond the
-aisles. Each is connected with the aisle by an arch. The Chapel of the
-Holy Cross under Bubwith’s Tower (north) is the choir-boys’ vestry. The
-chapel under Hare<span class="pagenum"><a name="page_119" id="page_119">{119}</a></span>well’s Tower (south) is used by the bell-ringers. An
-Early English doorway leads from it into the Cloister.</p>
-
-<div class="blockquot"><p>“The nave, as far as the piers of the central tower, consists of
-ten bays, divided by octangular piers, with clustered shafts in
-groups of three. The capitals are enriched with Early English
-foliage, much of which is of unusually classical character,&mdash;one of
-the many indications of a lingering local school, with its Norman
-traditions. Birds, animals and monsters of various forms&mdash;among
-which is the bird with a man’s face, said to feed on human
-flesh&mdash;twine and perch among the foliage. Above the pier arches
-runs the triforium, very deeply set, and extending backward over
-the whole of the side aisles. The roof retains its original
-position. (The whole arrangement should be compared with the Norman
-triforia of Norwich and Ely, both of which extend over the
-side-aisles; but their exterior walls have been raised and
-Perpendicular windows inserted). The narrow lancet openings toward
-the nave are arranged in groups of three, with thick wall-plates
-between them. The head with each lancet is filled with a solid
-tympanum, displaying foliage and grotesques, of which those toward
-the upper end of the south side are especially curious. At the
-angles of the lancets are bosses of foliage and human heads, full
-of character. In the upper spaces between each arch are medallions
-with leafage. Triple shafts, with enriched capitals, form the
-vaulting-shafts, the corbels supporting which deserve examination.
-A clerestory window (the tracery is Perpendicular, and was inserted
-by Bishop Beckington (1443-1464)) opens between each bay of the
-vaulting, which is groined, with moulded ribs and bosses of foliage
-at the intersections.”&mdash;(R. J. K.)</p></div>
-
-<p>In the clerestory of the sixth bay on the south side there is a <b>Music
-Gallery</b>, early Perpendicular, the front of which consists of three
-panels with large quartrefoils containing shields. It is very fine, but
-not equal to the Minstrels’ Gallery in Exeter. It is finished with an
-embattled cornice.<span class="pagenum"><a name="page_120" id="page_120">{120}</a></span></p>
-
-<p>The aisles of the Nave are of the same architectural character as the
-Nave itself. Among the striking capitals are:</p>
-
-<p>Fifth shaft. Peasants carrying sheep, with a dog.</p>
-
-<p>Ninth shaft. Man in a rough coat carrying foliage on his back.</p>
-
-<p>Tenth shaft. Mason carrying a hod of mortar and a mallet; opposite side
-of arch: Peasant in hood with staff and opposite this two heads,
-evidently with toothache.</p>
-
-<p>The greater part of the glass of the <b>West Window</b> was collected by Bishop
-Creyghton in 1660-1670, excellent Sixteenth Century representations of
-the history of <i>John the Baptist</i>. Possibly Creyghton added the figures
-of <i>King Ina</i> and <i>Bishop Ralph</i> in the other lights, for the southern
-one also bears his arms. The top and bottom of the middle light are said
-to have come from Rouen in 1813.</p>
-
-<p>Now we will examine the <b>transepts</b>.</p>
-
-<div class="blockquot"><p>“The transepts seem to have been built before the nave, but some of
-the carved work of the capitals and corbels is of later date than
-the nave. The capitals on the west side of both transepts are among
-the finest in England. Many refer to the toothache.</p>
-
-<p>“North Transept: first Pier.&mdash;(Inside the Priest Vicars’ vestry) A
-prophet(?) with scroll on which there is no name: Man carrying
-goose. (Outside) Head with tongue on teeth.</p>
-
-<p>“Second Pier.&mdash;Aaron writing his name on a scroll: Moses with the
-tables of stone.</p>
-
-<p>“Third Pier.&mdash;Woman with a bandage across her face. Above this cap
-the corbel consists of a seated figure, naked, with distorted mouth
-and an agonised expression.</p>
-
-<p>“South Transept, second pier (from the south end). Two men are
-stealing grapes, one holds the basket full, the other plucks
-grapes, holding a knife in his other hand: The farmers in pursuit,
-one carries a spade and</p></div><p><span class="pagenum"><a name="page_121" id="page_121">{121}</a></span></p>
-
-<p class="nind">the other a pitchfork: The man with the fork, a vigorous figure, catches
-one thief: The man with the spade hits the other (whose face is most
-woe-begone) on the head.</p>
-
-<p>“Third pier.&mdash;Woman pulling thorn out of her foot: Man with one eye,
-finger in his mouth: Baboon head: Cobbler; this figure shows very
-plainly the method of shoemaking at this time; the cobbler in his apron,
-sits with the shoe on one knee, his strap passes over the knee and round
-the other foot, his foot is turned over so as to present the side and
-not the sole to the strap: Woman’s head with long hair.</p>
-
-<p>“Fourth pier.&mdash;Head perfectly hairless: Elias P. (the prophet) with hand
-on cheek as if he, too, has the toothache: Head in hood, with tongue on
-the one remaining tooth.</p>
-
-<p>“It may be well here to say a word about the general classification of
-these earlier capitals, since their date is a matter of great
-architectural interest. I would venture to divide them into five
-groups&mdash;</p>
-
-<p>“(1) Those of the three western bays of the choir: simple carved foliage
-of distinctly Norman character, as in the north porch: these belong to
-the time of Reginald (1174-1191).</p>
-
-<p>“(2) The four eastern bays of the nave and its aisles. Some of these may
-belong to the first period, though later than the choir: they are more
-advanced in the foliage, and teem with grotesque birds and beasts. Some,
-however, of the caps in these bays are of quite different character;
-they contain <i>genre</i> subjects of perfectly naturalistic treatment, very
-different to the St. Edmund of the north porch capital; but exactly
-similar to the figure caps of the transepts. They must therefore have
-been carved later than the death of Saint William Bytton.</p>
-
-<p>“(3) The western bays of the nave. These, which are of much less
-interest, belong to the period of Jocelin’s reconstruction (1220-1242).
-They are characteristic examples of rich stiff-leaf foliage, freer than
-that of the earlier work, but much less varied and without either human
-figures or grotesques.</p>
-
-<p>“(4) On the eastern range of transept piers. These would seem also to
-come within Jocelin’s period, with the exception of the third pier of
-the south transept.<span class="pagenum"><a name="page_122" id="page_122">{122}</a></span></p>
-
-<div class="blockquot"><p>“(5) On the western range of transept piers, with which must be
-classed those later caps already referred to in the nave under
-group 2. Their date is settled by the fact that they abound in
-unmistakable representations of the toothache. Now Saint William
-Bytton died in 1274, and his tomb became immediately famous for
-cures of this malady. In 1286, the chapter decided to repair the
-old work, no doubt because the offerings at his tomb had brought
-money to the church.”&mdash;(P. D.)</p></div>
-
-<p>In studying these fascinating grotesques, however, we have neglected to
-examine the two chantries in the nave&mdash;<b>Bishop Bubwith’s</b> and <b>Dean
-Sugar’s</b>. They are opposite one another and are alike in general
-characteristics. The screen work and cornices of Bubwith’s composed of
-light and elaborate tracery are very much admired. Light doorways permit
-entrance. The altar here was dedicated to St. Saviour. Bishop Bubwith
-(who built the north-west tower) died in 1424. His arms, containing
-holly-leaves, are beautifully carved.</p>
-
-<p>Sugar’s Chantry, about sixty years later in date, is even more
-elaborate. Like Bubwith’s, it is hexagonal and the canopy over the altar
-is vaulted with delicate fan-tracery. Critics now consider it the finer
-of the two.</p>
-
-<p>Adjoining Sugar’s Chantry the stone <b>Pulpit</b>, built in the reign of Henry
-VIII., calls for attention. In front are the arms of Bishop Knight, who
-built it and who is buried near it (he died in 1547). Beside it, is a
-brass lectern presented in 1660; upon this rests a Bible of the same
-date.</p>
-
-<p>In the <b>South transept</b>, we find the <b>Font</b>, interesting because it is the
-one relic of Bishop Robert’s Norman church. It may have stood in the
-earlier Saxon cathedral. The cover is Jacobean.</p>
-
-<p>In the south end of the south transept is the<span class="pagenum"><a name="page_123" id="page_123">{123}</a></span> <b>Tomb of Bishop de Marchia</b>
-(died 1302). The effigy of the bishop, lying in a recess under a canopy
-bristling with crockets and finials and brilliant with scarlet and
-crimson, green and gold, is very striking. Some of the angels
-surrounding the figure are charming. It is interesting to compare this
-with the <b>Tomb of Lady Lisle</b>, also adorned with crockets and brightly
-coloured.</p>
-
-<p>Perpendicular stone screens divide the transepts from their small
-chapels. The chapels of the south transept are <b>St. Martin’s</b> (now the
-canon’s vestry) and that of <b>St. Calixtus</b>, enclosed on the side of the
-choir-aisle by some beautiful ironwork from Beckington’s tomb. On the
-south side of St. Calixtus’s chapel we must pause to examine <b>Dean
-Husse’s tomb</b>, of alabaster, and noted for its carved panels even in this
-cathedral of splendid carvings.</p>
-
-<p><b>St. David’s Chapel</b> in the <b>north transept</b> compels us to pause again to
-look at the capital of the second transept pier&mdash;a handsome head with
-curls and a smile on his face&mdash;and a fine corbel carved into the form of
-a lizard eating leaves of a plant with berries. In this chapel lies an
-interesting effigy of <b>Bishop Still</b> (1543-1607) in a red robe lined with
-white fur. Next comes the <b>Chapel of the Holy Cross</b> in which is the <b>tomb
-of Bishop Cornish</b> (died 1513), thought also to have been used as the
-Easter Sepulchre, where the Host was laid during Holy Week.</p>
-
-<p>The north transept contains a relic of the past that delights every one
-who happens to be there at the striking of the hour. The famous clock
-that once belonged to Glastonbury Abbey is still in working order. A
-little figure known locally as “Jack<span class="pagenum"><a name="page_124" id="page_124">{124}</a></span> Blandiver” kicks the quarters with
-his heels on two little bells and at the hour four figures on horseback
-above the clock rush around and charge each other. The curious clock was
-made by Peter Lightfoot, a monk of the abbey. It was said to have been
-in constant use at Glastonbury for 250 years before it was removed to
-Wells at the Dissolution of the monasteries.</p>
-
-<p>From the east aisle of the north transept a door opens to the <b>Staircase</b>
-that leads to the Chapter-House and also to the celebrated Chain-Gate,
-or carved bridge that connects the Vicars’ College with the Cathedral.
-Through this gallery the Vicars could pass from their own Close into the
-Cathedral. The common hall of their college (1340) opens from it.</p>
-
-<div class="blockquot"><p>“There are few things in English architecture that can be compared
-with it for strange impressive beauty; the staircase goes upward
-for eighteen steps and then part of it sweeps off to the
-Chapter-house on the right, while the other part goes on and up
-till it reaches the chain-bridge; thus the steps lie, worn here and
-there by the tread of many feet, like fallen leaves, the last of
-them lost in the brighter light of the bridge. Here one is still
-almost within the cathedral, and yet the carts are passing
-underneath, and their rattle mixes with the sound of the organ
-within.</p>
-
-<p>“The main gallery of the Chain-Gate is shut off by a door, which,
-if it were kept open, would make the prospect even more beautiful
-than it is. Two corbels which support the vaulting-shafts of the
-lower staircase should be noticed; they both represent figures
-thrusting their staves into the mouth of a dragon, but that on the
-east (wearing a hood and a leathern girdle round his surcoat) is as
-vigorous in action as the figure on the west side is feeble. A
-small barred opening in the top of the east wall lights a curious
-little chamber, which is reached from the staircase that leads to
-the roof.”&mdash;(P. D.)</p></div><p><span class="pagenum"><a name="page_125" id="page_125">{125}</a></span></p>
-
-<p>The <b>Chapter-House</b> is famous among these beautiful adjuncts to English
-cathedrals. It has been called “a glorious development of window and
-vault.” It was built in the latter half of the Geometrical period
-(1280-1315). Note the profusion of ball-flower ornament round the
-windows and the ogee dripstones outside.</p>
-
-<div class="blockquot"><p>“Of octagonal plan, its vaulting ribs branch out from sixteen
-Purbeck shafts which cluster round the central pillar, typifying
-the diocesan church with all its members gathered round its common
-father, the bishop. Each of the eight sides of the room is occupied
-by a window of four lights, with graceful tracery of an advanced
-geometrical type. These windows, which are among the finest
-examples of the period, have no shafts, but their arch mouldings
-are enriched with a continuous series of the ball-flower ornament.
-Most of the old glass in which ruby and white are the predominant
-colours, remains in the upper lights. Under the windows runs an
-arcade which forms fifty-one stalls, separated into groups of seven
-by the blue lias vaulting-shafts at the angles, but in the side
-which is occupied by the doorway there are only two stalls, one on
-either side of the entrance. Two rows of stone benches are under
-the stalls, and there is a bench of Purbeck round the base of the
-central pier.”&mdash;(P. D.)</p></div>
-
-<p>Another authority says:</p>
-
-<div class="blockquot"><p>“At the springs of the arches are sculptured heads full of
-expression, kings, bishops, monks, ladies, jesters; and at the
-angles, grotesques of various kinds. A line of the ball-flower
-ornament is carried round above the canopies.</p>
-
-<p>“The double arches at the entrance show traces of a door on the
-exterior. Remark the curious boss in the vaulting, composed of four
-bearded faces. The diameter of the chapter-house is fifty feet, its
-height forty-one feet. Its unusual, and indeed unique, features
-are&mdash;its separation from the cloisters from which the chapter-house
-generally opens; and its crypt, or lower story,<span class="pagenum"><a name="page_126" id="page_126">{126}</a></span> which rendered
-necessary the staircase by which it is approached.</p>
-
-<p>“A most striking view of the chapter-house is obtained from the
-fourth angle of the staircase, close to the doorway of the Vicars’
-College. The effect of the double-door arches with their tracery,
-of the central pier, the branched ribs of the vaulting, and the
-fine windows is magnificent; and when the latter were filled with
-stained glass, must have been quite unrivalled. The chapter-house
-is by no means the least important of the many architectural
-masterpieces which combine to place Wells so high in the ranks of
-English cathedrals.”&mdash;(R. J. K.)</p></div>
-
-<p>The <b>Crypt</b>, finished by 1286, represents the last development of the
-Early English style. It was used as the treasury where valuables were
-kept. It is reached by a dark passage from the north-choir-aisle. The
-odd corbels should be noted. The walls are very thick, the windows
-narrow with wide splays and the vaulting-ribs spring from round and
-massive pillars with much effect. This Crypt is unusually high, because
-the many springs at Wells would not permit of a subterranean chamber.</p>
-
-<p>But again we have been led astray from the main body of the Cathedral.
-Returning the same way, we again enter the north transept and stand
-beneath the splendid fan-tracery vault of the tower, a vault, beautiful
-as it is, that hides the lantern with its arcades. These, however, can
-be seen during the ascent of the tower.</p>
-
-<p>The <b>Screen</b> dates from the Fourteenth Century.</p>
-
-<div class="blockquot"><p>“The first impression on entering the choir will not readily be
-forgotten. Owing to the peculiar and most beautiful arrangement of
-the Lady-chapel and the retro-choir, to the manner in which the
-varied groups of arches and pilasters are seen beyond the low altar
-screen, to the rich splendours of the stained glass, to the
-beautiful architectural details of the choir itself, and to the
-grace and<span class="pagenum"><a name="page_127" id="page_127">{127}</a></span> finish of the late restorations, it may safely be said
-that the choir of no English cathedral affords a view more
-impressive or more picturesque. It is difficult to determine
-whether the effect is more striking at early morning, when the
-blaze of many-coloured light from all the eastern windows is
-reflected upon the slender shafts of Purbeck and upon the vaulted
-roof, or at the late winter services, when the darkened figures of
-saints and prophets in the clerestory combine with the few lights
-burning at the choristers’ stalls to add something of mystery and
-solemn gloom to the maze of half-seen aisles and chapels.</p>
-
-<p>“The first three piers and arches of the choir are Early English,
-of the same character as those of the nave and transepts, and are
-probably the work of Bishop Jocelin. The remaining portion,
-including the whole of the vaulting as well as the clerestory above
-the first three bays, is very rich early Decorated (geometrical)
-and deserves the most careful study.</p>
-
-<p>“The tabernacle work and the window tracery of the first three
-bays, although of the same date, are less rich than those of the
-eastern half of the choir. In this latter portion remark the triple
-banded shafts of Purbeck, carried quite to the roof as
-vaulting-shafts, and the tabernacle-work occupying the place of the
-triforium, deeper and wider than in the lower bays. Under each arch
-is a short triple shaft, supporting a bracket richly carved in
-foliage. The sculpture of the capitals and of these brackets is
-very good and should be noticed. The foliage has become
-unconventional, and has evidently been studied from nature. Its
-diminutive character, as compared with the Early English work in
-the nave, is very striking.</p>
-
-<p>“The east end of the choir is formed of three arches divided by
-slender piers above which is some very rich tabernacle-work,
-surmounted by an east window of unusual design. At the back of the
-altar, and between the piers, is a low diapered screen, beyond
-which are seen the arches and stained windows of the retro-choir
-and Lady-chapel.”&mdash;(R. J. K.)</p></div>
-
-<p>The stone vault is unusual, a sort of “coved roof,” Freeman calls it,
-“with cells cut in it for the clerestory windows.<span class="pagenum"><a name="page_128" id="page_128">{128}</a></span>”</p>
-
-<p>The three western bays are Bishop Reginald’s of the Twelfth Century.
-Here we are in the very oldest part of the Cathedral. Triple
-vaulting-shafts of Purbeck marble are carried down to the floor.</p>
-
-<div class="blockquot"><p>“The clerestory windows contain flowing tracery of an advanced and
-not very good type. In some the plain mullions are carried on
-through the head of the window and intersect each other. Above the
-tabernacle-work of the east end is the <small>EAST WINDOW</small> of seven lights,
-the last bit of the Fourteenth Century reconstruction, the last
-flicker of Decorated freedom. Its curious tracery is still
-beautiful, doubly so for the glass it enshrines, but the rule and
-square of Perpendicular domination have already set their mark upon
-it; the two principal mullions run straight up to the window head,
-and part of the tracery between them is rectangular.”&mdash;(P. D.)</p></div>
-
-<p>The Cathedral possesses sixty-four <b>Misericords</b>, from the old
-choir-stalls, regarded as among the best examples of mediæval
-wood-carving in England. The skilful hand of the carver has wonderfully
-represented griffins fighting, mermaids, apes, goats, dragons, wyverns,
-popinjays, cats, foxes, peacocks, monsters, angels, eagles, hawks,
-rabbits, kings, peasants&mdash;and many other birds, animals and grotesques.</p>
-
-<p>The soft yet brilliant light sifts in from the <b>Jesse Window</b> above the
-high altar. We lift our eyes and with some pains discern the twining
-branches of the vine with the recumbent figure of Jesse at the base,
-resting his head on his hand. From him rises the leading shoot of the
-tree, with the figures of the Virgin and the Child each with radiant
-nimbus and beneath a golden canopy. The tendrils of the vine enwreath
-prophets, priests and kings,&mdash;the ancestors of the Babe of Bethlehem.
-Above is a representation of the <i>Crucifixion</i>; and at the very</p>
-
-<div class="figcenter"><br />
-<a name="fig_022" id="fig_022"></a>
-<a href="images/fp128.jpg">
-<img src="images/fp128.jpg" width="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Wells: Nave, east</span></p></div>
-</div>
-
-<div class="figcenter"><br />
-<a name="fig_023" id="fig_023"></a>
-<a href="images/fp129.jpg">
-<img src="images/fp129.jpg" width="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Wells: South-west</span></p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_129" id="page_129">{129}</a></span></p>
-
-<p class="nind">top of the window, the outstretched wings of the Holy Spirit.</p>
-
-<p>The choir-aisles are of the same character as the choir itself and are
-entered from the transepts through ogee arches, ornamented with crockets
-and finials.</p>
-
-<p>The south-choir-aisle contains the <b>Tomb of Saint William Bytton</b>, at
-which (the oldest incised slab in England) offerings were made by those
-suffering from toothache, as we have already seen. Further away is the
-<b>Tomb of Beckington</b>, surrounded by a beautiful iron-screen of the same
-date as the tomb (1452). The carving is very fine, especially the wings
-of the angels. A little colour is left here and there. His effigy rests
-upon it, with old and wrinkled face. This bishop said mass for his own
-soul here in January, 1452, thirteen years before he died.</p>
-
-<p>In the south-east transept, we find the <b>Chapel of St. John Baptist</b>,
-where a Decorated piscina with canopy deserves attention.</p>
-
-<p>At the extreme end of the north-choir-aisle is <b>Saint Stephen’s Chapel</b>
-and at the extreme end of the south-choir-aisle is the corresponding
-<b>Saint Catherine’s Chapel</b>. Both contain effigies of bishops, tombs and
-monuments. Between and back of these is the Lady-Chapel.</p>
-
-<p>We now return to the <b>Retro-choir</b>. Four slender piers of Purbeck marble
-bear up the vault. The arrangement of the columns should be particularly
-noticed here. It is hard to realise that this <b>Retro-choir</b> was merely a
-device for connecting the Lady-Chapel with the Choir, it seems so
-entirely a part of the scheme.</p>
-
-<div class="blockquot"><p>“The beauty of the retro-choir, or ‘procession aisles,’ the
-arrangement of its piers and clustered columns, and<span class="pagenum"><a name="page_130" id="page_130">{130}</a></span> the admirable
-manner in which it unites the Lady-chapel with the choir should be
-here remarked. It is throughout Early Decorated. The foliage of the
-capitals and the bosses of the vaulting will repay careful
-examination. Many of the vaulting ribs appear to spring from two
-grotesque heads&mdash;one on either side of the low choir-screen&mdash;which
-hold them between their teeth. The four supporting pillars and
-shafts are placed <i>within</i> the line of the choir-piers, thus
-producing the unusual intricacy and variety of the eastward view
-from the choir. At Salisbury, and in all other English cathedrals,
-the piers of the procession-aisles are placed in a line with those
-of the choir.”&mdash;(R. J. K.)</p></div>
-
-<p>Mr. Bond thinks the Wells architect got his idea for the octagonal
-Lady-Chapel by tacking on the elongated octagonal of the Lichfield
-Chapter-House to the rectangular retro-choir of Salisbury.</p>
-
-<div class="blockquot"><p>“The Lady-chapel is an early work of the Curvilinear period; for it
-seems to have been complete in 1324. The windows have beautiful
-reticulated tracery of early type. There is lovely carving in the
-capitals, bosses, reredos, sedilia and piscina. The Curvilinear
-foliated capitals here and in the choir should be compared with the
-somewhat earlier capitals of the chapter-house, with the early
-Geometrical capitals of the staircase, the Lancet capitals of the
-west front and the late Transitional ones of porch, nave and
-transepts. The ancient glass here and in the Jesse window of the
-choir is superb in colour.</p>
-
-<p>“As every one knows, it is the most beautiful east end we have in
-England. It may be worth while to see how this design was arrived
-at&mdash;a design as exceptional as it is effective. The simplest form
-of an east end in English Gothic is seen at York and Lincoln: it
-consists merely of a low wall with a big window above it. The next
-improvement is to build an aisle or processional path behind the
-east end; at the same time piercing the east wall with one, two or
-three arches. This was done at Hereford about 1180; and on a
-magnificent scale in the Chapels of Nine Altars at Durham and at
-Fountains early in the Thirteenth Century. But the French apsidal
-cathedrals&mdash;of which<span class="pagenum"><a name="page_131" id="page_131">{131}</a></span> we have an example in Westminster&mdash;have not
-only an encircling processional aisle, but also a chevet of chapels
-radiating out from it; thus providing ever-changing vistas of
-entrancing beauty. The next step in England also was to provide our
-rectangular choirs with a chevet as well as with a processional
-aisle. An early example of this plan is to be seen at Abbey Dore,
-in Herefordshire, about 1190. It occurs early in the Thirteenth
-Century on a still grander scale at Salisbury, where one finds not
-one but two processional aisles, as well as chapels to the east of
-them; and, in addition, a Lady-chapel projecting still farther to
-the east, thus producing a design of great complexity and beauty.
-Nevertheless, at Salisbury, since the chief supporting piers of the
-retro-choir and the chevet are in a line with those of the choir,
-there is by no means the same changeful intricacy of vista that
-affords one ever fresh delight in an apsidal church. At Wells,
-however, the architect attained all the success of the Continental
-builder simply because he built his Lady-chapel not rectangular but
-octagonal. For to get this octagon, of which only five sides were
-supported by walls, he had to plant in the retro-choir two piers to
-support the remaining three sides; and these piers are necessarily
-out of line with the piers of the choir. He had got the Continental
-vista. He saw it; but he saw also that it could be improved upon.
-And he did improve it, by putting up an outer ring of four more
-piers round the western part of the octagon of the Lady-chapel. It
-was an intuition of genius: it makes the vistas into the
-retro-choir and the Lady-chapel a veritable glimpse into fairyland;
-and provides here alone in England a rival to the glorious eastern
-terminations of Amiens and Le Mans. And that is not all. We saw in
-the chapter-house the grand effect of the central stalk branching
-upward and outward in all directions, like some palm tree
-transmuted into stone. This beautiful effect he transfers to the
-retro-choir, but multiplied&mdash;four palm trees in place of one; for
-each of the four external piers of the octagon emulates the
-chapter-house’s central stalk.”&mdash;(F. B.)</p></div>
-
-<p>The large windows are filled with fine specimens of Fourteenth Century
-glass unfortunately now jum<span class="pagenum"><a name="page_132" id="page_132">{132}</a></span>bled together. The <b>East Window</b> is composed
-of odd pieces put together by Willement. David and other patriarchs
-occupy the upper tier, and the Virgin, Eve and the Serpent and Moses and
-the Brazen Serpent, the lower tier. The upper lights display angels with
-the instruments of the Passion, emblems of the Evangelists and busts of
-bishops and patriarchs.</p>
-
-<div class="blockquot"><p>“From the south-west transept we pass into the <small>CLOISTERS</small>, which
-occupy an unusual amount of space, but have only three walks
-instead of the usual four.</p>
-
-<p>“The difference between a true monastic cloister and this of Wells
-should be remarked. The canons of Wells were not monks and did not
-require a cloister in the ordinary sense. This is merely an
-ornamental walk around the cemetery. It did not lead to either
-dormitory, refectory or chapter-house. It served as a passage to
-the Bishop’s Palace; and the wall of the east walk is Early English
-of the same date as the palace itself. The lavatory in the east
-walk should be remarked, as well as the grotesque bosses of the
-roof in the portion built by Bishop Beckington. Over the western
-cloister is the Chapter Grammar School. The central space is known
-as the ‘Palm Churchyard,’ from the yew-tree in its centre, the
-branches of which were formerly carried in procession as palms.
-From the south-east angle of the cloisters we descend into the open
-ground within the gateway adjoining the marketplace, and opposite
-the episcopal palace. This is surrounded by a moat, as well as by
-strong external walls and bastions, and would have been capable of
-sustaining a long siege according to the mediæval system of
-warfare. The moat is fed by springs from St. Andrew’s, or the
-‘bottomless well’&mdash;the original ‘great well’ of King Ina,&mdash;which
-rise close to the palace and fall into the moat in a cascade at the
-north-east corner. Both walls and moat were the work of Bishop
-Ralph of Shrewsbury (1329-1365).”&mdash;(R. J. K.)</p></div>
-
-<p>Wells is famous for its ancient houses. The old Palace and the Deanery
-are still occupied by the<span class="pagenum"><a name="page_133" id="page_133">{133}</a></span> bishop and the dean; the canons and vicars
-also live in the individual houses built for these ecclesiastics. Wells
-was never a monastery with a common refectory and dormitory: there were
-always secular priests here and each man lived in his own house. Of all
-the domestic buildings the Bishop’s Palace is the most beautiful. It is
-considered the most perfect specimen of an Early English house that
-exists.<span class="pagenum"><a name="page_134" id="page_134">{134}</a></span></p>
-
-<h2><a name="BATH_ABBEY" id="BATH_ABBEY"></a>BATH ABBEY</h2>
-
-<div class="blockquotcent"><p><span class="smcap">Dedication: St. Peter and St. Paul. A Church served by Secular
-Canons.</span></p>
-
-<p><span class="smcap">Special feature: West Front.</span></p></div>
-
-<p class="nind"><span class="smcap">Standing</span> before the <b>West Front</b>, we notice, first of all, that upon the
-angles of the nave on either side of the great window are two turrets,
-on the face of each of which is carved a ladder with angels ascending or
-descending. The space above the window is also carved with angels; and,
-under a canopy above the group, stands a figure of God the Father. Of
-this strange decoration the following story is told:</p>
-
-<p>Oliver King, Bishop of Exeter, was translated to the See of Bath and
-Wells in 1495. He went at once to Bath, and found the church in a
-dilapidated condition. While there, he had a repetition of Jacob’s
-famous dream of a ladder reaching from heaven to earth with angels
-ascending and descending. Above them stood the Lord, who said: “Let an
-Olive establish the crown and a King restore the church.” Taking the
-hint, Bishop Oliver King immediately set to work to rebuild the church
-and had his dream recorded upon the west front. He also had an
-olive-tree and crown carved on each of the corner buttresses.</p>
-
-<p>Bishop King’s new church was smaller than the old one. It only occupied
-the site of the former nave. He died before it was finished. Prior
-William Birde continued the work, not forgetting a chantry for himself,
-which is regarded as the best<span class="pagenum"><a name="page_135" id="page_135">{135}</a></span> thing in the church. Birde died in 1525;
-and the work was still unfinished when it was seized by the king’s
-commissioners. The roofless and neglected church soon fell into decay;
-but in 1572 it was patched up a little in order that services might be
-held in it. The east window was glazed and the choir was roofed. The
-nave, however, was not roofed until Bishop Montague’s rule (1608-1616).</p>
-
-<p>At the beginning of the Nineteenth Century, many mean houses that had
-clustered around Bath Abbey were removed, and buttresses and pinnacles
-were added to strengthen the walls. Repeated restorations have made it
-exceedingly trim in appearance.</p>
-
-<p>About 775, Offa, the Mercian king, founded here a college of secular
-canons, who were expelled by Dunstan in the Tenth Century and superseded
-by monks.</p>
-
-<p>One great event in the abbey church was the coronation of King Edgar on
-the Feast of Pentecost, 973; and for centuries afterwards it was the
-custom to select on Whitsunday a “King of Bath” from among its citizens,
-in honour of this circumstance.</p>
-
-<p>John de Villula, a Frenchman from Tours, who was Bishop of Somerset in
-the reign of William Rufus, greatly preferred Bath to Wells. He was able
-to merge Bath Abbey into the bishopric; and then he began to rebuild the
-church dedicated to St. Peter. When it was finished, he transferred the
-bishop’s seat from Wells to Bath. This did not satisfy Wells, however,
-and when Robert of Lewes became bishop of Bath and Wells, he seems to
-have arranged matters by allowing the Bishop of Somerset to have a
-throne at St. Andrew’s in Wells and at<span class="pagenum"><a name="page_136" id="page_136">{136}</a></span> St. Peter’s in Bath, the bishop
-to be chosen by the monks of Bath and the canons of Wells (See page
-108).</p>
-
-<p>The church built by John of Tours having suffered from fire, Robert was
-compelled to rebuild it; but subsequent bishops neglected Bath; and at
-the end of the Fifteenth Century, when Oliver King was removed here from
-Exeter, he found the church was in a ruinous condition and began to
-rebuild it, as we have seen.</p>
-
-<p>Bath Abbey is a very interesting example of late Perpendicular. It was
-nearing completion when it surrendered to Henry VIII. in 1539, and is,
-therefore, the last expression of Gothic Art. The most interesting part
-of the church is the <b>West Front</b>, with its large window flanked by the
-turrets with the ladders, already described. Each turret contains a
-staircase; rises far above the parapet of the nave; and terminates in an
-embattled parapet surmounted by an eight-sided and crocketed pyramid.</p>
-
-<div class="blockquot"><p>“The great west window is one of seven lights, divided horizontally
-into four parts. Below it is a battlemented parapet with a niche in
-the centre, in which, no doubt, a statue formerly stood, and in
-which a new statue has recently been placed. At the base of it are
-the arms and supporters of Henry VII. Below it is the west door,
-beneath a rectangular label. The spandrels contain emblems of the
-Passion. On either side stand statues of St. Peter and St. Paul, to
-whom the church was jointly dedicated; these seem to be of
-Elizabethan date. The doors themselves were the gift to the church
-of the Lord Chief Justice, Sir Henry Montague, brother of the
-bishop who completed the church. On them may be seen shields
-bearing the arms of the Montagues and of the Bishop of Bath and
-Wells.”&mdash;(T. P.)</p></div>
-
-<p>The <b>Central Tower</b> is oblong and rises two stages above the roof. It
-contains two pairs of windows</p>
-
-<div class="figcenter"><br />
-<a name="fig_024" id="fig_024"></a>
-<a href="images/fp136.jpg">
-<img src="images/fp136.jpg" width="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Bath Abbey: West front</span></p></div>
-</div>
-
-<div class="figcenter"><br />
-<a name="fig_025" id="fig_025"></a>
-<a href="images/fp137.jpg">
-<img src="images/fp137.jpg" width="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Bath Abbey: Choir, west</span></p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_137" id="page_137">{137}</a></span></p>
-
-<p class="nind">with rectangular heads and each corner is ornamented by a heavy
-octagonal turret also terminating in octagonal pyramids decorated with
-crockets. Similar pyramids terminate the turrets that flank the sides of
-the east window of the choir.</p>
-
-<p>There is no Lady-Chapel.</p>
-
-<p>Let us survey the exterior:</p>
-
-<div class="blockquot"><p>“The nave consists of five bays. The clerestory windows are
-unusually lofty, and are divided by transoms; they are of five
-lights. Along the top of the clerestory wall is a battlemented,
-pierced parapet; but the pattern of the pierced openings differs
-from that of the parapet which runs along the top of the aisle
-walls. The aisles have five light windows without transoms; their
-heads are four centred arches; between each bay are projecting
-buttresses of three stages with gabled offsets, finished with
-crocketed pinnacles; against them rest flying-buttresses formed of
-a lower semi-arch, with a straight rectilinear truss. From the
-points where the arched flying-buttresses abut against the
-clerestory walls, vertical, slightly projecting buttresses are
-built upwards against the wall and rising above the parapet, are
-finished by crocketed pinnacles. The same design is carried right
-round the church. The clerestory of the transepts resembles those
-of the nave and the choir.”&mdash;(T. P.)</p></div>
-
-<p>Entering, our first and general view is impressive, because of the
-fan-vaulting and height of the <b>Nave</b>. Owing to the absence of horizontal
-lines, the vault seems higher than it really is. There is no triforium.
-A string-course runs above the arches of the main arcade beneath the
-clerestory windows, which are unusually tall. On account of the enormous
-windows and the absence of painted glass, Bath Abbey received the name
-of the “Lantern of the West”; but now that the windows of the nave and
-choir-aisles have been supplied with painted lights, the name is less
-appropriate. The<span class="pagenum"><a name="page_138" id="page_138">{138}</a></span> tracery of these windows is, of course, Perpendicular.
-The one in the south-transept is a thanksgiving for the recovery of the
-Prince of Wales in 1872. The lower lights depict the recovery of
-Hezekiah and the royal arms of the Prince and Princess of Wales and also
-those of the city of Bath. The upper part represents the Tree of Jesse.
-The great east and west windows have seven lights. The west window
-contains subjects from Old Testament history, and the east-window,
-representations of the life of Christ.</p>
-
-<div class="blockquot"><p>“There is little variety in the arches and shafts throughout the
-church. This repetition is a well-known feature in Perpendicular
-work. The piers have no general capital. The shaft which carries
-the inner order of the arch has a capital, and so, at the same
-level, have the vaulting-shafts of the high vault and that of the
-aisles. These shafts spring from the bases of the main pillars. The
-capitals at this level are plain, and so are the capitals of the
-vaulting-shafts of the nave from which the vaulting-ribs spring.
-But in the choir the place of these plain bands is taken by carved
-angels. Carved angels also form the termination of the
-hood-moulding of the lower windows of the south transept, and
-probably those of the north transept also, though these windows are
-hidden by the wooden pipes of the organ.</p>
-
-<p>“Over the heads of the clerestory windows of the nave are small
-shields, and shields may also be seen in the centre of the
-fan-tracery in the nave, choir and transept. In the aisles the
-fan-tracery is somewhat different, as in the centre of each bay
-there is a pendant. The vaulting of the nave and its aisles and
-that of the south transept are modern, put up, under the direction
-of Sir Gilbert Scott, to match the roof of the choir and its aisles
-and north transept respectively. The reredos was designed by the
-same architect. The oak screen across the eastern part of the south
-choir aisle is due to his son. The font is also modern. In fact,
-beyond the walls and the roofing of the eastern part of the church,
-there is little old about<span class="pagenum"><a name="page_139" id="page_139">{139}</a></span> it. In the clerestory windows are a few
-fragments of Seventeenth-Century glass&mdash;heraldic shields.”&mdash;(T. P.)</p></div>
-
-<p>Although Bath Abbey is full of monuments (there are over six hundred
-memorial tablets besides statues), the only tombs that deserve attention
-are those of <b>Bishop Montague</b>, in the fourth arch of the nave on the
-north side, and <b>Lady Waller’s Monument</b> under the southern window of the
-transept. The figure of her husband, Sir William Waller, who commanded
-the Parliamentary army in the Battle of Landsdown, near Bath, clad in
-mail, gazes down upon his dead wife. Two weeping children kneel at her
-feet.</p>
-
-<p>Between the choir and the south-aisle <b>Prior Birde’s Chantry</b> occupies two
-bays. It is a most elaborate piece of carving. The rebus of the founder
-(a bird and a W) appears frequently. Fan-tracery decorates the vault.</p>
-
-<p>The very fine organ is placed in the transept. The bells of Bath are
-famous.<span class="pagenum"><a name="page_140" id="page_140">{140}</a></span></p>
-
-<h2><a name="BRISTOL" id="BRISTOL"></a>BRISTOL</h2>
-
-<div class="blockquotcent"><p><span class="smcap">Dedication: The Holy Trinity. A Church served by Augustinian
-Canons.</span></p>
-
-<p><span class="smcap">Special features: East Window (tracery and glass); Chapter-House;
-Great Gateway.</span></p></div>
-
-<p class="nind"><span class="smcap">The</span> <b>West Front</b> of Bristol gives us a slight suggestion of a French
-cathedral, for here we find a rose window and a large doorway, at the
-side of which rise two square towers. The balustrade above the crocketed
-gable of the doorway partly hides the rose-window.</p>
-
-<p>The towers were built in 1887 and 1888: the north-west is Bishop
-Butler’s Tower and the south-west, the Colston Tower. The Butler tower
-is enriched with statues of St. Michael, St. Gabriel and the Angel of
-Praise; the Colston, with the Angel of the Gospel, St. Raphael and the
-Angel of the Sun. On our right is the Great Gateway.</p>
-
-<p>The exterior of Bristol is not very striking. The buttresses of the
-Elder-Lady-Chapel are Decorated and of the same date as the east window
-of the same chapel. We should also view the great east window of the
-Lady-Chapel from without and the <b>Central Tower</b>.</p>
-
-<div class="blockquot"><p>“Early in the Fifteenth Century a central tower was added. Here
-again one is struck by the originality of the British people: it is
-as beautiful as it is original. The designer had noticed how
-beautiful is the effect of a close-packed range of tall clerestory
-windows, such as those of Leighton Buzzard Church. So instead of
-restricting himself on each side of the tower to one or two
-windows, he inserts no less than five. The range of clerestory
-win<span class="pagenum"><a name="page_141" id="page_141">{141}</a></span>dows, which the Fourteenth Century builder refused to the
-choir, becomes the special ornament and glory of the tower.”&mdash;(F.
-B.)</p></div>
-
-<p>As we enter through the <b>North Porch</b>, which occupies the space between
-two buttresses and is adorned with statues of the Four Evangelists, we
-may remember that when Henry VIII. created the diocese of Bristol there
-had been a church and monastery of Augustine canons on this site for
-four hundred years. This monastery was founded in 1142 by Robert
-Fitzhardinge, Lord of Berkeley Castle. Of his Norman church little
-remains but portions of the walls in both transepts, a staircase in the
-north-aisle leading to the tower, and some fragments in the choir. The
-Norman nave was removed in 1542, because it was thought unsafe. The new
-nave and western towers were completed in 1888 by Mr. Street, who copied
-from the old, repeating the vaulting and the recesses of the eastern
-end.</p>
-
-<p>The ground plan consists of a nave with an aisle on either side; a
-central tower and transepts; then the choir with north and south aisles;
-and finally, the Lady-Chapel at the end. On the north of the
-north-choir-aisle is the first Lady-Chapel&mdash;built in the Early English
-style, and called Elder-Lady-Chapel to distinguish it from the later
-Lady-Chapel at the east end.</p>
-
-<p>At the south-east end of the south-choir-aisle we find the Berkeley
-Chapel; and at the end of the south transept, the Newton Chapel. Beyond
-it is the Chapter-House with its Vestibule, and on the south and west
-the remains of the Cloisters.</p>
-
-<p>Our best position for viewing the <b>Nave</b> is from the north or between the
-two big towers. It is 120<span class="pagenum"><a name="page_142" id="page_142">{142}</a></span> feet long, 60 feet high and 69 broad
-including the aisles. One peculiarity of Bristol is that the aisles are
-of the same height as the Nave; and another, that this Cathedral has
-neither clerestory, nor triforium. The windows of the Nave are very
-large and are strengthened by transoms.</p>
-
-<p>The <b>West Window</b> has for its subject the <i>Adoration of the Lamb</i>. The
-<b>Choir</b> consists of four bays. It is in the Decorated style and dates from
-1306 to 1332.</p>
-
-<div class="blockquot"><p>“The piers of the choir carry triple shafts which support the
-vaulting of the choir, and others for the aisles, which are here of
-the same height as the choir. Capitals of great delicacy and
-beauty, modelled from real foliage, serve to break the line of the
-mouldings and accentuate the springing of the vault. Graceful
-though the span of the roof is admitted to be, the lines of the
-arcade of the choir are finer, and the effect of the contrast of
-their soft mouldings carried up and around without a break is
-excellent. The iron screen-work that separates the choir from its
-aisles is uninteresting and too small in scale.”&mdash;(H. J. L. J. M.)</p></div>
-
-<p>On either side of the high altar are canopied recesses containing
-monuments. The reredos is a memorial to Bishop Ellicott and is rather
-too high, therefore interfering with a good view of the splendid east
-window in the Lady-Chapel. The mosaic pavement is new, and the stalls
-are also modern. Some of the old <b>Misereres</b> have been preserved, however,
-and consist of grotesques. Some of them illustrate <i>Reynard the Fox</i>.</p>
-
-<p>In both aisles of the Choir we are struck by the very peculiar vaulting
-designed by Abbot Knowle to strengthen the building and help carry the
-lateral thrust occasioned by the heavy central vaulting. These bridges,
-or transoms, therefore, do the<span class="pagenum"><a name="page_143" id="page_143">{143}</a></span> work of flying-buttresses as faithfully
-to-day as when they were erected six hundred years ago.</p>
-
-<div class="blockquot"><p>“The transoms, features which were repeated in the windows of the
-aisles of the choir, and in a much heavier form in the windows of
-the nave, are additionally strengthened by the graceful arches
-below which spring from capitals almost similar to those on the
-choir side of the piers. From the centre of each transom rises a
-cluster of groining ribs. It has been customary to speak rather
-disparagingly of this clever piece of work of Abbot Knowle and to
-term it carpentry work in stone. It may be so, but the student of
-to-day may thank the Fourteenth Century Abbot for a most
-instructive lesson. The transoms have crowned heads at either end
-and in the centre, and they, unlike the transoms in the aisles of
-the nave, are ornamented with little flowers. Beneath the windows,
-which are Decorated in character, is a string-course, with
-ball-flower ornament, a feature which is found all round this
-eastern part. In the south aisle the vaulting was intended to be
-the same as in the north aisle, having been planned by the same
-architect, but a difference in the westernmost bay shows it was
-superintended by a different mind. In all probability it was
-Knowle’s successor, Abbot Snow, who, from 1332-1341, went on with
-his predecessor’s work, adding that part called the Newton
-Chapel.”&mdash;(H. J. L. J. M.)</p></div>
-
-<p>There is not a great deal of old glass in Bristol, but some of the
-<b>Windows</b> in this east end are worthy of careful study.</p>
-
-<div class="blockquot"><p>“The east windows of the choir aisles are filled with glass
-coloured with enamels in accordance with the practice of the
-Seventeenth Century instead of glass coloured in its manufacture.
-They date from the reign of Charles II.; and although it is
-traditionally said that they were presented by Nell Gwynne, it is
-more probable that they were the offerings of Henry Glenham, Dean
-of Bristol from 1661 to 1667, and afterwards Bishop of St. Asaph.
-The arms of Glemham (Or, a chevron gules between three torteaux)
-are repeated three times in the window<span class="pagenum"><a name="page_144" id="page_144">{144}</a></span> of the south aisle and once
-in that of the north. The subjects (arranged as type and antitype)
-in the north aisle are&mdash;in the centre, the Resurrection; below
-Jonah delivered from the whale. On the right, above, the Ascension;
-below, Elijah taken up to heaven. On the left, above, the Agony in
-the garden; below, Abraham about to offer up his son.”&mdash;(R. J. K.)</p></div>
-
-<p>In the third bay of the north wall of this north-choir-aisle a doorway
-opens into a peculiar passage designed by Abbot Knowle to take the place
-of a triforium. The passage leads to a staircase communicating with the
-central tower and the belfry.</p>
-
-<p>North of the north-choir-aisle we come to the greatly admired Early
-English Chapel, the Elder Lady-Chapel.</p>
-
-<div class="blockquot"><p>“The Lady-Chapel (generally called the Elder Lady-Chapel because
-the altar of the Virgin was removed to the east end of the church
-after Abbot Knowle had rebuilt the choir) is entered from the
-north-east corner of the transept. The chapel is Early English, and
-dates, according to Mr. Godwin, from the time of Abbot John
-(1196-1215). The chapel is of four bays, the windows in which are
-triplets with inner arches, of which those at the side are
-gracefully foliated. The detached vaulting-shafts are of Purbeck
-marble. The sculpture of the capitals and string-courses is
-unusually good; and the spandrels of the wall-arcade are filled
-with grotesque designs which are full of spirit and character,
-greatly resembling the sculpture in Wells Cathedral, much of which
-is of the same date. Remember especially&mdash;a goat blowing a horn and
-carrying a hare slung over his back; a ram and an ape playing on
-musical instruments; and St. Michael with the dragon(?); below is a
-fox carrying off a foliage. The vaulting of the roof would seem to
-stamp the English character.”&mdash;(R. J. K.)</p></div>
-
-<p>This chapel was originally detached from the rest of the Cathedral.
-Beneath the two arches</p>
-
-<div class="figcenter"><br />
-<a name="fig_026" id="fig_026"></a>
-<a href="images/fp144.jpg">
-<img src="images/fp144.jpg" width="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Bristol: North</span></p></div>
-</div>
-
-<div class="figcenter"><br />
-<a name="fig_027" id="fig_027"></a>
-<a href="images/fp145.jpg">
-<img src="images/fp145.jpg" width="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Bristol: Nave, east</span></p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_145" id="page_145">{145}</a></span></p>
-
-<p class="nind">between it and the north-choir-aisle stands the <b>Tomb of Maurice</b>, ninth
-Lord Berkeley (died 1368). Here he lies with <b>Elizabeth</b>, his wife. The
-knight is in armour and his head lies on a mitre. A good groined canopy
-overshadows these figures.</p>
-
-<p>Retracing our steps into the choir and passing into the
-<b>South-choir-aisle</b>, we examine the Glenham window, which is of the same
-date as the corresponding one in the north-choir-aisle.</p>
-
-<p>The subjects are&mdash;in the centre, above, <i>Our Lord Driving the Money
-Changers from the Temple</i>; below, <i>Jacob’s Dream</i>; on the right, above,
-the <i>Tribute Money</i>; below, <i>Melchisedec</i> and <i>Abraham</i>; the subject on
-the left, above, is uncertain; below, the <i>Sacrifice of Gideon</i>.</p>
-
-<p>From the western bay of the south-choir-aisle we enter the <b>Newton
-Chapel</b>, where members of the Newton family lie. This dates from
-1332-1341. The style is late Decorated. The south wall divides it from
-the Chapter-House, with which it is parallel.</p>
-
-<p>On the right, after passing out of the Newton Chapel, we come to one of
-Abbot Knowle’s recesses. The foliage consists of oak leaves and acorns
-interspersed here and there with tiny sprays of mistletoe, an unusual
-ornament, in church decoration.</p>
-
-<p>We next pass the <b>Tomb of Thomas, Lord Berkeley</b>, who died in 1243. He is
-represented in armour. His crossed legs show that he was a
-knight-templar. This is the oldest monument in the cathedral. The next
-recess contains the effigy of <b>Maurice, Lord Berkeley</b>, who died in 1281.
-He is also in armour. In the next bay we pass up one step to the
-entrance of a <b>Vestibule</b> (once a sacristy, now a music-room for the
-choristers), a fine speci<span class="pagenum"><a name="page_146" id="page_146">{146}</a></span>men of Decorated work. Through this we pass
-into <b>Berkeley Chapel</b>.</p>
-
-<div class="blockquot"><p>“Opposite the entrance door on the south side are three ogee arches
-with niches between. In one of these, the third from the west, was
-a hearth upon which the sacramental bread was baked. The
-ornamentation in the spandrels and the finials is curiously
-interesting work in foliage. The vaulting of the roof would seem to
-stamp the work as that of Abbot Knowle. It consists of curved ribs,
-quite detached, large in section, springing from small capitals.
-The bosses are particularly fine, the foliage being very flowing
-and free. It is difficult to realise that the mason has here done
-in stone what many wood-carvers would fail to do in their softer
-material. The door into the Berkeley Chapel is enriched with a
-niche overhead, and a moulding below consisting of medlers.”&mdash;(H.
-J. L. J. M.)</p></div>
-
-<p>The Berkeley Chapel was dedicated to the Virgin Mary. It is thought that
-an altar also stood here to St. Keyne, who turned to stone all the
-snakes in the vicinity. The ammonites were probably suggested by finding
-one or two in a piece of stone.</p>
-
-<div class="blockquot"><p>“There are two windows toward the east, the soffetes of which are
-ornamented with a gigantic ball-flower; and the peculiar foliage on
-some of the capitals should be remarked. Under each of the windows
-was an altar, the steps and piscinæ of which remain. The altars
-were separated by a screen, the marks of which were visible in the
-old pavement. Between the chapel and the aisle the wall is pierced
-by the peculiar arch of Abbot Knowle; and under it, in the
-thickness of the wall, is an altar-tomb much ornamented and
-containing five shields charged with the coats of the Berkeley,
-Ferrers and De Quincey families. The tomb in its present state is
-no doubt that of Thomas, Lord Berkeley (died 1321), whose wives
-were of those families; but the lower part, with its very fine
-foliage, is of Early English date, and may possibly have been
-removed from another part of the church.”&mdash;(R. J. K.)</p></div><p><span class="pagenum"><a name="page_147" id="page_147">{147}</a></span></p>
-
-<p>The <b>Lady-Chapel</b> is of the same date as the Choir. The east end was
-rebuilt about 1280 and a window with geometrical tracery, consisting of
-foliated circles, was inserted. Until 1895 it was used as a chancel. It
-is 42 feet long and 32 feet broad and consists of two bays. It is
-lighted by five windows. The central one is a Jesse window, and each of
-the four side windows has a transom with rich tracery below. This rich
-tracery we noticed from the street. In a good light relics of the
-ancient painting on the walls, representing angels, each with a golden
-nimbus, can be seen.</p>
-
-<p>The <b>Reredos</b> of the Lady-Chapel is partly Abbot Knowle’s work and partly
-Perpendicular. On the first bay of the south side are the <b>Sedilia</b>,
-restorations of the original cut away to make room for an Elizabethan
-tomb of <b>Sir John Young</b> and his family. They are in four divisions with
-rich canopies of leafage supported by shafts of red serpentine.</p>
-
-<p>The various recesses contain tombs and effigies of dignitaries of the
-Cathedral, and, while the general lines of these recesses are similar,
-there is much variety in the treatment of details.</p>
-
-<p>The splendid <b>East Window</b> is pure Decorated and of great beauty in
-tracery and design. Most of the glass is old, which adds another charm
-to the lovely effect of the tracery. There is much beautiful silvery
-white glass from which the brilliant colours sparkle with great effect,
-and we have no difficulty in tracing the <i>Tree of Jesse</i>:</p>
-
-<div class="blockquot"><p>“The lower lights are separated by vine tendrils into oval panels,
-twenty-one in all. In the lowest tier in the centre is Jesse with
-David on the right and Solomon on the left hand. To the left of the
-latter are the prophets Micah, Haggai, Malachi; to the right of
-David<span class="pagenum"><a name="page_148" id="page_148">{148}</a></span> are Jeremiah, Daniel and Amos. In the next tier the central
-figure is the Virgin and Child with Hezekiah on the left and Ahaz
-on the right, the four kings, David, Solomon, Hezekiah and Ahaz,
-representing the descent of the promise. To the left of Hezekiah
-are the prophets Jonah, Habakkuk, Zechariah; and to the right of
-Ahaz are Isaiah, Ezekiel and Hosea. Above these two rows of regular
-panels are three panels, containing four subjects&mdash;the central one
-giving us the Crucifixion, with our Lord in glory in the upper part
-of the light. In the right hand light is the Virgin Mary, in that
-on the left is St. John.</p>
-
-<p>“In the head of this window there are now seventeen blazons of
-arms. In the quatrefoil at the top&mdash;the arms of England as used
-before the time of Edward III., viz., the three lions; in the two
-trefoils immediately below are Berkeley of Stoke Gifford (L),
-Berkeley of Berkeley Castle (R).</p>
-
-<p>“Most of the glass in this upper part is original and is supposed
-by Mr. Winston to date between 1312-1322, as the arms of Gaveston,
-who was murdered in 1312, are not in the window, while the arms of
-De Bohun, who was slain in open rebellion in 1322, are clearly
-here. The glass, then, is of Knowle’s time, and being contemporary
-with the masonry, affords a rich example of the harmony of form and
-colour about which one hears so much but which one so seldom sees.
-It is probable that the tracery of the window may have been
-designed for Abbot Knowle by the builder of the window at Carlisle,
-also an Augustinian house. There is a strong resemblance in the two
-windows, both of which are excellent work.”&mdash;(H. J. L. J. M.)</p></div>
-
-<p>The four side windows contain rich and interesting glass of the same
-date. The one bearing the arms of Mortimer, Earl of March, has a picture
-of the <i>Martyrdom of St. Edmund</i>, the last of the native kings of East
-Anglia, who taken prisoner by the Danes in 870 refused to abjure his
-faith. He was put to death. Here we find, according to legend, the grey
-wolf watching over the severed head.<span class="pagenum"><a name="page_149" id="page_149">{149}</a></span> The costume of the soldiers gives
-us 1320 as the date of this magnificent window. Beneath St. Edmund are
-an archbishop and two knights, bearing the arms of the Berkeleys.</p>
-
-<p>The tracery of the large north window was inserted in 1704.</p>
-
-<p>The <b>South Transept</b> contains the tomb of Bishop Butler, more famed as the
-author of the <i>Analogy of Religion</i> than as Bishop of Bristol
-(1738-1750). The epitaph is by Southey.</p>
-
-<p>The <b>Cloisters</b>, on the south side of the cathedral, are entered from the
-south transept. From them the <b>Chapter-House</b> is entered.</p>
-
-<p>The entrance, or vestibule, of the Chapter-House shows a very early
-example of what may be called a pointed arch. The mouldings and members
-are quite of the circular style and character. From north to south the
-arches are round-headed, but east and west they are pointed. This
-Transitional Norman work&mdash;dating from Fitzhardinge’s time&mdash;is of special
-interest.</p>
-
-<div class="blockquot"><p>“The chapter-house is one of the oldest parts of the earlier fabric
-of the cathedral, and as Britton truly says, ‘in its original state
-must have been one of the most interesting of the kind in the
-kingdom and perhaps in Europe.’ In spite of what it has undergone
-at the hands of architects, restorers and rioters, it is most
-interesting still, a regular parallelogram in shape, measuring 42
-feet in length by 25 in breadth and 25 feet in height, divided into
-two bays.</p>
-
-<p>“The eastern wall, which dates from 1831, has three windows, and
-the west wall has also three round-headed arches, the central one
-being the main door, while the side ones serve as windows, each
-being subdivided by a small pier. Each of these main openings has a
-label of cable-moulding. Above this cable-moulding is an arcade of
-interlacing arches, borne by thirteen tall piers, alternately<span class="pagenum"><a name="page_150" id="page_150">{150}</a></span>
-plain and twisted; and above this is a semicircular space, also
-filled with rounded-headed intersecting arches, so arranged as to
-fill the semicircular space. The north and south walls have a plain
-round-headed arcading below, with a bold round moulding, while
-above is an elaborate arcading, similar to the lower tier on the
-west wall, but with much richer capitals. Above this is interlaced
-lattice-work, and above this in one bay a space covered with zigzag
-mouldings. The shafts of the arcading on the walls are alternately
-richly carved or almost plain. The clustered shafts, from which the
-main arch of the vaulting springs, are peculiarly rich in
-ornamentation.”&mdash;(H. J. L. J. M.)</p></div>
-
-<p>In the Chapter-House there is preserved a fine piece of archaic
-sculpture, which was found under the floor in 1831 after the destructive
-fire of that date, in use as a slab covering an ancient coffin. It
-represents the descent of the Saviour into Hell and the delivery of
-Adam, and is probably of the same date as the slabs in Chichester.</p>
-
-<p>The famous <b>Great Gateway</b>, the arcading of which is much in the style of
-the Chapter-House, is supposed to stand on the site of the principal
-entrance to Fitzhardinge’s monastery. Though Norman in style and
-probably containing a lot of Norman masonry, critics believe that it is
-a Perpendicular restoration of the old work.</p>
-
-<p>This archway is composed of four recessed orders enriched with chevron
-and other mouldings and ornaments. This must not be confused with the
-less elaborate <b>Gateway in Lower College Green</b>, probably of
-Fitzhardinge’s time and strengthened by Abbot Newland. The latter was
-the gateway to the abbot’s dwelling and afterwards to the Bishop’s
-Palace.<span class="pagenum"><a name="page_151" id="page_151">{151}</a></span></p>
-
-<h2><a name="GLOUCESTER" id="GLOUCESTER"></a>GLOUCESTER</h2>
-
-<div class="blockquotcent"><p><span class="smcap">Dedication: St. Peter: Formerly the Church of a Benedictine Abbey.</span></p>
-
-<p><span class="smcap">Special features: Central Tower; Choir; Lady-Chapel; East Window;
-Cloisters.</span></p></div>
-
-<p class="nind"><span class="smcap">Gloucester</span> presents a fine view from all points of approach.</p>
-
-<div class="blockquot"><p>“As a rule, visitors see it first from the south side, and the
-south-west general view is one of the best, equalled, but not
-surpassed, by that from the north-west. The north view from the
-Great Western Railway, with the school playing-fields in the
-foreground, makes a striking picture, but it is more sombre than
-the picture formed by the south front. Viewed from the north-west
-corner of the cloister-garth, the pile is seen perhaps at its best.
-From this point it is easy to study so much the varied architecture
-of the whole, and with little effort to transport the mind back for
-a space of four hundred years. The eye first rests upon the turf of
-the garth now tastefully laid out after many years of comparative
-neglect. Flanking the garth on every side are the exquisite windows
-of the Cloister&mdash;a cloister which no other can surpass. Above the
-Cloister will be seen on the eastern side the sober, impressive
-Norman work of the Chapter-house in which so much of our English
-history has been made. To the south of this is the Library, built
-close against the walls of the north transept, which tower above,
-and lead the eye upward to the great tower which, ‘in the middest
-of the church,’ crowns the whole.</p>
-
-<p>“Placed where it is, almost in the centre of the long line of the
-nave, continued in the choir and Lady-chapel, at the point where
-the transept line intersects it, it is the chief feature of the
-massive pile. All else seems to be grouped with a view to the
-enhancing of the effect of the central position of the tower. The
-other members of<span class="pagenum"><a name="page_152" id="page_152">{152}</a></span> the building seem merely to be steps, by means of
-which approach can be made to it. It is the grandest and most
-impressive feature of the outside. No matter from whence one looks
-at it, the charm is there. Seen from the gardens in the side
-streets close by when the pear-trees are in bloom, or in the full
-blaze of a hot summer day, or again later in the autumn when the
-leaves are beginning to turn, or, better still, in snow time, it is
-always full of beauty. On a bright hot day the pinnacles seem so
-far off in the haze as to suggest a dream fairyland. On a wet day,
-after a shower, the tower has the appearance of being so close at
-hand that it almost seems to speak. Viewed by moonlight, the tower
-has an unearthly look, which cannot well be described. The tower is
-225 feet high to the top of the pinnacles, and the effect of it is
-extremely fine. From the main cornice upwards, the whole of the
-stone-work is open, and composed of what at a distance appears to
-be delicate tracery, and mullions and crocketed pinnacles.”&mdash;(H. J.
-L. J. M.)</p></div>
-
-<p>In it hang the venerable <i>bells</i> that escaped the king’s commissioners
-at the Dissolution of the monasteries in 1553.</p>
-
-<p>Gloucester is notable for its examples of the Transition from Decorated
-to Perpendicular, which probably originated in this Cathedral.</p>
-
-<p>The abbey of Gloucester was founded by Osric, viceroy of King Edward, in
-681. It was dedicated to St. Peter. Osric’s sister, Kyneburga, who died
-in 710, was the first Abbess of this double foundation for monks and
-nuns. Osric and Kyneburga were buried in the Abbey church in front of
-the altar of St. Petronilla. In 823, secular priests were placed here by
-the King of Mercia; and in 1022 they were expelled by Canute for
-Benedictine monks. When the monastery was burned to the ground, Aldred,
-Bishop of Worcester, re-established the monks in 1058, and began the
-building of a new church also to St. Peter,&mdash;“a little further from<span class="pagenum"><a name="page_153" id="page_153">{153}</a></span> the
-place where it had first stood, and nearer to the side of the city.”</p>
-
-<p>The monastery failed to flourish; Aldred was translated to York in 1060;
-and when Serlo, who had been William the Conqueror’s chaplain, succeeded
-to Wilstan, or Wulstan, Aldred’s successor, he had under him only two
-monks and eight novices. After fifteen years of energetic rule
-(1072-1103), Serlo rebuilt the Cathedral.</p>
-
-<p>In August, 1089, an earthquake damaged the then existing building.
-Eleven years later (1100), in the last year of the reign of William
-Rufus, “the church,” as Florence of Worcester wrote, “which Abbot Serlo,
-of revered memory, had built from the foundations at Gloucester, was
-dedicated (on Sunday, July 15th) with great pomp by Samson, Bishop of
-Worcester; Gundulf, Bishop of Rochester; Gerard, Bishop of Hereford; and
-Herveas, Bishop of Bangor.” It is thought that part of the church was
-finished for the dedication, such as the presbytery, choir, the
-transepts, the Abbot’s cloister, the chapter-house, and the greater part
-of the nave.</p>
-
-<p>The Saxon Chronicle tells us that in 1122, while the monks were singing
-mass, fire burst out from the upper part of the steeple, and burnt the
-whole monastery. Between 1164 and 1179 one of the western towers fell
-down.</p>
-
-<p>Repairs were consequently necessary.</p>
-
-<p>Offerings at the Tomb of Edward II. were a great aid in providing funds.</p>
-
-<div class="blockquot"><p>“Instead of going on with Abbot Morwent’s rebuilding of the nave,
-the monks now turned their attention to the central tower. The
-tower was of no use as a lantern, for the lierne vault of the choir
-had been carried beneath it. So it long remained unaltered. But in
-the days of Abbot<span class="pagenum"><a name="page_154" id="page_154">{154}</a></span> Seabroke (1460-1482), it was rebuilt under the
-superintendence of a monk named Tully, to be in character with the
-new exterior of choir and transepts. A very imposing tower it is;
-fully able, from its massiveness as well as from its height, to
-gather together the masses of the building&mdash;all the more so because
-the transepts are so short. It succeeds where the central towers of
-Worcester and Hereford fail; in fact, it is as effective in its way
-as Salisbury spire. The pinnacles, again, bear witness to the love
-of these later artists for harmony and unity; each pinnacle, with
-its two ranges of windows, is a repeat of the two stages of the
-tower below.</p>
-
-<p>“Then&mdash;after the tower had been erected&mdash;it was decided to rebuild
-the Lady-chapel. So an immense detached building was constructed to
-the east of the great window of the presbytery; without aisles, but
-with little transepts; almost one continuous sheet of glass, and
-with a superb vault. This Lady-chapel had to be joined up to the
-presbytery, but the great east window was in the way. However, the
-difficulty was got over by a series of ingenious shifts and dodges,
-which must be seen to be appreciated (1457-1499).</p>
-
-<p>“And so ended this great building-period at Gloucester (1330-1499),
-which turned the course of English architecture; so that the
-Curvilinear style of 1315 to 1360 did not find its natural
-development in Flamboyant, as on the Continent, but was switched
-off to Perpendicular and Tudor design.”&mdash;(F. B.)</p></div>
-
-<p>Let us see what the “shifts and dodges” referred to above consisted of.</p>
-
-<div class="blockquot"><p>“The method of joining the Lady-chapel to the choir is best noticed
-from the outside. It is a piece of exceedingly clever and graceful
-construction, and there is the minimum of obstruction to the light
-passing through to the east window, and the maximum of support to
-the elliptical east window. Viewing the Lady-chapel from the north
-side, the play of light through the windows on the south side has a
-very grand effect. Under the east end of the Lady-chapel is a
-passage which has given rise to much speculation in bygone times.
-The Lady-chapel, at</p></div>
-
-<div class="figcenter"><br />
-<a name="fig_028" id="fig_028"></a>
-<a href="images/fp154.jpg">
-<img src="images/fp154.jpg" width="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Gloucester: East</span></p></div>
-</div>
-
-<div class="figcenter"><br />
-<a name="fig_029" id="fig_029"></a>
-<a href="images/fp155.jpg">
-<img src="images/fp155.jpg" height="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Gloucester: Tomb of Edward II.</span></p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_155" id="page_155">{155}</a></span></p>
-
-<div class="blockquot"><p class="nind">the time of its erection, was carried out to the farthest limit of
-the land possessed by the Abbey. As the east wall of the chapel was
-actually on the western boundary wall the passage was made to give
-access from the north to the south of the grounds, without the need
-of going right round the precincts by the west front.”&mdash;(H. J. L.
-J. M.)</p></div>
-
-<p>During the reign of Henry VIII., the Abbey which had</p>
-
-<div class="blockquot"><p>“existed for more than eight centuries under different forms, in
-poverty and in wealth, in meanness and in magnificence, in
-misfortune and success, finally succumbed to the royal will. The
-day came, and that a drear winter day, when its last Mass was sung,
-its last censer waved, its last congregation bent in rapt and lowly
-adoration before the altar there; and, doubtless, as the last tones
-of that day’s evensong died away in the vaulted roof, there were
-not wanting those who lingered in the solemn stillness of the old
-massive pile, and who, as the lights disappeared one by one, felt
-that there was a void which could never be filled, because their
-old abbey, with its beautiful services, its frequent means of
-grace, its hospitality to strangers, and its loving care for God’s
-poor, had passed away like a morning dream, and was gone for
-ever.”&mdash;(W. H. H.)</p></div>
-
-<p>Gloucester has suffered from the hands of restorers. In 1847, Mr. F. S.
-Waller made extensive repairs. At this time the gardens were added.</p>
-
-<p>The exterior presents a great variety of battlements and pinnacles and
-another interesting feature in the exterior is the construction of the
-two passages which make up the greater part of the so-called Whispering
-Gallery. This connects the north and south triforium of the choir.</p>
-
-<p>The <b>West Front</b> of Gloucester, restored in 1874, is comparatively
-uninteresting. The buttresses of the great window are pieced, as are
-also the para<span class="pagenum"><a name="page_156" id="page_156">{156}</a></span>pets. Plain transoms cross the lights of the great west
-window, the tracery of which is very elaborate when looked at from
-within. The old towers have disappeared.</p>
-
-<p>The <b>South Porch</b> is the principal entrance. It is the work of Morwent
-(1421-1437). Over the doorway stand St. Peter and St. Paul and the four
-Evangelists, and below them are King Osric and Abbot Serlo, the founders
-of the Abbey church. In the niches of the buttress stand St. Jerome, St.
-Ambrose, St. Augustine and St. Gregory. The windows of this porch have
-been formed by piercing the tracery of the inside. Over the porch is an
-unfinished parvis. The doors date from the Fifteenth Century.</p>
-
-<p>We now enter the <b>Nave</b>.</p>
-
-<div class="blockquot"><p>“The first impression of the nave changes all earlier thoughts of
-the age of the building. It is unmistakably Norman, grand beyond
-expression, but cold, severe and deathly white. The stained glass
-(mostly modern) of the Norman and Decorated windows fails to supply
-the evident lack of colour.</p>
-
-<p>“There was a time when lines of blue and scarlet and gold relieved
-the white vaulted roof, when altars agleam with colour and pale
-flickering lights gave light and brightness to the chill whiteness
-of this vast and mighty colonnade. On Sunday evenings, when the
-nave is filled with worshippers and the bright searching daylight
-is replaced by the yellow gleam of the little tongues of fire above
-the great and massive arches, the want of colour is little felt,
-and the noble and severe beauty of the matchless Norman work in the
-great nave strikes the beholder. The nave of Gloucester, to be
-loved and admired as it deserves, and as it appeared to men in the
-days of the Plantagenet Kings, must be seen in one of the many
-crowded evening services.</p>
-
-<p>“Save that the altars with their wealth of colour and light are
-gone, and the lines of colouring and the glint of<span class="pagenum"><a name="page_157" id="page_157">{157}</a></span> gold of the
-Norman wooden ceiling no longer are visible on the stone-vaulted
-roof above and the south aisle Norman windows are replaced with
-exquisite Decorated work of the time of the second Edward, there is
-no great structural change since the day at the close of the
-Eleventh Century when Abbot Fulda from Shrewsbury preached his
-famous sermon to the Gloucester folk, the sermon in which he
-foretold the death of the imperious and cruel Rufus in words so
-plain, so unmistakable, that Abbot Serlo of Gloucester, who loved
-the great wicked King, in spite of his many sins, was alarmed and
-at once sent to warn his master, but in vain. Rufus disregarded the
-Gloucester note of alarm, and a few hours later the news of the
-King of England’s bloody death, in the leafy glades of the New
-Forest, rang through Normandy and England.</p>
-
-<p>“Yes, it is the same nave, only colder and whiter, on which Anselm,
-the saintly archbishop, and Rufus gazed; the same avenue of massy
-pillars&mdash;then scarcely finished&mdash;through which Maud the Empress
-often went to her prayers with her chivalrous half-brother, Earl
-Robert. Beauclerc, her father, too, and some grey-haired survivors
-of Hastings must have looked on these huge columns crowned with
-their round arches which excite our wonder to-day. They were a
-curious fancy of the architect of Serlo; or was it not probably a
-design of a yet older artist of Edward the Confessor? These
-enormous round shafts, which are the peculiar feature of the nave
-of our storied abbey, have only once been repeated, probably by the
-same architect, in the neighbouring abbey of Tewkesbury, a few
-years later. There is nothing like them on either side of the
-silver streak of sea. The Tewkesbury copies are slightly smaller;
-otherwise they are exact reproductions of Gloucester.”&mdash;(S.)</p></div>
-
-<p>The Nave differs from other Norman naves like those of Peterborough, Ely
-and Norwich.</p>
-
-<div class="blockquot"><p>“The unique features here are the great height of the massive
-circular columns, fourteen in number, and the consequently dwarfed
-triforium or gallery running over the main arches. There are traces
-to be seen of the original Norman clerestory under the
-Perpendicular win<span class="pagenum"><a name="page_158" id="page_158">{158}</a></span>dows, and, judging from this, the height of the
-clerestory, as originally constructed, must have been but little
-less than that of the piers in the nave.</p>
-
-<p>“This Norman clerestory was altered at the same time that the roof
-of the nave was vaulted&mdash;viz. in 1242, in the time of Henry Foliot.
-This work was done by the monks themselves, who thought, as
-Professor Willis suggests, that they could do it better than common
-workmen. Their work is made of a light and porous kind of stone,
-treated with plaster on the under-side, and it was rendered
-necessary by the previous roof, which was of wood, having been
-destroyed by fire in 1190. Of this fire the piers certainly show
-the traces to this day, all having become reddened and slightly
-calcined. To make the new clerestory the whole of the original
-Norman work over the arcade of the triforium was removed, with the
-exception of the jambs of the side-lights (which extended beyond
-the arches of the triforium) and the wall between them.”&mdash;(H. J. L.
-J. M.)</p></div>
-
-<p>All the stone-work was originally painted.</p>
-
-<div class="blockquot"><p>“The painting may be thus generally described. The hollow of the
-abacus of the capitals was red, the lower member of the same,
-green; the whole of the bell red, the leaves alternately green and
-yellow, with the stalks, running down, of the same colours, into
-the red bell of the capital. The vertical mouldings between the
-marble shafts were red and blue alternately; the lower shafts green
-and blue, with red in the hollows, and the foliage on these also is
-green and yellow. Some of the horizontal mouldings are partly
-coloured also. The bosses in the groining are yellow and green, as
-in the capitals. All the colouring, which was very rich, was
-effected with water colours; in one instance only has any gold been
-discerned, and that was upon one of the bosses in the roof.”&mdash;(F.
-S. W.)</p></div>
-
-<p>Abbot Morwent pulled down the west end of the Nave in 1421-1437 and
-reconstructed it in the Perpendicular style. It is supposed that the
-original<span class="pagenum"><a name="page_159" id="page_159">{159}</a></span> <b>west front</b> was like that of the Abbey at Tewkesbury.</p>
-
-<p>The west window contains nine lights, filled with modern glass.</p>
-
-<p>The <b>South aisle</b>, originally Norman, was remodelled about 1318. The
-tracery of the windows is unusual. The ball-flower is seen in great
-profusion in this part of the Cathedral.</p>
-
-<p>In this aisle there is a monument to Dr. Jenner of vaccination fame, to
-whom the five-light west window here is also a memorial.</p>
-
-<p>The tracery of the windows of the clerestory is attributed to Abbot
-Morwent.</p>
-
-<p>The <b>North aisle</b> retains its original Norman vaulting, and the Norman
-piers, which correspond to the piers in the Nave, are divided into
-several members. Some of their capitals are richly carved. In each bay
-there is some Perpendicular tracing. A stone bench along the wall is
-also Perpendicular.</p>
-
-<p>The door into the Cloister at the west end of the aisle is very fine,
-and the side niches and canopy work over it deserve study.</p>
-
-<p>The door at the eastern end of the aisle leading to the Cloisters is
-also Perpendicular. Both doors have fan-vaulted recesses, like the great
-west door of the Nave.</p>
-
-<p>The west end of the aisle is the work of Abbot Morwent (1421-1437).</p>
-
-<p>A heavy stone screen, dating from 1820, closes the east end of the nave.
-We pass through a small arch in this screen, and beneath the broad
-platform on which the great organ stands.</p>
-
-<p>This was originally built in 1663-1665 by Thomas Harris, and was painted
-and gilded in 1666. The oak case is in the Renaissance Style.<span class="pagenum"><a name="page_160" id="page_160">{160}</a></span></p>
-
-<p>Little idea of the beauty of the <b>Choir</b> can be obtained from the Nave. We
-enter from the north aisle. It is 140 feet long; 33 feet 7 inches broad;
-and 86 feet high.</p>
-
-<div class="blockquot"><p>“Looking upwards, the visitor will note the beauty of the vaulting
-and the bosses placed at the intersection of the ribs. These bosses
-at the east end of the choir chiefly represent a choir of angels
-playing on various kinds of musical instruments, and a figure of
-Our Lord in the attitude of blessing. All the roof was originally
-probably painted and decorated, but the existing colour and gilding
-is recent work, having been done by Clayton &amp; Bell. At first sight
-the groining of the roof looks most complicated, but, if analysed
-and dotted down on paper, it will be seen to be in reality a simple
-geometrical pattern. The bosses will repay careful examination with
-a glass.</p>
-
-<p>“Viewed from the door in the screen, the choir looks in very truth
-a piece of Perpendicular work, as the Norman substructure is then
-for the most part concealed. A closer examination, however, will
-prove that the Norman work is all there&mdash;that it has been veiled
-over with tracery from the floor level to the vaulting with open
-screen-work, fixed on to the Norman masonry, which was pared down
-to receive it.”&mdash;(H. J. L. J. M.)</p></div>
-
-<p>The general impression is striking:</p>
-
-<div class="blockquot"><p>“The choir on which you are now looking is very long&mdash;not too long,
-however, for its great height&mdash;for the fretted roof, a delicate
-mosaic of tender colours set in pale gold, soars high above the
-vaulting of the nave. The proportions are simply admirable. From
-the lofty traceried roof down to the elaborately tiled floor, the
-walls are covered with richly carved panelled work, broken here and
-there with delicate screens of stone. The eastern end, hard by the
-high altar, is the home of several shrines. There is happily no
-lack of colour in this part of our cathedral. The western end is
-furnished with sixty richly-carved canopied stalls of dark oak,
-mostly the handiwork of the Fourteenth Century. The curiously and
-elaborately fretted work of the roof we have already spoken of as
-a<span class="pagenum"><a name="page_161" id="page_161">{161}</a></span> rich mosaic of gold and colours. The floor, if one dare breathe
-a criticism in this charmed building, is too bright and glistening,
-but it is in its way varied and beautiful. The carving of the
-reredos, a work of our own day, is, to the writer’s mind, open to
-criticism, but is still very fair, telling in every detail of
-loving work and true reverence.”&mdash;(S.)</p></div>
-
-<p>The <b>High Altar</b> occupies the same site as the ancient one. The sixty
-<b>Choir-stalls</b> have been restored in part; the sub-stalls date from Sir
-Gilbert Scott’s restoration (1873). On the south side of the High Altar
-there are four <b>Sedilia</b> also restored. Redfern’s figures in the niches
-are Abbot Edric, Bishop Wulstan, and Abbots Aldred, Serlo, Foliot,
-Thokey, Wygmore, Horton, Froucester, Morwent, Seabroke and Hanley. The
-three angels over the canopies, playing on a tambour and trumpets,
-deserve notice.</p>
-
-<p>On the north side of the <b>Presbytery</b> we pause to look at the chantry <b>Tomb
-of Abbot Parker</b>, where the carving of vine and grapes on the stone
-screen is fine. The curious cross in the form of a growing tree at the
-foot of the tomb is also striking. Parker, who died in 1539, was buried
-elsewhere. Then we pass to the more famous <b>Tomb of Edward II.</b>, erected
-by Edward III. The alabaster figure is probably the earliest of its kind
-in England. The tomb was opened in 1855 to satisfy curiosity as to
-whether the king was really buried there after his murder in Berkeley
-Castle nearby.</p>
-
-<div class="blockquot"><p>“Though it awakens our recollection of a feeble-minded king, and
-his barbarously brutal murder, it also compels our admiration at
-the beauty of the work. It has been restored, renovated or
-re-edified, but in spite of that, appeals to us from the wealth of
-very highly ornate tabernacle work, the richness, and at the same
-time the<span class="pagenum"><a name="page_162" id="page_162">{162}</a></span> lightness and elegance of the whole. The details too are
-well worth careful examination. It may be, judging from the
-expression of the face, that there has been some attempt at
-portraiture, but repair and restoration have practically made it
-impossible to settle what would otherwise be an interesting
-question. The superb canopy has suffered much at the hands of
-restorers&mdash;e.g. in 1737, 1789, 1798 and in 1876.”&mdash;(H. J. L. J. M.)</p></div>
-
-<p>The next monument is to <b>King Osric</b>, erected in “late dayes,” <i>i.e.</i> in
-the time of Abbot Parker, whose arms are in the spandrels of the canopy
-(1514-1539).</p>
-
-<p>The Norman piers, cut away to receive the tomb, are decorated on their
-capitals with the white hart chained and gorged, with a ducal coronet,
-the device of Richard II. Osric is represented as clad in tunic, laced
-mantle and a fur hood or collar, bearing the model of a church in his
-left hand.</p>
-
-<p>The next tomb westwards is, as Leland says, that of “<b>King Edward of
-Caernarvon</b> (who) lyeth under a fayre tombe, in an arch at the head of
-King Osric tombe.”</p>
-
-<p>The transepts and ambulatory of the choir are usually entered through
-the iron gateway in the south aisle of the nave.</p>
-
-<p>These <b>Ambulatories</b>, or aisles, have nothing uncommon in their form or
-arrangement below, but above occurs the great peculiarity of this
-church. The upper range of chapels surrounding the Choir is perhaps not
-to be met with in any other church in Europe.</p>
-
-<p>Another peculiarity of the Choir is its six-light west window. This was
-rendered necessary by the difference in height of the Nave and Choir;
-for the vaulting of the choir is about twenty feet higher<span class="pagenum"><a name="page_163" id="page_163">{163}</a></span> than that of
-the Nave. The glass consists chiefly of patchwork from other windows in
-the Cathedral. It represents a figure of our Lord, with angels on either
-side. Below angels play musical instruments.</p>
-
-<p>The <b>Triforium</b> of the Choir is considered by some critics the finest in
-existence.</p>
-
-<div class="blockquot"><p>“It occupies the space over the ground floors of the aisles or
-ambulatory of the choir, and originally extended of a like width
-round the east end of the Norman Church, but at the time when the
-Fourteenth-Century work of the present choir was executed, the
-whole of the east end of the old Norman choir, with the
-corresponding part of the triforium, was removed in order to make
-room for the existing large window, the small east chapel being
-allowed to remain.”&mdash;(F. S. W.)</p></div>
-
-<p>The <b>Triforium</b> is reached by the staircases in the western turrets of the
-two transepts and by arcaded passages passing under the great windows of
-the transepts.</p>
-
-<div class="blockquot"><p>“The first chapel in the triforium contains two brackets with rich
-canopies, and there is a very well preserved double piscina.
-Ball-flowers in two rows will be found in the mouldings of the east
-window. Remains of two canopies in the jambs of the windows are
-also to be traced.</p>
-
-<p>“The massive Norman piers should be carefully studied, as the way
-in which the later casing work has been applied can be more easily
-seen in the triforium than elsewhere.</p>
-
-<p>“The picture on the west side of this part of the triforium was
-discovered in 1718, against the then eastern end of the nave,
-underneath the panelled wainscot at the back of the seats occupied
-by the clergy when the nave was used for service.”&mdash;(H. J. L. J.
-M.)</p></div>
-
-<p>This painting of <i>The Last Judgment</i> is supposed to date from the reign
-of Henry VIII., or Edward<span class="pagenum"><a name="page_164" id="page_164">{164}</a></span> VI. It was suggested by the great altar-piece
-at Dantzig (1467).</p>
-
-<p>As an entrance to the east chapel of the triforium, the narrow gallery,
-called the <b>Whispering Gallery</b>, was made. It is a passage of Norman work,
-very much altered and re-used. It is 74 feet long, 3 feet wide, 6⅛
-feet high, and is carried on segmental arches from the east end of the
-south triforium to the west wall of the Lady Chapel, and thence in the
-same way to the north triforium.</p>
-
-<p>On the way towards the Whispering Gallery, the flying-buttresses
-inserted in 1347-1350 to support the walls of the clerestory, which were
-weakened by the insertion of the great east window of the Choir, should
-be noticed.</p>
-
-<p>Visitors are always interested in the Whispering Gallery, where the
-lightest whisper can be easily and distinctly heard at the other end of
-the gallery. It inspired the following lines, by Maurice Wheeler
-(head-master of the King’s School, 1684-1712):</p>
-
-<div class="poetry">
-<div class="poem"><div class="stanza">
-<span class="i0">“Doubt not but God, who sits on high,<br /></span>
-<span class="i2">Thy secret prayers can hear,<br /></span>
-<span class="i1">When a dead wall thus cunningly<br /></span>
-<span class="i2">Conveys soft whispers to the ear.”<br /></span>
-</div></div>
-</div>
-
-<p>The <b>East Window</b> is larger than the East Window of York Minster. It
-measures 78 × 38 feet; that at York is 78 × 33.</p>
-
-<p>Though it has suffered much mutilation, restorers have done little harm,
-and it is possible to get some idea of its original splendour.</p>
-
-<div class="blockquot"><p>“It is worthy of remark that the tracery, heads and cusps, as seen
-from the inside of this window, are not repeated on the outside, a
-plain transom only crossing the lights. This peculiarity is
-repeated in the great west</p></div>
-
-<div class="figcenter"><br />
-<a name="fig_030" id="fig_030"></a>
-<a href="images/fp164.jpg">
-<img src="images/fp164.jpg" height="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Gloucester: Choir, east</span></p></div>
-</div>
-
-<div class="figcenter"><br />
-<a name="fig_031" id="fig_031"></a>
-<a href="images/fp165.jpg">
-<img src="images/fp165.jpg" height="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Gloucester: Cloisters</span></p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_165" id="page_165">{165}</a></span></p>
-
-<div class="blockquot"><p class="nind">window and in many other windows in the cathedral.”&mdash;(F. S. W.)</p></div>
-
-<p>The stone-work of the window was restored in 1862 and the glass cleaned
-and re-leaded. The window consists of fourteen lights&mdash;six on the centre
-with four on either side. The subjects are the Coronation of the Virgin
-Mary with Christ and the Apostles, saints and kings. The heraldic
-shields fix the date of the glass between 1347 and 1350. The canopies
-and nearly all the figures are of white glass enriched with yellow. The
-tones of red and blue are particularly rich. The drawing of the figures
-has been much criticised.</p>
-
-<div class="blockquot"><p>“The whole of this, the loveliest choir in England, is lit by a
-mighty wall of jewelled glass behind the great golden reredos.</p>
-
-<p>“This vast east window which floods the choir of Gloucester,
-beautiful as a dream with its soft, silvery light faintly coloured
-with jewelled shafts of the richest blue and red, and here and
-there a vein of pale gold&mdash;this vast window could not have been
-seen out of England, or, at least, one of the grey and misty
-northern countries, where gleams of light or shafts of sunshine are
-exceedingly precious. In south or central Europe the effect of such
-a mighty window would be simply dazzling to the eye, would be
-painful from its excess of light.</p>
-
-<p>“This great east window is the largest painted window in
-England&mdash;the largest, the writer believes, in Europe. Its stonework
-exceeds in size the magnificent east window of York, which stands
-next to it. The respective measurements are Gloucester, seventy-two
-feet high by thirty-eight wide; York, seventy-eight by thirty-three
-feet. The lower parts of the centre compartments at Gloucester are
-not completely glazed, owing to the opening into the Lady-chapel.
-The glass of Gloucester is, on the whole, light-coloured, the
-designers being evidently anxious that the beautiful stone panels
-and screen-work should be seen in all their exquisite details. The
-glass has suffered mar<span class="pagenum"><a name="page_166" id="page_166">{166}</a></span>vellously little from the ravages of weather
-and the fanaticism of revolutionary times; the busy restorer, too,
-has dealt gently with it. There are forty-nine figures, and of
-these thirty-seven are pronounced by our lynx-eyed experts to be
-absolutely genuine. Of the eighteen armorial shields in the lower
-lights thirteen are certainly the identical shields inserted by the
-survivors of Cressy. The whole of the gorgeous canopy-work has been
-untouched. The subject of the paintings is the <i>Coronation of the
-Virgin</i> and the figures consist of winged angels, apostles, saints,
-kings and abbots. The coats-of-arms are those borne by King Edward
-III., the Black Prince, and their knightly companions, such as the
-Lords of Berkeley, Arundel, Pembroke, Warwick, Northampton, Talbot
-and others who took part in the famous campaign in which occurred
-the battle of Cressy, and who in some degree were connected with
-Gloucestershire. The window was, in fact, a memorial of the great
-English victory, and may fairly be termed the Cressy window.”&mdash;(S.)</p></div>
-
-<p>The <b>Vestibule</b> to the Lady-Chapel is a beautiful work. The lower portions
-of the west wall, parts of the old Norman apsidal chapel, are pierced by
-the opening for the door and by two perpendicular windows.</p>
-
-<p>The lierne vaulting is very delicate (the ribs are run differently in
-the four quarters of the roof), and the pendants form a cross. Over the
-vestibule is the small chapel which is entered from the Whispering
-Gallery.</p>
-
-<p>The beautiful <b>Lady-Chapel</b> was built between 1457 and 1499 on the site of
-a smaller one.</p>
-
-<p>The Lady-Chapel, 91 feet 6 inches long, 25 feet 6 inches high, and 46
-feet 6 inches high, consists of four bays, which, as the wall of the
-chapel is so low, are chiefly composed of fine tracery and glass.</p>
-
-<div class="blockquot"><p>“All the wall below the windows is arcaded with foiled arches, with
-quatrefoils above them. The wall between<span class="pagenum"><a name="page_167" id="page_167">{167}</a></span> the windows is panelled
-with delicate tracery like that in the windows, and in its three
-chief tiers contains brackets for figures, with richly carved
-canopies overhead. Many of these canopies (like the walls) show
-traces of colour.</p>
-
-<p>“Vaulting shafts of great beauty support one of the grandest
-Perpendicular roofs that has ever been made. Each boss in the roof
-is worth minute inspection, and since the restoration (1896) it is
-possible to see the bosses in practically the same condition as
-they were when they left the masons’ hands in the Fifteenth
-Century. With three exceptions they are all representations of
-foliage.</p>
-
-<p>“It has been said above that the chapel is cruciform. The arms of
-the cross are represented by the two side chapels, like diminutive
-transepts on the north and south sides, with oratories above them,
-to which access is given by small staircases in the angles of the
-wall. Both these side chapels contain some exquisite fan-tracery
-vaulting, which is supported upon flying arches, fashioned in
-imitation of the graceful flying arches in the choir.</p>
-
-<p>“On the north side the chapel contains a full-length effigy of
-Bishop Goldsborough (who died in 1604) robed in his white rochet,
-black chimere, with lawn sleeves, scarf, ruff and skull-cap.</p>
-
-<p>“The east window in this chapel is in memory of Lieut. Arthur John
-Lawford (1885), and is dedicated to St. Martin.</p>
-
-<p>“The chapel above has a vaulted roof with bosses of foliage, and
-there are small portions of ancient glass.</p>
-
-<p>“The Lady-chapel is one of the largest in the kingdom, and is said,
-at the time of the Dissolution, to have been one of the richest. A
-great part of it is said to have been gilded and gloriously
-ornamented. Traces of the colour can be seen in the mouldings of
-the panellings and in the carving upon the walls.”&mdash;(H. J. L. J.
-M.)</p></div>
-
-<p>The <b>Reredos</b> still retains traces of its gorgeous colours. It is very
-richly ornamented.</p>
-
-<p>The <b>East Window</b>, consisting of nine lights, dates from 1472-1479. The
-monuments are not especially remarkable. The tiles of the floor and the
-sedilia are notable.<span class="pagenum"><a name="page_168" id="page_168">{168}</a></span></p>
-
-<p>On our right, as we leave the Lady Chapel, we come to <b>Abbot Boteler’s
-Chapel</b> (1437-1450). It contains a fine ancient reredos, interesting
-tiles and a curious wooden <b>effigy of Robert, Duke of Normandy</b>, son of
-William the Conqueror. Critics think it nearly contemporary with the
-Duke himself. The figure rests on a Fifteenth Century chest.</p>
-
-<p>Next we come to <b>St. Paul’s Chapel</b> (north-west) entered by a doorway. The
-reredos here is very fine. It was repaired in 1870. St. Peter, St. Paul
-and St. Luke, by Redfern, ornament the niches.</p>
-
-<p>An ancient stone reading-desk, from which pilgrims to the shrine of
-Edward II. were addressed, attracts our attention near the door leading
-into the <b>North Transept</b>. This is originally Norman, cased over with
-Perpendicular panelling, more developed, however, than that in the south
-transept. The work here was done in 1368-1373. Angular mouldings are
-used in the place of round mouldings and the mullions run right up to
-the roof, which is much richer than that in the south transept. The
-vaulting of the north transept somewhat resembles the fan-tracery of the
-cloisters. This transept is 8 feet lower than that on the south side and
-it is 2 feet shorter.</p>
-
-<p>Beneath the north window is a greatly admired piece of Early English
-(1240), supposed to have been a <b>Reliquary</b>. The middle of the three
-divisions is a doorway. Beautifully carved foliage and Purbeck marble
-shafts are the chief ornamentation.</p>
-
-<p>Opposite, between the tower-piers, is a small chapel, said to have been
-dedicated to St. Anthony. It is used as the Dean’s vestry.</p>
-
-<p>The <b>South Transept</b> (<b>St. Andrew’s Aisle</b>) was<span class="pagenum"><a name="page_169" id="page_169">{169}</a></span> transformed from the Norman
-in 1329-1337. The vaulting is lierne with short ribs. The walls are
-panelled.</p>
-
-<p>On the north side of the south transept, we find the <b>Seabroke Chapel</b>.</p>
-
-<div class="blockquot"><p>“The alabaster effigy represents the Abbot in his alb, stole,
-tunic, dalmatic, chasuble, amice and mitre, with his pastoral staff
-on his right side. The chapel has been partially restored. Traces
-of colour are to be seen in the reredos and the roof over it.</p>
-
-<p>“Almost opposite to this, but nearer to the iron gate, is a
-recessed tomb to a knight in mixed armour of mail and plate, and by
-his side his lady, with kirtle, mantle and flowing hair. Both wear
-SS. collars, and this helps to give the age of the monument, by
-narrowing the date down to a year not earlier than 1399.”&mdash;(H. J.
-L. J. M.)</p></div>
-
-<p>On the east side the <b>Chapel of St. Andrew</b> occupies a corresponding
-position to that of <b>St. Paul</b> in the north transept. This chapel has been
-restored. Some of the best glass in the Cathedral is contained in the
-east window over St. Andrew’s Chapel. It dates from about 1330 and
-consists of the head of a white scroll-work of vine leaves, etc., on a
-fine ruby-coloured ground, and below plain quarries with very simple
-borders.</p>
-
-<p>Opposite Boteler’s Chapel we find <b>St. Philip’s Chapel</b> (south-east),
-restored in 1864. There is some dog-tooth moulding near the piscina. A
-fine Perpendicular arch, supporting the triforium above, attracts
-attention before the Lady-Chapel is entered.</p>
-
-<p>The <b>Crypt</b> is entered from the eastern door in the south transept. It is
-one of the five great eastern crypts erected before 1085<a name="FNanchor_5_5" id="FNanchor_5_5"></a><a href="#Footnote_5_5" class="fnanchor">[5]</a> and consists
-of an<span class="pagenum"><a name="page_170" id="page_170">{170}</a></span> apse, three small apsidal chapels and two chapels underneath the
-eastern chapels of the north and south transepts.</p>
-
-<div class="blockquot"><p>“Great alterations have from time to time been made in the crypt.
-The large semicircular columns against the walls, though of great
-antiquity, are not parts of the original structure, but are casings
-built round, and enclosing the former smaller piers, and the ribs
-springing from their capitals are built <i>under</i>, with a view to
-support the vaulting.”&mdash;(F. S. W.)</p></div>
-
-<p>Through a door in the organ screen in the north aisle of the nave we
-enter the <b>Cloisters</b>, which are among the most perfect and beautiful in
-England. They form a quadrangle and each walk is divided into ten
-compartments. Fan-tracery is thought to have originated here in the
-vaulting. They were begun by Abbot Horton (1351-1377) and completed by
-Abbot Froucester (1381-1412).</p>
-
-<div class="blockquot"><p>“The view looking down either of the walks is very fine, mainly
-owing to the richness of the groined roof, which is the earliest
-example of the fan-vault. This style of vaulting is entirely
-peculiar to England; and Professor Willis has suggested that the
-school of masons who were employed in this cathedral may have
-originated it. The wall sides of the cloisters are panelled; and
-the windows, divided by a transom, have rich Perpendicular tracery.
-The lights above the transom were glazed. Each walk is divided into
-ten compartments. In the south walk are the Carrels&mdash;places for
-writing or study, twenty in number, formed by a series of arches,
-running below the main windows. In each carrel is a small and
-graceful window of two lights.<a name="FNanchor_6_6" id="FNanchor_6_6"></a><a href="#Footnote_6_6" class="fnanchor">[6]</a> The very fine view at the angle
-of the south and west walks should especially be noticed. In the
-north walk are the lavatories, projecting into the cloister garth;
-these are very perfect. Under the win<span class="pagenum"><a name="page_171" id="page_171">{171}</a></span>dows is a long trough or
-basin into which the water flowed. The roof is groined. Opposite in
-the wall of the cloister, is the recess for towels, or
-<i>manutergia</i>. The windows of the east walk are filled with memorial
-glass by Hardman (the eighth is by Ballantyne, as is one window in
-the west walk).”&mdash;(R. J. K.)</p></div>
-
-<p>A small cloister, or slype, opens from the east walk between the
-cathedral and the chapter-house. This is also called the <b>Abbot’s
-Cloister</b>. This is Norman in its western portion and Perpendicular
-beyond.<a name="FNanchor_7_7" id="FNanchor_7_7"></a><a href="#Footnote_7_7" class="fnanchor">[7]</a> Above this is situated the Chapter Library, a long, dark
-Perpendicular room with a roof of dark oak, a large Perpendicular window
-east and a row of small windows on the north side.</p>
-
-<p>Though the cloisters are quadrangular, the length of the four walks is
-not quite the same. The width (12⅛ feet) and height (18⅛ feet) are
-alike.</p>
-
-<p>In the <b>North Alley</b>, the Monks’ Lavatory is</p>
-
-<div class="blockquot"><p>“one of the most perfect of its date. It projects 8 feet into the
-garth, and is entered from the cloister alley by eight tall arches
-with glazed traceried openings above. Internally it is 47 feet long
-and 6⅛ feet wide, and is lighted by eight two-light windows
-towards the garth and by a similar window at each end. One light of
-the east window has a small square opening below, perhaps for the
-admission of the supply pipes, for which there seems to be no other
-entrance either in the fan vault or the side walls. Half the width
-of the lavatory is taken up by a broad, flat ledge or platform
-against the wall, on which stood a lead cistern or laver, with a
-row of taps, and in front a hollow trough, originally lined with
-lead, at which the monks washed their hands and faces. From this
-the waste water ran away into a recently discovered (1889) tank in
-the garth.”&mdash;(H.)</p></div><p><span class="pagenum"><a name="page_172" id="page_172">{172}</a></span></p>
-
-<p>From the <b>West Alley</b> the monks entered their great dining-hall; and at
-the south-west corner a vaulted passage called the <b>Slype</b> lies under part
-of the old lodging of the Abbots, now the Deanery. In this passage, a
-sort of outer parlour, the monks held conversation with strangers. In
-the <b>South Alley</b> the monks studied after dinner until evensong. It has
-ten windows of six lights and twenty recesses, or “carrels,” below the
-transoms.</p>
-
-<p>The roof of the <b>East Alley</b> is a perfectly plain barrel vault without
-ribs. In the south-west corner we find a hollowed bracket, or cresset
-stone, in which a wick, floating in tallow, was kept to light the
-passage.</p>
-
-<p>Opposite the fifth bay a doorway, containing some good Norman work,
-slightly restored, leads into the <b>Chapter-House</b>.</p>
-
-<p>Originally consisting of three Norman bays, it probably, like the
-chapter-houses at Norwich, Reading, and Durham, terminated in a
-semi-circular apse. The present east end is Late Perpendicular, and
-makes a fourth bay. The vaulting of the later part is well groined, and
-the window is good. The roof of the three Norman bays is a lofty barrel
-vault supported by three slightly pointed arches springing from the
-capitals of the columns, which are curiously set back, and separate the
-bays.</p>
-
-<p>Norman arcading of twelve arches&mdash;<i>i.e.</i> four to each bay&mdash;runs along
-the three westernmost bays on the north and south walls.</p>
-
-<div class="blockquot"><p>“The west end is arranged in the usual Benedictine fashion, with a
-central door, flanked originally by two large unglazed window
-openings, with three large windows above. Only one of the windows
-flanking the doorway can now be seen, the other having been partly
-de<span class="pagenum"><a name="page_173" id="page_173">{173}</a></span>stroyed and covered by Perpendicular panelling when the new
-library stair was built in the south-west corner of the
-room.”&mdash;(H.)</p></div>
-
-<p>Of the four old gateways remaining the finest is <b>St. Mary’s Gate</b>, a
-typical specimen of Early English work. It leads into St. Mary’s Square.
-In the northwest corner of the Precincts the famous vineyard was
-situated.<span class="pagenum"><a name="page_174" id="page_174">{174}</a></span></p>
-
-<h2><a name="HEREFORD" id="HEREFORD"></a>HEREFORD</h2>
-
-<div class="blockquotcent"><p><span class="smcap">Dedication: St. Mary and St. Ethelbert. A Church served by Secular
-Canons.</span></p>
-
-<p><span class="smcap">Special features: North Transept and East End.</span></p></div>
-
-<p class="nind"><span class="smcap">Hereford</span> is situated in the fertile and cultivated valley of the Wye.</p>
-
-<div class="blockquot"><p>“Almost in the midst of the city the sturdy mass of the cathedral
-building reposes in a secluded close, from which the best general
-view is obtained. The close is entered either from Broad Street,
-near the west window, or from Castle Street; the whole of the
-building lying on the south side of the close between the path and
-the river. The space between the Wye and the Cathedral is filled by
-the Bishop’s Palace and the college of the Vicars’ Choral. On the
-east are the foundations of the castle, which was formerly one of
-the strongest on the Welsh marshes.”&mdash;(A. H. F.)</p></div>
-
-<p>A stone church was begun here about 830 in honour of St. Ethelbert, the
-East Anglian king, murdered by Offa near Hereford in 792. At his shrine
-miracles were wrought. This church was rebuilt in Edward the Confessor’s
-reign; but was plundered and burnt by the Welsh and Irish. The present
-building was begun by Robert de Losinga about 1079 and finished by the
-middle of the Twelfth Century. The most remarkable part of the building
-is the north transept. This is supposed to have been built by Bishop
-Aquablanca (<a href="#page_177">see page 177</a>), who was succeeded by Thomas de Cantilupe, the
-great saint of the Cathedral (<a href="#page_178">see page 178</a>).<span class="pagenum"><a name="page_175" id="page_175">{175}</a></span></p>
-
-<p>Hereford has suffered greatly from calamities and restorations. In 1786
-the western tower and west front fell. They were reconstructed by Wyatt.
-He also shortened the nave by one bay and destroyed the Norman
-triforium. Repairs and restorations were undertaken in 1841, 1852 and
-1858.</p>
-
-<p>The most striking feature of the exterior is the central <b>Tower</b>&mdash;of two
-stories above the roof with buttresses and exhibiting the ball-flower in
-great profusion. The four pinnacles at the corners were added in 1830.
-The Lady-Chapel with its tall lancet-shaped windows and bold buttresses
-is also interesting. On the south side the Audley Chantry projects with
-great effect; and from the west we gain a good view of the <b>Bishop’s
-Cloisters</b>, with the square turreted tower called the <b>Lady Arbour</b>, though
-nobody knows why. Only the east and the south walks now remain. They are
-Perpendicular with fine window openings and richly carved roof.</p>
-
-<p>We enter the Cathedral by the <b>North porch</b>, completed in 1530. It is of
-two stages, and projects beyond an inner porch of the Decorated period.
-The doorway opening into the church is also Decorated.</p>
-
-<p>On entering the <b>Nave</b>, we pass to the west end to get the best general
-view.</p>
-
-<div class="blockquot"><p>“The nave, which is separated from the aisles by eight massive
-Norman piers (part of the original church), of which the capitals
-are worthy of notice, has somewhat suffered by restorations at the
-hands of Wyatt. The triforium, the clerestory, the vaulting of the
-roof and the western wall and doorway are all his work; and it must
-not be forgotten that he shortened the original nave by one entire
-bay. Walking to the west end, from which<span class="pagenum"><a name="page_176" id="page_176">{176}</a></span> the best general view is
-to be obtained, one is impressed by the striking effect of the
-great Norman piers and arches and the gloom of the choir beyond.
-Through the noble circular arches, which support the central tower
-and the modern screen on the eastern side of it, we see the eastern
-wall of the choir, pierced above by three lancet windows and below
-by a wide circular arch receding in many orders. A central pillar
-divides this lower arch, two pointed arches springing from its
-capital, and leaving a spandrel between them, which is covered with
-modern sculpture. In the far distance may be distinguished the east
-wall of the Lady-chapel and its brilliant lancet lights. Throughout
-the Cathedral the Norman work is remarkable for the richness of its
-ornament as compared with other buildings of the same date, such as
-Peterborough or Ely.</p>
-
-<p>“The main arches of the nave are ornamented with the billet and
-other beautiful mouldings and the capitals of both piers and shafts
-are also elaborately decorated. The double half shafts set against
-the north and south fronts of the huge circular piers are in the
-greater part restorations.</p>
-
-<p>“Over each pier-arch there are two triforium arches imitated from
-the Early English of Salisbury. They are divided by slender
-pillars, but there is no triforium passage. During the Late
-Decorated period the nave-aisles were practically rebuilt, the
-existing walls and windows being erected upon the bases of the
-Norman walls, which were retained for a few feet above the
-foundations. The vaulting of the roofs of the nave-aisles and the
-roof of the nave itself were coloured under the direction of Mr.
-Cottingham.”&mdash;(A. H. F.)</p></div>
-
-<p>In the second bay of the south aisle stands an ancient <b>Font</b> of late
-Norman design, decorated with figures of the Apostles, on a base with
-four demi-griffins or lions. Among the monuments in the nave is an
-alabaster <b>Effigy of Sir Richard Pembridge</b>, in plate and mail armour with
-his greyhound. He died in 1375. Here are also the <b>effigy</b> and <b>tomb</b> of
-<b>Bishop Booth</b> (died 1535), who built</p>
-
-<div class="figcenter"><br />
-<a name="fig_032" id="fig_032"></a>
-<a href="images/fp176.jpg">
-<img src="images/fp176.jpg" height="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Hereford: Nave, east</span></p></div>
-</div>
-
-<div class="figcenter"><br />
-<a name="fig_033" id="fig_033"></a>
-<a href="images/fp177.jpg">
-<img src="images/fp177.jpg" width="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Hereford: North-east</span></p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_177" id="page_177">{177}</a></span></p>
-
-<p class="nind">the north porch. The handsome iron grille in front of the tomb is of the
-same date.</p>
-
-<p>The <b>Central Tower</b> rests on massive piers with Norman arches. The entire
-space is open from the floor of the Cathedral to the wooden floor of the
-bell-chamber, painted beneath in blue and gold. From this floor hangs a
-corona of wrought iron, coloured like the screen. The tower contains a
-fine peal of ten bells.</p>
-
-<p>Through the north arch of the tower we pass into the <b>North Transept</b>,
-said to be the work of Peter of Savoy, who became Bishop of Hereford. He
-was called Bishop Aquablanca from his birthplace near Chambéry. He died
-in 1268 intensely hated. The original Norman north transept was pulled
-down about 1260 for this new one, rebuilt</p>
-
-<div class="blockquot"><p>“on a design which is perhaps the most original, as it certainly is
-one of the most beautiful in the history of English Gothic
-architecture. To the north and west were built enormous windows,
-with tracery of cusped circles, quite exceptional in their
-elongation, more like late German than English work. On the east
-side was built an aisle of exquisite beauty. Its arches, almost
-straight-sided&mdash;its triforium windows, a ring of cusped circles set
-under a semicircular arch&mdash;its clerestory windows, spherical
-triangles, enclosing a cusped circular window&mdash;the composition of
-the triforium&mdash;the north and west windows&mdash;are quite unique, except
-so far as they were copied in later work in the city and
-neighbourhood. At the south end of the aisle is the exquisite <small>TOMB</small>
-of Bishop Peter Aquablanca (died 1268); no doubt built in his
-lifetime. The tomb is as unique as the transept, and chiefly
-resembles it in design. The inference is that Bishop Aquablanca
-built the transept. The credit of it, however, is constantly given
-to his successors, apparently on account of his private vices. But
-saints as well as sinners have liked to leave memorials behind them
-in stone; and, moreover, Aquablanca had his good points. To this
-day four thou<span class="pagenum"><a name="page_178" id="page_178">{178}</a></span>sand loaves are distributed every year out of funds
-which he bequeathed. It is recorded, too, that of a fine which was
-imposed on the citizens for encroachments on his episcopal rights,
-he remitted one half and handed over the other for works on the
-cathedral.”&mdash;(F. B.)</p></div>
-
-<p>Aquablanca was succeeded by Thomas Cantilupe, as much loved as the
-former was hated. Dying on a homeward journey from Rome, in 1282, his
-bones were removed from the flesh by boiling and carried to Hereford to
-be placed in the Lady-Chapel. Forty years later he was canonized. Many
-miracles were effected at his shrine, removed to the transept in 1287.
-King Edward I. sent sick falcons to be cured and people thronged with
-large offerings. We shall soon see all that is left of the <b>Cantilupe
-Shrine</b>.</p>
-
-<div class="blockquot"><p>“The Norman arches opening to the aisles of the nave and choir
-resemble those which correspond to them on the south side of the
-church. The transept beyond them was, as we have seen, entirely
-rebuilt, and is one of the most remarkable examples of the period
-remaining in England. The unusual form of its arches, and its pure,
-lofty windows, are sufficiently impressive now; but their effect
-must have been wonderfully increased when the windows were filled
-with glass displaying the history and miracles of the sainted
-Bishop, and when the shrine itself was standing on its pedestal
-within the eastern aisle, rich with the gold and jewels offered by
-the numerous pilgrims who knelt daily before it.</p>
-
-<p>“The west side of the transept (which is of two bays beyond the
-aisle passage) is entirely filled by two very lofty windows of
-three lights each. The heads of the narrow lights are sharply
-pointed; and the tracery above is formed by three circles enclosing
-trefoils. These windows are set back within triangular-headed
-arches. On the north side is a double window of the same character
-divided by a group of banded shafts. The triple lights on either
-side of these shafts, and the foiled circles above<span class="pagenum"><a name="page_179" id="page_179">{179}</a></span> them, precisely
-resemble the windows on the west side of the transept.</p>
-
-<p>“The vaulting springs from clustered shafts, the corbels supporting
-which, on the east side, are beautiful and singular, and resemble
-bunches of reeds, terminating in a small open flower. The small
-heads below these corbels, at the intersection of the main arches,
-should also be noticed.</p>
-
-<p>“The eastern aisles, lighted by three very beautiful windows, each
-of three lights, with three quatrefoils in the tracery, are set
-back within wider arches, as is the case with the windows in the
-main transept. In this aisle, in a line with the central pier, is
-the pedestal of the <i>Cantilupe Shrine</i>. This is a long
-parallelogram, narrowing toward the lower end, and is entirely of
-Purbeck marble. It has two divisions; the lower closed, like an
-altar-tomb, the upper a flat canopy, supported on small open
-arches. Upon this rested the actual shrine, containing the relics
-of the saint. Cantilupe was Provincial Grand Master of the Knights
-Templars in England; and round the lower division of the pedestal
-are fifteen figures of Templars in various attitudes, placed in the
-recesses of a foliated arcade. All are fully armed, in chain-mail,
-with surcoat, shield and sword. All are seated, and tread on
-various monsters, among which are dragons and swine, muzzled. The
-spandrels in this arcade, and the spandrels between the arches in
-the upper division, are filled with leafage of the first Decorated
-period, retaining some of the stiff arrangement of the Early
-English, but directly copied from nature. In the lower spandrels it
-is arranged in sprays; in the upper it is often laid in rows of
-leaves, among which occur oak, maple and trefoil. The whole of this
-work will repay the most careful examination. (It should be
-compared with the foliage of the capitals of the shafts surrounding
-the central pier of the aisle, which is far more stiff and
-conventional). On the top of the lower division of the pedestal was
-a brass of the Bishop, of which the matrix alone remains.</p>
-
-<p>“The position of the shrine in this transept may be compared with
-that of St. Frideswide at Oxford, and with that of St. Richard de
-la Wych at Chichester. All<span class="pagenum"><a name="page_180" id="page_180">{180}</a></span> had an altar immediately adjoining the
-shrine, which was dedicated to the saint, and at which the
-offerings of pilgrims were made. In these cases, however, the usual
-position of a great shrine&mdash;at the back of the high altar&mdash;was, for
-some special reason, departed from. At Hereford, this position of
-highest honour was probably occupied by the shrine of St.
-Ethelbert.”&mdash;(R. J. K.)</p></div>
-
-<p>Close by is the interesting <b>monument</b> of <b>Bishop d’Aquablanca</b>, just by the
-north-choir-aisle. This Early English monument was once richly coloured.</p>
-
-<p>The effigy of this foreign priest&mdash;Peter of Savoy&mdash;lies under a canopy
-supported by delicate shafts of Purbeck marble, the gables surmounted by
-floriated crosses, the central cross bearing a figure of the Saviour.
-The richly canopied <b>tomb</b> under the great north window bears the effigy
-of <b>Bishop Thomas Charlton</b>, treasurer of England in 1329 (died 1369).</p>
-
-<p>Under the north-west-window is the canopied <b>tomb of Bishop Swinfield</b>
-(1283-1317). His effigy disappeared long ago, and some unknown figure
-lies there. The ball-flower is conspicuous in the mouldings of the
-canopy and behind the tomb there is a mutilated carving of the
-<i>Crucifixion</i>, surrounded by vine-leaves and tendrils, quite similar to
-the leafage of the Cantilupe Shrine. In a neighbouring recess decorated
-with the ball-flower lies the effigy of an unknown lady of the
-Fourteenth Century.</p>
-
-<p>The <b>North-choir-aisle</b> is entered through the original Norman arch. In
-the north wall of this aisle in a series of arched recesses (Decorated)
-lie the effigies of various ecclesiastics. Beyond the first one, <b>Bishop
-Geoffry de Clive</b> (died 1120), a door opens upon the turret staircase
-leading to<span class="pagenum"><a name="page_181" id="page_181">{181}</a></span> a typical monastic <b>Library</b>, containing more than 2,000
-volumes, MSS. and ancient deeds, the accumulations of eight centuries.
-These are kept in eighty old oak cupboards and the ancient books are
-chained.</p>
-
-<p>Descending and passing to the corner of the north-east transept we come
-to <b>Bishop Stanbery’s Chantry</b>, a rich example of late Perpendicular, with
-two windows on the north side. The ceiling is richly groined. The
-capitals at the corners of the chapel are very grotesque. Opposite the
-chantry, on the north side of the choir, is the alabaster effigy of
-Bishop Stanbery (died 1474).</p>
-
-<p>In the wall of the aisle above is a <b>Decorated window</b>. The glass is in
-memory of <b>Dr. Musgrave</b>, Archbishop of York, previously Bishop of
-Hereford. The subject is St. Paul, the story of whose life is continued
-in the windows of the chantry.</p>
-
-<p>Immediately beyond, the <b>north-east-transept</b> opens. It is Early
-Decorated, retaining some Norman characteristics. In the centre rises an
-octagonal pier which helps to carry the quadripartite vaulting, which
-has good bosses of leafage. This pier gives a peculiar character to this
-transept. The windows are Early Decorated.</p>
-
-<p>The <b>South transept</b> retains much that is Norman, although it was altered
-during the Perpendicular period, when two huge windows were cut into the
-walls. Perpendicular panelling surrounds that in the south wall. The
-lierne vaulting is also of the same date. The east wall has five series
-of Norman arcades. Two Norman windows in the clerestory contribute
-light.</p>
-
-<p>The <b>Denton tomb</b>, with its effigies in alabaster showing traces of
-colour, dates from 1576.<span class="pagenum"><a name="page_182" id="page_182">{182}</a></span></p>
-
-<p>The <b>organ</b>, in the first archway on the south side of the choir, was the
-gift of Charles II. It has been twice enlarged.</p>
-
-<p>Effigies of bishops fill the four Decorated arched recesses on the south
-wall of the <b>south-choir-aisle</b> and on the north wall, under an arch
-opening to the choir, is the tomb of <b>Bishop De Lorraine</b>, or <b>Losinga</b>
-(died 1095). Here is also the monument and tomb to <b>Bishop Mayhew</b>, of
-Magdalen College (1504-1516); some old windows restored by Warrington;
-and the famous <b>Map of the World</b>, one of the most valuable relics of
-mediæval geography in existence. It was designed about 1314 by Richard
-of Haldingham, a Lincolnshire monk. It was discovered more than a
-hundred years ago under the floor of Bishop Audley’s Chapel.</p>
-
-<p>The <b>South-east-transept</b>, between the retro-choir and the chapter-house,
-opens into the latter. The style is in the main Decorated, though the
-window tracery is later quite Flamboyant. One single octagonal pillar
-separates it from its eastern aisle. From this transept a lovely view of
-the Lady-Chapel can be enjoyed.</p>
-
-<p>The peculiar darkness of the <b>Choir</b> is due to the arrangement of the
-transepts, which prevents the admission of light except from the
-clerestory.</p>
-
-<div class="blockquot"><p>“The main arches of the choir are of three orders, and spring from
-massive composite piers, with broad, square bases. The capitals of
-the semi-detached shafts are enriched with leafage and grotesque
-heads. The <i>triforium</i> in each bay consists of one wide Norman arch
-circumscribing two smaller, divided by a central shaft, and
-springing on either side from two massive semicircular piers, with
-small capitals. Both outer and inner arches spring from these
-piers. The capitals of the central shafts have square abaci, and
-are enriched. The tympana of the<span class="pagenum"><a name="page_183" id="page_183">{183}</a></span> outer arches are covered with
-scallop, leaf and billet ornament. At the base of the triforium
-runs a square string-course, enriched with minute carving. The
-lozenge ornament prevails round the main arches of the choir, as
-does the zigzag round those of the nave.</p>
-
-<p>“Broad square pilasters, with semi-detached shafts at their angels,
-fill the spaces between the piers. They terminate at the spring of
-the triforium arches in double triangular headings, with crocketed
-sides and finials of leafage. These headings are Early English, of
-the same date as the clerestory and vaulting; and between each pair
-rises a group of so-called vaulting-shafts, with capitals of
-leafage, terminating at the base of the clerestory; and connected
-(under the actual base of the clerestory) by a band of open
-flowers. The clerestory consists of one lofty pointed arch in each
-bay, divided by a central; on either side is a smaller trefoiled
-arch. The windows, of two lights, with a quatrefoil in the heading,
-are placed at the back of the wall-passage, and form in effect a
-double plane with the large inner arches. They are filled on each
-side with indifferent stained glass. The choir vaulting is plain
-quadripartite, with bosses of leafage at the intersections.”&mdash;(R.
-J. K.)</p></div>
-
-<p>The <b>Choir-stalls</b> are Decorated. Some of the <b>Misereres</b> are quaint. The
-<b>Bishop’s Throne</b> dates from the Fourteenth Century. The Cathedral also
-possesses an ancient episcopal chair, which, it is said, King Stephen
-sat in when he visited Hereford.</p>
-
-<p>Within a great Norman arch of five orders stands the modern <b>Reredos</b>, at
-the back of which rises a great pier from which spring two pointed
-arches. The spandrel, or Tympanum, is covered with modern sculpture&mdash;the
-Saviour in Majesty and the Evangelists; and below a statue of King
-Ethelbert, who was said to have been buried in the first Saxon church
-somewhere about this spot.</p>
-
-<p>From the <b>Retro-choir</b> we pass into the <b>Vestibule</b> of the Lady-Chapel, the
-walls of which are broken<span class="pagenum"><a name="page_184" id="page_184">{184}</a></span> with transitional Norman window
-openings,&mdash;pointed arches with massive mouldings. The foliage of the
-capitals is Early English.</p>
-
-<p>Five steps (necessitated by the height of the crypt below) lead up to
-the <b>Lady-Chapel</b>, very rich Early English, dating from the first half of
-the Thirteenth Century. It is 24 × 45 feet and of three bays. On the
-north side each bay contains two large windows; on the south side, the
-third bay is filled by the Audley Chapel.</p>
-
-<div class="blockquot"><p>“The very rich clustered shafts and arches of the side windows
-should be especially noticed. The capitals of the shafts are Early
-English leafage; and there are small heads at the intersections and
-crowns of the arches. A circle enclosing a quatrefoil pierces the
-wall above these windows. The vaulting is plain quadripartite, and
-springs from shafts which descend upon a base raised slightly above
-the pavement. The modern pavement of the Lady-chapel is laid with
-red and green tiles in large square panels. The whole design is
-broad and good in outline; and is somewhat richer at the altar end,
-which is raised on one step.”</p></div>
-
-<p>Ferguson has remarked that</p>
-
-<div class="blockquot"><p>“Nowhere on the Continent are such combinations to be found as the
-Five Sisters at York, the east end of Ely, or such a group as that
-which terminates the east end of Hereford.”</p></div>
-
-<p>Many of its features were hidden until the restorations and repairs were
-undertaken in 1841.</p>
-
-<div class="blockquot"><p>“The glorious <small>EAST-WINDOW</small> consists of five narrow lancets recessed
-within arches supported by clustered shafts, the wall above being
-perforated with five quatrefoil openings, of which the outside ones
-are circular and the centre three are oval. It was as a memorial to
-Dean Merewether, to whom the cathedral owes so much, that the
-stained glass designed by Cottingham was placed in the<span class="pagenum"><a name="page_185" id="page_185">{185}</a></span> east
-windows in the narrow lancets that he loved so dearly. It
-represents scenes in the early life of the Virgin and the life of
-Christ, the last being the supper in the house of Mary and Martha.
-In the side windows the visitor should especially notice the rich
-clustered shafts and arches, the Early English capitals and the
-ornamentation of the arches. The double <small>PISCINA</small> and <small>AUMBRY</small> south of
-the altar are restorations necessitated by the dilapidated state of
-the originals.”&mdash;(A. H. F.)</p></div>
-
-<p>In the central bay on the north side lies the effigy of <b>Sir Peter de
-Grandison</b> (died 1358) under a canopy of open tabernacle work. The armour
-is very interesting. Once the effigy was supposed to be Humphrey de
-Bohun, Earl of Hereford. On the same side lies <b>Joanna de Bohun</b>, Countess
-of Hereford (died 1327). Her effigy is a splendid study in costume. She
-left a large estate to the Cathedral.</p>
-
-<p>A black marble slab, with brass, marks the resting-place of <b>Dean
-Merewether</b> (died 1850). <b>Dean Berew</b>, or <b>Beaurieu</b>, in the south wall of
-the vestibule, is one of the best specimens of sculpture in the
-Cathedral. He died in 1462.</p>
-
-<p>It was not every bishop who could build two chantries; but <b>Bishop Audley</b>
-(1492-1502) built himself a charming Tudor chapel, two stories high,
-projecting from the south side of the Lady Chapel, a circular staircase
-giving access to the upper room. He intended it for his tomb; but as he
-was translated to Salisbury in 1502, he had the trouble of building
-another one there, in which he was buried.</p>
-
-<div class="blockquot"><p>“The lower chamber is shut off from the Lady-chapel by a screen of
-painted stone with open-work panelling in two stages. The chapel is
-pentagonal in plan, and has two windows, while a third opens into
-the Lady-chapel through<span class="pagenum"><a name="page_186" id="page_186">{186}</a></span> the screen. The ceiling is vaulted, and
-bears evidence of having in former times been elaborately painted.</p>
-
-<p>“There are five windows in the upper chamber and the groined roof
-is distinctly good. The boss in the centre represents the Virgin
-crowned in glory. On other parts of the ceiling are the arms of
-Bishop Audley and those of the Deanery, as well as a shield bearing
-the letters R. I. The upper part of the chantry, which is divided
-from the Lady-chapel by the top of the screen which serves as a
-kind of rail, may have been used as an oratory; but no remains of
-an altar have been found. On the door opening on the staircase is
-some good iron-work, and Bishop Audley’s initials may be noticed on
-the lock. Standing by the door of this chapel, the visitor has a
-lovely view westward: two pillars rising in the roof and across the
-top of the reredos; to the right, the Norman arches of the north
-transept and further on still the nave.”&mdash;(A. H. F.)</p></div>
-
-<p>From the south side of the Lady-Chapel we enter the <b>Crypt</b> by steps
-leading down from an Early English porch. It is 50 feet long, and
-consists of a nave and aisles. Because the crypt was used as a
-charnel-house, it is called <i>Golgotha</i>. It is lighted by plain lancets.</p>
-
-<p>There are only a few fragments of old glass in the windows, some of the
-best (early Fourteenth Century) is in one of the lancets on the south
-side of the Lady-Chapel. The subjects are Christ surrounded by symbols
-of the Four Evangelists; Lamb and flag; Angel and Marys at the
-Sepulchre; Crucifixion; Christ carrying the Cross.</p>
-
-<p>A window in the north-east transept contains Fourteenth Century glass,
-restored by Warrington in 1864: St. Katherine; St. Michael; St. Gregory;
-and St. Thomas of Canterbury. In the south-east transept a similar
-window exhibits St. Mary Magdalene; St. Ethelbert; St. Augustine; and
-St. George. The many memorial windows do not call</p>
-
-<div class="figcenter"><br />
-<a name="fig_034" id="fig_034"></a>
-<a href="images/fp186.jpg">
-<img src="images/fp186.jpg" width="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Hereford: Choir</span></p></div>
-</div>
-
-<div class="figcenter"><br />
-<a name="fig_035" id="fig_035"></a>
-<a href="images/fp187.jpg">
-<img src="images/fp187.jpg" width="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Worcester: South-west</span></p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_187" id="page_187">{187}</a></span></p>
-
-<p class="nind">for special attention. One, however, in the north transept, erected to
-Archdeacon Lane <b>Freer</b>, is to be noticed on account of the tracery. It is
-one of the largest in England of the period of Edward I.</p>
-
-<p>From the south-east transept we enter a narrow passage, the <b>Vicars’
-Cloister</b>, that leads to the College of Vicars-Choral (1396). It is a
-picturesque quadrangle with an inner cloister (Perpendicular, about
-1474).</p>
-
-<p>The Bishop’s Palace lies south, between the Cathedral and the river
-Wye.<span class="pagenum"><a name="page_188" id="page_188">{188}</a></span></p>
-
-<h2><a name="WORCESTER" id="WORCESTER"></a>WORCESTER</h2>
-
-<div class="blockquotcent"><p><span class="smcap">Dedication: The Blessed Virgin, St. Peter and the Holy Confessors,
-Oswald and Wulstan. Formerly the Church of a Benedictine Monastery.</span></p>
-
-<p><span class="smcap">Special features: Nave; Choir-Stalls; Tomb of King John; Chantry of
-Prince Arthur; Arcade across transepts and Lady-Chapel; Crypt.</span></p></div>
-
-<p class="nind"><span class="smcap">The</span> Cathedral of Worcester is severe and plain; but its very severity
-appeals to some critics, as do the general lines of the entire edifice.</p>
-
-<div class="blockquot"><p>“The beautiful proportions of the great tower harmonise so well
-with the general plan and mass of the rest of the fabric that
-although it has no pride of place like Durham or Lincoln, it still
-dominates the whole city and vicinity in a great and unmistakable
-manner. The flat meadow-land of the Severn valley in this part of
-the county, unbroken westward up to the very foot of the Malvern
-hills, gives the Cathedral on this side the importance of the chief
-feature in many miles of landscape. And as one approaches from the
-eastward, over the slight eminences on which the battle of
-Worcester was chiefly fought, a glimpse of the tower is the
-earliest evidence of the existence of the city.”&mdash;(E. F. S.)</p></div>
-
-<p>The history of Worcester Cathedral begins with Oswald, a Benedictine
-monk, consecrated Bishop of Worcester by Dunstan in 961. Oswald’s
-cathedral, finished in 983, was destroyed by the Danes in 1041, and
-rebuilt in 1084-1089 by Wulstan, a monk of Worcester, who became Bishop
-in 1062. Wulstan placed his church a little to the south of the first
-one. His crypt still remains,&mdash;the most famous crypt in England.
-Wulstan’s tomb was mi<span class="pagenum"><a name="page_189" id="page_189">{189}</a></span>raculously preserved when a fire burned parts of
-the cathedral in 1113, eight years after his death. Miracles were
-performed and cures effected. Finally in 1203 Wulstan was canonized.</p>
-
-<p>When King John died in 1216, he was buried before the High Altar between
-the tombs of Oswald and Wulstan.</p>
-
-<p>The Cathedral was dedicated in 1218 in the presence of King Henry III.
-and bishops, abbots, priors and nobles from all parts of the kingdom.</p>
-
-<p>The church suffered from fires and storms; and the central tower fell in
-1175. Rebuilding was frequently a necessity; and, therefore, many styles
-are to be found throughout the fabric.</p>
-
-<p>Repairs were undertaken between 1702 and 1712, when the choir was paved
-and when it is supposed that the spires on the corners of the
-presbytery, transepts and nave were added.</p>
-
-<p>An important series of repairs and restorations were undertaken by
-Wilkinson from 1748 to 1756. At this period</p>
-
-<div class="blockquot"><p>“the north end of the nave transept was rebuilt, the stone pulpit
-removed from the nave to the choir, and the latter re-paved with
-blue and white stone. The old right-of-way through the cathedral
-was replaced by a more proper and convenient passage round the west
-end; and many gravestones were removed from the floors of the side
-aisles of the choir, and from the nave, which were re-paved with
-white stone. The Jesus Chapel was opened to the nave and the font
-therein erected.</p>
-
-<p>“The great flying buttresses at the east end were erected between
-1736 and 1789. The great west window was rebuilt in 1789, and that
-of the east end in 1792. In 1812 a new altar-screen and
-choir-screen were built, and the tall pinnacles taken down after
-1832.</p>
-
-<p>“In 1857 began the great restoration of the cathedral under the
-auspices of Mr. Perkins, the architect to the<span class="pagenum"><a name="page_190" id="page_190">{190}</a></span> dean and chapter,
-whose work was continued and amplified by Sir Gilbert Scott, who
-was employed after 1864.</p>
-
-<p>“The results of this restoration, probably the most complete and
-far-reaching undergone by any British cathedral, include the
-exterior and interior of the tower, the pavements throughout the
-building; the decoration of the choir and Lady-chapel; all the
-windows, and almost the whole of the furniture and fittings,
-including a new reredos, choir-screen, organ and pulpit. The
-restored cathedral was reopened, with a magnificent choral service
-on the 8th of April, 1874. Since that date many additions have been
-made, splendid evidences of the survival of the old local
-patriotism; for almost everything is due to the munificence of
-local donors.”&mdash;(E. F. S.)</p></div>
-
-<p>The chief feature is the central <b>Tower</b>, supposed to have been completed
-in 1374. It has been restored carefully.</p>
-
-<div class="blockquot"><p>“It is of two stages. The first has two lancets on each side,
-within an arcade of seven bays. Each of the upper stages has two
-louvred windows surmounted by crocketed canopies, and ornamented by
-three large sculptured figures in niches, of the whole twelve of
-which, six are modern. The whole is crowned by an open rail, or
-parapet, with six spirelets on either side and a crocketed pinnacle
-at each corner.”&mdash;(E. F. S.)</p></div>
-
-<p>The <b>West End</b> contains one large modern window of eight lights with a
-wheel window above. The gable, with three small lancet windows, is
-surmounted by a cross and flanked by two buttresses topped by pinnacles.
-The doorway in the west front is also modern (1857-1873); but parts of
-the old Norman doorway have been inserted.</p>
-
-<p>On the north side, the <b>North Porch</b> (24 feet long and 8 feet broad)
-consists of two bays. The front was restored. The sculptured figures in
-the canopied niches are Christ and the Twelve Apostles. Above these is a
-row of saints and then Perpen<span class="pagenum"><a name="page_191" id="page_191">{191}</a></span>dicular battlements. An exterior turret
-and staircase lead to the rooms above it, occupied by the porter. Two
-bays, each with a window, follow; then comes the Jesus Chapel; then one
-more bay; and then the north-transept, with its gable, cross and
-pinnacles; then four more bays; then the choir; then three more bays;
-and, finally, the Lady-Chapel. The south side is similar, with the
-exception of the projecting Chapel of St. John.</p>
-
-<p>Pinnacles are a striking feature on all sides of the edifice.</p>
-
-<p>On entering we are struck with the long vista, for the closed
-choir-screen, found in so many English cathedrals, is conspicuously
-absent. The proportions of the <b>Nave</b> are justly admired. It</p>
-
-<div class="blockquot"><p>“consists of nine bays, of which the two westernmost are of widely
-different character and date from the remaining seven. Its breadth,
-including the aisles, is 78 feet, its length 170 feet, and its
-height 68 feet; which dimensions may be compared with those of
-Salisbury, 82 feet, 229 feet 6 inches, and 81 feet; and of Wells,
-82 feet, 161 feet, and 67 feet, respectively. The two western
-severies are of great interest. The pier arches are pointed, but
-rise from Late Norman capitals; the triforium stages have each two
-three-light round-headed windows, of which the centre one is
-considerably the highest, surmounted with zigzag ornament and
-decorated with characteristic lozenges, the whole enclosed within a
-pointed moulding. The clerestory has, in each bay, a central
-round-headed light, with Norman ornament above it, flanked by blank
-pointed windows, considerably smaller.</p>
-
-<p>“On the north side, the whole of the walls of the five eastern
-bays, and the pier arches of the next two towards the west belong
-to the Decorated period, and may be dated between 1317 and 1327.
-The remainder of the two latter bays and the whole of the seven
-eastern bays of the south side are very early Perpendicular. Willis
-considers that this work was probably begun in the middle of the
-four<span class="pagenum"><a name="page_192" id="page_192">{192}</a></span>teenth century, and completed by the date of the vaulting of
-the nave, 1377, which would establish it as one of the earliest
-specimens of Perpendicular work in the country. The triforium
-arcade consists of two pointed arches, each subdivided again into
-two; and the clerestory has a large central light, with a smaller
-light on either side in each bay. On the north side these are the
-ordinary pointed arches of the Decorated period; on the south the
-lateral arches are straight sided, and the central arch only has a
-small curve on joining the vertical piers. Similar arches, but a
-century earlier in date, occur in the north transepts of Hereford
-and of Rochester Cathedrals.”&mdash;(E. F. S.)</p></div>
-
-<p>The vaulting was finished in 1377. The glass of the windows is modern,
-as is also the handsome <b>pulpit</b>, designed by Sir Gilbert Scott, Italian
-in style and made of alabaster and grey and green marble.</p>
-
-<p>The monuments and tombs call for no special description, with the
-exception of the altar-tomb of <b>John Beauchamp</b>, fourth bay from the east.
-It dates from the early Fifteenth Century and is panelled in five
-compartments with coloured armorial bearings. The knight lies here in
-full armour, with pointed basinet, sleeveless jupon and baldric. His
-lady beside him is in the costume of the period. Her head rests on a
-swan and a dog lies at her feet.</p>
-
-<p>The <b>North aisle</b> (1317-1327) is Decorated. Beyond the north porch, we
-come to <b>Jesus Chapel</b>, enclosed by a stone screen (Perpendicular) and
-containing a wooden altar with a full-size Madonna and Child.</p>
-
-<p>The <b>North transept</b> is a mixture of Norman and Perpendicular. It consists
-of two bays; and in the north-west corner is the circular stair-turret.
-The <b>South transept</b> is similar to the north, and has, likewise, a
-stair-turret in the south-west corner.</p>
-
-<div class="figcenter"><br />
-<a name="fig_036" id="fig_036"></a>
-<a href="images/fp192.jpg">
-<img src="images/fp192.jpg" width="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Worcester: Nave, east</span></p></div>
-</div>
-
-<div class="figcenter"><br />
-<a name="fig_037" id="fig_037"></a>
-<a href="images/fp193.jpg">
-<img src="images/fp193.jpg" width="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Worcester: Choir, east</span></p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_193" id="page_193">{193}</a></span></p>
-
-<p>The west window is of Perpendicular tracery. A fine Norman arch, partly
-closed by a Perpendicular screen, marks the entrance to the Chapel of
-St. John. Both transepts are aisleless. The <b>South aisle</b> of the nave is
-Norman and Transitional. The Font is modern.</p>
-
-<p>The <b>Choir</b> was begun in 1224. The eastern transepts were added at the
-same time. A little of the old Norman work betrays itself here and
-there. No one seems to know why Bishop Godfrey de Giffard (1268-1301)
-placed gilded brass rings around the columns, unless it was for the sake
-of adding extra strength.</p>
-
-<div class="blockquot"><p>“The beauty of the pier-arches and those of the triforium, relieved
-so handsomely by the black shafts of Purbeck marble bearing Bishop
-Giffard’s brass rings, and by the finely proportioned spandrels of
-each bay, is by no means to be under-estimated.</p>
-
-<p>“The choir is of five bays, including the eastern crossing, which
-is of greater width than the others. The pier-arch mouldings are of
-two patterns, one very similar to those of the choir and presbytery
-at Salisbury, having one of the ribs flanked by a double range of
-dog-tooth. The piers themselves, as well as those in the
-Lady-chapel, are octagonal, and have detached Purbeck shafts,
-eleven of which are fixed with a narrow course of marble embracing
-the shaft in the manner of a ring; and the remaining eight with
-brass rings; the two processes being used symmetrically, so that
-shafts similarly fixed stand opposite to each other.</p>
-
-<p>“The triforium consists of two large arches in each bay, subdivided
-again into two. During the restoration the pillars, which had been
-whitewashed, were restored to their original rich black colour, and
-the rings which bind them made visible. The sculptures in the
-spandrels are restorations by Boulton. The inner wall of the
-triforium walk is decorated with a finely-proportioned arcade,
-which adds greatly to the general effect. The clerestory has a
-triplet of pointed lights in each bay, the centre one being<span class="pagenum"><a name="page_194" id="page_194">{194}</a></span>
-considerably higher than those at the side, although they rise from
-pillars of equal height. The vault of the roof springs, in each
-severy, from a single shaft terminated with a foliated capital; it
-is simple in character, and was probably completed before the end
-of the first half of the thirteenth century. The elaborate pavement
-of Devonshire marble and encaustic tiles is modern.”&mdash;(E. F. S.)</p></div>
-
-<p>The <b>Choir-stalls</b> (restored) date from 1379. The thirty-seven <i>miserere</i>
-seats represent Biblical, mythological and contemporary figures.</p>
-
-<p>The <b>Reredos</b>, behind the High Altar, composed of alabaster, inlaid with
-coloured marbles, lapis lazuli, agates and malachite, is modern. The
-<b>Bishop’s Throne</b> is also modern; but the richly carved <b>Pulpit</b> of white
-stone dates from about 1630. It bears the arms of England, France,
-Scotland and Ireland.</p>
-
-<p>In the centre of the choir in front of the altar steps stands the <b>Tomb
-of King John</b>. When John died in the Castle of Newark in 1216, his body
-was brought to Worcester Cathedral and buried before the High Altar. In
-1797 the tomb was opened. The effigy, now gilded, is the earliest royal
-effigy in England. It dates from the early Thirteenth Century and is
-probably a good likeness of the Magna Charta king. Bloxam’s description
-in 1862, gives an idea of its original appearance:</p>
-
-<div class="blockquot"><p>“The effigy was originally the cover of the stone coffin in which
-the remains of that monarch were deposited in the Chapel of the
-Virgin, at the east end of the cathedral. The altar tomb is of a
-much later period, probably constructed early in the sixteenth
-century, when the tomb of Prince Arthur was erected.... The sides
-of this tomb are divided into three square compartments by panelled
-buttresses; each compartment contains a shield bearing the royal
-arms within a quatrefoil richly cusped; the spandrels are also
-foliated and cusped.... It is, how<span class="pagenum"><a name="page_195" id="page_195">{195}</a></span>ever, the effigy of the king,
-sculptured in the early part of the Thirteenth Century, and
-probably the earliest sepulchral effigy in the cathedral, to which
-our chief attention should be drawn. This effigy represents him in
-the royal habiliments; first, the tunic, yellow, or of cloth of
-gold, reaching nearly to the ankles, with close-fitting sleeves, of
-which little is apparent. Over the tunic is seen the dalmatic, of a
-crimson colour, with wide sleeves edged with a gold and jewelled
-border, and girt about the waist by a girdle buckled in front, the
-pendant end of the girdle, which is jewelled, falling down as low
-as the skirt of the dalmatic. Of the yellow mantle lined with green
-little is visible. On the feet are black shoes, to the heels of
-which are affixed spurs. On the hands are gloves, jewelled at the
-back; the right hand held a sceptre, the lower portion of which
-only is left; the left grasps the hilt of the sword. On the head is
-the crown; there are moustaches and beard, and the light-brown hair
-is long. On either side of the head is the figure of a bishop
-holding a censer, perhaps intended to represent St. Oswald and St.
-Wulstan, between whose tombs the king was interred in the Chapel of
-the Virgin.”</p></div>
-
-<p>On the south side of the sanctuary we find the <b>Chantry of Prince Arthur</b>,
-son of Henry VII., who died at Ludlow Castle in 1502. This is the most
-famous piece of work in the Cathedral, and one of the best examples of
-Tudor architecture in existence. It was erected in 1504, and</p>
-
-<div class="blockquot"><p>“consists of six bays of open tracery divided by panels of canopied
-niches containing figures and heraldic bearings surmounted by a
-battlemented rail and pinnacles. Within is a richly groined roof,
-with unusual flying supports, east and west. At the east end are
-the mutilated remains of a rich stone reredos, containing a figure
-of our Lord, and others hardly recognisable, which was above the
-altar formerly placed here. At the west end is a small figure of
-Henry VII. seated.</p>
-
-<p>“The tomb itself of the Prince stands in the centre of the chantry.
-It is singularly plain, in contrast to the richness of its
-surroundings, almost the only ornament being<span class="pagenum"><a name="page_196" id="page_196">{196}</a></span> the arms of England
-and France within panels on the sides. Around the top runs a
-painted inscription, obviously a late substitute for a brass which
-has been removed, to this effect: ‘Here lyeth buried prince Arthur,
-the first begotten sonne of the righte renowned Kinge henry the
-Seventhe, whiche noble Prince departed oute of this transitory life
-ate the Castle of Ludlowe, in the seventeenth yeere of hys father’s
-reign, and in the yeere of our Lorde god on thousande fyve hundred
-and two.’<span class="lftspc">”</span>&mdash;(E. F. S.)</p></div>
-
-<p>The <b>Chapel of St. John</b>, projecting from two bays of the
-south-choir-aisle, is on the site of a Norman chapel. The Norman arch at
-the west end is its finest feature. It has three windows filled with
-modern glass and a piscina in the south wall.</p>
-
-<p>The <b>Eastern transepts</b> demand careful attention.</p>
-
-<div class="blockquot"><p>“The design of the walls ... is extremely beautiful. Two lofty
-triplets of lancet lights are placed the one above the other. The
-lower triplet has a gallery in front of it immediately above the
-arcaded wall, and at the same level as the sill of the adjacent
-side aisle windows. The upper triplet has a similar gallery at the
-level of the triforium. Rich clustered shafts rise from the lower
-gallery in two orders; the inner order carries molded arches to
-correspond with the heads of the lower triplet; the shafts of the
-outer order rise from the lower gallery up to the impost of the
-upper triplet, grouping themselves with the shafts that stand in
-front of the upper triplet, and uniting in one group of capitals at
-the impost, where they carry a range of three arches with deep rich
-mouldings. Thus the entire composition represents a gigantic window
-of six lights.”&mdash;(W.)</p></div>
-
-<p>One of the finest features of the Cathedral is the arcade that runs
-along the whole extent of the eastern transepts and across the
-Lady-Chapel.</p>
-
-<div class="blockquot"><p>“This is a series of trefoil headed arcades of three mouldings,
-resting on slender Early English shafts, each spandrel having been
-filled with carvings which take high<span class="pagenum"><a name="page_197" id="page_197">{197}</a></span> rank among the best of the
-English school of the Thirteenth Century. They have now been, to a
-great extent, restored (by Boulton), and many, including all at the
-east end, are entirely new. The best of the old ones are figured by
-Aldis; and the most interesting, whether entirely ancient or partly
-restored, are as follows, starting from the west wall of the
-south-eastern transept:</p>
-
-<p>“Two crusaders fighting a lion. A centaur. An angel weighing a
-soul, and the devil pulling down the scale. Devils roasting a soul
-in hell. The Jaws of Death. A body borne to burial. Expulsion of
-Adam and Eve. An angel leading a righteous soul to heaven. The dead
-rising from coffins. Christ enthroned. The archangel blowing the
-last trump. An angel holding a cross.</p>
-
-<p>“<i>South Aisle.</i>&mdash;Two monks building. A queen instructing an
-architect. Two monks discussing plans. A devil with bird’s claws,
-riding on a man’s shoulders. The Crucifixion.</p>
-
-<p>“<i>Lady-Chapel.</i>&mdash;Centaur and crusader. Prophets and Bible subjects
-(modern), grotesque.</p>
-
-<p>“<i>North Aisle.</i>&mdash;Bishop offering a model of the cathedral at an
-altar (perhaps Bishop Henry de Blois, d. 1236). The Annunciation.
-The Visitation. The Nativity.</p>
-
-<p>“<i>North Transept.</i>&mdash;Old Testament subjects. A bishop. A monk
-chastising a novice.”&mdash;(E. F. S.)</p></div>
-
-<p>The tracery of the windows in the choir aisles and the Lady-Chapel is
-modern, patterned on Early English models. The entire east wall is
-modern. The window consists of five lights in two tiers. The glass dates
-from 1860 and represents the <i>Crucifixion</i> and the <i>Ascension</i>.</p>
-
-<p>In the south aisle of the Lady-Chapel we notice one of the finest
-effigies in the building. It is a Fourteenth Century lady, whose left
-hand holds the cord of her cloak. A little dog lies at her feet. It is
-interesting to compare this with another unknown effigy of a lady of the
-Thirteenth Century in the north aisle of the Lady-Chapel. The left hand
-holds a glove.<span class="pagenum"><a name="page_198" id="page_198">{198}</a></span></p>
-
-<p>In front of the altar and on the floor of the Lady-Chapel are the
-effigies of <b>Bishop William de Blois</b> (died 1236) and his successor <b>Bishop
-Walter de Cantelupe</b> (died 1265). The latter is in higher relief than the
-former and was originally set with gems. In the north aisle we must also
-note the large effigy of <b>Sir James de Beauchamp</b>, in complete armour with
-surcoat and long shield of Henry III.’s reign. Beneath the reredos lies
-the richly robed figure of <b>Hawford</b>, Dean of Worcester in 1553-1557. On
-the south side lies <b>William, Earl of Dudley</b>, in white marble on arches
-of alabaster. The Lady-Chapel is of the same date as the choir.</p>
-
-<p>From the south transept of the nave we enter the famous <b>Crypt</b>, which
-dates from 1084. It was built after that of Winchester (1079) and before
-those of Gloucester (1089) and Canterbury (1096). Three rows of pillars
-form four walks, with an outer aisle of two rows of pillars. It was
-surrounded by several chapels, but only the southern chapel is now
-accessible. The pillars are admired for their grace and lightness, when
-illuminated. It suggests the Mosque of Cordova. In comparing the crypts
-of Winchester, Gloucester, Canterbury, and Worcester, Willis says:</p>
-
-<div class="blockquot"><p>“The height of all these crypts is nearly the same; so that at
-Winchester and Gloucester the arches are flattened into ellipses,
-the pillars are low and squat, and the crypts appear as sepulchral
-vaults; while at Worcester, where the arches are semicircular and
-the pillars more slender, the crypt is a complex and beautiful
-temple.”</p></div>
-
-<p>The <b>Cloisters</b> form an irregular quadrangle enclosing a lovely green
-garth, 83 feet square. The roof of the walks is richly vaulted. The
-glass in the windows in the south alley depicted the history<span class="pagenum"><a name="page_199" id="page_199">{199}</a></span> and
-miracles of St. Wulstan, but the glass was destroyed by the Puritans.</p>
-
-<p>Beyond the south walk is the <b>Refectory</b>, a handsome building of red
-sandstone, dating from about 1372. It is now used as a class-room of the
-Cathedral School founded by King Henry VIII. The monks’ lavatory
-occupies two bays in the north alley.</p>
-
-<p>From the west walk we enter the <b>Chapter-House</b>, originally a Norman
-building of the Eleventh Century. It was repaired about 1400, when the
-Norman windows and vaults were supplanted by those we now see. The
-present Chapter-House</p>
-
-<div class="blockquot"><p>“consists of ten bays, with a Perpendicular vaulted roof rising
-from a central Norman Column. Each bay contains a light traceried
-window, of which two are entirely, and two half, blocked up. Below
-these is a series of slightly hollowed niches in grey, blue and
-yellow stone in alternate courses, resting on three courses of
-rough red masonry. These niches have slight traces of ancient
-fresco painting; they are surmounted by an arcade of intersecting
-circular arches containing smaller arches. Similar ornamentation is
-to be found in the chapter-houses at Bristol and Rochester, and in
-the external wall of Ernulf’s crypt at Canterbury.”&mdash;(E. F. S.)</p></div><p><span class="pagenum"><a name="page_200" id="page_200">{200}</a></span></p>
-
-<h2><a name="LICHFIELD" id="LICHFIELD"></a>LICHFIELD</h2>
-
-<div class="blockquotcent"><p><span class="smcap">Dedication: St. Chad and St. Mary. A Church served by Secular
-Canons.</span></p>
-
-<p><span class="smcap">Special features: Spires; West Front; Nave; Lady-Chapel; Herkenrode
-glass.</span></p></div>
-
-<p class="nind"><span class="smcap">Lichfield</span> is famed for its three beautiful spires, the only church in
-England with this distinguishing feature. They are locally known as
-“Ladies of the Vale,” or “Ladies of the Valley.”</p>
-
-<p>The central spire, which always groups so charmingly with the two that
-rise above the west front, dates from the Restoration, and is an
-imitation of the western ones. Its predecessor, destroyed during the
-Civil Wars, was supposed to have been rebuilt about 1250. The two
-western spires are said to have been built by Roger de Norbury
-(1322-1359), but the north-west one was rebuilt in Perpendicular times
-in imitation of the earlier style. The south-west, or <b>Jesus Tower</b>, also
-the belfry, got its name from the Jesus Bell, given by Dean Heyward in
-1477, and destroyed during the Civil Wars. The Jesus is a little higher
-than the other tower. Both spires are octagonal. At intervals they are
-broken by windows.</p>
-
-<div class="blockquot"><p>“Of all the cathedral churches of England, Lichfield may be said to
-be the most lovely. Other cathedrals are larger&mdash;indeed, this is
-one of the smallest;&mdash;many are grander, or more magnificent; but
-for simple beauty, for charm, for delicacy of construction and
-appearance, Lichfield may rightly claim to take the foremost place.
-Peterborough, when we stand inside the west door and look down its
-line of enormous piers, fills us with awe at its immensity and</p></div>
-
-<div class="figcenter"><br />
-<a name="fig_038" id="fig_038"></a>
-<a href="images/fp200.jpg">
-<img src="images/fp200.jpg" height="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Lichfield: West front</span></p></div>
-</div>
-
-<div class="figcenter"><br />
-<a name="fig_039" id="fig_039"></a>
-<a href="images/fp201.jpg">
-<img src="images/fp201.jpg" height="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Lichfield: Nave, east</span></p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_201" id="page_201">{201}</a></span></p>
-
-<div class="blockquot"><p class="nind">strength; a feeling which is perhaps a little impaired by the
-present position of its stalls. Salisbury appeals to us with its
-perfect simplicity and symmetry, and York with its unequalled
-grandeur and splendour; but after viewing all the cathedrals of
-England, it is Lichfield which is most likely to be remembered
-among them for something which may be most aptly called charm. What
-can be more delightful than the view which confronts the traveller
-who, approaching from the town, pauses to look across the sparkling
-water of the pool at the three graceful spires standing out amid a
-wealth of green trees and shrubs? Truly a picture to be long
-remembered.</p>
-
-<p>“The cathedral stands in a close which was once surrounded by
-strong walls with bastions and a moat. Nature had supplied the moat
-on the south side, and the Cathedral Pool, as it is now called, is
-still there. The artificial moat has been drained, but its course
-can be easily traced running round the bishop’s palace, and its
-water has been replaced by lovely gardens and gravel walks. Some
-bits of the old wall remain, the north-east bastion in the palace
-gardens and a turret on a house at the south corner: the ‘beautiful
-gates’ of Bishop Langton are gone; but in the Vicars’ Close at the
-west of the cathedral are two small irregular courtyards with
-houses so old that we feel sure that their wooden beams and plaster
-were there when the Royalists of the neighbourhood housed
-themselves within the fortified close.</p>
-
-<p>“The close is not large, and of course, as Lichfield is a cathedral
-of the old establishment, there are no monastical buildings, no
-ruined cloisters. On the north side the ground rises rapidly in a
-grassy slope to a terrace, behind which are some of the canons’
-houses. Opposite the north transept is the deanery, a substantial
-red brick house in the style of the middle of the last century;
-next to it, and farther east, is the bishop’s palace.”&mdash;(A. B. C.)</p></div>
-
-<p>Lichfield was built in the Thirteenth and Fourteenth Centuries and is,
-therefore, almost entirely in the styles of Early English and Decorated.
-The Early English may be studied in the transepts which were begun
-first; Early Decorated in the nave; and<span class="pagenum"><a name="page_202" id="page_202">{202}</a></span> fully developed Decorated in
-the Lady-Chapel and Presbytery.</p>
-
-<p>There is a curious similarity between the building of Lichfield and
-York:</p>
-
-<div class="blockquot"><p>“The Norman Cathedral of York was built in 1080, and that of
-Lichfield at an uncertain date. Between 1154-1181, Archbishop Roger
-substituted for the original chancel at York a long, square-ended
-choir, with the aisle carried behind the end. At Lichfield, during
-the same period, the large chapel was built at the end of the
-Norman apse; and about the beginning of the Thirteenth Century the
-whole Norman eastern termination was, as at York, replaced by a
-long, square-ended choir with the low aisles behind. Next, at York
-the Norman transepts were rebuilt in Early English: the south
-transept, 1230-1241; followed by the north transept, 1241-1260.
-Also at Lichfield the Norman transepts were rebuilt in Early
-English, beginning with the south and ending with the north. The
-Early English work of this cathedral is shown by the licenses to
-dig stone to have been in progress in 1235 and 1238. York nave and
-Lichfield were next rebuilt in Early Decorated&mdash;the first in
-1291-1324. Lastly, at Lichfield, the elongation of the eastern part
-was begun at the extreme east, beyond the existing choir by the
-Lady-chapel, in late Decorated under Bishop Langton, 1296-1321, and
-followed by taking down the choir, and continuing the same work on
-its site westward. The works at York followed in the same order,
-but forty or fifty years later, by first erecting the presbytery
-outside the existing choir, and then taking down the latter and
-continuing the work of the presbytery to form the new choir. The
-plans of the two cathedrals rival each other in the simplicity of
-their proportions.”&mdash;(W.)</p></div>
-
-<p>Nothing definite is known of the early history of this Cathedral, as all
-records were destroyed during the Civil Wars. In all probability there
-was the same old story of a Saxon church in the Seventh Century
-succeeded by several other churches until the Norman Cathedral was
-built, probably like Peterborough, only smaller.<span class="pagenum"><a name="page_203" id="page_203">{203}</a></span></p>
-
-<p>This, of course, fell a victim to the change of fashion, and was pulled
-down gradually as the new building&mdash;the one we know to-day&mdash;arose. The
-first thing that was done was the building of a new choir (Early
-English) from the central tower to the seventh bay of the present choir.
-Some of this was destroyed at a later period. The sacristy and adjoining
-room were also built. Then, about 1220, the south transept was begun,
-then the nave, north transept and west front, with the two towers.</p>
-
-<p>Walter de Langton (1296-1321) began the Lady-Chapel; and while this was
-being built the Early English presbytery was pulled down and rebuilt in
-the Decorated style, to be uniform with the Lady-Chapel. The old
-clerestory of the choir was also rebuilt in the same style. Walter de
-Langton also built the Bishop’s Palace, which was destroyed in 1643,
-bridged the Cathedral Pool, and erected a splendid shrine to St. Chad,
-which cost £2,000. This stood behind the high altar in the eastern bay
-of the retro-choir, with an altar to this saint on its west.</p>
-
-<p>St. Chad, or Ceadda (669-672), was the patron saint of Lichfield, who,
-when Bishop of Mercia, chose Lichfield as his seat and thus founded the
-diocese; and he built a small church near St. Chad’s Well. His service
-was short and he died in 672.</p>
-
-<p>Miracles were immediately performed at his shrine in Stowe Church; but
-his remains were removed to the Cathedral. St. Chad’s Head was placed in
-a separate chapel (<a href="#page_213">see page 213</a>).</p>
-
-<p>When Henry VIII. despoiled the shrine he found a great horde of
-treasures&mdash;jewels, golden and silver crosses, chalices, maces, and
-copes, and other vest<span class="pagenum"><a name="page_204" id="page_204">{204}</a></span>ments had accumulated in great number. In the
-Fourteenth Century a document mentions “the head of Blessed Chad, in a
-certain painted wooden case; also an arm of Blessed Chad; also bones of
-the said saint in a certain portable shrine.”</p>
-
-<p>Lichfield suffered greatly during the Civil Wars. The Royalists hoisted
-the king’s flag on the central steeple and defied the Roundheads led by
-Lord Brooke. The Cathedral was besieged in March, 1643; and on the
-second day of that month, which happened to be St. Chad’s Day, Lord
-Brooke was killed by a shot fired by a son of Sir Richard Dyott, called
-“Dumb Dyott,” because he was deaf and dumb. This was regarded as a
-miracle. A contemporary letter notes:</p>
-
-<div class="blockquot"><p>“We have had the honour in these parts to bring my Lord Brooke to a
-quiet condition. That enemy of our Church (March 2) was slain in
-his quarrel against our Church, by the God of our Church, with a
-shot out of the Cathedral, by a bullet made of Church lead, through
-the mouth which reviled our Church; and (if this be worth your
-reading) this Cathedral was dedicated to the memory of an old Saxon
-holy man (called Ceadda, commonly Chad); the blow of death came
-from St. Chad’s Church upon St. Chad’s Day.”</p></div>
-
-<p>The Cathedral remained in a ruinous condition for a year or more after
-the Restoration. Then Bishop Hackett (1661-1671) went to work to clear
-away the rubbish and make repairs. In eight years’ time the Cathedral
-was ready for a new dedication.</p>
-
-<p>Perpendicular tracery was inserted in some of the windows in the
-Fifteenth Century, when the Cathedral was at the height of its beauty.</p>
-
-<p>The present <b>West Front</b> is a restoration of the beautiful work of the
-Middle Ages.<span class="pagenum"><a name="page_205" id="page_205">{205}</a></span></p>
-
-<p>In 1820 the west front was completely covered with cement which
-concealed all its beauty until 1877, when the authorities began to
-remove it. Only five of the original statues remained and it was decided
-to fill all the 113 niches. Tradition said the long row of figures over
-the doors represented the Saxon and English kings with St. Chad in the
-centre; but the others were unknown. They are now as follows:</p>
-
-<div class="blockquot"><p>“The two rows on the northern tower to the north of the great west
-window: higher row, St. Editha, David, St. Helena, Solomon, St.
-Gabriel, Zechariah, Nahum, Amos, Jeremiah; lower row, Dean
-Bickersteth, St. Mark, Queen Victoria, St. Luke, St. Uriel,
-Malachi, Habakkuk, Obadiah, Daniel (Jeremiah just above Daniel by
-the window).</p>
-
-<p>“The two rows on the southern tower to the south of the great west
-window: higher row, Isaiah, Hosea, Jonah, Zephaniah, St. Michael,
-Bishop Hacket, Bishop Lonsdale, Bishop Selwyn; lower row, Ezekiel,
-Joel, Micah, Haggai, St. Raphael, Bishop Clinton, Bishop
-Patteshall, Bishop Langton.</p>
-
-<p>“Next is the long row of kings with St. Chad in the centre,
-stretching right across the cathedral: William the Conqueror,
-William Rufus, Henry I., Stephen, Henry II., Richard I., John,
-Henry III., Edward I., Edward II., Edward III., Richard II., St.
-Chad, Penda, Wilphere, Ethelred, Offa, Egbert, Ethelwolf,
-Ethelbert, Ethelred, Alfred, Edgar, Canute, Edward the Confessor.</p>
-
-<p>“Lowest row, broken three times by the doors: St. Cyprian, St.
-Bartholomew, St. Simon, St. James the Less, St. Thomas (northern
-door), St. Philip, St. Andrew (central door), St. Paul, St. Matthew
-(southern door), St. James the Greater, St. Jude, St. Stephen, St.
-Clement, St. Werburga.”</p></div>
-
-<p>The Duke of York (James II.) gave the money for the tracery of the large
-<b>West Window</b> after the original had been destroyed during the Civil Wars.
-This was removed in 1869, for another more<span class="pagenum"><a name="page_206" id="page_206">{206}</a></span> in sympathy with the style
-of the Fourteenth Century.</p>
-
-<p>The <b>West Door</b> is one of the most beautiful in England, taking rank with
-the Prior’s Door of Lincoln Cathedral. The porch is recessed and the
-outer arch, cusped. Within, a central support rises to form two arches.
-The whole is richly carved. Above the central pillar is a bas-relief
-representing Christ in Glory, with angels by his side. On the central
-column stands a figure of the Virgin and Child, and on either side of
-the door beneath canopies are Mary Magdalene and St. John the Evangelist
-(north), and Mary, wife of Cleophas, and St. Peter (south).</p>
-
-<p>What the original statues were is not known. Most of the ironwork on the
-doors is supposed to be original.</p>
-
-<p>The two side doors are deeply recessed. The figures in the northern
-doorway are of princes and princesses who promoted Christianity in
-England; and in the southern, the chief missionaries. The gable and
-towers are also adorned with statues of Biblical fame.</p>
-
-<p>The nave is ornamented and strengthened by buttresses and
-flying-buttresses. In the north transept we find a handsome <b>North
-Doorway</b>, a splendid specimen of Early English with traces of the Norman.
-It is deeply recessed and revealing a double arch carved with foliage.
-The mouldings are also carved. The outer one contains bas-reliefs
-showing the genealogy of Christ, beginning with Jesse and ending with
-the Virgin and Child. On the right side, opposite Jesse, is St. Chad
-baptizing the sons of King Wulphere, and above are the Apostles. The
-architrave is surmounted by a<span class="pagenum"><a name="page_207" id="page_207">{207}</a></span> weather moulding in the form of a gable
-on the top of which is a cross. The pillars on each side of the doorway
-have finely carved capitals and dog-tooth ornamentation. The graceful
-centre pillar consists of four slender shafts with carved capitals. Next
-comes the octagonal Chapter-House; then the choir and presbytery; and
-then the Lady-Chapel, entirely restored and with new saints in the
-niches. On the south side of the Lady-Chapel are mortuary chapels.</p>
-
-<p>The south side shows the buttresses of the choir; then the turrets of
-the sacristy with their crocketed pinnacles; and then the <b>South
-Transept</b>, the gable of which contains a beautiful rose window. The <b>South
-Door</b>, much restored, resembles the northern one, only it is not so fine.
-The heavy buttresses on this side are Wyatt’s. Now we have again come to
-the Jesus tower (south-west), in which the ten bells are hung.</p>
-
-<p>Entering by the west door, the beauty of the interior bursts upon us. We
-have an unbroken vista and the Cathedral therefore impresses us as
-immensely long. The beautiful arches of the roof carry the eye straight
-down to the windows of the Lady-Chapel.</p>
-
-<p>The <b>Nave</b> is transitional from Early English to Decorated and is dated by
-various authorities from 1250 to 1280.</p>
-
-<p>The large piers are composed of clustered shafts with richly carved
-capitals of foliage. From these spring mouldings. The top of each arch
-touches the string-course, and then comes the triforium, so beautiful
-here with its row of double arches, each one sub-divided into two
-lights, above which is geometrical tracery. Dog-tooth ornament decorates
-the mouldings of these triforium arches, and<span class="pagenum"><a name="page_208" id="page_208">{208}</a></span> also the string-course
-that separates the triforium from the clerestory. The clerestory windows
-are curious: spherical triangles enclosing three circles with quatrefoil
-cusps. Dog-tooth ornamentation runs around the windows. A large circle
-with five cusps ornaments the spandrels of most of the pier-arches
-across which the vault shaft passes. At the intersection of the various
-ribs (five ribs) are finely carved bosses. Much of the effect is
-obtained from the size of the triforium.</p>
-
-<p>The glass in the big west window dates from 1869, a memorial to Canon
-Hutchinson, who was a zealous worker for the Cathedral’s restoration, by
-Sir Gilbert Scott.</p>
-
-<p>In the north aisle of the nave we note the tablet placed there by Ann
-Seward to the memory of her father, Canon Seward, his wife and daughter,
-upon which Sir Walter Scott added lines to the memory of the poetess.
-There is also a neighbouring tablet to Lady Mary Wortley Montagu, who
-was born in Lichfield.</p>
-
-<p>In the <b>north transept</b> we find a curious monument to Dean Heywood (died
-1492) showing the skeleton of this worthy. The upper part (which
-represented him in full canonical costume) has gone. Similar monuments
-are in Exeter and Lincoln. In the <b>South Transept</b> there are busts and
-memorials to Dr. Samuel Johnson, a native of Lichfield (died 1784), and
-to David Garrick (died 1779), an early resident of Lichfield. In the
-first bay of the aisle, there is a monument to the officers and men of
-the 80th Regiment (Staffordshire Volunteers), over which hang colours
-taken from the Sikhs. At the south end we note a fine altar to one of
-Nelson’s captains, Admiral Sir William Parker (died 1866).<span class="pagenum"><a name="page_209" id="page_209">{209}</a></span> Note the big
-south window (Perpendicular) in which there is some Herkenrode glass
-(<a href="#page_212">see page 212</a>).</p>
-
-<p>There is another memorial window in the south aisle of the nave to the
-officers of the 64th (2d Staffordshire Regiment) who fell in the Indian
-Mutiny.</p>
-
-<p>The <b>Transepts</b>, as we have seen, were built before the nave. Each
-consists of three bays with eastern aisles. Most of the windows are
-Perpendicular.</p>
-
-<div class="blockquot"><p>“At the south end was probably a large five-light Early English
-window, surmounted by a rose window. The rose window still remains,
-but, being above the present groining, cannot be seen from inside
-the cathedral; the five lights are replaced by a nine-light
-obtuse-headed window, which seems much too large for the transept;
-and this effect is increased by the extreme whiteness and
-transparency of its glass. At the north end, the five-light window
-is surmounted with three small lights, but these last again are
-hidden in the roof.”&mdash;(A. B. C.)</p></div>
-
-<p>Now we come to the <b>Choir</b>, which, including the presbytery and
-retro-choir, has eight bays. It has no triforium.</p>
-
-<p>The splays of the windows are beautifully decorated with quatrefoil
-ornamentation. There is only one of the original Decorated windows (east
-on south side). The others are Perpendicular.</p>
-
-<div class="blockquot"><p>“The vaulting is very much the same as in the nave, but the
-vaulting-shafts divide into seven instead of five ribs; the bosses,
-as everywhere else in the cathedral, are very deeply and richly
-carved.</p>
-
-<p>“On the four eastern sets of piers long slender shafts run up from
-the base of the piers in the same way as in the nave, and similarly
-the spandrels are ornamented with foliated circles, of which nearly
-all trace had disappeared before the recent restoration. This,
-however, is not the arrangement on the three western pairs. It was
-found<span class="pagenum"><a name="page_210" id="page_210">{210}</a></span> here that these shafts did not reach the ground; and so Sir
-Gilbert Scott, having discovered a portion of the sculptured wing
-of an angel just above the dean’s present stall, decided upon
-finishing the shafts with corbels in the form of angels occupied in
-minstrelsy. Above each of these angels&mdash;which were innovations&mdash;he
-placed, under richly crocketed canopies and standing on very
-finely-carved brackets, the figures of six saints.”&mdash;(A. B. C.)</p></div>
-
-<p>Architects love to study the merging of the two styles in this part of
-the Cathedral, and one of the best illustrations is the entrance to the
-vestibule of the Chapter-House. The arch at the west end of the
-north-choir-aisle is very old and interesting and so is the arcading in
-the aisles.</p>
-
-<div class="blockquot"><p>“In the first three western bays in both aisles the large arcading,
-with its plain trefoiled arches, is clearly Early English. The
-arcading in the other bays is equally clearly of the Decorated
-period, and is considerably smaller. In the four eastern bays in
-each aisle the arches go right up to the course which forms the top
-of the arcading, and the triangular spandrels thus formed are
-ornamented each with a curious little head, having queer headgear;
-the rest of the spandrel is carved with foliage, and in the plates
-of the foliated arches are quaint animals. The arcading in the
-remaining bay is similar, but angels’ heads with wings take up the
-whole spandrel. Some of the arcading, notably that in the three
-easterly bays of the south aisle, is unrestored. The inferiority of
-the modern work in the next bay is only too patent.”&mdash;(A. B. C.)</p></div>
-
-<p>The window over the tomb of Bishop Hackett in the <b>South-choir-aisle</b> is
-adorned by lovely foliage. Here, too, we find the very interesting
-<b>Minstrels’ Gallery</b>. It was probably placed here in the Fifteenth Century
-because the arcading has been cut away to make room for it. The little
-gallery rests upon fan-shaped vaulting. As it stands directly in front
-of the chapel of the Head of St. Chad, it may have been used for the
-purpose of exhibiting<span class="pagenum"><a name="page_211" id="page_211">{211}</a></span> this relic to the devout in the aisle below. (See
-page 213.) It is similar in style to the minstrel gallery of the
-Mediæval halls: hence its name. A staircase in the wall leads to the
-gallery.</p>
-
-<p>The <b>Choir-screen</b>, of ornamental metal-work, designed by Sir Gilbert
-Scott, is similar to those of Salisbury, Hereford and Worcester. The
-Choir-stalls, Bishop’s Throne and elaborate Reredos are all modern. The
-south-choir-aisle contains a number of interesting monuments. There is a
-monument to “<b>Hodson of Hodson’s Horse</b>,” killed in the Indian Mutiny.
-Under the cross is the King of Delhi surrendering his sword to Major
-Hodson, with figures of Justice, Fortitude, Temperance and Mercy and
-statuettes of Joshua, David, St. Thomas of India and St. George of
-England. Here is also the monument of <b>Bishop Langton</b> (died 1296) with
-mutilated effigy. Opposite is the curious monument to <b>Sir John Stanley</b>
-of Pipe, the effigy representing the knight naked to the waist, and the
-legs in armour. It seems that Captain Stanley had been excommunicated
-for some offence, and, after atonement, had been allowed burial here on
-condition that evidence of his punishment should appear on his effigy.
-The most famous monument of all, however, is that of <b>The Sleeping
-Children</b>, by Sir Francis Chantrey in 1817. It established his fame and
-is an early example of the natural style just coming into favour. It
-represents two young daughters of William Robinson, Prebendary of the
-Cathedral, sleeping in each other’s arms.</p>
-
-<p>We must notice in the north-choir-aisle one window in which King David
-is teaching the singers of the House of God. The glass is old Flemish.</p>
-
-<p>Now we have the <b>Lady-Chapel</b>, the gem of the<span class="pagenum"><a name="page_212" id="page_212">{212}</a></span> whole Cathedral, rendered
-exceptionally beautiful because of the old glass in the windows.</p>
-
-<div class="blockquot"><p>“In shape it forms a symmetrical extension, both in height and
-width, to the choir, but without aisles; and it has an octagonal
-apse&mdash;the only example, it is said, of such a termination in the
-country. It is lighted by nine high windows, with Decorated
-tracery. This tracery has recently been restored in the style of
-that in the three end windows; until this was done most of the
-windows contained Perpendicular tracery.</p>
-
-<p>“The windows rest on an arcade of very beautiful design. The arcade
-may be said to consist of a series of small decorated canopies,
-supported by shafts with carved capitals, and separated by
-ornamented buttresses. The canopies, which bow forward, have
-trefoil ogee arches, surmounted with crockets and finials. Above
-the arcade is a similar embattled parapet to that in the choir,
-with a similar passage round the chapel behind it.</p>
-
-<p>&nbsp;</p>
-
-<p>“The vaulting of the roof is like that in the choir; the same
-number of ribs diverging from the slender shafts which run right
-down to the bends of the arcade. Halfway up these shafts are
-niches, the brackets and canopies to which are beautifully carved.
-These are old, but until recently were empty, and no authentic
-record remained as to what were the characters represented.”&mdash;(A.
-B. C.)</p></div>
-
-<p>In 1895 ten virgin saints and martyrs, by C. E. Kempe, were placed here.</p>
-
-<p>Of course, all the glass was crashed during the siege of Lichfield; and,
-therefore, the windows are filled with other than the original. The
-seven most eastern windows contain what is called the <b>Herkenrode glass</b>,
-originally in the Abbey of Herkenrode near Liège. The designs are
-supposed to be by Lambert Lombard of the Sixteenth Century. Two of the
-windows depict founders and benefactors of the abbey, and the other
-five, scenes in the life of Christ. The Herkenrode glass (340 pieces)
-was bought by</p>
-
-<div class="figcenter"><br />
-<a name="fig_040" id="fig_040"></a>
-<a href="images/fp212.jpg">
-<img src="images/fp212.jpg" height="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Lichfield: from East Window</span></p></div>
-</div>
-
-<div class="figcenter"><br />
-<a name="fig_041" id="fig_041"></a>
-<a href="images/fp213.jpg">
-<img src="images/fp213.jpg" width="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Chester: North</span></p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_213" id="page_213">{213}</a></span></p>
-
-<p>Sir Brooke Boothby in Belgium in 1802, for £200, now valued at £15,000.
-What remained was used to fill other windows in the Cathedral. On the
-south side of the Lady-Chapel are three “Mortuary Chapels,” with groined
-roofs. In the central one lies the effigy of <b>Bishop Selwyn</b> (buried
-outside), Bishop of New Zealand, who organized the church in that
-far-away country. This accounts for the frescoes showing the Maoris. The
-two end windows are also old glass supposed to have come from the Low
-Countries. One is a symbolic picture of <i>Baptism</i>; the other, the
-legendary <i>Death of the Virgin</i>.</p>
-
-<p>We have yet to examine the <b>Sacristy</b> of the Chapter-House. The sacristy
-is on the south side (Early English). Its upper floor was the <b>Chapel of
-St. Chad</b>, which, as we have seen, was entered from the minstrels’
-gallery (<a href="#page_211">see page 211</a>). The restored chapel was re-dedicated on St.
-Chad’s Day (March 2), 1897.</p>
-
-<div class="blockquot"><p>“The Chapel of St. Chad, first Bishop of Lichfield, and, with the
-Blessed Virgin Mary, patron of our Cathedral Church, was destroyed
-in all probability when the rest of the Cathedral was laid in ruins
-in 1643, the siege beginning on St. Chad’s Day, March 2nd of that
-year. Little was left: the four walls remained in a broken
-condition, with the vaulting-shafts and caps for the springers of
-the stone groining, and the wall-ribs, to mark its original lines;
-also the very beautiful Early English windows&mdash;twelve lancets in
-groups of three&mdash;which, singularly enough, were little injured.
-Externally these are very plain, but internally they are full of
-interest, and there is nothing better of the kind in the Cathedral.
-The site of the old altar is clearly marked; indeed, a small
-portion of it has been preserved. The piscina also still remains.
-The aumbry remains in which antiquarians suppose that St. Chad’s
-relics were preserved.”&mdash;(L.)</p></div><p><span class="pagenum"><a name="page_214" id="page_214">{214}</a></span></p>
-
-<p>The <b>Chapter-House</b> and the vestibule leading to it were built about the
-middle of the Thirteenth Century (Early English). The vestibule contains
-beautiful arcading; the capitals of the pillars are finely carved. The
-entrance door into the Chapter-House is very handsome, with deeply cut
-mouldings, and capitals of the grouped shafts richly carved with leaves.
-Dog-tooth and trefoils are also used as ornamentation. The Chapter-House
-is octagonal. The central pillar, composed of clustered shafts with
-richly carved capitals of foliage, carries the eye upward, where the
-ribs spread out beautifully over the roof and bosses mark their
-intersection. The windows are Early English, of two lights. Below them
-runs a fine arcading.<span class="pagenum"><a name="page_215" id="page_215">{215}</a></span></p>
-
-<h2><a name="CHESTER" id="CHESTER"></a>CHESTER</h2>
-
-<div class="blockquotcent"><p><span class="smcap">Dedication: Christ and the Blessed Virgin. Originally the Church of
-a Benedictine Abbey.</span></p>
-
-<p><span class="smcap">Special features: Choir; Choir-Stalls; Chapter-House.</span></p></div>
-
-<p class="nind"><span class="smcap">Chester</span> was the church of the Benedictine Abbey of St. Werburgh when
-Henry VIII. founded the See after the dissolution of the monasteries. It
-had been originally an establishment of secular canons. The patron
-saint, St. Werburgh, was a niece of St. Etheldreda of Ely; and she took
-the veil at Ely, where she eventually became abbess. St. Werburgh was
-buried at Hanbury; but when the Danes were ravaging Mercia, the monks of
-Hanbury fled with the relics of St. Werburgh to Chester, where they were
-richly enshrined in the old church of St. Peter and St. Paul. This
-church was rebuilt in the Tenth Century; and when a new foundation was
-made in 1095 by Hugh Lupus, Earl of Chester, at the desire of St.
-Anselm, the church was rebuilt, the canons replaced by Benedictine monks
-and the house called the Abbey of St. Werburgh.</p>
-
-<p>Rebuilding was again necessary in 1194 and was continued for centuries.
-The eastern portion of the church is Early English, the rest is
-Decorated with alterations and additions in the Perpendicular style.</p>
-
-<p>Ancient and royal Chester is one of the most picturesque cities in
-England. It was so important in Roman times that it was called the “City
-of Legions.” It was also a stronghold of Saxons and Danes. From the
-Norman Conquest until the<span class="pagenum"><a name="page_216" id="page_216">{216}</a></span> reign of Henry III. the Earls of Chester had
-their own courts and parliaments at Chester. Since Henry III. bestowed
-the title of Earl of Chester upon his oldest son, the heir to the throne
-has always held the earldom. The old church did not become a cathedral
-until 1541.</p>
-
-<p>Chester Cathedral, being built of soft red sandstone, suffered from the
-weather. Restoration was a necessity. Consequently the exterior is
-almost exclusively of the Nineteenth Century. It is handsome and
-effective, though, unfortunately, owing to the situation, somewhat below
-the level of the street, and the crowding of buildings, a good view of
-the Cathedral is hard to obtain.</p>
-
-<p>At one time it was one of the most beautiful, as well as the richest, in
-England. It was terribly defaced during the Civil War, when the Puritans
-used it for a stable and broke the windows. Subsequent repairs and
-restorations have greatly transformed it.</p>
-
-<p>One of the curious features of the Cathedral is the south transept. It
-was claimed as the Parish church of St. Oswald until 1881. Oswald
-(604-642), be it remembered, was the son of King Ethelfrid, and became
-King of Northumbria. He was a convert to Christianity, which he
-introduced among the Anglo-Saxons. Killed by Penda, the King of Mercia,
-he was canonised by the Roman Catholic Church.</p>
-
-<div class="blockquot"><p>“On approaching the cathedral on the south side, the transept, or
-church of St. Oswald, is a remarkable feature. Projecting to nearly
-the same length as the nave, with its lofty clerestory and great
-south window, it attracts attention as well by its own importance
-as by the unusual ground-plan which it gives to the entire
-building.”&mdash;(R. J. K.)</p></div><p><span class="pagenum"><a name="page_217" id="page_217">{217}</a></span></p>
-
-<p>Let us look at the chief features of the exterior:</p>
-
-<div class="blockquot"><p>“The <small>WEST FRONT</small> consists of an eight-light canopied Perpendicular
-window, with a band of elaborate tracery succeeded by ordinary
-tracery of the period in the head, set between two banded octagonal
-turrets, which are battlemented. The west door is peculiar; it
-consists of an arch under a square head, with foliated spandrels
-and a range of angels in the mouldings, deeply recessed under a
-larger arch with another square head. On each side are four
-crocketed niches, with pedestals denuded of their statues. To the
-west is a four-light canopied window, under a panelled band and
-flanked by a rich but empty niche on either side.</p>
-
-<p>“The door of the <small>SOUTH PORCH</small> is Tudor with two-light, square-headed
-windows and a canopied niche, and an intervening rich band. The
-windows of the aisles and clerestory of the nave are Perpendicular;
-the parapet is shallow. The <small>SOUTH TRANSEPT</small>, as long as the choir
-and as broad as the nave, has a Perpendicular clerestory and south
-windows, the former of four lights and with two transoms. The
-windows of the aisle are Late Decorated and of four lights
-separated by buttresses. This description applies to the south side
-of the choir, but the aisles are extended within one bay of the
-east end of the Lady-chapel, which has Perpendicular windows; the
-great east window is of the same date. Traces of Early English
-architecture appear in the north side of the choir and
-Chapter-house. The north window of the transept and windows of the
-nave are Perpendicular.”&mdash;(Wal.)</p></div>
-
-<p>We can enter, as we prefer, by the west door, or the south porch. The
-<b>Nave</b> is uninteresting. It consists of six bays, the piers are groups of
-attached shafts terminating in foliage capitals. The roof is modern.</p>
-
-<p>Decorated windows light the <b>South aisle</b>. The <b>North aisle</b> contains some
-old Norman work. Here we find an ancient Italian font, presented in
-1885, and an old piece of tapestry that has been in the Cathedral since
-1668.<span class="pagenum"><a name="page_218" id="page_218">{218}</a></span></p>
-
-<p>The <b>North transept</b> is small, owing to the monastic buildings on this
-side. Here we find Norman work. Some of the windows exhibit
-Perpendicular tracery. The roof is Perpendicular.</p>
-
-<p>Until 1881 the <b>South Transept</b> was, as we have said, the Parish Church of
-St. Oswald. It has Decorated windows. Perpendicular windows light the
-west aisle.</p>
-
-<p>We now enter the <b>Choir</b>. The screen is modern and by Sir G. Scott.</p>
-
-<div class="blockquot"><p>“The choir is remarkable for the great beauty of the wood-work
-which it contains, as well as for its architectural merits. The
-style is that of the transition between the Early English and
-Decorated. The north side differs from the south, especially in
-regard to the mouldings. The north side is earlier than the south,
-the building having been commenced at the east end of that side.
-The mouldings on the north are bold rounds, while those on the
-south are shallow and small hollows. The triforium has a series of
-elaborately-carved cusped arches, and the clerestory windows are
-light and graceful with geometrical tracery. The vault is modern,
-constructed of good English oak. At the east there are figures of
-the sixteen prophets and at the west are angels playing musical
-instruments. There are some curious grotesque corbels, from which
-the vaulting shafts spring.</p>
-
-<p>“The carving of the <small>CHOIR STALLS</small> is equal, if not superior, to
-anything in England. These are Fourteenth Century work and rival
-the noble stalls of Amiens. They have been restored with much
-accuracy and taste. The carving of the dean’s stall should be
-noticed, as it represents the Jesse tree, surmounted by the
-Coronation of the Virgin. That representing Jacob’s Dream is
-modern. The <i>misereres</i> are extremely interesting and curious and
-full of religious instruction, though often conveyed in the way of
-sarcastic reproof. There are forty-eight, of which three are
-modern. Some of the most curious are: a pelican feeding her young;
-St. Werburgh and the stolen goose; a wife beating her husband; the
-strategy of the fox; stag hunt; Richard I. pulling out the heart of
-a lion; a fox in the garb of a</p></div>
-
-<div class="figcenter"><br />
-<a name="fig_042" id="fig_042"></a>
-<a href="images/fp218.jpg">
-<img src="images/fp218.jpg" width="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Chester: Choir, west</span></p></div>
-</div>
-
-<div class="figcenter"><br />
-<a name="fig_043" id="fig_043"></a>
-<a href="images/fp219.jpg">
-<img src="images/fp219.jpg" width="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Chester: Choir-stalls</span></p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_219" id="page_219">{219}</a></span></p>
-
-<div class="blockquot"><p class="nind">monk presenting a gift to a nun; various wild men; wrestlers;
-unicorn resting its head on a virgin’s knee, and numerous
-grotesques.”&mdash;(P. H. D.)</p></div>
-
-<p>The <b>Altar</b> is modern and is made of oak of Bashan, olive-wood from the
-Mount of Olives and the cedar of Lebanon. The Reredos, a mosaic of the
-Last Supper, the Pulpit and the Bishop’s Throne are all modern.</p>
-
-<p>For many years the <b>Shrine of St. Werburgh</b> was used for the latter. We
-pause to look at this interesting piece of Fourteenth Century work,
-remembering how many eyes of Mediæval pilgrims have gazed with reverence
-upon it.</p>
-
-<div class="blockquot"><p>“At the end of the stalls on the south side is the Bishop’s Throne.
-This has been formed from the base of the shrine of St. Werburgh,
-which seems to have served its present purpose since the foundation
-of the See in the Sixteenth Century. It has, however, so greatly
-altered during the late ‘restoration,’ that it is difficult to
-ascertain the ancient arrangement. The lower part, with niches for
-figures, is ancient. The part resting on this, as high as the small
-gilt figures, is modern. The figures themselves are old, and before
-the alteration they rested on the ancient base. The pinnacles and
-all the upper portion are modern. The ancient portions are early
-Decorated work of the Thirteenth Century. The niches in front and
-at the sides of the base are lined with a small arcade and vaulted.
-Above them are foliaged canopies. The gilt figures hold scrolls,
-once perhaps bearing names. They are conjectured to represent kings
-and queens of Mercia, connected either directly or collaterally
-with St. Werburgh. It is possible that when the shrine itself was
-perfect, the lower part, with niches, formed a portion of the base,
-whilst the small figures may have been a canopy supported by marble
-shafts. Under this canopy and on the base the feretory or actual
-shrine, with the relics, may have rested. This, however, is but
-conjecture, since no drawing or description exists of the shrine
-before the Reformation.”&mdash;(R. J. K.)</p></div><p><span class="pagenum"><a name="page_220" id="page_220">{220}</a></span></p>
-
-<p>The <b>North aisle</b> of the choir will detain the student because there is
-much Norman work here. Here can also be traced the termination of the
-old Norman apse. The arch in the east wall of the transept is also
-Norman, and early, too. The doorway from the north aisle is Fourteenth
-Century work. The apse was rebuilt in the Early English period and made
-to end in a square. In the Perpendicular period it was extended further.
-Note the gates of old Spanish workmanship across both aisles. They date
-from 1558.</p>
-
-<p>At the end stands the <b>Lady-Chapel</b>.</p>
-
-<div class="blockquot"><p>“The Lady-Chapel is of Early English design, and was built about
-1266, previous to the present choir. Many alterations were made
-subsequently, including the removal of the ancient steep and lofty
-roof and the substitution of a flat roof and the insertion of
-Perpendicular windows. Most of these additions have been removed
-and the Early English character restored. The east window of five
-lights was designed by Scott, and the original form of the roof has
-been restored. The vault, which is original Early English, has a
-boss representing the murder of Thomas à Becket. The mosaics were
-designed by Sir A. Blomfield. Here the consistory court was held at
-the time of the Reformation, and George Marsh, the Chester martyr,
-was condemned to be burnt.”&mdash;(P. H. D.)</p></div>
-
-<p>Through a Norman doorway in the north aisle of the choir, we enter the
-<b>Cloisters</b>.</p>
-
-<div class="blockquot"><p>“The south walk is entirely new, having been restored by Scott. The
-west walk adjoins a fine Early Norman chamber, probably the great
-cellar of the abbot’s house. The cloisters are Perpendicular work.
-In the south and west walks there is a double arcade on the
-cloister-garth side, which contained the <i>carrels</i>, or enclosed
-studies of wainscot, where the monks read or wrote, and on the
-opposite side are recesses which are not tombs, but <i>Armaria</i> or
-cupboards, where their books and materials for illumina<span class="pagenum"><a name="page_221" id="page_221">{221}</a></span>tions were
-stored. In the Perpendicular period the roof of the cloisters was
-raised, which was not an advantage, as it caused the aisle windows
-and those of the refectory to be partly blocked up, and the
-vaulting cuts into the earlier work. The <i>Lavatorium</i> is near the
-<i>Refectory</i>, an Early English building with Perpendicular windows.
-It is a noble structure, shorn of some of its length, and now used
-as a music room. The stone pulpit is remarkably fine, of Early
-English design, which rivals the famous pulpit of Beaulieu
-Abbey.”&mdash;(P. H. D.)</p></div>
-
-<p>A doorway in the east walk carries us into the <b>Vestibule</b> of the
-Chapter-House.</p>
-
-<p>In the vestibule (Early English) light graceful piers support the
-vaulting. The mouldings are very much admired.</p>
-
-<p>The <b>Chapter-House</b> is also Early English and ranks high among these very
-national productions. It dates from about 1240. The east window of five
-lights is a handsome example of its date.<span class="pagenum"><a name="page_222" id="page_222">{222}</a></span></p>
-
-<h2><a name="MANCHESTER" id="MANCHESTER"></a>MANCHESTER</h2>
-
-<div class="blockquotcent"><p><span class="smcap">Dedication: St. Mary the Virgin, St. George and St. Denis. Formerly
-served by Secular Canons.</span></p>
-
-<p><span class="smcap">Special features: Choir-Stalls; Gordon Window.</span></p></div>
-
-<p class="nind"><span class="smcap">Manchester</span> was built for a parish church and only became a cathedral in
-1847. It is a very fine specimen of Perpendicular Gothic of the early
-Fifteenth Century, though there are some remains of older work here and
-there. The oldest is the arch leading into the Lady-Chapel. This shows
-some influences of the Decorated style.</p>
-
-<p>The choir, aisles and chapter-house date from 1422-1458; the nave was
-built in 1465-1481; Chapel of the Holy Trinity, 1498; Jesus Chapel,
-1506; St. James’ Chantry (Ducie Chapel), 1507; St. George’s Chapel,
-1508; Ely Chapel, 1515; and Lady-Chapel in 1518. The Cathedral suffered
-during the Civil Wars and has been much restored.</p>
-
-<p>The exterior is not particularly impressive. The walls are grimy with
-smoke and there is no emerald sward, nor are there ivy-covered walls.</p>
-
-<p>The one tower (built in 1864-1868) rises above a still more recent
-<b>Western porch</b>, designed by Basil Champneys and ornamented with a parapet
-and a single crocketed turret, which gives it a very unsymmetrical
-appearance. The square tower contains a clock in the first stage, soars
-140 feet and is finished with a pierced battlement with pinnacles at the
-corners.</p>
-
-<p>Turning round the corner, we come to the <b>South porch</b>, two bays and two
-stories (modern) and<span class="pagenum"><a name="page_223" id="page_223">{223}</a></span> elaborately carved. Next comes the Jesus Chapel;
-then the octagonal Chapter-House; then the Fraser memorial chapel; and
-then we turn the corner and come to the Lady-Chapel, unusually small and
-projecting only about eighteen feet. The windows are Eighteenth Century,
-though the tracery is Decorated in general character.</p>
-
-<p>Passing the window of the north-choir-aisle and the eastern end of the
-Derby Chapel, we again turn the corner. The first projection is the Ely
-Chapel and the next and smaller one is an engine room used for working
-the organ. The small door next opens into the ante-chapel of the Derby
-Chapel. Finally we reach the north porch.</p>
-
-<div class="blockquot"><p>“It is a dimly lighted building; this is due chiefly to two causes:
-first to the fact that it is enormously wide, and the aisle windows
-are therefore far from the central nave, and secondly to the fact
-that almost all the windows both of aisles and clerestory are
-filled with painted glass, in many cases of a deep colour, and
-rendered still more impervious to light by the incrustation of
-carbon deposited on their outside by the perpetual smoke of the
-city. So dark is the church that in the winter months it has
-generally to be lit with gas all the day long, and even in the
-summer, in comparatively bright weather, some gas burners will
-generally be found alight. The mist also of the exterior atmosphere
-finds its way into the building, and hangs beneath the roof,
-lending an air of mystery to the whole place, and giving rise to
-most beautiful effects when the sunlight streams through the
-clerestory windows. The tone also of the nave arcading and
-clerestory rebuilt in recent years, of warm, rose-coloured
-sandstone, is very lovely.”&mdash;(T. P.)</p></div>
-
-<p>The <b>Nave</b> is wider than it is long. With its double aisles it measures
-114 feet; its length is only 85 feet. The choir is about the same
-proportion. The Lady-Chapel, at the extreme east, is very small. The
-sides of the nave and choir are still further ex<span class="pagenum"><a name="page_224" id="page_224">{224}</a></span>tended by chapels,
-partitioned off by screens. On the south side of the nave we have first
-<b>St. George’s Chapel</b> (founded in 1508) and <b>St. Nicholas’s Chapel</b> (founded
-in 1186, before the present church was built); and on the north side the
-space once occupied by the <b>Holy Trinity Chapel</b> (1498) and <b>St. James’s
-Chapel</b> (1507).</p>
-
-<div class="blockquot"><p>“This church differs from most of our cathedral and abbey churches
-in having no triforium.<a name="FNanchor_8_8" id="FNanchor_8_8"></a><a href="#Footnote_8_8" class="fnanchor">[8]</a> And the clerestory is not lofty, so that
-the church is rather low for its width, though the height of the
-arches of the main arcade prevents this being felt. The roofs of
-the aisles are all modern, but that of the nave, though extensively
-repaired, has much of the original work in it, and, with the
-exception of a few bosses, the choir roof is old. All the roofs are
-of timber; in the nave the intersections of the main beams are
-covered by beautiful bosses carved out of the solid wood. On either
-side, at the points from which the main cross beams spring, is a
-series of angelic figures splendidly carved in wood: those on the
-south side playing stringed instruments, those on the north side
-wind instruments.</p>
-
-<p>“The pillars of the main arcade of the nave are modern work built
-in imitation of the original ones. They are light and graceful,
-and, like many other pillars of fifteenth century date, are formed
-of shafts of which only half have separate capitals, the other
-mouldings running round the arch. The spaces between the arches are
-elaborately carved with heraldic shields.”&mdash;(T. P.)</p></div>
-
-<p>In the nave we find the one interesting window in the Cathedral (the
-most eastern one in the Ducie Chapel), a memorial to <b>General Gordon</b>
-killed at Khartoum in 1888. It consists of five lights. Gordon is in the
-centre, his hand on the head of a native boy. Natives and angels occupy
-the other lights.</p>
-
-<p>Towards the east end of the nave stands the</p>
-
-<div class="figcenter"><br />
-<a name="fig_044" id="fig_044"></a>
-<a href="images/fp224.jpg">
-<img src="images/fp224.jpg" width="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Manchester: South</span></p></div>
-</div>
-
-<div class="figcenter"><br />
-<a name="fig_045" id="fig_045"></a>
-<a href="images/fp225.jpg">
-<img src="images/fp225.jpg" width="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Manchester: Nave, east</span></p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_225" id="page_225">{225}</a></span></p>
-
-<p class="nind">modern pulpit and then an ancient rood-screen with three wide openings
-and double doors.</p>
-
-<p>Passing through the screen, we enter the <b>Choir</b>, sometimes called the
-<b>Radcliffe Choir</b>, because members of this family were buried here.</p>
-
-<p>The <b>Choir-stalls</b> date from the early Sixteenth Century and resemble
-those in Ripon Cathedral and Beverley Minster.</p>
-
-<div class="blockquot"><p>“There are twelve stalls on either side, and three on each side of
-the entrance through the rood-screen facing east. The stalls are
-furnished with <i>misereres</i>, which, in common with many others both
-in England and on the Continent, represent all manner of quaint
-subjects, monsters, animals, hunting scenes, etc.</p>
-
-<p>“The carved elbows of the stalls and the end of the book desks are
-also worthy of careful examination, especially the Eagle and Child
-and general carving of the Dean’s Stall, which is a marvel of
-beautiful workmanship, and said by high authorities to be
-unequalled.</p>
-
-<p>“Between the stalls the floor is one step higher than that of the
-nave, and at the east end of the stall, there is a further rise of
-two steps as we pass into the presbytery. Here, on the south side,
-we see the bishop’s throne&mdash;modern work, carved with a view to be
-in harmony with the stalls, but comparing unfavourably with them in
-execution. There is a rise of two more steps into the sanctuary,
-and the altar itself is raised two steps higher; this gives a good
-effect. Behind the altar is an elaborately carved wooden reredos of
-modern work, richly painted and gilt.”&mdash;(T. P.)</p></div>
-
-<p>A fine ancient screen runs across the arch at the opening of the
-<b>Lady-Chapel</b>.</p>
-
-<p>Along the south side of the south-choir-aisle we first come to the
-vestry, then to the <b>Jesus Chapel</b> (now a library), separated from the
-aisle by a handsome screen of the Sixteenth Century. Then we reach the
-fine entrance to the <b>Chapter-House</b>, beneath a large arch. At the end is
-the <b>Fraser</b><span class="pagenum"><a name="page_226" id="page_226">{226}</a></span> <b>Chapel</b>, with an altar cenotaph to the second Bishop of
-Manchester, James Fraser (died 1885), buried elsewhere.</p>
-
-<p>On the north aisle of the choir the space is occupied by the <b>Derby
-Chapel</b>, dedicated to St. John the Baptist. It was the private chapel of
-the Stanley family, to which the Earls of Derby belong. It was begun by
-James Stanley (1485-1509), who became Bishop of Ely. He died in 1515 and
-was buried near the <b>Ely Chapel</b>, where the original tomb and brass are
-still to be seen.<span class="pagenum"><a name="page_227" id="page_227">{227}</a></span></p>
-
-<h2><a name="CARLISLE" id="CARLISLE"></a>CARLISLE</h2>
-
-<div class="blockquotcent"><p><span class="smcap">Dedication: The Holy Trinity. Formerly served by Augustinian
-Canons.</span></p>
-
-<p><span class="smcap">Special features: Choir and East Window.</span></p></div>
-
-<p class="nind"><span class="smcap">In</span> the ancient town of North Cumberland&mdash;the famous border town
-appearing so frequently in ballads as “Merry Carlisle”&mdash;the Cathedral
-shares the honours with the Castle. Both date from about 1092.</p>
-
-<p>When William Rufus II. rebuilt and fortified Carlisle, he left one
-Walter, a Norman priest, as governor. He began to build a church and
-priory, but died in the meantime and Henry I. continued the work. The
-church was dedicated in 1101; the monastery of Augustinians was founded
-in 1121; and the Cathedral established in 1133. It was built in the
-Norman style, a nave with aisles, transepts and a tower at the
-intersection of the latter. The architect was Hugh, once abbot of
-Beaulieu. The Norman choir was taken down early in the Thirteenth
-Century and rebuilt in the Early English style. Two fires&mdash;especially
-the one in 1292&mdash;wrought much damage. About the middle of the Fourteenth
-Century the choir was completed in the Decorated style, and the
-magnificent East window was also inserted at this time. Robert Bruce
-took up his quarters in the Cathedral after the Battle of Bannockburn
-(1314). In 1392 the north transept suffered from fire. Bishop Strickland
-(1400-1419) restored it and rebuilt the central tower, add<span class="pagenum"><a name="page_228" id="page_228">{228}</a></span>ing to it a
-wooden spire. Henry VIII. disestablished the monastery and formed a
-Cathedral.</p>
-
-<p>During the Civil War the Puritan soldiers were quartered in the
-Cathedral and did much damage.</p>
-
-<p>They pulled down two-thirds of the Norman nave in order to get stones
-with which to repair the fortifications. At the rising of Charles
-Edward, “Bonnie Prince Charlie,” in 1745, his soldiers captured Carlisle
-and used the Cathedral for their headquarters; and when the Duke of
-Cumberland arrived, the church was again used as barracks and many of
-the Jacobites were confined in its walls.</p>
-
-<p>Carlisle is a fine place to study all the styles of Early English in
-simple, pointed, geometric and flowing. It is famed for its wonderful
-East Window and the superb Choir, one of the finest in England.</p>
-
-<div class="blockquot"><p>“A good view is obtained from the castle. The usual approach is
-from the east end, whence we observe the grand east window with its
-beautiful Late Decorated tracery. It is flanked by buttresses, with
-niches and crocketed pinnacles. In the niches are statues of SS.
-Peter, Paul, James and John. A foliated cross crowns the gable and
-on each side are four similar crosses. In the gable is a triangular
-window, having three trefoils, and below is a niche with a figure
-of the Virgin. The Central Tower, built by Bishop Strickland
-(1400-1419) on the old Norman piers, is too small for the huge
-choir and lacks dignity. Formerly it was crowned with a wooden
-spire, but this has been removed. There is a turret set at the
-north-east angle, and in the north side is a niche with the figure
-of an angel. The lower part of the choir is Early English, with the
-exception of a Perpendicular window at the west, and a Decorated
-one in the east bay. The clerestory is Late Decorated, and the
-windows have flowing tracery. The ball-flower ornament is
-extensively used in the cornice. The sculpture at Carlisle is
-worthy of notice. Carved heads and curious gargoyles abound. The
-North Transept is</p></div>
-
-<div class="figcenter"><br />
-<a name="fig_046" id="fig_046"></a>
-<a href="images/fp228.jpg">
-<img src="images/fp228.jpg" width="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Carlisle: South-west</span></p></div>
-</div>
-
-<div class="figcenter"><br />
-<a name="fig_047" id="fig_047"></a>
-<a href="images/fp229.jpg">
-<img src="images/fp229.jpg" height="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Carlisle: Choir</span></p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_229" id="page_229">{229}</a></span></p>
-
-<div class="blockquot"><p class="nind">nearly all modern. It was rebuilt by Strickland in the Fifteenth
-Century, and again rebuilt when the church was restored. There is,
-however, an Early English window in the west wall. On the east side
-there was formerly a chapel, which has not survived the repeated
-alterations. The greater part of the Nave was taken down by
-Cromwell’s soldiers. What is left is of unmistakable Norman
-character. There is some modern imitation work, and late
-architectural detail. Most of the windows are modern, and also the
-doorway. The south side is similar to the north. The South Transept
-preserves the old Norman walls. On the south is a modern doorway
-with a window over it. On the east is St. Catherine’s Chapel, a
-Late Early English or Early Decorated building. The south side of
-the choir is similar to the north, and presents Early English
-details of construction. The monastic buildings once stood on the
-south side of the church but they have been pulled down with the
-exception of the fratry and gatehouse, the stone being used for
-repairing the fortifications of the city by Puritan soldiery. The
-refectory, or fratry, was rebuilt in the Fifteenth Century, and is
-now used as a chapter-house. There is a fine reader’s pulpit here.
-The gateway was erected by Prior Slee in 1527. The Deanery is a
-fine old house, and was formerly the prior’s lodging. It was
-rebuilt in 1507.”&mdash;(P. H. D.)</p></div>
-
-<p>The <b>Nave</b> is Norman, but of the eight bays only two now remain. The piers
-are low, the arches semicircular, and it appears that later hands carved
-the Early English foliage on the capitals. The triforium shows plain
-round-headed arches. The clerestory has three arches in each bay,
-resting on shafts with carved capitals. The west end is modern. Sir
-Walter Scott was married here in 1797.</p>
-
-<p>The <b>North Transept</b> was rebuilt in the Fifteenth Century and the north
-end again in modern times. The large window is modern and Decorated in
-style. An Early English window in the west end is a good example of
-plate-tracery. The roof is mod<span class="pagenum"><a name="page_230" id="page_230">{230}</a></span>ern; the arch of the choir aisle,
-Decorated. Norman piers support the <b>Tower</b>, to which Bishop Strickland
-added additional columns, Perpendicular with foliated capitals. The
-crescent and fetterlock on the capital of the eastern arch are emblems
-of the Percy family; the rose and scallop shell on the western side, of
-the Dacres and Nevilles.</p>
-
-<p>The <b>South Transept</b> is only one bay: The arch into the choir-aisle is
-Norman with zigzag ornaments and cushion capitals. Another Norman arch
-opens into <b>St. Catherine’s Chapel</b>, now a vestry. It was founded by John
-de Capella, a wealthy citizen. The beautiful screen is Late Decorated.</p>
-
-<p>The <b>Choir</b> consists of eight pointed arches: it is 138 feet long and 72
-feet high.</p>
-
-<div class="blockquot"><p>“We now enter the choir by the door in the organ-screen. This is
-one of the finest in England&mdash;spacious, lofty, well-proportioned
-and rich in all its details. The arches of the main arcade are
-Early English, as the mouldings and dog-tooth ornament testify.
-These remained after the fire of 1292 and were retained. The piers
-are Early Decorated and were evidently built to support the arches
-after the fire. The capitals were carved later in the Late
-Decorated period, when the upper parts of the choir, triforium,
-clerestory, roof and east end were rebuilt. The builders were
-probably Bishops Welton and Appleby (1353-1395). When the choir was
-rebuilt in Early English times, the architect determined to enlarge
-it, and as the monastic buildings on the south prevented any
-expansion in that direction, the south piers of the choir retained
-their old position, while the north were moved further northward,
-and a new north aisle added. Thus the choir and the tower and nave
-are not quite symmetrical, and there is a blank wall at the
-north-west end of the choir which is thus accounted for. The
-details of the architecture of the choir merit close attention,
-especially the sculpture. Small figures of men, animals and
-monsters are mingled with the foliage. There are some admirable
-representations of the<span class="pagenum"><a name="page_231" id="page_231">{231}</a></span> seasons, beginning with the second capital
-on the south, counting from the east end. There is a very fine
-timber roof, constructed about the middle of the Fourteenth
-Century. The scheme of colour decoration is, unfortunately, not
-original.”&mdash;(P. H. D.)</p></div>
-
-<p>The <b>East Window</b> is one of the finest Decorated windows in existence. The
-stone-work is not new, but it is believed to be an exact reproduction of
-the original. It is composed of 86 distinct pieces of stone and is
-struck from 263 centres. There are nine lights. The glass of the upper
-portion is ancient, dating from the reign of Richard II. The pictures
-are the Resurrection, the Final Judgment and the New Jerusalem. Hell is
-shown with all the terrors familiar to the Mediæval mind. The modern
-glass below represents scenes from the life of Christ.</p>
-
-<p>The <b>Stalls</b> are Late Perpendicular and are beautifully carved. The fine
-tabernacle-work is dated about 1433. The <i>misereres</i> represent the usual
-grotesque monsters, such as dragons, griffins and fables in which the
-crafty fox is prominent. A Fifteenth Century brass to Bishop Bell (1495)
-on the floor of the choir deserves notice.</p>
-
-<p>A Renaissance screen partitions off the north-choir-aisle. Here we
-notice the Early English arcade and the windows with two lights,
-dog-tooth ornament and deep mouldings. The last bay eastward is Late
-Decorated; the last bay westward contains a Perpendicular window.</p>
-
-<p>In the north wall two Early English sepulchral recesses are unique
-because of their chevron moulding. The effigy lying in one of them is
-supposed to be Silvester of Everdon (1254). The stalls in the
-<b>North-choir-aisle</b> are ornamented with very<span class="pagenum"><a name="page_232" id="page_232">{232}</a></span> strange paintings of the
-Fifteenth Century illustrating the lives of St. Anthony and St.
-Cuthbert, with descriptive verses.</p>
-
-<p>The <b>South-choir-aisle</b>, with a similar screen to the opposite one, also
-contains painted stalls representing the life of St. Augustine. It
-resembles the north-choir-aisle.</p>
-
-<p>The narrow <b>Retro-choir</b> is of the same date as the big window.</p>
-
-<p>The lower part of the Choir is Early English with the exception of the
-Perpendicular window in the west bay and a Decorated one in the east
-bay. The clerestory is Late Decorated, the windows noticeable for their
-flowing tracery. Everywhere the ball-flower ornament abounds, and carved
-heads and weird gargoyles are omnipresent.</p>
-
-<p>The south side resembles the north with the exception of St. Catherine’s
-Chapel, a Late Early English, or Early Decorated construction. The
-monastic buildings have disappeared with the exception of the <b>Refectory</b>,
-rebuilt in the Fifteenth Century, now used as the <b>Chapter-House</b>, and the
-gateway built in 1527. The fine old <b>Deanery</b>, formerly the prior’s house,
-was rebuilt in 1507.</p>
-
-<div class="figcenter"><br />
-<a name="fig_048" id="fig_048"></a>
-<a href="images/fp232.jpg">
-<img src="images/fp232.jpg" height="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Carlisle: East end</span></p></div>
-</div>
-
-<div class="figcenter"><br />
-<a name="fig_049" id="fig_049"></a>
-<a href="images/fp233.jpg">
-<img src="images/fp233.jpg" width="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Durham: West front</span></p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_233" id="page_233">{233}</a></span></p>
-
-<h2><a name="DURHAM" id="DURHAM"></a>DURHAM</h2>
-
-<div class="blockquotcent"><p><span class="smcap">Dedication: St. Cuthbert. Formerly the Church of a Benedictine
-Monastery.</span></p>
-
-<p><span class="smcap">Special features: Galilee Chapel; Chapel of the Nine Altars;
-Neville Screen; Joseph’s Window.</span></p></div>
-
-<p class="nind"><span class="smcap">Durham</span> is the most beautifully situated of all English cathedrals. It is
-perched upon a rocky and wooded eminence above the Wear River, and with
-the castle by its side makes a noble picture. When seen from the
-opposite side of the river the west end of the Cathedral is very
-charming; for the Galilee Chapel, the western towers and gable, the tall
-central tower and the roof of the nave show variety of line and mass.
-The Galilee Chapel completely hides the western doorway; but above it
-rises the big window of 1346, the semicircular arch and the small gable
-between the twin towers.</p>
-
-<p>Durham Cathedral owed its existence to St. Cuthbert (one of the three
-great English saints), and was fortunate enough to possess his shrine.
-Therefore, it is well to recall his life before visiting the church. St.
-Cuthbert was born about 635, and in Ireland, according to tradition. He
-is first heard of as a shepherd-boy in Northumbria, where, in 651, while
-watching his flocks by night, he had a vision of the heavens opening and
-angels carrying thither the soul of St. Aidan, the pious bishop of
-Lindisfarne. He decided to become a monk and entered the monastery of
-Melrose, where he became prior. After a few years he went to
-Lindisfarne, and also became prior there. In 676 he became an anchorite<span class="pagenum"><a name="page_234" id="page_234">{234}</a></span>
-on Farne Island, where he died, March 20, 687. The fame of St. Cuthbert
-increased after his death and his anniversary was a great festival in
-the English Church. Many churches in the north were dedicated to him.
-His body rested quietly in Lindisfarne for two hundred years, but in
-875, when the Danes were ravaging Northumbria, the pious monks of Holy
-Island, bearing the body on their shoulders, fled inland and found a
-temporary resting-place in Chester-le-Street, half-way between Newcastle
-and Durham. In 995 they transferred the body of St. Cuthbert to Ripon;
-but in the same year removed it to Durham.</p>
-
-<p>Legend says that after the monks left Chester-le-Street, St. Cuthbert
-appeared and announced that he desired to rest at Dun-holm. The monks
-wandered about in search of this place. Finally they heard a woman
-asking another if she had seen her lost cow. The other answered: “It’s
-down in Dun-holm.” The monks remembering that Dun-holm meant
-hill-meadow, carried the body of St. Cuthbert into the lonely field.</p>
-
-<p>Here they built a stone chapel to protect the body; and Bishop Aldhun
-soon began a great church. This “White Church” was consecrated in 999.
-Aldhun died in 1018. The next important bishop was William of Saint
-Carileph (1080-1096), appointed by William the Conqueror. He turned the
-place into a Benedictine monastery. Then he determined to build a better
-Cathedral, and laid the foundation-stone in 1093. When he died, three
-years later, the walls of the choir, the eastern walls of the transepts,
-the arches of the tower and a part of the first bay of the nave were
-finished. A temporary shrine was also made for St. Cuthbert’s body.<span class="pagenum"><a name="page_235" id="page_235">{235}</a></span>
-Ranulph Flambard (1099-1128) was the next great builder. The nave, the
-aisles, the west doorway, the lower part of the western towers and the
-vaulting of the aisles are his. In 1104 he removed the body of St.
-Cuthbert from the cloister-garth to the splendid shrine behind the high
-altar. Here the sacred relics were supposed to work miracles, and
-pilgrims flocked in great numbers to this holy place. William the
-Conqueror, Henry III., Edward II., and Henry VI. were among the royal
-personages who did homage to the saint.</p>
-
-<p>When Henry VIII. suppressed the monasteries in 1540, the shrine was
-destroyed; but the monks secured St. Cuthbert’s body and buried it
-beneath the platform on which the shrine had stood. In 1827 the grave
-was opened. A coffin was found that had been made in 1541; this enclosed
-another, supposed to date from 1104; and this, a third, that agreed with
-the description of the one made in 698. In the latter was found St.
-Cuthbert’s body, wrapped in five robes of embroidered silk. Thus it
-almost seemed as if there were some reason for the legend that his body
-was supposed to be incorrupt.</p>
-
-<p>William the Conqueror, anxious to see this incorrupt body, ordered the
-shrine to be opened; but, at the first stroke, such sickness and terror
-fell upon him that he rushed from the Cathedral; and, mounting his
-horse, he never drew bridle until he had crossed the Tees.</p>
-
-<p>Until the Reformation the banner of St. Cuthbert hung over his shrine.
-It was made from a cloth used by St. Cuthbert in celebrating mass and it
-was believed to insure victory to the army in whose ranks it was
-carried. Flodden was one of the<span class="pagenum"><a name="page_236" id="page_236">{236}</a></span> many fields in which the defeat of the
-Scots was ascribed to the Standard of St. Cuthbert. Another was
-Neville’s Cross, near Durham, when 15,000 Scots perished. A thanksgiving
-hymn was ordered to be sung on top of the Cathedral tower on each
-anniversary of the battle. This custom is still observed.</p>
-
-<p>Returning now to the architectural history of the Cathedral, the next
-great builder was Hugh Pudsey (1153-1195), in whose time the Norman
-style was passing out of fashion. Pudsey began to build a Lady-Chapel at
-the east end; but when he saw great cracks appearing in the walls, he
-thought that St. Cuthbert was manifesting his displeasure. Consequently
-he removed all his building materials, including the Purbeck marble
-columns, and began and finished the wonderful Galilee Chapel at the west
-end, about 1175.</p>
-
-<p>Pudsey was a great prince as well as a fine builder. He was only
-twenty-five when he became Bishop of Durham. He bought the earldom of
-Northumberland and also a manor. When King Henry decided to go to
-Jerusalem after his capture by the Saracens, Pudsey fitted out ships and
-had a seat of silver for himself in one of them. The King died, and
-Pudsey remained at home; and while King Richard went on the trip Pudsey
-and the Bishop of Ely quarrelled. Pudsey was decoyed to London and
-thrown into the Tower. He was released. He died on another journey from
-Durham to London in 1195.</p>
-
-<p>Bishop Poore (1229-1237), arriving from Salisbury Cathedral (see page
-77), planned the Chapel of the Nine Altars, another special feature of
-Durham and one of the best examples of Early Eng<span class="pagenum"><a name="page_237" id="page_237">{237}</a></span>lish in existence. As
-soon as he arrived in Durham, Bishop Poore began to plan the eastern
-transept, for the apse of Carileph’s choir had been deemed unsafe.
-Building, however, was not undertaken until after his death.</p>
-
-<p>In the Fourteenth Century the large window in the north transept and the
-west windows of the nave were added. Then the cloisters were built and
-several halls. The refectory was turned into a library in 1661-1684.</p>
-
-<p>The central tower was repaired and rebuilt in the Fifteenth Century.</p>
-
-<p>Wyatt, who had charge of the restorations in 1796, destroyed the fine
-Norman Chapter-House (built in 1133-1140), rebuilt the turrets on the
-Chapel of the Nine Altars and placed a window of his own design in the
-east end, removing for the purpose the great Early English window. The
-original glass was also taken out and piled up in baskets. After much
-had been stolen the remainder was locked up in the Galilee. Some of it
-was inserted in the great round window.</p>
-
-<p>Wyatt came very near destroying the Galilee Chapel so that he could open
-the west doorway; but he was fortunately stopped.</p>
-
-<p>The chief restorations of late years have been those of 1870-1876, when
-the new choir-screen and pulpit were erected, the choir-stalls replaced
-and the floor of the choir paved with marble mosaic.</p>
-
-<p>From the large open space between the Cathedral and Castle, known as the
-Palace Green, we gain a fine view of the northern side of the building;
-the tall central tower and transept with its splendid window (1362) (The
-Four Doctors of the Church);<span class="pagenum"><a name="page_238" id="page_238">{238}</a></span> and the north aisle to the Chapel of the
-Nine Altars that completes the eastern end.</p>
-
-<p>From this side we can study the towers to advantage. The two square,
-solid western towers date from Norman time; but the Norman work ends at
-the roof of the nave; then begins what is probably work of the
-Thirteenth Century. Here we have four stories ornamented with arcading,
-blind and open. The first and third have pointed arches, and the second
-and fourth round arches. The open parapets and pinnacles were added at
-the end of the Eighteenth Century.</p>
-
-<p>The <b>Central Tower</b> dates from about 1474, replacing an older tower that
-had been condemned. The belfry had been struck by lightning in 1429. The
-tower consists of two stories separated by a narrow gallery with a
-pierced and embattled parapet. This is called the Bell Ringers’ Gallery.
-The windows are arranged in pairs surmounted by ogee label moldings,
-crocketed and ornamented with finials. The tower is finished with an
-open-worked parapet, and at each corner are buttresses with canopied
-niches containing figures.</p>
-
-<p>We walk eastward to gain a nearer view of the Chapel of the Nine Altars
-with the Early Decorated window and turrets crowned with pyramids. We
-particularly want to see on the north-west turret the panel of the <b>Dun
-Cow</b>, a modern reproduction of an ancient work, commemorating the legend.</p>
-
-<p>We now turn and walk westwards. Then we enter the <b>North Door</b>, the
-principal entrance to the Cathedral. The exterior is the work of Wyatt;
-and though we take some pleasure in the carvings of foliage, figures,
-chevrons and lozenges that orna<span class="pagenum"><a name="page_239" id="page_239">{239}</a></span>ment the capitals and arch-moulds, it is
-the doorway, with its sanctuary knocker, that attracts our attention.</p>
-
-<p>Criminals were wont to claim sanctuary at Durham from 740 to 1524. As
-soon as the fugitive grasped the ring he was safe. This knocker is a
-grotesque head of bronze with a ring hanging from the grinning mouth.</p>
-
-<div class="blockquot"><p>“The north entrance door tells an interesting tale. The present
-door is a modern restoration, and some of the original features of
-the famous entrance have been obliterated. Towards this door many a
-poor wretch hastening to escape the hands of the avenger has sped
-his fearful steps in days gone by. Attached to the door still
-glares a fearful-looking metallic head holding a ring in its mouth.
-In its now eyeless sockets were once in all probability balls of
-crystal, or enamel. When once the ring was grasped by the hand of
-the fugitive he was safe. He had claimed the ‘peace’ of St.
-Cuthbert, and the sanctity of the neighbouring shrine shielded him.
-Above the door by day and night watched relays of monks to admit
-those who claimed sanctuary. So soon as ever a fugitive had reached
-the door he was admitted. This done he had to confess the crime of
-which he was guilty, and his statement was taken down in writing.
-All the while a bell was tolling to give notice that some one had
-taken refuge in the church. Then the culprit was arrayed in a black
-gown with a yellow cross on his left shoulder, and remained within
-the precincts for thirty-seven days. If, at the end of that time,
-he could not obtain a pardon of the civil authorities, he was
-conveyed across the seas to begin life elsewhere.”&mdash;(T.)</p></div>
-
-<p>The exterior has not prepared us for the great impression that we
-experience on entering the <b>Nave</b> with its enormous columns and noble
-arches. These columns are deeply cut, some with spirals, some with
-zigzags, some with reeds, etc. The whole effect is solemn. Fortunately
-the modern screen allows the gaze to traverse the entire length of the<span class="pagenum"><a name="page_240" id="page_240">{240}</a></span>
-nave and choir until it is checked by the famous <b>Neville Screen</b>.</p>
-
-<div class="blockquot"><p>“The triforium is almost uniform throughout the whole church. In
-each sub-bay it consists of two small arches under one large one,
-with the tympanum solid. Here also the capitals are cushions and
-perfectly plain.</p>
-
-<p>“Above the triforium is the clerestory, which contains one light to
-each sub-bay, and surmounting all is the vaulting, which springs
-from the piers and from grotesquely carved corbels between the
-triforium arches. The vaulting ribs are ornamented with chevrons on
-either side of a bold semicircular moulding. So much for the
-general arrangement of the bays. Some idea of the massiveness of
-the structures may be gathered when it is known that each group of
-the clustered pillars separating the bays covers an area of two
-hundred and twenty-five square feet at its base, while those of the
-cylindrical columns of the sub-bays are twelve feet square, and the
-columns themselves have a circumference of over twenty-three feet.
-There is little room to doubt that the effect obtained by the old
-builders of Durham was intentional. The masterly way in which great
-masses of solid masonry, greater than was constructively necessary,
-are handled, and the reticence and delicacy of the ornament combine
-to prove this. There is in the whole scheme a delightful union of
-great power and vigour in the masses, and of tenderness and loving
-care in the detail.”&mdash;(J. E. B.)</p></div>
-
-<p>At the west end of the nave stands the <b>Font</b>, a modern work in the Norman
-style carved with medallions depicting scenes from the life of St.
-Cuthbert. It is covered by a large wooden canopy, dating from 1663 and
-curiously carved with a mixture of Classic and Gothic ornamentation.</p>
-
-<p>Durham is built in the form of a Latin cross, with transept, and in the
-centre of the arms rises the tower. At the east end another transept
-runs&mdash;the Chapel of the Nine Altars. At the west end we have the <b>Galilee
-Chapel</b>.</p>
-
-<div class="figcenter"><br />
-<a name="fig_050" id="fig_050"></a>
-<a href="images/fp240.jpg">
-<img src="images/fp240.jpg" height="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Durham: Nave, east</span></p></div>
-</div>
-
-<div class="figcenter"><br />
-<a name="fig_051" id="fig_051"></a>
-<a href="images/fp241.jpg">
-<img src="images/fp241.jpg" width="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Durham: Galilee Chapel</span></p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_241" id="page_241">{241}</a></span></p>
-
-<p>No one seems to know the origin of the word Galilee. According to Canon
-Talbot:</p>
-
-<div class="blockquot"><p>“Its name of Galilee has probably some reference to Galilee of the
-Gentiles, and implies that it was considered less sacred than the
-rest of the Cathedral. St. Cuthbert had a more than monkish fear of
-women, and they were not allowed to approach the shrine. A cross
-let into the pavement of the nave at the far west end curiously
-marks the far-removed spot nearer than which women might not
-approach. The prejudices of the good saint were thus perpetuated
-long after his death. The whole effect is light and graceful, and
-if the women were not allowed to enter farther than the western
-extremity of the church, they certainly had a most beautiful place
-of worship.”</p></div>
-
-<p>The Galilee Chapel is the most beautiful example of Transitional Norman.</p>
-
-<div class="blockquot"><p>“Entering the chapel by the steps leading from the Norman nave, the
-visitor is at once impressed with the lightness and delicacy of the
-work before him, as compared with the massive grandeur of the
-Norman cathedral behind. Here we have, in fact, one of the latest
-uses of the round arch influenced by the rapidly developing Early
-English Gothic. In plan the chapel consists of a nave with double
-aisles, which perhaps might be more properly called five aisles.
-These are divided by arcades, each of which is of four bays. These
-arches and the columns which support them are the chief beauty and
-characteristic of the chapel. The arches are semicircular, of one
-order, with three lines of chevrons, one on each face, and one on
-the soffit between two roll mouldings. The capitals are light and
-graceful and carved with a volute, and the columns clusters of
-marble and freestone shafts. The whole seems to have been coloured
-in fresco, and remains of this are still to be seen. The stone
-shafts, which alternate with those of marble, do not carry any of
-the weight of the arch, and are, undoubtedly, an addition, probably
-in the time of Cardinal Langley, when they must have been added,
-with a view to improving the appearance. The dimensions of the
-chapel are forty-seven feet from east to west, and seventy-six
-feet<span class="pagenum"><a name="page_242" id="page_242">{242}</a></span> from north to south. The existing roof and the three
-Perpendicular windows on the west end are also additions by
-Cardinal Langley. On the walls above what were once the altars of
-the Virgin and Our Lady of Pity, remains of fresco painting may be
-noticed, all that remains of what has evidently been beautiful
-work. These were only brought to light by the removal of successive
-coats of whitewash with which they had been covered.”&mdash;(J. E. B.)</p></div>
-
-<p>The two doorways at the end of the north aisle and south aisle of the
-nave were made by Cardinal Langley, who closed up the great <b>West door</b>,
-reopened in 1846. This was built by Flambard (1099-1128) and consists of
-an arch of four orders decorated with chevrons. Grotesque animals also
-appear in medallions. Langley also made a new roof, for which he raised
-the walls.</p>
-
-<p>In front of the principal altar stands <b>Langley’s Tomb</b>, erected by
-himself; but of far more interest is the resting-place of a greater man.</p>
-
-<p>No visitor can look upon the stone slab that marks the grave of the
-<b>Venerable Bede</b> without awe. Bede, so famed for his learning and piety,
-was a contemporary of St. Cuthbert and spent his long life chiefly in
-the monasteries of Monkwearmouth and Jarrow. He died in 735 and was
-buried at Jarrow. In 1022 his remains were stolen and placed in the same
-coffin with those of St. Cuthbert. Pudsey removed them into the new
-Galilee Chapel. “There, in a silver casket gilt with gold, hee laid the
-bones of Venerable Bede, and erected a costly and magnificent shrine
-over it,” so the <i>Rites of Durham</i> inform us. When the shrine was
-destroyed in 1542, the bones were interred beneath the site of the
-shrine and were left undisturbed until 1831, when they were exhumed,
-examined, enclosed in a lead-lined coffin and replaced in the tomb.<span class="pagenum"><a name="page_243" id="page_243">{243}</a></span></p>
-
-<div class="blockquot"><p>“The most interesting monument here is the plain altar-slab which
-marks the burial-place of the great Northumbrian scholar. On the
-tomb are engraved the well-known words, <i>Hac sunt in fossâ Bedæ
-Venerabilis ossa</i> (In this grave lie the bones of the Venerable
-Bede). According to the old legend the monk, who was casting about
-for a word to complete the scansion of his line between <i>Bedæ</i> and
-<i>ossa</i>, left a space blank until he could in the morning return to
-his task with a mind refreshed. However, during the night an
-unknown hand added the metrically suitable <i>Venerabilis</i>. This,
-according to the legend, is the origin of the peculiar preface
-Venerable, always associated with the name of Bede.”&mdash;(T.)</p></div>
-
-<p>There are few monuments and tombs in Durham Cathedral. The most
-interesting is that of <b>Lord Ralph Neville</b> and his wife, <b>Lady Alice</b>, in
-the south side of the nave. Unfortunately the effigies of 1367 and 1364
-are much mutilated. Near them is the altar-tomb of <b>Lord John Neville</b>
-(died, 1386), and his wife, the daughter of Lord Henry Percy, the famous
-“Hotspur.” Their effigies are headless and mutilated, but traces of
-colour and gilding are to be seen. The carving of the canopies is very
-beautiful and between each of the niches are two square panels bearing
-the arms of Neville and Percy.</p>
-
-<p>We now come to the <b>transepts</b>. Each consists of two bays, with an aisle
-on the eastern side, to which three steps lead. In these at one time
-altars stood&mdash;to St. Nicholas and St. Giles, to St. Gregory and St.
-Benedict in the north transept; and to St. Faith and St. Thomas the
-Apostle, to Our Lady of Bolton and Our Lady of Houghhall, in the south
-transept. A large window ornaments and lights each end.</p>
-
-<p>The one in the north end is supposed to date from 1362. It is composed
-of six lights, and the<span class="pagenum"><a name="page_244" id="page_244">{244}</a></span> head shows late geometrical tracery. The transom
-crossing the mullions is not visible from the outside. Below it a second
-set of mullions supports a small gallery which leads to the triforium.
-This window was repaired in 1512 and filled with glass of the period
-representing its chief figures&mdash;St. Augustine, St. Jerome, St. Gregory
-and St. Ambrose. Therefore it became known as <b>The Four Doctors of the
-Church</b>. Prior Castell, who had charge of the repairs, placed himself
-here kneeling before the Virgin. The opposite window, in the south end
-of the transept, is called the <b>Te Deum</b>. It contains six lights and is
-Perpendicular in style, dating between 1416 and 1446. There are
-corresponding stairways in the north-west and south-west corners of the
-transepts.</p>
-
-<p>Now we come to the <b>Tower</b>, supported on four large Norman piers with
-semicircular arches. We look above about seventy feet and see the first
-story of the lantern with a gallery. Panels, grotesque heads, corbels,
-crockets and finials and a string-course ornamented with the Tudor
-flower give us plenty to study. Then come the windows, each with two
-lights and divided by a transom, and, last of all, the handsome groined
-roof with bosses on the ribs.</p>
-
-<p>The <b>Choir</b> is the earliest part of the church. It contains Early Norman,
-Early English and Early Decorated work. The two later styles occur in
-the eastern part, and much beautiful detail is to be enjoyed. Where the
-one leaves off and the other begins affords interesting study.</p>
-
-<p>Carileph’s work is seen in the western bays. Arcades adorn the piers on
-both sides of the choir. The lower row has six arches and the upper
-three.<span class="pagenum"><a name="page_245" id="page_245">{245}</a></span> All these are carved with foliage, heads and half figures. On
-each pier of the upper arcade there is an angel under a canopy. The
-vaulting dates from the Thirteenth Century. It is quadripartite. Square
-leaves and the dog-tooth decorate the ribs. The bosses at the points of
-intersection are very fine.</p>
-
-<p>An altar-tomb with the effigy of <b>Bishop Hatfield</b> (1345-1381), beneath
-the Bishop’s Throne, reminds us of the days when bishops were princes
-and warriors. Hatfield led eighty archers to the siege of Calais; and
-during his rule at Durham the battle of Neville’s Cross occurred (see
-page 236). Such a magnificent bishop had to have a magnificent tomb; and
-so, according to the custom of the day, he designed one for himself.
-Here he lies beneath a canopy that once was bright with painting and
-gilding. His effigy shows his splendid robes.</p>
-
-<p>The <b>Screen</b>, separating the choir from the nave, dates from 1870-1876.
-The <b>Choir-stalls</b> were made from 1660 to 1672 to replace the originals
-destroyed by the Scottish prisoners incarcerated in the Cathedral in
-1650 after the battle of Dunbar.</p>
-
-<p>Above the high altar rises the splendid <b>Neville Screen</b>, erected about
-1380 chiefly at the expense of John, Lord Neville of Raby. It runs along
-the entire choir, and forms <i>sedilia</i> of four seats on either side. The
-screen was originally filled with 107 statues. The Virgin stood in the
-centre, and one side of her was St. Cuthbert, and on the other St.
-Oswald.</p>
-
-<div class="blockquot"><p>“The prior of the day employed at his own expense seven masons for
-nearly a year to fix the screen, the execution of which is supposed
-to have been the fruit of the labours of French artists. The screen
-originally was much more elaborate than at present, being covered
-with<span class="pagenum"><a name="page_246" id="page_246">{246}</a></span> rich colour and every niche filled with sculptured figures,
-but even now its present appearance is graceful.”&mdash;(T.)</p></div>
-
-<p>The Neville screen is pierced by two doors that lead directly to the
-<b>Shrine of St. Cuthbert</b> in the Chapel of the Nine Altars just behind it;
-for in this chapel repose the bones of the patron saint. Facing the
-great rose window there is an oblong platform (37 × 23 feet), about six
-feet higher than the floor. The shrine was placed here in 1104 and
-remained until 1540, when the body was taken from it and buried beneath
-this spot.</p>
-
-<p>The <b>Chapel of the Nine Altars</b> was so named because beneath the nine
-lancet windows formerly stood nine altars to the following saints: (1),
-St. Andrew and St. Mary Magdalen; (2), St. John the Baptist and St.
-Margaret; (3), St. Thomas of Canterbury and St. Catherine; (4), St.
-Oswald and St. Lawrence; (5), St. Cuthbert and St. Bede; (6), St.
-Martin; (7), St. Peter and St. Paul; (8), St. Aidan and St. Helen; (9),
-St. Michael the Archangel.</p>
-
-<div class="blockquot"><p>“It is approached from the aisles by steps, the floor level being
-lower than that of the church proper. It is altogether a remarkable
-and interesting structure. With its lightness and loftiness
-contrasting grandly with the massive Norman nave and choir, its
-clustered columns of polished marble alternating with stone, its
-fine bold sculpture, its splendid vaulted roof and rich arcading,
-it forms a perfect example of the Early English style. Though
-regular and symmetrical in general design, the detail shows great
-variety, and even irregularity, a quality so often present in old
-work, and so much to its advantage.</p>
-
-<p>“The ‘New Work,’ as it was always called, was commenced in the year
-1242. The eastern wall, with its rose and nine lancet windows, is
-the earliest part of the chapel, the north and south walls being
-later. The joining and<span class="pagenum"><a name="page_247" id="page_247">{247}</a></span> blending of the work with the Norman of
-Carileph’s choir had evidently been accomplished when the chapel
-was almost completed. The eastern wall is of three bays, each bay
-having three lofty lancet windows. The bays are not of equal width,
-the centre one being regulated by the width of the nave of the
-church, and narrower than the north and south bays.</p>
-
-<p>“A very beautiful arcade runs completely round the walls. It is of
-trefoil arches deeply and richly moulded, supported on marble
-columns carved with foliage. Over the arches is a hood-mould
-terminating with heads. In the spandrels are a series of deeply
-sunk and moulded quatrefoils, two of which contain sculpture. The
-bases of the columns rest on a plinth. Surmounting this arcade is a
-moulded string from the level of which rise the windows, and above
-the windows another string-course and a second range of windows. In
-the centre bay, however, is the large rose window, which is over
-thirty feet in diameter.</p>
-
-<p>“The division of the chapel into three bays is effected by two main
-vaulting arches, which spring on the western side from the piers of
-the east end of the choir, and on the eastern side from responds of
-clustered shafts alternately of marble and stone, banded at
-intervals and having richly carved capitals. The arches themselves
-are deeply moulded and ornamented with dog-tooth ornament and
-foliage. The vault of the central bay has eight ribs&mdash;two springing
-from each of the clusters just described, and two from each of the
-choir piers. The vaulting of the remaining bays is quadripartite,
-but has peculiarities which are worthy of notice, arising from
-inequality of width. We must not omit to call attention to the
-exquisite sculpture of the vaulting. The centre has figures of the
-Four Evangelists, while in the north is a beautifully executed
-carving of vine and grapes, and in the south, figure subjects.
-Among the sculptured heads on the wall arcade at the south end, at
-the western side of the two bays into which the south wall is
-divided, are two which are portraits of the men to whom we owe the
-design and execution of the beautiful sculpture of this chapel. One
-is an elderly man, the other much younger, and both wear linen
-dust-caps over their heads.”&mdash;(J. E. B.)</p></div><p><span class="pagenum"><a name="page_248" id="page_248">{248}</a></span></p>
-
-<p>The rich and varied carving of the capitals of the vaulting-shafts and
-vaulting-bosses will delight the lover of beautiful sculpture.</p>
-
-<p>The beautiful Early Decorated north window of six lights was originally
-filled with glass illustrating the history of Joseph. Hence it was
-called <b>Joseph’s Window</b>. It is a particularly fine example of the tracery
-of the period.</p>
-
-<p>The two windows in the south end of this transept were once filled with
-glass representing the life and miracles of St. Cuthbert. They show
-tracery of the Perpendicular period. Each window is divided by a central
-mullion and is widely splayed inwards.</p>
-
-<p>The rose window over the lancets of the middle bay consists of an outer
-circle of twenty-four and an inner circle of twelve radiating lights,
-the mullions of which are received on a foliated circle in the centre.
-This is Wyatt’s work, for, as we have seen, he removed the fine Early
-English window from this place.</p>
-
-<p>The <b>Cloisters</b> and the <b>Chapter-House</b> we find on the south side of the
-Cathedral. The cloisters were begun in 1388-1406 and completed about
-1438. They are much altered and restored. From them various halls of the
-monks could be entered.</p>
-
-<p>From the eastern alley we pass into the Chapter-House, a restoration of
-what was considered the finest Norman Chapter-House in England when
-Wyatt pulled it down.</p>
-
-<div class="figcenter"><br />
-<a name="fig_052" id="fig_052"></a>
-<a href="images/fp248.jpg">
-<img src="images/fp248.jpg" height="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Durham: Neville Screen</span></p></div>
-</div>
-
-<div class="figcenter"><br />
-<a name="fig_053" id="fig_053"></a>
-<a href="images/fp249.jpg">
-<img src="images/fp249.jpg" width="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Ripon: South</span></p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_249" id="page_249">{249}</a></span></p>
-
-<h2><a name="RIPON" id="RIPON"></a>RIPON</h2>
-
-<div class="blockquotcent"><p><span class="smcap">Dedication: St. Peter and St. Wilfrid. Formerly a Collegiate Church
-served by Augustinian Canons.</span></p>
-
-<p><span class="smcap">Special features: Nave; St. Wilfrid’s Needle; Rood-Screen; East
-Window; Choir-Stalls.</span></p></div>
-
-<p class="nind"><span class="smcap">Ripon</span> did not become a cathedral until 1836. From the Eighth Century
-until that date it was in the diocese of York, and the Archbishop of
-York, having his throne in the choir, gave the church great importance.</p>
-
-<p>Ripon monastery was established in the Seventh Century. The monks came
-from Melrose Abbey on the Tweed and represented the Christianity that
-was introduced into the north by way of Ireland through St. Columba’s
-missionaries. Their great abbot was Wilfrid, who became Bishop of
-Northumbria. In 669 he began a stone monastery, on the site, in all
-probability, of the earlier one; and this was dedicated in 670 to St.
-Peter. Wilfrid died in 709 and was buried in his church at Ripon.
-Miracles took place at his tomb, which drew such large crowds that the
-monks tried to restrain them. In 948, when Eadred was quelling a
-rebellion in Northumbria, “was that famed minster burned at Ripon which
-St. Wilfrid built.”</p>
-
-<p>The next date of interest is the rebuilding of the church by Roger de
-Pont l’Évêque (1154-1181), the great rival of Thomas à Becket. It was a
-cruciform edifice; its nave was without aisles. Of this, the two
-transepts, half of the central tower, and<span class="pagenum"><a name="page_250" id="page_250">{250}</a></span> portions of the nave and
-choir remain. Ripon is, therefore, one of the most important examples
-extant of the transition from Norman to Early English.</p>
-
-<p>Archbishop Walter de Gray (1216-1255) translated the relics of St.
-Wilfrid to a new shrine in 1224.</p>
-
-<p>The west front with its two towers was built about this time; and the
-eastern part of the choir was rebuilt in the Decorated style by
-Archbishop John Romanus (1286-1296).</p>
-
-<p>The church was used as a refuge and fortress by the people of Ripon when
-the Scots invaded it in 1317. Many necessary repairs were made under
-Archbishop de Melton (1317-1340). The central tower fell in 1450 and had
-to be rebuilt; also the east side of the south transept and the south
-side of the choir. The present rood-screen and canopied stalls were
-erected at the end of the Fifteenth Century. Then the nave was rebuilt;
-but progress was delayed by the outbreak of a plague in 1506. St.
-Wilfrid’s Shrine was demolished by Henry VIII. In 1593 the central spire
-was injured by lightning. During the Civil Wars the Parliamentary
-soldiers shattered the splendid glass of the east window and did other
-damage. In 1660 the central spire fell and injured some of the canopies
-of the choir-stalls; and, therefore, in 1664, the western spires were
-removed for fear that they might fall also. Many repairs were made in
-1829. Restorations on a large scale were undertaken by Sir Gilbert Scott
-in 1862-1870.</p>
-
-<p>The <b>West Front</b> is Early English. It has two square towers and a central
-gable. String-courses divide the façade into four stages. In the first
-are<span class="pagenum"><a name="page_251" id="page_251">{251}</a></span> three doorways adorned with gables and crosses. The central door,
-which is larger than the others, consists of five orders and five triple
-shafts. The two others have three orders and three shafts. Some of the
-mouldings are filled with the dog-tooth ornament. All three doors open
-into the nave. Between the gables spouts issue from the heads of
-animals. Above the doors comes a row of five lancet windows and above
-them a group of three small lancets placed very high. The towers are
-ornamented with arcades and lancets, buttresses, parapets and pinnacles.
-The ten bells hang in the south tower.</p>
-
-<p>The <b>Central Tower</b> is interesting because it is composed of two styles of
-architecture. On the north and west sides it is Twelfth Century and on
-the two others Perpendicular. The windows on all sides are round-headed.
-The dog-tooth ornament appears in the moulding. Ripon, though finely
-proportioned, is somewhat cold and severe in general appearance. The
-north transept with its round-headed windows and its interesting
-doorway, with a rather curious inner arch and capitals of carved
-foliage, is a good example of the Twelfth Century. The south side of the
-nave is preferred to the north side by critics. In the south transept we
-have Archbishop Roger’s work again. The doorway is elaborate. The
-foliage on the capitals of the columns approaches the Early English
-style. The lintel is square. The south side of the choir is partly
-hidden by the Chapter-House with the Lady-Loft above. The buttresses
-that follow are of the Twelfth Century. The three western bays are
-Perpendicular; the others, Decorated. The two flying-buttresses are like
-those on the north side. Gar<span class="pagenum"><a name="page_252" id="page_252">{252}</a></span>goyles appear at intervals along the string
-of the roof. The east end is Decorated. Its chief feature is the
-splendid window, of which the tracery alone remains.</p>
-
-<p>Entering the west doorway we look upon one of the great naves of the
-Perpendicular period, ranking next in size after York, Winchester,
-Chichester and after St. Paul’s in width.</p>
-
-<div class="blockquot"><p>“Among very late Gothic buildings there are few indeed which are of
-so good a quality as this nave of Ripon, which, like the late
-church towers of Somerset, shows that Mediæval art took long to die
-out in regions remote from London. It is, indeed, the architecture
-of the days of Agincourt rather than of the eve of the English
-Renaissance. The pillars are characteristic of the Perpendicular
-style, their section being a square with a semicircle projecting
-from each side, and the corners hollowed. Their bases have complex
-plinths of considerable height and are polygonal, but follow
-roughly the form of the pillar, and the mouldings, as usual in this
-style, overhang the plinth. The capitals, with small mouldings and
-many angles, are of somewhat the same form as the bases. On the
-westernmost complete pillar of the north arcade are two shields,
-charged respectively with the arms of Ripon (a horn) and of Pigott
-of Clotherholme. The arches, instead of being of that depressed
-form which is so common in late work, are very beautifully
-proportioned, and their mouldings are bold, numerous and well-cut.
-There is no triforium; but a passage, at a slightly lower level
-than in Archbishop Roger’s bays, runs below the great clerestory
-windows, which were once, no doubt, gorgeous with stained glass.
-Their arches are moulded, but the splay is left plain. The
-roof-shafts, which are in clusters of three and have fillets upon
-them, spring from semi-octagonal corbels, and where each cluster
-passes the string-course there is an angel holding a shield. A sign
-of decadence may be found, perhaps, in the way in which the
-hood-moulds of the windows intersect with these shafts. Though the
-two sides of the nave are not quite of the same date, they are
-almost alike, but for some slight<span class="pagenum"><a name="page_253" id="page_253">{253}</a></span> differences in the capitals, the
-arch-mouldings, and the hollows on the pillars; the builders
-feeling, doubtless, that any marked variation would mar the general
-perspective&mdash;a consideration which, of course, could not bind them
-in designing the north aisle. The original Perpendicular roof may
-have resembled that which now covers the transepts. About 1829
-Blore put up an almost flat ceiling of deal. The present oaken
-vault, by Sir Gilbert Scott, was copied from that of the transepts
-of York Minster, and is adapted to the old roof-shafts, between
-which have been added angel corbels of wood. As the ribs intersect
-near their springing, they weave a network over the whole vault,
-and the carved bosses at the intersections amount to 107. A passing
-notice is merited by the pulpit, which is Jacobean.”&mdash;(C. H.)</p></div>
-
-<p>The two great tower arches under the west towers are Early English;
-those of the central tower are round. Their great piers are composed of
-clusters of engaged shafts. Massive arches also mark the opening of each
-aisle of the nave into the transept. In the south aisle stands a blue
-marble <b>Font</b>, and near it an older one, probably of the Twelfth Century.
-Tradition says that the altar-tomb here is that of an Irish prince who
-brought home from Palestine a tame lion. On the bas-relief a lion, a
-kneeling man and two birds are represented, which gives cause for the
-story. The work is presumably of the Fourteenth Century. Above the font
-we can see the only Mediæval glass in the Cathedral&mdash;fragments of
-Fourteenth Century work left from the wreckage of the Puritan soldiers.
-St. Peter, St. Paul and St. Andrew will easily be recognized. There is
-also a shield bearing the English arms in this window. In the south wall
-of the nave there is a fine <b>Piscina</b> dating from the Twelfth Century. At
-this point we shall have to interrupt our walk through the Cathedral to
-ex<span class="pagenum"><a name="page_254" id="page_254">{254}</a></span>amine <b>St. Wilfrid’s Needle</b>, the popular name for the Saxon <b>Crypt</b>.</p>
-
-<div class="blockquot"><p>“From a trap-door in the pavement below the piscina a flight of
-twelve steps winds down into a flat-roofed and descending passage
-2⅛ feet wide and slightly over 6 feet high, which, running a few
-feet northwards and bending at right angles round the south-west
-tower pier, extends eastward for about 10 yards, with a descent of
-one step near the end, and terminates in a blank wall. There is a
-square-headed niche at the turn and a round-headed niche at the
-end, both meant, doubtless, to hold lights. Three feet from the end
-a round-headed doorway, 2 feet wide and over 6 feet high, opens
-northwards with a descent of two more steps, into a barrel-vaulted
-chamber, 11 feet 5 inches long from east to west, 7 feet 7 inches
-wide and 9 feet 10 inches high. In the north wall of this chamber,
-and approached by three wide steps, is the celebrated St. Wilfrid’s
-Needle, a round-headed aperture pierced through into a passage that
-runs behind. This aperture was connected with one of those
-superstitions that so often flourished before the Reformation in
-notable centres of religion, and ability to pass through it, or
-‘thread the needle,’ was regarded as a test of female chastity; but
-it was, of course, in the later middle ages that this superstition
-arose, and the ‘needle’ (or rather needle’s eye) is evidently only
-one of the original niches with the back knocked out. Of these
-niches (which again were doubtless for lights) there are four in
-the chamber besides the ‘needle,’&mdash;one in each wall,&mdash;and, like the
-niche at the end of the passage of entrance, they all have
-semicircular heads, each cut in a single stone. That in the west
-wall has a hole or cup at the bottom, probably to hold oil in which
-a wick might float, while the others (except the ‘needle’) have a
-sort of funnel at the top, doubtless to catch the soot from
-lamps.”&mdash;(C. H.)</p></div>
-
-<p>The <b>North Transept</b> is a fine specimen of the transitional from Norman to
-Early English, and is almost in its original condition. It is 34 feet
-wide, or 52 feet including the aisle. Here we find a stone pulpit of the
-Perpendicular period, its five</p>
-
-<div class="figcenter"><br />
-<a name="fig_054" id="fig_054"></a>
-<a href="images/fp254.jpg">
-<img src="images/fp254.jpg" width="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Ripon: Nave, east</span></p></div>
-</div>
-
-<div class="figcenter"><br />
-<a name="fig_055" id="fig_055"></a>
-<a href="images/fp255.jpg">
-<img src="images/fp255.jpg" width="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Ripon: Choir, east</span></p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_255" id="page_255">{255}</a></span></p>
-
-<p class="nind">sides embellished with panelling. At the north wall was probably
-situated the <b>Markenfield Chantry</b>; for the aisle is still called by this
-name. Two family tombs remain.</p>
-
-<p>The <b>South Transept</b> is slightly narrower than the north. Parts of it were
-altered in the Perpendicular period. In the aisle we find the <b>Mallory
-Chapel</b>, where members of the Studley family are buried. The northern bay
-is filled by a stone stairway, at the top of which are two doors. One
-opens into a chamber containing the bellows of the organ and the other
-into the Lady-Loft, or Library. This stairway was erected by Sir Gilbert
-Scott to replace an older one.</p>
-
-<p>The elegant <b>Rood Screen</b> is of the Fifteenth Century. It contains a
-central doorway surmounted by a crocketed ogee hood, beneath which is a
-mutilated carving of The Trinity. Four large niches stand on either side
-of the door and a row of twenty-four smaller ones runs above these.
-Cinquefoils and feathered cusps decorate the whole screen, which is
-twelve feet thick. In the passage through it a door on the right opens
-into a winding staircase to the loft above and one on the left into a
-deep pit.</p>
-
-<p>We pass on to the <b>Choir</b>. This is of three styles: the first three bays
-on the north side are Twelfth Century; the first three on the south
-side, Perpendicular; and the last three on both sides, Decorated. The
-triforium windows are filled with glass.</p>
-
-<div class="blockquot"><p>“The great window in the central compartment is one of the finest
-examples of Geometrical tracery, if not one of the largest windows,
-in England. It is over 50 feet high, is 25 feet wide, and has seven
-lights. Of these the three at either end are comprised under a
-sub-arch, in the head of<span class="pagenum"><a name="page_256" id="page_256">{256}</a></span> which are three cinquefoiled circles,
-while the central light of the seven is surmounted by an arch, not
-so high as its neighbours, but impaling upon its acute point a huge
-circle which fills the head of the window and contains six trefoils
-radiating from its centre. The arch of this superb window is rather
-acutely pointed and richly moulded, and has two very slender shafts
-worked on the stones of either jamb, with foliage on their
-capitals.</p>
-
-<p>“The huge window, which is not splayed, has a deep rear-vault
-bounded by a massive rib, whose outer edge rests on slender engaged
-shafts with foliage on their capitals, while the inner edge ends in
-bunches of foliage. Between this rib and the tracery is another rib
-springing on the north side from a bunch of foliage and on the
-south from a grotesque corbel. The inner arch has slender shafts,
-and so has the moulding next to the tracery, but in the latter case
-the capitals are plain. Few acts of vandalism are more to be
-regretted, probably, than the destruction in 1643 of the
-magnificent Fourteenth Century glass which once occupied this
-window. The present very poor glass, by Wailes of Newcastle,
-commemorates the revival of the See of Ripon in 1863.</p>
-
-<p>“Over the window may be seen the mark of one of the earlier roofs.
-The choir is thought to have received a groined vault of oak after
-the rebuilding of the east end, but this vault was probably renewed
-more than once, especially after the accident to the tower about
-1450, and the fall of the spire in 1660. Sir Gilbert Scott found a
-vault of lath and plaster (probably the work of Blore) for which he
-substituted the present roof, a groined wooden vault, admirable in
-its lofty pitch and judicious colouring. Its chief feature,
-however, is the splendid bosses along the ridge, which are
-survivals from either the Decorated or a subsequent Perpendicular
-vault. In some of these bosses the figures are five feet
-long.”&mdash;(C. H.)</p></div>
-
-<p>The <b>Choir-Stalls</b> are splendid specimens of the Fifteenth Century, with
-very ornate canopies of tabernacle-work bristling with spires and
-pinnacles.</p>
-
-<div class="blockquot"><p>“There are ribbed vaults under the canopies, and upon the pendants
-in front are hovering angels. The canopies<span class="pagenum"><a name="page_257" id="page_257">{257}</a></span> on the south side were
-wrecked by the fall of the spire in 1660, and those over the eight
-easternmost stalls were then reconstructed in the ‘Jacobean’ style
-with a gallery above, while of the canopies now over the other
-nine, eight are said to have been brought across from the eastern
-end of the north range, where more Jacobean canopies were erected
-in their place. Sir Gilbert Scott removed all this Seventeenth
-Century work and set up reproductions of the Fifteenth Century
-design. Thus the eight easternmost canopies on either side are
-modern. The <i>misereres</i> and arms of the stalls are exquisitely
-carved.</p>
-
-<p>“The subjects upon the former are as follows, beginning from the
-archway in the screen:&mdash;</p>
-
-<p>“<i>North side</i>:&mdash;(1) (<span class="smcap">Canon in Residence</span>) lion attacked by dogs; (2)
-dragon attacked by dogs; (3) angel with shield; (4) dragon and
-birds; (5) hart’s-tongue ferns; (6) conventional flowers; (7) ape
-attacked by lion; (8) vine; (9) birds pecking fruit; (10)
-antelopes; (11) fox preaching to goose and cock; (12) fox running
-off with geese; (13) fox caught by dogs; (14) dragons fighting;
-(15) fruit and flowers issuing from inverted head; (16) man holding
-club with oak leaves and acorns; (17) (<span class="smcap">Mayor’s Stall</span>) griffin
-catching rabbit.</p>
-
-<p>“<i>South side</i>:&mdash;(1) <span class="smcap">(Dean</span>) angel with book; (2) angel with shield
-bearing date 1489; (3) lion <i>versus</i> griffin; (4) griffin devouring
-a human leg; (5) owl; (6) mermaid with mirror and hair-brush; (7)
-two pigs dancing to bagpipe played by a third; (8) Jonah thrown to
-the whale; (9) man wheeling another who holds a reed and a bag;
-(10) fox caught carrying off goose by dog and by woman with
-distaff; (11) winged animal; (12) hart, gorged and chained; (13)
-pelican feeding young; (14) Jonah emerging from the whale; (15)
-Samson carrying the gates; (16) head (modern); (17) (<span class="smcap">Bishop’s
-Throne</span>) Caleb and Joshua carrying the grapes and watched by Anakim.</p>
-
-<p>“Most of these <i>misereres</i> have exquisite conventional flowers
-(especially roses) cut upon them in addition to the
-figure-subjects. The desks in front of the stalls have rich
-finials, and their panelled fronts form the backs of a lower tier
-of seats, the arms of which are supported each on a square shaft
-set diamondwise. In front of these<span class="pagenum"><a name="page_258" id="page_258">{258}</a></span> lower seats the desks again
-have carved finials and panelled fronts and on those parallel with
-the Rood-Screen the tracery is distinctly Flamboyant. The finial
-before the stall of the Canon in Residence has a griffin attached
-to it and that in front of the Dean’s stall a lion. Before both
-these stalls the ends of the two tiers of desks are richly carved.
-The Bishop’s throne and Mayor’s stall have each a canopied niche on
-the exterior toward the east, and two small apertures in the east
-side to enable the occupant to see the altar, and in front of these
-two stalls the ends of the two tiers of desks are again richly
-carved. The Mayor’s stall is wider than the others, and attached to
-the finial in front is a grotesque ape, beneath which the
-supporting shaft is of open work. The end of this desk displays a
-shield charged with two keys in saltire, for the see of York.</p>
-
-<p>“The Bishop’s throne was originally occupied by the Archbishops of
-York. The Jacobean canopy, which succeeded that of the Fifteenth
-Century, comprised the space of two stalls, as did also the modern
-structure by which it was itself succeeded and which is now in the
-Consistory Court. The present canopy resembles those of the other
-stalls but is higher and more elaborate. Upon the back of the
-throne inside is a small mitre. The finial in front consists of an
-elephant carrying a man in his trunk, and bearing on his back a
-castle filled with armed soldiery, and in front of the elephant is
-a centaur (renewed), the shaft under which is again of open-work.
-The end of this desk displays a large mitre above a shield charged
-with the three stars of St. Wilfrid and supported by two angels,
-between whom is a scroll with the date of 1494.”</p></div>
-
-<p>The altar stands against the east wall of the presbytery. The <b>Reredos</b> is
-a restoration of the original Decorated one. The <b>Sedilia</b> and a <b>Piscina</b>
-are placed on the south side.</p>
-
-<p>Sir Gilbert Scott considered them Late Decorated work, but they have
-rather the appearance of Late Perpendicular.</p>
-
-<p>Some historians think that the shrine of St. Wilfrid stood in the east
-end of the north-choir-aisle.<span class="pagenum"><a name="page_259" id="page_259">{259}</a></span> The remains were kept in a superb coffer,
-which was carried in processions.</p>
-
-<p>Passing down the south-choir-aisle from the east we first come to the
-vestry; then to the Chapter-House; and then to the Mallory Chapel. A
-round-headed door in the west wall of the Chapter-House opens upon a
-stairway that leads into another <b>Crypt</b> that belonged to Norman times.</p>
-
-<p>The <b>Chapter-House</b> is of the Twelfth Century. Above it is a <b>Lady-Chapel</b>,
-called here the <b>Lady-Loft</b>. It is unusual to find a Lady-Chapel on the
-south side of the Choir and on an upper floor. It dates from about the
-middle of the Fifteenth Century. It is now used as a Library.<span class="pagenum"><a name="page_260" id="page_260">{260}</a></span></p>
-
-<h2><a name="YORK_MINSTER" id="YORK_MINSTER"></a>YORK MINSTER</h2>
-
-<div class="blockquotcent"><p><span class="smcap">Dedication: St. Peter. Served by Secular Canons.</span></p>
-
-<p><span class="smcap">Special features: West Front; Choir; Chapter-House; Windows.</span></p></div>
-
-<p class="nind"><span class="smcap">York</span>, “the King of Cathedrals,” is one of the noblest and best examples
-of Gothic architecture. In form and proportion, in detail of ornament,
-in exterior and interior, the famous Minster takes rank with the
-greatest ecclesiastical buildings. Not only is it enormous&mdash;a forest of
-architecture&mdash;but it contains, perhaps, more ancient stained glass than
-any other building in the world.</p>
-
-<div class="blockquot"><p>“Other English cathedrals are more finely placed, several are
-richer in ornament, one or two have a more delicately varied
-outline. None are so stately and so magnificent; and there is
-hardly a church in Europe that appears so vast as the Minster,
-viewed from the north.</p>
-
-<p>“The low-pitched roof of the Minster, the solidity of the central
-tower, the simple and tranquil front of the north transept, give
-the building an air of masculine and stately repose, and of perfect
-finish seldom to be found in foreign churches; while the apparent
-uniformity of style, though the architecture is of three different
-periods, frees it from the picturesque inconsequence of many
-English cathedrals. Yet neither inside nor outside does the Minster
-appear to be the expression of the spiritual aspirations of a
-people. It represents rather a secular magnificence, the temporal
-power of a Church that has played a great part in the history of
-the nation. The archbishops of York have been forced by
-circumstances to be militant prelates, contending with Canterbury
-for precedence, leading armies against the Scotch, sometimes even
-heading rebellions against the king; and in their cathedral they
-have expressed their ambition and their pride.”&mdash;(A. C.-B.)</p></div><p><span class="pagenum"><a name="page_261" id="page_261">{261}</a></span></p>
-
-<p>The visitor who has a short time to visit York Minster will study the
-west front, the choir, the Chapter-House, and the windows.</p>
-
-<div class="blockquot"><p>“If the beauty in the form of our <i>flos florum</i> is due to its
-architecture, very much of its beauty in colour depends on the
-glowing and mellowed tints with which its windows are filled. But
-it is a large subject to enter upon, for as regards quantity there
-are no less than one hundred and three windows in the Minster, most
-of them entirely, and the remainder, only excepting the tracery,
-filled with real old Mediæval glass. Some of the windows, too, are
-of great size. The east window, which is entirely filled with old
-glass, consists of nine lights and measures seventy-eight feet in
-height, thirty-one feet two inches in width. The two choir transept
-windows, that in the north transept to St. William, and the south
-to St. Cuthbert, measure seventy-three feet by sixteen feet. They
-have both been restored, the latter very recently, but by far the
-greater part of them is old glass. On each side of the choir, the
-aisles contain nine windows measuring fourteen feet nine inches by
-twelve feet, only the tracery lights of which are modern; the same
-number of windows fill the clerestory above, the greater portions
-of which are ancient.</p>
-
-<p>“The famous window of the north transept, the Five Sisters,
-consists of five lights, each measuring fifty-three feet six inches
-by five feet one inch, and is entirely of old glass. There are six
-windows in the north and six in the south aisles of the nave, with
-only a little modern glass in the tracery. The superb Flamboyant
-window at the west end of the centre aisle measures fifty-six feet
-three inches by twenty-five feet four inches, and consists, I
-believe, entirely of old glass, except the faces of the figures.
-The clerestory windows are studded with ancient shields, but a
-great part of the glass is, I fancy, modern; those of the
-vestibule, eight in number, measuring thirty-two feet by eighteen,
-are of old glass, including the tracery lights. The east window has
-been clumsily restored by Willement. In the side windows of the
-transept there is some old glass, and the great rose window over
-the south entrance still retains much of the old glass; while far<span class="pagenum"><a name="page_262" id="page_262">{262}</a></span>
-overhead in the tower there are some really fine bold designs of
-late, but genuine, design and execution. Altogether, according to
-actual measurements, there are 25,531 superficial feet of Mediæval
-glass in the Minster, i.e., more than half an acre&mdash;a possession,
-we should think, unequalled by any church in England, if not in
-Christendom.”&mdash;(P.-C.)</p></div>
-
-<p>York, or, to use its older name, Eboracum, had been an important British
-settlement long before the Romans made it the principal seat of their
-power in the north between the years 70 and 80 A.D. It continued to be a
-Roman court until the Emperor Honorius left Britain in 409. Hadrian
-lived here; Severus and Constantine Chlorus died here; and here
-Constantine the Great was proclaimed Emperor. Many churches in the
-vicinity were dedicated to the latter’s mother, St. Helena, the
-legendary discoverer of the True Cross.</p>
-
-<p>York was therefore the great military post and the great ecclesiastical
-seat in the north of England.</p>
-
-<p>The question of precedence between York and Canterbury arose as early as
-the days of St. Augustine. Gregory the Great instructed the latter to
-appoint twelve bishops, one of whom was to be the Bishop of York, who
-was to ordain other bishops in the north of England. He was to be
-subordinate to Augustine; but subsequently precedence should be
-determined by priority of consecration. This occasioned dissensions for
-centuries, culminating in the murder of Thomas à Becket (<a href="#page_2">see page 2</a>),
-which Roger de Pont l’Évêque is said to have instigated. It was this
-Archbishop of York who, refusing to take a lower seat at the Council of
-Westminster in 1176, sat himself in the lap of Becket’s successor only
-to be pulled off and<span class="pagenum"><a name="page_263" id="page_263">{263}</a></span> soundly beaten. The question was not finally
-settled until the time of John of Thorsby (1352-1373), when Innocent VI.
-determined that the Archbishop of Canterbury should be styled Primate of
-All England and the Archbishop of York, Primate of England.</p>
-
-<p>The first archbishop was Paulinus, Bishop of Rochester (<a href="#page_33">see page 33</a>),
-who accompanied Ethelburga, daughter of the King of Kent, when she went
-to Northumbria to marry King Edwin. Edwin embraced Christianity and was
-baptised in 627, by Paulinus, in a temporary wooden church on the site
-of the present glorious York Minster. Immediately afterwards Edwin began
-to build a stone church in this same place, which he dedicated to St.
-Peter. This church was repaired by the next archbishop&mdash;the great
-Wilfrid&mdash;about 669.</p>
-
-<p>When Thomas of Bayeux, the first Norman archbishop, arrived in 1070, he
-found the Cathedral in ruins, owing to the Danish invasion and to the
-wars of the Conqueror; and, if William of Malmsbury may be believed,
-Thomas began the church from its foundations and also finished it.</p>
-
-<p>Roger de Pont l’Évêque (1154-1181) rebuilt the choir.</p>
-
-<p>About this time York acquired its patron saint, William Fitzherbert,
-great-grandson of the Conqueror, who became Bishop of York in 1143.
-Expelled from office in 1147, he was restored in 1153. On his return he
-performed a miracle and died almost immediately afterwards, so suddenly,
-in fact, that he was thought to have been poisoned out of the holy
-chalice. The monks buried him in the Cathedral. His tomb attracted
-pilgrims because of the marvellous cures. St. William was canon<span class="pagenum"><a name="page_264" id="page_264">{264}</a></span>ised in
-1284; and in that year his relics were translated from the nave to the
-choir. Edward I. and Queen Eleanor were present and gave jewels to the
-shrine, which was placed at the eastern end of the nave under a huge
-canopy. St. William’s head was preserved in a silver reliquary.</p>
-
-<p>There is now no Norman work visible in York Minster except in the crypt
-and in parts of the nave and tower. In 1200, however, the nave, choir,
-towers, and transepts were Norman. About 1230 it was decided to rebuild
-the transepts on a big scale. Walter de Grey (1216-1265) began the south
-transept (Early English); and he lies there under an arch, in a splendid
-tomb. John Romeyn, treasurer of York, built the north transept and also
-an Early English tower to replace the Early Norman tower. His son, John
-Romeyn, also archbishop from 1286 to 1296, began the new nave.</p>
-
-<p>John of Thorsby (1352-1373) began the present choir in 1361. The work
-was started at the extreme east end. Thorsby was a Yorkshireman, who</p>
-
-<div class="blockquot"><p>“had the further development of the glories of the Minster
-thoroughly at heart. At once he sacrificed his palace at Sherburn
-to provide materials for an appropriate Lady-Chapel, gave
-successive munificent donations of £100 at each of the great
-festivals of the Christian year, and called on clergy and laity
-alike to submit cheerfully to stringent self-denial to supply the
-funds.</p>
-
-<p>“During his tenure of office of twenty-three years the Lady-Chapel
-was completed, a chaste and dignified specimen of early
-Perpendicular style, into which the Decorated gradually blended
-after the year 1360, and unique in its glorious east window,
-seventy-eight feet high and thirty-three feet wide, still the
-largest painted window in the world, enriched with its double
-mullions, which give such strength and lightness to its graceful
-proportions, and with its elaborate glass executed by Thornton of
-Coventry, at<span class="pagenum"><a name="page_265" id="page_265">{265}</a></span> the beginning of the following century. But Roger’s
-choir, which was still standing, must now have looked sadly dwarfed
-between the lofty Lady-Chapel and the tower and
-transepts.”&mdash;(P.-C.)</p></div>
-
-<p>Edward I. made York his capital during the war with Scotland, to the
-expense of which the archbishop and clergy gave one-fifth of their
-income. Parliament assembled there in 1318. The archbishops were great
-politicians and intriguers, now plotting against the king and now
-supporting him; great military leaders, sometimes defeated, like Melton
-at Myton-on-Swale, where he led 10,000 men against the Scots, or
-victorious, like William La Zouche (1342-1352) at Neville’s Cross near
-Durham; and nearly always great builders and benefactors of the
-Cathedral. Richard Scrope’s rebellion is famous. Lord Chancellor of
-England and Bishop of Lichfield before he became Bishop of York in 1398,
-Scrope was advanced by Richard II. In 1405 he headed a rebellion and was
-captured. The Chief Justice refused to try him. He was taken to his own
-palace at Bishopthorpe, condemned to death and beheaded near York in
-1405. Buried in the Minster, thousands flocked to his tomb in the
-north-choir-aisle. Naturally enough the king who had murdered him tried
-to check the stream of offerings; but Scrope’s tomb became more popular
-than that of St. William. Scrope was a Yorkshireman, the son of Lord
-Scrope, of Masham, and the Scropes had a chantry in the chapel of St.
-Stephen, now destroyed.</p>
-
-<p>The great central tower was erected in 1400-1423 and the church was
-re-consecrated on July 3, 1472; and so, at the close of the Fifteenth
-Century, York Minster existed as we see it: save for two fires<span class="pagenum"><a name="page_266" id="page_266">{266}</a></span> (1829
-and 1840) and a judicious repairing and restoration in 1871, the great
-Minster has not been changed.</p>
-
-<p>When Henry VIII. disestablished the monasteries there were many
-outbreaks in York, and the famous “Pilgrimage of Grace” (1536) was much
-excited by the seizure of St. William’s head, still a beloved relic of
-the Cathedral. Lee, then archbishop, was taken by the rebels and forced
-to support them. Before this, however, Thomas Wolsey had been arrested
-at Cawood. Though Archbishop (1514-1530), it is said that he was never
-at York.</p>
-
-<p>When York was besieged by the Parliamentarians in 1644, Fairfax
-restrained his soldiers to some degree, which explains why so much of
-the ancient glass is left. Thomas Mace’s description of the siege,
-however, shows how little respect the army really had for the Minster:</p>
-
-<div class="blockquot"><p>“The enemy was very near and fierce upon them, especially on that
-side of the city where the church stood; and had planted their
-great guns mischievously against the church; with which constantly
-in prayer’s time, they would not fail to make their hellish
-disturbance by shooting against and battering the church; insomuch
-that sometimes a cannon bullet has come in at the windows and
-bounced about from pillar to pillar (even like some furious fiend
-or evil spirit) backwards and forwards and all manner of sideways,
-as it has happened to meet with square or round opposition amongst
-the pillars.”</p></div>
-
-<p>On February 2, 1829, Jonathan Martin, brother of the painter, John
-Martin, hid himself behind the tomb of Archbishop Greenfield, in the
-north transept during evening service; and after the church had been
-closed, set fire to the choir. The stalls, organ, and vault were
-destroyed and much of the<span class="pagenum"><a name="page_267" id="page_267">{267}</a></span> stone-work was damaged. Restorations were
-started in 1832. Another fire occurred in 1840 in the south-west tower,
-occasioned by some workmen who were repairing the clock in the
-south-west tower. The wooden vault of the nave and the tower and bells
-were damaged. In 1871 some of the side walls were rebuilt.</p>
-
-<p>Every one is familiar with the <b>West Front</b> of York; but the traveller who
-looks upon it for the first time is, nevertheless, overwhelmed.</p>
-
-<div class="blockquot"><p>“The West Front is more architecturally perfect as a composition in
-its details than that of any other English Cathedral, and is
-unquestionably the best cathedral façade in this country. The lower
-part, with the entrances and lower windows, belongs to the Early
-Decorated period. Above the windows the work is Late Decorated and
-the towers above the roof Perpendicular. Numerous niches cover the
-surface. It is doubtful whether they ever contained statues. The
-principal entrance is divided by a clustered pier, and above it is
-a circle filled with cusped tracery. Over the whole doorway is a
-deeply-recessed arch, and over that a gable with niches, one of
-which contains the statue of an archbishop, supposed to be John le
-Romeyn, who began the nave in 1291, and other niches have figures
-of a Percy and a Vavasour, who gave the wood and stone for the
-building. The favourite ballflower ornament of the Decorated style
-is seen on the gable, and the mouldings in the arches have figures
-representing the history of Adam and Eve. Above the entrance is a
-large eight-light window, pronounced by many to be too large even
-for York Minster, containing very elaborate and beautiful tracery,
-and over it is a pointed gable. On each side of the west window are
-buttresses covered with panelling and niches. The noble towers
-rising on each side of the west front, have buttresses similarly
-adorned, and each three windows, and over the second an open
-battlement forms a walk along the whole front. The towers have
-battlements and pinnacles. The south-west tower (1433-1457) was
-injured by fire in 1840; and the<span class="pagenum"><a name="page_268" id="page_268">{268}</a></span> north tower (1470-1474) has the
-largest bell in the kingdom, Great Peter, which cost £2,000 in 1845
-and weighs ten tons.”&mdash;(P. H. D.)</p></div>
-
-<p>The twin-towers rise to a height of two hundred feet and are ornamented
-with windows, battlements, and pinnacles.</p>
-
-<p>The <b>Central Tower</b> at the crossing of the transepts, built in 1410-1433,
-Perpendicular, is also two hundred feet high. It is the largest in
-England, and is considered not only one of the triumphs of Fifteenth
-Century architects, but one of the finest towers in the world. Much of
-it is supposed to be the work of Walter Skirlawe, Bishop of Durham, and
-its resemblance to the central tower of Durham Cathedral justifies the
-assumption. It has never been finished.</p>
-
-<div class="blockquot"><p>“The central tower rises a single story above the ridge of the roof
-and is open inside to the top. But for small gables on the
-buttresses, it is quite plain up to the level of the roof ridge.
-Above this it contains two long and narrow Perpendicular windows on
-each side, of three lights each, with a transom. These windows are
-ornamented ogee gables, and between them are three niches, one
-above the other, with canopies. The external buttresses are split
-up with vertical mouldings and ornamented with niches and
-panelling. The tower is crowned with a battlement. Horizontal
-string-courses with gargoyles divide the buttresses at intervals.
-There are no pinnacles on these buttresses, and they appear never
-to have been finished. It is possible that it was intended to set
-another story on the top of the present one, but this is merely
-conjecture.</p>
-
-<p>“The English architects of the Fifteenth Century, if they were
-inferior to earlier builders in invention and vigour, were at any
-rate supreme in the management of towers. Their wonderful sense of
-proportion, their habitual use of vertical lines, and the character
-of their windows helped them to build what are perhaps the finest
-towers in Europe, and the central tower of York Minster</p></div>
-
-<div class="figcenter"><br />
-<a name="fig_056" id="fig_056"></a>
-<a href="images/fp268.jpg">
-<img src="images/fp268.jpg" width="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">York Minster: West front</span></p></div>
-</div>
-
-<div class="figcenter"><br />
-<a name="fig_057" id="fig_057"></a>
-<a href="images/fp269.jpg">
-<img src="images/fp269.jpg" width="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">York Minster: South</span></p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_269" id="page_269">{269}</a></span></p>
-
-<div class="blockquot"><p class="nind">is one of the finest of all. Even the absence of pinnacles, if it
-is an accident, seems to be a lucky accident, and gives this tower
-an unrivalled dignity and an air of restraint suitable to the
-character of the whole cathedral.”&mdash;(A. C.-B.)</p></div>
-
-<p>We enter the Cathedral by the south door of the <b>South Transept</b> and are
-introduced to what is considered one of the most superb architectural
-views in the world. The enormous width of the church and length of the
-transepts and the tremendous lantern produce almost the effect of St.
-Paul’s or St. Peter’s. Neither the east nor the west end is visible, for
-we are looking right across the arms of the crossing straight to the
-north end of the transept, where the <b>Five Sisters</b> display their jewels.</p>
-
-<p>The <b>Lantern</b> is very lofty&mdash;180 feet from the floor&mdash;each transept is
-four bays long&mdash;223 feet from north to south&mdash;and 93 feet wide. To the
-top of the roof they measure 99 feet.</p>
-
-<div class="blockquot"><p>“The transepts, therefore, are unusually prominent, even for an
-English cathedral, and they have many other unusual features. Taken
-in conjunction with the lantern, they produce an effect to be found
-in no other Gothic church in the world. In England there are none
-so wide and so lofty. In France there are interiors even loftier,
-but in France the transepts are seldom a prominent feature of the
-design. Often they do not project beyond the outer wall of the
-aisles of the nave, and oftener still there is no central tower
-large enough to allow of a lantern at all. It is a great piece of
-good fortune, also, that the five vast lancets of the north
-transept end, known as the Five Sisters, still keep their beautiful
-original glass. If we look at these windows and consider how
-utterly ineffective they would be if they were glazed with plain
-glass, we can understand how little remains of the original beauty
-of the interior of Salisbury.</p>
-
-<p>“The Five Sisters are, no doubt, the largest lancet win<span class="pagenum"><a name="page_270" id="page_270">{270}</a></span>dows in
-England, and it was a bold idea to fill almost the whole of that
-great front with them, but the boldness was entirely justified by
-the result.</p>
-
-<p>“The glass in the Five Sisters is Early English of the simplest and
-most beautiful design. The colour, an almost uniform scheme of
-greyish green, is a curious contrast to the vivid blues and yellows
-of the period which preceded it, and examples of which may be seen
-in the choir of Canterbury. The pattern is an elaborate but
-restrained arrangement of the foliage of the <i>Planta Benedicta</i>
-(herb benet). The plain border surrounding the Early English glass
-was inserted in 1715. At the foot of the central light is a panel
-of Norman glass, the subject of which is either the dream of Jacob,
-or Daniel in the lions’ den.”&mdash;(A. C.-B.)</p></div>
-
-<p>The glass in the lancets above the Five Sisters is modern.</p>
-
-<p>In the eastern aisle of the south transept (Early English) the <b>Tomb of
-Walter de Grey</b> (died 1255), shows an effigy in full canonicals. The
-right hand is raised in blessing, the left grasps a crozier, and the
-feet crush a dragon. The columns at the sides are ornamented with leaves
-at equal distances. On either side of the gable over the Archbishop’s
-head an angel stands. The canopy is supported by nine pillars. In the
-eastern aisle of the north transept we stop to look at the tomb of
-<b>Archbishop Greenfield</b> (died 1315). This is decorated with an ornamented
-canopy.</p>
-
-<p>A rich and elaborate <b>Rood Screen</b> separates the choir from the crossing.
-It dates from 1475-1505 and is composed of a central doorway and fifteen
-canopied niches containing statues of English kings from William the
-Conqueror to Henry VI. The latter is the only modern one. Above these
-are angels by Bernasconi. The central arch is surmounted with an ogee
-moulding decorated with foli<span class="pagenum"><a name="page_271" id="page_271">{271}</a></span>age and a niche, on either side of which is
-an angel with a censer. The capitals of the shafts are carved; and
-rosettes and rows of foliage appear between the shafts. The canopies are
-very ornate. It is interesting to compare this screen with the one at
-Exeter.</p>
-
-<p>The <b>Choir</b>, including the retro-choir, consists of nine bays&mdash;the largest
-and loftiest choir in England and one of the most beautiful. It was
-begun in 1361 at the east end and completed in 1405. It has been
-described as an “interesting example of a Perpendicular building carried
-out on the lines of an earlier Decorated design.”</p>
-
-<div class="blockquot"><p>“The choir itself is like an enormous college chapel. The aisles
-exist, but play no part in the design, which still culminates in
-the splendid blaze of glass from the eastern transepts and the
-great east window, and once culminated on the still more splendid
-blaze of the altar.</p>
-
-<p>“The retro-choir, far too short and wide to be judged as an avenue
-of stone, is still more dependent for its effect on its glass. As
-most of that glass luckily remains, it is a miracle of airy
-splendour; one may see from it what were the objects, and how great
-the success of the much-maligned Perpendicular architects at their
-best.</p>
-
-<p>“To sum up, then, this choir has not the delicate and spiritual
-beauty of the choirs of Lincoln or Ely. That is never found even in
-the finest work of Perpendicular architects; but for stateliness
-and magnificence it has not a rival in England. These qualities may
-be best appreciated standing midway between the two transepts and
-in front of the altar. From that point glittering screens of glass
-and soaring shafts of stone are to be seen on all sides; the whole
-effect is one of triumphant light and space and colour, not to be
-surpassed by the splendours even of Moorish or Italian
-architecture.”&mdash;(A. C.-B.)</p></div>
-
-<p>The magnificent Perpendicular stalls perished in the fire of 1829, so
-did the Perpendicular altar-screen. The present stalls and screen are
-reproduc<span class="pagenum"><a name="page_272" id="page_272">{272}</a></span>tions of these. The reredos of terra-cotta and wood is modern.</p>
-
-<p>The vault of the choir is of wood, an imitation of the vault destroyed
-by fire in 1829. The windows of the clerestory are Perpendicular and
-contain five lights.</p>
-
-<div class="blockquot"><p>“The glass in the choir is almost wholly Perpendicular. As in the
-nave, it is very fragmentary and disordered. The change in the
-character of the design will be easily noticed. The Perpendicular
-glass is not so clear and delicate in colour, and the architectural
-and other patterns are less pronounced. This glass, regarded simply
-as decorative, is perhaps superior to that in the nave.</p>
-
-<p>“Mr. Winston has pointed out that the earliest Perpendicular glass
-in the choir is contained in the third window from the east in the
-south aisle; in the third and fourth windows from the east in the
-north clerestory; and in the fourth clerestory window from the east
-on the opposite side. These windows date from the close of the
-Fourteenth Century. There is also an early Perpendicular Jesse in
-the third window from the west in the south aisle of the choir. The
-other windows of the choir aisles east of the small eastern
-transepts, as well as the glass in the lancet windows on the east
-side of the great western transepts, appears, he says, to be of the
-time of Henry IV.; the rest of the glass in the choir is of the
-reigns of Henry V. and VI., chiefly of the latter. He notices also,
-that the white glass in the windows is generally less green in tint
-than usual, and that he has learnt from Mr. Browne that it is all
-of English manufacture.”&mdash;(A. C.-B.)</p></div>
-
-<p>We now come to the smaller transepts situated between the four eastern
-and four western bays of the choir. They are practically one bay of the
-choir with the triforium and clerestory removed. At each end are immense
-windows. Each is 73 feet long by 16 feet wide. Both have been restored;
-but the glass is original and very splendid. The north window contains
-scenes from the life of <b>St.</b><span class="pagenum"><a name="page_273" id="page_273">{273}</a></span> <b>William</b>; the south window depicts the
-history of <b>St. Cuthbert</b>, and is thought to date from about 1437. In it
-are members of the house of Lancaster.</p>
-
-<p>The east end of the choir is almost entirely filled with the great <b>East
-Window</b>.</p>
-
-<p>The space behind the altar is sometimes called the <b>Lady-Chapel</b>. This
-occupies four bays. It was built in 1361-1405, and is Perpendicular in
-style. The Altar of the Virgin stood under the great east window and
-here also was a chantry founded by the Percys.</p>
-
-<div class="blockquot"><p>“The great east window was glazed by John Thornton of Coventry. The
-terms of the contract for this work, dated 1405, are extant. They
-provide that Thornton shall ‘portray the said window with his own
-hands, and the histories, images, and other things to be painted on
-it.’ It was to be finished within three years. Glass, lead and
-workmen were to be provided at the expense of the chapter, and
-Thornton was to receive 4s. a week, £5 a year and £10 at completion
-for his trouble.</p>
-
-<p>“The window is 78 feet high and 32 feet wide, and contains nine
-lights. It is entirely filled with old glass, except for certain
-pitches of modern glass, rather crude in colour, and inserted, it
-is said, after the fire of 1829. It contains 200 panels of figures.
-The subjects in the upper part are from the Old Testament, reaching
-from the creation of the world to the death of Absalom. The lower
-part contains illustrations from the Book of Revelations. In the
-loftiest row of all are representations of kings and archbishops.</p>
-
-<p>“In the top lights are figures of prophets, saints and kings. At
-the apex of the window is a representation of the Saviour in
-Judgment.</p>
-
-<p>“This window is probably the finest example of Perpendicular glass
-in England.</p>
-
-<p>“The great east window, like the windows of the transepts, has a
-double plane of tracery reaching to about half the height of the
-whole. Between the two planes a passage runs at the base of the
-window, between two doors<span class="pagenum"><a name="page_274" id="page_274">{274}</a></span> which lead to staircases in the turrets
-on each side of the windows. These staircases, in their turn, lead
-to a gallery across the window on the top of the inner plane of
-tracery. The view from this gallery is very fine.”&mdash;(A. C.-B.)</p></div>
-
-<p>Of the numerous tombs and monuments in the east end below the windows in
-the retro-choir and choir-aisles, we note only two. That of <b>Archbishop
-Bowet</b> (died 1423), in the retro-choir (south side), is one of the finest
-Perpendicular monuments in existence, much mutilated, it is true; but
-still exhibiting its clusters of tabernacles and pinnacles joined to the
-arch beneath with fan-tracery. Bowet was still alive when this monument
-was erected in 1415. The other is <b>William of Hatfield</b> (died 1344),
-second son of Edward III., aged eight. The Plantagenista ornaments the
-canopy. Unfortunately the effigy of the little prince is much damaged.</p>
-
-<p>The <b>Nave</b> is also superb and all the decoration most elaborate.</p>
-
-<div class="blockquot"><p>“The first impression on viewing this nave is a sense of its
-magnitude. Archbishop Romeyn and his builders determined to build a
-vast church which would eclipse all other rivals. They would have
-large windows, high, towering piers, a huge, vaulted roof, and
-everything that was grand and impressive. Edward I. was then
-fighting with the Scots and made York his chief city. It was
-immensely prosperous and the ecclesiastical treasury was replete
-with the offerings of knights and nobles, kings and pilgrims.
-Nowhere should there be so mighty a church as York Minster. In
-order to have space for large windows they made the triforium
-unusually small, which is formed only by a continuation of the
-arches of the clerestory windows. The design for the stone vaulted
-roof was never carried out. The builders feared that the great
-weight of a roof with so large a span would be too much for the
-walls, so a wooden vault was substituted. The piers have octagonal
-bases and consist of various<span class="pagenum"><a name="page_275" id="page_275">{275}</a></span> sized shafts closely connected. The
-capitals are beautifully enriched with foliage of oak and thorn,
-and sometimes a figure is seen amidst the foliage. We notice
-thirty-two sculptured busts at the intersection of the
-hood-moulding with the vaulting shafts. Coats-of-arms of the
-benefactors of York appear on each side of the main arches. The
-clerestory windows have each five lights. The old roof was
-destroyed by fire in 1840. The present one has a vast number of
-bosses representing the Annunciation, Nativity, Magi, Resurrection,
-besides a quantity of smaller ones.”&mdash;(P. H. D.)</p></div>
-
-<p>Looking up at the west end of the nave we have a double study in the
-splendid <b>West Window</b> (only surpassed by the famous window of Carlisle
-Cathedral); for the tracery of the Curvilinear, or flowing Decorated
-style has been carefully restored, and the window, which measures 56 ×
-25 feet, is almost entirely filled with the original glass given by
-Archbishop Melton in 1338.</p>
-
-<div class="blockquot"><p>“This is remarkable not only for the purity and boldness of its
-scheme of colours, but for the admirable way in which the design of
-the glass fits the elaborate pattern of the tracery. It will be
-noticed that both the figures and the architectural ornaments are
-in bolder relief than in the earlier glass of the Five Sisters, or
-the later of the choir. Some of the faces of the figures have been
-restored by Peckett, but not so as to interfere with the decorative
-effect of the whole. The window contains three rows of figures, the
-lowest a row of eight archbishops, the next a row of eight saints,
-including St. Peter, St. Paul, St. James and St. Katharine, and
-above this a row of smaller figures unidentified.</p>
-
-<p>“The window contains eight lights. These lights are coupled in
-pairs by four arches with a quatrefoil in the head of each, and
-again formed in groups of four by an ogee arch above the other
-arches. The flowing curves of these ogee arches are most
-ingeniously and beautifully worked into the pattern of the upper
-part of the window, which contains five main divisions of
-stonework, each like<span class="pagenum"><a name="page_276" id="page_276">{276}</a></span> the skeleton of a leaf in shape and in the
-delicacy of its pattern. Of these five divisions the top one is
-made by splitting up the central mullion; two diverge from it at
-the top of the lower lights; and two others curve inwards from the
-outside arch. The central mullion runs up almost to the top of the
-arch. The mullions are alike in moulding and size. Below the window
-is the west door, the head of which is filled with ancient stained
-glass. There is a gable above it, running up to the bottom of the
-window and containing three niches. There are kneeling figures on
-each side of the gable, so that the top of it may have held a
-figure of Christ. All that portion of the west end not occupied by
-the window and the porch is filled with stories of niches and
-arcading.”&mdash;(A. C.-B.)</p></div>
-
-<p>The windows of the aisles of the nave are Decorated.</p>
-
-<p>The <b>Nave</b> contains eight bays. Each bay consists of two main divisions:
-the upper half containing the triforium and clerestory; and the lower
-half, the main arches. A slender moulding runs between the two
-divisions. The piers consist of a group of separate shafts and the
-capitals are very delicate in design. The triforium is little more than
-an extension of the clerestory window-lights; but a band of stone
-ornamented with quatrefoils separates triforium and clerestory. The
-clerestory windows are geometrical Decorated. The design is much
-admired.</p>
-
-<div class="blockquot"><p>“It consists of five lights, the two outer of which are grouped in
-a single arch, with a quatrefoil piercing in its head. Between
-these two arches and on the top of the arch of the central light is
-a circle fitting into the arch of the window, and ornamented with
-four quatrefoils, four trefoil piercings, and other smaller lights.
-There are capitals to the outside shafts of the windows, and to the
-main shafts of the two inner mullions. All these mullions are very
-delicately moulded.</p>
-
-<p>“The first window from the west end is plain. The<span class="pagenum"><a name="page_277" id="page_277">{277}</a></span> glass in the
-other windows is rather finer and less fragmentary than in the
-north aisle.</p>
-
-<p>“The second window appears to have been largely restored. The
-tabernacle work is very crude in colour. It contains figures of St.
-Laurence, St. Christopher, another saint, and three coats-of-arms
-below. The top lights are fine, and perhaps of Perpendicular date.</p>
-
-<p>“The third window is one of the richest in colour in the minster,
-with its gorgeous arrangement of crimsons, greens and blues. There
-are inscriptions by Peckett, with the date at the bottom, 1789. His
-deep blues on the top lights are particularly unfortunate.</p>
-
-<p>“The sixth window is also very bright. It probably contains Norman
-fragments. All the windows except the fifth contain insertions by
-Peckett.</p>
-
-<p>“The clerestory window contains fragments and coats-of-arms.</p>
-
-<p>“In the westernmost light of the second window from the west, on
-the north side, are portions of an Early English Jesse window. The
-wheel of this window, and those of the next five, also contain
-fragments of Early English glass. And in the lower lights of the
-fifth and seventh windows from the west are remains of the same
-date.</p>
-
-<p>“The wheels in the clerestory windows on the south side of the nave
-all contain Early English glass, except the third from the west.
-There is also some Early English glass in their lower lights.</p>
-
-<p>“The aisles of the nave are bolder in design and altogether more
-satisfactory than the nave itself. Like the nave they are unusually
-wide and lofty. In the two farthest bays to the west, above which
-are the western towers, the rough wooden roof, which has never been
-covered with a vault, may be seen. The vault of the aisles is of
-stone, with only structural ribs, finely moulded and with carved
-bosses. The aisle windows are, like those of the clerestory, of the
-geometrical Decorated Style, but of an earlier and simpler, uniform
-design. They each contain three lights. Above the three lights are
-three quatrefoils, pyramidally arranged.”&mdash;(A. C.-B.)</p></div>
-
-<p>The second window from the east in the north aisle of the nave is said
-to have been given by a<span class="pagenum"><a name="page_278" id="page_278">{278}</a></span> guild of bell-founders, or by Richard Tunnoc
-(died 1330), Lord Mayor of York. Tunnoc appears in the design kneeling
-before the Archbishop and around the picture of the casting of a bell is
-the legend “<i>Richard Tunnoc me fist</i>.” Above Tunnoc is a window. Bells
-appear in the border of the glass.</p>
-
-<p>The window at the west end of the north-aisle of the nave is also very
-fine. It represents the Virgin and Child and St. Catherine with her
-wheel. In the west window of the south-aisle of the nave the subject is
-the Crucifixion. The head of Christ is supposed to be of the Eighteenth
-Century.</p>
-
-<p>The choir-aisles are very similar to those of the nave. They have stone
-vaults and their windows are very beautiful. They have been described as
-representing “a design of which the tracery is arrested half-way in its
-process of stiffening from the curved lines of the Decorated style to
-the straight of the Perpendicular.” Each window is divided into three
-lights, each ending in an obtuse arch. Above these are three other
-arches and above them again two quatrefoils, and above them a sexfoiled
-opening.</p>
-
-<p>For a description of the glass in these aisles we turn to A.
-Clutton-Brock:</p>
-
-<div class="blockquot"><p>“In the north aisle the east window is also very fine. It contains
-a representation of the Crucifixion, with St. John, St. James and
-the Virgin.</p>
-
-<p>“The first window from the east is very fragmentary. The windows in
-the south aisle are rather fragmentary. In the first two from the
-west the top lights are empty.</p>
-
-<p>“The second window is remarkable for the delicate modelling and
-drawing of the heads. The head of the Virgin reminds one of one of
-Lippo Lippi’s Madonnas. That of an old man with a beard in the
-central light is German in character. If these are compared with
-the crude</p></div>
-
-<div class="figcenter"><br />
-<a name="fig_058" id="fig_058"></a>
-<a href="images/fp278.jpg">
-<img src="images/fp278.jpg" width="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">York Minster: Choir, east</span></p></div>
-</div>
-
-<div class="figcenter"><br />
-<a name="fig_059" id="fig_059"></a>
-<a href="images/fp279.jpg">
-<img src="images/fp279.jpg" width="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">York Minster: Choir, west</span></p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_279" id="page_279">{279}</a></span></p>
-
-<div class="blockquot"><p class="nind">and simple design of the heads in the other windows, it will be
-obvious that they are of a different origin. Nothing, however, is
-known of their history.</p>
-
-<p>“The third window has borders by Peckett. It contains the Jesse
-noted before.</p>
-
-<p>“The fourth window is very fragmentary. It contains a beautiful
-figure of a saint in one of the top lights; the other top lights
-are by Peckett. In the central division, at the bottom, is the name
-of Archbishop Lamplugh, with a coat-of-arms. (Lamplugh’s tomb is
-close to this window.)</p>
-
-<p>“The last of those windows contains painted glass given by Lord
-Carlisle in 1804, and bought from a church at Rouen. It is a
-representation of the Visitation, Mr. Winton says, taken from a
-picture by Baroccio, and dates from the end of the Sixteenth
-Century. The upper lights contain the original glass.</p>
-
-<p>“The east window of this aisle is very fine in colouring, and
-fairly coherent in design. The subject is not clear.”</p></div>
-
-<p>In the westernmost bay of the north-choir-aisle the eight-year-old son
-of Edward III.&mdash;<b>William of Hatfield</b>&mdash;was buried (<a href="#page_274">see page 274</a>). West of
-the tomb of <b>Archbishop Sterne</b> (died 1683), which has been called “an
-example of almost everything that a monument should not be,” we find the
-tomb of <b>Archbishop Scrope</b>, beheaded by Henry IV. (<a href="#page_265">see page 265</a>),
-interesting because it was a place of pilgrimage in the Middle Ages.</p>
-
-<p>From the north-choir-aisle we enter the <b>Crypt</b>. This was discovered after
-the fire of 1829. Here we find Norman work and some authorities go so
-far as to say some portions of the wall are of the Saxon church, built
-by Edwin in the Seventh Century. The capitals of the pillars (time of
-Roger Pont l’Évêque) are varied and very interesting.</p>
-
-<div class="blockquot"><p>“Entering the vestibule we notice the exact place where the Early
-English builders finished their work and the Decorated style
-begins. The difference between the styles<span class="pagenum"><a name="page_280" id="page_280">{280}</a></span> in the Chapter-House and
-vestibule shows that the former was erected first. It has a wall
-arcade, and above are windows of curious tracery, filled with
-beautiful old glass. The shafts of the arcade support trefoiled
-arches, with a cinquefoil ornamented with a sculptured boss. Each
-boss and capital is beautifully carved with foliage, amidst which
-the heads of men and dragons appear. The glass is Early Decorated,
-and contains representations of Royal personages.</p>
-
-<p>“The Chapter-House is one of the most beautiful in England. The
-entrance is an arch, divided into two arches by a canopied pier,
-which bears a mutilated statue of the Virgin and Child. Clustered
-shafts, with capitals, are on each side of the doors, which have
-remarkably good scrolled iron-work. The chamber itself is very
-magnificent. It is octagonal and in each bay there are six canopied
-stalls under a five-light window. The window tracery is superb.
-Clustered shafts support the vaulted roof. Everywhere we see richly
-carved stone-work, the finest in any cathedral, the foliage of
-maple, oak, vine and other trees. Here are pigs and squirrels
-feeding on acorns, men gathering grapes, birds, and coiled dragons
-and reptiles. The grotesques are most curious and interesting. In
-1845, unfortunately, the building was restored and the painted
-figures of kings and bishops were destroyed, a poor tiled floor
-laid down; but, in spite of all, it can still maintain its proud
-boast:</p>
-
-<div class="poetry">
-<div class="poem"><div class="stanza">
-<span class="i0">‘<i>Ut Rosa flos florum</i><br /></span>
-<span class="i1"><i>Sic est Domus ista Domorum.</i>’<br /></span>
-</div></div>
-</div>
-
-<p>[‘As the Rose is the flower of flowers, so is this House the chief
-of Houses.’]”</p></div>
-
-<p>The date of this building is generally given as 1320.</p>
-
-<p>A curious doorway at the north-east end of the north transept opens into
-the vestibule that takes us into the Chapter-House. This is a narrow
-passage running north for three bays, then turning at right angles and
-running east for two bays. It is Decorated in style. Traces of ancient
-painting may be observed, and the windows display their original<span class="pagenum"><a name="page_281" id="page_281">{281}</a></span> glass,
-chiefly Decorated. In the upper lights there are some fragments of
-Norman and Early English glass.</p>
-
-<p>The <b>Chapter-House</b> differs from most chapter-houses in having no central
-pillar. It is octagonal and is divided into eight bays. An
-acutely-arched window, with geometrical Decorated tracery, fills each of
-the seven bays. The space over the entrance is occupied with blank
-tracery like that of the windows. The windows contain five lights, each
-light terminating in a trefoiled arch. The glass, chiefly medallions and
-shields, dates from the time of Edward II. and Edward III. The one
-modern window declares itself.</p>
-
-<p>Passing to the <b>East Front</b> we find that it is square, and, like the West
-Front, it is almost entirely filled with an enormous window. The great
-<b>East Window</b> contains nine lights, beautifully divided by mullions and
-crossed by three transoms. The arch of the head is filled with a great
-number of small divisions. Over the window is an ogee gable, surmounted
-by a pinnacle. Panelling forms a kind of background for it. Buttresses,
-tall and narrow, and containing six tiers of niches, flank the window on
-either side. Each is finished with a spire. The two aisle windows also
-have ogee gables, surmounted with finials. Above them runs a band of
-panelling. At each corner rises a tall buttress, finished with a lofty
-spire.</p>
-
-<div class="blockquot"><p>“The Choir and Lady-Chapel are Perpendicular work. The four eastern
-bays constituting the Lady-Chapel, are earlier than the later ones
-of the choir and vary in detail. The triforium passage in the
-former is outside the building, and the windows are recessed.
-Strange gargoyles, with figures of apes and demons, adorn the
-buttresses. The<span class="pagenum"><a name="page_282" id="page_282">{282}</a></span> east end is mainly filled with the huge window,
-the largest in England, which does not leave much space for
-architectural detail. Above it is the figure of Archbishop
-Thoresby, the builder of this part of the Cathedral. Panelling
-covers the surface of the stone, and below the window is a row of
-seventeen busts, representing our Lord and his Apostles, Edward
-III. and Archbishop Thoresby. There are two aisle windows;
-buttresses adorned with niches separate the aisles from the central
-portion, and others, capped with spires, stand on the north and
-south of this front.”&mdash;(P. H. D.)</p></div>
-
-<p>From the south-east we gain a very satisfactory view of the central
-tower and the ornate and elegant <b>South Transept</b> (Early English), dating
-from 1216-1241. The gable, with its large rose-window, cusped lights,
-turrets, buttresses, and lancet windows, all make a harmonious
-architectural picture. The south porch is considered rather small and
-has been much restored. Dog-tooth moulding is plentiful along the
-arches. It also occurs on the windows and gable.</p>
-
-<p>Pinnacles and weird gargoyles decorate the <b>Nave</b>, divided into seven bays
-by tall buttresses.</p>
-
-<p>The north side of the Minster is far less ornate than the south. Of
-course, the chief features here are the <b>Chapter-House</b>, with its curious
-roof and lovely windows, and the <b>North Transept</b>, very fine Early English
-of 1241-1260. Here we have the famous group of lancets, the Five Sisters
-(<a href="#page_270">see page 270</a>), and seven beautifully arranged lancets in the gable
-above&mdash;a very fine contrast to the gable of the south transept, with its
-rose-window. A vestibule leads from the North Transept to the
-Chapter-House, that splendid octagonal building, perhaps the finest
-example of Early Decorated in existence. Buttresses, topped with
-pinnacles, pro<span class="pagenum"><a name="page_283" id="page_283">{283}</a></span>ject at each of the eight corners. The strange pyramidal
-roof is surrounded by a battlement and curious gargoyles; among them
-bears peer out into space.<span class="pagenum"><a name="page_284" id="page_284">{284}</a></span></p>
-
-<h2><a name="LINCOLN" id="LINCOLN"></a>LINCOLN</h2>
-
-<div class="blockquotcent"><p><span class="smcap">Dedication: St. Mary. A Church served by Secular Canons.</span></p>
-
-<p><span class="smcap">Special features: St. Hugh’s Choir; Angel Choir; East Window;
-Central Tower.</span></p></div>
-
-<p class="nind"><span class="smcap">Lincoln Cathedral</span> possesses a commanding site and three splendid towers
-that form a beautiful picture. Distance lends enchantment to the view at
-all times of the day and seasons of the year.</p>
-
-<div class="blockquot"><p>“Throughout a vast district around the city, the one great feature
-of the landscape is the mighty minster, which, almost like that of
-Laon, crowns the edge of the ridge, rising, with a steepness
-well-nigh unknown in the streets of English towns, above the lower
-city and the plain at its feet. Next in importance to the minster
-is the castle, which, marred as it is by modern changes, still
-crowns the height as no unworthy yoke-fellow of its ecclesiastical
-neighbour. The proud polygonal keep of the fortress still groups
-well with the soaring towers, the sharp-pointed gables, the long
-continuous line of roof, of the church of Remigius and Saint
-Hugh.”&mdash;(E. A. F.)</p></div>
-
-<p>Lincoln Cathedral is also a landmark in the history of architecture, for
-here was developed the first complete and pure form of the third great
-form of architecture&mdash;the architecture of the Pointed Arch.</p>
-
-<div class="blockquot"><p>“The best informed French antiquaries acknowledge that they have
-nothing like it in France for thirty years afterwards; they thought
-it was copied from Notre-Dame at Dijon, to which there is a
-considerable resemblance, but that church was not consecrated till
-1230, so that the Dijon architect might have copied from the
-Lincoln one,<span class="pagenum"><a name="page_285" id="page_285">{285}</a></span> but the Lincoln could not have copied from
-Dijon.”&mdash;(J. H. P.)</p></div>
-
-<p>To the historian, as well as to the student of architecture, Lincoln
-makes a strong appeal for many visits. Those whose time is limited will
-be impatient to inspect St. Hugh’s Choir, and the more beautiful Angel
-Choir beyond it. We must, however, pause a moment to recapitulate its
-history before we begin our walk through the Cathedral.</p>
-
-<div class="blockquot"><p>“The surface or exterior of Lincoln Cathedral presents at least
-four perfect specimens of the succeeding styles of the first four
-orders of Gothic architecture. The greater part of the front may be
-as old as the time of its founder, Bishop Remigius, at the end of
-the Eleventh Century; but even here may be traced invasions and
-intermixtures, up to the Fifteenth Century. The large indented
-windows are of this latter period, and exhibit a frightful heresy.
-The western towers carry you to the end of the Twelfth Century;
-then succeeds a wonderful extent of the Early English, or the
-pointed arch. The transepts begin with the Thirteenth, and come
-down to the middle of the Fourteenth Century; and the interior,
-especially the choir and the side aisles, abounds with the most
-exquisitely varied specimens of that period. Fruits, flowers,
-vegetables, insects, <i>capriccios</i> of every description, encircle
-the arches or shafts, and sparkle upon the capitals of pillars.
-Even down to the reign of Henry VIII. there are two private
-chapels, to the left of the smaller south porch, on entrance, which
-are perfect gems of art.”&mdash;(T. F. D.)</p></div>
-
-<p>In the Seventh Century, Paulinus, Bishop of York, made converts in the
-Roman hill-town of Lincoln, and several churches were founded. The
-“bishop’s stool” was at Sidnacester and Dorchester-on-Thames before it
-was fixed at Lincoln.</p>
-
-<div class="blockquot"><p>“The king” (William the Conqueror) “had given Remigius, who had
-been a monk at Fescamp, the bishopric of Dorchester which is
-situated on the Thames. This<span class="pagenum"><a name="page_286" id="page_286">{286}</a></span> bishopric, being larger than all
-others in England, stretching from the Thames to the Humber, the
-bishop thought it troublesome to have his episcopal See at the
-extreme limit of his diocese. He was also displeased with the
-smallness of the town, the most illustrious city appearing far more
-worthy to be the See of a bishop. He therefore bought certain lands
-on the highest parts of the city, near the castle standing aloft
-with its strong towers, and built a church, strong as the place was
-strong, and fair as the place was fair, dedicated to the Virgin of
-Virgins, which should both be a joy to the servants of God, and as
-befitted the time unconquerable by enemies.”</p></div>
-
-<p>Such is Henry of Huntingdon’s account of the transference of the See,
-which took place between 1072 and 1075.</p>
-
-<p>The church built by Remigius, on the site of an earlier church, was
-completed in twenty years. Remigius died three days before the date
-appointed for the consecration, May 9, 1092, and was buried before the
-Altar of the Holy Cross in front of the rood-screen. This first church
-was 300 feet long. It was severely plain; but so strong that Stephen
-used it as a fortress in 1141, when the castle opposite was held by his
-enemies.</p>
-
-<p>The next great builder was Alexander the Magnificent (1123-1148), nephew
-of Roger, Bishop of Salisbury. A fire destroying the roof in 1141
-necessitated repairs. Alexander remodeled parts of the church. He added
-the elaborate doorways in the west front in 1146; the Norman arcade
-along the west front; and built the western towers.</p>
-
-<div class="blockquot"><p>“Part of the west front of Lincoln was built by Bishop Remi, or
-Remigius, 1085-1092: the small portion which remains of this work
-is a very valuable specimen of early Norman, the more so that the
-insertion of later and richer Norman doorways by Bishop Alexander,
-about fifty years afterwards, enables us to compare early and late
-Norman<span class="pagenum"><a name="page_287" id="page_287">{287}</a></span> work, while the jointing of the masonry leaves no doubt of
-the fact that these doorways are insertions and, therefore,
-confirms the early date of the three lofty arches under which they
-are inserted. A comparison of the capitals and details of these two
-periods, thus placed in juxtaposition, is extremely interesting.
-The wide-jointing of the masonry and the shallowness of the carving
-distinguish the old work from the new. Several capitals of the
-later period are inserted in the older work, as is shewn on careful
-examination by the jointing of the masonry, and by the form of the
-capitals themselves: the earlier capitals are short, and have
-volutes at the angles, forming a sort of rude Ionic; the later
-capitals are more elongated, and have a sort of rude Corinthian, or
-Composite foliage.”&mdash;(J. H. P.)</p></div>
-
-<p>In 1185 an earthquake injured the Cathedral; and so, when Hugh of Avalon
-became Bishop of Lincoln in 1186, he began to collect money for repairs
-and rebuilding. The eastern end of the original Cathedral was removed,
-and in 1192 Bishop Hugh laid the foundations of his very original Choir.
-The architect was Geoffrey de Noyers. J. H. Parker, who studied Lincoln
-Cathedral for thirty years, considers this work of St. Hugh (A.D.
-1192-1200) pure Early English Gothic and the earliest building of that
-style in the world.</p>
-
-<div class="blockquot"><p>“Canterbury was completed in 1184 and in 1185 St. Hugh of Grenoble,
-also called St. Hugh of Burgundy, was appointed Bishop of Lincoln,
-and immediately began to rebuild his cathedral. It is therefore
-plain that this portion of the building was completed before 1200,
-and a careful examination enables us to distinguish clearly the
-work completed in the time of Bishop Hugh, which comprises his
-choir and the eastern transepts with its chapels. The present
-vaults of St. Hugh’s Choir, and of both the transepts, were
-introduced subsequent to the fall of the tower, which occurred in
-1240.</p>
-
-<p>“The architecture in the north of Lincolnshire and the<span class="pagenum"><a name="page_288" id="page_288">{288}</a></span> south of
-Yorkshire appears to have been a little in advance of any other in
-Europe at that period. St. Hugh’s Choir at Lincoln is the earliest
-building of the pure Gothic style free from any mixture of the
-Romanesque that has been hitherto found in Europe, or in the world.
-The Oriental styles are not Gothic, though they helped to lead to
-it. The French Gothic has a strong mixture of the Romanesque with
-it down to a later period than the Choir of Lincoln. St. Hugh of
-Lincoln certainly did not bring the Gothic style with him from his
-own country Dauphiny, or from the Grande Chartreuse where he was
-educated, for nothing of the kind existed there at that period.
-Grenoble (the place from which St. Hugh was brought to England) and
-its neighbourhood was quite half-a-century behind England in the
-character of its buildings, in the time of Henry II. of England and
-of Anjou, in whose time this style was developed.</p>
-
-<p>“Nothing can well exceed the freedom, delicacy and beauty of this
-work; the original arcade of the time of St. Hugh is of the same
-free and beautiful style as the additions of his successors. The
-crockets, arranged vertically one over the other behind the
-detached marble shafts of the pillars, are a remarkable and not a
-common feature, which seems to have been in use for a few years
-only; it occurs also in the west front of Wells Cathedral, the work
-of Bishop Jocelin, a few years after this at Lincoln; or perhaps
-under him, of Hugh de Wells.”&mdash;(J. H. P.)</p></div>
-
-<p>The eight years during which Hugh carried on the work</p>
-
-<div class="blockquot"><p>“were busy ones at Lincoln. Contemporary records enable us to
-picture him encouraging the workmen by his presence and example,
-even shewing his zeal by carrying the stones on his own shoulders.
-He did not live to see his work completed, as Remigius had done.
-But he had set the example and given the pattern, and the work was
-continued by his successors until the building was again entire.
-Hugh had already finished the apse, the eastern transept, the
-choir, and part of the western transept (i.e., the whole eastern
-portion of the church) when he fell ill. Finding</p></div>
-
-<div class="figcenter"><br />
-<a name="fig_060" id="fig_060"></a>
-<a href="images/fp288.jpg">
-<img src="images/fp288.jpg" width="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Lincoln: West front</span></p></div>
-</div>
-
-<div class="figcenter"><br />
-<a name="fig_061" id="fig_061"></a>
-<a href="images/fp289.jpg">
-<img src="images/fp289.jpg" height="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Lincoln: Great West Door</span></p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_289" id="page_289">{289}</a></span></p>
-
-<div class="blockquot"><p class="nind">his death approaching, he sent for his architect Geoffrey de
-Noyers, and enjoined him to hasten the completion of the altar of
-St. John the Baptist, his patron. He then gave directions for his
-funeral, and instructions that he was to be buried in the
-mother-church of his diocese dedicated to the Mother of God, near
-the altar of St. John the Baptist. The personality of the great
-bishop comes vividly before us when we read that he also wished his
-tomb to be placed near the wall, in a convenient place, lest it
-should be a stumbling-block to those approaching. On the 16th of
-November, 1200, Hugh breathed his last, lying, as he had wished, on
-the bare ground, on a cross of consecrated ashes. His instructions
-regarding the funeral were carried out; but such a light as Hugh’s
-could not be hid, and within a century we find his remains enclosed
-in a costly golden shrine, borne on the shoulders of kings and
-bishops, and placed at last in a structure erected specially for
-their reception, ‘one of the loveliest of human works,’ the
-celebrated Angel Choir. The original place of Hugh’s burial has
-been somewhat disputed. The <i>Magna Vita</i> tells us that he was
-buried near the altar he had named, <i>a boreali ipsius aedis
-regione</i>. On the east side of the eastern transept, Hugh had placed
-four apsidal chapels, two north and two south of the central apse.
-From the words above quoted, it has been considered that the
-northern-most of these chapels was the site of his tomb.”&mdash;(A. F.
-K.)</p></div>
-
-<p>The western transept and the nave were next finished (Thirteenth
-Century), and a central tower was built to replace the one that fell in
-1237-1239. To this period belongs Bishop Hugh de Wells, brother of
-Jocelin (<a href="#page_108">see page 108</a>), who contributed largely to the funds for
-building and roofing.</p>
-
-<p>He was succeeded by Roger Bacon’s friend, Robert Grosseteste
-(1235-1253). In his time the new nave was completed. The large screen of
-the west front, the central gable and the octagonal turrets at the
-corners, belong to this period; also the lower part of the central
-tower, the Canon’s Vestry at the eastern transept, and the Galilee Porch
-at<span class="pagenum"><a name="page_290" id="page_290">{290}</a></span> the western transept. The trellis ornament always marks
-Grosseteste’s work. He made many changes in the windows.</p>
-
-<p>To the treasurer, John de Welburne (died 1380), the Cathedral is
-indebted for its splendid choir-stalls.</p>
-
-<p>The Russell and Longland chantries, the upper parts of the tower, and
-many windows date from the Perpendicular period.</p>
-
-<p>John Evelyn, visiting Lincoln in 1654, gives us an idea how the
-Cathedral suffered in the Civil Wars:</p>
-
-<div class="blockquot"><p>“Lincoln is an old confused town, very long, uneven, steep and
-ragged, formerly full of good houses, especially churches and
-abbeys. The minster almost comparable to that of York itself,
-abounding with marble pillars, and having a fair front (here was
-interred Queen Eleanora, the loyal and loving wife who sucked the
-poison out of her husband’s wound); the abbot founder, with rare
-carving in the stone; the great bell, or Tom, as they call it. I
-went up the steeple, from whence is a goodly prospect all over the
-country. The soldiers had lately knocked off most of the brasses
-from the gravestones, so as few inscriptions were left; they told
-us that these men went in with axes and hammers, and shut
-themselves in, till they had rent and torn off some bargeloads of
-metal, not sparing even the monuments of the dead; so hellish an
-avarice possessed them: besides which, they exceedingly ruined the
-city.”</p></div>
-
-<p>We are now able to analyze the <b>West Front</b>, knowing the periods of the
-great screen wall, with its Gothic arcading and the octagonal stair
-turrets capped by tall pyramids that terminate the ends; the two tall
-square towers, Norman below, Perpendicular above; the three great
-recesses pierced with windows and doors; the gable above the recess with
-seven arches (two pierced with windows and<span class="pagenum"><a name="page_291" id="page_291">{291}</a></span> two containing statues) in a
-row and one above with angels.</p>
-
-<p>We must note that upon the southern turret stands a statue of St. Hugh;
-and The Swineherd of Stow, who contributed a peck of silver pennies
-towards building the Cathedral, ornaments the northern one. It is a copy
-of the original, now in the Cloisters.</p>
-
-<p>The tracery of the windows in the three recesses is supposed to date
-from the end of the Fourteenth Century. The big west window and the
-cinquefoil window above were placed there in Grosseteste’s rule
-(1235-1253).</p>
-
-<p>The central door and those on either side of it, date from the Twelfth
-Century, and give the best possible idea of the Romanesque period just
-before it merged into Gothic.</p>
-
-<p>Above the central door are eleven kings, from William the Conqueror to
-Edward III. These statues date from 1350 and were originally coloured
-and gilt.</p>
-
-<p>The two western towers (Norman) were built in the Twelfth Century. The
-arcading (which is not the same in both) shows where they ended and
-where the Perpendicular stories were added, carrying them two hundred
-feet higher. Like the central tower, they were originally crowned with
-tall wooden spires, covered with lead. These spires became unsafe and
-were removed in 1807. In the northern, or <b>St. Mary’s</b>, hung “Great Tom of
-Lincoln” and its successor until 1834. The southern tower, called <b>St.
-Hugh’s</b>, has a ring of eight bells. Under St. Hugh’s the <b>Ringers’ Chapel</b>
-is naturally situated; and there is a corresponding chapel under <b>St.
-Mary’s Tower</b>.<span class="pagenum"><a name="page_292" id="page_292">{292}</a></span></p>
-
-<p>Beneath <b>St. Mary’s Tower</b> we find the <b>Northwest Chapel</b>; under <b>St. Hugh’s</b>,
-the <b>Ringers’ Chapel</b>. Both chapels are vaulted with stone and date from
-the first half of the Thirteenth Century.</p>
-
-<p>The <b>Nave</b>, a very characteristic example of the first half of the
-Thirteenth Century,</p>
-
-<div class="blockquot"><p>“exhibits an Early English style in its highest stage of
-development: massive without heaviness, rich in detail without
-exuberance, its parts symmetrically proportioned and carefully
-studied throughout, the foliated carving bold and effective, there
-seems no deficiency in any way to deteriorate from its
-merits.”&mdash;(G. G. S.)</p></div>
-
-<p>There are seven bays. The first bay was converted into a sort of
-vestibule by arches constructed in the Eighteenth Century to add
-strength to the western towers. The big arch, separating the vestibule
-from the nave, dates from about 1730. The vaulting under the western
-towers dates from the Fourteenth Century; also the tracery covering the
-walls of these compartments.</p>
-
-<div class="blockquot"><p>“Each pier is surrounded by round shafts of Purbeck marble. The
-arch mouldings, like those of St. Hugh’s choir, were considered
-‘beautiful specimens’ by Rickman. They are deeply cut, and throw
-good, bold shadows. In the triforium each bay contains two arches,
-supported by clustered columns with foliaged capitals. The
-spandrels are decorated with sunk trefoils or quatrefoils. In most
-cases the arches are each divided into three sub-arches with
-clustered shafts, the tympanum being pierced with quatrefoils. A
-difference is noticeable, however, in the easternmost arch and the
-two westernmost bays (five arches altogether) on both sides. Here
-the sub-arches are only two in number. The narrowness of the two
-western bays accounts for the variation at that end. The clerestory
-is the same throughout its length, having three tall narrow windows
-in each bay, with slender banded shafts. In the nave we have,
-according to Fergusson, ‘a type of the first perfected form of
-English vaulting.’ He<span class="pagenum"><a name="page_293" id="page_293">{293}</a></span> calls it ‘very simple and beautiful.’ At the
-junctions of the ribs are elaborate bosses of foliage. The
-compartments are covered with plaster, once decorated in colours
-and gold. In the second bay from the east is the name: <small>W. L.
-PARIS</small>:&mdash;evidently intended as a record of some repairs to the
-vault. The springers rest on clusters of three long slender
-vaulting-shafts, rising from foliaged corbels just above the
-capitals of the nave piers.</p>
-
-<p>“In the aisles, each bay has two lancet windows, except the
-easternmost bay on the south side, which has only one. In the jambs
-are slender Purbeck shafts, twice banded. Just beneath these
-windows, an arcade of trefoiled arches runs along the whole length
-of the nave, being continued on the screen walls to the western
-chapels. The arches are deep, with bold mouldings, and are
-supported by clustered columns. There are five arches in each bay,
-but they are not placed in the same manner on both sides of the
-nave. On the south, the arches are arranged in groups of five, with
-blank spaces of wall between, in front of which pass the
-vaulting-shafts. On the north, the arcade is continuous, and is so
-arranged that each cluster of shafts supporting the vault passes in
-front of an arch. The work on the south side is more elaborate;
-tooth ornament is used, a string-course runs along at the height of
-the capitals, and foliaged bosses are found in the lower corners of
-the spandrels. In addition to the clustered vaulting-shafts already
-mentioned, there is a single vaulting-shaft in the centre of each
-bay, between the windows, rising from a corbel above the
-wall-arcade. On the north side these corbels merely have plain
-mouldings, but on the south side they are foliated. The arrangement
-of the vaulting-ribs is different in the north and south aisles;
-and in the latter it will be noticed that some of the bosses have
-figure-subjects, besides the foliage met with on the north side.
-The <i>Agnus Dei</i> carved on the boss in the fourth bay from the west
-should be noticed. To such minor differences, continually found in
-the corresponding parts of a Gothic edifice, the style undoubtedly
-owes a peculiar charm.”&mdash;(A. F. K.)</p></div>
-
-<p>The great <b>West Window</b> was inserted, as we have seen, in Bishop
-Grosseteste’s time (1235-1253).<span class="pagenum"><a name="page_294" id="page_294">{294}</a></span> Its tracery, however, dates from the
-end of the Fourteenth Century and is Early Perpendicular. The upper
-lights are filled with fragments of Fourteenth Century glass; but the
-glass in the lower lights is modern. The cinquefoil above, of the same
-date, contains modern glass also. The central figure represents
-Remigius, with his bishop’s staff in one hand and the church in the
-other. The rest of the glass in the nave is also modern.</p>
-
-<p>Under the last arch on the north side of the nave we come to a slab
-supposed to mark the original burial-place of Remigius. This slab was
-discovered in the cloisters and is supposed to date from the time of
-that worthy prelate.</p>
-
-<p>The neighbouring <b>Pulpit</b> is probably of the Eighteenth Century. On the
-other side of the nave stands the black basalt Norman <b>Font</b>, reminding us
-of the font in Winchester. Around the sides of the square basin a row of
-grotesque monsters is carved in low relief.</p>
-
-<p>Now we come to the <b>Central Tower</b>. Four massive piers carry the four
-arches from which it rises. Foliage decorates the top of each arch. The
-spandrels are ornamented by two rows of arcading with slender-clustered
-shafts. The vaulting is of the Fourteenth Century. The iron rings on the
-piers were placed there for the purpose of fastening the bell-ropes of
-the “Lady Bells” that once hung in this tower.</p>
-
-<p>A beautiful stone <b>Rood-Screen</b>, Decorated in style and dating from the
-end of the Thirteenth Century, fills the eastern tower arch, and marks
-the boundary of St. Hugh’s Choir. Traces of colour and gilding reveal
-themselves to an earnest scrutiny.<span class="pagenum"><a name="page_295" id="page_295">{295}</a></span></p>
-
-<div class="blockquot"><p>“On either side of the central doorway are four deep arches
-supported by detached pillars, decorated with grotesque heads and
-small figures of bishops. The wall behind is richly carved with
-diaper designs, shewing much freedom and variety. This screen was
-once decorated with colours and gilding, traces of which are still
-visible. It appears to have suffered a good deal at the hands of
-iconoclasts; many statues have doubtless been removed, and one must
-be very cautious with regard to the decoration which remains, as it
-was considerably restored by a mason named James Pink during the
-second half of last century. The screen now carries the organ
-erected in 1826.</p>
-
-<p>“The two side doorways leading into the north and south aisles of
-the choir are somewhat earlier than the screen between them. They
-are beautiful examples of carving, dating from the end of the Early
-English period. The exquisite openwork foliage which runs round the
-arch is executed with the utmost skill and care, and is without the
-laboured effect of so much of our later stone-work. The injured
-parts were carefully restored about 1770 by James Pink, who was
-also employed by Essex on the canopy of the reredos. The doorways
-have modern iron gates.”&mdash;(A. F. K.)</p></div>
-
-<p>The <b>Choir</b> now includes St. Hugh’s Choir and two bays of the Angel Choir
-beyond.</p>
-
-<p><b>St. Hugh’s Choir</b> is the earliest example of pure Gothic in the world.
-People are frequently disappointed in it because of its low vault and
-squat arches; but it must be remembered that the fall of the central
-tower in 1237-1239 greatly damaged this part of the building. In order
-to strengthen the choir some heavy columns without capitals replaced the
-original slender shafts. The arches were also partly reconstructed.
-Arcaded screens between the piers divide the choir from the aisles north
-and south, and aid in the support.</p>
-
-<div class="blockquot"><p>“The foliage of the capitals is exquisitely beautiful, and though
-distinguished technically by the name of <i>stiff-leaf<span class="pagenum"><a name="page_296" id="page_296">{296}</a></span> foliage</i>,
-because there are stiff stalks to the leaves rising from the ring
-of the capital, the leaves themselves curl over in the most
-graceful manner, with a freedom and elegance not exceeded at any
-subsequent period. The mouldings are also as bold and as deep as
-possible, and there is scarcely a vestige of Norman character
-remaining in any part of the work.”&mdash;(R.)</p></div>
-
-<p>Viollet-le-Duc, who fixes the date of St. Hugh’s Choir at 1220 or 1210
-at the earliest, says:</p>
-
-<div class="blockquot"><p>“We have in Normandy, especially in the cathedral of Rouen and the
-church of Eu, architecture of the date of 1190; it is purely
-French, that is to say, it corresponds exactly with the
-architecture of the ‘Isle de France’ except in certain details. At
-Eu, at the cathedral of Le Mans, at Seez, we have architecture
-which resembles that of the choir of Lincoln, but that architecture
-is from 1210 to 1220, it is the Norman school of the Thirteenth
-Century. There is, indeed, at Lincoln, an effort at, a tendency to
-originality, a style of ornament which attempts to emancipate
-itself; nevertheless the character is purely Anglo-Norman.</p>
-
-<p>“The construction is English, the profiles of the mouldings are
-English, the ornaments are English, the execution of the work
-belongs to the English school of workmen of the beginning of the
-Thirteenth Century.</p>
-
-<p>“On the exterior the choir of the Cathedral of Lincoln is
-thoroughly English or Norman, if you will; one can perceive all the
-Norman influence; arches acutely pointed, blank windows in the
-clerestory, reminding one of the basilica covered with a wooden
-roof; a low triforium; each bay of the aisles divided into two by a
-small buttress; shafts banded. In the interior vaults which have
-not at all the same construction as the French vaults of the end of
-the Twelfth Century; arch-mouldings, slender and deeply undercut;
-the abacus round; the tooth-ornament; which do not at all resemble
-the ornaments which we find at Paris, Sens, St. Denis, etc.”</p></div>
-
-<p>The <b>Choir-Stalls</b>, dating from the Fourteenth Century, are among the
-finest in England. Pugin considered them quite the best.<span class="pagenum"><a name="page_297" id="page_297">{297}</a></span></p>
-
-<div class="blockquot"><p>“The stalls are in two rows, the upper of 62 seats, and the lower
-of 46; the former number has now been increased by six and the
-latter by two. The upper stalls have elaborate trefoiled canopies,
-surmounted by an intricate maze of buttresses and pinnacles, rising
-to a height of 24 feet 6 inches above the choir floor. The niches
-above the canopies have recently been filled with statues of saints
-in the Anglican Calendar. The stalls in both rows are provided with
-hinged seats or <i>misereres</i>, intended to serve as supports in the
-long services during which the occupants of the stalls were
-required to stand. These seats, as well as the elbow-rests and
-finials, are richly carved with those grotesque subjects in which
-the Mediæval artist so greatly delighted. The carver has given full
-scope to a most fertile imagination. Scriptural subjects do
-certainly occur on some of the <i>misereres</i> in the upper row, but
-others are of a playful character. The fox is seen preaching to
-birds and beasts, and then running riot among them; monkeys are at
-play, or occupied in the more serious business of hanging one of
-their number and burying him afterwards; we also find men fighting
-with wild animals; the labours of husbandry; kings, knights,
-ladies, dragons, griffins, lions, hogs, and wyverns. Whether there
-is a hidden meaning in any of these quaint subjects, it is perhaps
-difficult now to say, but the preaching fox is certainly
-suggestive.”&mdash;(A. F. K.)</p></div>
-
-<p>At the east end of the stalls on the south side rises the <b>Bishop’s
-Throne</b> with tall Gothic canopy. It was designed by James Essex in 1778,
-and carved by Lumby. Opposite is Sir Gilbert Scott’s <b>Pulpit</b> of carved
-oak (1863-1864).</p>
-
-<p>The brass chandelier of sixteen lights, suspended from the vault, is
-dated 1698; and the brass eagle lectern, 1667.</p>
-
-<p>The stone <b>Reredos</b> is a mixture of work of the Thirteenth Century and
-that of James Essex in the Eighteenth Century. James Pink carved the
-central canopy in 1769 after designs by Essex.</p>
-
-<p>The <b>Eastern Transept</b> was also the work of St.<span class="pagenum"><a name="page_298" id="page_298">{298}</a></span> Hugh. He joined the ends
-by means of an apse, which extended to the second bay of the Angel
-Choir. Some historians say that he was buried in the northern of the
-four chapels that he built along the apse.</p>
-
-<p>St. Hugh died in London in 1200. When his body arrived in Lincoln it was
-met by King John and carried on the shoulders of archbishops and bishops
-to the Choir that he had erected. He was buried on November 24; and,
-according to an old ballad:</p>
-
-<div class="poetry">
-<div class="poem"><div class="stanza">
-<span class="i0">“A’ the bells o’ merrie Lincoln<br /></span>
-<span class="i3">Without men’s hands were rung,<br /></span>
-<span class="i1">And a’ the books o’ merrie Lincoln<br /></span>
-<span class="i3">Were read without man’s tongue;<br /></span>
-<span class="i1">And ne’er was such a burial<br /></span>
-<span class="i3">Sin’ Adam’s days begun.”<br /></span>
-</div></div>
-</div>
-
-<p>Pilgrims came in such numbers to his shrine that it was deemed necessary
-to make his tomb more important, and the apse was removed for the famous
-<b>Angel Choir</b>, which, like the Choir of St. Hugh, marks a new period in
-the history of architecture.</p>
-
-<div class="blockquot"><p>“Thus the Angel Choir of Lincoln was erected to contain the shrine
-of one of Lincoln’s noblest bishops and one of England’s greatest
-saints, whose lowly tomb, placed in a corner at his own desire for
-fear of its being in the way, had become the resort of such a vast
-concourse of pilgrims as to require the transformation of the
-eastern arm of the minster. In 1255, license was obtained from
-Henry III. for the removal of part of the eastern city wall, which
-stood in the way, and in the next year the Angel Choir was probably
-begun. The work was carried on so rapidly that within a quarter of
-a century the translation took place. The choir was not, however,
-fully completed till the Fourteenth Century was well on its way.</p>
-
-<p>“The 6th October, 1280, was the proudest day in the</p></div>
-
-<div class="figcenter"><br />
-<a name="fig_062" id="fig_062"></a>
-<a href="images/fp298.jpg">
-<img src="images/fp298.jpg" height="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Lincoln: Angel Choir</span></p></div>
-</div>
-
-<div class="figcenter"><br />
-<a name="fig_063" id="fig_063"></a>
-<a href="images/fp299.jpg">
-<img src="images/fp299.jpg" width="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Lincoln: Choir, east</span></p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_299" id="page_299">{299}</a></span></p>
-
-<div class="blockquot"><p class="nind">history of the city. Perhaps never, before or since, has such an
-august assembly gathered within her walls. The body of the Saint of
-Lincoln was to be translated to the costly shrine in the centre of
-the Angel Choir. The ceremony was magnificent. Edward himself was
-present, and supported on his own shoulder the saint’s remains as
-they were carried to their new resting-place; with him was his
-beloved queen Eleanor, whose effigy was so soon to be placed
-beneath the same roof. The king and queen were accompanied by
-Edmund, Earl of Kent, brother of Edward, and his wife; the Earls of
-Gloucester and Warwick; the Archbishop of Canterbury; the bishops
-of Lincoln, Bath, Ely, Norwich, Worcester, Llandaff, Bangor, and
-St. Asaph; the bishop-elect of Exeter; and two hundred and fifty
-knights. The shrine, ornamented with gold and silver and precious
-stones, was raised on a lofty stone pedestal, and about thirty
-years after was protected by an iron grille, wrought by Simon the
-Smith. It is recorded that the fastenings of the grille were still
-to be seen in the pavement at the middle of the last century, but
-all traces have now entirely disappeared. It must have been soon
-after the translation that the head was removed from the body, and
-enclosed in a metal case, enriched with gold and silver and
-precious stones. A keeper was appointed to guard the precious relic
-during the day, and two had this charge at night. Yet, in spite of
-all such precautions, it was stolen from the church in the year
-1364; the head was thrown into a field, and the case sold in London
-for twenty marks. The thieves were robbed of their ill-gotten gains
-on their way back, and were afterwards convicted of the crime, and
-hanged at Lincoln. The head was found and restored to the
-cathedral. The treasurer, John de Welburne (d. 1380), either
-restored the old shrine or made a new one of the same
-materials.”&mdash;(A. F. K.)</p></div>
-
-<p>Fergusson called the Angel Choir “the most beautiful presbytery in
-England.” It dates from 1256 to 1280, when the Early English was merging
-into the Decorated. The sculptural angels that ornament the spandrels of
-the triforium account for the name.<span class="pagenum"><a name="page_300" id="page_300">{300}</a></span></p>
-
-<div class="blockquot"><p>“It is in five bays carried eastward at a uniform height and
-breadth with the choir of St. Hugh. Lincoln stone is used
-throughout, relieved with shafts and capitals of Purbeck marble.
-The spandrels of the great arches, which are plain in other parts
-of the building are here decorated with sunk geometrical forms.
-Each bay of the triforium is divided, as elsewhere, into two
-arches, both of which enclose two sub-arches; but the details are
-richer than in the earlier parts of the minster. The clerestory has
-one window of four lights in each bay, with an eight-foil and two
-trefoils in the head. The compartments of the vault were originally
-coated with plaster, which has been scraped away so as to shew the
-stone surface underneath. It is a question whether it does not now
-look better than with the old plaster, and the gaudy colouring
-which once, most probably, decorated it. The springers of the
-vaulting are supported by slender shafts, which rest on elaborately
-foliaged corbels in the spandrels of the great arches. The
-beautiful foliaged bosses along the ridge rib are best seen from
-the triforium or the clerestory.”&mdash;(A. F. K.)</p></div>
-
-<p>In olden times the Angel Choir contained the Shrine of St. Hugh and a
-monument to Queen Eleanor, of which the one now standing in Westminster
-Abbey is probably a copy. It was an altar-monument of marble with the
-Queen’s effigy in gilded brass, and was destroyed during the Civil Wars
-in the Seventeenth Century. Eleanor died not far from Lincoln, from
-which city the funeral procession started to London. A modern stone
-monument, with a brass effigy of Queen Eleanor, was placed under the
-East Window in 1891.</p>
-
-<p>Just behind the reredos there is a row of four table-tombs. The north
-one was placed there by Bishop Fuller, to mark the resting place of <b>St.
-Hugh</b>; next comes <b>Bishop Fuller</b> himself (died 1675); next, <b>Bishop
-Gardiner</b> (died 1705); and next, <b>Subdean Gardiner</b> and his daughter,
-Susanna (died 1731 and 1732). Near the latter stands the<span class="pagenum"><a name="page_301" id="page_301">{301}</a></span> alabaster and
-red marble monument to <b>Dean Butler</b> (died 1894). In corresponding
-position and next to St. Hugh’s tomb we see <b>Bishop Wordsworth’s</b> effigy
-under a tall ornate Gothic canopy. This Bishop of Lincoln (died 1885),
-was a nephew of William Wordsworth. Nearer the East Window we find a
-group of Fourteenth Century monuments to the <b>Burghersh</b> family, one of
-whom was Bishop of Lincoln (1320-1340), and another, a hero of Crécy,
-and Constable of Dover, and Warden of the Cinque Ports. Opposite is the
-monument to <b>Nicholas de Cantelupe</b> (died 1355), a mutilated effigy under
-a Gothic canopy. Near it lies <b>Prior Wimbische</b>. His effigy, also
-headless, lies under a canopy.</p>
-
-<p>Leland, writing in the time of Henry VIII., mentions two mutilated
-tombs: <b>Catherine Swynford</b>, the third wife of John of Gaunt, made Earl of
-Lincoln in 1362, and that of her daughter, Joan Beaufort, who married
-the Earl of Westmoreland.</p>
-
-<p>On the north side of the choir is the <b>Easter Sepulchre</b>, a fine piece of
-Thirteenth Century carving, in the Decorated style. It consists of four
-canopies with trefoiled arches. Three sleeping soldiers ornament three
-of the panels.</p>
-
-<p>On a spandrel on the north side, under a corbel above the most easterly
-pier, sits the <b>Lincoln Imp</b>&mdash;one of those grotesques that the Mediæval
-carvers delighted in creating; and here he has been sitting with crossed
-leg and grinning grimly for centuries. He is of the same family as <b>The
-Devil Looking over Lincoln</b> (<a href="#page_309">see page 309</a>).</p>
-
-<p>In the <b>South Aisle</b> of the choir we pause again before another spot,
-sacred in Mediæval days. Here stood until the Seventeenth Century the
-<b>Shrine of</b><span class="pagenum"><a name="page_302" id="page_302">{302}</a></span> <b>Little St. Hugh</b>, a child said to have been crucified by the
-Jews in 1255. According to the ballads the ball of the eight-year-old
-boy fell into a Jew’s garden; and when he ran in to get it, the Jews
-murdered him.</p>
-
-<p>The canons of Lincoln obtained the body and buried it in the Cathedral.
-Hugh became a local saint; and the Jews of Lincoln were promptly
-persecuted. When the stone coffin was opened in 1791, the skeleton of a
-child three feet long, encased in lead, was found.</p>
-
-<p><b>Henry of Huntingdon</b> (died about 1155), the chronicler of Lincoln, was
-also buried in this aisle.</p>
-
-<p>On the north and south of the Angel Choir is a small chantry. That on
-the north is the <b>Fleming Chantry</b>, built by Richard Fleming, Bishop of
-Lincoln in 1419-1431, and the corresponding one the <b>Russell Chantry</b>,
-built by John Russell, who held the See from 1480 to 1494. This is
-similar to the Fleming Chantry, Perpendicular in style. Very similar is
-the <b>Longland Chantry</b>, on the other side of the south door, or Bishop’s
-Porch. This chantry was built by John Longland, Bishop of Lincoln, in
-1521-1547.</p>
-
-<p>There is no Lady-Chapel.</p>
-
-<p>The great <b>East Window</b> is the finest specimen of its kind in England. It
-is formed of eight lights; and the great wheel of the head is composed
-of a six-foil, surrounded by six quatrefoils.</p>
-
-<div class="blockquot"><p>“Bar-tracery being fully developed, the general appearance of ‘the
-window is rather Decorated than Early English, but the mouldings
-still belong to the earlier style.’ ‘This window ... together with
-the whole of that part of the choir is singularly and beautifully
-accommodated to the style of the rest of the building.’<span class="lftspc">”</span>&mdash;(R.)</p></div><p><span class="pagenum"><a name="page_303" id="page_303">{303}</a></span></p>
-
-<p>The glass is modern and deals with scenes from the life of Christ, and
-the Old Testament.</p>
-
-<div class="blockquot"><p>“The aisle windows are each of three lights, with three circles in
-the head, two filled with cinquefoils and one with a quatrefoil.
-The two east windows of the aisles are similar to the others. The
-wall below the windows is decorated all round with arcading of a
-richer design than that in the nave. Two trefoiled arches are
-included in a larger arch, with a quatrefoil within a circle
-filling the head. The spandrels have sunk trefoils. The bosses of
-the stone vaults to the aisles are carved with sacred subjects,
-foliage, and grotesque figures.</p>
-
-<p>“The east windows of the north and south aisles are filled with
-beautiful stained glass of the Early English period. The subjects
-are arranged within medallions, and, though somewhat difficult to
-decipher, appear to represent scenes in the lives of two saints
-whose story has many points of resemblance&mdash;St. Thomas of
-Canterbury and St. Hugh of Lincoln. The glass is said to have been
-moved about the end of the last century from the windows of the
-nave aisles. The date of the medallions may be placed towards the
-middle of the Thirteenth Century, about the time of the erection of
-the nave, and, of course, earlier than the windows which they now
-occupy. The <i>grisaille</i> into which they are now reglazed, is
-considered by Westlake to be the earliest in England.”&mdash;(A. F. K.)</p></div>
-
-<p>One of St. Hugh’s characteristics was the peculiar double arcading on
-his walls. We find it in the choir and transepts.</p>
-
-<p>The <b>Western Transept</b> was begun by St. Hugh; and his work is thought to
-end at the walls of the six chapels that run along the eastern side.
-These are dedicated to St. Nicholas, St. Denis, St. James, St. Edward
-the Martyr, St. John the Evangelist and St. Giles, and are separated
-from the transept by screens placed between the piers. Four of these
-screens are of carved oak and date from the Fifteenth Century; but the
-one of carved stone is of<span class="pagenum"><a name="page_304" id="page_304">{304}</a></span> the Fourteenth. The western transept is famed
-for its two large circular windows in each end. As one looked upon the
-Deanery and the other upon the Bishop’s Palace, they were called
-respectively the Dean’s Eye and the Bishop’s Eye. These nicknames appear
-in the <i>Metrical Life of St. Hugh</i>, written between 1220 and 1225.</p>
-
-<p>The <b>Dean’s Eye</b>, in the north end, dates from about 1220. Here we have
-not only exquisite tracery, but splendid glass of the Thirteenth
-Century.</p>
-
-<div class="blockquot"><p>“It represents the Church on Earth and the Church in Heaven. In the
-centre is our Saviour seated in the midst of the Blessed in Heaven.
-Around are four large compartments, containing portions of
-different subjects, which do not appear to have all originally
-belonged to their present positions. The most interesting is that
-shewing the translation of the relics of St. Hugh, represented as
-borne on the shoulders of crowned and mitred personages. Of the
-sixteen outer circles, the topmost represents our Saviour seated on
-a rainbow; on either side are angels with the instruments of the
-Passion; in the next circles St. Peter and other saints are
-conducting holy persons to heaven; below these is the general
-Resurrection; the lowest five circles each contain the figure of an
-archbishop or bishop. The subjects can be best seen from the
-neighbouring triforium or from the passage which runs just beneath
-the window; it will be noticed that the glass in some of the
-compartments is much mutilated, as might naturally be expected,
-considering its antiquity. From below, the subjects are confused
-and not easy to distinguish, but the rich and harmonious blending
-of the colours can be seen to the fullest advantage, and the
-general effect is much finer. Rickman believes the form of the
-tracery to be quite unique in England, but states that there is a
-window exactly similar at Laon.”&mdash;(A. F. K.)</p></div>
-
-<p>An arcade of seven lancet arches runs beneath the window. The wall
-behind is pierced with win<span class="pagenum"><a name="page_305" id="page_305">{305}</a></span>dows filled with fragments of old glass. Two
-larger lancet windows brighten each side of the doorway. They contain
-fragments of old glass. The western one represents angels playing
-musical instruments in the midst of foliage. The other window is filled
-with geometrical patterns. The doorway leads into the Dean’s Porch.</p>
-
-<p>The <b>Bishop’s Eye</b>, at the south and opposite end, is about a hundred
-years later than its companion. It is Fourteenth Century and Decorated.</p>
-
-<div class="blockquot"><p>“It is filled with delicate and beautiful flowing tracery, which
-has been compared to the fibres of a leaf. Rickman considers it to
-be the richest remaining example of its period. It is enclosed
-within a kind of arch formed by two rows of openwork quatrefoils;
-an open frame-work of a similar nature is often to be seen round
-circular windows in French cathedrals. The glass consists of
-fragments from other windows, chiefly of the Early English period.
-Although the pieces are placed quite at random, forming no subject
-whatever, yet the effect of the colouring is good, especially when
-seen from the opposite end of the transept. Of all the modern
-windows in the minster, with their elaborate subjects, it may
-safely be said that not one can be compared in effect with this
-mass of glowing colour.”&mdash;(A. F. K.)</p></div>
-
-<p>The four lancet windows below contain Early English glass, collected
-from various parts of the Cathedral.</p>
-
-<p>Near the Bishop’s Eye <b>John de Dalderby’s</b> shrine was situated. This was
-of “massey silver” incrusted with diamonds and rubies. John de Dalderby,
-Bishop of Lincoln from 1300 to 1320, was reverenced as a local saint.
-Henry VIII. removed his altar-tomb, fragments of which may be seen near
-the <b>Galilee Porch</b>, situated at the corner of the south arm of the
-western transept, different in<span class="pagenum"><a name="page_306" id="page_306">{306}</a></span> position to the Galilees of both Durham
-and Ely. Lincoln’s was built about 1230 for the bishop’s state entrance.
-The south and west ends are open; and it may, therefore, be entered from
-either. Two enormous oak doors open from the east side into the
-transept. The porch is vaulted and ornamented profusely with the
-dog-tooth. The Perpendicular parapet running along the top of the porch
-is, of course, a later addition.</p>
-
-<p>Retracing our steps&mdash;no great hardship in a place of such beauty and
-interest&mdash;we walk up the south-choir-aisle to the <b>Eastern Transept</b>,
-where we have two semicircular chapels on the right hand, and on the
-left the <b>Dean’s Chapel</b>. We are now at St. Hugh’s earliest work; and his
-double arcading is again seen in the north wall leading to the
-cloisters. Here also we find on two of the columns crockets that were
-novelties at this period. They occur at Wells, the work of Jocelin. The
-name of Dean’s Chapel is a misnomer&mdash;no one knows what it was used for
-originally. It has been suggested that it was the original burial-place
-of St. Hugh.</p>
-
-<p>Two semicircular chapels also border the eastern side of the south end
-of this transept, and the <b>Choristers’ Vestry</b> occupies the corresponding
-corner to the Dean’s Chapel. A stone screen (Decorated) separates it
-from the south aisle of St. Hugh’s Choir. The double arcading and
-sculptured angels are constantly seen. Two other vestries lie beyond,
-towards the south wall.</p>
-
-<p>By means of an oak doorway, leading from the north wall of the eastern
-transept, we enter a long, narrow passageway, with stone vaulting and
-windows filled with tracery and glass. This takes us into the Cloisters,
-for at Lincoln these secluded</p>
-
-<div class="figcenter"><br />
-<a name="fig_064" id="fig_064"></a>
-<a href="images/fp306.jpg">
-<img src="images/fp306.jpg" height="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Lincoln: East Window</span></p></div>
-</div>
-
-<div class="figcenter"><br />
-<a name="fig_065" id="fig_065"></a>
-<a href="images/fp307.jpg">
-<img src="images/fp307.jpg" width="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Southwell from North-west</span></p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_307" id="page_307">{307}</a></span></p>
-
-<p class="nind">walks lie on the north instead of the usual south side of the Cathedral.</p>
-
-<p>Only three walks remain of the original constructions dating from the
-end of the Thirteenth Century. The fourth walk (north) was replaced by a
-colonnade, designed by Sir Christopher Wren, in 1674, whose uncle was
-Bishop of Lincoln at that time.</p>
-
-<p>From the east walk of the Cloister we enter the <b>Chapter-House</b>, which
-dates from the early Thirteenth Century. It is a decagon, with two
-lancet windows in each bay. First, on entering, we note the massive
-central column with its ten Purbeck marble shafts banded together in the
-middle. The Chapter-House has been restored, but it has not suffered.
-The glass in the windows is modern. The arcade running below the windows
-is ornamented with shafts of Purbeck marble, foliaged capitals, and a
-great display of the dog-tooth. The stone vault is later than the rest
-of the room and is very graceful.</p>
-
-<p>Many fine views can be had of the East Front. The splendid Decorated
-window is always the most conspicuous object. The window above it is
-also Decorated and nearly fills the gable. In the trefoil over the top
-circle is a figure of the Virgin. The richly crocketed pyramids of the
-turrets on either side make a beautiful effect. The aisle windows are
-separated from the big window by bold buttresses. Around the base runs
-the arcade that we constantly find at Lincoln. The Chapter-House with
-its sharply-pointed pyramidal roof groups beautifully with the rest of
-the Cathedral.</p>
-
-<p>Next we look at the <b>Angel Choir</b>, with its crocketed gables and
-pinnacles, its elaborate tracery,<span class="pagenum"><a name="page_308" id="page_308">{308}</a></span> and panelled buttresses that divide
-it into five bays. Grotesque figures project from all of these gables.
-One represents an <b>Imp on the back of a Witch</b>. Large windows with rich
-tracery fill the wall spaces here.</p>
-
-<p>Next we reach the beautiful <b>South Doorway</b> with the <b>Russell</b> and <b>Longland
-chantries</b> (Perpendicular) on either side.</p>
-
-<div class="blockquot"><p>“It was probably constructed, like the Galilee doorway, as a state
-entrance for the bishop. The porch fills the third bay, and
-projects as far as the buttresses; its sides recede inwards to the
-pair of doors giving access to the Angel Choir. Although the
-doorways of our cathedrals, as a rule, cannot in any way be
-compared with the magnificent portals to be seen in France, yet
-this single example of Lincoln would be quite enough to prove that
-English architects were capable of designing a really magnificent
-doorway. In the tympanum is the subject of the Last Judgment in
-relief. The archivolt is richly decorated with sculpture. In the
-inner band is a row of niches with twelve seated figures,
-apparently kings and queens: next a double band of delicate
-open-work foliage; outside this a row of sixteen slender standing
-figures enclosed by interlacing stems, richly decorated with
-foliage. The doorway is formed of two cinquefoiled arches,
-separated by a central pillar having the canopy and base for a
-figure of the Virgin, which has been removed. On either side of the
-doorway is a triple canopy for statues, and behind this a row of
-slender columns with foliated capitals.”&mdash;(A. F. K.)</p></div>
-
-<p>Next come St. Hugh’s two semicircular chapels, and then St. Hugh’s
-transept, slender and filled with so many windows that the wall space is
-nearly taken up by them. On top of each of the two turrets, surmounted
-by pyramidal roofs, stands an angel. Next comes the <b>Canon’s Vestry</b> and
-then the western transept with the conspicuous <b>Bishop’s Eye</b>. We pause to
-admire this beautiful window<span class="pagenum"><a name="page_309" id="page_309">{309}</a></span> from the outside and then look above it at
-the horizontal band of seven elaborately carved quatrefoils. Above this
-again is a Fourteenth Century window with flowing tracery. Around the
-gable runs a border of open Gothic tracery. The peak bears a cross.</p>
-
-<p>Next comes the <b>Nave</b>, the seven bays of which are separated by
-buttresses. Over the roof of the aisle flying buttresses are thrown. A
-slender buttress also separates the windows of the aisle. The clerestory
-windows are in groups of three. Over the clerestory is a wavy parapet of
-the Fourteenth Century, where stand canopied niches for statues.
-Grotesque figures project from their bases. Grotesque figures also
-project from the crocketed roofs of the pinnacles of the great transept.</p>
-
-<p>The chapel, used as the Consistory Court, follows with two windows
-facing south and two east. On the east end of the latter, in front of
-the windows, our eyes are arrested by the grotesque <b>Devil Looking over
-Lincoln</b>. The sculptured figures near by are pilgrims. Next comes <b>St.
-Hugh’s Chapel</b>, or the Ringers’ Chapel, with one window facing the south.</p>
-
-<p>From the road at the north-east corner we get a good general view of the
-Cathedral and the Chapter-House. St. Hugh’s transept is hidden, but we
-can see the end of the western transept with the <b>Dean’s Eye</b>&mdash;the large
-quatrefoil encircled by sixteen small circles. The lancet window of five
-lights in the gable above it is also visible.</p>
-
-<p>The second bay on the north side of the Angel Choir contains the <b>Fleming
-Chantry</b>, on which the two chapels on the south side were modelled. Then
-we come to the north doorway of the <b>Angel</b><span class="pagenum"><a name="page_310" id="page_310">{310}</a></span> <b>Choir</b>, corresponding to the
-more ornate entrance on the south.</p>
-
-<p>We have now completed our survey of the Cathedral and have not yet
-noticed the <b>Central Tower</b>, considered by many critics the finest tower
-in England. It rises to a height of 271 feet. Two lofty windows adorn
-each side of the upper story with their crocketed pillars and canopied
-heads. Octagonal panelled turrets, surmounted by pinnacles, ornament the
-four corners. Grosseteste’s lattice-work pattern covers the lower part
-within and without. The tower in its present state dates from 1775, when
-James Essex built the parapet and advised battlements and pinnacles
-instead of a spire. The tall spire of timber, coated with lead, that
-completed the tower of 1311, was blown down in 1547, carrying the
-parapet with it; and again in 1715 three of the pinnacles were blown
-down and replaced in 1728. In 1883 the western side was damaged by a
-storm, but was repaired. Here “Great Tom of Lincoln,” the fourth largest
-bell in England (5 tons, 8 cwt.), seven feet in diameter, hangs. Too
-large to ring, the hours are struck on it with a hammer.</p>
-
-<p>The original <b>Great Tom</b> hung in the north-west tower.</p>
-
-<div class="blockquot"><p>“It is not known how it was acquired; some say it was a gift,
-others say it was stolen from the Abbey of Beauchief, Derbyshire,
-or from Peterborough. The origin of its name, too, has been a
-subject of dispute. Stukeley considered it possible that it had
-been consecrated to St. Thomas of Canterbury. Others think it took
-its name from that of the old bell of Christ Church, Oxford, which
-bore the curious inscription, <i>In Thomae laude, resono Bim Bom sine
-fraude</i>. It should be remembered that Oxford was in the diocese of
-Lincoln in olden days, and that several Bishops of Lincoln were
-chancellors of Oxford. Wherever<span class="pagenum"><a name="page_311" id="page_311">{311}</a></span> the first ‘Great Tom’ came from,
-it was recast in the minster yard by two bell founders from
-Nottingham and Leicester early in the Seventeenth Century, when the
-weight was increased from 8,743 pounds to 9,894⅛ pounds. ‘The
-bell was cast and hung upp and upon Sonday the xxvij of this month
-[January, 1611] ronge owte and all safe and well.’ It was tolled
-until 1802, when it was found that this process shook the tower too
-much. The following extract from the <i>Stamford Mercury</i> of the 6th
-August, 1802, is given by North in his ‘Church Bells of
-Lincolnshire’:&mdash;‘Great Tom o’ Lincoln is to be rung no more! The
-full swing of four tons and a half is found to injure the tower
-where he hangs. He has therefore been chained and riveted down; so
-that instead of the full mouthful he has been used to send forth,
-he is enjoined in future merely to wag his tongue.’ Towards the end
-of the year 1827 experienced ears detected that something was
-wrong, and by Christmas it became plainly evident that the bell was
-cracked. It was finally decided to have it recast in a larger size.
-For this purpose it was broken to pieces with its own clapper, and
-sent to London. To provide the extra metal, the six Lady Bells were
-unfortunately sacrificed. The cathedral thus lost the distinction
-of being the only one in the kingdom possessed of two rings of
-bells. ‘Great Tom’ was recast by Thomas Mears at the Whitechapel
-Bell foundry on the 15th November, 1834. It was taken by road to
-Lincoln, drawn by eight horses, and raised to its new position in
-the central tower. Two new quarter bells, cast at the same time,
-were also hung in this tower. The number of quarter bells was
-increased in 1880 to four.”&mdash;(A. F. K.)</p></div>
-
-<p>The six “Lady Bells,” referred to above, hung in this central tower (see
-page 294). When they were removed in 1834 it was seen that four were
-dated 1593; one, 1633; and one, 1737.</p>
-
-<p>In the Thirteenth Century the <b>Minster Yard</b>, as many still call the
-Cathedral Close, was enclosed by a wall. Several massive gates formed
-the entrances. Of these the <b>Exchequer</b>, a large arch<span class="pagenum"><a name="page_312" id="page_312">{312}</a></span>way, with a postern
-on each side and an upper story, remains at the western end. <b>Pottergate
-Arch</b>, at the top of the new road, shows us what an early Fourteenth
-Century single gate was like. Near it the <b>Grecian Stairs</b> lead up to the
-Close.<span class="pagenum"><a name="page_313" id="page_313">{313}</a></span></p>
-
-<h2><a name="SOUTHWELL" id="SOUTHWELL"></a>SOUTHWELL</h2>
-
-<p class="nind"><span class="smcap">Dedication: St. Mary.</span></p>
-
-<p class="nind"><span class="smcap">Chief feature: Chapter-House.</span></p>
-
-<p>For many centuries the Church of St. Mary, Southwell, was under the
-dominion of York. The clergy had many privileges, held property, lived
-in their own houses, like country gentlemen, and hunted in the forests
-which Robin Hood and his merry men had made romantic; for Southwell is
-not far from legendary Sherwood.</p>
-
-<p>The church became a Cathedral in 1884. It dates in the main from the
-Twelfth Century, though a few fragments are older. It is supposed that
-the first Saxon church was destroyed by the Danes; the next is said to
-have been built by King Edgar in 960; and in the time of Henry I. was
-rebuilt in the Norman style. Walter de Grey, Archbishop of York (see
-page 264), rebuilt the nave of Southwell, and was assisted by John
-Romeyn, subdean (<a href="#page_264">see page 264</a>).</p>
-
-<div class="blockquot"><p>“In the Curvilinear Period (1315-1360) was erected quite the
-loveliest choir-screen in England; next comes that of Lincoln,
-evidently by the same hand. Eastern and western sides are entirely
-different in design; on the western side the artist parts
-reluctantly with the beautiful geometrical design of the Thirteenth
-Century; on the eastern side he accepts unreservedly the reign of
-the ogee arch. Magnificent sedilia and stone stalls of similar
-character were erected, which only survive in part. Very beautiful,
-too, is the cusping of the reticulated windows inserted in the
-north transept chapel. The upper parts of the Chapter-House and the
-north transept chapel also were<span class="pagenum"><a name="page_314" id="page_314">{314}</a></span> remodelled in the Curvilinear
-Period. For two hundred years and more, the highest and best of
-Mediæval art found cultivated and wealthy patrons in the canons of
-Southwell. Norman, Lancet, Geometrical, Curvilinear work are all
-seen here at their best. Few of our cathedrals, from the point of
-view either of architectural design or sculptural detail, can be
-mentioned in the same breath with Southwell. It is one of the
-greatest delights of Southwell that this lovely minster is little
-known and almost unvisited: one feels as if one were ‘the first
-that ever burst into the silent sea’!”&mdash;(F. B.)</p></div>
-
-<p>The general appearance of the Cathedral is Norman.</p>
-
-<div class="blockquot"><p>“The <span class="smcap">West Front</span> has been altered in character from its original
-Norman work. We see a huge Perpendicular window with an embattled
-parapet over it, an alteration made in the Fifteenth Century. The
-windows in the lower stages of the towers are modern imitations of
-Norman work. The towers have seven stages and the sixth is enriched
-with fine arcading composed of intersecting arches. The present
-spires are modern imitations of the originals destroyed by fire in
-1711. These were immediately restored but removed in 1802, and have
-now again been replaced. The old Norman doorway is remarkably fine.
-It has five orders, the zigzag and the filleted edge roll being the
-chief mouldings.</p>
-
-<p>“Passing to the south side we see the walls of the nave pierced by
-apparent Norman windows, but these are modern imitations. The most
-western window in the north side is the only original Norman
-window; the rest are copied from it, and were erected in 1847. Four
-Perpendicular windows were inserted in the Fifteenth Century. There
-is a row of small square windows above which light the triforium,
-and the clerestory has a curious series of circular windows which
-are unique in this country. The roof is high-pitched, having been
-erected in modern times by the architect Christian, and the
-parapets are Perpendicular in style. The south doorway should be
-noticed, of Norman workmanship with zigzag string-course over
-it.”&mdash;(P. H. D.)</p></div><p><span class="pagenum"><a name="page_315" id="page_315">{315}</a></span></p>
-
-<p>The Choir is Early English and much resembles that of Lincoln. The
-dog-tooth is very evident. The windows are lancet. The two
-flying-buttresses on the south were added in the Decorated period.</p>
-
-<p>The Chapter-House is on the north, and its similarity to that of York
-will strike every one who has seen the <i>flos florum</i> of the great
-Minster of the north. It is supposed the same architect (probably John
-Romeyn) designed both. This is octagonal. The windows are of three
-lights, with trefoil and circular ones in the heads. The roof is modern.</p>
-
-<p>The North porch is much admired. The inner doorway has a zigzag and
-beak-head moulding. In the parvise above (very unusual in a porch of
-this date), the wife of William Clay, a hunted Royalist, was hidden
-during the Civil War. Here her child was born.</p>
-
-<p>We enter by the west door and gain a view of the <b>Nave</b>.</p>
-
-<div class="blockquot"><p>“Looking down the nave (1110-1150) we are impressed by the massive
-appearance of the interior. The piers are rather short, only 19
-feet high, six on each side, with square bases and round capitals.
-The triforium is large, and above is the clerestory with its unique
-plain circular windows. The Norman mouldings, zigzag, billet,
-hatchet, etc., are easily recognized. The present roof was erected
-in 1881. The Font, erected in 1661, is a poor substitute for the
-one destroyed by the soldiers of Cromwell. The Pulpit is modern.
-The second pillar from the east on the south side is called Pike’s
-Pillar, and retains faint traces of a mural painting of the
-Annunciation; the nave aisles have some good vaulting. A plain
-stone bench runs along the walls. This was common in old churches
-and was the origin of the saying ‘Let the weakest go to the wall,’
-where they could sit and rest, as the days of pews were not yet.
-The only original Norman window which remains is at the west end of
-the north aisle.”&mdash;(P. H. D.)</p></div><p><span class="pagenum"><a name="page_316" id="page_316">{316}</a></span></p>
-
-<p>The <b>Transepts</b> are Norman. At the east end of each the original plan
-included an apsidal chapel. The south transept still retains the arch
-with its zigzag and cable mouldings that connected it with the transept.
-The chapel at the east end of the north transept has also gone, but here
-we find on its site a Late Early English construction, with still later
-windows (Decorated). In the upper floor the Library is situated.</p>
-
-<p>The <b>Tower</b> is Norman, built in 1150. A cable moulding runs around the
-four large arches. It contains a peal of bells.</p>
-
-<div class="blockquot"><p>“A stone screen of rich Decorated work separates the transept from
-the choir, over which is now the organ (a modern instrument). The
-screen is richly ornamented, and a noble specimen of the work of
-the period. There are three arches opening to the space beneath the
-tower, separated by slight piers of clustered shafts, the capitals
-carved with foliage of a Late Decorated character. The walls of the
-screen support the old rood-loft, access to which is gained by two
-staircases.</p>
-
-<p>“Entering the Choir we see on each side of the doorway three
-prebendal stalls with <i>misereres</i>, on which are carved some
-foliage. The Bishop’s Stall was once occupied by Cardinal Wolsey.
-The choir was built by Archbishop Grey in Early English style
-(1230-1250). There are six arches, with piers of eight clustered
-shafts. The dogtooth moulding is conspicuous in the arches and on
-the vaulting of the roof. It will be noticed that the triforium and
-clerestory are blended together. The east window consists of two
-rows of lancets, the lower ones containing old glass brought from
-Paris in 1815, where it was formerly in the Chapel of the Knights
-Templar. The Baptism of Our Lord; Raising of Lazarus (Francis I. is
-to be seen in a crimson cap); Christ entering Jerusalem (Luther is
-near Our Lord, Louis XI. and the Duke of Orleans); the Mocking of
-Our Lord (the figure of Dante appears).</p>
-
-<p>“The Sedilia were erected in 1350 and are good Decorated</p></div>
-
-<div class="figcenter"><br />
-<a name="fig_066" id="fig_066"></a>
-<a href="images/fp316.jpg">
-<img src="images/fp316.jpg" height="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Southwell: Chapter-House and Door</span></p></div>
-</div>
-
-<div class="figcenter"><br />
-<a name="fig_067" id="fig_067"></a>
-<a href="images/fp317.jpg">
-<img src="images/fp317.jpg" width="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Peterborough: West front</span></p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_317" id="page_317">{317}</a></span></p>
-
-<div class="blockquot"><p class="nind">work. They have the unusual number of five seats on the same level.
-The arches are ogee-shaped and are richly carved. The sculptured
-figures are remarkable, and represent the Creation and the
-Redemption. Beginning at the east we see the Father holding the
-world (two groups uncertain), Joseph’s Dream, the Nativity and
-Flight into Egypt.</p>
-
-<p>“The Lectern belonged to the monks of Newstead Abbey, who threw it
-into the lake to hide it from the commissioners of Henry VIII. Its
-date is about 1500.”&mdash;(P. H. D.)</p></div>
-
-<p>Entering a beautiful doorway in the north-choir-aisle we pass through a
-vestibule into the <b>Chapter-House</b>.</p>
-
-<div class="blockquot"><p>“The transition between the Early English work of the choir and the
-Decorated style of the Chapter-House is very gradual. The doorway,
-with its two arches and shafts of Purbeck marble, is remarkably
-fine. There is a small cloister court, with a stone-covered well.
-In the vestibule we see the walls covered with beautiful arcading
-of lancet arches of an Early English character. The capitals are
-beautifully carved with foliage. There is a curious boss of
-sculpture representing a secular priest shaking the regular monk by
-the hair, which figuratively depicts the supremacy of the former in
-the church of Southwell.</p>
-
-<p>“The Chapter-House (1285-1300) is described by Ruskin as ‘the gem
-of English architecture,’ and all architects agree in singing the
-praises of this noble building. It much resembles that of York, but
-is smaller and perhaps more beautiful. It is octagonal, has no
-central pillar, and is remarkable for its fine sculpture. The
-historian of Southwell says: ‘The foliage everywhere is most
-beautiful: the oak, the vine, the maple, the white-thorn, the rose,
-with a vast variety of other plants, are sculptured with exquisite
-freedom and delicacy; and no two capitals, or bosses or spandrels
-are found alike. Everywhere we meet, in ever-changing and
-ever-charming variety, with some fresh object of interest and
-admiration. Figures are introduced amid the foliage, heads with
-branches issuing out of their mouths, birds and lizard-like
-monsters. In the<span class="pagenum"><a name="page_318" id="page_318">{318}</a></span> capitals a man reclines beneath a tree, puffing
-lustily at a horn, or a goat is gnawing the leaves, or a bird
-pecking the berries, or a pair of pigs are grunting up the acorns,
-or a brace of hounds just grabbing a hare. All this is the work of
-no mere chiseller of stone, but of a consummate artist; than whom
-it may be doubted whether any sculptor of any age or country ever
-produced anything more life-like and exquisitely graceful.’ The
-entrance doorway is remarkably fine and is worthy of close study.
-The main arch is divided into two by a slender shaft, and over them
-is a quatrefoiled circle of beautiful design. The leaf ornament is
-largely used, both in the smaller arches and in the main arch.
-Filleted rounds and hollows are the other mouldings used.”&mdash;(P. H.
-D.)</p></div><p><span class="pagenum"><a name="page_319" id="page_319">{319}</a></span></p>
-
-<h2><a name="PETERBOROUGH" id="PETERBOROUGH"></a>PETERBOROUGH</h2>
-
-<p class="nind"><span class="smcap">Dedication: St. Peter. Church of a Benedictine Monastery.</span></p>
-
-<p class="nind"><span class="smcap">Special Features: The West Front; the New Building.</span></p>
-
-<p class="nind"><span class="smcap">The</span> great fenland monastery of St. Peter, the holy house of
-Medeshampstead, attracting houses around it, grew into a borough, and
-finally into a city&mdash;Peterborough. The village was first called
-Medeshampstead&mdash;homestead in the meadows. For centuries the settlement
-had no interests outside the monastery. In the Seventh Century Penda,
-King of Mercia, and his family were converted to Christianity, and it
-was his son Penda who founded the monastery here in 654. The first
-monastery was destroyed by the Danes in 870. It lay in ruins for a
-hundred years. With the religious revival under Duncan and King Edgar,
-the holy house of Medeshampstead was rebuilt by Bishop Ethelwold, of
-Winchester, and henceforth known as the Burgh.</p>
-
-<p>The foundations of the old Saxon church still remain under the east wall
-of the south transept. It is related that when King Edgar visited the
-monastery and saw some old deeds he wept for joy on reading the
-privileges of the place and granted a new charter renewing and
-confirming these. The church seems to have been, even in those days,
-dedicated to St. Peter. The Abbey flourished for a time; then it was
-plundered by Hereward, the Saxon leader, and suffered also from fire
-while the<span class="pagenum"><a name="page_320" id="page_320">{320}</a></span> monks were carousing. In the time of Henry I. a great fire
-destroyed the whole building. The picturesque imagination of the period
-attributed it to a servant, who, trying unsuccessfully to light a fire
-in the bakehouse, lost his temper and called upon Satan for aid, crying
-“<i>Veni, Diabole, et insuffla ignem.</i>”</p>
-
-<p>John de Sais, who was then Abbot (1114-1125), began the building of a
-new minster, the one that we now see. As usual the work was begun at the
-east end. The choir was finished with an apse. A small apse also
-terminated each choir-aisle. The whole church was in progress of
-building for eighty years. This was all Norman work of course.</p>
-
-<p>The western transept, dating from the close of the Twelfth and beginning
-of the Thirteenth Century, shows a change.</p>
-
-<div class="blockquot"><p>“The Norman style was giving place to the lighter and more elegant
-architecture of the Early English period, the round arch was
-beginning to be superseded by the pointed arch, and the massive
-ornamentation which marks the earlier style was displaced by the
-conventional foliage that soon came to be very generally employed.
-Most wisely, however, the Peterborough builders made their work at
-the west end of the nave intentionally uniform with what was
-already built. Very numerous indications of this can be seen by
-careful observers. The bases of the western pillars, the change in
-the depth of the mouldings, characteristic changes in the capitals
-in the triforium range, and especially the grand arches below the
-transept towers, which are pointed but enriched with ornamentation
-of pronounced Norman character, all point to the later date of this
-western transept.</p>
-
-<p>“At the west wall of the church all trace of Norman work
-disappears. The arcade near the ground, the large round arch above
-the door, the great west window and its adjacent arches (not, of
-course, including the late tracery), are all of distinct Early
-English character. The whole of<span class="pagenum"><a name="page_321" id="page_321">{321}</a></span> this wall may be held to be an
-integral part of the west front, and not of the transept which it
-bounds.</p>
-
-<p>“When we come to the most distinctive feature of the cathedral, the
-glorious west front, we find we have no help whatever from the
-chronicles. Nowhere is there the smallest reference to its
-building. Other works raised by the Abbots of the period are named,
-but the noble western portico is never once mentioned.”&mdash;(W. D. S.)</p></div>
-
-<p>According to Matthew Paris the church was dedicated in 1238 by the
-Bishop of Lincoln, Robert Grosseteste.</p>
-
-<p>In the Thirteenth Century many changes were made. The bell-tower was
-built, and bells from London, called <i>Les Londreis</i>, were hung in it.
-The Lady-Chapel (now destroyed) was built in 1272 at the east of the
-north transept (as at Ely).</p>
-
-<p>In the Fourteenth Century the great round east and west arches of the
-central tower were changed into pointed ones, perhaps because the tower
-at Ely had fallen in 1321 and the monks wanted to strengthen theirs.
-Then they began to change all the triforium windows in the nave and
-choir from Norman to Decorated. Next, the central porch was added to the
-west front. During the Perpendicular period all the Norman windows that
-had not been altered were now filled with Perpendicular tracery; the
-great west window was also brought up to date, the battlements were
-added to the corner turrets, and the New Building tacked on to the East
-End of the choir.</p>
-
-<p>A popular story related that Henry VIII. spared the church because his
-queen, Katherine of Aragon, was buried there. At any rate, he made
-Peterborough a cathedral in 1541, when he suppressed the monasteries.</p>
-
-<p>The great historical event in connection with<span class="pagenum"><a name="page_322" id="page_322">{322}</a></span> Peterborough was the
-burial of Mary, Queen of Scots, in 1587.</p>
-
-<p>Cromwell’s soldiers made sad havoc. Dean Patrick informs us that</p>
-
-<div class="blockquot"><p>“The next day after their arrival, early in the morning they break
-open the church doors, pull down the organs of which there were two
-pair.</p>
-
-<p>“Then the soldiers enter the quire, and their first business was to
-tear in pieces all the common prayer-books that could be found.
-Next they break down all the seats, stalls and wainscot that was
-behind them, being adorned with several historical passages out of
-the Old Testament.</p>
-
-<p>“Now behind the communion-table there stood a curious piece of
-stone-work, admired much by strangers and travellers: a stately
-skreen it was, well wrought, painted and gilt, which rose up as
-high almost as the roof of the church, in a row of three lofty
-spires, with other lesser spires growing out of them. This now had
-no imagery work upon it, or anything else that might justly give
-offence, and yet because it bore the name of the high altar, was
-pulled down with ropes, lay’d low and level with the ground.</p>
-
-<p>“Over this place, in the roof of the church, in a large oval yet to
-be seen, was the picture of Our Saviour seated on a throne; one
-hand erected and holding a globe in the other, attended with the
-four Evangelists and saints on each side, with crowns in their
-hands, intended, I suppose, for a representation of Our Saviour’s
-coming to judgment. This was defaced and spoilt by the discharge of
-muskets.</p>
-
-<p>“Then they rob and rifle the tombs and violate the monuments of the
-dead....</p>
-
-<p>“When they had thus demolished the chief monuments, at length the
-very gravestones and marbles on the floor did not escape their
-sacrilegious hands. For where there was anything on them of
-sculptures or inscriptions in brass, these they force and tear off.</p>
-
-<p>“Having thus done their work on the floor below, they are now at
-leisure to look up at the windows above.</p>
-
-<p>“Now the windows of this church were very fair, being adorned and
-beautified with several historical passages<span class="pagenum"><a name="page_323" id="page_323">{323}</a></span> out of Scripture and
-ecclesiastical story; such were those in the body of the church, in
-the aisles, in the New Building, and elsewhere. But the cloister
-windows were most famed of all, for their great art and pleasing
-variety. One side of the quadrangle containing the history of the
-Old Testament; another, that of the New; a third, the founding and
-founders of the church; a fourth, all the kings of England
-downwards from the first Saxon king. All which notwithstanding were
-most shamefully broken and destroyed. Yea, to encourage them the
-more in this trade of breaking and battering windows down, Cromwell
-himself (as ’twas reported) espying a little crucifix in a window
-aloft, which none perhaps before had scarce observed, gets a ladder
-and breaks it down zealously with his own hand.</p>
-
-<p>“Thus, in a short time, a fair and goodly structure was quite
-stript of all its ornamental beauty, and made a ruthful spectacle,
-a very chaos of desolation and confusion, nothing scarce remaining
-but only bare walls, broken seats and shattr’d windows on every
-side.”&mdash;(P.)</p></div>
-
-<p>The old story of neglect&mdash;“scarce any cathedral in England is more
-neglected,” wrote Browne Willis in 1742&mdash;is told of Peterborough in the
-Eighteenth Century; but in 1764-1791 Dean Tarrant collected all the
-fragments of stained glass and inserted them in the two central windows
-of the apse. They deal chiefly with scenes in the life of St. Peter. The
-late history of the Cathedral is only that of repairs, restorations, and
-gifts.</p>
-
-<p>We enter the Minster Precincts by the western gateway, built by Abbot
-Benedict, in the Norman style, in the Twelfth Century. It was altered at
-the end of the Fourteenth Century. The approach is monastic in the
-extreme. The room over the gate was once the Chapel of St. Nicholas.
-After passing through this gate, on the left hand we see all that
-remains of the Chapel of St. Thomas of Canterbury (Fourteenth Century).
-The various gateways, doors, arcades, and remains of ancient buildings<span class="pagenum"><a name="page_324" id="page_324">{324}</a></span>
-harmonize well with the venerable and elegant Cathedral.</p>
-
-<div class="blockquot"><p>“A fine view of the best feature of Peterborough, the west front,
-is immediately opened with a foreground of smooth turf. The great
-portico, with its three arches, eighty feet high, of pure Early
-English style, is unlike anything else in England, and inspires
-universal surprise and admiration. It was built on the old Norman
-church, but does not actually touch the western walls.</p>
-
-<p>“The spires of the portico are of different sizes and designs. The
-northern does not group well with the transeptal tower behind it,
-and there is a certain confusion to the eye when so many towers are
-in our view. The southern transeptal tower was never carried above
-the roof. The central tower over the choir after being repeatedly
-repaired and restored, fell in 1884, destroying the interior
-fittings and stalls, but, on the whole, doing less damage than
-might have been expected. The tower has been rebuilt, but not to
-the old pattern, and the four corner turrets have
-disappeared.”&mdash;(W. J. L.)</p></div>
-
-<p>The <b>West Front</b>, with its three magnificent doorways and original wooden
-doors, was the work of Abbots Zachary and Robert of Lindsay (about 1200
-to 1222).</p>
-
-<div class="blockquot"><p>“Immediately before us we see the noble West Front ‘the pride and
-glory of Peterborough,’ the finest portico in Europe. With the
-exception of the porch, the style is pure Early English. On the
-north and south are two lofty turrets, flanked at the angles with
-clustered shafts, and crowned with spires. Between these are three
-pointed arches, supported by clustered shafts, six on each side
-with foliated capitals. The central arch is narrower than the rest,
-but its mouldings are ornamented with crockets and dog-tooth. A
-string-course runs along the top of the arches, and the spandrels
-have trefoils, quatrefoils and niches with statues. Above the
-string-course is a series of trefoiled arches, some of which have
-statues. Between the three gables are pinnacles much ornamented.
-The gables have circular win<span class="pagenum"><a name="page_325" id="page_325">{325}</a></span>dows of beautiful design and a cross
-on the apex; they are ornamented with dog-tooth and have niches
-with statues&mdash;St. Peter in the centre, with SS. John and Andrew on
-either side. The turrets on the north and south have six stages
-panelled with arches. The spires are good examples of the
-difference between those of the Early Decorated and Perpendicular
-periods. The south spire is connected with the pinnacles of the
-tower by clustered pinnacles springing from an arch; these are
-decorated with crockets, and the spire belongs to the early
-Fourteenth Century; whereas the spire on the north has no such
-connection and is Early Perpendicular.</p>
-
-<p>“We now notice the Porch with the parvise over it. This was built
-late in the Fourteenth Century in order to give additional strength
-to the west front and act as a kind of buttress to the piers of the
-central arch. The design is very beautiful. The entrance has an
-obtuse arch, and above a Perpendicular window with elliptical arch.
-Buttresses empanelled with niches stand on each side. It has a
-stone vault of good design. One boss is curious, representing the
-Trinity. The attitude of the Saviour shows that the figure was
-designed by a freemason, and bears witness to the antiquity of that
-fraternity. The parvise is now a library.”&mdash;(P. H. D.)</p></div>
-
-<p>In the latter years of the Fourteenth Century the central porch, with
-its upper room, <b>Parvise</b>, was added between the two middle piers of the
-west front. It has been regarded by some critics as a blemish and by
-others as an improvement, but it was probably a necessity for the
-purpose of extra stability.</p>
-
-<div class="blockquot"><p>“The construction of this elegant little edifice is extremely
-scientific, especially in the matter in which the thrust is
-distributed through the medium of the side turrets so as to fall
-upon the buttresses in front. These turrets being erected against
-one side of the triangular columns, on the right and the left hand,
-support them in two directions at once, viz., from collapsing
-towards each other, and from falling forward. The latter pressure<span class="pagenum"><a name="page_326" id="page_326">{326}</a></span>
-is thrown wholly upon the buttresses in front, which project seven
-feet beyond the base of the great pillars.”&mdash;(F. A. P.)</p></div>
-
-<p>Turning now to a description:</p>
-
-<div class="blockquot"><p>“It is vaulted in two bays, the first being of the same dimensions
-as the inner width of the portico; the western bay (of the same
-size) thus reaches beyond the two great piers and the corner
-turrets and buttresses in all project about seven feet. This gives
-a very substantial support to the piers. The whole composition is
-very fine, and quite worthy of the great portico to which it is an
-adjunct. It must be left to each spectator to decide for himself if
-it improves or diminishes the effect of the whole. It is of late
-Decorated date, highly enriched with profuse carving. The staircase
-turrets, as well as the great window, are embattled. The spaces
-north and south, and within the portico, have tracery on the walls
-similar to the window. The groining is very fine. One of the
-central bosses has a representation of the Trinity. The Father is
-represented as the Ancient of Days, with a Dove for the Holy Spirit
-above the shoulder and the figure of the Saviour on the Cross in
-front. Freemasons are recommended to look for a special symbol
-which they alone can understand and appreciate. The floor of the
-portico is paved with gravestones, some apparently in their
-original position. The place was at one time appropriated as a
-burial-place for the Minor Canons.”&mdash;(W. D. S.)</p></div>
-
-<p>This porch hides the fine central doorway, which is divided by a central
-pillar. A Benedictine monk tortured by demons&mdash;probably a hint to the
-brothers&mdash;is carved upon it.</p>
-
-<div class="blockquot"><p>“With a few exceptions, the whole of the interior of the Cathedral
-is in the Norman style, and many judge it to be the most perfect
-specimen in England. The plan consists of a nave of ten bays, with
-aisles and a western transept; transepts of four bays, terminating
-in an apse, nearly semicircular, with aisles; and beyond the apse a
-large square-ended addition for more chapels having a<span class="pagenum"><a name="page_327" id="page_327">{327}</a></span> groined
-stone-roof of fan-tracery, now known as the New Building. The
-ritual choir, as distinguished from the architectural choir,
-extends two bays into the nave. This arrangement is a return to the
-ancient one used by the Benedictines, the choir in Dean Monk’s
-alterations having been limited to the position east of the central
-tower.</p>
-
-<p>“As we enter at the west door we see at a glance the entire length
-and the whole beauty of the admirable proportion of the several
-parts. While many may wish that the great arches of the tower which
-can be seen from the west end had never been altered from the round
-form of the Norman builders, few will regret that the Decorated
-arches which took their place were retained when the tower was
-rebuilt, instead of having new arches in the Norman style
-substituted. The want of colour which is so marked a defect in many
-English cathedrals is not so conspicuous here, because of the
-painted ceiling.”&mdash;(W. D. S.)</p></div>
-
-<p>There is no Norman work at the west wall. The great doorway has a round
-arch, but the arcade at the base consists of pointed arches. The
-mouldings here are Early English; and it is inside an Early English arch
-that the <b>West Window</b> of Perpendicular tracery is set. We may note that
-the glass is modern and a memorial to officers and soldiers who were
-killed in the South African War.</p>
-
-<p>The <b>West Transept</b> extends beyond the aisles. The enormous pointed arches
-have Norman mouldings. In the south end is a <b>Font</b> of the Thirteenth
-Century; the north end is a vestry.</p>
-
-<div class="blockquot"><p>“As we enter we notice the distinctive character of the Norman work
-of which this Cathedral is a notable and excellent example. In the
-extreme west there is a blending of the two styles of Norman and
-Early English, but the monks of Peterborough clung tenaciously to
-their old ideas and to Norman and Romanesque models, and right up
-to the end of the Twelfth Century built in this style, not from any
-desire to imitate the work of their predecessors<span class="pagenum"><a name="page_328" id="page_328">{328}</a></span> (as some writers
-assert), but from an obstinate adherence to conservative tradition.
-Even when the glorious tide of English Gothic was rising, and they
-could no longer resist the flood, they clung to the old zigzag
-mouldings. It is evident from the construction of the third column
-that they intended to end their church there; but happily the
-Thirteenth Century brethren decided to rear the noble twin-towered
-front and the perfect portico. Some of the later columns show
-Transition work; on one side we see a Norman base or capital, on
-the other an Early English.</p>
-
-<p>“There is a grand uninterrupted view of the whole length of the
-Cathedral from west to east. It will be observed that the lower
-arch is Decorated, and this adds to the beauty of this view. Before
-leaving the west we notice some dog-tooth carved in wood, which is
-somewhat rare.”&mdash;(P. H. D.)</p></div>
-
-<p>The <b>Nave</b> consists of ten bays, with Norman arches. The triforium arches
-are Norman; the clerestory windows are Perpendicular. The ceiling is
-very peculiar and very interesting, and is, moreover, original Norman.</p>
-
-<div class="blockquot"><p>“All agree that the style of the painting is perfectly
-characteristic of the period. The divisions are of the lozenge
-shape; in each lozenge of the central line is a figure, and in each
-alternate one of the sides. The middle set has more elongated
-lozenges than the others. The borders are black and white, with
-some coloured lines, in odd zigzag patterns. The figures, which are
-mostly seated, are very quaint and strange. Some are sacred, some
-grotesque. We can see St. Peter with the keys, kings, queens and
-minstrels; we find also a head with two faces, a monkey riding
-backwards on a goat, a human figure with head and hoof of an ass, a
-horse playing a harp, a winged dragon, a dancing lion, an eagle,
-and other curious devices.”&mdash;(W. D. S.)</p></div>
-
-<p>The <b>Choir</b> begins with the two east bays of the nave (the same
-arrangement occurs at Norwich), and runs through the space under the
-tower and</p>
-
-<div class="figcenter"><br />
-<a name="fig_068" id="fig_068"></a>
-<a href="images/fp328.jpg">
-<img src="images/fp328.jpg" width="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Peterborough: Choir, east</span></p></div>
-</div>
-
-<div class="figcenter"><br />
-<a name="fig_069" id="fig_069"></a>
-<a href="images/fp329.jpg">
-<img src="images/fp329.jpg" width="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Peterborough: South</span></p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_329" id="page_329">{329}</a></span></p>
-
-<p class="nind">takes up four bays east of the tower. The piers are alternately round
-and polygonal.</p>
-
-<div class="blockquot"><p>“This portion was the earliest part of the Cathedral, and was
-constructed by Abbot de Sais (1114-1125). The hatchet moulding is
-conspicuous. The triforium arches are double like the nave, and the
-clerestory has triple arches, the centre one being the highest. The
-apse is particularly fine. The Decorated style is evident in the
-windows, which were inserted in the Fourteenth Century instead of
-the old Norman ones, and the hanging tracery of graceful design was
-then added. The roof of the choir is late Fourteenth Century work
-except at the east end where the roof is flat. Here Cromwell’s
-soldiers discharged their muskets at the figure of our Lord in
-glory, which they deemed to be an idol. This ceiling was decorated
-in 1884 by Sir Gilbert Scott. The bosses of the rest of the roof
-are curious. Nearly all the old glass was destroyed in the Puritan
-desecration; the remaining fragments have been placed in the two
-highest east windows. The fittings of the choir are modern except
-an ancient lectern of Fifteenth Century date, given by Abbot Ramsay
-and Prior Malden, as the inscription testifies, though it is now
-scarcely legible. The choir-stalls are remarkably fine. The carved
-figures contain a history of the Cathedral written in wood.”&mdash;(P.
-H. D.)</p></div>
-
-<p>Passing behind the High Altar we come to the Retro-Choir, or <b>New
-Building</b>:</p>
-
-<div class="blockquot"><p>“The New Building built beyond the apse is a very noble specimen of
-late Perpendicular work. It was begun by Abbot Richard Ashton
-(1438-1471) and completed by Abbot Robert Kirton (1496-1528): the
-works seem to have been suspended between these periods. The roof
-has the beautiful fan tracery, very similar on a small scale to
-that at King’s College Chapel at Cambridge. The building is of the
-width of the choir and aisles together.</p>
-
-<p>“The junction of this addition with the original Norman apse is
-admirable, and should be specially noticed. Parts of the original
-external string-course of the apse can be<span class="pagenum"><a name="page_330" id="page_330">{330}</a></span> seen. The ornamentation
-on the bosses of the roof and in the cavetto below the windows, and
-round the great arches from the choir aisles, is very varied.</p>
-
-<p>“It must be sufficient here to indicate some of the designs. Most
-need little explanation, but a few are hard to understand. On the
-roof may be seen the three lions of England, a cross between four
-martlets, three crowns each pierced by an arrow, and another
-design. The smaller designs include four-leaved flowers, Tudor
-roses, fleur-de-lys, the portcullis, some undescribable creatures,
-crossed keys, crossed swords, crossed crosiers, crosses, crowns,
-crowns pierced with arrows, crowned female head, an eagle, the head
-of the Baptist in a charger, an angel, mitres, three feathers
-rising from a crown, St. Andrew’s cross, and perhaps others. There
-are also some rebuses and some lettering. On the north wall, in six
-several scrolls, the letters AR before a church and a bird on a tun
-occur more than once. This certainly refers to Abbot Robert Kirton;
-but what the bird means is not clear. In the moulding over the
-large arch to the south choir are four sets of letters. They form
-the last verse of the psalter. The words are contracted: they stand
-for <i>Omnis spiritus laudet Dominum</i>.”&mdash;(W. D. S.)</p></div>
-
-<p>The relic of greatest interest in the New Building is the famous <b>Monks’
-Stone</b>, which, according to tradition, was constructed in commemoration
-of the massacre of Abbot Hedda and his monks by the Danes in 870.
-Critics are divided in opinion. Some think it Norman, but many accept
-the theory that it is Saxon work. In 1887 remains were found of the
-original Saxon church, which was sacked by the Danes, rebuilt and
-visited by King Edgar and Dunstan. Traces of the fire that destroyed it
-were also found. The east wall stood at the piers of the present south
-transept.</p>
-
-<p>Queen Katherine of Aragon was buried in the north-choir-aisle outside
-the most eastern arch (1535). This was violated by the Puritans. Dean<span class="pagenum"><a name="page_331" id="page_331">{331}</a></span>
-Patrick says: “First they demolish Queen Katherine’s tomb; they break
-down the rails that enclosed the place and take away the black velvet
-pall which covered the hearse; overthrow the hearse itself, displace the
-gravestone that lay over her body, and have left nothing now remaining
-of that tomb, but only a monument of their own shame and villainy.” A
-few slabs were recently found beneath the floor; and a marble stone
-bearing coats-of-arms and inscription has lately been placed over this
-spot.</p>
-
-<p>In the south-choir-aisle a tablet tells us that here Mary Stuart was
-buried in 1587, just within the choir. The body was removed to
-Westminster Abbey in 1612. Remains of the hearse between the pillars
-were seen as late as 1800. These royal arms and escutcheons were also
-defaced and torn by the Puritans.</p>
-
-<p>The <b>Transepts</b> are Norman, and characteristic Norman mouldings are
-universal. A Perpendicular screen in each separates the transept from a
-sort of eastern aisle, divided by pillars into chapels. In the <b>North
-Transept</b> the two chapels of St. John and St. James have been thrown into
-one&mdash;now the <b>Morning Chapel</b>. Some old Saxon coffin lids are preserved
-here.</p>
-
-<p>The chapels of St. Oswald, St. Benedict, and St. Kyneburga and St.
-Kyneswitha still remain in the <b>South Transept</b>. West of the South
-Transept we come to the old <b>Chapter-House</b> (very small), now a music
-room. It is late Norman, but it has a Perpendicular doorway.</p>
-
-<p>At the north-east corner of the close we come to the <b>Deanery Gateway</b>,
-leading to the Deanery. It is a fine specimen of Late Perpendicular, and
-was<span class="pagenum"><a name="page_332" id="page_332">{332}</a></span> erected by Abbot Kirton (Kirkton), whose rebus (a church on a tun)
-appears over the side-door. It has a Tudor arch, with the arms of the
-See in spandrels, and is also ornamented with the Tudor rose and
-portcullis and the Prince of Wales’s feathers. We gain here a very good
-view of the north side of the Cathedral.</p>
-
-<p>The north side is very fine. The arcading on the side of the tower is
-identical with that on the west front. Next we must notice the big
-windows of the western transept, early and fine specimens of cusped and
-traceried windows. The jambs are very peculiar because one side is
-Norman with square capitals, and the other side Early English. The arch
-of the window reaches as high as those of the triforium. Above is a
-round-headed window, and the gable, surmounted by a cross and bordered
-with the wavy ornament, contains a rose-window. Pinnacles, resembling
-those on the west front, adorn the sides of this west transept. The nave
-rises in five stages: a tier of small lights separates the triforium
-from the aisle.</p>
-
-<p>The <b>Dean’s Door</b> on this side of the nave is Norman. The three shafts on
-either side, with their cushion capitals, carry round arches with
-characteristic and different mouldings. There are ten windows, very
-broad, of five lights each, under depressed arches. They were inserted
-in the Thirteenth Century. The parapet at the top is Early English.</p>
-
-<p>The north transept has seven stages of windows (Perpendicular), and
-blind arcades and a battlemented gable, flanked by octagonal turrets.</p>
-
-<p>Here we gain a view of the lantern tower, rebuilt in 1884. Then we come
-to the choir, and<span class="pagenum"><a name="page_333" id="page_333">{333}</a></span> lastly to the <b>New Building</b>. The Decorated windows of
-the apse are particularly fine.</p>
-
-<div class="blockquot"><p>“The east end of Peterborough is rather peculiar. There remains the
-old Norman apse with Decorated windows inserted, and this is
-surrounded by what is called the New Building, though it is 400
-years old, formed by extending the walls of the choir and building
-a square end to the Cathedral. This was erected by Abbot Kirton.
-His work possesses the best features of Perpendicular style. It is
-richly ornamented and when we examine his work we cannot say that
-the glories of Gothic achievement had quite departed. We see the
-twelve buttresses, each terminated with a seated figure, usually
-said to be one of the Apostles.”&mdash;(P. H. D.)</p></div>
-
-<p>Turning round the east end we come to the ruins of the Infirmary,
-erected about 1260. Some fine arcading is still to be seen. Afterwards
-we come to the <b>Slype</b>, once vaulted, but now open to the sky, which
-formerly connected the Refectory with the Chapter-House, on the east
-side of the <b>Cloister</b>. Only the south and west walls of the <b>Cloister
-Court</b> remain. This is always called <b>Laurel Court</b>, though the origin is
-unknown.</p>
-
-<p>The south side of the Cathedral is more beautiful than the north, from
-which it differs by having two doorways into the nave from the
-cloisters, and a very fine south-west spire, early Fourteenth Century
-work. A beautiful view of this spire and the bell-tower is obtained from
-<b>Laurel Court</b>.<span class="pagenum"><a name="page_334" id="page_334">{334}</a></span></p>
-
-<h2><a name="ELY" id="ELY"></a>ELY</h2>
-
-<div class="blockquotcent"><p><span class="smcap">Dedication: St. Ethelreda. Church of a Benedictine Monastery.</span></p>
-
-<p><span class="smcap">Special features: The Octagon; Galilee Porch; Lady-Chapel; Bishop
-Alcock’s Chapel; Bishop West’s Chapel; Monk’s Door.</span></p></div>
-
-<p class="nind"><span class="smcap">Ely</span> is perhaps the most singular and beautiful of English cathedrals,
-when seen from a distance; for the massive building, with its turrets,
-buttresses, and pinnacles, rises with splendid majesty from the green
-meads that make a perfect foreground.</p>
-
-<div class="blockquot"><p>“The first glimpse of Ely overwhelms us, not only by its
-stateliness and variety of its outline, but by its utter
-strangeness, its unlikeness to anything else. Ely, with its vast
-single western tower, with its central octagon unlike anything else
-in the whole world, has an outline altogether peculiar to
-itself.”&mdash;(E. A. F.)</p></div>
-
-<p>About 655 Etheldreda, daughter of the King of East Anglia, went to live
-in the fen-land district, known as the Isle of Ely, that had come into
-her possession according to the terms of her marriage settlement with
-Tonbert, one of the noblemen of her father’s court. The civil government
-of her territory she gave to a steward named Ovin, while she devoted
-herself to good works. She was induced to marry Egfrid, son of Oswy,
-King of Northumberland, who became king in 670. Etheldreda, wearied of
-court life, became a nun; and when Egfrid determined to force her to
-return to court she fled from Coldingham to the Isle of Ely, where she
-established a religious house. She began to<span class="pagenum"><a name="page_335" id="page_335">{335}</a></span> build in 673. The monastery
-over which Etheldreda presided as abbess was a mixed community. Bede
-calls it a nunnery. Etheldreda died in 679 and was buried, according to
-her own request, in the nuns’ graveyard. Her body was, however, removed
-into the church on October 17, 695. When the body was placed in a marble
-sarcophagus it was found in perfect preservation, and miracles took
-place. Two hundred years later the Danes ravaged Ely and destroyed the
-monastery (870), which was rebuilt in 970 by King Edgar and Bishop
-Ethelwold, of Winchester. The prior of Winchester, Brithnoth (970-981),
-was appointed its first abbot. There were no nuns in the new monastery.</p>
-
-<p>The monks of Ely educated Edward the Confessor, who had been offered on
-this altar in infancy by his parents. After he became king he continued
-his “favourable regard to the place.” His brother, Alfred, whose eyes
-were put out by Earl Godwin, died and was buried in Ely. Ely was the
-last stronghold of Hereward; and it took the monks a long time to make
-their peace with the Conqueror. In order to raise enough money to
-purchase forgiveness they were forced to sell almost every article of
-gold and silver that they owned. Thurston, the last Saxon abbot
-(1066-1072), remained in charge of the monastery until his death. When
-Simeon, prior of Winchester, and brother of Walkelyn, Bishop of
-Winchester, was made abbot in 1081, it was deemed necessary to build a
-more sumptuous church. Simeon contributed a great part of his large
-fortune. He began with the transepts; and built the central tower, often
-called “Simeon’s Tower.”</p>
-
-<p>Richard (1100-1107), a Norman, and relative of<span class="pagenum"><a name="page_336" id="page_336">{336}</a></span> the king, finished the
-east end in 1106. Two bays of the nave next to the tower were also his
-work, and he continued Simeon’s Tower. During Richard’s rule the remains
-of St. Etheldreda, St. Sexburga, St. Ermenilda, and St. Withburga, the
-first four abbesses, were re-buried before the high altar.</p>
-
-<p>In 1109 Ely was made a cathedral; but nothing seems to have been done to
-the building until Bishop Riddell (1174-1189) “carried on the new work
-and Tower at the west end of the church, almost to the top.”</p>
-
-<p>Eustache (1198-1215), one of the bishops appointed to excommunicate King
-John, built the celebrated <b>Galilee Porch</b> at the west end. He contributed
-large sums out of his private fortune.</p>
-
-<p>Hugh Norwold, or Northwold (1229-1254), built the six eastern bays of
-the presbytery, and the palace. Again were the remains of St.
-Etheldreda, St. Sexburga, St. Ermenilda, and St. Withburga removed to
-this part of the church, and the Cathedral was dedicated in 1252. King
-Henry III. and Prince Edward were present. When Bishop Norwold died
-(1254), he was buried at the feet of St. Etheldreda. His monument was
-removed to the north side of the presbytery, third arch from the east.</p>
-
-<p>John Hotham (1316-1337) built the choir. It was during his bishopric
-that the Tower fell, and he provided for the building of the wrecked
-western bays.</p>
-
-<p>The Fourteenth Century brings us to the greatest of all the Ely
-builders, the supreme artist and architect, Alan de Walsingham,
-sub-prior, sacrist, and finally prior. In 1321 he began the <b>Lady-Chapel</b>,
-which was finished in 1349. Its position is</p>
-
-<div class="figcenter"><br />
-<a name="fig_070" id="fig_070"></a>
-<a href="images/fp336.jpg">
-<img src="images/fp336.jpg" height="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Ely: West Towers</span></p></div>
-</div>
-
-<div class="figcenter"><br />
-<a name="fig_071" id="fig_071"></a>
-<a href="images/fp337.jpg">
-<img src="images/fp337.jpg" height="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Ely: Choir, east</span></p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_337" id="page_337">{337}</a></span></p>
-
-<p class="nind">peculiar&mdash;north-east of the north transept. Its site was chosen in all
-probability because St. Etheldreda’s shrine occupied the sacred east
-end. Walsingham’s great work, however, is the celebrated <b>Octagon</b>.</p>
-
-<p>On the eve of St. Ermenilda’s Day, February 12, 1322, just after the
-monks had finished matins, the central tower fell and destroyed three
-bays of the choir. There was no wicked king in this case to blame for
-the calamity, as was the case with the similar tower built by Simeon’s
-brother at Winchester (see pages 55-56).</p>
-
-<div class="blockquot"><p>“No one could possibly have been found in the whole kingdom better
-qualified to cope with the great disaster that took place at Ely in
-1322 than the officer of the house who had the special custody of
-the fabric. The originality and skill with which he designed and
-carried out the noble work that takes the place of the central
-tower, which is without a rival in the architecture of the whole
-world, are beyond all praise. The exquisite work in the Lady-Chapel
-would in itself have been sufficient to establish Walsingham’s
-reputation as an architect of the very highest order of merit; but
-it would have revealed nothing, if it stood alone, of the
-consummate constructive genius which he displayed in the conception
-of the octagon.</p>
-
-<p>“The building was begun as soon as the space was cleared. The
-stonework was finished in 1328, little more than six years after
-the tower fell. The woodwork of the vaulting and lantern took
-longer time; but this also was quite complete in 1342. Walsingham
-had become prior in the previous year. The weight of the lantern,
-it need hardly be said, is not borne, though it looks like it from
-below, by the vaulting that we see. There is a perfect forest of
-oak hidden from sight, the eight great angle posts being no less
-than 3 feet 4 inches by 2 feet 8 inches in section.</p>
-
-<p>“With such a man as Walsingham on the spot we cannot be wrong in
-assigning to him the authorship of all the architectural designs
-that were carried out in his lifetime.<span class="pagenum"><a name="page_338" id="page_338">{338}</a></span> It is believed&mdash;for the
-date is not exactly known&mdash;that he died in 1364. Besides the
-Lady-Chapel and Octagon, he must have designed the singularly
-beautiful bays of the presbytery between the Octagon and
-Northwold’s work. The exquisite way in which the main
-characteristics of the Early English work are adapted to the
-Decorated style demands our highest admiration. The arrangement of
-the three western bays on each side is exactly like Northwold’s
-work, while the additional grace and beauty of ornamentation mark
-the advance in taste that distinguished the Decorated period.
-Bishop Hotham undertook the whole expense of rebuilding this
-portion of the cathedral. He did not live to see it completed, as
-he died in 1337, but he left money for the purpose.”&mdash;(W. D. S.)</p></div>
-
-<p>Walsingham, though elected bishop by the monks, was not confirmed by the
-Pope. However, when they placed the brass over his resting-place in
-front of the choir they represented “The Flower of Craftsmen” (<i>Flos
-operatorum</i> was his epitaph), with mitre and crozier.</p>
-
-<p>Ely suffered less than many churches during the Puritan wars.</p>
-
-<p>The most important work of late years has been the restoration of the
-octagon and lantern, as originally designed by Alan de Walsingham.</p>
-
-<p>The great <b>West Tower</b> (Early English and Decorated) was built before the
-Galilee Porch, about the last year of the Twelfth Century. It is
-surmounted by an octagon with a window of three lights in each face. An
-octagonal turret ornaments each corner. Windows and arcades mark each
-story. A fine view of it is obtained from the south side.</p>
-
-<p>The <b>Galilee Porch</b> is one of the finest examples of Early English in
-existence and is only surpassed by Bishop Hugh’s Choir at Lincoln.<span class="pagenum"><a name="page_339" id="page_339">{339}</a></span></p>
-
-<div class="blockquot"><p>“Each side externally, is covered with lancet arcading in four
-tiers. In the upper tier the lancets are trefoiled with dog-tooth
-in the moulding; in the next lower tier the lancets are
-cinquefoiled, with two sets of dog-tooth. The lancets in the west
-face are all cinquefoiled, and the three lower tiers have trefoils
-in the spandrels. Nearly all are highly enriched with dog-tooth;
-while the mouldings of the west door have conventional foliage as
-well. The lancets here are deeper than on the sides of the porch,
-and were probably designed to hold figures. Of the three large
-lancets in the west window the central one is slightly more lofty
-than the others.</p>
-
-<p>“The interior of the porch is even more beautiful; the profusion of
-ornamentation on the inner doorway and the exceeding gracefulness
-of the double arcades in the sides are quite unsurpassed. Both
-doorways are divided by a shaft and both have open tracery of
-exceptional beauty above.”&mdash;(W. D. S.)</p></div>
-
-<p>In addition to this feature, Ely has the unique <b>Octagon</b>, a good view of
-which is obtained from the north-west. It is beautifully proportioned
-and beautifully decorated with windows of exquisite tracery.</p>
-
-<div class="blockquot"><p>“The way in which the octagon and lantern combine in producing a
-perfectly harmonious composition is in great part due to two points
-of difference, points which very few observers detect. These are,
-firstly, that the lantern is a regular octagon, having all its
-sides equal, in this respect being unlike the stone octagon beneath
-it; and, secondly, that the eight faces of the lantern are not
-parallel to the eight faces of the octagon. The new windows of the
-lantern are similar to the large ones below, but are not mere
-copies of them. The upper stage of the lantern, above the roof as
-seen from within, was once a bell-chamber; its lights are not, and
-never have been, glazed. The whole of the lantern is of wood,
-covered with lead. Two flying-buttresses rise from the corners of
-the nave and transept aisles to the corbel table of the clerestory
-range. There are also eight elegant flying-buttresses, one<span class="pagenum"><a name="page_340" id="page_340">{340}</a></span> to each
-of the angles of the lantern. These are part of the new work, the
-originals having long disappeared.”&mdash;(W. D. S.)</p></div>
-
-<p>The north-western part of the north transept fell in 1699, and was
-rebuilt by Sir Christopher Wren, nephew of Bishop Wren, then in office.
-The north end of the transept contains Norman windows, and above them
-are two Perpendicular windows, each of three lights. In the east wall of
-the transept the lower lights are Decorated; the upper windows are the
-original Norman.</p>
-
-<p>Next we come to the <b>Lady-Chapel</b>, the east window of which (seven lights)
-was inserted by Bishop Barnet (1366-1373), who also “beautified five of
-the windows in the presbytery.” The west window (eight lights) is of a
-little later date. In the side walls of the Lady-Chapel are five large
-windows, the tracery of which is very beautiful.</p>
-
-<p>The <b>East End</b> is a superb illustration of Early English, although
-slightly altered from its original state by the introduction of the
-windows in the chapels of Alcock and West, and a plain wall for the
-original windows in the south aisle.</p>
-
-<p>Flying-buttresses support the roof of the presbytery and choir. The
-Perpendicular window of seven lights attracts our notice in the south
-end of the south transept.</p>
-
-<p>The entrance to the Cathedral from the south opens from the eastern end
-of the cloisters and is called the <b>Monks’ Door</b>.</p>
-
-<p>The ornamentation is very rich. One spiral column is especially fine.
-The arch is trefoiled with cusps, having circular terminations with star
-ornament, and in the spandrels are quaint, crouching<span class="pagenum"><a name="page_341" id="page_341">{341}</a></span> monks, each
-holding a pastoral staff. Two twisted dragons writhe above.</p>
-
-<p>At the west end of the north alley of the cloisters we come to the
-<b>Prior’s Door</b>, a fine specimen of late Norman. In the tympanum is a
-carving in high relief of the Saviour.</p>
-
-<p>Entering through the West we have a full view of the Cathedral, the
-vista fortunately not broken, for the open screen permits the gaze to
-wander the whole length to the east end. The massive Perpendicular
-arches here were built beneath the Norman ones to secure stability for
-the big tower that we have just examined.</p>
-
-<p>The <b>Nave</b> is one of the most perfect specimens of late Norman. It is very
-similar to that of Peterborough. Ely, however, offers no suggestion of
-the transition of the next style, as does Peterborough. The Ely nave is
-supposed to have been finished before 1173, a little before
-Peterborough’s, and after that of Norwich. It contains twelve bays and
-measures 208 feet. The piers are of alternate design. In front of each a
-shaft runs up to the roof. As we follow this with our eyes we see that
-the ceiling is painted with Biblical subjects; but these pictures need
-not detain us, as they are modern. The billet moulding decorates the
-string-course above the main arcade. Most of the capitals are cushion.</p>
-
-<p>The <b>Octagon</b> is the gem of the whole Cathedral.</p>
-
-<div class="blockquot"><p>“Few visitors will perhaps be disposed to examine any of the
-objects of interest in the cathedral before an inspection of the
-beauties of this magnificent erection, the first sight of which,
-from one of the smaller arches towards the aisles, is a thing never
-to be forgotten. There is not one of the many able artists and
-architects who have written<span class="pagenum"><a name="page_342" id="page_342">{342}</a></span> about the Octagon that has not spoken
-of it as being without rival in the whole world; and the admiration
-that was expressed fifty and more years ago would have been far
-greater, and the enthusiasm more profound, had the writers seen it
-in its present state of perfect restoration. No description can do
-adequate justice to the grandeur of the conception or to the
-brilliancy of the execution of this renowned work.</p>
-
-<p>“The four great arches rise to the full height of the roof; that to
-the east, indeed, is higher than the vaulted roof of the choir and
-presbytery, the intervening space being occupied with tracery of
-woodwork on painted boards, the Saviour on the Cross being painted
-in the middle. The wooden vaulting of the Octagon springs from the
-capitals on the same level as those of the great arches. The four
-small arches to the aisles are of course no higher than the roofs
-of the aisles: above these, on each side, are three figures of
-apostles, under canopies with crockets. The figures are seated, and
-each holds an emblem, by which it can be seen for whom the figure
-is intended. It may be noticed (in the central figure on the
-south-west side) that St. Paul, not St. Matthias, is put in the
-place of Iscariot. The hood-moulds of the arches are terminated by
-heads, of which six are portraits. King Edward III. and Queen
-Philippa are at the north-east, Bishop Hotham and Prior Crauden at
-the south-east, Walsingham and his master-mason (so it is believed)
-at the north-west; those to the south-west are mere grotesques.
-Above the seated figures on each side is a window of four broad
-lights, filled with stained glass. The eight chief vaulting shafts
-rise from the ground as slight triple shafts; they support, a
-little above the spring of the side arches, large corbels, which
-form bases for exquisitely designed niches, and through these
-spring more shafts reaching to the vault. On each of the corbels is
-a boldly carved scene from the career of St. Etheldreda; they
-commence at the north-west arch. The subjects (two to each arch)
-are as follows:</p>
-
-<p>“North-west arch: St. Etheldreda’s second marriage. Her taking the
-veil at Coldingham.</p>
-
-<p>“North-east arch: Her staff taking root. Her preservation in the
-flood at St. Abb’s Head.<span class="pagenum"><a name="page_343" id="page_343">{343}</a></span></p>
-
-<p>“South-east arch: Her installation as Abbess of Ely. Her death and
-burial (two scenes).</p>
-
-<p>“South-west arch: One of her miracles. Her translation.</p>
-
-<p>“In order to understand these wonderful sculptures more fully we
-refer to the <i>Liber Eliensis</i> which describes Etheldreda as
-hurrying away from Coldingham with two ladies, Sewenna and Sewara,
-and as reaching a rocky place on the coast where they were
-overtaken by the king, but the three ladies crossed the Humber and
-proceeded south, dressed as pilgrims. One night, while the queen
-slept, her staff, placed in the ground, burst into leaf and flower.
-On this spot a church was built and dedicated to St. Etheldreda.
-When the three pilgrims arrived in the Isle of Ely, they were
-joined by Wilfrid, the archbishop of York, who induced Etheldreda
-to take the veil. The miracle referred to in the south-west arch
-shows St. Etheldreda and St. Benedict appearing to a monk named
-Brytstan, who was charged with seeking refuge in a monastery in
-order to escape punishment for robberies of which he had been
-guilty. The miracle was told to Queen Matilda, who freed
-Brytstan.”&mdash;(W. D. S.)</p></div>
-
-<p>The <b>Screen</b> separating the choir from the Octagon was designed by Scott.
-It is of oak, delicately carved in geometric patterns, and bearing a
-cross on the cresting that runs along the top. The gates are brass.</p>
-
-<p>The first three bays of the choir were begun about 1240; the last six,
-forming the presbytery, were finished in 1340. The space of a hundred
-years thus lies between them.</p>
-
-<div class="blockquot"><p>“In the juxtaposition of these two magnificent specimens of the
-Early English and Decorated periods of architecture there is an
-opportunity of comparison which on such a scale occurs nowhere
-else. It is to be remembered that in neither case is the treatment
-of the upper part quite in accordance with the usual practice of
-the period. When the presbytery was being built there were still
-standing east of the central tower the four original<span class="pagenum"><a name="page_344" id="page_344">{344}</a></span> bays of the
-Norman choir. These, it may be assumed, were very similar in
-character to those in the nave. There would, beyond question, have
-been in each bay large triforium arches, each with a couple of
-subordinate arches; and a single window in the clerestory with a
-blank arch on each side. Bishop Northwold’s work was purposely made
-to correspond with these bays as far as Early English work could do
-so; and when after the fall of the tower it became necessary to
-rebuild the choir, Bishop Hotham in like manner made his Decorated
-work correspond with the Early English presbytery. The choir is, as
-would be expected, richer in detail as well as more elaborate in
-design; and it would be difficult to find in England anything to
-surpass the tracery of the clerestory windows and triforium arches,
-the beautiful cusped inner arches of the clerestory range, the open
-parapets at the base of the two stages, or the long corbels,
-covered with foliage, that support the vaulting shafts. In the
-choir the clerestory windows have four lights each; in the
-presbytery are triplets. The old colouring has been renewed
-throughout. On the north side of the choir the three bays are
-precisely alike; but on the south there is a variation in the
-tracery of the western triforium arch. There are also shields of
-arms (of the See of Ely and of Bishop Hotham) in the spandrels of
-the triforium and arch below; and the shaft between this arch and
-the next is enlarged at the top into a base for a statue (probably
-of St. Etheldreda); while level with the string above is a very
-fine large canopy (called by the workmen ‘the table’), which is
-like nothing else in the cathedral. The clerestory windows also on
-the south have different tracery.</p>
-
-<p>“The difference between the two styles of architecture is well
-marked in the groining of the roof, the Decorated portion being
-much more elaborate. Some of the bosses are very remarkable: one
-has St. Etheldreda with pastoral staff; one has the coronation of
-the Virgin Mary; one has the foundress bearing the model of a
-church, in which (as Dean Stubbs has pointed out) both arms of the
-western transept are represented, so that it is a fair inference
-that at the time this roof was constructed the whole of the western
-transept was standing.</p>
-
-<p>“Between the choir and presbytery there rise the mas<span class="pagenum"><a name="page_345" id="page_345">{345}</a></span>sive Norman
-piers built as the entrance to the apse; and these are the only
-remains of the Norman church east of the octagon.”&mdash;(W. D. S.)</p></div>
-
-<p>The magnificent <b>Choir-Stalls</b>, with their beautiful canopies, are thought
-to be Walsingham’s work. They are considered the finest Decorated stalls
-in existence. The misereres show wonderful carvings.</p>
-
-<p>The <b>Reredos</b>, of alabaster, designed by Scott, stands in the centre of
-the screen of stone that runs along the whole of the presbytery, the
-lower part of which is a diaper pattern and the upper portion an open
-arcade of six arches (Early Decorated style).</p>
-
-<div class="blockquot"><p>“The east end of Ely is the grandest example of the grouping of
-lancets.... Ely is also undoubtedly the head of all east ends and
-eastern limbs of that class in which the main body of the church is
-of the same height throughout, and in which the aisles are brought
-out to the full length of the building.”&mdash;(E. A. F.)</p></div>
-
-<p>At the end of the north-choir-aisle we come to the <b>Chapel of Bishop
-Alcock</b> (died 1500), Bishop of Ely from 1486 to 1500. He was a great
-architect, built the great hall in the Bishop’s palace at Ely and also
-this very ornate chapel. It dates from 1488. The roof is composed of
-fan-tracery, with a large pendant; and the walls are covered with
-canopies, tabernacles, crockets, niches, panels and other decorations
-with lavish display. The figures have gone from the niches. A cock on a
-globe&mdash;Alcock’s rebus&mdash;occurs on the stone-work very frequently.</p>
-
-<p>At the end of the south-choir-aisle we find the corresponding <b>Chapel of
-Bishop West</b> (died 1533). This is similar in style to the Alcock chapel,
-but less ornate.<span class="pagenum"><a name="page_346" id="page_346">{346}</a></span></p>
-
-<p>Several bishops are buried in this chapel. Though we may care little or
-nothing for the careers of the dignitaries who lie there, or who are
-perpetuated by monuments, we find among the tombs some fine examples of
-sculpture and ornament of the past.</p>
-
-<p>For instance, that of <b>Bishop Louth</b> (died 1298), under the first arch of
-the presbytery in the south-choir-aisle, is a fine example of Early
-Decorated.</p>
-
-<p>In the last arch, before reaching Bishop West’s Chapel, the tomb of
-<b>Bishop Hotham</b> (died 1337) calls for attention.</p>
-
-<p>Under the four arches of the presbytery on the north, between the stalls
-and the altar, is that of <b>Bishop Redman</b> (died 1505), a very fine
-specimen of enriched Perpendicular work.</p>
-
-<p>Next is the effigy of <b>Bishop Kilkenny</b> (died 1256), a fine example of
-Early English.</p>
-
-<p>In the next arch a large Decorated structure of two stories, believed by
-Scott to have been built by Walsingham as the base for the <b>Shrine of St.
-Etheldreda</b>, was formerly known as Bishop Hotham’s shrine.</p>
-
-<p>In the arch north of the altar is the tomb of the builder of the
-presbytery, <b>Bishop Northwold</b> (died 1254), who is represented in full
-vestments.</p>
-
-<p>It is only natural that the transepts should show similarity with those
-of Winchester, consecrated in 1093, seven years before Simeon of
-Winchester came to Ely. He began his work, as we have seen, here, and
-got up as far as the triforium. The clerestory was added by his
-successor. Alterations took place at later periods, and now both
-triforium and clerestory are almost identical with those in the nave.</p>
-
-<p>In the south transept Perpendicular windows of</p>
-
-<div class="figcenter"><br />
-<a name="fig_072" id="fig_072"></a>
-<a href="images/fp346.jpg">
-<img src="images/fp346.jpg" width="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Ely: East end and Lady-Chapel</span></p></div>
-</div>
-
-<div class="figcenter"><br />
-<a name="fig_073" id="fig_073"></a>
-<a href="images/fp347.jpg">
-<img src="images/fp347.jpg" width="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Ely: Lady-Chapel</span></p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_347" id="page_347">{347}</a></span></p>
-
-<p class="nind">three lights have replaced the western windows of the triforium. Two
-large Perpendicular windows ornament the north end and a curious window
-of seven lights adorns the south. Galleries, arches, and arcades afford
-exceedingly interesting study.</p>
-
-<p>On the east of the north transept are three chapels, one of which has
-been restored for private devotion. Old paintings of the Martyrdom of
-St. Edmund on the roof have given it the name of <b>St. Edmund’s Chapel</b>.
-The screen in front dates from about 1350.</p>
-
-<p>From the north transept we enter the <b>Lady-Chapel</b>.</p>
-
-<div class="blockquot"><p>“Notwithstanding the cruel mutilation of the sculpture all round
-this chapel, it can be seen that for perfection of exquisite work
-there is no building of the size in this country worthy for one
-moment to be compared with this in its unmutilated state. Its
-single defect strikes the beholder at once: the span of the roof is
-too broad and the vaulting too depressed for the size of the
-chapel. The windows on the north have been restored. The end
-windows, which are of great size, are of later date; that to the
-east has a look of Transition work about it. The building was
-finished in 1349, and the east window was inserted by Bishop
-Barnet, <i>circa</i> 1373. The great beauty of the interior consists in
-the series of tabernacle work and canopies that run round all the
-four sides below and between the windows. The heads of the canopies
-project. In the tracery beneath, at the head of the mullion, was a
-statue. The delicate carving of the cusps and other tracery is
-varied throughout. On the spandrels were incidents connected with
-the history of the Virgin Mary (mainly legendary) and of Julian the
-Apostate; and though in no single instance is a perfect uninjured
-specimen left, yet enough remains, in all but a few cases, for the
-original subjects to be identified. All was once enriched with
-colour, and many traces remain; and in various parts of the windows
-there are fragments of stained glass. Most of the monumental
-tablets which once disfigured the arcade<span class="pagenum"><a name="page_348" id="page_348">{348}</a></span> below the windows have
-been happily removed into the vestibule. The arches and canopies at
-the east end are arranged differently from those on the sides. In
-the roof, which reminds us of the contemporary roof in the choir,
-are some carved bosses, not large, but singularly good. Among the
-subjects can be recognised a Crucifixion, with half-figures beside
-the cross; Adam and Eve; the Virgin Mary and Elizabeth, holding
-between them a book inscribed ‘Magnificat’; the Annunciation, with
-‘Ave Maria Gratia plena’; the Ascension, indicated by the skirt and
-feet of the Saviour and five heads of apostles; the Coronation of
-the Virgin; and the Virgin in an aureole.”&mdash;(W. D. S.)</p></div><p><span class="pagenum"><a name="page_349" id="page_349">{349}</a></span></p>
-
-<h2><a name="NORWICH" id="NORWICH"></a>NORWICH</h2>
-
-<div class="blockquotcent"><p><span class="smcap">Dedication: The Holy Trinity. Church of a Benedictine Monastery.</span></p></div>
-
-<p class="nind"><span class="smcap">This</span> Cathedral was begun in 1096 by Herbert de Losinga, the bishop
-appointed by William Rufus, who had received his education in Normandy,
-and who became prior of Fécamp. No earlier church stood on the site. It
-was dedicated to the Holy Trinity.</p>
-
-<div class="blockquot"><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>“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 and St.
-Bartholomew’s.</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.”&mdash;(C. H. B. Q.)</p></div>
-
-<p>Norwich acquired its chief saint in the Twelfth Century, and a saint,
-moreover, that much re<span class="pagenum"><a name="page_350" id="page_350">{350}</a></span>sembled Little Saint Hugh of Lincoln. A young
-boy, William, the child of simple country people, was murdered by the
-Jews in the city. Immediately after his death miracles took place. The
-monks placed his altar near the ante-choir, and raked in the offerings.</p>
-
-<p>The Cathedral suffered from fires, and the tower was struck by lightning
-in 1271. There was also a terrible riot between the people and the monks
-in the Thirteenth Century, when the Cathedral was besieged. The
-monastery and the Cathedral were burned, and many monks were killed.
-Some citizens of Norwich were hanged, drawn and quartered, and the city
-had to repair the church. The monks were compelled to erect new gates
-and entrances, one of which, St. Ethelbert’s Gate, still exists (see
-page 351).</p>
-
-<p>About 1361 the spire and parts of the tower were blown down, and the
-presbytery was damaged. Therefore, the clerestory was rebuilt, and in
-the transitional style from Decorated to Perpendicular. The Cloisters
-date from about this time, and so does the Erpingham Gate. In the middle
-of the Fifteenth Century the nave vault was constructed; and it was
-under the two rules of Bishop Lyhart and Bishop Goldwell that the
-Cathedral was practically completed as we see it to-day. Dean Gardiner
-pulled down the Lady-Chapel and the Chapter-House in the Sixteenth
-Century, and in the Seventeenth Century Cromwell’s soldiers took
-possession.</p>
-
-<p>Bishop Hall tells us how they behaved:</p>
-
-<div class="blockquot"><p>“Lord, what work was here, what clattering of glasses, what beating
-down the Walls, what tearing up of Monu<span class="pagenum"><a name="page_351" id="page_351">{351}</a></span>ments, what pulling down of
-Seats, 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.”</p></div>
-
-<p>The Precincts are, like those of all English cathedrals, lovely, and
-these are fortunate enough to be entered by several ancient gates. The
-one on the south, <b>St. Ethelbert’s Gate</b> (Early Decorated), was built in
-the Thirteenth Century, after the riots and fire of 1272. The <b>Gate House</b>
-(Perpendicular), on the north, is the entrance to the Bishop’s Palace.</p>
-
-<p>Opposite the west front we find the <b>Erpingham Gate</b>, built about 1420, by
-Sir Thomas Erpingham, whose figure stands in the niche over the wide
-arch. It is a greatly admired piece of Perpendicular work.</p>
-
-<p>The <b>West Front</b> (Perpendicular) clearly defines the width of the nave and
-the aisles on either side. Over the centre door is the large west window
-of nine lights, often compared to the window of Westminster Hall. Above
-is a gable, surmounted by a cross. The doors date from 1436, and the
-west<span class="pagenum"><a name="page_352" id="page_352">{352}</a></span> window from Bishop Lyhart’s time (1446-1472). There are no towers
-here; for the pinnacles placed on the side turrets in 1875 are not
-deserving of this name.</p>
-
-<div class="blockquot"><p>“The Tower and Spire stand at the intersection of the choir and
-transepts, covered with vertical shafts on the face of each. The
-tower is Norman buttress, which is finished by a crocketed
-pinnacle. 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 crocketed spire. The rest of the
-tower was finished during the reign of Henry I., and is a beautiful
-specimen of the work of that time; the stonework was almost
-entirely refaced in 1856. The tower was crowned by a wooden spire
-from 1297; this was blown down in 1361, damaging the presbytery so
-badly that the clerestory had to be rebuilt. The wooden spire was
-constructed probably at the same time, and the present Early
-Perpendicular turrets were added. The spire was again in 1463
-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.</p>
-
-<p>“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>“The eastern arm, or presbytery, takes its history from the tower.
-Here, as in the nave, the original triforium<span class="pagenum"><a name="page_353" id="page_353">{353}</a></span> windows are 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, 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 ‘Perpendicular’ windows
-superimposed over the original Norman triforium, which was blocked
-up.”&mdash;(C. H. B. Q.)</p></div>
-
-<p>The south transept projects under the central tower.</p>
-
-<p>Next follows the <b>Chapel of St. Mary the Less</b> (Fourteenth Century)
-projecting southward, then the circular <b>Chapel of St. Luke</b> (Norman),
-very peculiar in form, with two rows of arcading.</p>
-
-<p>The north side is well viewed from the <b>Bishop’s Gardens</b>. It differs
-little from the south side, except in the fact that it has been less
-restored. The chapel corresponding with the Chapel of St. Luke is the
-<b>Jesus Chapel</b>, and is also circular. Here we find Perpendicular windows
-inserted in the Norman work.</p>
-
-<div class="blockquot"><p>“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 con<span class="pagenum"><a name="page_354" id="page_354">{354}</a></span>sists 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 the 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 ‘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
-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.</p>
-
-<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 mediæval builders did this with a view of
-counteracting the ‘crawl’ of the lead.”&mdash;(C. H. B. Q.)</p></div>
-
-<p>Norwich Cathedral is famous for its magnificent interior. A noble view
-is obtained on entering, for the great <b>Nave</b> reaches 200 feet to the
-choir-screen; and if the organ on the latter were removed, the view
-would be longer, for the extreme length of the Cathedral is 407 feet.
-The perspective is splendid, as it is, and very largely is it so because
-of the<span class="pagenum"><a name="page_355" id="page_355">{355}</a></span> lierne vault of Perpendicular days, which relieves the severity
-of the Norman work below.</p>
-
-<p>The nave consists of seven double bays (fourteen compartments) from the
-west end to the transepts. The main piers are, of course, large, and the
-arcade arches are ornamented with the billet. The triforium arches are
-decorated with a chevron or zigzag. Over it is the typical Norman
-clerestory and above all spreads the handsome lierne vault
-(Perpendicular). This splendid vault (72 feet), built by Bishop Lyhart
-(1446-1472), after the Norman roof had been destroyed by fire in 1463,
-is of great value to the student. There are 328 carved bosses at the
-intersection of the ribs, the subjects of which are taken from Biblical
-history.</p>
-
-<div class="blockquot"><p>“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>“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<span class="pagenum"><a name="page_356" id="page_356">{356}</a></span> 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 <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 <i>almost to the west gate of the church, and with the
-other to the queer [quire] stairs of the same</i>, breathing out over
-the whole church and companie a most pleasant perfume of such sweet
-things as burned therein.’</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 mediæval rood loft occurred.”&mdash;(C. H. B. Q.)</p></div>
-
-<p>In the aisles we find Decorated windows, and in the triforium,
-Perpendicular windows.</p>
-
-<p>The <b>Choir-Screen</b> was erected by Bishop Lyhart in 1446-1472, but only the
-lower part survived the fury of the Puritan mob. The organ was placed in
-its present position in 1833. Immediately under the organ loft is a
-single compartment, blocked off from the north and south aisles by
-screens that originally belonged to one old screen (Perpendicular). This
-<b>ante-chapel</b> was formerly the chapel of Our Lady of Pity.</p>
-
-<p>The <b>Choir</b> extends a little into the nave, and, therefore, beyond the
-tower and transepts. There are sixty splendid <b>Choir-stalls</b> of the
-Fifteenth Century, with ornate <i>misereres</i>. The Bishop’s Throne and
-Pulpit are modern. The old Pelican Lectern, in the Decorated style,
-should be noticed.</p>
-
-<div class="figcenter"><br />
-<a name="fig_074" id="fig_074"></a>
-<a href="images/fp356.jpg">
-<img src="images/fp356.jpg" height="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Norwich: East</span></p></div>
-</div>
-
-<div class="figcenter"><br />
-<a name="fig_075" id="fig_075"></a>
-<a href="images/fp357.jpg">
-<img src="images/fp357.jpg" height="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Norwich: Choir</span></p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_357" id="page_357">{357}</a></span></p>
-
-<p>The <b>Presbytery</b> is the earliest part of the cathedral. It consists of
-four compartments, or bays, and terminates in a semicircular apse of
-five compartments. We find here Perpendicular arches, a lofty Norman
-triforium, and clerestory windows of the transitional period from
-Decorated to Perpendicular. The whole effect is Norman and noble.
-Unfortunately the old glass of the windows has perished.</p>
-
-<p>The aisles of the presbytery are also called the <b>Processional Path</b>, and
-consist of four bays, and five around the apse. A door in the north
-aisle opens into the gardens of the Bishop’s Palace; and in this aisle,
-at the fourth bay east of the tower, there is a very peculiar
-bridge-chapel that spans the aisle. Critics say that it formed the
-ante-chapel to the reliquary chapel projecting northward from the outer
-wall of the Cathedral, and that it was probably built as a bridge for
-exhibiting relics as the processions passed along underneath.</p>
-
-<p>On the south side of the presbytery (third bay) is the <b>Chapel of St.
-Mary the Less</b>, or <b>Bauchon Chapel</b> (Fourteenth Century). It projects
-beyond the wall. The vault is Fifteenth Century, and the bosses
-represent the Life, Death and Assumption of the Virgin. This is now the
-Consistory Court.</p>
-
-<p>The <b>north transept</b> is without aisles or triforium. Arcading decorates
-the wall up to the clerestory. Above is a lierne vault of later date, of
-course, than the transept. The old apsidal chapel on the east (dedicated
-to St. Anne) is now used as a storeroom.</p>
-
-<p>A staircase in the east wall of the north transept leads to the
-tower-galleries and walks, very interesting in themselves and affording
-glimpses through<span class="pagenum"><a name="page_358" id="page_358">{358}</a></span> their openings into the nave, presbytery and transepts
-below.</p>
-
-<p>Between the south aisle of the presbytery and the <b>south transept</b> a
-beautiful screen of late Perpendicular tracery fills the Norman arch.
-The roof, like that of the north transept, originally of wood, was
-destroyed by fire in 1509, and a new vault added in Perpendicular times.</p>
-
-<p>Of the three chapels grouped around the presbytery the <b>Jesus Chapel</b> on
-the north and the chapel on the south, <b>St. Luke’s</b>, remain. The
-<b>Lady-Chapel</b>, at the extreme east, has perished.</p>
-
-<p>The Norman Lady-Chapel was partly destroyed by the fire of 1169, and was
-succeeded by an Early English chapel of the Thirteenth Century. This was
-destroyed in the Sixteenth Century; but the finely proportioned entrance
-arches still remain. They are ornamented with the dog-tooth.</p>
-
-<p>It is not often that ancient altar-pieces are found in the English
-cathedrals; but Norwich possesses a <b>Retable</b>, supposed to be the work of
-an Italian painter of the Fourteenth Century. It is in five panels&mdash;The
-Scourging, Bearing the Cross, Crucifixion, Resurrection and Ascension.
-It was formerly in the Jesus Chapel.</p>
-
-<p>The <b>Cloisters</b> are in their usual position&mdash;on the south. Originally
-these were Norman, and perished by fire in 1272. The present ones were
-133 years in building, and so they reveal the developments of
-architecture during 1297-1430. The cloister garth is about 145 feet
-square.</p>
-
-<div class="blockquot"><p>“The arches are filled with open tracery carried by two mullions.</p>
-
-<p>“On the east side it is geometrical in character, the work being
-transitional between Early English and Deco<span class="pagenum"><a name="page_359" id="page_359">{359}</a></span>rated; 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.”&mdash;(C. H. B. Q.)</p></div>
-
-<p>They are entered from the south side of the nave, of course. The <b>Monk’s
-Door</b>, opening into the East Walk, is an ornate specimen of
-Perpendicular; and the <b>Prior’s Door</b>, opening into the West Walk, a fine
-specimen of Early Decorated.<span class="pagenum"><a name="page_360" id="page_360">{360}</a></span></p>
-
-<h2><a name="ST_ALBANS" id="ST_ALBANS"></a>ST. ALBANS</h2>
-
-<div class="blockquotcent"><p><span class="smcap">Dedication: St. Alban. Church of a Benedictine Monastery.</span></p></div>
-
-<p class="nind"><span class="smcap">When</span> Sir Gilbert Scott began to restore and repair the old abbey church
-of St. Albans, in 1870, he found it in a very dilapidated condition.
-Among other base uses to which various parts of the Cathedral had been
-put, the Lady-Chapel had been converted into a grammar-school, and a
-thoroughfare had been made through the retro-choir. After Scott’s death,
-in 1878, Lord Grimthorpe, who had been diligent and liberal for years
-regarding restorations, succeeded in getting control of the entire work.
-He made various changes and additions, and inserted windows at his own
-pleasure, not always with judgment, nor in the best taste. The
-consequence is that St. Albans is open to much criticism. Yet it remains
-an interesting old pile in many respects.</p>
-
-<p>St. Albans did not become a cathedral until 1877. It was a famous old
-abbey church, dating back to the days of Offa II., King of the Mercians,
-who founded a Benedictine monastery here about 793. From this time until
-the suppression of the monasteries by Henry VIII., the Abbey of St.
-Albans was of the greatest importance. Its Abbot had a seat in the House
-of Lords, and took precedence of all the abbots in the kingdom.
-Naturally, therefore, the list of abbots is notable. Some of them were
-related to the royal family. Among those<span class="pagenum"><a name="page_361" id="page_361">{361}</a></span> especially distinguished were:
-Paul of Caen, John de Cella, William of Trumpington, John of Hertford,
-Roger of Norton, Hugh of Eversden, Richard of Wallingford, Thomas de la
-Mare, John de la Moote, John of Wheathampstead, and Thomas Wolsey, the
-great cardinal.</p>
-
-<p>Royalty was entertained in the Abbey on many occasions as both guest and
-prisoner. When the Abbey was consecrated in 1115 by the Archbishop of
-Rouen, Henry I. and his queen, Matilda, with their courtiers, were
-entertained from December 27 until January 6; Richard II. stayed here
-for eight days after Wat Tyler’s rebellion had subsided; and here the
-conspiracy against him was planned, when the Duke of Gloucester and the
-Prior of Westminster were dining with the abbot, John de la Moote. In
-1399 John of Gaunt’s body rested here; and Richard II., and Henry, Duke
-of Lancaster (Henry IV.) were here in the same year. During the Wars of
-the Roses the Abbey of St. Albans was frequently used as a prison. In
-the first battle of St. Albans (May 23, 1455), when the White Roses were
-victorious, Henry was confined in the monastery; but in the second
-battle (February 17, 1461), the king, having been captured, was set at
-liberty by his brave wife, Margaret of Anjou, who marched from Wakefield
-with 18,000 men. The royal party went to the Abbey, where the monks
-chanted thanksgiving and in every way received them with delight. The
-undisciplined horde of soldiers unfortunately ran wild in the town and
-plundered the Abbey. Their behaviour was such that Abbot John Stokes
-changed his politics, and became an ardent Yorkist.</p>
-
-<p>Among the celebrated monks of St. Albans Mat<span class="pagenum"><a name="page_362" id="page_362">{362}</a></span>thew Paris takes the lead,
-the great historian whose book begins with the creation and continues to
-1259.</p>
-
-<p>St. Albans for a long period received “Peter’s Pence.” This was first
-levied by the King of the West Saxons in 727, and was a tax of one penny
-on each family owning lands. The receipt amounted to thirty pence a year
-and went to the support of a Saxon College at Rome; and because it was
-collected on August 1 (the day of St. Peter ad Vincula) it was called
-“Peter’s Pence.” Offa induced the Pope to give it to the Abbey of St.
-Albans.</p>
-
-<p>The monastic buildings have all perished, and the only remnant of the
-Abbey is the <b>Great Gate</b>, built in the days of Thomas de la Mare, about
-1365. Over the archway there is a large room in which sessions used to
-be held, and below the road the curious may inspect the dungeons. This
-Gateway was a law-court and prison; and, as the Abbot of St. Albans had
-civil jurisdiction over all the town, as well as his monastery, many
-offenders were tried and condemned here. In the days of Wat Tyler’s
-rebellion John Ball and his seventeen companions were tried here and
-spent their last days in the dungeons. Another scene that we can picture
-is that of the monks bringing out ale and wine to quell the fury of the
-mob that stormed the Gatehouse before the news of Wat Tyler’s death
-arrived.</p>
-
-<p>St. Albans was a favorite place of pilgrimage, for it sheltered the
-remains of the first Christian martyr in Britain. Alban, or Albans, was
-a young soldier, who, during the persecution of the Christians in the
-Fourth Century, befriended a deacon named Amphibalus by receiving him in
-his house. Amphibalus converted him. Alban exchanged clothing with him
-so that he might escape. Am<span class="pagenum"><a name="page_363" id="page_363">{363}</a></span>phibalus was captured, however, and executed
-near Verulamium. Alban was also beheaded; and a few years after his
-death a church was built over the spot where his blood had been shed.
-The north transept of the existing church is said to cover this place.</p>
-
-<p>Matthew Paris states that the body of St. Alban was, during an invasion,
-removed from the church for safety, and afterward placed in its original
-grave. Offa II. found the coffin containing the remains of the martyr
-and laid them in a splendid reliquary, taking care first to place a
-golden band around the head with the inscription “<i>Hoc est caput Sancti
-Albani</i>.” Offa also had the martyr canonized. With a miracle-working
-shrine, the richly-endowed monastery continued to flourish.</p>
-
-<p>The Abbey Church was deemed quite large enough until Paul of Caen
-(1077-1093) was appointed abbot by William the Conqueror. In about
-eleven years only (1077-1088) he rebuilt St. Albans, using many of the
-Roman bricks from the ruins of the neighbouring Verulamium and timber
-already collected. His was an enormous Norman edifice (460 feet), longer
-even than Canterbury (290 feet).</p>
-
-<p>After a hundred years or so, Abbot John de Cella (1195-1214) made
-various changes. Money was raised in various ways for the purpose, and
-among them the abbot persuaded his monks to do without wine for fifteen
-years and contribute the savings to the fund for building.</p>
-
-<p>After him came William of Trumpington (1214-1235), who continued the
-work of building. He also constructed the cloister. Let us see exactly
-in what their work consisted:<span class="pagenum"><a name="page_364" id="page_364">{364}</a></span></p>
-
-<div class="blockquot"><p>“Abbot John de Cella (1195-1214) pulled down the west front and
-began to build a new one in its place. He laid the foundation of
-the whole front, but then went on with the north side first. The
-north porch was nearly finished in his time; the central porch was
-carried up as far as the spring of the arch; the southern porch was
-carried hardly any way up from the foundations. The porches are
-described by those who saw them before Lord Grimthorpe swept away
-the whole west front as some of the choicest specimens of
-Thirteenth Century work in England. The mouldings were of great
-delicacy, and were enriched with dog-tooth ornament. It is said
-that Abbot John was not a good man of business, and that he was
-sorely robbed and cheated by his builders, and so had not money
-enough to finish the work that he had planned. To his successor,
-William of Trumpington, it therefore fell to carry on the work. He
-was a man of a more practical character, though not equal to his
-predecessor in matters of taste. He finished the main part of the
-western front. Oddly enough no dog-tooth ornament was used in the
-central and southern porches, and the character of the carved
-foliage differs also from that of the north porch. In Abbot John’s
-undoubted work the curling leaves overlap, and have strongly
-defined stems resembling the foliage of Lincoln choir, while that
-of Abbot William’s time had the ordinary character of the Early
-English style. There is evidence to show that he intended to vault
-the church with a stone roof; this may be seen from the marble
-vaulting-shafts on the north side of the nave between the arches of
-the main arcade, which, however, are not carried higher than the
-string-course below the triforium. The idea of a stone vault was,
-however, abandoned before the two eastern Early English bays on the
-south side were built, for no preparation for vaulting shafts
-exists there.</p>
-
-<p>“Abbot John de Cella had begun to build afresh the western towers,
-or, according to some authorities, to build the first western
-towers that the church ever had; we have no record of their
-completion, and it is said that Abbot William abandoned the idea.
-We have only the foundations by which we can determine their size.
-William of Trumpington transformed the windows of the aisles into
-Early English ones. He also added a wooden lantern to<span class="pagenum"><a name="page_365" id="page_365">{365}</a></span> the tower,
-somewhat in the style of the wooden octagon on the central tower of
-Ely.”&mdash;(T. P.)</p></div>
-
-<p>The next changes were made in the east end. These were begun in the last
-half of the Thirteenth Century. The walls of the presbytery were raised;
-the Saint’s Chapel built; then the retro-choir; and then the Lady-Chapel
-(1326).</p>
-
-<p>Then Hugh of Eversden (1308-1326) became abbot and had to rebuild the
-part of the nave that fell in 1323. His work was continued by Richard of
-Wallingford (1326-1335) and completed by Michael of Mentmore in 1345.</p>
-
-<p>John de Wheathampstead, who was twice abbot (1420-1440, and 1451-1464),
-rebuilt the upper part of the west front, made changes in the roofs,
-inserted Perpendicular windows in the ends of the transept, and also
-converted the Norman triforium arches into windows by filling them with
-Perpendicular tracery. His chantry was built after his death. William of
-Wallingford (1476-1484) contributed the gorgeous screen.</p>
-
-<p>The exterior has no interest for the student of architecture. The
-enormous church is plain, and Lord Grimthorpe has been at work
-everywhere. The only feature that has any real beauty is the fine Norman
-tower.</p>
-
-<div class="blockquot"><p>“It is 144 feet high and is not quite square in plan, measuring 47
-feet from east to west, and two feet less from north to south. The
-walls are about seven feet thick; in the thickness, however,
-passages are cut. It has three stages above the ridges of the roof.
-The lower stage has plain windows in each face, lighting the church
-below; the next stage, or ringing room, has two pairs of double
-windows; and the upper or belfry stage, two double windows of large
-size, furnished with louvre boards. The parapet is battlemented,
-and of course of later work than the tower<span class="pagenum"><a name="page_366" id="page_366">{366}</a></span> itself. The tower is
-flanked by pilaster buttresses, which merge into cylindrical
-turrets in the upper story. For simple dignity the tower stands
-unrivalled in this country. It must have been splendidly built to
-have stood as it has done so many centuries without accident.
-Winchester tower fell not long after its building, Peterborough
-tower has been rebuilt in modern days; but Paul of Caen did not
-scamp his work as the monks of Peterborough did, and no evil-living
-king was buried below the tower, as was the case at Winchester,
-thus, according to the beliefs of the time, leading to its
-downfall. Tewkesbury tower alone can vie with that of St. Albans,
-and the Seventeenth Century pinnacles on that tower spoil the
-general effect, so that the foremost place among central Norman
-towers as we see them to-day may safely be claimed for that at St.
-Albans. Few more beautiful architectural objects can be seen than
-this tower of Roman brick, especially when the warmth of its colour
-is accentuated by the ruddy flush thrown over it by the rays of a
-setting sun.”&mdash;(T. P.)</p></div>
-
-<p>The pilgrims to St. Alban’s shrine used to enter by the <b>North Door of
-the Transept</b>, carrying the candles that they had bought at the Waxhouse
-Gate. This Norman doorway, with a Norman window on each side (modern
-glass), still exists. The upper part of the north wall with the wheel
-window was rebuilt by Lord Grimthorpe.</p>
-
-<p>The nave is immensely long&mdash;about a tenth of a mile. It is Norman, grim,
-and cold, but impressive.</p>
-
-<div class="blockquot"><p>“As we stand just inside the west door of the church we are struck
-by the length of ritual nave, about 200 feet, the flatness of the
-roofs, and the massiveness of the arcading dividing the nave from
-the aisles; for, though the four western bays on the north side and
-five on the south are Early English in date, there is none of that
-lightness and grace that we are accustomed to associate with work
-of this period, no detached shafts of Purbeck marble such as we see
-at Salisbury, no exquisitely carved capitals such</p></div>
-
-<div class="figcenter"><br />
-<a name="fig_076" id="fig_076"></a>
-<a href="images/fp366.jpg">
-<img src="images/fp366.jpg" width="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">St. Albans: North</span></p></div>
-</div>
-
-<div class="figcenter"><br />
-<a name="fig_077" id="fig_077"></a>
-<a href="images/fp367.jpg">
-<img src="images/fp367.jpg" width="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">St. Albans: Nave, east</span></p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_367" id="page_367">{367}</a></span></p>
-
-<div class="blockquot"><p class="nind">as we meet with at Wells. William of Trumpington seems to have
-aimed at making his work harmonize with the Norman work that he
-left untouched; and when the rest of the main arcade on the south
-side was rebuilt in the next century, it was made to differ but
-little in general appearance and dimensions from Abbot William’s.</p>
-
-<p>“On entering by the west door a peculiarity will at once be
-noticed. About fifteen feet from the inner side of the west wall
-there is a rise of five steps which stretch right across the church
-from north to south. The floor to the east of these steps slopes
-imperceptibly upwards for eight bays, when a rise of three more
-steps is met with. On this higher level stands the altar, which is
-backed up by the rood screen. There is another step to be ascended
-to the level of the choir, and another to reach the space below the
-tower. Five steps lead from this into the presbytery; there is
-another step at the high altar rails, and four more lead up to the
-platform on which the high altar will stand. From the space below
-the tower one step leads up into the north aisle and two more into
-the north arm of the transept. From the level of the south choir
-aisle and south transept two steps lead up into the south aisle of
-the presbytery; from this aisle there is a rise of four steps into
-the aisle south of the Saint’s Chapel, and from this into the
-chapel itself a rise of four more. So that the floor of this chapel
-is, with the exception of the high altar platform, which is one
-step higher, the highest in the whole church, or nineteen steps
-above the floor just inside the west door. From the aisle of the
-Saint’s Chapel one step leads into the retro-choir, and two more
-into the Lady-Chapel; hence the floor of the Lady-Chapel is one
-step lower than that of the Saint’s Chapel. If we take seven inches
-as the average height of a step, it would appear that the floor of
-the Lady-Chapel is about ten feet higher than the floor at the west
-end of the nave.”&mdash;(T. P.)</p></div>
-
-<p>The nave is blocked behind the altar with a <b>Rood screen</b>, of Fourteenth
-Century work, much restored. It is pierced by two doors (also Fourteenth
-Century), through which processions passed into the choir. Upon it the
-organ is placed.<span class="pagenum"><a name="page_368" id="page_368">{368}</a></span></p>
-
-<p>The eastern part of the nave was rebuilt after the calamity that
-happened on St. Paulinus’s Day (October 10), 1323. Mass had just been
-celebrated, and the church was still crowded with men, women and
-children, when two of the great piers of the main arcade on the south
-side fell outwards, crushing the south wall of the aisle and cloisters.
-Soon the wooden roof of the nave also fell. Strange to relate nobody was
-injured; and although the shrine of St. Amphibalus was damaged, still
-the chest that contained his relics suffered no harm.</p>
-
-<p>All this part of the church had to be rebuilt; and, of course, the south
-arcade differs from the northern one.</p>
-
-<p>A massive pier, either the original Norman or one rebuilt in the Norman
-style, divides the five Early English bays on the west from the
-Decorated ones on the east. West we find the characteristic tooth
-ornament; and east, the characteristic ball-flower.</p>
-
-<p>When the pestilence was raging in London (only twenty miles away) in
-1543, 1589, and 1593, courts of justice were held in this nave. On the
-north side a pier bears an inscription to the memory of Sir John
-Mandeville, the famous traveller, who was born at St. Albans in the
-Fourteenth Century and educated in the monastery school.</p>
-
-<p>The massive piers were coated with plaster and then painted. Each has
-traces of the same picture of the Crucifixion, with a second subject
-below it. This subject differs on every column. The soffits of the
-arches were also bright with colour, so that the severity and plainness
-that we now feel were originally missing.</p>
-
-<div class="blockquot"><p>“Although in the four western bays of the main arcade the Early
-English work is very plain, yet the triforium is<span class="pagenum"><a name="page_369" id="page_369">{369}</a></span> ornate. The
-arcading consists of two pointed arches in each bay, each
-comprising two sub-arches; the supporting columns are slender and
-enriched with dog-tooth mouldings, with which also the
-string-course below the triforium is decorated. The shafts, which
-probably were intended to support a stone vault over the nave,
-should be noticed.</p>
-
-<p>“The triforium over the Norman main arcade consists of large,
-wide-splayed, round-headed openings, in which the tracery and
-glazing introduced in the Fifteenth Century, when the aisle roof
-was lowered in pitch so as to expose the north side of the
-triforium to the sky, still remains. One of the triforium arches,
-namely, the third from the tower, was simply walled up at this
-time, and so retains its original form. The clerestory in this part
-of the church consists of plain, round-headed openings. Between
-each bay the outer southern face of each Norman pier is continued
-in the form of the flat pilaster buttress up to the roof.”&mdash;(T. P.)</p></div>
-
-<p>The piers of the choir, like those of the nave, were originally painted.
-So was the ceiling. Wall-paintings were likewise discovered between the
-clerestory windows in 1875. The choir-stalls and Bishop’s Throne are
-modern. In the south-choir-aisle the tomb of <b>Roger and Sigar</b>, two local
-hermits, was once a place of pious pilgrimage.</p>
-
-<p>The arches of the <b>Tower</b> are fifty-five feet high. The four inside faces
-of the lantern contain windows above the arcade, and the ceiling of the
-lantern (102 feet from the floor) is painted with the red and white
-roses of Lancaster and York, and various coats-of-arms. The effect of
-the tower is impressive. The peal consists of eight bells, cast in
-London in 1699. Some of the bells have been recast.</p>
-
-<p>Beneath the <b>Presbytery</b> notable abbots, monks and laymen were given
-burial. The presbytery is divided from the aisles by solid walls, broken
-by<span class="pagenum"><a name="page_370" id="page_370">{370}</a></span> the Ramryge and Wheathampstead chantries, and two doorways: it is
-closed in on the east side by a magnificent screen, constructed during
-William of Wallingford’s rule (1476-1484), and generally known as the
-<b>Wallingford Screen</b>. It is hard to realize that the lace-like canopies,
-of which it is composed, are made of stone. The material is clunch, a
-hard stone from the lower chalk formation. This great reredos has been
-restored of late years and filled with statues. There are no records to
-describe or even name the original figures; but those now occupying the
-niches, by Mr. H. Hems, of Exeter, are, beginning on the left and
-reading downwards: (1) St. Titus, St. Timothy, St. Barnabas, Angel
-Gabriel; (2) King Edmund, St. Cuthbert, St. Augustine; (3) St. Oswyn,
-St. Giles, St. Cecilia, St. Boniface, St. Katherine, St. David; (4) King
-Offa, St. Helen, oak door; (5) St. Ethelbert, St. Leonard, St. Agnes,
-St. Nicholas, St. Frideswide, St. Chad; (6) Edward the Confessor, St.
-Benedict, St. Alban; (7) Angel, Angel, Angel; (8) Angel, Blessed Virgin
-Mary; (9) Crucifix; (10) Angel, St. John; (11) Angel, Angel, Angel; (12)
-St. Hugh of Lincoln, St. Patrick, St. Amphibalus; (13) Edward King of
-West Saxons, St. Lawrence, St. Lucy, St. Wolfstan, St. Osyth, St.
-Alphege; (14) Pope Adrian IV., St. Etheldreda, oak door; (15) St.
-George, St. Benedict, Biscop, St. Ethelberga, St. Richard; (17) The
-Venerable Bede, St. Germain, St. Erkenwald, St. Margaret, St. Ælfric;
-(18) St. Paul, St. Luke, St. Mark, St. Mary the Virgin. Below the
-Crucifix stands a row of smaller statues representing Christ and the
-Twelve Apostles. On Christ’s right: St. James Minor, St. Philip, St.
-John, St. James Major, St. Andrew, St.<span class="pagenum"><a name="page_371" id="page_371">{371}</a></span> Peter; and on his left: St.
-Thomas, St. Bartholomew, St. Matthew, St. Simon, St. Matthias and St.
-Jude.</p>
-
-<p>On the right and left of the altar are chantries. The south one is that
-of <b>John of Wheathampstead</b>, who was twice Abbot (1420-1440, and
-1451-1464). His effigy is robed in full vestments, carries a pastoral
-staff and wears a mitre. His rebus&mdash;three ears of wheat&mdash;and his
-motto&mdash;<i>Valles habundabunt</i>&mdash;appear in various places.</p>
-
-<p>On the other side of the steps the handsomer <b>Ramryge Chantry</b>
-commemorates Abbot Thomas Ramryge, who also has a rebus&mdash;a ram wearing a
-collar with the letters R. Y. G. E. upon it. He entered office in 1492,
-and, strange to relate, no details of his rule are known. The date of
-his death is also a blank. Yet here is his fine monument in the
-Perpendicular style.</p>
-
-<p>Behind the Wallingford Screen lies the <b>Saint’s Chapel</b>, with the <b>Shrine
-of St. Alban</b> in the centre.</p>
-
-<div class="blockquot"><p>“The bones of St. Alban were of course counted as the chief
-treasure of the Abbey, in some respects the most valuable relics in
-the kingdom, since they were the bones of the first Christian
-martyr in the island. It was meet and fitting, then, that the most
-splendid resting-place should be chosen for them. The bones
-themselves were enclosed in an outer and an inner case; the inner
-was the work of the sixteenth Abbot, Geoffrey of Gorham
-(1119-1149), and the outer of the nineteenth Abbot, Symeon
-(1167-1183). These coffers were of special metal encrusted with
-rich gems. It is recorded that the reliquary was so heavy that it
-required four men to carry it, which they probably did by two
-poles, each passing through two rings on either side of the coffer.
-It is said to have been placed in a lofty position by Abbot Symeon;
-but the pedestal of which we see the reconstruction to-day was
-erected during the early part of the Fourteenth Century, in the
-time of the twenty-<span class="pagenum"><a name="page_372" id="page_372">{372}</a></span>sixth Abbot, John de Marinis (1302-1308). This
-was built of Purbeck marble and consists of a basement 2 feet 6
-inches high, 8 feet 6 inches long, and 3 feet 2 inches wide, above
-which were four canopied niches at each side and one at each end;
-these were richly painted and probably contained other relics; in
-the spandrels were carved figures, at the corners angels censing.
-At the west end was a representation of St. Alban’s martyrdom; on
-the south side in the centre was, and still is, a figure of King
-Offa holding the model of a church; in the next spandrel to the
-east the figure of another king; on the east side a representation
-of the scourging of St. Alban, and on the north other figures, of
-which the only one remaining is that of a bishop or mitred abbot.
-In the pediments or gables were carvings of foliage, and round the
-top of the pedestal ran a richly-carved cornice; round the base
-stood fourteen detached shafts, on which perhaps the movable canopy
-rested, and outside three other shafts of twisted pattern on each
-side, which carried six huge candles, probably kept burning day and
-night, certainly during the night, to light the chamber holding the
-shrine. On this lofty pedestal, 8 feet 3 inches high, the glorious
-shrine rested. It was rendered still more ornate than it was in
-Abbot Symeon’s time by the addition of a silver-gilt turret, on the
-lower part of which was a representation of the Resurrection with
-two angels and four knights (suggested by the guard of Roman
-soldiers) keeping the tomb. A silver-gilt eagle of cunning
-craftsmanship stood on the shrine. All these additions were given
-by Abbot Thomas de la Mare (1349-1396). A certain monk also gave
-two representations of the sun in solid gold, surrounded by rays of
-silver tipped with precious stones. Over all was a canopy which,
-like many modern font-covers, was probably suspended by a rope
-running over a pulley in the roof, by which it might be raised.
-There is a mark in the roof remaining, possibly caused by the
-fastening of the pulley. An altar, dedicated to St. Alban, stood at
-the west end of the pedestal.</p>
-
-<p>“Such a precious thing as this jewelled shrine and the still more
-precious bones within it could not be left for a moment unguarded
-and unwatched, for stealing relics, when a favourable opportunity
-arose, was a temptation too great to be resisted by any monks,
-however holy. So on<span class="pagenum"><a name="page_373" id="page_373">{373}</a></span> the south side of the shrine was erected a
-watching loft; the one that remains was constructed probably during
-the reign of Richard II., and his badge appears on it, but, no
-doubt, from the first there was some such place provided for the
-purpose of keeping guard. The chamber had two stories: the lower
-contained cupboards, in which vestments and relics were kept, these
-are now filled with various antiquarian curiosities, Roman pottery
-from Verulamium, architectural fragments, etc. An oaken staircase
-leads up into the chamber where the ‘custos feretri’ sat watching
-the shrine day and night, guard of course being changed at
-intervals. It must have been trying work watching there during the
-night-time in frosty weather, but monks were accustomed to bear
-cold. The watching chamber was built of oak and was richly carved.
-On the south side of the cornice are angels, the hart&mdash;badge of
-Richard II., the martyrdom of St. Alban, Time the reaper, and the
-seasons; on the north the months of the year are represented.”&mdash;(T.
-P.)</p></div>
-
-<p>On the south side is buried <b>Humphrey, Duke of Gloucester</b>, son of Henry
-IV., brother of Henry V., and uncle of Henry VI. He died in 1447. The
-handsome tomb was probably erected by the Abbot Wheathampstead, who was
-a great friend of Duke Humphrey’s.</p>
-
-<p>In the north aisle of the Saint’s Chapel we come to the pedestal of the
-<b>Shrine of St. Amphibalus</b> (<a href="#page_362">see page 362</a>). It stood in the centre of the
-retro-choir until Lord Grimthorpe removed it to its present position.</p>
-
-<p>An oak screen separates the Saint’s Chapel from the <b>Retro-Choir</b>. This is
-Lord Grimthorpe’s work, and through it we pass. The Retro-Choir dates
-from the end of the Thirteenth Century, and has been greatly restored.
-In the centre once stood the shrine of St. Amphibalus (now removed to
-the north aisle of the Saint’s Chapel), and there were several altars:
-to Our Lady of the Four Tapers; to<span class="pagenum"><a name="page_374" id="page_374">{374}</a></span> St. Michael; to St. Edmund, King and
-Martyr; to St. Peter; and to St. Amphibalus.</p>
-
-<p>The <b>Lady-Chapel</b>, greatly restored, dates from the latter part of the
-Thirteenth and early part of the Fourteenth Centuries. Several changes
-of style may be noted. The side windows are fine examples of the
-Decorated, and the statuettes ornamenting the jambs and mullions still
-remain. The eastern window of five lights is a strange combination of
-tracery and tabernacle work. Originally the Lady-Chapel was separated
-from the retro-choir by a screen. The glass in the windows is modern,
-and the stone vaulting is also modern. Historical associations are
-numerous.</p>
-
-<p>Beneath the floor lie the hated Edmund Beaufort, Duke of Somerset,
-grandson of John of Gaunt; Henry Percy, Earl of Northumberland, son of
-the famous Hotspur; and Thomas, Lord Clifford: whose bodies were found
-lying dead in the streets of St. Albans, after the first battle in 1455,
-in which they fell fighting for the Red Rose party.</p>
-
-<p>Beyond the eastern bay on the south side was built the <b>Chapel of the
-Transfiguration</b>, dedicated in 1430. Of late years this addition was
-rebuilt for a vestry. The walls were made lower than the original ones,
-so as to show the fine window above that consists of a traceried arch
-within a curvilinear triangle, beneath which is a row of niches. Beneath
-these is a very fine row of <i>sedilia</i> and <i>piscinœ</i>. The carving in the
-new chapel is very naturalistic, and represents the poppy, buttercup,
-primrose, gooseberry, rose, blackberry, pansy, ivy, maple, and
-convolvulus and other local flowers and leaves.<span class="pagenum"><a name="page_375" id="page_375">{375}</a></span></p>
-
-<h2><a name="OXFORD" id="OXFORD"></a>OXFORD</h2>
-
-<div class="blockquotcent"><p><span class="smcap">Dedication: The Holy Trinity, St. Mary and St. Frideswide.</span></p>
-
-<p><span class="smcap">Special features: Ceiling in Choir; Windows; Shrine of St.
-Frideswide.</span></p></div>
-
-<p class="nind"><span class="smcap">This</span> Cathedral is peculiar in being almost hidden from sight in a series
-of college buildings, gardens and quadrangles. It is the chapel of
-Christ Church, as well as a cathedral; and to enter it we have to pass
-through the gateway of the famous <b>Tom Tower</b>, and across the great
-quadrangle, familiarly known as <b>Tom Quad</b>.</p>
-
-<p>The big bell <b>Tom</b> gives its name to the tower and quadrangle, is seven
-feet one inch in diameter, and weighs 17,000 tons. It was brought from
-Oseney Abbey with the other bells, the “merry Christ Church bells,” that
-now hang in the bell-tower above the <b>hall staircase</b>. Tom was recast in
-1680.</p>
-
-<p>The lower story of Tom Tower was built by Cardinal Wolsey. The cupola
-was added by Sir Christopher Wren. Three sides of the quadrangle were
-built by Wolsey, and the north side by Bishop Fell. As we pass through
-Tom Tower we note that a statue of Cardinal Wolsey faces St. Aldgate’s,
-and a statue of Queen Anne faces the quadrangle.</p>
-
-<p><b>Christ Church</b> is the largest college in the University of Oxford, and
-stands on the site of the ancient priory of St. Frideswide.</p>
-
-<p>In 1524 Cardinal Wolsey obtained authority from<span class="pagenum"><a name="page_376" id="page_376">{376}</a></span> Henry VIII. and Clement
-VIII. to suppress a number of religious houses in various parts of
-England, and to appropriate their revenues to the building and endowing
-of a College. After he had made considerable progress in the building of
-Christ Church he fell into disgrace with the King, who seized the
-property and distributed it among his courtiers. At a later period Henry
-VIII. refounded the establishment, and added to it the Abbey of Oseney,
-which was then the Cathedral of the See of Oxford. Christ Church (the
-present Cathedral) was at that time called the College of Henry VIII.,
-and was a Collegiate Church. In 1546, on the suppression of Oseney
-Abbey, St. Frideswide became the Cathedral Church of Oxford. Oseney is
-depicted in the King window (<a href="#page_391">see page 391</a>).</p>
-
-<p>The foundation was converted into one of secular canons in the Eighth or
-Ninth Century; and these were in turn succeeded by the regular canons,
-who built their chapter-house, dormitory, refectory and cloisters. In
-1158 they began the present Cathedral, which was completed in 1180,
-having swept away the Saxon church rebuilt by King Ethelred in 1004,
-according to some critics, while other antiquaries think that much of
-the present Cathedral is St. Ethelred’s. The church was dedicated to the
-Holy Trinity, St. Mary, and St. Frideswide, and was somewhat peculiar
-for the Twelfth Century, in being more elegant than was usual at that
-time. Cramped for room the south transept was cut off for the sake of
-the cloisters; and aisles were given to the north transept. There was no
-room for a Lady-Chapel at the east end; and, consequently, an additional
-aisle north of the north aisle of the choir was built. The same
-arrangement occurs at Ripon;<span class="pagenum"><a name="page_377" id="page_377">{377}</a></span> the Elder Lady Chapel at Bristol holds a
-similar position.</p>
-
-<div class="blockquot"><p>“St. Frideswide Church, now Christ Church Cathedral, Oxford, is a
-fine example of late Norman and transitional work of early
-character. It was consecrated in 1180, and was probably building
-for about twenty years previously: the confirmation, by Pope
-Hadrian IV. (Breakspeare, the only English Pope), of the charters
-granting the Saxon monastery of St. Frideswide to the Norman monks
-was not obtained until 1158, and it is not probable that they began
-to rebuild their church until their property was secured. The Prior
-at this period was Robert of Cricklade, called Canutus, a man of
-considerable eminence, some of whose writings were in existence in
-the time of Leland. Under his superintendence the church was
-entirely rebuilt from the foundations, and without doubt on a
-larger scale than before, as the Saxon church does not appear to
-have been destroyed until this period.</p>
-
-<p>“The design of the present structure is very remarkable; the lofty
-arched recesses, which are carried up over the actual arches and
-the triforium, giving the idea of a subsequent work carried over
-the older work; but an examination of the construction shows that
-this is not the case, that it was all built at one time, and that
-none of it is earlier than about 1160. In this church the central
-tower is not square, the nave and choir being wider than the
-transepts, and consequently the east and west arches are
-round-headed, while the north and south are pointed: this would not
-in itself be any proof of transition, but the whole character of
-the work is late, though very rich and good, and the clerestory
-windows of the nave are pointed without any necessity for it, which
-is then a mark of transition.”&mdash;(J. H. P.)</p></div>
-
-<p>St. Frideswide (Bond of Peace), or “the Lady,” as she was called in
-Oxford, lived early in the Eighth Century, when Ethelbald was king of
-Mercia. Her father, Didan, was a prince who lived in the city of Oxford
-about 727, where Frideswide was born. Of her early piety, her refusal of
-mar<span class="pagenum"><a name="page_378" id="page_378">{378}</a></span>riage, her foundation of this nunnery at Oxford, her miracles of
-healing and her “glorious death,” there are many pretty stories.</p>
-
-<p>St. Frideswide’s Church was burned in 1002, when Ethelred the Unready
-ordained the Massacre of the Danes.</p>
-
-<p>Ethelred afterwards made a vow that he would rebuild St. Frideswide’s
-Church; and in 1004 he began the splendid edifice, of unusual
-magnificence for the period.</p>
-
-<p>Robert of Cricklade, prior from 1141 to 1180, seems to have restored
-Ethelred’s church; and in that year the relics of St. Frideswide were
-translated to a more conspicuous place in the church.</p>
-
-<p>Many distinguished noblemen and prelates were present:</p>
-
-<div class="blockquot"><p>“After they were meet, and injoyned fasting and prayers were past,
-as also those ceremonies that are used at such times was with all
-decency performed, then those bishops that were appointed,
-accompanied with Alexio, the pope’s legat for Scotland, went to the
-place where she was buried, and opening the sepulchre, took out
-with great devotion the remainder of her body that was left after
-it had rested there 480 yeares, and with all the sweet odours and
-spices imaginable to the great rejoycing of the multitude then
-present mingled them amongst her bones and laid them up in a rich
-gilt coffer made and consecrated for that purpose, and placed it on
-the north side of the quire, somewhat distant from the ground, and
-inclosed it with a partition from the sight hereafter of the
-vulgar.”&mdash;(A.-à-W.)</p></div>
-
-<p>In 1289 these relics were again translated and placed in the position of
-the old shrine, probably in the north-choir-aisle, where the marble base
-recently discovered now stands (<a href="#page_385">see page 385</a>).</p>
-
-<div class="blockquot"><p>“In the Lancet period (1190-1245) the works went on apace. An upper
-stage was added to the tower and on that<span class="pagenum"><a name="page_379" id="page_379">{379}</a></span> the spire was built&mdash;the
-first large stone spire in England. It is a Broach spire, i.e., the
-cardinal sides of the spire are built right out to the eaves, so
-that there is no parapet. On the other hand, instead of having
-broaches at the angle it has pinnacles. Moreover, to bring down the
-thrusts more vertically, heavy dormer windows are inserted at the
-foot of each of the cardinal sides of the spire,&mdash;altogether a very
-logical and scientific piece of engineering, much more common in
-the early spires of Northern France than in England.”&mdash;(F. B.)</p></div>
-
-<p>About the Thirteenth Century the monks built the Chapter-House now
-standing; then the Lady-Chapel; altered the Norman windows to Decorated;
-and in the Fifteenth Century made many changes in the new Perpendicular
-style.</p>
-
-<p>Wolsey destroyed half of the nave in order to build Tom Quad. His idea
-was to erect a magnificent church on a large scale; but in the meantime
-his fall occurred. In 1546 St. Frideswide’s was made, as already noted,
-the Cathedral Church of Oxford.</p>
-
-<p>In the Seventeenth Century the tracery of many windows was altered for
-the sake of glass by the Dutchman Abraham Van Ling, for which old
-windows depicting scenes from St. Frideswide’s life and ancient arms
-were sacrificed. In later times some of Van Ling’s windows suffered the
-same fate, for modern work. One of his windows, however, remains (see
-page 382). Some of the windows were smashed during the Puritan wars; but
-on the whole the Cathedral escaped damage.</p>
-
-<p>Christ Church being a royal college, during the Civil War a University
-regiment of Cavaliers was drilled in Tom Quad; and when Charles I.
-occupied Oxford, after Edgehill, he held court in Christ Church.<span class="pagenum"><a name="page_380" id="page_380">{380}</a></span></p>
-
-<p>The Cathedral went through the fate of all English cathedrals in the
-Nineteenth Century; and finally, in 1870, a thorough restoration was
-undertaken by Dean Liddell and Sir Gilbert Scott, whose conservative
-alterations and restorations of windows, etc., have brought all the
-parts of the Cathedral into harmony. The windows of Burne-Jones are a
-great addition to the charm of the interior.</p>
-
-<div class="blockquot"><p>“The whole church is exceedingly interesting. It fills a niche in
-the history of English architecture all by itself. It is not the
-early and rude Traditional work of the Cistercians. On the other
-hand, it has not yet the lightness and grace of Ripon; still less
-the charm of the Canterbury choir, Chichester presbytery, Wells and
-Abbey Dore&mdash;Gothic in all but name. In spite of a pointed arch here
-and there, it is a Romanesque design.</p>
-
-<p>“The work commenced, as usual, at the east, as is shown by the
-gradual improvement westward in the designs of the capitals. The
-evidence of the vaulting, too, points in the same direction. In the
-choir-aisle the ribs are massive and heavy; in the western aisle of
-the north transept they are lighted; in the south aisle of the nave
-they are pointed and filleted.”&mdash;(F. B.)</p></div>
-
-<p>Owing to its secluded position it is almost impossible to get a view of
-the Cathedral; but the tower and spire can be seen from the cloisters.</p>
-
-<p>The <b>Cloisters</b> line three sides of the square only, for the west side was
-destroyed by Wolsey for the hall staircase, which is surmounted by the
-<b>Bell Tower</b>, in which the bells from the Abbey of Oseney hang.</p>
-
-<div class="blockquot"><p>“From the same position at the west of the cloister one can enjoy
-the best view of the tower and spire of the church. One is close
-enough to see all the detail and yet from this angle nothing is
-lost of the general effect. On a moonlit evening the effect is
-particularly solemn and beautiful. From this point also should be
-noticed the<span class="pagenum"><a name="page_381" id="page_381">{381}</a></span> difference in the masonry of the south transept. The
-lower story is entirely rubble, while the upper story is partly of
-good ashlar work.</p>
-
-<p>“On the south side of the cloister is the Old Library, as it is now
-called, which was formerly the refectory of the monastery, and is
-all that now remains of the conventual buildings. Its large
-Perpendicular windows, rising like a clerestory above it, look on
-to the cloister, but they were spoilt on the inside by a staircase,
-when the building was turned into undergraduates’ rooms. On the
-other side, facing the meadow buildings, there is a curious little
-oriel window, its lights now walled up, that once contained the
-pulpit whence the lessons were read during meals.”&mdash;(P. D.)</p></div>
-
-<p>We may remember, as we stand here, that Cranmer was unfrocked in this
-quadrangle.</p>
-
-<p>Entering through the porch in Tom Quad, cut through one of the canonical
-houses, we come into a sort of ante-chapel with the organ screen before
-us. Passing under the screen we have an unbroken view of the <b>Nave</b>, the
-Choir with its wonderful ceiling and the handsome wheel-window rising
-above the arcade and two round-headed windows at the east end.</p>
-
-<div class="blockquot"><p>“Christ Church is the smallest of our cathedrals; for even with the
-new ante-chapel it measures about 175 feet in length. Instead of
-being of the usual cruciform plan, it is now almost square,&mdash;in
-fact, the length from the reredos to the organ-screen is 132 feet,
-while the breadth across from the Latin Chapel to St. Lucy’s Chapel
-is 108 feet. The church is made up of the shortened nave with its
-two aisles, and ante-chapel, the central tower, the north transept
-with its one aisle, the south transept, and the eastern half of the
-church, which itself contains no less than six divisions,&mdash;the
-choir, with its two aisles, the Lady-Chapel on the north, and the
-Latin Chapel (or St. Catherine’s) on the north again of that, while
-on the south is the small chapel of St. Lucy.</p>
-
-<p>“If the unusual appearance of the cathedral is partly<span class="pagenum"><a name="page_382" id="page_382">{382}</a></span> due to
-Wolsey’s destruction, it is partly due also to its being used as a
-college chapel, and partly to the fact that in general plan, and to
-some extent in detail, it is Ethelred’s design, commenced seventy
-years before the great developments of Norman architecture
-began.”&mdash;(P. D.)</p></div>
-
-<p>We stop at the west end of the north aisle of the nave to examine the
-one remaining window designed by Van Ling.</p>
-
-<div class="blockquot"><p>“There are various opinions about this window, which represents
-Jonah sitting under his gourd, and the town of Nineveh in the
-distance. We must confess to a great admiration for it; the foliage
-is fine and rich, and if it is a little over-strong in its green,
-that only makes it more characteristic of its age. And, however
-that may be, there cannot be two opinions as to beauty of the town
-in the background, which reminds one irresistibly of Dürer; and,
-with its rich brown houses, bluish roofs, touches of greenery, and
-fair purple hills beyond, makes the right-hand light of the window
-a picture of which one never wearies. The whole is leaded in
-rectangular panes, like Bishop King’s window.”&mdash;(P. D.)</p></div>
-
-<p>We now cross to the west end of the south aisle of the nave to see
-Burne-Jones’s <b>Faith, Hope and Charity</b> window, a memorial to Edward
-Denison (died 1870), son of the Bishop of Salisbury, and a pioneer
-worker in the East End of London.</p>
-
-<div class="blockquot"><p>“The figure of Hope has a greyish-blue drapery, varied in tint and
-diapered with the pattern of a flower in stain. The scarf floating
-round the figure is sky-blue in tone and lighter than the dress.
-The figure of Charity has a ruby over-mantle, with a white dress
-underneath; while the figure of Faith has a blue dress beautifully
-and richly diapered, the upper portion with a sumptuous Venetian
-design familiar on the brocades of the Sixteenth Century, and the
-lower portion with a sprig of foliage. The tone of the backgrounds
-is a rich, warm green, and is very carefully painted with foliage,
-and the contrast yielded by</p></div>
-
-<div class="figcenter"><br />
-<a name="fig_078" id="fig_078"></a>
-<a href="images/fp382.jpg">
-<img src="images/fp382.jpg" height="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Oxford: Tower and Entrance</span></p></div>
-</div>
-
-<div class="figcenter"><br />
-<a name="fig_079" id="fig_079"></a>
-<a href="images/fp383.jpg">
-<img src="images/fp383.jpg" width="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Oxford: Choir, east</span></p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_383" id="page_383">{383}</a></span></p>
-
-<div class="blockquot"><p class="nind">the pale blue of the drapery, and the rich, warm green of the
-background in the two outside windows, is most harmonious and
-striking. The detail in this window is very elaborate, and every
-part of it bears traces of care and thought.”&mdash;(P. D.)</p></div>
-
-<p>The <b>Choir</b> consists of four bays, with the presbytery beyond.
-Perpendicular alterations are noticeable in the upper part. The
-triforium is late Norman. The pillars are larger than those in the nave
-and their capitals are very fine specimens of stone carving. Some
-critics go so far as to say they are Saxon.</p>
-
-<p>The most striking feature of the whole Cathedral is the pendant <b>ceiling</b>
-of the Choir.</p>
-
-<div class="blockquot"><p>“Fergusson considers this work to be the most satisfactory attempt
-ever made to surmount the great difficulty presented in all
-fan-tracery by the awkward, flat, central space which is left in
-each bay by the four cones of the vault. At Gloucester, King’s
-College Chapel, Cambridge, Henry VII.’s Chapel, Westminster, and
-other places, various attempts were made to deceive the eye, and
-hide the unmanageable space; in Henry VII.’s Chapel the well-known
-pendants were boldly introduced with this object. None were wholly
-satisfactory, but, says Fergusson:&mdash;</p>
-
-<p>“<span class="lftspc">‘</span>Strange as it may appear from its date, the most satisfactory
-roof of this class is that erected by Cardinal Wolsey over the
-choir of Oxford Cathedral. In this instance the pendants are thrust
-so far forward, and made so important, that the central part of the
-roof is practically quadripartite. The remaining difficulty was
-obviated by abandoning the circular, horizontal outline of true
-fan-tracery, and adopting a polygonal form instead. As the whole is
-done in a constructive manner and with appropriate detail, this
-roof, except in size, is one of the best and most remarkable ever
-executed.’</p>
-
-<p>“Fan-tracery is a peculiarly English feature, and was invented,
-according to Fergusson, in order to get rid of the endless
-repetition of inverted pyramids which earlier vaulting produced. He
-therefore considers it an improve<span class="pagenum"><a name="page_384" id="page_384">{384}</a></span>ment on the vaulting of the early
-English and Decorated periods; and, as he thinks the ceiling of
-Christ Church Cathedral to be the best example of fan-tracery, he
-comes near to pronouncing it the finest in the world.”&mdash;(P. D.)</p></div>
-
-<p>The East End is Scott’s restoration in the style of the Twelfth Century.
-The large wheel-window (an imitation from Canterbury) and the two
-round-headed windows below produce a fine effect.</p>
-
-<p>On the left of the Choir we come to the most curious part of the
-Cathedral. Columns and arches mark the divisions of the
-north-choir-aisle, the <b>Lady-Chapel</b> further north and the <b>Latin Chapel</b>
-beyond&mdash;practically three aisles. The east end of each aisle contains a
-beautiful Burne-Jones window. The north transept forms the western
-boundary of these three aisles, which are in reality only an extension
-of this transept.</p>
-
-<div class="blockquot"><p>“Here the eye wanders among pillars and arches which branch away in
-so many directions that the grandest churches can scarcely give
-more thoroughly the idea of infinity. And here one stands on the
-site of St. Frideswide’s first little church, with the very arches
-that she had built for her, still standing in all their primitive
-simplicity.</p>
-
-<p>“At the end of the north-choir-aisle is the St. Cecilia window,
-presented in honour of the patroness of music by Dr. Corfe, a
-former organist, in 1873. In the centre light the saint is
-represented playing her regal or small hand-organ; two angels
-holding other musical instruments, with palms in their hands, stand
-by her. The drapery is wrought in white glass, the angels have
-pale-blue wings, and the flesh tints matted over with red tell warm
-against the drapery. In the lower panels are three scenes from her
-life: ‘Here St. Cecilia teaches her husband,’ ‘Here an angel of the
-Lord teaches St. Cecilia,’ ‘Here St. Cecilia wins a heavenly
-crown;’ the saint’s figure in the last panel is most touchingly
-drawn. These lower panels are richer in colour than the rest, and a
-greater variety of<span class="pagenum"><a name="page_385" id="page_385">{385}</a></span> tints is introduced; but the colours are so
-delicate, and so skilfully blended, that they fall in most
-harmoniously with the main parts of the window.”&mdash;(P. D.)</p></div>
-
-<p>In the most eastern arch between the north-choir-aisle and the
-Lady-Chapel we stop to examine the <b>Shrine of St. Frideswide</b>.</p>
-
-<div class="blockquot"><p>“The coffer or shrine, which was made for the translation in 1289
-(its base being therefore the most ancient monument in the
-cathedral), was knocked to pieces at the Reformation (1538), and,
-being of wood, must have entirely perished. But gradually, and from
-different places, fragments of the base were brought together:
-first, several pieces of delicately carved marble were discovered
-in the sides of a square well in the yard south-west of the
-cathedral; then a part of the plinth on the south side was found to
-be in use as a step, luckily with the carved portion turned
-inwards; next a spandrel was detected by Mr. Francis, the head
-verger, in the wall of the cemetery; and last of all a piece of the
-plinth was found in a wall in Tom Quad. Though some portions are
-still wanting, it is not impossible that more may yet be found.</p>
-
-<p>“As the monument stands now, it cannot, of course, impress one as
-it would have done in its perfect state, with the rich
-superstructure crowning it: especially as the restored shafts are
-merely square stone supports of the clumsiest description, so
-studiously careful has the restorer been not to confuse them with
-the original work. Still, though the base of St. Frideswide’s
-shrine is only a collection of fragments, these fragments are of
-remarkable beauty and interest. It is of Forest marble, measuring
-seven feet by three and a half; and consists of an arcade of two
-richly cusped arches at the sides and one at each end. On the top
-of this was fixed the <i>feretrum</i>, containing the jewelled casket
-that held the relics themselves. The spandrels are filled with
-wonderfully carved foliage, unusually naturalistic, and preserving
-still the traces of colour and gilding to remind one of its former
-glories. On the south side there is maple in the central spandrel,
-with a wreath of what is probably crow’s-foot in a boss below: the
-two side spandrels contain columbine and the greater celandine. On
-the north side the foliage is mostly<span class="pagenum"><a name="page_386" id="page_386">{386}</a></span> oak, with acorns and numerous
-empty cups; sycamore and ivy filling the adjoining spandrels. At
-the east end one of the spandrels contains vine leaves and grapes,
-the other fig-leaves, but without the fruit; the cusp under the
-vine has a leaf which may be that of hog-leaf. At the west end
-there is hawthorn and bryony. The choice of all this foliage was
-doubtless made for symbolical reasons, referring first to St.
-Frideswide’s life in the oak woods near Abingdon, and next to her
-care for the sick and suffering at Thornberrie (now Binsey). And in
-this connection it is pleasant to think that the sculptor, with
-tender fancy, chose plants which were famous for their healing
-virtue.”&mdash;(P. D.)</p></div>
-
-<p>The <b>Lady-Chapel</b> (Thirteenth Century and Early English) is sometimes
-called the Dormitory, because many canons are buried here.
-Characteristic curling foliage decorates the capitals. The shafts are
-filleted. Traces of colouring can be observed here and there and also
-figures of angels on the roof. The Decorated window (restored) at the
-east end contains glass designed by Burne-Jones and made by William
-Morris, a memorial to Frederick Vyner, murdered by brigands at Marathon
-in 1870.</p>
-
-<p>The figures represent Samuel the Prophet, David, King of Israel, John
-the Evangelist, and Timothy the Bishop. In the panels beneath are, Eli
-instructing the young Samuel, David slaying Goliath, St. John at the
-Last Supper, and Timothy as a little boy learning from his mother.</p>
-
-<p>Here also is the tomb of <b>Elizabeth Lady Montacute</b>, who gave Christ
-Church Meadow to the Priory for the support of two priests for her
-chantry in this Lady-Chapel. Her effigy lies on the top of the tomb, and
-portraits of her children appear in the panels below. The whole was
-originally brilliantly coloured.</p>
-
-<p>Four arches divide the Lady-Chapel. Under the<span class="pagenum"><a name="page_387" id="page_387">{387}</a></span> easternmost one is a
-large tomb known as the <b>Watching Chamber</b>.</p>
-
-<div class="blockquot"><p>“Its real nature is still a matter of dispute: some maintaining it
-to have been used as a chantry chapel for the welfare of those who
-were buried below; others, that it served as a ‘watching chamber’
-to protect the gold and jewels which hung about the shrine of St.
-Frideswide.</p>
-
-<p>“Most elaborately carved and crocketed, the ‘watching chamber’ is a
-beautiful example of full-blown Perpendicular workmanship; ‘most
-lovely English work, both of heart and hand,’ according to Mr.
-Ruskin. It consists of four stories, the two lower, in stone,
-forming an altar tomb and canopy, and the two upper in wood. A door
-from the Latin Chapel leads one up a small and well-worn stone
-staircase into the interior of the little upper chapel, which is
-now a rough wooden room. Its extreme roughness suggests that it was
-once panelled and otherwise adorned, while there are marks at its
-east end, which may be the site of an altar, or of the <i>feretrum</i>
-itself.”&mdash;(P. D.)</p></div>
-
-<p>Lastly we come to the <b>Latin-Chapel</b> also called <b>St. Catherine’s</b>, in
-honour of the patron of students of theology.</p>
-
-<div class="blockquot"><p>“The Decorated vaulting was built when the chapel was enlarged in
-the Fourteenth Century. The foliage of its bosses is very
-beautiful; the water-lilies especially of the third boss, so
-suggestive of Oxford streams, and the roses a little further east,
-are a happy combination of naturalistic treatment with decorative
-restraint. It will be noticed that the vaulting does not run true
-in the third bay, the Decorated work there having been somewhat
-awkwardly joined to the Early English of the second bay.</p>
-
-<p>“A prominent feature in the Latin-Chapel is the old oak stalling,
-which a second inspection proves to be patchwork. The returned
-stalls at the west end probably belonged to the choir of the
-conventual church, and in that case would have been fitted in here
-when Dean Duppa ‘adorned’ the choir by destroying the old
-wood-work. Near to these is some of the work prepared for Cardinal
-Wolsey’s new<span class="pagenum"><a name="page_388" id="page_388">{388}</a></span> chapel. The poppy-heads are good specimens of
-wood-carving, and contain a monogram I.H.S., a heart in a crown of
-thorns, a cardinal’s hat, and other devices. The pulpit, with its
-delicate canopy, an excellent specimen of Seventeenth Century
-wood-work, was formerly the Vice-Chancellor’s seat in another part
-of the church, occupied by him during university sermons. It was
-then used by the Regius Professor of Divinity for his lectures, but
-since the altar was restored six years ago, the chapel has been no
-longer used as a lecture-room.”&mdash;(P. D.)</p></div>
-
-<p>Here we find some of the best glass in the Cathedral. At the east end is
-the famous <b>St. Frideswide window</b> by Burne-Jones; and the three windows
-on the north are beautiful specimens of the Fourteenth Century, replaced
-here by Dean Liddell. In the middle of each light is a figure and the
-rest of the space is covered with the diamond-shaped pieces of glass
-bearing leaves and flowers, technically called “quarries.” Medallions
-and borders with various beasts&mdash;even monkeys&mdash;decorate the spaces in
-the tracery. The first window depicts St. Catherine, a Virgin and Child,
-and next a figure, probably St. Frideswide; the second window represents
-an archbishop and angels; and the third, St. Frideswide with St.
-Margaret on one side and St. Catherine on the other. It is very
-interesting to compare these with the Burne-Jones’s St. Frideswide at
-the east end:</p>
-
-<div class="blockquot"><p>“Though this is one of the first windows that Burne-Jones ever
-designed it is one of his best. Better suited (as many think) to
-the purpose of a window, at all events in this enclosed chapel,
-than the freer method of the other glass, it carries on the best
-traditions of the craft, in its infinite variety of gem-like colour
-and complexity of detail; while it attains a degree of perfection
-in pictorial effect and figure-drawing which was impossible during
-the great era of mediæval glass-painting. The death of<span class="pagenum"><a name="page_389" id="page_389">{389}</a></span> the saint,
-with its lovely effect of light through the latticed window, for
-instance, and the picture of her in the pig-sty, would be perfect
-as finished pictures, and yet do not for an instant outstep the
-convention which is necessary for their function as part of a
-window.</p>
-
-<p>“The colour is, in spite (or rather because) of its radiant
-variety, not so immediately attractive to every one as that of the
-other Burne-Jones windows; but when one has sat down for five or
-ten minutes and deciphered the various scenes, its unapproachable
-beauty becomes apparent, and each succeeding visit deepens the
-impression of the splendour and poetry of this incomparable work.</p>
-
-<p>“The scenes depicted are, by the artist’s own account, as
-follows:&mdash;</p>
-
-<p>“<i>First Light</i>: St. Frideswide and her companions brought up by St.
-Cecilia and St. Catherine; St. Frideswide founds her first convent;
-A messenger from the King of Mercia demands her in marriage; The
-King comes to take her by force, and the first convent is broken
-up.</p>
-
-<p>“<i>Second Light</i>: Flight of St. Frideswide to Abingdon; The King of
-Mercia and his soldiers in pursuit; The Flight continued; The
-Pursuit continued; St. Frideswide takes refuge in a pig-sty.</p>
-
-<p>“<i>Third Light</i>: Flight of St. Frideswide to Binsey; The King of
-Mercia in pursuit; St. Frideswide founds a new convent at Binsey;
-Her merciful deeds.</p>
-
-<p>“<i>Fourth Light</i>: Return of St. Frideswide to Oxford; The Siege of
-Oxford by the King of Mercia; The Siege continued; The King struck
-blind; The Death of St. Frideswide.</p>
-
-<p>“In the tracery above are the trees of life and of knowledge, and a
-ship of souls convoyed by angels.”&mdash;(P. D.)</p></div>
-
-<p>Passing into the north transept we note that the eastern aisle has been
-merged into the Lady-Chapel and Latin-Chapel of which it forms the
-western bays; but that the western aisle remains.</p>
-
-<p>The north window (modern glass) was restored back to its original design
-by Sir Gilbert Scott. Beneath it is a panelled tomb of Henry VII.’s
-period. It is supposed to be that of a monk named<span class="pagenum"><a name="page_390" id="page_390">{390}</a></span> <b>Zouch</b> (died 1503),
-probably a scribe, because his ink-horn and pen-case appear on the
-shields of his tomb. He left a bequest to pay for the vaulting.</p>
-
-<p>The <b>Tower</b> is not perfectly square. The nave and choir sides are wider
-than those of the transepts, and therefore the north and south arches
-are pointed and the east and west arches are round. Foliage decorates
-the capitals of the shafts. The lantern is open and is ornamented with
-arcades and arches. At the south-east pier the break in the masonry
-indicates, in the opinion of some students, the place where the builders
-stopped work when Sweyn drove Ethelred out of England.</p>
-
-<p>The fine Jacobean <b>Pulpit</b> (1635), elaborately carved with grotesques on
-the panels, deserves at least a passing glance.</p>
-
-<p>The south transept has no aisles, for the western aisle was cut off by
-the cloisters and the eastern aisle became <b>St. Lucy’s Chapel</b>, in the
-second bay. Though there are many old royalist tombs the chief interest
-here is the beautiful <b>Window</b> of three lights, the Flamboyant tracery of
-which frames the most splendid glass in the whole cathedral. It dates
-from about 1330.</p>
-
-<div class="blockquot"><p>“In the uppermost compartment of the tracery is a figure of our
-Lord seated in glory; below there are angels with censers, and next
-two Augustinian monks in blue and white robes, kneeling with
-outstretched arms; then come coats-of-arms, and various grotesque
-beasts, all most richly coloured in ruby and blue and green and
-gold. Below, in the principal spaces, are (1) St. Martin on
-horseback giving his coat to the beggar; (2) the martyrdom of St.
-Thomas à Becket: St. Thomas’ head has been knocked out by some
-fanatic, and replaced with white glass; the armour and shields of
-the knights should be noticed; (3) St. Augustine, who holds a
-pastoral staff, is teaching his monks and others. In the next four
-spaces are:&mdash;The head of a<span class="pagenum"><a name="page_391" id="page_391">{391}</a></span> king; St. Cuthbert, carrying the head
-of St. Oswald, and wearing a green chasuble; St. Blaise, in a
-mulberry-coloured chasuble; the head of a queen. The glass in the
-three main lights was destroyed, and then replaced by some of
-Seventeenth Century work, but this too is now gone, all except a
-portion of the upper part which shows that the design was
-architectural in character and the colour that of fog-smitten
-stone-work.”&mdash;(P. D.)</p></div>
-
-<p>The <b>South-Choir-Aisle</b> is of earlier date than the nave and transept
-aisles. Scott rebuilt the southern windows in the Norman style. Heads of
-men and monkeys decorate the corbels that support the vault. The
-original half-flower moulding adorns the Decorated east window
-(restored) which contains one of Burne-Jones’s famous designs. It is a
-memorial to <b>Edith Liddell</b> (1876), whose portrait appears in the central
-figure as St. Catherine. In the tracery above angels are playing musical
-instruments and in the panels below are scenes from the life and death
-of St. Catherine.</p>
-
-<p>The third window in the wall near St. Lucy’s Chapel is of great
-interest. It is the only one of the original Romanesque windows that
-remains. The old glass shows a portrait of <b>Bishop King</b>, Abbot of Oseney
-and first Bishop of Oxford. He died in 1557 and was buried in Christ
-Church Cathedral.</p>
-
-<div class="blockquot"><p>“This window, with some others, was taken down during the Civil
-War, buried for safety by a member of the family, and put up again
-at the Restoration. The Bishop is represented standing vested in a
-jewelled cope of cloth of gold, and mitre, a pastoral staff in his
-gloved hand. In the background, among the trees, is a picture of
-Oseney Abbey in its already ruined condition (c. 1630), drawn
-without much feeling for its architecture, but of great value as
-almost the only picture of the place we possess. The western tower
-was the first home of what are now the Christ Church bells. Three
-coats-of-arms (being those of the<span class="pagenum"><a name="page_392" id="page_392">{392}</a></span> Bishop, impaled with the Abbey
-of Oseney and the See of Oxford) complete the richness of what is a
-very good example of Seventeenth Century <i>painted</i> glass, in the
-strict sense of the word.”&mdash;(P. D.)</p></div>
-
-<p>South of the South Transept the slype, a vaulted passage including part
-of the transept, leads into the Cloisters.</p>
-
-<p>South of the slype lies the <b>Chapter-House</b>, deserving a visit because it
-is a fine example of Early English. The monks’ heads carved on the
-corbels, the bosses of the roof, and the arcade of five arches at the
-east end are the chief features of the interior.</p>
-
-<div class="figcenter"><br />
-<a name="fig_080" id="fig_080"></a>
-<a href="images/fp392.jpg">
-<img src="images/fp392.jpg" width="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Oxford: Latin Chapel</span></p></div>
-</div>
-
-<div class="figcenter"><br />
-<a name="fig_081" id="fig_081"></a>
-<a href="images/fp393.jpg">
-<img src="images/fp393.jpg" height="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">St. Paul’s: West Front</span></p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_393" id="page_393">{393}</a></span></p>
-
-<h2><a name="ST_PAULS_LONDON" id="ST_PAULS_LONDON"></a>ST. PAUL’S, LONDON</h2>
-
-<div class="blockquotcent"><p><span class="smcap">Dedication: St. Paul. A Church formerly served by Secular Canons.</span></p>
-
-<p><span class="smcap">Special features: Dome; Choir Stalls; Tombs and Monuments.</span></p></div>
-
-<p class="nind"><span class="smcap">The</span> present building in the Renaissance style is the third Christian
-church erected on this site. It is said that a Roman temple to Diana
-stood here; but the earliest church of which records exist was erected
-by Ethelbert, King of Kent, in 610, in which he was assisted by Siebert,
-King of the East Saxons, his nephew, who founded the monastery of St.
-Peter, called Westminster, on Thorney Island. This Cathedral, which owed
-much of its prosperity to St. Erkenwald, fourth Bishop of London, to
-whose memory a golden shrine was erected here, suffered from fire in 961
-and was completely destroyed in 1086. On the ruins a Norman church was
-immediately erected, the architect for which was Bishop Maurice. Though
-injured by fire in 1193 it was a stately and beautiful building, in the
-Norman style. It was cruciform, with two western towers for bells and a
-high tower in the centre with a spire. In addition to the high altar
-there were seventy or eighty chantries with their own altars, and behind
-the high altar the golden shrine containing the body of St. Erkenwald.
-The nave contained twelve bays and also the choir rebuilt in 1221. The
-Lady-Chapel was added in 1225. It was the largest Cathedral in England.
-St. Paul’s was rich in relics and in treasure of all kinds&mdash;pictures
-and<span class="pagenum"><a name="page_394" id="page_394">{394}</a></span> frescoes, vestments, gold, silver and jewels. In 1312 the nave was
-paved with marble and in 1315 a new wooden spire 460 feet high was
-added.</p>
-
-<p>This great Cathedral became the very centre of the life of the citizens.
-Here men met to defend their liberties, summoned by the great bells of
-St. Paul’s, from the days of King Stephen until the magnificent
-Cathedral perished in the Great Fire.</p>
-
-<div class="blockquot"><p>“Again and again the tocsin sounded, as St. Paul’s bell rang clear
-and loud, and the citizens seized their weapons and formed their
-battalions beneath the shadow of the great church. Now it was to
-help Simon de Montfort against the King; now to seize the person of
-the obnoxious Queen Eleanor, who was trying to escape by water from
-the Tower to Windsor, and who was rescued from their hands by the
-Bishop of London, and found refuge in his palace. Now the
-favourites of Edward II. excited their rage, especially the Bishop
-of Exeter, the King’s regent, who dared to ask the Lord Mayor for
-the keys of the city and paid for his temerity with his life.<a name="FNanchor_9_9" id="FNanchor_9_9"></a><a href="#Footnote_9_9" class="fnanchor">[9]</a></p>
-
-<p>“The chronicles of the Cathedral tell the story of the troublous
-times of the Wars of the Roses. We see Henry IV. pretending bitter
-sorrow for the death of the murdered Richard, and covering with
-cloth-of-gold the body, which had been exhibited to the people in
-St. Paul’s. We see Henry V. returning in triumph from the French
-wars, riding in state to the Cathedral attended by ‘the mayor and
-brethren of the City companies, wearing red gowns with hoods of red
-and white, well-mounted and gorgeously horsed with rich collars and
-great chains, rejoicing at his victorious return.’ Then came Henry
-VI. attended by bishops, the dean and canons, to make his offering
-at the altar. Here the false Duke of York took his oath on the
-Blessed Sacrament to be loyal to the King. Here the rival houses
-swore to lay aside their differences, and to live at peace. But a
-few years later saw the new King Edward IV., at St. Paul’s,
-attended by great Warwick, the king-maker, with his body-guard of
-800 men-at-arms. Strange were the changes of fortune in those days.
-Soon<span class="pagenum"><a name="page_395" id="page_395">{395}</a></span> St. Paul’s saw the exhibition of the dead body of the
-king-maker, and not long afterwards that of the poor dethroned
-Henry, and Richard came in state here amid the shouts of the
-populace. After the defeat of the conspiracy of Lambert Simnel,
-Henry VII. celebrated a joyous thanksgiving in the Cathedral, and
-here, amid much rejoicing, the youthful marriage of Prince Arthur
-with Katherine of Aragon took place, when the conduits of Cheapside
-and on the west of the Cathedral ran with wine, and the bells rang
-joyfully, and all wished happiness to the Royal children whose
-wedded life was destined to be so brief.</p>
-
-<p>“St. Paul’s became the gathering-place for lords and courtiers and
-professional people, who met every day from eleven till twelve and
-from three till six to discuss the news of the day and to transact
-business.</p>
-
-<p>“Here lawyers received their clients; here men sought service; here
-usurers met their victims, and the tombs and font were mightily
-convenient for counters for the exchange of money and the
-transaction of bargains, and the rattle of gold and silver was
-constantly heard amidst the loud talking of the crowd. Gallants
-enter the Cathedral wearing spurs, having just left their steeds at
-The Bell and Savage and are immediately besieged by the choristers,
-who have the right of demanding spur money from any one entering
-the building wearing spurs. Nor are the fair sex absent, and Paul’s
-Walk was used as a convenient place for assignations. Old plays are
-full of references to this practice. Later on the nave was nothing
-but a public thoroughfare, where men tramped, carrying baskets of
-bread and fish, flesh and fruit, vessels of ale, sacks of coal, and
-even dead mules and horses and other beasts. Hucksters and peddlers
-sold their wares. Duke Humphrey’s tomb was the great meeting-place
-of all beggars and low rascals, and they euphemistically called
-their gathering ‘a dining with Duke Humphrey.’ Much more could be
-written of this assembly of all sorts and conditions of men, but we
-have said enough to show that the Cathedral had suffered greatly
-from desecration and abuse. Indeed an old writer in 1561 declared
-that the burning of the steeple in that year was a judgment for the
-scenes of profanation which were daily witnessed in old St.
-Paul’s.”&mdash;(P. H. D.)</p></div><p><span class="pagenum"><a name="page_396" id="page_396">{396}</a></span></p>
-
-<p>Cromwell’s army demolished shrines and destroyed all the relics and
-works of art, and seamstresses and hucksters took up their abode in the
-western portico, built by Charles I. after designs by Inigo Jones. At
-the Restoration plans to repair and restore the Cathedral were being
-made by Wren when the Great Fire destroyed it. Wren had the task of
-rebuilding it, and produced a masterpiece that takes rank with St.
-Peter’s in Rome and even surpasses it in some of its details.</p>
-
-<p>“The stones of Paul’s,” wrote Evelyn, “flew like granados, the melting
-lead running down the streets in a stream and the very pavements glowing
-with fiery redness, so as no horse or man was able to tread on them, and
-the demolition had stopped all the passages, so that no help could be
-applied.”</p>
-
-<p>It took a long time to remove the ruins and to decide upon the plan for
-the successor of Old St. Paul’s. Wren made numerous designs and drawings
-and there was great delay. At length the royal warrant was obtained and
-the first stone was laid June 21, 1675, at the south-east corner of the
-choir. The Cathedral was building for thirty-five years. The choir was
-finished and service held in it on December 2, 1697. It is sad to
-remember that the great architect was a victim of jealousy and intrigue,
-and pleasant to know that he lived to see the glorious church that had
-taken form in his mind completed. It was finished in 1710.</p>
-
-<div class="blockquot"><p>“Was there ever known in the history of the world any cathedral
-which suffered from fire like St. Paul’s? The whole career of the
-church was an ordeal by fire. It was injured by fire a hundred
-years before Westminster Hall was built; it was totally destroyed
-by fire in the Eleventh Century and it took nearly two centuries to
-restore it to<span class="pagenum"><a name="page_397" id="page_397">{397}</a></span> anything like its former magnificence. ‘Away! we
-lose ourselves in light,’ might have been its motto, for it was all
-but completely destroyed by fire in the Fifteenth Century, and its
-spire, which was then claimed to be the highest in the world, was
-destroyed by fire a century later. Thus we have brought it to the
-terrible days of 1666, when it went under with so much of London to
-accompany it&mdash;one of the most tremendous conflagrations recorded in
-the history of great cities. Then came the Commission to rebuild
-it, of which brave John Evelyn was a member, and then Sir
-Christopher Wren raised the monument to his fame which those who
-would question his renown have only to look upon and be
-satisfied.”&mdash;(J. McC.)</p></div>
-
-<p>Coming along from Ludgate Hill we gain a splendid view of the impressive
-Dome emerging through the mists in the very heart of the City.</p>
-
-<div class="blockquot"><p>“St. Paul’s is often called Classical, or Roman, or Italian; it is
-not one of these three: it is English Renaissance. It was, too, a
-distinctly happy thought of Fergusson to suggest that the Cathedral
-takes a like place in English architecture to that which the
-immortal ‘Paradise Lost’ does in English literature. The plan is
-that of a mediæval church; the pilasters and entablature are Roman;
-the round arch is found in both Roman and Romanesque, and that
-commanding feature, the Dome, is the common property of many styles
-and many ages. The general plan resembles the long or Latin Cross,
-with transepts of greater breadth than length; and the uniformity
-is broken by an apse at the east, and the two chapels at the west
-end.”&mdash;(A. D.)</p></div>
-
-<p>Before we begin our tour of the Cathedral let us take a little note of
-our surroundings.</p>
-
-<div class="blockquot"><p>“In olden times St. Paul’s Churchyard was one of the great business
-centres of London. About the church men met to discuss the doings
-of the day, the last piece of news from Flanders, France or Spain,
-or the rumours from the country. Here the citizens gathered angrily
-when there was any talk of an invasion of their cherished
-liberties,<span class="pagenum"><a name="page_398" id="page_398">{398}</a></span> grumbled over the benevolence demanded by his Majesty
-for the pay of the troops engaged in the French war, or jeered at
-some poor wretch nailed by his ears in the pillory. Here the
-heralds would proclaim the news of our victories by sea and land;
-here the public newsmen would read out their budgets; vendors of
-infallible nostrums would wax eloquent as to the virtues of their
-wares; and the wives and daughters of the citizens would gather to
-gossip and flirt. It was at once the exchange, the club, and the
-meeting-place of London. Paul’s Cross was the heart of the City;
-here men threw up their bonnets when they heard of Crécy and of
-Agincourt; here they listened to the preachings of the first
-followers of Wycliffe; here they erected their choicest pageants
-when a new sovereign visited the City for the first time, or
-brought his new-made spouse to show her to his lieges; and gathered
-with frowning brows beneath iron caps when London threw in its lot
-with the Parliament, and the train bands marched off to fight the
-King’s forces. The business mart of the City lies now in front of
-the Mansion House, but a great deal of business is still done under
-the shadow of the Cathedral.”&mdash;(C. D.)</p></div>
-
-<p>All the streets bear names that remind us of the vicinity of St.
-Paul’s&mdash;Creed Lane, Ave Maria Lane, Sermon Lane, Canon Alley, Amen
-Corner and Paternoster Row known throughout the world as the
-headquarters of the book trade and publishers, while Cheapside, Ludgate
-Hill, Fleet Street and St. Paul’s Churchyard swarm with ghosts and
-memories of London’s stirring events.</p>
-
-<div class="blockquot"><p>“The modern passenger through St. Paul’s Churchyard has not only
-the last home of Nelson and others to venerate as he goes by. In
-the ground of the old church were buried, and here therefore
-remains whatever dust may survive them, the gallant Sir Philip
-Sidney (the <i>beau idéal</i> of the age of Elizabeth), and Vandyke, who
-immortalised the youth and beauty of the court of Charles the
-First. One of Elizabeth’s great statesmen also lay
-there&mdash;Walsingham&mdash;who died so poor that he was buried<span class="pagenum"><a name="page_399" id="page_399">{399}</a></span> by stealth
-to prevent his body from being arrested. Another, Sir Christopher
-Hatton, who is supposed to have danced himself into the office of
-Her Majesty’s Chancellor, had a tomb which his contemporaries
-thought too magnificent, and which was accused of ‘shouldering the
-altar.’</p>
-
-<p>“Old St. Paul’s was much larger than now, and the Churchyard was of
-proportionate dimensions. The wall by which it was bounded ran
-along by the present streets of Ave Maria Lane, Paternoster Row,
-Old Change, Carter Lane and Creed Lane; and therefore included a
-large space and many buildings which are not now considered to be
-within the precincts of the Cathedral. This spacious area had grass
-inside, and contained a variety of appendages to the establishment.
-One of these was the cross of which Stow did not know the
-antiquity. It was called Paul’s Cross, and stood on the north side
-of the church, a little to the east of the entrance of Cannon
-Alley.”&mdash;(L. H.)</p></div>
-
-<p>At first the space around it was used for the meeting of the
-populace&mdash;the Folkmote&mdash;when their magistrates were elected, public
-affairs discussed and criminals tried and sentenced. At a later period
-<b>Paul’s Cross</b> was chiefly used for proclamations, and from the pulpit,
-which in Stow’s time was an hexagonal piece of wood “covered with lead,
-elevated upon a flight of stone steps and surmounted by a large cross,”
-sermons were preached.</p>
-
-<p>In 1879 the foundations of Paul’s Cross were discovered on the
-north-east side of the present Choir. A monument is now being erected on
-the spot.</p>
-
-<p>If we wish to examine the north and south fronts more particularly we
-first go to the former and</p>
-
-<div class="blockquot"><p>“We note the two-storied constructions, the graceful Corinthian
-pillars, arranged in pairs, with round-headed<span class="pagenum"><a name="page_400" id="page_400">{400}</a></span> windows between
-them; the entablature; and then, in the second story, another row
-of beautiful pilasters of the Composite order. Between these are
-niches where one would have expected windows; but this story is
-simply a screen to hide the flying-buttresses supporting the
-clerestory, as Wren thought them a disfigurement. The walls are
-finished with a cornice, which Wren was compelled by hostile
-critics to add, much against his own judgment. There are some
-excellently carved festoons of foliage and birds and cherubs, which
-are well worthy of close observation. The North and South Fronts
-have Corinthian pillars, which support a semicircular entablature.
-Figures of the Apostles adorn the triangular-shaped heads and
-balustrade. The Royal Arms appear on the north side, and a Phœnix
-is the suitable ornament on the south, signifying the resurrection
-of the building from its ashes. The south side is almost similar to
-the north. The east end has an apse.”&mdash;(P. H. D.)</p></div>
-
-<p>On the south-west is the Dean’s yard, leading past the Deanery to the
-Choir House in Great Carter Lane where the choir-boys are trained.
-Doctors’ Commons, where marriage licenses used to be issued, only
-survives in name.</p>
-
-<p>Opposite the north porch of the Cathedral is the Chapter-House and from
-this side St. Paul’s Bridge, the plan for which was adopted in 1909,
-will start. It will cost no less than £1,600,000, and will cross the
-Thames between Blackfriars and Southwark.</p>
-
-<p>Facing Ludgate Hill stands a statue of Queen Anne, a modern replica of
-the original statue by Bird. At the foot of the 22 marble steps leading
-up to the doorway is a marble slab commemorating the Diamond Jubilee
-Thanksgiving (June 22, 1897). From time immemorial national thanksgiving
-services have been offered at St. Paul’s. The first in this building was
-a special thanksgiving for the Peace of Ryswick. Queen Anne returned
-thanks<span class="pagenum"><a name="page_401" id="page_401">{401}</a></span> for Marlborough’s victories in the Low Countries and the
-destruction of the Spanish fleet at Vigo and for the victory of Blenheim
-(1702 and 1704). Here thanks were also offered for the recovery of the
-Prince of Wales (Edward VII.) from a serious illness in 1872 and by
-Queen Victoria for the sixtieth anniversary of her reign (1897); by King
-Edward and Queen Alexandra for the restoration of peace in South Africa
-(June 8, 1902); by King Edward on October 18, 1902, for his recovery
-from the illness that delayed the Coronation; and by King George and
-Queen Mary.</p>
-
-<div class="blockquot"><p>“The <span class="smcap">West Front</span> has a magnificent portico, divided, like the rest
-of the building, into two stories. The lower consists of twelve
-coupled and fluted columns; that, above, has only eight, which bear
-an entablature and pediment of which the tympanum is sculptured in
-bas-relief, representing the conversion of St. Paul. On the apex of
-the pediment is a figure of the Saint himself, and at its
-extremities, on the right and left of St. Paul, are figures of St.
-Peter and St. James. The transepts are terminated upwards by
-pediments, over coupled pilasters at the quoins, and two single
-pilasters in the intermediate space. On each side of the western
-portico a square pedestal rises over the upper order, and on each
-pedestal a steeple, or campanile tower, supported upon triangular
-groups of Corinthian columns finishing in small domes formed by
-curves of contrary flexure very like bells. Lower down in front of
-these campaniles, the Four Evangelists are represented with their
-emblems. In the face of the southern campanile a clock is inserted.
-A flight of steps extending the whole length of the portico forms
-the basement. In the southwest tower is the Great Bell of St.
-Paul’s, cast in 1709 by Richard Phelps and Langley Bradley. It is
-ten feet in diameter, ten inches thick in metal and weighs 11,474
-pounds.”&mdash;(M.)</p></div>
-
-<p>First we will take a general view of the exterior:<span class="pagenum"><a name="page_402" id="page_402">{402}</a></span></p>
-
-<div class="blockquot"><p>“The form of St. Paul’s is that of the long or Latin cross. Its
-extreme length, including the porch, is 500 feet; the greatest
-breadth, that is to say across the transept but within the doors of
-the porticoes, 250 feet; the width of the nave, 118 feet. There
-are, however, at the foot or western end of the cross, projections
-northward and southward, which make the breadth 190 feet. One of
-these, namely, on the north side, is used as a morning chapel, and
-the other, on the south side, contains the Wellington Monument, but
-was formerly used as the Consistory Court. At the internal angle of
-the cross are small square bastion-like adjuncts, whose real use is
-to strengthen the piers of the dome; but they are inwardly
-serviceable as vestries and a staircase. The height of the
-Cathedral on the south side to the top of the cross is 365 feet.</p>
-
-<p>“The exterior consists throughout of two orders, the lower being
-Corinthian, the upper composite. It is built externally in two
-stories, in both of which, except at the north and south porticoes
-and at the west front, the whole of the entablatures rest on
-coupled pilasters, between which in the lower order a range of
-circular-headed windows is introduced. But in the order above, the
-corresponding spaces are occupied by dressed niches, standing on
-pedestals pierced with openings to light the passages in the roof
-over the side aisles. The upper order is nothing but a screen to
-hide the flying-buttresses carried across from the outer walls to
-resist the thrust of the great vaulting.”&mdash;(M.)</p></div>
-
-<p>The <b>Dome</b>, the great feature of the church, is very beautiful when seen
-from a distance, as from one of the bridges, rising with its graceful
-curves far above the roofs and other spires.</p>
-
-<div class="blockquot"><p>“The dome, which is by far the most magnificent and elegant feature
-in the building, rises from the body of the church in great
-majesty. It is 145 feet in outward and 108 feet in inward diameter.
-Twenty feet above the roof of the church is a circular range of
-twenty-two columns, every fourth intercolumniation being filled
-with masonry, so disposed as to form an ornamental niche or recess,
-by which arrangement the projecting buttresses of the cupola are
-concealed. These, which form a peristyle of<span class="pagenum"><a name="page_403" id="page_403">{403}</a></span> the Composite Order,
-with an unbroken entablature, enclose the interior order. They
-support a handsome gallery adorned with a balustrade. Above these
-columns is a range of pilasters, with windows between them, forming
-an attic order, and on these the great dome stands. The general
-idea of the cupola, as appears from the <i>Parentalia</i>, was taken
-from the Pantheon at Rome. On the summit of the dome, which is
-covered with lead, is a gilt circular balcony, and from its centre
-rises the lantern, adorned with Corinthian columns. The whole is
-terminated by a gilt ball and cross.</p>
-
-<p>“But with the matchless exterior ceases the superiority, and
-likewise, to a great degree, the responsibility of Wren. His
-designs for the interior were not only carried out, but he was in
-every way thwarted, controlled, baffled in his old age to the
-eternal disgrace of all concerned; the victim of the pitiful
-jealousy of some, the ignorance of others, the ingratitude of
-all.”&mdash;(M.)</p></div>
-
-<p>It is singular to note that when Wren laid the corner-stone on June 11,
-1675, there was no solemn ceremonial. The King, the Court, the
-Archbishop of Canterbury and the Lord Mayor of London were all notably
-absent, but when he laid the last stone in the lantern of the cupola in
-1710</p>
-
-<div class="blockquot"><p>“all London poured forth for the spectacle, which had been publicly
-announced, and were looking up in wonder to the old man, or his
-son, if not the old man himself, who was, on that wondrous height,
-setting the seal, as it were, to his august labours.</p>
-
-<p>“When one enters the west door one cannot fail to be struck with
-the vastness of the space enclosed within its massive walls; there
-is no screen to break the view towards the east, and, as one stands
-beneath the dome and looks up into its enormous hollow, the sense
-of overpowering height is felt as in no other church in
-England.”&mdash;(T. P.)</p></div>
-
-<p>Entering through the western door we are struck with the immensity of
-the <b>Nave</b> and overspreading<span class="pagenum"><a name="page_404" id="page_404">{404}</a></span> dome, the effect of the lights, and, if
-service is being held, the peculiar beauty of the chants of the
-choristers, whose voices seem to come from the dome and float through
-the misty light to our ears.</p>
-
-<p>It would be interesting to know if Wagner ever heard the choir-boys of
-St. Paul’s and sought to reproduce the effect in <i>Parsifal</i>, by
-arranging the voices of knights, squires and youths at various stages in
-the dome of Montsalvat to sing softly of the “wondrous work of mercy and
-salvation.”</p>
-
-<div class="blockquot"><p>“The interior of the nave is formed by an arcade resting on massive
-pillars and dividing the church into a body and two aisles. The
-eastern piers of the nave serve at the same time for the supports
-of the cupola. They are wider than the other piers, and are flanked
-by pilasters at their angles and have shallow oblong recesses in
-the intercolumniations. The roof over these piers is a boldly
-coffered waggon-vault, which contrasts very effectively with the
-rest of the vaulting.</p>
-
-<p>“The nave is separated from the choir by the area over which the
-cupola rises. From the centre of this area, the transepts, or
-traverse of the cross, diverge to the north and south, each
-extending one severy, or arch, in length. The choir, which is
-vaulted and domed over, like the nave and transepts, from the top
-of the attic order, is terminated eastward by a semicircular
-tribune, of which the diameter is, in general terms, the same as
-the width of the choir itself. The western end of the choir has
-pillars similar to those at the eastern end of the nave, uniform
-with which there are at its eastern end piers of the same extent
-and form, except that they are pierced for a communication with the
-side aisles. Above the entablature and under the cupola is the
-Whispering Gallery, and in the concave above are representations of
-the principal passages of St. Paul’s life in eight compartments,
-painted by Sir James Thornhill.”&mdash;(M.)</p></div>
-
-<p>We should note that there are three stages&mdash;the main arcade, the
-triforium and the clerestory. The<span class="pagenum"><a name="page_405" id="page_405">{405}</a></span> piers are faced with Corinthian
-pilasters that divide off the bays east and west. The arches spring from
-an entablature. They are very high. The “triforium belt,” as the “attic”
-is termed by those critics who have dropped the Classical nomenclature,
-and clerestory above are easily understood at a glance.</p>
-
-<div class="blockquot"><p>“The great arches overhead divide the vault as the greater
-pilasters and their continuations do the walls. Between these
-arches are the small saucer-shaped domes, 26 feet in diameter. The
-reason for these and their accessories, the pendentives, may best
-be understood from Wren’s own words. He says that his method of
-vaulting is the most geometrical, and ‘<i>is composed of Hemispheres,
-and their Sections only; and whereas a Sphere may be cut all Manner
-of Ways, and that still into Circles.... I have for just Reasons
-followed this way in the Vaulting of the Church of St. Paul’s....
-It is the lightest Manner, and requires less Butment than the
-Cross-vaulting, as well that it is of an agreeable View....
-Vaulting by Parts of Hemispheres I have therefore followed in the
-Vaultings of St. Paul’s, and with good reason preferred it above
-any other way used by Architects.</i>’ The saucer-shaped domes are
-sections of spheres, as are both the pendentives, and the sides of
-the clerestory windows. The wreaths, garlands, and festoons, and
-the various conventional patterns with which the edges and surfaces
-of the various parts of the vaulting is adorned cannot be estimated
-from the pavement.”&mdash;(A. D.)</p></div>
-
-<p>From the Crypt to the dome the space measures 190 feet.</p>
-
-<div class="blockquot"><p>“When Wren planned his dome interior he had the difficulty caused
-by the four limbs and their side aisles to overcome. He must have
-turned to his uncle’s cathedral at Ely for enlightenment. In the
-earlier years of the Fourteenth Century the central tower of Ely
-collapsed, and the sacrist Alan de Walsingham, who acted as
-architect, seeing that the breadth of his nave, choir and transepts
-happened to agree, took for his base this common<span class="pagenum"><a name="page_406" id="page_406">{406}</a></span> breadth, and
-cutting off the angles, obtained a spacious octagon. The four sides
-terminating the main aisles are longer than the four alternate
-aisles at the angles of the side aisles; but at Ely this presents
-no difficulty, owing to the use of the pointed arch. As you stand
-in the centre of the octagon under the lantern you see eight
-spacious arches of two different widths, all springing from the
-same level and rising to the same height of eighty-five feet, the
-terminal arch of the Norman nave pointed like its opposite
-neighbour of the choir. Amongst Gothic churches the interior of Ely
-reigns unique and supreme, certainly in England if not in Europe.
-Wren was familiar with this cathedral, and even designed some
-restorations for it; and he adopted the eight arches in preference
-to any possible scheme of four great arches of sixty feet: but the
-use of the round arch, as distinct from the pointed, deprived him
-of Sacrist Alan’s liberty, who without incongruity made his
-intermediate arches of the shorter sides, springing from the same
-level, rise to the same height as the others. Wren was compelled to
-make use of some expedient to reconcile his two different spaces
-between piers of forty feet and twenty-six feet, and accordingly
-arched these four smaller intermediate spaces as follows. A smaller
-arch, rising from the architrave of the great pier, spans each
-shorter side of the octagon, and has a ceiling or semi-dome in the
-background, coming down to the terminal arches of the side aisles.
-A blank wall space above is relieved by a section of an ornamental
-arch of larger span, resting on the centre of the cornice; and
-above this a third arch, rising from the level of the triforium
-cornice, rests more upon the <i>outer</i> side of the great supporting
-pier, and thereby obtains the required equal span of forty feet,
-and equal height of eighty-nine feet from the ground. This also has
-a semi-dome; and the platform beneath on a level with the
-clerestory is railed.</p>
-
-<p>“The reduction of the octagon to the circle is facilitated by
-giving the spandrels between the arches the necessary concave
-surface; and this stage is finished off with a cantilever cornice,
-the work (at least in part) of one Jonathan Maine. The eight great
-keystones of the arches by Caius Gabriel Cibber are seven feet by
-five, and eighteen inches in relief.”&mdash;(A. D.)</p></div><p><span class="pagenum"><a name="page_407" id="page_407">{407}</a></span></p>
-
-<p>About a hundred feet from the pavement and the same distance across is
-the celebrated <b>Whispering Gallery</b>, where a curious effect is obtained.</p>
-
-<p>The attendant whispering across the whole area can be distinctly heard,
-an acoustic property seemingly caused by the nearness of the concave
-hemisphere above.</p>
-
-<p>The <b>Cross</b> is quite 260 feet above us. The gallery projects so that the
-lectern steps and the pulpit are underneath.</p>
-
-<p>Now we come to the <b>Drum</b>. The actual bend inwards now begins, but for
-this part only in straight lines. First comes the plain band or Podium,
-panelled and of a height of twenty feet. On this stand thirty-two
-pilasters, in reality, as well as in appearance, out of the horizontal.
-Three out of each four</p>
-
-<div class="blockquot"><p>“intervening spaces are pierced with square-headed windows; and
-from them such light as the dome receives, streams down through the
-windows of the exterior colonnade. The alternate fourth recesses,
-apparently nothing more than ornamental niches, conceal the
-supports which bear the weight above. In the recent scheme of
-decoration they have been filled with statues of Early Fathers&mdash;the
-four eastern, SS. Chrysostom, Gregory Nazianzen, Basil, and
-Athanasius; and the four western, SS. Ambrose, Augustine of Hippo,
-Jerome, and Gregory.</p>
-
-<p>“The straight lines bearing inwards give way to the sphere; and
-here, too, the three separate coverings, which constitute the dome,
-begin. The circular opening below the lantern coincides with the
-lower edge of the fluting of the exterior shell, and is about two
-hundred and fifteen feet from the pavement.</p>
-
-<p>“These upper regions, hidden in an almost perpetual gloom, were
-decorated in monochrome by Sir James Thornhill; but his work has
-failed to resist the chemical action of the surcharged atmosphere.
-In these compartments are scenes from the life of the patronal
-saint: (1)<span class="pagenum"><a name="page_408" id="page_408">{408}</a></span> The Conversion, (2) Elymas, (3) Cripple at Lystra, (4)
-Jailer at Philippi, (5) Mars Hill, (6) Burning Books at Ephesus,
-(7) Before Agrippa, (8) Shipwreck. We have all heard the story of
-the painter, on a platform at a great height, who stepped back to
-get a better view of his work. As he did so, an assistant, standing
-by, brush in hand, observed with alarm that the slightest further
-backward step would entail his falling headlong and being dashed to
-pieces. He deliberately daubed the painting; and the artist,
-stepping instinctively forward to prevent this, saved his life. The
-painter is said to be Thornhill: the scene, the giddy height under
-the dome.”&mdash;(A. D.)</p></div>
-
-<p>The beautiful iron-work of the gates is by Tijou, both at the ends of
-the aisles and doorways of the reredos arch. The <b>Choir-stalls</b> are by
-Grinling Gibbons and are very ornate and handsome. The Lord Mayor’s
-stall is on the left, or north side, and the Bishop of London’s on the
-right, or south. The latter’s throne is near the altar. There are
-thirty-one stalls altogether.</p>
-
-<div class="blockquot"><p>“The exquisite carvings of Grinling Gibbons in the stall-work of
-the choir were not merely in themselves admirable, but in perfect
-harmony with the character of the architecture. They rivalled, if
-they did not surpass, all Mediæval works of their class in grace,
-variety, richness; they kept up an inimitable unison of the lines
-of the building and the decoration. In the words of Walpole ‘there
-is no instance of a man before Gibbons who gave to wood the loose
-and airy lightness of flowers and chained together the various
-productions of the elements with a fine disorder natural to each
-species.’<span class="lftspc">”</span>&mdash;(M.)</p></div>
-
-<p>The <b>Organ</b> is one of the finest in the world. It was reconstructed by
-Willis in 1897, and still contains parts of the original organ built by
-the German, Schmidt, in 1697. It consists of 4,822 pipes and 102 stops
-and is divided into two parts, placed on either side of the choir. These
-are connected by<span class="pagenum"><a name="page_409" id="page_409">{409}</a></span> pneumatic tubes beneath the floor. The keyboard is on
-the north side.</p>
-
-<p>The older part of the case with its foliage, figures and architectural
-devices was also designed by Grinling Gibbons.</p>
-
-<p>The <b>Altar</b> stands between the great eastern piers and is surmounted by a
-tall reredos of white marble.</p>
-
-<div class="blockquot"><p>“The symbolism is expressed in the frieze above the Crucifixion,
-‘Sic Deus dilexit mundum’ (‘God so loved the world’). The lower
-part is pierced with doors on either side; and ‘Vas Electionis’ (‘A
-chosen vessel’) over the north door refers to St. Paul, and ‘Pasce
-oves meos’ (‘Feed my sheep’) over the other to St. Peter; and here
-are the crossed swords, the arms of the diocese. The section above
-has the Entombment in the centre, and the Nativity and Resurrection
-on either side. A Crucifixion occupies the central position. The
-framework is of Roman design, with pilasters and a round arch; and
-remembering Wren’s conception, it is interesting that the columns
-of Brescia marble, supporting the entablature above, are twisted.
-This is flanked with a colonnade; the figure on the north being the
-Angel Gabriel, and to the south the Virgin. Above the pediment is a
-canopy with the Virgin and Child, and St. Peter and St. Paul to the
-north and south; and above all, and nearly seventy feet from the
-ground, the Risen Christ completes this most reverent design.</p>
-
-<p>“The altar cross is adorned with precious stones and lapis lazuli;
-and the massive copper candlesticks are imitations of the original
-four said to have been sold during the Protectorate.”&mdash;(A. D.)</p></div>
-
-<p>The apse behind the altar cut off by the reredos is now called the <b>Jesus
-Chapel</b>. Over the altar here is a copy of Cima de Conegliano’s <i>Doubting
-Thomas</i> (in the National Gallery).</p>
-
-<p>The apse and the vaulting and the walls of the choir and ambulatory have
-in recent years been decorated by Sir William Richmond with
-richly-<span class="pagenum"><a name="page_410" id="page_410">{410}</a></span>coloured mosaics. The chief panels of the apse represent our
-Lord enthroned, with recording angels on either side. In the choir the
-three “saucer domes,” or cupolas, represent three Days of Creation:
-Beasts, Fishes and birds. The four pendentives of each bay are decorated
-with herald Angels, with extended arms. Mosaics of the Crucifixion,
-Entombment, Resurrection and Ascension, also by Sir William Richmond,
-adorn the “quarter domes.”</p>
-
-<p>The eight paintings by Thornhill, of scenes from the life of St. Paul,
-can be viewed properly only from the Whispering Gallery. In the niches
-above this Gallery are statues of the Fathers of the Church. The
-spandrels between the great arches are decorated by eight large mosaics
-representing apostles and prophets: St. Matthew and St. John are by G.
-F. Watts; St. Mark and St. Luke, by A. Brittan; and the four prophets
-are the work of Alfred Stevens.</p>
-
-<p>The <b>Transepts</b> are of one arch only. The windows are modern and represent
-bishops and kings of early days. In the south transept aisle there is a
-window commemorating the recovery of the Prince of Wales (Edward VII.)
-in 1872; and a bronze tablet by Princess Louise in memory of “4,300 sons
-of Britain beyond the seas” who were killed in the South African war of
-1899-1901.</p>
-
-<p>To the left of the chief entrance is <b>St. Dunstan’s Chapel</b>, sometimes
-called the <b>North-West</b>, or <b>Morning Chapel</b>. It is richly decorated and
-contains a Salviati mosaic representing the <i>Three Marys at the
-Sepulchre</i>.</p>
-
-<p>In the south aisle, opposite, is the <b>Chapel of the Order of St. Michael
-and St. George</b>, a Colonial order, conferred only for distinguished
-services<span class="pagenum"><a name="page_411" id="page_411">{411}</a></span> beyond the seas. The Sovereign’s stall is at the western end;
-and on each side of it is that of the Grand Master (Prince of Wales) and
-the Duke of Connaught. From these diverge the oak stalls of the Knights
-Grand Cross of the Order, over each of which is suspended a silk banner
-with his personal arms. The richly-gilded ceiling is decorated with the
-arms of the King, the Prince of Wales, the late Duke of Cambridge and
-Sir Robert Herbert, who were responsible for the scheme. In the south
-window is a kneeling figure of the donor, Sir Walter Wilkin. The chapel
-was dedicated on June 13, 1906, in the presence of King Edward, the
-Prince of Wales and many Knights.</p>
-
-<p>Above this chapel the Library is situated to which the curious
-<b>Geometrical Staircase</b> leads. This is circular, of a diameter of
-twenty-five feet, and each step is supported by the one below it. This
-is in the South tower.</p>
-
-<p>St. Paul’s is second only to Westminster Abbey in the number of
-Monuments to the celebrated dead. Immediately within the west door
-stands a gilt monument to the officers and men of the <b>Coldstream Guards</b>
-who fell in the South African War. In the north aisle of the nave we
-come to monuments of <b>General Gordon</b>, a recumbent figure on a sarcophagus
-by Sir Joseph Edgar Boehm; <b>Wellington</b>, by Alfred Stevens; <b>Lord Leighton</b>;
-<b>Lord Melbourne</b>. In the north transept <b>Sir Joshua Reynolds</b>, by Flaxman;
-and <b>Admiral Rodney</b>, by Rossi; in the south transept <b>Nelson</b>, by Flaxman,
-who thus describes his work:</p>
-
-<div class="blockquot"><p>“Britannia is directing the young seamen’s attention to their great
-example, Lord Nelson. On the die of the<span class="pagenum"><a name="page_412" id="page_412">{412}</a></span> pedestal which supports
-the hero’s statue are figures in basso-relievo, representing the
-Frozen Ocean, the German Ocean, the Nile, and the Mediterranean. On
-the cornice and in the frieze of laurel wreaths are the words,
-Copenhagen, Nile, Trafalgar. The British Lion sits on the plinth,
-guarding the pedestal.”</p></div>
-
-<p>In the South transept: <b>Lord Cornwallis</b>, by Rossi, commemorates his
-Indian career. He appears in his mantle of the Garter, with an
-allegorical female figure of the Eastern Empire and a male figure
-representing an Indian river.</p>
-
-<p>At the east side of the south transept is the entrance to the <b>Crypt</b>,
-sombre, dimly lighted and sepulchral. In the centre a circle of pillars
-surrounds the tomb of <b>Nelson</b>, whose remains lie in a plain tomb under a
-black-and-white sarcophagus (Sixteenth Century), which was made for
-Cardinal Wolsey’s monument and confiscated with his other possessions.
-Through a grating here the dim light from the far-away dome sifts down
-upon England’s great admiral. To the left of Nelson lies <b>Collingwood</b>,
-and, to the right, <b>Cornwallis</b>. Not far away we come to the simple tomb
-of <b>Arthur, Duke of Wellington</b>, a great block of porphyry on a granite
-base.</p>
-
-<p>In the east recess of the south-choir-aisle is the grave of Sir
-Christopher Wren marked by a plain black marble slab. On the wall is the
-celebrated inscription: “<i>Lector, si monumentum requiris, circumspice</i>.”
-Then comes <b>Painters’ Corner</b> with Sir Joshua Reynolds, Benjamin West,
-Lawrence, Turner, Landseer, Millais, Leighton and others.</p>
-
-<p>We have yet to make the ascent of St. Paul’s. The way is long and grows
-more tedious and steeper as we ascend. It will be well to stop at the
-Stone<span class="pagenum"><a name="page_413" id="page_413">{413}</a></span> Gallery (200 feet high), for although the Golden Gallery, at the
-top of the dome, is a hundred feet higher, the view is not so distinct.
-The Stone Gallery is safe, and delightful views are to be had in the
-spaces between the balustrades. The view extends from Harrow on the
-north-west, to the Crystal Palace, Shooter’s Hill and Greenwich
-Observatory in the south-east. The tourist will, however, take more
-pleasure in looking over the territory covered by the Great Fire of 1666
-and all the Wren steeples (there are thirty at least) that rise through
-the mists below us. Here we again think of Sir Christopher’s genius and
-remember again his epitaph: “If you wish an estimate of his genius, look
-around.” It is interesting, too, to trace Fleet Street, Cheapside and
-the other great arteries of traffic and travel, to look at the Thames
-and understand its peculiar windings and to view from this height the
-grim old Tower half a mile below London Bridge&mdash;the oldest building in
-England and the most romantic. Without the Tower of London and without
-St. Paul’s what would London be? Westminster Abbey is the church of the
-King and the government; St. Paul’s is the church of the citizens, the
-church that, as we have seen, has been a central point for the stirring
-events of the City of London. Whenever the traveller thinks of London,
-he sees its majestic dome rising above London Bridge or Ludgate Hill, or
-Cheapside, purple in the mists, golden in the sunlight&mdash;the emblem of
-London’s antiquity and its present immensity.</p>
-
-<div class="blockquot"><p>“I always endow St. Paul’s Cathedral with life and human nature and
-sympathy. I cannot well explain what early associations and chances
-have made St. Paul’s a more living influence to me than the much
-grander and nobler<span class="pagenum"><a name="page_414" id="page_414">{414}</a></span> Westminster Abbey; but so it is and I feel as
-if St. Paul’s were a living influence over all that region of the
-metropolis which is surveyed by its ball and its cross. But in
-another sense it is unlike other buildings to me. It is not one
-long-lived, long-living cathedral; it is rather a generation of
-cathedrals. Westminster Abbey takes us back in unbroken continuity
-of history to the earlier days of England’s budding greatness.
-Westminster itself, nevertheless, was only called so in the
-beginning to distinguish it from the earlier East Minster, which
-was either the existing St. Paul’s or a cathedral standing on Tower
-Hill. It would seem, then, that St. Paul’s rather than Westminster
-Abbey ought to represent the gradual movement of English history
-and English thought and the growth of the metropolis. But observe
-the difference. Westminster Abbey has always since its erection
-been sedately watching over London. It has been reconstructed here
-and there, of course&mdash;repaired and renovated, touched up and
-decorated with new adornments in tribute of grateful piety; but it
-is ever and always the same Westminster Abbey. Now observe the
-history of St. Paul’s. St. Paul’s has fallen and died time after
-time, and been revived and restored. It has risen new upon new
-generations. It has perished in flame again and again, like a
-succession of martyrs, and has come up afresh and with new spangled
-ore flamed in the forehead of the morning sky. St. Paul’s is a
-religious or ecclesiastical dynasty rather than a cathedral. It has
-been destroyed so often and risen again in so many different
-shapes, that it seems as if each succeeding age were putting its
-fresh stamp and mint-mark on it and so commending it to the special
-service of each new generation.”&mdash;(J. McC.)</p></div>
-
-<div class="figcenter"><br />
-<a name="fig_082" id="fig_082"></a>
-<a href="images/fp414.jpg">
-<img src="images/fp414.jpg" width="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">St. Paul’s: Choir, east</span></p></div>
-</div>
-
-<div class="figcenter"><br />
-<a name="fig_083" id="fig_083"></a>
-<a href="images/fp415.jpg">
-<img src="images/fp415.jpg" width="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">St. Saviour’s, Southwark</span></p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_415" id="page_415">{415}</a></span></p>
-
-<h2><a name="ST_SAVIOURS_SOUTHWARK" id="ST_SAVIOURS_SOUTHWARK"></a>ST. SAVIOUR’S, SOUTHWARK</h2>
-
-<div class="blockquotcent"><p><span class="smcap">Formerly the Collegiate Church of St. Saviour; and St. Mary Overie,
-Southwark.</span></p>
-
-<p><span class="smcap">Special features: Central Tower; Choir-Screen; Tomb of John Gower;
-Harvard Window; Windows to Elizabethan Dramatists.</span></p></div>
-
-<p class="nind"><span class="smcap">Although</span> St. Saviour’s, Southwark, is one of the oldest buildings in
-London, it is one of the youngest of cathedrals in England, having been
-formally inaugurated as a Cathedral by King Edward on July 3, 1905. It
-was recently restored at a cost of £40,000. Parts of the Norman nave,
-dating from the Twelfth Century, were incorporated by Sir Arthur
-Blomfield in the new nave built in 1891-1896.</p>
-
-<p>St. Saviour’s stands on the south or Surrey side of London in the
-Borough, a district of very little interest in comparison with London
-north of the Thames; but very rich in historical associations. After
-crossing London Bridge we find this church on our right on a lower level
-than the road, which sunken situation prevents a good view of the
-venerable pile. Adjoining the church is the Borough Market for fruit and
-vegetables and west of it in Park Street, close to Southwark Bridge, is
-Barclay’s Brewery on the site of Shakespeare’s Globe Theatre. Going down
-Borough High Street we pass the site of the old <i>Tabard Inn</i>, from which
-Chaucer’s Canterbury Pilgrims started on their journey; and still lower
-down the street, the successor to the <i>White Hart</i>, where Mr. Pickwick
-found the immortal Sam Weller. In the vicinity<span class="pagenum"><a name="page_416" id="page_416">{416}</a></span> the Marshalsea prison
-stood until the middle of the Nineteenth Century, within the sound of
-St. Saviour’s bells.</p>
-
-<p>St. Saviour’s is now almost the only remaining landmark of “Old
-Southwark.”</p>
-
-<p>Its early history is lost in legend. Stow, on the authority of Linstede,
-the last of the priors, attributed the building of the original London
-Bridge to the profits made by a ferryman here, who left his money to his
-daughter Mary. He tells the story as follows:</p>
-
-<div class="blockquot"><p>“East from the Bishop of Winchester’s house, directly over against
-it, standeth a fair church called St. Mary-over-the-Rie, or Overie;
-that is, over the water. This church, or some other in place
-thereof, was, of old time, long before the Conquest, a house of
-sisters, founded by a maiden named Mary; unto the which house and
-sisters she left, as was left to her by her parents, the oversight
-and profits of a cross ferry, or traverse ferry over the Thames,
-there kept before that any bridge was built. This house of sisters
-was after by Swithun, a noble lady, converted into a college of
-priests, who in place of the ferry built a bridge of timber, and
-from time to time kept the place in good reparations; but lastly,
-the same bridge was built of stone; and then in the year 1106 was
-this church again founded for canons regular by William Pont de la
-Arch, and William Dauncey, Knights, Normans.”</p></div>
-
-<p>Modern historians have made a few corrections in this statement,
-particularly as regards the person who changed the nunnery into a
-college of priests. This was not a “noble lady,” but St. Swithun, Bishop
-of Winchester (832-856) (<a href="#page_46">see page 46</a>). It became a monastery of the
-Augustinian order in 1106, and the Norman knights who aided in its
-foundation also built the new Norman nave. After a severe fire that
-occurred early in the Thir<span class="pagenum"><a name="page_417" id="page_417">{417}</a></span>teenth Century, when much of Southwark was
-destroyed, the church suffered greatly. Repairs were, of course,
-necessary; and the Bishop of Winchester, who took charge, rebuilt the
-nave in the lighter Early English style and also the choir and
-retro-choir.</p>
-
-<p>Another fire in the reign of Richard II. occasioned other repairs in the
-new Perpendicular style which was continued by Cardinal Beaufort, Bishop
-of Winchester (1405-1447), who restored the south transept. The Cardinal
-was the son of John of Gaunt and Catherine Swynford. In this church he
-married his niece Jane Beaufort to James I. of Scotland in 1423, with
-whom the royal poet fell in love during his imprisonment at Windsor.</p>
-
-<p>After the Dissolution of the monasteries in 1536 St. Mary Overy, which
-had already been united with St. Mary Magdalene, was now combined with
-St. Margaret’s and in the year of Linstede’s surrender to Henry VIII.
-(1540) the three parishes were united under the name of the Collegiate
-Church of St. Saviour.</p>
-
-<p>St. Saviour’s was several times repaired and altered in the Eighteenth
-Century, and then fell into neglect.</p>
-
-<p>The East End is an enlargement or addition to the choir. It consists, as
-we see, of four bays separated by buttresses and surmounted by gables.
-Each gable is lighted by a triplet of lancet windows. Larger windows of
-the same general style light the bays below. At the north-east corner is
-a short hexagonal stair turret. Above the Lady-Chapel rises the East End
-or gable of the choir. This has also a three-light lancet window, with a
-small circular window with seven cusps above. On the<span class="pagenum"><a name="page_418" id="page_418">{418}</a></span> north-east corner
-the turret is capped by a pinnacle. Above rises the venerable square
-tower&mdash;St. Saviour’s best feature.</p>
-
-<p>The <b>Tower</b> at the intersection of the nave and transepts was partly built
-by Bishop Fox in the Perpendicular style.</p>
-
-<div class="blockquot"><p>“At the intersection of the nave, transepts and choir, rises a
-noble tower, thirty-five feet square and one hundred and fifty feet
-in height, resting on four massive pillars adorned with clustered
-columns. The sharp-pointed arches are very lofty. The interior of
-the tower is in four stories, in the uppermost of which is a fine
-peal of twelve bells. Externally the tower, which is not older than
-the Sixteenth Century, somewhat resembles that of St. Sepulchre’s
-Church, close by Newgate. It is divided into two parts, with
-handsome pointed windows, in two stories, on each front; it has
-tall pinnacles at each corner, and the battlements are of flint, in
-squares or chequer-work.”&mdash;(E. W.)</p></div>
-
-<p>The South transept, like the north transept, was built in the Decorated
-style in the first half of the Fourteenth Century, but was rebuilt by
-Cardinal Beaufort. It has been restored in the style of his time, and
-the window of five lights is Transitional in style from Decorated to
-Perpendicular.</p>
-
-<p>We enter by the <b>Doorway</b> at the south-west, the principal entrance to the
-Cathedral.</p>
-
-<div class="blockquot"><p>“In all probability the door was placed in this position when the
-Norman nave was built by Bishop Giffard (<i>circa</i> 1106); but its
-character was altered by Peter de Rupibus, a century later, to
-bring it into harmony with the rest of his Early English work, when
-he remodelled the nave in that style.</p>
-
-<p>“The porch that we now have agrees in its main features with the
-drawings taken of the earlier one before it was destroyed. A deeply
-recessed and acutely pointed arch is divided into two by a central
-shaft, with moulded base and foliaged capital. The jambs contain
-five shafts on each<span class="pagenum"><a name="page_419" id="page_419">{419}</a></span> side, which differ from that in the centre, in
-that they are of Purbeck marble, and banded, in pleasing contrast
-to the plain stone of their own bases and capitals, and of the
-(unbanded) central shaft. In the tympanum of the double doorway
-thus formed, there is a pointed arcading, consisting of a central
-arch and two smaller arches on either side. The deep soffit of the
-arch in which this elegant arcading is enclosed, is adorned with a
-series of quatrefoil panels.”&mdash;(Geo. W.)</p></div>
-
-<p>On entering we get a fine view of more than two hundred feet.</p>
-
-<p>The <b>Nave</b> was rebuilt in 1890-1897 and is a reproduction of the Early
-English nave in nearly every detail. As we look down the long vista we
-are reminded of Salisbury. Here, however, we have the magnificent screen
-and the handsome East window above it. The clerestory is lighted by
-plain lancet windows, enclosed in an elegant arcading.</p>
-
-<p>Walking down the north aisle of the nave we soon come to the most
-interesting monument in the Cathedral&mdash;the tomb of <b>John Gower</b>, who died
-in 1408, eight years after his friend Chaucer, to whom the window above
-(1900) is appropriately enough a memorial and bears the latter’s
-portrait.</p>
-
-<div class="blockquot"><p>“He had been a liberal benefactor to the Church, and founded a
-chantry in the Chapel of St. John the Baptist, where he was
-eventually buried. The chapel and chantry are no more, but the
-monument marks the spot, having been restored in 1894 to its first
-position. It is in the Perpendicular style, and consists of an
-altar-tomb, with a dado, ornamented by seven panels in front, on
-which lies the effigy of the poet, surmounted by a canopy of three
-ogee arches, with an inner order of five cusps, and terminating in
-crocketed pinnacles. There is a pilaster set angle-wise at each
-end, banded at the separate divisions of the monument, and also
-rising into crocketed pinnacles. There are similar pinnacles
-between the arches of the<span class="pagenum"><a name="page_420" id="page_420">{420}</a></span> canopy. Behind the canopy is a screen,
-divided into open panels of three trefoil-headed lights. The
-cornice at the top is modern, and the hands and nose of the figure
-are restorations.</p>
-
-<p>“The poet is represented lying on his back, with his hands joined
-in prayer, and his head resting upon the three volumes on which his
-fame depends, the <i>Speculum Meditantis</i>, <i>Vox Clamantis</i>, and
-<i>Confessio Amantis</i>. He is vested in a long dark habit, buttoned
-down to the feet, after the manner of a cassock, the ordinary dress
-of an English gentleman at the time. There is a garland of four
-roses round his head, and at his feet a lion couchant. The SS.
-collar adorns the neck, with a pendant jewel, on which a swan is
-engraved&mdash;the device of Richard II., to whom Gower was Poet
-Laureate. On the wall of the canopy, at the foot of the tomb, there
-is a sculptured and coloured representation of the poet’s own
-shield of arms, crest and helmet. On the back wall of the recess,
-above the effigy, there were formerly three painted figures,
-representing Charity, Mercy, and Piety, each bearing a scroll with
-an invocation, in Norman-French, for the soul of the departed.
-After undergoing repainting more than once, with modifications, the
-figures were scarcely recognisable in 1832, when the monument was
-repaired, but the figures were unfortunately obliterated. The
-inscription along the ledge of the tomb, which had also been
-destroyed, is now replaced: ‘Hic jacet I. Gower, Arm. Angl: poeta
-celeberrimus ac hoc sacro benefac. insignis. Vixit temporibus Edw.
-III., Ric. II., et Henri IV.’<span class="lftspc">”</span>&mdash;(Geo. W.)</p></div>
-
-<p>Now we have reached the <b>North Transept</b>, supposed to have been originally
-a chapel dedicated to St. Peter. It is now used as a sort of museum for
-the relics and antiquities of the church&mdash;old bosses, chests,
-stone-coffins, etc. The large north window was unveiled in 1898 to
-commemorate doubly the Prince Consort and Queen Victoria’s Diamond
-Jubilee. Its four lights depict Gregory the Great, King Ethelbert,
-Stephen Langton and William of Wykeham.<span class="pagenum"><a name="page_421" id="page_421">{421}</a></span></p>
-
-<p>Passing to the tower we can now look upward as far as the floor of the
-bell-ringers. The bosses on the new oaken roof date from the Fifteenth
-Century. From it hangs a fine <b>Chandelier</b> of 1680.</p>
-
-<p>The <b>South Transept</b> was rebuilt by Cardinal Beaufort, whose arms we see
-on a pier by the transept door. The great south window of five lights,
-described by Sir Arthur Blomfield, the designer, as “transitional
-between Flowing Decorated and Perpendicular,” is filled with modern
-glass. The design is a “Tree of Jesse.”</p>
-
-<p>Returning now to the <b>Choir</b> we pause here to study it in detail. It was
-built by Peter de Rupibus in the Thirteenth Century, and is Early
-English. It consists of five bays. The piers are alternate circular and
-octagonal, with plain capitals and well-cut base mouldings. Four arched
-openings occur in each bay of the triforium. Corbels with sculptured
-heads occur on the arches of the south side.</p>
-
-<p>The <b>Altar</b> stands on a platform and above it rises the wonderful <b>Screen</b>,
-erected by Bishop Fox in 1520. It almost fills the entire eastern end of
-the choir.</p>
-
-<div class="blockquot"><p>“The screen is about thirty feet in height, and extends to the main
-arcades on either side. Three tiers of canopied niches, ten in each
-tier, divided down the centre by a Perpendicular series of three
-large niches, all occupied by statues, made up a composition which
-was at once ‘a thing of beauty’ and an object lesson on the
-Incarnation. The total number of niches (thirty-three) suggested a
-mystic reference to the years of our Lord’s earthly life, while the
-image of the Pelican ‘in her piety,’ here and there, besides being
-a reminder of Bishop Fox (whose peculiar device it was), also
-typified the sacrament of the altar. The original materials of
-which the screen was built are quoted as ‘Caen and fire-stone,’ for
-which Mr. Wallace substituted<span class="pagenum"><a name="page_422" id="page_422">{422}</a></span> stone from Painswick in
-Gloucestershire, as more easily obtained and agreeing in colour
-with the old work.</p>
-
-<p>“The doors on each side will be noticed, with their depressed ogee
-headings, which indicate that this screen is of somewhat later date
-than the corresponding one (also by Bishop Fox) at Winchester.
-Another indication to the same effect has been detected in the
-grotesque carvings in the spandrels, which are here of a humorous
-character, whereas at Winchester the minor decorations are entirely
-sacred, e.g., the Annunciation and Visitation.”&mdash;(Geo. W.)</p></div>
-
-<p>The <b>East Window</b> above contains three lancets, the glass representing the
-Crucifixion in the centre with St. John on one side and the Virgin on
-the other. It is placed in a quintuple arcade. The prevailing colour is
-blue.</p>
-
-<p>On the north side of the choir under the first arch we notice the
-<b>Monument of Richard Humble</b>, a good specimen of the Jacobean period.
-Here, under an arched canopy, Richard Humble is kneeling before an
-altar, with his two wives behind him. The second one wears a conical
-hat.</p>
-
-<p>The <b>Retro-Choir</b>, now called the <b>Lady-Chapel</b>, was erected by Peter de
-Rupibus. It is one of the best examples of Early English extant. Six
-slender columns support the groined vault. If we look at it from the
-south-east corner we gain a good view showing the altar on the north
-side and the <b>tomb of Bishop Andrews</b> (died 1626) on the west, an example
-of the Renaissance style, with a painted effigy. This Bishop of
-Winchester (who often visited St. Saviour’s, the most important church
-in his diocese after the Cathedral of Winchester) was buried in a little
-chapel east of the retro-choir. The “Bishop’s Chapel,” as it was called,
-was destroyed in 1830 and the body of Bishop Andrews was transferred to
-its present place.<span class="pagenum"><a name="page_423" id="page_423">{423}</a></span></p>
-
-<p>Of the windows in the Retro-Choir the most admired is the one in the
-north side of three lights containing figures of Charles I., Thomas à
-Becket and Archbishop Laud. The tracery is in the Decorated style.</p>
-
-<p>Walking along the north-choir-aisle we pass the effigy of a knight and
-soon come to the most conspicuous monument in this aisle, that of <b>John
-Trehearne</b>, servant to Queen Elizabeth and “Gentleman Portar” to James I.
-On the top of the tomb are Trehearne and his wife with big ruffs. They
-proudly hold a tablet which is a eulogy of Trehearne’s remarkable
-qualities. Their four children kneel on a bas-relief below. It is a very
-interesting example of Seventeenth Century mortuary art.</p>
-
-<p>A door leads from the north-choir-aisle into the <b>Chapel of St. John the
-Divine</b>, now famous for the <b>Harvard Window</b> in its eastern wall.</p>
-
-<div class="blockquot"><p>“Henceforth the chapel will be associated with the name of John
-Harvard, who was born in the parish, and baptised in the church on
-29th November, 1607, and its restoration is intended to take the
-form of a memorial to that great and good man.</p>
-
-<p>“The first practical step in this direction was taken by the Hon.
-Joseph H. Choate, who manifested great interest in the ancient
-fabric while he was American Ambassador, and presented the east
-window to the chapel in commemoration of John Harvard, founder of
-the renowned university which bears his name. The window, unveiled
-by Mr. Choate on Monday, 2nd May, 1905, is of three lights,
-transomed, as designed by Sir Arthur Blomfield and Sons, the glass
-being made in America under the supervision of Mr. Charles F.
-McKim, the famous American architect. The design is by Mr. John La
-Farge. In the central light of the lower division the Baptism of
-Christ is depicted, attendant angels occupying the sides. The upper
-division contains the arms of Emmanuel College, Cambridge, where
-John Harvard was educated, and of the<span class="pagenum"><a name="page_424" id="page_424">{424}</a></span> Harvard University, with its
-mottoes, <i>Veritas</i> and <i>Christo et Ecclesiae</i>. The base bears the
-inscription, ‘In memory of John Harvard, founder of Harvard
-University in America, baptised in this church, Nov. 29, 1607.’</p>
-
-<p>“The window is a noteworthy example of modern work, and the
-treatment of the familiar subject is distinctly original, in which
-respect, as well as in colouring, it presents a very striking
-contrast to the other windows, especially to those of mediæval
-character, throughout the church. Perhaps it is fortunate that it
-occupies an isolated position in the chapel, where the brilliance
-and peculiarity of the colouring are seen to full advantage without
-detriment to the other windows.”&mdash;(Geo. W.)</p></div>
-
-<p>We again find our way back to the tower and into the south-aisle of the
-nave for the particular purpose of looking at the windows representing
-the <b>Elizabethan players and dramatists</b>, associated with the Southwark
-theatres. Some of them, John Fletcher, Philip Massinger and Edmund
-Shakespeare, are buried here. The first of this series of windows is a
-memorial to <b>Edward Alleyn</b> (1566-1626); next to <b>Francis Beaumont</b>
-(1585-1616); next to <b>John Fletcher</b> (1579-1625); next to <b>Philip Massinger</b>
-(1583-1639); next to <b>Shakespeare</b>, who lived not far from his theatre,
-the Globe, in the parish of St. Saviour’s Church.</p>
-
-<div class="figcenter"><br />
-<a name="fig_084" id="fig_084"></a>
-<a href="images/fp424.jpg">
-<img src="images/fp424.jpg" width="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">St. Saviour’s, Southwark: Nave, east</span></p></div>
-</div>
-
-<div class="figcenter"><br />
-<a name="fig_085" id="fig_085"></a>
-<a href="images/fp425.jpg">
-<img src="images/fp425.jpg" height="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Westminster Abbey: West front</span></p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_425" id="page_425">{425}</a></span></p>
-
-<h2><a name="WESTMINSTER_ABBEY" id="WESTMINSTER_ABBEY"></a>WESTMINSTER ABBEY</h2>
-
-<div class="blockquotcent"><p><span class="smcap">Dedicated to St. Peter. Church of a Benedictine Monastery.</span></p>
-
-<p><span class="smcap">Special features: Edward the Confessor’s Chapel; Shrine of the
-Confessor; the “Poets’ Corner”; Henry VII.’s Chapel.</span></p></div>
-
-<p class="nind"><span class="smcap">Westminster Abbey</span>, though not a cathedral, is, perhaps, the most famous
-church in England. It is, however, visited on account of its historical
-associations rather than because of its architecture. Yet architects
-know full well that it is the equal of Salisbury, Lincoln, Ely, or
-Canterbury. In it all British sovereigns have been crowned since the
-days of the Conqueror and in it rest the remains of the nation’s most
-honoured dead.</p>
-
-<p>According to tradition, in the Seventh Century, Siebert, King of the
-East Saxons, built a church to St. Peter on what was then Thorney
-Island. It became known as Westminster.</p>
-
-<p>Dunstan established a Benedictine monastery here; but the Abbey that we
-know was begun by Edward the Confessor in 1050. This King died soon
-after the Choir was finished in 1065, and was buried there. We gain an
-idea of his church from the Bayeux tapestry, which depicts Edward the
-Confessor’s funeral. Some portions of it remain below the present Choir.</p>
-
-<p>During William Rufus’s reign the transepts and first bay of the nave
-were finished.</p>
-
-<p>Henry III. determined to build a new church in the French style; and
-this was begun in 1245 and<span class="pagenum"><a name="page_426" id="page_426">{426}</a></span> completed as far as the fourth bay of the
-nave in 1269. It is the most finished production of the first half of
-the Thirteenth Century in England.</p>
-
-<p>Henry III. also built a Lady-Chapel, afterwards destroyed by Henry VII.
-for his exquisite chapel&mdash;the most perfect example of Perpendicular
-work. During the reign of Richard II. the old nave was reconstructed.</p>
-
-<p>To many, the exterior of Westminster Abbey is not as impressive as St.
-Paul’s. It is disappointing in size and somewhat too narrow for its
-height. It is only when we enter and see the superb architecture and
-impressive monuments that its grandeur and solemnity grow upon us,
-notwithstanding the fact that the black-gowned vergers conducting
-parties of tourists from tomb to tomb and chapel to chapel, in
-business-like fashion, do all they can to dispel reverence by rattling
-off stories of Queen Hanne and ‘Enery VII., not always with
-unimpeachable accuracy.</p>
-
-<div class="blockquot"><p>“The <span class="smcap">West Front</span> is flanked by two towers 225 feet high, built by
-Wren and finished by his pupil Hawksmoor, about 1740. In the centre
-of the front is the great Perpendicular window, beneath which is a
-row of niches. The entrance porch has a groined roof. The nave is
-remarkable for its length and height. On the north side we notice
-that there is a wealth of buttresses. Strong buttresses support the
-aisle walls, and from these flying-buttresses stretch across to the
-walls built on the central arcade. The four eastern buttresses
-comprise the part of the church finished by Henry III.; the rest of
-the nave, with the exception of Wren’s towers, was built during the
-last half of the Fourteenth Century and the beginning of the
-Fifteenth. The figures in the niches are modern.”&mdash;(P. H. D.)</p></div>
-
-<p>The <b>North Front</b> is new, designed by Sir G. Scott and Mr. Pearson.<span class="pagenum"><a name="page_427" id="page_427">{427}</a></span></p>
-
-<div class="blockquot"><p>“It is a very elaborate work and much of it is beautiful; but it
-does not seem to harmonise with the rest of the building. There is
-a large rose-window; on each side tall buttresses crowned with
-turrets and covered with niches. There is an arcade of open-work
-below and then some deeply-recessed Early English windows, and
-below three doorways under one string-course, the centre one having
-a high gable. The door is divided by a pier having a finely-carved
-figure of the Virgin and Child. The tympanum is divided into three
-panels. In the highest is Our Lord in glory surrounded by angels
-and below him are the Twelve Apostles, while in the lowest tier are
-figures representing Art, History, Philosophy, War, Legislation and
-Science, with the builders of the Abbey, Edward the Confessor,
-Henry III. and Richard II. The niches are filled with figures of
-persons in some way connected with the Abbey. The Choir is in the
-form of an apse, with radiating chapels, planned on the model of
-the French <i>chevet</i>, according to the taste of Henry III., which he
-had cultivated during his sojourn in France. The Lady-Chapel at the
-east end, commonly called Henry VII.’s Chapel, is one of the
-noblest examples of the best Perpendicular work in the kingdom, and
-ranks with St. George’s Chapel, Windsor, and King’s College,
-Cambridge. The monastic buildings are on the south side of the
-Abbey.”&mdash;(P. H. D.)</p></div>
-
-<p>The ground plan is French, with a French <i>chevet</i> and chapels radiating
-from the Choir, and not only in the plan but in the narrowness and
-height of the bays of the Choir and in the tracery of the windows.
-French characteristics declare themselves. The nave is bordered with
-aisles. Beyond the Choir rises the central tower; and on either side the
-north and south transepts. The latter is known as the “Poets’ Corner.”
-Beyond comes the altar, around which many tombs crowd closely; and
-beyond them the North and South Ambulatory. Beyond again runs a circle
-of chapels. Then beyond this apse a flight of steps leading to Henry
-VII.’s Chapel, also crowded with tombs.<span class="pagenum"><a name="page_428" id="page_428">{428}</a></span></p>
-
-<p>The Cloisters and Chapter-House lie on the south side of the Abbey; and
-on the right of the chief or West entrance, we find the famous Jerusalem
-Chamber, Jericho, and the Dining-Hall and Court&mdash;all part of the old
-Palace and demonstrating to strangers from over-sea the close connection
-between the religious and civic life of the British nation.</p>
-
-<div class="blockquot"><p>“One never enters the Abbey Church without a thrill of admiration
-for the daring genius who raised those lofty vaults. That they were
-the first of their kind in England is almost certain, but the name
-of their designer does not seem to have been preserved. It is more
-likely that he was an Englishman who had studied in France, than
-that he was a Frenchman. Certain it is that though the plan, if not
-all the design, is purely French, the arrangement of the chapels
-being in fact peculiar to Westminster amongst English churches, the
-workmanship is very superior to that in any contemporary building
-on the Continent.”&mdash;(W. J. L.)</p></div>
-
-<p>The <b>Nave</b> is the loftiest in England. It is two feet higher than that of
-York Minster.</p>
-
-<div class="blockquot"><p>“The view of the interior is very impressive. Standing at the west
-end of the nave we cannot fail to admire the magnificent beauty of
-this noble shrine. This nave of twelve bays, with its clustered
-columns, its beautiful triforium, and its lofty and firmly
-proportioned roof soaring to the height of 101 feet, is very
-striking. A close inspection will show the difference between the
-piers of the portion finished by Henry III. and the newer work of
-the Fourteenth Century. The tracery of the triforium openings is
-very fine. The choir-screen which crosses the nave at the eighth
-pier, is modern, and also the pulpit. The west window is
-Perpendicular, and has some Georgian glass containing figures of
-the Patriarchs. Much architectural beauty has been sacrificed for
-the sake of ponderous monuments, but many of these have much
-interest<span class="pagenum"><a name="page_429" id="page_429">{429}</a></span> and for many visitors will prove the most attractive
-features of the Abbey.”&mdash;(P. H. D.)</p></div>
-
-<p>The general effect of the interior has changed little since Washington
-Irving wrote his sympathetic essay on England’s Walhalla:</p>
-
-<div class="blockquot"><p>“I pursued my walk to an arched door opening to the interior of the
-Abbey. On entering here the magnitude of the building breaks fully
-upon the mind, contrasted with the vaults of the cloisters. The eye
-gazes with wonder at clustered columns of gigantic dimensions with
-arches springing from them to such an amazing height; and man
-wandering about their bases shrunk into insignificance in
-comparison with his own handiwork. The spaciousness and gloom of
-this vast edifice produce a profound and mysterious awe. We step
-cautiously and softly about as if fearful of disturbing the
-hallowed silence of the tomb; while every footfall whispers along
-the walls, and chatters among the sepulchres, making us more
-sensible of the quiet we have interrupted.</p>
-
-<p>“It seems as if the awful nature of the place presses down upon the
-soul, and hushes the beholder into noiseless reverence. We feel
-that we are surrounded by the congregated bones of the great men of
-past times who have filled history with their deeds and the earth
-with their renown.</p>
-
-<p>“I passed some time in Poets’ Corner, which occupies an end of one
-of the transepts, or cross aisles of the Abbey. The monuments are
-generally simple; for the lives of literary men afford no striking
-themes for the sculptor. Shakespeare and Addison have statues
-erected to their memories, but the greater part have busts,
-medallions and sometimes mere inscriptions.</p>
-
-<p>“From Poets’ Corner I continued my stroll towards that part of the
-Abbey which contains the sepulchres of the kings. I wandered among
-what once were chapels, but which are now occupied by the tombs and
-monuments of the great. At every turn I met with some illustrious
-name, or the cognizance of some powerful house renowned in history.
-As the eye darts into these dusky chambers of death, it catches
-glimpses of quaint effigies: some<span class="pagenum"><a name="page_430" id="page_430">{430}</a></span> kneeling in niches, as if in
-devotion; others stretched upon the tombs, with hands piously
-pressed together; warriors in armour, as if reposing after battle;
-prelates, with crosiers and mitres; and nobles in robes and
-coronets, lying as it were in state. In glancing over this scene,
-so strangely populous, yet where every form is so still and silent,
-it seems almost as if we were treading a mansion of that fabled
-city, where every being had been suddenly transmuted into stone.”</p></div>
-
-<p>The <b>West Window</b> dates from the reign of George II., whose arms are in
-the centre. It contains twenty-four large and fourteen small
-compartments depicting Moses, Aaron and the patriarchs.</p>
-
-<p>The <b>North-west Tower</b>, also called <b>Belfry Tower</b>, has been called the
-“Whigs’ Corner,” on account of the monuments there. The glass in the
-window is old. The <b>south-west</b>, or <b>Baptistery Tower</b>, used to contain the
-font (now in Henry VII.’s Chapel). Here are also many monuments and
-busts. The stained glass window, in memory of George Herbert and William
-Cowper, was the gift of Mr. G. W. Childs, of Philadelphia.</p>
-
-<p>The nave pulpit was placed here in 1862; and though the inner stone-work
-of the <b>Choir-screen</b> is of the Thirteenth Century, what is visible is
-modern.</p>
-
-<div class="blockquot"><p>“The splendid arcade which forms the <span class="smcap">Triforium</span> is one of the
-greatest glories of Westminster, for it is filled with tracery
-similar in every respect to the best window tracery of the Early
-English period. Above the triforium comes the grand tier of windows
-composing the clerestory. Each is divided by a single central
-mullion which, in the older portions, terminates with two plain
-arches surmounted by a circle foliated in six divisions, and in the
-newer portions with trefoil-headed arches surmounted by a circle
-divided into only four parts. The fine vaulting,<span class="pagenum"><a name="page_431" id="page_431">{431}</a></span> of which the
-rib-work is enriched with sculptured bosses at its points of
-intersection, completes the centre of the nave in such a fashion
-that its decorative effect is in complete harmony with the richness
-of the arch mouldings.”&mdash;(C. H.)</p></div>
-
-<p>The aisles are greatly disfigured by the innumerable monuments. Much
-beautiful sculpture has been cut away to make room for them. The north
-aisle has one doorway; the south aisle has three, two of which lead into
-the Cloisters and the third (the most western one) into the Deanery.
-Above it is the <b>Abbot’s Pew</b>, an oaken gallery built by Abbot Islip early
-in the Sixteenth Century.</p>
-
-<p>The most important monument in the north aisle is that of <b>Ben Jonson</b>,
-with the famous inscription “O rare Ben Jonson.” In the south aisle lies
-<b>Major John André</b>.</p>
-
-<p>The <b>Transepts</b> of Westminster Abbey contain some of the most beautiful
-work that can be found anywhere.</p>
-
-<p>The <b>North Transept</b> is entered by the famous <b>Solomon’s Porch</b>. It consists
-of four bays and is bordered with aisles. The eastern aisle is divided
-into three chapels&mdash;St. Andrew, St. Michael and St. John the
-Evangelist&mdash;all of which are filled with monuments.</p>
-
-<div class="blockquot"><p>“The transept end consists of five stages, of which the lowest is
-composed of four obtusely pointed arches, two of them being
-doorways. The spandrels are very richly sculptured. In the second
-compartment is an arcade of six trefoil-headed arches springing
-from clustered columns. Above this arcade are six lancet windows on
-slender columns. The soffits of the arches are decorated with
-sculpture and at both ends there are statues in niches. The fourth
-stage is a continuation of the triforium arcade. There are three
-arches, each enclosing two trefoiled arches,<span class="pagenum"><a name="page_432" id="page_432">{432}</a></span> with a cinquefoiled
-circle between them. It is possible that there were once windows in
-this compartment, but these have been filled up. The transept end
-is completed by a great rose-window filled with modern stained
-glass representing the Apostles and Evangelists. Here we find the
-celebrated <span class="smcap">Censing Angels</span>.</p>
-
-<p>“The triforium is the place from which we can best see those famous
-sculptures known as the ‘censing angels.’ The artist who placed
-these figures in the north and south transepts must have had a
-genius which brought him nearer to the great Greek sculptors of the
-Periclean period than any who has lived since their time. What must
-the central statues have been like to be worthy of such
-accessories? Perhaps if one had to select the best public statue in
-England, it would be impossible to overlook the angel on the north
-transept on the western side. He appears to be literally hovering
-in the air, or rather&mdash;for this the sculptor has most marvellously
-expressed&mdash;he is supposed to be swinging his censer in the presence
-of his Lord, and to be floating in a sea of light, which forces him
-to bow his head and avert his face from its dazzling
-effulgence.”&mdash;(W. J. L.)</p></div>
-
-<p>Among the monuments in the north transept the most interesting are to
-Admiral Vernon, George Canning, D’Israeli, Gladstone, Sir Robert Peel,
-William Pitt and Warren Hastings.</p>
-
-<p>The <b>South Transept</b> is popularly known as the <b>Poets’ Corner</b>, a name given
-by Goldsmith. It is so crowded with tombs and cenotaphs that the
-architectural features are rarely noticed. It is not uniform with the
-north transept though both are of Henry III.’s reign, Early English
-merging into Decorated. A door in the south wall leads into the <b>Chapel
-of St. Faith</b>, long used as a vestry and now as a chapel for private
-prayer.</p>
-
-<p>The most interesting tomb here is that of <b>Geoffrey Chaucer</b>, who for
-years lived in a house in the monastery garden pulled down to make room</p>
-
-<div class="figcenter"><br />
-<a name="fig_086" id="fig_086"></a>
-<a href="images/fp432.jpg">
-<img src="images/fp432.jpg" width="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Westminster Abbey: Poets’ Corner</span></p></div>
-</div>
-
-<div class="figcenter"><br />
-<a name="fig_087" id="fig_087"></a>
-<a href="images/fp433.jpg">
-<img src="images/fp433.jpg" height="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Westminster Abbey: Choir, east</span></p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_433" id="page_433">{433}</a></span></p>
-
-<p class="nind">for Henry VII.’s Chapel. It is a small altar-tomb supposed to date from
-1451, with a canopy of Purbeck marble of later date. The memorial window
-above dates from 1868. Here lie Dryden, Francis Beaumont, Browning,
-Tennyson and Edmund Spencer among others; and a bust of Longfellow was
-placed here in 1884.</p>
-
-<div class="blockquot"><p>“The Choir, which has been the scene of so many solemn and
-memorable services, has no ancient woodwork. The stalls were
-erected about the middle of the last century. The altar and reredos
-are modern. There are some large figures, and a mosaic of the Last
-Supper. Here the coronations of our monarchs take place. The
-pavement is interesting, as it was brought from Rome by Abbot Ware
-in 1268, and beneath it he rests with other abbots of Westminster.
-The sedilia are Thirteenth Century work, and were decorated with
-paintings. The figures of King Siebert, the first founder, and of
-Henry III., the munificent re-founder, remain. Above the base of
-the tomb of Anne of Cleves, one of Henry VIII.’s many wives, is a
-remarkable painting of Richard II., and behind it some ancient
-tapestry.”&mdash;(P. H. D.)</p></div>
-
-<p>On the north side of the sanctuary three ancient tombs harmonise
-perfectly with their architectural surroundings. The most westerly is
-that of <b>Aveline of Lancaster</b>, who died about 1273, a wealthy heiress,
-daughter of the Earl of Albemarle, who was married in the Abbey in 1269
-to Edmund Crouchback, Earl of Lancaster, younger son of Henry III. A
-single cusped arch with a high gable in the spandrel of which is a
-trefoiled panel forms the canopy. Two dogs are at the feet of the effigy
-draped in flowing mantle. The tomb is Early Decorated. Next comes the
-tomb of <b>Aymer de Valence</b>, Earl of Pembroke (died 1323). The Earl, in
-full armour, rests his feet on a lion couchant. Beyond is the<span class="pagenum"><a name="page_434" id="page_434">{434}</a></span> tomb of
-<b>Edmund Crouchback</b> (died 1296). The effigy of the Earl in chain armour
-lies under a triple canopy, richly ornamented. The aisles are crowded
-with tombs and monuments. The aisles of the choir are filled with tombs
-and monuments.</p>
-
-<p>Behind the altar is situated the <b>Confessor’s Chapel</b> containing the
-famous <b>Shrine of Edward the Confessor</b>.</p>
-
-<div class="blockquot"><p>“When we enter St. Edward’s Chapel, or the Chapel of the Kings
-(<i>Capella Regum</i>), we find ourselves in what may fairly be
-described as the most important part of the Abbey, alike from the
-ecclesiastical and historical points of view. The chapel is
-distinguished from the rest of the church by its superior height
-above the ground. In the centre is the Confessor’s shrine, around
-which are the tombs of five Kings and six Queens of England. The
-entrance is by some wooden steps through a small space between one
-of the columns and Edward I.’s tomb. The chapel is separated from
-the sanctuary by a Fifteenth Century screen, which, though much
-mutilated, is still beautiful. The sculptures deal with the life
-and visions of the Confessor.”&mdash;(C. H.)</p></div>
-
-<p>The <b>Confessor’s Shrine</b>, though mutilated, is the most important monument
-in the Abbey. The present tomb was finished in 1269 at the instance of
-King Henry, and was the work of one Peter, a Roman citizen. At the
-Dissolution of the Monasteries the body of the King was removed and the
-golden ornaments of the tomb disappeared; but in Queen Mary’s time Abbot
-Feckenham had the body re-interred, the shrine repaired and the wooden
-superstructure erected. James II. had the old coffin enclosed in another
-case. This remains still within the shrine.</p>
-
-<p>On the north side of the shrine is the <b>Tomb of Henry III.</b>, of two
-stages, in the upper one of which<span class="pagenum"><a name="page_435" id="page_435">{435}</a></span> the body rests. An effigy in gilt
-bronze rests on the top. Next is the tomb of <b>Edward I.</b> On the other side
-(east) lies <b>Eleanor of Castile</b> (died 1290) in a tomb of Purbeck marble,
-the sides of which are embellished with trefoiled heads, a fine example
-of Gothic, probably designed by Torel. Immediately behind the
-Confessor’s Shrine comes the <b>Chantry of Henry V.</b> (where an altar once
-stood). It is a splendid piece of ornate Perpendicular work, with
-elaborate sculptured figures representing St. George, St. Denys and the
-story of the hero’s life&mdash;his fights, coronation and court. The effigy
-is mutilated. Above the tomb hang the monarch’s shield, saddle and
-helmet, which were carried in his funeral procession.</p>
-
-<p>The next tomb is that of <b>Queen Philippa of Hainault</b>, Queen of Edward
-III., who died in 1369. Next comes <b>Edward III.</b> (died 1377) and next that
-of <b>Richard II.</b> and his first wife, <b>Anne of Bohemia</b>. Next, <b>Siebert’s
-Tomb</b>, consisting of an arched recess in the wall and supposed to contain
-the body of the legendary founder of the Abbey. It dates from 1308. Next
-comes the tomb of <b>Anne of Cleves</b>.</p>
-
-<p>In this chapel stand the <b>Coronation Chairs</b>. The one on the left was made
-in the reign of Edward I. to enclose the stone of Scone, supposed to be
-the stone on which Jacob slept at Beth-el. The chair was once painted
-and jewelled. The other chair was made for the coronation of William and
-Mary. Between these hang the sword and shield of state of Edward III.,
-used at his and all other coronations.</p>
-
-<p>The little <b>Chapel of St. Benedict</b> is closed to the public. Under an arch
-is an altar tomb of four children of Henry III. and four of Edward I.<span class="pagenum"><a name="page_436" id="page_436">{436}</a></span></p>
-
-<p>Then comes <b>St. Edmund’s Chapel</b>, filled with tombs; then <b>St. Nicholas’s
-Chapel</b>, separated from the ambulatory by an embattled stone screen
-(Perpendicular), probably erected in the reign of Henry IV. On the other
-side of the steps leading to Henry VII.’s Chapel is <b>St. Paul’s Chapel</b>,
-corresponding with St. Nicholas’s Chapel. Next we find the <b>Chapel of St.
-John Baptist</b> with the <b>Chapel of St. Erasmus</b> forming the entrance. The
-doorway, dating from the reign of Richard II., is beautiful, a low arch,
-supported by clustered pillars. Next to this comes <b>Islip’s Chapel</b>,
-screened off and vaulted by Abbot Islip (died 1532), to hold his own
-tomb. The abbot’s rebus, an eye with a slip of a tree grasped in a hand,
-or a man slipping from the branch of a tree, occurs frequently inside
-and outside the chapel. In the upper part of Islip’s chapel are
-preserved the remarkable collection of wax-works.</p>
-
-<div class="blockquot"><p>“The wax-works of Westminster Abbey have not been seen by many
-people, but are deservedly famous. At first, it was customary when
-a king or any other great personage was to be buried, to place on
-the coffin his effigy formed of boiled leather. When the art of
-modelling in <i>cuir bouilli</i> was lost, wax was employed for making
-the image, and wax, notwithstanding its proverbial pliancy, is a
-very enduring substance. From the north aisle of the apse we ascend
-a narrow staircase, passing by the way some of the most beautiful
-sculpture in the Abbey fronting the chapel of Abbot Islip. At a
-turn in the stair which leads to a kind of upper gallery we are
-suddenly confronted with the lifelike figure of King Charles II.,
-whose face, as rendered familiar by numerous and contemporary
-engravings, with its black eyes and swarthy complexion, looks out
-from behind the glass of a cupboard only a few inches from the spot
-we have reached. The royal figure is dressed in crimson velvet, now
-sadly browned, and adorned</p></div>
-
-<div class="figcenter"><br />
-<a name="fig_088" id="fig_088"></a>
-<a href="images/fp436.jpg">
-<img src="images/fp436.jpg" width="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Westminster Abbey: Chapel and Shrine of Edward the
-Confessor</span></p></div>
-</div>
-
-<div class="figcenter"><br />
-<a name="fig_089" id="fig_089"></a>
-<a href="images/fp437.jpg">
-<img src="images/fp437.jpg" height="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Westminster Abbey: Henry VII’s Chapel</span></p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_437" id="page_437">{437}</a></span></p>
-
-<div class="blockquot"><p class="nind">with the finest lace of the period. When we have recovered
-composure and breath, and can look around, we find ourselves in the
-presence of a series of most interesting and curious portraits. The
-wooden presses, with glass fronts, are, to judge from the pattern
-of the hinges, of about the time of the monarch whose effigy was
-the first to confront us. The rest, taken chronologically, consist
-of ten figures beginning with Queen Elizabeth and ending with Lord
-Nelson, but neither of these, the first and last, were really
-funeral effigies.”&mdash;(W. J. L.)</p></div>
-
-<p>Directly behind the Confessor’s Chapel we come to <b>Henry VII.’s Chapel</b>,
-originally designed to hold the remains of Henry VI., who was buried at
-Windsor, but the plan was not carried out.</p>
-
-<div class="blockquot"><p>“At the entrance to the chapel we are brought to what Dean Stanley
-calls a ‘solemn architectural pause.’ Here we may study three
-distinct architectural periods. ‘First,’ as Mr. Loftie says, ‘there
-is the early work of Henry III., who, it will be remembered, made a
-Lady-Chapel here before he recommenced the rebuilding of the
-Confessor’s church. Secondly, the next pier shows us the work done
-when the body of Henry V. was brought hither from France in 1422.
-Lastly, alongside of these two is the first column of the new and
-gorgeous structure with which Henry VII. replaced the Lady-Chapel
-of Henry III.’ The dimness of the approach materially enhances the
-effect of the superb building beyond, and it cannot be doubted that
-this comparative gloom, so far from being an accident, was
-deliberately intended. The building of the chapel occupied the
-first twelve years of the Sixteenth Century. It measures inside 104
-feet 6 inches long by 69 feet 10 inches broad, and consists of a
-nave and aisles of four bays, the nave terminating in five small
-polygonal chapels, the style throughout being Perpendicular. The
-entrance is under a large central and two smaller side arches,
-which have six bronze doors of superb design and splendid
-workmanship, in which a number of Henry VII.’s devices
-appear.”&mdash;(C. H.)</p></div>
-
-<p>Washington Irving’s impressions were as follows:<span class="pagenum"><a name="page_438" id="page_438">{438}</a></span></p>
-
-<div class="blockquot"><p>“I stood before the entrance to Henry the Seventh’s Chapel. A
-flight of steps leads up to it, through a deep and gloomy, but
-magnificent arch. Great gates of brass, rich and delicately
-wrought, turn heavily upon their hinges, as if proudly reluctant to
-admit the feet of common mortals into this most gorgeous of
-sepulchres.</p>
-
-<p>“On entering, the eye is astonished by the pomp of architecture and
-the elaborate beauty of sculptured detail. The very walls are
-wrought into universal ornament, encrusted with tracery and scooped
-into niches, crowded with the statues of saints and martyrs. Stone
-seems, by the cunning labour of the chisel, to have been robbed of
-its weight and density, suspended aloft, as if by magic, and the
-fretted roof achieved with the wonderful minuteness and airy
-security of a cobweb.</p>
-
-<p>“Along the sides of the chapel are the lofty stalls of the Knights
-of the Bath, richly carved of oak, though with the grotesque
-decorations of Gothic architecture. On the pinnacles of the stalls
-are affixed the helmets and crests of the knights with their scarfs
-and swords; and above them are suspended their banners, emblazoned
-with armorial bearings, and contrasting the splendour of gold and
-purple and crimson, with the cold grey fretwork of the roof. In the
-midst of this grand mausoleum stands the sepulchre of its
-founder,&mdash;his effigy, with that of his queen, extended on a
-sumptuous tomb, and the whole surrounded by a superbly wrought
-brazen railing.</p>
-
-<p>“There is a sad dreariness in this magnificence; this strange
-mixture of tombs and trophies; these emblems of living and aspiring
-ambition, close beside mementoes which show the dust and oblivion
-in which all must sooner or later terminate.</p>
-
-<p>“Two small aisles on each side of this chapel present a touching
-instance of the equality of the grave, which brings down the
-oppressor to a level with the oppressed, and mingles the dust of
-the bitterest enemies together. In one is the sepulchre of the
-haughty Elizabeth; in the other is that of her victim, the lovely
-and unfortunate Mary. Not an hour in the day but some ejaculation
-of pity is uttered over the fate of the latter, mingled with
-indignation at her oppressor. The walls of Elizabeth’s sepulchre<span class="pagenum"><a name="page_439" id="page_439">{439}</a></span>
-continually echo with the sighs of sympathy heaved at the grave of
-her rival.</p>
-
-<p>“A peculiar melancholy reigns over the aisle where Mary lies
-buried. The light struggles dimly through windows darkened by dust.
-The greater part of the place is in deep shadow, and the walls are
-stained and tinted by time and weather. A marble figure of Mary is
-stretched upon the tomb, round which is an iron railing much
-corroded, bearing her national emblem&mdash;the thistle.”</p></div>
-
-<p>Dean Stanley writes:</p>
-
-<div class="blockquot"><p>“It was to be his chantry as well as his tomb, for he was
-determined not to be behind the Lancastrian princes in devotion;
-and this unusual anxiety for the sake of a soul not too heavenward
-in its affections expended itself in the immense apparatus of
-service which he provided. Almost a second Abbey was needed to
-contain the new establishment of monks who were to sing in their
-stalls ‘as long as the world shall endure.’ Almost a second shrine
-surrounded by its blazing tapers and shining like gold with its
-glittering bronze, was to contain his remains.</p>
-
-<p>“To the Virgin Mary, to whom the chapel was dedicated, he had a
-special devotion. Her ‘in all his necessities he had made his
-continual refuge’; and her figure, accordingly, looks down upon his
-grave from the east end, between the apostolic patrons of the
-Abbey, Peter and Paul, with ‘the holy company of heaven&mdash;that is to
-say, angels, archangels, patriarchs, prophets, apostles,
-evangelists, martyrs, confessors and virgins,’ to ‘whose singular
-mediation and prayers he also trusted,’ including the royal saints
-of Britain, St. Edward, St. Edmund, St. Oswald, St. Margaret of
-Scotland, who stand, as he directed, sculptured tier above tier, on
-every side of the Chapel; some retained from the ancient
-Lady-Chapel; the greater part of the work of his own age. Around
-his tomb stand his ‘accustomed Avours or guardian saints to whom he
-calls and cries’&mdash;St. Michael, St. John the Baptist, St. John the
-Evangelist, St. George, St. Anthony, St. Edward, St. Vincent, St.
-Anne, St. Mary Magdalene and St. Barbara, each with their peculiar
-emblems&mdash;‘so to aid, succour and defend him, that the ancient and
-ghostly enemy, nor none other evil or damnable spirit, have<span class="pagenum"><a name="page_440" id="page_440">{440}</a></span> no
-power to invade him, nor with their wickedness to annoy him, but
-with holy prayers to be intercessors to his Maker and Redeemer.’
-These were the adjurations of the last Mediæval King, as the Chapel
-was the climax of the latest Mediæval architecture.”</p>
-
-<p>“But although the Chapel hangs on tenaciously to the skirts of the
-ancient Abbey and the ancient Church, yet that solemn architectural
-pause between the two&mdash;which arrests the most careless observer,
-and renders it a separate structure, a foundation ‘adjoining the
-Abbey,’ rather than forming part of it&mdash;corresponds with marvellous
-fidelity to the pause and break in English history of which Henry
-VII.’s reign is the expression. It is the close of the Middle Ages:
-the apple of Granada in its ornaments shows that the last Crusade
-was over; its flowing draperies and classical attributes indicate
-that the Renaissance had already begun. It is the end of the Wars
-of the Roses combining Henry’s right of conquest with his fragile
-claim of hereditary descent. On the one hand, it is a glorification
-of the victory of Bosworth. The angels at the four corners of the
-tomb, held or hold the likeness of the crown which he won on that
-famous day. In the stained glass we see the same crown hanging on
-the green bush in the fields of Leicestershire. On the other hand,
-like the Chapel of King’s College at Cambridge, it asserts
-everywhere the memory of the ‘holy Henry’s shade’; the Red Rose of
-Lancaster appears in every pane of glass: in every corner is the
-Portcullis&mdash;the <i>Alters securitas</i>, as he termed it, with an
-allusion to its own meaning, and the double safeguard of his
-succession&mdash;which he derived through John of Gaunt from the
-Beaufort Castle in Anjou inherited from Blanche of Navarre by
-Edmund Crouchback; whilst Edward IV. and Elizabeth of York are
-commemorated by intertwining these Lancastrian symbols with the
-Greyhound of Cecilia Neville, wife of Richard, Duke of York, with
-the Rose in the Sun, which scattered the mist at Barnet, and the
-Falcon on the Fetterlock, by which the first Duke of York expressed
-to his descendants that ‘he was locked up from the hope of the
-kingdom, but advising them to be quiet and silent, as God knoweth
-what may come to pass.’</p>
-
-<p>“It is also the revival of the ancient Celtic-British</p></div>
-
-<div class="figcenter"><br />
-<a name="fig_090" id="fig_090"></a>
-<a href="images/fp440.jpg">
-<img src="images/fp440.jpg" width="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Westminster Abbey: Cloisters</span></p></div>
-</div>
-
-<div class="figcenter"><br />
-<a name="fig_091" id="fig_091"></a>
-<a href="images/fp441.jpg">
-<img src="images/fp441.jpg" width="550" alt="[Image unavailable.]" /></a>
-<div class="caption"><p><span class="smcap">Westminster Abbey: South-west</span></p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_441" id="page_441">{441}</a></span></p>
-
-<div class="blockquot"><p class="nind">element in the English monarchy, after centuries of eclipse. It is
-a strange and striking thought, as we mount the steps of Henry
-VII.’s Chapel, that we enter there a mausoleum of princes, whose
-boast it was to be descended not from the Confessor or the
-Conqueror, but from Arthur and Llewellyn; and that roundabout the
-tomb, side by side with the emblems of the great English Houses, is
-to be seen the Red Dragon of the last British King
-Cadwallader&mdash;‘the dragon of the great Pendragonship,’ of Wales,
-thrust forward by the Tudor King in every direction, to supplant
-the hated White Boar of his departed enemy&mdash;the fulfilment, in
-another sense than the old Welsh bards had dreamt, of their
-prediction that the progeny of Cadwallader should reign
-again.”&mdash;(A. P. S.)</p></div>
-
-<p>And now we will begin a more detailed survey:</p>
-
-<div class="blockquot"><p>“We now enter Henry VII.’s Chapel, the most perfect example of the
-Perpendicular style at its best in the country. At the entrance are
-beautiful bronze doors covered with designs symbolical of the
-titles of the Royal founder. It is impossible to describe in words
-the richness and beauty of the interior of this noble chapel. The
-vault is very beautiful with fan-tracery. The banners of the
-Knights of the Order of the Bath hang over their stalls. The
-<i>misereres</i> are wonderfully carved, and are worthy of close
-examination. The black marble tomb of the founder is considered to
-be the best example of the Renaissance style in England. It was
-fashioned by Torregiano. Very numerous monuments are found here.
-The tombs of Mary Queen of Scots and of Queen Elizabeth have
-especial interest. Oliver Cromwell’s body once lay in the most
-eastern chapel, but the Royalists at the Restoration wrought
-vengeance on his corpse, and on that of other regicides, and did
-not suffer them to remain in these hallowed precincts.”&mdash;(P. H. D.)</p></div>
-
-<p>The tombs that attract the most attention are those of <b>Queen Elizabeth</b>
-and <b>Mary, Queen of Scots</b>. Queen Elizabeth’s, erected by James I.,
-consists of a canopy supported on ten Corinthian pillars, under which
-the effigy of the queen lies on<span class="pagenum"><a name="page_442" id="page_442">{442}</a></span> a slab borne by lions. Mary I. rests in
-the same tomb. Mary Stuart’s tomb bears an effigy. At her feet is the
-crowned lion of Scotland. Her body was removed from Peterborough (see
-page 331) by James I.</p>
-
-<p>From the east walk of the Cloisters, finished in 1345, we enter the
-<b>Chapter-House</b>, dating from 1350. It is octagonal and is noted for its
-fine tracery. The House of Commons used to meet here (before 1340). The
-speaker sat in the abbot’s seat.</p>
-
-<div class="blockquot"><p>“The Chapter-House is visited by comparatively few of the myriads
-who come to the Abbey; but those who know what to look for may well
-linger for some time in this deeply interesting building. The
-splendour and loveliness of the entrance to it show the important
-place which it held in the general estimation; the stones under the
-left arcade of the vestibule are still deeply worn by the feet of
-generations of monks, as they walked two and two to their weekly
-assemblies. The vaulting and its bosses are quaint and rich. The
-quaint entrance door itself, bleared and ruined as it now is, was
-once rich with gold and scarlet.</p>
-
-<p>“Entering the Chapter-House we see at a glance an octagon of the
-noblest proportions, of which the roof is supported by a slender
-and graceful pillar of polished Purbeck, thirty-five feet high,
-‘surrounded by eight subordinate shafts, attached to it by three
-moulded bands.’ The painted windows were placed there as a memorial
-to Dean Stanley. One was given by the Queen, and one by Americans.
-In the central light at the summit of each is represented the
-greatest man of each century&mdash;the Venerable Bede, St. Anselm, Roger
-Bacon, Chaucer, Caxton and Shakespeare. In the window over the door
-is Queen Victoria. The central band of the windows represents many
-of the great historical events connected with the Abbey.”&mdash;(F. W.
-F.)</p></div>
-
-<div class="blockquot"><p>“The Chapel of the Pyx is approached from the East Cloister Walk by
-a massive door with seven locks. It is<span class="pagenum"><a name="page_443" id="page_443">{443}</a></span> beneath the old dormitory
-and occupies two bays of the Confessor’s building, and,
-historically considered, is perhaps the most interesting portion of
-the Abbey buildings. The pyx is a box containing the standard
-pieces of gold and silver coin of the realm which were used for
-testing the accuracy of the currency. It has now been removed to
-the Mint, where the trial of the pyx takes place.”&mdash;(C. H.)</p></div>
-
-<p>The <b>Cloisters</b> with their arches, beautiful tracery and ancient memorials
-are strangely impressive, particularly as they are situated in the midst
-of London’s roar; yet here there is quiet.</p>
-
-<p>The most famous part of the <b>Deanery</b> is the <b>Jerusalem Chamber</b> projecting
-just beyond the south-west tower. It probably was so called on account
-of the tapestry representing the history of Jerusalem that adorned it.
-Henry IV. died in it in 1413, according to the prophecy that he should
-die in Jerusalem. (See <i>Henry IV.</i>, Part II., Act IV., Scene 4.) In this
-room the Assembly of Divines met in 1643; and the Revisers of the Old
-and New Testaments of late years. A small room with carved panelling,
-built by Abbot Islip, leading from it, is known as the <b>Jericho
-Parlour</b>.<span class="pagenum"><a name="page_445" id="page_445">{445}</a></span><span class="pagenum"><a name="page_444" id="page_444">{444}</a></span></p>
-
-<h2><a name="INDEX" id="INDEX"></a>INDEX</h2>
-
-<p class="c"><a href="#A">A</a>,
-<a href="#B">B</a>,
-<a href="#C">C</a>,
-<a href="#D">D</a>,
-<a href="#E">E</a>,
-<a href="#F">F</a>,
-<a href="#G">G</a>,
-<a href="#H">H</a>,
-<a href="#I">I</a>,
-<a href="#J">J</a>,
-<a href="#K">K</a>,
-<a href="#L">L</a>,
-<a href="#M">M</a>,
-<a href="#N">N</a>,
-<a href="#O">O</a>,
-<a href="#P">P</a>,
-<a href="#Q">Q</a>,
-<a href="#R">R</a>,
-<a href="#S">S</a>,
-<a href="#T">T</a>,
-<a href="#V">V</a>,
-<a href="#W">W</a>,
-<a href="#Y">Y</a>,
-<a href="#Z">Z</a></p>
-
-<p class="nind">
-<a name="A" id="A"></a>Abbey of St. Werburgh, <a href="#page_215">215</a>.<br />
-
-Abbot’s Cloister, <a href="#page_171">171</a>.<br />
-
-Abbot’s Pew, <a href="#page_431">431</a>.<br />
-
-Abbots of St. Albans, <a href="#page_360">360-361</a>.<br />
-
-Aisles, Five, <a href="#page_71">71</a>.<br />
-
-Aldred, <a href="#page_152">152</a>, <a href="#page_153">153</a>.<br />
-
-Alfred, King, <a href="#page_46">46</a>, <a href="#page_47">47</a>, <a href="#page_49">49</a>.<br />
-
-Alleyn, Edward, <a href="#page_424">424</a>.<br />
-
-Altar:&mdash;Canterbury, <a href="#page_16">16</a>;<br />
-<span style="margin-left: 1em;">Chester, <a href="#page_219">219</a>;</span><br />
-<span style="margin-left: 1em;">of the Martyrdom, <a href="#page_3">3</a>;</span><br />
-<span style="margin-left: 1em;">St. Paul’s, <a href="#page_409">409</a>;</span><br />
-<span style="margin-left: 1em;">of the Sword’s Point, <a href="#page_3">3</a>;</span><br />
-<span style="margin-left: 1em;">of the Virgin, <a href="#page_4">4</a>.</span><br />
-
-Ambulatories:&mdash;Exeter, <a href="#page_102">102</a>;<br />
-<span style="margin-left: 1em;">Gloucester, <a href="#page_162">162</a>.</span><br />
-
-Amen Corner, <a href="#page_398">398</a>.<br />
-
-André, Major John (tomb), <a href="#page_431">431</a>.<br />
-
-Andrews, Bishop (tomb), <a href="#page_422">422</a>.<br />
-
-Angel Choir, <a href="#page_285">285</a>, <a href="#page_289">289</a>, <a href="#page_298">298-300</a>, <a href="#page_307">307</a>, <a href="#page_309">309</a>.<br />
-
-Angel Tower (Canterbury), <a href="#page_9">9</a>, <a href="#page_10">10</a>, <a href="#page_11">11</a>, <a href="#page_13">13</a>, <a href="#page_30">30</a>.<br />
-
-Angel Windows (Salisbury), <a href="#page_88">88</a>.<br />
-
-Anne of Bohemia (tomb), <a href="#page_435">435</a>.<br />
-
-Anne of Cleves (tomb), <a href="#page_435">435</a>.<br />
-
-Anselm, <a href="#page_12">12</a>;<br />
-<span style="margin-left: 1em;">burial-place of, <a href="#page_25">25</a>.</span><br />
-
-Aquablanca, Thomas, <a href="#page_174">174</a>, <a href="#page_177">177</a>, <a href="#page_180">180</a>.<br />
-
-Arcade, Winchester, <a href="#page_60">60</a>.<br />
-
-Archbishop of Canterbury, <a href="#page_2">2</a>, <a href="#page_263">263</a>.<br />
-
-<span class="pagenum"><a name="page_446" id="page_446">{446}</a></span>Archbishop of York, <a href="#page_263">263</a>, <a href="#page_265">265</a>.<br />
-
-Arches, Inverted (Wells), <a href="#page_110">110</a>, <a href="#page_116">116</a>.<br />
-
-Arundel, Earl, and Maud (tomb), <a href="#page_72">72</a>.<br />
-
-Arundel Tower, <a href="#page_9">9</a>, <a href="#page_11">11</a>.<br />
-
-Athelstan, <a href="#page_90">90</a>.<br />
-
-Atholl, Countess (tomb), <a href="#page_30">30</a>.<br />
-
-Austen, Jane (brass), <a href="#page_54">54</a>.<br />
-
-Aveline of Lancaster (tomb), <a href="#page_433">433</a>.<br />
-
-Ave Maria Lane, <a href="#page_398">398</a>.<br />
-
-<br />
-<a name="B" id="B"></a>Ball-flower, <a href="#page_143">143</a>, <a href="#page_159">159</a>, <a href="#page_163">163</a>, <a href="#page_175">175</a>.<br />
-
-Ball and Cross, St. Paul’s, <a href="#page_403">403</a>.<br />
-
-Baptistry Tower, <a href="#page_430">430</a>.<br />
-
-Bath Abbey, <a href="#page_134">134-139</a>.<br />
-
-Bayeux Tapestry, <a href="#page_425">425</a>.<br />
-
-Beauchamp, James de (effigy), <a href="#page_198">198</a>.<br />
-
-Beauchamp, John (tomb), <a href="#page_192">192</a>.<br />
-
-Beaufort, Cardinal, <a href="#page_53">53</a>, <a href="#page_59">59</a>, <a href="#page_417">417</a>, <a href="#page_418">418</a>.<br />
-
-Beaufort, Jane, <a href="#page_417">417</a>, <a href="#page_421">421</a>.<br />
-
-Beaumont, Francis, <a href="#page_424">424</a>, <a href="#page_433">433</a>.<br />
-
-Becket, Thomas à, <a href="#page_2">2</a>, <a href="#page_3">3</a>, <a href="#page_10">10</a>, <a href="#page_18">18</a>, <a href="#page_19">19</a>, <a href="#page_249">249</a>, <a href="#page_262">262</a>.<br />
-
-Becket’s Crown, <a href="#page_19">19</a>, <a href="#page_23">23-24</a>.<br />
-
-Beckington, Bishop, <a href="#page_108">108</a>, <a href="#page_110">110</a>, <a href="#page_119">119</a>.<br />
-
-Beckington (tomb), <a href="#page_129">129</a>.<br />
-
-Bede, Venerable, grave of, <a href="#page_242">242-243</a>.<br />
-
-Belfry Tower, <a href="#page_430">430</a>.<br />
-
-Bell Harry Tower, <a href="#page_11">11</a>, <a href="#page_30">30</a>.<br />
-
-<span class="pagenum"><a name="page_447" id="page_447">{447}</a></span>Bell Tower, <a href="#page_380">380</a>.<br />
-
-Bell:&mdash;Dunstan (Canterbury), <a href="#page_11">11</a>;<br />
-<span style="margin-left: 1em;">(Rochester), <a href="#page_36">36</a>;</span><br />
-<span style="margin-left: 1em;">Great Peter, <a href="#page_268">268</a>;</span><br />
-<span style="margin-left: 1em;">Peter, <a href="#page_98">98</a>;</span><br />
-<span style="margin-left: 1em;">Tom of Lincoln, <a href="#page_310">310-311</a>;</span><br />
-<span style="margin-left: 1em;">Tom of Oxford, <a href="#page_375">375</a>.</span><br />
-
-Bells:&mdash;Canterbury, <a href="#page_36">36</a>;<br />
-<span style="margin-left: 1em;">Exeter, <a href="#page_92">92</a>;</span><br />
-<span style="margin-left: 1em;">Gloucester, <a href="#page_152">152</a>;</span><br />
-<span style="margin-left: 1em;">Lincoln, <a href="#page_310">310-311</a>;</span><br />
-<span style="margin-left: 1em;">Oxford, <a href="#page_375">375</a>, <a href="#page_380">380</a>;</span><br />
-<span style="margin-left: 1em;">Peterborough, <a href="#page_321">321</a>;</span><br />
-<span style="margin-left: 1em;">St. Albans, <a href="#page_369">369</a>;</span><br />
-<span style="margin-left: 1em;">St. Saviour’s, <a href="#page_418">418</a>;</span><br />
-<span style="margin-left: 1em;">Winchester, <a href="#page_65">65</a>;</span><br />
-<span style="margin-left: 1em;">York, <a href="#page_268">268</a>.</span><br />
-
-Bell Ringer’s Gallery, <a href="#page_238">238</a>.<br />
-
-Ben Jonson, <a href="#page_431">431</a>.<br />
-
-Berkeley, Maurice (tomb), <a href="#page_145">145</a>.<br />
-
-Birde, William, <a href="#page_134">134-135</a>.<br />
-
-Bishop’s Cloisters (Hereford), <a href="#page_175">175</a>.<br />
-
-Bishops’ Gardens (Norwich), <a href="#page_303">303</a>, <a href="#page_357">357</a>.<br />
-
-Bishop’s Eye (Lincoln), <a href="#page_305">305</a>, <a href="#page_308">308</a>.<br />
-
-Bishop’s Palace (Wells), <a href="#page_132">132</a>, <a href="#page_133">133</a>.<br />
-
-Bishop’s Throne:&mdash;Chester, <a href="#page_219">219</a>;<br />
-<span style="margin-left: 1em;">Exeter, <a href="#page_99">99</a>, <a href="#page_100">100-101</a>;</span><br />
-<span style="margin-left: 1em;">Hereford, <a href="#page_183">183</a>;</span><br />
-<span style="margin-left: 1em;">Lincoln, <a href="#page_297">297</a>;</span><br />
-<span style="margin-left: 1em;">Ripon, <a href="#page_258">258</a>.</span><br />
-
-Bitton, Bishop, <a href="#page_90">90</a>.<br />
-
-Black Prince (tomb), <a href="#page_9">9</a>, <a href="#page_20">20-21</a>.<br />
-
-Blois, William de (effigy), <a href="#page_198">198</a>.<br />
-
-Blue Dick, <a href="#page_9">9</a>, <a href="#page_13">13</a>, <a href="#page_27">27</a>.<br />
-
-Bohun, Joanne de, <a href="#page_185">185</a>.<br />
-
-Booth, Bishop (effigy), <a href="#page_176">176</a>.<br />
-
-Booth (tomb), <a href="#page_176">176</a>.<br />
-
-Borough, The, <a href="#page_415">415</a>.<br />
-
-Bouchier, Cardinal, <a href="#page_16">16</a>.<br />
-
-Bowet, Archbishop (tomb), <a href="#page_274">274</a>.<br />
-
-Boy Bishop, <a href="#page_82">82-83</a>.<br />
-
-Boys, Dean (tomb), <a href="#page_27">27</a>.<br />
-
-Brantingham, <a href="#page_91">91</a>, <a href="#page_100">100</a>.<br />
-
-<span class="pagenum"><a name="page_448" id="page_448">{448}</a></span>Bridport, Giles de (tomb), <a href="#page_86">86-87</a>.<br />
-
-Brithnoth, <a href="#page_335">335</a>.<br />
-
-Bristol, <a href="#page_140">140-150</a>.<br />
-
-Bronescomb, Bishop, <a href="#page_91">91</a>, <a href="#page_102">102</a>.<br />
-
-Bronescomb (tomb), <a href="#page_103">103</a>.<br />
-
-Browne’s Gate, <a href="#page_108">108</a>.<br />
-
-Bruce, Robert, <a href="#page_227">227</a>.<br />
-
-Bubwith, Bishop, <a href="#page_110">110</a>.<br />
-
-Bubwith Tower, <a href="#page_113">113</a>, <a href="#page_114">114</a>, <a href="#page_118">118</a>.<br />
-
-Burne-Jones, Windows by, <a href="#page_88">88</a>, <a href="#page_380">380</a>, <a href="#page_382">382</a>, <a href="#page_384">384</a>, <a href="#page_386">386</a>, <a href="#page_388">388</a>, <a href="#page_391">391</a>.<br />
-
-Butler, Bishop (tomb), <a href="#page_149">149</a>.<br />
-
-Butler Tower, <a href="#page_140">140</a>.<br />
-
-Bytton, St. William (tomb), <a href="#page_129">129</a>.<br />
-
-<br />
-<a name="C" id="C"></a>Campanile, <a href="#page_69">69</a>.<br />
-
-Canon Alley, <a href="#page_398">398</a>.<br />
-
-Cantelupe, Walter de (effigy), <a href="#page_198">198</a>.<br />
-
-Canterbury, <a href="#page_1">1-32</a>.<br />
-
-Carileph, <a href="#page_244">244</a>.<br />
-
-Carlisle, <a href="#page_227">227-232</a>.<br />
-
-Carving:&mdash;Carlisle, <a href="#page_228">228</a>;<br />
-<span style="margin-left: 1em;">Exeter, <a href="#page_95">95</a>, <a href="#page_96">96</a>;</span><br />
-<span style="margin-left: 1em;">Lincoln, <a href="#page_285">285</a>, <a href="#page_295">295-296</a>;</span><br />
-<span style="margin-left: 1em;">Wells, <a href="#page_117">117-118</a>, <a href="#page_120">120-122</a>, <a href="#page_130">130</a>;</span><br />
-<span style="margin-left: 1em;">Worcester, <a href="#page_196">196-197</a>;</span><br />
-<span style="margin-left: 1em;">York, <a href="#page_280">280</a>;</span><br />
-<span style="margin-left: 1em;">Southwell, <a href="#page_317">317-318</a>.</span><br />
-
-Cathedral Pool, <a href="#page_201">201</a>, <a href="#page_203">203</a>.<br />
-
-Celia, John de, <a href="#page_363">363</a>, <a href="#page_364">364</a>.<br />
-
-Cemetery, <a href="#page_5">5</a>.<br />
-
-Cemetery Gate, <a href="#page_38">38</a>.<br />
-
-Censing Angels, <a href="#page_432">432</a>.<br />
-
-Cerdic, <a href="#page_46">46</a>.<br />
-
-Chain-Gate, <a href="#page_102">102</a>, <a href="#page_112">112</a>, <a href="#page_113">113</a>, <a href="#page_124">124</a>.<br />
-
-Chantry:&mdash;Audley, <a href="#page_85">85</a>, <a href="#page_175">175</a>, <a href="#page_185">185-186</a>;<br />
-<span style="margin-left: 1em;">Beaufort, <a href="#page_62">62</a>;</span><br />
-<span style="margin-left: 1em;">Birde, <a href="#page_139">139</a>;</span><br />
-<span style="margin-left: 1em;">Bubwith, <a href="#page_122">122</a>;</span><br />
-<span style="margin-left: 1em;">Edington, <a href="#page_54">54</a>, <a href="#page_162">162</a>;</span><br />
-<span style="margin-left: 1em;">Fleming, <a href="#page_302">302</a>, <a href="#page_309">309</a>;</span><br />
-<span style="margin-left: 1em;">Fox, <a href="#page_62">62</a>, <a href="#page_85">85</a>;</span><br />
-<span style="margin-left: 1em;">Gardiner, <a href="#page_62">62</a>;</span><br />
-<span style="margin-left: 1em;">Henry IV, <a href="#page_22">22</a>;</span><br />
-<span style="margin-left: 1em;">Henry V, <a href="#page_435">435</a>;</span><br />
-<span style="margin-left: 1em;">Hungerford, <a href="#page_85">85</a>;</span><br />
-<span style="margin-left: 1em;">Langton, <a href="#page_60">60</a>, <a href="#page_61">61</a>;</span><br />
-<span class="pagenum"><a name="page_449" id="page_449">{449}</a></span><span style="margin-left: 1em;">Longland, <a href="#page_302">302</a>, <a href="#page_308">308</a>;</span><br />
-<span style="margin-left: 1em;">Oldham, <a href="#page_102">102</a>, <a href="#page_104">104-105</a>;</span><br />
-<span style="margin-left: 1em;">Prince Arthur, <a href="#page_195">195-196</a>;</span><br />
-<span style="margin-left: 1em;">Ramryge, <a href="#page_370">370</a>, <a href="#page_371">371</a>;</span><br />
-<span style="margin-left: 1em;">Russell, <a href="#page_302">302</a>, <a href="#page_308">308</a>;</span><br />
-<span style="margin-left: 1em;">Speke, <a href="#page_102">102</a>;</span><br />
-<span style="margin-left: 1em;">St. George, <a href="#page_104">104</a>;</span><br />
-<span style="margin-left: 1em;">St. Radegunde, <a href="#page_97">97</a>;</span><br />
-<span style="margin-left: 1em;">Stanbery, <a href="#page_181">181</a>;</span><br />
-<span style="margin-left: 1em;">Sugar, <a href="#page_122">122</a>;</span><br />
-<span style="margin-left: 1em;">Sylke, <a href="#page_98">98</a>;</span><br />
-<span style="margin-left: 1em;">Waynflete, <a href="#page_62">62</a>;</span><br />
-<span style="margin-left: 1em;">Wheathampstead, <a href="#page_370">370</a>, <a href="#page_371">371</a>;</span><br />
-<span style="margin-left: 1em;">William of Wykeham, <a href="#page_54">54-55</a>.</span><br />
-
-Chapel:&mdash;Alcock, Bishop, <a href="#page_345">345</a>;<br />
-<span style="margin-left: 1em;">Berkeley, <a href="#page_141">141</a>, <a href="#page_146">146</a>;</span><br />
-<span style="margin-left: 1em;">Botelers, <a href="#page_168">168</a>;</span><br />
-<span style="margin-left: 1em;">Christ Church, <a href="#page_375">375</a>;</span><br />
-<span style="margin-left: 1em;">Derby, <a href="#page_223">223</a>, <a href="#page_226">226</a>;</span><br />
-<span style="margin-left: 1em;">Dean’s (Canterbury), <a href="#page_22">22</a>, <a href="#page_26">26</a>, <a href="#page_27">27</a>;</span><br />
-<span style="margin-left: 1em;">Dean’s (Lincoln), <a href="#page_306">306</a>;</span><br />
-<span style="margin-left: 1em;">Ducie, <a href="#page_222">222</a>, <a href="#page_225">225</a>;</span><br />
-<span style="margin-left: 1em;">Four Virgins, <a href="#page_72">72</a>;</span><br />
-<span style="margin-left: 1em;">Fraser, <a href="#page_223">223</a>, <a href="#page_226">226</a>;</span><br />
-<span style="margin-left: 1em;">Guardian Angels, <a href="#page_60">60</a>, <a href="#page_61">61</a>;</span><br />
-<span style="margin-left: 1em;">Holy Cross, <a href="#page_118">118</a>, <a href="#page_123">123</a>;</span><br />
-<span style="margin-left: 1em;">Holy Ghost, <a href="#page_99">99</a>;</span><br />
-<span style="margin-left: 1em;">Holy Sepulchre, <a href="#page_64">64</a>;</span><br />
-<span style="margin-left: 1em;">Holy Trinity, <a href="#page_224">224</a>;</span><br />
-<span style="margin-left: 1em;">Islip, <a href="#page_436">436</a>;</span><br />
-<span style="margin-left: 1em;">Jesus, <a href="#page_192">192</a>, <a href="#page_222">222</a>, <a href="#page_223">223</a>, <a href="#page_225">225</a>, <a href="#page_409">409</a>;</span><br />
-<span style="margin-left: 1em;">Mallory, <a href="#page_255">255</a>, <a href="#page_259">259</a>;</span><br />
-<span style="margin-left: 1em;">Morning, <a href="#page_410">410</a>;</span><br />
-<span style="margin-left: 1em;">Newton, <a href="#page_141">141</a>, <a href="#page_145">145</a>;</span><br />
-<span style="margin-left: 1em;">Nine Altars, <a href="#page_130">130</a>, <a href="#page_236">236</a>, <a href="#page_237">237</a>, <a href="#page_238">238</a>, <a href="#page_240">240</a>, <a href="#page_246">246-247</a>;</span><br />
-<span style="margin-left: 1em;">of the Pyx, <a href="#page_443">443</a>;</span><br />
-<span style="margin-left: 1em;">Order of St. Michael and St. George, <a href="#page_410">410</a>;</span><br />
-<span style="margin-left: 1em;">Ringers, <a href="#page_309">309</a>;</span><br />
-<span style="margin-left: 1em;">Saints, <a href="#page_367">367</a>, <a href="#page_371">371</a>;</span><br />
-<span style="margin-left: 1em;">Seabroke, <a href="#page_169">169</a>;</span><br />
-<span style="margin-left: 1em;">Silkstede’s, <a href="#page_64">64</a>;</span><br />
-<span style="margin-left: 1em;">of the Transfiguration, <a href="#page_374">374</a>;</span><br />
-<span style="margin-left: 1em;">Warriors’, <a href="#page_18">18</a>, <a href="#page_25">25</a>, <a href="#page_26">26</a>;</span><br />
-<span style="margin-left: 1em;">West, Bishop, <a href="#page_345">345</a>;</span><br />
-<span style="margin-left: 1em;">St. Andrews, <a href="#page_102">102</a>, <a href="#page_169">169</a>;</span><br />
-<span style="margin-left: 1em;">St. Benedict, <a href="#page_331">331</a>, <a href="#page_435">435</a>;</span><br />
-<span style="margin-left: 1em;">St. Calixtus, <a href="#page_123">123</a>;</span><br />
-<span style="margin-left: 1em;">St. Catherine, <a href="#page_129">129</a>, <a href="#page_387">387</a>;</span><br />
-<span style="margin-left: 1em;">St. Chad, <a href="#page_210">210-211</a>, <a href="#page_213">213</a>;</span><br />
-<span style="margin-left: 1em;">St. David, <a href="#page_123">123</a>;</span><br />
-<span style="margin-left: 1em;">St. Dunstan, <a href="#page_410">410</a>;</span><br />
-<span style="margin-left: 1em;">St. Edward the Confessor, <a href="#page_434">434</a>;</span><br />
-<span style="margin-left: 1em;">St. Edmund, <a href="#page_45">45</a>, <a href="#page_97">97</a>, <a href="#page_436">436</a>;</span><br />
-<span style="margin-left: 1em;">St. Erasmus, <a href="#page_436">436</a>;</span><br />
-<span style="margin-left: 1em;">St. Faith, <a href="#page_75">75</a>, <a href="#page_432">432</a>;</span><br />
-<span style="margin-left: 1em;">St. Gabriel, <a href="#page_30">30</a>, <a href="#page_105">105</a>;</span><br />
-<span class="pagenum"><a name="page_450" id="page_450">{450}</a></span><span style="margin-left: 1em;">St. George, <a href="#page_224">224</a>;</span><br />
-<span style="margin-left: 1em;">St. Hugh, <a href="#page_309">309</a>;</span><br />
-<span style="margin-left: 1em;">St. James, <a href="#page_102">102</a>, <a href="#page_224">224</a>;</span><br />
-<span style="margin-left: 1em;">St. John, <a href="#page_193">193</a>, <a href="#page_196">196</a>;</span><br />
-<span style="margin-left: 1em;">St. John the Baptist, <a href="#page_43">43</a>, <a href="#page_98">98</a>, <a href="#page_129">129</a>, <a href="#page_436">436</a>;</span><br />
-<span style="margin-left: 1em;">St. John the Baptist and St. Edmund the King, <a href="#page_73">73</a>;</span><br />
-<span style="margin-left: 1em;">St. John the Divine, <a href="#page_423">423</a>;</span><br />
-<span style="margin-left: 1em;">St. Katherine, <a href="#page_73">73</a>;</span><br />
-<span style="margin-left: 1em;">St. Kyneburga, <a href="#page_331">331</a>;</span><br />
-<span style="margin-left: 1em;">St. Kyneswitha, <a href="#page_331">331</a>;</span><br />
-<span style="margin-left: 1em;">St. Lucy, <a href="#page_381">381</a>, <a href="#page_390">390</a>;</span><br />
-<span style="margin-left: 1em;">St. Luke, <a href="#page_353">353</a>, <a href="#page_358">358</a>;</span><br />
-<span style="margin-left: 1em;">St. Martin, <a href="#page_123">123</a>;</span><br />
-<span style="margin-left: 1em;">St. Mary the Less, <a href="#page_353">353</a>, <a href="#page_357">357</a>;</span><br />
-<span style="margin-left: 1em;">St. Mary Magdalene, <a href="#page_73">73</a>, <a href="#page_105">105</a>;</span><br />
-<span style="margin-left: 1em;">St. Nicholas, <a href="#page_224">224</a>, <a href="#page_436">436</a>;</span><br />
-<span style="margin-left: 1em;">St. Oswald, <a href="#page_331">331</a>;</span><br />
-<span style="margin-left: 1em;">St. Paul, <a href="#page_98">98</a>, <a href="#page_168">168</a>, <a href="#page_436">436</a>;</span><br />
-<span style="margin-left: 1em;">St. Philip, <a href="#page_169">169</a>;</span><br />
-<span style="margin-left: 1em;">St. Stephen, <a href="#page_129">129</a>;</span><br />
-<span style="margin-left: 1em;">St. Thomas of Canterbury, <a href="#page_323">323</a>;</span><br />
-<span style="margin-left: 1em;">Trinity, <a href="#page_6">6</a>, <a href="#page_9">9</a>, <a href="#page_12">12</a>, <a href="#page_18">18</a>, <a href="#page_19">19</a>, <a href="#page_20">20</a>;</span><br />
-<span style="margin-left: 1em;">Warner, <a href="#page_43">43</a>.</span><br />
-
-Chapels:&mdash;Ely, <a href="#page_223">223</a>, <a href="#page_226">226</a>;<br />
-<span style="margin-left: 1em;">Lincoln, <a href="#page_292">292</a>.</span><br />
-
-Chapter-House:&mdash;Bristol, <a href="#page_141">141</a>;<br />
-<span style="margin-left: 1em;">Carlisle, <a href="#page_232">232</a>;</span><br />
-<span style="margin-left: 1em;">Chester, <a href="#page_221">221</a>, <a href="#page_225">225</a>;</span><br />
-<span style="margin-left: 1em;">Durham, <a href="#page_237">237</a>, <a href="#page_248">248</a>;</span><br />
-<span style="margin-left: 1em;">Gloucester, <a href="#page_149">149-150</a>, <a href="#page_151">151</a>, <a href="#page_172">172</a>;</span><br />
-<span style="margin-left: 1em;">Lichfield, <a href="#page_130">130</a>, <a href="#page_207">207</a>, <a href="#page_213">213</a>, <a href="#page_214">214</a>;</span><br />
-<span style="margin-left: 1em;">Lincoln, <a href="#page_307">307</a>;</span><br />
-<span style="margin-left: 1em;">Peterborough, <a href="#page_331">331</a>;</span><br />
-<span style="margin-left: 1em;">Oxford, <a href="#page_379">379</a>, <a href="#page_392">392</a>;</span><br />
-<span style="margin-left: 1em;">Ripon, <a href="#page_259">259</a>;</span><br />
-<span style="margin-left: 1em;">Salisbury, <a href="#page_78">78</a>, <a href="#page_88">88-89</a>;</span><br />
-<span style="margin-left: 1em;">Southwell, <a href="#page_313">313</a>, <a href="#page_317">317-318</a>;</span><br />
-<span style="margin-left: 1em;">Wells, <a href="#page_112">112</a>, <a href="#page_113">113</a>, <a href="#page_124">124</a>, <a href="#page_125">125-126</a>;</span><br />
-<span style="margin-left: 1em;">Westminster Abbey, <a href="#page_428">428</a>, <a href="#page_442">442</a>;</span><br />
-<span style="margin-left: 1em;">Winchester, <a href="#page_64">64</a>;</span><br />
-<span style="margin-left: 1em;">Worcester, <a href="#page_199">199</a>;</span><br />
-<span style="margin-left: 1em;">York, <a href="#page_261">261</a>, <a href="#page_280">280</a>, <a href="#page_281">281</a>, <a href="#page_282">282</a>.</span><br />
-
-Chapter-House Doorway (Rochester), <a href="#page_44">44-45</a>.<br />
-
-Charles Edward, <a href="#page_228">228</a>.<br />
-
-Charlton, Bishop (tomb), <a href="#page_180">180</a>.<br />
-
-Chaucer, <a href="#page_1">1</a>, <a href="#page_10">10</a>, <a href="#page_415">415</a>.<br />
-
-Chaucer (tomb), <a href="#page_432">432</a>, <a href="#page_433">433</a>.<br />
-
-Chaucer Window, <a href="#page_419">419</a>.<br />
-
-<span class="pagenum"><a name="page_451" id="page_451">{451}</a></span>Cheapside, <a href="#page_398">398</a>.<br />
-
-Chequers Inn, <a href="#page_8">8</a>, <a href="#page_10">10</a>.<br />
-
-Chertsey’s Gate, <a href="#page_38">38</a>.<br />
-
-Chests, Mortuary, <a href="#page_57">57</a>.<br />
-
-Chester, <a href="#page_215">215-221</a>.<br />
-
-Chichele Tower, <a href="#page_11">11</a>, <a href="#page_12">12</a>.<br />
-
-Chichele, Archbishop (tomb), <a href="#page_17">17</a>.<br />
-
-Chichester, <a href="#page_66">66-75</a>.<br />
-
-Chillenden, Prior, <a href="#page_9">9</a>, <a href="#page_12">12</a>, <a href="#page_13">13</a>, <a href="#page_31">31</a>, <a href="#page_32">32</a>.<br />
-
-Choate, Joseph H., <a href="#page_423">423</a>.<br />
-
-Choir:&mdash;Bath Abbey, <a href="#page_138">138</a>;<br />
-<span style="margin-left: 1em;">Bristol, <a href="#page_142">142</a>;</span><br />
-<span style="margin-left: 1em;">Canterbury, <a href="#page_14">14-17</a>;</span><br />
-<span style="margin-left: 1em;">Carlisle, <a href="#page_227">227</a>, <a href="#page_228">228</a>, <a href="#page_230">230-232</a>;</span><br />
-<span style="margin-left: 1em;">Chester, <a href="#page_218">218</a>;</span><br />
-<span style="margin-left: 1em;">Chichester, <a href="#page_73">73</a>;</span><br />
-<span style="margin-left: 1em;">Durham, <a href="#page_237">237</a>, <a href="#page_244">244</a>;</span><br />
-<span style="margin-left: 1em;">Ely, <a href="#page_343">343-345</a>;</span><br />
-<span style="margin-left: 1em;">Exeter, <a href="#page_99">99-102</a>;</span><br />
-<span style="margin-left: 1em;">Gloucester, <a href="#page_53">53</a>, <a href="#page_160">160-163</a>;</span><br />
-<span style="margin-left: 1em;">Hereford, <a href="#page_182">182-183</a>;</span><br />
-<span style="margin-left: 1em;">Lincoln, <a href="#page_295">295-297</a>;</span><br />
-<span style="margin-left: 1em;">Lichfield, <a href="#page_209">209-211</a>;</span><br />
-<span style="margin-left: 1em;">Manchester, <a href="#page_225">225</a>;</span><br />
-<span style="margin-left: 1em;">Norwich, <a href="#page_356">356</a>;</span><br />
-<span style="margin-left: 1em;">Oxford, <a href="#page_381">381</a>, <a href="#page_383">383</a>;</span><br />
-<span style="margin-left: 1em;">Peterborough, <a href="#page_328">328-329</a>;</span><br />
-<span style="margin-left: 1em;">Ripon, <a href="#page_255">255-256</a>;</span><br />
-<span style="margin-left: 1em;">Rochester, <a href="#page_42">42</a>;</span><br />
-<span style="margin-left: 1em;">Salisbury, <a href="#page_84">84-85</a>;</span><br />
-<span style="margin-left: 1em;">Southwell, <a href="#page_316">316</a>;</span><br />
-<span style="margin-left: 1em;">St. Alban’s, <a href="#page_356">356</a>;</span><br />
-<span style="margin-left: 1em;">St. Paul’s, <a href="#page_404">404</a>;</span><br />
-<span style="margin-left: 1em;">St. Saviour’s, <a href="#page_421">421</a>;</span><br />
-<span style="margin-left: 1em;">Wells, <a href="#page_126">126-129</a>;</span><br />
-<span style="margin-left: 1em;">Westminster Abbey, <a href="#page_427">427</a>, <a href="#page_433">433</a>;</span><br />
-<span style="margin-left: 1em;">Winchester, <a href="#page_55">55</a>;</span><br />
-<span style="margin-left: 1em;">Worcester, <a href="#page_193">193-194</a>;</span><br />
-<span style="margin-left: 1em;">York, <a href="#page_271">271-272</a>, <a href="#page_281">281</a>.</span><br />
-
-Choir of Conrad, glorious, <a href="#page_2">2</a>, <a href="#page_4">4</a>, <a href="#page_12">12</a>, <a href="#page_14">14</a>.<br />
-
-Choir-screen (Lichfield), <a href="#page_211">211</a>.<br />
-
-Choir-screen (Southwell), <a href="#page_313">313</a>, <a href="#page_316">316</a>.<br />
-
-Choir-stalls:&mdash;Canterbury, <a href="#page_9">9</a>, <a href="#page_14">14</a>;<br />
-<span style="margin-left: 1em;">Carlisle, <a href="#page_231">231</a>;</span><br />
-<span style="margin-left: 1em;">Chester, <a href="#page_218">218-219</a>;</span><br />
-<span style="margin-left: 1em;">Chichester, <a href="#page_73">73</a>;</span><br />
-<span style="margin-left: 1em;">Durham, <a href="#page_245">245</a>;</span><br />
-<span style="margin-left: 1em;">Ely, <a href="#page_345">345</a>;</span><br />
-<span style="margin-left: 1em;">Exeter, <a href="#page_57">57</a>;</span><br />
-<span style="margin-left: 1em;">Gloucester, <a href="#page_161">161</a>;</span><br />
-<span style="margin-left: 1em;">Hereford, <a href="#page_183">183</a>;</span><br />
-<span style="margin-left: 1em;">Manchester, <a href="#page_225">225</a>;</span><br />
-<span style="margin-left: 1em;">Norwich, <a href="#page_356">356</a>;</span><br />
-<span class="pagenum"><a name="page_452" id="page_452">{452}</a></span><span style="margin-left: 1em;">Peterborough, <a href="#page_329">329</a>;</span><br />
-<span style="margin-left: 1em;">Ripon, <a href="#page_256">256-257</a>;</span><br />
-<span style="margin-left: 1em;">Rochester, <a href="#page_43">43</a>;</span><br />
-<span style="margin-left: 1em;">Salisbury, <a href="#page_85">85</a>;</span><br />
-<span style="margin-left: 1em;">St. Albans, <a href="#page_369">369</a>;</span><br />
-<span style="margin-left: 1em;">St. Paul’s, <a href="#page_408">408</a>;</span><br />
-<span style="margin-left: 1em;">Winchester, <a href="#page_56">56-57</a>;</span><br />
-<span style="margin-left: 1em;">Worcester, <a href="#page_194">194</a>;</span><br />
-<span style="margin-left: 1em;">York, <a href="#page_271">271</a>.</span><br />
-
-Choristers’ Green, <a href="#page_80">80</a>.<br />
-
-Choristers’ Vestry, <a href="#page_306">306</a>.<br />
-
-Christ Church Gate, <a href="#page_10">10</a>.<br />
-
-Christ Church, Oxford, <a href="#page_375">375</a>.<br />
-
-Clive, Geoffrey de (tomb), <a href="#page_180">180</a>.<br />
-
-Clock (Exeter), <a href="#page_98">98</a>.<br />
-
-Cloisters:&mdash;Bristol, <a href="#page_141">141</a>, <a href="#page_149">149</a>;<br />
-<span style="margin-left: 1em;">Canterbury, <a href="#page_28">28</a>, <a href="#page_31">31-32</a>;</span><br />
-<span style="margin-left: 1em;">Chester, <a href="#page_220">220-221</a>;</span><br />
-<span style="margin-left: 1em;">Chichester, <a href="#page_75">75</a>;</span><br />
-<span style="margin-left: 1em;">Durham, <a href="#page_248">248</a>;</span><br />
-<span style="margin-left: 1em;">Ely, <a href="#page_340">340</a>, <a href="#page_341">341</a>;</span><br />
-<span style="margin-left: 1em;">Exeter, <a href="#page_99">99</a>;</span><br />
-<span style="margin-left: 1em;">Gloucester, <a href="#page_151">151</a>, <a href="#page_159">159</a>, <a href="#page_170">170-172</a>;</span><br />
-<span style="margin-left: 1em;">Oxford, <a href="#page_350">350</a>, <a href="#page_358">358</a>, <a href="#page_359">359</a>, <a href="#page_380">380</a>, <a href="#page_392">392</a>;</span><br />
-<span style="margin-left: 1em;">Peterborough, <a href="#page_333">333</a>;</span><br />
-<span style="margin-left: 1em;">Salisbury, <a href="#page_78">78</a>, <a href="#page_89">89</a>;</span><br />
-<span style="margin-left: 1em;">Wells, <a href="#page_110">110</a>, <a href="#page_132">132</a>;</span><br />
-<span style="margin-left: 1em;">Westminster Abbey, <a href="#page_428">428</a>;</span><br />
-<span style="margin-left: 1em;">Worcester, <a href="#page_198">198-199</a>.</span><br />
-
-Cloister Court, <a href="#page_333">333</a>.<br />
-
-Close (Salisbury), <a href="#page_80">80</a>;<br />
-<span style="margin-left: 1em;">(Wells), <a href="#page_108">108</a>.</span><br />
-
-Close Gate, <a href="#page_80">80</a>.<br />
-
-Coldstream Guards, <a href="#page_411">411</a>.<br />
-
-College Gate, <a href="#page_37">37</a>.<br />
-
-Collingwood, <a href="#page_412">412</a>.<br />
-
-Colston Tower, <a href="#page_140">140</a>.<br />
-
-Conrad, Prior, <a href="#page_2">2</a>, <a href="#page_14">14</a>.<br />
-
-Cornish, Bishop (tomb), <a href="#page_123">123</a>.<br />
-
-Cornwallis, Lord, <a href="#page_412">412</a>.<br />
-
-Constantine, <a href="#page_46">46</a>, <a href="#page_262">262</a>.<br />
-
-Corona, <a href="#page_12">12</a>, <a href="#page_23">23-24</a>.<br />
-
-Coronation Chairs, <a href="#page_435">435</a>.<br />
-
-Courtenay, Archbishop, <a href="#page_21">21</a>.<br />
-
-Creed Lane, <a href="#page_398">398</a>.<br />
-
-Cricklade, Robert of, <a href="#page_377">377</a>, <a href="#page_378">378</a>.<br />
-
-Cross, St. Paul’s, <a href="#page_407">407</a>.<br />
-
-Crouchback, Edmund (tomb), <a href="#page_434">434</a>.<br />
-
-<span class="pagenum"><a name="page_453" id="page_453">{453}</a></span>Crypt:&mdash;Canterbury, <a href="#page_29">29-31</a>;<br />
-<span style="margin-left: 1em;">Exeter, <a href="#page_102">102</a>;</span><br />
-<span style="margin-left: 1em;">Gloucester, <a href="#page_169">169-170</a>;</span><br />
-<span style="margin-left: 1em;">Hereford, <a href="#page_186">186</a>;</span><br />
-<span style="margin-left: 1em;">Ripon, <a href="#page_254">254</a>, <a href="#page_259">259</a>;</span><br />
-<span style="margin-left: 1em;">Rochester, <a href="#page_45">45</a>;</span><br />
-<span style="margin-left: 1em;">St. Paul’s, <a href="#page_412">412</a>;</span><br />
-<span style="margin-left: 1em;">Wells, <a href="#page_126">126</a>;</span><br />
-<span style="margin-left: 1em;">Winchester, <a href="#page_64">64</a>;</span><br />
-<span style="margin-left: 1em;">Worcester, <a href="#page_198">198</a>;</span><br />
-<span style="margin-left: 1em;">York, <a href="#page_279">279-280</a>.</span><br />
-
-<br />
-<a name="D" id="D"></a>Dark Entry, <a href="#page_31">31</a>.<br />
-
-Davenport, Bishop, <a href="#page_85">85</a>.<br />
-
-Deanery (Carlisle), <a href="#page_232">232</a>, <a href="#page_443">443</a>.<br />
-
-Deanery Gate, <a href="#page_38">38</a>.<br />
-
-Deanery Gateway, <a href="#page_331">331-332</a>.<br />
-
-Dean’s Door, <a href="#page_332">332</a>.<br />
-
-Dean’s Eye (Lincoln), <a href="#page_304">304</a>, <a href="#page_309">309</a>.<br />
-
-Dean’s Yard, St. Paul’s, <a href="#page_400">400</a>.<br />
-
-Decorated:&mdash;Bristol, <a href="#page_145">145</a>, <a href="#page_147">147</a>;<br />
-<span style="margin-left: 1em;">Canterbury, <a href="#page_32">32</a>;</span><br />
-<span style="margin-left: 1em;">Carlisle, <a href="#page_227">227</a>, <a href="#page_231">231</a>, <a href="#page_232">232</a>;</span><br />
-<span style="margin-left: 1em;">Chester, <a href="#page_215">215</a>, <a href="#page_217">217</a>;</span><br />
-<span style="margin-left: 1em;">Ely, <a href="#page_338">338</a>, <a href="#page_343">343</a>, <a href="#page_344">344</a>, <a href="#page_345">345</a>, <a href="#page_346">346</a>;</span><br />
-<span style="margin-left: 1em;">Exeter, <a href="#page_90">90</a>;</span><br />
-<span style="margin-left: 1em;">Hereford, <a href="#page_175">175</a>, <a href="#page_180">180</a>, <a href="#page_182">182</a>;</span><br />
-<span style="margin-left: 1em;">Lichfield, <a href="#page_202">202</a>, <a href="#page_207">207</a>, <a href="#page_209">209</a>, <a href="#page_210">210</a>;</span><br />
-<span style="margin-left: 1em;">Lincoln, <a href="#page_301">301</a>, <a href="#page_305">305</a>, <a href="#page_307">307</a>;</span><br />
-<span style="margin-left: 1em;">Norwich, <a href="#page_350">350</a>, <a href="#page_353">353</a>, <a href="#page_354">354</a>, <a href="#page_359">359</a>;</span><br />
-<span style="margin-left: 1em;">Oxford, <a href="#page_379">379</a>, <a href="#page_387">387</a>;</span><br />
-<span style="margin-left: 1em;">Peterborough, <a href="#page_321">321</a>, <a href="#page_325">325</a>, <a href="#page_326">326</a>, <a href="#page_327">327</a>, <a href="#page_329">329</a>, <a href="#page_333">333</a>;</span><br />
-<span style="margin-left: 1em;">Ripon, <a href="#page_250">250</a>, <a href="#page_252">252</a>;</span><br />
-<span style="margin-left: 1em;">Rochester, <a href="#page_38">38</a>, <a href="#page_41">41</a>, <a href="#page_44">44-45</a>;</span><br />
-<span style="margin-left: 1em;">Southwell, <a href="#page_315">315</a>, <a href="#page_316">316</a>, <a href="#page_317">317</a>;</span><br />
-<span style="margin-left: 1em;">St. Albans, <a href="#page_368">368</a>, <a href="#page_374">374</a>;</span><br />
-<span style="margin-left: 1em;">St. Saviour’s, <a href="#page_418">418</a>;</span><br />
-<span style="margin-left: 1em;">Wells, <a href="#page_111">111</a>, <a href="#page_112">112</a>, <a href="#page_114">114</a>;</span><br />
-<span style="margin-left: 1em;">Worcester, <a href="#page_191">191</a>, <a href="#page_192">192</a>;</span><br />
-<span style="margin-left: 1em;">York, <a href="#page_279">279</a>, <a href="#page_280">280</a>, <a href="#page_281">281</a>.</span><br />
-
-Devil Looking over Lincoln, <a href="#page_301">301</a>, <a href="#page_309">309</a>.<br />
-
-Dickens, Charles, <a href="#page_38">38</a>, <a href="#page_41">41</a>.<br />
-
-Diocletian, <a href="#page_46">46</a>.<br />
-
-Doddridge, Sir John and Lady (tomb), <a href="#page_103">103</a>.<br />
-
-<span class="pagenum"><a name="page_454" id="page_454">{454}</a></span>Dog-tooth, <a href="#page_207">207</a>, <a href="#page_208">208</a>, <a href="#page_214">214</a>, <a href="#page_230">230</a>, <a href="#page_231">231</a>, <a href="#page_251">251</a>, <a href="#page_307">307</a>, <a href="#page_315">315</a>, <a href="#page_324">324</a>, <a href="#page_368">368</a>.<br />
-
-Dome (St. Paul’s), <a href="#page_397">397</a>, <a href="#page_402">402</a>, <a href="#page_412">412</a>.<br />
-
-Doorway, Southwest (St. Saviour’s), <a href="#page_418">418</a>.<br />
-
-Drum (St. Paul’s), <a href="#page_407">407</a>.<br />
-
-Duncan, <a href="#page_319">319</a>, <a href="#page_330">330</a>.<br />
-
-Dun Cow, <a href="#page_234">234</a>, <a href="#page_338">338</a>.<br />
-
-Dunstan, <a href="#page_425">425</a>.<br />
-
-Durham, <a href="#page_233">233-248</a>.<br />
-
-<br />
-<a name="E" id="E"></a>Earl of Hertford (monument), <a href="#page_87">87</a>.<br />
-
-Early Decorated:&mdash;Hereford, <a href="#page_181">181</a>;<br />
-<span style="margin-left: 1em;">Lichfield, <a href="#page_201">201</a>;</span><br />
-<span style="margin-left: 1em;">Wells, <a href="#page_130">130</a>;</span><br />
-<span style="margin-left: 1em;">York, <a href="#page_267">267</a>, <a href="#page_282">282</a>.</span><br />
-
-Early English:&mdash;Bristol, <a href="#page_141">141</a>, <a href="#page_144">144</a>;<br />
-<span style="margin-left: 1em;">Carlisle, <a href="#page_230">230</a>;</span><br />
-<span style="margin-left: 1em;">Chester, <a href="#page_215">215</a>, <a href="#page_217">217</a>, <a href="#page_220">220</a>, <a href="#page_221">221</a>;</span><br />
-<span style="margin-left: 1em;">Chichester, <a href="#page_70">70</a>;</span><br />
-<span style="margin-left: 1em;">Durham, <a href="#page_236">236</a>;</span><br />
-<span style="margin-left: 1em;">Ely, <a href="#page_338">338</a>, <a href="#page_340">340</a>, <a href="#page_344">344</a>, <a href="#page_346">346</a>;</span><br />
-<span style="margin-left: 1em;">Exeter, <a href="#page_97">97</a>;</span><br />
-<span style="margin-left: 1em;">Gloucester, <a href="#page_168">168</a>;</span><br />
-<span style="margin-left: 1em;">Hereford, <a href="#page_184">184</a>;</span><br />
-<span style="margin-left: 1em;">Lichfield, <a href="#page_201">201</a>, <a href="#page_207">207</a>, <a href="#page_210">210</a>, <a href="#page_214">214</a>;</span><br />
-<span style="margin-left: 1em;">Lincoln, <a href="#page_292">292</a>, <a href="#page_295">295</a>;</span><br />
-<span style="margin-left: 1em;">Oxford, <a href="#page_386">386</a>;</span><br />
-<span style="margin-left: 1em;">Peterborough, <a href="#page_320">320</a>, <a href="#page_324">324</a>, <a href="#page_327">327</a>, <a href="#page_328">328</a>, <a href="#page_332">332</a>;</span><br />
-<span style="margin-left: 1em;">Ripon, <a href="#page_250">250</a>, <a href="#page_252">252</a>;</span><br />
-<span style="margin-left: 1em;">Rochester, <a href="#page_38">38</a>, <a href="#page_40">40</a>, <a href="#page_41">41</a>;</span><br />
-<span style="margin-left: 1em;">Salisbury, <a href="#page_76">76</a>, <a href="#page_78">78</a>;</span><br />
-<span style="margin-left: 1em;">Southwell, <a href="#page_315">315</a>, <a href="#page_316">316</a>;</span><br />
-<span style="margin-left: 1em;">St. Albans, <a href="#page_364">364</a>, <a href="#page_368">368</a>;</span><br />
-<span style="margin-left: 1em;">Wells, <a href="#page_111">111</a>, <a href="#page_118">118</a>, <a href="#page_119">119</a>, <a href="#page_127">127</a>, <a href="#page_133">133</a>;</span><br />
-<span style="margin-left: 1em;">Westminster Abbey, <a href="#page_430">430</a>, <a href="#page_432">432</a>;</span><br />
-<span style="margin-left: 1em;">Winchester, <a href="#page_48">48</a>, <a href="#page_57">57</a>, <a href="#page_60">60</a>;</span><br />
-<span style="margin-left: 1em;">Worcester, <a href="#page_196">196</a>;</span><br />
-<span style="margin-left: 1em;">York, <a href="#page_202">202</a>, <a href="#page_282">282</a>.</span><br />
-
-Earthquakes, <a href="#page_109">109</a>, <a href="#page_153">153</a>, <a href="#page_287">287</a>.<br />
-
-Easter Sepulchre, <a href="#page_301">301</a>.<br />
-
-Eastern Transept (Lincoln), <a href="#page_297">297-298</a>.<br />
-
-East End:&mdash;Hereford, <a href="#page_184">184</a>;<br />
-<span style="margin-left: 1em;">Wells, <a href="#page_130">130</a>, <a href="#page_131">131</a>;</span><br />
-<span style="margin-left: 1em;">St. Saviour’s, <a href="#page_417">417</a>.</span><br />
-
-East Front (York), <a href="#page_281">281</a>.<br />
-
-East Window:&mdash;Bristol, <a href="#page_147">147-148</a>;<br />
-<span style="margin-left: 1em;">Canterbury, <a href="#page_28">28</a>;</span><br />
-<span class="pagenum"><a name="page_455" id="page_455">{455}</a></span><span style="margin-left: 1em;">Carlisle, <a href="#page_227">227</a>, <a href="#page_228">228</a>, <a href="#page_231">231</a>;</span><br />
-<span style="margin-left: 1em;">Chichester, <a href="#page_70">70</a>;</span><br />
-<span style="margin-left: 1em;">Exeter, <a href="#page_100">100</a>, <a href="#page_103">103</a>;</span><br />
-<span style="margin-left: 1em;">Gloucester, <a href="#page_164">164-166</a>, <a href="#page_167">167</a>;</span><br />
-<span style="margin-left: 1em;">Hereford, <a href="#page_184">184</a>;</span><br />
-<span style="margin-left: 1em;">Lincoln, <a href="#page_302">302-303</a>;</span><br />
-<span style="margin-left: 1em;">Oxford, <a href="#page_391">391</a>;</span><br />
-<span style="margin-left: 1em;">Ripon, <a href="#page_252">252</a>;</span><br />
-<span style="margin-left: 1em;">Southwell, <a href="#page_316">316</a>;</span><br />
-<span style="margin-left: 1em;">St. Saviour’s, <a href="#page_419">419</a>, <a href="#page_422">422</a>;</span><br />
-<span style="margin-left: 1em;">Wells, <a href="#page_132">132</a>;</span><br />
-<span style="margin-left: 1em;">Winchester, <a href="#page_58">58</a>;</span><br />
-<span style="margin-left: 1em;">York, <a href="#page_261">261</a>, <a href="#page_264">264</a>, <a href="#page_273">273-274</a>, <a href="#page_281">281</a>.</span><br />
-
-Eboracum, <a href="#page_262">262</a>.<br />
-
-Edfrid, <a href="#page_334">334</a>.<br />
-
-Edgar, <a href="#page_313">313</a>, <a href="#page_317">317</a>, <a href="#page_330">330</a>, <a href="#page_335">335</a>.<br />
-
-Edgar, Coronation of, <a href="#page_135">135</a>.<br />
-
-Edington, Bishop, <a href="#page_48">48</a>, <a href="#page_49">49</a>, <a href="#page_51">51</a>, <a href="#page_53">53</a>, <a href="#page_54">54</a>.<br />
-
-Edward I., <a href="#page_265">265</a>, <a href="#page_274">274</a>.<br />
-
-Edward I. (tomb), <a href="#page_435">435</a>.<br />
-
-Edward II. (tomb), <a href="#page_152">152</a>, <a href="#page_161">161-162</a>.<br />
-
-Edward III. (tomb), <a href="#page_435">435</a>.<br />
-
-Edward IV., <a href="#page_5">5</a>.<br />
-
-Edward of Caernarvon (tomb), <a href="#page_162">162</a>.<br />
-
-Edward the Confessor, <a href="#page_335">335</a>, <a href="#page_425">425</a>.<br />
-
-Edwin Drood, <a href="#page_38">38</a>.<br />
-
-Edwin, King, <a href="#page_263">263</a>.<br />
-
-Eleanor, Queen (monument), <a href="#page_300">300</a>; (tomb), <a href="#page_435">435</a>.<br />
-
-Elder Lady Chapel (Bristol), <a href="#page_141">141</a>, <a href="#page_144">144</a>.<br />
-
-Elias of Dereham, <a href="#page_77">77</a>.<br />
-
-Elizabeth, Queen (tomb), <a href="#page_438">438</a>, <a href="#page_441">441</a>.<br />
-
-Elizabeth, Lady Montacute (tomb), <a href="#page_386">386</a>.<br />
-
-Elizabethan Players and Dramatists, <a href="#page_424">424</a>.<br />
-
-Ely, <a href="#page_19">19</a>, <a href="#page_63">63</a>, <a href="#page_334">334-348</a>;<br />
-<span style="margin-left: 1em;">Isle of, <a href="#page_334">334</a>.</span><br />
-
-Erasmus, <a href="#page_29">29</a>.<br />
-
-Ernulf, <a href="#page_2">2</a>, <a href="#page_14">14</a>, <a href="#page_25">25</a>, <a href="#page_30">30</a>, <a href="#page_31">31</a>, <a href="#page_34">34</a>.<br />
-
-Erpingham Gate, <a href="#page_350">350</a>, <a href="#page_351">351</a>.<br />
-
-Ethelbert, King of Kent, <a href="#page_2">2</a>, <a href="#page_33">33</a>.<br />
-
-<span class="pagenum"><a name="page_456" id="page_456">{456}</a></span>Ethelred, the Unready, <a href="#page_376">376</a>, <a href="#page_378">378</a>.<br />
-
-Ethelwold, St., <a href="#page_46">46</a>, <a href="#page_47">47</a>, <a href="#page_48">48</a>, <a href="#page_319">319</a>, <a href="#page_335">335</a>.<br />
-
-Evelyn, John, <a href="#page_290">290</a>, <a href="#page_396">396</a>.<br />
-
-Exchequer Gate, <a href="#page_311">311</a>.<br />
-
-Exeter, <a href="#page_90">90-106</a>.<br />
-
-<br />
-<a name="F" id="F"></a>Faith, Hope and Charity (window), <a href="#page_382">382</a>.<br />
-
-Fan-tracery, <a href="#page_22">22</a>, <a href="#page_27">27</a>, <a href="#page_126">126</a>, <a href="#page_137">137</a>, <a href="#page_138">138</a>, <a href="#page_170">170</a>, <a href="#page_329">329</a>, <a href="#page_383">383</a>.<br />
-
-Feretory, <a href="#page_59">59</a>.<br />
-
-Fire:&mdash;Bath Abbey <a href="#page_136">136</a>;<br />
-<span style="margin-left: 1em;">Canterbury, <a href="#page_4">4</a>, <a href="#page_9">9</a>, <a href="#page_14">14-15</a>, <a href="#page_17">17</a>, <a href="#page_18">18</a>;</span><br />
-<span style="margin-left: 1em;">Carlisle, <a href="#page_227">227</a>;</span><br />
-<span style="margin-left: 1em;">Chichester, <a href="#page_66">66</a>, <a href="#page_67">67</a>;</span><br />
-<span style="margin-left: 1em;">Exeter, <a href="#page_91">91</a>;</span><br />
-<span style="margin-left: 1em;">Gloucester, <a href="#page_153">153</a>, <a href="#page_158">158</a>;</span><br />
-<span style="margin-left: 1em;">Lincoln, <a href="#page_286">286</a>;</span><br />
-<span style="margin-left: 1em;">Norwich, <a href="#page_350">350</a>, <a href="#page_355">355</a>, <a href="#page_358">358</a>;</span><br />
-<span style="margin-left: 1em;">Peterborough, <a href="#page_319">319</a>, <a href="#page_330">330</a>;</span><br />
-<span style="margin-left: 1em;">Rochester, <a href="#page_35">35</a>;</span><br />
-<span style="margin-left: 1em;">St. Paul’s, <a href="#page_393">393</a>;</span><br />
-<span style="margin-left: 1em;">St. Saviour’s, <a href="#page_416">416</a>, <a href="#page_417">417</a>;</span><br />
-<span style="margin-left: 1em;">York, <a href="#page_266">266-267</a>.</span><br />
-
-Fitzhardinge, Robert, <a href="#page_141">141</a>, <a href="#page_149">149</a>, <a href="#page_150">150</a>.<br />
-
-Fitzjocelyn, Bishop, <a href="#page_108">108</a>, <a href="#page_117">117</a>.<br />
-
-Five Sisters (York), <a href="#page_261">261</a>, <a href="#page_269">269-270</a>, <a href="#page_282">282</a>.<br />
-
-Flambard, Randolph, <a href="#page_235">235</a>, <a href="#page_242">242</a>.<br />
-
-Fleet Street, <a href="#page_398">398</a>.<br />
-
-Fletcher, John, <a href="#page_424">424</a>.<br />
-
-Flos Florum, <a href="#page_261">261</a>, <a href="#page_280">280</a>.<br />
-
-Flying-buttresses:&mdash;Canterbury, <a href="#page_12">12</a>;<br />
-<span style="margin-left: 1em;">Ely, <a href="#page_339">339</a>, <a href="#page_340">340</a>;</span><br />
-<span style="margin-left: 1em;">Gloucester, <a href="#page_164">164</a>.</span><br />
-
-Font:&mdash;Durham, <a href="#page_240">240</a>;<br />
-<span style="margin-left: 1em;">Hereford, <a href="#page_176">176</a>;</span><br />
-<span style="margin-left: 1em;">Lincoln, <a href="#page_294">294</a>;</span><br />
-<span style="margin-left: 1em;">Peterborough, <a href="#page_327">327</a>;</span><br />
-<span style="margin-left: 1em;">Ripon, <a href="#page_253">253</a>;</span><br />
-<span style="margin-left: 1em;">Wells, <a href="#page_122">122</a>;</span><br />
-<span style="margin-left: 1em;">Winchester, <a href="#page_53">53-64</a>.</span><br />
-
-Four Doctors of the Church (Durham), <a href="#page_237">237</a>, <a href="#page_244">244</a>.<br />
-
-Fox, Bishop, <a href="#page_55">55</a>, <a href="#page_57">57</a>, <a href="#page_59">59</a>, <a href="#page_421">421</a>.<br />
-
-French Church (Canterbury), <a href="#page_29">29</a>.<br />
-
-<br />
-<a name="G" id="G"></a>Galilee Chapel (Durham), <a href="#page_233">233</a>, <a href="#page_236">236</a>, <a href="#page_240">240-242</a>;<br />
-<span class="pagenum"><a name="page_457" id="page_457">{457}</a></span><span style="margin-left: 1em;">Porch (Ely), <a href="#page_336">336</a>, <a href="#page_338">338</a>;</span><br />
-<span style="margin-left: 1em;">Porch (Lincoln), <a href="#page_305">305-306</a>.</span><br />
-
-Garrick, David, <a href="#page_208">208</a>.<br />
-
-Gateway, Great (Bristol), <a href="#page_150">150</a>.<br />
-
-Geometrical Staircase, <a href="#page_411">411</a>.<br />
-
-Gibbons, Grinling, <a href="#page_9">9</a>, <a href="#page_14">14</a>, <a href="#page_408">408-409</a>.<br />
-
-Gibbons, Orlando, <a href="#page_17">17</a>.<br />
-
-Glass:&mdash;Lincoln, <a href="#page_294">294</a>;<br />
-<span style="margin-left: 1em;">Oxford, <a href="#page_390">390-391</a>;</span><br />
-<span style="margin-left: 1em;">York, <a href="#page_261">261-262</a>, <a href="#page_264">264</a>, <a href="#page_269">269</a>, <a href="#page_270">270</a>, <a href="#page_272">272</a>.</span><br />
-
-Glastonbury, <a href="#page_107">107</a>.<br />
-
-Glastonbury Clock, <a href="#page_124">124</a>.<br />
-
-Glenham Window (Bristol), <a href="#page_143">143</a>, <a href="#page_145">145</a>.<br />
-
-Globe Theatre, <a href="#page_424">424</a>.<br />
-
-Gloucester, <a href="#page_151">151-173</a>.<br />
-
-Godelee, John de, <a href="#page_109">109</a>.<br />
-
-Goldstone II, <a href="#page_9">9</a>, <a href="#page_10">10</a>, <a href="#page_11">11</a>, <a href="#page_13">13</a>, <a href="#page_27">27</a>, <a href="#page_31">31</a>.<br />
-
-Goldwell, Bishop, <a href="#page_350">350</a>, <a href="#page_352">352</a>.<br />
-
-Golden Gallery, <a href="#page_413">413</a>.<br />
-
-Gorges, Thomas (monument), <a href="#page_87">87</a>.<br />
-
-Gordon, General, <a href="#page_411">411</a>.<br />
-
-Gower, John (tomb), <a href="#page_419">419-420</a>.<br />
-
-Grandison, Bishop, <a href="#page_90">90</a>, <a href="#page_91">91</a>, <a href="#page_92">92</a>, <a href="#page_97">97</a>, <a href="#page_99">99</a>.<br />
-
-Grandison, Sir Peter, <a href="#page_185">185</a>.<br />
-
-Gray (Grey), Walter de, <a href="#page_250">250</a>, <a href="#page_264">264</a>, <a href="#page_313">313</a>, <a href="#page_316">316</a>;<br />
-<span style="margin-left: 1em;">(tomb), <a href="#page_270">270</a>.</span><br />
-
-Great Fire, <a href="#page_396">396</a>, <a href="#page_412">412</a>.<br />
-
-Great Gate, St. Albans, <a href="#page_362">362</a>.<br />
-
-Grecian Stairs, <a href="#page_312">312</a>.<br />
-
-Green Church Haw, <a href="#page_37">37</a>.<br />
-
-Green Court, <a href="#page_10">10</a>, <a href="#page_31">31</a>.<br />
-
-Gregory, Pope, <a href="#page_1">1</a>, <a href="#page_2">2</a>.<br />
-
-Grimthorpe, Lord, <a href="#page_360">360</a>, <a href="#page_364">364</a>, <a href="#page_365">365</a>, <a href="#page_373">373</a>.<br />
-
-Grosseteste, Robert, <a href="#page_289">289</a>, <a href="#page_293">293</a>, <a href="#page_310">310</a>, <a href="#page_321">321</a>.<br />
-
-Gundulf, <a href="#page_33">33</a>, <a href="#page_40">40</a>, <a href="#page_153">153</a>;<br />
-<span style="margin-left: 1em;">(tomb), <a href="#page_44">44</a>;</span><br />
-<span style="margin-left: 1em;">(tower), <a href="#page_35">35</a>, <a href="#page_37">37</a>.</span><br />
-
-<span class="pagenum"><a name="page_458" id="page_458">{458}</a></span>Gunthorpe, Dean, <a href="#page_110">110</a>.<br />
-
-<br />
-<a name="H" id="H"></a>Hackett, Bishop, <a href="#page_204">204</a>.<br />
-
-Hackett (tomb), <a href="#page_210">210</a>.<br />
-
-Hadrian, <a href="#page_262">262</a>.<br />
-
-Hagiscopes, <a href="#page_28">28</a>.<br />
-
-Hamo de Hythe, <a href="#page_36">36</a>.<br />
-
-Harbledown, <a href="#page_1">1</a>.<br />
-
-Harewell, Bishop, <a href="#page_110">110</a>.<br />
-
-Harewell Tower, <a href="#page_113">113</a>, <a href="#page_114">114</a>, <a href="#page_118">118</a>.<br />
-
-Harnham Gate, <a href="#page_80">80</a>.<br />
-
-Harvard Window, <a href="#page_423">423</a>.<br />
-
-Hatfield, Bishop (tomb), <a href="#page_245">245</a>.<br />
-
-Hawford (effigy), <a href="#page_198">198</a>.<br />
-
-Henry III., <a href="#page_4">4</a>, <a href="#page_77">77</a>, <a href="#page_78">78</a>, <a href="#page_425">425</a>;<br />
-<span style="margin-left: 1em;">(tomb), <a href="#page_434">434-435</a>.</span><br />
-
-Henry IV. (tomb), <a href="#page_21">21-22</a>.<br />
-
-Henry V., Chantry, <a href="#page_435">435</a>.<br />
-
-Henry VII.’s Chapel, <a href="#page_427">427</a>, <a href="#page_437">437-441</a>.<br />
-
-Henry VIII., <a href="#page_6">6</a>, <a href="#page_9">9</a>, <a href="#page_321">321</a>, <a href="#page_360">360</a>, <a href="#page_376">376</a>.<br />
-
-Henry of Huntingdon, <a href="#page_286">286</a>, <a href="#page_301">301</a>.<br />
-
-Hereford, <a href="#page_35">35</a>, <a href="#page_67">67</a>, <a href="#page_130">130</a>, <a href="#page_174">174-187</a>.<br />
-
-Hereward, <a href="#page_319">319</a>.<br />
-
-Herkenrode Glass, <a href="#page_209">209</a>, <a href="#page_212">212-213</a>.<br />
-
-Hugh of Avalon, <a href="#page_287">287</a>.<br />
-
-Hugh of Eversden, <a href="#page_365">365</a>.<br />
-
-Hugh de Wells, <a href="#page_288">288</a>, <a href="#page_289">289</a>.<br />
-
-Hodson of Hodson’s Horse, <a href="#page_211">211</a>.<br />
-
-Holland, Lady M., <a href="#page_26">26</a>.<br />
-
-Holy Hole, <a href="#page_60">60</a>.<br />
-
-Hotham, John, <a href="#page_336">336</a>, <a href="#page_338">338</a>, <a href="#page_342">342</a>, <a href="#page_343">343</a>;<br />
-<span style="margin-left: 1em;">(tomb), <a href="#page_346">346</a>.</span><br />
-
-House of the Six Poor Travellers, <a href="#page_41">41</a>.<br />
-
-Howley, Archbishop, <a href="#page_16">16</a>.<br />
-
-Humble Richard (tomb), <a href="#page_422">422</a>.<br />
-
-Hunton, Prior, <a href="#page_61">61</a>.<br />
-
-Husse, Dean (tomb), <a href="#page_123">123</a>.<br />
-
-<br />
-<span class="pagenum"><a name="page_459" id="page_459">{459}</a></span><a name="I" id="I"></a>Imp on Back of Witch, <a href="#page_308">308</a>.<br />
-
-Ina, King, <a href="#page_107">107</a>.<br />
-
-Ingoldsby Legends, <a href="#page_31">31</a>, <a href="#page_76">76</a>.<br />
-
-Islip, Abbot, <a href="#page_431">431</a>, <a href="#page_436">436</a>, <a href="#page_443">443</a>.<br />
-
-Irving, W., <a href="#page_429">429</a>, <a href="#page_438">438</a>.<br />
-
-<br />
-<a name="J" id="J"></a>Jack Blandiver, <a href="#page_124">124</a>.<br />
-
-James I., <a href="#page_417">417</a>.<br />
-
-Jericho Parlour, <a href="#page_428">428</a>, <a href="#page_443">443</a>.<br />
-
-Jerusalem Chamber, <a href="#page_428">428</a>, <a href="#page_443">443</a>.<br />
-
-Jesse Window (Wells), <a href="#page_128">128</a>.<br />
-
-Jesus Chapel, Norwich, <a href="#page_353">353</a>, <a href="#page_358">358</a>.<br />
-
-Jesus Tower, <a href="#page_200">200</a>.<br />
-
-Jewell, Bishop, <a href="#page_78">78</a>.<br />
-
-Joan of Navarre (tomb), <a href="#page_21">21-22</a>.<br />
-
-Jocelin, Bishop, <a href="#page_108">108</a>, <a href="#page_109">109</a>, <a href="#page_111">111</a>, <a href="#page_117">117</a>.<br />
-
-John, King (tomb), <a href="#page_194">194-195</a>.<br />
-
-John of Canterbury, <a href="#page_34">34</a>.<br />
-
-John Le Romeyn, <a href="#page_267">267</a>.<br />
-
-John of Thorsby, <a href="#page_264">264</a>, <a href="#page_283">283</a>.<br />
-
-Johnson, Dr. Samuel, <a href="#page_208">208</a>.<br />
-
-Joseph of Arimathea, <a href="#page_107">107</a>.<br />
-
-Joseph’s Window (Durham), <a href="#page_248">248</a>.<br />
-
-Justus, <a href="#page_33">33</a>.<br />
-
-<br />
-<a name="K" id="K"></a>Katherine of Aragon, <a href="#page_321">321</a>, <a href="#page_330">330</a>.<br />
-
-Kemp, Cardinal, <a href="#page_16">16</a>.<br />
-
-Kenwalk, <a href="#page_46">46</a>.<br />
-
-Kilkenny, Bishop, <a href="#page_346">346</a>.<br />
-
-“King of Bath,” <a href="#page_135">135</a>.<br />
-
-King, Oliver, <a href="#page_134">134</a>.<br />
-
-King Window, <a href="#page_391">391</a>.<br />
-
-Kirton, Abbott, <a href="#page_332">332</a>, <a href="#page_333">333</a>.<br />
-
-Knight (effigy), 62 (Fourteenth Century).<br />
-
-Knight (tomb), <a href="#page_104">104</a>.<br />
-
-Knowle, Abbot, <a href="#page_142">142</a>, <a href="#page_143">143</a>, <a href="#page_144">144</a>, <a href="#page_145">145</a>, <a href="#page_146">146</a>, <a href="#page_147">147</a>.<br />
-
-Kyneburga, <a href="#page_152">152</a>.<br />
-
-Kynegils, <a href="#page_46">46</a>.<br />
-
-<br />
-<a name="L" id="L"></a>Lacey, Bishop (tomb), <a href="#page_101">101</a>.<br />
-
-<span class="pagenum"><a name="page_460" id="page_460">{460}</a></span>Lady Arbour, <a href="#page_175">175</a>.<br />
-
-Lady Bells, Lincoln, <a href="#page_294">294</a>,3<a href="#page_11">11</a>.<br />
-
-Lady Chapel:&mdash;Bristol, <a href="#page_141">141</a>, <a href="#page_147">147</a>;<br />
-<span style="margin-left: 1em;">Canterbury, <a href="#page_27">27</a>;</span><br />
-<span style="margin-left: 1em;">Chester, <a href="#page_220">220</a>;</span><br />
-<span style="margin-left: 1em;">Chichester, <a href="#page_67">67</a>, <a href="#page_69">69</a>, <a href="#page_74">74-75</a>;</span><br />
-<span style="margin-left: 1em;">Durham, <a href="#page_236">236</a>;</span><br />
-<span style="margin-left: 1em;">Ely, <a href="#page_336">336</a>, <a href="#page_337">337</a>, <a href="#page_338">338</a>, <a href="#page_339">339</a>, <a href="#page_340">340</a>, <a href="#page_347">347</a>;</span><br />
-<span style="margin-left: 1em;">Exeter, <a href="#page_102">102</a>;</span><br />
-<span style="margin-left: 1em;">Gloucester, <a href="#page_151">151</a>, <a href="#page_154">154-155</a>, <a href="#page_166">166-167</a>;</span><br />
-<span style="margin-left: 1em;">Hereford, <a href="#page_175">175</a>, <a href="#page_183">183-184</a>;</span><br />
-<span style="margin-left: 1em;">Lichfield, <a href="#page_203">203</a>, <a href="#page_207">207</a>, <a href="#page_211">211-212</a>;</span><br />
-<span style="margin-left: 1em;">Manchester, <a href="#page_222">222</a>, <a href="#page_223">223</a>, <a href="#page_225">225</a>;</span><br />
-<span style="margin-left: 1em;">Oxford, <a href="#page_374">374</a>, <a href="#page_379">379</a>, <a href="#page_384">384</a>, <a href="#page_385">385</a>, <a href="#page_386">386</a>;</span><br />
-<span style="margin-left: 1em;">Peterborough, <a href="#page_321">321</a>;</span><br />
-<span style="margin-left: 1em;">Ripon, <a href="#page_259">259</a>;</span><br />
-<span style="margin-left: 1em;">Rochester, <a href="#page_37">37</a>, <a href="#page_38">38</a>, <a href="#page_41">41</a>;</span><br />
-<span style="margin-left: 1em;">St. Alban’s, <a href="#page_367">367</a>;</span><br />
-<span style="margin-left: 1em;">St. Saviour’s, <a href="#page_417">417</a>, <a href="#page_422">422</a>;</span><br />
-<span style="margin-left: 1em;">Wells, <a href="#page_109">109</a>, <a href="#page_112">112</a>, <a href="#page_126">126</a>, <a href="#page_129">129</a>, <a href="#page_130">130-131</a>;</span><br />
-<span style="margin-left: 1em;">Westminster Abbey, <a href="#page_426">426</a>; Winchester, <a href="#page_60">60</a>;</span><br />
-<span style="margin-left: 1em;">Worcester, <a href="#page_196">196</a>, <a href="#page_197">197</a>, <a href="#page_198">198</a>;</span><br />
-<span style="margin-left: 1em;">York, <a href="#page_264">264</a>, <a href="#page_273">273</a>, <a href="#page_282">282</a>.</span><br />
-
-Lady Lisle (tomb), <a href="#page_123">123</a>.<br />
-
-Lady Loft, <a href="#page_259">259</a>.<br />
-
-Lady, Fourteenth Century (effigy), <a href="#page_97">97</a>.<br />
-
-La Farge, John, <a href="#page_423">423</a>.<br />
-
-Lancet, <a href="#page_67">67</a>.<br />
-
-Lanfranc, <a href="#page_2">2</a>, <a href="#page_13">13</a>, <a href="#page_18">18</a>, <a href="#page_33">33</a>.<br />
-
-Langley, Cardinal (tomb), <a href="#page_242">242</a>.<br />
-
-Langton, John de, <a href="#page_68">68</a>.<br />
-
-Langton, Stephen, <a href="#page_4">4</a>, <a href="#page_77">77</a>.<br />
-
-Langton, Stephen (tomb), <a href="#page_26">26</a>.<br />
-
-Langton, Walter de, <a href="#page_203">203</a>.<br />
-
-Lantern (Ely), <a href="#page_339">339</a>;<br />
-<span style="margin-left: 1em;">York, <a href="#page_269">269</a>.</span><br />
-
-Lantern of the West, <a href="#page_137">137</a>.<br />
-
-Late Decorated (York), <a href="#page_267">267</a>.<br />
-
-Latin Chapel, <a href="#page_381">381</a>, <a href="#page_384">384</a>, <a href="#page_387">387</a>.<br />
-
-Laurel Court, <a href="#page_333">333</a>.<br />
-
-Lee, Archbishop, <a href="#page_266">266</a>.<br />
-
-Leighton, Lord, <a href="#page_411">411</a>.<br />
-
-Library:&mdash;Chichester, <a href="#page_73">73</a>;<br />
-<span class="pagenum"><a name="page_461" id="page_461">{461}</a></span><span style="margin-left: 1em;">Gloucester, <a href="#page_151">151</a>, <a href="#page_171">171</a>;</span><br />
-<span style="margin-left: 1em;">Hereford, <a href="#page_181">181</a>;</span><br />
-<span style="margin-left: 1em;">St. Paul’s, <a href="#page_411">411</a>;</span><br />
-<span style="margin-left: 1em;">Wells, <a href="#page_110">110</a>.</span><br />
-
-Lichfield, <a href="#page_200">200-214</a>.<br />
-
-Liddell, Edith (window), <a href="#page_391">391</a>.<br />
-
-Lincoln, <a href="#page_284">284</a>.<br />
-
-Lincoln Imp, <a href="#page_301">301</a>.<br />
-
-Ling, A. Van, <a href="#page_379">379</a>, <a href="#page_382">382</a>.<br />
-
-Lollards’ Prison, <a href="#page_74">74</a>.<br />
-
-London Bridge, <a href="#page_415">415-416</a>.<br />
-
-Longespée, William, <a href="#page_77">77</a>;<br />
-<span style="margin-left: 1em;">(tomb), <a href="#page_82">82</a>.</span><br />
-
-Longfellow (bust), <a href="#page_433">433</a>.<br />
-
-Losinga, Robert de, <a href="#page_174">174</a>;<br />
-<span style="margin-left: 1em;">(tomb), <a href="#page_182">182</a>.</span><br />
-
-Losinga, Herbert de, <a href="#page_349">349</a>.<br />
-
-Louth, Bishop (tomb), <a href="#page_346">346</a>.<br />
-
-Louis VII., <a href="#page_4">4</a>, <a href="#page_8">8</a>.<br />
-
-Lucius, King, <a href="#page_2">2</a>, <a href="#page_46">46</a>.<br />
-
-Lucy, Bishop, <a href="#page_48">48</a>, <a href="#page_57">57</a>, <a href="#page_61">61</a>;<br />
-<span style="margin-left: 1em;">(tomb), <a href="#page_60">60</a>.</span><br />
-
-Ludgate Hill, <a href="#page_398">398</a>, <a href="#page_400">400</a>.<br />
-
-Luffa, Bishop, <a href="#page_66">66</a>.<br />
-
-Lyhard, Bishop, <a href="#page_350">350</a>, <a href="#page_352">352</a>, <a href="#page_355">355</a>, <a href="#page_356">356</a>.<br />
-
-<br />
-<a name="M" id="M"></a>Manchester, <a href="#page_222">222-226</a>.<br />
-
-Mandeville, Sir John, <a href="#page_368">368</a>.<br />
-
-Map of the World, <a href="#page_182">182</a>.<br />
-
-Marchia, Bishop (tomb), <a href="#page_123">123</a>.<br />
-
-Margaret of Anjou, <a href="#page_361">361</a>.<br />
-
-Massinger, Philip, <a href="#page_424">424</a>.<br />
-
-Maurice, Lord Berkeley (effigy), <a href="#page_145">145</a>.<br />
-
-Mary, Queen of Scots, <a href="#page_322">322</a>, <a href="#page_331">331</a>;<br />
-<span style="margin-left: 1em;">(tomb), <a href="#page_438">438</a>, <a href="#page_439">439</a>, <a href="#page_441">441</a>, <a href="#page_442">442</a>.</span><br />
-
-Meist’ Omers, <a href="#page_31">31</a>.<br />
-
-Melbourne, Lord, <a href="#page_411">411</a>.<br />
-
-Melrose Abbey, <a href="#page_249">249</a>.<br />
-
-Melton Arch, <a href="#page_275">275</a>.<br />
-
-Mercery Lane, <a href="#page_8">8</a>, <a href="#page_10">10</a>.<br />
-
-Merton, Walter de, <a href="#page_43">43</a>.<br />
-
-Minster Yard, <a href="#page_311">311</a>.<br />
-
-Minstrels’ Gallery:&mdash;Exeter, <a href="#page_96">96</a>;<br />
-<span style="margin-left: 1em;">Winchester, <a href="#page_54">54</a>;</span><br />
-<span class="pagenum"><a name="page_462" id="page_462">{462}</a></span><span style="margin-left: 1em;">Lichfield, <a href="#page_210">210-211</a>.</span><br />
-
-Misereres, Exeter, <a href="#page_99">99-100</a>.<br />
-
-Misericords, Wells, <a href="#page_128">128</a>;<br />
-<span style="margin-left: 1em;">Bristol, <a href="#page_142">142</a>.</span><br />
-
-Mitford, Bishop (tomb), <a href="#page_85">85</a>.<br />
-
-Mompesson, Sir Richard (tomb), <a href="#page_85">85</a>.<br />
-
-Monks’ Door:&mdash;Ely, <a href="#page_340">340</a>;<br />
-<span style="margin-left: 1em;">Norwich, <a href="#page_359">359</a>.</span><br />
-
-Monks’ Stone, <a href="#page_330">330</a>.<br />
-
-Monmouth Rebellion, <a href="#page_111">111</a>.<br />
-
-Montagu, Lady Mary Wortley, <a href="#page_208">208</a>.<br />
-
-Montague, Bishop, <a href="#page_135">135</a>;<br />
-<span style="margin-left: 1em;">(tomb), <a href="#page_139">139</a>.</span><br />
-
-Morning Chapel, <a href="#page_331">331</a>.<br />
-
-Morton, Cardinal (tomb), <a href="#page_30">30</a>.<br />
-
-Morwent, Abbot, <a href="#page_156">156</a>, <a href="#page_158">158</a>, <a href="#page_159">159</a>.<br />
-
-Music Gallery (Wells), <a href="#page_119">119</a>.<br />
-
-<br />
-<a name="N" id="N"></a>Nave:&mdash;Bath, <a href="#page_137">137</a>;<br />
-<span style="margin-left: 1em;">Bristol, <a href="#page_141">141</a>;</span><br />
-<span style="margin-left: 1em;">Canterbury, <a href="#page_12">12-13</a>;</span><br />
-<span style="margin-left: 1em;">Carlisle, <a href="#page_229">229</a>;</span><br />
-<span style="margin-left: 1em;">Chester, <a href="#page_217">217</a>;</span><br />
-<span style="margin-left: 1em;">Chichester, <a href="#page_71">71-72</a>;</span><br />
-<span style="margin-left: 1em;">Durham, <a href="#page_239">239-240</a>;</span><br />
-<span style="margin-left: 1em;">Ely, <a href="#page_341">341</a>;</span><br />
-<span style="margin-left: 1em;">Exeter, <a href="#page_95">95-96</a>;</span><br />
-<span style="margin-left: 1em;">Gloucester, <a href="#page_156">156-158</a>;</span><br />
-<span style="margin-left: 1em;">Hereford, <a href="#page_175">175-176</a>;</span><br />
-<span style="margin-left: 1em;">Lichfield, <a href="#page_207">207-208</a>;</span><br />
-<span style="margin-left: 1em;">Lincoln, <a href="#page_292">292-294</a>, <a href="#page_309">309</a>;</span><br />
-<span style="margin-left: 1em;">Manchester, <a href="#page_223">223-224</a>;</span><br />
-<span style="margin-left: 1em;">Norwich, <a href="#page_353">353</a>, <a href="#page_354">354-355</a>, <a href="#page_366">366</a>;</span><br />
-<span style="margin-left: 1em;">Oxford, <a href="#page_381">381</a>;</span><br />
-<span style="margin-left: 1em;">Peterborough, <a href="#page_328">328</a>;</span><br />
-<span style="margin-left: 1em;">Ripon, <a href="#page_252">252-253</a>;</span><br />
-<span style="margin-left: 1em;">Rochester, <a href="#page_40">40-41</a>;</span><br />
-<span style="margin-left: 1em;">Salisbury, <a href="#page_81">81-82</a>;</span><br />
-<span style="margin-left: 1em;">Southwell, <a href="#page_315">315</a>;</span><br />
-<span style="margin-left: 1em;">St. Albans, <a href="#page_367">367</a>, <a href="#page_368">368</a>;</span><br />
-<span style="margin-left: 1em;">St. Paul’s, <a href="#page_404">404</a>;</span><br />
-<span style="margin-left: 1em;">St. Saviour’s, <a href="#page_419">419</a>;</span><br />
-<span style="margin-left: 1em;">Wells, <a href="#page_115">115-120</a>;</span><br />
-<span style="margin-left: 1em;">Westminster Abbey, <a href="#page_428">428</a>;</span><br />
-<span style="margin-left: 1em;">Winchester, <a href="#page_12">12</a>, <a href="#page_51">51-53</a>;</span><br />
-<span style="margin-left: 1em;">Worcester, <a href="#page_191">191-192</a>;</span><br />
-<span style="margin-left: 1em;">York, <a href="#page_274">274-276</a>, <a href="#page_282">282</a>.</span><br />
-
-Nelson, Lord, <a href="#page_411">411-412</a>.<br />
-
-Neville, Lady Alice, <a href="#page_243">243</a>.<br />
-
-<span class="pagenum"><a name="page_463" id="page_463">{463}</a></span>Neville, Lord John (tomb), <a href="#page_243">243</a>, <a href="#page_245">245</a>.<br />
-
-Neville, Lord Ralph (tomb), <a href="#page_243">243</a>.<br />
-
-Neville Screen, <a href="#page_240">240</a>, <a href="#page_245">245-246</a>.<br />
-
-New Building, <a href="#page_321">321</a>, <a href="#page_329">329-330</a>, <a href="#page_333">333</a>.<br />
-
-New Work (Durham), <a href="#page_246">246</a>.<br />
-
-Nicholas of Portland, <a href="#page_77">77</a>.<br />
-
-Norman:&mdash;Bristol, <a href="#page_141">141</a>, <a href="#page_149">149</a>, <a href="#page_150">150</a>;<br />
-<span style="margin-left: 1em;">Canterbury, <a href="#page_25">25</a>, <a href="#page_29">29</a>, <a href="#page_32">32</a>;</span><br />
-<span style="margin-left: 1em;">Carlisle, <a href="#page_229">229</a>;</span><br />
-<span style="margin-left: 1em;">Chester, <a href="#page_220">220</a>;</span><br />
-<span style="margin-left: 1em;">Durham, <a href="#page_238">238</a>, <a href="#page_241">241</a>;</span><br />
-<span style="margin-left: 1em;">Ely, <a href="#page_340">340</a>, <a href="#page_341">341</a>, <a href="#page_344">344</a>;</span><br />
-<span style="margin-left: 1em;">Exeter, <a href="#page_91">91</a>, <a href="#page_92">92</a>;</span><br />
-<span style="margin-left: 1em;">Gloucester, <a href="#page_151">151</a>, <a href="#page_156">156</a>, <a href="#page_157">157</a>, <a href="#page_158">158</a>, <a href="#page_159">159</a>, <a href="#page_160">160</a>, <a href="#page_168">168</a>, <a href="#page_172">172</a>;</span><br />
-<span style="margin-left: 1em;">Hereford, <a href="#page_175">175</a>, <a href="#page_176">176</a>, <a href="#page_178">178</a>;</span><br />
-<span style="margin-left: 1em;">Lincoln, <a href="#page_286">286</a>;</span><br />
-<span style="margin-left: 1em;">Norwich, <a href="#page_349">349</a>, <a href="#page_352">352</a>, <a href="#page_353">353</a>, <a href="#page_354">354</a>, <a href="#page_355">355</a>, <a href="#page_357">357</a>, <a href="#page_358">358</a>;</span><br />
-<span style="margin-left: 1em;">Oxford, <a href="#page_383">383</a>;</span><br />
-<span style="margin-left: 1em;">Peterborough, <a href="#page_320">320</a>, <a href="#page_326">326</a>, <a href="#page_327">327</a>, <a href="#page_328">328</a>, <a href="#page_329">329</a>, <a href="#page_330">330</a>, <a href="#page_331">331</a>, <a href="#page_332">332</a>, <a href="#page_333">333</a>;</span><br />
-<span style="margin-left: 1em;">Rochester, <a href="#page_34">34</a>, <a href="#page_38">38</a>, <a href="#page_40">40</a>, <a href="#page_41">41</a>;</span><br />
-<span style="margin-left: 1em;">Southwell, <a href="#page_314">314</a>, <a href="#page_315">315</a>, <a href="#page_316">316</a>;</span><br />
-<span style="margin-left: 1em;">St. Albans, <a href="#page_363">363</a>, <a href="#page_365">365</a>, <a href="#page_369">369</a>;</span><br />
-<span style="margin-left: 1em;">Welles, <a href="#page_110">110</a>, <a href="#page_111">111</a>, <a href="#page_114">114-115</a>;</span><br />
-<span style="margin-left: 1em;">Winchester, <a href="#page_48">48</a>, <a href="#page_52">52</a>, <a href="#page_57">57</a>, <a href="#page_63">63</a>;</span><br />
-<span style="margin-left: 1em;">Worcester, <a href="#page_191">191</a>, <a href="#page_192">192</a>;</span><br />
-<span style="margin-left: 1em;">York, <a href="#page_202">202</a>, <a href="#page_264">264</a>, <a href="#page_279">279</a>.</span><br />
-
-Northcote (Chantreys), <a href="#page_105">105</a>.<br />
-
-North Door:&mdash;Durham, <a href="#page_238">238</a>;<br />
-<span style="margin-left: 1em;">Lichfield, <a href="#page_206">206-207</a>.</span><br />
-
-North Front (Westminster Abbey), <a href="#page_426">426-427</a>.<br />
-
-North Porch:&mdash;Bristol, <a href="#page_141">141</a>;<br />
-<span style="margin-left: 1em;">Exeter, <a href="#page_97">97</a>, <a href="#page_190">190-191</a>;</span><br />
-<span style="margin-left: 1em;">Hereford, <a href="#page_175">175</a>, <a href="#page_177">177</a>;</span><br />
-<span style="margin-left: 1em;">Manchester, <a href="#page_223">223</a>;</span><br />
-<span style="margin-left: 1em;">Southwell, <a href="#page_315">315</a>;</span><br />
-<span style="margin-left: 1em;">Wells, <a href="#page_114">114-115</a>;</span><br />
-<span style="margin-left: 1em;">Worcester, <a href="#page_190">190-191</a>.</span><br />
-
-North Transept:&mdash;Hereford, <a href="#page_174">174</a>, <a href="#page_177">177-180</a>;<br />
-<span style="margin-left: 1em;">Norwich, <a href="#page_357">357</a>;</span><br />
-<span style="margin-left: 1em;">St. Saviour’s, <a href="#page_420">420</a>;</span><br />
-<span style="margin-left: 1em;">Westminster Abbey, <a href="#page_431">431-432</a>;</span><br />
-<span style="margin-left: 1em;">York, <a href="#page_282">282</a>.</span><br />
-
-Northwold (Norwold), Bishop, <a href="#page_336">336</a>, <a href="#page_337">337</a>, <a href="#page_343">343</a>;<br />
-<span style="margin-left: 1em;">(tomb), <a href="#page_346">346</a>.</span><br />
-
-<span class="pagenum"><a name="page_464" id="page_464">{464}</a></span>Norwich, <a href="#page_349">349-359</a>.<br />
-
-<br />
-<a name="O" id="O"></a>Octagon (Ely), <a href="#page_334">334</a>, <a href="#page_338">338</a>, <a href="#page_339">339</a>, <a href="#page_341">341</a>.<br />
-
-Offa, King, <a href="#page_135">135</a>, <a href="#page_136">136</a>, <a href="#page_174">174</a>, <a href="#page_360">360</a>, <a href="#page_363">363</a>.<br />
-
-Old St. Paul’s, <a href="#page_393">393-395</a>.<br />
-
-Osric, <a href="#page_152">152</a>, <a href="#page_156">156</a>.<br />
-
-Osric (monument), <a href="#page_162">162</a>.<br />
-
-Oswald, <a href="#page_188">188</a>, <a href="#page_216">216</a>.<br />
-
-Organ:&mdash;Canterbury, <a href="#page_16">16</a>;<br />
-<span style="margin-left: 1em;">Gloucester, <a href="#page_159">159</a>;</span><br />
-<span style="margin-left: 1em;">Hereford, <a href="#page_182">182</a>;</span><br />
-<span style="margin-left: 1em;">Rochester, <a href="#page_37">37</a>;</span><br />
-<span style="margin-left: 1em;">Salisbury, <a href="#page_84">84</a>;</span><br />
-<span style="margin-left: 1em;">St. Paul’s, <a href="#page_408">408-409</a>.</span><br />
-
-Organs, Ancient, <a href="#page_47">47</a>.<br />
-
-Oseney Abbey, <a href="#page_380">380</a>, <a href="#page_391">391</a>.<br />
-
-Oxford, <a href="#page_375">375-392</a>.<br />
-
-<br />
-<a name="P" id="P"></a>Painters’ Corner, <a href="#page_412">412</a>.<br />
-
-Palace Green, <a href="#page_237">237</a>.<br />
-
-Paris, Matthew, <a href="#page_321">321</a>, <a href="#page_362">362</a>, <a href="#page_363">363</a>.<br />
-
-Parker, Abbot (tomb), <a href="#page_161">161</a>.<br />
-
-Parvise, <a href="#page_325">325-326</a>.<br />
-
-Paternoster Row, <a href="#page_398">398</a>.<br />
-
-Paulinus, <a href="#page_33">33</a>, <a href="#page_34">34</a>, <a href="#page_263">263</a>, <a href="#page_285">285</a>.<br />
-
-Paul of Caen, <a href="#page_363">363</a>.<br />
-
-Paul’s Cross, <a href="#page_398">398</a>, <a href="#page_399">399</a>.<br />
-
-Paul’s Walk, <a href="#page_395">395</a>.<br />
-
-Peckham, Archbishop, <a href="#page_27">27</a>.<br />
-
-Pembridge, Sir Richard (effigy), <a href="#page_176">176</a>.<br />
-
-Penda, <a href="#page_319">319</a>.<br />
-
-Penniless Porch, <a href="#page_108">108</a>.<br />
-
-Pepys, Samuel, <a href="#page_37">37</a>.<br />
-
-Perpendicular:&mdash;Bath Abbey, <a href="#page_136">136</a>;<br />
-<span style="margin-left: 1em;">Canterbury, <a href="#page_12">12</a>, <a href="#page_26">26</a>;</span><br />
-<span style="margin-left: 1em;">Chester, <a href="#page_215">215</a>, <a href="#page_217">217</a>, <a href="#page_220">220</a>;</span><br />
-<span style="margin-left: 1em;">Ely, <a href="#page_340">340</a>, <a href="#page_341">341</a>, <a href="#page_347">347</a>;</span><br />
-<span style="margin-left: 1em;">Gloucester, <a href="#page_157">157</a>, <a href="#page_158">158</a>, <a href="#page_159">159</a>, <a href="#page_160">160</a>, <a href="#page_168">168</a>, <a href="#page_169">169</a>, <a href="#page_170">170</a>, <a href="#page_171">171</a>, <a href="#page_172">172</a>;</span><br />
-<span style="margin-left: 1em;">Hereford, <a href="#page_175">175</a>, <a href="#page_181">181</a>, <a href="#page_187">187</a>;</span><br />
-<span style="margin-left: 1em;">Lichfield, <a href="#page_204">204</a>, <a href="#page_209">209</a>, <a href="#page_210">210</a>;</span><br />
-<span style="margin-left: 1em;">Lincoln, <a href="#page_294">294</a>, <a href="#page_308">308</a>;</span><br />
-<span style="margin-left: 1em;">Manchester, <a href="#page_222">222</a>;</span><br />
-<span style="margin-left: 1em;">Norwich, <a href="#page_350">350</a>, <a href="#page_352">352</a>, <a href="#page_353">353</a>, <a href="#page_354">354</a>, <a href="#page_359">359</a>;</span><br />
-<span style="margin-left: 1em;">Oxford, <a href="#page_379">379</a>, <a href="#page_383">383</a>;</span><br />
-<span style="margin-left: 1em;">Peterborough, <a href="#page_321">321</a>, <a href="#page_325">325</a>, <a href="#page_328">328</a>, <a href="#page_329">329</a>, <a href="#page_331">331</a>, <a href="#page_332">332</a>, <a href="#page_333">333</a>;</span><br />
-<span class="pagenum"><a name="page_465" id="page_465">{465}</a></span><span style="margin-left: 1em;">Ripon, <a href="#page_251">251</a>, <a href="#page_252">252</a>;</span><br />
-<span style="margin-left: 1em;">Rochester, <a href="#page_38">38</a>, <a href="#page_41">41</a>;</span><br />
-<span style="margin-left: 1em;">Southwell, <a href="#page_314">314</a>;</span><br />
-<span style="margin-left: 1em;">St. Albans, <a href="#page_365">365</a>;</span><br />
-<span style="margin-left: 1em;">St. Saviour’s, <a href="#page_418">418</a>;</span><br />
-<span style="margin-left: 1em;">Wells, <a href="#page_111">111</a>, <a href="#page_113">113</a>, <a href="#page_118">118</a>, <a href="#page_119">119</a>;</span><br />
-<span style="margin-left: 1em;">Winchester, <a href="#page_48">48</a>, <a href="#page_49">49</a>, <a href="#page_51">51</a>, <a href="#page_52">52</a>, <a href="#page_57">57</a>;</span><br />
-<span style="margin-left: 1em;">Worcester, <a href="#page_191">191</a>, <a href="#page_192">192</a>; York, <a href="#page_267">267</a>, <a href="#page_268">268</a>, <a href="#page_271">271</a>, <a href="#page_273">273</a>, <a href="#page_281">281</a>.</span><br />
-
-Peterborough, <a href="#page_319">319-333</a>.<br />
-
-Peter’s Pence, <a href="#page_362">362</a>.<br />
-
-Philippa of Hainault (tomb), <a href="#page_435">435</a>.<br />
-
-Pilgrimage of Grace, <a href="#page_266">266</a>.<br />
-
-Pilgrims, <a href="#page_4">4</a>, <a href="#page_5">5</a>, <a href="#page_6">6</a>, <a href="#page_7">7</a>, <a href="#page_8">8</a>, <a href="#page_10">10</a>, <a href="#page_17">17</a>, <a href="#page_18">18</a>, <a href="#page_31">31</a>, <a href="#page_43">43</a>, <a href="#page_68">68</a>, <a href="#page_168">168</a>, <a href="#page_235">235</a>, <a href="#page_265">265</a>, <a href="#page_366">366</a>, <a href="#page_415">415</a>.<br />
-
-Piscina:&mdash;Ripon, <a href="#page_253">253</a>, <a href="#page_258">258</a>;<br />
-<span style="margin-left: 1em;">Rochester, <a href="#page_43">43</a>;</span><br />
-<span style="margin-left: 1em;">Wells, <a href="#page_129">129</a>.</span><br />
-
-Poets’ Corner, <a href="#page_427">427</a>, <a href="#page_429">429</a>, <a href="#page_432">432</a>.<br />
-
-Pole, Cardinal, <a href="#page_37">37</a>;<br />
-<span style="margin-left: 1em;">(tomb), <a href="#page_23">23</a>.</span><br />
-
-Pont l’Évêque, Roger de, <a href="#page_249">249</a>, <a href="#page_250">250</a>, <a href="#page_262">262</a>, <a href="#page_263">263</a>.<br />
-
-Poore, Bishop, <a href="#page_77">77</a>, <a href="#page_236">236</a>.<br />
-
-Porch (Central), Chichester, <a href="#page_70">70</a>.<br />
-
-Portico (Peterborough), <a href="#page_324">324</a>.<br />
-
-Pottergate Arch, <a href="#page_312">312</a>.<br />
-
-Precincts (Canterbury), <a href="#page_10">10</a>.<br />
-
-Presbytery:&mdash;Norwich, <a href="#page_357">357</a>;<br />
-<span style="margin-left: 1em;">St. Alban’s, <a href="#page_369">369-370</a>;</span><br />
-<span style="margin-left: 1em;">Winchester, <a href="#page_57">57</a>.</span><br />
-
-Primate of England, <a href="#page_2">2</a>, <a href="#page_263">263</a>.<br />
-
-Primate of All England, <a href="#page_263">263</a>.<br />
-
-Priors’ Court, <a href="#page_31">31</a>.<br />
-
-Priors’ Door:&mdash;Ely, <a href="#page_341">341</a>;<br />
-<span style="margin-left: 1em;">Norwich, <a href="#page_359">359</a>.</span><br />
-
-Priors’ Gate, <a href="#page_38">38</a>.<br />
-
-Processional Path, <a href="#page_357">357</a>.<br />
-
-Pudsey, Hugh, <a href="#page_236">236</a>.<br />
-
-Pulpit:&mdash;Oxford, <a href="#page_390">390</a>;<br />
-<span style="margin-left: 1em;">Wells, <a href="#page_122">122</a>.</span><br />
-
-<span class="pagenum"><a name="page_466" id="page_466">{466}</a></span>Puritans, desecrations by, <a href="#page_9">9</a>, <a href="#page_27">27</a>, <a href="#page_37">37</a>, <a href="#page_216">216</a>, <a href="#page_204">204</a>, <a href="#page_228">228</a>, <a href="#page_322">322-323</a>, <a href="#page_330">330-331</a>, <a href="#page_350">350-351</a>, <a href="#page_379">379</a>.<br />
-
-<br />
-<a name="Q" id="Q"></a>Quivil, Bishop, <a href="#page_90">90</a>, <a href="#page_91">91</a>, <a href="#page_98">98</a>, <a href="#page_99">99</a>, <a href="#page_102">102</a>;<br />
-<span style="margin-left: 1em;">(tomb), <a href="#page_102">102</a>.</span><br />
-
-<br />
-<a name="R" id="R"></a>Ralph, Bishop (tomb), <a href="#page_75">75</a>.<br />
-
-Ralph of Shrewsbury, <a href="#page_110">110</a>.<br />
-
-Redman, Bishop, <a href="#page_346">346</a>.<br />
-
-Refectory:&mdash;Carlisle, <a href="#page_232">232</a>;<br />
-<span style="margin-left: 1em;">Worcester, <a href="#page_199">199</a>.</span><br />
-
-Regale of France, <a href="#page_4">4</a>, <a href="#page_7">7</a>.<br />
-
-Relics of St. Thomas, <a href="#page_3">3</a>, <a href="#page_5">5</a>, <a href="#page_6">6</a>.<br />
-
-Relics, <a href="#page_368">368</a>, <a href="#page_378">378</a>.<br />
-
-Remigins, <a href="#page_286">286</a>, <a href="#page_294">294</a>.<br />
-
-Reredos:&mdash;Bristol, <a href="#page_147">147</a>;<br />
-<span style="margin-left: 1em;">Canterbury, <a href="#page_16">16</a>;</span><br />
-<span style="margin-left: 1em;">Gloucester (Lady Chapel), <a href="#page_167">167</a>;</span><br />
-<span style="margin-left: 1em;">Hereford, <a href="#page_183">183</a>;</span><br />
-<span style="margin-left: 1em;">Lincoln, <a href="#page_297">297</a>;</span><br />
-<span style="margin-left: 1em;">St. Albans, <a href="#page_59">59</a>;</span><br />
-<span style="margin-left: 1em;">Winchester, <a href="#page_59">59</a>;</span><br />
-<span style="margin-left: 1em;">Worcester, <a href="#page_194">194</a>.</span><br />
-
-Retable (Italian), <a href="#page_358">358</a>.<br />
-
-Retro-Choir:&mdash;Canterbury, <a href="#page_18">18</a>;<br />
-<span style="margin-left: 1em;">Carlisle, <a href="#page_232">232</a>;</span><br />
-<span style="margin-left: 1em;">Chichester, <a href="#page_67">67</a>, <a href="#page_74">74</a>;</span><br />
-<span style="margin-left: 1em;">Peterborough, <a href="#page_329">329-330</a>;</span><br />
-<span style="margin-left: 1em;">Salisbury, <a href="#page_130">130</a>, <a href="#page_131">131</a>;</span><br />
-<span style="margin-left: 1em;">St. Albans, <a href="#page_373">373</a>;</span><br />
-<span style="margin-left: 1em;">St. Saviour’s, <a href="#page_422">422</a>;</span><br />
-<span style="margin-left: 1em;">Wells, <a href="#page_126">126</a>, <a href="#page_129">129-130</a>.</span><br />
-
-Reynolds, Sir Joshua, <a href="#page_411">411</a>.<br />
-
-Reynolds, Archbishop (tomb), <a href="#page_25">25</a>.<br />
-
-Richard of Fairleigh, <a href="#page_77">77</a>.<br />
-
-Richard of Wallingford, <a href="#page_365">365</a>.<br />
-
-Richard, Sir W., <a href="#page_409">409-410</a>.<br />
-
-Ringers’ Chapel, <a href="#page_291">291</a>, <a href="#page_292">292</a>.<br />
-
-Robert of Lewes, <a href="#page_135">135</a>.<br />
-
-Robert, Bishop, <a href="#page_108">108</a>.<br />
-
-Robert, Duke of Normandy (effigy), <a href="#page_168">168</a>.<br />
-
-Rochester, <a href="#page_33">33-45</a>.<br />
-
-Rodney, Admiral, <a href="#page_411">411</a>.<br />
-
-Roger de Norbury, <a href="#page_200">200</a>.<br />
-
-Roger and Sigar, <a href="#page_369">369</a>.<br />
-
-Romeyn, John, <a href="#page_264">264</a>, <a href="#page_313">313</a>.<br />
-
-Romeyn, John II., <a href="#page_264">264</a>.<br />
-
-Rood-Screen:&mdash;Exeter, <a href="#page_99">99</a>;<br />
-<span style="margin-left: 1em;">Lincoln, <a href="#page_294">294</a>;</span><br />
-<span class="pagenum"><a name="page_467" id="page_467">{467}</a></span><span style="margin-left: 1em;">Ripon, <a href="#page_255">255</a>;</span><br />
-<span style="margin-left: 1em;">St. Albans, <a href="#page_367">367</a>;</span><br />
-<span style="margin-left: 1em;">York, <a href="#page_270">270</a>.</span><br />
-
-Roofs (Winchester), <a href="#page_65">65</a>.<br />
-
-Royal Children (tomb), <a href="#page_435">435</a>.<br />
-
-Rupibus, Peter de, <a href="#page_418">418</a>, <a href="#page_421">421</a>, <a href="#page_422">422</a>.<br />
-
-<br />
-<a name="S" id="S"></a>Sacrarium, <a href="#page_44">44</a>.<br />
-
-Sais, John de, <a href="#page_320">320</a>, <a href="#page_329">329</a>.<br />
-
-Salisbury, <a href="#page_76">76-89</a>.<br />
-
-Sanctuary (Durham), <a href="#page_239">239</a>.<br />
-
-Saxon:&mdash;Oxford, <a href="#page_376">376</a>, <a href="#page_383">383</a>;<br />
-<span style="margin-left: 1em;">Peterborough, <a href="#page_330">330</a>;</span><br />
-<span style="margin-left: 1em;">Ripon, <a href="#page_254">254</a>;</span><br />
-<span style="margin-left: 1em;">Winchester, <a href="#page_47">47</a>;</span><br />
-<span style="margin-left: 1em;">York, <a href="#page_279">279</a>.</span><br />
-
-Scott, Sir G., <a href="#page_68">68</a>, <a href="#page_70">70</a>, <a href="#page_82">82</a>, <a href="#page_85">85</a>, <a href="#page_99">99</a>, <a href="#page_192">192</a>, <a href="#page_211">211</a>, <a href="#page_250">250</a>, <a href="#page_256">256</a>, <a href="#page_258">258</a>, <a href="#page_329">329</a>, <a href="#page_343">343</a>, <a href="#page_345">345</a>, <a href="#page_360">360</a>, <a href="#page_380">380</a>.<br />
-
-Screen:&mdash;Canterbury, <a href="#page_13">13</a>, <a href="#page_29">29</a>;<br />
-<span style="margin-left: 1em;">Ely, <a href="#page_343">343</a>;</span><br />
-<span style="margin-left: 1em;">Exeter, <a href="#page_99">99</a>;</span><br />
-<span style="margin-left: 1em;">Lincoln, <a href="#page_306">306</a>;</span><br />
-<span style="margin-left: 1em;">St. Saviour’s, <a href="#page_421">421</a>;</span><br />
-<span style="margin-left: 1em;">Winchester, <a href="#page_55">55</a>.</span><br />
-
-Screen (exterior):&mdash;Exeter, <a href="#page_92">92-93</a>;<br />
-<span style="margin-left: 1em;">Wells, <a href="#page_126">126</a>.</span><br />
-
-Scrope, Richard, <a href="#page_265">265</a>;<br />
-<span style="margin-left: 1em;">(tomb), <a href="#page_279">279</a>.</span><br />
-
-Sedilia:&mdash;Bristol, <a href="#page_147">147</a>;<br />
-<span style="margin-left: 1em;">Exeter, <a href="#page_101">101</a>;</span><br />
-<span style="margin-left: 1em;">Gloucester, <a href="#page_161">161</a>;</span><br />
-<span style="margin-left: 1em;">Ripon, <a href="#page_258">258</a>; Rochester, <a href="#page_43">43</a>;</span><br />
-<span style="margin-left: 1em;">Southwell, <a href="#page_316">316</a>;</span><br />
-<span style="margin-left: 1em;">St. Albans, <a href="#page_374">374</a>.</span><br />
-
-Seffrid II., <a href="#page_66">66</a>, <a href="#page_68">68</a>, <a href="#page_72">72</a>.<br />
-
-Selwyn, Bishop (effigy), <a href="#page_213">213</a>.<br />
-
-Serlo, <a href="#page_153">153</a>, <a href="#page_156">156</a>, <a href="#page_157">157</a>.<br />
-
-Sermon Lane, <a href="#page_398">398</a>.<br />
-
-Shakespeare, <a href="#page_424">424</a>.<br />
-
-Sherborne, Bishop, <a href="#page_68">68</a>.<br />
-
-Sheppy, John de (tomb), <a href="#page_43">43-44</a>.<br />
-
-Shrine of:&mdash;St. Alban, <a href="#page_371">371-373</a>;<br />
-<span style="margin-left: 1em;">St. Amphibalus, <a href="#page_368">368</a>, <a href="#page_373">373</a>;</span><br />
-<span style="margin-left: 1em;">Cantilupe, <a href="#page_178">178</a>, <a href="#page_179">179</a>;</span><br />
-<span style="margin-left: 1em;">Edward the Confessor, <a href="#page_434">434</a>;</span><br />
-<span style="margin-left: 1em;">St. Etheldreda, <a href="#page_346">346</a>, <a href="#page_357">357</a>;</span><br />
-<span style="margin-left: 1em;">St. Erkenwald, <a href="#page_393">393</a>;</span><br />
-<span class="pagenum"><a name="page_468" id="page_468">{468}</a></span><span style="margin-left: 1em;">St. Frideswide, <a href="#page_378">378</a>, <a href="#page_385">385-386</a>;</span><br />
-<span style="margin-left: 1em;">John of Dalderby, <a href="#page_305">305</a>;</span><br />
-<span style="margin-left: 1em;">Little St. Hugh, <a href="#page_302">302</a>;</span><br />
-<span style="margin-left: 1em;">St. Albans, <a href="#page_371">371</a>;</span><br />
-<span style="margin-left: 1em;">St. Chad, <a href="#page_203">203</a>, <a href="#page_204">204</a>;</span><br />
-<span style="margin-left: 1em;">St. Cuthbert, <a href="#page_235">235</a>, <a href="#page_246">246</a>;</span><br />
-<span style="margin-left: 1em;">St. Hugh, <a href="#page_299">299</a>, <a href="#page_300">300</a>;</span><br />
-<span style="margin-left: 1em;">St. Paulinus, <a href="#page_34">34</a>, <a href="#page_36">36</a>;</span><br />
-<span style="margin-left: 1em;">St. Richard, <a href="#page_74">74</a>;</span><br />
-<span style="margin-left: 1em;">St. Swithun, <a href="#page_48">48</a>, <a href="#page_59">59</a>;</span><br />
-<span style="margin-left: 1em;">St. Thomas, <a href="#page_3">3</a>, <a href="#page_4">4</a>, <a href="#page_5">5</a>, <a href="#page_6">6</a>, <a href="#page_7">7</a>, <a href="#page_9">9</a>, <a href="#page_18">18</a>;</span><br />
-<span style="margin-left: 1em;">St. Werburgh, <a href="#page_19">19</a>;</span><br />
-<span style="margin-left: 1em;">St. Wilfrid, <a href="#page_250">250</a>;</span><br />
-<span style="margin-left: 1em;">St. William, <a href="#page_43">43</a>,</span><br />
-<span style="margin-left: 1em;">St. Ythmar, <a href="#page_36">36</a>.</span><br />
-
-Siebert, <a href="#page_425">425</a>;<br />
-<span style="margin-left: 1em;">(tomb), <a href="#page_435">435</a>.</span><br />
-
-Silkstede, Prior, <a href="#page_59">59</a>, <a href="#page_64">64</a>;<br />
-<span style="margin-left: 1em;">pulpit of, <a href="#page_57">57</a>.</span><br />
-
-Simcoe, General, <a href="#page_105">105</a>.<br />
-
-Simeon of Ely, <a href="#page_63">63</a>, <a href="#page_64">64</a>, <a href="#page_335">335</a>, <a href="#page_337">337</a>, <a href="#page_346">346</a>.<br />
-
-Simeon’s Tower, <a href="#page_335">335</a>, <a href="#page_336">336</a>, <a href="#page_337">337</a>.<br />
-
-Simon de Montfort, <a href="#page_36">36</a>.<br />
-
-Skirlowe, Walter, <a href="#page_268">268</a>.<br />
-
-Slabs, carved, <a href="#page_73">73</a>.<br />
-
-Sleeping Children (Chantrey), <a href="#page_211">211</a>.<br />
-
-Slype:&mdash;Oxford, <a href="#page_392">392</a>;<br />
-<span style="margin-left: 1em;">Peterborough, <a href="#page_333">333</a>.</span><br />
-
-Solomon’s Porch, <a href="#page_431">431</a>.<br />
-
-South Porch:&mdash;Canterbury, <a href="#page_12">12</a>;<br />
-<span style="margin-left: 1em;">Chester, <a href="#page_217">217</a>;</span><br />
-<span style="margin-left: 1em;">Gloucester, <a href="#page_156">156</a>;</span><br />
-<span style="margin-left: 1em;">Manchester, <a href="#page_222">222</a>.</span><br />
-
-Southwark Bridge, <a href="#page_415">415</a>.<br />
-
-South Transept:&mdash;Chester, <a href="#page_217">217</a>;<br />
-<span style="margin-left: 1em;">Lichfield, <a href="#page_207">207</a>;</span><br />
-<span style="margin-left: 1em;">Westminster Abbey (see Poets’ Corner);</span><br />
-<span style="margin-left: 1em;">York, <a href="#page_269">269</a>, <a href="#page_282">282</a>, <a href="#page_358">358</a>, <a href="#page_432">432</a>.</span><br />
-
-Southwell, <a href="#page_35">35</a>, <a href="#page_313">313-318</a>.<br />
-
-South Door:&mdash;Lichfield, <a href="#page_207">207</a>;<br />
-<span style="margin-left: 1em;">Lincoln, <a href="#page_308">308</a>.</span><br />
-
-Spire:&mdash;Chichester, <a href="#page_68">68</a>, <a href="#page_69">69</a>, <a href="#page_79">79</a>;<br />
-<span style="margin-left: 1em;">Norwich, <a href="#page_79">79</a>, <a href="#page_352">352</a>;</span><br />
-<span style="margin-left: 1em;">Oxford, <a href="#page_379">379</a>;</span><br />
-<span style="margin-left: 1em;">Peterborough, <a href="#page_333">333</a>;</span><br />
-<span style="margin-left: 1em;">Salisbury, <a href="#page_77">77</a>, <a href="#page_78">78</a>, <a href="#page_79">79</a>, <a href="#page_81">81</a>, <a href="#page_249">249</a>.</span><br />
-
-Spires (Lichfield), <a href="#page_200">200</a>.<br />
-
-<span class="pagenum"><a name="page_469" id="page_469">{469}</a></span>St. Aiden, <a href="#page_233">233</a>.<br />
-
-St. Alban, <a href="#page_362">362</a>, <a href="#page_363">363</a>.<br />
-
-St. Albans, <a href="#page_360">360-374</a>.<br />
-
-St. Albans, Battle of, <a href="#page_361">361</a>.<br />
-
-St. Alphege, <a href="#page_47">47</a>.<br />
-
-St. Amphibalus, <a href="#page_362">362-363</a>.<br />
-
-St. Augustine, <a href="#page_1">1</a>, <a href="#page_2">2</a>, <a href="#page_33">33</a>.<br />
-
-St. Birinus, <a href="#page_46">46</a>.<br />
-
-St. Chad, <a href="#page_203">203</a>.<br />
-
-St. Columba, <a href="#page_249">249</a>.<br />
-
-St. Cuthbert, <a href="#page_233">233-234</a>, <a href="#page_235">235</a>, <a href="#page_240">240</a>.<br />
-
-St. Ermenilda, <a href="#page_336">336</a>.<br />
-
-St. Etheldreda, <a href="#page_215">215</a>, <a href="#page_334">334</a>, <a href="#page_335">335</a>, <a href="#page_336">336</a>, <a href="#page_342">342-343</a>, <a href="#page_344">344</a>.<br />
-
-St. Frideswide, <a href="#page_377">377</a>.<br />
-
-St. Helena, <a href="#page_262">262</a>.<br />
-
-St. Hugh of Grenoble, <a href="#page_287">287-289</a>.<br />
-
-St. Hugh of Lincoln, <a href="#page_108">108</a>, <a href="#page_298">298</a>, <a href="#page_300">300</a>, <a href="#page_306">306</a>.<br />
-
-St. Hugh, Little, <a href="#page_302">302</a>.<br />
-
-St. Mary Overie, <a href="#page_416">416</a>, <a href="#page_417">417</a>.<br />
-
-St. Paul’s, <a href="#page_393">393-414</a>.<br />
-
-St. Saviour’s, <a href="#page_415">415-424</a>.<br />
-
-St. Sexburga, <a href="#page_336">336</a>.<br />
-
-St. Swithun, <a href="#page_46">46</a>, <a href="#page_51">51</a>, <a href="#page_416">416</a>.<br />
-
-St. Thomas, <a href="#page_3">3</a>, <a href="#page_6">6-9</a>.<br />
-
-St. Werburgh, <a href="#page_215">215</a>.<br />
-
-St. Wilfrid, <a href="#page_249">249</a>, <a href="#page_250">250</a>.<br />
-
-St. William, <a href="#page_264">264</a>, <a href="#page_265">265</a>.<br />
-
-St. William of Perth, <a href="#page_35">35</a>.<br />
-
-St. William Bytton, <a href="#page_109">109</a>, <a href="#page_121">121</a>, <a href="#page_122">122</a>.<br />
-
-St. William of Norwich, <a href="#page_350">350</a>.<br />
-
-St. Withburga, <a href="#page_336">336</a>.<br />
-
-St. Andrew’s Chapel, <a href="#page_28">28</a>.<br />
-
-St. Andrew’s Tower, <a href="#page_18">18</a>, <a href="#page_19">19</a>.<br />
-
-St. Anne’s Gate, <a href="#page_80">80</a>.<br />
-
-St. Anselm’s Chapel, <a href="#page_25">25</a>.<br />
-
-St. Anselm’s Tower, <a href="#page_19">19</a>, <a href="#page_25">25</a>.<br />
-
-St. Augustine’s Choir, <a href="#page_28">28-29</a>.<br />
-
-St. Catherine’s Window, <a href="#page_391">391</a>.<br />
-
-St. Cecelia’s Window, <a href="#page_384">384-385</a>.<br />
-
-<span class="pagenum"><a name="page_470" id="page_470">{470}</a></span>St. Cuthbert’s Window, <a href="#page_248">248</a>, <a href="#page_261">261</a>, <a href="#page_273">273</a>.<br />
-
-St. Dunstan’s Tower, <a href="#page_11">11</a>.<br />
-
-St. Edmund’s Chapel, <a href="#page_347">347</a>.<br />
-
-St. Ethelbert’s Gate, <a href="#page_350">350</a>, <a href="#page_351">351</a>.<br />
-
-St. Frideswide’s Priory, <a href="#page_375">375</a>.<br />
-
-St. Frideswide’s Window, <a href="#page_388">388-389</a>.<br />
-
-St. Hugh’s Choir, <a href="#page_67">67</a>, <a href="#page_285">285</a>, <a href="#page_287">287-289</a>, <a href="#page_295">295</a>, <a href="#page_306">306</a>.<br />
-
-St. Hugh’s Tower, <a href="#page_297">297</a>.<br />
-
-St. Hugh’s Transept, <a href="#page_35">35</a>, <a href="#page_308">308</a>.<br />
-
-St. Lucy’s Chapel, <a href="#page_381">381</a>.<br />
-
-St. Mary’s Gate, <a href="#page_173">173</a>.<br />
-
-St. Mary’s Tower, <a href="#page_291">291</a>, <a href="#page_292">292</a>.<br />
-
-St. Michael’s Chapel, <a href="#page_25">25</a>.<br />
-
-St. Oswald, Church of, <a href="#page_216">216-217</a>, <a href="#page_218">218</a>.<br />
-
-St. Paul’s Bridge, <a href="#page_400">400</a>.<br />
-
-St. Paul’s Cathedral, <a href="#page_392">392-414</a>.<br />
-
-St. Paul’s Churchyard, <a href="#page_397">397-398</a>.<br />
-
-St. Richard’s Walk, <a href="#page_75">75</a>.<br />
-
-St. Wilfrid’s Needle, <a href="#page_254">254</a>.<br />
-
-St. William’s Head, <a href="#page_264">264</a>, <a href="#page_266">266</a>.<br />
-
-St. William’s Window, <a href="#page_261">261</a>, <a href="#page_273">273</a>.<br />
-
-St. William, Tomb of, <a href="#page_43">43</a>.<br />
-
-Stafford, Bishop (tomb), <a href="#page_103">103</a>.<br />
-
-Staircase (Wells), <a href="#page_124">124</a>.<br />
-
-Stanley, Sir John, <a href="#page_211">211</a>.<br />
-
-Stapledon, Bishop (tomb), <a href="#page_101">101</a>.<br />
-
-Still, Bishop (effigy), <a href="#page_123">123</a>.<br />
-
-Stone Gallery (St. Paul’s), <a href="#page_412">412-413</a>.<br />
-
-Stratford, Archbishop, <a href="#page_16">16</a>.<br />
-
-Strickland, Bishop, <a href="#page_227">227</a>, <a href="#page_228">228</a>.<br />
-
-Swinfield, Bishop (tomb), <a href="#page_180">180</a>.<br />
-
-Swynford, Catherine (tomb), <a href="#page_301">301</a>.<br />
-
-<br />
-<a name="T" id="T"></a>Tabard Inn, <a href="#page_415">415</a>.<br />
-
-Tait, Archbishop, <a href="#page_28">28</a>.<br />
-
-<span class="pagenum"><a name="page_471" id="page_471">{471}</a></span>Te Deum Window, <a href="#page_244">244</a>.<br />
-
-Thanksgiving at St. Paul’s, <a href="#page_400">400</a>.<br />
-
-Thomas of Bayeux, <a href="#page_263">263</a>.<br />
-
-Thomas, Lord Berkeley (tomb), <a href="#page_145">145</a>.<br />
-
-Throne, Archbishop’s, <a href="#page_16">16</a>.<br />
-
-Tijou, <a href="#page_408">408</a>.<br />
-
-Tom of Lincoln, Great, <a href="#page_291">291</a>, <a href="#page_310">310</a>.<br />
-
-Tom of Oxford, <a href="#page_375">375</a>.<br />
-
-Tom Quad, <a href="#page_375">375</a>, <a href="#page_379">379</a>.<br />
-
-Tom Tower, <a href="#page_375">375</a>.<br />
-
-Tower, Central:&mdash;Bath, <a href="#page_136">136-137</a>;<br />
-<span style="margin-left: 1em;">Bristol, <a href="#page_140">140</a>;</span><br />
-<span style="margin-left: 1em;">Carlisle, <a href="#page_228">228</a>;</span><br />
-<span style="margin-left: 1em;">Chichester, <a href="#page_68">68</a>, <a href="#page_69">69</a>;</span><br />
-<span style="margin-left: 1em;">Durham, <a href="#page_235">235</a>, <a href="#page_238">238</a>, <a href="#page_244">244</a>, <a href="#page_268">268</a>;</span><br />
-<span style="margin-left: 1em;">Ely, <a href="#page_63">63</a>, <a href="#page_321">321</a>, <a href="#page_336">336</a>, <a href="#page_337">337</a>;</span><br />
-<span style="margin-left: 1em;">Gloucester, <a href="#page_153">153</a>, <a href="#page_154">154</a>;</span><br />
-<span style="margin-left: 1em;">Hereford, <a href="#page_175">175</a>, <a href="#page_177">177</a>;</span><br />
-<span style="margin-left: 1em;">Lincoln, <a href="#page_294">294</a>, <a href="#page_310">310</a>;</span><br />
-<span style="margin-left: 1em;">Oxford, <a href="#page_378">378</a>, <a href="#page_390">390</a>;</span><br />
-<span style="margin-left: 1em;">Peterborough, <a href="#page_324">324</a>;</span><br />
-<span style="margin-left: 1em;">Ripon, <a href="#page_251">251</a>; Rochester, <a href="#page_36">36</a>;</span><br />
-<span style="margin-left: 1em;">St. Albans, <a href="#page_365">365</a>, <a href="#page_369">369</a>;</span><br />
-<span style="margin-left: 1em;">St. Saviour’s, <a href="#page_418">418</a>;</span><br />
-<span style="margin-left: 1em;">Wells, <a href="#page_109">109</a>, <a href="#page_114">114</a>;</span><br />
-<span style="margin-left: 1em;">Winchester, <a href="#page_55">55-56</a>, <a href="#page_63">63</a>, <a href="#page_64">64</a>;</span><br />
-<span style="margin-left: 1em;">Worcester, <a href="#page_190">190</a>;</span><br />
-<span style="margin-left: 1em;">York, <a href="#page_265">265-266</a>, <a href="#page_268">268</a>.</span><br />
-
-Tower:&mdash;North, Exeter, <a href="#page_98">98</a>;<br />
-<span style="margin-left: 1em;">Simeon’s, Ely, <a href="#page_64">64</a>, <a href="#page_405">405</a>, <a href="#page_406">406</a>;</span><br />
-<span style="margin-left: 1em;">Salisbury, <a href="#page_81">81</a>;</span><br />
-<span style="margin-left: 1em;">Walkelyn’s, Winchester, <a href="#page_64">64</a>.</span><br />
-
-Towers:&mdash;Lincoln, <a href="#page_291">291-292</a>;<br />
-<span style="margin-left: 1em;">Norwich, <a href="#page_352">352</a>;</span><br />
-<span style="margin-left: 1em;">Wells, <a href="#page_113">113</a>;</span><br />
-<span style="margin-left: 1em;">York, <a href="#page_268">268</a>.</span><br />
-
-Tracery:&mdash;Exeter, <a href="#page_95">95</a>;<br />
-<span style="margin-left: 1em;">Hereford, <a href="#page_187">187</a>;</span><br />
-<span style="margin-left: 1em;">Lincoln, <a href="#page_291">291</a>, <a href="#page_294">294</a>, <a href="#page_302">302</a>, <a href="#page_304">304</a>;</span><br />
-<span style="margin-left: 1em;">Wells, <a href="#page_128">128</a>; York, <a href="#page_278">278</a>.</span><br />
-
-Transept of the Martyrdom, <a href="#page_3">3</a>, <a href="#page_5">5</a>, <a href="#page_17">17</a>, <a href="#page_18">18</a>, <a href="#page_26">26</a>.<br />
-
-Transepts:&mdash;Canterbury, <a href="#page_15">15</a>, <a href="#page_17">17</a>, <a href="#page_25">25</a>, <a href="#page_28">28</a>;<br />
-<span style="margin-left: 1em;">Carlisle, <a href="#page_229">229</a>, <a href="#page_230">230</a>;</span><br />
-<span style="margin-left: 1em;">Chester, <a href="#page_218">218</a>;</span><br />
-<span style="margin-left: 1em;">Durham, <a href="#page_243">243</a>;</span><br />
-<span style="margin-left: 1em;">Ely, <a href="#page_346">346</a>;</span><br />
-<span style="margin-left: 1em;">Exeter, <a href="#page_98">98</a>;</span><br />
-<span style="margin-left: 1em;">Gloucester, <a href="#page_168">168-169</a>;</span><br />
-<span style="margin-left: 1em;">Hereford, <a href="#page_181">181</a>, <a href="#page_182">182</a>;</span><br />
-<span style="margin-left: 1em;">Lichfield, <a href="#page_209">209</a>;</span><br />
-<span class="pagenum"><a name="page_472" id="page_472">{472}</a></span><span style="margin-left: 1em;">Peterborough,</span><br />
-<a href="#page_331">331</a>;<br />
-<span style="margin-left: 1em;">Ripon, <a href="#page_254">254-255</a>;</span><br />
-<span style="margin-left: 1em;">Rochester, <a href="#page_41">41</a>, <a href="#page_42">42-43</a>;</span><br />
-<span style="margin-left: 1em;">Salisbury, <a href="#page_83">83-84</a>;</span><br />
-<span style="margin-left: 1em;">St. Hugh’s, <a href="#page_308">308</a>;</span><br />
-<span style="margin-left: 1em;">St. Paul’s, <a href="#page_410">410</a>;</span><br />
-<span style="margin-left: 1em;">St. Saviour’s, <a href="#page_418">418</a>;</span><br />
-<span style="margin-left: 1em;">Wells, <a href="#page_120">120</a>;</span><br />
-<span style="margin-left: 1em;">Winchester, <a href="#page_63">63</a>, <a href="#page_64">64</a>, <a href="#page_196">196</a>;</span><br />
-<span style="margin-left: 1em;">Worcester, <a href="#page_192">192-193</a>;</span><br />
-<span style="margin-left: 1em;">York, <a href="#page_269">269-270</a>, <a href="#page_272">272</a>.</span><br />
-
-Translation of St. Thomas, <a href="#page_4">4</a>, <a href="#page_19">19</a>;<br />
-<span style="margin-left: 1em;">St. Swithun, <a href="#page_47">47</a>.</span><br />
-
-Trehearne, John, <a href="#page_423">423</a>.<br />
-
-Tully, <a href="#page_154">154</a>.<br />
-
-<br />
-<a name="V" id="V"></a>Valence, A. de (tomb), <a href="#page_433">433</a>.<br />
-
-Vaulting (Norwich), <a href="#page_355">355-356</a>.<br />
-
-Vicars’ Cloister, <a href="#page_187">187</a>.<br />
-
-Vicars’ Close (Lichfield), <a href="#page_201">201</a>.<br />
-
-Vicars’ College, <a href="#page_108">108</a>, <a href="#page_112">112</a>.<br />
-
-Vigil of the Translation, <a href="#page_4">4</a>.<br />
-
-Villula, John de, <a href="#page_135">135</a>.<br />
-
-<br />
-<a name="W" id="W"></a>Wakefield, Battle of, <a href="#page_361">361</a>.<br />
-
-Walkelyn, Bishop, <a href="#page_47">47</a>, <a href="#page_48">48</a>, <a href="#page_64">64</a>.<br />
-
-Walsingham, Alan, <a href="#page_336">336</a>, <a href="#page_337">337</a>, <a href="#page_338">338</a>, <a href="#page_342">342</a>, <a href="#page_345">345</a>, <a href="#page_405">405</a>.<br />
-
-Waller, Lady (monument), <a href="#page_139">139</a>.<br />
-
-Wallingford, William of, <a href="#page_365">365</a>.<br />
-
-Wallingford Screen, <a href="#page_370">370-371</a>.<br />
-
-Walter, Hubert, <a href="#page_25">25</a>.<br />
-
-Walton, Izaak (tomb), <a href="#page_64">64</a>.<br />
-
-Warelwast, William, <a href="#page_90">90</a>, <a href="#page_100">100</a>.<br />
-
-Warham, Archbishop (tomb), <a href="#page_27">27</a>.<br />
-
-Wars of the Roses, <a href="#page_361">361</a>.<br />
-
-Watching Chamber, <a href="#page_19">19</a>, <a href="#page_25">25</a>, <a href="#page_387">387</a>.<br />
-
-Wat Tyler’s Rebellion, <a href="#page_361">361</a>, <a href="#page_362">362</a>.<br />
-
-Watts, Richard, <a href="#page_41">41</a>.<br />
-
-Waxhouse Gate, <a href="#page_366">366</a>.<br />
-
-<span class="pagenum"><a name="page_473" id="page_473">{473}</a></span>Waxworks (Westminster Abbey), <a href="#page_436">436-437</a>.<br />
-
-Waynflete, Bishop, <a href="#page_53">53</a>.<br />
-
-Well, Sacred (Winchester), <a href="#page_65">65</a>.<br />
-
-Well of St. Thomas, <a href="#page_31">31</a>.<br />
-
-Wellington, <a href="#page_411">411</a>, <a href="#page_412">412</a>.<br />
-
-Wells, <a href="#page_107">107-133</a>.<br />
-
-West Door:&mdash;Durham, <a href="#page_242">242</a>;<br />
-<span style="margin-left: 1em;">Lichfield, <a href="#page_206">206</a>;</span><br />
-<span style="margin-left: 1em;">Rochester, <a href="#page_38">38-39</a>.</span><br />
-
-West End (Worcester), <a href="#page_190">190</a>.<br />
-
-West Front:&mdash;Bath, <a href="#page_134">134</a>, <a href="#page_136">136</a>;<br />
-<span style="margin-left: 1em;">Bristol, <a href="#page_140">140</a>;</span><br />
-<span style="margin-left: 1em;">Canterbury, <a href="#page_11">11</a>;</span><br />
-<span style="margin-left: 1em;">Chester, <a href="#page_217">217</a>;</span><br />
-<span style="margin-left: 1em;">Chichester, <a href="#page_70">70</a>;</span><br />
-<span style="margin-left: 1em;">Durham, <a href="#page_233">233</a>;</span><br />
-<span style="margin-left: 1em;">Exeter, <a href="#page_92">92</a>;</span><br />
-<span style="margin-left: 1em;">Ely, <a href="#page_338">338</a>;</span><br />
-<span style="margin-left: 1em;">Gloucester, <a href="#page_155">155-156</a>;</span><br />
-<span style="margin-left: 1em;">Lichfield, <a href="#page_204">204-205</a>;</span><br />
-<span style="margin-left: 1em;">Lincoln, <a href="#page_290">290-291</a>;</span><br />
-<span style="margin-left: 1em;">Norwich, <a href="#page_351">351</a>;</span><br />
-<span style="margin-left: 1em;">Peterborough, <a href="#page_324">324-325</a>;</span><br />
-<span style="margin-left: 1em;">Ripon, <a href="#page_250">250</a>, <a href="#page_251">251</a>;</span><br />
-<span style="margin-left: 1em;">Rochester, <a href="#page_38">38</a>;</span><br />
-<span style="margin-left: 1em;">Southwell, <a href="#page_314">314</a>;</span><br />
-<span style="margin-left: 1em;">St. Paul’s, <a href="#page_401">401</a>;</span><br />
-<span style="margin-left: 1em;">Westminster Abbey, <a href="#page_426">426</a>;</span><br />
-<span style="margin-left: 1em;">Winchester, <a href="#page_51">51</a>;</span><br />
-<span style="margin-left: 1em;">Wells, <a href="#page_113">113</a>, <a href="#page_114">114</a>;</span><br />
-<span style="margin-left: 1em;">York, <a href="#page_267">267-268</a>.</span><br />
-
-West Tower (Ely), <a href="#page_338">338</a>.<br />
-
-West Window:&mdash;Bristol, <a href="#page_142">142</a>;<br />
-<span style="margin-left: 1em;">Canterbury, <a href="#page_13">13</a>, <a href="#page_14">14</a>;</span><br />
-<span style="margin-left: 1em;">Chichester, <a href="#page_70">70</a>;</span><br />
-<span style="margin-left: 1em;">Gloucester, <a href="#page_162">162</a>;</span><br />
-<span style="margin-left: 1em;">Lichfield, <a href="#page_205">205</a>;</span><br />
-<span style="margin-left: 1em;">Lincoln, <a href="#page_293">293-294</a>;</span><br />
-<span style="margin-left: 1em;">Peterborough, <a href="#page_327">327</a>;</span><br />
-<span style="margin-left: 1em;">Rochester, <a href="#page_40">40-41</a>;</span><br />
-<span style="margin-left: 1em;">Wells, <a href="#page_120">120</a>;</span><br />
-<span style="margin-left: 1em;">Westminster Abbey, <a href="#page_430">430</a>;</span><br />
-<span style="margin-left: 1em;">Winchester, <a href="#page_51">51</a>;</span><br />
-<span style="margin-left: 1em;">York, <a href="#page_275">275</a>.</span><br />
-
-West, Benjamin, <a href="#page_43">43</a>, <a href="#page_59">59</a>.<br />
-
-Western Porch (Manchester), <a href="#page_222">222</a>.<br />
-
-Western Transept:&mdash;Lincoln, <a href="#page_303">303</a>;<br />
-<span style="margin-left: 1em;">Peterborough, <a href="#page_327">327</a>.</span><br />
-
-Westminster Abbey, <a href="#page_78">78</a>, <a href="#page_414">414</a>, <a href="#page_425">425-443</a>.<br />
-
-Wheathampstead, John de, <a href="#page_365">365</a>.<br />
-
-Wheel of Fortune, <a href="#page_42">42</a>.<br />
-
-<span class="pagenum"><a name="page_474" id="page_474">{474}</a></span>Whispering Gallery:&mdash;Gloucester, <a href="#page_155">155</a>, <a href="#page_164">164</a>;<br />
-<span style="margin-left: 1em;">St. Paul’s, <a href="#page_404">404</a>, <a href="#page_407">407</a>, <a href="#page_410">410</a>.</span><br />
-
-White Church, <a href="#page_234">234</a>.<br />
-
-Winchester, <a href="#page_46">46-65</a>;<br />
-<span style="margin-left: 1em;">burials in, <a href="#page_63">63</a>;</span><br />
-<span style="margin-left: 1em;">coronations in, <a href="#page_49">49-50</a>.</span><br />
-
-Winchester Historical Associations, <a href="#page_49">49-50</a>, <a href="#page_58">58</a>.<br />
-
-William the Conqueror, <a href="#page_235">235</a>.<br />
-
-William, Earl of Dudley (effigy), <a href="#page_198">198</a>.<br />
-
-William, English, <a href="#page_4">4</a>, <a href="#page_18">18</a>, <a href="#page_25">25</a>, <a href="#page_36">36</a>.<br />
-
-William, Fitzherbert (tomb), <a href="#page_263">263</a>.<br />
-
-William of Hatfield (tomb), <a href="#page_274">274</a>.<br />
-
-William de Hoo, <a href="#page_36">36</a>, <a href="#page_43">43</a>, <a href="#page_44">44</a>.<br />
-
-William of Malmsbury, <a href="#page_263">263</a>.<br />
-
-William Rufus, <a href="#page_47">47</a>, <a href="#page_55">55-56</a>, <a href="#page_58">58</a>, <a href="#page_157">157</a>, <a href="#page_359">359</a>, <a href="#page_425">425</a>.<br />
-
-William of Sens, <a href="#page_4">4</a>, <a href="#page_12">12</a>, <a href="#page_15">15</a>, <a href="#page_18">18</a>, <a href="#page_25">25</a>, <a href="#page_36">36</a>.<br />
-
-William of St. Carileph, <a href="#page_234">234</a>.<br />
-
-William of Trumpington, <a href="#page_363">363</a>, <a href="#page_364">364</a>, <a href="#page_367">367</a>.<br />
-
-William of Wykeham, <a href="#page_48">48</a>, <a href="#page_49">49</a>, <a href="#page_51">51</a>, <a href="#page_53">53</a>.<br />
-
-William La Zouche, <a href="#page_265">265</a>.<br />
-
-Window (Decorated):&mdash;Chichester, <a href="#page_68">68</a>;<br />
-<span style="margin-left: 1em;">Diamond Jubilee, <a href="#page_420">420</a>;</span><br />
-<span style="margin-left: 1em;">Edward IV. (Canterbury), <a href="#page_5">5</a>, <a href="#page_26">26-27</a>;</span><br />
-<span style="margin-left: 1em;">Edward VII., <a href="#page_410">410</a>;</span><br />
-<span style="margin-left: 1em;">Flamboyant (Oxford), <a href="#page_390">390</a>;</span><br />
-<span style="margin-left: 1em;">South (St. Saviour’s), <a href="#page_421">421</a>.</span><br />
-
-Windows:&mdash;Bath, <a href="#page_136">136</a>, <a href="#page_137">137</a>, <a href="#page_138">138</a>;<br />
-<span style="margin-left: 1em;">Bristol, <a href="#page_142">142</a>, <a href="#page_144">144</a>, <a href="#page_145">145</a>, <a href="#page_146">146</a>, <a href="#page_148">148</a>;</span><br />
-<span style="margin-left: 1em;">Canterbury, <a href="#page_11">11</a>, <a href="#page_13">13</a>, <a href="#page_17">17</a>, <a href="#page_22">22-23</a>, <a href="#page_24">24</a>, <a href="#page_25">25</a>;</span><br />
-<span style="margin-left: 1em;">Carlisle, <a href="#page_229">229</a>;</span><br />
-<span style="margin-left: 1em;">Durham, <a href="#page_243">243</a>, <a href="#page_248">248</a>;</span><br />
-<span style="margin-left: 1em;">Ely, <a href="#page_340">340</a>, <a href="#page_346">346</a>, <a href="#page_347">347</a>;</span><br />
-<span style="margin-left: 1em;">Exeter, <a href="#page_94">94</a>, <a href="#page_97">97</a>;</span><br />
-<span style="margin-left: 1em;">Gloucester, <a href="#page_159">159</a>;</span><br />
-<span style="margin-left: 1em;">Hereford, <a href="#page_181">181</a>, <a href="#page_182">182</a>, <a href="#page_186">186-187</a>;</span><br />
-<span style="margin-left: 1em;">Lichfield, <a href="#page_209">209</a>, <a href="#page_212">212</a>;</span><br />
-<span style="margin-left: 1em;">Lincoln, <a href="#page_291">291</a>, <a href="#page_307">307</a>;</span><br />
-<span style="margin-left: 1em;">Norwalk, <a href="#page_356">356</a>;</span><br />
-<span class="pagenum"><a name="page_475" id="page_475">{475}</a></span><span style="margin-left: 1em;">Oxford, <a href="#page_379">379</a>, <a href="#page_380">380</a>;</span><br />
-<span style="margin-left: 1em;">Peterborough, <a href="#page_328">328</a>, <a href="#page_332">332</a>;</span><br />
-<span style="margin-left: 1em;">Rochester, <a href="#page_37">37</a>, <a href="#page_38">38</a>;</span><br />
-<span style="margin-left: 1em;">Salisbury, <a href="#page_84">84</a>, <a href="#page_87">87-88</a>;</span><br />
-<span style="margin-left: 1em;">Southwell, <a href="#page_314">314</a>, <a href="#page_315">315</a>, <a href="#page_316">316</a>;</span><br />
-<span style="margin-left: 1em;">St. Saviour’s, <a href="#page_423">423</a>, <a href="#page_424">424</a>;</span><br />
-<span style="margin-left: 1em;">Wells, <a href="#page_118">118</a>, <a href="#page_119">119</a>, <a href="#page_128">128</a>;</span><br />
-<span style="margin-left: 1em;">Westminster Abbey, <a href="#page_430">430</a>;</span><br />
-<span style="margin-left: 1em;">Winchester, <a href="#page_58">58</a>;</span><br />
-<span style="margin-left: 1em;">York, <a href="#page_276">276-279</a>.</span><br />
-
-Wolsey, Thomas, <a href="#page_266">266</a>, <a href="#page_316">316</a>, <a href="#page_375">375</a>, <a href="#page_379">379</a>, <a href="#page_412">412</a>.<br />
-
-Worcester, <a href="#page_188">188-199</a>.<br />
-
-Wordsworth, Bishop (tomb), <a href="#page_301">301</a>.<br />
-
-Wren, Bishop, <a href="#page_340">340</a>.<br />
-
-<span class="pagenum"><a name="page_476" id="page_476">{476}</a></span>Wren, Sir C., <a href="#page_69">69</a>, <a href="#page_78">78</a>, <a href="#page_85">85</a>, <a href="#page_307">307</a>, <a href="#page_340">340</a>, <a href="#page_375">375</a>, <a href="#page_396">396</a>, <a href="#page_397">397</a>, <a href="#page_403">403</a>, <a href="#page_405">405-406</a>, <a href="#page_412">412</a>, <a href="#page_426">426</a>.<br />
-
-Wulstan, <a href="#page_153">153</a>, <a href="#page_188">188</a>, <a href="#page_189">189</a>.<br />
-
-Wyatt, <a href="#page_78">78</a>, <a href="#page_84">84</a>, <a href="#page_175">175</a>, <a href="#page_237">237</a>, <a href="#page_248">248</a>.<br />
-
-Wyvill, Bishop (brass), <a href="#page_85">85-86</a>.<br />
-
-Wych, Richard de la, <a href="#page_68">68</a>.<br />
-
-<br />
-<a name="Y" id="Y"></a>York, <a href="#page_202">202</a>, <a href="#page_260">260-283</a>.<br />
-
-York and Lichfield, <a href="#page_202">202</a>.<br />
-
-Young, Sir John (tomb), <a href="#page_147">147</a>.<br />
-
-Ythamar, <a href="#page_33">33</a>.<br />
-
-<br />
-<a name="Z" id="Z"></a>Zouch (tomb), <a href="#page_390">390</a>.<br />
-</p>
-
-<div class="footnotes"><p class="cb">FOOTNOTES:</p>
-
-<div class="footnote"><p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> The dog-tooth being in the form of a four-leaved flower
-with a projecting centre, has caused some authorities to think it
-derived from the dog-tooth violet.&mdash;(E. S.)</p></div>
-
-<div class="footnote"><p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> The Regale of France, the glory of the Shrine, was long
-worn by Henry himself in the ring which after the manner of those times
-encircled his enormous thumb. It last appears in history among the
-“diamonds” of the golden collar of his daughter, Queen Mary.</p></div>
-
-<div class="footnote"><p><a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span></a> <a href="#page_4">See page 4</a>.</p></div>
-
-<div class="footnote"><p><a name="Footnote_4_4" id="Footnote_4_4"></a><a href="#FNanchor_4_4"><span class="label">[4]</span></a> <a href="#page_120">See p. 120.</a></p></div>
-
-<div class="footnote"><p><a name="Footnote_5_5" id="Footnote_5_5"></a><a href="#FNanchor_5_5"><span class="label">[5]</span></a> Canterbury, Rochester, Winchester, Worcester, Gloucester.</p></div>
-
-<div class="footnote"><p><a name="Footnote_6_6" id="Footnote_6_6"></a><a href="#FNanchor_6_6"><span class="label">[6]</span></a> Similar stalls, or carrels, existed at Durham.</p></div>
-
-<div class="footnote"><p><a name="Footnote_7_7" id="Footnote_7_7"></a><a href="#FNanchor_7_7"><span class="label">[7]</span></a> The cloister, of which the inner walls only remain, itself
-extended beyond this passage eastward.</p></div>
-
-<div class="footnote"><p><a name="Footnote_8_8" id="Footnote_8_8"></a><a href="#FNanchor_8_8"><span class="label">[8]</span></a> A triforium in purely Perpendicular buildings is rare.</p></div>
-
-<div class="footnote"><p><a name="Footnote_9_9" id="Footnote_9_9"></a><a href="#FNanchor_9_9"><span class="label">[9]</span></a> See pp. <a href="#page_99">99</a>, <a href="#page_101">101</a>.</p></div>
-
-</div>
-
-<hr class="full" />
-
-
-
-
-
-
-
-<pre>
-
-
-
-
-
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