,how to ,visit the ,english ,cathedrals ,,books ,,by ,,miss ,,singleton ,,turrets1 ,,towers1 ,,and ,,temples4 ,great ,buildings of the ,world ,described by ,great ,writers4 ,,great ,,pictures4 ,described by ,great ,writers4 ,,wonders ,,of ,,nature4 ,described by ,great ,writers4 ,,romantic ,,castles ,,and ,,palaces4 ,described by ,great ,writers4 ,,famous ,,paintings4 ,described by ,great ,writers4 ,,historic ,,buildings4 ,described by ,great ,writers4 ,,famous ,,women4 ,described by ,great ,writers4 ,,great ,,portraits4 ,described by ,great ,writers4 ,,historic ,,buildings ,,of ,,america4 ,described by ,great ,writers4 ,,historic ,,landmarks ,,of ,,america4 ,described by ,great ,writers4 ,,great ,,rivers ,,of ,,the ,,world4 ,described by ,great ,writers4 ,,famous ,,cathedrals4 ,described by ,great ,writers4 ,,famous ,,sculpture4 ,described by ,great ,writers4 ,,modern ,,paintings4 ,described by ,great ,writers4 ,,wonders ,,of ,,the ,,world4 ,described by ,great ,writers4 ,,paris4 ,described by ,great ,writers4 ,,london4 ,described by ,great ,writers4 ,,russia4 ,described by ,great ,writers4 ,,japan4 ,described by ,great ,writers4 ,,venice4 ,described by ,great ,writers4 ,,holland4 ,described by ,great ,writers4 ,,rome4 ,described by ,great ,writers4 ,,germany4 ,described by ,great ,writers4 ,,switzerland4 ,described by ,great ,writers4 ,,turkey ,,and ,,the ,,balkan ,,states4 ,described by ,great ,writers4 ,,florence4 ,described by ,great ,writers4 ,,egypt4 ,described by ,great ,writers4 ,,china4 ,described by ,great ,writers4 ,,love ,,in ,,literature ,,and ,,art4 ,,the ,,golden ,,rod ,,fairy ,,book4 ,,the ,,wild ,,flower ,,fairy ,,book4 ,a ,,guide ,,to ,,the ,,opera4 ,a ,,guide ,,to ,,modern ,,opera4 ,,dutch ,,new ,,york4 ,manners and ,customs of ,new ,amsterdam in the ,seventeenth ,century4 ,,how ,,to ,,visit ,,the ,,great ,,picture ,,galleries4 ,,how ,,to ,,visit ,,the ,,english ,,cathedrals4 ,illustration3 ,,salisbury3 ,,cloisters ,how to ,visit ,the ,english ,cathedrals ,by ,esther ,singleton ,member of the ,royal ,society of ,arts ,with ,numerous ,illustrations ,illustration ,new ,york ,dodd1 ,mead and ,company #aiab ,,copyright1 #aiab1 ,,by ,,dodd1 ,,mead ,,and ,,company ,published ,april1 #aiab ,,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 ,england4 ,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 cathedrals1 or with the charming recollections of travel that others have given the world from time to time4 ,my plan has been merely to present in a single volume concise descriptions of the great ecclesiastical buildings of ,england1 together with the story of their construction and historical associations supplemented with criticisms from the best authorities of their most striking architectural and artistic features4 ,these authorities are duly acknowledged by initials4--,e4 ,s4 ,,new ,,york1 ,march1 #aiab4 ,,styles ,,of ,,english ,,architecture ,the cathedral usually grew architecturally from age to age1 or rose like a phnix from the ashes of an earlier building4 8,not only is there built into a medival cathedral the accumulated thought of all the men who had occupied themselves with building during the preceding centuries1 but you have the dream and aspiration of the bishop1 abbot1 or clergy for whom it was designed2 the master mason's skilled construction2 the work of the carver1 the painter1 the glazier1 the host of men who1 each in his own craft1 knew all that had been done before them1 and had spent their lives in struggling to surpass the works of their forefathers4 ,it is more than this3 there is not one shaft1 one moulding1 one carving1 not one chisel-mark in such a building1 that was not designed specially for the place where it is found1 and which was not the best that the experience of the age could invent for the purpose to which it is applied2 nothing was borrowed2 and nothing that was designed for one purpose was used for another4 ,a thought or a motive peeps out through every joint2 you may wander in such a building for weeks or for months together1 and never know it all40--7,fergusson47 ,most ,english cathedrals are built in the form of a ,latin cross1 the arms of which are called the transepts4 ,over their point of intersection the central tower is usually erected4 ,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 choir4 ,behind1 or east of the choir1 is situated the ,lady-,chapel1 or ,chapel of the ,virgin1 which sometimes contained additional altars to other saints4 ,along the aisles we frequently find side chapels1 containing tombs and chantries of dignitaries1 local saints and benefactors4 ,the nave usually consists of the main arcade2 the triforium 7which opens into a passage or gallery72 and the clerestory4 ,the triforium is the arcaded story between the lower range of piers and arches and the clerestory4 ,the name is supposed to be derived from tres and fores--three doors or openings1 for such is often the number of arches in each bay4 ,professor ,willis1 however1 believed that the word is traced to a monkish ,latin word for thoroughfare4 ,clerestory1 or clearstory1 is the upper story of the nave of the church above the aisles and pierced with windows4 ,the windows of the clerestories of ,norman work are less important than in the later styles4 ,they become larger in the ,early ,english period and more important in the ,decorated1 always lengthening as the triforium diminishes4 ,sometimes the choir occupies two bays of the nave1 but usually begins with the screen placed on the east side of the central tower4 ,in olden days this was the rood-screen1 so called because a large crucifix1 or rood1 stood on it4 ,all roods were destroyed during the ,reformation4 ,at the present time the organ is frequently placed here2 and there is diversity of opinion about the artistic propriety of its position4 ,entering the choir we see the high altar often with a reredos 7,french l'arrire dos1 i4e41 embroidered hangings74 ,along the sides of the choir are the seats1 or stalls1 usually of carved oak1 surmounted with tracery1 arches and pinnacles4 ,among these is the bishop's seat1 or throne4 ,frequently the stalls exhibit beautiful tabernacle-work and the misereres 7misricorde71 which turn up and afford support to a person in a position between sitting and standing1 are generally carved with grotesque and quaint figures and caricatures4 ,vestries for the use of priests and choristers are often situated near the choir4 ,at the back of the choir 7the retro-choir7 was placed the chief shrine1 where relics of the great saint of the cathedral were kept and to which the streams of pilgrims passed4 ,in many churches the steps and pavements are worn away4 ,near the shrine was a watching-chamber1 where a monk guarded the shrine and its treasures4 ,further east the ,lady-,chapel was situated1 though in a few cases it is found on the north side1 e4 g4 ,bristol and ,ely4 8,in ,italy the bones of a saint or martyr were almost invariably deposited either beneath or immediately in front of the altar4 ,but in the ,gothic nations this original notion of the burial-place of the ,saints became obscured1 in the increasing desire to give them a more honourable place4 ,according to the precise system of orientation adopted by the ,german and ,celtic nations1 the eastern portion of the church was in those countries regarded as pre-eminently sacred4 ,thither the high altar was generally moved1 and to it the eyes of the congregation were specially directed4 ,and in the eagerness to give a higher and holier even than the highest and holiest place to any great saint1 on whom popular devotion was fastened1 there sprang up in most of the larger churches during the ,thirteenth ,century a fashion of throwing out a still further eastern end1 in which the shrine or altar of the saint might be erected1--and to which1 therefore1 not merely the gaze of the whole congregation1 but of the officiating priest himself1 even as he stood before the high altar1 might be constantly turned4 ,thus1 according to ,fuller's quaint remark1 the superstitious reverence for the dead reached its highest pitch1 #8the porch saying to the churchyard1 the church to the porch1 the chancel to the church1 the east end to all--8,stand further off1 ,i am holier than thou40' ,this notion happened to coincide in point of time with the burst of devotion towards the ,virgin ,mary1 which took place under the ,pontificate of ,innocent ,,iii41 during the first years of the ,thirteenth ,century2 and1 therefore1 in all cases where there was no special local saint1 this eastern end was dedicated to ,our ,lady and the chapel thus formed was called ,the ,lady-,chapel4 ,such was the case in the ,cathedrals of ,salisbury1 ,norwich1 ,hereford1 ,wells1 ,gloucester and ,chester4 ,but when the popular feeling of any city or neighbourhood had been directed to some indigenous object of devotion1 this at once took the highest place1 and the ,lady-,chapel1 if any there were1 was thrust down to a less honourable position4 ,of this arrangement1 the most notable instances in ,england are1 or were 7for in many cases the very sites have perished71 the shrines of ,st4 ,alban in ,hertfordshire1 ,st4 ,edmund at ,bury1 ,st4 ,edward in ,westminster ,abbey1 ,st4 ,cuthbert at ,durham1 and ,st4 ,etheldreda at ,ely40--7,a4 ,p4 ,s47 ,sedilia1 seats used by the priest1 deacon and sub-deacon during the pauses in the mass1 are generally cut into the south walls of churches1 separated by shafts or species of mullions and surmounted by canopies1 pinnacles or other elaborate adornments4 ,the piscina and aumbry are sometimes attached to them4 ,the piscina is a hollowed out niche with drain to carry away the water used in the ablutions during mass4 ,after the ,thirteenth ,century there is scarcely an altar in ,england without one4 ,sometimes the piscina is in the form of a double niche4 ,beneath the cathedral there is often a crypt--in reality a second church1 often of great size4 8,we may be tempted to ask1 what is the purpose of a crypt8 ,some have said that it was merely meant to give dignity to the church1 or to avoid the damp4 ,it appears1 however1 to be a custom taken from the very early ,christian churches at ,rome1 which were in many cases built over the tomb of a martyr1 and had therefore a lower and an upper church4 ,indeed if we imagine the central portion of the choir steps removed so that the nave floor might extend without interruption to the crypt1 and a clear view of the crypt be open to the nave1 we should have an arrangement precisely similar to that of several ,italian churches1 notably that of ,san ,zenone1 at ,verona40--7,f4 and ,r47 ,as a rule1 the monastic buildings1 refectory1 dormitory1 infirmary1 etc41 were built on the south side1 and here were also the cloisters1 those pleasant walks and seats for exercise and recreation surrounding a peaceful quadrangle4 ,the slype1 or passage on the east side1 led to the monks' cemetery4 ,in the chapter-house the monks transacted their business4 ,the chapter-house1 often one of the richest and most beautiful portions of the cathedral1 may be of any form4 ,those of ,canterbury1 ,exeter1 ,chester and ,gloucester are oblong2 those of ,salisbury1 ,wells1 ,lincoln1 ,york and ,westminster are octagonal2 and that of ,worcester is circular4 ,at ,salisbury1 ,wells1 ,lincoln and ,worcester a single massive shaft supports the vault4 ,in examining a cathedral we must remember that many changes have taken place since the first stone was laid4 ,if the monks were fortunate enough to have a full treasury1 they kept up with the architectural styles4 ,they would pull down the old nave1 or choir1 or transepts1 and erect new buildings1 lower the pitch of the roof1 add a new porch or door1 or insert new windows in the ancient walls4 ,fires were frequent and lightning and winds often played havoc with towers and spires4 ,such manifestations of the displeasure of the elements or saints necessitated rebuilding2 and1 as a rule1 this rebuilding was undertaken in the latest fashion4 ,therefore1 we find in most cathedrals specimens of many styles of architecture4 8,as we see our cathedrals now1 the view that meets us differs much from that which would have greeted us in medival times4 ,then all was ablaze with colours4 ,through the beautiful ancient glass the light gleamed on tints of gorgeous hues1 and rich tapestries and hangings1 on walls bedight with paintings1 and every monument1 pier and capital were aglow with coloured decorations4 ,we have lost much1 but still much remains4 ,at the ,reformation the avaricious courtiers of ,henry ,,viii4 plundered our sacred shrines1 and carried off under the plea of banishing superstition vast stores of costly plate and jewels1 tapestry and hangings4 ,in the ,civil ,war time riotous1 fanatical soldiers wrought havoc everywhere1 hacking beautifully-carved tombs and canopies1 destroying brasses1 and mutilating all that they could find4 ,ages of neglect have also left their marks upon our churches2 and above all the hand of the ignorant and injudicious #8restorer' has fallen heavily on these legacies of ,gothic art1 destroying much that was of singular beauty1 and replacing it by the miserable productions of early ,nineteenth ,century fabrication40--7,p4 ,h4 ,d47 ,and now1 in order to make our visits more enjoyable1 let us refresh our memories with a slight rsum of the four leading styles of ,english ,architecture4 ,the ,pointed ,arch appeared almost simultaneously in all the civilized countries of ,europe4 ,it was probably discovered by the ,crusaders in the ,holy ,land and brought home by them4 ,none of its charming and beautiful accessories1 however1 accompanied it2 the graceful clusters of pillars1 the tracery and mullions were to be developed by the ,europeans4 ,one of the first to use the word ,gothic to define ,pointed ,architecture was ,sir ,henry ,wotton2 and it seems that the word was finally determined as a definition by ,sir ,christopher ,wren4 ,an ,english critic says3 8,the pointed arch was a graft on the ,romanesque1 ,lombard and ,byzantine architecture of ,europe1 just as the circular arch of the ,romans had been on the columnar ordinances of the ,greeks2 but with a widely different result4 ,the amalgamation in the latter case destroyed the beauty of both the stock and the scion2 while in the former the stock lent itself to the modifying influence of its parasitical nursling1 gradually gave up its heavy1 dull and cheerless forms1 and was eventually lost in its beautiful offspring1 as the unlovely caterpillar is in the gay and graceful butterfly40 ,although ,pointed or ,gothic ,architecture developed with almost equal vigour in every country of ,europe1 it reached its greatest perfection in ,france4 ,many of the finest earliest buildings in ,england were1 to a great extent1 ,french in their origin1 or development2 but1 in the course of time1 ,english ,gothic ,architecture became very original4 ,in this country 8,gothic architecture seems to have attained its ultimate perfection in the ,fourteenth ,century1 at which period everything belonging to it was conceived and executed in a free and bold spirit1 all the forms were graceful and natural1 and all the details of foliage and other sculptures were copied from living types1 with a skill and truth of drawing which has never been surpassed4 ,conventional forms were in a great measure abandoned1 and it seems to have been rightly and truly considered that the fittest monuments for the ,house of ,god were faithful copies of ,his works2 and so long as this principle continued to be acted on1 so long did ,gothic architecture remain pure4 ,but in the succeeding century1 under the later ,henrys and ,edwards1 a gradual decline took place3 everything was moulded to suit a preconceived idea1 the foliage lost its freshness1 and was moulded into something of a rectangular form2 the arches were depressed1 the windows lowered1 the flowing curves of the tracery converted into straight lines1 panelling profusely used1 and the square form everywhere introduced2 until at length the prevalence of the horizontal line led easily and naturally to the ,renaissance of the classic styles1 though in an impure and much degraded form4 ,the mixture of the two styles first appears in the time of ,henry ,,vii41--a period in which 7though remarkable for the beauty and delicacy of its details7 the grand conceptions of form and proportion of the previous century seem to have been lost4 ,heaviness or clumsiness of form1 combined with exquisite beauty of detail1 are the characteristics of this era40--7,j4 ,h4 ,p47 ,the styles are generally classified as follows3 ,i4 ,norman1 or ,romanesque2 ,,ii4 ,early ,english2 ,,iii4 ,decorated2 ,,iv4 ,perpendicular4 8,soon after the ,norman ,conquest a great change took place in the art of building in ,england4 ,on consulting the history of our cathedral churches1 we find that in almost every instance the church was rebuilt from its foundations by the first ,norman bishop1 either on the same site or on a new one2 sometimes1 as at ,norwich and ,peterborough1 the cathedral was removed to a new town altogether1 and built on a spot where there was no church before2 in other cases1 as at ,winchester1 the new church was built near the old one1 which was not pulled down until after the relics had been translated with great pomp from the old church to the new4 ,in other instances1 as in ,york and ,canterbury1 the new church was erected on the site of the old one1 which was pulled down piecemeal as the new work progressed4 ,these new churches were in all cases on a much larger and more magnificent scale than the old4 8,strictly speaking1 the ,norman is one of the ,romanesque styles1 which succeeded to the old ,roman2 but the ,gothic was so completely developed from the ,norman that it is impossible to draw a line of distinction between them2 it is also convenient to begin with the ,norman1 because the earliest complete buildings that we have in this country are of the ,norman period1 and the designs of the ,norman architects1 at the end of the ,eleventh ,century and the beginning of the ,twelfth1 were on so grand a scale that many of our finest cathedrals are built on the foundations of the churches of that period1 and a great part of the walls are frequently found to be really ,norman in construction1 although their appearance is so entirely altered that it is difficult at first to realise this2 for instance1 in the grand cathedral of ,winchester1 ,william of ,wykeham did not rebuild it1 but so entirely altered the appearance that it is now properly considered as one of the earliest examples of the ,english ,perpendicular style1 of which he was the inventor2 this style is entirely confined to ,england2 it is readily distinguished from any of the ,continental styles by the perpendicular lines in the tracery of the windows1 and in the panelling on the walls2 in all the foreign styles these lines are flowing or flame-like1 and for that reason they are called ,flamboyant2 a few windows with tracery of that style are met with in ,england1 but they are quite exceptions40--7,j4 ,h4 ,p47 ,the works of this period were colossal4 ,peterborough was begun in #aaag and finished in #aadc2 the nave of ,norwich was built between #aabb and #aade2 ,canterbury was finished in #aacj2 and part of ,rochester in the same year4 ,in the time of ,william ,rufus all the ,saxon cathedrals were being rebuilt on a larger scale4 ,from this reign date the crypt of ,worcester2 crypt1 arches of the nave and part of the transepts of ,gloucester2 the choir and transepts of ,durham2 and the choir and transepts of ,norwich4 ,in the reign of ,henry ,i4 the choirs of ,ely1 ,rochester1 ,norwich and ,canterbury were dedicated2 and among the new works begun were the nave of ,durham and the choir of ,peterborough4 8,the piers in the earlier period are either square solid masses of masonry1 or recessed in the angles in the same manner as the arches1 or they are plain1 round massive pillars1 with frequently only an impost of very simple character1 but often with capitals4 8,the capitals in early work are either plain1 cubical masses with the lower angles rounded off1 forming a sort of rude cushion shape1 as at ,winchester1 or they have a sort of rude volute1 apparently in imitation of the ,ionic1 cut upon the angles2 and in the centre of each face a plain square block in the form of the ,tau cross is left projecting1 as if to be afterwards carved4 ,the scalloped capital belongs to rather a later period than the plain cushion or the rude ,ionic1 and does not occur before the time of ,henry ,i4 ,this form of capital was perhaps the most common of all in the first half of the ,twelfth ,century1 and continued in use to the end of the ,norman style4 ,the capitals were frequently carved at a period subsequent to their erection1 as in the crypt at ,canterbury1 where some of the capitals are finished1 others half-finished1 with two sides blank and others not carved at all4 ,in later ,norman work the capitals are frequently ornamented with foliage1 animals1 groups of figures1 etc41 in endless variety4 ,the abacus throughout the style is the most characteristic member1 and will frequently distinguish a ,norman capital when other parts are doubtful4 8,norman ornaments are of endless variety2 the most common is the chevron1 or zigzag1 and this is used more and more abundantly as the work gets later2 it is found at all periods even in ,roman work of the ,third ,century and probably earlier1 but in all early work it is used sparingly1 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 late4 ,the sunk star is a very favourite ornament throughout the style2 it occurs on the abacus of the capitals in the chapel of the ,white ,tower1 ,london1 and it seems to have been the forerunner of the tooth-ornament4 ,the billet is used in the early part of ,peterborough1 but discontinued in the later work1 and does not often occur in late work4 ,it is sometimes square1 more frequently rounded4 ,the beak-head1 the cat's-head1 the small medallions with figures and the signs of the zodiac1 all belong to the later ,norman period4 ,in the later ,norman mouldings a mixture of ,byzantine character is seen on the ornaments as at ,durham4 ,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 ,crusaders1 who had returned4 ,this is also one of the characteristics of the period of the ,transition40--7,j4 ,h4 ,p47 ,the next period--that of the ,transition--in which the science of vaulting received great impetus and construction became more elegant and graceful in line1 is splendidly exhibited at ,canterbury in the work of the ,french ,william of ,sens and his successor1 the ,english ,william4 ,christ ,church ,cathedral1 ,oxford1 is also a fine example of late ,norman and ,transitional work4 ,the ,early ,english ,style covers the reigns of ,richard ,i41 ,john and ,henry ,,iii41 from #aahi to #abgb4 ,it is known also as the ,first ,pointed1 or ,lancet1 and is a purely ,english variety of ,gothic ,architecture4 ,the developments were always in the line of greater lightness and elegance4 ,there was also throughout this period a great use of delicate shafts of polished ,purbeck marble for doorways1 windows and arcades4 ,canterbury1 ,rochester and ,lincoln are famous examples4 ,canterbury was completed in #aahd2 ,rochester in #abja-abbg2 and much of ,lincoln was finished 7especially the choir and eastern transept with its chapels7 before #abjj4 ,salisbury ,cathedral1 however1 is usually considered as ,the ,type of the ,early ,english style1 because it is less mixed than any other building of the same importance4 ,it was commenced in #abbj and consecrated in #abeh4 ,the choir and apse of ,westminster ,abbey and the north transept of ,york ,minster are also good examples of this period4 ,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 afterwards4 8,new ideas and a new life seem to have been given to architecture1 and the builders appear to have revelled in it even to exuberance and excess1 and it was necessary afterwards in some degree to soften down and subdue it4 ,at no period has #8the principle of verticality' been so completely carried out as in the ,early ,english style1 and even in some of the earliest examples of it40--7,j4 ,h4 ,p47 8,the characteristic elegance of the general architectural design was carried out in all the details4 ,the mouldings were delicately rounded and alternated with hollows so drawn as to give here delicate and there most forcible effects of light and shade4 ,thus the dark line produced by marble in a pier was continued by means of a dark shadow in the arch2 and without considerable knowledge of the science of moulding1 it is impossible to do justice to this part of the ,english ,early ,pointed work1 which has never been surpassed1 if1 indeed1 it has ever been equalled at any period elsewhere4 ,the groined roofs were still simple in design1 but a ridge rib was often added to the necessary transverse and diagonal ribs of the previous period4 ,this gave a certain hardness of line to the vault2 it was the first step to the more elaborate and later systems of vaulting1 and was soon followed by the introduction of other ribs on the surface of the vaulting cells4 ,few works are more admirable than some of the towers and spires of this period40--7,g4 ,s4 ,s47 ,the characteristic of lancet windows applies only to the early part of the style from #aaij to about #abbj or #abcj4 ,after that time circles in the head of the windows of two or more lights came in1 and the circles became foliated by about #abcj1 and continued to #abfj or #abgj1 when the ,decorated style began to come into fashion4 8,the windows in the earlier examples are plain1 lancet-shaped and generally narrow2 sometimes they are richly moulded within and without1 but frequently have nothing but a plain chamfer outside and a wide splay within4 ,in the ,early ,english style we have1 in the later examples1 tracery in the heads of the windows1 but it is almost invariably in the form of circles1 either plain or foliated1 and is constructed in a different manner from genuine ,decorated tracery4 8,at first the windows have merely openings pierced through the solid masonry of the head1 the solid portions thus left gradually becoming smaller and the openings larger1 until the solid parts are reduced to nearly the same thickness as the mullions2 but they are not moulded1 and do not form continuations of the mullions until we arrive at real ,decorated tracery4 ,this kind of tracery was called by ,professor ,willis plate tracery2 being in fact1 a plate of stone pierced with holes3 it is extensively used in early ,french work4 ,the more usual kind of tracery is called bar tracery1 to distinguish it from the earlier kind40--7,j4 ,h4 ,p47 ,doorways are generally pointed or trefoiled1 but sometimes round-headed1 and small doorways are frequently flat-headed1 with the angles corbelled in the form called the square-headed trefoil1 or the shouldered arch4 ,trefoiled arches are characteristic of this style4 ,arches are frequently1 but not always1 acutely pointed2 and in the more important buildings are generally richly moulded1 as in ,westminster ,abbey1 either with or without the tooth-ornament1 as the arches at ,york ,minster4 ,the pillars are of various forms1 frequently clustered2 but the most characteristic pillar of the style is the one with detached shafts1 which are generally of ,purbeck marble4 ,these are frequently very long and slender and only connected with the central shaft by the capital and base1 with or without one or two bands at intervals4 ,these bands sometimes consist of rings of copper gilt1 as in the choir of ,worcester ,cathedral1 and are sometimes necessary for holding together the slender shafts of ,purbeck marble4 ,the bases generally consist of two rounds1 the lowest one the largest1 both frequently filleted1 with a deep hollow between1 placed horizontally1 as at ,canterbury4 ,in pure ,early ,english work1 the upper member of the capital1 called the abacus1 is circular and consists1 in the earlier examples1 simply of two rounds1 the upper one the largest1 with a hollow between them2 but in later examples the mouldings are frequently increased in number and filleted4 ,mouldings are chiefly bold rounds1 with equally bold and deeply cut hollows1 which produce a strong effect of light and shade4 ,vaults are bolder than during the ,norman period and differ from succeeding styles by their greater simplicity1 as at ,salisbury4 ,in the earlier examples there are ribs on the angles of the groins only2 at a later period the vaulting becomes more complicated1 as at ,westminster4 ,there is a longitudinal rib1 and a cross rib along the ridge of the cross vaults1 and frequently also an intermediate rib on the surface of the vault4 ,the bosses are rare at first1 more abundant afterwards3 they are generally well worked and enriched with foliage4 ,english vaults are sometimes of wood only1 as in ,york ,minster1 and the cloisters at ,lincoln4 ,a vault is1 in fact1 a ceiling1 having always an outer roof over it4 ,there is a marked distinction in the construction of ,gothic vaults in ,england and ,france4 ,in ,england1 from the earliest period1 each stone is cut to fit its place2 in ,france the stones are cut square or rather oblong1 as in the walls1 and only wedged out by the thickness of the mortar at the back in the joints4 ,fan-tracery vaulting is peculiar to ,england1 and it begins1 in principle1 as early as in the cloister of ,lincoln about #abbj1 where the vault is of wood1 but the springings are of stone1 and cut to fit the ribs of the wooden vault4 ,buttresses project boldly1 and flying-buttresses become a prominent feature4 ,there is a fine example of a compound flying-buttress at ,westminster ,abbey1 which supports the vaults of the choir1 the triforium and the aisles and carries the thrust of the whole over the cloister to the ground4 ,early ,english towers are generally more lofty than the ,norman1 and their buttresses have a greater projection4 ,the spire is usually a noticeable feature4 ,the ,east ,end is usually square2 but sometimes terminates with the apse1 generally a half-octagon or a half-hexagon1 as at ,westminster ,abbey4 8,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 ,norman2 this consists of a small pyramid1 more or less acute1 cut into four leaves or petals meeting in the point1 but separate below as in ,chester ,cathedral4 ,when very acute1 and seen in profile1 it may be imagined to have somewhat the appearance of a row of dog's-teeth1 and from this it has been called the #8dog-tooth#a ornament1' or1 by some1 the shark's tooth ornament1 more commonly the tooth-ornament4 ,it is used with the greatest profusion on arches1 between clustered shafts1 on the architraves and jambs of doors1 windows1 piscinas and indeed in every place where such ornament can be introduced4 ,it is very characteristic of this style1 and begins quite at the commencement of the style1 as in ,st4 ,hugh's work at ,lincoln2 for though in the ,norman we find an approach to it1 in the ,decorated various modifications of it occur2 still the genuine tooth-ornament may be considered to belong exclusively to the ,early ,english4 8,another peculiarity consists of the foliage1 which differs considerably from the ,norman3 in the latter it has more or less the appearance of being imitated from that of the ,classic orders1 while in this it is entirely original4 ,its essential form seems to be that of a trefoil leaf1 but this is varied in such a number of ways that the greatest variety is produced4 ,it is used in cornices1 the bosses of groining1 the mouldings of windows and doorways1 and various other places1 but particularly in capitals to which it gives a peculiar and distinctive character4 ,the foliage of these capitals is technically called #8stiff-leaf foliage1' but this alludes only to the stiff stem or stalk of the leaf1 which rises from the ring of the capital2 the foliage itself is frequently as far removed from stiffness as any can be1 as for instance in the capitals of ,lincoln4 ,the stiff stalk is1 however1 a ready mark to distinguish the ,early ,english capital from that of the succeeding style4 ,we must bear in mind1 however1 that foliage is by no means an essential feature of the ,early ,english style2 many of our finest buildings1 such as ,westminster ,abbey1 have their capitals formed of a plain bell reversed1 with mouldings round the abacus like rings put upon it1 and round the neck4 8,the ornaments so well known by the name of crockets were first introduced in this style4 ,the name is taken from the shepherd's crook1 adopted by the bishops as emblematical of their office4 ,they occur at ,lincoln1 in ,st4 ,hugh's work1 the earliest example of this style1 and are there used in the unusual position of being in a vertical line between the detached shafts4 ,they are found in the same position also in the beautiful work of the west front of ,wells4 ,afterwards they were used entirely on the outside of pediments1 or in similar situations1 projecting from the face of the work1 or the outer surface of the moulding1 as in the very beautiful tomb of ,archbishop ,walter ,grey in ,york ,cathedral2 and they continued in use in the subsequent styles1 although their form and character gradually change with the style40--7,j4 ,h4 ,p47 ,the transition from the ,early ,english to the ,decorated was very gradual4 ,it took place during the reign of ,edward ,i4 ,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 anywhere4 ,the crosses erected by ,edward ,i4 at all places where the body of ,queen ,eleanor had rested1 on the march from ,lincolnshire to ,westminster ,abbey1 where she was buried1 are usually regarded as fine early examples of the ,decorated style4 ,easy attitudes and graceful draperies characterise the sculpture of human figures4 ,the ,decorated ,period dates from #acjj to #acgg4 ,it is also called the ,middle ,pointed1 ,geometrical ,pointed and the ,flowing1 or ,curvilinear1 and also the ,edwardian1 because it covers the reigns of ,edward ,i41 ,,ii4 and ,,iii4 ,exeter ,cathedral is a superb example of this style4 ,the nave of ,york ,minster and the lantern of ,ely are also noteworthy illustrations4 8,the general appearance of ,decorated buildings is at once simple and magnificent2 simple from the small number of parts1 and magnificent from the size of the windows1 and the easy flow of the lines of tracery4 ,in the interior of large buildings we find great breadth1 and an enlargement of the clerestory windows1 with a corresponding diminution of the triforium1 which is now rather a part of the clerestory opening than a distinct member of the division4 ,the roofing1 from the increased richness of the groining1 becomes an object of more attention4 ,on the whole the nave of ,york1 from the uncommon grandeur and simplicity of the design1 is certainly the finest example2 ornament is nowhere spared1 yet there is a simplicity which is peculiarly pleasing40--7,rickman47 8,the ,decorated style is distinguished by its large windows divided by mullions1 and the tracery either in flowing lines1 or forming circles1 trefoils and other geometrical figures1 and not running perpendicularly2 its ornaments are numerous and very delicately carved1 more strictly faithful to nature and more essentially parts of the structure than in any other style4 ,there is a very fine window with reticulated tracery and richly moulded in the south walk of the cloisters at ,westminster4 ,no rule whatever is followed in the form of the arch over windows in this style2 some are very obtuse1 others very acute and the ogee arch is not uncommon4 ,decorated tracery is usually divided into three general classes--geometrical1 flowing and flamboyant2 the variety is so great that many sub-divisions may be made1 but they were all used simultaneously for a considerable period4 ,the earliest ,decorated windows have geometrical tracery2 ,exeter ,cathedral is1 perhaps1 on the whole1 the best typical example of the early part of this style4 ,the fabric rolls are preserved1 and it is now evident that the existing windows are1 for the most part1 of the time of ,bishop ,quivil1 from #abgi to #abia4 ,in some instances windows with geometrical tracery have the mouldings and the mullions covered with the ball-flower ornament in great profusion1 even to excess2 these examples occur chiefly in ,herefordshire1 as at ,leominster2 and in ,gloucestershire1 as in the south aisle of the nave of the ,cathedral at ,gloucester3 they are for the most part1 if not entirely1 of the time of ,edward ,,ii4 ,what is called the netlike character of tracery1 from its general resemblance to a fisherman's net1 is very characteristic of this style at its best period1 about the middle of the ,fourteenth ,century4 ,square-headed windows are very common4 ,windows in towers are usually different from those in other parts of the church4 ,in the upper story1 where the bells are1 there is no glass2 in some parts of the country there is pierced stonework for keeping out the birds1 but more usually they are of wood only4 ,these are called sound-holes4 ,clerestory windows of this style are often small1 and either circular with quatrefoil cusps1 or trefoils or quatrefoils2 or the spherical triangle with cusps1 which forms an elegant window4 ,the clever manner in which these windows are splayed within and especially below1 to throw down the light1 should be noticed40--7,j4 ,h4 ,p47 ,the large rose-window1 so conspicuous a feature on the ,continent1 is rarely seen in ,england4 ,when it does occur it is usually found in the transept ends4 ,the ,east ,front generally consists of one large window at the end of the choir1 flanked by tall buttresses4 ,a smaller buttress appears at the end of each aisle4 ,the arrangement of the ,west ,front is the same1 with a doorway beneath the central window4 ,the towers of the ,decorated style are usually placed at the west end and are1 as a rule1 similar to the ,early ,english4 ,the spires differ slightly from those of the ,early ,english1 except that there are generally more spire-lights and small windows at the bases and sides of the spire4 ,lichfield ,cathedral is one of the best examples of the exterior of a perfect church of the ,decorated style4 ,its three spires are perfect4 ,the ogee arch is frequently used in small arcades and in the heads of windows4 ,the dripstones1 or hood moulds1 are generally supported by heads and are frequently enriched with crockets and finials4 ,the arcades that ornament the walls and those over the sedilia are characteristic features of the style4 ,pillars are clustered and arches richly moulded2 they often have the hood-moulding over them4 ,very often they have what is called a stilted base4 ,the capitals are ornamented with beautiful foliage3 each leaf is copied from nature and often arranged round the bell of the capital4 ,the ornamental sculptures in the hollow mouldings are numerous1 but there are two which require more particular notice2 they are nearly as characteristic of the ,decorated style as the zigzag is of the ,norman1 or the tooth-ornament of the ,early ,english4 ,the first is the ball-flower1 which is a globular flower half opened1 and showing within a small round ball4 ,it is used with the utmost profusion in the mouldings of windows1 doorways1 canopies1 cornices1 arches1 etc4 ,the other ornament is the four-leaved flower4 ,this has a raised centre1 and four petals cut in high relief2 it is frequently much varied1 but may be distinguished by its being cut distinctly into four petals1 and by its boldness3 it is sometimes used abundantly1 though not quite so profusely as the ball-flower4 ,in some instances the centre is sunk instead of being raised4 ,the battlement1 as an ornamental feature in the interior of buildings1 is frequently used in this style1 although it is more common in the ,perpendicular4 ,the foliage in this style is more faithfully copied from nature than in any other3 the vine-leaf1 the maple and the oak with the acorn1 are the most usual4 ,the surface of the wall is often covered with flat foliage1 arranged in small squares called diaper-work1 which is believed to have originated in an imitation of the rich hangings then in general use1 and which bore the same name4 ,the groined roofs or vaults are distinguished from those of the preceding style1 chiefly by an additional number of ribs1 and by the natural foliage on the bosses4 ,many fine examples of these remain1 as in the ,cathedral of ,exeter and at ,york in the chapter-house2 at ,norwich in the cloisters2 at ,chester the vault is of wood with stone springers4 ,after culminating in the ,decorated style1 ,gothic ,architecture began to decline in the ,fifteenth and ,sixteenth ,centuries4 ,the transition from the ,decorated to the ,perpendicular took place from #acfj to #acii3 8,this change began to show itself in the choir and transepts of ,gloucester ,cathedral before the middle of the ,fourteenth ,century4 ,the panelling and the window-tracery have so much the appearance of the ,perpendicular ,style1 that they have been commonly supposed to have been rebuilt or altered at a late period2 but the vaultings and the mouldings are pure ,decorated1 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 tracery2 it must therefore be considered as the earliest known example of this great change of style4 ,in this work of alteration the walls and arches of the ,norman church were not rebuilt but cased with panelling over the inner surface1 so as to give the effect of the latter style to the interior4 ,this was just the same process as was afterwards followed at ,winchester by ,william of ,wykeham1 in changing the ,norman to the ,perpendicular style without any actual rebuilding40--7,j4 ,h4 ,p47 ,the work at ,gloucester was begun as early as #accg4 ,another fine example is the nave of ,winchester ,cathedral4 ,bishop ,edington1 who died in #acff1 began to alter ,winchester into the ,perpendicular style4 ,his work was continued by ,william of ,wykeham4 8,before the death of ,bishop ,edington the great principles of the ,perpendicular style were fully established4 ,these chiefly consist of the ,perpendicular lines through the head of the window1 and in covering the surface of the wall with panelling of the same kind4 ,these features are as distinctly marked at ,winchester as in any subsequent building1 or as they well could be40--7,j4 ,h4 ,p47 ,the cloisters of ,gloucester ,cathedral are decidedly ,perpendicular in the fan-tracery of the vaults1 but are partly of earlier date and character4 ,another example of the transition from ,decorated to ,perpendicular is the choir of ,york ,minster1 begun in #acfa and finished in #adjh4 ,its general appearance is ,perpendicular4 8,this style is exclusively ,english1 it is never found on the ,continent1 and it has the advantage of being more economical in execution than the earlier styles4 ,it remains to describe its characteristic features4 ,the broad distinction of the ,perpendicular style lies in the form of the tracery in the head of the windows2 and in fully developed examples the distinction is sufficiently obvious4 ,we have no longer the head of the window filled with the gracefully flowing lines of the ,decorated tracery1 but their place is supplied by the rigid lines of the mullions1 which are carried through to the architrave mouldings1 the spaces between being frequently divided and subdivided by similar ,perpendicular lines2 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 feature4 ,the same character prevails throughout the buildings of this period3 the whole surface of a building1 including its buttresses1 parapets1 basements1 and every part of the flat surface1 is frequently covered with panelling in which the ,perpendicular line clearly predominates2 and to such an excess is this carried that the windows frequently appear to be only openings in the panel-work4 ,panelling1 indeed1 now forms an important feature of the style2 for though it was used in the earlier styles1 it was not to the same extent1 and was of very different character1 the plain surfaces in those styles being relieved chiefly by diaper-work40--7,j4 ,h4 ,p47 ,the great idea of the architect was to correct and restrain the exuberant tracery by introducing vigorous straight vertical and horizontal lines4 ,another feature of the ,perpendicular style was the groined roof4 ,the ribs of the vaulting were now enriched by cross ribs1 which were intersected by more ribs into small panels1 which were filled in with tracery4 ,the key-stones were formed into pendants4 ,this network of ribs is called fan-tracery because the ribs spread out like the sticks of a fan4 ,very beautiful examples occur in ,henry ,,vii4's ,chapel1 ,westminster ,abbey1 and in the cloisters of ,gloucester ,cathedral4 8,the light and elegant style of vaulting known as fan-tracery1 which is peculiar to this style1 with its delicate pendants and lace-like ornaments1 harmonises finely with the elaborate ornament of the tabernacle-work ornament4 ,fan-tracery vaulting is peculiarly ,english4 ,the principle of it began with the earliest ,english ,gothic style1 as in the cloisters of ,lincoln ,cathedral1 each stone of the vaulting being cut to fit its place4 ,in ,france this is never done1 each block of stone is oblong1 as in those for the walls1 and is only made to curve over in a vault by the mortar between the joints4 8,arches are not so acute as in the earlier periods2 capitals and bases of columns are distinguished by the shallowness of the mouldings2 mullions are carried straight through the arch of the windows2 doorways consist of a depressed arch within a square frame with a label above2 the label moulding is frequently filled with foliage and the space round the arch parallel2 towers are often extremely rich and elaborately ornamented with four or five stories of windows1 canopies1 pinnacles and tabernacles2 porches are also fine1 highly enriched with panel-work1 buttresses and pinnacles1 and often with a richly-groined vault in the interior2 and mouldings are generally more shallow than the earlier ones4 8,there is an ornament which was introduced in this style and which is very characteristic4 ,this is called the #8,tudor-flower1' not because it was introduced in the time of the ,tudors1 but because it was so much used at that period4 ,it generally consists of some modification of the fleur-de-lis alternately with a small trefoil or ball1 and is much used as a crest for screens on fonts1 niches1 capitals and in almost all places where such ornament can be used4 ,the foliage of this style is frequently very beautifully executed1 almost as faithful to nature as in the ,decorated style1 in which the fidelity to nature is one of the characteristic features4 ,there is comparatively a squareness about the ,perpendicular foliage1 which takes from the freshness and beauty which distinguished that of the ,decorated style4 ,indeed1 the use of square and angular forms is one of the characteristics of the style2 we have square panels1 square foliage1 square crockets and finials1 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 examples40--7,j4 ,h4 ,p47 ,the woodwork of the ,perpendicular period is very beautiful3 open timber roofs 7met with in the eastern counties71 screens and lofts across the chancel-arch and richly carved bench ends exist in considerable numbers4 8,the frequent use of figures1 simply as corbels between the windows of the clerestory to carry the roof1 is a good characteristic of the late ,perpendicular style2 they are generally of the time of ,henry the ,seventh or ,eighth4 ,the figure used is generally that of an angel1 and each angel is sometimes represented as carrying a different musical instrument so as to make up a heavenly choir40--7,j4 ,h4 ,p47 ,among the best examples of late ,perpendicular are ,henry ,,vii4's ,chapel1 ,westminster ,abbey2 ,st4 ,george's ,chapel1 ,windsor2 ,king's ,college ,chapel1 ,cambridge2 and ,bath ,abbey ,church4 ,in writing of the latter ,w4 ,d4 ,howells so beautifully describes this style that no excuse is needed for bringing his definition into this place4 ,he says3 8,it is mostly of that ,perpendicular ,gothic which ,i suppose more mystically lifts the soul than any other form of architecture1 and it is in a gracious harmony with itself through its lovely proportions2 from the stems of its clustered column1 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 beneath40 ,,abbreviations ,,of ,,authors ,,quoted ,a4 ,a4--,alexander ,ansted ,f4 ,b4--,frederic ,bond ,j4 ,e4 ,b4--,j4 ,e4 ,bygate ,a4 ,b4 ,c4--,a4 ,b4 ,clifton ,a4 ,c4-,b4--,a4 ,clutton-,brock ,j4 ,c4-,b4--,j4 ,cavis-,brown ,h4 ,c4 ,c4--,hubert ,c4 ,corlette ,a4 ,d4--,arthur ,dimock ,c4 ,d4--,charles ,dickens1 ,jr4 ,p4 ,d4--,percy ,dearmer ,p4 ,h4 ,d4--,p4 ,h4 ,ditchfield ,t4 ,f4 ,d4--,thomas ,frognall ,dibdin ,a4 ,h4 ,f4--,a4 ,hugh ,fisher ,e4 ,a4 ,f4--,e4 ,a4 ,freeman ,f4 ,w4 ,f4--,f4 ,w4 ,farrar ,w4 ,h4 ,f4--,w4 ,h4 ,fremantle ,h4--,hope ,c4 ,h4--,cecil ,hallet ,l4 ,h4--,leigh ,hunt ,w4 ,h4 ,h4--,w4 ,h4 ,hart ,a4 ,f4 ,k4--,a4 ,f4 ,kendrick ,g4 ,w4 ,k4--,dean ,kitchin ,r4 ,j4 ,k4--,richard ,j4 ,knight ,l4--,dr4 ,luckock ,w4 ,j4 ,l4--,w4 ,j4 ,loftie ,m4--,dean ,milman ,j4 ,mc,c4--,justin ,mc,carthy ,h4 ,j4 ,l4 ,j4 ,m4--,h4 ,j4 ,l4 ,j4 ,mass ,p4--,dean ,patrick ,p4-,c4--,dean ,pury-,cust ,f4 ,a4 ,p4--,f4 ,a4 ,paley ,g4 ,h4 ,p4--,g4 ,h4 ,palmer ,j4 ,h4 ,p4--,j4 ,h4 ,parker ,t4 ,p4--,t4 ,perkins ,c4 ,h4 ,b4 ,q4--,c4 ,h4 ,b4 ,quennell ,r4--,rickman ,f4 and ,r4--,field and ,routledge ,s4--,dean ,spence ,a4 ,p4 ,s4--,dean ,stanley ,e4 ,f4 ,s4--,edward ,f4 ,strange ,g4 ,g4 ,s4--,g4 ,g4 ,scott ,w4 ,d4 ,s4--,w4 ,d4 ,sweeting ,t4--,canon ,talbot ,w4--,willis ,wal4--,walcott ,a4--,w4--,anthony--,wood ,c4 ,w4--,winston ,e4 ,w4--,edward ,walford ,f4 ,s4 ,w4--,f4 ,s4 ,waller ,g4 ,w4--,gleeson ,white ,geo4 ,w4--,george ,worley ,h4 ,w4--,hartley ,wither ,,contents ,,page ,,canterbury #a ,,rochester #cc ,,winchester #df ,,chichester #ff ,,salisbury #gf ,,exeter #ij ,,wells #ajg ,,bath ,,abbey #acd ,,bristol #adj ,,gloucester #aea ,,hereford #agd ,,worcester #ahh ,,lichfield #bjj ,,chester #bae ,,manchester #bbb ,,carlisle #bbg ,,durham #bcc ,,ripon #bdi ,,york ,,minster #bfj ,,lincoln #bhd ,,southwell #cac ,,peterborough #cai ,,ely #ccd ,,norwich #cdi ,,st4 ,,albans #cfj ,,oxford #cge ,,st4 ,,paul',s1 ,,london #cic ,,st4 ,,saviour',s1 ,,southwark #dae ,,westminster ,,abbey #dbe ,,index #dde ,,illustrations ,salisbury3 ,cloisters ,frontispiece ,,facing ,,page ,canterbury3 ,south ,porch #ab ,canterbury3 ,nave1 east #ac ,canterbury3 ,choir1 east #bd ,rochester3 ,west front #be ,rochester3 ,nave1 east #dj ,rochester3 ,choir1 west #da ,winchester3 ,nave1 west #eb ,winchester3 ,font #ec ,winchester3 ,choir1 east #fd ,winchester3 ,west front #fe ,chichester #gb ,chichester3 ,nave1 east #gc ,chichester3 ,screen #gf ,salisbury3 ,north #gg ,salisbury3 ,nave1 east #hh ,exeter3 ,south-west #hi ,exeter3 ,nave1 east #ih ,exeter3 ,choir1 east #ii ,wells3 ,west front #aad ,wells3 ,north ,porch #aae ,wells3 ,nave1 east #abh ,wells3 ,south-west #abi ,bath ,abbey3 ,west front #acf ,bath ,abbey3 ,choir1 west #acg ,bristol3 ,north #add ,bristol3 ,nave1 east #ade ,gloucester3 ,east #aed ,gloucester3 ,tomb of ,edward ,,ii #aee ,gloucester3 ,choir1 east #afd ,gloucester3 ,cloisters #afe ,hereford3 ,nave1 east #agf ,hereford3 ,north-east #agg ,hereford3 ,choir #ahf ,worcester3 ,south-west #ahg ,worcester3 ,nave1 east #aib ,worcester3 ,choir1 east #aic ,lichfield3 ,west front #bjj ,lichfield3 ,nave1 east #bja ,lichfield3 from ,east window #bab ,chester3 ,north #bac ,chester3 ,choir1 west #bah ,chester3 ,choir-stalls #bai ,manchester3 ,south #bbd ,manchester3 ,nave1 east #bbe ,carlisle3 ,south-west #bbh ,carlisle3 ,choir #bbi ,carlisle3 ,east ,end #bcb ,durham3 ,west front #bcc ,durham3 ,nave1 east #bdj ,durham3 ,galilee ,chapel #bda ,durham3 ,neville ,screen #bdh ,ripon3 ,south #bdi ,ripon3 ,nave1 east #bed ,ripon3 ,choir1 east #bee ,york ,minster3 ,west front #bfh ,york ,minster3 ,south #bfi ,york ,minster3 ,choir1 east #bgh ,york ,minster3 ,choir1 west #bgi ,lincoln3 ,west front #bhh ,lincoln3 ,great ,west ,door #bhi ,lincoln3 ,angel ,choir #bih ,lincoln3 ,choir1 east #bii ,lincoln3 ,east ,window #cjf ,southwell3 ,north-west #cjg ,southwell3 ,chapter-,house #caf ,peterborough3 ,west front #cag ,peterborough3 ,choir1 east #cbh ,peterborough3 ,south #cbi ,ely3 ,west ,towers #ccf ,ely3 ,choir1 east #ccg ,ely3 ,east ,end and ,lady-,chapel #cdf ,ely3 ,lady-,chapel #cdg ,norwich3 ,east #cef ,norwich3 ,choir #ceg ,st4 ,albans3 ,north #cff ,st4 ,albans3 ,nave1 east #cfg ,oxford3 ,tower and ,entrance #chb ,oxford3 ,choir1 east #chc ,oxford3 ,latin ,chapel #cib ,st4 ,paul's3 ,west front #cic ,st4 ,paul's3 ,choir1 east #dad ,st4 ,saviour's1 ,southwark #dae ,st4 ,saviour's1 ,southwark3 ,nave1 east #dbd ,westminster ,abbey3 ,west front #dbe ,westminster ,abbey3 ,poets' ,corner #dcb ,westminster ,abbey3 ,choir1 east #dcc ,westminster ,abbey3 ,chapel and ,shrine of ,edward the ,confessor #dcf ,westminster ,abbey3 ,henry ,,vii4's ,chapel #dcg ,westminster ,abbey3 ,cloisters #ddj ,westminster ,abbey3 ,south-west #dda ,,canterbury ,,dedication3 ,,christ ,,church4 ,,formerly ,,the ,,church ,,of ,a ,,benedictine ,,monastery4 ,,special ,,features3 ,,becket',s ,,crown2 ,,door ,,of ,,chapter-,,house2 ,,west ,,doorway2 ,,crypt4 ,canterbury ,cathedral presents a beautiful effect when seen from a distance1 keeping watch over the city that lies in the valley of the ,stour1 girdled by hills4 ,on one of these hills stands the village of ,harbledown1 the 8,bob ,up and ,down10 where ,chaucer's ,pilgrims halted1 and from which a charming view of the ancient ,cathedral is to be enjoyed4 ,another fine prospect is gained from ,st4 ,martin's3 8,let any one sit on the hill of the little church of ,st4 ,martin1 and look on the view which is there spread before his eyes4 ,immediately below are the towers of the great ,abbey of ,st4 ,augustine1 where ,christian learning and civilisation first struck root in the ,anglo-,saxon race2 and within which now1 after a lapse of many centuries1 a new institution has arisen1 intended to carry far and wide to countries of which ,gregory and ,augustine never heard1 the blessings which they gave to us4 ,carry your view on1--and there rises high above all the magnificent pile of our ,cathedral equal in splendour and state to any1 the noblest temple or church1 that ,augustine could have seen in ancient ,rome1 rising on the very ground which derives its consecration from him4 ,and still more than the grandeur of the outward buildings that rose from the little church of ,st4 ,augustine1 and the little palace of ,ethelbert1 have been the institutions of all kinds1 of which these are the earliest cradle4 ,from ,canterbury1 the first ,english ,christian city--from ,kent1 the first ,english ,christian kingdom--has1 by degrees1 arisen the whole constitution of ,church and ,state in ,england1 which now binds together the whole ,british ,empire40--7,a4 ,p4 ,s47 ,this great ,cathedral stands on the site of the primitive ,roman1 or ,british1 ,church1 attributed to ,king ,lucius and granted by ,ethelbert1 ,king of ,kent1 to ,st4 ,augustine 7who had converted him in #eig74 ,it is1 therefore1 the earliest monument of the ,english union of ,church and ,state1 and the cradle of ,english ,christianity4 ,pope ,gregory had intended to fix the ,primacy in ,london and ,york alternately2 but the sentiment of ,st4 ,augustine's landing in ,kent prevailed2 and1 therefore1 the ,archbishop of ,canterbury1 the ,see of which was founded in #eig1 is still ,primate of ,england4 ,he crowns the ,king and ranks next to royalty4 ,the first ,cathedral was injured by the ,danes in #ajaa and it was burned down during the ,norman ,conquest in #ajfg4 ,lanfranc1 the first ,archbishop after the ,conquest 7#ajgj-ajhi71 reconstructed both church and monastery from their foundations4 ,anselm 7#ajic-aaji71 took down the eastern part of the church and rerected it with far greater magnificence4 ,ernulf1 ,prior of the monastery1 was responsible for the architecture2 but the chancel being finished by his successor1 ,prior ,conrad1 and beautifully decorated1 became known as the 8glorious ,choir of ,conrad40 ,canterbury ,cathedral was dedicated by ,archbishop ,william in #aacj4 ,henry ,i41 ,king of ,england1 ,david1 ,king of ,scotland1 and all the ,bishops of ,england were present at what ,gervase calls 8the most famous dedication that had ever been heard of on the earth since that of the temple of ,solomon40 ,in #aagj1 ,thomas ,becket was murdered here1 having fled for protection to the church after a violent scene in his chamber with ,henry's knights4 ,becket was buried at the east end of the ,crypt and remained there forty-six years4 8,most men were persuaded that a new burst of miraculous powers1 such as had been suspended for many generations1 had broken out at the tomb2 and the contemporary monk1 ,benedict1 fills a volume with extraordinary cures1 wrought within a very few years after the #8,martyrdom4' ,far and wide the fame of #8,st4 ,thomas of ,canterbury' spread4 ,the very name of ,christ ,church1 or of the ,holy ,trinity1 by which the ,cathedral was properly designated1 was in popular usage merged in that of ,the ,church of ,st4 ,thomas4 ,for the few years immediately succeeding his death there was no regular shrine4 ,the popular enthusiasm still clung to the two spots immediately connected with the murder4 ,the ,transept in which he died1 within five years from that time acquired the name by which it has ever since been known1 #8,the ,martyrdom4' ,the flagstone on which his skull was fractured and the solid corner of the masonry in front of which he fell1 are probably the only parts which remain unchanged4 ,but against that corner may still be seen the marks of the space occupied by a wooden altar1 which continued in its original simplicity through all the subsequent magnificence of the church till the time of the ,reformation4 ,it was probably the identical memorial erected in the first haste of enthusiasm after the reopening of the ,cathedral for worship in #aagb4 ,it was called the ,altar of the ,martyrdom or more commonly the ,altar of the ,sword's ,point 7,altare ad ,punctum ,ensis7 from the circumstance that in a wooden shed placed upon it was preserved the fragment of ,le ,bret's sword1 which had been left on the pavement after accomplishing its bloody work4 ,under a piece of rock crystal surmounting the chest1 was kept a portion of the brains4 ,to this altar a regular keeper was appointed from among the monks1 under the name of #8,custos ,martyrii4' ,in the first frenzy of desire for relics of ,st4 ,thomas1 even this guarantee was inadequate4 8,next to the actual scene of the murder1 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 ,virgin4 ,it was to this spot that the first great rush of pilgrims was made when the church was reopened in #aagb1 and it was here that ,henry performed his penance4 ,hither on the #bast of ,august1 #aagi1 came the first ,king of ,france who ever set foot on the shores of ,england1 ,louis ,,vii41 warned by ,st4 ,thomas in dreams1 and1 afterwards1 as he believed1 receiving his son back from a dangerous illness through the ,saint's intercession4 ,he knelt by the tomb and offered upon it the celebrated jewel1#b as also his own rich cup of gold40--7,a4 ,p4 ,s47 ,in #aagd a fire destroyed 8,conrad's ,glorious ,choir40 ,rebuilding was immediately begun under a ,french architect1 ,william of ,sens1 who fell from a scaffolding and had to relinquish the work to another ,william1 who completed the ,choir and eastern buildings in #aahd4 ,everything was now in readiness for the removal of the ,martyr's remains4 ,stephen ,langton gave two years' notice of the intended 8,translation02 and a marvellous assemblage gathered from all parts of ,europe on ,july #g1 #abbj4 ,the ,archbishop opened the tomb the night before the coffin was carried to the ,shrine above in ,trinity ,chapel1 and the 8,vigil of the ,translation10 ,july #f1 was kept in the ,english church until #aecg4 ,the great procession to the ,shrine was led by ,henry ,,iii41 then aged thirteen4 ,pilgrims came to the new ,shrine1 as they had done to the one below1 in thousands4 ,seven great 8jubilees0 were held before #aecj4 8,the outer aspect of the ,cathedral can be imagined without much difficulty4 ,a wide cemetery1 which1 with its numerous gravestones1 such as that on the south side of ,petersborough ,cathedral1 occupied the vacant space still called the ,churchyard1 divided from the garden beyond by the old ,norman arch since removed to a more convenient spot4 ,in the cemetery were interred such pilgrims as died during their stay in ,canterbury4 ,the external aspect of the ,cathedral itself1 with the exception of the numerous statues which then filled its now vacant niches1 must have been much what it is now4 ,not so its interior4 ,bright colours on the roof1 on the windows1 on the monuments2 hangings suspended from the rods which may still be seen running from pillar to pillar2 chapels and altars1 and chantries intercepting the view1 where now all is clear1 must have rendered it so different1 that at first we should hardly recognise it to be the same building40--7,a4 ,p4 ,s47 ,at the church door the company of pilgrims arranged themselves 8every one after his degree10 and a monk sprinkled their heads with holy water with the 8,sprengel40 ,the great tide of pilgrims then passed through the ,cathedral4 ,sometimes they paid their devotions to the ,shrine first1 and sometimes they visited the lesser objects first and the ,shrine last4 ,in this case1 they entered the ,transept of the ,martyrdom1 through the dark passage under the steps leading to the ,choir4 ,before the wooden altar and in the soft radiance of the glorious representation of the ,martyr in the transept window 7of which there remains only the central band with the donors1 ,edward ,,iv41 his ,queen1 with their daughters and the two sons who perished in the ,tower71 while the priest showed them the relics of which he had charge1 including the rusty fragment of ,le ,bret's sword1 which all kissed in turn4 ,proceeding down the steps on the way to the ,crypt1 new guardians exhibited in the dim light of a row of lamps suspended from rings in the roof1 the actual relics of ,st4 ,thomas1--part of his skull cased in silver1 which all kissed devoutly1 and his shirt and drawers of haircloth4 ,mounting the steps of the ,choir1 the pilgrims were then shown the great array of about four hundred relics preserved in ivory1 gilt or silver coffers1 including the arm of ,st4 ,george4 ,and now1 passing behind the altar and up the steps1 which many ascended on their knees1 chanting the hymn to ,st4 ,thomas1 they entered ,trinity ,chapel4 ,they were first led beyond the ,shrine to the easternmost apse to see a golden head of the ,saint studded with gems1 in which the scalp or crown of the ,saint was preserved4 8,the ,shrine occupied the central part of the upper platform1 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 visible4 ,the pavement inside this limit is composed of the original steps and platform of the ,shrine1 and consists in part of rich ,african marbles1 as do also two whole pillars to north and south1 and two half pillars to the east4 ,these are said to have been the gift of a ,pope to the ,shrine1 and1 indeed1 to have once formed part of a ,roman ,temple4 ,the ,shrine itself was simply the coffin of the ,saint1 richly adorned and cased with gold and precious stones4 ,it rested on a structure of stone arches some five or six feet high1 and was1 as a rule1 concealed under a wooden cover1 working on pulleys1 like many covers of fonts in our churches now4 ,when raised the cover would reveal to the venerating gaze of the pilgrims1 plates of precious metal studded with jewels of fabulous value1 the most remarkable of which would be pointed out by the attendant with a white wand4 ,when the ,shrine was destroyed1 by order of ,henry ,,viii41 these treasures filled two great chests #8such as six or seven strong men could no more than convey one of them out of the church4' ,west of the ,shrine stood an altar1 and west of the altar a gate in the railings1 in fact just between the altar and the beautiful fragment of ,italian marble pavement40--7,f4 and ,r47 ,we can imagine the long line of kneeling pilgrims and those who were allowed behind the iron gates rubbing themselves against the marble1 so that the wonder-working body within could effect a cure in anticipation of the moment when the wooden canopy would be lifted4 8,at a given signal this canopy was drawn up by ropes1 and the ,shrine then appeared blazing with gold and jewels2 the wooden sides were plated with gold and damasked with gold wire2 cramped together on this gold ground were innumerable jewels1 pearls1 sapphires1 blassas1 diamonds1 rubies and emeralds1 and #8in the midst of the gold' rings or cameos of sculptured agates1 cornelians and onyx stones4 8,as soon as this magnificent sight was disclosed1 every one dropped on his knees1 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 be4 ,the body of the ,saint in the inner iron chest was not to be seen except by mounting a ladder1 which would be but rarely allowed4 ,but whilst the votaries knelt around1 the ,prior1 or some other great officer of the monastery1 came forward1 and with a white wand touched the several jewels1 naming the giver of each1 and for the benefit of foreigners1 adding the ,french name of each1 with a description of its value and marvellous qualities4 ,a complete list of them has been preserved to us1 curious1 but devoid of general interest4 ,there was one1 however1 which far outshone the rest1 and indeed was supposed to be the finest in ,europe4 ,it was the great carbuncle1 ruby1 or diamond1 said to be as large as a hen's egg or a thumb-nail1 and commonly called #8,the ,regale of ,france4' ,the attention of the spectators was riveted by the figure of an angel pointing to it4 ,it had been given to the original tomb in the ,crypt by ,louis ,,vii4 of ,france1 when here on his pilgrimage4#c 8,the lid once more descended on the golden ark2 the pilgrims #8telling heartily their beads ,prayed to ,st4 ,thomas in such wise as they could1' and then withdrew1 down the opposite flight of steps from which they had ascended40--7,a4 ,p4 ,s47 ,next the pilgrims received the small leaden bottles1 or ampulles1 filled with water mixed with the ,martyr's blood2 and in the numerous booths and stalls that lined ,mercery ,lane1 the narrow street running from the ,cathedral to the ,chequers ,inn1 bought other memorials of the ,pilgrimage1 particularly the leaden brooches representing the mitred head of the saint with the legend1 ,caput ,thom4 ,from the middle of the ,fourteenth to the end of the ,fifteenth ,century a wonder-working well was shown to pilgrims in the ,precincts4 ,among the great visitors to the shrine of the 8holy blissful ,martyr0 were all the ,english kings from ,henry ,,ii4 to ,henry ,,viii42 ,edward ,i4 7#abii71 who presented the golden crown of ,scotland1 the crown given by ,edward to ,john ,balliol and carried off by him1 but recaptured at ,dover2 ,richard and ,john of ,england2 ,louis ,,vii4 of ,france2 ,isabella1 wife of ,edward ,,ii42 ,john1 the captive king of ,france2 ,henry ,v4 on his return from ,agincourt2 ,emmanuel1 ,emperor of the ,east in #adjj1 and ,sigismund1 ,emperor of the ,west in #adag2 and great lords and ladies from ,england1 ,france and ,scotland4 ,the barons of the ,cinque ,ports1 after every coronation1 presented the canopies of silk and gold which they held and still hold over the head of the king4 ,in #aech ,henry ,,viii4 issued a writ of summons against ,thomas ,becket accusing him of treason1 contumacy and rebellion and had the document read before the ,martyr's tomb4 ,the suit was tried in ,westminster1 and the long defunct ,archbishop condemned4 ,his bones were ordered to be burnt and all his offerings handed over to the ,crown4 ,becket's body1 however1 escaped burning and was re-buried4 ,the ,shrine was destroyed and all the offerings of jewels and gold carried off4 ,they filled twenty-six carts4 ,becket was deprived of the name of ,saint and his images destroyed throughout the country4 ,returning now to the architectural history of the ,cathedral1 ,prior ,chillenden 7#acgh-adaj7 took down ,lanfranc's ,nave and ,transepts4 ,about #adgc ,prior ,goldstone ,,ii4 added the splendid ,angel ,tower that rises from the centre of the roof1 and upon which the figure of a golden angel welcomed the pilgrims to ,canterbury4 ,in #afdb1 the ,puritans battered the windows1 hacked and hewed the altars and monuments and committed ravages of all kinds under a ringleader1 ,richard ,culmer1 known as 8,blue ,dick40 ,after the ,restoration1 #aj1jjj was devoted to repairs4 ,at a later period the ,choir-stalls1 said to be carved by ,grinling ,gibbons1 were replaced4 ,in #ahcd1 the northwest 7,arundel7 tower had to be pulled down4 ,it was rebuilt on a different plan4 ,nothing of importance happened until #ahgb1 when a fire broke out on the roof of ,trinity ,chapel at half-past ten in the morning4 ,little damage was done1 however2 but the ,black ,prince's ,tomb was in danger and the relics above it were temporarily removed4 ,canterbury was four centuries in building4 ,it1 therefore1 exhibits specimens of nearly all the classes of ,pointed ,architecture4 ,it is chiefly1 however1 ,transitional ,norman and ,perpendicular4 8,the existing cathedral1 although of such various dates1 covers1 as nearly as can be ascertained1 the same ground as the original building of ,lanfranc1 with the exception of the ,nave1 which is of greater length westward1 and of the ,retro-,choir1 or extreme eastern portion1 which is also longer40--7,r4 ,j4 ,k47 ,passing the traditional site of the ,chequers ,inn1 where ,chaucer's ,pilgrims were housed1 we walk up ,mercery ,lane to ,christ ,church ,gate1 built by ,prior ,goldstone in #aeag4 ,it is a fine example of late ,perpendicular and once contained a figure of ,christ in the central niche4 ,this gate leads into the ,precincts of the ,cathedral4 ,the close is surrounded by the gardens of the ,canons' houses4 ,we now look upon the beautiful south side of the ,cathedral4 8,in the immediate ,precincts1 a delightful picture is presented from the ,green ,court1 which was once the main outer court of the monastery4 ,here are noble trees and beautifully kept turf1 at once in perfect harmony and agreeable contrast with the rugged walls of the weather-beaten ,cathedral3 the quiet1 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 best4 8,the chief glory of the exterior of ,canterbury ,cathedral is the central ,angel1 or ,bell1 ,tower4 ,this is one of the most perfect structures that ,gothic architecture inspired by the loftiest purpose that ever stimulated the work of any art1 has produced4 ,it was completed by ,prior ,selling1 who held office in #adgb1 and has been variously called the ,bell ,harry ,tower from the mighty ,dunstan bell1 weighing three tons and three hundredweight1 and the ,angel ,tower from the gilded figure of an angel poised on one of the pinnacles1 which has long ago disappeared4 ,the tower itself is of two stages1 with two-light windows in each stage2 the windows are transomed in each face1 and the lower tier is canopied2 each angle is rounded off with an octagonal turret2 and the whole structure is a marvellous example of architectural harmony and in every way a work of transcendent beauty40--7,h4 ,w47 ,the ,south-west1 or ,chichele1 ,tower1 7formerly ,st4 ,dunstan's ,tower7 was completed by ,prior ,goldstone 7#addi-adfh74 ,it is now the ,bell ,tower4 ,the ,northern1 or ,arundel1 steeple was rebuilt by ,austen in #ahdj in place of the old ,norman ,tower1 which had become dangerous4 8,the western towers are built each of six stages3 each of the two upper tiers contains two two-light windows1 while below there is a large four-light window uniform with the windows of the aisles4 ,the base tier is ornamented with rich panelling4 ,the parapet is battlemented and the angles are finished with fine double pinnacles4 ,at the west end there is a large window of seven-light transoms4 ,the gable contains a window of very curious shape1 filled with intricate tracery4 ,the space above the aisle windows is ornamented with quatrefoiled squares1 and the clerestory is pierced by windows of three lights40--7,h4 ,w47 ,above the aisle windows are quatrefoiled squares4 ,the clerestory1 ,choir and ,becket's ,crown contain lancet windows4 ,in the main transept there is a fine ,perpendicular window of eight lights4 ,the ,south side of the ,cathedral is the one most generally admired4 8,on the south side is seen the porch2 the nave 7a beautiful design72 and the charming pinnacle of the south-west transept4 ,east of the ,warrior's ,chapel is the projecting end of ,stephen ,langton's tomb4 ,east of this1 the two lower rows of windows are those of ,conrad's ,choir2 the upper row that of ,william of ,sens4 ,the middle windows in the south-east transept were the clerestory windows of ,conrad2 the windows above them are those of ,william of ,sens4 ,the three upper stages of the tower on the south of this transept are late ,norman work2 one of the prettiest bits in ,canterbury4 ,farther east we have ,french design1 pure and simple2 here1 for the first time in ,english architecture1 the flying-buttresses are openly displayed2 notice how flat and plain they are2 it had not yet occurred to architects to make them decorative4 ,the grand sweep of apse and ambulatory seems to send one straight back to ,france4 ,then comes the broken rocky outline of the corona--the great puzzle of ,canterbury4 ,north-east of the corona are two groups of ruined ,norman pillars and arches discoloured by fire2 once they were continuous1 forming one very long building1 the ,monk's ,infirmary1 of which the west end was originally an open dormitory1 open to the roof1 and the east end1 separated off by a screen1 the ,chapel2 which has a late ,geometrical window4 ,on the north side of ,trinity ,chapel is seen the ,chantry of ,henry ,,iv42 then ,st4 ,andrew's ,tower and the barred ,treasury2 the lower part of the latter is late ,norman work1 largely rebuilt40--7,f4 ,b47 ,the ,porch on the south side of ,chichele ,tower is the work of ,prior ,chillenden4 ,it has a central niche on which the ,martyrdom of ,becket was represented on a panel of the ,fifteenth ,century4 ,the niches are filled with statues4 ,through it we now pass into the ,cathedral4 ,the ,nave 7,perpendicular7 resembles the bolder nave of ,winchester1 built at the same period4 ,the most striking feature is the manner in which the ,choir is raised above the level of the floor1 owing to the fact that it stands over the crypt4 ,the ,illustration3 ,,canterbury3 ,,south ,,porch ,illustration3 ,,canterbury3 ,,nave1 ,,east flight of steps placed between the ,nave and the ,choir adds to the effect4 8,the nave1 of eight bays1 has no triforium4 ,each bay consists of a huge arch resting on filleted pillars1 and is subdivided into the pier-arch1 with the clerestory and panelling reaching to the string-course above4 ,it is paved with ,portland stone4 ,the vaulting and vaulting-shafts are the prominent features of the nave1 and the pier-arches are quite subordinate2 these shafts are banded1 as at ,bath1 like ,early ,english4 ,the main transept has no aisles40--7,w4 ,j4 ,l47 ,of the ,nave windows none remain entire4 ,the great ,west ,window is made up of fragments from the others4 ,it contains the arms of ,richard ,,ii4 impaling the ,confessor's2 and those of ,anne of ,bohemia 7north72 and ,isabella of ,france 7south74 ,the beautifully carved ,screen of solid stone1 separating the ,nave from the ,choir1 was placed there in the ,fifteenth ,century4 ,of the six crowned figures in the lower niches1 the one holding the church is supposed to be ,ethelbert2 and the one on the extreme right1 ,richard ,,ii4 ,the figures of ,christ and the ,twelve ,apostles1 which filled the thirteen mitred niches around the arch1 were destroyed by 8,blue ,dick0 and his companions4 ,a staircase leads to the top of the ,screen4 ,another ,screen partly fills the space between the two western piers of the central1 or ,angel1 ,tower4 8,the piers which support the central tower are probably the original piers of ,lanfranc's erection1 cased with ,perpendicular work by ,prior ,chillenden at the same time with the building of the nave4 ,to this ,prior ,goldstone ,,ii4 7#adie-aeag7 added the vaulting of the tower1 and all the portion above the roof1 together with the remarkable buttressing-arches supporting the piers below1 which had perhaps shown some signs of weakness4 ,these arches have on them the ,prior's rebus1 a shield with three golden bars1 or stones4 ,the central arch occupies the place of the ancient roodloft1 and probably the great rood was placed on it until the ,reformation40--7,r4 ,j4 ,k47 ,the ,choir of five bays shows the earliest instance of the ,pointed ,arch in ,england and groining on a large scale4 ,the clerestory of the ,choir is filled with windows representing the genealogy of the ,saviour4 ,the carvings on the stalls are said to be by ,grinling ,gibbons4 ,in #ajif1 ,prior ,ernulf began a longer and wider ,choir than originally existed2 and this was dedicated in #aaad1 before he left ,canterbury to become ,bishop of ,rochester4 ,prior ,conrad1 his successor1 finished the decoration of it and 8the glorious ,choir of ,conrad10 as it was somewhat unjustly called1 was consecrated in #aacj4 ,in #aagd it was destroyed by fire to the great distress of everybody4 ,all that remains is a portion of the pavement consisting of large slabs of 8stone or veined marble of a delicate brown colour10 between the two ,transepts4 8,about four years after the murder on the #eth of ,september1 #aagd1 a fire broke out in the ,cathedral which reduced the ,choir--hitherto its chief architectural glory--to ashes4 ,the grief of the people is described in terms which show how closely the expression of ,medival feeling resembled what can now only be seen in ,italy or the ,east--#8,they tore their hair2 they beat the walls and pavements of the church with their shoulders and the palms of their hands2 they uttered tremendous curses against ,god and his saints--even to the patron saint of the church2 they wished they had rather have died than seen such a day4' ,how far more like the description of a ,neapolitan mob in disappointment at the slow liquefaction of the blood of ,st4 ,januarius than of the citizens of a quiet cathedral town in the county of ,kent6 ,the monks1 though appalled by the calamity for a time1 soon recovered themselves2 workmen and architects1 ,french and ,english1 were procured2 and among the former1 ,william1 from the city of ,sens1 so familiar to all ,canterbury at that period as the scene of ,becket's exile4 ,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 ,sens1 built a short time before4 ,the forms of the pillars1 the vaulting of the roof1 even the very bars and patterns of the windows are almost identical4444 ,the ,french architect unfortunately met with an accident which disabled him from continuing his operations4 ,after a vain struggle to superintend the works by being carried round the church in a litter1 he was compelled to surrender the task to a namesake1 an ,englishman1 and it is to him that we owe the design of that part of the ,cathedral which was destined to receive the sacred ,shrine40--7,a4 ,p4 ,s47 8,on entering the choir1 the visitor is immediately struck by the singular bend with which the walls approach each other at the eastern end4 ,by this remarkable feature1 together with the great length of the ,choir 7#ahj feet2 it is the longest in ,england7 and the lowness of the vaulting2 the antique character of the architecture enforced by the strongly contrasted ,purbeck and ,caen stone1 and the consequent fine effects of light and shadow4 ,the style is throughout ,transition1 having ,norman and ,early ,english characteristics1 curiously intermixed4 ,the pillars with their pier-arches1 the clerestory wall above and the great vault up to the ,transepts1 were entirely finished by ,william of ,sens4 ,the whole work differed greatly from that of the former choir4 ,the richly foliated and varied capitals of the pillars1 the great vault with its ribs of stone1 and the numerous slender shafts of marble in the triforia1 were all novelties exciting the great admiration of the monks40--7,r4 ,j4 ,k47 ,william of ,sens1 however1 retained the second or ,eastern ,transepts1 which had existed in the former church4 ,before the ,reformation the ,choir contained the high altar and the altar-shrines of ,st4 ,alphege and ,st4 ,dunstan4 ,no trace of the former remains2 but on the south wall of the ,choir1 between the monuments of ,archbishops ,stratford and ,sudbury1 there is some diaper-work of open lilies that adorned ,st4 ,dunstan's altar4 ,the ,high ,altar is on a higher level than the floor of the choir4 ,it is approached by two flights of steps 7one on either side7 in the ,presbytery1 about #be feet higher than the floor of the ,nave4 ,the ,altar was placed over the new ,crypt1 which is a good deal higher than the older1 or western1 ,crypt4 ,the ,reredos1 erected in #ahgj1 was designed in the style of the screen-work in the ,lady-,chapel in the ,crypt4 ,the crimson velvet altar-coverings1 now in use1 were presented by ,queen ,mary1 wife of ,william ,,iii41 and the gold chalice by the ,earl of ,arundell in #afcf4 ,the ,archbishop's ,throne1 a gift of ,archbishop ,howley 7#abjj71 was carved by ,flemish workmen from designs by ,austen4 ,the stone-pulpit1 by ,butterfield1 was erected in #ahdf4 ,the eagle used as a ,litany desk is dated #affc4 ,the organ1 built by ,samuel ,green1 is believed to be the one used at the ,hndel ,festival in ,westminster ,abbey in #aghd4 ,it was remodelled in #ahhf4 ,among the tombs and monuments of ,archbishops and ,cardinals are3 ,cardinal ,bourchier1 who crowned ,edward ,,iv41 ,richard ,,iii4 and ,henry ,,vii42 ,archbishop ,howley1 who crowned ,queen ,victoria2 ,stratford1 ,grand ,judiciary to ,edward ,,iii42 ,simon of ,sudbury1 whose head was cut off during ,wat ,tyler's rebellion2 and ,cardinal ,kemp1 who was present at ,agincourt4 ,in the north aisle1 in a coloured and gilt altar-tomb1 lies ,archbishop ,chichele 7died #addc71 according to ,shakespeare1 the instigator of the war with ,france 7see ,henry ,v41 ,act ,i41 ,sc4 ,i474 ,here also lies ,orlando ,gibbons1 ,charles ,i4's organist4 ,of the six splendid windows in the north aisle of the ,choir described by the old authorities1 only two remain4 8,they should not be overlooked by the visitor1 as they are full of curious symbolism4 ,the birth of ,christ and ,his early life are depicted in the central panels and the types from the ,old ,testament with them4 ,observe the ,magi all asleep in one bed2 ,shem1 ,ham and ,japhet1 dividing the earth1 which one of them holds in his hands1 like a gorgeously painted map2 and in the sixth panel of the first window a very curious scene1 in which we see depicted a bronze idol or statue1 similar1 no doubt1 to some the artist had seen as of ,roman work4 ,whoever he was who designed the work1 he knew what was classical art4 ,the exaggerated muscular development which came in again under ,michael ,angelo and his contemporaries in ,italy1 is seen here quite plainly40--7,w4 ,j4 ,l47 ,the same fire that destroyed the ,choir also damaged the ,transepts4 ,the windows and arcades in them are more completely reconstructed than those in the side aisles4 ,one feature here is the double range of triforia1 or open galleries4 ,the lower triforium belongs to ,ernulf's time3 the windows in the upper one were his clerestory4 ,the pilgrims were usually conducted into the ,north ,transept1 or ,transept of the ,martyrdom through the dark passage under the choir steps4 ,in the west wall here1 a door opened into the cloister1 through which ,becket passed to his tragic death4 ,directly opposite1 on the other side of the ,choir1 the ,warriors' ,chapel is situated4 ,the apse1 approached by a broad flight of steps1 is entirely occupied by the ,chapel of the ,holy ,trinity1 which contained the ,martyr's ,shrine4 ,the work here shows the influence of the ,french4 ,from the ,transept of the ,martyrdom the pilgrims were conducted through the ,north ,aisle of the ,choir on their way to the great ,shrine2 and1 at the end of the aisle1 close to the steps ascending to the ,retro-,choir1 we find the door of ,st4 ,andrew's ,tower4 ,this is part of ,lanfranc's building and now used as a vestry2 but it was once the sacristy1 where the rich offerings and precious relics connected with ,becket were exhibited to privileged pilgrims4 ,the ,retro-,choir is reached by steep flights of steps necessitated by the height of the ,crypt below4 ,up these steps the pilgrims climbed on their knees1 chanting the hymn to ,st4 ,thomas3 8,tu per ,thom sanguinem ,quem pro te impendit1 ,fac nos ,christo scandere ,quo ,thomas ascendit40 ,all this part of the ,cathedral is the work of ,english ,william1 which is lighter1 in general character1 than that of ,william of ,sens4 ,the ,chapel of the ,holy ,trinity 7or that of ,st4 ,thomas7 occupies the central portion of the ,retro-,choir between the piers formed by double columns4 ,in the old ,chapel of the ,trinity 7destroyed by fire at the same time as ,conrad's ,choir7 ,becket celebrated his first ,mass as ,archbishop4 ,his body lay in the ,crypt immediately below this spot4 8,in earlier times the easternmost chapel had contained an altar of the ,holy ,trinity1 where ,becket had been accustomed to say mass4 ,partly for the sake of preserving the two old ,norman towers of ,st4 ,anselm and ,st4 ,andrew1 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 scale1 the pillars of the choir were contracted with that singular curve which attracts the eye of every spectator1 as ,gervase foretold that it would1 when1 in order to explain this peculiarity1 he stated the two aforesaid reasons4 ,the eastern end of the ,cathedral1 thus enlarged1 formed1 as at ,ely1 a more spacious receptacle for the honoured remains2 the new ,trinity ,chapel1 reaching considerably beyond the extreme limit of its predecessor1 and opening beyond into a yet further chapel1 popularly called ,becket's ,crown4 ,the windows were duly filled with the richest painted glass of the period1 and amongst those on the northern side may still be traced elaborate representations of the miracles wrought at the subterranean tomb1 or by visions and intercessions of the mighty ,saint4 ,high in the tower of ,st4 ,anselm1 on the south side of the destined site of so great a treasure1 was prepared--a usual accompaniment of costly shrines--the ,watching ,chamber4 ,it is a rude apartment with a fireplace where the watcher could warm himself during the long winter nights1 and a narrow gallery between the pillars1 whence he could overlook the whole platform of the shrine1 and at once detect any sacrilegious robber who was attracted by the immense treasures there collected4 ,on the occasion of fires the ,shrine was additionally guarded by a troop of fierce ban-dogs4 8,when the ,cathedral was thus duly prepared1 the time came for what1 in the language of those days1 was termed the #8,translation' of the relics40--7,a4 ,p4 ,s47 ,becket's body was removed here on ,july #g1 #abbj 7,see page #d71 and remained the only occupant of this chapel for more than a hundred years4 ,it only proves in what deep affection the ,english nation held the ,black ,prince to have placed his remains by the side of ,becket4 ,his body lay in state in ,westminster from ,june #h1 #acgf1 to ,september #bi2 and on the ,feast of ,michaelmas it was taken to ,canterbury1 which he had selected for his resting-place4 ,the procession from ,london to ,canterbury was magnificent2 and the idol of the nation was laid not in the ,crypt1 as he had expected1 but in ,trinity ,chapel4 8,in this sacred spot--believed at that time to be the most sacred spot in ,england--the tomb stood in which #8alone in his glory1' the ,prince was to be deposited1 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 saint4 8,let us turn to that tomb1 and see how it sums up his whole life4 ,its bright colours have long since faded1 but enough still remains to show us what it was as it stood after the sacred remains of him had been placed within it4 ,there he lies2 no other memorial of him exists in the world so authentic4 ,there he lies1 as he had directed1 in full armour1 his head resting on his helmet1 his feet with the likeness of #8the spurs he won' at ,cressy1 his hands joined as in that last prayer which he had offered up on his deathbed4 ,there you can see his fine face with the ,plantagenet features1 the flat cheeks and the well-chiselled nose1 to be traced perhaps in the effigy of his father in ,westminster ,abbey1 and his grandfather in ,gloucester ,cathedral4 ,on his armour you can still see the marks of the bright gilding with which the figure was covered from head to foot1 so as to make it look like an image of pure gold4 ,high above are suspended the brazen gauntlets1 the helmet1 with what was once its gilded leopard-crest1 and the wooden shield1 the velvet coat also1 embroidered with the arms of ,france and ,england1 now tattered and colourless1 but then blazing with blue and scarlet4 ,there1 too1 still hangs the empty scabbard of the sword1 wielded perhaps at his three great battles1 and which ,oliver ,cromwell1 it is said1 carried away4 ,on the canopy1 over the tomb1 there is the faded representation--painted after the strange fashion of those times--of the ,persons of the ,holy ,trinity1 according to the peculiar devotion which he had entertained4 ,in the pillars you can see the hooks to which was fastened the black tapestry1 with its crimson border and curious embroidery1 which he directed in his will should be hung round his tomb and the shrine of ,becket4 ,round about the tomb1 too1 you will see the ostrich feathers1 which1 according to the old1 but doubtful tradition1 we are told he won at ,cressy from the blind ,king of ,bohemia1 who perished in the thick of the fight2 and interwoven with them the famous motto1 with which he used to sign his name1 #8,houmout1' #8,ich diene4' ,if1 as seems most likely1 they are ,german words1 they exactly express what we have seen so often in his life1 the union of ,hoch muth that is high spirit1 with ,ich dien1 ,i serve4 ,they bring before us the very scene itself after the battle of ,poitiers1 where1 after having vanquished the whole ,french nation1 he stood behind the captive king1 and served him like an attendant4 8,and1 lastly1 carved about the tomb1 is the long inscription1 selected by himself before his death1 in ,norman ,french1 and still the language of the court1 written1 as he begged1 clearly and plainly1 that all might read it4 ,its purport is to contrast his former splendour and vigour and beauty with the wasted body which is now all that is left40--7,a4 ,p4 ,s47 ,the ,black ,prince's effigy of brass was once entirely gilt4 ,round the tomb are escutcheons of arms1 and on the canopy there is a representation of the ,holy ,trinity with emblems of the ,evangelists at the corners4 ,at the foot of the ,black ,prince's ,tomb is the monument of ,archbishop ,courtenay 7#acha-acif71 the great opponent of the ,wycliffites2 and directly opposite is the ,tomb of ,henry ,,iv4 and his ,queen1 ,joan of ,navarre1 whose effigies lie under a most elaborate and beautiful canopy4 8,in spite of some damage they remain the most interesting representations1 not only of the costume of the time1 but also1 we cannot doubt1 of the actual features of the persons4 ,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 tomb4 ,the figures at the foot of the ,queen1 known in heraldry as genets1 and to the ordinary person perhaps as weasels1 appear also in the canopy combined with eagles and the motto #8,soverayne and ,atemperance4' ,the defaced painting on wood at the foot of the tomb represented the ,martyrdom of ,st4 ,thomas40--7,f4 and ,r47 ,adjoining this tomb is the ,chapel of ,henry ,,iv4's ,chantry1 built1 as directed in the will of ,king ,henry1 who died in #adac1 8a chauntrie perpetual with twey prestis for to sing and pray for my soul40 ,it contains the first example in ,canterbury of the 8fan-vaulting10 so splendidly represented in the ,dean's ,chapel4 ,the windows here and in the ,corona should be studied4 8,they are of the ,thirteenth ,century1 and among the finest of this date in ,europe1 excelling in many respects those of ,bourges1 ,troyes and ,chartres2 #8for excellence of drawing1 harmony of colouring and purity of design they are justly considered unequalled4 ,the skill with which the minute figures are represented1 cannot even at this day be surpassed' 7,stanley74 ,remark especially the great value given to the brilliant colours by the profusion of white and neutral tints4 ,the scrolls and borders surrounding the medallions are also of beauty4 8,the three windows remaining in the aisles surrounding the ,trinity ,chapel are entirely devoted1 as were all the rest1 to the miracles of ,becket1 which commenced immediately on the death of the great martyr4 ,the miracles represented in the medallions are of various characters4 ,the ,lucerna ,angli1 a true ,st4 ,thomas of ,kandelberg1 as the ,germans called him1 restores sight to the blind4 ,loss of smell is recovered at the shrine of this ,arbor ,aromatica4 ,frequently he assists sailors1 the rude crews of the ,cinque ,ports in his own immediate neighbourhood4 ,at the ,norway fishing his figure came gliding over the seas in the dusk1 and descended1 burning like fire1 to the imperilled ships of the ,crusaders4 ,in the window toward the east1 on the north of the ,shrine1 is represented a remarkable series of miracles1 occurring in the household of a knight named ,jordan1 son of ,eisulf1 whose son is restored to life by the water from ,st4 ,thomas's well1 which1 mixed with his blood1 was always carried off by the pilgrims4 ,the father vows an offering to the martyr before ,mid-,lent4 ,this is neglected2 the whole household again suffer1 and the son dies once more4 ,the knight and his wife1 both sick1 drag themselves to ,canterbury1 perform their vow and the son is finally restored4 ,on a medallion in one of the windows on the north side is a representation of ,becket's ,shrine1 with the martyr issuing from it in full pontificals to say ,mass at the altar40--7,r4 ,j4 ,k47 ,at the extreme east end1 just behind ,trinity ,chapel1 is the circular apse called ,becket's ,crown1 or the ,corona4 ,on the north side lies ,cardinal ,pole1 ,bloody ,mary's cousin1 who died the day after she did4 8,the great lightness and beauty of the ,corona1 the extreme east end of the ,cathedral1 are remarkable4 ,it is ,english ,william's work4 ,when ,archbishop ,anselm was at ,rome in the early part of his episcopate and attending a council in the ,lateran1 a question arose as to his proper place1 since no ,archbishop of ,canterbury had as yet been present at a ,roman council4 ,pope ,pascal ,,ii4 decided it by assigning to the #8alterius orbis papa1' a seat in the #8corona1' the most honourable position4 ,it is possible that this fact may have led the architects1 on the rebuilding of the choir1 to make the addition of an eastern apse1 or corona1 which did not exist in the earlier church4 ,in it were the shrines of ,archbishop ,odo and ,wilfrid of ,york1 and a golden reliquary in the form of a head1 containing some relic of ,becket1 perhaps the severed scalp4 ,by a confusion of its proper name with this relic the eastern apse came to be generally known as ,becket's ,crown4 ,on the north side is the tomb of ,cardinal ,pole1 ,queen ,mary's ,archbishop 7#aeef-aeeh7 and the last ,archbishop buried at ,canterbury4 ,his royal blood gave him a title to so distinguished a place of sepulture40--7,r4 ,j4 ,k47 ,from here one gains the best view of the ,cathedral as a whole4 ,canterbury is one of the longest of cathedrals 7#ead feet74 ,the central window 7,thirteenth ,century7 in ,becket's ,crown is very ornate4 8,it is very complete and an admirable example of the intricate symbolism of the time4 ,the subjects are arranged in three quatrefoils and two lozenges3 the ,crucifixion occupying a square panel at the foot1 surrounded by representations of the spies carrying the great bunch of grapes2 of ,moses striking the rock2 of the sacrifice of a lamb in the ,temple1 and of ,abraham offering up ,isaac on ,mount ,moriah4 ,next above is a lozenge-shaped panel1 painted with the ,entombment1 adjoining which we have ,joseph's brethren putting him in the pit2 ,samson shorn in his sleep by ,delilah2 ,daniel in a walled city1 labelled ,babilonia1 and ,jonah let down into the jaws of the whale by two men in a ship4 ,above these scenes is a quatrefoil1 in the centre of which we see the ,resurrection1 surrounded by representations of ,moses and the burning bush2 ,noah in the ,ark2 ,rahab letting the spies down by the wall1 and ,jonah landing near ,nineveh from the mouth of a great whale4 ,then another lozenge represents the ,ascension and the scenes surrounding it are the ,ark of the ,mercy-,seat2 ,elijah ascending in a chariot of fire2 the burial of ,moses1 and ,hezekiah sick1 while an angel gives him the sign of the shadow on the dial of ,ahaz4 ,the last of the series is at the top4 ,in a square panel we see the great event of the ,day of ,pentecost4 ,above it ,christ sits enthroned in glory4 ,moses receiving the ,two ,tables of the ,law is below4 ,on one side is the first ordination of deacons1 and on the other the descent of the ,holy ,spirit on the disciples4 ,the whole style of this window is later than that of the ,becket series40--7,w4 ,j4 ,l47 ,illustration3 ,,canterbury3 ,,choir1 ,,east ,illustration3 ,,rochester3 ,,west ,,front ,passing west1 down the steps worn by the pious pilgrims we reach ,st4 ,anselm's ,tower and ,chapel4 ,anselm's ,tower 7like ,st4 ,andrew's opposite7 is ,prior ,ernulf's work4 ,the elaborate south window 7#accf7 is ,decorated of five lights4 ,st4 ,anselm's ,tower is entered through splendid gates of ancient wrought iron4 ,at the east end behind the ,altar of ,,ss4 ,peter and ,paul1 the great ,anselm 7#ajic-aaji7 was buried4 ,over the chapel is a small room with a window looking into the ,cathedral4 ,this was the ,watching ,chamber1 in which1 as we have seen1 a monk was stationed at night to keep watch over the ,shrine of ,st4 ,thomas4 ,there is a tradition that ,king ,john of ,france was imprisoned here4 ,we now reach the ,south-east ,transept1 the work of both ,william of ,sens and ,english ,william on ,ernulf's walls4 ,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 #aahj4 ,under the windows are the tomb of ,archbishop ,reynolds and the monument to ,hubert ,walter1 the latter the warrior-prelate and ,crusader who kept the ,realm for ,richard ,cur de ,lion and raised the ransom for his release4 ,the steps leading down into the great ,south ,transept are similar to those of the opposite ,transept of the ,martyrdom4 ,opening east from this ,transept is ,st4 ,michael's1 or ,the ,warriors' ,chapel1 so named because of the martial monuments and tombs contained in it4 ,the famous ,east ,kent ,regiment 8,the ,buffs0 place their memorials here4 ,this ,chapel is particularly notable for containing the tomb of ,stephen ,langton1 the author of the ,magna ,charta1 which is of earlier date than the chapel4 ,a very beautiful alabaster monument of ,lady ,margaret ,holland with her two husbands1 ,john ,beaufort1 son of ,john of ,gaunt1 and the ,duke of ,clarence1 son of ,henry ,,iv41 beautifully represents the armour and dress of the ,fifteenth ,century4 ,the ,warriors' ,chapel is ,perpendicular 7about #acgj71 with a complex lierne vault4 ,the architect is unknown4 ,directly opposite1 on the other side of the ,choir1 is the ,transept of the ,martyrdom4 ,here was erected a wooden altar to the ,virgin1 where a portion of the ,martyr's brains were exhibited under a piece of rock-crystal and fragments of ,le ,bret's sword4 ,before this altar ,edward ,i4 was married to ,queen ,margaret in #abii4 ,a rude representation of the altar may be seen over the south-west door of the ,cathedral4 ,returning to the ,north-west ,transept1 we visit the scene of the ,martyrdom which took place near ,st4 ,benedict's apsidal chapel 7now occupied by the ,dean's ,chapel7 ,dec4 #bi1 #aagj1 during vespers4 ,the west door from the cloisters by which ,becket entered and the pavement by the wall1 where he fell1 remain4 ,he was mounting the stairs to the north aisle 7now removed7 when the knights attacked him4 ,we have already noticed the great ,window here1 which was the gift1 in #adfe1 of ,edward ,,iv4 and his ,queen1 whose 8figures still remain in it1 together with those of his daughters and of the two ,princes murdered in the ,tower4 ,the #8remarkably soft and silvery appearance' of this window has been noticed by ,mr4 ,winston4 ,in its original state the ,virgin was pictured in it #8in seven several glorious appearances' and in the centre was ,becket himself at full length1 robed and mitred4 ,this part was demolished in #afdb by ,richard ,culmer1 called ,blue ,dick1 the great iconoclast of ,canterbury1 who #8rattled down proud ,becket's glassie bones' with a pike1 and who1 when thus engaged1 narrowly escaped martyrdom himself at the hands of a malignant fellow-townsman40--7,r4 ,j4 ,k47 ,in this transept stands the monument of ,archbishop ,peckham 7#abgi-abib7 with his effigy in ,irish oak4 ,this is the earliest complete monument in the ,cathedral4 ,we now pass into the ,dean's ,chapel1 occupying the site of ,st4 ,benedict's ,chapel4 ,it was formerly the ,lady-,chapel1 built by ,prior ,goldstone in #adfj and dedicated to the ,virgin4 ,the beautiful fan-vault is similar to that in ,henry ,,vii4's ,chapel in ,westminster ,abbey and to the roof of the staircase leading to the dining-hall of ,christ ,church ,college1 ,oxford4 ,the ,dean's ,chapel received its present name from the number of tombs and monuments to deans here1 one of the most curious of which is that of ,dean ,boys1 who died in #afbe4 ,he is represented as he was found dead in his ,library1 and the arrangement of the books with the edges turned outward from the shelves strikes every one as singular4 ,archbishop ,warham1 the last ,archbishop before the ,reformation1 also lies here1 his heavy tomb in great contrast to that of ,archbishop ,peckham1 already mentioned1 near it1--good examples of the styles between #abib and #aecc4 ,the ,east ,window is also notable4 8,the figures of ,dean ,neville and his brother1 against the eastern wall1 were transferred to this place on the destruction of the chapel which formerly projected from the south side of the nave1 and of which the marks in the wall are clearly visible4 ,in the east window some points may be noted4 ,we see the ,neville arms1 and a red shield with white saltire1 and also the elaborate ,bouchier arms1 the most distinguishable features of which are the water #8budgets1' two curious red skins joined together at the top1 sometimes given as an honourable blazon to those who supplied an army with water4 ,we also see the ,bouchier knot alternating in most of the panes with the oak leaf and acorn4 ,this is the mark of ,woodstock40--7,f4 and ,r47 ,a door here leads into the ,great ,cloister4 ,opposite to ,st4 ,anselm's1 ,st4 ,andrew's ,chapel1 now used as the ,choir ,vestry1 contains interesting remains of coloured decorations4 ,in olden days ,st4 ,andrew's was a sacristy1 where1 as we have seen1 were kept the very precious offerings to the ,shrine4 ,on the inner side is a building of late ,norman work--this was originally the ,treasury4 ,the ,north-east ,transept is a repetition of the ,south-east ,transept4 ,it1 however1 contains a monument to ,archbishop ,tait1 designed by ,boehm2 and in the north wall are three slits called hagiscopes4 ,through these 8holy spy holes10 the ,prior could see ,mass being celebrated at the ,high ,altar and in the altars in the ,chapels of ,st4 ,martin and ,st4 ,stephen in the ,transept below4 ,before descending into the ,crypt we must stop to look at ,st4 ,augustine's ,chair1 by tradition the throne on which the kings of ,kent were crowned and given by ,ethelbert to ,st4 ,augustine4 ,all the ,archbishops of ,canterbury have taken office in it4 8,this chair1 which is sometimes called the chair of ,st4 ,augustine1 but which belongs to the ,thirteenth ,century1 is composed of ,purbeck marble4 ,in it each successive archbishop for the last six hundred years has sat when he has been admitted to his metropolitan functions40--7,w4 ,h4 ,f47 ,the famous ,crypt is usually entered from the ,south ,transept4 ,it is the oldest part of the ,church1 having been built between #ajic and #aajg in the reigns of ,william ,,ii4 and ,henry ,i4 ,it is heavy1 massive1 dark and low1 like all ,norman work4 ,the capitals of the pillars are quaintly and sometimes harmoniously carved2 one under ,st4 ,anselm's ,chapel1 for instance1 represents a concert of beasts playing on musical instruments4 ,the whole crypt was dedicated to the ,blessed ,virgin and in the centre stood her altar and chapel4 8,the ,virgin ,mother10 ,erasmus wrote1 8has there an habitation1 but somewhat dark1 enclosed with a double iron rail1 for fear of thieves2 for indeed ,i never saw anything more loaded with riches4 ,lights being brought we saw a more than royal spectacle4 ,this chapel is not shown but to noblemen and particular friends40 ,the beautiful ,screen1 which resembles the screen behind the ,high ,altar of the choir1 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 7#acfc71 when he founded two chantries in the ,crypt4 ,these now form the entrance to the ,french ,church1 where the descendants of the ,huguenot and ,walloon refugees still hold service in the ritual of their ancestors4 ,queen ,elizabeth gave up the whole of the ,crypt in #aefa to the ,flemish and ,french refugees 8whom the rod of ,alva bruised40 ,the silk-weavers set up their looms here4 ,before the magnificent shrine of the ,virgin lies ,henry ,,vii4's minister1 ,cardinal ,morton1 whose tomb is enriched with the crown and roses of ,york and ,lancaster1 the ,cardinal's hat1 the ,tudor portcullis and a passing allusion to his name--,mort 7hawk7 and ,ton or ,tun 7a barrel74 ,he assisted in building ,bell ,harry 7or the ,angel7 ,tower4 ,another famous tomb in the ,crypt is that of ,isabel1 ,countess of ,atholl1 granddaughter of ,king ,john and sister-in-law of ,john ,balliol1 ,king of ,scotland4 ,she owned the castle of ,chilham near ,canterbury and died in #abib4 ,her tomb stands at the entrance to the ,chapel of ,st4 ,gabriel4 ,the latter is extremely dark1 but shows1 when lighted up1 some remarkable frescoes of the ,twelfth ,century1 representing the ,nativity of ,christ and of ,john the ,baptist4 8,further beyond the ,duchess of ,atholl's tomb the crypt is much loftier and becomes almost a church in itself4 ,this is the part beyond the apse of the original ,cathedral1 the place of ,becket's first burial1 where ,henry ,,ii4 did penance1 passing the night in fasting and in the morning baring his back and receiving three lashes from each of the monks4 ,here the miracles began to be wrought and the ,tumba1 even after its contents were removed1 was still reckoned a holy place4 ,the present lofty crypt was built over and round the ,tumba after the great fire of #aagd2 and1 some forty years after its completion and that of the ,trinity ,chapel above it1 the remains of ,becket were translated by ,stephen ,langton1 with great pomp1 to the shrine prepared for them in the sanctuary above40--7,w4 ,h4 ,f47 ,the ,crypt is largely the work of ,ernulf2 and the diaper pattern and marble shaft by the door that leads from the ,s4 ,e4 corner of the ,martyrdom1 occur again in ,rochester1 where ,ernulf became bishop 7,see page #cd74 ,a statue of ,ernulf1 intended for the west front of the ,cathedral1 is now in his ,crypt4 ,the lower part of the ,crypt ends towards the east in a semi-circular sweep of pillars4 ,the end of the ,crypt was built by ,ernulf in #ajif4 ,the old ,benedictine ,convent of ,christ's ,church that ,st4 ,augustine established grew to be of the utmost importance4 ,portions of the massive wall by which they were surrounded still remain4 ,the monastic buildings were numerous and extensive4 ,the ,prior1 who had the right of wearing the mitre and carrying the episcopal staff1 lived in great dignity4 ,in a set of state chambers1 known as the ,meist' ,omers and belonging to the ,prior1 pilgrims of high rank were lodged4 ,somewhere in the vicinity of the ,infirmary and its chapel was the miraculous ,well of ,st4 ,thomas1 which appeared in the ,fourteenth ,century4 ,a passage and the ,dark ,entry1 haunted by the ghost of ,nell ,cook of the ,ingoldsby ,legends1 takes us into the ,priors'1 or ,green ,court1 planted with linden trees1 or limes1 as the ,english call them4 ,here we find remains of the great ,dormitory1 the ,guest ,house1 built by ,prior ,goldstone1 the ,norman ,almonry ,gate and the ,norman ,staircase1 the only construction of its kind existing4 ,the ,hall above was built in #ahee4 ,the beautiful ,cloisters1 the work of ,prior ,chillenden 7about #adjj71 are decorated on the roof with the arms of ,kentish families4 ,in the northwest corner is the doorway through which ,becket passed to his doom4 8,the cloister occupies the same space as the ,norman cloister built by ,lanfranc1 but of the ,norman work only a doorway remains at the north-east corner2 there is some ,early ,english arcading on the north side1 but the present tracery and fan-worked roof belong to the end of the ,fourteenth ,century1 when ,archbishops ,sudbury1 ,arundell and ,courtenay1 and ,prior ,chillenden 7#acij-adaa7 rebuilt the nave1 the cloister and the chapter-house4 ,the latter work cuts across the older in the most unceremonious way1 as is seen especially in the square doorway by which we shall presently enter the ,martyrdom1 which cuts into a far more beautiful portal of the ,decorated period4 ,if we take our stand at the north-west corner of the cloister1 from which a very fine view is gained of the ,cathedral1 especially about sunset1 we may picture to ourselves the life of the monks4 ,above the north-eastern side of the cloister are the old ,norman arches of their dormitory1 now taken in to the new library2 on the eastern side is the chapter-house1 with its fine geometrical ceiling1 where they transacted their business2 on the south the great church1 the services of which occupied so many hours of the day40--7,w4 ,h4 ,f47 ,,rochester ,,dedication3 ,,st4 ,,andrew4 ,,formerly ,,the ,,church ,,of ,a ,,benedictine ,,monastery4 ,,special ,,features3 ,,door ,,of ,,chapter-,,house2 ,,west ,,doorway2 ,,crypt4 ,after landing in #efg1 ,st4 ,augustine preached in ,rochester1 where ,ethelbert soon founded the church of ,st4 ,andrew for secular canons4 ,in #fjd1 a bishop was appointed1--,st4 ,augustine's companion1 ,justus4 ,justus became ,archbishop of ,canterbury in #fbd1 and was succeeded in ,rochester by ,paulinus2 and he1 in his turn1 by the first ,english bishop1 ,st4 ,ythamar 7#fdd-fee74 ,rochester's three chief saints in early days were1 therefore1 ,justus1 ,paulinus and ,ythamar4 ,gundulf1 a monk of ,bec in ,normandy1 was appointed to ,rochester in #ajgf4 ,he immediately turned it into a ,benedictine monastery and built a church for his monks4 ,gundulf was one of the greatest architects of his day3 he also built the great ,keep of ,rochester ,castle1 portions of the ,tower of ,london and the ,castle of ,dover4 ,the ,saxon ,cathedral had suffered from the ravages of the ,danes and upon the ruins1 ,gundulf1 with assistance from ,archbishop ,lanfranc of ,canterbury1 completed a larger cathedral between #ajhj and #ajhi4 ,the plan was peculiar3 it was neither ,english nor ,norman4 8,all this work of ,gundulf's is now gone except portions of the crypt1 the keep and the nave4 ,of ,gundulf's nave there remain on the south side five arches1 together with the lower parts of the walls of both aisles4 ,it is very doubtful whether he built any part of the triforium or clerestory4 ,at present his work can only be seen in its original condition from the side of the aisles4 ,the pierarches had originally two square orders1 which remain unaltered on the side of the aisle 7cf4 ,winchester transept74 ,gundulf's masonry was in rough tufa40--7,f4 ,b47 ,gundulf placed the relics of ,st4 ,paulinus in a silver shrine at the eastern end of his new cathedral4 ,ernulf1 ,prior of ,canterbury1 began the second ,norman church about #aabj4 ,this was continued by his successor1 ,john of ,canterbury4 8,subsequently the choir was re-arranged and the nave partly rebuilt1 partly re-faced1 added to1 and finished with the west front1 which1 to a great extent1 still remains4 ,this later ,norman work was carried out from east to west during the episcopate of ,ernulf 7#aaae-bd7 and ,john of ,canterbury 7#aabe-cg74 ,the upper part of the west front and some of the carving may not have been completed within even that period4 ,what seems certain is1 that we are indebted to later ,norman builders for the re-casing of the piers of the nave arcade1 the greater richness of their capitals1 the outer decorated order of the arches1 the triforium with its richly diapered tympana1 and the west front4 ,assigning most of these works to the time of ,bishop ,john1 as seems best1 we can point to others that testify to ,ernulf's architectural skill4 ,he is recorded to have built the refectory1 dormitory and chapter-house4 ,portions of these still remain1 and one feature1 in the ornamentation of the chapter-house1 especially1 marks it as his work4 ,this is a peculiar lattice-like diaper1 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 place3 by the entrance to the crypt at ,canterbury1 where also it is due to him40--7,g4 ,h4 ,p47 ,the ,cathedral was dedicated in #aacj2 but while ,king ,henry ,i41 the ,archbishop of ,canterbury and many of the nobility were still in the city a fire broke out 8without any regard to the majesty of the ,king1 grandeur of the church or solemnity of the occasion10 as an old chronicle quaintly observes1 and greatly damaged the new church4 ,two other fires occurred in the same century1 and in #aagi the monks set to work to rebuild the whole cathedral4 8,as usual they arranged their building operations so as to avoid interfering with the services in the choir as long as possible4 ,first they rebuilt the north aisle of the choir1 but not so high as it is at present4 ,the aisle remained narrow because ,gundulf's tower was in the way4 ,but the south aisle of the choir they doubled in width4 ,next they set to work at the east end1 planning it1 as at ,hereford1 as an eastern transept with an eastern aisle and projecting eastward an oblong sanctuary 7cf4 ,southwell74 ,the new transept was lofty and broad2 and it is quite possible that it was built over the top of ,gundulf's east end without disturbing daily services within it4 ,then when all was finished ,gundulf's east end was pulled down4 ,unlike the ,worcester monks they preserved the level of the ,eleventh ,century choir1 and consequently had to continue ,gundulf's crypt eastward4 ,in the new presbytery is seen the same curious mixture of quadripartite and sexpartite vaulting as in ,st4 ,hugh's eastern transept at ,lincoln4 ,all this work was finished in #abbg40--7;,g4 ,h4 ,p47 ,the monks were enabled to undertake rebuilding on this large scale because in #abja they acquired a new saint4 ,a baker of ,perth1 named ,william1 famed for his piety1 started to the ,holy ,land4 ,he got as far as the road to ,canterbury1 where his servant killed him for his money4 ,the monks found the body and buried it in the choir of ,st4 ,andrew's4 ,st4 ,william soon began to work miracles and attracted many of the pilgrims on their way to the ,shrine of ,st4 ,thomas at ,canterbury4 ,the choir1 rebuilt by means of the offerings1 was first used for service in #abbg4 8,the choir and transepts of ,rochester ,cathedral are a very beautiful and remarkable example of ,early ,english4 ,the architect was ,william de ,hoo1 first sacristan1 then prior1 and there is some reason to believe that he is the same person as ,william the young ,englishman1 who assisted ,william of ,sens after his fall from the scaffold at ,canterbury1 and completed the work there4 ,a young man at ,canterbury in #aahe1 able to carry on and complete such a work1 may very well have become the architect on his own account of the daughter church of ,rochester in #abja-abbg1 and there is great resemblance in style between ,rochester and the later work at ,canterbury40--7,j4 ,h4 ,p47 ,about this time the monks resolved to have a central tower and to rebuild the nave4 ,while all this work was going on1 the church was desecrated by the troops of ,simon de ,montfort4 ,a chronicler relates that 8,they entered the church of ,st4 ,andrew on the day on which the ,lord hung on the cross for sinners4 ,armed knights on their horses1 coursing around the altars1 dragged away with impious hands some who fled for refuge thither1 the gold and silver and other precious things being with violence carried off thence4 ,the buildings were turned into horses' stables1 and everywhere filled with the dung of animals and the defilement of dead bodies40 ,in #acdc the central tower was completed by ,bishop ,hamo de ,hythe1 who hung in its wooden spire four bells1 named ,dunstan1 ,paulinus1 ,ythamar and ,lanfranc4 ,bishop ,hamo is said to have reconstructed in alabaster and marble the shrines of ,paulinus and ,ythamar4 ,to the middle of the ,fourteenth ,century belongs also the beautiful doorway leading into the ,chapter-,house and ,library4 ,in the ,fifteenth ,century1 the clerestory and vaulting of the north-choir-aisle were finished and ,perpendicular windows were placed in the nave aisles4 ,the great west window was inserted about #adgj1 and the whole of the ,norman clerestory was taken off and a new clerestory and a new wooden roof were put up4 ,the northern pinnacle of the west gable was also rebuilt4 ,about #adij1 the ,lady-,chapel was erected in the corner between the south transept and the nave4 ,in #aedj the ,cathedral surrendered to the ,king2 and became known as the ,cathedral ,church of ,christ and the ,blessed ,virgin ,mary4 ,in #aeeh the body of ,cardinal ,pole rested here one night on its way to ,canterbury4 ,an eyewitness speaks of 8the funeral pompe which trulie was great and answerable both to his birth and calling1 with store of burning torches and mourning weedes4 ,at what time his coffin1 being brought into the church1 was covered with a cloth of black velvet1 with a great cross of white satten over all the length and bredth of the same1 in the midst of which cross his ,cardinal's hat was placed40 ,the church suffered from the ,puritans in #afdb4 ,samuel ,pepys speaks of repairs in #affa4 ,more were made in #agdb-dc4 ,in #agdi1 the steeple was rebuilt4 ,a new organ was acquired in #agia2 and at the close of the ,eighteenth ,century the upper part of ,gundulf's tower was taken down4 ,throughout the ,nineteenth ,century repairs and restorations were constantly made4 ,the glass chiefly consists of memorials to heroes of the wars of the ,nineteenth ,century4 ,the best approach is from the ,high ,street through the ,college ,gate1 which marks the entrance to the ,precincts1 or ,green ,church ,haw4 ,this is also known as ,chertseys1 or ,cemetery ,gate1 which lovers of ,dickens remember as ,jasper's ,gateway2 for ,cloisterham of ,edwin ,drood is ,rochester4 ,the ,deanery ,gate dating from the reign of ,edward ,,iii4 was formerly the ,sacristy ,gate4 ,the ,priors' ,gate dates from the ,fourteenth ,century4 ,the north side of the nave shows two-lighted ,perpendicular windows with irregular quatrefoils in their heads2 the north transept 7,early ,english7 a high gable with three circular windows and pinnacles4 ,and on the north side of the choir ,gundulf's ,tower to which there are two entrances1--one through an opening in the north wall1 the other through a doorway in the south-west corner4 ,in the angle between the south aisle and transept we note the ,lady-,chapel 7,perpendicular7 with three-lighted windows three bays long from east to west and well-buttressed2 the south side of the choir contains three lancet windows and a fine doorway that used to open into the cloisters4 ,the south transept 7,early ,decorated7 is well buttressed and its gable adorned with pinnacles and gargoyles4 ,the lowest row of windows belongs to the crypt4 ,the ,west ,front has been restored4 ,the great central window1 and the flat gable above1 are ,perpendicular 7restored71 but all the rest is either original ,norman work1 or as accurate a reproduction of this as possible4 ,the great ,west ,doorway 7late ,norman7 dates from the first half of the ,twelfth ,century4 8,it is formed by five receding arches and every stone of each of these is carved with varying ornamental designs4 ,between the second and third of them runs a line of cable moulding1 an ornament which occurs also inside the door4 ,each arch has its own shaft and the groups of five on each side are elaborately banded4 ,the shafts have richly sculptured capitals1 and in those on the south side1 as well as in the tympanum1 the signs of the ,evangelists appear4 ,the shafts second from the door on either side are carved with statues1 two of the oldest in ,england4 ,these are much mutilated1 but they were thought worthy of great praise by ,flaxman4 ,that on the spectator's left is said to represent ,king ,henry ,i4 and the other his wife1 the #8good ,queen ,maud4' ,this attribution is probably correct1 as these sovereigns were both great benefactors to the ,cathedral and were living when the front was being built4 ,the figure of the ,queen has suffered the more2 it is recorded to have been especially ill-used by the ,parliamentarians in the days of the great ,civil ,war4 ,the tympanum contains a figure of ,our ,lord1 seated in ,glory1 within an aureole supported by two angels4 ,his right hand is raised in benediction and his left hand holds a book4 ,outside the aureole are the symbols of the four ,evangelists3 the ,angel of ,st4 ,matthew and the ,eagle of ,st4 ,john1 one on each side above the ,winged ,lion of ,st4 ,mark and the ,ox of ,st4 ,luke similarly placed below4 ,a straight band of masonry crosses beneath the lunette1 and has carved on it twelve figures1 now much mutilated1 but supposed to have represented the twelve ,apostles4 ,all the sculptured work of the portal has suffered greatly from age and exposure and from the hand of man4 ,in the recent restoration the coping has been renewed1 the shafts have been given separate bases once more and many of the most worn stones have been replaced by new ones carved in facsimile40--7,g4 ,h4 ,p47 ,this doorway resembles those on the ,continent and shows the influence of the ,east4 ,freeman says3 8,the superb western portal at ,rochester ,cathedral is by far the finest example of this kind1 if not the finest of all ,norman doorways40 ,the ,mayor and ,corporation of ,rochester still have the right of entry in their robes by this door1 through which we now pass4 ,immediately we descend four steps into the ,nave3 8,the nave1 #aej feet long to the cross of the lantern1 is ,norman1 as far as the last two bays eastward4 ,if1 as is most probable1 it is a part of ,gundulf's work1 it was1 no doubt1 a copy of the ,norman nave at ,canterbury2 and we are thus enabled to judge fairly what the appearance of the metropolitan cathedral was in this part of it4 ,its architecture is plainer than that of the contemporary examples in ,france1 though owing to its having been always destined for a wooden roof1 the piers and the design generally are lighter than where preparation was made for a stone vault4 ,the triforium is richly ornamented2 and the arches open to the space above the side-aisles as well as to the nave1 a peculiarity which both ,rochester and ,canterbury may have received from the church of ,st4 ,stephen's at ,caen1 where the same arrangement may still be seen4 ,lanfranc1 the builder of the ,norman church at ,canterbury1 had been ,abbot of ,st4 ,stephen's4 ,the clerestory windows above1 like those of the aisles1 are ,perpendicular2 and the roof seems to have been raised at the time of their insertion4 ,this is of timber and quite plain4 8,in passing beyond the ,norman portion of the nave to the ,early ,english1 of which nearly all the rest of the ,cathedral consists1 the strong influence of ,canterbury is at once apparent4 ,the double transepts1 the numberless shafts of ,petworth marble1 and perhaps the flights of stairs ascending from either side of the crypt1 recall immediately the works of the two ,williams in the metropolitan church1 which always maintained the closest connection with ,rochester1 her earliest daughter40--7,r4 ,j4 ,k47 ,at the end of the northern aisle we note the early ,fourteenth ,century doorway for the use of the parishioners of ,st4 ,nicholas's altar4 ,the lower end of the southern aisle terminates in a blind arcade of three arches4 ,each aisle end has also a round-headed ,norman window4 ,the great ,west ,window is divided into eight lights separated into ,illustration3 ,,rochester3 ,,nave1 ,,east ,illustration3 ,,rochester3 ,,choir1 ,,west two rows by a horizontal mullion4 ,the glass commemorates the officers and men of the ,royal ,engineers who fell in the ,south ,african and ,afghan campaigns4 ,the subjects are ,biblical scenes and heroes4 ,in the south-west corner of the ,nave1 a charming little ,norman doorway opens into the tower4 ,a fine embattled moulding runs round the arch4 ,the crossing is noticeable for the finely clustered shafts of the tower-piers4 ,the ,north ,transept 7,early ,english7 dates from about #abce4 ,the ,south ,transept 7,early ,decorated7 is later4 ,the north transept is the richer of the two4 ,the corbels of monastic heads of great excellence deserve notice4 ,in the east wall1 opposite the entrance to the ,perpendicular ,lady-,chapel1 two bays were included under one arch to form a recess for the altar of the ,virgin ,mary1 about #acbj4 ,the south transept underwent some alteration when the ,lady-,chapel was built4 ,on the wall under the central window a monument to ,richard ,watts was erected in #agcf4 ,watts1 a member of ,queen ,elizabeth's second ,parliament1 entertained her at 8,satis ,house0 in #aegc4 ,he also left provisions in his will for the poor and founded in #aegi the 8,house of the ,six ,poor ,travellers10 where nightly six poor wayfarers are provided with supper1 bed and breakfast and presented with fourpence when they leave4 ,near the ,watts monument a brass tablet to ,charles ,dickens1 who made the ,house of the ,six ,poor ,travellers famous1 connects 8his memory with the scenes in which his earliest and latest years were passed and with the associations of ,rochester ,cathedral and its neighbourhood1 which extended over all his life40 ,the ,choir1 reached by a flight of ten steps1 is higher than the nave4 ,it is entered through iron gates in the central doorway of the screen1 which represent ,st4 ,andrew1 ,king ,ethelbert1 ,st4 ,justus1 ,st4 ,paulinus1 ,bishop ,gundulf1 ,william de ,hoo1 ,bishop ,walter de ,merton and ,cardinal ,john ,fisher1 designed by ,mr4 ,john ,pearson4 ,the organ is on the screen beneath the choir-arch4 ,the ,choir1 remodelled in #ahbe-ahcj1 8is entered by a flight of steps rendered necessary1 as at ,canterbury1 by the height of the crypt below4 ,it was completed sufficiently for use in #aabg4 ,it is thoroughly developed ,early ,english1 although much has evidently been borrowed1 even in detail1 from the ,canterbury transition work4 ,it is narrow and somewhat heavy2 defects not lightened by the woodwork of the stalls1 which is indifferent1 or by the use of colour1--a single line of which1 however1 is carried along the ribs of the vaulting with very good effect4 8,the brackets of ,early ,english foliage1 from which the blind wall-arches spring1 should be noticed4 ,two large ones especially1 at the angles of the eastern transept1 are excellent specimens of this period1 before the naturalism of the ,decorated had begun to develop itself4 ,a fragment of mural painting1 apparently of the same date as the choir itself1 remains on the wall1 close above the pulpit4 ,the painting1 when entire1 is said to have represented a subject not uncommon in early churches--the ,wheel of ,fortune with various figures--king1 priest1 husbandman and others--climbing it40--7,r4 ,j4 ,k47 ,this painting 7#e feet #aj inches high and #b feet #b inches wide7 dates from the ,thirteenth ,century4 ,fortune dressed as a queen1 and in yellow1 moves the wheel with her right hand4 ,passing into the ,north-choir-transept1 still ,early ,english and a part of ,william de ,hoo's work1 the first point of interest is ,st4 ,william's ,tomb1 at the north-east corner1 of ,purbeck marble1 with a floriated cross4 ,towards the centre of the transept is a flat stone marked with six crosses1 upon which ,st4 ,william's ,shrine is said to have rested4 ,the steps which descend into the north aisle of the ,choir are1 as at ,canterbury1 deeply worn by the constant ascent of pilgrims4 ,west of the ,saint's tomb lies ,walter de ,merton1 founder of ,merton ,college1 ,oxford1 and ,bishop of ,rochester from #abgd to #abgg4 ,his tomb is a very beautiful example of ,early ,decorated4 ,the present arrangement of the east end is the work of ,sir ,g4 ,scott4 ,the ,choir-stalls were designed by ,sir ,g4 ,scott1 who incorporated as much of the old work as possible4 ,just behind the ,altar1 above which is a picture of ,the ,angels appearing to the ,shepherds1 by ,benjamin ,west 7placed there in #aghh71 is a fine ,piscina4 ,opposite three stone ,sedilia 7late ,perpendicular7 deserve notice4 ,in the railed-off transept aisle1 known as ,st4 ,john the ,baptist's ,chapel1 or ,warner ,chapel1 because of the monuments to members of the ,warner family 78,palladian0 in style1 #afff-afih71 there is an old weather-worn statue which tradition says is a portrait of ,gundulf4 ,in the eastern aisle of the north-east transept is the ,tomb of ,bishop ,john ,de ,sheppy 7#acec-acfj74 ,it is 8probably the most perfect specimen of ancient colour-work now existing in ,england4 ,it had been bricked up within the arch where it still remains1 and was discovered during the repairs in #ahbe4 ,the colours and monuments deserve the most careful attention1 as well for their own beauty as for their great value as authorities4 ,in the maniple held over the left arm1 some of the crystals with which it was studded still remain4 ,remark the couchant dogs at the feet4 ,about their necks are scarlet collars1 hung with bells4 ,an inscription with the ,bishop's name surrounds the effigy40--7,r4 ,j4 ,k47 ,the short sacrarium1 or chancel1 east of the transepts1 probably formed part of ,william de ,hoo's work4 ,the beautiful windows at the east end are ,decorated4 ,in the south side of the sacrarium1 next the altar1 a tomb of plain marble is thought to be that of ,gundulf4 ,in the east wall of the south-choir-transept we come to one of the finest pieces of ,english ,decorated in existence1--the ,chapter-,house ,doorway4 ,it dates from the middle of the ,fourteenth ,century4 8,the full-length figures1 one on each side of the door1 symbolising the ,church and the ,synagogue1 were both headless when ,mr4 ,cottingham restored the doorway1 between #ahbe and #ahcj4 ,much fault has been found with him for turning the first1 which is thought to have been like the other1 a female figure1 into a mitred1 bearded bishop holding a cross in his right hand and the model of a church in his left4 ,the blindfolded #8,synagogue1' by her broken staff and the tables of the law held reversed in her right hand1 typifies the overthrow of the ,mosaic dispensation4 ,above are figures1 two on each side1 seated at book-desks under canopies4 ,these are supposed to be the four great ,doctors of the ,church3 ,saints ,augustine1 ,gregory1 ,jerome and ,ambrose4 ,quite at the head of the arch1 under a lofty pyramidal canopy1 we see a tiny nude figure which represents1 probably1 a pure soul just released from ,purgatory4 ,if this is so1 it would account for the flames from which the angels1 on each side1 bearing scrolls1 seem to be rising4 ,it has been suggested likewise that the distorted heads1 which alternate with squares of foliage in the wider inside moulding of the doorway1 typify the sufferings of the soul in its passage4 ,the outside moulding is also interesting1 being a wide hollow in the bottom of which circular holes are cut at intervals4 ,through these can be seen the broad stem from which spring the leaves that ornament the intervening spaces4 ,the arch-head is ogee-shaped outside1 with large external and smaller1 but not less rich1 internal crockets4 ,the square back to it1 and the spaces beneath the corbels1 on which the ,church and ,synagogue figures stand1 are filled with noteworthy diapers4 ,the first is divided diagonally into sunken squares1 each containing a flower2 and the others have lion masks in quatrefoils1 with five-petalled roses in the alternate spaces40--7,g4 ,h4 ,p47 ,a steep flight of stairs leads from this ,transept to ,st4 ,edmund's ,chapel1 south of the ,choir4 ,from this we enter the ,crypt1 8which extends under the whole of the choir and is one of the best specimens of its class to be found in ,england4 ,the west and east parts are evidently of a much earlier date than the central1 which is ,early ,english1 and of the same period as the choir above4 ,in building this1 the ancient crypt was probably broken through1 and in part reconstructed4 ,the earlier portions are distinguished by very massive piers and circular arches4 ,between the piers are small pillars1 with plain broad capitals4 ,it is not impossible that this part of the crypt may date from before the ,conquest4 ,at all events1 it is the earliest portion of the existing cathedral1 and cannot be later than the work of ,bishop ,gundulf40--7,r4 ,j4 ,k47 ,,winchester ,,dedication3 ,,the ,,holy ,,and ,,indivisible ,,trinity4 ,,formerly ,,the ,,church ,,of ,a ,,benedictine ,,monastery4 ,,special ,,features3 ,,norman ,,nave2 ,,tower2 ,,west ,,window2 ,,choir-,,stalls2 ,,font2 ,,reredos4 ,winchester is the largest cathedral in ,england and affords good examples of every style from pure ,norman to early ,renaissance4 ,it is the fifth cathedral that has occupied this site1 for tradition says that a ,british church was founded here by ,lucius1 ,king of the ,britons4 ,this first church was destroyed in #bff and the clergy martyred during the persecutions of the ,christians by ,diocletian4 ,the second church1 erected under ,constantine1 was in #eae transformed by ,cerdic1 founder of the ,kingdom of ,wessex1 into a ,temple of ,dagon1 in which he was crowned in #eai and buried in #ecd4 ,cerdic's great grandson1 ,kynegils1 converted by ,st4 ,birinus1 the first of ,saxon bishops1 began the third church which his son1 ,kenwalk1 completed in #fdh4 ,kenwalk's buildings were1 in their turn1 enlarged and repaired by ,swithun1 a prior of the ,benedictine monastery established here4 ,swithun1 who became ,bishop of ,winchester and tutor to ,king ,alfred and ,ethelwold1 was1 according to the chroniclers1 8a diligent builder of churches in places where there were none before1 and a repairer of those that had been destroyed or ruined40 ,when he died in #hfb1 he was buried1 according to his own desire1 in the churchyard of ,winchester1 where 8passersby might tread on his grave1 and where the rain from the eaves might fall on it40 ,when this third church was destroyed by the ,danes in #hfg1 portions were restored by ,alfred the ,great1 ,st4 ,ethelwold and ,st4 ,alphege4 ,st4 ,ethelwold removed the body of ,st4 ,swithun to the golden shrine within the cathedral1 now dedicated to ,st4 ,swithun1 ,st4 ,peter and ,st4 ,paul2 but the ,translation being delayed by rain1 gave the saint reputation as a weather prophet4 ,hence the weather on the anniversary 7,july #ae7 is foretold by the old rhyme3 8,st4 ,swithun's ,day1 if thou dost rain1 ,for forty days it will remain2 ,st4 ,swithun's ,day1 if thou be fair1 ,forty days 'twill rain na mair40 ,one of the features of ,st4 ,ethelwold's cathedral was a magnificent 8pair of organs10 of tremendous size and power1 with twelve bellows above and fourteen below and seventy strong men as blowers to fill the four hundred pipes4 ,below1 at two keyboards1 sat two brethren in 8unity of spirit40 ,ethelwold was buried in the southern crypt4 ,this ,saxon church was succeeded by the present cathedral1 begun in #ajgi1 by ,walkelyn1 the first ,norman bishop4 ,walkelyn was of noble birth and related to ,william ,rufus1 who granted him license to search for stone in the ,isle of ,wight and as much wood from the forest of ,hanepinges 7on the ,alresford road7 as his carpenters could take in four days and nights4 ,the wily ,bishop collected a large force of men and within the assigned time cut down the whole forest4 ,the ,king was furious4 ,the new ,cathedral was finished in #ajic1 having been rebuilt by ,walkelyn1 from the west front to the great tower1 including the transepts4 ,he also removed1 and with great pomp1 ,st4 ,swithun's shrine from the old altar to the new one4 ,walkelyn died in #ajih and was buried in the nave4 ,bishop ,lucy1 ,bishop ,william of ,edington and ,william of ,wykeham are the next three great architects of ,winchester4 8,it was ,bishop ,edington who commenced the alteration of ,winchester ,cathedral into the ,perpendicular style2 he died in #acff1 and the work was continued by ,william of ,wykeham1 who mentions in his will that ,edington had finished the west end1 with two windows on the north side and one on the south3 the change in the character of the work is very distinctly marked4 ,bishop ,edington's work at ,winchester was executed at a later period than that at ,edington1 and1 as might be expected1 the new idea is more fully developed2 but on a comparison between the west window of ,winchester and the east window of ,edington1 it will at once be seen that the principle of construction is the same2 there is a central division carried up to the head of the window1 and sub-arches springing from each side3 it may be observed that whenever this arrangement of the sub-arches occurs in ,decorated work1 it is a sign that the work is late in the style4 ,before the death of ,bishop ,edington the great principles of the ,perpendicular ,style were fully established4 ,these chiefly consist of the ,perpendicular lines through the head of the window1 and in covering the surface of the wall with panelling of the same kind4 ,these features are as distinctly marked at ,winchester as in any subsequent building1 or as they well could be40--7,j4 ,h4 ,p47 ,in the eastern part of the ,crypt there is ancient masonry undoubtedly belonging to the time of ,st4 ,ethelwold2 then we find above it the massive ,norman work of ,bishop ,walkelyn2 then1 to the east1 the graceful ,early ,english of ,bishop ,lucy2 along the nave1 the ,perpendicular columns of ,bishop ,edington and ,william of ,wykeham1 on which rests the exquisite groined roof4 ,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 soundness4 8,in this great church many stirring scenes of ,english history have been enacted4 ,the early kings made ,winchester their home and the ,cathedral their chapel4 ,here it was that ,egbert1 after being crowned in regem totius ,britanni1 with assent of all parties1 issued an edict in #hbh1 ordering that the island should thereafter be always styled ,england and its people ,englishmen4 ,here ,king ,alfred was crowned and lived and died4 ,here1 in #ajce1 ,cnut's body lay in state before the high altar1 over which was hung henceforth for many a year1 a most precious relic1 the great ,norseman's crown4 ,here ,william the ,conqueror often came1 and wore his crown at the ,easter ,gemt2 here1 too1 clustered many of the national legends3 ,st4 ,swithun here did his mighty works1 and here were the forty dismal days of rain2 hard by is the scene of the great fight between ,colbrand the ,dane and ,guy of ,warwick2 in the nave of the church ,queen ,emma trod triumphant on the red-hot plough-shares as on a bed of roses2 hither came ,earl ,godwin's body after his marvellous and terrible death1 one of the well-known group of malignant ,norman tales4 ,it was in ,winchester ,cathedral that ,henry ,beauclerk took to wife his queen1 ,matilda1 to the great joy of all ,english-speaking folk4 ,here ,stephen of ,blois was crowned ,king2 and here1 on the other hand1 the ,empress ,maud was welcomed by city and people with high rejoicings2 here1 too1 was drawn up and issued the final compact1 in #aaec1 which closed the civil war of that weary reign and secured the crown to the young ,prince ,henry4 ,he in his turn often sojourned in ,winchester1 and befriended in his strong way the growing city4 ,the ,cathedral witnessed another compact in the dark days of ,king ,john3 the ,king was here reconciled to the ,english ,church in the person of ,stephen ,langton2 ,henry ,,iii4 and his ,queen ,eleanor1 were here in #abdb2 and on ,may-day of that year #8came the ,queen into the ,chapter-house to receive society4' ,in #abge ,edward ,i41 with his ,queen1 was welcomed with great honour by the prior and brethren of ,st4 ,swithun1 and attended service in the church4 ,the christening of ,arthur1 ,prince of ,wales1 elder brother of ,henry ,,viii41 was here2 and here ,henry ,,viii4 met his astute rival1 the ,emperor ,charles ,v4 ,it was in ,winchester ,cathedral that the marriage of ,philip and ,mary took place1 and the chair in which she sat is still to be seen in the church4 ,the ,stuart ,kings loved the place4 ,here in the great rebellion was enacted that strange scene when1 after the capture of the city1 the mob rushed into the ,cathedral1 wild for booty and mischief1 and finding in the chests nothing but bones1 amused themselves by throwing them at the stained windows of the choir4 ,it was at this time that ,colonel ,nathaniel ,fiennes1 a ,parliamentary officer and an old ,wykehamist1 stood with drawn sword at the door of ,wykeham's chantry to protect it from violence4 ,since the days of the ,merry ,monarch1 who was often at ,winchester1 and loved it so well that he built his palace here1 no striking historical events have been enacted within its walls4 ,the church by degrees recovered from the ruin of the ,commonwealth time1 and has had a quiet1 happy life from that time onward1 a tranquil grey building sleeping amidst its trees1 in the heart of the most charming of all south ,english cities40--7,g4 ,w4 ,k47 ,the best view of ,winchester ,cathedral is from the top of ,st4 ,catherine's hill1 where the great mass rises solemnly over the distant city4 ,its enormous length is broken by the bold transepts1 which extend three bays beyond the aisles4 ,people are1 as a rule1 disappointed with their first view of the exterior1 because of its lack of decoration and the lowness of the heavy ,norman tower in the centre4 ,the bright-green turf of the ,precincts and the trees1 however1 make with the grey walls an impressive picture4 ,a short avenue of trees leads through the ,close to the western door4 ,the ,west ,front was originally the work of ,edington 7#acde-acff74 ,it is #aah feet in breadth and composed of a panelled gable of ,perpendicular style with hexagonal turrets4 ,immediately under the window in a gallery over the entrance1 the bishop used to give his benediction to the people4 ,the figure of ,william of ,wykeham stands in the gable1 replacing an ancient bishop removed in #ahfj4 ,no one seems to know whether it represented ,william of ,wykeham1 ,bishop ,edington1 or ,st4 ,swithun4 ,very probably it was the latter1 as its companions on the gable were ,st4 ,peter and ,st4 ,paul1 the three patron saints of the ,saxon ,cathedral4 ,the great ,west ,window is divided by cross mullions into three perpendicular and six horizontal compartments4 ,it is said to be filled with glass1 collected from different parts of the building1 after the general smashing by the ,parliamentary soldiers in #afdf4 ,winston says these pieces are very early ,perpendicular glass1 and may have been placed together in the window1 as we now see them1 in ,bishop ,edington's time4 8,before entering1 the visitor should remark the grand view of the interior obtained through the open central door4 ,the length of ,winchester 7#ebj feet from this entrance to the extreme eastern buttresses7 exceeds that of any other cathedral on this side of the ,alps1 with the exception of ,ely 7#efj feet7 and of ,canterbury1 which is about five feet longer than ,winchester4 ,a certain coldness1 arising from want of colour1 is perhaps felt at first2 but the eye soon learns to dwell contentedly on the magnificent forest of piers1 and on all the graceful details above and around them4 ,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 effect40--7,r4 ,j4 ,k47 ,the ground-plan shows a nave of eleven bays1 a transept of three1 a choir of five1 a presbytery of three and a ,lady-,chapel at the east end of three4 ,all are furnished with side aisles4 ,winchester is the longest cathedral in ,england1 and the ,nave is one of the longest in the world4 ,fergusson says it is 8perhaps the most beautiful nave in ,england or elsewhere40 ,the view is overwhelmingly grand and noble and the groining of the roof is striking in the extreme4 ,the triforium was sacrificed and the old ,norman piers1 recased1 were left to carry the lofty ,perpendicular arches and exquisitely vaulted roof4 ,the ,perpendicular lining and panelling disguise the fact that the interior is really ,norman4 8,the nave gains a special grandeur by the vaulting shafts rising from the very floor so that the eye follows them upwards tardily1 as if they were more lofty than they actually are1 to the capitals whence the groined roof springs4 ,the aisle windows have a beauty worthy of careful notice4 8,a striking yet beautiful peculiarity is that ,winchester nave1 setting an example followed generally in ,perpendicular churches1 has no proper triforium--a balcony close above the nave arches taking its place4 ,owing to the thickness of the ,norman masonry this arrangement was unavoidable4 8,the seven westerly piers on the south side retain the ,norman stone-work faced with new mouldings4 ,norman arches remain behind the triforium wall2 ,norman shafts may be seen above the vaulting2 and ,norman flat buttresses are traceable outside between the southerly clerestory windows40--7,g4 ,w4 ,k47 ,the ,nave of ,winchester1 therefore1 presents one of the most curious examples of transformation from one style of architecture to another2 for here we have a perfect specimen of the ,fourteenth and ,illustration3 ,,winchester3 ,,nave1 ,,west ,illustration3 ,,winchester3 ,,font ,fifteenth ,centuries1 yet it is from the ground to the roof the original ,norman building begun by ,walkelyn4 ,the extreme western part was rebuilt by ,edington1 who began the transformation of the ,nave from the ,norman to the ,perpendicular1 and continued by his successor ,william of ,wykeham 7#acff-adjd74 ,at ,wykeham's death in #adjd the south side of the ,nave was finished and the north begun4 ,the work was continued and finished by his successors1 ,cardinal ,beaufort and ,bishop ,waynflete 7#adjd-adhf74 ,the arms on the bosses of the vault of the nave are those of ,wykeham1 ,cardinal ,beaufort and ,john of ,gaunt 7the latter's father72 the chained white hart is the device of ,richard ,,ii4 and the lily that of ,bishop ,waynflete4 ,students may compare the ,nave of ,winchester with the ,choir of ,gloucester1 which is also ,norman in plan1 8overlaid with a veneer of masonry in the ,pointed ,style40 ,the ,gloucester ,choir is1 however1 of later date1 and instead of showing an amalgamation of the two styles1 as at ,winchester1 the ,pointed is added to the ,round-arched style4 ,the curious black basaltic stone ,font was probably the gift of ,bishop ,henry de ,blois 7#aabi-ga71 and some antiquarians think that it was brought from ,constantinople during the ,second ,crusade4 ,the carvings represent ,st4 ,nicholas of ,myra1 the patron saint of children1 and much honoured by the ,normans4 8,within the walls the most striking object of interest is undoubtedly the famous ,norman font of black basaltic stone1 which was probably placed in the church in the days of ,walkelyn2 it portrays in bold if rude relief the life and miracles of ,st4 ,nicholas of ,myra4 ,next after the font may perhaps be noted the fine carved spandrels1 ,fourteenth ,century work1 of the choir-stalls1 with the quaint misereres of the seats2 then ,prior ,silkstede's richly carved pulpit of the ,fifteenth ,century1 and the very interesting and valuable ,renaissance panels of the pews1 put in by ,william ,kingsmill1 last prior and first dean1 in #aedj4 ,the chantries and tombs in this church are of unusual beauty and interest40--7,g4 ,w4 ,k47 ,at the west end of the north aisle a square stone gallery called the tribune is part of ,edington's work4 ,it was used as a ,minstrels' ,gallery on great occasions4 ,the nave ,pulpit was a gift from ,new ,college1 ,oxford1 in #ahhe4 ,in the north aisle there is a monumental brass in memory of ,jane ,austen1 the authoress1 and near the south-west door are fixed the flags of the #igth ,regiment and memorials of the ,crimean ,war4 ,the west window of the south aisle is filled with stained glass to their memory4 ,on the south side of the ,nave and in the second bay from the ,choir is ,bishop ,edington's ,chantry4 ,it was somewhat altered when the piers against which it stands were transformed from ,norman to ,perpendicular4 ,this is the first of a number of very fine chantries1 the most interesting of which is that of ,william of ,wykeham1 which occupies the entire space between two piers of the ,nave on the south side in the fifth bay from the west end4 ,this chapel was built by ,wykeham on the site of an altar dedicated to the ,virgin1 where he used to worship when a boy4 8,the design of ,william's chantry is very beautiful2 and it is one of the best remaining specimens of a ,fourteenth ,century monumental chapel4 ,the foundation of the altar is still visible4 ,the ,bishop's effigy1 the comeliness of which1 it has been suggested1 may have induced ,anthony ,wood to describe him as having been of #8a courtly presence1' reposes on an altar-tomb in the centre1 arrayed in cope and mitre4 ,the pillow at the head is supported by two angels4 ,at the feet three monks are represented offering up prayers for the repose of the departed soul4 ,they are said1 but questionably1 to represent ,wykeham's three assistants in the cathedral works--,william ,wynford1 his architect2 ,simon de ,membury1 his surveyor of the works2 and ,john ,wayte1 controller40--7,r4 ,j4 ,k47 ,the ,choir is entered through a screen of stonework1 by ,garbett1 decorated with figures of ,james ,i4 and ,charles ,i41 taken from an older screen by ,inigo ,jones4 ,the figure of ,charles ,i4 was much injured by the ,parliamentary troops who stabled their horses in the cathedral4 ,it was made by ,hubert ,le ,seur1 a pupil of ,john of ,bologna and much employed by ,charles ,i4 ,the ,choir consists of the old choir of the monks under the tower and of the presbytery beyond it4 ,this portion of the cathedral is of various dates3 the tower is late ,norman2 the piers1 arches and clerestory of the presbytery are ,decorated 7about #acej72 the screen enclosing it is ,perpendicular 7the work of ,bishop ,fox about #aebd72 the vaulting of the presbytery 7also the work of ,bishop ,fox72 and the ceiling under the tower1 dates from #afcd4 ,the visitor is struck by the enormous piers of the ,tower1 rebuilt after #aajg when ,walkelyn's tower1 under which ,william ,rufus was buried1 fell4 ,many thought 8that the fall of the tower was a judgment for his sins40 8,early in the ,twelfth ,century occurred the fall of the tower of this ,cathedral1 celebrated from the peculiar circumstances with which it was accompanied1 which are thus described by ,william of ,malmsbury1 who was living at the time3--#8,a few country men conveyed the body of the ,king1 ,william ,rufus1 placed on a cart1 to the cathedral of ,winchester1 the blood dripping all the way4 ,here it was committed to the ground within the tower1 attended by many of the nobility1 but lamented by few4 ,the next year 7#ajig7 the tower fell2 though ,i forbear to mention the different opinions on this subject1 lest ,i should seem to assent too readily to unsupported trifles2 most especially that the building might have fallen through imperfect construction1 even though he had never been buried there4' ,that this was really the case1 the building itself affords us abundant evidence1 and proves that even the ,normans at this period were still bad masons and very imperfectly acquainted with the principles of construction4 ,the tower which was rebuilt soon after the fall is still standing1 and the enormous masses of masonry which were piled together to support it1 and prevent it from falling again1 show such an amazing waste of labour and material as clearly to prove that it was the work of very unskilful builders40--7,j4 ,h4 ,p47 ,the tower was originally intended to serve as a lantern2 but was ceiled over in the reign of ,charles ,i4 ,in the centre is a medallion of the ,holy ,family1 the date #afcd1 and medallions of ,charles ,i4 and ,henrietta ,maria4 ,the very narrow arches opening to the transepts should be noticed4 ,the ,choir ,stalls are magnificent4 8,the stalls which extend from the eastern tower-piers to the first pier of the nave1 are of oak1 as black as ebony1 and probably exhibit the very finest woodwork of their date and style 7which is the best7 in the ,kingdom4 ,they are early ,decorated 7,geometrical7 work and their canopies and gables bear considerable resemblance to those of the tomb of ,edmund ,crouchback in ,westminster ,abbey4 ,this would place their date about #abif4 ,the beauty and variety of the carvings are wonderful4 ,there is no repetition2 and the grace and elegance1 as well as the fidelity1 with which the foliage is represented1 are nowhere to be surpassed4 ,the human heads are full of expression2 and the monkeys and other animals sporting among the branches have all the same exquisite finish4 ,the mode in which the cusps of the circles in the canopies are terminated1 is worthy of attention2 and in short1 at this period of the revival of wood-carving1 no better examples could be found for study and imitation4 ,the misereres below are of early character and interesting4 ,their date is rather later than those 7,early ,english7 in ,exeter ,cathedral--the most ancient in the ,kingdom4 ,the desks and stools in front of the upper range bear the initials of ,henry ,,viii41 ,bishop ,stephen ,gardiner1 and ,dean ,kingsmill and the date #aedj4 ,the rich pulpit on the north side bears the name of its donor #8,thomas ,silkstede1 prior' on different parts of it40--7,r4 ,j4 ,k47 ,the ,presbytery is ,early ,english1 the work of ,bishop ,lucy 7#aahi-abjd74 ,it has a central alley of three bays4 ,the arcading is very graceful4 ,the presbytery is closed at the sides by screens of stone tracery1 most of them erected by ,bishop ,fox1 and bear his motto1 ,est ,deo ,gratia4 ,upon these screens stand six mortuary chests 7also the work of ,bishop ,fox7 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 sarcophagi4 ,the chests are of wood1 carved1 painted and gilded in the ,renaissance ,style1 which was being introduced into ,england in ,fox's time4 8,the vaulting of the presbytery 7of wood7 is the work of ,bishop ,fox 7#aejj-aebj71 and displays on its bosses1 a mass of heraldry besides 7at the east end7 the various emblems of the ,passion together with a number of faces representing ,pilate and his wife1 ,herod1 ,annas and ,caiaphas1 ,judas1 ,malchus with the sword of ,peter dividing his ear1 ,peter himself and many others4 ,all are curious and are best seen from the gallery below the east window4 8,the east window of the choir is filled with ,perpendicular glass1 a little earlier than #aebe1 the work of ,bishop ,fox1 whose arms impaled with those of the sees he held 7,exeter1 ,bath and ,wells1 ,durham and ,winchester7 and his motto ,est ,deo ,gratia are introduced in it40--7,r4 ,j4 ,k47 ,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 it4 8,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 time1 removed from other windows4 ,in point of execution it is as nearly as perfect as painted glass can be4 ,in it the shadows have attained their proper limit4 ,it was at this period that glass painting attained its highest perfection as an art40--7,c4 ,w47 ,beyond the tower-piers in the presbytery a plain tomb of ,purbeck marble was once the resting-place of ,william ,rufus1 killed in the ,new ,forest in #aajj and first buried1 as we have seen1 under the ,tower4 ,his bones were removed in the ,twelfth ,century by his nephew ,bishop ,henry de ,blois and are now mingled with those of ,canute1 ,queen ,emma and two ,saxon bishops in one of the mortuary chests on the screen of the ,presbytery4 ,the piers and arches of the ,presbytery are ,decorated1 dating from #acbj and #acej4 ,at the ,high ,altar of the ,choir ,queen ,mary was married to ,philip of ,spain in ,july1 #aeed1 by ,bishop ,gardiner4 ,in ,philip's train were ,alva1 the future scourge of the ,low ,countries1 and ,egmont1 his famous victim4 ,the chair in which the bride sat is preserved in the ,chapel of the ,guardian ,angels4 ,at the back of the altar rises the magnificent ,reredos1 dating from the latter end of the ,fifteenth ,century4 ,in #ahii the final restoration of the screen was completed by filling a niche that had been vacant for three centuries4 ,the altar-rails are of the time of ,charles ,i4 ,a representation of the ,incarnation hangs over the altar placed there in #ahii1 when ,benjamin ,west's ,raising of ,lazarus was removed to the ,south ,transept4 8,the ,reredos is said to have been commenced by ,cardinal ,beaufort and completed by ,bishop ,fox and ,prior ,silkstede4 ,it is an excellent specimen of ,perpendicular work1 executed in a fine1 white soft stone2 its elaborately canopied niches1 pierced and crocketted pinnacles1 pilaster buttresses1 and centre projecting canopy1 are surmounted at a height reaching nearly to the corbels1 with a triple frieze of running leaves1 ,tudor flowers and quatrefoils4 ,this ,reredos is of the same type as those at ,christ ,church ,priory and ,st4 ,alban's1 but its dimensions are greater and better proportioned4 ,its restoration is carried out with remarkable fidelity to the original work4 ,the back is closely panelled in the upper part1 and the lower part is richly decorated4 ,no description could do justice to the beauty and effect of the whole work4 ,milner describes its exquisite workmanship as being as magnificent as this or any other nation can exhibit4 ,the central part was restored as a memorial to the late ,archdeacon ,jacob40--7,g4 ,w4 ,k47 ,on either side of the altar a door opens to the space behind the ,reredos1 which in early days was the ,feretory1 a place for the feretra1 or shrines of the patron saints4 8,the ,feretory1 or ,capitular ,chapel1 is immediately behind the altar and communicates with the sanctuary4 ,here the magnificent shrine of ,st4 ,swithun1 of solid silver gilt and garnished with precious stones1 the gift of ,king ,edgar1 used to be kept except on the festivals of the saint1 when it was exposed to view on the ,altar1 or before it4 8,many portions of statuary formerly belonging to the ,great ,screen and other parts of the building are here carefully preserved4 ,from the platform behind the reredos may be observed the admirable connection of ,fox's new with ,de ,lucy's earlier work40--7,g4 ,w4 ,k47 ,the old statue of the bishop1 taken from the west front1 may also be seen here4 ,back of the ,reredos again stands the famous ,edwardian ,arcade1 with nine canopies 7or tabernacles74 ,beneath it is the ancient entrance1 the 8,holy ,hole10 leading into the ,crypt4 ,the presbytery aisles are greatly admired4 ,here we find beautiful examples of ,early ,english work and many splendid monuments and chantries4 ,beyond lies the ,lady-,chapel1 with the ,chapel of the ,guardian ,angels on the north side and the ,bishop de ,langton's ,chantry on the south4 ,the ,lady-,chapel 7#adgj7 was founded by ,elizabeth of ,york1 ,queen of ,henry ,,vii41 after the birth of her son1 ,arthur1 as a testimony of her gratitude4 ,the arms of ,henry ,,vii41 ,elizabeth and the ,prince of ,wales--the feathers divided by roses--are among the ornaments4 ,a plain slab of grey marble in front of the ,lady-,chapel is supposed to mark the ,tomb of ,bishop de ,lucy1 the builder of all this part of the ,cathedral4 ,at the back of the ,lady-,chapel a ,reredos was placed by ,dean ,branston in #ahgf4 ,ascending the steps from the transept1 we reach the north aisle of the presbytery1 and gain a fine view beyond this of the eastern portion of the church1 with its splendid chantries and chapels4 ,with the exception of the extreme east end of the ,lady-,chapel1 it is all the work of ,bishop ,godfrey de ,lucy 7#aahi-abjd71 and consequently a very early example of ,early ,english4 ,the design and details are of great beauty4 ,the three aisles or alleys 7called procession paths or the via processionum7 are separated from each other by three arches on each side and terminate eastward in chapels4 ,these aisles were formed in order to facilitate the circulation of processions4 ,the north chapel 7part of ,de ,lucy's work7 is called that of the ,guardian ,angels1 from the figures of angels still remaining on the vaulting2 the south chapel 7,de ,lucy's work7 was fitted up as a chantry by ,bishop ,langton1 who died in #aejj4 ,the woodwork is rich and beautiful and the vault elaborate with carved rebuses on his name4 8,the north and south walls1 as far as the east walls of the two side chapels1 are ,de ,lucy's work1 and retain his rich ,early ,english arcade4 ,the eastern compartment on each side1 as well as the east wall1 have respectively a large ,perpendicular window of seven lights with transom and tracery of a peculiar kind of subordination1 or rather interpretation of patterns well worth a careful study4 ,the vault is a complex and beautiful specimen of lierne-work4 ,the capitals and bases of the vaulting-shafts are unusual and very beautiful4 ,the carved panelling of the western half of this chapel1 the seats1 desk and screen of separation1 are all excellent1 and should be noticed4 ,all this ,perpendicular work is due to ,prior ,hunton 7#adgj-adih7 and his successor1 ,prior ,silkstede 7#adih-aebd74 ,on the vault round the two central keys--one representing the ,almighty1 the other the ,blessed ,virgin--are the rebuses of the two priors3 the letter ,t1 the syllable ,hun1 the figure of a ton for ,thomas ,hunton2 the figure #a and the letters ,por for ,prior3 the letter ,t1 the syllable silk1 the word sted with a horse below it1 the figure #a with letters as before1 for ,thomas ,silkstede1 prior4 ,the walls of this chapel are covered with the remains of some very curious paintings illustrating the legendary history of the ,virgin4 8,these are all the work of ,prior ,silkstede1 whose portrait1 with an inscription1 is still faintly visible over the piscina40--7,r4 ,j4 ,k47 ,between the pillars of the central aisle are the ,chantries of ,waynflete and ,beaufort4 ,both were much injured by ,cromwell's troops and have been restored4 ,the delicacy and beauty of ,waynflete's canopy should be noted4 ,the lily1 his device1 constantly appears4 ,his effigy lies here4 ,beaufort appears in his ,cardinal's robes4 ,he was half-brother to ,henry ,,iv4 and was bishop1 statesman1 soldier and banker to the royal family4 ,he is said to have burst into tears at the burning of ,joan of ,arc at ,rouen and to have left the scene4 ,however1 he persecuted the ,lollards4 ,between these two chantries lies the effigy of a ,thirteenth ,century ,knight in chain-mail and cross-legged4 ,it is the only ancient military figure in the cathedral4 ,he is either ,sir ,w4 de ,foix or ,sir ,arnold de ,gavaston4 ,beyond the pier which connects ,de ,lucy's work with the ,presbytery on the north side is the ,chantry of ,bishop ,gardiner 7#aeca-aeee71 the 8hammer of heretics10 secretary to ,cardinal ,wolsey and ,henry ,,viii4's ambassador to the ,pope regarding his marriage4 ,bishop ,gardiner also married 8,bloody ,mary0 to the ,king of ,spain4 ,opposite is ,bishop ,fox's ,chantry1 built by ,fox himself4 ,it is the most elaborate chantry in the ,cathedral4 ,the arches were once filled with stained glass4 ,the ,bishop's emblem1 the pelican1 appears everywhere4 ,fox was secretary and ,lord ,privy ,seal to ,henry ,,vii4 and founder of ,corpus ,christi1 ,oxford4 ,this college restored the ,bishop's chantry4 ,blind several years before his death1 ,fox used to be led every day to the small oratory attached to his ,chantry4 ,the visitor should study these chantries1 beginning with ,edington's in the ,nave and ending with ,gardiner's1 for they form a continuous record of the growth and development of ,perpendicular and ,tudor architecture from #acff to #aeee4 8,in no ,english church except ,westminster ,abbey and ,st4 ,paul's1 lie so many men of name4 ,for just as the features of the ,cathedral represent all the successive phases and changes of the art of building1 until it has been styled a #8,school of ,english ,architecture1' so it may be said to be the home and centre of our early history4 ,long is the roll of kings and statesmen who came hither and whose bones here lie at rest4 ,cynegils and ,cenwalh1 ,west ,saxon ,kings1 founders of the church1 are here2 ,egbert was buried here in #hch2 ,ethelwulf also and ,edward the ,elder and ,edred4 ,the body of ,alfred the ,great lay a while in the church1 then was transferred to the new minster he had built1 and finally rested at ,hyde ,abbey4 ,and1 most splendid name of all1 the great ,cnut was buried here1 as was also his son1 ,harthacnut1 as bad and mean as his father was great4 ,the roll of kings was closed when ,red ,william's blood-dripping corpse came jolting hither in the country cart from ,new ,forest40--7,g4 ,w4 ,k47 ,the two ,transepts are similar4 ,both have east and west aisles and both are of two periods4 ,the earlier parts are plain rude ,norman1 massive and grand in effect4 ,the arches1 both of triforium and clerestory1 are square-edged like the pier-arches below them4 ,they should be compared with ,ely ,cathedral1 the work of ,walkelyn's brother1 ,simeon4 ,it is interesting to note that the central towers of both fell1--,walkelyn's in #aajg and ,simeon's in #acba4 ,the ,north ,transept contains five altars4 ,on the south side against the organ screen is the ,chapel of the ,holy ,sepulchre1 the walls of which are covered with rude wall-paintings illustrative of the passion of our ,saviour4 ,the ,south ,transept is similar to the ,north transept4 ,in its eastern aisles are two chapels formed by screens of stone tracery work4 ,the south chapel is called ,silkstede's ,chapel1 from ,prior ,silkstede1 whose name1 ,thomas1 is carved on the screen with the monogram ,m4 ,a4 of the ,virgin and a skein of silk1 his rebus4 ,the beautiful iron-work is of a later period4 ,a plain black marble slab in ,prior ,silkstede's ,chapel marks the ,tomb of ,izaak ,walton1 8the prince of fishermen10 who died in #afhc4 ,entrances from both transepts lead to the crypt4 ,in the west aisle of the south transept is the ,chapter-,house 7formerly the sacristy71 above which is the ,library4 ,the doorway in the south wall led to the domestic buildings of the monastery4 ,the ,crypt is entered from the north transept4 ,it is ,norman1 dark and massive1 and suggestive of a remote age4 ,it is frequently flooded2 for the level of the river seems to have risen since the ,eleventh ,century4 ,like other crypts1 it serves to show the original plan of the ,norman ,church4 ,it is in three parts3 the western1 consisting of the substructure of the original choir2 a long aisleless chapel of three bays beneath the present retro-choir2 and the substructure of ,courtenay's ,lady-,chapel built between #adhf and #adib4 ,beneath the ,illustration3 ,,winchester3 ,,choir1 ,,east ,illustration3 ,,winchester3 ,,west ,,front high altar is the sacred well1 the centre of ,saxon worship before the ,cathedral had an existence4 ,the ,roofs of this cathedral also deserve a visit4 8,in the roof of the nave may be seen the original ,norman shafts running up above ,wykeham's vault1 and in those of the aisles the ,norman arches of the triforium1 best developed at the east end of the nave aisle-roof4 ,the transept roofs show to this day what ,bishop ,walkelyn did with ,hempage-wood4 ,from the leads of the tower there is a very striking view over the city and its environs40--7,r4 ,j4 ,k47 ,the ,bells hang in the great central tower3 three are dated #agcd1 the others #agcg1 #agdb1 #aggb1 #ahjd and #ahad4 ,the tenor bell was recast in #ahib4 ,within the ,precincts stood the ,royal ,castle at the time of the ,norman ,conquest4 ,this was pulled down by ,henry de ,blois in the ,twelfth ,century4 ,,chichester ,,dedication3 ,,the ,,holy ,,trinity4 ,a ,,church ,,served ,,by ,,secular ,,canons4 ,,special ,,features3 ,,five ,,aisles2 ,,spire2 ,,campanile4 ,chichester 7the camp of ,cissa7 stands at the head of an arm of the ,english ,channel4 ,its ,cathedral is the only one in ,england that can be seen from the sea4 ,in #ajhb the ,south ,saxon ,see was removed from ,selsey to ,chichester4 ,the church of the monastery1 dedicated to ,st4 ,peter1 seems to have been used until ,bishop ,ralph ,luffa 7about whom little or nothing is known7 founded the existing ,cathedral4 ,this was completed in #aajh1 partly destroyed by fire in #aaad and partly restored by the same ,ralph1 who died in #aabc4 8,chichester ,cathedral1 though one of the smallest1 is to the student of ,medival architecture one of the most interesting and important of our cathedrals4 ,at ,salisbury one or two styles of architecture are represented2 at ,canterbury two or three2 at ,chichester every single style is to be seen without a break from the ,eleventh to the ,sixteenth ,century4 ,it is an epitome of ,english architectural history for five hundred years4 ,early ,norman1 late ,norman1 late ,transitional1 early ,lancet1 late ,lancet1 early ,geometrical1 late ,geometrical1 ,curvilinear1 ,perpendicular and ,tudor work all appear in the structure side by side4 ,we have many other heterogeneous and composite cathedrals1 but nowhere1 except perhaps at ,hereford1 can the whole sequence of ,medival styles be read so well as at ,chichester40--7,f4 ,b47 ,chichester was consecrated in #aadh1 again suffered from fire in #aahf-aahg and was restored and enlarged by ,bishop ,seffrid ,,ii4 7#aahj-abjd74 8,the fire of #aahf was not as serious as that of ,canterbury in #aahb1 so that there was no need of rebuilding4 ,bishop ,seffrid1 however1 covered the ,cathedral with a stone vault and added the necessary buttresses and flying-buttresses4 ,he also built the ,choir1 making great use of ,purbeck marble4 ,he removed the ,norman apse and built the aisled retro-choir of two bays4 8,this is the architectural gem of the ,cathedral4 ,the idea of it probably came from ,hereford1 where the retro-choir is a few years earlier4 ,at ,hereford1 however1 the retro-choir projects picturesquely and forms an eastern transept4 ,the central piers of the ,chichester retro-choir are remarkably beautiful4 ,they consist of a central column surrounded by four shafts very widely detached2 columns and shafts are of ,purbeck marble4 ,the capitals are ,corinthianesque2 their height is proportioned to the diameters of the column and shafts4 ,this beautiful capital was reproduced a few years later by ,st4 ,hugh at ,lincoln4 ,the triforium is of quite exceptional beauty1 as indeed is the whole design4 ,semicircular arches occur in the pier arcade and triforium1 and some of the abaci are square2 otherwise the design is pure ,gothic4 ,here1 as at ,abbey ,dore1 ,st4 ,thomas's1 ,portsmouth1 ,boxgrove and ,wells1 we see the transition to the #8pure and undefiled ,gothic' of ,st4 ,hugh's choir at ,lincoln4 ,in these beautiful churches the ancient ,romanesque style breathed its last4 8,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 fashion4 ,the capitals of the ,lady-,chapel are of exceptional interest and importance1 as showing experimental foliation which had not yet settled down into the conventional leafage of early ,gothic4 ,the apse also of the south transept was replaced by a square chapel1 now used as a ,library1 in the vaulting of which the ,norman zigzag occurs4 8,a little later in the ,lancet period was built 7#aaii-abde7 the lovely south porch1 with small exquisite mouldings1 and the charming foliated capitals and corbels4 ,the difference between early ,transitional1 late ,transitional and ,lancet foliation may be well seen by examining successively the capitals of the ,lady-,chapel1 the triforium of the retro-choir and the south porch4 ,the north porch is almost equally fine4 ,the vaulting ribs1 square in section1 show that the two porches both belong to the very first years of the ,thirteenth ,century4 ,rather later1 the sacristy was built on to the south porch1 with a massive vault supported by foliated corbels40--7,f4 ,b47 ,chichester's saint was one of its own bishops--,richard de la ,wych--who died in #abec4 ,he was canonized in #abfa4 ,in #abgf1 his remains were removed from their first resting-place to the shrine in the south transept opposite the beautiful ,early ,decorated window 7one of the loveliest examples of this style in ,england74 ,edward ,i41 his ,queen and the ,court were present at the ,translation4 ,from that time the shrine received many visits from pilgrims4 ,the central tower was built during the first half of the ,fourteenth ,century1 and the spire was completed at the end of the ,fourteenth ,century4 ,the campanile was built by ,bishop ,john de ,langton 7#acje-accf74 ,bishop ,sherborne 7#aejg-aecf7 added the upper portion of the choir-stalls and the decorations of the south transept4 ,these are the ornamentations referred to by ,fuller1 who quaintly says ,bishop ,seffrid 8bestowed the cloth and making on the church1 while ,bishop ,sherborne gave the trimming and best lace thereto1 in the reign of ,henry ,,vii40 ,in #afdc1 the ,parliamentarian troops broke the organ1 defaced the monuments and hacked the seats and stalls1 which1 of course1 necessitated restorations and repairs4 ,repairs1 restorations and alterations were also made from #ahdc to #ahef1 the most important of which was the reconstruction of the central tower and spire under ,sir ,gilbert ,scott4 ,in #ahfg the floor of the ,lady-,chapel was lowered to its original level and the ,gilbert ,chapel restored2 and during the last half of the ,nineteenth ,century1 the cloister was restored and the roof of the ,lady-,chapel1 and a new north-western tower designed by ,mr4 ,j4 ,l4 ,pearson4 8,the ,cathedral stands on the south of ,west ,street1 where a fine view may be had of the whole of the north side of the building and of the detached ,campanile4 ,the ,close occupies entirely the south-west quadrant of the city1 being bounded by ,south and ,west ,streets and the ,city ,wall4 ,the central tower and spire1 rising to a height of #bgg feet1 are conspicuous for many miles around1 but the west front is much shut in4 ,perhaps the most pleasing view is that seen from the meadows on the south of the city1 from which point the ,campanile fits in admirably with the general mass of the building40--7,j4 ,c4-,b47 ,this ,campanile1 in which eight bells hang1 stands on the north side of the ,cathedral1 and was built in the ,fourteenth ,century4 ,it covers a square of #ej feet and consists of two cubes with an octagonal lantern 7#h feet74 ,the ,central ,tower and its delicate ,spire have had a peculiar history4 ,exposed to the south-west gales from the ,channel1 the authorities in the ,seventeenth ,century had fears for its safety2 and1 consequently the upper part was taken down and rebuilt by ,sir ,christopher ,wren1 who placed within it a pendulum-stage of wood and iron to steady it4 ,this ingenious invention lasted until #ahfa2 and it is said that ,wren's contrivance prevented the spire from toppling over when the collapse occurred4 ,about #ahei this spire showed signs of weakness1 and underpinning was of no avail4 ,on the #bast of ,february it inclined slightly to the south-west1 then seemed to right itself2 and then1 amid a great cloud of dust1 descended perpendicularly into the walls of the tower1 doing no harm to the roof of the church4 ,the fall only lasted a few seconds4 ,as this happened in ,queen ,victoria's reign1 the old ,sussex prophecy was fulfiled3 8,if ,chichester ,church steeple fall ,in ,england there's no ,king at all40 ,the rebuilding was entrusted to ,sir ,gilbert ,scott with a stipulation that the new tower and spire should be exact reproductions of the originals4 ,scott1 however1 added six feet to the height4 8,the central tower1 which is battlemented1 with octagonal turrets at the angles1 also battlemented1 has in its principal or second story1 two couplets in each face1 with a quatrefoil in the head1 each under a pointed arch4 ,the spire is of beautiful design1 octagonal2 in each face is a window of two lights1 flanked by pinnacled turrets1 crocketed and canopied4 ,its elegance has constantly led to its being compared with that of ,salisbury1 which1 however1 differs from it in age and many other particulars1 as well as size4 ,it forms not only the central but the principal feature of the church1 all whose lines are designed to work in with it1 a very perfect effect of unity1 as at ,salisbury1 being attained4 ,it is locally said that the master built ,salisbury and the man1 ,chichester40--7,w4 ,j4 ,l47 ,the ,west ,front is composed of three stories1 a gable1 porch and two towers4 ,the northern tower is modern1 copied from its twin1 which is ,early ,english above the third story4 ,the great ,west ,window is modern1 copied from ,fourteenth ,century examples4 ,the central porch 7,early ,english7 is of the same date and character as the south porch1 which opens into the cloisters4 ,the north porch 7,early ,english7 lies between the aisle and the north-west tower4 ,the north wall of the nave has some curious buttresses4 ,in the south transept notice a richly traceried window 7,decorated71 of seven lights1 with a beautiful rose window above4 ,a trefoiled string-course ornaments the parapet in the transept and choir4 ,the ,east ,window consists of three lancet windows1 with a rose window of seven foliated circles of the choir in the gable2 it is flanked by arcaded pinnacles with small spires4 ,the first view of the interior of ,chichester is somewhat severe4 8,on entering the nave the eye is at once caught by the five aisles1 a peculiarity shared by no other ,english cathedral but that of ,manchester1 although some parish churches have it on a smaller scale1 as ,taunton and ,coventry4 ,on the ,continent the increased number of aisles is common1 witness ,beauvais1 ,cologne1 ,milan1 ,seville1 and seven-aisled ,antwerp4 ,grand effects of light and shade are produced by these five aisles3 remark especially the view from the extreme north-east corner of the north aisle1 looking across the cathedral4 ,the great depth of the triforium shadows is owing to the unusual width of this wall passage4 ,the breadth of the nave 7#ia feet7 is greater than that of any ,english cathedral except ,york 7#ajc feet74 8,the first two stories of the south-west tower at the end of the nave deserve examination4 ,the rude1 long capitals1 and plain circular arches1 probably indicate that it formed a part of the first church completed by ,bishop ,ralph in #aajh4 ,the nave itself1 as far as the top of the triforium1 and the two aisles immediately adjoining1 are the work of the same ,bishop 7died #aabc71--or should perhaps be described as having formed part of the ,norman cathedral completed in #aadh4 ,the clerestory above1 and the shafts of ,purbeck marble which lighten the piers1 are ,seffrid's additions 7died #abjd74 ,the vaulting is perhaps somewhat later2 and it was because it was determined1 after the burning of #aahg1 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 piers1 some of which he re-cased4 ,the two exterior aisles1 north and south1 were probably added by ,bishop ,neville 7died #abdd71 when it became necessary to provide additional room for chantries and relic shrines4 ,the positions of the various altars are marked by piscinas and aumbries in the walls4 ,the two1 however1 occur together in the south aisle alone2 in the north are aumbries only1 an arrangement possibly resulting from the feeling with which that quarter was always anciently regarded4 ,a certainly triplicity pervades all this part of the cathedral1 which was dedicated by ,bishop ,seffrid to the ,holy ,trinity4 ,the side shafts are triple throughout4 ,the bearing-shafts of the vaulting are clustered in threes1 and branch out with three triple vaulting-ribs above4 ,the transitional character of ,bishop ,seffrid's work is especially marked in the clerestory1 the inner arcade of which is pointed1 whilst the windows themselves are round-headed40--7,r4 ,j4 ,k47 ,the nave is full of monuments and tablets1 some of which are by ,flaxman4 ,the one in the ,chapel of the ,four ,virgins 7north side7 is a memorial to ,collins the poet4 ,near it are the two figures of the ,earl of ,arundel and ,maud1 his wife4 ,arundel was beheaded in #abig4 ,he is represented in full armour and at his feet is a lion4 8,the most beautiful monument now remaining in the church is that which is said to represent ,maud1 ,countess of ,arundel 7#abgj74 ,the modelling of the whole figure and the long flowing lines of her robes are worthy of careful study4 ,the hands are clasped over the breast with the forearms bent upwards slightly towards the face4 ,on each of the long sides of the base supporting the figure are six elongated quatrefoil panels1 containing in all six female figures and six shields4 ,between the quatrefoils are winged heads of ten angelic figures4 ,the blazoning of the shields is entirely gone1 and the brilliant colouring that once covered the entire monument is only to be traced in a few places4 ,the outer robe still shows ,illustration3 ,,chichester4 ,illustration3 ,,chichester3 ,,nave1 ,,east some signs of the rich blue with which it used to be covered4 ,the face of the figure appears to be badly mutilated1 but the damage to the features has been done principally by an endeavour to preserve them40--7,h4 ,c4 ,c47 ,in the choir we find stalls that have been in use since the ,fourteenth ,century4 ,on the backs of the choir-stalls pictures by ,bernardi represent ,ceadwalla and ,henry ,,viii4 confirming privileges to the bishops of their day4 ,in the south transept is a beautiful window1 better seen from the ,cloisters because the bad glass spoils the effect of the tracery4 ,at the end of the south side in the ,chapel of ,st4 ,mary ,magdalene ,st4 ,richard's head was preserved in a silver reliquary in the aumbry in the north wall4 ,the ,chapel of ,st4 ,mary ,magdalene is balanced by the ,chapel of ,st4 ,katherine at the end of the north-choir-aisle4 ,in the south-choir-aisle1 two curiously carved ,slabs1 representing the ,raising of ,lazarus and ,martha and ,mary meeting ,jesus1 are supposed to have been brought from the first ,cathedral in ,selsey when the ,see was transferred to ,chichester in #ajhb4 ,a doorway in the north-choir-aisle leads to the old ,chapel of ,st4 ,john the ,baptist and ,st4 ,edmund the ,king4 ,the vaulting is unlike any other in the ,cathedral4 ,the zigzag1 or chevron1 occurs upon the moulding of the ribs4 ,a finely carved head appears on the spring of the arch4 ,this chapel is now used as the ,library4 8,at ,chichester there were built1 one after another1 four sets of chapels--of ,st4 ,george and ,st4 ,clement on the south of the south aisle1 and of ,st4 ,thomas1 ,st4 ,anne and ,st4 ,edmund on the north of the north aisle4 ,the ,,windows should be studied in the above order2 they form quite an excellent object-lesson of the evolution of bar-tracery from plate-tracery1 itself a derivative from such designs as that of the east window of the south transept chapel4 ,when the chapels were completed1 the ,norman aisle-walls were pierced1 and arches were inserted where ,norman windows had been2 and the ,lancet buttresses1 which had been added when the nave vault was erected1 now found themselves inside the church1 buttressing piers instead of walls4 ,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 heads2 externally they were originally crowned with gables1 the weatherings of which may be seen outside4 ,in ,st4 ,thomas's chapel is a charming example of a simple ,thirteenth ,century reredos40--7,f4 ,b47 ,above the south porch there is a small chamber popularly known as the 8,lollards' ,prison40 ,between the back of the reredos 7modern7 and the entrance to the ,lady-,chapel is the ,retro-choir1 or presbytery1 which many critics consider the chief glory of ,chichester4 8,the design in detail of these two bays is very different in character from the three in the choir1 which are like those in the nave4 ,the two piers of ,purbeck marble are circular1 and about them are grouped four detached shafts of the same material4 ,they are united only at the base and by the abacus above the capitals1 which are beautifully carved4 ,the main arches in the two bays are not pointed1 but round1 like those in the nave and choir2 but1 unlike the latter1 they have deeply cut mouldings in three orders4 ,the triforium arcade above1 on the north and south sides1 has moulded and carved details of a similar character4 ,some of the beautifully carved figure-work still remains in the spandrels between the subsidiary pointed arches4 ,but the most beautiful piece of design in all this work is in the arches of the triforium passage across the east wall1 above the entrance to the ,lady-,chapel40--7,f4 ,b47 ,st4 ,richard's ,shrine stood on a platform in the bay in the presbytery immediately behind the ,high ,altar4 ,this platform was removed at the time of the general restoration in #ahfa-ahfg4 ,the ,lady-,chapel was once decorated with designs in colour1 remains of which are still to be seen4 ,the new ,reredos is of alabaster4 ,the glass of the window is also modern4 ,here is the ,tomb of ,bishop ,ralph1 founder of the original ,norman church4 ,the visitor should walk around the ,cloisters for the sake of the exterior views of the ,cathedral4 ,the south transept window is well seen here4 ,note the beautiful tracery of the circular window above it4 ,the position of the ,cloisters1 lying eastward under the ,transept and ,choir1 instead of westward along the ,nave1 is unusual4 8,the cloister which was added in the ,fifteenth ,century is of a peculiarly irregular shape1 and encloses the south transept within the paradise4 ,it has been much restored at different times4 ,the present roof is of tiles and is carried on common rafters4 ,each has a cross tie1 and the struts are shaped so as to give a pointed arch form to each one4 ,the old ,fifteenth ,century wooden cornice still remains in some sections4 ,the tracery is divided into four compartments by mullions1 and each head is filled with cusped work4 ,round the cloister are placed the old houses of the ,treasurer1 the ,royal ,chaplains1 and ,wiccamical ,prebendaries4 ,above the door leading to the house of the ,royal ,chaplains is an interesting monument of the ,tudor ,period4 ,it is a panel divided into two compartments by a moulded stone fragment4 ,leading out of the south walk is a doorway1 through which the deanery may be seen beyond the end of a long walled passage known as ,,st4 ,,richard',s ,,walk4 ,looking back northwards1 there is fine view of the spire and transept from the end of this walk40--7,h4 ,c4 ,c47 ,in the south-east corner the ,cloister passes under the west end of ,st4 ,faith's ,chapel1 founded in the ,fourteenth ,century4 ,,salisbury ,,dedication3 ,,st4 ,,mary2 ,a ,,church ,,served ,,by ,,secular ,,canons4 ,,special ,,features3 ,,spire2 ,,chapter-,,house4 ,salisbury1 on the edge of the great ,salisbury ,plain1 haunted by ,ingoldsby's 8,dead ,drummer0 and not far from weird ,stonehenge1 is famous for its beautiful ,early ,english ,cathedral4 8,the visitor who sees it first on a bright day can never forget the impression it has made on his mind4 ,unlike the architects of the so-called #8,great ,gothic ,revival1' the builders of ,salisbury put their trust in proportion4 ,incidentally they made their details as elaborate and as perfect as possible2 but they were subordinated to the general effect1 and when1 during the frightful ravages of the #8restorers1' let loose upon the church in the past and present centuries1 many of the best and most precious of these details and ornaments perished or were renewed1 the main building survives1 raising its exquisitely graceful spire into the blue sky1 its thousand pinnacles all pointing upward and gleaming white against the deep green of the old trees and the emerald turf of the surrounding close4 ,england can show no fairer sight4 #8,how long1' asked an ,american visitor1 #8does it take to grow such turf8' #8,oh6 not long1' was the reply2 #8only a couple of centuries4' ,one feels at ,salisbury that whether the answer was given there or at ,oxford1 of no place could it be more true4 ,though1 when we look near enough1 we can see that fresh and white as is the general effect1 the masonry of ,salisbury is of great antiquity1 except of course where it has been restored2 and antiquity adds another charm1 for ,salisbury was the first complete cathedral built after the ,romanesque tradition had died out1 as ,st4 ,paul's is the first built after it had been revived4 ,in other cathedrals there are fragments of the same style1 and they are always the most ,illustration3 ,,chichester3 ,,screen ,illustration3 ,,salisbury3 ,,north beautiful features of the whole building4 ,we can recall the western porch at ,ely1 and the ,angel ,choir at ,lincoln1 and the chapter-house at ,southwell2 but1 here1 at ,salisbury1 we have the whole vast cathedral1 all in the same supreme style1 every part fitting into its place1 and adding its contribution to the general effect1 never in contrast but always in harmony until the effect is attained4 ,what that is may be read in countless books of travel or criticism4 ,salisbury ,cathedral1 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 it40--7,w4 ,j4 ,l47 ,salisbury was built on a site unoccupied by a former church4 ,the 8,bishop's ,stool0 had long been at ,old ,sarum on ,salisbury ,plain1 a fortified castle and cathedral2 but the castle became too important and ,bishop ,poore and his canons removed the ,see in the early part of the ,thirteenth ,century4 ,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 below4 ,the first stone was laid for the ,pope1 who had consented to the removal of the church from ,old ,sarum2 the second1 for ,stephen ,langton1 ,archbishop of ,canterbury1 then with young ,henry ,,iii4 in ,wales2 the third1 for ,bishop ,poore2 the fourth was laid by ,william ,longespe1 ,earl of ,salisbury2 and the fifth1 by the ,countess ,ela1 his wife4 ,when the ,king returned from ,wales many of his courtiers visited ,salisbury1 8and each laid his stone1 binding himself to some special contribution for a period of seven years40 ,the building was undertaken by ,elias of ,dereham1 clerk of the works2 and his successors were ,nicholas of ,portland and ,richard of ,fairleigh4 ,the latter completed the spire in #acge4 ,the ,cathedral was consecrated in #abeh1 by the ,archbishop of ,canterbury in the presence of ,henry ,,iii4 and his ,queen4 ,the ,cloisters and ,chapter-,house were built in the ,thirteenth ,century and the ,spire 7which seems1 however1 to have formed part of the original plan7 in the ,fourteenth4 8,the history of no ,english cathedral is so clear and so readily traceable as that of ,salisbury4 ,it was the first great church built in ,england in what was then the new or pointed style 7,early ,english72 of which it still remains1 as a whole1 one of the finest and most complete examples4 ,the ,abbey ,church of ,westminster1 commenced in #abde1 and completed to the east end of the choir in #abfi1 is the only great building of this age in ,england which can be considered finer than ,salisbury2 and it is probable that ,henry ,,iii4 was induced to undertake the rebuilding of ,westminster from admiration of the rising glories of the new ,wiltshire cathedral1 which he had several times visited4 ,on the ,continent1 the great rival of ,salisbury is ,amiens2 commenced in the same year 7#abbj7 and completed1 nearly as at present1 in #abgb4 8,the usual alterations took place in ,salisbury ,cathedral at the ,reformation1 when much of the painted glass is said to have been removed by ,bishop ,jewell4 ,although desolate and abandoned1 it escaped material profanation during the ,civil ,war1 and workmen were even employed to keep it in repair4 ,on the ,restoration1 a report of the general condition of the cathedral was supplied by ,sir ,christopher ,wren1 and certain additions for the strengthening of the spire were made at his recommendation4 ,the great work of destruction was reserved for a later period and more competent hands4 ,under ,bishop ,barrington 7#aghb-agia7 the architect ,wyatt was1 unhappily1 let loose upon ,salisbury2 and his untiring use of axe and hammer will stand a very fair comparison with the labours of an iconoclast emperor1 or with the burning zeal of an early ,mohammedan caliph4 ,he swept away screens1 chapels and porches2 desecrated and destroyed the tombs of warriors and prelates2 obliterated ancient paintings2 flung stained glass by cartloads into the city ditch2 and levelled with the ground the ,campanile--of the same date as the ,cathedral itself--which stood on the north side of the churchyard4 ,his operations at the time were pronounced #8tasteful1 effective and judicious4' ,the best point of view is from the north-east1 which ,rickman has pronounced #8the best general view of a cathedral to be had in ,england1 displaying the various portions of this interesting building to the greatest advantage4' ,the ,cathedral is built 7and roofed7 throughout with freestone obtained from the ,chilmark quarries1 situated about twelve miles from ,salisbury towards ,hendon1 and still worked4 ,the stone belongs to the ,portland beds of the olite4 ,the pillars and pilasters of the interior are of ,purbeck marble4 ,the local rhyme in which the cathedral is celebrated may here be quoted2 it is attributed by ,godwin1 who gives a ,latin version of it1 to a certain ,daniel ,rogers3 8#8,as many days as in one year there be1 ,so many windows in this church you see4 ,as many marble pillars here appear ,as there are hours through the fleeting year4 ,as many gates as moons one here does view1 ,strange tale to tell1 yet not more strange than true4' ,the great point to which the attention of the stranger is at once drawn is1 of course1 the grand peculiarity of ,salisbury1 the #8silent finger' of its spire4 ,this is the loftiest in ,england1 rising #djj feet above the pavement 7,chichester said1 but very doubtfully1 to have been built in imitation of it1 is #bga feet in height2 ,norwich #cac feet7 and its summit is #cj feet above the top of ,st4 ,paul's40--7,r4 ,j4 ,k47 ,dean ,stanley said that ,westminster is all-glorious within and ,salisbury1 all-glorious without4 8,much has been written on the beauty of the ,cathedral church of ,salisbury1 the chastity of its style and the purity of its detail4 ,the east end may be said to display the utmost refinement of the ,early ,english era4 ,every subordinate feature is so perfectly disposed1 so admirably carried out and adapted to its purpose1 so necessary to the full effect of the whole1 so simple and yet so rich1 that nothing1 even by the most critical1 can be found wanting there or considered de trop4 ,the northern side is scarcely less perfect2 the simple lancet openings of its eastern transept1 the more fully developed quatrefoils of the central gable and the still more advanced northern porch beyond these1 all mark the progress of construction4 ,at the intersection rises the still later tower and spire1 the final limb of the whole1 on an embattled lower stage of earlier date4 ,it is rich to the utmost limit4 ,every ballflower1 every projecting shaft and moulding sparkles for itself and casts its own diminutive shadow upon its fellow1 entirely relieving the wall-surface of that flatness which is and must be the fault in every view purporting to suggest its elegance4 ,the church stands alone2 like a model of itself2 in its entirety perhaps the most stately of which we can boast40--7,a4 ,a47 ,in the close1 which is about half a square mile1 there are three gates3 the ,south1 or ,harnham2 the ,east1 or ,st4 ,anne's2 and the ,north1 or ,close ,gate1 built about #acbg4 8,the first thing to be noticed in ,salisbury is the ample breadth of the space in which its cathedral stands1 the beauty of which space is enhanced by rows and avenues of magnificent trees2 so that it is difficult to conceive a more appropriate enclosure in which to find #8the most chaste of ,english' churches4 ,salisbury covers no less than eight acres of ground4 8,entering from the ,high ,street1 the visitor finds himself almost in another township4 ,a street lined with houses conducts to the ,cathedral lawn1 where from the north-eastern extremity the full proportions of the church may be comprehended4 ,the whole north side of the close is thus open4 ,on the east we find another gateway and the entrance to the ,palace2 on the other side the ,choristers' ,green1 in itself another little close4 ,the west is occupied by a group of interesting and extremely handsome houses of various dates4 ,here are the ,deanery1 standing in its own grounds opposite the ,cathedral faade2 the ,king's ,house1 a long1 many-gabled mansion of the early ,fifteenth ,century1 with mullioned windows and a vaulted porch1 the occasional resting-place of the ,english monarchs on their passage through ,salisbury2 and the ,wardrobe1 distinguished by its heavy roof1 its projecting double gables1 and the immense square windows1 back and front1 through which the evening sun penetrates with a curious half-ghostly gleam4 ,these form the most effective line of buildings of the enclosure1 which at this least trim but not the less picturesque side1 terminates at the ,harnham ,gate40--7,a4 ,a47 ,raising our eyes to the ,tower and ,spire1 we note3 8,the ,early ,english portion1 however1 terminates with the first story1 about eight feet above the roof2 the two additional stories and the spire above them date from the reign of ,edward ,,iii4 ,the walls of the upper stories of the tower are covered with a blind arcade1 richly canopied1 and pierced for light with double windows on all four sides4 ,above each story is a parapet with lozenge-shaped traceries1 which are repeated in the three bands encircling the spire4 ,at each angle of the tower is an octagonal stair-turret1 crowned with a small crocketed spire4 ,the great spire1 itself octagonal1 rises from between four small richly-decorated pinnacles4 ,its walls are two feet in thickness from the bottom to a height of twenty feet2 from thence to the summit their thickness is only nine inches4 ,the spire is filled with a remarkable frame of timber-work1 which served as a scaffold during its erection4 ,while making some repairs in #agfb1 the workmen found a cavity on the south side of the capstone in which was a leaden box1 enclosing a second of wood which contained a piece of much decayed silk or fine linen1 no doubt a relic 7possibly of the ,virgin1 to whom the cathedral is dedicated7 placed there in order to avert lightning and tempest40--7,r4 ,j4 ,k47 ,entering by the west door we look down the ,nave4 8,the interior is indeed very fine4 ,it could hardly help being fine2 a nave so spacious and so proportioned could under no circumstances be a failure4 ,it is immensely high and as long in proportion4 ,the proportion of height to span 7#b to #a7 is better than in most ,english churches4 ,the harmony of the design--practically the same from east to west and from north to south--is unique in ,england1 and is most impressive4 ,the charming way1 too1 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 commendation4 ,but1 as in ,lincoln nave1 to the eye every support is alarmingly insufficient for the work it has to do2 the piers are too tall and slender1 the walls too thin and pierced with too many openings4 ,the triforium is a most unfortunate design3 in harmony neither with the arcade below1 nor with the clerestory above2 its outer arches ugly in themselves and discordant with every other arch in the church2 nor could it be expected that its dark marble shafts would tell against a dark background--black on black4 ,add to this the dreadfully new look of everything--partly due to the very perfection of the masonry1 partly because ,scott has been here--and the overpowering glare3 one almost feels as if one were in the ,crystal ,palace40--7,f4 ,b47 ,the most interesting tomb in the nave is that of ,william ,longespe1 the first ,earl of ,salisbury1 son of ,henry ,,ii4 and ,fair ,rosamond1 who died at his castle of ,old ,sarum in #abbf4 8,the effigy is entirely in chain-mail1 covering the mouth as well as the chin in an unusual manner4 ,over the mail is the short cyclas1 or surcoat4 ,on the earl's shield are the six golden lioncels also borne by his grandfather ,geoffrey1 ,count of ,anjou4 ,longespe acquired the earldom of ,salisbury through marriage with its heiress1 the ,countess ,ela4 ,he took an active part in public affairs throughout the reign of ,john2 joined the ,earl of ,chester in an expedition to the ,holy ,land1 and was present at the battle of ,damietta in #abba1 where the ,christians were defeated4 ,he fought much in ,flanders and in ,france2 was present on the ,king's side at ,runnymede2 and was one of the witnesses to the ,great ,charter40--7,r4 ,j4 ,k47 ,the curious monument of the ,boy ,bishop was removed to its present position about #afhj1 when it was found buried under the seating of the choir4 ,it is ,early ,english and represents an effigy of the boy in bishop's robes and mitre1 holding a crozier in his left hand4 ,the boy-bishop was elected by the choir-boys in many of the ,english cathedrals on ,st4 ,nicholas's ,day 7,dec4 #f7 and he held office until ,holy ,innocents' ,day 7,dec4 #bh71 during which time he was practically bishop4 ,law provided that if a boy-bishop died during his term of power1 he was to be buried in his vestments and with all the pomp of an episcopal funeral2 and1 therefore1 we must conclude that this boy died during his short rule4 ,from the nave we enter the ,north ,transept1 8passing under the wide ,perpendicular arch1 which 7as at ,canterbury and ,wells7 was inserted early in the ,fifteenth ,century by way of counter-thrust against the weight of the central tower1 under which the central piers had already given away to some extent1 as will be at once perceived4 ,it is owing to this settlement of the piers that the spire is out of the perpendicular4 ,the triforium and clerestory of the nave are carried round the transept2 the triforium on the north side1 being replaced by two-light window of very elegant character4 ,the clerestory window above1 with its slender pilasters1 and graceful flow of lines1 deserves especial notice4 ,each transept has an eastern aisle divided by clustered piers into three bays4 ,the screens which formerly enclosed the chapel in each of these bays were swept away by ,wyatt4 ,a staircase in the angle of the transept leads upward to the tower1 which may be ascended by staircases in each of its flanking turrets4 ,the top of the tower is called the ,eight ,doors1 from the double doors on each side1 through which the visitor will obtain magnificent views over the town and surrounding country4 ,the first story of the tower is of ,early ,english date1 and originally formed a lantern1 open to the nave4 ,it is surrounded by an arcade of slender pilasters4 ,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 vane1 and from that point the adventurous climber has to scale the outside by means of hooks attached to the walls4 ,the interior is filled with a timber frame consisting of a central piece with arms and braces40--7,r4 ,j4 ,k47 ,the ,south ,transept is a counterpart of the north transept4 ,the windows at the south end are filled with stained-glass4 ,the glass in the upper lights is ,early ,english4 ,the lierne vault above the central tower arches is ,perpendicular4 ,from here we enter the ,choir1 passing under a screen of wrought metal 7modern74 ,in the second arcade on each side of the choir is placed the new and divided organ built by ,willis4 8,the ,choir and ,presbytery are very similar to the nave in the main features of their design4 ,the piers show a different plan1 which provides for eight shafts of ,purbeck marble to each4 ,the inner mouldings of the arches exhibit the dog-tooth ornamentation of their period4 ,the triforium and clerestory differ slightly from the corresponding parts of the nave4 ,in each of the last two bays of the presbytery the triforium has five small cinquefoil arches4 ,at the east wall of the choir above the reredos is an arcade of five simply-pointed arches1 below a triplet window in the gable1 which is filled with stained glass1 given by the ,earl of ,radnor in #agha1 and representing ,the ,brazen ,serpent1 after a design by ,mortimer4 8,the choir still bears traces of ,wyatt's destruction4 ,he removed the original reredos behind the high altar and the screen before the ,lady-,chapel1 so that both1 with the low eastern aisle1 were thrown into the choir4 ,he shifted the high altar from the choir to the extreme east end of the ,lady-,chapel1 sacrificing several chantries and tombs to do so4 ,views of the cathedral after his reign of terror fail to show any gain to compensate for so much loss2 the extreme length is not apparently an advantage1 while the bare look of the interior seems decidedly intensified by the increased vista that he was so delighted to obtain1 and for which1 with a light heart1 he effaced the silent records of dead centuries4 ,the decorations of the roof of the choir and presbytery are reproductions of the original series of paintings1 dating1 it is thought1 from the ,thirteenth ,century4 ,the subjects are the prophets and saints1 ,christ and the four ,evangelists and the twelve months40--7,g4 ,w47 ,on the north side of the choir is ,bishop ,audley's ,chantry1 built by the bishop in #aebj1 four years before his death4 ,it is late ,perpendicular and resembles the chantry of ,bishop ,fox at ,winchester4 ,the fan-tracery of the roof was originally coloured4 ,in the corresponding bay on the south side is the chantry founded by ,walter1 ,lord ,hungerford1 in #adbi4 ,it was removed from the nave in #aggh4 ,the ,choir-,stalls are composed of pieces of various dates with some additions by ,sir ,christopher ,wren and canopies by ,wyatt4 ,the ,reredos is modern1 the gift of ,earl ,beauchamp in memory of his ancestor1 whose chantry ,wyatt destroyed4 ,it was designed by ,sir ,gilbert ,scott4 ,many of the ,earls of ,pembroke and their wives are buried near the choir4 ,in the ,south-choir-aisle an interesting monument to ,bishop ,davenport1 probably one of the translators of the ,bible1 is of white marble with black ,corinthian pillars4 ,near it is the tomb of ,sir ,richard ,mompesson and his wife4 ,he is in armour and ,katherine in a black robe with gold flowers4 ,the black ,corinthian columns with vine leaves and grapes in green and gold twisted around them are striking4 ,near the south transept1 still in the choir-aisle1 is the altar-tomb of ,bishop ,mitford 7#adjg71 with carved shields4 ,on the cornice with the lilies1 birds are holding in their beaks scrolls with the words ,honor ,deo et gloria4 ,in the floor of the north-east-choir-aisle is the brass to ,bishop ,wyvill1 generally regarded as one of the most wonderful existing examples4 ,bishop ,wyvill 7#acbi-acge7 recovered for this ,see the castle of ,sherborne and the chase of ,bere4 ,the brass1 therefore1 represents the contested castle with keep and portcullis4 ,at the door of the first ward the bishop appears1 bestowing his benediction on his champion1 who stands at the gate of the outer ward with battle-axe and shield4 ,the rabbits and hares before the castle refer to the chase of ,bere1 within ,windsor ,forest4 ,bishop ,giles de ,bridport 7died #abfb7 lies opposite ,william of ,york's tomb1 between the choir-aisle and the eastern-aisle of the transept4 ,his monument is one of the most important and interesting in the ,cathedral4 8,all the details of this remarkable monument deserve the most careful examination4 ,the effigy1 at the head of which are small figures of censing angels1 lies beneath a canopy1 supported north and south by two open arches with quatrefoils in the heads4 ,each arch is subdivided by a central pilaster1 and springs from clustered shafts1 detached4 ,a triangular hood-moulding1 with crockets and finials of leafage1 projects above each arch2 and between and beyond the arches pilasters rise to the top of the canopy1 supporting finials of very excellent design4 ,the whole character of the tomb is most graceful1 but an especial interest is given to it by the reliefs with which the spandrels of the arches are filled1 and by the small sculptured figures on various parts of the monument4 ,the subjects1 beginning on the south side1 have been thus interpreted4 ,the first1 a female figure with an infant and attendants1 represents the birth of the future bishop3 in the three next spandrels are his confirmation2 either his own education or his instruction of others2 and1 possibly1 his first preferment4 ,the shield hung from a tree in this compartment1 bears ,az41 a cross1 or1 between #d bezants1 no doubt his own arms4 ,on the north side of the monument are the bishop doing homage for his see--a procession with a cross-bearer1 perhaps referring to the dedication of ,salisbury ,cathedral--the bishop's death and the presentation of his soul for judgment4 ,little or nothing is known of the life of ,bishop ,bridport40--7,r4 ,j4 ,k47 ,at the end of the north aisle of the ,lady-,chapel and at the end of the south aisle1 directly opposite1 are two monuments that will interest the visitor4 ,the first is a medley of obelisks1 globes1 spheres and the ,four ,cardinal ,virtues and effigies of ,sir ,thomas ,gorges and his widow1 maid-of-honour to ,queen ,elizabeth4 ,the second is a gorgeous tribute to ,edward1 ,earl of ,hertford1 son of the ,protector ,somerset and of his wife1 ,catherine1 ,lady ,jane ,grey's sister4 ,the effigies are praying2 the ,earl is in armour4 ,the whole piece is gilded and coloured4 ,very little ancient glass remains in ,salisbury4 8,the fragments that survived were collected some fifty years since1 and placed in the nave windows1 and in parts of some of the others4 ,the most important are in the great west triple lancet1 wherein the glass ranges in date from the ,twelfth to the ,fifteenth ,century4 ,mr4 ,winston1 in his ,paper read in #ahdi before the ,archological ,institute and printed in the ,salisbury volume for that year1 considered that the earliest fragments are from a ,stem of ,jesse about #abdj and some medallions about #abgj4 ,he describes two of the ovals that are on each side of the throned bishop1 a prominent figure in the lower half of the central light1 one of the ,christ enthroned1 the other of the ,virgin4 ,the two medallions below them he believes represent ,zacharias in the ,temple and the ,adoration of the ,magi4 ,the later glass now in the same window may be either ,flemish work brought hither from ,dijon1 or possibly partly from ,rouen1 and partly from a church near ,exeter4 ,it has been conjectured that in the south lancet the figures represent ,,ss4 ,peter and ,francis1 in the central one the ,crucifixion1 the ,coronation of the ,virgin and the ,invention of the ,cross1 and in the north light the ,betrayal of ,christ and ,st4 ,catherine4 ,in two of the side windows of the nave are the arms of ,john ,aprice 7#aeee-aeeh7 and ,bishop ,jewell 7#aefb740--7;,g4 ,w47 ,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 ,morris4 ,these are considered among the best examples of glass-painting since the ,middle ,ages4 ,the ,chapter-,house is a very fine type of an ,english chapter-house of the ,thirteenth ,century1 when geometrical tracery was in vogue4 ,it probably dates from the reign of ,edward the ,first4 8,the architecture is somewhat later in style than that of the cloisters1 and if it be not1 as its admirers claim1 the most beautiful in ,england1 it has few rivals4 ,like ,westminster1 ,wells and other ,english examples1 except ,york and ,southwell1 it has a central pillar1 from which the groining of the roof springs gracefully in harmonious lines4 ,a raised bench of stone runs round the interior4 ,at its back forty-nine niches of a canopied arcade borne on slight ,purbeck marble shafts marked out as many seats4 ,they are apportioned as follows3 those at each side of the entrance to the ,chancellor and ,treasurer respectively1 the rest to the ,bishop1 ,dean1 ,archdeacons and other members of the chapter4 8,the plan of the building is octagonal1 about fifty-eight feet in diameter and fifty-two feet in height4 ,each side has a large fan-light window with traceried head4 ,below these windows and above the canopies of the seats is a very remarkable series of bas-reliefs4 ,the bosses of the roof are somewhat elaborately carved3 one north of the west doorway has groups of figures on it1 apparently intended to represent armourers1 musicians1 and apothecaries1 possibly commemorating guilds who were benefactors to the building2 the others have foliage chiefly with grotesque monsters4 ,on the base of the central ,illustration3 ,,salisbury3 ,,nave1 ,,east ,illustration3 ,,exeter3 ,,south-,,west pillar is a series of carvings taken probably from one of the many books of fables so popular in the ,middle ,ages4 ,these were reproduced from the originals1 which are preserved in the cloisters40--7,g4 ,w47 ,the vaulted roof is re-painted in accordance with the original4 ,the ,cloisters are on the south-west side of the ,cathedral1 their western wall being on a line with the west front4 ,these fine covered walks1 the largest in ,england 7#aha feet long71 surround a great sward 7#adj feet square71 where a group of dark cedars contrasts beautifully with the grey walls4 ,the style is late ,thirteenth ,century4 ,the windows formed of double arches with quatrefoils united at the main head with a large six-foiled circle are much admired4 ,,exeter ,,dedication3 ,,st4 ,,peter4 ,a ,,church ,,served ,,by ,,secular ,,canons4 ,,special ,,features3 ,,screen ,,on ,,west ,,front2 ,,misereres2 ,,bishop',s ,,throne2 ,,minstrels' ,,gallery2 ,,lady-,,chapel2 ,,east ,,window4 8,as the last cathedral church we visited1 namely ,salisbury1 may be taken as the most complete example of ,early ,english work1 so ,exeter in its present state is the best specimen of the ,decorated style that is to be met with in ,england4 ,for though1 unlike ,salisbury1 it was not built afresh from the ground1 yet under ,bishops ,quivil1 ,bitton1 ,stapledon and ,grandisson1 between the years #abhj and #acfi1 the fabric was so entirely remodelled that it may be regarded as practically a new building2 and since the work of remodelling began about the time that the ,early ,english style was passing into the ,decorated1 and was completed before the time when the ,perpendicular had superseded the ,decorated1 it naturally is characterised by the features of that style which flourished during the first half of the ,fourteenth ,century4 ,much indeed of the work found at ,exeter is the very finest that the ,fourteenth ,century produced40--7,t4 ,p47 ,as early as the reign of ,athelstan a ,benedictine monastery1 dedicated to ,st4 ,peter1 existed at ,crediton and was much injured by the ,northmen in the ,tenth and ,eleventh ,centuries4 ,when the ,sees for ,devon and ,cornwall were removed from ,crediton to ,exeter in #ajej1 the old church of ,st4 ,peter was chosen for the new ,cathedral4 ,of the ,saxon church1 however1 nothing remains4 ,william ,warelwast 7#aajg-aacf71 the third bishop after the ,conquest1 began the new church about #aaab1 in the 8marvellous and sumptuous0 architecture of the ,normans4 ,during its erection it suffered from fire when ,stephen besieged ,exeter in #aacf4 ,of this building the two transept towers remain4 ,bishop ,peter ,quivil built the greater part of the present ,cathedral before #abia2 ,bishop ,stapledon1 who was murdered by the ,londoners at the 8great cross in ,chepe0 in #acbf1 the eastern part of the ,choir1 the sedilia and the choir-screen2 ,bishop ,grandisson finished the ,nave about #acej and the west front1 in all probability1 a little later2 and ,bishop ,brantingham1 the ,cloisters4 ,the ,lady-,chapel was built during the episcopates of ,bronescomb and ,quivil1 and the chapels of ,st4 ,mary ,magdalene and of ,st4 ,gabriel the ,archangel1 north and south of the ,lady-,chapel1 are the work of ,bishop ,bronescomb4 ,many of the ancient decorations and arrangements were either removed1 or defaced1 by ,queen ,elizabeth's 8visitors10 who1 in #aeei1 were appointed to compel the general observance of the ,protestant formularies4 ,during the ,commonwealth the ,cathedral was divided into two portions by a brick wall so that an ,independent preacher named ,stuckeley1 one of ,cromwell's chaplains1 could preach in 8,west ,peter's10 and a ,presbyterian1 named ,ford1 in the ,choir1 or 8,east ,peter's10 as the ,puritans now named these portions of the ,cathedral4 ,the finest view is perhaps from ,waddlesdown1 about four miles from ,exeter4 ,taking a view of the exterior1 8,the visitor should especially remark the ,norman towers1 the cresting of the roof1 the flying-buttresses and the north porch4 ,the ,norman towers1 in connection with the long unbroken roof1 should perhaps be regarded as constituting the specialty of ,exeter4 ,at all events1 the peculiarity of their present position is so great and so striking as at once to attract attention2 and the question of their place in the original ,norman church is one of very considerable interest4 ,each tower consists of six stages1 the two lowest of which are plain3 the other four have blind arcades and circular window openings1 the details and arrangements of which vary in the two towers4 ,at the angles are square buttresses1 which rise above the uppermost story4 ,the south tower is ,norman throughout2 that on the north was altered by ,bishop ,courtenay for the reception of the great bell from ,llandaff1 and its final stage is ,perpendicular4 ,the fleur-de-lis cresting of the roof is of lead 7with which the whole of the roof is covered71 and its form is very graceful and effective4 ,the flying-buttresses derive a very grand effect from the fact that the aisle-roofs slope outwards1 and not1 as usual1 inwards4 ,resulting also from this peculiarity are1 the great height of the aisles on the exterior1 and an unusual development of the clerestory1 without any intervening space between it and the aisle-roofs2 and within the nave1 the absence of the triforium2 the place of which is1 however1 indicated by the blind arcade above the piers4 ,the north porch with its triple canopy is part of ,grandisson's work1 and very beautiful40--7,r4 ,j4 ,k47 ,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 statues4 ,the impression that it produces has been well described by ,w4 ,d4 ,howells1 who writes on his visit to ,exeter3 8,to the first glance it is all a soft gray blur of age-worn carving1 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 faces40 ,now let us examine it more in detail4 8,the west front1 usually regarded as the latest work of ,bishop ,grandisson1 who died in #acfi1 is of very high interest2 and although it cannot compete with those of ,wells or ,lincoln 7both of earlier date71 may justly claim great beauty as an architectural composition4 ,it recedes in three stories1 the lowest of which is formed by the sculptured screen2 the second contains the great west window1 on each side of which is a graduated arcade2 and in the third1 or gable1 is a triangular window surmounted by a niche1 containing a figure of ,st4 ,peter1 the patron saint of the cathedral4 ,the ,,screen deserves the most careful examination4 ,it is pierced by three doorways1 and surrounded by a series of niches1 in which are the statues of kings1 warriors1 saints and apostles1 guardians1 as it were1 of the entrance to the sanctuary4 ,these figures are arranged in three rows4 ,from pedestals crowned with battlements spring angels1 each of whom supports a triple pilaster1 with capitals4 ,the statues on these capitals1 forming the second row1 are for the most part those of kings and knights2 above the canopies which surmount them appears the third row1 chiefly saints and apostles4 ,the positions of the angels are admirably varied4 8,the two statues with shields of arms in niches above the upper row are certainly those of ,athelstan and ,edward the ,confessor1 the ,saxon king who expelled the ,britons from ,exeter1 and the founder of the existing bishopric4 ,in all these figures the general arrangement of the hair as well as the fashion of the crowns and of the armour1 are those of the reign of ,edward ,,iii41 in which the work was probably completed4 8,the platform above the screen no doubt served1 as in many foreign cathedrals1 as a station from which the church minstrels and choristers might duly welcome distinguished persons on their arrival2 and from which the bishop might bestow his benediction on the people4 ,the three doorways are much enriched4 ,round that in the centre1 within the porch1 is a moulding of carved foliage which deserves notice4 ,on the central boss of the groining is a representation of the ,crucifixion4 ,the recess within the south doorway contains two sculptures1 ,the ,appearance of the ,angel to ,joseph in a ,dream and ,the ,adoration of the ,shepherds4 ,both1 like the figures on the screen1 have suffered not a little from time1 and the assaults of ,cromwell's ,puritans40--7,r4 ,j4 ,k47 ,exeter is distinguished among ,english cathedrals in not having a central tower4 ,this gives the exterior a unique appearance and the interior gains by the absence of tower piers to block the view4 ,exeter has1 therefore1 the most open and impressive vista of any ,english cathedral4 ,the screen being low1 the whole design is immediately comprehended4 ,it has been compared to the ,cathedral of ,bourges4 ,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 breadth4 8,everything should be broad and low1 outside as well as inside4 ,look at the east end of the choir--its two arches broad and low2 above it the great window--broad and low4 ,nowhere but at ,exeter do you find these squat windows with their truncated jambs2 here they are everywhere--in the aisles1 in the clerestory1 in choir1 chapels1 transepts and nave2 even in the great window of the western front3 broad and low windows everywhere4 ,still more original is the external realisation of the design2 central tower and spire1 western towers and spires1 alike are absent4 ,long and low1 massive and stable stretches out uninterruptedly the long horizontal line of nave and choir4 ,breadth gives in itself the satisfactory feeling of massiveness1 steadfastness and solidity2 and this is just what is wanting in the all-too arial work of ,salisbury and ,beauvais2 vaulted roofs at a dizzy height resting on unsubstantial supports and sheets of glass4 ,but the ,exeter architect has emphasised this satisfactory feeling of stability still further4 ,the window tracery is heavy and strong2 the vault is barred all over with massive ribs2 in the piers there are no pretty1 fragile1 detached shafts2 the massive clustered columns look as if they were designed1 as they were1 to carry the weight of a ,norman wall40--7,f4 ,b47 ,the heaviness was counteracted by transparency3 the arrangement of the windows flood the ,cathedral with light2 for the aisle and clerestory are almost a continuous sheet of glass4 8,another distinctive feature in ,exeter as in ,salisbury1 is that the architect produces his effect mainly by architectural means--is not driven to rely on sculpture4 ,all the principal capitals have mouldings not foliage4 ,only in the great corbels of the vaulting shafts and in the bosses of the vault does he permit himself foliage and sculpture4 ,wonderful carving it is2 the finest work of the best period1 when the naturalistic treatment of foliage was fresh and young4 ,very remarkable these corbels are1 with their life-like treatment of vine and grape1 oak and acorn1 hazel leaf and nut4 ,unfortunately the corbels1 and still more the bosses1 are so high up that their lovely detail is thrown away2 and they are out of scale4 8,and the patterns of the window tracery are wonderfully diverse4 ,it is not1 as in ,lichfield nave or ,king's ,college ,chapel1 where every window is like its neighbour2 when you have seen one1 you have seen all4 ,here1 all down each side of the church every window differs4 ,in dimensions1 in general character1 they agree2 in details they differ2 each window is a fresh delight2 we have1 what even in ,gothic architecture we rarely get--diversity within simplicity40--7,f4 ,b47 ,first we examine the splendid ,nave4 8,the first view of the ,,nave is rich and striking4 ,its present length is #adj feet4 ,the view looking east is intercepted by the organ1 which is placed above the screen at the entrance to the choir2 but the general impression1 notwithstanding a want of height1 is that of great richness and beauty4 ,the roof especially1 springing from slender vaulting shafts1 studded with delicately carved and varied bosses1 and extending unbroken to the east end of the choir1 is exceeded in grace and lightness by no other of the same date in the kingdom and by few on the ,continent4 ,the carved bosses1 all of which retain traces of colour1 represent foliage1 animals 7near the centre of the nave is a sow with a litter of pigs71 grotesque figures1 heraldic shields1 subjects from early #8bestiaries' and romances1 such as the centaur with a sword1 and the knight riding on a lion toward the eastern end1 heads of the ,virgin and ,saviour1 the ,passion and ,crucifixion1 and in the centre of the second bay1 the murder of ,becket4 ,grandisson wrote a life of the great ,archbishop1 which remains in ,,ms41 but was very popular in its day4 ,the episcopal figure on the adjoining boss may either represent ,becket or ,grandisson himself4 ,clustered pillars of ,purbeck marble 7contrasting well with the lighter stone from ,silverton and ,bere7 of which the walls and roof are constructed1 separate the nave from the aisles and divide it into seven compartments or #8bays4' 8,the corbels between the arches1 which support the vaulting shafts of the roof1 are1 perhaps1 peculiar to this cathedral1 and should be especially noticed4 ,they are wrought into figures1 twisted branches and long sprays of foliage1 and afford excellent examples of the very best period of naturalism4 ,every leaf is varied and the character of the different kinds 7here for the most part oak and vine7 is admirably retained4 ,the second corbel on the south side of the nave exhibits the ,virgin treading on an evil spirit1 and carrying the ,divine ,infant4 ,above is her coronation4 ,the easternmost nave-corbels display on the north side ,moses with his hands supported by ,aaron and ,hur2 and on the south the risen ,saviour1 with cross and banner4 ,the brackets at the foot of these corbels are crowned heads2 and possibly represent ,edward ,i4 and ,edward ,,ii41 the first beardless as usual1 the other more defaced4 ,the second corbel on the north side represents ,st4 ,cecilia1 with a somewhat grotesque angel listening to her music4 8,a blind arcade1 taking the place of the triforium1 deeply recessed and arranged in groups of four arches under each bay1 runs above the nave arches2 and in the central bay on the north side projects the ,minstrels' ,gallery1 an arrangement for the accommodation of musicians on high festivals1 which occur in this perfection nowhere else in ,england4 ,there are1 indeed1 other examples at ,wells and at ,winchester1 but of far less interest and importance4 ,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 canopy4 ,the instruments beginning from the west are1 a cittern1 bagpipes1 flageolet1 crowth or violin1 harp1 an unknown or unseen instrument 7the fingers are put close to the mouth71 trumpet1 organ1 guitar1 wind instrument1 tambour and cymbals4 ,the two corbelled heads below1 supporting niches1 are possibly those of ,edward ,,iii4 and ,philippa4 ,the manner in which the hands and arms are raised above the heads is unusual4 ,above the arcade and minstrels' gallery is the clerestory1 along which a gallery is pierced in the thickness of the wall4 8,the windows of the nave1 all of the best and purest 7geometrical7 ,decorated1 are said to exhibit a greater variety of tracery than can be found in any other building in the kingdom4 ,they are arranged in pairs1 on opposite sides of the cathedral2 so that no two side by side will be found to resemble each other4 ,the varied and graceful patterns of the lead-work should also be noticed4 ,the stained glass in the great west window is1 for the most part1 modern and worthless 7it dates from #agff7 injuring the beauty of the window itself by its entire want of harmony and meaning4 ,the ruby glass in this window is said to be some of the latest that was manufactured in ,england before ,m4 ,bontemps revived the art40--7,r4 ,j4 ,k47 ,walking back to the west end1 we stop to examine the ,chantry of ,st4 ,radegunde1 8constructed in the thickness of the screen by ,bishop ,grandisson for the place of his own sepulture4 ,his tomb formerly existed here1 but it was destroyed by ,elizabeth's visitors and the high-born prelate's ashes scattered #8no man knoweth where4'0--7,r4 ,j4 ,k47 ,opening from the first bay of the ,nave is the small ,chapel of ,st4 ,edmund1 of earlier date than the ,nave4 ,in the fifth bay1 on the same side1 is the ,north ,porch4 ,in the last bay on the south side is an ,early ,english doorway that formerly opened into the cloisters2 and between the first two buttresses on the south side a finely carved consecration cross attracts our notice4 ,the ,pulpit dates from #afhd4 ,the ,transepts1 one bay each1 occupy the space under the towers4 ,east of the ,north transept is the ,chapel of ,st4 ,paul1 built by ,quivil and now used as a vestry4 ,in the corner we find the tomb and chantry of ,sylke1 a sub-chanter1 who founded this chantry in #adhe and was buried in it in #aejh4 ,his effigy lies here4 ,against the east wall are memorials to the soldiers of the #bjth1 or ,east ,devon ,regiment who fell in the ,crimean ,war4 ,here is also the famous clock which has two dials4 ,it is supposed to date from the reign of ,edward ,,iii4 ,a door below the clock opens to the stairs into the ,north tower1 in which is hung the ,great1 or ,peter ,bell1 the second largest bell in ,england4 ,it weighs #ab1ejj pounds4 8,the ,peter bell was crazed on ,nov4 #e1 #afaa1 most probably from a too violent ringing in commemoration of the ,gunpower ,plot1 and was recast in #afgf4 ,its diameter at the mouth is #f feet #c inches2 its height nearly #d feet #h inches4 ,it is1 of course1 never rung1 but the hours are struck on it by an enormous hammer4 ,the visitor who happens to be in the tower at the time of striking will experience a new sensation1--the humming of the great mass of metal lingers for many minutes among the huge beams and rafters4 ,a superb view of the city surrounded by trees and gardens1 of the river and of its junction with the sea at ,exmouth1 is obtained from the top of the tower1 the upper part of which 7of ,perpendicular character7 was raised and adapted by ,bishop ,courtenay for the reception of ,great ,peter1 which he brought from ,llandaff40--7,r4 ,j4 ,k47 ,the ,south ,transept is a counterpart of the north1 and the ,chapel of ,st4 ,john the ,baptist ,illustration3 ,,exeter3 ,,nave1 ,,east ,illustration3 ,,exeter3 ,,choir1 ,,east 7also ,quivil's work7 corresponds with ,st4 ,paul's opposite4 ,in the ,tower are eleven bells1 ten of which are rung in peal4 ,they date from the ,seventeenth ,century4 ,between this ,transept and the ,chapter-,house lies the ,chapel of the ,holy ,ghost1 formerly used as a baptistery4 ,it is ,norman4 ,the ,chapter-,house1 opening from what is still called the ,cloisters 7although the cloisters were demolished during ,cromwell's rule71 was begun in the ,thirteenth ,century and finished in the ,fifteenth4 ,when ,bishop ,grandisson dedicated the ,high ,altar1 ,dec4 #ah1 #acbh1 he wrote to the ,pope that the ,cathedral1 then half finished1 would be superior in its kind to any church in ,france or ,england4 8,high as this praise was1 the beauty of the vaulted roof and the extreme grace of the details are proofs that it was scarcely exaggerated4 ,the roof bosses and corbels are of the same character as those in the nave2 but the latter are even more admirable in design1 and far more varied in foliage4 ,maple1 oak1 ash1 the filbert with its clusters of nuts1 and the vine with fruit and tendrils1 could hardly be reproduced more faithfully4 ,on the corbel above the organ-screen1 on the north side1 is a ,coronation of the ,virgin and on that beyond it a ,virgin and ,child with censing angels40--7,r4 ,j4 ,k47 ,the ,choir1 ,decorated1 is very fine3 8,we approach the choir1 entered by a door in the beautiful screen supporting the organ4 ,this was the old rood-screen1 on which formerly stood the rood1 or figure of our ,lord on the ,cross4 ,it was erected in the ,fourteenth ,century4 8,the bosses of the vaulted roof are worthy of especial examination1 so remarkable are they for the delicacy of the carved foliage4 ,the choir has been carefully restored in recent years1 and the stalls1 pulpit and reredos are modern and were designed by ,sir ,gilbert ,scott4 ,notice the old misereres1 which are very remarkable and probably the oldest and most curious in ,england4 ,the foliage denotes the ,early ,english period and they were probably designed by ,bishop ,bruere 7#abbd-abdd74 ,notice the mermaid and merman on the south side1 the elephant1 knight slaying a leopard1 a minstrel1 etc4 ,the lofty bishop's throne was erected by ,stapledon1 and is said to have been taken down and hidden away during the ,civil ,war period4 ,the painted figures represent the four great bishops--,warelwast1 ,quivil1 ,stapledon and ,grandisson4 ,the sedilia by ,stapledon are very fine4 ,notice the carved lions' heads and the heads of ,leofric1 ,edward the ,confessor and his wife ,editha4 ,the east window is ,early ,perpendicular1 inserted by ,bishop ,brantingham in #acij1 and contains much old glass40--7,p4 ,h4 ,d47 ,the miserere seats 7,thirteenth ,century7 are curious and beautiful4 ,they are probably the earliest in ,england4 8,they are fifty in number and their subjects are of the usual character1--foliage1 grotesques1 animals 7among which is an elephant7 and knights in combat1 whose heater shields1 flat helmets and early armour are especially noticeable4 ,remark1 on the south side of the choir a mermaid and a merman holding some circular instrument between them1 the elephant mentioned above and a knight sitting in a boat drawn by a swan1 an illustration of the romance of the ,chevalier au ,cygne4 ,on the north side a knight attacking a leopard1 a monster on whose back is a saddle with stirrups1 a minstrel with tabor and pipe1 a knight thrusting his sword into a grotesque bird and a mermaid holding a fish4 ,the ,early ,english character of the foliage1 as well as its graceful arrangement1 should be noticed throughout40 8,on the south side1 the superb ,,bishop',s ,,throne towering almost to the roof4 ,this was the gift of ,bishop ,bothe 7#adfe-adgh74 ,it is said to have been taken down and hidden during ,monmouth's ,rebellion40--7,r4 ,j4 ,k47 8,the ,bishop's ,throne 7,a4,d4 #acaf71 intended for his ,lordship with a chaplain on either side2 #8a magnificent sheaf of carved oak1 put together without a single nail1 and rising to a height of #eg feet4 ,the lightness of its ascending stages almost rival the famous sheaf of fountains of the ,nuremberg tabernacle4 ,the cost of this vast and exquisitely carved canopy 7about twelve guineas7 is surprisingly small1 even for those days4 ,the carved work consists chiefly of foliage1 with finials of great beauty1 surmounting tabernacled niches1 with a sadly untenanted look1 however1 for lack of their statuettes4 ,the pinnacle corners are enriched with heads of oxen1 sheep1 dogs1 pigs and monkeys4' ,next came what is perhaps the most exquisite work in stone in ,england1 as the throne is unparalleled in woodwork--the ,,sedilia2 the seats of the priest to the east and to the west of him1 those of the ,gospeller and ,epistoler4 ,the sedilia have been preferred even to the shrine of ,beverley and the ,lady-,chapel of ,ely4 #8,the canopy of the seat nearest the altar1' says ,mr4 ,garland1 #8deserves particular attention4 ,it is adorned with a wreath of vine leaves on each side1 which meet at the point and there form a finial2 and never did ,greek sculptor of the best age trace a more exact portrait of the leaf of the vine1 nor design a more graceful wreath1 nor execute his design with a more masterly finish4' ,it is regrettable that the carving of the sedilia is attributed to a ,frenchman40--7,f4 ,b47 ,of the high altar and reredos1 perhaps the most magnificent in ,europe1 carved at the same period1 not a fragment remains4 ,the two most important tombs in the choir are those of ,bishop ,lacey1 who died in #adee1 and ,walter de ,stapledon1 who was murdered in ,london in #acbf4 ,lacey has but a plain slab at which many miracles are said to have been done4 ,bishop ,stapledon lies under a ,perpendicular canopy1 a fine figure holding a crozier with his left hand and a book with his right4 ,under the canopy is a figure of the ,saviour1 and at its side the small figure of a king crowned and wearing a scarlet robe1 supposed to be ,edward ,,ii4 ,bishop ,stapledon's body was removed from ,london to ,exeter ,cathedral by the ,queen's command and interred with great magnificence4 ,from the choir two chapels open4 ,on the north1 ,st4 ,andrew's1 very early ,decorated1 is exactly like the opposite one1 ,st4 ,james's4 ,beneath the latter is the ancient ,crypt4 ,both chapels have chambers above them4 ,beyond the ,choir1 the ambulatory1 or procession-path 7,early ,decorated71 with ,speke's ,chantry on the left or north and ,bishop ,oldham's on the right or south1 leads to the ,lady ,chapel4 ,this was built by ,quivil1 and is remarkable for its beautiful foliage carvings1 old reredos1 graceful openings to the chantries on either side and magnificent east window4 8,quivil first transformed the ,lady-,chapel2 to him are due the shafts1 sedilia1 double piscina1 and the vaulting1 the rib-mouldings of which are of earlier character than those of the choir2 and the windows1 which closely resemble those of ,merton ,college1 ,oxford1 which we know was commenced in #abgg4 ,in the centre of the ,lady-,chapel ,bishop ,quivil is buried2 he died in #abia4 ,the chapels on either side may have been remodelled or partly remodelled by ,bronescombe2 but the east windows are later in style1 and are ,quivil's4 ,the piers hereabout are very interesting4 ,those of the ,lady-,chapel looking into the side chapels are composed of four columns4 ,the north-east and south-east piers of the choir have clusters of eight shafts instead of four2 while in the pier between them the cluster of eight is developed into a cluster of sixteen columns4 ,finally notice that these piers are set diamond-wise1 with four flat faces1 and the angles to the north1 west1 south and east40--7,f4 ,b47 ,in the centre of the pavement is the tombstone of ,bishop ,peter ,quivil 7died #abia71 author of the present plan of the cathedral4 ,other effigies of bishops are interesting works of art1 but those of ,sir ,john and ,lady ,doddridge are very curious4 ,sir ,john 7died #afbh71 one of ,james ,i's judges of the ,king's ,bench1 was called 8the sleepy judge10 because he always sat on the bench with closed eyes2 but more interesting is ,lady ,doddridge1 who wears a rich dress brocaded with roses and carnations and also a remarkable ruff and headdress4 ,under the arches opening from the ,lady-,chapel to the side chapels are tombs of ,bishops ,bronescomb and ,stafford4 ,bishop ,bronescomb's effigy 7#abhj71 on the south side1 is a fine piece of carving4 ,stafford's opposite 7#adai7 is of alabaster1 and it is famous for the rich tabernacle-work above the head4 ,we have been long attracted by the lovely ,east window4 ,now we can see the details4 8,the east window is early ,perpendicular and was inserted by ,bishop ,brantingham about #acij4 ,the stained glass with which it is filled is for the most part ancient and very fine4 ,much of it dates apparently from the first half of the ,fourteenth ,century 7temp4 ,edward ,i4 and ,,ii47 and was removed from the earlier window2 the shields below are those of early bishops and benefactors2 the figures of saints above1 most of which are to be recognised by their emblems1 deserve careful notice4 ,beginning with the lowest row1 and at the left hand1 are ,st4 ,margaret1 ,st4 ,catherine1 ,st4 ,mary ,magdalene1 ,st4 ,barbara1 the ,virgin and ,child1 ,st4 ,martin1 ,st4 ,peter1 ,st4 ,paul and ,st4 ,andrew4 ,all these figures are under very rich and varied canopies4 ,the first three and the last three are of the first period2 the others of ,brantingham's time4 ,in the middle row are ,st4 ,sidwell1 or ,sativola1 believed to have been a ,british lady of noble birth1 and contemporary with ,st4 ,winifred of ,crediton 7first half of the ,eighth ,century74 ,her legend asserts that she was beheaded by a mower at the instigation of her stepmother1 who coveted her possessions1 near a well outside the walls of ,exeter4 ,in the window ,st4 ,sativola appears with a scythe in her left hand1 whilst at her right is a well with a stream of water flowing from it4 ,these emblems may either form a rebus of her name 7scythe-well7 or refer to her martyrdom4 ,beyond ,st4 ,sidwell are ,st4 ,helena1 ,st4 ,michael1 ,st4 ,margaret1 ,st4 ,catherine1 ,edward the ,confessor and ,st4 ,edmund4 ,all the figures in this row are of ,brantingham's period4 ,the three figures in the uppermost row are ,abraham1 ,moses and ,isaiah4 ,these are of the first period4 ,the tone of colour throughout this window is very fine and solemn4 ,the heraldry in the upper part of the window is modern4 ,in the north clerestory windows of the central bay are four headless figures of early ,decorated character4 ,the beautiful running pattern forming the ground on which they are placed should be noticed40--7,r4 ,j4 ,k47 ,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 feet4 ,this is supposed to be a memorial to ,sir ,richard de ,stapledon1 a brother of the ,bishop4 ,returning as we came1 we pass the ,chantry of ,st4 ,george1 founded by ,sir ,thomas ,speke in #aeah4 ,it is a mass of rich carving4 ,the effigy of the founder lies within4 ,opposite is ,bishop ,oldham's ,chantry1 also a mass of carving1 where the owl in the panels refers to his name 7the word old is pronounced owld in ,lancashire1 where the ,bishop was born74 ,the ,bishop's effigy lies in a niche in the south wall4 8,the ,tudor work 7#adhe-aeai7 is exceptional in importance4 ,it includes the north entrance and other late portions of the western screen1 two exquisite chapels both built by ,bishop ,oldham--his own chantry 7,st4 ,saviour's7 on the south side of the retro-choir1 the ,speke chantry 7,st4 ,george's7 on the north--and in addition1 ,prior ,sylke's chantry on the north transept4 ,all this work is admirable in design and execution4 ,in ,oldham's chantry is a charming series of owls with the scroll ,dam1 a rebus on his name1 proceeding from the beak of each little owl4 ,to ,bishop ,oldham also 7#aejd-aeai7 is due the grand set of stone screens--one of the glories of the cathedral--no less than ten1 which veil all the nine chapels and ,prior ,sylke's chantry1 and add fresh beauty to the beautiful choir40--7,f4 ,b47 ,at the extreme end of the east aisle is the ,chapel of ,st4 ,mary ,magdalene1 probably the work of ,bishop ,bronescomb1 who died in #abhj4 ,the east window1 which resembles that of the opposite chapel of ,st4 ,gabriel1 contains some stained glass of the ,fifteenth ,century4 ,in this chapel a fine ,elizabethan monument to ,sir ,gawain ,carew1 his wife and their nephew ,sir ,peter should be noticed4 ,it dates from #aehi4 ,a staircase here leads to the roofs of the north-choir-aisle and of the ambulatory4 ,the views of the ,cathedral obtained here are very fine1 especially of the flying-buttresses4 ,st4 ,gabriel's ,chapel is similar to that of ,st4 ,mary ,magdalene4 ,bishop ,bronescomb's patron saint was ,st4 ,gabriel the ,archangel1 whose feast was1 in consequence1 celebrated in ,exeter ,cathedral with the same solemnity as those of ,christmas and ,easter4 ,a monument by ,flaxman to ,general ,simcoe1 who died in #ahjf1 having distinguished himself at the head of the ,queen's ,rangers during the ,american war1 and a splendid statue of ,northcote1 the painter1 by ,chantrey claim attention4 ,finally summing up the characteristics of this glorious fane3 8,whatever else the student and lover of ,gothic architecture omits1 he must not omit to visit ,exeter4 ,he will find it fresh and different from anything he has seen before4 ,its unique plan1 without central or western towers1 the absence of obstructive piers at the crossing1 the consequently uninterrupted vista1 the singleness and unity of the whole design1 the remarkable system of proportions1 based on breadth rather than height1 the satisfying massiveness and solidity of the building1 inside and outside1 and at the same time the airiness and lightness of the interior1 the magnificence of its piers of marble1 the delightful colour-contrast of marble column and sandstone arch1 the amazing diversity of the window tracery1 the exquisite carving of the corbels and bosses1 the abundant and admirable ,tudor work1 the wealth of chantries and monuments1 the superb sedilia1 screen and throne1 the misereres1 the vaults1 the extraordinary engineering feats from which its present form results1 the originality of the west front and of the whole interior and exterior1 place ,exeter in the very forefront of the triumphs of the ,medival architecture of our country40--7,f4 ,b47 ,,wells ,,dedication3 ,,st4 ,,andrew4 ,,special ,,features3 ,,west ,,front2 ,,east ,,end2 ,,inverted ,,arches ,,in ,,nave2 ,,chapter-,,house2 ,,carvings ,,of ,,capitals2 ,,chain-,,gate4 ,the site of this beautiful cathedral had long been sacred to the ,britons on account of its wells1 or springs1 when the early ,christians on coming to ,glastonbury placed these waters under the protection of ,st4 ,andrew4 ,king ,ina's house of secular canons was established here in #gjd1 not far from the older ,glastonbury1 which1 according to legend1 was established by ,joseph of ,arimathea4 ,at the beginning of the ,tenth ,century1 a new bishopric was founded by ,edward the ,elder for the province of ,somerset2 and the ,abbot of ,glastonbury was made ,bishop of ,wells4 8,seen from a distance1 the picturesque group of towers and pinnacles derives increased effect from the beauty and variety of the surrounding landscape4 ,on one side rises the long ridge of the ,mendips1 with its rocky outliers2 whilst in the southern distance the lofty peak of ,glastonbury ,tor lifts itself above the marches1 marking the site of what was generally believed1 throughout the ,middle ,ages1 to have been the earliest ,christian church in ,britain1 if not the first in ,christendom4 ,the ,cathedral itself seems to nestle under its protecting hills2 and the waters of the ,bishop's moat1 sparkling in the sunshine1 indicate the spring or great well which led ,king ,ina to establish his church here1 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 ,saxons4 8,from whatever direction the visitor enters the ,close1 he must pass under one of the three gatehouses built by ,bishop ,beckington 7#addc-adfd71 all of which display his shield of arms and his rebus1--a beacon inflamed issuing from a tun or barrel4 ,over the ,chain-,gate passes the gallery which connects the ,vicars' ,college with the ,cathedral4 ,the gate1 called the ,penniless ,porch1 opens to the ,market-place2 but the ,cathedral will be best approached for the first time through ,browne's gate1 at the end of ,sadler-street4 ,from this point an excellent view of the west front is obtained1 rising at the end of a broad lawn of greensward1 bordered with trees4 ,the ,cathedral close of ,wells is scarcely so picturesque as those of ,salisbury or of ,winchester4 ,it is more open1 however1 and its short1 bright turf contrasts very effectively with the grey stone of the buildings which encircle it and with the grand old church itself4 ,this1 with the exception of its pilasters of ,purbeck1 is built throughout with stone from the ,doulting quarries1 about nine miles from ,wells40--7,r4 ,j4 ,k47 ,during the rule of ,robert 7#aace-aaff7 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 8of ,bath and ,wells0 and elected by an equal number of monks and canons from the abbey and collegiate church4 ,bishop ,robert rebuilt and repaired the ,saxon cathedral which had fallen into decay4 ,robert's work has entirely perished4 ,the next builders were ,bishop ,reginald ,fitz-,jocelyn 7#aaga-aaia7 and ,bishop ,jocelin of ,wells 7#abjf-abdb71 who rebuilt the ,cathedral as we see it to-day4 ,jocelin was able to consecrate parts of it in #abci4 ,jocelin1 the great 8maker of ,wells10 bishop from #abjf to #abdb1 and his brother1 ,hugh 7afterwards ,bishop of ,lincoln71 were natives of ,wells2 here ,jocelin served as canon and ,hugh as archdeacon4 ,both were rich4 ,hugh1 who lavished money upon ,lincoln1 also gave much to ,jocelin for ,wells4 ,jocelin spent his entire fortune upon his beloved ,cathedral4 ,this ,jocelin must not be confused with the earlier ,reginald ,fitz-,jocelyn1 bishop from #aaga to #aaia4 8,the part which he built1 there can be little doubt1 included the three western bays of the choir 7which then formed the presbytery71 the transepts1 north porch and the eastern bays of the nave4 ,that is to say1 on entering the church1 one is looking upon ,reginald's work1 and not ,jocelin's2 for1 although the rest of the nave was completed by ,jocelin1 it was done in accordance with ,reginald's original plan4 ,it is of great importance to remember this fact1 since until recently the nave1 with the other parts just mentioned1 was attributed by ,professor ,willis1 ,professor ,freeman1 and most authorities to ,jocelin40--7,p4 ,d47 ,jocelin also built the famous west front and began the ,bishop's ,palace4 ,in #abdh an earthquake did some damage to the central tower1 and repairs were at once undertaken4 ,the canons generously contributed funds which were augmented by the help of a local saint4 ,bishop ,william ,bytton1 nephew of the bishop of the same name 7who lies in ,st4 ,catherine's ,chapel71 died in #abgd2 and his remains soon began to cure the toothache4 ,his tomb in the south-choir-aisle was visited by sufferers1 and the famous western capitals in the transept doubtless refer to their cures4 ,for the next fifty years and more1 much was done to the ,cathedral by the energetic ,john de ,godelee1 dean from #acjf to #accc1 who finished the ,lady ,chapel in #acbf4 ,in #acah the canons voluntarily offered a fifth of their salaries to raise the central tower1 which was carried up three more stages and finished in #acba2 and in #acbe they began new stalls1 each canon having agreed to pay for his own stall4 ,in #accg and #acch the whole church was thrown into dismay on account of fractures in the tower2 for the tower appears to have sunk deeply into the earth1 owing to pressure on the arches4 ,all the masonry was disturbed2 and in order to remedy this trouble1 the curious double arches were inserted1 to help support the strain4 ,the original arches were also patched up and filled in with great blocks of stone and strengthened in various ways4 ,much was due to ,bishop ,ralph of ,shrewsbury 7#acbi-acfc71 who was buried before the ,high ,altar in the ,choir he had founded4 ,he also finished the ,palace begun by ,jocelin4 ,bishop ,harewell1 who died in #achf1 gave two-thirds of the cost of the south-west tower called by his name2 and the executors of ,bishop ,bubwith finished the northwest tower that bears his name4 ,bishop ,beckington built the lovely gateways1 and ,dean ,gunthorpe 7died #adih71 the ,deanery4 ,the eastern walk of the ,cloister and the ,library above date from between #adjg and #adbd2 and the western and southern ,cloister walks1 between #addc and #adfd4 8,late researches have shown that ,bishop ,reginald began the present church and that the ,early ,english work should be divided into four periods3 7#a7 ,the three western arches of the choir1 with the four western bays of its aisles1 the transepts and the four eastern bays of the nave1 which are ,reginald's work 7#aagd-aaia71 and so early as to be still in a state of transition from the ,norman4 ,it is a unique example of transitional building1 and ,willis calls it #8an improved ,norman1 worked with considerable lightness and richness1 but distinguished from the ,early ,english by greater massiveness and severity4' ,the characteristics of this late ,twelfth ,century work are bold round mouldings1 square abaci1 capitals1 some with traces of the classical volute1 others interwoven with fanciful imagery that reminds us of the ,norman work of ,glastonbury2 while in the north porch1 which must be the earliest of all1 we even find the zigzag ,norman moulding4 7#b7 ,the rest of the nave1 which was finished in ,jocelin's time--that is to say1 in the first half of the ,thirteenth ,century--preserves the main characteristics of the earlier work1 though the flowing sculptured foliage becomes more naturalistic1 and lacks the quaint intermingling of figure subjects4 7#c7 ,the west front1 which is ,jocelin's work1 and alone can claim to be of pure ,early ,english style4 7#d7 ,the chapter-house crypt1 which is so late as to be almost ,transitional1 though1 curiously enough1 it contains the characteristic ,early ,english dog-tooth moulding which is found nowhere else except in the west window4 ,from this1 we reach the ,early ,decorated of the staircase1 the full ,decorated of the chapter-house itself1 the later ,decorated of the ,lady-,chapel1 the transitional ,decorated of the presbytery1 and the full ,perpendicular of the western towers4 ,much of the masonry in the transepts1 choir1 choir aisles1 and even in the eastern transepts1 bears the peculiar diagonal lines which are the marks of ,norman tooling4 ,this does not1 of course1 prove that any part of ,bishop ,robert's church is standing1 for medival builders were notoriously economical in using up old masonry1 but it does show that there are more remains of his work in the building than was generally supposed40--7,p4 ,d47 ,the ,cathedral was much damaged during the ,reformation and also during ,monmouth's rebellion in #afhe1 when the ,duke's followers stabled their horses in it and enjoyed a barrel of beer on the high altar4 ,there is a nave of nine bays1 a space under the tower1 a choir opening eastward of it and two transepts 7each of four bays7 with aisles opening north and south4 ,the choir from the screen to the high altar occupies six bays2 a retro-choir of two bays lies behind the altar2 and beyond it again is an apsidal ,lady-,chapel4 ,the west front has been much admired1 but some critics consider it too heavy for the short towers that abut on it4 ,the windows of the nave and transepts are ,decorated4 ,the windows of the choir are more ornate1 although in the same style1 and those of the ,lady-,chapel are still more so4 ,the central tower 7,perpendicular7 is entirely covered with panelling4 ,there is no spire4 ,on the south side large cloisters open from the south-western tower and from the western aisle of the south transept2 but there are only three walks1 there being none on the north side4 ,the ,chapter-,house is approached from the north side of the choir by a short passage and a flight of steps3 a crypt lies under it4 ,a beautiful porch1 with parvise1 opens into the sixth bay of the north aisle4 ,from the eastern aisle of the north transept the ,chain-,gate passes to the ,vicars' ,college1 a double row of picturesque houses1 dating from #acfj4 8,the ,chain-,gate1 in its association with the ,chapter-,house and the ,vicars' ,close1 is unique4 ,the incline of the steps1 easily to be distinguished from without1 gives the corner a character quite its own4 ,and the entrance to the ,green by this gate1 with the ,cathedral on one side1 balanced by the varied gables and roofs of the houses opposite1 is particularly striking4 ,the exterior of the ,chapter-,house comes into full view2 the great central tower stands boldly up against the sky2 the eastern gable presents its curious apex1 and the ,lady-,chapel below stands like a thing separate from the rest4 ,beyond1 and under the ,chain-,gateway1 an arch admits to the ,vicars' ,close--a charming street1 lined on either side with diminutive dwelling-houses1 once the separate residences of the vicars choral4 ,at the top of the close is a small ,perpendicular chapel with a library above4 ,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 ,europe4 ,but to many it will possess a certain charm1 despite its florid adornments1 not often realised in this country4 ,the ,vicars' ,hall1 a considerable portion of which is of the ,fourteenth ,century1 with additions of a tower and other features1 probably by ,bishop ,beckington1 stands at the bottom of the street and communicates through the gallery of the ,chain-,gate with the ,chapter-,house staircase1 and thus with the cathedral4 ,by this gallery the choristers passed into the church40--7,a4 ,a47 ,the celebrated ,west ,front 8consists of a centre1 in which are the three lancets of the western window and above them a gable receding in stages1 with small pinnacles at the angles2 and of two wings or western towers1 projecting beyond the nave1 as at ,salisbury4 ,the upper part of these towers is of ,perpendicular character4 ,that to the north-west was completed by ,bishop ,bubwith 7#adjg-adbd71 whose statue remains in one of the niches3 that to the south-west was the work of ,bishop ,harewell 7#acff-achf74 ,both these towers1 fine as are their details1 have a somewhat truncated appearance2 and it is probable that the original ,early ,english design terminated at the uppermost band of sculpture4 ,the three western doors are of unusually small dimensions1 perhaps in order to leave ample room for the tiers of figures which rise above them4 ,six narrow buttresses at the angles of which are slender shafts of ,purbeck marble1 supporting canopies1 divide the entire front into five portions4 ,the whole of the statues which fill the niches are of ,doulting stone40--7,r4 ,j4 ,k47 ,many visitors are at the first sight disappointed at the mutilated and archaic expression of the figures2 but they have commanded the greatest admiration ever since old ,fuller wrote3 8,the west front of ,wells is a masterpiece of art indeed1 made of imagery in just proportion1 so that we may call them vera et spirantis signa4 ,england affordeth not the like40 ,the ,west ,front should be considered as a great screen intended for the display of statuary rather than as the west termination of the nave4 ,the stone population1 numbering about three hundred life-size or colossal figures1 is only equalled by that of ,rheims and that of ,chartres4 ,all critics agree that these statues1 so notable for their graceful draperies and spiritual expressions1 rank with the contemporary masterpieces of ,italy and ,france4 ,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 models4 ,the kings1 queens1 princes1 knights and nobles wear the costume of the ,thirteenth ,century4 ,the other figures are prophets1 angels1 martyrs and 8the holy church throughout the world40 ,unlike the monumental west fronts of ,france1 with their splendid porches and doors1 the doors of ,wells have been compared to 8rabbit-holes on a mountain-side40 ,the western towers projecting beyond the aisles of the nave give additional breadth to the west front4 ,the arrangement resembles that of ,rouen4 ,the two towers are very similar4 ,both have two belfry windows on each side and a stair turret on the outer western angle4 ,the spires were never added4 ,the ,central ,tower is ,early ,english to the level of the roof1 and the two upper stages are ,decorated4 ,from its summit a beautiful view is to be enjoyed4 ,the ,north ,porch 7,norman7 is the oldest part ,illustration3 ,,wells3 ,,west ,,front ,illustration3 ,,wells3 ,,north ,,porch of the church4 ,some architects consider it the finest piece of architecture at ,wells4 8,the entrance is doubly recessed and has the zigzag ornament among its mouldings1 an indication1 if not of its early construction1 at least of lingering ,norman traditions among its builders4 ,these mouldings deserve the most careful attention4 ,the outer or dripstone1 is formed of a very beautiful combination of ,early ,english foliage4 ,square panels on either side of the arch contain figures of mystic animals1 one of which is a cockatrice4 ,the gable above has a blind arcade1 in the centre of which a small triplet gives light to a parvise chamber4 ,from the buttress at the angles rise slender spire-capped pinnacles4 ,the buttresses themselves are flat and narrow4 8,the interior of the porch is divided into two bays1 and its walls are lined with a double arcade1 the upper row of arches being more deeply recessed than the tower4 ,the vault springs from a central group of triple shafts4 ,the sculptures of the capitals on the east side possibly represent the death of ,king ,edmund the ,martyr 7,a4,d4 #hgj71--;bound to a tree as a mark for the ,danish arrows and afterwards beheaded4 ,the figures are well designed1 and full of life and character4 ,the double doorway leading into the nave displays1 like the exterior arch1 the ,norman zigzag40--7,r4 ,j4 ,k47 ,on entering the ,nave the visitor is at once struck by the noble proportions1 the impression of great length1 the broad horizontal band of the triforium1 and the wealth of spirited and varied carving of the capitals and corbels2 but the most striking feature of all is the great inverted1 or double1 arch that struts across the central piers forming a ,st4 ,andrew's ,cross1 by which name it is generally known1 and giving a grotesque 7we are almost tempted to say ,chinese7 appearance4 8,undoubtedly the first thing that the stranger notices in ,wells ,cathedral1 and the last that he is likely to forget1 is the curious contrivance by which the central tower is supported4 ,of the three pairs of arches 7the upper arch resting inverted upon the lower7 which stretch across the nave and each of the transepts1 that in the nave is seen at once1 and lends a unique character to the whole church4 ,at first these arches give one something of a shock1 so unnecessarily frank are they1 so excessively sturdy1 so very ,english1 we may think4 ,they carry their burden as a great-limbed labourer will carry a child in a crowd1 to the great advantage of the burden and the natural dissatisfaction of the crowd4 ,in fact1 they seem to block up the view1 and to deform what they do not hide4 8,that is the first impression1 but it does not last for long4 ,familiarity breeds respect for this simple1 strong device1 which arrested the fall of the tower in the ,fourteenth ,century1 and has kept its walls ever since in perfect security1 so that the great structure has stood like a rock upon the watery soil of ,wells for nearly seven centuries1 with its rents and breaks just as they were when the damage was first repaired4 ,the ingenuity1 too1 of these strange flying-buttresses becomes more and more evident2 the #8ungainly props' are seen to be so worked into the tower they support1 that they almost seem like part of the original design of the first builders4 ,one discovers that it is the organ1 and not the arches1 that really blocks the view1 and one marvels that so huge a mass of masonry can look so light as to present1 with the great circles in the spandrels where the arches meet1 a kind of pattern of gigantic geometrical tracery4 ,indeed ,i think no one who has been in ,wells a week could wish to see the inverted arches removed4 8,to appreciate the work fully1 it should be looked at from some spot1 such as the north-east corner of the north transept1 whence the three great pairs of arches can be seen together4 ,the effect from here is very fine1 especially when the nave is lighted up and strong shadows are cast4 ,the extreme boldness of the mouldings1 the absence of shafts and capitals and of all ornament1 give them a primitive vigour1 and their great intermingling curves1 which contrast so magnificently with the little shafts of the piers beyond1 seem more like a part of some great mountain cavern than a mere device of architectural utility40--7,p4 ,d47 ,the general effect of the ,nave is that of length rather than height1 largely due to the continuous arcade of the triforium which leads the eye irresistibly eastwards1 and the comparatively restricted height of the ,cathedral has been increased by bold vaulting1 and by the way the lantern arches fit into the vault4 ,a little study will show the visitor the separation between the late ,twelfth ,century work of ,reginald de ,bohun1 or ,fitz-,jocelyn1 and the ,thirteenth ,century work of ,jocelin4 ,these differences lie in the masonry and the carved heads and the capitals4 ,the heads of a king and bishop1 projecting from the south side between the fourth and fifth piers1 mark the point of change eastward3 the masonry of piers1 walls and aisle walls is in small courses of stone2 westward1 the blocks are larger1 eastward1 small human heads project at the angles of the pier-arches and westward there are none2 eastward1 the tympana of the triforium arcade are filled with carvings of grotesque animals and small heads at the corners1 and westward1 the tympana are filled with foliage and ornamented with larger heads4 ,there are also other differences4 8,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 plan2 and we may well be grateful to him for his modesty4 8,all the carving is most interesting and beautiful3 the caps and corbels of the vaulting shafts2 the little heads at the angles of the arches1 which are vivid sketches of every type of contemporary character2 and the carvings in the tympana1 which are best in the seventh1 eighth and ninth bays 7counting from the west end71 those on the north excelling in design and execution1 while those on the south are more grotesque4 ,but the capitals of the piers are the best of all1 and the most hurried visitor should spare some time for the study of these remarkable specimens of sculpture1 vigorous and lifelike1 yet always subordinated to their architectural purpose4 ,those in the transepts#d are perhaps the best1 but the following in the nave should not be missed3-- ,north side1 ,sixth ,pier 7by north porch73 ,birds pluming their wings3 ,beast licking himself3 ,ram3 ,bird with human head1 holding knife 7874 8,eighth ,pier4 ,fox stealing goose1 peasant following with stick3 ,birds pruning their feathers4 7,within ,bubwith's ,chapel7 ,human monster with fish's tail1 holding a fish3 ,bird holding frog in his beak1 which is extremely long and delicate4 8,ninth ,pier4 ,pedlar carrying his pack on his shoulders1 a string of large beads in one hand4 ,toothless monster with hands on knees4 8,south side1 ,seventh ,pier4 ,birds with human heads1 one wearing a mitre4 8,eighth ,pier4 ,peasant with club1 seized by lion3 ,bird with curious foliated tail 7within ,st4 ,edmund's chapel74 ,owl3 ,peasant with mallet 78740 ,if we look back towards the west end of the ,nave we note an arcade of five arches1 the middle one widest of all to accommodate the two small arches of the doorway4 ,the three lancet windows are ,perpendicular1 remodelled1 and some of their dogtooth moulding1 medallions in the spandrels and little corbel heads of ,early ,english work remain4 ,there is a gallery below the sill of the window4 ,the two western towers form two small transepts that project beyond the aisles4 ,each is connected with the aisle by an arch4 ,the ,chapel of the ,holy ,cross under ,bubwith's ,tower 7north7 is the choir-boys' vestry4 ,the chapel under ,harewell's ,tower 7south7 is used by the bell-ringers4 ,an ,early ,english doorway leads from it into the ,cloister4 8,the nave1 as far as the piers of the central tower1 consists of ten bays1 divided by octangular piers1 with clustered shafts in groups of three4 ,the capitals are enriched with ,early ,english foliage1 much of which is of unusually classical character1--one of the many indications of a lingering local school1 with its ,norman traditions4 ,birds1 animals and monsters of various forms--among which is the bird with a man's face1 said to feed on human flesh--twine and perch among the foliage4 ,above the pier arches runs the triforium1 very deeply set1 and extending backward over the whole of the side aisles4 ,the roof retains its original position4 7,the whole arrangement should be compared with the ,norman triforia of ,norwich and ,ely1 both of which extend over the side-aisles2 but their exterior walls have been raised and ,perpendicular windows inserted74 ,the narrow lancet openings toward the nave are arranged in groups of three1 with thick wall-plates between them4 ,the head with each lancet is filled with a solid tympanum1 displaying foliage and grotesques1 of which those toward the upper end of the south side are especially curious4 ,at the angles of the lancets are bosses of foliage and human heads1 full of character4 ,in the upper spaces between each arch are medallions with leafage4 ,triple shafts1 with enriched capitals1 form the vaulting-shafts1 the corbels supporting which deserve examination4 ,a clerestory window 7the tracery is ,perpendicular1 and was inserted by ,bishop ,beckington 7#addc-adfd77 opens between each bay of the vaulting1 which is groined1 with moulded ribs and bosses of foliage at the intersections40--7,r4 ,j4 ,k47 ,in the clerestory of the sixth bay on the south side there is a ,music ,gallery1 early ,perpendicular1 the front of which consists of three panels with large quartrefoils containing shields4 ,it is very fine1 but not equal to the ,minstrels' ,gallery in ,exeter4 ,it is finished with an embattled cornice4 ,the aisles of the ,nave are of the same architectural character as the ,nave itself4 ,among the striking capitals are3 ,fifth shaft4 ,peasants carrying sheep1 with a dog4 ,ninth shaft4 ,man in a rough coat carrying foliage on his back4 ,tenth shaft4 ,mason carrying a hod of mortar and a mallet2 opposite side of arch3 ,peasant in hood with staff and opposite this two heads1 evidently with toothache4 ,the greater part of the glass of the ,west ,window was collected by ,bishop ,creyghton in #affj-afgj1 excellent ,sixteenth ,century representations of the history of ,john the ,baptist4 ,possibly ,creyghton added the figures of ,king ,ina and ,bishop ,ralph in the other lights1 for the southern one also bears his arms4 ,the top and bottom of the middle light are said to have come from ,rouen in #ahac4 ,now we will examine the transepts4 8,the transepts seem to have been built before the nave1 but some of the carved work of the capitals and corbels is of later date than the nave4 ,the capitals on the west side of both transepts are among the finest in ,england4 ,many refer to the toothache4 8,north ,transept3 first ,pier4--7,inside the ,priest ,vicars' vestry7 ,a prophet787 with scroll on which there is no name3 ,man carrying goose4 7,outside7 ,head with tongue on teeth4 8,second ,pier4--,aaron writing his name on a scroll3 ,moses with the tables of stone4 8,third ,pier4--,woman with a bandage across her face4 ,above this cap the corbel consists of a seated figure1 naked1 with distorted mouth and an agonised expression4 8,south ,transept1 second pier 7from the south end74 ,two men are stealing grapes1 one holds the basket full1 the other plucks grapes1 holding a knife in his other hand3 ,the farmers in pursuit1 one carries a spade and the other a pitchfork3 ,the man with the fork1 a vigorous figure1 catches one thief3 ,the man with the spade hits the other 7whose face is most woe-begone7 on the head4 8,third pier4--,woman pulling thorn out of her foot3 ,man with one eye1 finger in his mouth3 ,baboon head3 ,cobbler2 this figure shows very plainly the method of shoemaking at this time2 the cobbler in his apron1 sits with the shoe on one knee1 his strap passes over the knee and round the other foot1 his foot is turned over so as to present the side and not the sole to the strap3 ,woman's head with long hair4 8,fourth pier4--,head perfectly hairless3 ,elias ,p4 7the prophet7 with hand on cheek as if he1 too1 has the toothache3 ,head in hood1 with tongue on the one remaining tooth4 8,it may be well here to say a word about the general classification of these earlier capitals1 since their date is a matter of great architectural interest4 ,i would venture to divide them into five groups-- 87#a7 ,those of the three western bays of the choir3 simple carved foliage of distinctly ,norman character1 as in the north porch3 these belong to the time of ,reginald 7#aagd-aaia74 87#b7 ,the four eastern bays of the nave and its aisles4 ,some of these may belong to the first period1 though later than the choir3 they are more advanced in the foliage1 and teem with grotesque birds and beasts4 ,some1 however1 of the caps in these bays are of quite different character2 they contain genre subjects of perfectly naturalistic treatment1 very different to the ,st4 ,edmund of the north porch capital2 but exactly similar to the figure caps of the transepts4 ,they must therefore have been carved later than the death of ,saint ,william ,bytton4 87#c7 ,the western bays of the nave4 ,these1 which are of much less interest1 belong to the period of ,jocelin's reconstruction 7#abbj-abdb74 ,they are characteristic examples of rich stiff-leaf foliage1 freer than that of the earlier work1 but much less varied and without either human figures or grotesques4 87#d7 ,on the eastern range of transept piers4 ,these would seem also to come within ,jocelin's period1 with the exception of the third pier of the south transept4 87#e7 ,on the western range of transept piers1 with which must be classed those later caps already referred to in the nave under group #b4 ,their date is settled by the fact that they abound in unmistakable representations of the toothache4 ,now ,saint ,william ,bytton died in #abgd1 and his tomb became immediately famous for cures of this malady4 ,in #abhf1 the chapter decided to repair the old work1 no doubt because the offerings at his tomb had brought money to the church40--7,p4 ,d47 ,in studying these fascinating grotesques1 however1 we have neglected to examine the two chantries in the nave--,bishop ,bubwith's and ,dean ,sugar's4 ,they are opposite one another and are alike in general characteristics4 ,the screen work and cornices of ,bubwith's composed of light and elaborate tracery are very much admired4 ,light doorways permit entrance4 ,the altar here was dedicated to ,st4 ,saviour4 ,bishop ,bubwith 7who built the north-west tower7 died in #adbd4 ,his arms1 containing holly-leaves1 are beautifully carved4 ,sugar's ,chantry1 about sixty years later in date1 is even more elaborate4 ,like ,bubwith's1 it is hexagonal and the canopy over the altar is vaulted with delicate fan-tracery4 ,critics now consider it the finer of the two4 ,adjoining ,sugar's ,chantry the stone ,pulpit1 built in the reign of ,henry ,,viii41 calls for attention4 ,in front are the arms of ,bishop ,knight1 who built it and who is buried near it 7he died in #aedg74 ,beside it1 is a brass lectern presented in #affj2 upon this rests a ,bible of the same date4 ,in the ,south transept1 we find the ,font1 interesting because it is the one relic of ,bishop ,robert's ,norman church4 ,it may have stood in the earlier ,saxon cathedral4 ,the cover is ,jacobean4 ,in the south end of the south transept is the ,tomb of ,bishop de ,marchia 7died #acjb74 ,the effigy of the bishop1 lying in a recess under a canopy bristling with crockets and finials and brilliant with scarlet and crimson1 green and gold1 is very striking4 ,some of the angels surrounding the figure are charming4 ,it is interesting to compare this with the ,tomb of ,lady ,lisle1 also adorned with crockets and brightly coloured4 ,perpendicular stone screens divide the transepts from their small chapels4 ,the chapels of the south transept are ,st4 ,martin's 7now the canon's vestry7 and that of ,st4 ,calixtus1 enclosed on the side of the choir-aisle by some beautiful ironwork from ,beckington's tomb4 ,on the south side of ,st4 ,calixtus's chapel we must pause to examine ,dean ,husse's tomb1 of alabaster1 and noted for its carved panels even in this cathedral of splendid carvings4 ,st4 ,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 berries4 ,in this chapel lies an interesting effigy of ,bishop ,still 7#aedc-afjg7 in a red robe lined with white fur4 ,next comes the ,chapel of the ,holy ,cross in which is the tomb of ,bishop ,cornish 7died #aeac71 thought also to have been used as the ,easter ,sepulchre1 where the ,host was laid during ,holy ,week4 ,the north transept contains a relic of the past that delights every one who happens to be there at the striking of the hour4 ,the famous clock that once belonged to ,glastonbury ,abbey is still in working order4 ,a little figure known locally as 8,jack ,blandiver0 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 other4 ,the curious clock was made by ,peter ,lightfoot1 a monk of the abbey4 ,it was said to have been in constant use at ,glastonbury for #bej years before it was removed to ,wells at the ,dissolution of the monasteries4 ,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-,gate1 or carved bridge that connects the ,vicars' ,college with the ,cathedral4 ,through this gallery the ,vicars could pass from their own ,close into the ,cathedral4 ,the common hall of their college 7#acdj7 opens from it4 8,there are few things in ,english architecture that can be compared with it for strange impressive beauty2 the staircase goes upward for eighteen steps and then part of it sweeps off to the ,chapter-house on the right1 while the other part goes on and up till it reaches the chain-bridge2 thus the steps lie1 worn here and there by the tread of many feet1 like fallen leaves1 the last of them lost in the brighter light of the bridge4 ,here one is still almost within the cathedral1 and yet the carts are passing underneath1 and their rattle mixes with the sound of the organ within4 8,the main gallery of the ,chain-,gate is shut off by a door1 which1 if it were kept open1 would make the prospect even more beautiful than it is4 ,two corbels which support the vaulting-shafts of the lower staircase should be noticed2 they both represent figures thrusting their staves into the mouth of a dragon1 but that on the east 7wearing a hood and a leathern girdle round his surcoat7 is as vigorous in action as the figure on the west side is feeble4 ,a small barred opening in the top of the east wall lights a curious little chamber1 which is reached from the staircase that leads to the roof40--7,p4 ,d47 ,the ,chapter-,house is famous among these beautiful adjuncts to ,english cathedrals4 ,it has been called 8a glorious development of window and vault40 ,it was built in the latter half of the ,geometrical period 7#abhj-acae74 ,note the profusion of ball-flower ornament round the windows and the ogee dripstones outside4 8,of octagonal plan1 its vaulting ribs branch out from sixteen ,purbeck shafts which cluster round the central pillar1 typifying the diocesan church with all its members gathered round its common father1 the bishop4 ,each of the eight sides of the room is occupied by a window of four lights1 with graceful tracery of an advanced geometrical type4 ,these windows1 which are among the finest examples of the period1 have no shafts1 but their arch mouldings are enriched with a continuous series of the ball-flower ornament4 ,most of the old glass in which ruby and white are the predominant colours1 remains in the upper lights4 ,under the windows runs an arcade which forms fifty-one stalls1 separated into groups of seven by the blue lias vaulting-shafts at the angles1 but in the side which is occupied by the doorway there are only two stalls1 one on either side of the entrance4 ,two rows of stone benches are under the stalls1 and there is a bench of ,purbeck round the base of the central pier40--7,p4 ,d47 ,another authority says3 8,at the springs of the arches are sculptured heads full of expression1 kings1 bishops1 monks1 ladies1 jesters2 and at the angles1 grotesques of various kinds4 ,a line of the ball-flower ornament is carried round above the canopies4 8,the double arches at the entrance show traces of a door on the exterior4 ,remark the curious boss in the vaulting1 composed of four bearded faces4 ,the diameter of the chapter-house is fifty feet1 its height forty-one feet4 ,its unusual1 and indeed unique1 features are--its separation from the cloisters from which the chapter-house generally opens2 and its crypt1 or lower story1 which rendered necessary the staircase by which it is approached4 8,a most striking view of the chapter-house is obtained from the fourth angle of the staircase1 close to the doorway of the ,vicars' ,college4 ,the effect of the double-door arches with their tracery1 of the central pier1 the branched ribs of the vaulting1 and the fine windows is magnificent2 and when the latter were filled with stained glass1 must have been quite unrivalled4 ,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 cathedrals40--7,r4 ,j4 ,k47 ,the ,crypt1 finished by #abhf1 represents the last development of the ,early ,english style4 ,it was used as the treasury where valuables were kept4 ,it is reached by a dark passage from the north-choir-aisle4 ,the odd corbels should be noted4 ,the walls are very thick1 the windows narrow with wide splays and the vaulting-ribs spring from round and massive pillars with much effect4 ,this ,crypt is unusually high1 because the many springs at ,wells would not permit of a subterranean chamber4 ,but again we have been led astray from the main body of the ,cathedral4 ,returning the same way1 we again enter the north transept and stand beneath the splendid fan-tracery vault of the tower1 a vault1 beautiful as it is1 that hides the lantern with its arcades4 ,these1 however1 can be seen during the ascent of the tower4 ,the ,screen dates from the ,fourteenth ,century4 8,the first impression on entering the choir will not readily be forgotten4 ,owing to the peculiar and most beautiful arrangement of the ,lady-chapel and the retro-choir1 to the manner in which the varied groups of arches and pilasters are seen beyond the low altar screen1 to the rich splendours of the stained glass1 to the beautiful architectural details of the choir itself1 and to the grace and finish of the late restorations1 it may safely be said that the choir of no ,english cathedral affords a view more impressive or more picturesque4 ,it is difficult to determine whether the effect is more striking at early morning1 when the blaze of many-coloured light from all the eastern windows is reflected upon the slender shafts of ,purbeck and upon the vaulted roof1 or at the late winter services1 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 chapels4 8,the first three piers and arches of the choir are ,early ,english1 of the same character as those of the nave and transepts1 and are probably the work of ,bishop ,jocelin4 ,the remaining portion1 including the whole of the vaulting as well as the clerestory above the first three bays1 is very rich early ,decorated 7geometrical7 and deserves the most careful study4 8,the tabernacle work and the window tracery of the first three bays1 although of the same date1 are less rich than those of the eastern half of the choir4 ,in this latter portion remark the triple banded shafts of ,purbeck1 carried quite to the roof as vaulting-shafts1 and the tabernacle-work occupying the place of the triforium1 deeper and wider than in the lower bays4 ,under each arch is a short triple shaft1 supporting a bracket richly carved in foliage4 ,the sculpture of the capitals and of these brackets is very good and should be noticed4 ,the foliage has become unconventional1 and has evidently been studied from nature4 ,its diminutive character1 as compared with the ,early ,english work in the nave1 is very striking4 8,the east end of the choir is formed of three arches divided by slender piers above which is some very rich tabernacle-work1 surmounted by an east window of unusual design4 ,at the back of the altar1 and between the piers1 is a low diapered screen1 beyond which are seen the arches and stained windows of the retro-choir and ,lady-chapel40--7,r4 ,j4 ,k47 ,the stone vault is unusual1 a sort of 8coved roof10 ,freeman calls it1 8with cells cut in it for the clerestory windows40 ,the three western bays are ,bishop ,reginald's of the ,twelfth ,century4 ,here we are in the very oldest part of the ,cathedral4 ,triple vaulting-shafts of ,purbeck marble are carried down to the floor4 8,the clerestory windows contain flowing tracery of an advanced and not very good type4 ,in some the plain mullions are carried on through the head of the window and intersect each other4 ,above the tabernacle-work of the east end is the ,,east ,,window of seven lights1 the last bit of the ,fourteenth ,century reconstruction1 the last flicker of ,decorated freedom4 ,its curious tracery is still beautiful1 doubly so for the glass it enshrines1 but the rule and square of ,perpendicular domination have already set their mark upon it2 the two principal mullions run straight up to the window head1 and part of the tracery between them is rectangular40--7,p4 ,d47 ,the ,cathedral possesses sixty-four ,misericords1 from the old choir-stalls1 regarded as among the best examples of medival wood-carving in ,england4 ,the skilful hand of the carver has wonderfully represented griffins fighting1 mermaids1 apes1 goats1 dragons1 wyverns1 popinjays1 cats1 foxes1 peacocks1 monsters1 angels1 eagles1 hawks1 rabbits1 kings1 peasants--and many other birds1 animals and grotesques4 ,the soft yet brilliant light sifts in from the ,jesse ,window above the high altar4 ,we lift our eyes and with some pains discern the twining branches of the vine with the recumbent figure of ,jesse at the base1 resting his head on his hand4 ,from him rises the leading shoot of the tree1 with the figures of the ,virgin and the ,child each with radiant nimbus and beneath a golden canopy4 ,the tendrils of the vine enwreath prophets1 priests and kings1--the ancestors of the ,babe of ,bethlehem4 ,above is a representation of the ,crucifixion2 and at the very ,illustration3 ,,wells3 ,,nave1 ,,east ,illustration3 ,,wells3 ,,south-,,west top of the window1 the outstretched wings of the ,holy ,spirit4 ,the choir-aisles are of the same character as the choir itself and are entered from the transepts through ogee arches1 ornamented with crockets and finials4 ,the south-choir-aisle contains the ,tomb of ,saint ,william ,bytton1 at which 7the oldest incised slab in ,england7 offerings were made by those suffering from toothache1 as we have already seen4 ,further away is the ,tomb of ,beckington1 surrounded by a beautiful iron-screen of the same date as the tomb 7#adeb74 ,the carving is very fine1 especially the wings of the angels4 ,a little colour is left here and there4 ,his effigy rests upon it1 with old and wrinkled face4 ,this bishop said mass for his own soul here in ,january1 #adeb1 thirteen years before he died4 ,in the south-east transept1 we find the ,chapel of ,st4 ,john ,baptist1 where a ,decorated piscina with canopy deserves attention4 ,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 ,chapel4 ,both contain effigies of bishops1 tombs and monuments4 ,between and back of these is the ,lady-,chapel4 ,we now return to the ,retro-choir4 ,four slender piers of ,purbeck marble bear up the vault4 ,the arrangement of the columns should be particularly noticed here4 ,it is hard to realise that this ,retro-choir was merely a device for connecting the ,lady-,chapel with the ,choir1 it seems so entirely a part of the scheme4 8,the beauty of the retro-choir1 or #8procession aisles1' the arrangement of its piers and clustered columns1 and the admirable manner in which it unites the ,lady-chapel with the choir should be here remarked4 ,it is throughout ,early ,decorated4 ,the foliage of the capitals and the bosses of the vaulting will repay careful examination4 ,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 teeth4 ,the four supporting pillars and shafts are placed within the line of the choir-piers1 thus producing the unusual intricacy and variety of the eastward view from the choir4 ,at ,salisbury1 and in all other ,english cathedrals1 the piers of the procession-aisles are placed in a line with those of the choir40--7,r4 ,j4 ,k47 ,mr4 ,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 ,salisbury4 8,the ,lady-chapel is an early work of the ,curvilinear period2 for it seems to have been complete in #acbd4 ,the windows have beautiful reticulated tracery of early type4 ,there is lovely carving in the capitals1 bosses1 reredos1 sedilia and piscina4 ,the ,curvilinear foliated capitals here and in the choir should be compared with the somewhat earlier capitals of the chapter-house1 with the early ,geometrical capitals of the staircase1 the ,lancet capitals of the west front and the late ,transitional ones of porch1 nave and transepts4 ,the ancient glass here and in the ,jesse window of the choir is superb in colour4 8,as every one knows1 it is the most beautiful east end we have in ,england4 ,it may be worth while to see how this design was arrived at--a design as exceptional as it is effective4 ,the simplest form of an east end in ,english ,gothic is seen at ,york and ,lincoln3 it consists merely of a low wall with a big window above it4 ,the next improvement is to build an aisle or processional path behind the east end2 at the same time piercing the east wall with one1 two or three arches4 ,this was done at ,hereford about #aahj2 and on a magnificent scale in the ,chapels of ,nine ,altars at ,durham and at ,fountains early in the ,thirteenth ,century4 ,but the ,french apsidal cathedrals--of which we have an example in ,westminster--have not only an encircling processional aisle1 but also a chevet of chapels radiating out from it2 thus providing ever-changing vistas of entrancing beauty4 ,the next step in ,england also was to provide our rectangular choirs with a chevet as well as with a processional aisle4 ,an early example of this plan is to be seen at ,abbey ,dore1 in ,herefordshire1 about #aaij4 ,it occurs early in the ,thirteenth ,century on a still grander scale at ,salisbury1 where one finds not one but two processional aisles1 as well as chapels to the east of them2 and1 in addition1 a ,lady-chapel projecting still farther to the east1 thus producing a design of great complexity and beauty4 ,nevertheless1 at ,salisbury1 since the chief supporting piers of the retro-choir and the chevet are in a line with those of the choir1 there is by no means the same changeful intricacy of vista that affords one ever fresh delight in an apsidal church4 ,at ,wells1 however1 the architect attained all the success of the ,continental builder simply because he built his ,lady-chapel not rectangular but octagonal4 ,for to get this octagon1 of which only five sides were supported by walls1 he had to plant in the retro-choir two piers to support the remaining three sides2 and these piers are necessarily out of line with the piers of the choir4 ,he had got the ,continental vista4 ,he saw it2 but he saw also that it could be improved upon4 ,and he did improve it1 by putting up an outer ring of four more piers round the western part of the octagon of the ,lady-chapel4 ,it was an intuition of genius3 it makes the vistas into the retro-choir and the ,lady-chapel a veritable glimpse into fairyland2 and provides here alone in ,england a rival to the glorious eastern terminations of ,amiens and ,le ,mans4 ,and that is not all4 ,we saw in the chapter-house the grand effect of the central stalk branching upward and outward in all directions1 like some palm tree transmuted into stone4 ,this beautiful effect he transfers to the retro-choir1 but multiplied--four palm trees in place of one2 for each of the four external piers of the octagon emulates the chapter-house's central stalk40--7,f4 ,b47 ,the large windows are filled with fine specimens of ,fourteenth ,century glass unfortunately now jumbled together4 ,the ,east ,window is composed of odd pieces put together by ,willement4 ,david and other patriarchs occupy the upper tier1 and the ,virgin1 ,eve and the ,serpent and ,moses and the ,brazen ,serpent1 the lower tier4 ,the upper lights display angels with the instruments of the ,passion1 emblems of the ,evangelists and busts of bishops and patriarchs4 8,from the south-west transept we pass into the ,,cloisters1 which occupy an unusual amount of space1 but have only three walks instead of the usual four4 8,the difference between a true monastic cloister and this of ,wells should be remarked4 ,the canons of ,wells were not monks and did not require a cloister in the ordinary sense4 ,this is merely an ornamental walk around the cemetery4 ,it did not lead to either dormitory1 refectory or chapter-house4 ,it served as a passage to the ,bishop's ,palace2 and the wall of the east walk is ,early ,english of the same date as the palace itself4 ,the lavatory in the east walk should be remarked1 as well as the grotesque bosses of the roof in the portion built by ,bishop ,beckington4 ,over the western cloister is the ,chapter ,grammar ,school4 ,the central space is known as the #8,palm ,churchyard1' from the yew-tree in its centre1 the branches of which were formerly carried in procession as palms4 ,from the south-east angle of the cloisters we descend into the open ground within the gateway adjoining the marketplace1 and opposite the episcopal palace4 ,this is surrounded by a moat1 as well as by strong external walls and bastions1 and would have been capable of sustaining a long siege according to the medival system of warfare4 ,the moat is fed by springs from ,st4 ,andrew's1 or the #8bottomless well'--the original #8great well' of ,king ,ina1--which rise close to the palace and fall into the moat in a cascade at the north-east corner4 ,both walls and moat were the work of ,bishop ,ralph of ,shrewsbury 7#acbi-acfe740--7,r4 ,j4 ,k47 ,wells is famous for its ancient houses4 ,the old ,palace and the ,deanery are still occupied by the bishop and the dean2 the canons and vicars also live in the individual houses built for these ecclesiastics4 ,wells was never a monastery with a common refectory and dormitory3 there were always secular priests here and each man lived in his own house4 ,of all the domestic buildings the ,bishop's ,palace is the most beautiful4 ,it is considered the most perfect specimen of an ,early ,english house that exists4 ,,bath ,,abbey ,,dedication3 ,,st4 ,,peter ,,and ,,st4 ,,paul4 ,a ,,church ,,served ,,by ,,secular ,,canons4 ,,special ,,feature3 ,,west ,,front4 ,standing before the ,west ,front1 we notice1 first of all1 that upon the angles of the nave on either side of the great window are two turrets1 on the face of each of which is carved a ladder with angels ascending or descending4 ,the space above the window is also carved with angels2 and1 under a canopy above the group1 stands a figure of ,god the ,father4 ,of this strange decoration the following story is told3 ,oliver ,king1 ,bishop of ,exeter1 was translated to the ,see of ,bath and ,wells in #adie4 ,he went at once to ,bath1 and found the church in a dilapidated condition4 ,while there1 he had a repetition of ,jacob's famous dream of a ladder reaching from heaven to earth with angels ascending and descending4 ,above them stood the ,lord1 who said3 8,let an ,olive establish the crown and a ,king restore the church40 ,taking the hint1 ,bishop ,oliver ,king immediately set to work to rebuild the church and had his dream recorded upon the west front4 ,he also had an olive-tree and crown carved on each of the corner buttresses4 ,bishop ,king's new church was smaller than the old one4 ,it only occupied the site of the former nave4 ,he died before it was finished4 ,prior ,william ,birde continued the work1 not forgetting a chantry for himself1 which is regarded as the best thing in the church4 ,birde died in #aebe2 and the work was still unfinished when it was seized by the king's commissioners4 ,the roofless and neglected church soon fell into decay2 but in #aegb it was patched up a little in order that services might be held in it4 ,the east window was glazed and the choir was roofed4 ,the nave1 however1 was not roofed until ,bishop ,montague's rule 7#afjh-afaf74 ,at the beginning of the ,nineteenth ,century1 many mean houses that had clustered around ,bath ,abbey were removed1 and buttresses and pinnacles were added to strengthen the walls4 ,repeated restorations have made it exceedingly trim in appearance4 ,about #gge1 ,offa1 the ,mercian king1 founded here a college of secular canons1 who were expelled by ,dunstan in the ,tenth ,century and superseded by monks4 ,one great event in the abbey church was the coronation of ,king ,edgar on the ,feast of ,pentecost1 #igc2 and for centuries afterwards it was the custom to select on ,whitsunday a 8,king of ,bath0 from among its citizens1 in honour of this circumstance4 ,john de ,villula1 a ,frenchman from ,tours1 who was ,bishop of ,somerset in the reign of ,william ,rufus1 greatly preferred ,bath to ,wells4 ,he was able to merge ,bath ,abbey into the bishopric2 and then he began to rebuild the church dedicated to ,st4 ,peter4 ,when it was finished1 he transferred the bishop's seat from ,wells to ,bath4 ,this did not satisfy ,wells1 however1 and when ,robert of ,lewes became bishop of ,bath and ,wells1 he seems to have arranged matters by allowing the ,bishop of ,somerset to have a throne at ,st4 ,andrew's in ,wells and at ,st4 ,peter's in ,bath1 the bishop to be chosen by the monks of ,bath and the canons of ,wells 7,see page #ajh74 ,the church built by ,john of ,tours having suffered from fire1 ,robert was compelled to rebuild it2 but subsequent bishops neglected ,bath2 and at the end of the ,fifteenth ,century1 when ,oliver ,king was removed here from ,exeter1 he found the church was in a ruinous condition and began to rebuild it1 as we have seen4 ,bath ,abbey is a very interesting example of late ,perpendicular4 ,it was nearing completion when it surrendered to ,henry ,,viii4 in #aeci1 and is1 therefore1 the last expression of ,gothic ,art4 ,the most interesting part of the church is the ,west ,front1 with its large window flanked by the turrets with the ladders1 already described4 ,each turret contains a staircase2 rises far above the parapet of the nave2 and terminates in an embattled parapet surmounted by an eight-sided and crocketed pyramid4 8,the great west window is one of seven lights1 divided horizontally into four parts4 ,below it is a battlemented parapet with a niche in the centre1 in which1 no doubt1 a statue formerly stood1 and in which a new statue has recently been placed4 ,at the base of it are the arms and supporters of ,henry ,,vii4 ,below it is the west door1 beneath a rectangular label4 ,the spandrels contain emblems of the ,passion4 ,on either side stand statues of ,st4 ,peter and ,st4 ,paul1 to whom the church was jointly dedicated2 these seem to be of ,elizabethan date4 ,the doors themselves were the gift to the church of the ,lord ,chief ,justice1 ,sir ,henry ,montague1 brother of the bishop who completed the church4 ,on them may be seen shields bearing the arms of the ,montagues and of the ,bishop of ,bath and ,wells40--7,t4 ,p47 ,the ,central ,tower is oblong and rises two stages above the roof4 ,it contains two pairs of windows ,illustration3 ,,bath ,,abbey3 ,,west ,,front ,illustration3 ,,bath ,,abbey3 ,,choir1 ,,west with rectangular heads and each corner is ornamented by a heavy octagonal turret also terminating in octagonal pyramids decorated with crockets4 ,similar pyramids terminate the turrets that flank the sides of the east window of the choir4 ,there is no ,lady-,chapel4 ,let us survey the exterior3 8,the nave consists of five bays4 ,the clerestory windows are unusually lofty1 and are divided by transoms2 they are of five lights4 ,along the top of the clerestory wall is a battlemented1 pierced parapet2 but the pattern of the pierced openings differs from that of the parapet which runs along the top of the aisle walls4 ,the aisles have five light windows without transoms2 their heads are four centred arches2 between each bay are projecting buttresses of three stages with gabled offsets1 finished with crocketed pinnacles2 against them rest flying-buttresses formed of a lower semi-arch1 with a straight rectilinear truss4 ,from the points where the arched flying-buttresses abut against the clerestory walls1 vertical1 slightly projecting buttresses are built upwards against the wall and rising above the parapet1 are finished by crocketed pinnacles4 ,the same design is carried right round the church4 ,the clerestory of the transepts resembles those of the nave and the choir40--7,t4 ,p47 ,entering1 our first and general view is impressive1 because of the fan-vaulting and height of the ,nave4 ,owing to the absence of horizontal lines1 the vault seems higher than it really is4 ,there is no triforium4 ,a string-course runs above the arches of the main arcade beneath the clerestory windows1 which are unusually tall4 ,on account of the enormous windows and the absence of painted glass1 ,bath ,abbey received the name of the 8,lantern of the ,west02 but now that the windows of the nave and choir-aisles have been supplied with painted lights1 the name is less appropriate4 ,the tracery of these windows is1 of course1 ,perpendicular4 ,the one in the south-transept is a thanksgiving for the recovery of the ,prince of ,wales in #ahgb4 ,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 ,bath4 ,the upper part represents the ,tree of ,jesse4 ,the great east and west windows have seven lights4 ,the west window contains subjects from ,old ,testament history1 and the east-window1 representations of the life of ,christ4 8,there is little variety in the arches and shafts throughout the church4 ,this repetition is a well-known feature in ,perpendicular work4 ,the piers have no general capital4 ,the shaft which carries the inner order of the arch has a capital1 and so1 at the same level1 have the vaulting-shafts of the high vault and that of the aisles4 ,these shafts spring from the bases of the main pillars4 ,the capitals at this level are plain1 and so are the capitals of the vaulting-shafts of the nave from which the vaulting-ribs spring4 ,but in the choir the place of these plain bands is taken by carved angels4 ,carved angels also form the termination of the hood-moulding of the lower windows of the south transept1 and probably those of the north transept also1 though these windows are hidden by the wooden pipes of the organ4 8,over the heads of the clerestory windows of the nave are small shields1 and shields may also be seen in the centre of the fan-tracery in the nave1 choir and transept4 ,in the aisles the fan-tracery is somewhat different1 as in the centre of each bay there is a pendant4 ,the vaulting of the nave and its aisles and that of the south transept are modern1 put up1 under the direction of ,sir ,gilbert ,scott1 to match the roof of the choir and its aisles and north transept respectively4 ,the reredos was designed by the same architect4 ,the oak screen across the eastern part of the south choir aisle is due to his son4 ,the font is also modern4 ,in fact1 beyond the walls and the roofing of the eastern part of the church1 there is little old about it4 ,in the clerestory windows are a few fragments of ,seventeenth-,century glass--heraldic shields40--7,t4 ,p47 ,although ,bath ,abbey is full of monuments 7there are over six hundred memorial tablets besides statues71 the only tombs that deserve attention are those of ,bishop ,montague1 in the fourth arch of the nave on the north side1 and ,lady ,waller's ,monument under the southern window of the transept4 ,the figure of her husband1 ,sir ,william ,waller1 who commanded the ,parliamentary army in the ,battle of ,landsdown1 near ,bath1 clad in mail1 gazes down upon his dead wife4 ,two weeping children kneel at her feet4 ,between the choir and the south-aisle ,prior ,birde's ,chantry occupies two bays4 ,it is a most elaborate piece of carving4 ,the rebus of the founder 7a bird and a ,w7 appears frequently4 ,fan-tracery decorates the vault4 ,the very fine organ is placed in the transept4 ,the bells of ,bath are famous4 ,,bristol ,,dedication3 ,,the ,,holy ,,trinity4 ,a ,,church ,,served ,,by ,,augustinian ,,canons4 ,,special ,,features3 ,,east ,,window 7,,tracery ,,and ,,glass72 ,,chapter-,,house2 ,,great ,,gateway4 ,the ,west ,front of ,bristol gives us a slight suggestion of a ,french cathedral1 for here we find a rose window and a large doorway1 at the side of which rise two square towers4 ,the balustrade above the crocketed gable of the doorway partly hides the rose-window4 ,the towers were built in #ahhg and #ahhh3 the north-west is ,bishop ,butler's ,tower and the south-west1 the ,colston ,tower4 ,the ,butler tower is enriched with statues of ,st4 ,michael1 ,st4 ,gabriel and the ,angel of ,praise2 the ,colston1 with the ,angel of the ,gospel1 ,st4 ,raphael and the ,angel of the ,sun4 ,on our right is the ,great ,gateway4 ,the exterior of ,bristol is not very striking4 ,the buttresses of the ,elder-,lady-,chapel are ,decorated and of the same date as the east window of the same chapel4 ,we should also view the great east window of the ,lady-,chapel from without and the ,central ,tower4 8,early in the ,fifteenth ,century a central tower was added4 ,here again one is struck by the originality of the ,british people3 it is as beautiful as it is original4 ,the designer had noticed how beautiful is the effect of a close-packed range of tall clerestory windows1 such as those of ,leighton ,buzzard ,church4 ,so instead of restricting himself on each side of the tower to one or two windows1 he inserts no less than five4 ,the range of clerestory windows1 which the ,fourteenth ,century builder refused to the choir1 becomes the special ornament and glory of the tower40--7,f4 ,b47 ,as we enter through the ,north ,porch1 which occupies the space between two buttresses and is adorned with statues of the ,four ,evangelists1 we may remember that when ,henry ,,viii4 created the diocese of ,bristol there had been a church and monastery of ,augustine canons on this site for four hundred years4 ,this monastery was founded in #aadb by ,robert ,fitzhardinge1 ,lord of ,berkeley ,castle4 ,of his ,norman church little remains but portions of the walls in both transepts1 a staircase in the north-aisle leading to the tower1 and some fragments in the choir4 ,the ,norman nave was removed in #aedb1 because it was thought unsafe4 ,the new nave and western towers were completed in #ahhh by ,mr4 ,street1 who copied from the old1 repeating the vaulting and the recesses of the eastern end4 ,the ground plan consists of a nave with an aisle on either side2 a central tower and transepts2 then the choir with north and south aisles2 and finally1 the ,lady-,chapel at the end4 ,on the north of the north-choir-aisle is the first ,lady-,chapel--built in the ,early ,english style1 and called ,elder-,lady-,chapel to distinguish it from the later ,lady-,chapel at the east end4 ,at the south-east end of the south-choir-aisle we find the ,berkeley ,chapel2 and at the end of the south transept1 the ,newton ,chapel4 ,beyond it is the ,chapter-,house with its ,vestibule1 and on the south and west the remains of the ,cloisters4 ,our best position for viewing the ,nave is from the north or between the two big towers4 ,it is #abj feet long1 #fj feet high and #fi broad including the aisles4 ,one peculiarity of ,bristol is that the aisles are of the same height as the ,nave2 and another1 that this ,cathedral has neither clerestory1 nor triforium4 ,the windows of the ,nave are very large and are strengthened by transoms4 ,the ,west ,window has for its subject the ,adoration of the ,lamb4 ,the ,choir consists of four bays4 ,it is in the ,decorated style and dates from #acjf to #accb4 8,the piers of the choir carry triple shafts which support the vaulting of the choir1 and others for the aisles1 which are here of the same height as the choir4 ,capitals of great delicacy and beauty1 modelled from real foliage1 serve to break the line of the mouldings and accentuate the springing of the vault4 ,graceful though the span of the roof is admitted to be1 the lines of the arcade of the choir are finer1 and the effect of the contrast of their soft mouldings carried up and around without a break is excellent4 ,the iron screen-work that separates the choir from its aisles is uninteresting and too small in scale40--7,h4 ,j4 ,l4 ,j4 ,m47 ,on either side of the high altar are canopied recesses containing monuments4 ,the reredos is a memorial to ,bishop ,ellicott and is rather too high1 therefore interfering with a good view of the splendid east window in the ,lady-,chapel4 ,the mosaic pavement is new1 and the stalls are also modern4 ,some of the old ,misereres have been preserved1 however1 and consist of grotesques4 ,some of them illustrate ,reynard the ,fox4 ,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 vaulting4 ,these bridges1 or transoms1 therefore1 do the work of flying-buttresses as faithfully to-day as when they were erected six hundred years ago4 8,the transoms1 features which were repeated in the windows of the aisles of the choir1 and in a much heavier form in the windows of the nave1 are additionally strengthened by the graceful arches below which spring from capitals almost similar to those on the choir side of the piers4 ,from the centre of each transom rises a cluster of groining ribs4 ,it has been customary to speak rather disparagingly of this clever piece of work of ,abbot ,knowle and to term it carpentry work in stone4 ,it may be so1 but the student of to-day may thank the ,fourteenth ,century ,abbot for a most instructive lesson4 ,the transoms have crowned heads at either end and in the centre1 and they1 unlike the transoms in the aisles of the nave1 are ornamented with little flowers4 ,beneath the windows1 which are ,decorated in character1 is a string-course1 with ball-flower ornament1 a feature which is found all round this eastern part4 ,in the south aisle the vaulting was intended to be the same as in the north aisle1 having been planned by the same architect1 but a difference in the westernmost bay shows it was superintended by a different mind4 ,in all probability it was ,knowle's successor1 ,abbot ,snow1 who1 from #accb-acda1 went on with his predecessor's work1 adding that part called the ,newton ,chapel40--7,h4 ,j4 ,l4 ,j4 ,m47 ,there is not a great deal of old glass in ,bristol1 but some of the ,windows in this east end are worthy of careful study4 8,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 manufacture4 ,they date from the reign of ,charles ,,ii42 and although it is traditionally said that they were presented by ,nell ,gwynne1 it is more probable that they were the offerings of ,henry ,glenham1 ,dean of ,bristol from #affa to #affg1 and afterwards ,bishop of ,st4 ,asaph4 ,the arms of ,glemham 7,or1 a chevron gules between three torteaux7 are repeated three times in the window of the south aisle and once in that of the north4 ,the subjects 7arranged as type and antitype7 in the north aisle are--in the centre1 the ,resurrection2 below ,jonah delivered from the whale4 ,on the right1 above1 the ,ascension2 below1 ,elijah taken up to heaven4 ,on the left1 above1 the ,agony in the garden2 below1 ,abraham about to offer up his son40--7,r4 ,j4 ,k47 ,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 triforium4 ,the passage leads to a staircase communicating with the central tower and the belfry4 ,north of the north-choir-aisle we come to the greatly admired ,early ,english ,chapel1 the ,elder ,lady-,chapel4 8,the ,lady-,chapel 7generally 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 choir7 is entered from the north-east corner of the transept4 ,the chapel is ,early ,english1 and dates1 according to ,mr4 ,godwin1 from the time of ,abbot ,john 7#aaif-abae74 ,the chapel is of four bays1 the windows in which are triplets with inner arches1 of which those at the side are gracefully foliated4 ,the detached vaulting-shafts are of ,purbeck marble4 ,the sculpture of the capitals and string-courses is unusually good2 and the spandrels of the wall-arcade are filled with grotesque designs which are full of spirit and character1 greatly resembling the sculpture in ,wells ,cathedral1 much of which is of the same date4 ,remember especially--a goat blowing a horn and carrying a hare slung over his back2 a ram and an ape playing on musical instruments2 and ,st4 ,michael with the dragon7872 below is a fox carrying off a foliage4 ,the vaulting of the roof would seem to stamp the ,english character40--7,r4 ,j4 ,k47 ,this chapel was originally detached from the rest of the ,cathedral4 ,beneath the two arches ,illustration3 ,,bristol3 ,,north ,illustration3 ,,bristol3 ,,nave1 ,,east between it and the north-choir-aisle stands the ,tomb of ,maurice1 ninth ,lord ,berkeley 7died #acfh74 ,here he lies with ,elizabeth1 his wife4 ,the knight is in armour and his head lies on a mitre4 ,a good groined canopy overshadows these figures4 ,retracing our steps into the choir and passing into the ,south-choir-aisle1 we examine the ,glenham window1 which is of the same date as the corresponding one in the north-choir-aisle4 ,the subjects are--in the centre1 above1 ,our ,lord ,driving the ,money ,changers from the ,temple2 below1 ,jacob's ,dream2 on the right1 above1 the ,tribute ,money2 below1 ,melchisedec and ,abraham2 the subject on the left1 above1 is uncertain2 below1 the ,sacrifice of ,gideon4 ,from the western bay of the south-choir-aisle we enter the ,newton ,chapel1 where members of the ,newton family lie4 ,this dates from #accb-acda4 ,the style is late ,decorated4 ,the south wall divides it from the ,chapter-,house1 with which it is parallel4 ,on the right1 after passing out of the ,newton ,chapel1 we come to one of ,abbot ,knowle's recesses4 ,the foliage consists of oak leaves and acorns interspersed here and there with tiny sprays of mistletoe1 an unusual ornament1 in church decoration4 ,we next pass the ,tomb of ,thomas1 ,lord ,berkeley1 who died in #abdc4 ,he is represented in armour4 ,his crossed legs show that he was a knight-templar4 ,this is the oldest monument in the cathedral4 ,the next recess contains the effigy of ,maurice1 ,lord ,berkeley1 who died in #abha4 ,he is also in armour4 ,in the next bay we pass up one step to the entrance of a ,vestibule 7once a sacristy1 now a music-room for the choristers71 a fine specimen of ,decorated work4 ,through this we pass into ,berkeley ,chapel4 8,opposite the entrance door on the south side are three ogee arches with niches between4 ,in one of these1 the third from the west1 was a hearth upon which the sacramental bread was baked4 ,the ornamentation in the spandrels and the finials is curiously interesting work in foliage4 ,the vaulting of the roof would seem to stamp the work as that of ,abbot ,knowle4 ,it consists of curved ribs1 quite detached1 large in section1 springing from small capitals4 ,the bosses are particularly fine1 the foliage being very flowing and free4 ,it is difficult to realise that the mason has here done in stone what many wood-carvers would fail to do in their softer material4 ,the door into the ,berkeley ,chapel is enriched with a niche overhead1 and a moulding below consisting of medlers40--7,h4 ,j4 ,l4 ,j4 ,m47 ,the ,berkeley ,chapel was dedicated to the ,virgin ,mary4 ,it is thought that an altar also stood here to ,st4 ,keyne1 who turned to stone all the snakes in the vicinity4 ,the ammonites were probably suggested by finding one or two in a piece of stone4 8,there are two windows toward the east1 the soffetes of which are ornamented with a gigantic ball-flower2 and the peculiar foliage on some of the capitals should be remarked4 ,under each of the windows was an altar1 the steps and piscin of which remain4 ,the altars were separated by a screen1 the marks of which were visible in the old pavement4 ,between the chapel and the aisle the wall is pierced by the peculiar arch of ,abbot ,knowle2 and under it1 in the thickness of the wall1 is an altar-tomb much ornamented and containing five shields charged with the coats of the ,berkeley1 ,ferrers and ,de ,quincey families4 ,the tomb in its present state is no doubt that of ,thomas1 ,lord ,berkeley 7died #acba71 whose wives were of those families2 but the lower part1 with its very fine foliage1 is of ,early ,english date1 and may possibly have been removed from another part of the church40--7,r4 ,j4 ,k47 ,the ,lady-,chapel is of the same date as the ,choir4 ,the east end was rebuilt about #abhj and a window with geometrical tracery1 consisting of foliated circles1 was inserted4 ,until #ahie it was used as a chancel4 ,it is #db feet long and #cb feet broad and consists of two bays4 ,it is lighted by five windows4 ,the central one is a ,jesse window1 and each of the four side windows has a transom with rich tracery below4 ,this rich tracery we noticed from the street4 ,in a good light relics of the ancient painting on the walls1 representing angels1 each with a golden nimbus1 can be seen4 ,the ,reredos of the ,lady-,chapel is partly ,abbot ,knowle's work and partly ,perpendicular4 ,on the first bay of the south side are the ,sedilia1 restorations of the original cut away to make room for an ,elizabethan tomb of ,sir ,john ,young and his family4 ,they are in four divisions with rich canopies of leafage supported by shafts of red serpentine4 ,the various recesses contain tombs and effigies of dignitaries of the ,cathedral1 and1 while the general lines of these recesses are similar1 there is much variety in the treatment of details4 ,the splendid ,east ,window is pure ,decorated and of great beauty in tracery and design4 ,most of the glass is old1 which adds another charm to the lovely effect of the tracery4 ,there is much beautiful silvery white glass from which the brilliant colours sparkle with great effect1 and we have no difficulty in tracing the ,tree of ,jesse3 8,the lower lights are separated by vine tendrils into oval panels1 twenty-one in all4 ,in the lowest tier in the centre is ,jesse with ,david on the right and ,solomon on the left hand4 ,to the left of the latter are the prophets ,micah1 ,haggai1 ,malachi2 to the right of ,david are ,jeremiah1 ,daniel and ,amos4 ,in the next tier the central figure is the ,virgin and ,child with ,hezekiah on the left and ,ahaz on the right1 the four kings1 ,david1 ,solomon1 ,hezekiah and ,ahaz1 representing the descent of the promise4 ,to the left of ,hezekiah are the prophets ,jonah1 ,habakkuk1 ,zechariah2 and to the right of ,ahaz are ,isaiah1 ,ezekiel and ,hosea4 ,above these two rows of regular panels are three panels1 containing four subjects--the central one giving us the ,crucifixion1 with our ,lord in glory in the upper part of the light4 ,in the right hand light is the ,virgin ,mary1 in that on the left is ,st4 ,john4 8,in the head of this window there are now seventeen blazons of arms4 ,in the quatrefoil at the top--the arms of ,england as used before the time of ,edward ,,iii41 viz41 the three lions2 in the two trefoils immediately below are ,berkeley of ,stoke ,gifford 7,l71 ,berkeley of ,berkeley ,castle 7,r74 8,most of the glass in this upper part is original and is supposed by ,mr4 ,winston to date between #acab-acbb1 as the arms of ,gaveston1 who was murdered in #acab1 are not in the window1 while the arms of ,de ,bohun1 who was slain in open rebellion in #acbb1 are clearly here4 ,the glass1 then1 is of ,knowle's time1 and being contemporary with the masonry1 affords a rich example of the harmony of form and colour about which one hears so much but which one so seldom sees4 ,it is probable that the tracery of the window may have been designed for ,abbot ,knowle by the builder of the window at ,carlisle1 also an ,augustinian house4 ,there is a strong resemblance in the two windows1 both of which are excellent work40--7,h4 ,j4 ,l4 ,j4 ,m47 ,the four side windows contain rich and interesting glass of the same date4 ,the one bearing the arms of ,mortimer1 ,earl of ,march1 has a picture of the ,martyrdom of ,st4 ,edmund1 the last of the native kings of ,east ,anglia1 who taken prisoner by the ,danes in #hgj refused to abjure his faith4 ,he was put to death4 ,here we find1 according to legend1 the grey wolf watching over the severed head4 ,the costume of the soldiers gives us #acbj as the date of this magnificent window4 ,beneath ,st4 ,edmund are an archbishop and two knights1 bearing the arms of the ,berkeleys4 ,the tracery of the large north window was inserted in #agjd4 ,the ,south ,transept contains the tomb of ,bishop ,butler1 more famed as the author of the ,analogy of ,religion than as ,bishop of ,bristol 7#agch-agej74 ,the epitaph is by ,southey4 ,the ,cloisters1 on the south side of the cathedral1 are entered from the south transept4 ,from them the ,chapter-,house is entered4 ,the entrance1 or vestibule1 of the ,chapter-,house shows a very early example of what may be called a pointed arch4 ,the mouldings and members are quite of the circular style and character4 ,from north to south the arches are round-headed1 but east and west they are pointed4 ,this ,transitional ,norman work--dating from ,fitzhardinge's time--is of special interest4 8,the chapter-house is one of the oldest parts of the earlier fabric of the cathedral1 and as ,britton truly says1 #8in its original state must have been one of the most interesting of the kind in the kingdom and perhaps in ,europe4' ,in spite of what it has undergone at the hands of architects1 restorers and rioters1 it is most interesting still1 a regular parallelogram in shape1 measuring #db feet in length by #be in breadth and #be feet in height1 divided into two bays4 8,the eastern wall1 which dates from #ahca1 has three windows1 and the west wall has also three round-headed arches1 the central one being the main door1 while the side ones serve as windows1 each being subdivided by a small pier4 ,each of these main openings has a label of cable-moulding4 ,above this cable-moulding is an arcade of interlacing arches1 borne by thirteen tall piers1 alternately plain and twisted2 and above this is a semicircular space1 also filled with rounded-headed intersecting arches1 so arranged as to fill the semicircular space4 ,the north and south walls have a plain round-headed arcading below1 with a bold round moulding1 while above is an elaborate arcading1 similar to the lower tier on the west wall1 but with much richer capitals4 ,above this is interlaced lattice-work1 and above this in one bay a space covered with zigzag mouldings4 ,the shafts of the arcading on the walls are alternately richly carved or almost plain4 ,the clustered shafts1 from which the main arch of the vaulting springs1 are peculiarly rich in ornamentation40--7,h4 ,j4 ,l4 ,j4 ,m47 ,in the ,chapter-,house there is preserved a fine piece of archaic sculpture1 which was found under the floor in #ahca after the destructive fire of that date1 in use as a slab covering an ancient coffin4 ,it represents the descent of the ,saviour into ,hell and the delivery of ,adam1 and is probably of the same date as the slabs in ,chichester4 ,the famous ,great ,gateway1 the arcading of which is much in the style of the ,chapter-,house1 is supposed to stand on the site of the principal entrance to ,fitzhardinge's monastery4 ,though ,norman in style and probably containing a lot of ,norman masonry1 critics believe that it is a ,perpendicular restoration of the old work4 ,this archway is composed of four recessed orders enriched with chevron and other mouldings and ornaments4 ,this must not be confused with the less elaborate ,gateway in ,lower ,college ,green1 probably of ,fitzhardinge's time and strengthened by ,abbot ,newland4 ,the latter was the gateway to the abbot's dwelling and afterwards to the ,bishop's ,palace4 ,,gloucester ,,dedication3 ,,st4 ,,peter3 ,,formerly ,,the ,,church ,,of ,a ,,benedictine ,,abbey4 ,,special ,,features3 ,,central ,,tower2 ,,choir2 ,,lady-,,chapel2 ,,east ,,window2 ,,cloisters4 ,gloucester presents a fine view from all points of approach4 8,as a rule1 visitors see it first from the south side1 and the south-west general view is one of the best1 equalled1 but not surpassed1 by that from the north-west4 ,the north view from the ,great ,western ,railway1 with the school playing-fields in the foreground1 makes a striking picture1 but it is more sombre than the picture formed by the south front4 ,viewed from the north-west corner of the cloister-garth1 the pile is seen perhaps at its best4 ,from this point it is easy to study so much the varied architecture of the whole1 and with little effort to transport the mind back for a space of four hundred years4 ,the eye first rests upon the turf of the garth now tastefully laid out after many years of comparative neglect4 ,flanking the garth on every side are the exquisite windows of the ,cloister--a cloister which no other can surpass4 ,above the ,cloister will be seen on the eastern side the sober1 impressive ,norman work of the ,chapter-house in which so much of our ,english history has been made4 ,to the south of this is the ,library1 built close against the walls of the north transept1 which tower above1 and lead the eye upward to the great tower which1 #8in the middest of the church1' crowns the whole4 8,placed where it is1 almost in the centre of the long line of the nave1 continued in the choir and ,lady-chapel1 at the point where the transept line intersects it1 it is the chief feature of the massive pile4 ,all else seems to be grouped with a view to the enhancing of the effect of the central position of the tower4 ,the other members of the building seem merely to be steps1 by means of which approach can be made to it4 ,it is the grandest and most impressive feature of the outside4 ,no matter from whence one looks at it1 the charm is there4 ,seen from the gardens in the side streets close by when the pear-trees are in bloom1 or in the full blaze of a hot summer day1 or again later in the autumn when the leaves are beginning to turn1 or1 better still1 in snow time1 it is always full of beauty4 ,on a bright hot day the pinnacles seem so far off in the haze as to suggest a dream fairyland4 ,on a wet day1 after a shower1 the tower has the appearance of being so close at hand that it almost seems to speak4 ,viewed by moonlight1 the tower has an unearthly look1 which cannot well be described4 ,the tower is #bbe feet high to the top of the pinnacles1 and the effect of it is extremely fine4 ,from the main cornice upwards1 the whole of the stone-work is open1 and composed of what at a distance appears to be delicate tracery1 and mullions and crocketed pinnacles40--7,h4 ,j4 ,l4 ,j4 ,m47 ,in it hang the venerable bells that escaped the king's commissioners at the ,dissolution of the monasteries in #aeec4 ,gloucester is notable for its examples of the ,transition from ,decorated to ,perpendicular1 which probably originated in this ,cathedral4 ,the abbey of ,gloucester was founded by ,osric1 viceroy of ,king ,edward1 in #fha4 ,it was dedicated to ,st4 ,peter4 ,osric's sister1 ,kyneburga1 who died in #gaj1 was the first ,abbess of this double foundation for monks and nuns4 ,osric and ,kyneburga were buried in the ,abbey church in front of the altar of ,st4 ,petronilla4 ,in #hbc1 secular priests were placed here by the ,king of ,mercia2 and in #ajbb they were expelled by ,canute for ,benedictine monks4 ,when the monastery was burned to the ground1 ,aldred1 ,bishop of ,worcester1 re-established the monks in #ajeh1 and began the building of a new church also to ,st4 ,peter1--8a little further from the place where it had first stood1 and nearer to the side of the city40 ,the monastery failed to flourish2 ,aldred was translated to ,york in #ajfj2 and when ,serlo1 who had been ,william the ,conqueror's chaplain1 succeeded to ,wilstan1 or ,wulstan1 ,aldred's successor1 he had under him only two monks and eight novices4 ,after fifteen years of energetic rule 7#ajgb-aajc71 ,serlo rebuilt the ,cathedral4 ,in ,august1 #ajhi1 an earthquake damaged the then existing building4 ,eleven years later 7#aajj71 in the last year of the reign of ,william ,rufus1 8the church10 as ,florence of ,worcester wrote1 8which ,abbot ,serlo1 of revered memory1 had built from the foundations at ,gloucester1 was dedicated 7on ,sunday1 ,july #aeth7 with great pomp by ,samson1 ,bishop of ,worcester2 ,gundulf1 ,bishop of ,rochester2 ,gerard1 ,bishop of ,hereford2 and ,herveas1 ,bishop of ,bangor40 ,it is thought that part of the church was finished for the dedication1 such as the presbytery1 choir1 the transepts1 the ,abbot's cloister1 the chapter-house1 and the greater part of the nave4 ,the ,saxon ,chronicle tells us that in #aabb1 while the monks were singing mass1 fire burst out from the upper part of the steeple1 and burnt the whole monastery4 ,between #aafd and #aagi one of the western towers fell down4 ,repairs were consequently necessary4 ,offerings at the ,tomb of ,edward ,,ii4 were a great aid in providing funds4 8,instead of going on with ,abbot ,morwent's rebuilding of the nave1 the monks now turned their attention to the central tower4 ,the tower was of no use as a lantern1 for the lierne vault of the choir had been carried beneath it4 ,so it long remained unaltered4 ,but in the days of ,abbot ,seabroke 7#adfj-adhb71 it was rebuilt under the superintendence of a monk named ,tully1 to be in character with the new exterior of choir and transepts4 ,a very imposing tower it is2 fully able1 from its massiveness as well as from its height1 to gather together the masses of the building--all the more so because the transepts are so short4 ,it succeeds where the central towers of ,worcester and ,hereford fail2 in fact1 it is as effective in its way as ,salisbury spire4 ,the pinnacles1 again1 bear witness to the love of these later artists for harmony and unity2 each pinnacle1 with its two ranges of windows1 is a repeat of the two stages of the tower below4 8,then--after the tower had been erected--it was decided to rebuild the ,lady-chapel4 ,so an immense detached building was constructed to the east of the great window of the presbytery2 without aisles1 but with little transepts2 almost one continuous sheet of glass1 and with a superb vault4 ,this ,lady-chapel had to be joined up to the presbytery1 but the great east window was in the way4 ,however1 the difficulty was got over by a series of ingenious shifts and dodges1 which must be seen to be appreciated 7#adeg-adii74 8,and so ended this great building-period at ,gloucester 7#accj-adii71 which turned the course of ,english architecture2 so that the ,curvilinear style of #acae to #acfj did not find its natural development in ,flamboyant1 as on the ,continent1 but was switched off to ,perpendicular and ,tudor design40--7,f4 ,b47 ,let us see what the 8shifts and dodges0 referred to above consisted of4 8,the method of joining the ,lady-chapel to the choir is best noticed from the outside4 ,it is a piece of exceedingly clever and graceful construction1 and there is the minimum of obstruction to the light passing through to the east window1 and the maximum of support to the elliptical east window4 ,viewing the ,lady-chapel from the north side1 the play of light through the windows on the south side has a very grand effect4 ,under the east end of the ,lady-chapel is a passage which has given rise to much speculation in bygone times4 ,the ,lady-chapel1 at ,illustration3 ,,gloucester3 ,,east ,illustration3 ,,gloucester3 ,,tomb ,,of ,,edward ,,ii4 the time of its erection1 was carried out to the farthest limit of the land possessed by the ,abbey4 ,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 grounds1 without the need of going right round the precincts by the west front40--7,h4 ,j4 ,l4 ,j4 ,m47 ,during the reign of ,henry ,,viii41 the ,abbey which had 8existed for more than eight centuries under different forms1 in poverty and in wealth1 in meanness and in magnificence1 in misfortune and success1 finally succumbed to the royal will4 ,the day came1 and that a drear winter day1 when its last ,mass was sung1 its last censer waved1 its last congregation bent in rapt and lowly adoration before the altar there2 and1 doubtless1 as the last tones of that day's evensong died away in the vaulted roof1 there were not wanting those who lingered in the solemn stillness of the old massive pile1 and who1 as the lights disappeared one by one1 felt that there was a void which could never be filled1 because their old abbey1 with its beautiful services1 its frequent means of grace1 its hospitality to strangers1 and its loving care for ,god's poor1 had passed away like a morning dream1 and was gone for ever40--7,w4 ,h4 ,h47 ,gloucester has suffered from the hands of restorers4 ,in #ahdg1 ,mr4 ,f4 ,s4 ,waller made extensive repairs4 ,at this time the gardens were added4 ,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 ,gallery4 ,this connects the north and south triforium of the choir4 ,the ,west ,front of ,gloucester1 restored in #ahgd1 is comparatively uninteresting4 ,the buttresses of the great window are pieced1 as are also the parapets4 ,plain transoms cross the lights of the great west window1 the tracery of which is very elaborate when looked at from within4 ,the old towers have disappeared4 ,the ,south ,porch is the principal entrance4 ,it is the work of ,morwent 7#adba-adcg74 ,over the doorway stand ,st4 ,peter and ,st4 ,paul and the four ,evangelists1 and below them are ,king ,osric and ,abbot ,serlo1 the founders of the ,abbey church4 ,in the niches of the buttress stand ,st4 ,jerome1 ,st4 ,ambrose1 ,st4 ,augustine and ,st4 ,gregory4 ,the windows of this porch have been formed by piercing the tracery of the inside4 ,over the porch is an unfinished parvis4 ,the doors date from the ,fifteenth ,century4 ,we now enter the ,nave4 8,the first impression of the nave changes all earlier thoughts of the age of the building4 ,it is unmistakably ,norman1 grand beyond expression1 but cold1 severe and deathly white4 ,the stained glass 7mostly modern7 of the ,norman and ,decorated windows fails to supply the evident lack of colour4 8,there was a time when lines of blue and scarlet and gold relieved the white vaulted roof1 when altars agleam with colour and pale flickering lights gave light and brightness to the chill whiteness of this vast and mighty colonnade4 ,on ,sunday evenings1 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 arches1 the want of colour is little felt1 and the noble and severe beauty of the matchless ,norman work in the great nave strikes the beholder4 ,the nave of ,gloucester1 to be loved and admired as it deserves1 and as it appeared to men in the days of the ,plantagenet ,kings1 must be seen in one of the many crowded evening services4 8,save that the altars with their wealth of colour and light are gone1 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 ,edward1 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 folk1 the sermon in which he foretold the death of the imperious and cruel ,rufus in words so plain1 so unmistakable1 that ,abbot ,serlo of ,gloucester1 who loved the great wicked ,king1 in spite of his many sins1 was alarmed and at once sent to warn his master1 but in vain4 ,rufus disregarded the ,gloucester note of alarm1 and a few hours later the news of the ,king of ,england's bloody death1 in the leafy glades of the ,new ,forest1 rang through ,normandy and ,england4 8,yes1 it is the same nave1 only colder and whiter1 on which ,anselm1 the saintly archbishop1 and ,rufus gazed2 the same avenue of massy pillars--then scarcely finished--through which ,maud the ,empress often went to her prayers with her chivalrous half-brother1 ,earl ,robert4 ,beauclerc1 her father1 too1 and some grey-haired survivors of ,hastings must have looked on these huge columns crowned with their round arches which excite our wonder to-day4 ,they were a curious fancy of the architect of ,serlo2 or was it not probably a design of a yet older artist of ,edward the ,confessor8 ,these enormous round shafts1 which are the peculiar feature of the nave of our storied abbey1 have only once been repeated1 probably by the same architect1 in the neighbouring abbey of ,tewkesbury1 a few years later4 ,there is nothing like them on either side of the silver streak of sea4 ,the ,tewkesbury copies are slightly smaller2 otherwise they are exact reproductions of ,gloucester40--7,s47 ,the ,nave differs from other ,norman naves like those of ,peterborough1 ,ely and ,norwich4 8,the unique features here are the great height of the massive circular columns1 fourteen in number1 and the consequently dwarfed triforium or gallery running over the main arches4 ,there are traces to be seen of the original ,norman clerestory under the ,perpendicular windows1 and1 judging from this1 the height of the clerestory1 as originally constructed1 must have been but little less than that of the piers in the nave4 8,this ,norman clerestory was altered at the same time that the roof of the nave was vaulted--viz4 in #abdb1 in the time of ,henry ,foliot4 ,this work was done by the monks themselves1 who thought1 as ,professor ,willis suggests1 that they could do it better than common workmen4 ,their work is made of a light and porous kind of stone1 treated with plaster on the under-side1 and it was rendered necessary by the previous roof1 which was of wood1 having been destroyed by fire in #aaij4 ,of this fire the piers certainly show the traces to this day1 all having become reddened and slightly calcined4 ,to make the new clerestory the whole of the original ,norman work over the arcade of the triforium was removed1 with the exception of the jambs of the side-lights 7which extended beyond the arches of the triforium7 and the wall between them40--7,h4 ,j4 ,l4 ,j4 ,m47 ,all the stone-work was originally painted4 8,the painting may be thus generally described4 ,the hollow of the abacus of the capitals was red1 the lower member of the same1 green2 the whole of the bell red1 the leaves alternately green and yellow1 with the stalks1 running down1 of the same colours1 into the red bell of the capital4 ,the vertical mouldings between the marble shafts were red and blue alternately2 the lower shafts green and blue1 with red in the hollows1 and the foliage on these also is green and yellow4 ,some of the horizontal mouldings are partly coloured also4 ,the bosses in the groining are yellow and green1 as in the capitals4 ,all the colouring1 which was very rich1 was effected with water colours2 in one instance only has any gold been discerned1 and that was upon one of the bosses in the roof40--7,f4 ,s4 ,w47 ,abbot ,morwent pulled down the west end of the ,nave in #adba-adcg and reconstructed it in the ,perpendicular style4 ,it is supposed that the original west front was like that of the ,abbey at ,tewkesbury4 ,the west window contains nine lights1 filled with modern glass4 ,the ,south aisle1 originally ,norman1 was remodelled about #acah4 ,the tracery of the windows is unusual4 ,the ball-flower is seen in great profusion in this part of the ,cathedral4 ,in this aisle there is a monument to ,dr4 ,jenner of vaccination fame1 to whom the five-light west window here is also a memorial4 ,the tracery of the windows of the clerestory is attributed to ,abbot ,morwent4 ,the ,north aisle retains its original ,norman vaulting1 and the ,norman piers1 which correspond to the piers in the ,nave1 are divided into several members4 ,some of their capitals are richly carved4 ,in each bay there is some ,perpendicular tracing4 ,a stone bench along the wall is also ,perpendicular4 ,the door into the ,cloister at the west end of the aisle is very fine1 and the side niches and canopy work over it deserve study4 ,the door at the eastern end of the aisle leading to the ,cloisters is also ,perpendicular4 ,both doors have fan-vaulted recesses1 like the great west door of the ,nave4 ,the west end of the aisle is the work of ,abbot ,morwent 7#adba-adcg74 ,a heavy stone screen1 dating from #ahbj1 closes the east end of the nave4 ,we pass through a small arch in this screen1 and beneath the broad platform on which the great organ stands4 ,this was originally built in #affc-affe by ,thomas ,harris1 and was painted and gilded in #afff4 ,the oak case is in the ,renaissance ,style4 ,little idea of the beauty of the ,choir can be obtained from the ,nave4 ,we enter from the north aisle4 ,it is #adj feet long2 #cc feet #g inches broad2 and #hf feet high4 8,looking upwards1 the visitor will note the beauty of the vaulting and the bosses placed at the intersection of the ribs4 ,these bosses at the east end of the choir chiefly represent a choir of angels playing on various kinds of musical instruments1 and a figure of ,our ,lord in the attitude of blessing4 ,all the roof was originally probably painted and decorated1 but the existing colour and gilding is recent work1 having been done by ,clayton ,bell4 ,at first sight the groining of the roof looks most complicated1 but1 if analysed and dotted down on paper1 it will be seen to be in reality a simple geometrical pattern4 ,the bosses will repay careful examination with a glass4 8,viewed from the door in the screen1 the choir looks in very truth a piece of ,perpendicular work1 as the ,norman substructure is then for the most part concealed4 ,a closer examination1 however1 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-work1 fixed on to the ,norman masonry1 which was pared down to receive it40--7,h4 ,j4 ,l4 ,j4 ,m47 ,the general impression is striking3 8,the choir on which you are now looking is very long--not too long1 however1 for its great height--for the fretted roof1 a delicate mosaic of tender colours set in pale gold1 soars high above the vaulting of the nave4 ,the proportions are simply admirable4 ,from the lofty traceried roof down to the elaborately tiled floor1 the walls are covered with richly carved panelled work1 broken here and there with delicate screens of stone4 ,the eastern end1 hard by the high altar1 is the home of several shrines4 ,there is happily no lack of colour in this part of our cathedral4 ,the western end is furnished with sixty richly-carved canopied stalls of dark oak1 mostly the handiwork of the ,fourteenth ,century4 ,the curiously and elaborately fretted work of the roof we have already spoken of as a rich mosaic of gold and colours4 ,the floor1 if one dare breathe a criticism in this charmed building1 is too bright and glistening1 but it is in its way varied and beautiful4 ,the carving of the reredos1 a work of our own day1 is1 to the writer's mind1 open to criticism1 but is still very fair1 telling in every detail of loving work and true reverence40--7,s47 ,the ,high ,altar occupies the same site as the ancient one4 ,the sixty ,choir-stalls have been restored in part2 the sub-stalls date from ,sir ,gilbert ,scott's restoration 7#ahgc74 ,on the south side of the ,high ,altar there are four ,sedilia also restored4 ,redfern's figures in the niches are ,abbot ,edric1 ,bishop ,wulstan1 and ,abbots ,aldred1 ,serlo1 ,foliot1 ,thokey1 ,wygmore1 ,horton1 ,froucester1 ,morwent1 ,seabroke and ,hanley4 ,the three angels over the canopies1 playing on a tambour and trumpets1 deserve notice4 ,on the north side of the ,presbytery we pause to look at the chantry ,tomb of ,abbot ,parker1 where the carving of vine and grapes on the stone screen is fine4 ,the curious cross in the form of a growing tree at the foot of the tomb is also striking4 ,parker1 who died in #aeci1 was buried elsewhere4 ,then we pass to the more famous ,tomb of ,edward ,,ii41 erected by ,edward ,,iii4 ,the alabaster figure is probably the earliest of its kind in ,england4 ,the tomb was opened in #ahee to satisfy curiosity as to whether the king was really buried there after his murder in ,berkeley ,castle nearby4 8,though it awakens our recollection of a feeble-minded king1 and his barbarously brutal murder1 it also compels our admiration at the beauty of the work4 ,it has been restored1 renovated or re-edified1 but in spite of that1 appeals to us from the wealth of very highly ornate tabernacle work1 the richness1 and at the same time the lightness and elegance of the whole4 ,the details too are well worth careful examination4 ,it may be1 judging from the expression of the face1 that there has been some attempt at portraiture1 but repair and restoration have practically made it impossible to settle what would otherwise be an interesting question4 ,the superb canopy has suffered much at the hands of restorers--e4g4 in #agcg1 #aghi1 #agih and in #ahgf40--7;,h4 ,j4 ,l4 ,j4 ,m47 ,the next monument is to ,king ,osric1 erected in 8late dayes10 i4e4 in the time of ,abbot ,parker1 whose arms are in the spandrels of the canopy 7#aead-aeci74 ,the ,norman piers1 cut away to receive the tomb1 are decorated on their capitals with the white hart chained and gorged1 with a ducal coronet1 the device of ,richard ,,ii4 ,osric is represented as clad in tunic1 laced mantle and a fur hood or collar1 bearing the model of a church in his left hand4 ,the next tomb westwards is1 as ,leland says1 that of 8,king ,edward of ,caernarvon 7who7 lyeth under a fayre tombe1 in an arch at the head of ,king ,osric tombe40 ,the transepts and ambulatory of the choir are usually entered through the iron gateway in the south aisle of the nave4 ,these ,ambulatories1 or aisles1 have nothing uncommon in their form or arrangement below1 but above occurs the great peculiarity of this church4 ,the upper range of chapels surrounding the ,choir is perhaps not to be met with in any other church in ,europe4 ,another peculiarity of the ,choir is its six-light west window4 ,this was rendered necessary by the difference in height of the ,nave and ,choir2 for the vaulting of the choir is about twenty feet higher than that of the ,nave4 ,the glass consists chiefly of patchwork from other windows in the ,cathedral4 ,it represents a figure of our ,lord1 with angels on either side4 ,below angels play musical instruments4 ,the ,triforium of the ,choir is considered by some critics the finest in existence4 8,it occupies the space over the ground floors of the aisles or ambulatory of the choir1 and originally extended of a like width round the east end of the ,norman ,church1 but at the time when the ,fourteenth-,century work of the present choir was executed1 the whole of the east end of the old ,norman choir1 with the corresponding part of the triforium1 was removed in order to make room for the existing large window1 the small east chapel being allowed to remain40--7,f4 ,s4 ,w47 ,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 transepts4 8,the first chapel in the triforium contains two brackets with rich canopies1 and there is a very well preserved double piscina4 ,ball-flowers in two rows will be found in the mouldings of the east window4 ,remains of two canopies in the jambs of the windows are also to be traced4 8,the massive ,norman piers should be carefully studied1 as the way in which the later casing work has been applied can be more easily seen in the triforium than elsewhere4 8,the picture on the west side of this part of the triforium was discovered in #agah1 against the then eastern end of the nave1 underneath the panelled wainscot at the back of the seats occupied by the clergy when the nave was used for service40--7,h4 ,j4 ,l4 ,j4 ,m47 ,this painting of ,the ,last ,judgment is supposed to date from the reign of ,henry ,,viii41 or ,edward ,,vi4 ,it was suggested by the great altar-piece at ,dantzig 7#adfg74 ,as an entrance to the east chapel of the triforium1 the narrow gallery1 called the ,whispering ,gallery1 was made4 ,it is a passage of ,norman work1 very much altered and re-used4 ,it is #gd feet long1 #c feet wide1 #f feet high1 and is carried on segmental arches from the east end of the south triforium to the west wall of the ,lady ,chapel1 and thence in the same way to the north triforium4 ,on the way towards the ,whispering ,gallery1 the flying-buttresses inserted in #acdg-acej to support the walls of the clerestory1 which were weakened by the insertion of the great east window of the ,choir1 should be noticed4 ,visitors are always interested in the ,whispering ,gallery1 where the lightest whisper can be easily and distinctly heard at the other end of the gallery4 ,it inspired the following lines1 by ,maurice ,wheeler 7head-master of the ,king's ,school1 #afhd-agab73 8,doubt not but ,god1 who sits on high1 ,thy secret prayers can hear1 ,when a dead wall thus cunningly ,conveys soft whispers to the ear40 ,the ,east ,window is larger than the ,east ,window of ,york ,minster4 ,it measures #gh #ch feet2 that at ,york is #gh #cc4 ,though it has suffered much mutilation1 restorers have done little harm1 and it is possible to get some idea of its original splendour4 8,it is worthy of remark that the tracery1 heads and cusps1 as seen from the inside of this window1 are not repeated on the outside1 a plain transom only crossing the lights4 ,this peculiarity is repeated in the great west ,illustration3 ,,gloucester3 ,,choir1 ,,east ,illustration3 ,,gloucester3 ,,cloisters window and in many other windows in the cathedral40--7,f4 ,s4 ,w47 ,the stone-work of the window was restored in #ahfb and the glass cleaned and re-leaded4 ,the window consists of fourteen lights--six on the centre with four on either side4 ,the subjects are the ,coronation of the ,virgin ,mary with ,christ and the ,apostles1 saints and kings4 ,the heraldic shields fix the date of the glass between #acdg and #acej4 ,the canopies and nearly all the figures are of white glass enriched with yellow4 ,the tones of red and blue are particularly rich4 ,the drawing of the figures has been much criticised4 8,the whole of this1 the loveliest choir in ,england1 is lit by a mighty wall of jewelled glass behind the great golden reredos4 8,this vast east window which floods the choir of ,gloucester1 beautiful as a dream with its soft1 silvery light faintly coloured with jewelled shafts of the richest blue and red1 and here and there a vein of pale gold--this vast window could not have been seen out of ,england1 or1 at least1 one of the grey and misty northern countries1 where gleams of light or shafts of sunshine are exceedingly precious4 ,in south or central ,europe the effect of such a mighty window would be simply dazzling to the eye1 would be painful from its excess of light4 8,this great east window is the largest painted window in ,england--the largest1 the writer believes1 in ,europe4 ,its stonework exceeds in size the magnificent east window of ,york1 which stands next to it4 ,the respective measurements are ,gloucester1 seventy-two feet high by thirty-eight wide2 ,york1 seventy-eight by thirty-three feet4 ,the lower parts of the centre compartments at ,gloucester are not completely glazed1 owing to the opening into the ,lady-chapel4 ,the glass of ,gloucester is1 on the whole1 light-coloured1 the designers being evidently anxious that the beautiful stone panels and screen-work should be seen in all their exquisite details4 ,the glass has suffered marvellously little from the ravages of weather and the fanaticism of revolutionary times2 the busy restorer1 too1 has dealt gently with it4 ,there are forty-nine figures1 and of these thirty-seven are pronounced by our lynx-eyed experts to be absolutely genuine4 ,of the eighteen armorial shields in the lower lights thirteen are certainly the identical shields inserted by the survivors of ,cressy4 ,the whole of the gorgeous canopy-work has been untouched4 ,the subject of the paintings is the ,coronation of the ,virgin and the figures consist of winged angels1 apostles1 saints1 kings and abbots4 ,the coats-of-arms are those borne by ,king ,edward ,,iii41 the ,black ,prince1 and their knightly companions1 such as the ,lords of ,berkeley1 ,arundel1 ,pembroke1 ,warwick1 ,northampton1 ,talbot and others who took part in the famous campaign in which occurred the battle of ,cressy1 and who in some degree were connected with ,gloucestershire4 ,the window was1 in fact1 a memorial of the great ,english victory1 and may fairly be termed the ,cressy window40--7,s47 ,the ,vestibule to the ,lady-,chapel is a beautiful work4 ,the lower portions of the west wall1 parts of the old ,norman apsidal chapel1 are pierced by the opening for the door and by two perpendicular windows4 ,the lierne vaulting is very delicate 7the ribs are run differently in the four quarters of the roof71 and the pendants form a cross4 ,over the vestibule is the small chapel which is entered from the ,whispering ,gallery4 ,the beautiful ,lady-,chapel was built between #adeg and #adii on the site of a smaller one4 ,the ,lady-,chapel1 #ia feet #f inches long1 #be feet #f inches high1 and #df feet #f inches high1 consists of four bays1 which1 as the wall of the chapel is so low1 are chiefly composed of fine tracery and glass4 8,all the wall below the windows is arcaded with foiled arches1 with quatrefoils above them4 ,the wall between the windows is panelled with delicate tracery like that in the windows1 and in its three chief tiers contains brackets for figures1 with richly carved canopies overhead4 ,many of these canopies 7like the walls7 show traces of colour4 8,vaulting shafts of great beauty support one of the grandest ,perpendicular roofs that has ever been made4 ,each boss in the roof is worth minute inspection1 and since the restoration 7#ahif7 it is possible to see the bosses in practically the same condition as they were when they left the masons' hands in the ,fifteenth ,century4 ,with three exceptions they are all representations of foliage4 8,it has been said above that the chapel is cruciform4 ,the arms of the cross are represented by the two side chapels1 like diminutive transepts on the north and south sides1 with oratories above them1 to which access is given by small staircases in the angles of the wall4 ,both these side chapels contain some exquisite fan-tracery vaulting1 which is supported upon flying arches1 fashioned in imitation of the graceful flying arches in the choir4 8,on the north side the chapel contains a full-length effigy of ,bishop ,goldsborough 7who died in #afjd7 robed in his white rochet1 black chimere1 with lawn sleeves1 scarf1 ruff and skull-cap4 8,the east window in this chapel is in memory of ,lieut4 ,arthur ,john ,lawford 7#ahhe71 and is dedicated to ,st4 ,martin4 8,the chapel above has a vaulted roof with bosses of foliage1 and there are small portions of ancient glass4 8,the ,lady-chapel is one of the largest in the kingdom1 and is said1 at the time of the ,dissolution1 to have been one of the richest4 ,a great part of it is said to have been gilded and gloriously ornamented4 ,traces of the colour can be seen in the mouldings of the panellings and in the carving upon the walls40--7,h4 ,j4 ,l4 ,j4 ,m47 ,the ,reredos still retains traces of its gorgeous colours4 ,it is very richly ornamented4 ,the ,east ,window1 consisting of nine lights1 dates from #adgb-adgi4 ,the monuments are not especially remarkable4 ,the tiles of the floor and the sedilia are notable4 ,on our right1 as we leave the ,lady ,chapel1 we come to ,abbot ,boteler's ,chapel 7#adcg-adej74 ,it contains a fine ancient reredos1 interesting tiles and a curious wooden effigy of ,robert1 ,duke of ,normandy1 son of ,william the ,conqueror4 ,critics think it nearly contemporary with the ,duke himself4 ,the figure rests on a ,fifteenth ,century chest4 ,next we come to ,st4 ,paul's ,chapel 7north-west7 entered by a doorway4 ,the reredos here is very fine4 ,it was repaired in #ahgj4 ,st4 ,peter1 ,st4 ,paul and ,st4 ,luke1 by ,redfern1 ornament the niches4 ,an ancient stone reading-desk1 from which pilgrims to the shrine of ,edward ,,ii4 were addressed1 attracts our attention near the door leading into the ,north ,transept4 ,this is originally ,norman1 cased over with ,perpendicular panelling1 more developed1 however1 than that in the south transept4 ,the work here was done in #acfh-acgc4 ,angular mouldings are used in the place of round mouldings and the mullions run right up to the roof1 which is much richer than that in the south transept4 ,the vaulting of the north transept somewhat resembles the fan-tracery of the cloisters4 ,this transept is #h feet lower than that on the south side and it is #b feet shorter4 ,beneath the north window is a greatly admired piece of ,early ,english 7#abdj71 supposed to have been a ,reliquary4 ,the middle of the three divisions is a doorway4 ,beautifully carved foliage and ,purbeck marble shafts are the chief ornamentation4 ,opposite1 between the tower-piers1 is a small chapel1 said to have been dedicated to ,st4 ,anthony4 ,it is used as the ,dean's vestry4 ,the ,south ,transept 7,st4 ,andrew's ,aisle7 was transformed from the ,norman in #acbi-accg4 ,the vaulting is lierne with short ribs4 ,the walls are panelled4 ,on the north side of the south transept1 we find the ,seabroke ,chapel4 8,the alabaster effigy represents the ,abbot in his alb1 stole1 tunic1 dalmatic1 chasuble1 amice and mitre1 with his pastoral staff on his right side4 ,the chapel has been partially restored4 ,traces of colour are to be seen in the reredos and the roof over it4 8,almost opposite to this1 but nearer to the iron gate1 is a recessed tomb to a knight in mixed armour of mail and plate1 and by his side his lady1 with kirtle1 mantle and flowing hair4 ,both wear ,,ss4 collars1 and this helps to give the age of the monument1 by narrowing the date down to a year not earlier than #acii40--7;,h4 ,j4 ,l4 ,j4 ,m47 ,on the east side the ,chapel of ,st4 ,andrew occupies a corresponding position to that of ,st4 ,paul in the north transept4 ,this chapel has been restored4 ,some of the best glass in the ,cathedral is contained in the east window over ,st4 ,andrew's ,chapel4 ,it dates from about #accj and consists of the head of a white scroll-work of vine leaves1 etc41 on a fine ruby-coloured ground1 and below plain quarries with very simple borders4 ,opposite ,boteler's ,chapel we find ,st4 ,philip's ,chapel 7south-east71 restored in #ahfd4 ,there is some dog-tooth moulding near the piscina4 ,a fine ,perpendicular arch1 supporting the triforium above1 attracts attention before the ,lady-,chapel is entered4 ,the ,crypt is entered from the eastern door in the south transept4 ,it is one of the five great eastern crypts erected before #ajhee and consists of an apse1 three small apsidal chapels and two chapels underneath the eastern chapels of the north and south transepts4 8,great alterations have from time to time been made in the crypt4 ,the large semicircular columns against the walls1 though of great antiquity1 are not parts of the original structure1 but are casings built round1 and enclosing the former smaller piers1 and the ribs springing from their capitals are built under1 with a view to support the vaulting40--7,f4 ,s4 ,w47 ,through a door in the organ screen in the north aisle of the nave we enter the ,cloisters1 which are among the most perfect and beautiful in ,england4 ,they form a quadrangle and each walk is divided into ten compartments4 ,fan-tracery is thought to have originated here in the vaulting4 ,they were begun by ,abbot ,horton 7#acea-acgg7 and completed by ,abbot ,froucester 7#acha-adab74 8,the view looking down either of the walks is very fine1 mainly owing to the richness of the groined roof1 which is the earliest example of the fan-vault4 ,this style of vaulting is entirely peculiar to ,england2 and ,professor ,willis has suggested that the school of masons who were employed in this cathedral may have originated it4 ,the wall sides of the cloisters are panelled2 and the windows1 divided by a transom1 have rich ,perpendicular tracery4 ,the lights above the transom were glazed4 ,each walk is divided into ten compartments4 ,in the south walk are the ,carrels--places for writing or study1 twenty in number1 formed by a series of arches1 running below the main windows4 ,in each carrel is a small and graceful window of two lights4#f ,the very fine view at the angle of the south and west walks should especially be noticed4 ,in the north walk are the lavatories1 projecting into the cloister garth2 these are very perfect4 ,under the windows is a long trough or basin into which the water flowed4 ,the roof is groined4 ,opposite in the wall of the cloister1 is the recess for towels1 or manutergia4 ,the windows of the east walk are filled with memorial glass by ,hardman 7the eighth is by ,ballantyne1 as is one window in the west walk740--7,r4 ,j4 ,k47 ,a small cloister1 or slype1 opens from the east walk between the cathedral and the chapter-house4 ,this is also called the ,abbot's ,cloister4 ,this is ,norman in its western portion and ,perpendicular beyond4#g ,above this is situated the ,chapter ,library1 a long1 dark ,perpendicular room with a roof of dark oak1 a large ,perpendicular window east and a row of small windows on the north side4 ,though the cloisters are quadrangular1 the length of the four walks is not quite the same4 ,the width 7#ab feet7 and height 7#ah feet7 are alike4 ,in the ,north ,alley1 the ,monks' ,lavatory is 8one of the most perfect of its date4 ,it projects #h feet into the garth1 and is entered from the cloister alley by eight tall arches with glazed traceried openings above4 ,internally it is #dg feet long and #f feet wide1 and is lighted by eight two-light windows towards the garth and by a similar window at each end4 ,one light of the east window has a small square opening below1 perhaps for the admission of the supply pipes1 for which there seems to be no other entrance either in the fan vault or the side walls4 ,half the width of the lavatory is taken up by a broad1 flat ledge or platform against the wall1 on which stood a lead cistern or laver1 with a row of taps1 and in front a hollow trough1 originally lined with lead1 at which the monks washed their hands and faces4 ,from this the waste water ran away into a recently discovered 7#ahhi7 tank in the garth40--7,h47 ,from the ,west ,alley the monks entered their great dining-hall2 and at the south-west corner a vaulted passage called the ,slype lies under part of the old lodging of the ,abbots1 now the ,deanery4 ,in this passage1 a sort of outer parlour1 the monks held conversation with strangers4 ,in the ,south ,alley the monks studied after dinner until evensong4 ,it has ten windows of six lights and twenty recesses1 or 8carrels10 below the transoms4 ,the roof of the ,east ,alley is a perfectly plain barrel vault without ribs4 ,in the south-west corner we find a hollowed bracket1 or cresset stone1 in which a wick1 floating in tallow1 was kept to light the passage4 ,opposite the fifth bay a doorway1 containing some good ,norman work1 slightly restored1 leads into the ,chapter-,house4 ,originally consisting of three ,norman bays1 it probably1 like the chapter-houses at ,norwich1 ,reading1 and ,durham1 terminated in a semi-circular apse4 ,the present east end is ,late ,perpendicular1 and makes a fourth bay4 ,the vaulting of the later part is well groined1 and the window is good4 ,the roof of the three ,norman bays is a lofty barrel vault supported by three slightly pointed arches springing from the capitals of the columns1 which are curiously set back1 and separate the bays4 ,norman arcading of twelve arches--i4e4 four to each bay--runs along the three westernmost bays on the north and south walls4 8,the west end is arranged in the usual ,benedictine fashion1 with a central door1 flanked originally by two large unglazed window openings1 with three large windows above4 ,only one of the windows flanking the doorway can now be seen1 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 room40--7,h47 ,of the four old gateways remaining the finest is ,st4 ,mary's ,gate1 a typical specimen of ,early ,english work4 ,it leads into ,st4 ,mary's ,square4 ,in the northwest corner of the ,precincts the famous vineyard was situated4 ,,hereford ,,dedication3 ,,st4 ,,mary ,,and ,,st4 ,,ethelbert4 ,a ,,church ,,served ,,by ,,secular ,,canons4 ,,special ,,features3 ,,north ,,transept ,,and ,,east ,,end4 ,hereford is situated in the fertile and cultivated valley of the ,wye4 8,almost in the midst of the city the sturdy mass of the cathedral building reposes in a secluded close1 from which the best general view is obtained4 ,the close is entered either from ,broad ,street1 near the west window1 or from ,castle ,street2 the whole of the building lying on the south side of the close between the path and the river4 ,the space between the ,wye and the ,cathedral is filled by the ,bishop's ,palace and the college of the ,vicars' ,choral4 ,on the east are the foundations of the castle1 which was formerly one of the strongest on the ,welsh marshes40--7,a4 ,h4 ,f47 ,a stone church was begun here about #hcj in honour of ,st4 ,ethelbert1 the ,east ,anglian king1 murdered by ,offa near ,hereford in #gib4 ,at his shrine miracles were wrought4 ,this church was rebuilt in ,edward the ,confessor's reign2 but was plundered and burnt by the ,welsh and ,irish4 ,the present building was begun by ,robert de ,losinga about #ajgi and finished by the middle of the ,twelfth ,century4 ,the most remarkable part of the building is the north transept4 ,this is supposed to have been built by ,bishop ,aquablanca 7see page #agg71 who was succeeded by ,thomas de ,cantilupe1 the great saint of the ,cathedral 7see page #agh74 ,hereford has suffered greatly from calamities and restorations4 ,in #aghf the western tower and west front fell4 ,they were reconstructed by ,wyatt4 ,he also shortened the nave by one bay and destroyed the ,norman triforium4 ,repairs and restorations were undertaken in #ahda1 #aheb and #aheh4 ,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 profusion4 ,the four pinnacles at the corners were added in #ahcj4 ,the ,lady-,chapel with its tall lancet-shaped windows and bold buttresses is also interesting4 ,on the south side the ,audley ,chantry projects with great effect2 and from the west we gain a good view of the ,bishop's ,cloisters1 with the square turreted tower called the ,lady ,arbour1 though nobody knows why4 ,only the east and the south walks now remain4 ,they are ,perpendicular with fine window openings and richly carved roof4 ,we enter the ,cathedral by the ,north porch1 completed in #aecj4 ,it is of two stages1 and projects beyond an inner porch of the ,decorated period4 ,the doorway opening into the church is also ,decorated4 ,on entering the ,nave1 we pass to the west end to get the best general view4 8,the nave1 which is separated from the aisles by eight massive ,norman piers 7part of the original church71 of which the capitals are worthy of notice1 has somewhat suffered by restorations at the hands of ,wyatt4 ,the triforium1 the clerestory1 the vaulting of the roof and the western wall and doorway are all his work2 and it must not be forgotten that he shortened the original nave by one entire bay4 ,walking to the west end1 from which the best general view is to be obtained1 one is impressed by the striking effect of the great ,norman piers and arches and the gloom of the choir beyond4 ,through the noble circular arches1 which support the central tower and the modern screen on the eastern side of it1 we see the eastern wall of the choir1 pierced above by three lancet windows and below by a wide circular arch receding in many orders4 ,a central pillar divides this lower arch1 two pointed arches springing from its capital1 and leaving a spandrel between them1 which is covered with modern sculpture4 ,in the far distance may be distinguished the east wall of the ,lady-chapel and its brilliant lancet lights4 ,throughout the ,cathedral the ,norman work is remarkable for the richness of its ornament as compared with other buildings of the same date1 such as ,peterborough or ,ely4 8,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 decorated4 ,the double half shafts set against the north and south fronts of the huge circular piers are in the greater part restorations4 8,over each pier-arch there are two triforium arches imitated from the ,early ,english of ,salisbury4 ,they are divided by slender pillars1 but there is no triforium passage4 ,during the ,late ,decorated period the nave-aisles were practically rebuilt1 the existing walls and windows being erected upon the bases of the ,norman walls1 which were retained for a few feet above the foundations4 ,the vaulting of the roofs of the nave-aisles and the roof of the nave itself were coloured under the direction of ,mr4 ,cottingham40--7,a4 ,h4 ,f47 ,in the second bay of the south aisle stands an ancient ,font of late ,norman design1 decorated with figures of the ,apostles1 on a base with four demi-griffins or lions4 ,among the monuments in the nave is an alabaster ,effigy of ,sir ,richard ,pembridge1 in plate and mail armour with his greyhound4 ,he died in #acge4 ,here are also the effigy and tomb of ,bishop ,booth 7died #aece71 who built ,illustration3 ,,hereford3 ,,nave1 ,,east ,illustration3 ,,hereford3 ,,north-,,east the north porch4 ,the handsome iron grille in front of the tomb is of the same date4 ,the ,central ,tower rests on massive piers with ,norman arches4 ,the entire space is open from the floor of the ,cathedral to the wooden floor of the bell-chamber1 painted beneath in blue and gold4 ,from this floor hangs a corona of wrought iron1 coloured like the screen4 ,the tower contains a fine peal of ten bells4 ,through the north arch of the tower we pass into the ,north ,transept1 said to be the work of ,peter of ,savoy1 who became ,bishop of ,hereford4 ,he was called ,bishop ,aquablanca from his birthplace near ,chambry4 ,he died in #abfh intensely hated4 ,the original ,norman north transept was pulled down about #abfj for this new one1 rebuilt 8on a design which is perhaps the most original1 as it certainly is one of the most beautiful in the history of ,english ,gothic architecture4 ,to the north and west were built enormous windows1 with tracery of cusped circles1 quite exceptional in their elongation1 more like late ,german than ,english work4 ,on the east side was built an aisle of exquisite beauty4 ,its arches1 almost straight-sided--its triforium windows1 a ring of cusped circles set under a semicircular arch--its clerestory windows1 spherical triangles1 enclosing a cusped circular window--the composition of the triforium--the north and west windows--are quite unique1 except so far as they were copied in later work in the city and neighbourhood4 ,at the south end of the aisle is the exquisite ,,tomb of ,bishop ,peter ,aquablanca 7died #abfh72 no doubt built in his lifetime4 ,the tomb is as unique as the transept1 and chiefly resembles it in design4 ,the inference is that ,bishop ,aquablanca built the transept4 ,the credit of it1 however1 is constantly given to his successors1 apparently on account of his private vices4 ,but saints as well as sinners have liked to leave memorials behind them in stone2 and1 moreover1 ,aquablanca had his good points4 ,to this day four thousand loaves are distributed every year out of funds which he bequeathed4 ,it is recorded1 too1 that of a fine which was imposed on the citizens for encroachments on his episcopal rights1 he remitted one half and handed over the other for works on the cathedral40--7,f4 ,b47 ,aquablanca was succeeded by ,thomas ,cantilupe1 as much loved as the former was hated4 ,dying on a homeward journey from ,rome1 in #abhb1 his bones were removed from the flesh by boiling and carried to ,hereford to be placed in the ,lady-,chapel4 ,forty years later he was canonized4 ,many miracles were effected at his shrine1 removed to the transept in #abhg4 ,king ,edward ,i4 sent sick falcons to be cured and people thronged with large offerings4 ,we shall soon see all that is left of the ,cantilupe ,shrine4 8,the ,norman arches opening to the aisles of the nave and choir resemble those which correspond to them on the south side of the church4 ,the transept beyond them was1 as we have seen1 entirely rebuilt1 and is one of the most remarkable examples of the period remaining in ,england4 ,the unusual form of its arches1 and its pure1 lofty windows1 are sufficiently impressive now2 but their effect must have been wonderfully increased when the windows were filled with glass displaying the history and miracles of the sainted ,bishop1 and when the shrine itself was standing on its pedestal within the eastern aisle1 rich with the gold and jewels offered by the numerous pilgrims who knelt daily before it4 8,the west side of the transept 7which is of two bays beyond the aisle passage7 is entirely filled by two very lofty windows of three lights each4 ,the heads of the narrow lights are sharply pointed2 and the tracery above is formed by three circles enclosing trefoils4 ,these windows are set back within triangular-headed arches4 ,on the north side is a double window of the same character divided by a group of banded shafts4 ,the triple lights on either side of these shafts1 and the foiled circles above them1 precisely resemble the windows on the west side of the transept4 8,the vaulting springs from clustered shafts1 the corbels supporting which1 on the east side1 are beautiful and singular1 and resemble bunches of reeds1 terminating in a small open flower4 ,the small heads below these corbels1 at the intersection of the main arches1 should also be noticed4 8,the eastern aisles1 lighted by three very beautiful windows1 each of three lights1 with three quatrefoils in the tracery1 are set back within wider arches1 as is the case with the windows in the main transept4 ,in this aisle1 in a line with the central pier1 is the pedestal of the ,cantilupe ,shrine4 ,this is a long parallelogram1 narrowing toward the lower end1 and is entirely of ,purbeck marble4 ,it has two divisions2 the lower closed1 like an altar-tomb1 the upper a flat canopy1 supported on small open arches4 ,upon this rested the actual shrine1 containing the relics of the saint4 ,cantilupe was ,provincial ,grand ,master of the ,knights ,templars in ,england2 and round the lower division of the pedestal are fifteen figures of ,templars in various attitudes1 placed in the recesses of a foliated arcade4 ,all are fully armed1 in chain-mail1 with surcoat1 shield and sword4 ,all are seated1 and tread on various monsters1 among which are dragons and swine1 muzzled4 ,the spandrels in this arcade1 and the spandrels between the arches in the upper division1 are filled with leafage of the first ,decorated period1 retaining some of the stiff arrangement of the ,early ,english1 but directly copied from nature4 ,in the lower spandrels it is arranged in sprays2 in the upper it is often laid in rows of leaves1 among which occur oak1 maple and trefoil4 ,the whole of this work will repay the most careful examination4 7,it should be compared with the foliage of the capitals of the shafts surrounding the central pier of the aisle1 which is far more stiff and conventional74 ,on the top of the lower division of the pedestal was a brass of the ,bishop1 of which the matrix alone remains4 8,the position of the shrine in this transept may be compared with that of ,st4 ,frideswide at ,oxford1 and with that of ,st4 ,richard de la ,wych at ,chichester4 ,all had an altar immediately adjoining the shrine1 which was dedicated to the saint1 and at which the offerings of pilgrims were made4 ,in these cases1 however1 the usual position of a great shrine--at the back of the high altar--was1 for some special reason1 departed from4 ,at ,hereford1 this position of highest honour was probably occupied by the shrine of ,st4 ,ethelbert40--7,r4 ,j4 ,k47 ,close by is the interesting monument of ,bishop d',aquablanca1 just by the north-choir-aisle4 ,this ,early ,english monument was once richly coloured4 ,the effigy of this foreign priest--,peter of ,savoy--lies under a canopy supported by delicate shafts of ,purbeck marble1 the gables surmounted by floriated crosses1 the central cross bearing a figure of the ,saviour4 ,the richly canopied tomb under the great north window bears the effigy of ,bishop ,thomas ,charlton1 treasurer of ,england in #acbi 7died #acfi74 ,under the north-west-window is the canopied tomb of ,bishop ,swinfield 7#abhc-acag74 ,his effigy disappeared long ago1 and some unknown figure lies there4 ,the ball-flower is conspicuous in the mouldings of the canopy and behind the tomb there is a mutilated carving of the ,crucifixion1 surrounded by vine-leaves and tendrils1 quite similar to the leafage of the ,cantilupe ,shrine4 ,in a neighbouring recess decorated with the ball-flower lies the effigy of an unknown lady of the ,fourteenth ,century4 ,the ,north-choir-aisle is entered through the original ,norman arch4 ,in the north wall of this aisle in a series of arched recesses 7,decorated7 lie the effigies of various ecclesiastics4 ,beyond the first one1 ,bishop ,geoffry de ,clive 7died #aabj71 a door opens upon the turret staircase leading to a typical monastic ,library1 containing more than #b1jjj volumes1 ,,mss4 and ancient deeds1 the accumulations of eight centuries4 ,these are kept in eighty old oak cupboards and the ancient books are chained4 ,descending and passing to the corner of the north-east transept we come to ,bishop ,stanbery's ,chantry1 a rich example of late ,perpendicular1 with two windows on the north side4 ,the ceiling is richly groined4 ,the capitals at the corners of the chapel are very grotesque4 ,opposite the chantry1 on the north side of the choir1 is the alabaster effigy of ,bishop ,stanbery 7died #adgd74 ,in the wall of the aisle above is a ,decorated window4 ,the glass is in memory of ,dr4 ,musgrave1 ,archbishop of ,york1 previously ,bishop of ,hereford4 ,the subject is ,st4 ,paul1 the story of whose life is continued in the windows of the chantry4 ,immediately beyond1 the north-east-transept opens4 ,it is ,early ,decorated1 retaining some ,norman characteristics4 ,in the centre rises an octagonal pier which helps to carry the quadripartite vaulting1 which has good bosses of leafage4 ,this pier gives a peculiar character to this transept4 ,the windows are ,early ,decorated4 ,the ,south transept retains much that is ,norman1 although it was altered during the ,perpendicular period1 when two huge windows were cut into the walls4 ,perpendicular panelling surrounds that in the south wall4 ,the lierne vaulting is also of the same date4 ,the east wall has five series of ,norman arcades4 ,two ,norman windows in the clerestory contribute light4 ,the ,denton tomb1 with its effigies in alabaster showing traces of colour1 dates from #aegf4 ,the organ1 in the first archway on the south side of the choir1 was the gift of ,charles ,,ii4 ,it has been twice enlarged4 ,effigies of bishops fill the four ,decorated arched recesses on the south wall of the south-choir-aisle and on the north wall1 under an arch opening to the choir1 is the tomb of ,bishop ,de ,lorraine1 or ,losinga 7died #ajie74 ,here is also the monument and tomb to ,bishop ,mayhew1 of ,magdalen ,college 7#aejd-aeaf72 some old windows restored by ,warrington2 and the famous ,map of the ,world1 one of the most valuable relics of medival geography in existence4 ,it was designed about #acad by ,richard of ,haldingham1 a ,lincolnshire monk4 ,it was discovered more than a hundred years ago under the floor of ,bishop ,audley's ,chapel4 ,the ,south-east-transept1 between the retro-choir and the chapter-house1 opens into the latter4 ,the style is in the main ,decorated1 though the window tracery is later quite ,flamboyant4 ,one single octagonal pillar separates it from its eastern aisle4 ,from this transept a lovely view of the ,lady-,chapel can be enjoyed4 ,the peculiar darkness of the ,choir is due to the arrangement of the transepts1 which prevents the admission of light except from the clerestory4 8,the main arches of the choir are of three orders1 and spring from massive composite piers1 with broad1 square bases4 ,the capitals of the semi-detached shafts are enriched with leafage and grotesque heads4 ,the triforium in each bay consists of one wide ,norman arch circumscribing two smaller1 divided by a central shaft1 and springing on either side from two massive semicircular piers1 with small capitals4 ,both outer and inner arches spring from these piers4 ,the capitals of the central shafts have square abaci1 and are enriched4 ,the tympana of the outer arches are covered with scallop1 leaf and billet ornament4 ,at the base of the triforium runs a square string-course1 enriched with minute carving4 ,the lozenge ornament prevails round the main arches of the choir1 as does the zigzag round those of the nave4 8,broad square pilasters1 with semi-detached shafts at their angels1 fill the spaces between the piers4 ,they terminate at the spring of the triforium arches in double triangular headings1 with crocketed sides and finials of leafage4 ,these headings are ,early ,english1 of the same date as the clerestory and vaulting2 and between each pair rises a group of so-called vaulting-shafts1 with capitals of leafage1 terminating at the base of the clerestory2 and connected 7under the actual base of the clerestory7 by a band of open flowers4 ,the clerestory consists of one lofty pointed arch in each bay1 divided by a central2 on either side is a smaller trefoiled arch4 ,the windows1 of two lights1 with a quatrefoil in the heading1 are placed at the back of the wall-passage1 and form in effect a double plane with the large inner arches4 ,they are filled on each side with indifferent stained glass4 ,the choir vaulting is plain quadripartite1 with bosses of leafage at the intersections40--7,r4 ,j4 ,k47 ,the ,choir-stalls are ,decorated4 ,some of the ,misereres are quaint4 ,the ,bishop's ,throne dates from the ,fourteenth ,century4 ,the ,cathedral also possesses an ancient episcopal chair1 which1 it is said1 ,king ,stephen sat in when he visited ,hereford4 ,within a great ,norman arch of five orders stands the modern ,reredos1 at the back of which rises a great pier from which spring two pointed arches4 ,the spandrel1 or ,tympanum1 is covered with modern sculpture--the ,saviour in ,majesty and the ,evangelists2 and below a statue of ,king ,ethelbert1 who was said to have been buried in the first ,saxon church somewhere about this spot4 ,from the ,retro-choir we pass into the ,vestibule of the ,lady-,chapel1 the walls of which are broken with transitional ,norman window openings1--pointed arches with massive mouldings4 ,the foliage of the capitals is ,early ,english4 ,five steps 7necessitated by the height of the crypt below7 lead up to the ,lady-,chapel1 very rich ,early ,english1 dating from the first half of the ,thirteenth ,century4 ,it is #bd #de feet and of three bays4 ,on the north side each bay contains two large windows2 on the south side1 the third bay is filled by the ,audley ,chapel4 8,the very rich clustered shafts and arches of the side windows should be especially noticed4 ,the capitals of the shafts are ,early ,english leafage2 and there are small heads at the intersections and crowns of the arches4 ,a circle enclosing a quatrefoil pierces the wall above these windows4 ,the vaulting is plain quadripartite1 and springs from shafts which descend upon a base raised slightly above the pavement4 ,the modern pavement of the ,lady-chapel is laid with red and green tiles in large square panels4 ,the whole design is broad and good in outline2 and is somewhat richer at the altar end1 which is raised on one step40 ,ferguson has remarked that 8,nowhere on the ,continent are such combinations to be found as the ,five ,sisters at ,york1 the east end of ,ely1 or such a group as that which terminates the east end of ,hereford40 ,many of its features were hidden until the restorations and repairs were undertaken in #ahda4 8,the glorious ,,east-,,window consists of five narrow lancets recessed within arches supported by clustered shafts1 the wall above being perforated with five quatrefoil openings1 of which the outside ones are circular and the centre three are oval4 ,it was as a memorial to ,dean ,merewether1 to whom the cathedral owes so much1 that the stained glass designed by ,cottingham was placed in the east windows in the narrow lancets that he loved so dearly4 ,it represents scenes in the early life of the ,virgin and the life of ,christ1 the last being the supper in the house of ,mary and ,martha4 ,in the side windows the visitor should especially notice the rich clustered shafts and arches1 the ,early ,english capitals and the ornamentation of the arches4 ,the double ,,piscina and ,,aumbry south of the altar are restorations necessitated by the dilapidated state of the originals40--7,a4 ,h4 ,f47 ,in the central bay on the north side lies the effigy of ,sir ,peter de ,grandison 7died #aceh7 under a canopy of open tabernacle work4 ,the armour is very interesting4 ,once the effigy was supposed to be ,humphrey de ,bohun1 ,earl of ,hereford4 ,on the same side lies ,joanna de ,bohun1 ,countess of ,hereford 7died #acbg74 ,her effigy is a splendid study in costume4 ,she left a large estate to the ,cathedral4 ,a black marble slab1 with brass1 marks the resting-place of ,dean ,merewether 7died #ahej74 ,dean ,berew1 or ,beaurieu1 in the south wall of the vestibule1 is one of the best specimens of sculpture in the ,cathedral4 ,he died in #adfb4 ,it was not every bishop who could build two chantries2 but ,bishop ,audley 7#adib-aejb7 built himself a charming ,tudor chapel1 two stories high1 projecting from the south side of the ,lady ,chapel1 a circular staircase giving access to the upper room4 ,he intended it for his tomb2 but as he was translated to ,salisbury in #aejb1 he had the trouble of building another one there1 in which he was buried4 8,the lower chamber is shut off from the ,lady-chapel by a screen of painted stone with open-work panelling in two stages4 ,the chapel is pentagonal in plan1 and has two windows1 while a third opens into the ,lady-chapel through the screen4 ,the ceiling is vaulted1 and bears evidence of having in former times been elaborately painted4 8,there are five windows in the upper chamber and the groined roof is distinctly good4 ,the boss in the centre represents the ,virgin crowned in glory4 ,on other parts of the ceiling are the arms of ,bishop ,audley and those of the ,deanery1 as well as a shield bearing the letters ,r4 ,i4 ,the upper part of the chantry1 which is divided from the ,lady-chapel by the top of the screen which serves as a kind of rail1 may have been used as an oratory2 but no remains of an altar have been found4 ,on the door opening on the staircase is some good iron-work1 and ,bishop ,audley's initials may be noticed on the lock4 ,standing by the door of this chapel1 the visitor has a lovely view westward3 two pillars rising in the roof and across the top of the reredos2 to the right1 the ,norman arches of the north transept and further on still the nave40--7,a4 ,h4 ,f47 ,from the south side of the ,lady-,chapel we enter the ,crypt by steps leading down from an ,early ,english porch4 ,it is #ej feet long1 and consists of a nave and aisles4 ,because the crypt was used as a charnel-house1 it is called ,golgotha4 ,it is lighted by plain lancets4 ,there are only a few fragments of old glass in the windows1 some of the best 7early ,fourteenth ,century7 is in one of the lancets on the south side of the ,lady-,chapel4 ,the subjects are ,christ surrounded by symbols of the ,four ,evangelists2 ,lamb and flag2 ,angel and ,marys at the ,sepulchre2 ,crucifixion2 ,christ carrying the ,cross4 ,a window in the north-east transept contains ,fourteenth ,century glass1 restored by ,warrington in #ahfd3 ,st4 ,katherine2 ,st4 ,michael2 ,st4 ,gregory2 and ,st4 ,thomas of ,canterbury4 ,in the south-east transept a similar window exhibits ,st4 ,mary ,magdalene2 ,st4 ,ethelbert2 ,st4 ,augustine2 and ,st4 ,george4 ,the many memorial windows do not call ,illustration3 ,,hereford3 ,,choir ,illustration3 ,,worcester3 ,,south-,,west for special attention4 ,one1 however1 in the north transept1 erected to ,archdeacon ,lane ,freer1 is to be noticed on account of the tracery4 ,it is one of the largest in ,england of the period of ,edward ,i4 ,from the south-east transept we enter a narrow passage1 the ,vicars' ,cloister1 that leads to the ,college of ,vicars-,choral 7#acif74 ,it is a picturesque quadrangle with an inner cloister 7,perpendicular1 about #adgd74 ,the ,bishop's ,palace lies south1 between the ,cathedral and the river ,wye4 ,,worcester ,,dedication3 ,,the ,,blessed ,,virgin1 ,,st4 ,,peter ,,and ,,the ,,holy ,,confessors1 ,,oswald ,,and ,,wulstan4 ,,formerly ,,the ,,church ,,of ,a ,,benedictine ,,monastery4 ,,special ,,features3 ,,nave2 ,,choir-,,stalls2 ,,tomb ,,of ,,king ,,john2 ,,chantry ,,of ,,prince ,,arthur2 ,,arcade ,,across ,,transepts ,,and ,,lady-,,chapel2 ,,crypt4 ,the ,cathedral of ,worcester is severe and plain2 but its very severity appeals to some critics1 as do the general lines of the entire edifice4 8,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 ,lincoln1 it still dominates the whole city and vicinity in a great and unmistakable manner4 ,the flat meadow-land of the ,severn valley in this part of the county1 unbroken westward up to the very foot of the ,malvern hills1 gives the ,cathedral on this side the importance of the chief feature in many miles of landscape4 ,and as one approaches from the eastward1 over the slight eminences on which the battle of ,worcester was chiefly fought1 a glimpse of the tower is the earliest evidence of the existence of the city40--7,e4 ,f4 ,s47 ,the history of ,worcester ,cathedral begins with ,oswald1 a ,benedictine monk1 consecrated ,bishop of ,worcester by ,dunstan in #ifa4 ,oswald's cathedral1 finished in #ihc1 was destroyed by the ,danes in #ajda1 and rebuilt in #ajhd-ajhi by ,wulstan1 a monk of ,worcester1 who became ,bishop in #ajfb4 ,wulstan placed his church a little to the south of the first one4 ,his crypt still remains1--the most famous crypt in ,england4 ,wulstan's tomb was miraculously preserved when a fire burned parts of the cathedral in #aaac1 eight years after his death4 ,miracles were performed and cures effected4 ,finally in #abjc ,wulstan was canonized4 ,when ,king ,john died in #abaf1 he was buried before the ,high ,altar between the tombs of ,oswald and ,wulstan4 ,the ,cathedral was dedicated in #abah in the presence of ,king ,henry ,,iii4 and bishops1 abbots1 priors and nobles from all parts of the kingdom4 ,the church suffered from fires and storms2 and the central tower fell in #aage4 ,rebuilding was frequently a necessity2 and1 therefore1 many styles are to be found throughout the fabric4 ,repairs were undertaken between #agjb and #agab1 when the choir was paved and when it is supposed that the spires on the corners of the presbytery1 transepts and nave were added4 ,an important series of repairs and restorations were undertaken by ,wilkinson from #agdh to #agef4 ,at this period 8the north end of the nave transept was rebuilt1 the stone pulpit removed from the nave to the choir1 and the latter re-paved with blue and white stone4 ,the old right-of-way through the cathedral was replaced by a more proper and convenient passage round the west end2 and many gravestones were removed from the floors of the side aisles of the choir1 and from the nave1 which were re-paved with white stone4 ,the ,jesus ,chapel was opened to the nave and the font therein erected4 8,the great flying buttresses at the east end were erected between #agcf and #aghi4 ,the great west window was rebuilt in #aghi1 and that of the east end in #agib4 ,in #ahab a new altar-screen and choir-screen were built1 and the tall pinnacles taken down after #ahcb4 8,in #aheg began the great restoration of the cathedral under the auspices of ,mr4 ,perkins1 the architect to the dean and chapter1 whose work was continued and amplified by ,sir ,gilbert ,scott1 who was employed after #ahfd4 8,the results of this restoration1 probably the most complete and far-reaching undergone by any ,british cathedral1 include the exterior and interior of the tower1 the pavements throughout the building2 the decoration of the choir and ,lady-chapel2 all the windows1 and almost the whole of the furniture and fittings1 including a new reredos1 choir-screen1 organ and pulpit4 ,the restored cathedral was reopened1 with a magnificent choral service on the #hth of ,april1 #ahgd4 ,since that date many additions have been made1 splendid evidences of the survival of the old local patriotism2 for almost everything is due to the munificence of local donors40--7,e4 ,f4 ,s47 ,the chief feature is the central ,tower1 supposed to have been completed in #acgd4 ,it has been restored carefully4 8,it is of two stages4 ,the first has two lancets on each side1 within an arcade of seven bays4 ,each of the upper stages has two louvred windows surmounted by crocketed canopies1 and ornamented by three large sculptured figures in niches1 of the whole twelve of which1 six are modern4 ,the whole is crowned by an open rail1 or parapet1 with six spirelets on either side and a crocketed pinnacle at each corner40--7,e4 ,f4 ,s47 ,the ,west ,end contains one large modern window of eight lights with a wheel window above4 ,the gable1 with three small lancet windows1 is surmounted by a cross and flanked by two buttresses topped by pinnacles4 ,the doorway in the west front is also modern 7#aheg-ahgc72 but parts of the old ,norman doorway have been inserted4 ,on the north side1 the ,north ,porch 7#bd feet long and #h feet broad7 consists of two bays4 ,the front was restored4 ,the sculptured figures in the canopied niches are ,christ and the ,twelve ,apostles4 ,above these is a row of saints and then ,perpendicular battlements4 ,an exterior turret and staircase lead to the rooms above it1 occupied by the porter4 ,two bays1 each with a window1 follow2 then comes the ,jesus ,chapel2 then one more bay2 and then the north-transept1 with its gable1 cross and pinnacles2 then four more bays2 then the choir2 then three more bays2 and1 finally1 the ,lady-,chapel4 ,the south side is similar1 with the exception of the projecting ,chapel of ,st4 ,john4 ,pinnacles are a striking feature on all sides of the edifice4 ,on entering we are struck with the long vista1 for the closed choir-screen1 found in so many ,english cathedrals1 is conspicuously absent4 ,the proportions of the ,nave are justly admired4 ,it 8consists of nine bays1 of which the two westernmost are of widely different character and date from the remaining seven4 ,its breadth1 including the aisles1 is #gh feet1 its length #agj feet1 and its height #fh feet2 which dimensions may be compared with those of ,salisbury1 #hb feet1 #bbi feet #f inches1 and #ha feet2 and of ,wells1 #hb feet1 #afa feet1 and #fg feet1 respectively4 ,the two western severies are of great interest4 ,the pier arches are pointed1 but rise from ,late ,norman capitals2 the triforium stages have each two three-light round-headed windows1 of which the centre one is considerably the highest1 surmounted with zigzag ornament and decorated with characteristic lozenges1 the whole enclosed within a pointed moulding4 ,the clerestory has1 in each bay1 a central round-headed light1 with ,norman ornament above it1 flanked by blank pointed windows1 considerably smaller4 8,on the north side1 the whole of the walls of the five eastern bays1 and the pier arches of the next two towards the west belong to the ,decorated period1 and may be dated between #acag and #acbg4 ,the remainder of the two latter bays and the whole of the seven eastern bays of the south side are very early ,perpendicular4 ,willis considers that this work was probably begun in the middle of the fourteenth century1 and completed by the date of the vaulting of the nave1 #acgg1 which would establish it as one of the earliest specimens of ,perpendicular work in the country4 ,the triforium arcade consists of two pointed arches1 each subdivided again into two2 and the clerestory has a large central light1 with a smaller light on either side in each bay4 ,on the north side these are the ordinary pointed arches of the ,decorated period2 on the south the lateral arches are straight sided1 and the central arch only has a small curve on joining the vertical piers4 ,similar arches1 but a century earlier in date1 occur in the north transepts of ,hereford and of ,rochester ,cathedrals40--7,e4 ,f4 ,s47 ,the vaulting was finished in #acgg4 ,the glass of the windows is modern1 as is also the handsome pulpit1 designed by ,sir ,gilbert ,scott1 ,italian in style and made of alabaster and grey and green marble4 ,the monuments and tombs call for no special description1 with the exception of the altar-tomb of ,john ,beauchamp1 fourth bay from the east4 ,it dates from the early ,fifteenth ,century and is panelled in five compartments with coloured armorial bearings4 ,the knight lies here in full armour1 with pointed basinet1 sleeveless jupon and baldric4 ,his lady beside him is in the costume of the period4 ,her head rests on a swan and a dog lies at her feet4 ,the ,north aisle 7#acag-acbg7 is ,decorated4 ,beyond the north porch1 we come to ,jesus ,chapel1 enclosed by a stone screen 7,perpendicular7 and containing a wooden altar with a full-size ,madonna and ,child4 ,the ,north transept is a mixture of ,norman and ,perpendicular4 ,it consists of two bays2 and in the north-west corner is the circular stair-turret4 ,the ,south transept is similar to the north1 and has1 likewise1 a stair-turret in the south-west corner4 ,illustration3 ,,worcester3 ,,nave1 ,,east ,illustration3 ,,worcester3 ,,choir1 ,,east ,the west window is of ,perpendicular tracery4 ,a fine ,norman arch1 partly closed by a ,perpendicular screen1 marks the entrance to the ,chapel of ,st4 ,john4 ,both transepts are aisleless4 ,the ,south aisle of the nave is ,norman and ,transitional4 ,the ,font is modern4 ,the ,choir was begun in #abbd4 ,the eastern transepts were added at the same time4 ,a little of the old ,norman work betrays itself here and there4 ,no one seems to know why ,bishop ,godfrey de ,giffard 7#abfh-acja7 placed gilded brass rings around the columns1 unless it was for the sake of adding extra strength4 8,the beauty of the pier-arches and those of the triforium1 relieved so handsomely by the black shafts of ,purbeck marble bearing ,bishop ,giffard's brass rings1 and by the finely proportioned spandrels of each bay1 is by no means to be under-estimated4 8,the choir is of five bays1 including the eastern crossing1 which is of greater width than the others4 ,the pier-arch mouldings are of two patterns1 one very similar to those of the choir and presbytery at ,salisbury1 having one of the ribs flanked by a double range of dog-tooth4 ,the piers themselves1 as well as those in the ,lady-chapel1 are octagonal1 and have detached ,purbeck shafts1 eleven of which are fixed with a narrow course of marble embracing the shaft in the manner of a ring2 and the remaining eight with brass rings2 the two processes being used symmetrically1 so that shafts similarly fixed stand opposite to each other4 8,the triforium consists of two large arches in each bay1 subdivided again into two4 ,during the restoration the pillars1 which had been whitewashed1 were restored to their original rich black colour1 and the rings which bind them made visible4 ,the sculptures in the spandrels are restorations by ,boulton4 ,the inner wall of the triforium walk is decorated with a finely-proportioned arcade1 which adds greatly to the general effect4 ,the clerestory has a triplet of pointed lights in each bay1 the centre one being considerably higher than those at the side1 although they rise from pillars of equal height4 ,the vault of the roof springs1 in each severy1 from a single shaft terminated with a foliated capital2 it is simple in character1 and was probably completed before the end of the first half of the thirteenth century4 ,the elaborate pavement of ,devonshire marble and encaustic tiles is modern40--7,e4 ,f4 ,s47 ,the ,choir-stalls 7restored7 date from #acgi4 ,the thirty-seven miserere seats represent ,biblical1 mythological and contemporary figures4 ,the ,reredos1 behind the ,high ,altar1 composed of alabaster1 inlaid with coloured marbles1 lapis lazuli1 agates and malachite1 is modern4 ,the ,bishop's ,throne is also modern2 but the richly carved ,pulpit of white stone dates from about #afcj4 ,it bears the arms of ,england1 ,france1 ,scotland and ,ireland4 ,in the centre of the choir in front of the altar steps stands the ,tomb of ,king ,john4 ,when ,john died in the ,castle of ,newark in #abaf1 his body was brought to ,worcester ,cathedral and buried before the ,high ,altar4 ,in #agig the tomb was opened4 ,the effigy1 now gilded1 is the earliest royal effigy in ,england4 ,it dates from the early ,thirteenth ,century and is probably a good likeness of the ,magna ,charta king4 ,bloxam's description in #ahfb1 gives an idea of its original appearance3 8,the effigy was originally the cover of the stone coffin in which the remains of that monarch were deposited in the ,chapel of the ,virgin1 at the east end of the cathedral4 ,the altar tomb is of a much later period1 probably constructed early in the sixteenth century1 when the tomb of ,prince ,arthur was erected4444 ,the sides of this tomb are divided into three square compartments by panelled buttresses2 each compartment contains a shield bearing the royal arms within a quatrefoil richly cusped2 the spandrels are also foliated and cusped4444 ,it is1 however1 the effigy of the king1 sculptured in the early part of the ,thirteenth ,century1 and probably the earliest sepulchral effigy in the cathedral1 to which our chief attention should be drawn4 ,this effigy represents him in the royal habiliments2 first1 the tunic1 yellow1 or of cloth of gold1 reaching nearly to the ankles1 with close-fitting sleeves1 of which little is apparent4 ,over the tunic is seen the dalmatic1 of a crimson colour1 with wide sleeves edged with a gold and jewelled border1 and girt about the waist by a girdle buckled in front1 the pendant end of the girdle1 which is jewelled1 falling down as low as the skirt of the dalmatic4 ,of the yellow mantle lined with green little is visible4 ,on the feet are black shoes1 to the heels of which are affixed spurs4 ,on the hands are gloves1 jewelled at the back2 the right hand held a sceptre1 the lower portion of which only is left2 the left grasps the hilt of the sword4 ,on the head is the crown2 there are moustaches and beard1 and the light-brown hair is long4 ,on either side of the head is the figure of a bishop holding a censer1 perhaps intended to represent ,st4 ,oswald and ,st4 ,wulstan1 between whose tombs the king was interred in the ,chapel of the ,virgin40 ,on the south side of the sanctuary we find the ,chantry of ,prince ,arthur1 son of ,henry ,,vii41 who died at ,ludlow ,castle in #aejb4 ,this is the most famous piece of work in the ,cathedral1 and one of the best examples of ,tudor architecture in existence4 ,it was erected in #aejd1 and 8consists of six bays of open tracery divided by panels of canopied niches containing figures and heraldic bearings surmounted by a battlemented rail and pinnacles4 ,within is a richly groined roof1 with unusual flying supports1 east and west4 ,at the east end are the mutilated remains of a rich stone reredos1 containing a figure of our ,lord1 and others hardly recognisable1 which was above the altar formerly placed here4 ,at the west end is a small figure of ,henry ,,vii4 seated4 8,the tomb itself of the ,prince stands in the centre of the chantry4 ,it is singularly plain1 in contrast to the richness of its surroundings1 almost the only ornament being the arms of ,england and ,france within panels on the sides4 ,around the top runs a painted inscription1 obviously a late substitute for a brass which has been removed1 to this effect3 #8,here lyeth buried prince ,arthur1 the first begotten sonne of the righte renowned ,kinge henry the ,seventhe1 whiche noble ,prince departed oute of this transitory life ate the ,castle of ,ludlowe1 in the seventeenth yeere of hys father's reign1 and in the yeere of our ,lorde god on thousande fyve hundred and two4'0--7,e4 ,f4 ,s47 ,the ,chapel of ,st4 ,john1 projecting from two bays of the south-choir-aisle1 is on the site of a ,norman chapel4 ,the ,norman arch at the west end is its finest feature4 ,it has three windows filled with modern glass and a piscina in the south wall4 ,the ,eastern transepts demand careful attention4 8,the design of the walls 444 is extremely beautiful4 ,two lofty triplets of lancet lights are placed the one above the other4 ,the lower triplet has a gallery in front of it immediately above the arcaded wall1 and at the same level as the sill of the adjacent side aisle windows4 ,the upper triplet has a similar gallery at the level of the triforium4 ,rich clustered shafts rise from the lower gallery in two orders2 the inner order carries molded arches to correspond with the heads of the lower triplet2 the shafts of the outer order rise from the lower gallery up to the impost of the upper triplet1 grouping themselves with the shafts that stand in front of the upper triplet1 and uniting in one group of capitals at the impost1 where they carry a range of three arches with deep rich mouldings4 ,thus the entire composition represents a gigantic window of six lights40--7,w47 ,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-,chapel4 8,this is a series of trefoil headed arcades of three mouldings1 resting on slender ,early ,english shafts1 each spandrel having been filled with carvings which take high rank among the best of the ,english school of the ,thirteenth ,century4 ,they have now been1 to a great extent1 restored 7by ,boulton71 and many1 including all at the east end1 are entirely new4 ,the best of the old ones are figured by ,aldis2 and the most interesting1 whether entirely ancient or partly restored1 are as follows1 starting from the west wall of the south-eastern transept3 8,two crusaders fighting a lion4 ,a centaur4 ,an angel weighing a soul1 and the devil pulling down the scale4 ,devils roasting a soul in hell4 ,the ,jaws of ,death4 ,a body borne to burial4 ,expulsion of ,adam and ,eve4 ,an angel leading a righteous soul to heaven4 ,the dead rising from coffins4 ,christ enthroned4 ,the archangel blowing the last trump4 ,an angel holding a cross4 8,south ,aisle4--,two monks building4 ,a queen instructing an architect4 ,two monks discussing plans4 ,a devil with bird's claws1 riding on a man's shoulders4 ,the ,crucifixion4 8,lady-,chapel4--,centaur and crusader4 ,prophets and ,bible subjects 7modern71 grotesque4 8,north ,aisle4--,bishop offering a model of the cathedral at an altar 7perhaps ,bishop ,henry de ,blois1 d4 #abcf74 ,the ,annunciation4 ,the ,visitation4 ,the ,nativity4 8,north ,transept4--,old ,testament subjects4 ,a bishop4 ,a monk chastising a novice40--7,e4 ,f4 ,s47 ,the tracery of the windows in the choir aisles and the ,lady-,chapel is modern1 patterned on ,early ,english models4 ,the entire east wall is modern4 ,the window consists of five lights in two tiers4 ,the glass dates from #ahfj and represents the ,crucifixion and the ,ascension4 ,in the south aisle of the ,lady-,chapel we notice one of the finest effigies in the building4 ,it is a ,fourteenth ,century lady1 whose left hand holds the cord of her cloak4 ,a little dog lies at her feet4 ,it is interesting to compare this with another unknown effigy of a lady of the ,thirteenth ,century in the north aisle of the ,lady-,chapel4 ,the left hand holds a glove4 ,in front of the altar and on the floor of the ,lady-,chapel are the effigies of ,bishop ,william de ,blois 7died #abcf7 and his successor ,bishop ,walter de ,cantelupe 7died #abfe74 ,the latter is in higher relief than the former and was originally set with gems4 ,in the north aisle we must also note the large effigy of ,sir ,james de ,beauchamp1 in complete armour with surcoat and long shield of ,henry ,,iii4's reign4 ,beneath the reredos lies the richly robed figure of ,hawford1 ,dean of ,worcester in #aeec-aeeg4 ,on the south side lies ,william1 ,earl of ,dudley1 in white marble on arches of alabaster4 ,the ,lady-,chapel is of the same date as the choir4 ,from the south transept of the nave we enter the famous ,crypt1 which dates from #ajhd4 ,it was built after that of ,winchester 7#ajgi7 and before those of ,gloucester 7#ajhi7 and ,canterbury 7#ajif74 ,three rows of pillars form four walks1 with an outer aisle of two rows of pillars4 ,it was surrounded by several chapels1 but only the southern chapel is now accessible4 ,the pillars are admired for their grace and lightness1 when illuminated4 ,it suggests the ,mosque of ,cordova4 ,in comparing the crypts of ,winchester1 ,gloucester1 ,canterbury1 and ,worcester1 ,willis says3 8,the height of all these crypts is nearly the same2 so that at ,winchester and ,gloucester the arches are flattened into ellipses1 the pillars are low and squat1 and the crypts appear as sepulchral vaults2 while at ,worcester1 where the arches are semicircular and the pillars more slender1 the crypt is a complex and beautiful temple40 ,the ,cloisters form an irregular quadrangle enclosing a lovely green garth1 #hc feet square4 ,the roof of the walks is richly vaulted4 ,the glass in the windows in the south alley depicted the history and miracles of ,st4 ,wulstan1 but the glass was destroyed by the ,puritans4 ,beyond the south walk is the ,refectory1 a handsome building of red sandstone1 dating from about #acgb4 ,it is now used as a class-room of the ,cathedral ,school founded by ,king ,henry ,,viii4 ,the monks' lavatory occupies two bays in the north alley4 ,from the west walk we enter the ,chapter-,house1 originally a ,norman building of the ,eleventh ,century4 ,it was repaired about #adjj1 when the ,norman windows and vaults were supplanted by those we now see4 ,the present ,chapter-,house 8consists of ten bays1 with a ,perpendicular vaulted roof rising from a central ,norman ,column4 ,each bay contains a light traceried window1 of which two are entirely1 and two half1 blocked up4 ,below these is a series of slightly hollowed niches in grey1 blue and yellow stone in alternate courses1 resting on three courses of rough red masonry4 ,these niches have slight traces of ancient fresco painting2 they are surmounted by an arcade of intersecting circular arches containing smaller arches4 ,similar ornamentation is to be found in the chapter-houses at ,bristol and ,rochester1 and in the external wall of ,ernulf's crypt at ,canterbury40--7,e4 ,f4 ,s47 ,,lichfield ,,dedication3 ,,st4 ,,chad ,,and ,,st4 ,,mary4 ,a ,,church ,,served ,,by ,,secular ,,canons4 ,,special ,,features3 ,,spires2 ,,west ,,front2 ,,nave2 ,,lady-,,chapel2 ,,herkenrode ,,glass4 ,lichfield is famed for its three beautiful spires1 the only church in ,england with this distinguishing feature4 ,they are locally known as 8,ladies of the ,vale10 or 8,ladies of the ,valley40 ,the central spire1 which always groups so charmingly with the two that rise above the west front1 dates from the ,restoration1 and is an imitation of the western ones4 ,its predecessor1 destroyed during the ,civil ,wars1 was supposed to have been rebuilt about #abej4 ,the two western spires are said to have been built by ,roger de ,norbury 7#acbb-acei71 but the north-west one was rebuilt in ,perpendicular times in imitation of the earlier style4 ,the south-west1 or ,jesus ,tower1 also the belfry1 got its name from the ,jesus ,bell1 given by ,dean ,heyward in #adgg1 and destroyed during the ,civil ,wars4 ,the ,jesus is a little higher than the other tower4 ,both spires are octagonal4 ,at intervals they are broken by windows4 8,of all the cathedral churches of ,england1 ,lichfield may be said to be the most lovely4 ,other cathedrals are larger--indeed1 this is one of the smallest2--many are grander1 or more magnificent2 but for simple beauty1 for charm1 for delicacy of construction and appearance1 ,lichfield may rightly claim to take the foremost place4 ,peterborough1 when we stand inside the west door and look down its line of enormous piers1 fills us with awe at its immensity and ,illustration3 ,,lichfield3 ,,west ,,front ,illustration3 ,,lichfield3 ,,nave1 ,,east strength2 a feeling which is perhaps a little impaired by the present position of its stalls4 ,salisbury appeals to us with its perfect simplicity and symmetry1 and ,york with its unequalled grandeur and splendour2 but after viewing all the cathedrals of ,england1 it is ,lichfield which is most likely to be remembered among them for something which may be most aptly called charm4 ,what can be more delightful than the view which confronts the traveller who1 approaching from the town1 pauses to look across the sparkling water of the pool at the three graceful spires standing out amid a wealth of green trees and shrubs8 ,truly a picture to be long remembered4 8,the cathedral stands in a close which was once surrounded by strong walls with bastions and a moat4 ,nature had supplied the moat on the south side1 and the ,cathedral ,pool1 as it is now called1 is still there4 ,the artificial moat has been drained1 but its course can be easily traced running round the bishop's palace1 and its water has been replaced by lovely gardens and gravel walks4 ,some bits of the old wall remain1 the north-east bastion in the palace gardens and a turret on a house at the south corner3 the #8beautiful gates' of ,bishop ,langton are gone2 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 close4 8,the close is not large1 and of course1 as ,lichfield is a cathedral of the old establishment1 there are no monastical buildings1 no ruined cloisters4 ,on the north side the ground rises rapidly in a grassy slope to a terrace1 behind which are some of the canons' houses4 ,opposite the north transept is the deanery1 a substantial red brick house in the style of the middle of the last century2 next to it1 and farther east1 is the bishop's palace40--7,a4 ,b4 ,c47 ,lichfield was built in the ,thirteenth and ,fourteenth ,centuries and is1 therefore1 almost entirely in the styles of ,early ,english and ,decorated4 ,the ,early ,english may be studied in the transepts which were begun first2 ,early ,decorated in the nave2 and fully developed ,decorated in the ,lady-,chapel and ,presbytery4 ,there is a curious similarity between the building of ,lichfield and ,york3 8,the ,norman ,cathedral of ,york was built in #ajhj1 and that of ,lichfield at an uncertain date4 ,between #aaed-aaha1 ,archbishop ,roger substituted for the original chancel at ,york a long1 square-ended choir1 with the aisle carried behind the end4 ,at ,lichfield1 during the same period1 the large chapel was built at the end of the ,norman apse2 and about the beginning of the ,thirteenth ,century the whole ,norman eastern termination was1 as at ,york1 replaced by a long1 square-ended choir with the low aisles behind4 ,next1 at ,york the ,norman transepts were rebuilt in ,early ,english3 the south transept1 #abcj-abda2 followed by the north transept1 #abda-abfj4 ,also at ,lichfield the ,norman transepts were rebuilt in ,early ,english1 beginning with the south and ending with the north4 ,the ,early ,english work of this cathedral is shown by the licenses to dig stone to have been in progress in #abce and #abch4 ,york nave and ,lichfield were next rebuilt in ,early ,decorated--the first in #abia-acbd4 ,lastly1 at ,lichfield1 the elongation of the eastern part was begun at the extreme east1 beyond the existing choir by the ,lady-chapel1 in late ,decorated under ,bishop ,langton1 #abif-acba1 and followed by taking down the choir1 and continuing the same work on its site westward4 ,the works at ,york followed in the same order1 but forty or fifty years later1 by first erecting the presbytery outside the existing choir1 and then taking down the latter and continuing the work of the presbytery to form the new choir4 ,the plans of the two cathedrals rival each other in the simplicity of their proportions40--7,w47 ,nothing definite is known of the early history of this ,cathedral1 as all records were destroyed during the ,civil ,wars4 ,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 built1 probably like ,peterborough1 only smaller4 ,this1 of course1 fell a victim to the change of fashion1 and was pulled down gradually as the new building--the one we know to-day--arose4 ,the first thing that was done was the building of a new choir 7,early ,english7 from the central tower to the seventh bay of the present choir4 ,some of this was destroyed at a later period4 ,the sacristy and adjoining room were also built4 ,then1 about #abbj1 the south transept was begun1 then the nave1 north transept and west front1 with the two towers4 ,walter de ,langton 7#abif-acba7 began the ,lady-,chapel2 and while this was being built the ,early ,english presbytery was pulled down and rebuilt in the ,decorated style1 to be uniform with the ,lady-,chapel4 ,the old clerestory of the choir was also rebuilt in the same style4 ,walter de ,langton also built the ,bishop's ,palace1 which was destroyed in #afdc1 bridged the ,cathedral ,pool1 and erected a splendid shrine to ,st4 ,chad1 which cost #b1jjj4 ,this stood behind the high altar in the eastern bay of the retro-choir1 with an altar to this saint on its west4 ,st4 ,chad1 or ,ceadda 7#ffi-fgb71 was the patron saint of ,lichfield1 who1 when ,bishop of ,mercia1 chose ,lichfield as his seat and thus founded the diocese2 and he built a small church near ,st4 ,chad's ,well4 ,his service was short and he died in #fgb4 ,miracles were immediately performed at his shrine in ,stowe ,church2 but his remains were removed to the ,cathedral4 ,st4 ,chad's ,head was placed in a separate chapel 7see page #bac74 ,when ,henry ,,viii4 despoiled the shrine he found a great horde of treasures--jewels1 golden and silver crosses1 chalices1 maces1 and copes1 and other vestments had accumulated in great number4 ,in the ,fourteenth ,century a document mentions 8the head of ,blessed ,chad1 in a certain painted wooden case2 also an arm of ,blessed ,chad2 also bones of the said saint in a certain portable shrine40 ,lichfield suffered greatly during the ,civil ,wars4 ,the ,royalists hoisted the king's flag on the central steeple and defied the ,roundheads led by ,lord ,brooke4 ,the ,cathedral was besieged in ,march1 #afdc2 and on the second day of that month1 which happened to be ,st4 ,chad's ,day1 ,lord ,brooke was killed by a shot fired by a son of ,sir ,richard ,dyott1 called 8,dumb ,dyott10 because he was deaf and dumb4 ,this was regarded as a miracle4 ,a contemporary letter notes3 8,we have had the honour in these parts to bring my ,lord ,brooke to a quiet condition4 ,that enemy of our ,church 7,march #b7 was slain in his quarrel against our ,church1 by the ,god of our ,church1 with a shot out of the ,cathedral1 by a bullet made of ,church lead1 through the mouth which reviled our ,church2 and 7if this be worth your reading7 this ,cathedral was dedicated to the memory of an old ,saxon holy man 7called ,ceadda1 commonly ,chad72 the blow of death came from ,st4 ,chad's ,church upon ,st4 ,chad's ,day40 ,the ,cathedral remained in a ruinous condition for a year or more after the ,restoration4 ,then ,bishop ,hackett 7#affa-afga7 went to work to clear away the rubbish and make repairs4 ,in eight years' time the ,cathedral was ready for a new dedication4 ,perpendicular tracery was inserted in some of the windows in the ,fifteenth ,century1 when the ,cathedral was at the height of its beauty4 ,the present ,west ,front is a restoration of the beautiful work of the ,middle ,ages4 ,in #ahbj the west front was completely covered with cement which concealed all its beauty until #ahgg1 when the authorities began to remove it4 ,only five of the original statues remained and it was decided to fill all the #aac niches4 ,tradition said the long row of figures over the doors represented the ,saxon and ,english kings with ,st4 ,chad in the centre2 but the others were unknown4 ,they are now as follows3 8,the two rows on the northern tower to the north of the great west window3 higher row1 ,st4 ,editha1 ,david1 ,st4 ,helena1 ,solomon1 ,st4 ,gabriel1 ,zechariah1 ,nahum1 ,amos1 ,jeremiah2 lower row1 ,dean ,bickersteth1 ,st4 ,mark1 ,queen ,victoria1 ,st4 ,luke1 ,st4 ,uriel1 ,malachi1 ,habakkuk1 ,obadiah1 ,daniel 7,jeremiah just above ,daniel by the window74 8,the two rows on the southern tower to the south of the great west window3 higher row1 ,isaiah1 ,hosea1 ,jonah1 ,zephaniah1 ,st4 ,michael1 ,bishop ,hacket1 ,bishop ,lonsdale1 ,bishop ,selwyn2 lower row1 ,ezekiel1 ,joel1 ,micah1 ,haggai1 ,st4 ,raphael1 ,bishop ,clinton1 ,bishop ,patteshall1 ,bishop ,langton4 8,next is the long row of kings with ,st4 ,chad in the centre1 stretching right across the cathedral3 ,william the ,conqueror1 ,william ,rufus1 ,henry ,i41 ,stephen1 ,henry ,,ii41 ,richard ,i41 ,john1 ,henry ,,iii41 ,edward ,i41 ,edward ,,ii41 ,edward ,,iii41 ,richard ,,ii41 ,st4 ,chad1 ,penda1 ,wilphere1 ,ethelred1 ,offa1 ,egbert1 ,ethelwolf1 ,ethelbert1 ,ethelred1 ,alfred1 ,edgar1 ,canute1 ,edward the ,confessor4 8,lowest row1 broken three times by the doors3 ,st4 ,cyprian1 ,st4 ,bartholomew1 ,st4 ,simon1 ,st4 ,james the ,less1 ,st4 ,thomas 7northern door71 ,st4 ,philip1 ,st4 ,andrew 7central door71 ,st4 ,paul1 ,st4 ,matthew 7southern door71 ,st4 ,james the ,greater1 ,st4 ,jude1 ,st4 ,stephen1 ,st4 ,clement1 ,st4 ,werburga40 ,the ,duke of ,york 7,james ,,ii47 gave the money for the tracery of the large ,west ,window after the original had been destroyed during the ,civil ,wars4 ,this was removed in #ahfi1 for another more in sympathy with the style of the ,fourteenth ,century4 ,the ,west ,door is one of the most beautiful in ,england1 taking rank with the ,prior's ,door of ,lincoln ,cathedral4 ,the porch is recessed and the outer arch1 cusped4 ,within1 a central support rises to form two arches4 ,the whole is richly carved4 ,above the central pillar is a bas-relief representing ,christ in ,glory1 with angels by his side4 ,on the central column stands a figure of the ,virgin and ,child1 and on either side of the door beneath canopies are ,mary ,magdalene and ,st4 ,john the ,evangelist 7north71 and ,mary1 wife of ,cleophas1 and ,st4 ,peter 7south74 ,what the original statues were is not known4 ,most of the ironwork on the doors is supposed to be original4 ,the two side doors are deeply recessed4 ,the figures in the northern doorway are of princes and princesses who promoted ,christianity in ,england2 and in the southern1 the chief missionaries4 ,the gable and towers are also adorned with statues of ,biblical fame4 ,the nave is ornamented and strengthened by buttresses and flying-buttresses4 ,in the north transept we find a handsome ,north ,doorway1 a splendid specimen of ,early ,english with traces of the ,norman4 ,it is deeply recessed and revealing a double arch carved with foliage4 ,the mouldings are also carved4 ,the outer one contains bas-reliefs showing the genealogy of ,christ1 beginning with ,jesse and ending with the ,virgin and ,child4 ,on the right side1 opposite ,jesse1 is ,st4 ,chad baptizing the sons of ,king ,wulphere1 and above are the ,apostles4 ,the architrave is surmounted by a weather moulding in the form of a gable on the top of which is a cross4 ,the pillars on each side of the doorway have finely carved capitals and dog-tooth ornamentation4 ,the graceful centre pillar consists of four slender shafts with carved capitals4 ,next comes the octagonal ,chapter-,house2 then the choir and presbytery2 and then the ,lady-,chapel1 entirely restored and with new saints in the niches4 ,on the south side of the ,lady-,chapel are mortuary chapels4 ,the south side shows the buttresses of the choir2 then the turrets of the sacristy with their crocketed pinnacles2 and then the ,south ,transept1 the gable of which contains a beautiful rose window4 ,the ,south ,door1 much restored1 resembles the northern one1 only it is not so fine4 ,the heavy buttresses on this side are ,wyatt's4 ,now we have again come to the ,jesus tower 7south-west71 in which the ten bells are hung4 ,entering by the west door1 the beauty of the interior bursts upon us4 ,we have an unbroken vista and the ,cathedral therefore impresses us as immensely long4 ,the beautiful arches of the roof carry the eye straight down to the windows of the ,lady-,chapel4 ,the ,nave is transitional from ,early ,english to ,decorated and is dated by various authorities from #abej to #abhj4 ,the large piers are composed of clustered shafts with richly carved capitals of foliage4 ,from these spring mouldings4 ,the top of each arch touches the string-course1 and then comes the triforium1 so beautiful here with its row of double arches1 each one sub-divided into two lights1 above which is geometrical tracery4 ,dog-tooth ornament decorates the mouldings of these triforium arches1 and also the string-course that separates the triforium from the clerestory4 ,the clerestory windows are curious3 spherical triangles enclosing three circles with quatrefoil cusps4 ,dog-tooth ornamentation runs around the windows4 ,a large circle with five cusps ornaments the spandrels of most of the pier-arches across which the vault shaft passes4 ,at the intersection of the various ribs 7five ribs7 are finely carved bosses4 ,much of the effect is obtained from the size of the triforium4 ,the glass in the big west window dates from #ahfi1 a memorial to ,canon ,hutchinson1 who was a zealous worker for the ,cathedral's restoration1 by ,sir ,gilbert ,scott4 ,in the north aisle of the nave we note the tablet placed there by ,ann ,seward to the memory of her father1 ,canon ,seward1 his wife and daughter1 upon which ,sir ,walter ,scott added lines to the memory of the poetess4 ,there is also a neighbouring tablet to ,lady ,mary ,wortley ,montagu1 who was born in ,lichfield4 ,in the north transept we find a curious monument to ,dean ,heywood 7died #adib7 showing the skeleton of this worthy4 ,the upper part 7which represented him in full canonical costume7 has gone4 ,similar monuments are in ,exeter and ,lincoln4 ,in the ,south ,transept there are busts and memorials to ,dr4 ,samuel ,johnson1 a native of ,lichfield 7died #aghd71 and to ,david ,garrick 7died #aggi71 an early resident of ,lichfield4 ,in the first bay of the aisle1 there is a monument to the officers and men of the #hjth ,regiment 7,staffordshire ,volunteers71 over which hang colours taken from the ,sikhs4 ,at the south end we note a fine altar to one of ,nelson's captains1 ,admiral ,sir ,william ,parker 7died #ahff74 ,note the big south window 7,perpendicular7 in which there is some ,herkenrode glass 7see page #bab74 ,there is another memorial window in the south aisle of the nave to the officers of the #fdth 7#b;d ,staffordshire ,regiment7 who fell in the ,indian ,mutiny4 ,the ,transepts1 as we have seen1 were built before the nave4 ,each consists of three bays with eastern aisles4 ,most of the windows are ,perpendicular4 8,at the south end was probably a large five-light ,early ,english window1 surmounted by a rose window4 ,the rose window still remains1 but1 being above the present groining1 cannot be seen from inside the cathedral2 the five lights are replaced by a nine-light obtuse-headed window1 which seems much too large for the transept2 and this effect is increased by the extreme whiteness and transparency of its glass4 ,at the north end1 the five-light window is surmounted with three small lights1 but these last again are hidden in the roof40--7,a4 ,b4 ,c47 ,now we come to the ,choir1 which1 including the presbytery and retro-choir1 has eight bays4 ,it has no triforium4 ,the splays of the windows are beautifully decorated with quatrefoil ornamentation4 ,there is only one of the original ,decorated windows 7east on south side74 ,the others are ,perpendicular4 8,the vaulting is very much the same as in the nave1 but the vaulting-shafts divide into seven instead of five ribs2 the bosses1 as everywhere else in the cathedral1 are very deeply and richly carved4 8,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 nave1 and similarly the spandrels are ornamented with foliated circles1 of which nearly all trace had disappeared before the recent restoration4 ,this1 however1 is not the arrangement on the three western pairs4 ,it was found here that these shafts did not reach the ground2 and so ,sir ,gilbert ,scott1 having discovered a portion of the sculptured wing of an angel just above the dean's present stall1 decided upon finishing the shafts with corbels in the form of angels occupied in minstrelsy4 ,above each of these angels--which were innovations--he placed1 under richly crocketed canopies and standing on very finely-carved brackets1 the figures of six saints40--7,a4 ,b4 ,c47 ,architects love to study the merging of the two styles in this part of the ,cathedral1 and one of the best illustrations is the entrance to the vestibule of the ,chapter-,house4 ,the arch at the west end of the north-choir-aisle is very old and interesting and so is the arcading in the aisles4 8,in the first three western bays in both aisles the large arcading1 with its plain trefoiled arches1 is clearly ,early ,english4 ,the arcading in the other bays is equally clearly of the ,decorated period1 and is considerably smaller4 ,in the four eastern bays in each aisle the arches go right up to the course which forms the top of the arcading1 and the triangular spandrels thus formed are ornamented each with a curious little head1 having queer headgear2 the rest of the spandrel is carved with foliage1 and in the plates of the foliated arches are quaint animals4 ,the arcading in the remaining bay is similar1 but angels' heads with wings take up the whole spandrel4 ,some of the arcading1 notably that in the three easterly bays of the south aisle1 is unrestored4 ,the inferiority of the modern work in the next bay is only too patent40--7,a4 ,b4 ,c47 ,the window over the tomb of ,bishop ,hackett in the ,south-choir-aisle is adorned by lovely foliage4 ,here1 too1 we find the very interesting ,minstrels' ,gallery4 ,it was probably placed here in the ,fifteenth ,century because the arcading has been cut away to make room for it4 ,the little gallery rests upon fan-shaped vaulting4 ,as it stands directly in front of the chapel of the ,head of ,st4 ,chad1 it may have been used for the purpose of exhibiting this relic to the devout in the aisle below4 7,see page #bac47 ,it is similar in style to the minstrel gallery of the ,medival halls3 hence its name4 ,a staircase in the wall leads to the gallery4 ,the ,choir-screen1 of ornamental metal-work1 designed by ,sir ,gilbert ,scott1 is similar to those of ,salisbury1 ,hereford and ,worcester4 ,the ,choir-stalls1 ,bishop's ,throne and elaborate ,reredos are all modern4 ,the south-choir-aisle contains a number of interesting monuments4 ,there is a monument to 8,hodson of ,hodson's ,horse10 killed in the ,indian ,mutiny4 ,under the cross is the ,king of ,delhi surrendering his sword to ,major ,hodson1 with figures of ,justice1 ,fortitude1 ,temperance and ,mercy and statuettes of ,joshua1 ,david1 ,st4 ,thomas of ,india and ,st4 ,george of ,england4 ,here is also the monument of ,bishop ,langton 7died #abif7 with mutilated effigy4 ,opposite is the curious monument to ,sir ,john ,stanley of ,pipe1 the effigy representing the knight naked to the waist1 and the legs in armour4 ,it seems that ,captain ,stanley had been excommunicated for some offence1 and1 after atonement1 had been allowed burial here on condition that evidence of his punishment should appear on his effigy4 ,the most famous monument of all1 however1 is that of ,the ,sleeping ,children1 by ,sir ,francis ,chantrey in #ahag4 ,it established his fame and is an early example of the natural style just coming into favour4 ,it represents two young daughters of ,william ,robinson1 ,prebendary of the ,cathedral1 sleeping in each other's arms4 ,we must notice in the north-choir-aisle one window in which ,king ,david is teaching the singers of the ,house of ,god4 ,the glass is old ,flemish4 ,now we have the ,lady-,chapel1 the gem of the whole ,cathedral1 rendered exceptionally beautiful because of the old glass in the windows4 8,in shape it forms a symmetrical extension1 both in height and width1 to the choir1 but without aisles2 and it has an octagonal apse--the only example1 it is said1 of such a termination in the country4 ,it is lighted by nine high windows1 with ,decorated tracery4 ,this tracery has recently been restored in the style of that in the three end windows2 until this was done most of the windows contained ,perpendicular tracery4 8,the windows rest on an arcade of very beautiful design4 ,the arcade may be said to consist of a series of small decorated canopies1 supported by shafts with carved capitals1 and separated by ornamented buttresses4 ,the canopies1 which bow forward1 have trefoil ogee arches1 surmounted with crockets and finials4 ,above the arcade is a similar embattled parapet to that in the choir1 with a similar passage round the chapel behind it4 99 99 99 99 99 8,the vaulting of the roof is like that in the choir2 the same number of ribs diverging from the slender shafts which run right down to the bends of the arcade4 ,halfway up these shafts are niches1 the brackets and canopies to which are beautifully carved4 ,these are old1 but until recently were empty1 and no authentic record remained as to what were the characters represented40--7,a4 ,b4 ,c47 ,in #ahie ten virgin saints and martyrs1 by ,c4 ,e4 ,kempe1 were placed here4 ,of course1 all the glass was crashed during the siege of ,lichfield2 and1 therefore1 the windows are filled with other than the original4 ,the seven most eastern windows contain what is called the ,herkenrode glass1 originally in the ,abbey of ,herkenrode near ,lige4 ,the designs are supposed to be by ,lambert ,lombard of the ,sixteenth ,century4 ,two of the windows depict founders and benefactors of the abbey1 and the other five1 scenes in the life of ,christ4 ,the ,herkenrode glass 7#cdj pieces7 was bought by ,illustration3 ,,lichfield3 ,,from ,,east ,,window ,illustration3 ,,chester3 ,,north ,sir ,brooke ,boothby in ,belgium in #ahjb1 for #bjj1 now valued at #ae1jjj4 ,what remained was used to fill other windows in the ,cathedral4 ,on the south side of the ,lady-,chapel are three 8,mortuary ,chapels10 with groined roofs4 ,in the central one lies the effigy of ,bishop ,selwyn 7buried outside71 ,bishop of ,new ,zealand1 who organized the church in that far-away country4 ,this accounts for the frescoes showing the ,maoris4 ,the two end windows are also old glass supposed to have come from the ,low ,countries4 ,one is a symbolic picture of ,baptism2 the other1 the legendary ,death of the ,virgin4 ,we have yet to examine the ,sacristy of the ,chapter-,house4 ,the sacristy is on the south side 7,early ,english74 ,its upper floor was the ,chapel of ,st4 ,chad1 which1 as we have seen1 was entered from the minstrels' gallery 7see page #baa74 ,the restored chapel was re-dedicated on ,st4 ,chad's ,day 7,march #b71 #ahig4 8,the ,chapel of ,st4 ,chad1 first ,bishop of ,lichfield1 and1 with the ,blessed ,virgin ,mary1 patron of our ,cathedral ,church1 was destroyed in all probability when the rest of the ,cathedral was laid in ruins in #afdc1 the siege beginning on ,st4 ,chad's ,day1 ,march #bnd of that year4 ,little was left3 the four walls remained in a broken condition1 with the vaulting-shafts and caps for the springers of the stone groining1 and the wall-ribs1 to mark its original lines2 also the very beautiful ,early ,english windows--twelve lancets in groups of three--which1 singularly enough1 were little injured4 ,externally these are very plain1 but internally they are full of interest1 and there is nothing better of the kind in the ,cathedral4 ,the site of the old altar is clearly marked2 indeed1 a small portion of it has been preserved4 ,the piscina also still remains4 ,the aumbry remains in which antiquarians suppose that ,st4 ,chad's relics were preserved40--7,l47 ,the ,chapter-,house and the vestibule leading to it were built about the middle of the ,thirteenth ,century 7,early ,english74 ,the vestibule contains beautiful arcading2 the capitals of the pillars are finely carved4 ,the entrance door into the ,chapter-,house is very handsome1 with deeply cut mouldings1 and capitals of the grouped shafts richly carved with leaves4 ,dog-tooth and trefoils are also used as ornamentation4 ,the ,chapter-,house is octagonal4 ,the central pillar1 composed of clustered shafts with richly carved capitals of foliage1 carries the eye upward1 where the ribs spread out beautifully over the roof and bosses mark their intersection4 ,the windows are ,early ,english1 of two lights4 ,below them runs a fine arcading4 ,,chester ,,dedication3 ,,christ ,,and ,,the ,,blessed ,,virgin4 ,,originally ,,the ,,church ,,of ,a ,,benedictine ,,abbey4 ,,special ,,features3 ,,choir2 ,,choir-,,stalls2 ,,chapter-,,house4 ,chester was the church of the ,benedictine ,abbey of ,st4 ,werburgh when ,henry ,,viii4 founded the ,see after the dissolution of the monasteries4 ,it had been originally an establishment of secular canons4 ,the patron saint1 ,st4 ,werburgh1 was a niece of ,st4 ,etheldreda of ,ely2 and she took the veil at ,ely1 where she eventually became abbess4 ,st4 ,werburgh was buried at ,hanbury2 but when the ,danes were ravaging ,mercia1 the monks of ,hanbury fled with the relics of ,st4 ,werburgh to ,chester1 where they were richly enshrined in the old church of ,st4 ,peter and ,st4 ,paul4 ,this church was rebuilt in the ,tenth ,century2 and when a new foundation was made in #ajie by ,hugh ,lupus1 ,earl of ,chester1 at the desire of ,st4 ,anselm1 the church was rebuilt1 the canons replaced by ,benedictine monks and the house called the ,abbey of ,st4 ,werburgh4 ,rebuilding was again necessary in #aaid and was continued for centuries4 ,the eastern portion of the church is ,early ,english1 the rest is ,decorated with alterations and additions in the ,perpendicular style4 ,ancient and royal ,chester is one of the most picturesque cities in ,england4 ,it was so important in ,roman times that it was called the 8,city of ,legions40 ,it was also a stronghold of ,saxons and ,danes4 ,from the ,norman ,conquest until the reign of ,henry ,,iii4 the ,earls of ,chester had their own courts and parliaments at ,chester4 ,since ,henry ,,iii4 bestowed the title of ,earl of ,chester upon his oldest son1 the heir to the throne has always held the earldom4 ,the old church did not become a cathedral until #aeda4 ,chester ,cathedral1 being built of soft red sandstone1 suffered from the weather4 ,restoration was a necessity4 ,consequently the exterior is almost exclusively of the ,nineteenth ,century4 ,it is handsome and effective1 though1 unfortunately1 owing to the situation1 somewhat below the level of the street1 and the crowding of buildings1 a good view of the ,cathedral is hard to obtain4 ,at one time it was one of the most beautiful1 as well as the richest1 in ,england4 ,it was terribly defaced during the ,civil ,war1 when the ,puritans used it for a stable and broke the windows4 ,subsequent repairs and restorations have greatly transformed it4 ,one of the curious features of the ,cathedral is the south transept4 ,it was claimed as the ,parish church of ,st4 ,oswald until #ahha4 ,oswald 7#fjd-fdb71 be it remembered1 was the son of ,king ,ethelfrid1 and became ,king of ,northumbria4 ,he was a convert to ,christianity1 which he introduced among the ,anglo-,saxons4 ,killed by ,penda1 the ,king of ,mercia1 he was canonised by the ,roman ,catholic ,church4 8,on approaching the cathedral on the south side1 the transept1 or church of ,st4 ,oswald1 is a remarkable feature4 ,projecting to nearly the same length as the nave1 with its lofty clerestory and great south window1 it attracts attention as well by its own importance as by the unusual ground-plan which it gives to the entire building40--7,r4 ,j4 ,k47 ,let us look at the chief features of the exterior3 8,the ,,west ,,front consists of an eight-light canopied ,perpendicular window1 with a band of elaborate tracery succeeded by ordinary tracery of the period in the head1 set between two banded octagonal turrets1 which are battlemented4 ,the west door is peculiar2 it consists of an arch under a square head1 with foliated spandrels and a range of angels in the mouldings1 deeply recessed under a larger arch with another square head4 ,on each side are four crocketed niches1 with pedestals denuded of their statues4 ,to the west is a four-light canopied window1 under a panelled band and flanked by a rich but empty niche on either side4 8,the door of the ,,south ,,porch is ,tudor with two-light1 square-headed windows and a canopied niche1 and an intervening rich band4 ,the windows of the aisles and clerestory of the nave are ,perpendicular2 the parapet is shallow4 ,the ,,south ,,transept1 as long as the choir and as broad as the nave1 has a ,perpendicular clerestory and south windows1 the former of four lights and with two transoms4 ,the windows of the aisle are ,late ,decorated and of four lights separated by buttresses4 ,this description applies to the south side of the choir1 but the aisles are extended within one bay of the east end of the ,lady-chapel1 which has ,perpendicular windows2 the great east window is of the same date4 ,traces of ,early ,english architecture appear in the north side of the choir and ,chapter-house4 ,the north window of the transept and windows of the nave are ,perpendicular40--7,wal47 ,we can enter1 as we prefer1 by the west door1 or the south porch4 ,the ,nave is uninteresting4 ,it consists of six bays1 the piers are groups of attached shafts terminating in foliage capitals4 ,the roof is modern4 ,decorated windows light the ,south aisle4 ,the ,north aisle contains some old ,norman work4 ,here we find an ancient ,italian font1 presented in #ahhe1 and an old piece of tapestry that has been in the ,cathedral since #affh4 ,the ,north transept is small1 owing to the monastic buildings on this side4 ,here we find ,norman work4 ,some of the windows exhibit ,perpendicular tracery4 ,the roof is ,perpendicular4 ,until #ahha the ,south ,transept was1 as we have said1 the ,parish ,church of ,st4 ,oswald4 ,it has ,decorated windows4 ,perpendicular windows light the west aisle4 ,we now enter the ,choir4 ,the screen is modern and by ,sir ,g4 ,scott4 8,the choir is remarkable for the great beauty of the wood-work which it contains1 as well as for its architectural merits4 ,the style is that of the transition between the ,early ,english and ,decorated4 ,the north side differs from the south1 especially in regard to the mouldings4 ,the north side is earlier than the south1 the building having been commenced at the east end of that side4 ,the mouldings on the north are bold rounds1 while those on the south are shallow and small hollows4 ,the triforium has a series of elaborately-carved cusped arches1 and the clerestory windows are light and graceful with geometrical tracery4 ,the vault is modern1 constructed of good ,english oak4 ,at the east there are figures of the sixteen prophets and at the west are angels playing musical instruments4 ,there are some curious grotesque corbels1 from which the vaulting shafts spring4 8,the carving of the ,,choir ,,stalls is equal1 if not superior1 to anything in ,england4 ,these are ,fourteenth ,century work and rival the noble stalls of ,amiens4 ,they have been restored with much accuracy and taste4 ,the carving of the dean's stall should be noticed1 as it represents the ,jesse tree1 surmounted by the ,coronation of the ,virgin4 ,that representing ,jacob's ,dream is modern4 ,the misereres are extremely interesting and curious and full of religious instruction1 though often conveyed in the way of sarcastic reproof4 ,there are forty-eight1 of which three are modern4 ,some of the most curious are3 a pelican feeding her young2 ,st4 ,werburgh and the stolen goose2 a wife beating her husband2 the strategy of the fox2 stag hunt2 ,richard ,i4 pulling out the heart of a lion2 a fox in the garb of a ,illustration3 ,,chester3 ,,choir1 ,,west ,illustration3 ,,chester3 ,,choir-,,stalls monk presenting a gift to a nun2 various wild men2 wrestlers2 unicorn resting its head on a virgin's knee1 and numerous grotesques40--7,p4 ,h4 ,d47 ,the ,altar is modern and is made of oak of ,bashan1 olive-wood from the ,mount of ,olives and the cedar of ,lebanon4 ,the ,reredos1 a mosaic of the ,last ,supper1 the ,pulpit and the ,bishop's ,throne are all modern4 ,for many years the ,shrine of ,st4 ,werburgh was used for the latter4 ,we pause to look at this interesting piece of ,fourteenth ,century work1 remembering how many eyes of ,medival pilgrims have gazed with reverence upon it4 8,at the end of the stalls on the south side is the ,bishop's ,throne4 ,this has been formed from the base of the shrine of ,st4 ,werburgh1 which seems to have served its present purpose since the foundation of the ,see in the ,sixteenth ,century4 ,it has1 however1 so greatly altered during the late #8restoration1' that it is difficult to ascertain the ancient arrangement4 ,the lower part1 with niches for figures1 is ancient4 ,the part resting on this1 as high as the small gilt figures1 is modern4 ,the figures themselves are old1 and before the alteration they rested on the ancient base4 ,the pinnacles and all the upper portion are modern4 ,the ancient portions are early ,decorated work of the ,thirteenth ,century4 ,the niches in front and at the sides of the base are lined with a small arcade and vaulted4 ,above them are foliaged canopies4 ,the gilt figures hold scrolls1 once perhaps bearing names4 ,they are conjectured to represent kings and queens of ,mercia1 connected either directly or collaterally with ,st4 ,werburgh4 ,it is possible that when the shrine itself was perfect1 the lower part1 with niches1 formed a portion of the base1 whilst the small figures may have been a canopy supported by marble shafts4 ,under this canopy and on the base the feretory or actual shrine1 with the relics1 may have rested4 ,this1 however1 is but conjecture1 since no drawing or description exists of the shrine before the ,reformation40--7,r4 ,j4 ,k47 ,the ,north aisle of the choir will detain the student because there is much ,norman work here4 ,here can also be traced the termination of the old ,norman apse4 ,the arch in the east wall of the transept is also ,norman1 and early1 too4 ,the doorway from the north aisle is ,fourteenth ,century work4 ,the apse was rebuilt in the ,early ,english period and made to end in a square4 ,in the ,perpendicular period it was extended further4 ,note the gates of old ,spanish workmanship across both aisles4 ,they date from #aeeh4 ,at the end stands the ,lady-,chapel4 8,the ,lady-,chapel is of ,early ,english design1 and was built about #abff1 previous to the present choir4 ,many alterations were made subsequently1 including the removal of the ancient steep and lofty roof and the substitution of a flat roof and the insertion of ,perpendicular windows4 ,most of these additions have been removed and the ,early ,english character restored4 ,the east window of five lights was designed by ,scott1 and the original form of the roof has been restored4 ,the vault1 which is original ,early ,english1 has a boss representing the murder of ,thomas ,becket4 ,the mosaics were designed by ,sir ,a4 ,blomfield4 ,here the consistory court was held at the time of the ,reformation1 and ,george ,marsh1 the ,chester martyr1 was condemned to be burnt40--7,p4 ,h4 ,d47 ,through a ,norman doorway in the north aisle of the choir1 we enter the ,cloisters4 8,the south walk is entirely new1 having been restored by ,scott4 ,the west walk adjoins a fine ,early ,norman chamber1 probably the great cellar of the abbot's house4 ,the cloisters are ,perpendicular work4 ,in the south and west walks there is a double arcade on the cloister-garth side1 which contained the carrels1 or enclosed studies of wainscot1 where the monks read or wrote1 and on the opposite side are recesses which are not tombs1 but ,armaria or cupboards1 where their books and materials for illuminations were stored4 ,in the ,perpendicular period the roof of the cloisters was raised1 which was not an advantage1 as it caused the aisle windows and those of the refectory to be partly blocked up1 and the vaulting cuts into the earlier work4 ,the ,lavatorium is near the ,refectory1 an ,early ,english building with ,perpendicular windows4 ,it is a noble structure1 shorn of some of its length1 and now used as a music room4 ,the stone pulpit is remarkably fine1 of ,early ,english design1 which rivals the famous pulpit of ,beaulieu ,abbey40--7,p4 ,h4 ,d47 ,a doorway in the east walk carries us into the ,vestibule of the ,chapter-,house4 ,in the vestibule 7,early ,english7 light graceful piers support the vaulting4 ,the mouldings are very much admired4 ,the ,chapter-,house is also ,early ,english and ranks high among these very national productions4 ,it dates from about #abdj4 ,the east window of five lights is a handsome example of its date4 ,,manchester ,,dedication3 ,,st4 ,,mary ,,the ,,virgin1 ,,st4 ,,george ,,and ,,st4 ,,denis4 ,,formerly ,,served ,,by ,,secular ,,canons4 ,,special ,,features3 ,,choir-,,stalls2 ,,gordon ,,window4 ,manchester was built for a parish church and only became a cathedral in #ahdg4 ,it is a very fine specimen of ,perpendicular ,gothic of the early ,fifteenth ,century1 though there are some remains of older work here and there4 ,the oldest is the arch leading into the ,lady-,chapel4 ,this shows some influences of the ,decorated style4 ,the choir1 aisles and chapter-house date from #adbb-adeh2 the nave was built in #adfe-adha2 ,chapel of the ,holy ,trinity1 #adih2 ,jesus ,chapel1 #aejf2 ,st4 ,james' ,chantry 7,ducie ,chapel71 #aejg2 ,st4 ,george's ,chapel1 #aejh2 ,ely ,chapel1 #aeae2 and ,lady-,chapel in #aeah4 ,the ,cathedral suffered during the ,civil ,wars and has been much restored4 ,the exterior is not particularly impressive4 ,the walls are grimy with smoke and there is no emerald sward1 nor are there ivy-covered walls4 ,the one tower 7built in #ahfd-ahfh7 rises above a still more recent ,western porch1 designed by ,basil ,champneys and ornamented with a parapet and a single crocketed turret1 which gives it a very unsymmetrical appearance4 ,the square tower contains a clock in the first stage1 soars #adj feet and is finished with a pierced battlement with pinnacles at the corners4 ,turning round the corner1 we come to the ,south porch1 two bays and two stories 7modern7 and elaborately carved4 ,next comes the ,jesus ,chapel2 then the octagonal ,chapter-,house2 then the ,fraser memorial chapel2 and then we turn the corner and come to the ,lady-,chapel1 unusually small and projecting only about eighteen feet4 ,the windows are ,eighteenth ,century1 though the tracery is ,decorated in general character4 ,passing the window of the north-choir-aisle and the eastern end of the ,derby ,chapel1 we again turn the corner4 ,the first projection is the ,ely ,chapel and the next and smaller one is an engine room used for working the organ4 ,the small door next opens into the ante-chapel of the ,derby ,chapel4 ,finally we reach the north porch4 8,it is a dimly lighted building2 this is due chiefly to two causes3 first to the fact that it is enormously wide1 and the aisle windows are therefore far from the central nave1 and secondly to the fact that almost all the windows both of aisles and clerestory are filled with painted glass1 in many cases of a deep colour1 and rendered still more impervious to light by the incrustation of carbon deposited on their outside by the perpetual smoke of the city4 ,so dark is the church that in the winter months it has generally to be lit with gas all the day long1 and even in the summer1 in comparatively bright weather1 some gas burners will generally be found alight4 ,the mist also of the exterior atmosphere finds its way into the building1 and hangs beneath the roof1 lending an air of mystery to the whole place1 and giving rise to most beautiful effects when the sunlight streams through the clerestory windows4 ,the tone also of the nave arcading and clerestory rebuilt in recent years1 of warm1 rose-coloured sandstone1 is very lovely40--7,t4 ,p47 ,the ,nave is wider than it is long4 ,with its double aisles it measures #aad feet2 its length is only #he feet4 ,the choir is about the same proportion4 ,the ,lady-,chapel1 at the extreme east1 is very small4 ,the sides of the nave and choir are still further extended by chapels1 partitioned off by screens4 ,on the south side of the nave we have first ,st4 ,george's ,chapel 7founded in #aejh7 and ,st4 ,nicholas's ,chapel 7founded in #aahf1 before the present church was built72 and on the north side the space once occupied by the ,holy ,trinity ,chapel 7#adih7 and ,st4 ,james's ,chapel 7#aejg74 8,this church differs from most of our cathedral and abbey churches in having no triforium4#h ,and the clerestory is not lofty1 so that the church is rather low for its width1 though the height of the arches of the main arcade prevents this being felt4 ,the roofs of the aisles are all modern1 but that of the nave1 though extensively repaired1 has much of the original work in it1 and1 with the exception of a few bosses1 the choir roof is old4 ,all the roofs are of timber2 in the nave the intersections of the main beams are covered by beautiful bosses carved out of the solid wood4 ,on either side1 at the points from which the main cross beams spring1 is a series of angelic figures splendidly carved in wood3 those on the south side playing stringed instruments1 those on the north side wind instruments4 8,the pillars of the main arcade of the nave are modern work built in imitation of the original ones4 ,they are light and graceful1 and1 like many other pillars of fifteenth century date1 are formed of shafts of which only half have separate capitals1 the other mouldings running round the arch4 ,the spaces between the arches are elaborately carved with heraldic shields40--7,t4 ,p47 ,in the nave we find the one interesting window in the ,cathedral 7the most eastern one in the ,ducie ,chapel71 a memorial to ,general ,gordon killed at ,khartoum in #ahhh4 ,it consists of five lights4 ,gordon is in the centre1 his hand on the head of a native boy4 ,natives and angels occupy the other lights4 ,towards the east end of the nave stands the ,illustration3 ,,manchester3 ,,south ,illustration3 ,,manchester3 ,,nave1 ,,east modern pulpit and then an ancient rood-screen with three wide openings and double doors4 ,passing through the screen1 we enter the ,choir1 sometimes called the ,radcliffe ,choir1 because members of this family were buried here4 ,the ,choir-stalls date from the early ,sixteenth ,century and resemble those in ,ripon ,cathedral and ,beverley ,minster4 8,there are twelve stalls on either side1 and three on each side of the entrance through the rood-screen facing east4 ,the stalls are furnished with misereres1 which1 in common with many others both in ,england and on the ,continent1 represent all manner of quaint subjects1 monsters1 animals1 hunting scenes1 etc4 8,the carved elbows of the stalls and the end of the book desks are also worthy of careful examination1 especially the ,eagle and ,child and general carving of the ,dean's ,stall1 which is a marvel of beautiful workmanship1 and said by high authorities to be unequalled4 8,between the stalls the floor is one step higher than that of the nave1 and at the east end of the stall1 there is a further rise of two steps as we pass into the presbytery4 ,here1 on the south side1 we see the bishop's throne--modern work1 carved with a view to be in harmony with the stalls1 but comparing unfavourably with them in execution4 ,there is a rise of two more steps into the sanctuary1 and the altar itself is raised two steps higher2 this gives a good effect4 ,behind the altar is an elaborately carved wooden reredos of modern work1 richly painted and gilt40--7,t4 ,p47 ,a fine ancient screen runs across the arch at the opening of the ,lady-,chapel4 ,along the south side of the south-choir-aisle we first come to the vestry1 then to the ,jesus ,chapel 7now a library71 separated from the aisle by a handsome screen of the ,sixteenth ,century4 ,then we reach the fine entrance to the ,chapter-,house1 beneath a large arch4 ,at the end is the ,fraser ,chapel1 with an altar cenotaph to the second ,bishop of ,manchester1 ,james ,fraser 7died #ahhe71 buried elsewhere4 ,on the north aisle of the choir the space is occupied by the ,derby ,chapel1 dedicated to ,st4 ,john the ,baptist4 ,it was the private chapel of the ,stanley family1 to which the ,earls of ,derby belong4 ,it was begun by ,james ,stanley 7#adhe-aeji71 who became ,bishop of ,ely4 ,he died in #aeae and was buried near the ,ely ,chapel1 where the original tomb and brass are still to be seen4 ,,carlisle ,,dedication3 ,,the ,,holy ,,trinity4 ,,formerly ,,served ,,by ,,augustinian ,,canons4 ,,special ,,features3 ,,choir ,,and ,,east ,,window4 ,in the ancient town of ,north ,cumberland--the famous border town appearing so frequently in ballads as 8,merry ,carlisle0--the ,cathedral shares the honours with the ,castle4 ,both date from about #ajib4 ,when ,william ,rufus ,,ii4 rebuilt and fortified ,carlisle1 he left one ,walter1 a ,norman priest1 as governor4 ,he began to build a church and priory1 but died in the meantime and ,henry ,i4 continued the work4 ,the church was dedicated in #aaja2 the monastery of ,augustinians was founded in #aaba2 and the ,cathedral established in #aacc4 ,it was built in the ,norman style1 a nave with aisles1 transepts and a tower at the intersection of the latter4 ,the architect was ,hugh1 once abbot of ,beaulieu4 ,the ,norman choir was taken down early in the ,thirteenth ,century and rebuilt in the ,early ,english style4 ,two fires--especially the one in #abib--wrought much damage4 ,about the middle of the ,fourteenth ,century the choir was completed in the ,decorated style1 and the magnificent ,east window was also inserted at this time4 ,robert ,bruce took up his quarters in the ,cathedral after the ,battle of ,bannockburn 7#acad74 ,in #acib the north transept suffered from fire4 ,bishop ,strickland 7#adjj-adai7 restored it and rebuilt the central tower1 adding to it a wooden spire4 ,henry ,,viii4 disestablished the monastery and formed a ,cathedral4 ,during the ,civil ,war the ,puritan soldiers were quartered in the ,cathedral and did much damage4 ,they pulled down two-thirds of the ,norman nave in order to get stones with which to repair the fortifications4 ,at the rising of ,charles ,edward1 8,bonnie ,prince ,charlie10 in #agde1 his soldiers captured ,carlisle and used the ,cathedral for their headquarters2 and when the ,duke of ,cumberland arrived1 the church was again used as barracks and many of the ,jacobites were confined in its walls4 ,carlisle is a fine place to study all the styles of ,early ,english in simple1 pointed1 geometric and flowing4 ,it is famed for its wonderful ,east ,window and the superb ,choir1 one of the finest in ,england4 8,a good view is obtained from the castle4 ,the usual approach is from the east end1 whence we observe the grand east window with its beautiful ,late ,decorated tracery4 ,it is flanked by buttresses1 with niches and crocketed pinnacles4 ,in the niches are statues of ,,ss4 ,peter1 ,paul1 ,james and ,john4 ,a foliated cross crowns the gable and on each side are four similar crosses4 ,in the gable is a triangular window1 having three trefoils1 and below is a niche with a figure of the ,virgin4 ,the ,central ,tower1 built by ,bishop ,strickland 7#adjj-adai7 on the old ,norman piers1 is too small for the huge choir and lacks dignity4 ,formerly it was crowned with a wooden spire1 but this has been removed4 ,there is a turret set at the north-east angle1 and in the north side is a niche with the figure of an angel4 ,the lower part of the choir is ,early ,english1 with the exception of a ,perpendicular window at the west1 and a ,decorated one in the east bay4 ,the clerestory is ,late ,decorated1 and the windows have flowing tracery4 ,the ball-flower ornament is extensively used in the cornice4 ,the sculpture at ,carlisle is worthy of notice4 ,carved heads and curious gargoyles abound4 ,the ,north ,transept is ,illustration3 ,,carlisle3 ,,south-,,west ,illustration3 ,,carlisle3 ,,choir nearly all modern4 ,it was rebuilt by ,strickland in the ,fifteenth ,century1 and again rebuilt when the church was restored4 ,there is1 however1 an ,early ,english window in the west wall4 ,on the east side there was formerly a chapel1 which has not survived the repeated alterations4 ,the greater part of the ,nave was taken down by ,cromwell's soldiers4 ,what is left is of unmistakable ,norman character4 ,there is some modern imitation work1 and late architectural detail4 ,most of the windows are modern1 and also the doorway4 ,the south side is similar to the north4 ,the ,south ,transept preserves the old ,norman walls4 ,on the south is a modern doorway with a window over it4 ,on the east is ,st4 ,catherine's ,chapel1 a ,late ,early ,english or ,early ,decorated building4 ,the south side of the choir is similar to the north1 and presents ,early ,english details of construction4 ,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 gatehouse1 the stone being used for repairing the fortifications of the city by ,puritan soldiery4 ,the refectory1 or fratry1 was rebuilt in the ,fifteenth ,century1 and is now used as a chapter-house4 ,there is a fine reader's pulpit here4 ,the gateway was erected by ,prior ,slee in #aebg4 ,the ,deanery is a fine old house1 and was formerly the prior's lodging4 ,it was rebuilt in #aejg40--7,p4 ,h4 ,d47 ,the ,nave is ,norman1 but of the eight bays only two now remain4 ,the piers are low1 the arches semicircular1 and it appears that later hands carved the ,early ,english foliage on the capitals4 ,the triforium shows plain round-headed arches4 ,the clerestory has three arches in each bay1 resting on shafts with carved capitals4 ,the west end is modern4 ,sir ,walter ,scott was married here in #agig4 ,the ,north ,transept was rebuilt in the ,fifteenth ,century and the north end again in modern times4 ,the large window is modern and ,decorated in style4 ,an ,early ,english window in the west end is a good example of plate-tracery4 ,the roof is modern2 the arch of the choir aisle1 ,decorated4 ,norman piers support the ,tower1 to which ,bishop ,strickland added additional columns1 ,perpendicular with foliated capitals4 ,the crescent and fetterlock on the capital of the eastern arch are emblems of the ,percy family2 the rose and scallop shell on the western side1 of the ,dacres and ,nevilles4 ,the ,south ,transept is only one bay3 ,the arch into the choir-aisle is ,norman with zigzag ornaments and cushion capitals4 ,another ,norman arch opens into ,st4 ,catherine's ,chapel1 now a vestry4 ,it was founded by ,john de ,capella1 a wealthy citizen4 ,the beautiful screen is ,late ,decorated4 ,the ,choir consists of eight pointed arches3 it is #ach feet long and #gb feet high4 8,we now enter the choir by the door in the organ-screen4 ,this is one of the finest in ,england--spacious1 lofty1 well-proportioned and rich in all its details4 ,the arches of the main arcade are ,early ,english1 as the mouldings and dog-tooth ornament testify4 ,these remained after the fire of #abib and were retained4 ,the piers are ,early ,decorated and were evidently built to support the arches after the fire4 ,the capitals were carved later in the ,late ,decorated period1 when the upper parts of the choir1 triforium1 clerestory1 roof and east end were rebuilt4 ,the builders were probably ,bishops ,welton and ,appleby 7#acec-acie74 ,when the choir was rebuilt in ,early ,english times1 the architect determined to enlarge it1 and as the monastic buildings on the south prevented any expansion in that direction1 the south piers of the choir retained their old position1 while the north were moved further northward1 and a new north aisle added4 ,thus the choir and the tower and nave are not quite symmetrical1 and there is a blank wall at the north-west end of the choir which is thus accounted for4 ,the details of the architecture of the choir merit close attention1 especially the sculpture4 ,small figures of men1 animals and monsters are mingled with the foliage4 ,there are some admirable representations of the seasons1 beginning with the second capital on the south1 counting from the east end4 ,there is a very fine timber roof1 constructed about the middle of the ,fourteenth ,century4 ,the scheme of colour decoration is1 unfortunately1 not original40--7,p4 ,h4 ,d47 ,the ,east ,window is one of the finest ,decorated windows in existence4 ,the stone-work is not new1 but it is believed to be an exact reproduction of the original4 ,it is composed of #hf distinct pieces of stone and is struck from #bfc centres4 ,there are nine lights4 ,the glass of the upper portion is ancient1 dating from the reign of ,richard ,,ii4 ,the pictures are the ,resurrection1 the ,final ,judgment and the ,new ,jerusalem4 ,hell is shown with all the terrors familiar to the ,medival mind4 ,the modern glass below represents scenes from the life of ,christ4 ,the ,stalls are ,late ,perpendicular and are beautifully carved4 ,the fine tabernacle-work is dated about #adcc4 ,the misereres represent the usual grotesque monsters1 such as dragons1 griffins and fables in which the crafty fox is prominent4 ,a ,fifteenth ,century brass to ,bishop ,bell 7#adie7 on the floor of the choir deserves notice4 ,a ,renaissance screen partitions off the north-choir-aisle4 ,here we notice the ,early ,english arcade and the windows with two lights1 dog-tooth ornament and deep mouldings4 ,the last bay eastward is ,late ,decorated2 the last bay westward contains a ,perpendicular window4 ,in the north wall two ,early ,english sepulchral recesses are unique because of their chevron moulding4 ,the effigy lying in one of them is supposed to be ,silvester of ,everdon 7#abed74 ,the stalls in the ,north-choir-aisle are ornamented with very strange paintings of the ,fifteenth ,century illustrating the lives of ,st4 ,anthony and ,st4 ,cuthbert1 with descriptive verses4 ,the ,south-choir-aisle1 with a similar screen to the opposite one1 also contains painted stalls representing the life of ,st4 ,augustine4 ,it resembles the north-choir-aisle4 ,the narrow ,retro-choir is of the same date as the big window4 ,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 bay4 ,the clerestory is ,late ,decorated1 the windows noticeable for their flowing tracery4 ,everywhere the ball-flower ornament abounds1 and carved heads and weird gargoyles are omnipresent4 ,the south side resembles the north with the exception of ,st4 ,catherine's ,chapel1 a ,late ,early ,english1 or ,early ,decorated construction4 ,the monastic buildings have disappeared with the exception of the ,refectory1 rebuilt in the ,fifteenth ,century1 now used as the ,chapter-,house1 and the gateway built in #aebg4 ,the fine old ,deanery1 formerly the prior's house1 was rebuilt in #aejg4 ,illustration3 ,,carlisle3 ,,east ,,end ,illustration3 ,,durham3 ,,west ,,front ,,durham ,,dedication3 ,,st4 ,,cuthbert4 ,,formerly ,,the ,,church ,,of ,a ,,benedictine ,,monastery4 ,,special ,,features3 ,,galilee ,,chapel2 ,,chapel ,,of ,,the ,,nine ,,altars2 ,,neville ,,screen2 ,,joseph',s ,,window4 ,durham is the most beautifully situated of all ,english cathedrals4 ,it is perched upon a rocky and wooded eminence above the ,wear ,river1 and with the castle by its side makes a noble picture4 ,when seen from the opposite side of the river the west end of the ,cathedral is very charming2 for the ,galilee ,chapel1 the western towers and gable1 the tall central tower and the roof of the nave show variety of line and mass4 ,the ,galilee ,chapel completely hides the western doorway2 but above it rises the big window of #acdf1 the semicircular arch and the small gable between the twin towers4 ,durham ,cathedral owed its existence to ,st4 ,cuthbert 7one of the three great ,english saints71 and was fortunate enough to possess his shrine4 ,therefore1 it is well to recall his life before visiting the church4 ,st4 ,cuthbert was born about #fce1 and in ,ireland1 according to tradition4 ,he is first heard of as a shepherd-boy in ,northumbria1 where1 in #fea1 while watching his flocks by night1 he had a vision of the heavens opening and angels carrying thither the soul of ,st4 ,aidan1 the pious bishop of ,lindisfarne4 ,he decided to become a monk and entered the monastery of ,melrose1 where he became prior4 ,after a few years he went to ,lindisfarne1 and also became prior there4 ,in #fgf he became an anchorite on ,farne ,island1 where he died1 ,march #bj1 #fhg4 ,the fame of ,st4 ,cuthbert increased after his death and his anniversary was a great festival in the ,english ,church4 ,many churches in the north were dedicated to him4 ,his body rested quietly in ,lindisfarne for two hundred years1 but in #hge1 when the ,danes were ravaging ,northumbria1 the pious monks of ,holy ,island1 bearing the body on their shoulders1 fled inland and found a temporary resting-place in ,chester-le-,street1 half-way between ,newcastle and ,durham4 ,in #iie they transferred the body of ,st4 ,cuthbert to ,ripon2 but in the same year removed it to ,durham4 ,legend says that after the monks left ,chester-le-,street1 ,st4 ,cuthbert appeared and announced that he desired to rest at ,dun-holm4 ,the monks wandered about in search of this place4 ,finally they heard a woman asking another if she had seen her lost cow4 ,the other answered3 8,it's down in ,dun-holm40 ,the monks remembering that ,dun-holm meant hill-meadow1 carried the body of ,st4 ,cuthbert into the lonely field4 ,here they built a stone chapel to protect the body2 and ,bishop ,aldhun soon began a great church4 ,this 8,white ,church0 was consecrated in #iii4 ,aldhun died in #ajah4 ,the next important bishop was ,william of ,saint ,carileph 7#ajhj-ajif71 appointed by ,william the ,conqueror4 ,he turned the place into a ,benedictine monastery4 ,then he determined to build a better ,cathedral1 and laid the foundation-stone in #ajic4 ,when he died1 three years later1 the walls of the choir1 the eastern walls of the transepts1 the arches of the tower and a part of the first bay of the nave were finished4 ,a temporary shrine was also made for ,st4 ,cuthbert's body4 ,ranulph ,flambard 7#ajii-aabh7 was the next great builder4 ,the nave1 the aisles1 the west doorway1 the lower part of the western towers and the vaulting of the aisles are his4 ,in #aajd he removed the body of ,st4 ,cuthbert from the cloister-garth to the splendid shrine behind the high altar4 ,here the sacred relics were supposed to work miracles1 and pilgrims flocked in great numbers to this holy place4 ,william the ,conqueror1 ,henry ,,iii41 ,edward ,,ii41 and ,henry ,,vi4 were among the royal personages who did homage to the saint4 ,when ,henry ,,viii4 suppressed the monasteries in #aedj1 the shrine was destroyed2 but the monks secured ,st4 ,cuthbert's body and buried it beneath the platform on which the shrine had stood4 ,in #ahbg the grave was opened4 ,a coffin was found that had been made in #aeda2 this enclosed another1 supposed to date from #aajd2 and this1 a third1 that agreed with the description of the one made in #fih4 ,in the latter was found ,st4 ,cuthbert's body1 wrapped in five robes of embroidered silk4 ,thus it almost seemed as if there were some reason for the legend that his body was supposed to be incorrupt4 ,william the ,conqueror1 anxious to see this incorrupt body1 ordered the shrine to be opened2 but1 at the first stroke1 such sickness and terror fell upon him that he rushed from the ,cathedral2 and1 mounting his horse1 he never drew bridle until he had crossed the ,tees4 ,until the ,reformation the banner of ,st4 ,cuthbert hung over his shrine4 ,it was made from a cloth used by ,st4 ,cuthbert in celebrating mass and it was believed to insure victory to the army in whose ranks it was carried4 ,flodden was one of the many fields in which the defeat of the ,scots was ascribed to the ,standard of ,st4 ,cuthbert4 ,another was ,neville's ,cross1 near ,durham1 when #ae1jjj ,scots perished4 ,a thanksgiving hymn was ordered to be sung on top of the ,cathedral tower on each anniversary of the battle4 ,this custom is still observed4 ,returning now to the architectural history of the ,cathedral1 the next great builder was ,hugh ,pudsey 7#aaec-aaie71 in whose time the ,norman style was passing out of fashion4 ,pudsey began to build a ,lady-,chapel at the east end2 but when he saw great cracks appearing in the walls1 he thought that ,st4 ,cuthbert was manifesting his displeasure4 ,consequently he removed all his building materials1 including the ,purbeck marble columns1 and began and finished the wonderful ,galilee ,chapel at the west end1 about #aage4 ,pudsey was a great prince as well as a fine builder4 ,he was only twenty-five when he became ,bishop of ,durham4 ,he bought the earldom of ,northumberland and also a manor4 ,when ,king ,henry decided to go to ,jerusalem after his capture by the ,saracens1 ,pudsey fitted out ships and had a seat of silver for himself in one of them4 ,the ,king died1 and ,pudsey remained at home2 and while ,king ,richard went on the trip ,pudsey and the ,bishop of ,ely quarrelled4 ,pudsey was decoyed to ,london and thrown into the ,tower4 ,he was released4 ,he died on another journey from ,durham to ,london in #aaie4 ,bishop ,poore 7#abbi-abcg71 arriving from ,salisbury ,cathedral 7see page #gg71 planned the ,chapel of the ,nine ,altars1 another special feature of ,durham and one of the best examples of ,early ,english in existence4 ,as soon as he arrived in ,durham1 ,bishop ,poore began to plan the eastern transept1 for the apse of ,carileph's choir had been deemed unsafe4 ,building1 however1 was not undertaken until after his death4 ,in the ,fourteenth ,century the large window in the north transept and the west windows of the nave were added4 ,then the cloisters were built and several halls4 ,the refectory was turned into a library in #affa-afhd4 ,the central tower was repaired and rebuilt in the ,fifteenth ,century4 ,wyatt1 who had charge of the restorations in #agif1 destroyed the fine ,norman ,chapter-,house 7built in #aacc-aadj71 rebuilt the turrets on the ,chapel of the ,nine ,altars and placed a window of his own design in the east end1 removing for the purpose the great ,early ,english window4 ,the original glass was also taken out and piled up in baskets4 ,after much had been stolen the remainder was locked up in the ,galilee4 ,some of it was inserted in the great round window4 ,wyatt came very near destroying the ,galilee ,chapel so that he could open the west doorway2 but he was fortunately stopped4 ,the chief restorations of late years have been those of #ahgj-ahgf1 when the new choir-screen and pulpit were erected1 the choir-stalls replaced and the floor of the choir paved with marble mosaic4 ,from the large open space between the ,cathedral and ,castle1 known as the ,palace ,green1 we gain a fine view of the northern side of the building2 the tall central tower and transept with its splendid window 7#acfb7 7,the ,four ,doctors of the ,church72 and the north aisle to the ,chapel of the ,nine ,altars that completes the eastern end4 ,from this side we can study the towers to advantage4 ,the two square1 solid western towers date from ,norman time2 but the ,norman work ends at the roof of the nave2 then begins what is probably work of the ,thirteenth ,century4 ,here we have four stories ornamented with arcading1 blind and open4 ,the first and third have pointed arches1 and the second and fourth round arches4 ,the open parapets and pinnacles were added at the end of the ,eighteenth ,century4 ,the ,central ,tower dates from about #adgd1 replacing an older tower that had been condemned4 ,the belfry had been struck by lightning in #adbi4 ,the tower consists of two stories separated by a narrow gallery with a pierced and embattled parapet4 ,this is called the ,bell ,ringers' ,gallery4 ,the windows are arranged in pairs surmounted by ogee label moldings1 crocketed and ornamented with finials4 ,the tower is finished with an open-worked parapet1 and at each corner are buttresses with canopied niches containing figures4 ,we walk eastward to gain a nearer view of the ,chapel of the ,nine ,altars with the ,early ,decorated window and turrets crowned with pyramids4 ,we particularly want to see on the north-west turret the panel of the ,dun ,cow1 a modern reproduction of an ancient work1 commemorating the legend4 ,we now turn and walk westwards4 ,then we enter the ,north ,door1 the principal entrance to the ,cathedral4 ,the exterior is the work of ,wyatt2 and though we take some pleasure in the carvings of foliage1 figures1 chevrons and lozenges that ornament the capitals and arch-moulds1 it is the doorway1 with its sanctuary knocker1 that attracts our attention4 ,criminals were wont to claim sanctuary at ,durham from #gdj to #aebd4 ,as soon as the fugitive grasped the ring he was safe4 ,this knocker is a grotesque head of bronze with a ring hanging from the grinning mouth4 8,the north entrance door tells an interesting tale4 ,the present door is a modern restoration1 and some of the original features of the famous entrance have been obliterated4 ,towards this door many a poor wretch hastening to escape the hands of the avenger has sped his fearful steps in days gone by4 ,attached to the door still glares a fearful-looking metallic head holding a ring in its mouth4 ,in its now eyeless sockets were once in all probability balls of crystal1 or enamel4 ,when once the ring was grasped by the hand of the fugitive he was safe4 ,he had claimed the #8peace' of ,st4 ,cuthbert1 and the sanctity of the neighbouring shrine shielded him4 ,above the door by day and night watched relays of monks to admit those who claimed sanctuary4 ,so soon as ever a fugitive had reached the door he was admitted4 ,this done he had to confess the crime of which he was guilty1 and his statement was taken down in writing4 ,all the while a bell was tolling to give notice that some one had taken refuge in the church4 ,then the culprit was arrayed in a black gown with a yellow cross on his left shoulder1 and remained within the precincts for thirty-seven days4 ,if1 at the end of that time1 he could not obtain a pardon of the civil authorities1 he was conveyed across the seas to begin life elsewhere40--7,t47 ,the exterior has not prepared us for the great impression that we experience on entering the ,nave with its enormous columns and noble arches4 ,these columns are deeply cut1 some with spirals1 some with zigzags1 some with reeds1 etc4 ,the whole effect is solemn4 ,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 ,screen4 8,the triforium is almost uniform throughout the whole church4 ,in each sub-bay it consists of two small arches under one large one1 with the tympanum solid4 ,here also the capitals are cushions and perfectly plain4 8,above the triforium is the clerestory1 which contains one light to each sub-bay1 and surmounting all is the vaulting1 which springs from the piers and from grotesquely carved corbels between the triforium arches4 ,the vaulting ribs are ornamented with chevrons on either side of a bold semicircular moulding4 ,so much for the general arrangement of the bays4 ,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 base1 while those of the cylindrical columns of the sub-bays are twelve feet square1 and the columns themselves have a circumference of over twenty-three feet4 ,there is little room to doubt that the effect obtained by the old builders of ,durham was intentional4 ,the masterly way in which great masses of solid masonry1 greater than was constructively necessary1 are handled1 and the reticence and delicacy of the ornament combine to prove this4 ,there is in the whole scheme a delightful union of great power and vigour in the masses1 and of tenderness and loving care in the detail40--7,j4 ,e4 ,b47 ,at the west end of the nave stands the ,font1 a modern work in the ,norman style carved with medallions depicting scenes from the life of ,st4 ,cuthbert4 ,it is covered by a large wooden canopy1 dating from #affc and curiously carved with a mixture of ,classic and ,gothic ornamentation4 ,durham is built in the form of a ,latin cross1 with transept1 and in the centre of the arms rises the tower4 ,at the east end another transept runs--the ,chapel of the ,nine ,altars4 ,at the west end we have the ,galilee ,chapel4 ,illustration3 ,,durham3 ,,nave1 ,,east ,illustration3 ,,durham3 ,,galilee ,,chapel ,no one seems to know the origin of the word ,galilee4 ,according to ,canon ,talbot3 8,its name of ,galilee has probably some reference to ,galilee of the ,gentiles1 and implies that it was considered less sacred than the rest of the ,cathedral4 ,st4 ,cuthbert had a more than monkish fear of women1 and they were not allowed to approach the shrine4 ,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 approach4 ,the prejudices of the good saint were thus perpetuated long after his death4 ,the whole effect is light and graceful1 and if the women were not allowed to enter farther than the western extremity of the church1 they certainly had a most beautiful place of worship40 ,the ,galilee ,chapel is the most beautiful example of ,transitional ,norman4 8,entering the chapel by the steps leading from the ,norman nave1 the visitor is at once impressed with the lightness and delicacy of the work before him1 as compared with the massive grandeur of the ,norman cathedral behind4 ,here we have1 in fact1 one of the latest uses of the round arch influenced by the rapidly developing ,early ,english ,gothic4 ,in plan the chapel consists of a nave with double aisles1 which perhaps might be more properly called five aisles4 ,these are divided by arcades1 each of which is of four bays4 ,these arches and the columns which support them are the chief beauty and characteristic of the chapel4 ,the arches are semicircular1 of one order1 with three lines of chevrons1 one on each face1 and one on the soffit between two roll mouldings4 ,the capitals are light and graceful and carved with a volute1 and the columns clusters of marble and freestone shafts4 ,the whole seems to have been coloured in fresco1 and remains of this are still to be seen4 ,the stone shafts1 which alternate with those of marble1 do not carry any of the weight of the arch1 and are1 undoubtedly1 an addition1 probably in the time of ,cardinal ,langley1 when they must have been added1 with a view to improving the appearance4 ,the dimensions of the chapel are forty-seven feet from east to west1 and seventy-six feet from north to south4 ,the existing roof and the three ,perpendicular windows on the west end are also additions by ,cardinal ,langley4 ,on the walls above what were once the altars of the ,virgin and ,our ,lady of ,pity1 remains of fresco painting may be noticed1 all that remains of what has evidently been beautiful work4 ,these were only brought to light by the removal of successive coats of whitewash with which they had been covered40--7,j4 ,e4 ,b47 ,the two doorways at the end of the north aisle and south aisle of the nave were made by ,cardinal ,langley1 who closed up the great ,west door1 reopened in #ahdf4 ,this was built by ,flambard 7#ajii-aabh7 and consists of an arch of four orders decorated with chevrons4 ,grotesque animals also appear in medallions4 ,langley also made a new roof1 for which he raised the walls4 ,in front of the principal altar stands ,langley's ,tomb1 erected by himself2 but of far more interest is the resting-place of a greater man4 ,no visitor can look upon the stone slab that marks the grave of the ,venerable ,bede without awe4 ,bede1 so famed for his learning and piety1 was a contemporary of ,st4 ,cuthbert and spent his long life chiefly in the monasteries of ,monkwearmouth and ,jarrow4 ,he died in #gce and was buried at ,jarrow4 ,in #ajbb his remains were stolen and placed in the same coffin with those of ,st4 ,cuthbert4 ,pudsey removed them into the new ,galilee ,chapel4 8,there1 in a silver casket gilt with gold1 hee laid the bones of ,venerable ,bede1 and erected a costly and magnificent shrine over it10 so the ,rites of ,durham inform us4 ,when the shrine was destroyed in #aedb1 the bones were interred beneath the site of the shrine and were left undisturbed until #ahca1 when they were exhumed1 examined1 enclosed in a lead-lined coffin and replaced in the tomb4 8,the most interesting monument here is the plain altar-slab which marks the burial-place of the great ,northumbrian scholar4 ,on the tomb are engraved the well-known words1 ,hac sunt in foss ,bed ,venerabilis ossa 7,in this grave lie the bones of the ,venerable ,bede74 ,according to the old legend the monk1 who was casting about for a word to complete the scansion of his line between ,bed and ossa1 left a space blank until he could in the morning return to his task with a mind refreshed4 ,however1 during the night an unknown hand added the metrically suitable ,venerabilis4 ,this1 according to the legend1 is the origin of the peculiar preface ,venerable1 always associated with the name of ,bede40--7,t47 ,there are few monuments and tombs in ,durham ,cathedral4 ,the most interesting is that of ,lord ,ralph ,neville and his wife1 ,lady ,alice1 in the south side of the nave4 ,unfortunately the effigies of #acfg and #acfd are much mutilated4 ,near them is the altar-tomb of ,lord ,john ,neville 7died1 #achf71 and his wife1 the daughter of ,lord ,henry ,percy1 the famous 8,hotspur40 ,their effigies are headless and mutilated1 but traces of colour and gilding are to be seen4 ,the carving of the canopies is very beautiful and between each of the niches are two square panels bearing the arms of ,neville and ,percy4 ,we now come to the transepts4 ,each consists of two bays1 with an aisle on the eastern side1 to which three steps lead4 ,in these at one time altars stood--to ,st4 ,nicholas and ,st4 ,giles1 to ,st4 ,gregory and ,st4 ,benedict in the north transept2 and to ,st4 ,faith and ,st4 ,thomas the ,apostle1 to ,our ,lady of ,bolton and ,our ,lady of ,houghhall1 in the south transept4 ,a large window ornaments and lights each end4 ,the one in the north end is supposed to date from #acfb4 ,it is composed of six lights1 and the head shows late geometrical tracery4 ,the transom crossing the mullions is not visible from the outside4 ,below it a second set of mullions supports a small gallery which leads to the triforium4 ,this window was repaired in #aeab and filled with glass of the period representing its chief figures--,st4 ,augustine1 ,st4 ,jerome1 ,st4 ,gregory and ,st4 ,ambrose4 ,therefore it became known as ,the ,four ,doctors of the ,church4 ,prior ,castell1 who had charge of the repairs1 placed himself here kneeling before the ,virgin4 ,the opposite window1 in the south end of the transept1 is called the ,te ,deum4 ,it contains six lights and is ,perpendicular in style1 dating between #adaf and #addf4 ,there are corresponding stairways in the north-west and south-west corners of the transepts4 ,now we come to the ,tower1 supported on four large ,norman piers with semicircular arches4 ,we look above about seventy feet and see the first story of the lantern with a gallery4 ,panels1 grotesque heads1 corbels1 crockets and finials and a string-course ornamented with the ,tudor flower give us plenty to study4 ,then come the windows1 each with two lights and divided by a transom1 and1 last of all1 the handsome groined roof with bosses on the ribs4 ,the ,choir is the earliest part of the church4 ,it contains ,early ,norman1 ,early ,english and ,early ,decorated work4 ,the two later styles occur in the eastern part1 and much beautiful detail is to be enjoyed4 ,where the one leaves off and the other begins affords interesting study4 ,carileph's work is seen in the western bays4 ,arcades adorn the piers on both sides of the choir4 ,the lower row has six arches and the upper three4 ,all these are carved with foliage1 heads and half figures4 ,on each pier of the upper arcade there is an angel under a canopy4 ,the vaulting dates from the ,thirteenth ,century4 ,it is quadripartite4 ,square leaves and the dog-tooth decorate the ribs4 ,the bosses at the points of intersection are very fine4 ,an altar-tomb with the effigy of ,bishop ,hatfield 7#acde-acha71 beneath the ,bishop's ,throne1 reminds us of the days when bishops were princes and warriors4 ,hatfield led eighty archers to the siege of ,calais2 and during his rule at ,durham the battle of ,neville's ,cross occurred 7see page #bcf74 ,such a magnificent bishop had to have a magnificent tomb2 and so1 according to the custom of the day1 he designed one for himself4 ,here he lies beneath a canopy that once was bright with painting and gilding4 ,his effigy shows his splendid robes4 ,the ,screen1 separating the choir from the nave1 dates from #ahgj-ahgf4 ,the ,choir-stalls were made from #affj to #afgb to replace the originals destroyed by the ,scottish prisoners incarcerated in the ,cathedral in #afej after the battle of ,dunbar4 ,above the high altar rises the splendid ,neville ,screen1 erected about #achj chiefly at the expense of ,john1 ,lord ,neville of ,raby4 ,it runs along the entire choir1 and forms sedilia of four seats on either side4 ,the screen was originally filled with #ajg statues4 ,the ,virgin stood in the centre1 and one side of her was ,st4 ,cuthbert1 and on the other ,st4 ,oswald4 8,the prior of the day employed at his own expense seven masons for nearly a year to fix the screen1 the execution of which is supposed to have been the fruit of the labours of ,french artists4 ,the screen originally was much more elaborate than at present1 being covered with rich colour and every niche filled with sculptured figures1 but even now its present appearance is graceful40--7,t47 ,the ,neville screen is pierced by two doors that lead directly to the ,shrine of ,st4 ,cuthbert in the ,chapel of the ,nine ,altars just behind it2 for in this chapel repose the bones of the patron saint4 ,facing the great rose window there is an oblong platform 7#cg #bc feet71 about six feet higher than the floor4 ,the shrine was placed here in #aajd and remained until #aedj1 when the body was taken from it and buried beneath this spot4 ,the ,chapel of the ,nine ,altars was so named because beneath the nine lancet windows formerly stood nine altars to the following saints3 7#a71 ,st4 ,andrew and ,st4 ,mary ,magdalen2 7#b71 ,st4 ,john the ,baptist and ,st4 ,margaret2 7#c71 ,st4 ,thomas of ,canterbury and ,st4 ,catherine2 7#d71 ,st4 ,oswald and ,st4 ,lawrence2 7#e71 ,st4 ,cuthbert and ,st4 ,bede2 7#f71 ,st4 ,martin2 7#g71 ,st4 ,peter and ,st4 ,paul2 7#h71 ,st4 ,aidan and ,st4 ,helen2 7#i71 ,st4 ,michael the ,archangel4 8,it is approached from the aisles by steps1 the floor level being lower than that of the church proper4 ,it is altogether a remarkable and interesting structure4 ,with its lightness and loftiness contrasting grandly with the massive ,norman nave and choir1 its clustered columns of polished marble alternating with stone1 its fine bold sculpture1 its splendid vaulted roof and rich arcading1 it forms a perfect example of the ,early ,english style4 ,though regular and symmetrical in general design1 the detail shows great variety1 and even irregularity1 a quality so often present in old work1 and so much to its advantage4 8,the #8,new ,work1' as it was always called1 was commenced in the year #abdb4 ,the eastern wall1 with its rose and nine lancet windows1 is the earliest part of the chapel1 the north and south walls being later4 ,the joining and blending of the work with the ,norman of ,carileph's choir had evidently been accomplished when the chapel was almost completed4 ,the eastern wall is of three bays1 each bay having three lofty lancet windows4 ,the bays are not of equal width1 the centre one being regulated by the width of the nave of the church1 and narrower than the north and south bays4 8,a very beautiful arcade runs completely round the walls4 ,it is of trefoil arches deeply and richly moulded1 supported on marble columns carved with foliage4 ,over the arches is a hood-mould terminating with heads4 ,in the spandrels are a series of deeply sunk and moulded quatrefoils1 two of which contain sculpture4 ,the bases of the columns rest on a plinth4 ,surmounting this arcade is a moulded string from the level of which rise the windows1 and above the windows another string-course and a second range of windows4 ,in the centre bay1 however1 is the large rose window1 which is over thirty feet in diameter4 8,the division of the chapel into three bays is effected by two main vaulting arches1 which spring on the western side from the piers of the east end of the choir1 and on the eastern side from responds of clustered shafts alternately of marble and stone1 banded at intervals and having richly carved capitals4 ,the arches themselves are deeply moulded and ornamented with dog-tooth ornament and foliage4 ,the vault of the central bay has eight ribs--two springing from each of the clusters just described1 and two from each of the choir piers4 ,the vaulting of the remaining bays is quadripartite1 but has peculiarities which are worthy of notice1 arising from inequality of width4 ,we must not omit to call attention to the exquisite sculpture of the vaulting4 ,the centre has figures of the ,four ,evangelists1 while in the north is a beautifully executed carving of vine and grapes1 and in the south1 figure subjects4 ,among the sculptured heads on the wall arcade at the south end1 at the western side of the two bays into which the south wall is divided1 are two which are portraits of the men to whom we owe the design and execution of the beautiful sculpture of this chapel4 ,one is an elderly man1 the other much younger1 and both wear linen dust-caps over their heads40--7,j4 ,e4 ,b47 ,the rich and varied carving of the capitals of the vaulting-shafts and vaulting-bosses will delight the lover of beautiful sculpture4 ,the beautiful ,early ,decorated north window of six lights was originally filled with glass illustrating the history of ,joseph4 ,hence it was called ,joseph's ,window4 ,it is a particularly fine example of the tracery of the period4 ,the two windows in the south end of this transept were once filled with glass representing the life and miracles of ,st4 ,cuthbert4 ,they show tracery of the ,perpendicular period4 ,each window is divided by a central mullion and is widely splayed inwards4 ,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 lights1 the mullions of which are received on a foliated circle in the centre4 ,this is ,wyatt's work1 for1 as we have seen1 he removed the fine ,early ,english window from this place4 ,the ,cloisters and the ,chapter-,house we find on the south side of the ,cathedral4 ,the cloisters were begun in #achh-adjf and completed about #adch4 ,they are much altered and restored4 ,from them various halls of the monks could be entered4 ,from the eastern alley we pass into the ,chapter-,house1 a restoration of what was considered the finest ,norman ,chapter-,house in ,england when ,wyatt pulled it down4 ,illustration3 ,,durham3 ,,neville ,,screen ,illustration3 ,,ripon3 ,,south ,,ripon ,,dedication3 ,,st4 ,,peter ,,and ,,st4 ,,wilfrid4 ,,formerly ,a ,,collegiate ,,church ,,served ,,by ,,augustinian ,,canons4 ,,special ,,features3 ,,nave2 ,,st4 ,,wilfrid',s ,,needle2 ,,rood-,,screen2 ,,east ,,window2 ,,choir-,,stalls4 ,ripon did not become a cathedral until #ahcf4 ,from the ,eighth ,century until that date it was in the diocese of ,york1 and the ,archbishop of ,york1 having his throne in the choir1 gave the church great importance4 ,ripon monastery was established in the ,seventh ,century4 ,the monks came from ,melrose ,abbey on the ,tweed and represented the ,christianity that was introduced into the north by way of ,ireland through ,st4 ,columba's missionaries4 ,their great abbot was ,wilfrid1 who became ,bishop of ,northumbria4 ,in #ffi he began a stone monastery1 on the site1 in all probability1 of the earlier one2 and this was dedicated in #fgj to ,st4 ,peter4 ,wilfrid died in #gji and was buried in his church at ,ripon4 ,miracles took place at his tomb1 which drew such large crowds that the monks tried to restrain them4 ,in #idh1 when ,eadred was quelling a rebellion in ,northumbria1 8was that famed minster burned at ,ripon which ,st4 ,wilfrid built40 ,the next date of interest is the rebuilding of the church by ,roger de ,pont l'vque 7#aaed-aaha71 the great rival of ,thomas ,becket4 ,it was a cruciform edifice2 its nave was without aisles4 ,of this1 the two transepts1 half of the central tower1 and portions of the nave and choir remain4 ,ripon is1 therefore1 one of the most important examples extant of the transition from ,norman to ,early ,english4 ,archbishop ,walter de ,gray 7#abaf-abee7 translated the relics of ,st4 ,wilfrid to a new shrine in #abbd4 ,the west front with its two towers was built about this time2 and the eastern part of the choir was rebuilt in the ,decorated style by ,archbishop ,john ,romanus 7#abhf-abif74 ,the church was used as a refuge and fortress by the people of ,ripon when the ,scots invaded it in #acag4 ,many necessary repairs were made under ,archbishop de ,melton 7#acag-acdj74 ,the central tower fell in #adej and had to be rebuilt2 also the east side of the south transept and the south side of the choir4 ,the present rood-screen and canopied stalls were erected at the end of the ,fifteenth ,century4 ,then the nave was rebuilt2 but progress was delayed by the outbreak of a plague in #aejf4 ,st4 ,wilfrid's ,shrine was demolished by ,henry ,,viii4 ,in #aeic the central spire was injured by lightning4 ,during the ,civil ,wars the ,parliamentary soldiers shattered the splendid glass of the east window and did other damage4 ,in #affj the central spire fell and injured some of the canopies of the choir-stalls2 and1 therefore1 in #affd1 the western spires were removed for fear that they might fall also4 ,many repairs were made in #ahbi4 ,restorations on a large scale were undertaken by ,sir ,gilbert ,scott in #ahfb-ahgj4 ,the ,west ,front is ,early ,english4 ,it has two square towers and a central gable4 ,string-courses divide the faade into four stages4 ,in the first are three doorways adorned with gables and crosses4 ,the central door1 which is larger than the others1 consists of five orders and five triple shafts4 ,the two others have three orders and three shafts4 ,some of the mouldings are filled with the dog-tooth ornament4 ,all three doors open into the nave4 ,between the gables spouts issue from the heads of animals4 ,above the doors comes a row of five lancet windows and above them a group of three small lancets placed very high4 ,the towers are ornamented with arcades and lancets1 buttresses1 parapets and pinnacles4 ,the ten bells hang in the south tower4 ,the ,central ,tower is interesting because it is composed of two styles of architecture4 ,on the north and west sides it is ,twelfth ,century and on the two others ,perpendicular4 ,the windows on all sides are round-headed4 ,the dog-tooth ornament appears in the moulding4 ,ripon1 though finely proportioned1 is somewhat cold and severe in general appearance4 ,the north transept with its round-headed windows and its interesting doorway1 with a rather curious inner arch and capitals of carved foliage1 is a good example of the ,twelfth ,century4 ,the south side of the nave is preferred to the north side by critics4 ,in the south transept we have ,archbishop ,roger's work again4 ,the doorway is elaborate4 ,the foliage on the capitals of the columns approaches the ,early ,english style4 ,the lintel is square4 ,the south side of the choir is partly hidden by the ,chapter-,house with the ,lady-,loft above4 ,the buttresses that follow are of the ,twelfth ,century4 ,the three western bays are ,perpendicular2 the others1 ,decorated4 ,the two flying-buttresses are like those on the north side4 ,gargoyles appear at intervals along the string of the roof4 ,the east end is ,decorated4 ,its chief feature is the splendid window1 of which the tracery alone remains4 ,entering the west doorway we look upon one of the great naves of the ,perpendicular period1 ranking next in size after ,york1 ,winchester1 ,chichester and after ,st4 ,paul's in width4 8,among very late ,gothic buildings there are few indeed which are of so good a quality as this nave of ,ripon1 which1 like the late church towers of ,somerset1 shows that ,medival art took long to die out in regions remote from ,london4 ,it is1 indeed1 the architecture of the days of ,agincourt rather than of the eve of the ,english ,renaissance4 ,the pillars are characteristic of the ,perpendicular style1 their section being a square with a semicircle projecting from each side1 and the corners hollowed4 ,their bases have complex plinths of considerable height and are polygonal1 but follow roughly the form of the pillar1 and the mouldings1 as usual in this style1 overhang the plinth4 ,the capitals1 with small mouldings and many angles1 are of somewhat the same form as the bases4 ,on the westernmost complete pillar of the north arcade are two shields1 charged respectively with the arms of ,ripon 7a horn7 and of ,pigott of ,clotherholme4 ,the arches1 instead of being of that depressed form which is so common in late work1 are very beautifully proportioned1 and their mouldings are bold1 numerous and well-cut4 ,there is no triforium2 but a passage1 at a slightly lower level than in ,archbishop ,roger's bays1 runs below the great clerestory windows1 which were once1 no doubt1 gorgeous with stained glass4 ,their arches are moulded1 but the splay is left plain4 ,the roof-shafts1 which are in clusters of three and have fillets upon them1 spring from semi-octagonal corbels1 and where each cluster passes the string-course there is an angel holding a shield4 ,a sign of decadence may be found1 perhaps1 in the way in which the hood-moulds of the windows intersect with these shafts4 ,though the two sides of the nave are not quite of the same date1 they are almost alike1 but for some slight differences in the capitals1 the arch-mouldings1 and the hollows on the pillars2 the builders feeling1 doubtless1 that any marked variation would mar the general perspective--a consideration which1 of course1 could not bind them in designing the north aisle4 ,the original ,perpendicular roof may have resembled that which now covers the transepts4 ,about #ahbi ,blore put up an almost flat ceiling of deal4 ,the present oaken vault1 by ,sir ,gilbert ,scott1 was copied from that of the transepts of ,york ,minster1 and is adapted to the old roof-shafts1 between which have been added angel corbels of wood4 ,as the ribs intersect near their springing1 they weave a network over the whole vault1 and the carved bosses at the intersections amount to #ajg4 ,a passing notice is merited by the pulpit1 which is ,jacobean40--7,c4 ,h47 ,the two great tower arches under the west towers are ,early ,english2 those of the central tower are round4 ,their great piers are composed of clusters of engaged shafts4 ,massive arches also mark the opening of each aisle of the nave into the transept4 ,in the south aisle stands a blue marble ,font1 and near it an older one1 probably of the ,twelfth ,century4 ,tradition says that the altar-tomb here is that of an ,irish prince who brought home from ,palestine a tame lion4 ,on the bas-relief a lion1 a kneeling man and two birds are represented1 which gives cause for the story4 ,the work is presumably of the ,fourteenth ,century4 ,above the font we can see the only ,medival glass in the ,cathedral--fragments of ,fourteenth ,century work left from the wreckage of the ,puritan soldiers4 ,st4 ,peter1 ,st4 ,paul and ,st4 ,andrew will easily be recognized4 ,there is also a shield bearing the ,english arms in this window4 ,in the south wall of the nave there is a fine ,piscina dating from the ,twelfth ,century4 ,at this point we shall have to interrupt our walk through the ,cathedral to examine ,st4 ,wilfrid's ,needle1 the popular name for the ,saxon ,crypt4 8,from a trap-door in the pavement below the piscina a flight of twelve steps winds down into a flat-roofed and descending passage #b feet wide and slightly over #f feet high1 which1 running a few feet northwards and bending at right angles round the south-west tower pier1 extends eastward for about #aj yards1 with a descent of one step near the end1 and terminates in a blank wall4 ,there is a square-headed niche at the turn and a round-headed niche at the end1 both meant1 doubtless1 to hold lights4 ,three feet from the end a round-headed doorway1 #b feet wide and over #f feet high1 opens northwards with a descent of two more steps1 into a barrel-vaulted chamber1 #aa feet #e inches long from east to west1 #g feet #g inches wide and #i feet #aj inches high4 ,in the north wall of this chamber1 and approached by three wide steps1 is the celebrated ,st4 ,wilfrid's ,needle1 a round-headed aperture pierced through into a passage that runs behind4 ,this aperture was connected with one of those superstitions that so often flourished before the ,reformation in notable centres of religion1 and ability to pass through it1 or #8thread the needle1' was regarded as a test of female chastity2 but it was1 of course1 in the later middle ages that this superstition arose1 and the #8needle' 7or rather needle's eye7 is evidently only one of the original niches with the back knocked out4 ,of these niches 7which again were doubtless for lights7 there are four in the chamber besides the #8needle1'--one in each wall1--and1 like the niche at the end of the passage of entrance1 they all have semicircular heads1 each cut in a single stone4 ,that in the west wall has a hole or cup at the bottom1 probably to hold oil in which a wick might float1 while the others 7except the #8needle'7 have a sort of funnel at the top1 doubtless to catch the soot from lamps40--7,c4 ,h47 ,the ,north ,transept is a fine specimen of the transitional from ,norman to ,early ,english1 and is almost in its original condition4 ,it is #cd feet wide1 or #eb feet including the aisle4 ,here we find a stone pulpit of the ,perpendicular period1 its five ,illustration3 ,,ripon3 ,,nave1 ,,east ,illustration3 ,,ripon3 ,,choir1 ,,east sides embellished with panelling4 ,at the north wall was probably situated the ,markenfield ,chantry2 for the aisle is still called by this name4 ,two family tombs remain4 ,the ,south ,transept is slightly narrower than the north4 ,parts of it were altered in the ,perpendicular period4 ,in the aisle we find the ,mallory ,chapel1 where members of the ,studley family are buried4 ,the northern bay is filled by a stone stairway1 at the top of which are two doors4 ,one opens into a chamber containing the bellows of the organ and the other into the ,lady-,loft1 or ,library4 ,this stairway was erected by ,sir ,gilbert ,scott to replace an older one4 ,the elegant ,rood ,screen is of the ,fifteenth ,century4 ,it contains a central doorway surmounted by a crocketed ogee hood1 beneath which is a mutilated carving of ,the ,trinity4 ,four large niches stand on either side of the door and a row of twenty-four smaller ones runs above these4 ,cinquefoils and feathered cusps decorate the whole screen1 which is twelve feet thick4 ,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 pit4 ,we pass on to the ,choir4 ,this is of three styles3 the first three bays on the north side are ,twelfth ,century2 the first three on the south side1 ,perpendicular2 and the last three on both sides1 ,decorated4 ,the triforium windows are filled with glass4 8,the great window in the central compartment is one of the finest examples of ,geometrical tracery1 if not one of the largest windows1 in ,england4 ,it is over #ej feet high1 is #be feet wide1 and has seven lights4 ,of these the three at either end are comprised under a sub-arch1 in the head of which are three cinquefoiled circles1 while the central light of the seven is surmounted by an arch1 not so high as its neighbours1 but impaling upon its acute point a huge circle which fills the head of the window and contains six trefoils radiating from its centre4 ,the arch of this superb window is rather acutely pointed and richly moulded1 and has two very slender shafts worked on the stones of either jamb1 with foliage on their capitals4 8,the huge window1 which is not splayed1 has a deep rear-vault bounded by a massive rib1 whose outer edge rests on slender engaged shafts with foliage on their capitals1 while the inner edge ends in bunches of foliage4 ,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 corbel4 ,the inner arch has slender shafts1 and so has the moulding next to the tracery1 but in the latter case the capitals are plain4 ,few acts of vandalism are more to be regretted1 probably1 than the destruction in #afdc of the magnificent ,fourteenth ,century glass which once occupied this window4 ,the present very poor glass1 by ,wailes of ,newcastle1 commemorates the revival of the ,see of ,ripon in #ahfc4 8,over the window may be seen the mark of one of the earlier roofs4 ,the choir is thought to have received a groined vault of oak after the rebuilding of the east end1 but this vault was probably renewed more than once1 especially after the accident to the tower about #adej1 and the fall of the spire in #affj4 ,sir ,gilbert ,scott found a vault of lath and plaster 7probably the work of ,blore7 for which he substituted the present roof1 a groined wooden vault1 admirable in its lofty pitch and judicious colouring4 ,its chief feature1 however1 is the splendid bosses along the ridge1 which are survivals from either the ,decorated or a subsequent ,perpendicular vault4 ,in some of these bosses the figures are five feet long40--7,c4 ,h47 ,the ,choir-,stalls are splendid specimens of the ,fifteenth ,century1 with very ornate canopies of tabernacle-work bristling with spires and pinnacles4 8,there are ribbed vaults under the canopies1 and upon the pendants in front are hovering angels4 ,the canopies on the south side were wrecked by the fall of the spire in #affj1 and those over the eight easternmost stalls were then reconstructed in the #8,jacobean' style with a gallery above1 while of the canopies now over the other nine1 eight are said to have been brought across from the eastern end of the north range1 where more ,jacobean canopies were erected in their place4 ,sir ,gilbert ,scott removed all this ,seventeenth ,century work and set up reproductions of the ,fifteenth ,century design4 ,thus the eight easternmost canopies on either side are modern4 ,the misereres and arms of the stalls are exquisitely carved4 8,the subjects upon the former are as follows1 beginning from the archway in the screen3-- 8,north side3--7#a7 7,,canon ,,in ,,residence7 lion attacked by dogs2 7#b7 dragon attacked by dogs2 7#c7 angel with shield2 7#d7 dragon and birds2 7#e7 hart's-tongue ferns2 7#f7 conventional flowers2 7#g7 ape attacked by lion2 7#h7 vine2 7#i7 birds pecking fruit2 7#aj7 antelopes2 7#aa7 fox preaching to goose and cock2 7#ab7 fox running off with geese2 7#ac7 fox caught by dogs2 7#ad7 dragons fighting2 7#ae7 fruit and flowers issuing from inverted head2 7#af7 man holding club with oak leaves and acorns2 7#ag7 7,,mayor',s ,,stall7 griffin catching rabbit4 8,south side3--7#a7 7,,dean7 angel with book2 7#b7 angel with shield bearing date #adhi2 7#c7 lion versus griffin2 7#d7 griffin devouring a human leg2 7#e7 owl2 7#f7 mermaid with mirror and hair-brush2 7#g7 two pigs dancing to bagpipe played by a third2 7#h7 ,jonah thrown to the whale2 7#i7 man wheeling another who holds a reed and a bag2 7#aj7 fox caught carrying off goose by dog and by woman with distaff2 7#aa7 winged animal2 7#ab7 hart1 gorged and chained2 7#ac7 pelican feeding young2 7#ad7 ,jonah emerging from the whale2 7#ae7 ,samson carrying the gates2 7#af7 head 7modern72 7#ag7 7,,bishop',s ,,throne7 ,caleb and ,joshua carrying the grapes and watched by ,anakim4 8,most of these misereres have exquisite conventional flowers 7especially roses7 cut upon them in addition to the figure-subjects4 ,the desks in front of the stalls have rich finials1 and their panelled fronts form the backs of a lower tier of seats1 the arms of which are supported each on a square shaft set diamondwise4 ,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 ,flamboyant4 ,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 lion4 ,before both these stalls the ends of the two tiers of desks are richly carved4 ,the ,bishop's throne and ,mayor's stall have each a canopied niche on the exterior toward the east1 and two small apertures in the east side to enable the occupant to see the altar1 and in front of these two stalls the ends of the two tiers of desks are again richly carved4 ,the ,mayor's stall is wider than the others1 and attached to the finial in front is a grotesque ape1 beneath which the supporting shaft is of open work4 ,the end of this desk displays a shield charged with two keys in saltire1 for the see of ,york4 8,the ,bishop's throne was originally occupied by the ,archbishops of ,york4 ,the ,jacobean canopy1 which succeeded that of the ,fifteenth ,century1 comprised the space of two stalls1 as did also the modern structure by which it was itself succeeded and which is now in the ,consistory ,court4 ,the present canopy resembles those of the other stalls but is higher and more elaborate4 ,upon the back of the throne inside is a small mitre4 ,the finial in front consists of an elephant carrying a man in his trunk1 and bearing on his back a castle filled with armed soldiery1 and in front of the elephant is a centaur 7renewed71 the shaft under which is again of open-work4 ,the end of this desk displays a large mitre above a shield charged with the three stars of ,st4 ,wilfrid and supported by two angels1 between whom is a scroll with the date of #adid40 ,the altar stands against the east wall of the presbytery4 ,the ,reredos is a restoration of the original ,decorated one4 ,the ,sedilia and a ,piscina are placed on the south side4 ,sir ,gilbert ,scott considered them ,late ,decorated work1 but they have rather the appearance of ,late ,perpendicular4 ,some historians think that the shrine of ,st4 ,wilfrid stood in the east end of the north-choir-aisle4 ,the remains were kept in a superb coffer1 which was carried in processions4 ,passing down the south-choir-aisle from the east we first come to the vestry2 then to the ,chapter-,house2 and then to the ,mallory ,chapel4 ,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 times4 ,the ,chapter-,house is of the ,twelfth ,century4 ,above it is a ,lady-,chapel1 called here the ,lady-,loft4 ,it is unusual to find a ,lady-,chapel on the south side of the ,choir and on an upper floor4 ,it dates from about the middle of the ,fifteenth ,century4 ,it is now used as a ,library4 ,,york ,,minster ,,dedication3 ,,st4 ,,peter4 ,,served ,,by ,,secular ,,canons4 ,,special ,,features3 ,,west ,,front2 ,,choir2 ,,chapter-,,house2 ,,windows4 ,york1 8the ,king of ,cathedrals10 is one of the noblest and best examples of ,gothic architecture4 ,in form and proportion1 in detail of ornament1 in exterior and interior1 the famous ,minster takes rank with the greatest ecclesiastical buildings4 ,not only is it enormous--a forest of architecture--but it contains1 perhaps1 more ancient stained glass than any other building in the world4 8,other ,english cathedrals are more finely placed1 several are richer in ornament1 one or two have a more delicately varied outline4 ,none are so stately and so magnificent2 and there is hardly a church in ,europe that appears so vast as the ,minster1 viewed from the north4 8,the low-pitched roof of the ,minster1 the solidity of the central tower1 the simple and tranquil front of the north transept1 give the building an air of masculine and stately repose1 and of perfect finish seldom to be found in foreign churches2 while the apparent uniformity of style1 though the architecture is of three different periods1 frees it from the picturesque inconsequence of many ,english cathedrals4 ,yet neither inside nor outside does the ,minster appear to be the expression of the spiritual aspirations of a people4 ,it represents rather a secular magnificence1 the temporal power of a ,church that has played a great part in the history of the nation4 ,the archbishops of ,york have been forced by circumstances to be militant prelates1 contending with ,canterbury for precedence1 leading armies against the ,scotch1 sometimes even heading rebellions against the king2 and in their cathedral they have expressed their ambition and their pride40--7,a4 ,c4-,b47 ,the visitor who has a short time to visit ,york ,minster will study the west front1 the choir1 the ,chapter-,house1 and the windows4 8,if the beauty in the form of our flos florum is due to its architecture1 very much of its beauty in colour depends on the glowing and mellowed tints with which its windows are filled4 ,but it is a large subject to enter upon1 for as regards quantity there are no less than one hundred and three windows in the ,minster1 most of them entirely1 and the remainder1 only excepting the tracery1 filled with real old ,medival glass4 ,some of the windows1 too1 are of great size4 ,the east window1 which is entirely filled with old glass1 consists of nine lights and measures seventy-eight feet in height1 thirty-one feet two inches in width4 ,the two choir transept windows1 that in the north transept to ,st4 ,william1 and the south to ,st4 ,cuthbert1 measure seventy-three feet by sixteen feet4 ,they have both been restored1 the latter very recently1 but by far the greater part of them is old glass4 ,on each side of the choir1 the aisles contain nine windows measuring fourteen feet nine inches by twelve feet1 only the tracery lights of which are modern2 the same number of windows fill the clerestory above1 the greater portions of which are ancient4 8,the famous window of the north transept1 the ,five ,sisters1 consists of five lights1 each measuring fifty-three feet six inches by five feet one inch1 and is entirely of old glass4 ,there are six windows in the north and six in the south aisles of the nave1 with only a little modern glass in the tracery4 ,the superb ,flamboyant window at the west end of the centre aisle measures fifty-six feet three inches by twenty-five feet four inches1 and consists1 ,i believe1 entirely of old glass1 except the faces of the figures4 ,the clerestory windows are studded with ancient shields1 but a great part of the glass is1 ,i fancy1 modern2 those of the vestibule1 eight in number1 measuring thirty-two feet by eighteen1 are of old glass1 including the tracery lights4 ,the east window has been clumsily restored by ,willement4 ,in the side windows of the transept there is some old glass1 and the great rose window over the south entrance still retains much of the old glass2 while far overhead in the tower there are some really fine bold designs of late1 but genuine1 design and execution4 ,altogether1 according to actual measurements1 there are #be1eca superficial feet of ,medival glass in the ,minster1 i4e41 more than half an acre--a possession1 we should think1 unequalled by any church in ,england1 if not in ,christendom40--7,p4-,c47 ,york1 or1 to use its older name1 ,eboracum1 had been an important ,british settlement long before the ,romans made it the principal seat of their power in the north between the years #gj and #hj ,a4,d4 ,it continued to be a ,roman court until the ,emperor ,honorius left ,britain in #dji4 ,hadrian lived here2 ,severus and ,constantine ,chlorus died here2 and here ,constantine the ,great was proclaimed ,emperor4 ,many churches in the vicinity were dedicated to the latter's mother1 ,st4 ,helena1 the legendary discoverer of the ,true ,cross4 ,york was therefore the great military post and the great ecclesiastical seat in the north of ,england4 ,the question of precedence between ,york and ,canterbury arose as early as the days of ,st4 ,augustine4 ,gregory the ,great instructed the latter to appoint twelve bishops1 one of whom was to be the ,bishop of ,york1 who was to ordain other bishops in the north of ,england4 ,he was to be subordinate to ,augustine2 but subsequently precedence should be determined by priority of consecration4 ,this occasioned dissensions for centuries1 culminating in the murder of ,thomas ,becket 7see page #b71 which ,roger de ,pont l'vque is said to have instigated4 ,it was this ,archbishop of ,york who1 refusing to take a lower seat at the ,council of ,westminster in #aagf1 sat himself in the lap of ,becket's successor only to be pulled off and soundly beaten4 ,the question was not finally settled until the time of ,john of ,thorsby 7#aceb-acgc71 when ,innocent ,,vi4 determined that the ,archbishop of ,canterbury should be styled ,primate of ,all ,england and the ,archbishop of ,york1 ,primate of ,england4 ,the first archbishop was ,paulinus1 ,bishop of ,rochester 7see page #cc71 who accompanied ,ethelburga1 daughter of the ,king of ,kent1 when she went to ,northumbria to marry ,king ,edwin4 ,edwin embraced ,christianity and was baptised in #fbg1 by ,paulinus1 in a temporary wooden church on the site of the present glorious ,york ,minster4 ,immediately afterwards ,edwin began to build a stone church in this same place1 which he dedicated to ,st4 ,peter4 ,this church was repaired by the next archbishop--the great ,wilfrid--about #ffi4 ,when ,thomas of ,bayeux1 the first ,norman archbishop1 arrived in #ajgj1 he found the ,cathedral in ruins1 owing to the ,danish invasion and to the wars of the ,conqueror2 and1 if ,william of ,malmsbury may be believed1 ,thomas began the church from its foundations and also finished it4 ,roger de ,pont l'vque 7#aaed-aaha7 rebuilt the choir4 ,about this time ,york acquired its patron saint1 ,william ,fitzherbert1 great-grandson of the ,conqueror1 who became ,bishop of ,york in #aadc4 ,expelled from office in #aadg1 he was restored in #aaec4 ,on his return he performed a miracle and died almost immediately afterwards1 so suddenly1 in fact1 that he was thought to have been poisoned out of the holy chalice4 ,the monks buried him in the ,cathedral4 ,his tomb attracted pilgrims because of the marvellous cures4 ,st4 ,william was canonised in #abhd2 and in that year his relics were translated from the nave to the choir4 ,edward ,i4 and ,queen ,eleanor were present and gave jewels to the shrine1 which was placed at the eastern end of the nave under a huge canopy4 ,st4 ,william's head was preserved in a silver reliquary4 ,there is now no ,norman work visible in ,york ,minster except in the crypt and in parts of the nave and tower4 ,in #abjj1 however1 the nave1 choir1 towers1 and transepts were ,norman4 ,about #abcj it was decided to rebuild the transepts on a big scale4 ,walter de ,grey 7#abaf-abfe7 began the south transept 7,early ,english72 and he lies there under an arch1 in a splendid tomb4 ,john ,romeyn1 treasurer of ,york1 built the north transept and also an ,early ,english tower to replace the ,early ,norman tower4 ,his son1 ,john ,romeyn1 also archbishop from #abhf to #abif1 began the new nave4 ,john of ,thorsby 7#aceb-acgc7 began the present choir in #acfa4 ,the work was started at the extreme east end4 ,thorsby was a ,yorkshireman1 who 8had the further development of the glories of the ,minster thoroughly at heart4 ,at once he sacrificed his palace at ,sherburn to provide materials for an appropriate ,lady-,chapel1 gave successive munificent donations of #ajj at each of the great festivals of the ,christian year1 and called on clergy and laity alike to submit cheerfully to stringent self-denial to supply the funds4 8,during his tenure of office of twenty-three years the ,lady-,chapel was completed1 a chaste and dignified specimen of early ,perpendicular style1 into which the ,decorated gradually blended after the year #acfj1 and unique in its glorious east window1 seventy-eight feet high and thirty-three feet wide1 still the largest painted window in the world1 enriched with its double mullions1 which give such strength and lightness to its graceful proportions1 and with its elaborate glass executed by ,thornton of ,coventry1 at the beginning of the following century4 ,but ,roger's choir1 which was still standing1 must now have looked sadly dwarfed between the lofty ,lady-,chapel and the tower and transepts40--7,p4-,c47 ,edward ,i4 made ,york his capital during the war with ,scotland1 to the expense of which the archbishop and clergy gave one-fifth of their income4 ,parliament assembled there in #acah4 ,the archbishops were great politicians and intriguers1 now plotting against the king and now supporting him2 great military leaders1 sometimes defeated1 like ,melton at ,myton-on-,swale1 where he led #aj1jjj men against the ,scots1 or victorious1 like ,william ,la ,zouche 7#acdb-aceb7 at ,neville's ,cross near ,durham2 and nearly always great builders and benefactors of the ,cathedral4 ,richard ,scrope's rebellion is famous4 ,lord ,chancellor of ,england and ,bishop of ,lichfield before he became ,bishop of ,york in #acih1 ,scrope was advanced by ,richard ,,ii4 ,in #adje he headed a rebellion and was captured4 ,the ,chief ,justice refused to try him4 ,he was taken to his own palace at ,bishopthorpe1 condemned to death and beheaded near ,york in #adje4 ,buried in the ,minster1 thousands flocked to his tomb in the north-choir-aisle4 ,naturally enough the king who had murdered him tried to check the stream of offerings2 but ,scrope's tomb became more popular than that of ,st4 ,william4 ,scrope was a ,yorkshireman1 the son of ,lord ,scrope1 of ,masham1 and the ,scropes had a chantry in the chapel of ,st4 ,stephen1 now destroyed4 ,the great central tower was erected in #adjj-adbc and the church was re-consecrated on ,july #c1 #adgb2 and so1 at the close of the ,fifteenth ,century1 ,york ,minster existed as we see it3 save for two fires 7#ahbi and #ahdj7 and a judicious repairing and restoration in #ahga1 the great ,minster has not been changed4 ,when ,henry ,,viii4 disestablished the monasteries there were many outbreaks in ,york1 and the famous 8,pilgrimage of ,grace0 7#aecf7 was much excited by the seizure of ,st4 ,william's head1 still a beloved relic of the ,cathedral4 ,lee1 then archbishop1 was taken by the rebels and forced to support them4 ,before this1 however1 ,thomas ,wolsey had been arrested at ,cawood4 ,though ,archbishop 7#aead-aecj71 it is said that he was never at ,york4 ,when ,york was besieged by the ,parliamentarians in #afdd1 ,fairfax restrained his soldiers to some degree1 which explains why so much of the ancient glass is left4 ,thomas ,mace's description of the siege1 however1 shows how little respect the army really had for the ,minster3 8,the enemy was very near and fierce upon them1 especially on that side of the city where the church stood2 and had planted their great guns mischievously against the church2 with which constantly in prayer's time1 they would not fail to make their hellish disturbance by shooting against and battering the church2 insomuch that sometimes a cannon bullet has come in at the windows and bounced about from pillar to pillar 7even like some furious fiend or evil spirit7 backwards and forwards and all manner of sideways1 as it has happened to meet with square or round opposition amongst the pillars40 ,on ,february #b1 #ahbi1 ,jonathan ,martin1 brother of the painter1 ,john ,martin1 hid himself behind the tomb of ,archbishop ,greenfield1 in the north transept during evening service2 and after the church had been closed1 set fire to the choir4 ,the stalls1 organ1 and vault were destroyed and much of the stone-work was damaged4 ,restorations were started in #ahcb4 ,another fire occurred in #ahdj in the south-west tower1 occasioned by some workmen who were repairing the clock in the south-west tower4 ,the wooden vault of the nave and the tower and bells were damaged4 ,in #ahga some of the side walls were rebuilt4 ,every one is familiar with the ,west ,front of ,york2 but the traveller who looks upon it for the first time is1 nevertheless1 overwhelmed4 8,the ,west ,front is more architecturally perfect as a composition in its details than that of any other ,english ,cathedral1 and is unquestionably the best cathedral faade in this country4 ,the lower part1 with the entrances and lower windows1 belongs to the ,early ,decorated period4 ,above the windows the work is ,late ,decorated and the towers above the roof ,perpendicular4 ,numerous niches cover the surface4 ,it is doubtful whether they ever contained statues4 ,the principal entrance is divided by a clustered pier1 and above it is a circle filled with cusped tracery4 ,over the whole doorway is a deeply-recessed arch1 and over that a gable with niches1 one of which contains the statue of an archbishop1 supposed to be ,john le ,romeyn1 who began the nave in #abia1 and other niches have figures of a ,percy and a ,vavasour1 who gave the wood and stone for the building4 ,the favourite ballflower ornament of the ,decorated style is seen on the gable1 and the mouldings in the arches have figures representing the history of ,adam and ,eve4 ,above the entrance is a large eight-light window1 pronounced by many to be too large even for ,york ,minster1 containing very elaborate and beautiful tracery1 and over it is a pointed gable4 ,on each side of the west window are buttresses covered with panelling and niches4 ,the noble towers rising on each side of the west front1 have buttresses similarly adorned1 and each three windows1 and over the second an open battlement forms a walk along the whole front4 ,the towers have battlements and pinnacles4 ,the south-west tower 7#adcc-adeg7 was injured by fire in #ahdj2 and the north tower 7#adgj-adgd7 has the largest bell in the kingdom1 ,great ,peter1 which cost #b1jjj in #ahde and weighs ten tons40--7,p4 ,h4 ,d47 ,the twin-towers rise to a height of two hundred feet and are ornamented with windows1 battlements1 and pinnacles4 ,the ,central ,tower at the crossing of the transepts1 built in #adaj-adcc1 ,perpendicular1 is also two hundred feet high4 ,it is the largest in ,england1 and is considered not only one of the triumphs of ,fifteenth ,century architects1 but one of the finest towers in the world4 ,much of it is supposed to be the work of ,walter ,skirlawe1 ,bishop of ,durham1 and its resemblance to the central tower of ,durham ,cathedral justifies the assumption4 ,it has never been finished4 8,the central tower rises a single story above the ridge of the roof and is open inside to the top4 ,but for small gables on the buttresses1 it is quite plain up to the level of the roof ridge4 ,above this it contains two long and narrow ,perpendicular windows on each side1 of three lights each1 with a transom4 ,these windows are ornamented ogee gables1 and between them are three niches1 one above the other1 with canopies4 ,the external buttresses are split up with vertical mouldings and ornamented with niches and panelling4 ,the tower is crowned with a battlement4 ,horizontal string-courses with gargoyles divide the buttresses at intervals4 ,there are no pinnacles on these buttresses1 and they appear never to have been finished4 ,it is possible that it was intended to set another story on the top of the present one1 but this is merely conjecture4 8,the ,english architects of the ,fifteenth ,century1 if they were inferior to earlier builders in invention and vigour1 were at any rate supreme in the management of towers4 ,their wonderful sense of proportion1 their habitual use of vertical lines1 and the character of their windows helped them to build what are perhaps the finest towers in ,europe1 and the central tower of ,york ,minster ,illustration3 ,,york ,,minster3 ,,west ,,front ,illustration3 ,,york ,,minster3 ,,south is one of the finest of all4 ,even the absence of pinnacles1 if it is an accident1 seems to be a lucky accident1 and gives this tower an unrivalled dignity and an air of restraint suitable to the character of the whole cathedral40--7,a4 ,c4-,b47 ,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 world4 ,the enormous width of the church and length of the transepts and the tremendous lantern produce almost the effect of ,st4 ,paul's or ,st4 ,peter's4 ,neither the east nor the west end is visible1 for we are looking right across the arms of the crossing straight to the north end of the transept1 where the ,five ,sisters display their jewels4 ,the ,lantern is very lofty--#ahj feet from the floor--each transept is four bays long--#bbc feet from north to south--and #ic feet wide4 ,to the top of the roof they measure #ii feet4 8,the transepts1 therefore1 are unusually prominent1 even for an ,english cathedral1 and they have many other unusual features4 ,taken in conjunction with the lantern1 they produce an effect to be found in no other ,gothic church in the world4 ,in ,england there are none so wide and so lofty4 ,in ,france there are interiors even loftier1 but in ,france the transepts are seldom a prominent feature of the design4 ,often they do not project beyond the outer wall of the aisles of the nave1 and oftener still there is no central tower large enough to allow of a lantern at all4 ,it is a great piece of good fortune1 also1 that the five vast lancets of the north transept end1 known as the ,five ,sisters1 still keep their beautiful original glass4 ,if we look at these windows and consider how utterly ineffective they would be if they were glazed with plain glass1 we can understand how little remains of the original beauty of the interior of ,salisbury4 8,the ,five ,sisters are1 no doubt1 the largest lancet windows in ,england1 and it was a bold idea to fill almost the whole of that great front with them1 but the boldness was entirely justified by the result4 8,the glass in the ,five ,sisters is ,early ,english of the simplest and most beautiful design4 ,the colour1 an almost uniform scheme of greyish green1 is a curious contrast to the vivid blues and yellows of the period which preceded it1 and examples of which may be seen in the choir of ,canterbury4 ,the pattern is an elaborate but restrained arrangement of the foliage of the ,planta ,benedicta 7herb benet74 ,the plain border surrounding the ,early ,english glass was inserted in #agae4 ,at the foot of the central light is a panel of ,norman glass1 the subject of which is either the dream of ,jacob1 or ,daniel in the lions' den40--7,a4 ,c4-,b47 ,the glass in the lancets above the ,five ,sisters is modern4 ,in the eastern aisle of the south transept 7,early ,english7 the ,tomb of ,walter de ,grey 7died #abee71 shows an effigy in full canonicals4 ,the right hand is raised in blessing1 the left grasps a crozier1 and the feet crush a dragon4 ,the columns at the sides are ornamented with leaves at equal distances4 ,on either side of the gable over the ,archbishop's head an angel stands4 ,the canopy is supported by nine pillars4 ,in the eastern aisle of the north transept we stop to look at the tomb of ,archbishop ,greenfield 7died #acae74 ,this is decorated with an ornamented canopy4 ,a rich and elaborate ,rood ,screen separates the choir from the crossing4 ,it dates from #adge-aeje and is composed of a central doorway and fifteen canopied niches containing statues of ,english kings from ,william the ,conqueror to ,henry ,,vi4 ,the latter is the only modern one4 ,above these are angels by ,bernasconi4 ,the central arch is surmounted with an ogee moulding decorated with foliage and a niche1 on either side of which is an angel with a censer4 ,the capitals of the shafts are carved2 and rosettes and rows of foliage appear between the shafts4 ,the canopies are very ornate4 ,it is interesting to compare this screen with the one at ,exeter4 ,the ,choir1 including the retro-choir1 consists of nine bays--the largest and loftiest choir in ,england and one of the most beautiful4 ,it was begun in #acfa at the east end and completed in #adje4 ,it has been described as an 8interesting example of a ,perpendicular building carried out on the lines of an earlier ,decorated design40 8,the choir itself is like an enormous college chapel4 ,the aisles exist1 but play no part in the design1 which still culminates in the splendid blaze of glass from the eastern transepts and the great east window1 and once culminated on the still more splendid blaze of the altar4 8,the retro-choir1 far too short and wide to be judged as an avenue of stone1 is still more dependent for its effect on its glass4 ,as most of that glass luckily remains1 it is a miracle of airy splendour2 one may see from it what were the objects1 and how great the success of the much-maligned ,perpendicular architects at their best4 8,to sum up1 then1 this choir has not the delicate and spiritual beauty of the choirs of ,lincoln or ,ely4 ,that is never found even in the finest work of ,perpendicular architects2 but for stateliness and magnificence it has not a rival in ,england4 ,these qualities may be best appreciated standing midway between the two transepts and in front of the altar4 ,from that point glittering screens of glass and soaring shafts of stone are to be seen on all sides2 the whole effect is one of triumphant light and space and colour1 not to be surpassed by the splendours even of ,moorish or ,italian architecture40--7,a4 ,c4-,b47 ,the magnificent ,perpendicular stalls perished in the fire of #ahbi1 so did the ,perpendicular altar-screen4 ,the present stalls and screen are reproductions of these4 ,the reredos of terra-cotta and wood is modern4 ,the vault of the choir is of wood1 an imitation of the vault destroyed by fire in #ahbi4 ,the windows of the clerestory are ,perpendicular and contain five lights4 8,the glass in the choir is almost wholly ,perpendicular4 ,as in the nave1 it is very fragmentary and disordered4 ,the change in the character of the design will be easily noticed4 ,the ,perpendicular glass is not so clear and delicate in colour1 and the architectural and other patterns are less pronounced4 ,this glass1 regarded simply as decorative1 is perhaps superior to that in the nave4 8,mr4 ,winston has pointed out that the earliest ,perpendicular glass in the choir is contained in the third window from the east in the south aisle2 in the third and fourth windows from the east in the north clerestory2 and in the fourth clerestory window from the east on the opposite side4 ,these windows date from the close of the ,fourteenth ,century4 ,there is also an early ,perpendicular ,jesse in the third window from the west in the south aisle of the choir4 ,the other windows of the choir aisles east of the small eastern transepts1 as well as the glass in the lancet windows on the east side of the great western transepts1 appears1 he says1 to be of the time of ,henry ,,iv42 the rest of the glass in the choir is of the reigns of ,henry ,v4 and ,,vi41 chiefly of the latter4 ,he notices also1 that the white glass in the windows is generally less green in tint than usual1 and that he has learnt from ,mr4 ,browne that it is all of ,english manufacture40--7,a4 ,c4-,b47 ,we now come to the smaller transepts situated between the four eastern and four western bays of the choir4 ,they are practically one bay of the choir with the triforium and clerestory removed4 ,at each end are immense windows4 ,each is #gc feet long by #af feet wide4 ,both have been restored2 but the glass is original and very splendid4 ,the north window contains scenes from the life of ,st4 ,william2 the south window depicts the history of ,st4 ,cuthbert1 and is thought to date from about #adcg4 ,in it are members of the house of ,lancaster4 ,the east end of the choir is almost entirely filled with the great ,east ,window4 ,the space behind the altar is sometimes called the ,lady-,chapel4 ,this occupies four bays4 ,it was built in #acfa-adje1 and is ,perpendicular in style4 ,the ,altar of the ,virgin stood under the great east window and here also was a chantry founded by the ,percys4 8,the great east window was glazed by ,john ,thornton of ,coventry4 ,the terms of the contract for this work1 dated #adje1 are extant4 ,they provide that ,thornton shall #8portray the said window with his own hands1 and the histories1 images1 and other things to be painted on it4' ,it was to be finished within three years4 ,glass1 lead and workmen were to be provided at the expense of the chapter1 and ,thornton was to receive #ds4 a week1 #e a year and #aj at completion for his trouble4 8,the window is #gh feet high and #cb feet wide1 and contains nine lights4 ,it is entirely filled with old glass1 except for certain pitches of modern glass1 rather crude in colour1 and inserted1 it is said1 after the fire of #ahbi4 ,it contains #bjj panels of figures4 ,the subjects in the upper part are from the ,old ,testament1 reaching from the creation of the world to the death of ,absalom4 ,the lower part contains illustrations from the ,book of ,revelations4 ,in the loftiest row of all are representations of kings and archbishops4 8,in the top lights are figures of prophets1 saints and kings4 ,at the apex of the window is a representation of the ,saviour in ,judgment4 8,this window is probably the finest example of ,perpendicular glass in ,england4 8,the great east window1 like the windows of the transepts1 has a double plane of tracery reaching to about half the height of the whole4 ,between the two planes a passage runs at the base of the window1 between two doors which lead to staircases in the turrets on each side of the windows4 ,these staircases1 in their turn1 lead to a gallery across the window on the top of the inner plane of tracery4 ,the view from this gallery is very fine40--7,a4 ,c4-,b47 ,of the numerous tombs and monuments in the east end below the windows in the retro-choir and choir-aisles1 we note only two4 ,that of ,archbishop ,bowet 7died #adbc71 in the retro-choir 7south side71 is one of the finest ,perpendicular monuments in existence1 much mutilated1 it is true2 but still exhibiting its clusters of tabernacles and pinnacles joined to the arch beneath with fan-tracery4 ,bowet was still alive when this monument was erected in #adae4 ,the other is ,william of ,hatfield 7died #acdd71 second son of ,edward ,,iii41 aged eight4 ,the ,plantagenista ornaments the canopy4 ,unfortunately the effigy of the little prince is much damaged4 ,the ,nave is also superb and all the decoration most elaborate4 8,the first impression on viewing this nave is a sense of its magnitude4 ,archbishop ,romeyn and his builders determined to build a vast church which would eclipse all other rivals4 ,they would have large windows1 high1 towering piers1 a huge1 vaulted roof1 and everything that was grand and impressive4 ,edward ,i4 was then fighting with the ,scots and made ,york his chief city4 ,it was immensely prosperous and the ecclesiastical treasury was replete with the offerings of knights and nobles1 kings and pilgrims4 ,nowhere should there be so mighty a church as ,york ,minster4 ,in order to have space for large windows they made the triforium unusually small1 which is formed only by a continuation of the arches of the clerestory windows4 ,the design for the stone vaulted roof was never carried out4 ,the builders feared that the great weight of a roof with so large a span would be too much for the walls1 so a wooden vault was substituted4 ,the piers have octagonal bases and consist of various sized shafts closely connected4 ,the capitals are beautifully enriched with foliage of oak and thorn1 and sometimes a figure is seen amidst the foliage4 ,we notice thirty-two sculptured busts at the intersection of the hood-moulding with the vaulting shafts4 ,coats-of-arms of the benefactors of ,york appear on each side of the main arches4 ,the clerestory windows have each five lights4 ,the old roof was destroyed by fire in #ahdj4 ,the present one has a vast number of bosses representing the ,annunciation1 ,nativity1 ,magi1 ,resurrection1 besides a quantity of smaller ones40--7,p4 ,h4 ,d47 ,looking up at the west end of the nave we have a double study in the splendid ,west ,window 7only surpassed by the famous window of ,carlisle ,cathedral72 for the tracery of the ,curvilinear1 or flowing ,decorated style has been carefully restored1 and the window1 which measures #ef #be feet1 is almost entirely filled with the original glass given by ,archbishop ,melton in #acch4 8,this is remarkable not only for the purity and boldness of its scheme of colours1 but for the admirable way in which the design of the glass fits the elaborate pattern of the tracery4 ,it will be noticed that both the figures and the architectural ornaments are in bolder relief than in the earlier glass of the ,five ,sisters1 or the later of the choir4 ,some of the faces of the figures have been restored by ,peckett1 but not so as to interfere with the decorative effect of the whole4 ,the window contains three rows of figures1 the lowest a row of eight archbishops1 the next a row of eight saints1 including ,st4 ,peter1 ,st4 ,paul1 ,st4 ,james and ,st4 ,katharine1 and above this a row of smaller figures unidentified4 8,the window contains eight lights4 ,these lights are coupled in pairs by four arches with a quatrefoil in the head of each1 and again formed in groups of four by an ogee arch above the other arches4 ,the flowing curves of these ogee arches are most ingeniously and beautifully worked into the pattern of the upper part of the window1 which contains five main divisions of stonework1 each like the skeleton of a leaf in shape and in the delicacy of its pattern4 ,of these five divisions the top one is made by splitting up the central mullion2 two diverge from it at the top of the lower lights2 and two others curve inwards from the outside arch4 ,the central mullion runs up almost to the top of the arch4 ,the mullions are alike in moulding and size4 ,below the window is the west door1 the head of which is filled with ancient stained glass4 ,there is a gable above it1 running up to the bottom of the window and containing three niches4 ,there are kneeling figures on each side of the gable1 so that the top of it may have held a figure of ,christ4 ,all that portion of the west end not occupied by the window and the porch is filled with stories of niches and arcading40--7,a4 ,c4-,b47 ,the windows of the aisles of the nave are ,decorated4 ,the ,nave contains eight bays4 ,each bay consists of two main divisions3 the upper half containing the triforium and clerestory2 and the lower half1 the main arches4 ,a slender moulding runs between the two divisions4 ,the piers consist of a group of separate shafts and the capitals are very delicate in design4 ,the triforium is little more than an extension of the clerestory window-lights2 but a band of stone ornamented with quatrefoils separates triforium and clerestory4 ,the clerestory windows are geometrical ,decorated4 ,the design is much admired4 8,it consists of five lights1 the two outer of which are grouped in a single arch1 with a quatrefoil piercing in its head4 ,between these two arches and on the top of the arch of the central light is a circle fitting into the arch of the window1 and ornamented with four quatrefoils1 four trefoil piercings1 and other smaller lights4 ,there are capitals to the outside shafts of the windows1 and to the main shafts of the two inner mullions4 ,all these mullions are very delicately moulded4 8,the first window from the west end is plain4 ,the glass in the other windows is rather finer and less fragmentary than in the north aisle4 8,the second window appears to have been largely restored4 ,the tabernacle work is very crude in colour4 ,it contains figures of ,st4 ,laurence1 ,st4 ,christopher1 another saint1 and three coats-of-arms below4 ,the top lights are fine1 and perhaps of ,perpendicular date4 8,the third window is one of the richest in colour in the minster1 with its gorgeous arrangement of crimsons1 greens and blues4 ,there are inscriptions by ,peckett1 with the date at the bottom1 #aghi4 ,his deep blues on the top lights are particularly unfortunate4 8,the sixth window is also very bright4 ,it probably contains ,norman fragments4 ,all the windows except the fifth contain insertions by ,peckett4 8,the clerestory window contains fragments and coats-of-arms4 8,in the westernmost light of the second window from the west1 on the north side1 are portions of an ,early ,english ,jesse window4 ,the wheel of this window1 and those of the next five1 also contain fragments of ,early ,english glass4 ,and in the lower lights of the fifth and seventh windows from the west are remains of the same date4 8,the wheels in the clerestory windows on the south side of the nave all contain ,early ,english glass1 except the third from the west4 ,there is also some ,early ,english glass in their lower lights4 8,the aisles of the nave are bolder in design and altogether more satisfactory than the nave itself4 ,like the nave they are unusually wide and lofty4 ,in the two farthest bays to the west1 above which are the western towers1 the rough wooden roof1 which has never been covered with a vault1 may be seen4 ,the vault of the aisles is of stone1 with only structural ribs1 finely moulded and with carved bosses4 ,the aisle windows are1 like those of the clerestory1 of the geometrical ,decorated ,style1 but of an earlier and simpler1 uniform design4 ,they each contain three lights4 ,above the three lights are three quatrefoils1 pyramidally arranged40--7,a4 ,c4-,b47 ,the second window from the east in the north aisle of the nave is said to have been given by a guild of bell-founders1 or by ,richard ,tunnoc 7died #accj71 ,lord ,mayor of ,york4 ,tunnoc appears in the design kneeling before the ,archbishop and around the picture of the casting of a bell is the legend 8,richard ,tunnoc me fist40 ,above ,tunnoc is a window4 ,bells appear in the border of the glass4 ,the window at the west end of the north-aisle of the nave is also very fine4 ,it represents the ,virgin and ,child and ,st4 ,catherine with her wheel4 ,in the west window of the south-aisle of the nave the subject is the ,crucifixion4 ,the head of ,christ is supposed to be of the ,eighteenth ,century4 ,the choir-aisles are very similar to those of the nave4 ,they have stone vaults and their windows are very beautiful4 ,they have been described as representing 8a 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 ,perpendicular40 ,each window is divided into three lights1 each ending in an obtuse arch4 ,above these are three other arches and above them again two quatrefoils1 and above them a sexfoiled opening4 ,for a description of the glass in these aisles we turn to ,a4 ,clutton-,brock3 8,in the north aisle the east window is also very fine4 ,it contains a representation of the ,crucifixion1 with ,st4 ,john1 ,st4 ,james and the ,virgin4 8,the first window from the east is very fragmentary4 ,the windows in the south aisle are rather fragmentary4 ,in the first two from the west the top lights are empty4 8,the second window is remarkable for the delicate modelling and drawing of the heads4 ,the head of the ,virgin reminds one of one of ,lippo ,lippi's ,madonnas4 ,that of an old man with a beard in the central light is ,german in character4 ,if these are compared with the crude ,illustration3 ,,york ,,minster3 ,,choir1 ,,east ,illustration3 ,,york ,,minster3 ,,choir1 ,,west and simple design of the heads in the other windows1 it will be obvious that they are of a different origin4 ,nothing1 however1 is known of their history4 8,the third window has borders by ,peckett4 ,it contains the ,jesse noted before4 8,the fourth window is very fragmentary4 ,it contains a beautiful figure of a saint in one of the top lights2 the other top lights are by ,peckett4 ,in the central division1 at the bottom1 is the name of ,archbishop ,lamplugh1 with a coat-of-arms4 7,lamplugh's tomb is close to this window47 8,the last of those windows contains painted glass given by ,lord ,carlisle in #ahjd1 and bought from a church at ,rouen4 ,it is a representation of the ,visitation1 ,mr4 ,winton says1 taken from a picture by ,baroccio1 and dates from the end of the ,sixteenth ,century4 ,the upper lights contain the original glass4 8,the east window of this aisle is very fine in colouring1 and fairly coherent in design4 ,the subject is not clear40 ,in the westernmost bay of the north-choir-aisle the eight-year-old son of ,edward ,,iii4--,william of ,hatfield--was buried 7see page #bgd74 ,west of the tomb of ,archbishop ,sterne 7died #afhc71 which has been called 8an example of almost everything that a monument should not be10 we find the tomb of ,archbishop ,scrope1 beheaded by ,henry ,,iv4 7see page #bfe71 interesting because it was a place of pilgrimage in the ,middle ,ages4 ,from the north-choir-aisle we enter the ,crypt4 ,this was discovered after the fire of #ahbi4 ,here we find ,norman work and some authorities go so far as to say some portions of the wall are of the ,saxon church1 built by ,edwin in the ,seventh ,century4 ,the capitals of the pillars 7time of ,roger ,pont l'vque7 are varied and very interesting4 8,entering the vestibule we notice the exact place where the ,early ,english builders finished their work and the ,decorated style begins4 ,the difference between the styles in the ,chapter-,house and vestibule shows that the former was erected first4 ,it has a wall arcade1 and above are windows of curious tracery1 filled with beautiful old glass4 ,the shafts of the arcade support trefoiled arches1 with a cinquefoil ornamented with a sculptured boss4 ,each boss and capital is beautifully carved with foliage1 amidst which the heads of men and dragons appear4 ,the glass is ,early ,decorated1 and contains representations of ,royal personages4 8,the ,chapter-,house is one of the most beautiful in ,england4 ,the entrance is an arch1 divided into two arches by a canopied pier1 which bears a mutilated statue of the ,virgin and ,child4 ,clustered shafts1 with capitals1 are on each side of the doors1 which have remarkably good scrolled iron-work4 ,the chamber itself is very magnificent4 ,it is octagonal and in each bay there are six canopied stalls under a five-light window4 ,the window tracery is superb4 ,clustered shafts support the vaulted roof4 ,everywhere we see richly carved stone-work1 the finest in any cathedral1 the foliage of maple1 oak1 vine and other trees4 ,here are pigs and squirrels feeding on acorns1 men gathering grapes1 birds1 and coiled dragons and reptiles4 ,the grotesques are most curious and interesting4 ,in #ahde1 unfortunately1 the building was restored and the painted figures of kings and bishops were destroyed1 a poor tiled floor laid down2 but1 in spite of all1 it can still maintain its proud boast3 #8,ut ,rosa flos florum ,sic est ,domus ista ,domorum4' #8,as the ,rose is the flower of flowers1 so is this ,house the chief of ,houses4'0 ,the date of this building is generally given as #acbj4 ,a curious doorway at the north-east end of the north transept opens into the vestibule that takes us into the ,chapter-,house4 ,this is a narrow passage running north for three bays1 then turning at right angles and running east for two bays4 ,it is ,decorated in style4 ,traces of ancient painting may be observed1 and the windows display their original glass1 chiefly ,decorated4 ,in the upper lights there are some fragments of ,norman and ,early ,english glass4 ,the ,chapter-,house differs from most chapter-houses in having no central pillar4 ,it is octagonal and is divided into eight bays4 ,an acutely-arched window1 with geometrical ,decorated tracery1 fills each of the seven bays4 ,the space over the entrance is occupied with blank tracery like that of the windows4 ,the windows contain five lights1 each light terminating in a trefoiled arch4 ,the glass1 chiefly medallions and shields1 dates from the time of ,edward ,,ii4 and ,edward ,,iii4 ,the one modern window declares itself4 ,passing to the ,east ,front we find that it is square1 and1 like the ,west ,front1 it is almost entirely filled with an enormous window4 ,the great ,east ,window contains nine lights1 beautifully divided by mullions and crossed by three transoms4 ,the arch of the head is filled with a great number of small divisions4 ,over the window is an ogee gable1 surmounted by a pinnacle4 ,panelling forms a kind of background for it4 ,buttresses1 tall and narrow1 and containing six tiers of niches1 flank the window on either side4 ,each is finished with a spire4 ,the two aisle windows also have ogee gables1 surmounted with finials4 ,above them runs a band of panelling4 ,at each corner rises a tall buttress1 finished with a lofty spire4 8,the ,choir and ,lady-,chapel are ,perpendicular work4 ,the four eastern bays constituting the ,lady-,chapel1 are earlier than the later ones of the choir and vary in detail4 ,the triforium passage in the former is outside the building1 and the windows are recessed4 ,strange gargoyles1 with figures of apes and demons1 adorn the buttresses4 ,the east end is mainly filled with the huge window1 the largest in ,england1 which does not leave much space for architectural detail4 ,above it is the figure of ,archbishop ,thoresby1 the builder of this part of the ,cathedral4 ,panelling covers the surface of the stone1 and below the window is a row of seventeen busts1 representing our ,lord and his ,apostles1 ,edward ,,iii4 and ,archbishop ,thoresby4 ,there are two aisle windows2 buttresses adorned with niches separate the aisles from the central portion1 and others1 capped with spires1 stand on the north and south of this front40--7,p4 ,h4 ,d47 ,from the south-east we gain a very satisfactory view of the central tower and the ornate and elegant ,south ,transept 7,early ,english71 dating from #abaf-abda4 ,the gable1 with its large rose-window1 cusped lights1 turrets1 buttresses1 and lancet windows1 all make a harmonious architectural picture4 ,the south porch is considered rather small and has been much restored4 ,dog-tooth moulding is plentiful along the arches4 ,it also occurs on the windows and gable4 ,pinnacles and weird gargoyles decorate the ,nave1 divided into seven bays by tall buttresses4 ,the north side of the ,minster is far less ornate than the south4 ,of course1 the chief features here are the ,chapter-,house1 with its curious roof and lovely windows1 and the ,north ,transept1 very fine ,early ,english of #abda-abfj4 ,here we have the famous group of lancets1 the ,five ,sisters 7see page #bgj71 and seven beautifully arranged lancets in the gable above--a very fine contrast to the gable of the south transept1 with its rose-window4 ,a vestibule leads from the ,north ,transept to the ,chapter-,house1 that splendid octagonal building1 perhaps the finest example of ,early ,decorated in existence4 ,buttresses1 topped with pinnacles1 project at each of the eight corners4 ,the strange pyramidal roof is surrounded by a battlement and curious gargoyles2 among them bears peer out into space4 ,,lincoln ,,dedication3 ,,st4 ,,mary4 ,a ,,church ,,served ,,by ,,secular ,,canons4 ,,special ,,features3 ,,st4 ,,hugh',s ,,choir2 ,,angel ,,choir2 ,,east ,,window2 ,,central ,,tower4 ,lincoln ,cathedral possesses a commanding site and three splendid towers that form a beautiful picture4 ,distance lends enchantment to the view at all times of the day and seasons of the year4 8,throughout a vast district around the city1 the one great feature of the landscape is the mighty minster1 which1 almost like that of ,laon1 crowns the edge of the ridge1 rising1 with a steepness well-nigh unknown in the streets of ,english towns1 above the lower city and the plain at its feet4 ,next in importance to the minster is the castle1 which1 marred as it is by modern changes1 still crowns the height as no unworthy yoke-fellow of its ecclesiastical neighbour4 ,the proud polygonal keep of the fortress still groups well with the soaring towers1 the sharp-pointed gables1 the long continuous line of roof1 of the church of ,remigius and ,saint ,hugh40--7,e4 ,a4 ,f47 ,lincoln ,cathedral is also a landmark in the history of architecture1 for here was developed the first complete and pure form of the third great form of architecture--the architecture of the ,pointed ,arch4 8,the best informed ,french antiquaries acknowledge that they have nothing like it in ,france for thirty years afterwards2 they thought it was copied from ,notre-,dame at ,dijon1 to which there is a considerable resemblance1 but that church was not consecrated till #abcj1 so that the ,dijon architect might have copied from the ,lincoln one1 but the ,lincoln could not have copied from ,dijon40--7,j4 ,h4 ,p47 ,to the historian1 as well as to the student of architecture1 ,lincoln makes a strong appeal for many visits4 ,those whose time is limited will be impatient to inspect ,st4 ,hugh's ,choir1 and the more beautiful ,angel ,choir beyond it4 ,we must1 however1 pause a moment to recapitulate its history before we begin our walk through the ,cathedral4 8,the surface or exterior of ,lincoln ,cathedral presents at least four perfect specimens of the succeeding styles of the first four orders of ,gothic architecture4 ,the greater part of the front may be as old as the time of its founder1 ,bishop ,remigius1 at the end of the ,eleventh ,century2 but even here may be traced invasions and intermixtures1 up to the ,fifteenth ,century4 ,the large indented windows are of this latter period1 and exhibit a frightful heresy4 ,the western towers carry you to the end of the ,twelfth ,century2 then succeeds a wonderful extent of the ,early ,english1 or the pointed arch4 ,the transepts begin with the ,thirteenth1 and come down to the middle of the ,fourteenth ,century2 and the interior1 especially the choir and the side aisles1 abounds with the most exquisitely varied specimens of that period4 ,fruits1 flowers1 vegetables1 insects1 capriccios of every description1 encircle the arches or shafts1 and sparkle upon the capitals of pillars4 ,even down to the reign of ,henry ,,viii4 there are two private chapels1 to the left of the smaller south porch1 on entrance1 which are perfect gems of art40--7,t4 ,f4 ,d47 ,in the ,seventh ,century1 ,paulinus1 ,bishop of ,york1 made converts in the ,roman hill-town of ,lincoln1 and several churches were founded4 ,the 8bishop's stool0 was at ,sidnacester and ,dorchester-on-,thames before it was fixed at ,lincoln4 8,the king0 7,william the ,conqueror7 8had given ,remigius1 who had been a monk at ,fescamp1 the bishopric of ,dorchester which is situated on the ,thames4 ,this bishopric1 being larger than all others in ,england1 stretching from the ,thames to the ,humber1 the bishop thought it troublesome to have his episcopal ,see at the extreme limit of his diocese4 ,he was also displeased with the smallness of the town1 the most illustrious city appearing far more worthy to be the ,see of a bishop4 ,he therefore bought certain lands on the highest parts of the city1 near the castle standing aloft with its strong towers1 and built a church1 strong as the place was strong1 and fair as the place was fair1 dedicated to the ,virgin of ,virgins1 which should both be a joy to the servants of ,god1 and as befitted the time unconquerable by enemies40 ,such is ,henry of ,huntingdon's account of the transference of the ,see1 which took place between #ajgb and #ajge4 ,the church built by ,remigius1 on the site of an earlier church1 was completed in twenty years4 ,remigius died three days before the date appointed for the consecration1 ,may #i1 #ajib1 and was buried before the ,altar of the ,holy ,cross in front of the rood-screen4 ,this first church was #cjj feet long4 ,it was severely plain2 but so strong that ,stephen used it as a fortress in #aada1 when the castle opposite was held by his enemies4 ,the next great builder was ,alexander the ,magnificent 7#aabc-aadh71 nephew of ,roger1 ,bishop of ,salisbury4 ,a fire destroying the roof in #aada necessitated repairs4 ,alexander remodeled parts of the church4 ,he added the elaborate doorways in the west front in #aadf2 the ,norman arcade along the west front2 and built the western towers4 8,part of the west front of ,lincoln was built by ,bishop ,remi1 or ,remigius1 #ajhe-ajib3 the small portion which remains of this work is a very valuable specimen of early ,norman1 the more so that the insertion of later and richer ,norman doorways by ,bishop ,alexander1 about fifty years afterwards1 enables us to compare early and late ,norman work1 while the jointing of the masonry leaves no doubt of the fact that these doorways are insertions and1 therefore1 confirms the early date of the three lofty arches under which they are inserted4 ,a comparison of the capitals and details of these two periods1 thus placed in juxtaposition1 is extremely interesting4 ,the wide-jointing of the masonry and the shallowness of the carving distinguish the old work from the new4 ,several capitals of the later period are inserted in the older work1 as is shewn on careful examination by the jointing of the masonry1 and by the form of the capitals themselves3 the earlier capitals are short1 and have volutes at the angles1 forming a sort of rude ,ionic2 the later capitals are more elongated1 and have a sort of rude ,corinthian1 or ,composite foliage40--7,j4 ,h4 ,p47 ,in #aahe an earthquake injured the ,cathedral2 and so1 when ,hugh of ,avalon became ,bishop of ,lincoln in #aahf1 he began to collect money for repairs and rebuilding4 ,the eastern end of the original ,cathedral was removed1 and in #aaib ,bishop ,hugh laid the foundations of his very original ,choir4 ,the architect was ,geoffrey de ,noyers4 ,j4 ,h4 ,parker1 who studied ,lincoln ,cathedral for thirty years1 considers this work of ,st4 ,hugh 7,a4,d4 #aaib-abjj7 pure ,early ,english ,gothic and the earliest building of that style in the world4 8,canterbury was completed in #aahd and in #aahe ,st4 ,hugh of ,grenoble1 also called ,st4 ,hugh of ,burgundy1 was appointed ,bishop of ,lincoln1 and immediately began to rebuild his cathedral4 ,it is therefore plain that this portion of the building was completed before #abjj1 and a careful examination enables us to distinguish clearly the work completed in the time of ,bishop ,hugh1 which comprises his choir and the eastern transepts with its chapels4 ,the present vaults of ,st4 ,hugh's ,choir1 and of both the transepts1 were introduced subsequent to the fall of the tower1 which occurred in #abdj4 8,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 period4 ,st4 ,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 ,europe1 or in the world4 ,the ,oriental styles are not ,gothic1 though they helped to lead to it4 ,the ,french ,gothic has a strong mixture of the ,romanesque with it down to a later period than the ,choir of ,lincoln4 ,st4 ,hugh of ,lincoln certainly did not bring the ,gothic style with him from his own country ,dauphiny1 or from the ,grande ,chartreuse where he was educated1 for nothing of the kind existed there at that period4 ,grenoble 7the place from which ,st4 ,hugh was brought to ,england7 and its neighbourhood was quite half-a-century behind ,england in the character of its buildings1 in the time of ,henry ,,ii4 of ,england and of ,anjou1 in whose time this style was developed4 8,nothing can well exceed the freedom1 delicacy and beauty of this work2 the original arcade of the time of ,st4 ,hugh is of the same free and beautiful style as the additions of his successors4 ,the crockets1 arranged vertically one over the other behind the detached marble shafts of the pillars1 are a remarkable and not a common feature1 which seems to have been in use for a few years only2 it occurs also in the west front of ,wells ,cathedral1 the work of ,bishop ,jocelin1 a few years after this at ,lincoln2 or perhaps under him1 of ,hugh de ,wells40--7,j4 ,h4 ,p47 ,the eight years during which ,hugh carried on the work 8were busy ones at ,lincoln4 ,contemporary records enable us to picture him encouraging the workmen by his presence and example1 even shewing his zeal by carrying the stones on his own shoulders4 ,he did not live to see his work completed1 as ,remigius had done4 ,but he had set the example and given the pattern1 and the work was continued by his successors until the building was again entire4 ,hugh had already finished the apse1 the eastern transept1 the choir1 and part of the western transept 7i4e41 the whole eastern portion of the church7 when he fell ill4 ,finding ,illustration3 ,,lincoln3 ,,west ,,front ,illustration3 ,,lincoln3 ,,great ,,west ,,door his death approaching1 he sent for his architect ,geoffrey de ,noyers1 and enjoined him to hasten the completion of the altar of ,st4 ,john the ,baptist1 his patron4 ,he then gave directions for his funeral1 and instructions that he was to be buried in the mother-church of his diocese dedicated to the ,mother of ,god1 near the altar of ,st4 ,john the ,baptist4 ,the personality of the great bishop comes vividly before us when we read that he also wished his tomb to be placed near the wall1 in a convenient place1 lest it should be a stumbling-block to those approaching4 ,on the #afth of ,november1 #abjj1 ,hugh breathed his last1 lying1 as he had wished1 on the bare ground1 on a cross of consecrated ashes4 ,his instructions regarding the funeral were carried out2 but such a light as ,hugh's could not be hid1 and within a century we find his remains enclosed in a costly golden shrine1 borne on the shoulders of kings and bishops1 and placed at last in a structure erected specially for their reception1 #8one of the loveliest of human works1' the celebrated ,angel ,choir4 ,the original place of ,hugh's burial has been somewhat disputed4 ,the ,magna ,vita tells us that he was buried near the altar he had named1 a boreali ipsius aedis regione4 ,on the east side of the eastern transept1 ,hugh had placed four apsidal chapels1 two north and two south of the central apse4 ,from the words above quoted1 it has been considered that the northern-most of these chapels was the site of his tomb40--7,a4 ,f4 ,k47 ,the western transept and the nave were next finished 7,thirteenth ,century71 and a central tower was built to replace the one that fell in #abcg-abci4 ,to this period belongs ,bishop ,hugh de ,wells1 brother of ,jocelin 7see page #ajh71 who contributed largely to the funds for building and roofing4 ,he was succeeded by ,roger ,bacon's friend1 ,robert ,grosseteste 7#abce-abec74 ,in his time the new nave was completed4 ,the large screen of the west front1 the central gable and the octagonal turrets at the corners1 belong to this period2 also the lower part of the central tower1 the ,canon's ,vestry at the eastern transept1 and the ,galilee ,porch at the western transept4 ,the trellis ornament always marks ,grosseteste's work4 ,he made many changes in the windows4 ,to the treasurer1 ,john de ,welburne 7died #achj71 the ,cathedral is indebted for its splendid choir-stalls4 ,the ,russell and ,longland chantries1 the upper parts of the tower1 and many windows date from the ,perpendicular period4 ,john ,evelyn1 visiting ,lincoln in #afed1 gives us an idea how the ,cathedral suffered in the ,civil ,wars3 8,lincoln is an old confused town1 very long1 uneven1 steep and ragged1 formerly full of good houses1 especially churches and abbeys4 ,the minster almost comparable to that of ,york itself1 abounding with marble pillars1 and having a fair front 7here was interred ,queen ,eleanora1 the loyal and loving wife who sucked the poison out of her husband's wound72 the abbot founder1 with rare carving in the stone2 the great bell1 or ,tom1 as they call it4 ,i went up the steeple1 from whence is a goodly prospect all over the country4 ,the soldiers had lately knocked off most of the brasses from the gravestones1 so as few inscriptions were left2 they told us that these men went in with axes and hammers1 and shut themselves in1 till they had rent and torn off some bargeloads of metal1 not sparing even the monuments of the dead2 so hellish an avarice possessed them3 besides which1 they exceedingly ruined the city40 ,we are now able to analyze the ,west ,front1 knowing the periods of the great screen wall1 with its ,gothic arcading and the octagonal stair turrets capped by tall pyramids that terminate the ends2 the two tall square towers1 ,norman below1 ,perpendicular above2 the three great recesses pierced with windows and doors2 the gable above the recess with seven arches 7two pierced with windows and two containing statues7 in a row and one above with angels4 ,we must note that upon the southern turret stands a statue of ,st4 ,hugh2 and ,the ,swineherd of ,stow1 who contributed a peck of silver pennies towards building the ,cathedral1 ornaments the northern one4 ,it is a copy of the original1 now in the ,cloisters4 ,the tracery of the windows in the three recesses is supposed to date from the end of the ,fourteenth ,century4 ,the big west window and the cinquefoil window above were placed there in ,grosseteste's rule 7#abce-abec74 ,the central door and those on either side of it1 date from the ,twelfth ,century1 and give the best possible idea of the ,romanesque period just before it merged into ,gothic4 ,above the central door are eleven kings1 from ,william the ,conqueror to ,edward ,,iii4 ,these statues date from #acej and were originally coloured and gilt4 ,the two western towers 7,norman7 were built in the ,twelfth ,century4 ,the arcading 7which is not the same in both7 shows where they ended and where the ,perpendicular stories were added1 carrying them two hundred feet higher4 ,like the central tower1 they were originally crowned with tall wooden spires1 covered with lead4 ,these spires became unsafe and were removed in #ahjg4 ,in the northern1 or ,st4 ,mary's1 hung 8,great ,tom of ,lincoln0 and its successor until #ahcd4 ,the southern tower1 called ,st4 ,hugh's1 has a ring of eight bells4 ,under ,st4 ,hugh's the ,ringers' ,chapel is naturally situated2 and there is a corresponding chapel under ,st4 ,mary's ,tower4 ,beneath ,st4 ,mary's ,tower we find the ,northwest ,chapel2 under ,st4 ,hugh's1 the ,ringers' ,chapel4 ,both chapels are vaulted with stone and date from the first half of the ,thirteenth ,century4 ,the ,nave1 a very characteristic example of the first half of the ,thirteenth ,century1 8exhibits an ,early ,english style in its highest stage of development3 massive without heaviness1 rich in detail without exuberance1 its parts symmetrically proportioned and carefully studied throughout1 the foliated carving bold and effective1 there seems no deficiency in any way to deteriorate from its merits40--7,g4 ,g4 ,s47 ,there are seven bays4 ,the first bay was converted into a sort of vestibule by arches constructed in the ,eighteenth ,century to add strength to the western towers4 ,the big arch1 separating the vestibule from the nave1 dates from about #agcj4 ,the vaulting under the western towers dates from the ,fourteenth ,century2 also the tracery covering the walls of these compartments4 8,each pier is surrounded by round shafts of ,purbeck marble4 ,the arch mouldings1 like those of ,st4 ,hugh's choir1 were considered #8beautiful specimens' by ,rickman4 ,they are deeply cut1 and throw good1 bold shadows4 ,in the triforium each bay contains two arches1 supported by clustered columns with foliaged capitals4 ,the spandrels are decorated with sunk trefoils or quatrefoils4 ,in most cases the arches are each divided into three sub-arches with clustered shafts1 the tympanum being pierced with quatrefoils4 ,a difference is noticeable1 however1 in the easternmost arch and the two westernmost bays 7five arches altogether7 on both sides4 ,here the sub-arches are only two in number4 ,the narrowness of the two western bays accounts for the variation at that end4 ,the clerestory is the same throughout its length1 having three tall narrow windows in each bay1 with slender banded shafts4 ,in the nave we have1 according to ,fergusson1 #8a type of the first perfected form of ,english vaulting4' ,he calls it #8very simple and beautiful4' ,at the junctions of the ribs are elaborate bosses of foliage4 ,the compartments are covered with plaster1 once decorated in colours and gold4 ,in the second bay from the east is the name3 ,w4 ,l4 ,,paris3--evidently intended as a record of some repairs to the vault4 ,the springers rest on clusters of three long slender vaulting-shafts1 rising from foliaged corbels just above the capitals of the nave piers4 8,in the aisles1 each bay has two lancet windows1 except the easternmost bay on the south side1 which has only one4 ,in the jambs are slender ,purbeck shafts1 twice banded4 ,just beneath these windows1 an arcade of trefoiled arches runs along the whole length of the nave1 being continued on the screen walls to the western chapels4 ,the arches are deep1 with bold mouldings1 and are supported by clustered columns4 ,there are five arches in each bay1 but they are not placed in the same manner on both sides of the nave4 ,on the south1 the arches are arranged in groups of five1 with blank spaces of wall between1 in front of which pass the vaulting-shafts4 ,on the north1 the arcade is continuous1 and is so arranged that each cluster of shafts supporting the vault passes in front of an arch4 ,the work on the south side is more elaborate2 tooth ornament is used1 a string-course runs along at the height of the capitals1 and foliaged bosses are found in the lower corners of the spandrels4 ,in addition to the clustered vaulting-shafts already mentioned1 there is a single vaulting-shaft in the centre of each bay1 between the windows1 rising from a corbel above the wall-arcade4 ,on the north side these corbels merely have plain mouldings1 but on the south side they are foliated4 ,the arrangement of the vaulting-ribs is different in the north and south aisles2 and in the latter it will be noticed that some of the bosses have figure-subjects1 besides the foliage met with on the north side4 ,the ,agnus ,dei carved on the boss in the fourth bay from the west should be noticed4 ,to such minor differences1 continually found in the corresponding parts of a ,gothic edifice1 the style undoubtedly owes a peculiar charm40--7,a4 ,f4 ,k47 ,the great ,west ,window was inserted1 as we have seen1 in ,bishop ,grosseteste's time 7#abce-abec74 ,its tracery1 however1 dates from the end of the ,fourteenth ,century and is ,early ,perpendicular4 ,the upper lights are filled with fragments of ,fourteenth ,century glass2 but the glass in the lower lights is modern4 ,the cinquefoil above1 of the same date1 contains modern glass also4 ,the central figure represents ,remigius1 with his bishop's staff in one hand and the church in the other4 ,the rest of the glass in the nave is also modern4 ,under the last arch on the north side of the nave we come to a slab supposed to mark the original burial-place of ,remigius4 ,this slab was discovered in the cloisters and is supposed to date from the time of that worthy prelate4 ,the neighbouring ,pulpit is probably of the ,eighteenth ,century4 ,on the other side of the nave stands the black basalt ,norman ,font1 reminding us of the font in ,winchester4 ,around the sides of the square basin a row of grotesque monsters is carved in low relief4 ,now we come to the ,central ,tower4 ,four massive piers carry the four arches from which it rises4 ,foliage decorates the top of each arch4 ,the spandrels are ornamented by two rows of arcading with slender-clustered shafts4 ,the vaulting is of the ,fourteenth ,century4 ,the iron rings on the piers were placed there for the purpose of fastening the bell-ropes of the 8,lady ,bells0 that once hung in this tower4 ,a beautiful stone ,rood-,screen1 ,decorated in style and dating from the end of the ,thirteenth ,century1 fills the eastern tower arch1 and marks the boundary of ,st4 ,hugh's ,choir4 ,traces of colour and gilding reveal themselves to an earnest scrutiny4 8,on either side of the central doorway are four deep arches supported by detached pillars1 decorated with grotesque heads and small figures of bishops4 ,the wall behind is richly carved with diaper designs1 shewing much freedom and variety4 ,this screen was once decorated with colours and gilding1 traces of which are still visible4 ,it appears to have suffered a good deal at the hands of iconoclasts2 many statues have doubtless been removed1 and one must be very cautious with regard to the decoration which remains1 as it was considerably restored by a mason named ,james ,pink during the second half of last century4 ,the screen now carries the organ erected in #ahbf4 8,the two side doorways leading into the north and south aisles of the choir are somewhat earlier than the screen between them4 ,they are beautiful examples of carving1 dating from the end of the ,early ,english period4 ,the exquisite openwork foliage which runs round the arch is executed with the utmost skill and care1 and is without the laboured effect of so much of our later stone-work4 ,the injured parts were carefully restored about #aggj by ,james ,pink1 who was also employed by ,essex on the canopy of the reredos4 ,the doorways have modern iron gates40--7,a4 ,f4 ,k47 ,the ,choir now includes ,st4 ,hugh's ,choir and two bays of the ,angel ,choir beyond4 ,st4 ,hugh's ,choir is the earliest example of pure ,gothic in the world4 ,people are frequently disappointed in it because of its low vault and squat arches2 but it must be remembered that the fall of the central tower in #abcg-abci greatly damaged this part of the building4 ,in order to strengthen the choir some heavy columns without capitals replaced the original slender shafts4 ,the arches were also partly reconstructed4 ,arcaded screens between the piers divide the choir from the aisles north and south1 and aid in the support4 8,the foliage of the capitals is exquisitely beautiful1 and though distinguished technically by the name of stiff-leaf foliage1 because there are stiff stalks to the leaves rising from the ring of the capital1 the leaves themselves curl over in the most graceful manner1 with a freedom and elegance not exceeded at any subsequent period4 ,the mouldings are also as bold and as deep as possible1 and there is scarcely a vestige of ,norman character remaining in any part of the work40--7,r47 ,viollet-le-,duc1 who fixes the date of ,st4 ,hugh's ,choir at #abbj or #abaj at the earliest1 says3 8,we have in ,normandy1 especially in the cathedral of ,rouen and the church of ,eu1 architecture of the date of #aaij2 it is purely ,french1 that is to say1 it corresponds exactly with the architecture of the #8,isle de ,france' except in certain details4 ,at ,eu1 at the cathedral of ,le ,mans1 at ,seez1 we have architecture which resembles that of the choir of ,lincoln1 but that architecture is from #abaj to #abbj1 it is the ,norman school of the ,thirteenth ,century4 ,there is1 indeed1 at ,lincoln1 an effort at1 a tendency to originality1 a style of ornament which attempts to emancipate itself2 nevertheless the character is purely ,anglo-,norman4 8,the construction is ,english1 the profiles of the mouldings are ,english1 the ornaments are ,english1 the execution of the work belongs to the ,english school of workmen of the beginning of the ,thirteenth ,century4 8,on the exterior the choir of the ,cathedral of ,lincoln is thoroughly ,english or ,norman1 if you will2 one can perceive all the ,norman influence2 arches acutely pointed1 blank windows in the clerestory1 reminding one of the basilica covered with a wooden roof2 a low triforium2 each bay of the aisles divided into two by a small buttress2 shafts banded4 ,in the interior vaults which have not at all the same construction as the ,french vaults of the end of the ,twelfth ,century2 arch-mouldings1 slender and deeply undercut2 the abacus round2 the tooth-ornament2 which do not at all resemble the ornaments which we find at ,paris1 ,sens1 ,st4 ,denis1 etc40 ,the ,choir-,stalls1 dating from the ,fourteenth ,century1 are among the finest in ,england4 ,pugin considered them quite the best4 8,the stalls are in two rows1 the upper of #fb seats1 and the lower of #df2 the former number has now been increased by six and the latter by two4 ,the upper stalls have elaborate trefoiled canopies1 surmounted by an intricate maze of buttresses and pinnacles1 rising to a height of #bd feet #f inches above the choir floor4 ,the niches above the canopies have recently been filled with statues of saints in the ,anglican ,calendar4 ,the stalls in both rows are provided with hinged seats or misereres1 intended to serve as supports in the long services during which the occupants of the stalls were required to stand4 ,these seats1 as well as the elbow-rests and finials1 are richly carved with those grotesque subjects in which the ,medival artist so greatly delighted4 ,the carver has given full scope to a most fertile imagination4 ,scriptural subjects do certainly occur on some of the misereres in the upper row1 but others are of a playful character4 ,the fox is seen preaching to birds and beasts1 and then running riot among them2 monkeys are at play1 or occupied in the more serious business of hanging one of their number and burying him afterwards2 we also find men fighting with wild animals2 the labours of husbandry2 kings1 knights1 ladies1 dragons1 griffins1 lions1 hogs1 and wyverns4 ,whether there is a hidden meaning in any of these quaint subjects1 it is perhaps difficult now to say1 but the preaching fox is certainly suggestive40--7,a4 ,f4 ,k47 ,at the east end of the stalls on the south side rises the ,bishop's ,throne with tall ,gothic canopy4 ,it was designed by ,james ,essex in #aggh1 and carved by ,lumby4 ,opposite is ,sir ,gilbert ,scott's ,pulpit of carved oak 7#ahfc-ahfd74 ,the brass chandelier of sixteen lights1 suspended from the vault1 is dated #afih2 and the brass eagle lectern1 #affg4 ,the stone ,reredos is a mixture of work of the ,thirteenth ,century and that of ,james ,essex in the ,eighteenth ,century4 ,james ,pink carved the central canopy in #agfi after designs by ,essex4 ,the ,eastern ,transept was also the work of ,st4 ,hugh4 ,he joined the ends by means of an apse1 which extended to the second bay of the ,angel ,choir4 ,some historians say that he was buried in the northern of the four chapels that he built along the apse4 ,st4 ,hugh died in ,london in #abjj4 ,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 erected4 ,he was buried on ,november #bd2 and1 according to an old ballad3 8,a' the bells o' merrie ,lincoln ,without men's hands were rung1 ,and a' the books o' merrie ,lincoln ,were read without man's tongue2 ,and ne'er was such a burial ,sin' ,adam's days begun40 ,pilgrims came in such numbers to his shrine that it was deemed necessary to make his tomb more important1 and the apse was removed for the famous ,angel ,choir1 which1 like the ,choir of ,st4 ,hugh1 marks a new period in the history of architecture4 8,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 saints1 whose lowly tomb1 placed in a corner at his own desire for fear of its being in the way1 had become the resort of such a vast concourse of pilgrims as to require the transformation of the eastern arm of the minster4 ,in #abee1 license was obtained from ,henry ,,iii4 for the removal of part of the eastern city wall1 which stood in the way1 and in the next year the ,angel ,choir was probably begun4 ,the work was carried on so rapidly that within a quarter of a century the translation took place4 ,the choir was not1 however1 fully completed till the ,fourteenth ,century was well on its way4 8,the #fth ,october1 #abhj1 was the proudest day in the ,illustration3 ,,lincoln3 ,,angel ,,choir ,illustration3 ,,lincoln3 ,,choir1 ,,east history of the city4 ,perhaps never1 before or since1 has such an august assembly gathered within her walls4 ,the body of the ,saint of ,lincoln was to be translated to the costly shrine in the centre of the ,angel ,choir4 ,the ceremony was magnificent4 ,edward himself was present1 and supported on his own shoulder the saint's remains as they were carried to their new resting-place2 with him was his beloved queen ,eleanor1 whose effigy was so soon to be placed beneath the same roof4 ,the king and queen were accompanied by ,edmund1 ,earl of ,kent1 brother of ,edward1 and his wife2 the ,earls of ,gloucester and ,warwick2 the ,archbishop of ,canterbury2 the bishops of ,lincoln1 ,bath1 ,ely1 ,norwich1 ,worcester1 ,llandaff1 ,bangor1 and ,st4 ,asaph2 the bishop-elect of ,exeter2 and two hundred and fifty knights4 ,the shrine1 ornamented with gold and silver and precious stones1 was raised on a lofty stone pedestal1 and about thirty years after was protected by an iron grille1 wrought by ,simon the ,smith4 ,it is recorded that the fastenings of the grille were still to be seen in the pavement at the middle of the last century1 but all traces have now entirely disappeared4 ,it must have been soon after the translation that the head was removed from the body1 and enclosed in a metal case1 enriched with gold and silver and precious stones4 ,a keeper was appointed to guard the precious relic during the day1 and two had this charge at night4 ,yet1 in spite of all such precautions1 it was stolen from the church in the year #acfd2 the head was thrown into a field1 and the case sold in ,london for twenty marks4 ,the thieves were robbed of their ill-gotten gains on their way back1 and were afterwards convicted of the crime1 and hanged at ,lincoln4 ,the head was found and restored to the cathedral4 ,the treasurer1 ,john de ,welburne 7d4 #achj71 either restored the old shrine or made a new one of the same materials40--7,a4 ,f4 ,k47 ,fergusson called the ,angel ,choir 8the most beautiful presbytery in ,england40 ,it dates from #abef to #abhj1 when the ,early ,english was merging into the ,decorated4 ,the sculptural angels that ornament the spandrels of the triforium account for the name4 8,it is in five bays carried eastward at a uniform height and breadth with the choir of ,st4 ,hugh4 ,lincoln stone is used throughout1 relieved with shafts and capitals of ,purbeck marble4 ,the spandrels of the great arches1 which are plain in other parts of the building are here decorated with sunk geometrical forms4 ,each bay of the triforium is divided1 as elsewhere1 into two arches1 both of which enclose two sub-arches2 but the details are richer than in the earlier parts of the minster4 ,the clerestory has one window of four lights in each bay1 with an eight-foil and two trefoils in the head4 ,the compartments of the vault were originally coated with plaster1 which has been scraped away so as to shew the stone surface underneath4 ,it is a question whether it does not now look better than with the old plaster1 and the gaudy colouring which once1 most probably1 decorated it4 ,the springers of the vaulting are supported by slender shafts1 which rest on elaborately foliaged corbels in the spandrels of the great arches4 ,the beautiful foliaged bosses along the ridge rib are best seen from the triforium or the clerestory40--7,a4 ,f4 ,k47 ,in olden times the ,angel ,choir contained the ,shrine of ,st4 ,hugh and a monument to ,queen ,eleanor1 of which the one now standing in ,westminster ,abbey is probably a copy4 ,it was an altar-monument of marble with the ,queen's effigy in gilded brass1 and was destroyed during the ,civil ,wars in the ,seventeenth ,century4 ,eleanor died not far from ,lincoln1 from which city the funeral procession started to ,london4 ,a modern stone monument1 with a brass effigy of ,queen ,eleanor1 was placed under the ,east ,window in #ahia4 ,just behind the reredos there is a row of four table-tombs4 ,the north one was placed there by ,bishop ,fuller1 to mark the resting place of ,st4 ,hugh2 next comes ,bishop ,fuller himself 7died #afge72 next1 ,bishop ,gardiner 7died #agje72 and next1 ,subdean ,gardiner and his daughter1 ,susanna 7died #agca and #agcb74 ,near the latter stands the alabaster and red marble monument to ,dean ,butler 7died #ahid74 ,in corresponding position and next to ,st4 ,hugh's tomb we see ,bishop ,wordsworth's effigy under a tall ornate ,gothic canopy4 ,this ,bishop of ,lincoln 7died #ahhe71 was a nephew of ,william ,wordsworth4 ,nearer the ,east ,window we find a group of ,fourteenth ,century monuments to the ,burghersh family1 one of whom was ,bishop of ,lincoln 7#acbj-acdj71 and another1 a hero of ,crcy1 and ,constable of ,dover1 and ,warden of the ,cinque ,ports4 ,opposite is the monument to ,nicholas de ,cantelupe 7died #acee71 a mutilated effigy under a ,gothic canopy4 ,near it lies ,prior ,wimbische4 ,his effigy1 also headless1 lies under a canopy4 ,leland1 writing in the time of ,henry ,,viii41 mentions two mutilated tombs3 ,catherine ,swynford1 the third wife of ,john of ,gaunt1 made ,earl of ,lincoln in #acfb1 and that of her daughter1 ,joan ,beaufort1 who married the ,earl of ,westmoreland4 ,on the north side of the choir is the ,easter ,sepulchre1 a fine piece of ,thirteenth ,century carving1 in the ,decorated style4 ,it consists of four canopies with trefoiled arches4 ,three sleeping soldiers ornament three of the panels4 ,on a spandrel on the north side1 under a corbel above the most easterly pier1 sits the ,lincoln ,imp--one of those grotesques that the ,medival carvers delighted in creating2 and here he has been sitting with crossed leg and grinning grimly for centuries4 ,he is of the same family as ,the ,devil ,looking over ,lincoln 7see page #cji74 ,in the ,south ,aisle of the choir we pause again before another spot1 sacred in ,medival days4 ,here stood until the ,seventeenth ,century the ,shrine of ,little ,st4 ,hugh1 a child said to have been crucified by the ,jews in #abee4 ,according to the ballads the ball of the eight-year-old boy fell into a ,jew's garden2 and when he ran in to get it1 the ,jews murdered him4 ,the canons of ,lincoln obtained the body and buried it in the ,cathedral4 ,hugh became a local saint2 and the ,jews of ,lincoln were promptly persecuted4 ,when the stone coffin was opened in #agia1 the skeleton of a child three feet long1 encased in lead1 was found4 ,henry of ,huntingdon 7died about #aaee71 the chronicler of ,lincoln1 was also buried in this aisle4 ,on the north and south of the ,angel ,choir is a small chantry4 ,that on the north is the ,fleming ,chantry1 built by ,richard ,fleming1 ,bishop of ,lincoln in #adai-adca1 and the corresponding one the ,russell ,chantry1 built by ,john ,russell1 who held the ,see from #adhj to #adid4 ,this is similar to the ,fleming ,chantry1 ,perpendicular in style4 ,very similar is the ,longland ,chantry1 on the other side of the south door1 or ,bishop's ,porch4 ,this chantry was built by ,john ,longland1 ,bishop of ,lincoln1 in #aeba-aedg4 ,there is no ,lady-,chapel4 ,the great ,east ,window is the finest specimen of its kind in ,england4 ,it is formed of eight lights2 and the great wheel of the head is composed of a six-foil1 surrounded by six quatrefoils4 8,bar-tracery being fully developed1 the general appearance of #8the window is rather ,decorated than ,early ,english1 but the mouldings still belong to the earlier style4' #8,this window 444 together with the whole of that part of the choir is singularly and beautifully accommodated to the style of the rest of the building4'0--7,r47 ,the glass is modern and deals with scenes from the life of ,christ1 and the ,old ,testament4 8,the aisle windows are each of three lights1 with three circles in the head1 two filled with cinquefoils and one with a quatrefoil4 ,the two east windows of the aisles are similar to the others4 ,the wall below the windows is decorated all round with arcading of a richer design than that in the nave4 ,two trefoiled arches are included in a larger arch1 with a quatrefoil within a circle filling the head4 ,the spandrels have sunk trefoils4 ,the bosses of the stone vaults to the aisles are carved with sacred subjects1 foliage1 and grotesque figures4 8,the east windows of the north and south aisles are filled with beautiful stained glass of the ,early ,english period4 ,the subjects are arranged within medallions1 and1 though somewhat difficult to decipher1 appear to represent scenes in the lives of two saints whose story has many points of resemblance--,st4 ,thomas of ,canterbury and ,st4 ,hugh of ,lincoln4 ,the glass is said to have been moved about the end of the last century from the windows of the nave aisles4 ,the date of the medallions may be placed towards the middle of the ,thirteenth ,century1 about the time of the erection of the nave1 and1 of course1 earlier than the windows which they now occupy4 ,the grisaille into which they are now reglazed1 is considered by ,westlake to be the earliest in ,england40--7,a4 ,f4 ,k47 ,one of ,st4 ,hugh's characteristics was the peculiar double arcading on his walls4 ,we find it in the choir and transepts4 ,the ,western ,transept was begun by ,st4 ,hugh2 and his work is thought to end at the walls of the six chapels that run along the eastern side4 ,these are dedicated to ,st4 ,nicholas1 ,st4 ,denis1 ,st4 ,james1 ,st4 ,edward the ,martyr1 ,st4 ,john the ,evangelist and ,st4 ,giles1 and are separated from the transept by screens placed between the piers4 ,four of these screens are of carved oak and date from the ,fifteenth ,century2 but the one of carved stone is of the ,fourteenth4 ,the western transept is famed for its two large circular windows in each end4 ,as one looked upon the ,deanery and the other upon the ,bishop's ,palace1 they were called respectively the ,dean's ,eye and the ,bishop's ,eye4 ,these nicknames appear in the ,metrical ,life of ,st4 ,hugh1 written between #abbj and #abbe4 ,the ,dean's ,eye1 in the north end1 dates from about #abbj4 ,here we have not only exquisite tracery1 but splendid glass of the ,thirteenth ,century4 8,it represents the ,church on ,earth and the ,church in ,heaven4 ,in the centre is our ,saviour seated in the midst of the ,blessed in ,heaven4 ,around are four large compartments1 containing portions of different subjects1 which do not appear to have all originally belonged to their present positions4 ,the most interesting is that shewing the translation of the relics of ,st4 ,hugh1 represented as borne on the shoulders of crowned and mitred personages4 ,of the sixteen outer circles1 the topmost represents our ,saviour seated on a rainbow2 on either side are angels with the instruments of the ,passion2 in the next circles ,st4 ,peter and other saints are conducting holy persons to heaven2 below these is the general ,resurrection2 the lowest five circles each contain the figure of an archbishop or bishop4 ,the subjects can be best seen from the neighbouring triforium or from the passage which runs just beneath the window2 it will be noticed that the glass in some of the compartments is much mutilated1 as might naturally be expected1 considering its antiquity4 ,from below1 the subjects are confused and not easy to distinguish1 but the rich and harmonious blending of the colours can be seen to the fullest advantage1 and the general effect is much finer4 ,rickman believes the form of the tracery to be quite unique in ,england1 but states that there is a window exactly similar at ,laon40--7,a4 ,f4 ,k47 ,an arcade of seven lancet arches runs beneath the window4 ,the wall behind is pierced with windows filled with fragments of old glass4 ,two larger lancet windows brighten each side of the doorway4 ,they contain fragments of old glass4 ,the western one represents angels playing musical instruments in the midst of foliage4 ,the other window is filled with geometrical patterns4 ,the doorway leads into the ,dean's ,porch4 ,the ,bishop's ,eye1 at the south and opposite end1 is about a hundred years later than its companion4 ,it is ,fourteenth ,century and ,decorated4 8,it is filled with delicate and beautiful flowing tracery1 which has been compared to the fibres of a leaf4 ,rickman considers it to be the richest remaining example of its period4 ,it is enclosed within a kind of arch formed by two rows of openwork quatrefoils2 an open frame-work of a similar nature is often to be seen round circular windows in ,french cathedrals4 ,the glass consists of fragments from other windows1 chiefly of the ,early ,english period4 ,although the pieces are placed quite at random1 forming no subject whatever1 yet the effect of the colouring is good1 especially when seen from the opposite end of the transept4 ,of all the modern windows in the minster1 with their elaborate subjects1 it may safely be said that not one can be compared in effect with this mass of glowing colour40--7,a4 ,f4 ,k47 ,the four lancet windows below contain ,early ,english glass1 collected from various parts of the ,cathedral4 ,near the ,bishop's ,eye ,john de ,dalderby's shrine was situated4 ,this was of 8massey silver0 incrusted with diamonds and rubies4 ,john de ,dalderby1 ,bishop of ,lincoln from #acjj to #acbj1 was reverenced as a local saint4 ,henry ,,viii4 removed his altar-tomb1 fragments of which may be seen near the ,galilee ,porch1 situated at the corner of the south arm of the western transept1 different in position to the ,galilees of both ,durham and ,ely4 ,lincoln's was built about #abcj for the bishop's state entrance4 ,the south and west ends are open2 and it may1 therefore1 be entered from either4 ,two enormous oak doors open from the east side into the transept4 ,the porch is vaulted and ornamented profusely with the dog-tooth4 ,the ,perpendicular parapet running along the top of the porch is1 of course1 a later addition4 ,retracing our steps--no great hardship in a place of such beauty and interest--we walk up the south-choir-aisle to the ,eastern ,transept1 where we have two semicircular chapels on the right hand1 and on the left the ,dean's ,chapel4 ,we are now at ,st4 ,hugh's earliest work2 and his double arcading is again seen in the north wall leading to the cloisters4 ,here also we find on two of the columns crockets that were novelties at this period4 ,they occur at ,wells1 the work of ,jocelin4 ,the name of ,dean's ,chapel is a misnomer--no one knows what it was used for originally4 ,it has been suggested that it was the original burial-place of ,st4 ,hugh4 ,two semicircular chapels also border the eastern side of the south end of this transept1 and the ,choristers' ,vestry occupies the corresponding corner to the ,dean's ,chapel4 ,a stone screen 7,decorated7 separates it from the south aisle of ,st4 ,hugh's ,choir4 ,the double arcading and sculptured angels are constantly seen4 ,two other vestries lie beyond1 towards the south wall4 ,by means of an oak doorway1 leading from the north wall of the eastern transept1 we enter a long1 narrow passageway1 with stone vaulting and windows filled with tracery and glass4 ,this takes us into the ,cloisters1 for at ,lincoln these secluded ,illustration3 ,,lincoln3 ,,east ,,window ,illustration3 ,,southwell ,,from ,,north-,,west walks lie on the north instead of the usual south side of the ,cathedral4 ,only three walks remain of the original constructions dating from the end of the ,thirteenth ,century4 ,the fourth walk 7north7 was replaced by a colonnade1 designed by ,sir ,christopher ,wren1 in #afgd1 whose uncle was ,bishop of ,lincoln at that time4 ,from the east walk of the ,cloister we enter the ,chapter-,house1 which dates from the early ,thirteenth ,century4 ,it is a decagon1 with two lancet windows in each bay4 ,first1 on entering1 we note the massive central column with its ten ,purbeck marble shafts banded together in the middle4 ,the ,chapter-,house has been restored1 but it has not suffered4 ,the glass in the windows is modern4 ,the arcade running below the windows is ornamented with shafts of ,purbeck marble1 foliaged capitals1 and a great display of the dog-tooth4 ,the stone vault is later than the rest of the room and is very graceful4 ,many fine views can be had of the ,east ,front4 ,the splendid ,decorated window is always the most conspicuous object4 ,the window above it is also ,decorated and nearly fills the gable4 ,in the trefoil over the top circle is a figure of the ,virgin4 ,the richly crocketed pyramids of the turrets on either side make a beautiful effect4 ,the aisle windows are separated from the big window by bold buttresses4 ,around the base runs the arcade that we constantly find at ,lincoln4 ,the ,chapter-,house with its sharply-pointed pyramidal roof groups beautifully with the rest of the ,cathedral4 ,next we look at the ,angel ,choir1 with its crocketed gables and pinnacles1 its elaborate tracery1 and panelled buttresses that divide it into five bays4 ,grotesque figures project from all of these gables4 ,one represents an ,imp on the back of a ,witch4 ,large windows with rich tracery fill the wall spaces here4 ,next we reach the beautiful ,south ,doorway with the ,russell and ,longland chantries 7,perpendicular7 on either side4 8,it was probably constructed1 like the ,galilee doorway1 as a state entrance for the bishop4 ,the porch fills the third bay1 and projects as far as the buttresses2 its sides recede inwards to the pair of doors giving access to the ,angel ,choir4 ,although the doorways of our cathedrals1 as a rule1 cannot in any way be compared with the magnificent portals to be seen in ,france1 yet this single example of ,lincoln would be quite enough to prove that ,english architects were capable of designing a really magnificent doorway4 ,in the tympanum is the subject of the ,last ,judgment in relief4 ,the archivolt is richly decorated with sculpture4 ,in the inner band is a row of niches with twelve seated figures1 apparently kings and queens3 next a double band of delicate open-work foliage2 outside this a row of sixteen slender standing figures enclosed by interlacing stems1 richly decorated with foliage4 ,the doorway is formed of two cinquefoiled arches1 separated by a central pillar having the canopy and base for a figure of the ,virgin1 which has been removed4 ,on either side of the doorway is a triple canopy for statues1 and behind this a row of slender columns with foliated capitals40--7,a4 ,f4 ,k47 ,next come ,st4 ,hugh's two semicircular chapels1 and then ,st4 ,hugh's transept1 slender and filled with so many windows that the wall space is nearly taken up by them4 ,on top of each of the two turrets1 surmounted by pyramidal roofs1 stands an angel4 ,next comes the ,canon's ,vestry and then the western transept with the conspicuous ,bishop's ,eye4 ,we pause to admire this beautiful window from the outside and then look above it at the horizontal band of seven elaborately carved quatrefoils4 ,above this again is a ,fourteenth ,century window with flowing tracery4 ,around the gable runs a border of open ,gothic tracery4 ,the peak bears a cross4 ,next comes the ,nave1 the seven bays of which are separated by buttresses4 ,over the roof of the aisle flying buttresses are thrown4 ,a slender buttress also separates the windows of the aisle4 ,the clerestory windows are in groups of three4 ,over the clerestory is a wavy parapet of the ,fourteenth ,century1 where stand canopied niches for statues4 ,grotesque figures project from their bases4 ,grotesque figures also project from the crocketed roofs of the pinnacles of the great transept4 ,the chapel1 used as the ,consistory ,court1 follows with two windows facing south and two east4 ,on the east end of the latter1 in front of the windows1 our eyes are arrested by the grotesque ,devil ,looking over ,lincoln4 ,the sculptured figures near by are pilgrims4 ,next comes ,st4 ,hugh's ,chapel1 or the ,ringers' ,chapel1 with one window facing the south4 ,from the road at the north-east corner we get a good general view of the ,cathedral and the ,chapter-,house4 ,st4 ,hugh's transept is hidden1 but we can see the end of the western transept with the ,dean's ,eye--the large quatrefoil encircled by sixteen small circles4 ,the lancet window of five lights in the gable above it is also visible4 ,the second bay on the north side of the ,angel ,choir contains the ,fleming ,chantry1 on which the two chapels on the south side were modelled4 ,then we come to the north doorway of the ,angel ,choir1 corresponding to the more ornate entrance on the south4 ,we have now completed our survey of the ,cathedral and have not yet noticed the ,central ,tower1 considered by many critics the finest tower in ,england4 ,it rises to a height of #bga feet4 ,two lofty windows adorn each side of the upper story with their crocketed pillars and canopied heads4 ,octagonal panelled turrets1 surmounted by pinnacles1 ornament the four corners4 ,grosseteste's lattice-work pattern covers the lower part within and without4 ,the tower in its present state dates from #agge1 when ,james ,essex built the parapet and advised battlements and pinnacles instead of a spire4 ,the tall spire of timber1 coated with lead1 that completed the tower of #acaa1 was blown down in #aedg1 carrying the parapet with it2 and again in #agae three of the pinnacles were blown down and replaced in #agbh4 ,in #ahhc the western side was damaged by a storm1 but was repaired4 ,here 8,great ,tom of ,lincoln10 the fourth largest bell in ,england 7#e tons1 #h cwt471 seven feet in diameter1 hangs4 ,too large to ring1 the hours are struck on it with a hammer4 ,the original ,great ,tom hung in the north-west tower4 8,it is not known how it was acquired2 some say it was a gift1 others say it was stolen from the ,abbey of ,beauchief1 ,derbyshire1 or from ,peterborough4 ,the origin of its name1 too1 has been a subject of dispute4 ,stukeley considered it possible that it had been consecrated to ,st4 ,thomas of ,canterbury4 ,others think it took its name from that of the old bell of ,christ ,church1 ,oxford1 which bore the curious inscription1 ,in ,thomae laude1 resono ,bim ,bom sine fraude4 ,it should be remembered that ,oxford was in the diocese of ,lincoln in olden days1 and that several ,bishops of ,lincoln were chancellors of ,oxford4 ,wherever the first #8,great ,tom' came from1 it was recast in the minster yard by two bell founders from ,nottingham and ,leicester early in the ,seventeenth ,century1 when the weight was increased from #h1gdc pounds to #i1hid pounds4 #8,the bell was cast and hung upp and upon ,sonday the xxvij of this month ,january1 #afaa ronge owte and all safe and well4' ,it was tolled until #ahjb1 when it was found that this process shook the tower too much4 ,the following extract from the ,stamford ,mercury of the #fth ,august1 #ahjb1 is given by ,north in his #8,church ,bells of ,lincolnshire'3--#8,great ,tom o' ,lincoln is to be rung no more6 ,the full swing of four tons and a half is found to injure the tower where he hangs4 ,he has therefore been chained and riveted down2 so that instead of the full mouthful he has been used to send forth1 he is enjoined in future merely to wag his tongue4' ,towards the end of the year #ahbg experienced ears detected that something was wrong1 and by ,christmas it became plainly evident that the bell was cracked4 ,it was finally decided to have it recast in a larger size4 ,for this purpose it was broken to pieces with its own clapper1 and sent to ,london4 ,to provide the extra metal1 the six ,lady ,bells were unfortunately sacrificed4 ,the cathedral thus lost the distinction of being the only one in the kingdom possessed of two rings of bells4 #8,great ,tom' was recast by ,thomas ,mears at the ,whitechapel ,bell foundry on the #aeth ,november1 #ahcd4 ,it was taken by road to ,lincoln1 drawn by eight horses1 and raised to its new position in the central tower4 ,two new quarter bells1 cast at the same time1 were also hung in this tower4 ,the number of quarter bells was increased in #ahhj to four40--7,a4 ,f4 ,k47 ,the six 8,lady ,bells10 referred to above1 hung in this central tower 7see page #bid74 ,when they were removed in #ahcd it was seen that four were dated #aeic2 one1 #afcc2 and one1 #agcg4 ,in the ,thirteenth ,century the ,minster ,yard1 as many still call the ,cathedral ,close1 was enclosed by a wall4 ,several massive gates formed the entrances4 ,of these the ,exchequer1 a large archway1 with a postern on each side and an upper story1 remains at the western end4 ,pottergate ,arch1 at the top of the new road1 shows us what an early ,fourteenth ,century single gate was like4 ,near it the ,grecian ,stairs lead up to the ,close4 ,,southwell ,,dedication3 ,,st4 ,,mary4 ,,chief ,,feature3 ,,chapter-,,house4 ,for many centuries the ,church of ,st4 ,mary1 ,southwell1 was under the dominion of ,york4 ,the clergy had many privileges1 held property1 lived in their own houses1 like country gentlemen1 and hunted in the forests which ,robin ,hood and his merry men had made romantic2 for ,southwell is not far from legendary ,sherwood4 ,the church became a ,cathedral in #ahhd4 ,it dates in the main from the ,twelfth ,century1 though a few fragments are older4 ,it is supposed that the first ,saxon church was destroyed by the ,danes2 the next is said to have been built by ,king ,edgar in #ifj2 and in the time of ,henry ,i4 was rebuilt in the ,norman style4 ,walter de ,grey1 ,archbishop of ,york 7see page #bfd71 rebuilt the nave of ,southwell1 and was assisted by ,john ,romeyn1 subdean 7see page #bfd74 8,in the ,curvilinear ,period 7#acae-acfj7 was erected quite the loveliest choir-screen in ,england2 next comes that of ,lincoln1 evidently by the same hand4 ,eastern and western sides are entirely different in design2 on the western side the artist parts reluctantly with the beautiful geometrical design of the ,thirteenth ,century2 on the eastern side he accepts unreservedly the reign of the ogee arch4 ,magnificent sedilia and stone stalls of similar character were erected1 which only survive in part4 ,very beautiful1 too1 is the cusping of the reticulated windows inserted in the north transept chapel4 ,the upper parts of the ,chapter-,house and the north transept chapel also were remodelled in the ,curvilinear ,period4 ,for two hundred years and more1 the highest and best of ,medival art found cultivated and wealthy patrons in the canons of ,southwell4 ,norman1 ,lancet1 ,geometrical1 ,curvilinear work are all seen here at their best4 ,few of our cathedrals1 from the point of view either of architectural design or sculptural detail1 can be mentioned in the same breath with ,southwell4 ,it is one of the greatest delights of ,southwell that this lovely minster is little known and almost unvisited3 one feels as if one were #8the first that ever burst into the silent sea'60--7,f4 ,b47 ,the general appearance of the ,cathedral is ,norman4 8,the ,,west ,,front has been altered in character from its original ,norman work4 ,we see a huge ,perpendicular window with an embattled parapet over it1 an alteration made in the ,fifteenth ,century4 ,the windows in the lower stages of the towers are modern imitations of ,norman work4 ,the towers have seven stages and the sixth is enriched with fine arcading composed of intersecting arches4 ,the present spires are modern imitations of the originals destroyed by fire in #agaa4 ,these were immediately restored but removed in #ahjb1 and have now again been replaced4 ,the old ,norman doorway is remarkably fine4 ,it has five orders1 the zigzag and the filleted edge roll being the chief mouldings4 8,passing to the south side we see the walls of the nave pierced by apparent ,norman windows1 but these are modern imitations4 ,the most western window in the north side is the only original ,norman window2 the rest are copied from it1 and were erected in #ahdg4 ,four ,perpendicular windows were inserted in the ,fifteenth ,century4 ,there is a row of small square windows above which light the triforium1 and the clerestory has a curious series of circular windows which are unique in this country4 ,the roof is high-pitched1 having been erected in modern times by the architect ,christian1 and the parapets are ,perpendicular in style4 ,the south doorway should be noticed1 of ,norman workmanship with zigzag string-course over it40--7,p4 ,h4 ,d47 ,the ,choir is ,early ,english and much resembles that of ,lincoln4 ,the dog-tooth is very evident4 ,the windows are lancet4 ,the two flying-buttresses on the south were added in the ,decorated period4 ,the ,chapter-,house is on the north1 and its similarity to that of ,york will strike every one who has seen the flos florum of the great ,minster of the north4 ,it is supposed the same architect 7probably ,john ,romeyn7 designed both4 ,this is octagonal4 ,the windows are of three lights1 with trefoil and circular ones in the heads4 ,the roof is modern4 ,the ,north porch is much admired4 ,the inner doorway has a zigzag and beak-head moulding4 ,in the parvise above 7very unusual in a porch of this date71 the wife of ,william ,clay1 a hunted ,royalist1 was hidden during the ,civil ,war4 ,here her child was born4 ,we enter by the west door and gain a view of the ,nave4 8,looking down the nave 7#aaaj-aaej7 we are impressed by the massive appearance of the interior4 ,the piers are rather short1 only #ai feet high1 six on each side1 with square bases and round capitals4 ,the triforium is large1 and above is the clerestory with its unique plain circular windows4 ,the ,norman mouldings1 zigzag1 billet1 hatchet1 etc41 are easily recognized4 ,the present roof was erected in #ahha4 ,the ,font1 erected in #affa1 is a poor substitute for the one destroyed by the soldiers of ,cromwell4 ,the ,pulpit is modern4 ,the second pillar from the east on the south side is called ,pike's ,pillar1 and retains faint traces of a mural painting of the ,annunciation2 the nave aisles have some good vaulting4 ,a plain stone bench runs along the walls4 ,this was common in old churches and was the origin of the saying #8,let the weakest go to the wall1' where they could sit and rest1 as the days of pews were not yet4 ,the only original ,norman window which remains is at the west end of the north aisle40--7,p4 ,h4 ,d47 ,the ,transepts are ,norman4 ,at the east end of each the original plan included an apsidal chapel4 ,the south transept still retains the arch with its zigzag and cable mouldings that connected it with the transept4 ,the chapel at the east end of the north transept has also gone1 but here we find on its site a ,late ,early ,english construction1 with still later windows 7,decorated74 ,in the upper floor the ,library is situated4 ,the ,tower is ,norman1 built in #aaej4 ,a cable moulding runs around the four large arches4 ,it contains a peal of bells4 8,a stone screen of rich ,decorated work separates the transept from the choir1 over which is now the organ 7a modern instrument74 ,the screen is richly ornamented1 and a noble specimen of the work of the period4 ,there are three arches opening to the space beneath the tower1 separated by slight piers of clustered shafts1 the capitals carved with foliage of a ,late ,decorated character4 ,the walls of the screen support the old rood-loft1 access to which is gained by two staircases4 8,entering the ,choir we see on each side of the doorway three prebendal stalls with misereres1 on which are carved some foliage4 ,the ,bishop's ,stall was once occupied by ,cardinal ,wolsey4 ,the choir was built by ,archbishop ,grey in ,early ,english style 7#abcj-abej74 ,there are six arches1 with piers of eight clustered shafts4 ,the dogtooth moulding is conspicuous in the arches and on the vaulting of the roof4 ,it will be noticed that the triforium and clerestory are blended together4 ,the east window consists of two rows of lancets1 the lower ones containing old glass brought from ,paris in #ahae1 where it was formerly in the ,chapel of the ,knights ,templar4 ,the ,baptism of ,our ,lord2 ,raising of ,lazarus 7,francis ,i4 is to be seen in a crimson cap72 ,christ entering ,jerusalem 7,luther is near ,our ,lord1 ,louis ,,xi4 and the ,duke of ,orleans72 the ,mocking of ,our ,lord 7the figure of ,dante appears74 8,the ,sedilia were erected in #acej and are good ,decorated ,illustration3 ,,southwell3 ,,chapter-,,house ,,and ,,door ,illustration3 ,,peterborough3 ,,west ,,front work4 ,they have the unusual number of five seats on the same level4 ,the arches are ogee-shaped and are richly carved4 ,the sculptured figures are remarkable1 and represent the ,creation and the ,redemption4 ,beginning at the east we see the ,father holding the world 7two groups uncertain71 ,joseph's ,dream1 the ,nativity and ,flight into ,egypt4 8,the ,lectern belonged to the monks of ,newstead ,abbey1 who threw it into the lake to hide it from the commissioners of ,henry ,,viii4 ,its date is about #aejj40--7,p4 ,h4 ,d47 ,entering a beautiful doorway in the north-choir-aisle we pass through a vestibule into the ,chapter-,house4 8,the transition between the ,early ,english work of the choir and the ,decorated style of the ,chapter-,house is very gradual4 ,the doorway1 with its two arches and shafts of ,purbeck marble1 is remarkably fine4 ,there is a small cloister court1 with a stone-covered well4 ,in the vestibule we see the walls covered with beautiful arcading of lancet arches of an ,early ,english character4 ,the capitals are beautifully carved with foliage4 ,there is a curious boss of sculpture representing a secular priest shaking the regular monk by the hair1 which figuratively depicts the supremacy of the former in the church of ,southwell4 8,the ,chapter-,house 7#abhe-acjj7 is described by ,ruskin as #8the gem of ,english architecture1' and all architects agree in singing the praises of this noble building4 ,it much resembles that of ,york1 but is smaller and perhaps more beautiful4 ,it is octagonal1 has no central pillar1 and is remarkable for its fine sculpture4 ,the historian of ,southwell says3 #8,the foliage everywhere is most beautiful3 the oak1 the vine1 the maple1 the white-thorn1 the rose1 with a vast variety of other plants1 are sculptured with exquisite freedom and delicacy2 and no two capitals1 or bosses or spandrels are found alike4 ,everywhere we meet1 in ever-changing and ever-charming variety1 with some fresh object of interest and admiration4 ,figures are introduced amid the foliage1 heads with branches issuing out of their mouths1 birds and lizard-like monsters4 ,in the capitals a man reclines beneath a tree1 puffing lustily at a horn1 or a goat is gnawing the leaves1 or a bird pecking the berries1 or a pair of pigs are grunting up the acorns1 or a brace of hounds just grabbing a hare4 ,all this is the work of no mere chiseller of stone1 but of a consummate artist2 than whom it may be doubted whether any sculptor of any age or country ever produced anything more life-like and exquisitely graceful4' ,the entrance doorway is remarkably fine and is worthy of close study4 ,the main arch is divided into two by a slender shaft1 and over them is a quatrefoiled circle of beautiful design4 ,the leaf ornament is largely used1 both in the smaller arches and in the main arch4 ,filleted rounds and hollows are the other mouldings used40--7,p4 ,h4 ,d47 ,,peterborough ,,dedication3 ,,st4 ,,peter4 ,,church ,,of ,a ,,benedictine ,,monastery4 ,,special ,,features3 ,,the ,,west ,,front2 ,,the ,,new ,,building4 ,the great fenland monastery of ,st4 ,peter1 the holy house of ,medeshampstead1 attracting houses around it1 grew into a borough1 and finally into a city--,peterborough4 ,the village was first called ,medeshampstead--homestead in the meadows4 ,for centuries the settlement had no interests outside the monastery4 ,in the ,seventh ,century ,penda1 ,king of ,mercia1 and his family were converted to ,christianity1 and it was his son ,penda who founded the monastery here in #fed4 ,the first monastery was destroyed by the ,danes in #hgj4 ,it lay in ruins for a hundred years4 ,with the religious revival under ,duncan and ,king ,edgar1 the holy house of ,medeshampstead was rebuilt by ,bishop ,ethelwold1 of ,winchester1 and henceforth known as the ,burgh4 ,the foundations of the old ,saxon church still remain under the east wall of the south transept4 ,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 these4 ,the church seems to have been1 even in those days1 dedicated to ,st4 ,peter4 ,the ,abbey flourished for a time2 then it was plundered by ,hereward1 the ,saxon leader1 and suffered also from fire while the monks were carousing4 ,in the time of ,henry ,i4 a great fire destroyed the whole building4 ,the picturesque imagination of the period attributed it to a servant1 who1 trying unsuccessfully to light a fire in the bakehouse1 lost his temper and called upon ,satan for aid1 crying 8,veni1 ,diabole1 et insuffla ignem40 ,john de ,sais1 who was then ,abbot 7#aaad-aabe71 began the building of a new minster1 the one that we now see4 ,as usual the work was begun at the east end4 ,the choir was finished with an apse4 ,a small apse also terminated each choir-aisle4 ,the whole church was in progress of building for eighty years4 ,this was all ,norman work of course4 ,the western transept1 dating from the close of the ,twelfth and beginning of the ,thirteenth ,century1 shows a change4 8,the ,norman style was giving place to the lighter and more elegant architecture of the ,early ,english period1 the round arch was beginning to be superseded by the pointed arch1 and the massive ornamentation which marks the earlier style was displaced by the conventional foliage that soon came to be very generally employed4 ,most wisely1 however1 the ,peterborough builders made their work at the west end of the nave intentionally uniform with what was already built4 ,very numerous indications of this can be seen by careful observers4 ,the bases of the western pillars1 the change in the depth of the mouldings1 characteristic changes in the capitals in the triforium range1 and especially the grand arches below the transept towers1 which are pointed but enriched with ornamentation of pronounced ,norman character1 all point to the later date of this western transept4 8,at the west wall of the church all trace of ,norman work disappears4 ,the arcade near the ground1 the large round arch above the door1 the great west window and its adjacent arches 7not1 of course1 including the late tracery71 are all of distinct ,early ,english character4 ,the whole of this wall may be held to be an integral part of the west front1 and not of the transept which it bounds4 8,when we come to the most distinctive feature of the cathedral1 the glorious west front1 we find we have no help whatever from the chronicles4 ,nowhere is there the smallest reference to its building4 ,other works raised by the ,abbots of the period are named1 but the noble western portico is never once mentioned40--7,w4 ,d4 ,s47 ,according to ,matthew ,paris the church was dedicated in #abch by the ,bishop of ,lincoln1 ,robert ,grosseteste4 ,in the ,thirteenth ,century many changes were made4 ,the bell-tower was built1 and bells from ,london1 called ,les ,londreis1 were hung in it4 ,the ,lady-,chapel 7now destroyed7 was built in #abgb at the east of the north transept 7as at ,ely74 ,in the ,fourteenth ,century the great round east and west arches of the central tower were changed into pointed ones1 perhaps because the tower at ,ely had fallen in #acba and the monks wanted to strengthen theirs4 ,then they began to change all the triforium windows in the nave and choir from ,norman to ,decorated4 ,next1 the central porch was added to the west front4 ,during the ,perpendicular period all the ,norman windows that had not been altered were now filled with ,perpendicular tracery2 the great west window was also brought up to date1 the battlements were added to the corner turrets1 and the ,new ,building tacked on to the ,east ,end of the choir4 ,a popular story related that ,henry ,,viii4 spared the church because his queen1 ,katherine of ,aragon1 was buried there4 ,at any rate1 he made ,peterborough a cathedral in #aeda1 when he suppressed the monasteries4 ,the great historical event in connection with ,peterborough was the burial of ,mary1 ,queen of ,scots1 in #aehg4 ,cromwell's soldiers made sad havoc4 ,dean ,patrick informs us that 8,the next day after their arrival1 early in the morning they break open the church doors1 pull down the organs of which there were two pair4 8,then the soldiers enter the quire1 and their first business was to tear in pieces all the common prayer-books that could be found4 ,next they break down all the seats1 stalls and wainscot that was behind them1 being adorned with several historical passages out of the ,old ,testament4 8,now behind the communion-table there stood a curious piece of stone-work1 admired much by strangers and travellers3 a stately skreen it was1 well wrought1 painted and gilt1 which rose up as high almost as the roof of the church1 in a row of three lofty spires1 with other lesser spires growing out of them4 ,this now had no imagery work upon it1 or anything else that might justly give offence1 and yet because it bore the name of the high altar1 was pulled down with ropes1 lay'd low and level with the ground4 8,over this place1 in the roof of the church1 in a large oval yet to be seen1 was the picture of ,our ,saviour seated on a throne2 one hand erected and holding a globe in the other1 attended with the four ,evangelists and saints on each side1 with crowns in their hands1 intended1 ,i suppose1 for a representation of ,our ,saviour's coming to judgment4 ,this was defaced and spoilt by the discharge of muskets4 8,then they rob and rifle the tombs and violate the monuments of the dead4444 8,when they had thus demolished the chief monuments1 at length the very gravestones and marbles on the floor did not escape their sacrilegious hands4 ,for where there was anything on them of sculptures or inscriptions in brass1 these they force and tear off4 8,having thus done their work on the floor below1 they are now at leisure to look up at the windows above4 8,now the windows of this church were very fair1 being adorned and beautified with several historical passages out of ,scripture and ecclesiastical story2 such were those in the body of the church1 in the aisles1 in the ,new ,building1 and elsewhere4 ,but the cloister windows were most famed of all1 for their great art and pleasing variety4 ,one side of the quadrangle containing the history of the ,old ,testament2 another1 that of the ,new2 a third1 the founding and founders of the church2 a fourth1 all the kings of ,england downwards from the first ,saxon king4 ,all which notwithstanding were most shamefully broken and destroyed4 ,yea1 to encourage them the more in this trade of breaking and battering windows down1 ,cromwell himself 7as 'twas reported7 espying a little crucifix in a window aloft1 which none perhaps before had scarce observed1 gets a ladder and breaks it down zealously with his own hand4 8,thus1 in a short time1 a fair and goodly structure was quite stript of all its ornamental beauty1 and made a ruthful spectacle1 a very chaos of desolation and confusion1 nothing scarce remaining but only bare walls1 broken seats and shattr'd windows on every side40--7,p47 ,the old story of neglect--8scarce any cathedral in ,england is more neglected10 wrote ,browne ,willis in #agdb--;is told of ,peterborough in the ,eighteenth ,century2 but in #agfd-agia ,dean ,tarrant collected all the fragments of stained glass and inserted them in the two central windows of the apse4 ,they deal chiefly with scenes in the life of ,st4 ,peter4 ,the late history of the ,cathedral is only that of repairs1 restorations1 and gifts4 ,we enter the ,minster ,precincts by the western gateway1 built by ,abbot ,benedict1 in the ,norman style1 in the ,twelfth ,century4 ,it was altered at the end of the ,fourteenth ,century4 ,the approach is monastic in the extreme4 ,the room over the gate was once the ,chapel of ,st4 ,nicholas4 ,after passing through this gate1 on the left hand we see all that remains of the ,chapel of ,st4 ,thomas of ,canterbury 7,fourteenth ,century74 ,the various gateways1 doors1 arcades1 and remains of ancient buildings harmonize well with the venerable and elegant ,cathedral4 8,a fine view of the best feature of ,peterborough1 the west front1 is immediately opened with a foreground of smooth turf4 ,the great portico1 with its three arches1 eighty feet high1 of pure ,early ,english style1 is unlike anything else in ,england1 and inspires universal surprise and admiration4 ,it was built on the old ,norman church1 but does not actually touch the western walls4 8,the spires of the portico are of different sizes and designs4 ,the northern does not group well with the transeptal tower behind it1 and there is a certain confusion to the eye when so many towers are in our view4 ,the southern transeptal tower was never carried above the roof4 ,the central tower over the choir after being repeatedly repaired and restored1 fell in #ahhd1 destroying the interior fittings and stalls1 but1 on the whole1 doing less damage than might have been expected4 ,the tower has been rebuilt1 but not to the old pattern1 and the four corner turrets have disappeared40--7,w4 ,j4 ,l47 ,the ,west ,front1 with its three magnificent doorways and original wooden doors1 was the work of ,abbots ,zachary and ,robert of ,lindsay 7about #abjj to #abbb74 8,immediately before us we see the noble ,west ,front #8the pride and glory of ,peterborough1' the finest portico in ,europe4 ,with the exception of the porch1 the style is pure ,early ,english4 ,on the north and south are two lofty turrets1 flanked at the angles with clustered shafts1 and crowned with spires4 ,between these are three pointed arches1 supported by clustered shafts1 six on each side with foliated capitals4 ,the central arch is narrower than the rest1 but its mouldings are ornamented with crockets and dog-tooth4 ,a string-course runs along the top of the arches1 and the spandrels have trefoils1 quatrefoils and niches with statues4 ,above the string-course is a series of trefoiled arches1 some of which have statues4 ,between the three gables are pinnacles much ornamented4 ,the gables have circular windows of beautiful design and a cross on the apex2 they are ornamented with dog-tooth and have niches with statues--,st4 ,peter in the centre1 with ,,ss4 ,john and ,andrew on either side4 ,the turrets on the north and south have six stages panelled with arches4 ,the spires are good examples of the difference between those of the ,early ,decorated and ,perpendicular periods4 ,the south spire is connected with the pinnacles of the tower by clustered pinnacles springing from an arch2 these are decorated with crockets1 and the spire belongs to the early ,fourteenth ,century2 whereas the spire on the north has no such connection and is ,early ,perpendicular4 8,we now notice the ,porch with the parvise over it4 ,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 arch4 ,the design is very beautiful4 ,the entrance has an obtuse arch1 and above a ,perpendicular window with elliptical arch4 ,buttresses empanelled with niches stand on each side4 ,it has a stone vault of good design4 ,one boss is curious1 representing the ,trinity4 ,the attitude of the ,saviour shows that the figure was designed by a freemason1 and bears witness to the antiquity of that fraternity4 ,the parvise is now a library40--7,p4 ,h4 ,d47 ,in the latter years of the ,fourteenth ,century the central porch1 with its upper room1 ,parvise1 was added between the two middle piers of the west front4 ,it has been regarded by some critics as a blemish and by others as an improvement1 but it was probably a necessity for the purpose of extra stability4 8,the construction of this elegant little edifice is extremely scientific1 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 front4 ,these turrets being erected against one side of the triangular columns1 on the right and the left hand1 support them in two directions at once1 viz41 from collapsing towards each other1 and from falling forward4 ,the latter pressure is thrown wholly upon the buttresses in front1 which project seven feet beyond the base of the great pillars40--7,f4 ,a4 ,p47 ,turning now to a description3 8,it is vaulted in two bays1 the first being of the same dimensions as the inner width of the portico2 the western bay 7of the same size7 thus reaches beyond the two great piers and the corner turrets and buttresses in all project about seven feet4 ,this gives a very substantial support to the piers4 ,the whole composition is very fine1 and quite worthy of the great portico to which it is an adjunct4 ,it must be left to each spectator to decide for himself if it improves or diminishes the effect of the whole4 ,it is of late ,decorated date1 highly enriched with profuse carving4 ,the staircase turrets1 as well as the great window1 are embattled4 ,the spaces north and south1 and within the portico1 have tracery on the walls similar to the window4 ,the groining is very fine4 ,one of the central bosses has a representation of the ,trinity4 ,the ,father is represented as the ,ancient of ,days1 with a ,dove for the ,holy ,spirit above the shoulder and the figure of the ,saviour on the ,cross in front4 ,freemasons are recommended to look for a special symbol which they alone can understand and appreciate4 ,the floor of the portico is paved with gravestones1 some apparently in their original position4 ,the place was at one time appropriated as a burial-place for the ,minor ,canons40--7,w4 ,d4 ,s47 ,this porch hides the fine central doorway1 which is divided by a central pillar4 ,a ,benedictine monk tortured by demons--probably a hint to the brothers--is carved upon it4 8,with a few exceptions1 the whole of the interior of the ,cathedral is in the ,norman style1 and many judge it to be the most perfect specimen in ,england4 ,the plan consists of a nave of ten bays1 with aisles and a western transept2 transepts of four bays1 terminating in an apse1 nearly semicircular1 with aisles2 and beyond the apse a large square-ended addition for more chapels having a groined stone-roof of fan-tracery1 now known as the ,new ,building4 ,the ritual choir1 as distinguished from the architectural choir1 extends two bays into the nave4 ,this arrangement is a return to the ancient one used by the ,benedictines1 the choir in ,dean ,monk's alterations having been limited to the position east of the central tower4 8,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 parts4 ,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 builders1 few will regret that the ,decorated arches which took their place were retained when the tower was rebuilt1 instead of having new arches in the ,norman style substituted4 ,the want of colour which is so marked a defect in many ,english cathedrals is not so conspicuous here1 because of the painted ceiling40--7,w4 ,d4 ,s47 ,there is no ,norman work at the west wall4 ,the great doorway has a round arch1 but the arcade at the base consists of pointed arches4 ,the mouldings here are ,early ,english2 and it is inside an ,early ,english arch that the ,west ,window of ,perpendicular tracery is set4 ,we may note that the glass is modern and a memorial to officers and soldiers who were killed in the ,south ,african ,war4 ,the ,west ,transept extends beyond the aisles4 ,the enormous pointed arches have ,norman mouldings4 ,in the south end is a ,font of the ,thirteenth ,century2 the north end is a vestry4 8,as we enter we notice the distinctive character of the ,norman work of which this ,cathedral is a notable and excellent example4 ,in the extreme west there is a blending of the two styles of ,norman and ,early ,english1 but the monks of ,peterborough clung tenaciously to their old ideas and to ,norman and ,romanesque models1 and right up to the end of the ,twelfth ,century built in this style1 not from any desire to imitate the work of their predecessors 7as some writers assert71 but from an obstinate adherence to conservative tradition4 ,even when the glorious tide of ,english ,gothic was rising1 and they could no longer resist the flood1 they clung to the old zigzag mouldings4 ,it is evident from the construction of the third column that they intended to end their church there2 but happily the ,thirteenth ,century brethren decided to rear the noble twin-towered front and the perfect portico4 ,some of the later columns show ,transition work2 on one side we see a ,norman base or capital1 on the other an ,early ,english4 8,there is a grand uninterrupted view of the whole length of the ,cathedral from west to east4 ,it will be observed that the lower arch is ,decorated1 and this adds to the beauty of this view4 ,before leaving the west we notice some dog-tooth carved in wood1 which is somewhat rare40--7,p4 ,h4 ,d47 ,the ,nave consists of ten bays1 with ,norman arches4 ,the triforium arches are ,norman2 the clerestory windows are ,perpendicular4 ,the ceiling is very peculiar and very interesting1 and is1 moreover1 original ,norman4 8,all agree that the style of the painting is perfectly characteristic of the period4 ,the divisions are of the lozenge shape2 in each lozenge of the central line is a figure1 and in each alternate one of the sides4 ,the middle set has more elongated lozenges than the others4 ,the borders are black and white1 with some coloured lines1 in odd zigzag patterns4 ,the figures1 which are mostly seated1 are very quaint and strange4 ,some are sacred1 some grotesque4 ,we can see ,st4 ,peter with the keys1 kings1 queens and minstrels2 we find also a head with two faces1 a monkey riding backwards on a goat1 a human figure with head and hoof of an ass1 a horse playing a harp1 a winged dragon1 a dancing lion1 an eagle1 and other curious devices40--7,w4 ,d4 ,s47 ,the ,choir begins with the two east bays of the nave 7the same arrangement occurs at ,norwich71 and runs through the space under the tower and ,illustration3 ,,peterborough3 ,,choir1 ,,east ,illustration3 ,,peterborough3 ,,south takes up four bays east of the tower4 ,the piers are alternately round and polygonal4 8,this portion was the earliest part of the ,cathedral1 and was constructed by ,abbot de ,sais 7#aaad-aabe74 ,the hatchet moulding is conspicuous4 ,the triforium arches are double like the nave1 and the clerestory has triple arches1 the centre one being the highest4 ,the apse is particularly fine4 ,the ,decorated style is evident in the windows1 which were inserted in the ,fourteenth ,century instead of the old ,norman ones1 and the hanging tracery of graceful design was then added4 ,the roof of the choir is late ,fourteenth ,century work except at the east end where the roof is flat4 ,here ,cromwell's soldiers discharged their muskets at the figure of our ,lord in glory1 which they deemed to be an idol4 ,this ceiling was decorated in #ahhd by ,sir ,gilbert ,scott4 ,the bosses of the rest of the roof are curious4 ,nearly all the old glass was destroyed in the ,puritan desecration2 the remaining fragments have been placed in the two highest east windows4 ,the fittings of the choir are modern except an ancient lectern of ,fifteenth ,century date1 given by ,abbot ,ramsay and ,prior ,malden1 as the inscription testifies1 though it is now scarcely legible4 ,the choir-stalls are remarkably fine4 ,the carved figures contain a history of the ,cathedral written in wood40--7,p4 ,h4 ,d47 ,passing behind the ,high ,altar we come to the ,retro-,choir1 or ,new ,building3 8,the ,new ,building built beyond the apse is a very noble specimen of late ,perpendicular work4 ,it was begun by ,abbot ,richard ,ashton 7#adch-adga7 and completed by ,abbot ,robert ,kirton 7#adif-aebh73 the works seem to have been suspended between these periods4 ,the roof has the beautiful fan tracery1 very similar on a small scale to that at ,king's ,college ,chapel at ,cambridge4 ,the building is of the width of the choir and aisles together4 8,the junction of this addition with the original ,norman apse is admirable1 and should be specially noticed4 ,parts of the original external string-course of the apse can be seen4 ,the ornamentation on the bosses of the roof and in the cavetto below the windows1 and round the great arches from the choir aisles1 is very varied4 8,it must be sufficient here to indicate some of the designs4 ,most need little explanation1 but a few are hard to understand4 ,on the roof may be seen the three lions of ,england1 a cross between four martlets1 three crowns each pierced by an arrow1 and another design4 ,the smaller designs include four-leaved flowers1 ,tudor roses1 fleur-de-lys1 the portcullis1 some undescribable creatures1 crossed keys1 crossed swords1 crossed crosiers1 crosses1 crowns1 crowns pierced with arrows1 crowned female head1 an eagle1 the head of the ,baptist in a charger1 an angel1 mitres1 three feathers rising from a crown1 ,st4 ,andrew's cross1 and perhaps others4 ,there are also some rebuses and some lettering4 ,on the north wall1 in six several scrolls1 the letters ,,ar before a church and a bird on a tun occur more than once4 ,this certainly refers to ,abbot ,robert ,kirton2 but what the bird means is not clear4 ,in the moulding over the large arch to the south choir are four sets of letters4 ,they form the last verse of the psalter4 ,the words are contracted3 they stand for ,omnis spiritus laudet ,dominum40--7,w4 ,d4 ,s47 ,the relic of greatest interest in the ,new ,building is the famous ,monks' ,stone1 which1 according to tradition1 was constructed in commemoration of the massacre of ,abbot ,hedda and his monks by the ,danes in #hgj4 ,critics are divided in opinion4 ,some think it ,norman1 but many accept the theory that it is ,saxon work4 ,in #ahhg remains were found of the original ,saxon church1 which was sacked by the ,danes1 rebuilt and visited by ,king ,edgar and ,dunstan4 ,traces of the fire that destroyed it were also found4 ,the east wall stood at the piers of the present south transept4 ,queen ,katherine of ,aragon was buried in the north-choir-aisle outside the most eastern arch 7#aece74 ,this was violated by the ,puritans4 ,dean ,patrick says3 8,first they demolish ,queen ,katherine's tomb2 they break down the rails that enclosed the place and take away the black velvet pall which covered the hearse2 overthrow the hearse itself1 displace the gravestone that lay over her body1 and have left nothing now remaining of that tomb1 but only a monument of their own shame and villainy40 ,a few slabs were recently found beneath the floor2 and a marble stone bearing coats-of-arms and inscription has lately been placed over this spot4 ,in the south-choir-aisle a tablet tells us that here ,mary ,stuart was buried in #aehg1 just within the choir4 ,the body was removed to ,westminster ,abbey in #afab4 ,remains of the hearse between the pillars were seen as late as #ahjj4 ,these royal arms and escutcheons were also defaced and torn by the ,puritans4 ,the ,transepts are ,norman1 and characteristic ,norman mouldings are universal4 ,a ,perpendicular screen in each separates the transept from a sort of eastern aisle1 divided by pillars into chapels4 ,in the ,north ,transept the two chapels of ,st4 ,john and ,st4 ,james have been thrown into one--now the ,morning ,chapel4 ,some old ,saxon coffin lids are preserved here4 ,the chapels of ,st4 ,oswald1 ,st4 ,benedict1 and ,st4 ,kyneburga and ,st4 ,kyneswitha still remain in the ,south ,transept4 ,west of the ,south ,transept we come to the old ,chapter-,house 7very small71 now a music room4 ,it is late ,norman1 but it has a ,perpendicular doorway4 ,at the north-east corner of the close we come to the ,deanery ,gateway1 leading to the ,deanery4 ,it is a fine specimen of ,late ,perpendicular1 and was erected by ,abbot ,kirton 7,kirkton71 whose rebus 7a church on a tun7 appears over the side-door4 ,it has a ,tudor arch1 with the arms of the ,see in spandrels1 and is also ornamented with the ,tudor rose and portcullis and the ,prince of ,wales's feathers4 ,we gain here a very good view of the north side of the ,cathedral4 ,the north side is very fine4 ,the arcading on the side of the tower is identical with that on the west front4 ,next we must notice the big windows of the western transept1 early and fine specimens of cusped and traceried windows4 ,the jambs are very peculiar because one side is ,norman with square capitals1 and the other side ,early ,english4 ,the arch of the window reaches as high as those of the triforium4 ,above is a round-headed window1 and the gable1 surmounted by a cross and bordered with the wavy ornament1 contains a rose-window4 ,pinnacles1 resembling those on the west front1 adorn the sides of this west transept4 ,the nave rises in five stages3 a tier of small lights separates the triforium from the aisle4 ,the ,dean's ,door on this side of the nave is ,norman4 ,the three shafts on either side1 with their cushion capitals1 carry round arches with characteristic and different mouldings4 ,there are ten windows1 very broad1 of five lights each1 under depressed arches4 ,they were inserted in the ,thirteenth ,century4 ,the parapet at the top is ,early ,english4 ,the north transept has seven stages of windows 7,perpendicular71 and blind arcades and a battlemented gable1 flanked by octagonal turrets4 ,here we gain a view of the lantern tower1 rebuilt in #ahhd4 ,then we come to the choir1 and lastly to the ,new ,building4 ,the ,decorated windows of the apse are particularly fine4 8,the east end of ,peterborough is rather peculiar4 ,there remains the old ,norman apse with ,decorated windows inserted1 and this is surrounded by what is called the ,new ,building1 though it is #djj years old1 formed by extending the walls of the choir and building a square end to the ,cathedral4 ,this was erected by ,abbot ,kirton4 ,his work possesses the best features of ,perpendicular style4 ,it is richly ornamented and when we examine his work we cannot say that the glories of ,gothic achievement had quite departed4 ,we see the twelve buttresses1 each terminated with a seated figure1 usually said to be one of the ,apostles40--7,p4 ,h4 ,d47 ,turning round the east end we come to the ruins of the ,infirmary1 erected about #abfj4 ,some fine arcading is still to be seen4 ,afterwards we come to the ,slype1 once vaulted1 but now open to the sky1 which formerly connected the ,refectory with the ,chapter-,house1 on the east side of the ,cloister4 ,only the south and west walls of the ,cloister ,court remain4 ,this is always called ,laurel ,court1 though the origin is unknown4 ,the south side of the ,cathedral is more beautiful than the north1 from which it differs by having two doorways into the nave from the cloisters1 and a very fine south-west spire1 early ,fourteenth ,century work4 ,a beautiful view of this spire and the bell-tower is obtained from ,laurel ,court4 ,,ely ,,dedication3 ,,st4 ,,ethelreda4 ,,church ,,of ,a ,,benedictine ,,monastery4 ,,special ,,features3 ,,the ,,octagon2 ,,galilee ,,porch2 ,,lady-,,chapel2 ,,bishop ,,alcock',s ,,chapel2 ,,bishop ,,west',s ,,chapel2 ,,monk',s ,,door4 ,ely is perhaps the most singular and beautiful of ,english cathedrals1 when seen from a distance2 for the massive building1 with its turrets1 buttresses1 and pinnacles1 rises with splendid majesty from the green meads that make a perfect foreground4 8,the first glimpse of ,ely overwhelms us1 not only by its stateliness and variety of its outline1 but by its utter strangeness1 its unlikeness to anything else4 ,ely1 with its vast single western tower1 with its central octagon unlike anything else in the whole world1 has an outline altogether peculiar to itself40--7,e4 ,a4 ,f47 ,about #fee ,etheldreda1 daughter of the ,king of ,east ,anglia1 went to live in the fen-land district1 known as the ,isle of ,ely1 that had come into her possession according to the terms of her marriage settlement with ,tonbert1 one of the noblemen of her father's court4 ,the civil government of her territory she gave to a steward named ,ovin1 while she devoted herself to good works4 ,she was induced to marry ,egfrid1 son of ,oswy1 ,king of ,northumberland1 who became king in #fgj4 ,etheldreda1 wearied of court life1 became a nun2 and when ,egfrid determined to force her to return to court she fled from ,coldingham to the ,isle of ,ely1 where she established a religious house4 ,she began to build in #fgc4 ,the monastery over which ,etheldreda presided as abbess was a mixed community4 ,bede calls it a nunnery4 ,etheldreda died in #fgi and was buried1 according to her own request1 in the nuns' graveyard4 ,her body was1 however1 removed into the church on ,october #ag1 #fie4 ,when the body was placed in a marble sarcophagus it was found in perfect preservation1 and miracles took place4 ,two hundred years later the ,danes ravaged ,ely and destroyed the monastery 7#hgj71 which was rebuilt in #igj by ,king ,edgar and ,bishop ,ethelwold1 of ,winchester4 ,the prior of ,winchester1 ,brithnoth 7#igj-iha71 was appointed its first abbot4 ,there were no nuns in the new monastery4 ,the monks of ,ely educated ,edward the ,confessor1 who had been offered on this altar in infancy by his parents4 ,after he became king he continued his 8favourable regard to the place40 ,his brother1 ,alfred1 whose eyes were put out by ,earl ,godwin1 died and was buried in ,ely4 ,ely was the last stronghold of ,hereward2 and it took the monks a long time to make their peace with the ,conqueror4 ,in order to raise enough money to purchase forgiveness they were forced to sell almost every article of gold and silver that they owned4 ,thurston1 the last ,saxon abbot 7#ajff-ajgb71 remained in charge of the monastery until his death4 ,when ,simeon1 prior of ,winchester1 and brother of ,walkelyn1 ,bishop of ,winchester1 was made abbot in #ajha1 it was deemed necessary to build a more sumptuous church4 ,simeon contributed a great part of his large fortune4 ,he began with the transepts2 and built the central tower1 often called 8,simeon's ,tower40 ,richard 7#aajj-aajg71 a ,norman1 and relative of the king1 finished the east end in #aajf4 ,two bays of the nave next to the tower were also his work1 and he continued ,simeon's ,tower4 ,during ,richard's rule the remains of ,st4 ,etheldreda1 ,st4 ,sexburga1 ,st4 ,ermenilda1 and ,st4 ,withburga1 the first four abbesses1 were re-buried before the high altar4 ,in #aaji ,ely was made a cathedral2 but nothing seems to have been done to the building until ,bishop ,riddell 7#aagd-aahi7 8carried on the new work and ,tower at the west end of the church1 almost to the top40 ,eustache 7#aaih-abae71 one of the bishops appointed to excommunicate ,king ,john1 built the celebrated ,galilee ,porch at the west end4 ,he contributed large sums out of his private fortune4 ,hugh ,norwold1 or ,northwold 7#abbi-abed71 built the six eastern bays of the presbytery1 and the palace4 ,again were the remains of ,st4 ,etheldreda1 ,st4 ,sexburga1 ,st4 ,ermenilda1 and ,st4 ,withburga removed to this part of the church1 and the ,cathedral was dedicated in #abeb4 ,king ,henry ,,iii4 and ,prince ,edward were present4 ,when ,bishop ,norwold died 7#abed71 he was buried at the feet of ,st4 ,etheldreda4 ,his monument was removed to the north side of the presbytery1 third arch from the east4 ,john ,hotham 7#acaf-accg7 built the choir4 ,it was during his bishopric that the ,tower fell1 and he provided for the building of the wrecked western bays4 ,the ,fourteenth ,century brings us to the greatest of all the ,ely builders1 the supreme artist and architect1 ,alan de ,walsingham1 sub-prior1 sacrist1 and finally prior4 ,in #acba he began the ,lady-,chapel1 which was finished in #acdi4 ,its position is ,illustration3 ,,ely3 ,,west ,,towers ,illustration3 ,,ely3 ,,choir1 ,,east peculiar--north-east of the north transept4 ,its site was chosen in all probability because ,st4 ,etheldreda's shrine occupied the sacred east end4 ,walsingham's great work1 however1 is the celebrated ,octagon4 ,on the eve of ,st4 ,ermenilda's ,day1 ,february #ab1 #acbb1 just after the monks had finished matins1 the central tower fell and destroyed three bays of the choir4 ,there was no wicked king in this case to blame for the calamity1 as was the case with the similar tower built by ,simeon's brother at ,winchester 7see pages #ee-ef74 8,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 #acbb than the officer of the house who had the special custody of the fabric4 ,the originality and skill with which he designed and carried out the noble work that takes the place of the central tower1 which is without a rival in the architecture of the whole world1 are beyond all praise4 ,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 merit2 but it would have revealed nothing1 if it stood alone1 of the consummate constructive genius which he displayed in the conception of the octagon4 8,the building was begun as soon as the space was cleared4 ,the stonework was finished in #acbh1 little more than six years after the tower fell4 ,the woodwork of the vaulting and lantern took longer time2 but this also was quite complete in #acdb4 ,walsingham had become prior in the previous year4 ,the weight of the lantern1 it need hardly be said1 is not borne1 though it looks like it from below1 by the vaulting that we see4 ,there is a perfect forest of oak hidden from sight1 the eight great angle posts being no less than #c feet #d inches by #b feet #h inches in section4 8,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 lifetime4 ,it is believed--for the date is not exactly known--that he died in #acfd4 ,besides the ,lady-,chapel and ,octagon1 he must have designed the singularly beautiful bays of the presbytery between the ,octagon and ,northwold's work4 ,the exquisite way in which the main characteristics of the ,early ,english work are adapted to the ,decorated style demands our highest admiration4 ,the arrangement of the three western bays on each side is exactly like ,northwold's work1 while the additional grace and beauty of ornamentation mark the advance in taste that distinguished the ,decorated period4 ,bishop ,hotham undertook the whole expense of rebuilding this portion of the cathedral4 ,he did not live to see it completed1 as he died in #accg1 but he left money for the purpose40--7,w4 ,d4 ,s47 ,walsingham1 though elected bishop by the monks1 was not confirmed by the ,pope4 ,however1 when they placed the brass over his resting-place in front of the choir they represented 8,the ,flower of ,craftsmen0 7,flos operatorum was his epitaph71 with mitre and crozier4 ,ely suffered less than many churches during the ,puritan wars4 ,the most important work of late years has been the restoration of the octagon and lantern1 as originally designed by ,alan de ,walsingham4 ,the great ,west ,tower 7,early ,english and ,decorated7 was built before the ,galilee ,porch1 about the last year of the ,twelfth ,century4 ,it is surmounted by an octagon with a window of three lights in each face4 ,an octagonal turret ornaments each corner4 ,windows and arcades mark each story4 ,a fine view of it is obtained from the south side4 ,the ,galilee ,porch is one of the finest examples of ,early ,english in existence and is only surpassed by ,bishop ,hugh's ,choir at ,lincoln4 8,each side externally1 is covered with lancet arcading in four tiers4 ,in the upper tier the lancets are trefoiled with dog-tooth in the moulding2 in the next lower tier the lancets are cinquefoiled1 with two sets of dog-tooth4 ,the lancets in the west face are all cinquefoiled1 and the three lower tiers have trefoils in the spandrels4 ,nearly all are highly enriched with dog-tooth2 while the mouldings of the west door have conventional foliage as well4 ,the lancets here are deeper than on the sides of the porch1 and were probably designed to hold figures4 ,of the three large lancets in the west window the central one is slightly more lofty than the others4 8,the interior of the porch is even more beautiful2 the profusion of ornamentation on the inner doorway and the exceeding gracefulness of the double arcades in the sides are quite unsurpassed4 ,both doorways are divided by a shaft and both have open tracery of exceptional beauty above40--7,w4 ,d4 ,s47 ,in addition to this feature1 ,ely has the unique ,octagon1 a good view of which is obtained from the north-west4 ,it is beautifully proportioned and beautifully decorated with windows of exquisite tracery4 8,the way in which the octagon and lantern combine in producing a perfectly harmonious composition is in great part due to two points of difference1 points which very few observers detect4 ,these are1 firstly1 that the lantern is a regular octagon1 having all its sides equal1 in this respect being unlike the stone octagon beneath it2 and1 secondly1 that the eight faces of the lantern are not parallel to the eight faces of the octagon4 ,the new windows of the lantern are similar to the large ones below1 but are not mere copies of them4 ,the upper stage of the lantern1 above the roof as seen from within1 was once a bell-chamber2 its lights are not1 and never have been1 glazed4 ,the whole of the lantern is of wood1 covered with lead4 ,two flying-buttresses rise from the corners of the nave and transept aisles to the corbel table of the clerestory range4 ,there are also eight elegant flying-buttresses1 one to each of the angles of the lantern4 ,these are part of the new work1 the originals having long disappeared40--7,w4 ,d4 ,s47 ,the north-western part of the north transept fell in #afii1 and was rebuilt by ,sir ,christopher ,wren1 nephew of ,bishop ,wren1 then in office4 ,the north end of the transept contains ,norman windows1 and above them are two ,perpendicular windows1 each of three lights4 ,in the east wall of the transept the lower lights are ,decorated2 the upper windows are the original ,norman4 ,next we come to the ,lady-,chapel1 the east window of which 7seven lights7 was inserted by ,bishop ,barnet 7#acff-acgc71 who also 8beautified five of the windows in the presbytery40 ,the west window 7eight lights7 is of a little later date4 ,in the side walls of the ,lady-,chapel are five large windows1 the tracery of which is very beautiful4 ,the ,east ,end is a superb illustration of ,early ,english1 although slightly altered from its original state by the introduction of the windows in the chapels of ,alcock and ,west1 and a plain wall for the original windows in the south aisle4 ,flying-buttresses support the roof of the presbytery and choir4 ,the ,perpendicular window of seven lights attracts our notice in the south end of the south transept4 ,the entrance to the ,cathedral from the south opens from the eastern end of the cloisters and is called the ,monks' ,door4 ,the ornamentation is very rich4 ,one spiral column is especially fine4 ,the arch is trefoiled with cusps1 having circular terminations with star ornament1 and in the spandrels are quaint1 crouching monks1 each holding a pastoral staff4 ,two twisted dragons writhe above4 ,at the west end of the north alley of the cloisters we come to the ,prior's ,door1 a fine specimen of late ,norman4 ,in the tympanum is a carving in high relief of the ,saviour4 ,entering through the ,west we have a full view of the ,cathedral1 the vista fortunately not broken1 for the open screen permits the gaze to wander the whole length to the east end4 ,the massive ,perpendicular arches here were built beneath the ,norman ones to secure stability for the big tower that we have just examined4 ,the ,nave is one of the most perfect specimens of late ,norman4 ,it is very similar to that of ,peterborough4 ,ely1 however1 offers no suggestion of the transition of the next style1 as does ,peterborough4 ,the ,ely nave is supposed to have been finished before #aagc1 a little before ,peterborough's1 and after that of ,norwich4 ,it contains twelve bays and measures #bjh feet4 ,the piers are of alternate design4 ,in front of each a shaft runs up to the roof4 ,as we follow this with our eyes we see that the ceiling is painted with ,biblical subjects2 but these pictures need not detain us1 as they are modern4 ,the billet moulding decorates the string-course above the main arcade4 ,most of the capitals are cushion4 ,the ,octagon is the gem of the whole ,cathedral4 8,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 erection1 the first sight of which1 from one of the smaller arches towards the aisles1 is a thing never to be forgotten4 ,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 world2 and the admiration that was expressed fifty and more years ago would have been far greater1 and the enthusiasm more profound1 had the writers seen it in its present state of perfect restoration4 ,no description can do adequate justice to the grandeur of the conception or to the brilliancy of the execution of this renowned work4 8,the four great arches rise to the full height of the roof2 that to the east1 indeed1 is higher than the vaulted roof of the choir and presbytery1 the intervening space being occupied with tracery of woodwork on painted boards1 the ,saviour on the ,cross being painted in the middle4 ,the wooden vaulting of the ,octagon springs from the capitals on the same level as those of the great arches4 ,the four small arches to the aisles are of course no higher than the roofs of the aisles3 above these1 on each side1 are three figures of apostles1 under canopies with crockets4 ,the figures are seated1 and each holds an emblem1 by which it can be seen for whom the figure is intended4 ,it may be noticed 7in the central figure on the south-west side7 that ,st4 ,paul1 not ,st4 ,matthias1 is put in the place of ,iscariot4 ,the hood-moulds of the arches are terminated by heads1 of which six are portraits4 ,king ,edward ,,iii4 and ,queen ,philippa are at the north-east1 ,bishop ,hotham and ,prior ,crauden at the south-east1 ,walsingham and his master-mason 7so it is believed7 at the north-west2 those to the south-west are mere grotesques4 ,above the seated figures on each side is a window of four broad lights1 filled with stained glass4 ,the eight chief vaulting shafts rise from the ground as slight triple shafts2 they support1 a little above the spring of the side arches1 large corbels1 which form bases for exquisitely designed niches1 and through these spring more shafts reaching to the vault4 ,on each of the corbels is a boldly carved scene from the career of ,st4 ,etheldreda2 they commence at the north-west arch4 ,the subjects 7two to each arch7 are as follows3 8,north-west arch3 ,st4 ,etheldreda's second marriage4 ,her taking the veil at ,coldingham4 8,north-east arch3 ,her staff taking root4 ,her preservation in the flood at ,st4 ,abb's ,head4 8,south-east arch3 ,her installation as ,abbess of ,ely4 ,her death and burial 7two scenes74 8,south-west arch3 ,one of her miracles4 ,her translation4 8,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 ladies1 ,sewenna and ,sewara1 and as reaching a rocky place on the coast where they were overtaken by the king1 but the three ladies crossed the ,humber and proceeded south1 dressed as pilgrims4 ,one night1 while the queen slept1 her staff1 placed in the ground1 burst into leaf and flower4 ,on this spot a church was built and dedicated to ,st4 ,etheldreda4 ,when the three pilgrims arrived in the ,isle of ,ely1 they were joined by ,wilfrid1 the archbishop of ,york1 who induced ,etheldreda to take the veil4 ,the miracle referred to in the south-west arch shows ,st4 ,etheldreda and ,st4 ,benedict appearing to a monk named ,brytstan1 who was charged with seeking refuge in a monastery in order to escape punishment for robberies of which he had been guilty4 ,the miracle was told to ,queen ,matilda1 who freed ,brytstan40--7,w4 ,d4 ,s47 ,the ,screen separating the choir from the ,octagon was designed by ,scott4 ,it is of oak1 delicately carved in geometric patterns1 and bearing a cross on the cresting that runs along the top4 ,the gates are brass4 ,the first three bays of the choir were begun about #abdj2 the last six1 forming the presbytery1 were finished in #acdj4 ,the space of a hundred years thus lies between them4 8,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 else4 ,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 period4 ,when the presbytery was being built there were still standing east of the central tower the four original bays of the ,norman choir4 ,these1 it may be assumed1 were very similar in character to those in the nave4 ,there would1 beyond question1 have been in each bay large triforium arches1 each with a couple of subordinate arches2 and a single window in the clerestory with a blank arch on each side4 ,bishop ,northwold's work was purposely made to correspond with these bays as far as ,early ,english work could do so2 and when after the fall of the tower it became necessary to rebuild the choir1 ,bishop ,hotham in like manner made his ,decorated work correspond with the ,early ,english presbytery4 ,the choir is1 as would be expected1 richer in detail as well as more elaborate in design2 and it would be difficult to find in ,england anything to surpass the tracery of the clerestory windows and triforium arches1 the beautiful cusped inner arches of the clerestory range1 the open parapets at the base of the two stages1 or the long corbels1 covered with foliage1 that support the vaulting shafts4 ,in the choir the clerestory windows have four lights each2 in the presbytery are triplets4 ,the old colouring has been renewed throughout4 ,on the north side of the choir the three bays are precisely alike2 but on the south there is a variation in the tracery of the western triforium arch4 ,there are also shields of arms 7of the ,see of ,ely and of ,bishop ,hotham7 in the spandrels of the triforium and arch below2 and the shaft between this arch and the next is enlarged at the top into a base for a statue 7probably of ,st4 ,etheldreda72 while level with the string above is a very fine large canopy 7called by the workmen #8the table'71 which is like nothing else in the cathedral4 ,the clerestory windows also on the south have different tracery4 8,the difference between the two styles of architecture is well marked in the groining of the roof1 the ,decorated portion being much more elaborate4 ,some of the bosses are very remarkable3 one has ,st4 ,etheldreda with pastoral staff2 one has the coronation of the ,virgin ,mary2 one has the foundress bearing the model of a church1 in which 7as ,dean ,stubbs has pointed out7 both arms of the western transept are represented1 so that it is a fair inference that at the time this roof was constructed the whole of the western transept was standing4 8,between the choir and presbytery there rise the massive ,norman piers built as the entrance to the apse2 and these are the only remains of the ,norman church east of the octagon40--7,w4 ,d4 ,s47 ,the magnificent ,choir-,stalls1 with their beautiful canopies1 are thought to be ,walsingham's work4 ,they are considered the finest ,decorated stalls in existence4 ,the misereres show wonderful carvings4 ,the ,reredos1 of alabaster1 designed by ,scott1 stands in the centre of the screen of stone that runs along the whole of the presbytery1 the lower part of which is a diaper pattern and the upper portion an open arcade of six arches 7,early ,decorated style74 8,the east end of ,ely is the grandest example of the grouping of lancets4444 ,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 throughout1 and in which the aisles are brought out to the full length of the building40--7,e4 ,a4 ,f47 ,at the end of the north-choir-aisle we come to the ,chapel of ,bishop ,alcock 7died #aejj71 ,bishop of ,ely from #adhf to #aejj4 ,he was a great architect1 built the great hall in the ,bishop's palace at ,ely and also this very ornate chapel4 ,it dates from #adhh4 ,the roof is composed of fan-tracery1 with a large pendant2 and the walls are covered with canopies1 tabernacles1 crockets1 niches1 panels and other decorations with lavish display4 ,the figures have gone from the niches4 ,a cock on a globe--,alcock's rebus--occurs on the stone-work very frequently4 ,at the end of the south-choir-aisle we find the corresponding ,chapel of ,bishop ,west 7died #aecc74 ,this is similar in style to the ,alcock chapel1 but less ornate4 ,several bishops are buried in this chapel4 ,though we may care little or nothing for the careers of the dignitaries who lie there1 or who are perpetuated by monuments1 we find among the tombs some fine examples of sculpture and ornament of the past4 ,for instance1 that of ,bishop ,louth 7died #abih71 under the first arch of the presbytery in the south-choir-aisle1 is a fine example of ,early ,decorated4 ,in the last arch1 before reaching ,bishop ,west's ,chapel1 the tomb of ,bishop ,hotham 7died #accg7 calls for attention4 ,under the four arches of the presbytery on the north1 between the stalls and the altar1 is that of ,bishop ,redman 7died #aeje71 a very fine specimen of enriched ,perpendicular work4 ,next is the effigy of ,bishop ,kilkenny 7died #abef71 a fine example of ,early ,english4 ,in the next arch a large ,decorated structure of two stories1 believed by ,scott to have been built by ,walsingham as the base for the ,shrine of ,st4 ,etheldreda1 was formerly known as ,bishop ,hotham's shrine4 ,in the arch north of the altar is the tomb of the builder of the presbytery1 ,bishop ,northwold 7died #abed71 who is represented in full vestments4 ,it is only natural that the transepts should show similarity with those of ,winchester1 consecrated in #ajic1 seven years before ,simeon of ,winchester came to ,ely4 ,he began his work1 as we have seen1 here1 and got up as far as the triforium4 ,the clerestory was added by his successor4 ,alterations took place at later periods1 and now both triforium and clerestory are almost identical with those in the nave4 ,in the south transept ,perpendicular windows of ,illustration3 ,,ely3 ,,east ,,end ,,and ,,lady-,,chapel ,illustration3 ,,ely3 ,,lady-,,chapel three lights have replaced the western windows of the triforium4 ,two large ,perpendicular windows ornament the north end and a curious window of seven lights adorns the south4 ,galleries1 arches1 and arcades afford exceedingly interesting study4 ,on the east of the north transept are three chapels1 one of which has been restored for private devotion4 ,old paintings of the ,martyrdom of ,st4 ,edmund on the roof have given it the name of ,st4 ,edmund's ,chapel4 ,the screen in front dates from about #acej4 ,from the north transept we enter the ,lady-,chapel4 8,notwithstanding the cruel mutilation of the sculpture all round this chapel1 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 state4 ,its single defect strikes the beholder at once3 the span of the roof is too broad and the vaulting too depressed for the size of the chapel4 ,the windows on the north have been restored4 ,the end windows1 which are of great size1 are of later date2 that to the east has a look of ,transition work about it4 ,the building was finished in #acdi1 and the east window was inserted by ,bishop ,barnet1 circa #acgc4 ,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 windows4 ,the heads of the canopies project4 ,in the tracery beneath1 at the head of the mullion1 was a statue4 ,the delicate carving of the cusps and other tracery is varied throughout4 ,on the spandrels were incidents connected with the history of the ,virgin ,mary 7mainly legendary7 and of ,julian the ,apostate2 and though in no single instance is a perfect uninjured specimen left1 yet enough remains1 in all but a few cases1 for the original subjects to be identified4 ,all was once enriched with colour1 and many traces remain2 and in various parts of the windows there are fragments of stained glass4 ,most of the monumental tablets which once disfigured the arcade below the windows have been happily removed into the vestibule4 ,the arches and canopies at the east end are arranged differently from those on the sides4 ,in the roof1 which reminds us of the contemporary roof in the choir1 are some carved bosses1 not large1 but singularly good4 ,among the subjects can be recognised a ,crucifixion1 with half-figures beside the cross2 ,adam and ,eve2 the ,virgin ,mary and ,elizabeth1 holding between them a book inscribed #8,magnificat'2 the ,annunciation1 with #8,ave ,maria ,gratia plena'2 the ,ascension1 indicated by the skirt and feet of the ,saviour and five heads of apostles2 the ,coronation of the ,virgin2 and the ,virgin in an aureole40--7,w4 ,d4 ,s47 ,,norwich ,,dedication3 ,,the ,,holy ,,trinity4 ,,church ,,of ,a ,,benedictine ,,monastery4 ,this ,cathedral was begun in #ajif by ,herbert de ,losinga1 the bishop appointed by ,william ,rufus1 who had received his education in ,normandy1 and who became prior of ,fcamp4 ,no earlier church stood on the site4 ,it was dedicated to the ,holy ,trinity4 8,the characteristics of the cathedral are--its long nave1 which is typical of the ,norman church2 its glorious apsidal termination1 encircled by a procession path1 which recalls the plan of a ,french cathedral2 and the form of this1 with the remains of its old bishops' chair centrally placed1 and with the westward position1 of the throne at ,torcello and other ,italian churches1 of the basilican type of plan4 8,it is interesting to note that ,herbert's early ,french training influenced him in the planning of the beautiful eastern termination to his cathedral1 and the grand sweep of the procession path4 ,similar apsidal terminations1 of slightly later date1 once existed at ,ely1 and still remain in a modified form at ,peterborough and ,st4 ,bartholomew's4 8,it is probable1 and the more generally accredited supposition1 that ,herbert built the presbytery with its encircling procession path and the original trefoil of ,norman chapel radiating therefrom2--the choir and transepts with the two chapels projecting eastwards and the first two bays of the nave4 ,harrod advances a theory that he completely finished the whole of the cathedral church1 as well as the offices for the housing of the sixty monks who were placed therein1 in #aaja40--7;,c4 ,h4 ,b4 ,q47 ,norwich acquired its chief saint in the ,twelfth ,century1 and a saint1 moreover1 that much resembled ,little ,saint ,hugh of ,lincoln4 ,a young boy1 ,william1 the child of simple country people1 was murdered by the ,jews in the city4 ,immediately after his death miracles took place4 ,the monks placed his altar near the ante-choir1 and raked in the offerings4 ,the ,cathedral suffered from fires1 and the tower was struck by lightning in #abga4 ,there was also a terrible riot between the people and the monks in the ,thirteenth ,century1 when the ,cathedral was besieged4 ,the monastery and the ,cathedral were burned1 and many monks were killed4 ,some citizens of ,norwich were hanged1 drawn and quartered1 and the city had to repair the church4 ,the monks were compelled to erect new gates and entrances1 one of which1 ,st4 ,ethelbert's ,gate1 still exists 7see page #cea74 ,about #acfa the spire and parts of the tower were blown down1 and the presbytery was damaged4 ,therefore1 the clerestory was rebuilt1 and in the transitional style from ,decorated to ,perpendicular4 ,the ,cloisters date from about this time1 and so does the ,erpingham ,gate4 ,in the middle of the ,fifteenth ,century the nave vault was constructed2 and it was under the two rules of ,bishop ,lyhart and ,bishop ,goldwell that the ,cathedral was practically completed as we see it to-day4 ,dean ,gardiner pulled down the ,lady-,chapel and the ,chapter-,house in the ,sixteenth ,century1 and in the ,seventeenth ,century ,cromwell's soldiers took possession4 ,bishop ,hall tells us how they behaved3 8,lord1 what work was here1 what clattering of glasses1 what beating down the ,walls1 what tearing up of ,monuments1 what pulling down of ,seats1 what wresting out of ,irons and ,brass from the ,windows and ,graves6 ,what defacing of ,armes1 what demolishing of curious stone work1 that had not any representation in the ,world1 but only of the cost of the ,founder and skill of the ,mason1 what toting and piping upon the destroyed ,organ pipes1 and what a hideous triumph on the ,market day before all the ,countrey1 when1 in a kind of ,sacrilegious and profane procession1 all the ,organ pipes1 ,vestments1 both ,copes and ,surplices1 together with the ,leaden ,crosse which had been newly sawne down from over the ,green-,yard ,pulpit1 and the ,service books and singing books that could be had1 were carried to the fire in the publick ,market place2 ,a leud wretch walking before the ,train1 in his ,cope trailing in the dirt1 with a ,service book in his hand1 imitating in an impious scorne the tune1 and usurping the words of the ,letany2 neer the ,publick ,crosse1 all these monuments of ,idolatry must be sacrificed to the fire1 not without much ,ostentation of a zealous joy40 ,the ,precincts are1 like those of all ,english cathedrals1 lovely1 and these are fortunate enough to be entered by several ancient gates4 ,the one on the south1 ,st4 ,ethelbert's ,gate 7,early ,decorated71 was built in the ,thirteenth ,century1 after the riots and fire of #abgb4 ,the ,gate ,house 7,perpendicular71 on the north1 is the entrance to the ,bishop's ,palace4 ,opposite the west front we find the ,erpingham ,gate1 built about #adbj1 by ,sir ,thomas ,erpingham1 whose figure stands in the niche over the wide arch4 ,it is a greatly admired piece of ,perpendicular work4 ,the ,west ,front 7,perpendicular7 clearly defines the width of the nave and the aisles on either side4 ,over the centre door is the large west window of nine lights1 often compared to the window of ,westminster ,hall4 ,above is a gable1 surmounted by a cross4 ,the doors date from #adcf1 and the west window from ,bishop ,lyhart's time 7#addf-adgb74 ,there are no towers here2 for the pinnacles placed on the side turrets in #ahge are not deserving of this name4 8,the ,tower and ,spire stand at the intersection of the choir and transepts1 covered with vertical shafts on the face of each4 ,the tower is ,norman buttress1 which is finished by a crocketed pinnacle4 ,between these buttresses are horizontal bands of design3 the lowest1 a ,norman arcade of nine arches1 three of which are pierced as windows2 then1 above this1 a smaller wall arcade with interlaced arches2 and then1 above again1 the principal feature1 an arcading of nine arches1 three pierced for windows1 and the others filled with wall tracery of diamonds and circles2 then1 between this last and the battlemented parapet1 occur five vertical panels1 each comprising two circles1 the upper pierced for a window4 ,above1 soaring upward1 rises the later crocketed spire4 ,the rest of the tower was finished during the reign of ,henry ,i41 and is a beautiful specimen of the work of that time2 the stonework was almost entirely refaced in #ahef4 ,the tower was crowned by a wooden spire from #abig2 this was blown down in #acfa1 damaging the presbytery so badly that the clerestory had to be rebuilt4 ,the wooden spire was constructed probably at the same time1 and the present ,early ,perpendicular turrets were added4 ,the spire was again in #adfc struck by lightning1 and again falling eastward1 went through the presbytery roof4 ,the present spire was then constructed in stone by ,bishop ,lyhart 7#addf-gb71 and was finished by his successor1 ,bishop ,goldwell 7#adgb-ii71 who added the battlements4 8,it will hardly be necessary to enlarge on the beauty of this spire of ,norwich1 as the dominant feature1 seen from the south-east1 rising above the curved sweep of the apse1 and strongly buttressed by the south transept1 it stands up1 clearly defined against the western sky1 and points upward1 significant and symbolical at once of the ends and aspirations of the church below4 8,the eastern arm1 or presbytery1 takes its history from the tower4 ,here1 as in the nave1 the original triforium windows are blocked up1 and a range of ,perpendicular work superimposed on the old4 ,above and beyond this1 supported between each bay by flying-buttresses1 comes the transitional ,decorated to ,perpendicular clerestory1 higher than the original ,norman clerestory remaining to the nave4 ,at the base of each flying-buttress are figures of saints4 ,the roof and ,norman clerestory were damaged by the falling tower in #acfa1 but were rebuilt by ,bishop ,percy1 #acee-fi4 ,this work is transitional ,decorated to ,perpendicular4 ,the presbytery was then re-roofed with a framed timber construction1 which was consumed by the falling of the burning spire1 struck by lightning in #adfc4 ,the present stone vault was added in its place by ,bishop ,goldwell1 #adgb-ii4 ,this necessitated the addition as well of flying-buttresses to take the thrust of the vault4 8,the battlementing to the presbytery also was added at the same time as the flying-buttresses4 8,it will also be noted that here1 as in the nave1 an addition was made in the way of a range of later #8,perpendicular' windows superimposed over the original ,norman triforium1 which was blocked up40--7,c4 ,h4 ,b4 ,q47 ,the south transept projects under the central tower4 ,next follows the ,chapel of ,st4 ,mary the ,less 7,fourteenth ,century7 projecting southward1 then the circular ,chapel of ,st4 ,luke 7,norman71 very peculiar in form1 with two rows of arcading4 ,the north side is well viewed from the ,bishop's ,gardens4 ,it differs little from the south side1 except in the fact that it has been less restored4 ,the chapel corresponding with the ,chapel of ,st4 ,luke is the ,jesus ,chapel1 and is also circular4 ,here we find ,perpendicular windows inserted in the ,norman work4 8,the nave on the south side can be seen well either from the upper or lower ,close1 and can be better examined in detail from the interior of the cloisters4 ,its elevation consists of fourteen bays divided by flat ,norman buttresses4 ,in height it is composed of what1 at first sight1 appears a bewildering confusion of arches1 arcades and windows4 ,over the aisle windows1 hidden by the north walk of cloisters1 comes a ,norman wall arcading2 and over this the ,norman triforium windows blocked up1 and again1 above the later ,perpendicular triforium1 superimposed on the old1 and finished with a battlemented parapet4 ,behind this come the triforium roof1 and then beyond the original ,norman clerestory1 each bay with a triple arch formation1 the centre arch pierced for a window4 ,and then above all1 the lead roof over the nave vault4 8,the radical changes that have taken place since the nave was built by ,bishop ,eborard 7#aaba-de7 consist of the insertion in the aisles of later #8,decorated' traceried windows in place of the original ,norman ones1 and of the superimposition1 before referred to1 at triforium level1 of a whole range of #8,perpendicular' windows over the old ,norman work1 which were blocked up at this period4 ,the battlementing1 too1 over the clerestory to the nave is later work1 to correspond with battlementing over the triforium windows4 ,it will be noticed that the two bays next the transept in the triforium are higher than the others1 in order to throw additional light into the choir4 8,also on this same south side1 in the seventh and eighth bays from the west end1 two very late windows occur1 inserted in the ,norman arcading under the original triforium windows2 these were inserted by ,bishop ,nykke to light the chapel he built in two bays of the south aisle of the nave4 8,the curious raking of the lead rolls to the nave roof is noticeable2 the medival builders did this with a view of counteracting the #8crawl' of the lead40--7,c4 ,h4 ,b4 ,q47 ,norwich ,cathedral is famous for its magnificent interior4 ,a noble view is obtained on entering1 for the great ,nave reaches #bjj feet to the choir-screen2 and if the organ on the latter were removed1 the view would be longer1 for the extreme length of the ,cathedral is #djg feet4 ,the perspective is splendid1 as it is1 and very largely is it so because of the lierne vault of ,perpendicular days1 which relieves the severity of the ,norman work below4 ,the nave consists of seven double bays 7fourteen compartments7 from the west end to the transepts4 ,the main piers are1 of course1 large1 and the arcade arches are ornamented with the billet4 ,the triforium arches are decorated with a chevron or zigzag4 ,over it is the typical ,norman clerestory and above all spreads the handsome lierne vault 7,perpendicular74 ,this splendid vault 7#gb feet71 built by ,bishop ,lyhart 7#addf-adgb71 after the ,norman roof had been destroyed by fire in #adfc1 is of great value to the student4 ,there are #cbh carved bosses at the intersection of the ribs1 the subjects of which are taken from ,biblical history4 8,the vault is of ,perpendicular design1 and known as lierne2 such vaults may be distinguished by the fact that between the main ribs1 springing from the vaulting shafts1 are placed cross ribs forming a pattern1 as it were1 and bracing the main ribs1 but not in any great measure structural4 ,this vault at ,norwich may be taken as typical of the last legitimate development of the stone roof2 it was the precursor of the later fan-vaulting1 such as we find in ,henry ,,vii4's chapel at ,westminster1 where legitimate construction was replaced by ostentatious ingenuity and the accumulation of needless ornament and detail4 8,to all those who take an interest in early stone-cutting1 this vault of ,norwich is a store of inexhaustible treasure2 the bosses1 rudely cut as they are1 tell their own tales with singular truth and directness4 ,their sculpture may not display the anatomical knowledge of the work of the ,renaissance2 yet it has a distinct decorative value that has been seldom equalled in the later decadent period4 ,the fourteen large central bosses on the main longitudinal ribs present in themselves an epitome not only of ,bible history1 but of the connecting incidents forming the theme of ,christian teaching4 ,in the tenth bay1 on the longitudinal rib1 there is1 in place of a boss1 a circular hole through the vault4 ,it is supposed to have been formed to allow a thurible to be suspended therefrom into the church below4 ,harrod1 quoting from ,lambard's #8,topographical ,dictionary1' says3 #8,i myself1 being a child1 once saw in ,poule's ,church at ,london1 at a feast of ,whitsontide1 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 ile1 and by a long censer which1 descending out of the same place almost to the very ground1 was swinged up and down at such a length that it reached at one swepe almost to the west gate of the church1 and with the other to the queer quire stairs of the same1 breathing out over the whole church and companie a most pleasant perfume of such sweet things as burned therein4' 8,it is probable that the hole in the nave vault at ,norwich was used for a similar purpose2 and its position would seem to agree with such use1 situated as it is about midway between the west end and where the front of the medival rood loft occurred40--7,c4 ,h4 ,b4 ,q47 ,in the aisles we find ,decorated windows1 and in the triforium1 ,perpendicular windows4 ,the ,choir-,screen was erected by ,bishop ,lyhart in #addf-adgb1 but only the lower part survived the fury of the ,puritan mob4 ,the organ was placed in its present position in #ahcc4 ,immediately under the organ loft is a single compartment1 blocked off from the north and south aisles by screens that originally belonged to one old screen 7,perpendicular74 ,this ante-chapel was formerly the chapel of ,our ,lady of ,pity4 ,the ,choir extends a little into the nave1 and1 therefore1 beyond the tower and transepts4 ,there are sixty splendid ,choir-stalls of the ,fifteenth ,century1 with ornate misereres4 ,the ,bishop's ,throne and ,pulpit are modern4 ,the old ,pelican ,lectern1 in the ,decorated style1 should be noticed4 ,illustration3 ,,norwich3 ,,east ,illustration3 ,,norwich3 ,,choir ,the ,presbytery is the earliest part of the cathedral4 ,it consists of four compartments1 or bays1 and terminates in a semicircular apse of five compartments4 ,we find here ,perpendicular arches1 a lofty ,norman triforium1 and clerestory windows of the transitional period from ,decorated to ,perpendicular4 ,the whole effect is ,norman and noble4 ,unfortunately the old glass of the windows has perished4 ,the aisles of the presbytery are also called the ,processional ,path1 and consist of four bays1 and five around the apse4 ,a door in the north aisle opens into the gardens of the ,bishop's ,palace2 and in this aisle1 at the fourth bay east of the tower1 there is a very peculiar bridge-chapel that spans the aisle4 ,critics say that it formed the ante-chapel to the reliquary chapel projecting northward from the outer wall of the ,cathedral1 and that it was probably built as a bridge for exhibiting relics as the processions passed along underneath4 ,on the south side of the presbytery 7third bay7 is the ,chapel of ,st4 ,mary the ,less1 or ,bauchon ,chapel 7,fourteenth ,century74 ,it projects beyond the wall4 ,the vault is ,fifteenth ,century1 and the bosses represent the ,life1 ,death and ,assumption of the ,virgin4 ,this is now the ,consistory ,court4 ,the north transept is without aisles or triforium4 ,arcading decorates the wall up to the clerestory4 ,above is a lierne vault of later date1 of course1 than the transept4 ,the old apsidal chapel on the east 7dedicated to ,st4 ,anne7 is now used as a storeroom4 ,a staircase in the east wall of the north transept leads to the tower-galleries and walks1 very interesting in themselves and affording glimpses through their openings into the nave1 presbytery and transepts below4 ,between the south aisle of the presbytery and the south transept a beautiful screen of late ,perpendicular tracery fills the ,norman arch4 ,the roof1 like that of the north transept1 originally of wood1 was destroyed by fire in #aeji1 and a new vault added in ,perpendicular times4 ,of the three chapels grouped around the presbytery the ,jesus ,chapel on the north and the chapel on the south1 ,st4 ,luke's1 remain4 ,the ,lady-,chapel1 at the extreme east1 has perished4 ,the ,norman ,lady-,chapel was partly destroyed by the fire of #aafi1 and was succeeded by an ,early ,english chapel of the ,thirteenth ,century4 ,this was destroyed in the ,sixteenth ,century2 but the finely proportioned entrance arches still remain4 ,they are ornamented with the dog-tooth4 ,it is not often that ancient altar-pieces are found in the ,english cathedrals2 but ,norwich possesses a ,retable1 supposed to be the work of an ,italian painter of the ,fourteenth ,century4 ,it is in five panels--,the ,scourging1 ,bearing the ,cross1 ,crucifixion1 ,resurrection and ,ascension4 ,it was formerly in the ,jesus ,chapel4 ,the ,cloisters are in their usual position--on the south4 ,originally these were ,norman1 and perished by fire in #abgb4 ,the present ones were #acc years in building1 and so they reveal the developments of architecture during #abig-adcj4 ,the cloister garth is about #ade feet square4 8,the arches are filled with open tracery carried by two mullions4 8,on the east side it is geometrical in character1 the work being transitional between ,early ,english and ,decorated2 on the south side the tracery is more flowing and has advanced to ,decorated2 on the west side again1 we get the transitional style between ,decorated and ,perpendicular1 with some flamboyant or flame-like detail2 while on the north and latest side it is frankly ,perpendicular40--7,c4 ,h4 ,b4 ,q47 ,they are entered from the south side of the nave1 of course4 ,the ,monk's ,door1 opening into the ,east ,walk1 is an ornate specimen of ,perpendicular2 and the ,prior's ,door1 opening into the ,west ,walk1 a fine specimen of ,early ,decorated4 ,,st4 ,,albans ,,dedication3 ,,st4 ,,alban4 ,,church ,,of ,a ,,benedictine ,,monastery4 ,when ,sir ,gilbert ,scott began to restore and repair the old abbey church of ,st4 ,albans1 in #ahgj1 he found it in a very dilapidated condition4 ,among other base uses to which various parts of the ,cathedral had been put1 the ,lady-,chapel had been converted into a grammar-school1 and a thoroughfare had been made through the retro-choir4 ,after ,scott's death1 in #ahgh1 ,lord ,grimthorpe1 who had been diligent and liberal for years regarding restorations1 succeeded in getting control of the entire work4 ,he made various changes and additions1 and inserted windows at his own pleasure1 not always with judgment1 nor in the best taste4 ,the consequence is that ,st4 ,albans is open to much criticism4 ,yet it remains an interesting old pile in many respects4 ,st4 ,albans did not become a cathedral until #ahgg4 ,it was a famous old abbey church1 dating back to the days of ,offa ,,ii41 ,king of the ,mercians1 who founded a ,benedictine monastery here about #gic4 ,from this time until the suppression of the monasteries by ,henry ,,viii41 the ,abbey of ,st4 ,albans was of the greatest importance4 ,its ,abbot had a seat in the ,house of ,lords1 and took precedence of all the abbots in the kingdom4 ,naturally1 therefore1 the list of abbots is notable4 ,some of them were related to the royal family4 ,among those especially distinguished were3 ,paul of ,caen1 ,john de ,cella1 ,william of ,trumpington1 ,john of ,hertford1 ,roger of ,norton1 ,hugh of ,eversden1 ,richard of ,wallingford1 ,thomas de la ,mare1 ,john de la ,moote1 ,john of ,wheathampstead1 and ,thomas ,wolsey1 the great cardinal4 ,royalty was entertained in the ,abbey on many occasions as both guest and prisoner4 ,when the ,abbey was consecrated in #aaae by the ,archbishop of ,rouen1 ,henry ,i4 and his queen1 ,matilda1 with their courtiers1 were entertained from ,december #bg until ,january #f2 ,richard ,,ii4 stayed here for eight days after ,wat ,tyler's rebellion had subsided2 and here the conspiracy against him was planned1 when the ,duke of ,gloucester and the ,prior of ,westminster were dining with the abbot1 ,john de la ,moote4 ,in #acii ,john of ,gaunt's body rested here2 and ,richard ,,ii41 and ,henry1 ,duke of ,lancaster 7,henry ,,iv47 were here in the same year4 ,during the ,wars of the ,roses the ,abbey of ,st4 ,albans was frequently used as a prison4 ,in the first battle of ,st4 ,albans 7,may #bc1 #adee71 when the ,white ,roses were victorious1 ,henry was confined in the monastery2 but in the second battle 7,february #ag1 #adfa71 the king1 having been captured1 was set at liberty by his brave wife1 ,margaret of ,anjou1 who marched from ,wakefield with #ah1jjj men4 ,the royal party went to the ,abbey1 where the monks chanted thanksgiving and in every way received them with delight4 ,the undisciplined horde of soldiers unfortunately ran wild in the town and plundered the ,abbey4 ,their behaviour was such that ,abbot ,john ,stokes changed his politics1 and became an ardent ,yorkist4 ,among the celebrated monks of ,st4 ,albans ,matthew ,paris takes the lead1 the great historian whose book begins with the creation and continues to #abei4 ,st4 ,albans for a long period received 8,peter's ,pence40 ,this was first levied by the ,king of the ,west ,saxons in #gbg1 and was a tax of one penny on each family owning lands4 ,the receipt amounted to thirty pence a year and went to the support of a ,saxon ,college at ,rome2 and because it was collected on ,august #a 7the day of ,st4 ,peter ad ,vincula7 it was called 8,peter's ,pence40 ,offa induced the ,pope to give it to the ,abbey of ,st4 ,albans4 ,the monastic buildings have all perished1 and the only remnant of the ,abbey is the ,great ,gate1 built in the days of ,thomas de la ,mare1 about #acfe4 ,over the archway there is a large room in which sessions used to be held1 and below the road the curious may inspect the dungeons4 ,this ,gateway was a law-court and prison2 and1 as the ,abbot of ,st4 ,albans had civil jurisdiction over all the town1 as well as his monastery1 many offenders were tried and condemned here4 ,in the days of ,wat ,tyler's rebellion ,john ,ball and his seventeen companions were tried here and spent their last days in the dungeons4 ,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 arrived4 ,st4 ,albans was a favorite place of pilgrimage1 for it sheltered the remains of the first ,christian martyr in ,britain4 ,alban1 or ,albans1 was a young soldier1 who1 during the persecution of the ,christians in the ,fourth ,century1 befriended a deacon named ,amphibalus by receiving him in his house4 ,amphibalus converted him4 ,alban exchanged clothing with him so that he might escape4 ,amphibalus was captured1 however1 and executed near ,verulamium4 ,alban was also beheaded2 and a few years after his death a church was built over the spot where his blood had been shed4 ,the north transept of the existing church is said to cover this place4 ,matthew ,paris states that the body of ,st4 ,alban was1 during an invasion1 removed from the church for safety1 and afterward placed in its original grave4 ,offa ,,ii4 found the coffin containing the remains of the martyr and laid them in a splendid reliquary1 taking care first to place a golden band around the head with the inscription 8,hoc est caput ,sancti ,albani40 ,offa also had the martyr canonized4 ,with a miracle-working shrine1 the richly-endowed monastery continued to flourish4 ,the ,abbey ,church was deemed quite large enough until ,paul of ,caen 7#ajgg-ajic7 was appointed abbot by ,william the ,conqueror4 ,in about eleven years only 7#ajgg-ajhh7 he rebuilt ,st4 ,albans1 using many of the ,roman bricks from the ruins of the neighbouring ,verulamium and timber already collected4 ,his was an enormous ,norman edifice 7#dfj feet71 longer even than ,canterbury 7#bij feet74 ,after a hundred years or so1 ,abbot ,john de ,cella 7#aaie-abad7 made various changes4 ,money was raised in various ways for the purpose1 and among them the abbot persuaded his monks to do without wine for fifteen years and contribute the savings to the fund for building4 ,after him came ,william of ,trumpington 7#abad-abce71 who continued the work of building4 ,he also constructed the cloister4 ,let us see exactly in what their work consisted3 8,abbot ,john de ,cella 7#aaie-abad7 pulled down the west front and began to build a new one in its place4 ,he laid the foundation of the whole front1 but then went on with the north side first4 ,the north porch was nearly finished in his time2 the central porch was carried up as far as the spring of the arch2 the southern porch was carried hardly any way up from the foundations4 ,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 ,england4 ,the mouldings were of great delicacy1 and were enriched with dog-tooth ornament4 ,it is said that ,abbot ,john was not a good man of business1 and that he was sorely robbed and cheated by his builders1 and so had not money enough to finish the work that he had planned4 ,to his successor1 ,william of ,trumpington1 it therefore fell to carry on the work4 ,he was a man of a more practical character1 though not equal to his predecessor in matters of taste4 ,he finished the main part of the western front4 ,oddly enough no dog-tooth ornament was used in the central and southern porches1 and the character of the carved foliage differs also from that of the north porch4 ,in ,abbot ,john's undoubted work the curling leaves overlap1 and have strongly defined stems resembling the foliage of ,lincoln choir1 while that of ,abbot ,william's time had the ordinary character of the ,early ,english style4 ,there is evidence to show that he intended to vault the church with a stone roof2 this may be seen from the marble vaulting-shafts on the north side of the nave between the arches of the main arcade1 which1 however1 are not carried higher than the string-course below the triforium4 ,the idea of a stone vault was1 however1 abandoned before the two eastern ,early ,english bays on the south side were built1 for no preparation for vaulting shafts exists there4 8,abbot ,john de ,cella had begun to build afresh the western towers1 or1 according to some authorities1 to build the first western towers that the church ever had2 we have no record of their completion1 and it is said that ,abbot ,william abandoned the idea4 ,we have only the foundations by which we can determine their size4 ,william of ,trumpington transformed the windows of the aisles into ,early ,english ones4 ,he also added a wooden lantern to the tower1 somewhat in the style of the wooden octagon on the central tower of ,ely40--7,t4 ,p47 ,the next changes were made in the east end4 ,these were begun in the last half of the ,thirteenth ,century4 ,the walls of the presbytery were raised2 the ,saint's ,chapel built2 then the retro-choir2 and then the ,lady-,chapel 7#acbf74 ,then ,hugh of ,eversden 7#acjh-acbf7 became abbot and had to rebuild the part of the nave that fell in #acbc4 ,his work was continued by ,richard of ,wallingford 7#acbf-acce7 and completed by ,michael of ,mentmore in #acde4 ,john de ,wheathampstead1 who was twice abbot 7#adbj-addj1 and #adea-adfd71 rebuilt the upper part of the west front1 made changes in the roofs1 inserted ,perpendicular windows in the ends of the transept1 and also converted the ,norman triforium arches into windows by filling them with ,perpendicular tracery4 ,his chantry was built after his death4 ,william of ,wallingford 7#adgf-adhd7 contributed the gorgeous screen4 ,the exterior has no interest for the student of architecture4 ,the enormous church is plain1 and ,lord ,grimthorpe has been at work everywhere4 ,the only feature that has any real beauty is the fine ,norman tower4 8,it is #add feet high and is not quite square in plan1 measuring #dg feet from east to west1 and two feet less from north to south4 ,the walls are about seven feet thick2 in the thickness1 however1 passages are cut4 ,it has three stages above the ridges of the roof4 ,the lower stage has plain windows in each face1 lighting the church below2 the next stage1 or ringing room1 has two pairs of double windows2 and the upper or belfry stage1 two double windows of large size1 furnished with louvre boards4 ,the parapet is battlemented1 and of course of later work than the tower itself4 ,the tower is flanked by pilaster buttresses1 which merge into cylindrical turrets in the upper story4 ,for simple dignity the tower stands unrivalled in this country4 ,it must have been splendidly built to have stood as it has done so many centuries without accident4 ,winchester tower fell not long after its building1 ,peterborough tower has been rebuilt in modern days2 but ,paul of ,caen did not scamp his work as the monks of ,peterborough did1 and no evil-living king was buried below the tower1 as was the case at ,winchester1 thus1 according to the beliefs of the time1 leading to its downfall4 ,tewkesbury tower alone can vie with that of ,st4 ,albans1 and the ,seventeenth ,century pinnacles on that tower spoil the general effect1 so that the foremost place among central ,norman towers as we see them to-day may safely be claimed for that at ,st4 ,albans4 ,few more beautiful architectural objects can be seen than this tower of ,roman brick1 especially when the warmth of its colour is accentuated by the ruddy flush thrown over it by the rays of a setting sun40--7,t4 ,p47 ,the pilgrims to ,st4 ,alban's shrine used to enter by the ,north ,door of the ,transept1 carrying the candles that they had bought at the ,waxhouse ,gate4 ,this ,norman doorway1 with a ,norman window on each side 7modern glass71 still exists4 ,the upper part of the north wall with the wheel window was rebuilt by ,lord ,grimthorpe4 ,the nave is immensely long--about a tenth of a mile4 ,it is ,norman1 grim1 and cold1 but impressive4 8,as we stand just inside the west door of the church we are struck by the length of ritual nave1 about #bjj feet1 the flatness of the roofs1 and the massiveness of the arcading dividing the nave from the aisles2 for1 though the four western bays on the north side and five on the south are ,early ,english in date1 there is none of that lightness and grace that we are accustomed to associate with work of this period1 no detached shafts of ,purbeck marble such as we see at ,salisbury1 no exquisitely carved capitals such ,illustration3 ,,st4 ,,albans3 ,,north ,illustration3 ,,st4 ,,albans3 ,,nave1 ,,east as we meet with at ,wells4 ,william of ,trumpington seems to have aimed at making his work harmonize with the ,norman work that he left untouched2 and when the rest of the main arcade on the south side was rebuilt in the next century1 it was made to differ but little in general appearance and dimensions from ,abbot ,william's4 8,on entering by the west door a peculiarity will at once be noticed4 ,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 south4 ,the floor to the east of these steps slopes imperceptibly upwards for eight bays1 when a rise of three more steps is met with4 ,on this higher level stands the altar1 which is backed up by the rood screen4 ,there is another step to be ascended to the level of the choir1 and another to reach the space below the tower4 ,five steps lead from this into the presbytery2 there is another step at the high altar rails1 and four more lead up to the platform on which the high altar will stand4 ,from the space below the tower one step leads up into the north aisle and two more into the north arm of the transept4 ,from the level of the south choir aisle and south transept two steps lead up into the south aisle of the presbytery2 from this aisle there is a rise of four steps into the aisle south of the ,saint's ,chapel1 and from this into the chapel itself a rise of four more4 ,so that the floor of this chapel is1 with the exception of the high altar platform1 which is one step higher1 the highest in the whole church1 or nineteen steps above the floor just inside the west door4 ,from the aisle of the ,saint's ,chapel one step leads into the retro-choir1 and two more into the ,lady-,chapel2 hence the floor of the ,lady-,chapel is one step lower than that of the ,saint's ,chapel4 ,if we take seven inches as the average height of a step1 it would appear that the floor of the ,lady-,chapel is about ten feet higher than the floor at the west end of the nave40--7,t4 ,p47 ,the nave is blocked behind the altar with a ,rood screen1 of ,fourteenth ,century work1 much restored4 ,it is pierced by two doors 7also ,fourteenth ,century71 through which processions passed into the choir4 ,upon it the organ is placed4 ,the eastern part of the nave was rebuilt after the calamity that happened on ,st4 ,paulinus's ,day 7,october #aj71 #acbc4 ,mass had just been celebrated1 and the church was still crowded with men1 women and children1 when two of the great piers of the main arcade on the south side fell outwards1 crushing the south wall of the aisle and cloisters4 ,soon the wooden roof of the nave also fell4 ,strange to relate nobody was injured2 and although the shrine of ,st4 ,amphibalus was damaged1 still the chest that contained his relics suffered no harm4 ,all this part of the church had to be rebuilt2 and1 of course1 the south arcade differs from the northern one4 ,a massive pier1 either the original ,norman or one rebuilt in the ,norman style1 divides the five ,early ,english bays on the west from the ,decorated ones on the east4 ,west we find the characteristic tooth ornament2 and east1 the characteristic ball-flower4 ,when the pestilence was raging in ,london 7only twenty miles away7 in #aedc1 #aehi1 and #aeic1 courts of justice were held in this nave4 ,on the north side a pier bears an inscription to the memory of ,sir ,john ,mandeville1 the famous traveller1 who was born at ,st4 ,albans in the ,fourteenth ,century and educated in the monastery school4 ,the massive piers were coated with plaster and then painted4 ,each has traces of the same picture of the ,crucifixion1 with a second subject below it4 ,this subject differs on every column4 ,the soffits of the arches were also bright with colour1 so that the severity and plainness that we now feel were originally missing4 8,although in the four western bays of the main arcade the ,early ,english work is very plain1 yet the triforium is ornate4 ,the arcading consists of two pointed arches in each bay1 each comprising two sub-arches2 the supporting columns are slender and enriched with dog-tooth mouldings1 with which also the string-course below the triforium is decorated4 ,the shafts1 which probably were intended to support a stone vault over the nave1 should be noticed4 8,the triforium over the ,norman main arcade consists of large1 wide-splayed1 round-headed openings1 in which the tracery and glazing introduced in the ,fifteenth ,century1 when the aisle roof was lowered in pitch so as to expose the north side of the triforium to the sky1 still remains4 ,one of the triforium arches1 namely1 the third from the tower1 was simply walled up at this time1 and so retains its original form4 ,the clerestory in this part of the church consists of plain1 round-headed openings4 ,between each bay the outer southern face of each ,norman pier is continued in the form of the flat pilaster buttress up to the roof40--7,t4 ,p47 ,the piers of the choir1 like those of the nave1 were originally painted4 ,so was the ceiling4 ,wall-paintings were likewise discovered between the clerestory windows in #ahge4 ,the choir-stalls and ,bishop's ,throne are modern4 ,in the south-choir-aisle the tomb of ,roger and ,sigar1 two local hermits1 was once a place of pious pilgrimage4 ,the arches of the ,tower are fifty-five feet high4 ,the four inside faces of the lantern contain windows above the arcade1 and the ceiling of the lantern 7#ajb feet from the floor7 is painted with the red and white roses of ,lancaster and ,york1 and various coats-of-arms4 ,the effect of the tower is impressive4 ,the peal consists of eight bells1 cast in ,london in #afii4 ,some of the bells have been recast4 ,beneath the ,presbytery notable abbots1 monks and laymen were given burial4 ,the presbytery is divided from the aisles by solid walls1 broken by the ,ramryge and ,wheathampstead chantries1 and two doorways3 it is closed in on the east side by a magnificent screen1 constructed during ,william of ,wallingford's rule 7#adgf-adhd71 and generally known as the ,wallingford ,screen4 ,it is hard to realize that the lace-like canopies1 of which it is composed1 are made of stone4 ,the material is clunch1 a hard stone from the lower chalk formation4 ,this great reredos has been restored of late years and filled with statues4 ,there are no records to describe or even name the original figures2 but those now occupying the niches1 by ,mr4 ,h4 ,hems1 of ,exeter1 are1 beginning on the left and reading downwards3 7#a7 ,st4 ,titus1 ,st4 ,timothy1 ,st4 ,barnabas1 ,angel ,gabriel2 7#b7 ,king ,edmund1 ,st4 ,cuthbert1 ,st4 ,augustine2 7#c7 ,st4 ,oswyn1 ,st4 ,giles1 ,st4 ,cecilia1 ,st4 ,boniface1 ,st4 ,katherine1 ,st4 ,david2 7#d7 ,king ,offa1 ,st4 ,helen1 oak door2 7#e7 ,st4 ,ethelbert1 ,st4 ,leonard1 ,st4 ,agnes1 ,st4 ,nicholas1 ,st4 ,frideswide1 ,st4 ,chad2 7#f7 ,edward the ,confessor1 ,st4 ,benedict1 ,st4 ,alban2 7#g7 ,angel1 ,angel1 ,angel2 7#h7 ,angel1 ,blessed ,virgin ,mary2 7#i7 ,crucifix2 7#aj7 ,angel1 ,st4 ,john2 7#aa7 ,angel1 ,angel1 ,angel2 7#ab7 ,st4 ,hugh of ,lincoln1 ,st4 ,patrick1 ,st4 ,amphibalus2 7#ac7 ,edward ,king of ,west ,saxons1 ,st4 ,lawrence1 ,st4 ,lucy1 ,st4 ,wolfstan1 ,st4 ,osyth1 ,st4 ,alphege2 7#ad7 ,pope ,adrian ,,iv41 ,st4 ,etheldreda1 oak door2 7#ae7 ,st4 ,george1 ,st4 ,benedict1 ,biscop1 ,st4 ,ethelberga1 ,st4 ,richard2 7#ag7 ,the ,venerable ,bede1 ,st4 ,germain1 ,st4 ,erkenwald1 ,st4 ,margaret1 ,st4 lfric2 7#ah7 ,st4 ,paul1 ,st4 ,luke1 ,st4 ,mark1 ,st4 ,mary the ,virgin4 ,below the ,crucifix stands a row of smaller statues representing ,christ and the ,twelve ,apostles4 ,on ,christ's right3 ,st4 ,james ,minor1 ,st4 ,philip1 ,st4 ,john1 ,st4 ,james ,major1 ,st4 ,andrew1 ,st4 ,peter2 and on his left3 ,st4 ,thomas1 ,st4 ,bartholomew1 ,st4 ,matthew1 ,st4 ,simon1 ,st4 ,matthias and ,st4 ,jude4 ,on the right and left of the altar are chantries4 ,the south one is that of ,john of ,wheathampstead1 who was twice ,abbot 7#adbj-addj1 and #adea-adfd74 ,his effigy is robed in full vestments1 carries a pastoral staff and wears a mitre4 ,his rebus--three ears of wheat--and his motto--,valles habundabunt--appear in various places4 ,on the other side of the steps the handsomer ,ramryge ,chantry commemorates ,abbot ,thomas ,ramryge1 who also has a rebus--a ram wearing a collar with the letters ,r4 ,y4 ,g4 ,e4 upon it4 ,he entered office in #adib1 and1 strange to relate1 no details of his rule are known4 ,the date of his death is also a blank4 ,yet here is his fine monument in the ,perpendicular style4 ,behind the ,wallingford ,screen lies the ,saint's ,chapel1 with the ,shrine of ,st4 ,alban in the centre4 8,the bones of ,st4 ,alban were of course counted as the chief treasure of the ,abbey1 in some respects the most valuable relics in the kingdom1 since they were the bones of the first ,christian martyr in the island4 ,it was meet and fitting1 then1 that the most splendid resting-place should be chosen for them4 ,the bones themselves were enclosed in an outer and an inner case2 the inner was the work of the sixteenth ,abbot1 ,geoffrey of ,gorham 7#aaai-aadi71 and the outer of the nineteenth ,abbot1 ,symeon 7#aafg-aahc74 ,these coffers were of special metal encrusted with rich gems4 ,it is recorded that the reliquary was so heavy that it required four men to carry it1 which they probably did by two poles1 each passing through two rings on either side of the coffer4 ,it is said to have been placed in a lofty position by ,abbot ,symeon2 but the pedestal of which we see the reconstruction to-day was erected during the early part of the ,fourteenth ,century1 in the time of the twenty-sixth ,abbot1 ,john de ,marinis 7#acjb-acjh74 ,this was built of ,purbeck marble and consists of a basement #b feet #f inches high1 #h feet #f inches long1 and #c feet #b inches wide1 above which were four canopied niches at each side and one at each end2 these were richly painted and probably contained other relics2 in the spandrels were carved figures1 at the corners angels censing4 ,at the west end was a representation of ,st4 ,alban's martyrdom2 on the south side in the centre was1 and still is1 a figure of ,king ,offa holding the model of a church2 in the next spandrel to the east the figure of another king2 on the east side a representation of the scourging of ,st4 ,alban1 and on the north other figures1 of which the only one remaining is that of a bishop or mitred abbot4 ,in the pediments or gables were carvings of foliage1 and round the top of the pedestal ran a richly-carved cornice2 round the base stood fourteen detached shafts1 on which perhaps the movable canopy rested1 and outside three other shafts of twisted pattern on each side1 which carried six huge candles1 probably kept burning day and night1 certainly during the night1 to light the chamber holding the shrine4 ,on this lofty pedestal1 #h feet #c inches high1 the glorious shrine rested4 ,it was rendered still more ornate than it was in ,abbot ,symeon's time by the addition of a silver-gilt turret1 on the lower part of which was a representation of the ,resurrection with two angels and four knights 7suggested by the guard of ,roman soldiers7 keeping the tomb4 ,a silver-gilt eagle of cunning craftsmanship stood on the shrine4 ,all these additions were given by ,abbot ,thomas de la ,mare 7#acdi-acif74 ,a certain monk also gave two representations of the sun in solid gold1 surrounded by rays of silver tipped with precious stones4 ,over all was a canopy which1 like many modern font-covers1 was probably suspended by a rope running over a pulley in the roof1 by which it might be raised4 ,there is a mark in the roof remaining1 possibly caused by the fastening of the pulley4 ,an altar1 dedicated to ,st4 ,alban1 stood at the west end of the pedestal4 8,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 unwatched1 for stealing relics1 when a favourable opportunity arose1 was a temptation too great to be resisted by any monks1 however holy4 ,so on the south side of the shrine was erected a watching loft2 the one that remains was constructed probably during the reign of ,richard ,,ii41 and his badge appears on it1 but1 no doubt1 from the first there was some such place provided for the purpose of keeping guard4 ,the chamber had two stories3 the lower contained cupboards1 in which vestments and relics were kept1 these are now filled with various antiquarian curiosities1 ,roman pottery from ,verulamium1 architectural fragments1 etc4 ,an oaken staircase leads up into the chamber where the #8custos feretri' sat watching the shrine day and night1 guard of course being changed at intervals4 ,it must have been trying work watching there during the night-time in frosty weather1 but monks were accustomed to bear cold4 ,the watching chamber was built of oak and was richly carved4 ,on the south side of the cornice are angels1 the hart--badge of ,richard ,,ii41 the martyrdom of ,st4 ,alban1 ,time the reaper1 and the seasons2 on the north the months of the year are represented40--7,t4 ,p47 ,on the south side is buried ,humphrey1 ,duke of ,gloucester1 son of ,henry ,,iv41 brother of ,henry ,v41 and uncle of ,henry ,,vi4 ,he died in #addg4 ,the handsome tomb was probably erected by the ,abbot ,wheathampstead1 who was a great friend of ,duke ,humphrey's4 ,in the north aisle of the ,saint's ,chapel we come to the pedestal of the ,shrine of ,st4 ,amphibalus 7see page #cfb74 ,it stood in the centre of the retro-choir until ,lord ,grimthorpe removed it to its present position4 ,an oak screen separates the ,saint's ,chapel from the ,retro-,choir4 ,this is ,lord ,grimthorpe's work1 and through it we pass4 ,the ,retro-,choir dates from the end of the ,thirteenth ,century1 and has been greatly restored4 ,in the centre once stood the shrine of ,st4 ,amphibalus 7now removed to the north aisle of the ,saint's ,chapel71 and there were several altars3 to ,our ,lady of the ,four ,tapers2 to ,st4 ,michael2 to ,st4 ,edmund1 ,king and ,martyr2 to ,st4 ,peter2 and to ,st4 ,amphibalus4 ,the ,lady-,chapel1 greatly restored1 dates from the latter part of the ,thirteenth and early part of the ,fourteenth ,centuries4 ,several changes of style may be noted4 ,the side windows are fine examples of the ,decorated1 and the statuettes ornamenting the jambs and mullions still remain4 ,the eastern window of five lights is a strange combination of tracery and tabernacle work4 ,originally the ,lady-,chapel was separated from the retro-choir by a screen4 ,the glass in the windows is modern1 and the stone vaulting is also modern4 ,historical associations are numerous4 ,beneath the floor lie the hated ,edmund ,beaufort1 ,duke of ,somerset1 grandson of ,john of ,gaunt2 ,henry ,percy1 ,earl of ,northumberland1 son of the famous ,hotspur2 and ,thomas1 ,lord ,clifford3 whose bodies were found lying dead in the streets of ,st4 ,albans1 after the first battle in #adee1 in which they fell fighting for the ,red ,rose party4 ,beyond the eastern bay on the south side was built the ,chapel of the ,transfiguration1 dedicated in #adcj4 ,of late years this addition was rebuilt for a vestry4 ,the walls were made lower than the original ones1 so as to show the fine window above that consists of a traceried arch within a curvilinear triangle1 beneath which is a row of niches4 ,beneath these is a very fine row of sedilia and piscin4 ,the carving in the new chapel is very naturalistic1 and represents the poppy1 buttercup1 primrose1 gooseberry1 rose1 blackberry1 pansy1 ivy1 maple1 and convolvulus and other local flowers and leaves4 ,,oxford ,,dedication3 ,,the ,,holy ,,trinity1 ,,st4 ,,mary ,,and ,,st4 ,,frideswide4 ,,special ,,features3 ,,ceiling ,,in ,,choir2 ,,windows2 ,,shrine ,,of ,,st4 ,,frideswide4 ,this ,cathedral is peculiar in being almost hidden from sight in a series of college buildings1 gardens and quadrangles4 ,it is the chapel of ,christ ,church1 as well as a cathedral2 and to enter it we have to pass through the gateway of the famous ,tom ,tower1 and across the great quadrangle1 familiarly known as ,tom ,quad4 ,the big bell ,tom gives its name to the tower and quadrangle1 is seven feet one inch in diameter1 and weighs #ag1jjj tons4 ,it was brought from ,oseney ,abbey with the other bells1 the 8merry ,christ ,church bells10 that now hang in the bell-tower above the hall staircase4 ,tom was recast in #afhj4 ,the lower story of ,tom ,tower was built by ,cardinal ,wolsey4 ,the cupola was added by ,sir ,christopher ,wren4 ,three sides of the quadrangle were built by ,wolsey1 and the north side by ,bishop ,fell4 ,as we pass through ,tom ,tower we note that a statue of ,cardinal ,wolsey faces ,st4 ,aldgate's1 and a statue of ,queen ,anne faces the quadrangle4 ,christ ,church is the largest college in the ,university of ,oxford1 and stands on the site of the ancient priory of ,st4 ,frideswide4 ,in #aebd ,cardinal ,wolsey obtained authority from ,henry ,,viii4 and ,clement ,,viii4 to suppress a number of religious houses in various parts of ,england1 and to appropriate their revenues to the building and endowing of a ,college4 ,after he had made considerable progress in the building of ,christ ,church he fell into disgrace with the ,king1 who seized the property and distributed it among his courtiers4 ,at a later period ,henry ,,viii4 refounded the establishment1 and added to it the ,abbey of ,oseney1 which was then the ,cathedral of the ,see of ,oxford4 ,christ ,church 7the present ,cathedral7 was at that time called the ,college of ,henry ,,viii41 and was a ,collegiate ,church4 ,in #aedf1 on the suppression of ,oseney ,abbey1 ,st4 ,frideswide became the ,cathedral ,church of ,oxford4 ,oseney is depicted in the ,king window 7see page #cia74 ,the foundation was converted into one of secular canons in the ,eighth or ,ninth ,century2 and these were in turn succeeded by the regular canons1 who built their chapter-house1 dormitory1 refectory and cloisters4 ,in #aaeh they began the present ,cathedral1 which was completed in #aahj1 having swept away the ,saxon church rebuilt by ,king ,ethelred in #ajjd1 according to some critics1 while other antiquaries think that much of the present ,cathedral is ,st4 ,ethelred's4 ,the church was dedicated to the ,holy ,trinity1 ,st4 ,mary1 and ,st4 ,frideswide1 and was somewhat peculiar for the ,twelfth ,century1 in being more elegant than was usual at that time4 ,cramped for room the south transept was cut off for the sake of the cloisters2 and aisles were given to the north transept4 ,there was no room for a ,lady-,chapel at the east end2 and1 consequently1 an additional aisle north of the north aisle of the choir was built4 ,the same arrangement occurs at ,ripon2 the ,elder ,lady ,chapel at ,bristol holds a similar position4 8,st4 ,frideswide ,church1 now ,christ ,church ,cathedral1 ,oxford1 is a fine example of late ,norman and transitional work of early character4 ,it was consecrated in #aahj1 and was probably building for about twenty years previously3 the confirmation1 by ,pope ,hadrian ,,iv4 7,breakspeare1 the only ,english ,pope71 of the charters granting the ,saxon monastery of ,st4 ,frideswide to the ,norman monks was not obtained until #aaeh1 and it is not probable that they began to rebuild their church until their property was secured4 ,the ,prior at this period was ,robert of ,cricklade1 called ,canutus1 a man of considerable eminence1 some of whose writings were in existence in the time of ,leland4 ,under his superintendence the church was entirely rebuilt from the foundations1 and without doubt on a larger scale than before1 as the ,saxon church does not appear to have been destroyed until this period4 8,the design of the present structure is very remarkable2 the lofty arched recesses1 which are carried up over the actual arches and the triforium1 giving the idea of a subsequent work carried over the older work2 but an examination of the construction shows that this is not the case1 that it was all built at one time1 and that none of it is earlier than about #aafj4 ,in this church the central tower is not square1 the nave and choir being wider than the transepts1 and consequently the east and west arches are round-headed1 while the north and south are pointed3 this would not in itself be any proof of transition1 but the whole character of the work is late1 though very rich and good1 and the clerestory windows of the nave are pointed without any necessity for it1 which is then a mark of transition40--7,j4 ,h4 ,p47 ,st4 ,frideswide 7,bond of ,peace71 or 8the ,lady10 as she was called in ,oxford1 lived early in the ,eighth ,century1 when ,ethelbald was king of ,mercia4 ,her father1 ,didan1 was a prince who lived in the city of ,oxford about #gbg1 where ,frideswide was born4 ,of her early piety1 her refusal of marriage1 her foundation of this nunnery at ,oxford1 her miracles of healing and her 8glorious death10 there are many pretty stories4 ,st4 ,frideswide's ,church was burned in #ajjb1 when ,ethelred the ,unready ordained the ,massacre of the ,danes4 ,ethelred afterwards made a vow that he would rebuild ,st4 ,frideswide's ,church2 and in #ajjd he began the splendid edifice1 of unusual magnificence for the period4 ,robert of ,cricklade1 prior from #aada to #aahj1 seems to have restored ,ethelred's church2 and in that year the relics of ,st4 ,frideswide were translated to a more conspicuous place in the church4 ,many distinguished noblemen and prelates were present3 8,after they were meet1 and injoyned fasting and prayers were past1 as also those ceremonies that are used at such times was with all decency performed1 then those bishops that were appointed1 accompanied with ,alexio1 the pope's legat for ,scotland1 went to the place where she was buried1 and opening the sepulchre1 took out with great devotion the remainder of her body that was left after it had rested there #dhj yeares1 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 purpose1 and placed it on the north side of the quire1 somewhat distant from the ground1 and inclosed it with a partition from the sight hereafter of the vulgar40--7,a4--,w47 ,in #abhi these relics were again translated and placed in the position of the old shrine1 probably in the north-choir-aisle1 where the marble base recently discovered now stands 7see page #che74 8,in the ,lancet period 7#aaij-abde7 the works went on apace4 ,an upper stage was added to the tower and on that the spire was built--the first large stone spire in ,england4 ,it is a ,broach spire1 i4e41 the cardinal sides of the spire are built right out to the eaves1 so that there is no parapet4 ,on the other hand1 instead of having broaches at the angle it has pinnacles4 ,moreover1 to bring down the thrusts more vertically1 heavy dormer windows are inserted at the foot of each of the cardinal sides of the spire1--altogether a very logical and scientific piece of engineering1 much more common in the early spires of ,northern ,france than in ,england40--7,f4 ,b47 ,about the ,thirteenth ,century the monks built the ,chapter-,house now standing2 then the ,lady-,chapel2 altered the ,norman windows to ,decorated2 and in the ,fifteenth ,century made many changes in the new ,perpendicular style4 ,wolsey destroyed half of the nave in order to build ,tom ,quad4 ,his idea was to erect a magnificent church on a large scale2 but in the meantime his fall occurred4 ,in #aedf ,st4 ,frideswide's was made1 as already noted1 the ,cathedral ,church of ,oxford4 ,in the ,seventeenth ,century the tracery of many windows was altered for the sake of glass by the ,dutchman ,abraham ,van ,ling1 for which old windows depicting scenes from ,st4 ,frideswide's life and ancient arms were sacrificed4 ,in later times some of ,van ,ling's windows suffered the same fate1 for modern work4 ,one of his windows1 however1 remains 7see page #chb74 ,some of the windows were smashed during the ,puritan wars2 but on the whole the ,cathedral escaped damage4 ,christ ,church being a royal college1 during the ,civil ,war a ,university regiment of ,cavaliers was drilled in ,tom ,quad2 and when ,charles ,i4 occupied ,oxford1 after ,edgehill1 he held court in ,christ ,church4 ,the ,cathedral went through the fate of all ,english cathedrals in the ,nineteenth ,century2 and finally1 in #ahgj1 a thorough restoration was undertaken by ,dean ,liddell and ,sir ,gilbert ,scott1 whose conservative alterations and restorations of windows1 etc41 have brought all the parts of the ,cathedral into harmony4 ,the windows of ,burne-,jones are a great addition to the charm of the interior4 8,the whole church is exceedingly interesting4 ,it fills a niche in the history of ,english architecture all by itself4 ,it is not the early and rude ,traditional work of the ,cistercians4 ,on the other hand1 it has not yet the lightness and grace of ,ripon2 still less the charm of the ,canterbury choir1 ,chichester presbytery1 ,wells and ,abbey ,dore--,gothic in all but name4 ,in spite of a pointed arch here and there1 it is a ,romanesque design4 8,the work commenced1 as usual1 at the east1 as is shown by the gradual improvement westward in the designs of the capitals4 ,the evidence of the vaulting1 too1 points in the same direction4 ,in the choir-aisle the ribs are massive and heavy2 in the western aisle of the north transept they are lighted2 in the south aisle of the nave they are pointed and filleted40--7,f4 ,b47 ,owing to its secluded position it is almost impossible to get a view of the ,cathedral2 but the tower and spire can be seen from the cloisters4 ,the ,cloisters line three sides of the square only1 for the west side was destroyed by ,wolsey for the hall staircase1 which is surmounted by the ,bell ,tower1 in which the bells from the ,abbey of ,oseney hang4 8,from the same position at the west of the cloister one can enjoy the best view of the tower and spire of the church4 ,one is close enough to see all the detail and yet from this angle nothing is lost of the general effect4 ,on a moonlit evening the effect is particularly solemn and beautiful4 ,from this point also should be noticed the difference in the masonry of the south transept4 ,the lower story is entirely rubble1 while the upper story is partly of good ashlar work4 8,on the south side of the cloister is the ,old ,library1 as it is now called1 which was formerly the refectory of the monastery1 and is all that now remains of the conventual buildings4 ,its large ,perpendicular windows1 rising like a clerestory above it1 look on to the cloister1 but they were spoilt on the inside by a staircase1 when the building was turned into undergraduates' rooms4 ,on the other side1 facing the meadow buildings1 there is a curious little oriel window1 its lights now walled up1 that once contained the pulpit whence the lessons were read during meals40--7,p4 ,d47 ,we may remember1 as we stand here1 that ,cranmer was unfrocked in this quadrangle4 ,entering through the porch in ,tom ,quad1 cut through one of the canonical houses1 we come into a sort of ante-chapel with the organ screen before us4 ,passing under the screen we have an unbroken view of the ,nave1 the ,choir with its wonderful ceiling and the handsome wheel-window rising above the arcade and two round-headed windows at the east end4 8,christ ,church is the smallest of our cathedrals2 for even with the new ante-chapel it measures about #age feet in length4 ,instead of being of the usual cruciform plan1 it is now almost square1--in fact1 the length from the reredos to the organ-screen is #acb feet1 while the breadth across from the ,latin ,chapel to ,st4 ,lucy's ,chapel is #ajh feet4 ,the church is made up of the shortened nave with its two aisles1 and ante-chapel1 the central tower1 the north transept with its one aisle1 the south transept1 and the eastern half of the church1 which itself contains no less than six divisions1--the choir1 with its two aisles1 the ,lady-,chapel on the north1 and the ,latin ,chapel 7or ,st4 ,catherine's7 on the north again of that1 while on the south is the small chapel of ,st4 ,lucy4 8,if the unusual appearance of the cathedral is partly due to ,wolsey's destruction1 it is partly due also to its being used as a college chapel1 and partly to the fact that in general plan1 and to some extent in detail1 it is ,ethelred's design1 commenced seventy years before the great developments of ,norman architecture began40--7,p4 ,d47 ,we stop at the west end of the north aisle of the nave to examine the one remaining window designed by ,van ,ling4 8,there are various opinions about this window1 which represents ,jonah sitting under his gourd1 and the town of ,nineveh in the distance4 ,we must confess to a great admiration for it2 the foliage is fine and rich1 and if it is a little over-strong in its green1 that only makes it more characteristic of its age4 ,and1 however that may be1 there cannot be two opinions as to beauty of the town in the background1 which reminds one irresistibly of ,drer2 and1 with its rich brown houses1 bluish roofs1 touches of greenery1 and fair purple hills beyond1 makes the right-hand light of the window a picture of which one never wearies4 ,the whole is leaded in rectangular panes1 like ,bishop ,king's window40--7,p4 ,d47 ,we now cross to the west end of the south aisle of the nave to see ,burne-,jones's ,faith1 ,hope and ,charity window1 a memorial to ,edward ,denison 7died #ahgj71 son of the ,bishop of ,salisbury1 and a pioneer worker in the ,east ,end of ,london4 8,the figure of ,hope has a greyish-blue drapery1 varied in tint and diapered with the pattern of a flower in stain4 ,the scarf floating round the figure is sky-blue in tone and lighter than the dress4 ,the figure of ,charity has a ruby over-mantle1 with a white dress underneath2 while the figure of ,faith has a blue dress beautifully and richly diapered1 the upper portion with a sumptuous ,venetian design familiar on the brocades of the ,sixteenth ,century1 and the lower portion with a sprig of foliage4 ,the tone of the backgrounds is a rich1 warm green1 and is very carefully painted with foliage1 and the contrast yielded by ,illustration3 ,,oxford3 ,,tower ,,and ,,entrance ,illustration3 ,,oxford3 ,,choir1 ,,east the pale blue of the drapery1 and the rich1 warm green of the background in the two outside windows1 is most harmonious and striking4 ,the detail in this window is very elaborate1 and every part of it bears traces of care and thought40--7,p4 ,d47 ,the ,choir consists of four bays1 with the presbytery beyond4 ,perpendicular alterations are noticeable in the upper part4 ,the triforium is late ,norman4 ,the pillars are larger than those in the nave and their capitals are very fine specimens of stone carving4 ,some critics go so far as to say they are ,saxon4 ,the most striking feature of the whole ,cathedral is the pendant ceiling of the ,choir4 8,fergusson considers this work to be the most satisfactory attempt ever made to surmount the great difficulty presented in all fan-tracery by the awkward1 flat1 central space which is left in each bay by the four cones of the vault4 ,at ,gloucester1 ,king's ,college ,chapel1 ,cambridge1 ,henry ,,vii4's ,chapel1 ,westminster1 and other places1 various attempts were made to deceive the eye1 and hide the unmanageable space2 in ,henry ,,vii4's ,chapel the well-known pendants were boldly introduced with this object4 ,none were wholly satisfactory1 but1 says ,fergusson3-- 8#8,strange as it may appear from its date1 the most satisfactory roof of this class is that erected by ,cardinal ,wolsey over the choir of ,oxford ,cathedral4 ,in this instance the pendants are thrust so far forward1 and made so important1 that the central part of the roof is practically quadripartite4 ,the remaining difficulty was obviated by abandoning the circular1 horizontal outline of true fan-tracery1 and adopting a polygonal form instead4 ,as the whole is done in a constructive manner and with appropriate detail1 this roof1 except in size1 is one of the best and most remarkable ever executed4' 8,fan-tracery is a peculiarly ,english feature1 and was invented1 according to ,fergusson1 in order to get rid of the endless repetition of inverted pyramids which earlier vaulting produced4 ,he therefore considers it an improvement on the vaulting of the early ,english and ,decorated periods2 and1 as he thinks the ceiling of ,christ ,church ,cathedral to be the best example of fan-tracery1 he comes near to pronouncing it the finest in the world40--7,p4 ,d47 ,the ,east ,end is ,scott's restoration in the style of the ,twelfth ,century4 ,the large wheel-window 7an imitation from ,canterbury7 and the two round-headed windows below produce a fine effect4 ,on the left of the ,choir we come to the most curious part of the ,cathedral4 ,columns and arches mark the divisions of the north-choir-aisle1 the ,lady-,chapel further north and the ,latin ,chapel beyond--practically three aisles4 ,the east end of each aisle contains a beautiful ,burne-,jones window4 ,the north transept forms the western boundary of these three aisles1 which are in reality only an extension of this transept4 8,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 infinity4 ,and here one stands on the site of ,st4 ,frideswide's first little church1 with the very arches that she had built for her1 still standing in all their primitive simplicity4 8,at the end of the north-choir-aisle is the ,st4 ,cecilia window1 presented in honour of the patroness of music by ,dr4 ,corfe1 a former organist1 in #ahgc4 ,in the centre light the saint is represented playing her regal or small hand-organ2 two angels holding other musical instruments1 with palms in their hands1 stand by her4 ,the drapery is wrought in white glass1 the angels have pale-blue wings1 and the flesh tints matted over with red tell warm against the drapery4 ,in the lower panels are three scenes from her life3 #8,here ,st4 ,cecilia teaches her husband1' #8,here an angel of the ,lord teaches ,st4 ,cecilia1' #8,here ,st4 ,cecilia wins a heavenly crown2' the saint's figure in the last panel is most touchingly drawn4 ,these lower panels are richer in colour than the rest1 and a greater variety of tints is introduced2 but the colours are so delicate1 and so skilfully blended1 that they fall in most harmoniously with the main parts of the window40--7,p4 ,d47 ,in the most eastern arch between the north-choir-aisle and the ,lady-,chapel we stop to examine the ,shrine of ,st4 ,frideswide4 8,the coffer or shrine1 which was made for the translation in #abhi 7its base being therefore the most ancient monument in the cathedral71 was knocked to pieces at the ,reformation 7#aech71 and1 being of wood1 must have entirely perished4 ,but gradually1 and from different places1 fragments of the base were brought together3 first1 several pieces of delicately carved marble were discovered in the sides of a square well in the yard south-west of the cathedral2 then a part of the plinth on the south side was found to be in use as a step1 luckily with the carved portion turned inwards2 next a spandrel was detected by ,mr4 ,francis1 the head verger1 in the wall of the cemetery2 and last of all a piece of the plinth was found in a wall in ,tom ,quad4 ,though some portions are still wanting1 it is not impossible that more may yet be found4 8,as the monument stands now1 it cannot1 of course1 impress one as it would have done in its perfect state1 with the rich superstructure crowning it3 especially as the restored shafts are merely square stone supports of the clumsiest description1 so studiously careful has the restorer been not to confuse them with the original work4 ,still1 though the base of ,st4 ,frideswide's shrine is only a collection of fragments1 these fragments are of remarkable beauty and interest4 ,it is of ,forest marble1 measuring seven feet by three and a half2 and consists of an arcade of two richly cusped arches at the sides and one at each end4 ,on the top of this was fixed the feretrum1 containing the jewelled casket that held the relics themselves4 ,the spandrels are filled with wonderfully carved foliage1 unusually naturalistic1 and preserving still the traces of colour and gilding to remind one of its former glories4 ,on the south side there is maple in the central spandrel1 with a wreath of what is probably crow's-foot in a boss below3 the two side spandrels contain columbine and the greater celandine4 ,on the north side the foliage is mostly oak1 with acorns and numerous empty cups2 sycamore and ivy filling the adjoining spandrels4 ,at the east end one of the spandrels contains vine leaves and grapes1 the other fig-leaves1 but without the fruit2 the cusp under the vine has a leaf which may be that of hog-leaf4 ,at the west end there is hawthorn and bryony4 ,the choice of all this foliage was doubtless made for symbolical reasons1 referring first to ,st4 ,frideswide's life in the oak woods near ,abingdon1 and next to her care for the sick and suffering at ,thornberrie 7now ,binsey74 ,and in this connection it is pleasant to think that the sculptor1 with tender fancy1 chose plants which were famous for their healing virtue40--7,p4 ,d47 ,the ,lady-,chapel 7,thirteenth ,century and ,early ,english7 is sometimes called the ,dormitory1 because many canons are buried here4 ,characteristic curling foliage decorates the capitals4 ,the shafts are filleted4 ,traces of colouring can be observed here and there and also figures of angels on the roof4 ,the ,decorated window 7restored7 at the east end contains glass designed by ,burne-,jones and made by ,william ,morris1 a memorial to ,frederick ,vyner1 murdered by brigands at ,marathon in #ahgj4 ,the figures represent ,samuel the ,prophet1 ,david1 ,king of ,israel1 ,john the ,evangelist1 and ,timothy the ,bishop4 ,in the panels beneath are1 ,eli instructing the young ,samuel1 ,david slaying ,goliath1 ,st4 ,john at the ,last ,supper1 and ,timothy as a little boy learning from his mother4 ,here also is the tomb of ,elizabeth ,lady ,montacute1 who gave ,christ ,church ,meadow to the ,priory for the support of two priests for her chantry in this ,lady-,chapel4 ,her effigy lies on the top of the tomb1 and portraits of her children appear in the panels below4 ,the whole was originally brilliantly coloured4 ,four arches divide the ,lady-,chapel4 ,under the easternmost one is a large tomb known as the ,watching ,chamber4 8,its real nature is still a matter of dispute3 some maintaining it to have been used as a chantry chapel for the welfare of those who were buried below2 others1 that it served as a #8watching chamber' to protect the gold and jewels which hung about the shrine of ,st4 ,frideswide4 8,most elaborately carved and crocketed1 the #8watching chamber' is a beautiful example of full-blown ,perpendicular workmanship2 #8most lovely ,english work1 both of heart and hand1' according to ,mr4 ,ruskin4 ,it consists of four stories1 the two lower1 in stone1 forming an altar tomb and canopy1 and the two upper in wood4 ,a door from the ,latin ,chapel leads one up a small and well-worn stone staircase into the interior of the little upper chapel1 which is now a rough wooden room4 ,its extreme roughness suggests that it was once panelled and otherwise adorned1 while there are marks at its east end1 which may be the site of an altar1 or of the feretrum itself40--7,p4 ,d47 ,lastly we come to the ,latin-,chapel also called ,st4 ,catherine's1 in honour of the patron of students of theology4 8,the ,decorated vaulting was built when the chapel was enlarged in the ,fourteenth ,century4 ,the foliage of its bosses is very beautiful2 the water-lilies especially of the third boss1 so suggestive of ,oxford streams1 and the roses a little further east1 are a happy combination of naturalistic treatment with decorative restraint4 ,it will be noticed that the vaulting does not run true in the third bay1 the ,decorated work there having been somewhat awkwardly joined to the ,early ,english of the second bay4 8,a prominent feature in the ,latin-,chapel is the old oak stalling1 which a second inspection proves to be patchwork4 ,the returned stalls at the west end probably belonged to the choir of the conventual church1 and in that case would have been fitted in here when ,dean ,duppa #8adorned' the choir by destroying the old wood-work4 ,near to these is some of the work prepared for ,cardinal ,wolsey's new chapel4 ,the poppy-heads are good specimens of wood-carving1 and contain a monogram ,i4,h4,s41 a heart in a crown of thorns1 a cardinal's hat1 and other devices4 ,the pulpit1 with its delicate canopy1 an excellent specimen of ,seventeenth ,century wood-work1 was formerly the ,vice-,chancellor's seat in another part of the church1 occupied by him during university sermons4 ,it was then used by the ,regius ,professor of ,divinity for his lectures1 but since the altar was restored six years ago1 the chapel has been no longer used as a lecture-room40--7,p4 ,d47 ,here we find some of the best glass in the ,cathedral4 ,at the east end is the famous ,st4 ,frideswide window by ,burne-,jones2 and the three windows on the north are beautiful specimens of the ,fourteenth ,century1 replaced here by ,dean ,liddell4 ,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 flowers1 technically called 8quarries40 ,medallions and borders with various beasts--even monkeys--decorate the spaces in the tracery4 ,the first window depicts ,st4 ,catherine1 a ,virgin and ,child1 and next a figure1 probably ,st4 ,frideswide2 the second window represents an archbishop and angels2 and the third1 ,st4 ,frideswide with ,st4 ,margaret on one side and ,st4 ,catherine on the other4 ,it is very interesting to compare these with the ,burne-,jones's ,st4 ,frideswide at the east end3 8,though this is one of the first windows that ,burne-,jones ever designed it is one of his best4 ,better suited 7as many think7 to the purpose of a window1 at all events in this enclosed chapel1 than the freer method of the other glass1 it carries on the best traditions of the craft1 in its infinite variety of gem-like colour and complexity of detail2 while it attains a degree of perfection in pictorial effect and figure-drawing which was impossible during the great era of medival glass-painting4 ,the death of the saint1 with its lovely effect of light through the latticed window1 for instance1 and the picture of her in the pig-sty1 would be perfect as finished pictures1 and yet do not for an instant outstep the convention which is necessary for their function as part of a window4 8,the colour is1 in spite 7or rather because7 of its radiant variety1 not so immediately attractive to every one as that of the other ,burne-,jones windows2 but when one has sat down for five or ten minutes and deciphered the various scenes1 its unapproachable beauty becomes apparent1 and each succeeding visit deepens the impression of the splendour and poetry of this incomparable work4 8,the scenes depicted are1 by the artist's own account1 as follows3-- 8,first ,light3 ,st4 ,frideswide and her companions brought up by ,st4 ,cecilia and ,st4 ,catherine2 ,st4 ,frideswide founds her first convent2 ,a messenger from the ,king of ,mercia demands her in marriage2 ,the ,king comes to take her by force1 and the first convent is broken up4 8,second ,light3 ,flight of ,st4 ,frideswide to ,abingdon2 ,the ,king of ,mercia and his soldiers in pursuit2 ,the ,flight continued2 ,the ,pursuit continued2 ,st4 ,frideswide takes refuge in a pig-sty4 8,third ,light3 ,flight of ,st4 ,frideswide to ,binsey2 ,the ,king of ,mercia in pursuit2 ,st4 ,frideswide founds a new convent at ,binsey2 ,her merciful deeds4 8,fourth ,light3 ,return of ,st4 ,frideswide to ,oxford2 ,the ,siege of ,oxford by the ,king of ,mercia2 ,the ,siege continued2 ,the ,king struck blind2 ,the ,death of ,st4 ,frideswide4 8,in the tracery above are the trees of life and of knowledge1 and a ship of souls convoyed by angels40--7,p4 ,d47 ,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 bays2 but that the western aisle remains4 ,the north window 7modern glass7 was restored back to its original design by ,sir ,gilbert ,scott4 ,beneath it is a panelled tomb of ,henry ,,vii4's period4 ,it is supposed to be that of a monk named ,zouch 7died #aejc71 probably a scribe1 because his ink-horn and pen-case appear on the shields of his tomb4 ,he left a bequest to pay for the vaulting4 ,the ,tower is not perfectly square4 ,the nave and choir sides are wider than those of the transepts1 and therefore the north and south arches are pointed and the east and west arches are round4 ,foliage decorates the capitals of the shafts4 ,the lantern is open and is ornamented with arcades and arches4 ,at the south-east pier the break in the masonry indicates1 in the opinion of some students1 the place where the builders stopped work when ,sweyn drove ,ethelred out of ,england4 ,the fine ,jacobean ,pulpit 7#afce71 elaborately carved with grotesques on the panels1 deserves at least a passing glance4 ,the south transept has no aisles1 for the western aisle was cut off by the cloisters and the eastern aisle became ,st4 ,lucy's ,chapel1 in the second bay4 ,though there are many old royalist tombs the chief interest here is the beautiful ,window of three lights1 the ,flamboyant tracery of which frames the most splendid glass in the whole cathedral4 ,it dates from about #accj4 8,in the uppermost compartment of the tracery is a figure of our ,lord seated in glory2 below there are angels with censers1 and next two ,augustinian monks in blue and white robes1 kneeling with outstretched arms2 then come coats-of-arms1 and various grotesque beasts1 all most richly coloured in ruby and blue and green and gold4 ,below1 in the principal spaces1 are 7#a7 ,st4 ,martin on horseback giving his coat to the beggar2 7#b7 the martyrdom of ,st4 ,thomas ,becket3 ,st4 ,thomas' head has been knocked out by some fanatic1 and replaced with white glass2 the armour and shields of the knights should be noticed2 7#c7 ,st4 ,augustine1 who holds a pastoral staff1 is teaching his monks and others4 ,in the next four spaces are3--,the head of a king2 ,st4 ,cuthbert1 carrying the head of ,st4 ,oswald1 and wearing a green chasuble2 ,st4 ,blaise1 in a mulberry-coloured chasuble2 the head of a queen4 ,the glass in the three main lights was destroyed1 and then replaced by some of ,seventeenth ,century work1 but this too is now gone1 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-work40--7,p4 ,d47 ,the ,south-,choir-,aisle is of earlier date than the nave and transept aisles4 ,scott rebuilt the southern windows in the ,norman style4 ,heads of men and monkeys decorate the corbels that support the vault4 ,the original half-flower moulding adorns the ,decorated east window 7restored7 which contains one of ,burne-,jones's famous designs4 ,it is a memorial to ,edith ,liddell 7#ahgf71 whose portrait appears in the central figure as ,st4 ,catherine4 ,in the tracery above angels are playing musical instruments and in the panels below are scenes from the life and death of ,st4 ,catherine4 ,the third window in the wall near ,st4 ,lucy's ,chapel is of great interest4 ,it is the only one of the original ,romanesque windows that remains4 ,the old glass shows a portrait of ,bishop ,king1 ,abbot of ,oseney and first ,bishop of ,oxford4 ,he died in #aeeg and was buried in ,christ ,church ,cathedral4 8,this window1 with some others1 was taken down during the ,civil ,war1 buried for safety by a member of the family1 and put up again at the ,restoration4 ,the ,bishop is represented standing vested in a jewelled cope of cloth of gold1 and mitre1 a pastoral staff in his gloved hand4 ,in the background1 among the trees1 is a picture of ,oseney ,abbey in its already ruined condition 7c4 #afcj71 drawn without much feeling for its architecture1 but of great value as almost the only picture of the place we possess4 ,the western tower was the first home of what are now the ,christ ,church bells4 ,three coats-of-arms 7being those of the ,bishop1 impaled with the ,abbey of ,oseney and the ,see of ,oxford7 complete the richness of what is a very good example of ,seventeenth ,century painted glass1 in the strict sense of the word40--7,p4 ,d47 ,south of the ,south ,transept the slype1 a vaulted passage including part of the transept1 leads into the ,cloisters4 ,south of the slype lies the ,chapter-,house1 deserving a visit because it is a fine example of ,early ,english4 ,the monks' heads carved on the corbels1 the bosses of the roof1 and the arcade of five arches at the east end are the chief features of the interior4 ,illustration3 ,,oxford3 ,,latin ,,chapel ,illustration3 ,,st4 ,,paul',s3 ,,west ,,front ,,st4 ,,paul',s1 ,,london ,,dedication3 ,,st4 ,,paul4 ,a ,,church ,,formerly ,,served ,,by ,,secular ,,canons4 ,,special ,,features3 ,,dome2 ,,choir ,,stalls2 ,,tombs ,,and ,,monuments4 ,the present building in the ,renaissance style is the third ,christian church erected on this site4 ,it is said that a ,roman temple to ,diana stood here2 but the earliest church of which records exist was erected by ,ethelbert1 ,king of ,kent1 in #faj1 in which he was assisted by ,siebert1 ,king of the ,east ,saxons1 his nephew1 who founded the monastery of ,st4 ,peter1 called ,westminster1 on ,thorney ,island4 ,this ,cathedral1 which owed much of its prosperity to ,st4 ,erkenwald1 fourth ,bishop of ,london1 to whose memory a golden shrine was erected here1 suffered from fire in #ifa and was completely destroyed in #ajhf4 ,on the ruins a ,norman church was immediately erected1 the architect for which was ,bishop ,maurice4 ,though injured by fire in #aaic it was a stately and beautiful building1 in the ,norman style4 ,it was cruciform1 with two western towers for bells and a high tower in the centre with a spire4 ,in addition to the high altar there were seventy or eighty chantries with their own altars1 and behind the high altar the golden shrine containing the body of ,st4 ,erkenwald4 ,the nave contained twelve bays and also the choir rebuilt in #abba4 ,the ,lady-,chapel was added in #abbe4 ,it was the largest ,cathedral in ,england4 ,st4 ,paul's was rich in relics and in treasure of all kinds--pictures and frescoes1 vestments1 gold1 silver and jewels4 ,in #acab the nave was paved with marble and in #acae a new wooden spire #dfj feet high was added4 ,this great ,cathedral became the very centre of the life of the citizens4 ,here men met to defend their liberties1 summoned by the great bells of ,st4 ,paul's1 from the days of ,king ,stephen until the magnificent ,cathedral perished in the ,great ,fire4 8,again and again the tocsin sounded1 as ,st4 ,paul's bell rang clear and loud1 and the citizens seized their weapons and formed their battalions beneath the shadow of the great church4 ,now it was to help ,simon de ,montfort against the ,king2 now to seize the person of the obnoxious ,queen ,eleanor1 who was trying to escape by water from the ,tower to ,windsor1 and who was rescued from their hands by the ,bishop of ,london1 and found refuge in his palace4 ,now the favourites of ,edward ,,ii4 excited their rage1 especially the ,bishop of ,exeter1 the ,king's regent1 who dared to ask the ,lord ,mayor for the keys of the city and paid for his temerity with his life4#i 8,the chronicles of the ,cathedral tell the story of the troublous times of the ,wars of the ,roses4 ,we see ,henry ,,iv4 pretending bitter sorrow for the death of the murdered ,richard1 and covering with cloth-of-gold the body1 which had been exhibited to the people in ,st4 ,paul's4 ,we see ,henry ,v4 returning in triumph from the ,french wars1 riding in state to the ,cathedral attended by #8the mayor and brethren of the ,city companies1 wearing red gowns with hoods of red and white1 well-mounted and gorgeously horsed with rich collars and great chains1 rejoicing at his victorious return4' ,then came ,henry ,,vi4 attended by bishops1 the dean and canons1 to make his offering at the altar4 ,here the false ,duke of ,york took his oath on the ,blessed ,sacrament to be loyal to the ,king4 ,here the rival houses swore to lay aside their differences1 and to live at peace4 ,but a few years later saw the new ,king ,edward ,,iv41 at ,st4 ,paul's1 attended by great ,warwick1 the king-maker1 with his body-guard of #hjj men-at-arms4 ,strange were the changes of fortune in those days4 ,soon ,st4 ,paul's saw the exhibition of the dead body of the king-maker1 and not long afterwards that of the poor dethroned ,henry1 and ,richard came in state here amid the shouts of the populace4 ,after the defeat of the conspiracy of ,lambert ,simnel1 ,henry ,,vii4 celebrated a joyous thanksgiving in the ,cathedral1 and here1 amid much rejoicing1 the youthful marriage of ,prince ,arthur with ,katherine of ,aragon took place1 when the conduits of ,cheapside and on the west of the ,cathedral ran with wine1 and the bells rang joyfully1 and all wished happiness to the ,royal children whose wedded life was destined to be so brief4 8,st4 ,paul's became the gathering-place for lords and courtiers and professional people1 who met every day from eleven till twelve and from three till six to discuss the news of the day and to transact business4 8,here lawyers received their clients2 here men sought service2 here usurers met their victims1 and the tombs and font were mightily convenient for counters for the exchange of money and the transaction of bargains1 and the rattle of gold and silver was constantly heard amidst the loud talking of the crowd4 ,gallants enter the ,cathedral wearing spurs1 having just left their steeds at ,the ,bell and ,savage and are immediately besieged by the choristers1 who have the right of demanding spur money from any one entering the building wearing spurs4 ,nor are the fair sex absent1 and ,paul's ,walk was used as a convenient place for assignations4 ,old plays are full of references to this practice4 ,later on the nave was nothing but a public thoroughfare1 where men tramped1 carrying baskets of bread and fish1 flesh and fruit1 vessels of ale1 sacks of coal1 and even dead mules and horses and other beasts4 ,hucksters and peddlers sold their wares4 ,duke ,humphrey's tomb was the great meeting-place of all beggars and low rascals1 and they euphemistically called their gathering #8a dining with ,duke ,humphrey4' ,much more could be written of this assembly of all sorts and conditions of men1 but we have said enough to show that the ,cathedral had suffered greatly from desecration and abuse4 ,indeed an old writer in #aefa declared that the burning of the steeple in that year was a judgment for the scenes of profanation which were daily witnessed in old ,st4 ,paul's40--7,p4 ,h4 ,d47 ,cromwell's army demolished shrines and destroyed all the relics and works of art1 and seamstresses and hucksters took up their abode in the western portico1 built by ,charles ,i4 after designs by ,inigo ,jones4 ,at the ,restoration plans to repair and restore the ,cathedral were being made by ,wren when the ,great ,fire destroyed it4 ,wren had the task of rebuilding it1 and produced a masterpiece that takes rank with ,st4 ,peter's in ,rome and even surpasses it in some of its details4 8,the stones of ,paul's10 wrote ,evelyn1 8flew like granados1 the melting lead running down the streets in a stream and the very pavements glowing with fiery redness1 so as no horse or man was able to tread on them1 and the demolition had stopped all the passages1 so that no help could be applied40 ,it took a long time to remove the ruins and to decide upon the plan for the successor of ,old ,st4 ,paul's4 ,wren made numerous designs and drawings and there was great delay4 ,at length the royal warrant was obtained and the first stone was laid ,june #ba1 #afge1 at the south-east corner of the choir4 ,the ,cathedral was building for thirty-five years4 ,the choir was finished and service held in it on ,december #b1 #afig4 ,it is sad to remember that the great architect was a victim of jealousy and intrigue1 and pleasant to know that he lived to see the glorious church that had taken form in his mind completed4 ,it was finished in #agaj4 8,was there ever known in the history of the world any cathedral which suffered from fire like ,st4 ,paul's8 ,the whole career of the church was an ordeal by fire4 ,it was injured by fire a hundred years before ,westminster ,hall was built2 it was totally destroyed by fire in the ,eleventh ,century and it took nearly two centuries to restore it to anything like its former magnificence4 #8,away6 we lose ourselves in light1' might have been its motto1 for it was all but completely destroyed by fire in the ,fifteenth ,century1 and its spire1 which was then claimed to be the highest in the world1 was destroyed by fire a century later4 ,thus we have brought it to the terrible days of #afff1 when it went under with so much of ,london to accompany it--one of the most tremendous conflagrations recorded in the history of great cities4 ,then came the ,commission to rebuild it1 of which brave ,john ,evelyn was a member1 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 satisfied40--7,j4 ,mc,c47 ,coming along from ,ludgate ,hill we gain a splendid view of the impressive ,dome emerging through the mists in the very heart of the ,city4 8,st4 ,paul's is often called ,classical1 or ,roman1 or ,italian2 it is not one of these three3 it is ,english ,renaissance4 ,it was1 too1 a distinctly happy thought of ,fergusson to suggest that the ,cathedral takes a like place in ,english architecture to that which the immortal #8,paradise ,lost' does in ,english literature4 ,the plan is that of a medival church2 the pilasters and entablature are ,roman2 the round arch is found in both ,roman and ,romanesque1 and that commanding feature1 the ,dome1 is the common property of many styles and many ages4 ,the general plan resembles the long or ,latin ,cross1 with transepts of greater breadth than length2 and the uniformity is broken by an apse at the east1 and the two chapels at the west end40--7,a4 ,d47 ,before we begin our tour of the ,cathedral let us take a little note of our surroundings4 8,in olden times ,st4 ,paul's ,churchyard was one of the great business centres of ,london4 ,about the church men met to discuss the doings of the day1 the last piece of news from ,flanders1 ,france or ,spain1 or the rumours from the country4 ,here the citizens gathered angrily when there was any talk of an invasion of their cherished liberties1 grumbled over the benevolence demanded by his ,majesty for the pay of the troops engaged in the ,french war1 or jeered at some poor wretch nailed by his ears in the pillory4 ,here the heralds would proclaim the news of our victories by sea and land2 here the public newsmen would read out their budgets2 vendors of infallible nostrums would wax eloquent as to the virtues of their wares2 and the wives and daughters of the citizens would gather to gossip and flirt4 ,it was at once the exchange1 the club1 and the meeting-place of ,london4 ,paul's ,cross was the heart of the ,city2 here men threw up their bonnets when they heard of ,crcy and of ,agincourt2 here they listened to the preachings of the first followers of ,wycliffe2 here they erected their choicest pageants when a new sovereign visited the ,city for the first time1 or brought his new-made spouse to show her to his lieges2 and gathered with frowning brows beneath iron caps when ,london threw in its lot with the ,parliament1 and the train bands marched off to fight the ,king's forces4 ,the business mart of the ,city lies now in front of the ,mansion ,house1 but a great deal of business is still done under the shadow of the ,cathedral40--7,c4 ,d47 ,all the streets bear names that remind us of the vicinity of ,st4 ,paul's--,creed ,lane1 ,ave ,maria ,lane1 ,sermon ,lane1 ,canon ,alley1 ,amen ,corner and ,paternoster ,row known throughout the world as the headquarters of the book trade and publishers1 while ,cheapside1 ,ludgate ,hill1 ,fleet ,street and ,st4 ,paul's ,churchyard swarm with ghosts and memories of ,london's stirring events4 8,the modern passenger through ,st4 ,paul's ,churchyard has not only the last home of ,nelson and others to venerate as he goes by4 ,in the ground of the old church were buried1 and here therefore remains whatever dust may survive them1 the gallant ,sir ,philip ,sidney 7the beau idal of the age of ,elizabeth71 and ,vandyke1 who immortalised the youth and beauty of the court of ,charles the ,first4 ,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 arrested4 ,another1 ,sir ,christopher ,hatton1 who is supposed to have danced himself into the office of ,her ,majesty's ,chancellor1 had a tomb which his contemporaries thought too magnificent1 and which was accused of #8shouldering the altar4' 8,old ,st4 ,paul's was much larger than now1 and the ,churchyard was of proportionate dimensions4 ,the wall by which it was bounded ran along by the present streets of ,ave ,maria ,lane1 ,paternoster ,row1 ,old ,change1 ,carter ,lane and ,creed ,lane2 and therefore included a large space and many buildings which are not now considered to be within the precincts of the ,cathedral4 ,this spacious area had grass inside1 and contained a variety of appendages to the establishment4 ,one of these was the cross of which ,stow did not know the antiquity4 ,it was called ,paul's ,cross1 and stood on the north side of the church1 a little to the east of the entrance of ,cannon ,alley40--7,l4 ,h47 ,at first the space around it was used for the meeting of the populace--the ,folkmote--when their magistrates were elected1 public affairs discussed and criminals tried and sentenced4 ,at a later period ,paul's ,cross was chiefly used for proclamations1 and from the pulpit1 which in ,stow's time was an hexagonal piece of wood 8covered with lead1 elevated upon a flight of stone steps and surmounted by a large cross10 sermons were preached4 ,in #ahgi the foundations of ,paul's ,cross were discovered on the north-east side of the present ,choir4 ,a monument is now being erected on the spot4 ,if we wish to examine the north and south fronts more particularly we first go to the former and 8,we note the two-storied constructions1 the graceful ,corinthian pillars1 arranged in pairs1 with round-headed windows between them2 the entablature2 and then1 in the second story1 another row of beautiful pilasters of the ,composite order4 ,between these are niches where one would have expected windows2 but this story is simply a screen to hide the flying-buttresses supporting the clerestory1 as ,wren thought them a disfigurement4 ,the walls are finished with a cornice1 which ,wren was compelled by hostile critics to add1 much against his own judgment4 ,there are some excellently carved festoons of foliage and birds and cherubs1 which are well worthy of close observation4 ,the ,north and ,south ,fronts have ,corinthian pillars1 which support a semicircular entablature4 ,figures of the ,apostles adorn the triangular-shaped heads and balustrade4 ,the ,royal ,arms appear on the north side1 and a ,phnix is the suitable ornament on the south1 signifying the resurrection of the building from its ashes4 ,the south side is almost similar to the north4 ,the east end has an apse40--7,p4 ,h4 ,d47 ,on the south-west is the ,dean's yard1 leading past the ,deanery to the ,choir ,house in ,great ,carter ,lane where the choir-boys are trained4 ,doctors' ,commons1 where marriage licenses used to be issued1 only survives in name4 ,opposite the north porch of the ,cathedral is the ,chapter-,house and from this side ,st4 ,paul's ,bridge1 the plan for which was adopted in #aiji1 will start4 ,it will cost no less than #a1fjj1jjj1 and will cross the ,thames between ,blackfriars and ,southwark4 ,facing ,ludgate ,hill stands a statue of ,queen ,anne1 a modern replica of the original statue by ,bird4 ,at the foot of the #bb marble steps leading up to the doorway is a marble slab commemorating the ,diamond ,jubilee ,thanksgiving 7,june #bb1 #ahig74 ,from time immemorial national thanksgiving services have been offered at ,st4 ,paul's4 ,the first in this building was a special thanksgiving for the ,peace of ,ryswick4 ,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 7#agjb and #agjd74 ,here thanks were also offered for the recovery of the ,prince of ,wales 7,edward ,,vii47 from a serious illness in #ahgb and by ,queen ,victoria for the sixtieth anniversary of her reign 7#ahig72 by ,king ,edward and ,queen ,alexandra for the restoration of peace in ,south ,africa 7,june #h1 #aijb72 by ,king ,edward on ,october #ah1 #aijb1 for his recovery from the illness that delayed the ,coronation2 and by ,king ,george and ,queen ,mary4 8,the ,,west ,,front has a magnificent portico1 divided1 like the rest of the building1 into two stories4 ,the lower consists of twelve coupled and fluted columns2 that1 above1 has only eight1 which bear an entablature and pediment of which the tympanum is sculptured in bas-relief1 representing the conversion of ,st4 ,paul4 ,on the apex of the pediment is a figure of the ,saint himself1 and at its extremities1 on the right and left of ,st4 ,paul1 are figures of ,st4 ,peter and ,st4 ,james4 ,the transepts are terminated upwards by pediments1 over coupled pilasters at the quoins1 and two single pilasters in the intermediate space4 ,on each side of the western portico a square pedestal rises over the upper order1 and on each pedestal a steeple1 or campanile tower1 supported upon triangular groups of ,corinthian columns finishing in small domes formed by curves of contrary flexure very like bells4 ,lower down in front of these campaniles1 the ,four ,evangelists are represented with their emblems4 ,in the face of the southern campanile a clock is inserted4 ,a flight of steps extending the whole length of the portico forms the basement4 ,in the southwest tower is the ,great ,bell of ,st4 ,paul's1 cast in #agji by ,richard ,phelps and ,langley ,bradley4 ,it is ten feet in diameter1 ten inches thick in metal and weighs #aa1dgd pounds40--7,m47 ,first we will take a general view of the exterior3 8,the form of ,st4 ,paul's is that of the long or ,latin cross4 ,its extreme length1 including the porch1 is #ejj feet2 the greatest breadth1 that is to say across the transept but within the doors of the porticoes1 #bej feet2 the width of the nave1 #aah feet4 ,there are1 however1 at the foot or western end of the cross1 projections northward and southward1 which make the breadth #aij feet4 ,one of these1 namely1 on the north side1 is used as a morning chapel1 and the other1 on the south side1 contains the ,wellington ,monument1 but was formerly used as the ,consistory ,court4 ,at the internal angle of the cross are small square bastion-like adjuncts1 whose real use is to strengthen the piers of the dome2 but they are inwardly serviceable as vestries and a staircase4 ,the height of the ,cathedral on the south side to the top of the cross is #cfe feet4 8,the exterior consists throughout of two orders1 the lower being ,corinthian1 the upper composite4 ,it is built externally in two stories1 in both of which1 except at the north and south porticoes and at the west front1 the whole of the entablatures rest on coupled pilasters1 between which in the lower order a range of circular-headed windows is introduced4 ,but in the order above1 the corresponding spaces are occupied by dressed niches1 standing on pedestals pierced with openings to light the passages in the roof over the side aisles4 ,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 vaulting40--7,m47 ,the ,dome1 the great feature of the church1 is very beautiful when seen from a distance1 as from one of the bridges1 rising with its graceful curves far above the roofs and other spires4 8,the dome1 which is by far the most magnificent and elegant feature in the building1 rises from the body of the church in great majesty4 ,it is #ade feet in outward and #ajh feet in inward diameter4 ,twenty feet above the roof of the church is a circular range of twenty-two columns1 every fourth intercolumniation being filled with masonry1 so disposed as to form an ornamental niche or recess1 by which arrangement the projecting buttresses of the cupola are concealed4 ,these1 which form a peristyle of the ,composite ,order1 with an unbroken entablature1 enclose the interior order4 ,they support a handsome gallery adorned with a balustrade4 ,above these columns is a range of pilasters1 with windows between them1 forming an attic order1 and on these the great dome stands4 ,the general idea of the cupola1 as appears from the ,parentalia1 was taken from the ,pantheon at ,rome4 ,on the summit of the dome1 which is covered with lead1 is a gilt circular balcony1 and from its centre rises the lantern1 adorned with ,corinthian columns4 ,the whole is terminated by a gilt ball and cross4 8,but with the matchless exterior ceases the superiority1 and likewise1 to a great degree1 the responsibility of ,wren4 ,his designs for the interior were not only carried out1 but he was in every way thwarted1 controlled1 baffled in his old age to the eternal disgrace of all concerned2 the victim of the pitiful jealousy of some1 the ignorance of others1 the ingratitude of all40--7,m47 ,it is singular to note that when ,wren laid the corner-stone on ,june #aa1 #afge1 there was no solemn ceremonial4 ,the ,king1 the ,court1 the ,archbishop of ,canterbury and the ,lord ,mayor of ,london were all notably absent1 but when he laid the last stone in the lantern of the cupola in #agaj 8all ,london poured forth for the spectacle1 which had been publicly announced1 and were looking up in wonder to the old man1 or his son1 if not the old man himself1 who was1 on that wondrous height1 setting the seal1 as it were1 to his august labours4 8,when one enters the west door one cannot fail to be struck with the vastness of the space enclosed within its massive walls2 there is no screen to break the view towards the east1 and1 as one stands beneath the dome and looks up into its enormous hollow1 the sense of overpowering height is felt as in no other church in ,england40--7,t4 ,p47 ,entering through the western door we are struck with the immensity of the ,nave and overspreading dome1 the effect of the lights1 and1 if service is being held1 the peculiar beauty of the chants of the choristers1 whose voices seem to come from the dome and float through the misty light to our ears4 ,it would be interesting to know if ,wagner ever heard the choir-boys of ,st4 ,paul's and sought to reproduce the effect in ,parsifal1 by arranging the voices of knights1 squires and youths at various stages in the dome of ,montsalvat to sing softly of the 8wondrous work of mercy and salvation40 8,the interior of the nave is formed by an arcade resting on massive pillars and dividing the church into a body and two aisles4 ,the eastern piers of the nave serve at the same time for the supports of the cupola4 ,they are wider than the other piers1 and are flanked by pilasters at their angles and have shallow oblong recesses in the intercolumniations4 ,the roof over these piers is a boldly coffered waggon-vault1 which contrasts very effectively with the rest of the vaulting4 8,the nave is separated from the choir by the area over which the cupola rises4 ,from the centre of this area1 the transepts1 or traverse of the cross1 diverge to the north and south1 each extending one severy1 or arch1 in length4 ,the choir1 which is vaulted and domed over1 like the nave and transepts1 from the top of the attic order1 is terminated eastward by a semicircular tribune1 of which the diameter is1 in general terms1 the same as the width of the choir itself4 ,the western end of the choir has pillars similar to those at the eastern end of the nave1 uniform with which there are at its eastern end piers of the same extent and form1 except that they are pierced for a communication with the side aisles4 ,above the entablature and under the cupola is the ,whispering ,gallery1 and in the concave above are representations of the principal passages of ,st4 ,paul's life in eight compartments1 painted by ,sir ,james ,thornhill40--7,m47 ,we should note that there are three stages--the main arcade1 the triforium and the clerestory4 ,the piers are faced with ,corinthian pilasters that divide off the bays east and west4 ,the arches spring from an entablature4 ,they are very high4 ,the 8triforium belt10 as the 8attic0 is termed by those critics who have dropped the ,classical nomenclature1 and clerestory above are easily understood at a glance4 8,the great arches overhead divide the vault as the greater pilasters and their continuations do the walls4 ,between these arches are the small saucer-shaped domes1 #bf feet in diameter4 ,the reason for these and their accessories1 the pendentives1 may best be understood from ,wren's own words4 ,he says that his method of vaulting is the most geometrical1 and #8is composed of ,hemispheres1 and their ,sections only2 and whereas a ,sphere may be cut all ,manner of ,ways1 and that still into ,circles4444 ,i have for just ,reasons followed this way in the ,vaulting of the ,church of ,st4 ,paul's4444 ,it is the lightest ,manner1 and requires less ,butment than the ,cross-vaulting1 as well that it is of an agreeable ,view4444 ,vaulting by ,parts of ,hemispheres ,i have therefore followed in the ,vaultings of ,st4 ,paul's1 and with good reason preferred it above any other way used by ,architects4' ,the saucer-shaped domes are sections of spheres1 as are both the pendentives1 and the sides of the clerestory windows4 ,the wreaths1 garlands1 and festoons1 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 pavement40--7,a4 ,d47 ,from the ,crypt to the dome the space measures #aij feet4 8,when ,wren planned his dome interior he had the difficulty caused by the four limbs and their side aisles to overcome4 ,he must have turned to his uncle's cathedral at ,ely for enlightenment4 ,in the earlier years of the ,fourteenth ,century the central tower of ,ely collapsed1 and the sacrist ,alan de ,walsingham1 who acted as architect1 seeing that the breadth of his nave1 choir and transepts happened to agree1 took for his base this common breadth1 and cutting off the angles1 obtained a spacious octagon4 ,the four sides terminating the main aisles are longer than the four alternate aisles at the angles of the side aisles2 but at ,ely this presents no difficulty1 owing to the use of the pointed arch4 ,as you stand in the centre of the octagon under the lantern you see eight spacious arches of two different widths1 all springing from the same level and rising to the same height of eighty-five feet1 the terminal arch of the ,norman nave pointed like its opposite neighbour of the choir4 ,amongst ,gothic churches the interior of ,ely reigns unique and supreme1 certainly in ,england if not in ,europe4 ,wren was familiar with this cathedral1 and even designed some restorations for it2 and he adopted the eight arches in preference to any possible scheme of four great arches of sixty feet3 but the use of the round arch1 as distinct from the pointed1 deprived him of ,sacrist ,alan's liberty1 who without incongruity made his intermediate arches of the shorter sides1 springing from the same level1 rise to the same height as the others4 ,wren was compelled to make use of some expedient to reconcile his two different spaces between piers of forty feet and twenty-six feet1 and accordingly arched these four smaller intermediate spaces as follows4 ,a smaller arch1 rising from the architrave of the great pier1 spans each shorter side of the octagon1 and has a ceiling or semi-dome in the background1 coming down to the terminal arches of the side aisles4 ,a blank wall space above is relieved by a section of an ornamental arch of larger span1 resting on the centre of the cornice2 and above this a third arch1 rising from the level of the triforium cornice1 rests more upon the outer side of the great supporting pier1 and thereby obtains the required equal span of forty feet1 and equal height of eighty-nine feet from the ground4 ,this also has a semi-dome2 and the platform beneath on a level with the clerestory is railed4 8,the reduction of the octagon to the circle is facilitated by giving the spandrels between the arches the necessary concave surface2 and this stage is finished off with a cantilever cornice1 the work 7at least in part7 of one ,jonathan ,maine4 ,the eight great keystones of the arches by ,caius ,gabriel ,cibber are seven feet by five1 and eighteen inches in relief40--7,a4 ,d47 ,about a hundred feet from the pavement and the same distance across is the celebrated ,whispering ,gallery1 where a curious effect is obtained4 ,the attendant whispering across the whole area can be distinctly heard1 an acoustic property seemingly caused by the nearness of the concave hemisphere above4 ,the ,cross is quite #bfj feet above us4 ,the gallery projects so that the lectern steps and the pulpit are underneath4 ,now we come to the ,drum4 ,the actual bend inwards now begins1 but for this part only in straight lines4 ,first comes the plain band or ,podium1 panelled and of a height of twenty feet4 ,on this stand thirty-two pilasters1 in reality1 as well as in appearance1 out of the horizontal4 ,three out of each four 8intervening spaces are pierced with square-headed windows2 and from them such light as the dome receives1 streams down through the windows of the exterior colonnade4 ,the alternate fourth recesses1 apparently nothing more than ornamental niches1 conceal the supports which bear the weight above4 ,in the recent scheme of decoration they have been filled with statues of ,early ,fathers--the four eastern1 ,,ss4 ,chrysostom1 ,gregory ,nazianzen1 ,basil1 and ,athanasius2 and the four western1 ,,ss4 ,ambrose1 ,augustine of ,hippo1 ,jerome1 and ,gregory4 8,the straight lines bearing inwards give way to the sphere2 and here1 too1 the three separate coverings1 which constitute the dome1 begin4 ,the circular opening below the lantern coincides with the lower edge of the fluting of the exterior shell1 and is about two hundred and fifteen feet from the pavement4 8,these upper regions1 hidden in an almost perpetual gloom1 were decorated in monochrome by ,sir ,james ,thornhill2 but his work has failed to resist the chemical action of the surcharged atmosphere4 ,in these compartments are scenes from the life of the patronal saint3 7#a7 ,the ,conversion1 7#b7 ,elymas1 7#c7 ,cripple at ,lystra1 7#d7 ,jailer at ,philippi1 7#e7 ,mars ,hill1 7#f7 ,burning ,books at ,ephesus1 7#g7 ,before ,agrippa1 7#h7 ,shipwreck4 ,we have all heard the story of the painter1 on a platform at a great height1 who stepped back to get a better view of his work4 ,as he did so1 an assistant1 standing by1 brush in hand1 observed with alarm that the slightest further backward step would entail his falling headlong and being dashed to pieces4 ,he deliberately daubed the painting2 and the artist1 stepping instinctively forward to prevent this1 saved his life4 ,the painter is said to be ,thornhill3 the scene1 the giddy height under the dome40--7,a4 ,d47 ,the beautiful iron-work of the gates is by ,tijou1 both at the ends of the aisles and doorways of the reredos arch4 ,the ,choir-stalls are by ,grinling ,gibbons and are very ornate and handsome4 ,the ,lord ,mayor's stall is on the left1 or north side1 and the ,bishop of ,london's on the right1 or south4 ,the latter's throne is near the altar4 ,there are thirty-one stalls altogether4 8,the exquisite carvings of ,grinling ,gibbons in the stall-work of the choir were not merely in themselves admirable1 but in perfect harmony with the character of the architecture4 ,they rivalled1 if they did not surpass1 all ,medival works of their class in grace1 variety1 richness2 they kept up an inimitable unison of the lines of the building and the decoration4 ,in the words of ,walpole #8there 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 species4'0--7,m47 ,the ,organ is one of the finest in the world4 ,it was reconstructed by ,willis in #ahig1 and still contains parts of the original organ built by the ,german1 ,schmidt1 in #afig4 ,it consists of #d1hbb pipes and #ajb stops and is divided into two parts1 placed on either side of the choir4 ,these are connected by pneumatic tubes beneath the floor4 ,the keyboard is on the north side4 ,the older part of the case with its foliage1 figures and architectural devices was also designed by ,grinling ,gibbons4 ,the ,altar stands between the great eastern piers and is surmounted by a tall reredos of white marble4 8,the symbolism is expressed in the frieze above the ,crucifixion1 #8,sic ,deus dilexit mundum' 7#8,god so loved the world'74 ,the lower part is pierced with doors on either side2 and #8,vas ,electionis' 7#8,a chosen vessel'7 over the north door refers to ,st4 ,paul1 and #8,pasce oves meos' 7#8,feed my sheep'7 over the other to ,st4 ,peter2 and here are the crossed swords1 the arms of the diocese4 ,the section above has the ,entombment in the centre1 and the ,nativity and ,resurrection on either side4 ,a ,crucifixion occupies the central position4 ,the framework is of ,roman design1 with pilasters and a round arch2 and remembering ,wren's conception1 it is interesting that the columns of ,brescia marble1 supporting the entablature above1 are twisted4 ,this is flanked with a colonnade2 the figure on the north being the ,angel ,gabriel1 and to the south the ,virgin4 ,above the pediment is a canopy with the ,virgin and ,child1 and ,st4 ,peter and ,st4 ,paul to the north and south2 and above all1 and nearly seventy feet from the ground1 the ,risen ,christ completes this most reverent design4 8,the altar cross is adorned with precious stones and lapis lazuli2 and the massive copper candlesticks are imitations of the original four said to have been sold during the ,protectorate40--7,a4 ,d47 ,the apse behind the altar cut off by the reredos is now called the ,jesus ,chapel4 ,over the altar here is a copy of ,cima de ,conegliano's ,doubting ,thomas 7in the ,national ,gallery74 ,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 mosaics4 ,the chief panels of the apse represent our ,lord enthroned1 with recording angels on either side4 ,in the choir the three 8saucer domes10 or cupolas1 represent three ,days of ,creation3 ,beasts1 ,fishes and birds4 ,the four pendentives of each bay are decorated with herald ,angels1 with extended arms4 ,mosaics of the ,crucifixion1 ,entombment1 ,resurrection and ,ascension1 also by ,sir ,william ,richmond1 adorn the 8quarter domes40 ,the eight paintings by ,thornhill1 of scenes from the life of ,st4 ,paul1 can be viewed properly only from the ,whispering ,gallery4 ,in the niches above this ,gallery are statues of the ,fathers of the ,church4 ,the spandrels between the great arches are decorated by eight large mosaics representing apostles and prophets3 ,st4 ,matthew and ,st4 ,john are by ,g4 ,f4 ,watts2 ,st4 ,mark and ,st4 ,luke1 by ,a4 ,brittan2 and the four prophets are the work of ,alfred ,stevens4 ,the ,transepts are of one arch only4 ,the windows are modern and represent bishops and kings of early days4 ,in the south transept aisle there is a window commemorating the recovery of the ,prince of ,wales 7,edward ,,vii47 in #ahgb2 and a bronze tablet by ,princess ,louise in memory of 8#d1cjj sons of ,britain beyond the seas0 who were killed in the ,south ,african war of #ahii-aija4 ,to the left of the chief entrance is ,st4 ,dunstan's ,chapel1 sometimes called the ,north-,west1 or ,morning ,chapel4 ,it is richly decorated and contains a ,salviati mosaic representing the ,three ,marys at the ,sepulchre4 ,in the south aisle1 opposite1 is the ,chapel of the ,order of ,st4 ,michael and ,st4 ,george1 a ,colonial order1 conferred only for distinguished services beyond the seas4 ,the ,sovereign's stall is at the western end2 and on each side of it is that of the ,grand ,master 7,prince of ,wales7 and the ,duke of ,connaught4 ,from these diverge the oak stalls of the ,knights ,grand ,cross of the ,order1 over each of which is suspended a silk banner with his personal arms4 ,the richly-gilded ceiling is decorated with the arms of the ,king1 the ,prince of ,wales1 the late ,duke of ,cambridge and ,sir ,robert ,herbert1 who were responsible for the scheme4 ,in the south window is a kneeling figure of the donor1 ,sir ,walter ,wilkin4 ,the chapel was dedicated on ,june #ac1 #aijf1 in the presence of ,king ,edward1 the ,prince of ,wales and many ,knights4 ,above this chapel the ,library is situated to which the curious ,geometrical ,staircase leads4 ,this is circular1 of a diameter of twenty-five feet1 and each step is supported by the one below it4 ,this is in the ,south tower4 ,st4 ,paul's is second only to ,westminster ,abbey in the number of ,monuments to the celebrated dead4 ,immediately within the west door stands a gilt monument to the officers and men of the ,coldstream ,guards who fell in the ,south ,african ,war4 ,in the north aisle of the nave we come to monuments of ,general ,gordon1 a recumbent figure on a sarcophagus by ,sir ,joseph ,edgar ,boehm2 ,wellington1 by ,alfred ,stevens2 ,lord ,leighton2 ,lord ,melbourne4 ,in the north transept ,sir ,joshua ,reynolds1 by ,flaxman2 and ,admiral ,rodney1 by ,rossi2 in the south transept ,nelson1 by ,flaxman1 who thus describes his work3 8,britannia is directing the young seamen's attention to their great example1 ,lord ,nelson4 ,on the die of the pedestal which supports the hero's statue are figures in basso-relievo1 representing the ,frozen ,ocean1 the ,german ,ocean1 the ,nile1 and the ,mediterranean4 ,on the cornice and in the frieze of laurel wreaths are the words1 ,copenhagen1 ,nile1 ,trafalgar4 ,the ,british ,lion sits on the plinth1 guarding the pedestal40 ,in the ,south transept3 ,lord ,cornwallis1 by ,rossi1 commemorates his ,indian career4 ,he appears in his mantle of the ,garter1 with an allegorical female figure of the ,eastern ,empire and a male figure representing an ,indian river4 ,at the east side of the south transept is the entrance to the ,crypt1 sombre1 dimly lighted and sepulchral4 ,in the centre a circle of pillars surrounds the tomb of ,nelson1 whose remains lie in a plain tomb under a black-and-white sarcophagus 7,sixteenth ,century71 which was made for ,cardinal ,wolsey's monument and confiscated with his other possessions4 ,through a grating here the dim light from the far-away dome sifts down upon ,england's great admiral4 ,to the left of ,nelson lies ,collingwood1 and1 to the right1 ,cornwallis4 ,not far away we come to the simple tomb of ,arthur1 ,duke of ,wellington1 a great block of porphyry on a granite base4 ,in the east recess of the south-choir-aisle is the grave of ,sir ,christopher ,wren marked by a plain black marble slab4 ,on the wall is the celebrated inscription3 8,lector1 si monumentum requiris1 circumspice40 ,then comes ,painters' ,corner with ,sir ,joshua ,reynolds1 ,benjamin ,west1 ,lawrence1 ,turner1 ,landseer1 ,millais1 ,leighton and others4 ,we have yet to make the ascent of ,st4 ,paul's4 ,the way is long and grows more tedious and steeper as we ascend4 ,it will be well to stop at the ,stone ,gallery 7#bjj feet high71 for although the ,golden ,gallery1 at the top of the dome1 is a hundred feet higher1 the view is not so distinct4 ,the ,stone ,gallery is safe1 and delightful views are to be had in the spaces between the balustrades4 ,the view extends from ,harrow on the north-west1 to the ,crystal ,palace1 ,shooter's ,hill and ,greenwich ,observatory in the south-east4 ,the tourist will1 however1 take more pleasure in looking over the territory covered by the ,great ,fire of #afff and all the ,wren steeples 7there are thirty at least7 that rise through the mists below us4 ,here we again think of ,sir ,christopher's genius and remember again his epitaph3 8,if you wish an estimate of his genius1 look around40 ,it is interesting1 too1 to trace ,fleet ,street1 ,cheapside and the other great arteries of traffic and travel1 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 romantic4 ,without the ,tower of ,london and without ,st4 ,paul's what would ,london be8 ,westminster ,abbey is the church of the ,king and the government2 ,st4 ,paul's is the church of the citizens1 the church that1 as we have seen1 has been a central point for the stirring events of the ,city of ,london4 ,whenever the traveller thinks of ,london1 he sees its majestic dome rising above ,london ,bridge or ,ludgate ,hill1 or ,cheapside1 purple in the mists1 golden in the sunlight--the emblem of ,london's antiquity and its present immensity4 8,i always endow ,st4 ,paul's ,cathedral with life and human nature and sympathy4 ,i cannot well explain what early associations and chances have made ,st4 ,paul's a more living influence to me than the much grander and nobler ,westminster ,abbey2 but so it is and ,i feel as if ,st4 ,paul's were a living influence over all that region of the metropolis which is surveyed by its ball and its cross4 ,but in another sense it is unlike other buildings to me4 ,it is not one long-lived1 long-living cathedral2 it is rather a generation of cathedrals4 ,westminster ,abbey takes us back in unbroken continuity of history to the earlier days of ,england's budding greatness4 ,westminster itself1 nevertheless1 was only called so in the beginning to distinguish it from the earlier ,east ,minster1 which was either the existing ,st4 ,paul's or a cathedral standing on ,tower ,hill4 ,it would seem1 then1 that ,st4 ,paul's rather than ,westminster ,abbey ought to represent the gradual movement of ,english history and ,english thought and the growth of the metropolis4 ,but observe the difference4 ,westminster ,abbey has always since its erection been sedately watching over ,london4 ,it has been reconstructed here and there1 of course--repaired and renovated1 touched up and decorated with new adornments in tribute of grateful piety2 but it is ever and always the same ,westminster ,abbey4 ,now observe the history of ,st4 ,paul's4 ,st4 ,paul's has fallen and died time after time1 and been revived and restored4 ,it has risen new upon new generations4 ,it has perished in flame again and again1 like a succession of martyrs1 and has come up afresh and with new spangled ore flamed in the forehead of the morning sky4 ,st4 ,paul's is a religious or ecclesiastical dynasty rather than a cathedral4 ,it has been destroyed so often and risen again in so many different shapes1 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 generation40--7,j4 ,mc,c47 ,illustration3 ,,st4 ,,paul',s3 ,,choir1 ,,east ,illustration3 ,,st4 ,,saviour',s1 ,,southwark ,,st4 ,,saviour',s1 ,,southwark ,,formerly ,,the ,,collegiate ,,church ,,of ,,st4 ,,saviour2 ,,and ,,st4 ,,mary ,,overie1 ,,southwark4 ,,special ,,features3 ,,central ,,tower2 ,,choir-,,screen2 ,,tomb ,,of ,,john ,,gower2 ,,harvard ,,window2 ,,windows ,,to ,,elizabethan ,,dramatists4 ,although ,st4 ,saviour's1 ,southwark1 is one of the oldest buildings in ,london1 it is one of the youngest of cathedrals in ,england1 having been formally inaugurated as a ,cathedral by ,king ,edward on ,july #c1 #aije4 ,it was recently restored at a cost of #dj1jjj4 ,parts of the ,norman nave1 dating from the ,twelfth ,century1 were incorporated by ,sir ,arthur ,blomfield in the new nave built in #ahia-ahif4 ,st4 ,saviour's stands on the south or ,surrey side of ,london in the ,borough1 a district of very little interest in comparison with ,london north of the ,thames2 but very rich in historical associations4 ,after crossing ,london ,bridge we find this church on our right on a lower level than the road1 which sunken situation prevents a good view of the venerable pile4 ,adjoining the church is the ,borough ,market for fruit and vegetables and west of it in ,park ,street1 close to ,southwark ,bridge1 is ,barclay's ,brewery on the site of ,shakespeare's ,globe ,theatre4 ,going down ,borough ,high ,street we pass the site of the old ,tabard ,inn1 from which ,chaucer's ,canterbury ,pilgrims started on their journey2 and still lower down the street1 the successor to the ,white ,hart1 where ,mr4 ,pickwick found the immortal ,sam ,weller4 ,in the vicinity the ,marshalsea prison stood until the middle of the ,nineteenth ,century1 within the sound of ,st4 ,saviour's bells4 ,st4 ,saviour's is now almost the only remaining landmark of 8,old ,southwark40 ,its early history is lost in legend4 ,stow1 on the authority of ,linstede1 the last of the priors1 attributed the building of the original ,london ,bridge to the profits made by a ferryman here1 who left his money to his daughter ,mary4 ,he tells the story as follows3 8,east from the ,bishop of ,winchester's house1 directly over against it1 standeth a fair church called ,st4 ,mary-over-the-,rie1 or ,overie2 that is1 over the water4 ,this church1 or some other in place thereof1 was1 of old time1 long before the ,conquest1 a house of sisters1 founded by a maiden named ,mary2 unto the which house and sisters she left1 as was left to her by her parents1 the oversight and profits of a cross ferry1 or traverse ferry over the ,thames1 there kept before that any bridge was built4 ,this house of sisters was after by ,swithun1 a noble lady1 converted into a college of priests1 who in place of the ferry built a bridge of timber1 and from time to time kept the place in good reparations2 but lastly1 the same bridge was built of stone2 and then in the year #aajf was this church again founded for canons regular by ,william ,pont de la ,arch1 and ,william ,dauncey1 ,knights1 ,normans40 ,modern historians have made a few corrections in this statement1 particularly as regards the person who changed the nunnery into a college of priests4 ,this was not a 8noble lady10 but ,st4 ,swithun1 ,bishop of ,winchester 7#hcb-hef7 7see page #df74 ,it became a monastery of the ,augustinian order in #aajf1 and the ,norman knights who aided in its foundation also built the new ,norman nave4 ,after a severe fire that occurred early in the ,thirteenth ,century1 when much of ,southwark was destroyed1 the church suffered greatly4 ,repairs were1 of course1 necessary2 and the ,bishop of ,winchester1 who took charge1 rebuilt the nave in the lighter ,early ,english style and also the choir and retro-choir4 ,another fire in the reign of ,richard ,,ii4 occasioned other repairs in the new ,perpendicular style which was continued by ,cardinal ,beaufort1 ,bishop of ,winchester 7#adje-addg71 who restored the south transept4 ,the ,cardinal was the son of ,john of ,gaunt and ,catherine ,swynford4 ,in this church he married his niece ,jane ,beaufort to ,james ,i4 of ,scotland in #adbc1 with whom the royal poet fell in love during his imprisonment at ,windsor4 ,after the ,dissolution of the monasteries in #aecf ,st4 ,mary ,overy1 which had already been united with ,st4 ,mary ,magdalene1 was now combined with ,st4 ,margaret's and in the year of ,linstede's surrender to ,henry ,,viii4 7#aedj7 the three parishes were united under the name of the ,collegiate ,church of ,st4 ,saviour4 ,st4 ,saviour's was several times repaired and altered in the ,eighteenth ,century1 and then fell into neglect4 ,the ,east ,end is an enlargement or addition to the choir4 ,it consists1 as we see1 of four bays separated by buttresses and surmounted by gables4 ,each gable is lighted by a triplet of lancet windows4 ,larger windows of the same general style light the bays below4 ,at the north-east corner is a short hexagonal stair turret4 ,above the ,lady-,chapel rises the ,east ,end or gable of the choir4 ,this has also a three-light lancet window1 with a small circular window with seven cusps above4 ,on the north-east corner the turret is capped by a pinnacle4 ,above rises the venerable square tower--,st4 ,saviour's best feature4 ,the ,tower at the intersection of the nave and transepts was partly built by ,bishop ,fox in the ,perpendicular style4 8,at the intersection of the nave1 transepts and choir1 rises a noble tower1 thirty-five feet square and one hundred and fifty feet in height1 resting on four massive pillars adorned with clustered columns4 ,the sharp-pointed arches are very lofty4 ,the interior of the tower is in four stories1 in the uppermost of which is a fine peal of twelve bells4 ,externally the tower1 which is not older than the ,sixteenth ,century1 somewhat resembles that of ,st4 ,sepulchre's ,church1 close by ,newgate4 ,it is divided into two parts1 with handsome pointed windows1 in two stories1 on each front2 it has tall pinnacles at each corner1 and the battlements are of flint1 in squares or chequer-work40--7,e4 ,w47 ,the ,south transept1 like the north transept1 was built in the ,decorated style in the first half of the ,fourteenth ,century1 but was rebuilt by ,cardinal ,beaufort4 ,it has been restored in the style of his time1 and the window of five lights is ,transitional in style from ,decorated to ,perpendicular4 ,we enter by the ,doorway at the south-west1 the principal entrance to the ,cathedral4 8,in all probability the door was placed in this position when the ,norman nave was built by ,bishop ,giffard 7circa #aajf72 but its character was altered by ,peter de ,rupibus1 a century later1 to bring it into harmony with the rest of his ,early ,english work1 when he remodelled the nave in that style4 8,the porch that we now have agrees in its main features with the drawings taken of the earlier one before it was destroyed4 ,a deeply recessed and acutely pointed arch is divided into two by a central shaft1 with moulded base and foliaged capital4 ,the jambs contain five shafts on each side1 which differ from that in the centre1 in that they are of ,purbeck marble1 and banded1 in pleasing contrast to the plain stone of their own bases and capitals1 and of the 7unbanded7 central shaft4 ,in the tympanum of the double doorway thus formed1 there is a pointed arcading1 consisting of a central arch and two smaller arches on either side4 ,the deep soffit of the arch in which this elegant arcading is enclosed1 is adorned with a series of quatrefoil panels40--7,geo4 ,w47 ,on entering we get a fine view of more than two hundred feet4 ,the ,nave was rebuilt in #ahij-ahig and is a reproduction of the ,early ,english nave in nearly every detail4 ,as we look down the long vista we are reminded of ,salisbury4 ,here1 however1 we have the magnificent screen and the handsome ,east window above it4 ,the clerestory is lighted by plain lancet windows1 enclosed in an elegant arcading4 ,walking down the north aisle of the nave we soon come to the most interesting monument in the ,cathedral--the tomb of ,john ,gower1 who died in #adjh1 eight years after his friend ,chaucer1 to whom the window above 7#aijj7 is appropriately enough a memorial and bears the latter's portrait4 8,he had been a liberal benefactor to the ,church1 and founded a chantry in the ,chapel of ,st4 ,john the ,baptist1 where he was eventually buried4 ,the chapel and chantry are no more1 but the monument marks the spot1 having been restored in #ahid to its first position4 ,it is in the ,perpendicular style1 and consists of an altar-tomb1 with a dado1 ornamented by seven panels in front1 on which lies the effigy of the poet1 surmounted by a canopy of three ogee arches1 with an inner order of five cusps1 and terminating in crocketed pinnacles4 ,there is a pilaster set angle-wise at each end1 banded at the separate divisions of the monument1 and also rising into crocketed pinnacles4 ,there are similar pinnacles between the arches of the canopy4 ,behind the canopy is a screen1 divided into open panels of three trefoil-headed lights4 ,the cornice at the top is modern1 and the hands and nose of the figure are restorations4 8,the poet is represented lying on his back1 with his hands joined in prayer1 and his head resting upon the three volumes on which his fame depends1 the ,speculum ,meditantis1 ,vox ,clamantis1 and ,confessio ,amantis4 ,he is vested in a long dark habit1 buttoned down to the feet1 after the manner of a cassock1 the ordinary dress of an ,english gentleman at the time4 ,there is a garland of four roses round his head1 and at his feet a lion couchant4 ,the ,,ss4 collar adorns the neck1 with a pendant jewel1 on which a swan is engraved--the device of ,richard ,,ii41 to whom ,gower was ,poet ,laureate4 ,on the wall of the canopy1 at the foot of the tomb1 there is a sculptured and coloured representation of the poet's own shield of arms1 crest and helmet4 ,on the back wall of the recess1 above the effigy1 there were formerly three painted figures1 representing ,charity1 ,mercy1 and ,piety1 each bearing a scroll with an invocation1 in ,norman-,french1 for the soul of the departed4 ,after undergoing repainting more than once1 with modifications1 the figures were scarcely recognisable in #ahcb1 when the monument was repaired1 but the figures were unfortunately obliterated4 ,the inscription along the ledge of the tomb1 which had also been destroyed1 is now replaced3 #8,hic jacet ,i4 ,gower1 ,arm4 ,angl3 poeta celeberrimus ac hoc sacro benefac4 insignis4 ,vixit temporibus ,edw4 ,,iii41 ,ric4 ,,ii41 et ,henri ,,iv4'0--7,geo4 ,w47 ,now we have reached the ,north ,transept1 supposed to have been originally a chapel dedicated to ,st4 ,peter4 ,it is now used as a sort of museum for the relics and antiquities of the church--old bosses1 chests1 stone-coffins1 etc4 ,the large north window was unveiled in #ahih to commemorate doubly the ,prince ,consort and ,queen ,victoria's ,diamond ,jubilee4 ,its four lights depict ,gregory the ,great1 ,king ,ethelbert1 ,stephen ,langton and ,william of ,wykeham4 ,passing to the tower we can now look upward as far as the floor of the bell-ringers4 ,the bosses on the new oaken roof date from the ,fifteenth ,century4 ,from it hangs a fine ,chandelier of #afhj4 ,the ,south ,transept was rebuilt by ,cardinal ,beaufort1 whose arms we see on a pier by the transept door4 ,the great south window of five lights1 described by ,sir ,arthur ,blomfield1 the designer1 as 8transitional between ,flowing ,decorated and ,perpendicular10 is filled with modern glass4 ,the design is a 8,tree of ,jesse40 ,returning now to the ,choir we pause here to study it in detail4 ,it was built by ,peter de ,rupibus in the ,thirteenth ,century1 and is ,early ,english4 ,it consists of five bays4 ,the piers are alternate circular and octagonal1 with plain capitals and well-cut base mouldings4 ,four arched openings occur in each bay of the triforium4 ,corbels with sculptured heads occur on the arches of the south side4 ,the ,altar stands on a platform and above it rises the wonderful ,screen1 erected by ,bishop ,fox in #aebj4 ,it almost fills the entire eastern end of the choir4 8,the screen is about thirty feet in height1 and extends to the main arcades on either side4 ,three tiers of canopied niches1 ten in each tier1 divided down the centre by a ,perpendicular series of three large niches1 all occupied by statues1 made up a composition which was at once #8a thing of beauty' and an object lesson on the ,incarnation4 ,the total number of niches 7thirty-three7 suggested a mystic reference to the years of our ,lord's earthly life1 while the image of the ,pelican #8in her piety1' here and there1 besides being a reminder of ,bishop ,fox 7whose peculiar device it was71 also typified the sacrament of the altar4 ,the original materials of which the screen was built are quoted as #8,caen and fire-stone1' for which ,mr4 ,wallace substituted stone from ,painswick in ,gloucestershire1 as more easily obtained and agreeing in colour with the old work4 8,the doors on each side will be noticed1 with their depressed ogee headings1 which indicate that this screen is of somewhat later date than the corresponding one 7also by ,bishop ,fox7 at ,winchester4 ,another indication to the same effect has been detected in the grotesque carvings in the spandrels1 which are here of a humorous character1 whereas at ,winchester the minor decorations are entirely sacred1 e4g41 the ,annunciation and ,visitation40--7,geo4 ,w47 ,the ,east ,window above contains three lancets1 the glass representing the ,crucifixion in the centre with ,st4 ,john on one side and the ,virgin on the other4 ,it is placed in a quintuple arcade4 ,the prevailing colour is blue4 ,on the north side of the choir under the first arch we notice the ,monument of ,richard ,humble1 a good specimen of the ,jacobean period4 ,here1 under an arched canopy1 ,richard ,humble is kneeling before an altar1 with his two wives behind him4 ,the second one wears a conical hat4 ,the ,retro-,choir1 now called the ,lady-,chapel1 was erected by ,peter de ,rupibus4 ,it is one of the best examples of ,early ,english extant4 ,six slender columns support the groined vault4 ,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 7died #afbf7 on the west1 an example of the ,renaissance style1 with a painted effigy4 ,this ,bishop of ,winchester 7who often visited ,st4 ,saviour's1 the most important church in his diocese after the ,cathedral of ,winchester7 was buried in a little chapel east of the retro-choir4 ,the 8,bishop's ,chapel10 as it was called1 was destroyed in #ahcj and the body of ,bishop ,andrews was transferred to its present place4 ,of the windows in the ,retro-,choir the most admired is the one in the north side of three lights containing figures of ,charles ,i41 ,thomas ,becket and ,archbishop ,laud4 ,the tracery is in the ,decorated style4 ,walking along the north-choir-aisle we pass the effigy of a knight and soon come to the most conspicuous monument in this aisle1 that of ,john ,trehearne1 servant to ,queen ,elizabeth and 8,gentleman ,portar0 to ,james ,i4 ,on the top of the tomb are ,trehearne and his wife with big ruffs4 ,they proudly hold a tablet which is a eulogy of ,trehearne's remarkable qualities4 ,their four children kneel on a bas-relief below4 ,it is a very interesting example of ,seventeenth ,century mortuary art4 ,a door leads from the north-choir-aisle into the ,chapel of ,st4 ,john the ,divine1 now famous for the ,harvard ,window in its eastern wall4 8,henceforth the chapel will be associated with the name of ,john ,harvard1 who was born in the parish1 and baptised in the church on #bith ,november1 #afjg1 and its restoration is intended to take the form of a memorial to that great and good man4 8,the first practical step in this direction was taken by the ,hon4 ,joseph ,h4 ,choate1 who manifested great interest in the ancient fabric while he was ,american ,ambassador1 and presented the east window to the chapel in commemoration of ,john ,harvard1 founder of the renowned university which bears his name4 ,the window1 unveiled by ,mr4 ,choate on ,monday1 #bnd ,may1 #aije1 is of three lights1 transomed1 as designed by ,sir ,arthur ,blomfield and ,sons1 the glass being made in ,america under the supervision of ,mr4 ,charles ,f4 ,mc,kim1 the famous ,american architect4 ,the design is by ,mr4 ,john ,la ,farge4 ,in the central light of the lower division the ,baptism of ,christ is depicted1 attendant angels occupying the sides4 ,the upper division contains the arms of ,emmanuel ,college1 ,cambridge1 where ,john ,harvard was educated1 and of the ,harvard ,university1 with its mottoes1 ,veritas and ,christo et ,ecclesiae4 ,the base bears the inscription1 #8,in memory of ,john ,harvard1 founder of ,harvard ,university in ,america1 baptised in this church1 ,nov4 #bi1 #afjg4' 8,the window is a noteworthy example of modern work1 and the treatment of the familiar subject is distinctly original1 in which respect1 as well as in colouring1 it presents a very striking contrast to the other windows1 especially to those of medival character1 throughout the church4 ,perhaps it is fortunate that it occupies an isolated position in the chapel1 where the brilliance and peculiarity of the colouring are seen to full advantage without detriment to the other windows40--7,geo4 ,w47 ,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 dramatists1 associated with the ,southwark theatres4 ,some of them1 ,john ,fletcher1 ,philip ,massinger and ,edmund ,shakespeare1 are buried here4 ,the first of this series of windows is a memorial to ,edward ,alleyn 7#aeff-afbf72 next to ,francis ,beaumont 7#aehe-afaf72 next to ,john ,fletcher 7#aegi-afbe72 next to ,philip ,massinger 7#aehc-afci72 next to ,shakespeare1 who lived not far from his theatre1 the ,globe1 in the parish of ,st4 ,saviour's ,church4 ,illustration3 ,,st4 ,,saviour',s1 ,,southwark3 ,,nave1 ,,east ,illustration3 ,,westminster ,,abbey3 ,,west ,,front ,,westminster ,,abbey ,,dedicated ,,to ,,st4 ,,peter4 ,,church ,,of ,a ,,benedictine ,,monastery4 ,,special ,,features3 ,,edward ,,the ,,confessor',s ,,chapel2 ,,shrine ,,of ,,the ,,confessor2 ,,the 8,,poets' ,,corner02 ,,henry ,,vii4',s ,,chapel4 ,westminster ,abbey1 though not a cathedral1 is1 perhaps1 the most famous church in ,england4 ,it is1 however1 visited on account of its historical associations rather than because of its architecture4 ,yet architects know full well that it is the equal of ,salisbury1 ,lincoln1 ,ely1 or ,canterbury4 ,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 dead4 ,according to tradition1 in the ,seventh ,century1 ,siebert1 ,king of the ,east ,saxons1 built a church to ,st4 ,peter on what was then ,thorney ,island4 ,it became known as ,westminster4 ,dunstan established a ,benedictine monastery here2 but the ,abbey that we know was begun by ,edward the ,confessor in #ajej4 ,this ,king died soon after the ,choir was finished in #ajfe1 and was buried there4 ,we gain an idea of his church from the ,bayeux tapestry1 which depicts ,edward the ,confessor's funeral4 ,some portions of it remain below the present ,choir4 ,during ,william ,rufus's reign the transepts and first bay of the nave were finished4 ,henry ,,iii4 determined to build a new church in the ,french style2 and this was begun in #abde and completed as far as the fourth bay of the nave in #abfi4 ,it is the most finished production of the first half of the ,thirteenth ,century in ,england4 ,henry ,,iii4 also built a ,lady-,chapel1 afterwards destroyed by ,henry ,,vii4 for his exquisite chapel--the most perfect example of ,perpendicular work4 ,during the reign of ,richard ,,ii4 the old nave was reconstructed4 ,to many1 the exterior of ,westminster ,abbey is not as impressive as ,st4 ,paul's4 ,it is disappointing in size and somewhat too narrow for its height4 ,it is only when we enter and see the superb architecture and impressive monuments that its grandeur and solemnity grow upon us1 notwithstanding the fact that the black-gowned vergers conducting parties of tourists from tomb to tomb and chapel to chapel1 in business-like fashion1 do all they can to dispel reverence by rattling off stories of ,queen ,hanne and #8,enery ,,vii41 not always with unimpeachable accuracy4 8,the ,,west ,,front is flanked by two towers #bbe feet high1 built by ,wren and finished by his pupil ,hawksmoor1 about #agdj4 ,in the centre of the front is the great ,perpendicular window1 beneath which is a row of niches4 ,the entrance porch has a groined roof4 ,the nave is remarkable for its length and height4 ,on the north side we notice that there is a wealth of buttresses4 ,strong buttresses support the aisle walls1 and from these flying-buttresses stretch across to the walls built on the central arcade4 ,the four eastern buttresses comprise the part of the church finished by ,henry ,,iii42 the rest of the nave1 with the exception of ,wren's towers1 was built during the last half of the ,fourteenth ,century and the beginning of the ,fifteenth4 ,the figures in the niches are modern40--7,p4 ,h4 ,d47 ,the ,north ,front is new1 designed by ,sir ,g4 ,scott and ,mr4 ,pearson4 8,it is a very elaborate work and much of it is beautiful2 but it does not seem to harmonise with the rest of the building4 ,there is a large rose-window2 on each side tall buttresses crowned with turrets and covered with niches4 ,there is an arcade of open-work below and then some deeply-recessed ,early ,english windows1 and below three doorways under one string-course1 the centre one having a high gable4 ,the door is divided by a pier having a finely-carved figure of the ,virgin and ,child4 ,the tympanum is divided into three panels4 ,in the highest is ,our ,lord in glory surrounded by angels and below him are the ,twelve ,apostles1 while in the lowest tier are figures representing ,art1 ,history1 ,philosophy1 ,war1 ,legislation and ,science1 with the builders of the ,abbey1 ,edward the ,confessor1 ,henry ,,iii4 and ,richard ,,ii4 ,the niches are filled with figures of persons in some way connected with the ,abbey4 ,the ,choir is in the form of an apse1 with radiating chapels1 planned on the model of the ,french chevet1 according to the taste of ,henry ,,iii41 which he had cultivated during his sojourn in ,france4 ,the ,lady-,chapel at the east end1 commonly called ,henry ,,vii4's ,chapel1 is one of the noblest examples of the best ,perpendicular work in the kingdom1 and ranks with ,st4 ,george's ,chapel1 ,windsor1 and ,king's ,college1 ,cambridge4 ,the monastic buildings are on the south side of the ,abbey40--7,p4 ,h4 ,d47 ,the ground plan is ,french1 with a ,french chevet and chapels radiating from the ,choir1 and not only in the plan but in the narrowness and height of the bays of the ,choir and in the tracery of the windows4 ,french characteristics declare themselves4 ,the nave is bordered with aisles4 ,beyond the ,choir rises the central tower2 and on either side the north and south transepts4 ,the latter is known as the 8,poets' ,corner40 ,beyond comes the altar1 around which many tombs crowd closely2 and beyond them the ,north and ,south ,ambulatory4 ,beyond again runs a circle of chapels4 ,then beyond this apse a flight of steps leading to ,henry ,,vii4's ,chapel1 also crowded with tombs4 ,the ,cloisters and ,chapter-,house lie on the south side of the ,abbey2 and on the right of the chief or ,west entrance1 we find the famous ,jerusalem ,chamber1 ,jericho1 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 nation4 8,one never enters the ,abbey ,church without a thrill of admiration for the daring genius who raised those lofty vaults4 ,that they were the first of their kind in ,england is almost certain1 but the name of their designer does not seem to have been preserved4 ,it is more likely that he was an ,englishman who had studied in ,france1 than that he was a ,frenchman4 ,certain it is that though the plan1 if not all the design1 is purely ,french1 the arrangement of the chapels being in fact peculiar to ,westminster amongst ,english churches1 the workmanship is very superior to that in any contemporary building on the ,continent40--7,w4 ,j4 ,l47 ,the ,nave is the loftiest in ,england4 ,it is two feet higher than that of ,york ,minster4 8,the view of the interior is very impressive4 ,standing at the west end of the nave we cannot fail to admire the magnificent beauty of this noble shrine4 ,this nave of twelve bays1 with its clustered columns1 its beautiful triforium1 and its lofty and firmly proportioned roof soaring to the height of #aja feet1 is very striking4 ,a close inspection will show the difference between the piers of the portion finished by ,henry ,,iii4 and the newer work of the ,fourteenth ,century4 ,the tracery of the triforium openings is very fine4 ,the choir-screen which crosses the nave at the eighth pier1 is modern1 and also the pulpit4 ,the west window is ,perpendicular1 and has some ,georgian glass containing figures of the ,patriarchs4 ,much architectural beauty has been sacrificed for the sake of ponderous monuments1 but many of these have much interest and for many visitors will prove the most attractive features of the ,abbey40--7,p4 ,h4 ,d47 ,the general effect of the interior has changed little since ,washington ,irving wrote his sympathetic essay on ,england's ,walhalla3 8,i pursued my walk to an arched door opening to the interior of the ,abbey4 ,on entering here the magnitude of the building breaks fully upon the mind1 contrasted with the vaults of the cloisters4 ,the eye gazes with wonder at clustered columns of gigantic dimensions with arches springing from them to such an amazing height2 and man wandering about their bases shrunk into insignificance in comparison with his own handiwork4 ,the spaciousness and gloom of this vast edifice produce a profound and mysterious awe4 ,we step cautiously and softly about as if fearful of disturbing the hallowed silence of the tomb2 while every footfall whispers along the walls1 and chatters among the sepulchres1 making us more sensible of the quiet we have interrupted4 8,it seems as if the awful nature of the place presses down upon the soul1 and hushes the beholder into noiseless reverence4 ,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 renown4 8,i passed some time in ,poets' ,corner1 which occupies an end of one of the transepts1 or cross aisles of the ,abbey4 ,the monuments are generally simple2 for the lives of literary men afford no striking themes for the sculptor4 ,shakespeare and ,addison have statues erected to their memories1 but the greater part have busts1 medallions and sometimes mere inscriptions4 8,from ,poets' ,corner ,i continued my stroll towards that part of the ,abbey which contains the sepulchres of the kings4 ,i wandered among what once were chapels1 but which are now occupied by the tombs and monuments of the great4 ,at every turn ,i met with some illustrious name1 or the cognizance of some powerful house renowned in history4 ,as the eye darts into these dusky chambers of death1 it catches glimpses of quaint effigies3 some kneeling in niches1 as if in devotion2 others stretched upon the tombs1 with hands piously pressed together2 warriors in armour1 as if reposing after battle2 prelates1 with crosiers and mitres2 and nobles in robes and coronets1 lying as it were in state4 ,in glancing over this scene1 so strangely populous1 yet where every form is so still and silent1 it seems almost as if we were treading a mansion of that fabled city1 where every being had been suddenly transmuted into stone40 ,the ,west ,window dates from the reign of ,george ,,ii41 whose arms are in the centre4 ,it contains twenty-four large and fourteen small compartments depicting ,moses1 ,aaron and the patriarchs4 ,the ,north-west ,tower1 also called ,belfry ,tower1 has been called the 8,whigs' ,corner10 on account of the monuments there4 ,the glass in the window is old4 ,the south-west1 or ,baptistery ,tower1 used to contain the font 7now in ,henry ,,vii4's ,chapel74 ,here are also many monuments and busts4 ,the stained glass window1 in memory of ,george ,herbert and ,william ,cowper1 was the gift of ,mr4 ,g4 ,w4 ,childs1 of ,philadelphia4 ,the nave pulpit was placed here in #ahfb2 and though the inner stone-work of the ,choir-screen is of the ,thirteenth ,century1 what is visible is modern4 8,the splendid arcade which forms the ,,triforium is one of the greatest glories of ,westminster1 for it is filled with tracery similar in every respect to the best window tracery of the ,early ,english period4 ,above the triforium comes the grand tier of windows composing the clerestory4 ,each is divided by a single central mullion which1 in the older portions1 terminates with two plain arches surmounted by a circle foliated in six divisions1 and in the newer portions with trefoil-headed arches surmounted by a circle divided into only four parts4 ,the fine vaulting1 of which the rib-work is enriched with sculptured bosses at its points of intersection1 completes the centre of the nave in such a fashion that its decorative effect is in complete harmony with the richness of the arch mouldings40--7,c4 ,h47 ,the aisles are greatly disfigured by the innumerable monuments4 ,much beautiful sculpture has been cut away to make room for them4 ,the north aisle has one doorway2 the south aisle has three1 two of which lead into the ,cloisters and the third 7the most western one7 into the ,deanery4 ,above it is the ,abbot's ,pew1 an oaken gallery built by ,abbot ,islip early in the ,sixteenth ,century4 ,the most important monument in the north aisle is that of ,ben ,jonson1 with the famous inscription 8,o rare ,ben ,jonson40 ,in the south aisle lies ,major ,john ,andr4 ,the ,transepts of ,westminster ,abbey contain some of the most beautiful work that can be found anywhere4 ,the ,north ,transept is entered by the famous ,solomon's ,porch4 ,it consists of four bays and is bordered with aisles4 ,the eastern aisle is divided into three chapels--,st4 ,andrew1 ,st4 ,michael and ,st4 ,john the ,evangelist--all of which are filled with monuments4 8,the transept end consists of five stages1 of which the lowest is composed of four obtusely pointed arches1 two of them being doorways4 ,the spandrels are very richly sculptured4 ,in the second compartment is an arcade of six trefoil-headed arches springing from clustered columns4 ,above this arcade are six lancet windows on slender columns4 ,the soffits of the arches are decorated with sculpture and at both ends there are statues in niches4 ,the fourth stage is a continuation of the triforium arcade4 ,there are three arches1 each enclosing two trefoiled arches1 with a cinquefoiled circle between them4 ,it is possible that there were once windows in this compartment1 but these have been filled up4 ,the transept end is completed by a great rose-window filled with modern stained glass representing the ,apostles and ,evangelists4 ,here we find the celebrated ,,censing ,,angels4 8,the triforium is the place from which we can best see those famous sculptures known as the #8censing angels4' ,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 time4 ,what must the central statues have been like to be worthy of such accessories8 ,perhaps if one had to select the best public statue in ,england1 it would be impossible to overlook the angel on the north transept on the western side4 ,he appears to be literally hovering in the air1 or rather--for this the sculptor has most marvellously expressed--he is supposed to be swinging his censer in the presence of his ,lord1 and to be floating in a sea of light1 which forces him to bow his head and avert his face from its dazzling effulgence40--7,w4 ,j4 ,l47 ,among the monuments in the north transept the most interesting are to ,admiral ,vernon1 ,george ,canning1 ,d',israeli1 ,gladstone1 ,sir ,robert ,peel1 ,william ,pitt and ,warren ,hastings4 ,the ,south ,transept is popularly known as the ,poets' ,corner1 a name given by ,goldsmith4 ,it is so crowded with tombs and cenotaphs that the architectural features are rarely noticed4 ,it is not uniform with the north transept though both are of ,henry ,,iii4's reign1 ,early ,english merging into ,decorated4 ,a door in the south wall leads into the ,chapel of ,st4 ,faith1 long used as a vestry and now as a chapel for private prayer4 ,the most interesting tomb here is that of ,geoffrey ,chaucer1 who for years lived in a house in the monastery garden pulled down to make room ,illustration3 ,,westminster ,,abbey3 ,,poets' ,,corner ,illustration3 ,,westminster ,,abbey3 ,,choir1 ,,east for ,henry ,,vii4's ,chapel4 ,it is a small altar-tomb supposed to date from #adea1 with a canopy of ,purbeck marble of later date4 ,the memorial window above dates from #ahfh4 ,here lie ,dryden1 ,francis ,beaumont1 ,browning1 ,tennyson and ,edmund ,spencer among others2 and a bust of ,longfellow was placed here in #ahhd4 8,the ,choir1 which has been the scene of so many solemn and memorable services1 has no ancient woodwork4 ,the stalls were erected about the middle of the last century4 ,the altar and reredos are modern4 ,there are some large figures1 and a mosaic of the ,last ,supper4 ,here the coronations of our monarchs take place4 ,the pavement is interesting1 as it was brought from ,rome by ,abbot ,ware in #abfh1 and beneath it he rests with other abbots of ,westminster4 ,the sedilia are ,thirteenth ,century work1 and were decorated with paintings4 ,the figures of ,king ,siebert1 the first founder1 and of ,henry ,,iii41 the munificent re-founder1 remain4 ,above the base of the tomb of ,anne of ,cleves1 one of ,henry ,,viii4's many wives1 is a remarkable painting of ,richard ,,ii41 and behind it some ancient tapestry40--7,p4 ,h4 ,d47 ,on the north side of the sanctuary three ancient tombs harmonise perfectly with their architectural surroundings4 ,the most westerly is that of ,aveline of ,lancaster1 who died about #abgc1 a wealthy heiress1 daughter of the ,earl of ,albemarle1 who was married in the ,abbey in #abfi to ,edmund ,crouchback1 ,earl of ,lancaster1 younger son of ,henry ,,iii4 ,a single cusped arch with a high gable in the spandrel of which is a trefoiled panel forms the canopy4 ,two dogs are at the feet of the effigy draped in flowing mantle4 ,the tomb is ,early ,decorated4 ,next comes the tomb of ,aymer de ,valence1 ,earl of ,pembroke 7died #acbc74 ,the ,earl1 in full armour1 rests his feet on a lion couchant4 ,beyond is the tomb of ,edmund ,crouchback 7died #abif74 ,the effigy of the ,earl in chain armour lies under a triple canopy1 richly ornamented4 ,the aisles are crowded with tombs and monuments4 ,the aisles of the choir are filled with tombs and monuments4 ,behind the altar is situated the ,confessor's ,chapel containing the famous ,shrine of ,edward the ,confessor4 8,when we enter ,st4 ,edward's ,chapel1 or the ,chapel of the ,kings 7,capella ,regum71 we find ourselves in what may fairly be described as the most important part of the ,abbey1 alike from the ecclesiastical and historical points of view4 ,the chapel is distinguished from the rest of the church by its superior height above the ground4 ,in the centre is the ,confessor's shrine1 around which are the tombs of five ,kings and six ,queens of ,england4 ,the entrance is by some wooden steps through a small space between one of the columns and ,edward ,i4's tomb4 ,the chapel is separated from the sanctuary by a ,fifteenth ,century screen1 which1 though much mutilated1 is still beautiful4 ,the sculptures deal with the life and visions of the ,confessor40--7,c4 ,h47 ,the ,confessor's ,shrine1 though mutilated1 is the most important monument in the ,abbey4 ,the present tomb was finished in #abfi at the instance of ,king ,henry1 and was the work of one ,peter1 a ,roman citizen4 ,at the ,dissolution of the ,monasteries the body of the ,king was removed and the golden ornaments of the tomb disappeared2 but in ,queen ,mary's time ,abbot ,feckenham had the body re-interred1 the shrine repaired and the wooden superstructure erected4 ,james ,,ii4 had the old coffin enclosed in another case4 ,this remains still within the shrine4 ,on the north side of the shrine is the ,tomb of ,henry ,,iii41 of two stages1 in the upper one of which the body rests4 ,an effigy in gilt bronze rests on the top4 ,next is the tomb of ,edward ,i4 ,on the other side 7east7 lies ,eleanor of ,castile 7died #abij7 in a tomb of ,purbeck marble1 the sides of which are embellished with trefoiled heads1 a fine example of ,gothic1 probably designed by ,torel4 ,immediately behind the ,confessor's ,shrine comes the ,chantry of ,henry ,v4 7where an altar once stood74 ,it is a splendid piece of ornate ,perpendicular work1 with elaborate sculptured figures representing ,st4 ,george1 ,st4 ,denys and the story of the hero's life--his fights1 coronation and court4 ,the effigy is mutilated4 ,above the tomb hang the monarch's shield1 saddle and helmet1 which were carried in his funeral procession4 ,the next tomb is that of ,queen ,philippa of ,hainault1 ,queen of ,edward ,,iii41 who died in #acfi4 ,next comes ,edward ,,iii4 7died #acgg7 and next that of ,richard ,,ii4 and his first wife1 ,anne of ,bohemia4 ,next1 ,siebert's ,tomb1 consisting of an arched recess in the wall and supposed to contain the body of the legendary founder of the ,abbey4 ,it dates from #acjh4 ,next comes the tomb of ,anne of ,cleves4 ,in this chapel stand the ,coronation ,chairs4 ,the one on the left was made in the reign of ,edward ,i4 to enclose the stone of ,scone1 supposed to be the stone on which ,jacob slept at ,beth-el4 ,the chair was once painted and jewelled4 ,the other chair was made for the coronation of ,william and ,mary4 ,between these hang the sword and shield of state of ,edward ,,iii41 used at his and all other coronations4 ,the little ,chapel of ,st4 ,benedict is closed to the public4 ,under an arch is an altar tomb of four children of ,henry ,,iii4 and four of ,edward ,i4 ,then comes ,st4 ,edmund's ,chapel1 filled with tombs2 then ,st4 ,nicholas's ,chapel1 separated from the ambulatory by an embattled stone screen 7,perpendicular71 probably erected in the reign of ,henry ,,iv4 ,on the other side of the steps leading to ,henry ,,vii4's ,chapel is ,st4 ,paul's ,chapel1 corresponding with ,st4 ,nicholas's ,chapel4 ,next we find the ,chapel of ,st4 ,john ,baptist with the ,chapel of ,st4 ,erasmus forming the entrance4 ,the doorway1 dating from the reign of ,richard ,,ii41 is beautiful1 a low arch1 supported by clustered pillars4 ,next to this comes ,islip's ,chapel1 screened off and vaulted by ,abbot ,islip 7died #aecb71 to hold his own tomb4 ,the abbot's rebus1 an eye with a slip of a tree grasped in a hand1 or a man slipping from the branch of a tree1 occurs frequently inside and outside the chapel4 ,in the upper part of ,islip's chapel are preserved the remarkable collection of wax-works4 8,the wax-works of ,westminster ,abbey have not been seen by many people1 but are deservedly famous4 ,at first1 it was customary when a king or any other great personage was to be buried1 to place on the coffin his effigy formed of boiled leather4 ,when the art of modelling in cuir bouilli was lost1 wax was employed for making the image1 and wax1 notwithstanding its proverbial pliancy1 is a very enduring substance4 ,from the north aisle of the apse we ascend a narrow staircase1 passing by the way some of the most beautiful sculpture in the ,abbey fronting the chapel of ,abbot ,islip4 ,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 ,,ii41 whose face1 as rendered familiar by numerous and contemporary engravings1 with its black eyes and swarthy complexion1 looks out from behind the glass of a cupboard only a few inches from the spot we have reached4 ,the royal figure is dressed in crimson velvet1 now sadly browned1 and adorned ,illustration3 ,,westminster ,,abbey3 ,,chapel ,,and ,,shrine ,,of ,,edward ,,the ,,confessor ,illustration3 ,,westminster ,,abbey3 ,,henry ,,vii',s ,,chapel with the finest lace of the period4 ,when we have recovered composure and breath1 and can look around1 we find ourselves in the presence of a series of most interesting and curious portraits4 ,the wooden presses1 with glass fronts1 are1 to judge from the pattern of the hinges1 of about the time of the monarch whose effigy was the first to confront us4 ,the rest1 taken chronologically1 consist of ten figures beginning with ,queen ,elizabeth and ending with ,lord ,nelson1 but neither of these1 the first and last1 were really funeral effigies40--7,w4 ,j4 ,l47 ,directly behind the ,confessor's ,chapel we come to ,henry ,,vii4's ,chapel1 originally designed to hold the remains of ,henry ,,vi41 who was buried at ,windsor1 but the plan was not carried out4 8,at the entrance to the chapel we are brought to what ,dean ,stanley calls a #8solemn architectural pause4' ,here we may study three distinct architectural periods4 #8,first1' as ,mr4 ,loftie says1 #8there is the early work of ,henry ,,iii41 who1 it will be remembered1 made a ,lady-,chapel here before he recommenced the rebuilding of the ,confessor's church4 ,secondly1 the next pier shows us the work done when the body of ,henry ,v4 was brought hither from ,france in #adbb4 ,lastly1 alongside of these two is the first column of the new and gorgeous structure with which ,henry ,,vii4 replaced the ,lady-,chapel of ,henry ,,iii4' ,the dimness of the approach materially enhances the effect of the superb building beyond1 and it cannot be doubted that this comparative gloom1 so far from being an accident1 was deliberately intended4 ,the building of the chapel occupied the first twelve years of the ,sixteenth ,century4 ,it measures inside #ajd feet #f inches long by #fi feet #aj inches broad1 and consists of a nave and aisles of four bays1 the nave terminating in five small polygonal chapels1 the style throughout being ,perpendicular4 ,the entrance is under a large central and two smaller side arches1 which have six bronze doors of superb design and splendid workmanship1 in which a number of ,henry ,,vii4's devices appear40--7,c4 ,h47 ,washington ,irving's impressions were as follows3 8,i stood before the entrance to ,henry the ,seventh's ,chapel4 ,a flight of steps leads up to it1 through a deep and gloomy1 but magnificent arch4 ,great gates of brass1 rich and delicately wrought1 turn heavily upon their hinges1 as if proudly reluctant to admit the feet of common mortals into this most gorgeous of sepulchres4 8,on entering1 the eye is astonished by the pomp of architecture and the elaborate beauty of sculptured detail4 ,the very walls are wrought into universal ornament1 encrusted with tracery and scooped into niches1 crowded with the statues of saints and martyrs4 ,stone seems1 by the cunning labour of the chisel1 to have been robbed of its weight and density1 suspended aloft1 as if by magic1 and the fretted roof achieved with the wonderful minuteness and airy security of a cobweb4 8,along the sides of the chapel are the lofty stalls of the ,knights of the ,bath1 richly carved of oak1 though with the grotesque decorations of ,gothic architecture4 ,on the pinnacles of the stalls are affixed the helmets and crests of the knights with their scarfs and swords2 and above them are suspended their banners1 emblazoned with armorial bearings1 and contrasting the splendour of gold and purple and crimson1 with the cold grey fretwork of the roof4 ,in the midst of this grand mausoleum stands the sepulchre of its founder1--his effigy1 with that of his queen1 extended on a sumptuous tomb1 and the whole surrounded by a superbly wrought brazen railing4 8,there is a sad dreariness in this magnificence2 this strange mixture of tombs and trophies2 these emblems of living and aspiring ambition1 close beside mementoes which show the dust and oblivion in which all must sooner or later terminate4 8,two small aisles on each side of this chapel present a touching instance of the equality of the grave1 which brings down the oppressor to a level with the oppressed1 and mingles the dust of the bitterest enemies together4 ,in one is the sepulchre of the haughty ,elizabeth2 in the other is that of her victim1 the lovely and unfortunate ,mary4 ,not an hour in the day but some ejaculation of pity is uttered over the fate of the latter1 mingled with indignation at her oppressor4 ,the walls of ,elizabeth's sepulchre continually echo with the sighs of sympathy heaved at the grave of her rival4 8,a peculiar melancholy reigns over the aisle where ,mary lies buried4 ,the light struggles dimly through windows darkened by dust4 ,the greater part of the place is in deep shadow1 and the walls are stained and tinted by time and weather4 ,a marble figure of ,mary is stretched upon the tomb1 round which is an iron railing much corroded1 bearing her national emblem--the thistle40 ,dean ,stanley writes3 8,it was to be his chantry as well as his tomb1 for he was determined not to be behind the ,lancastrian princes in devotion2 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 provided4 ,almost a second ,abbey was needed to contain the new establishment of monks who were to sing in their stalls #8as long as the world shall endure4' ,almost a second shrine surrounded by its blazing tapers and shining like gold with its glittering bronze1 was to contain his remains4 8,to the ,virgin ,mary1 to whom the chapel was dedicated1 he had a special devotion4 ,her #8in all his necessities he had made his continual refuge'2 and her figure1 accordingly1 looks down upon his grave from the east end1 between the apostolic patrons of the ,abbey1 ,peter and ,paul1 with #8the holy company of heaven--that is to say1 angels1 archangels1 patriarchs1 prophets1 apostles1 evangelists1 martyrs1 confessors and virgins1' to #8whose singular mediation and prayers he also trusted1' including the royal saints of ,britain1 ,st4 ,edward1 ,st4 ,edmund1 ,st4 ,oswald1 ,st4 ,margaret of ,scotland1 who stand1 as he directed1 sculptured tier above tier1 on every side of the ,chapel2 some retained from the ancient ,lady-,chapel2 the greater part of the work of his own age4 ,around his tomb stand his #8accustomed ,avours or guardian saints to whom he calls and cries'--,st4 ,michael1 ,st4 ,john the ,baptist1 ,st4 ,john the ,evangelist1 ,st4 ,george1 ,st4 ,anthony1 ,st4 ,edward1 ,st4 ,vincent1 ,st4 ,anne1 ,st4 ,mary ,magdalene and ,st4 ,barbara1 each with their peculiar emblems--#8so to aid1 succour and defend him1 that the ancient and ghostly enemy1 nor none other evil or damnable spirit1 have no power to invade him1 nor with their wickedness to annoy him1 but with holy prayers to be intercessors to his ,maker and ,redeemer4' ,these were the adjurations of the last ,medival ,king1 as the ,chapel was the climax of the latest ,medival architecture40 8,but although the ,chapel hangs on tenaciously to the skirts of the ancient ,abbey and the ancient ,church1 yet that solemn architectural pause between the two--which arrests the most careless observer1 and renders it a separate structure1 a foundation #8adjoining the ,abbey1' rather than forming part of it--corresponds with marvellous fidelity to the pause and break in ,english history of which ,henry ,,vii4's reign is the expression4 ,it is the close of the ,middle ,ages3 the apple of ,granada in its ornaments shows that the last ,crusade was over2 its flowing draperies and classical attributes indicate that the ,renaissance had already begun4 ,it is the end of the ,wars of the ,roses combining ,henry's right of conquest with his fragile claim of hereditary descent4 ,on the one hand1 it is a glorification of the victory of ,bosworth4 ,the angels at the four corners of the tomb1 held or hold the likeness of the crown which he won on that famous day4 ,in the stained glass we see the same crown hanging on the green bush in the fields of ,leicestershire4 ,on the other hand1 like the ,chapel of ,king's ,college at ,cambridge1 it asserts everywhere the memory of the #8holy ,henry's shade'2 the ,red ,rose of ,lancaster appears in every pane of glass3 in every corner is the ,portcullis--the ,alters securitas1 as he termed it1 with an allusion to its own meaning1 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 ,crouchback2 whilst ,edward ,,iv4 and ,elizabeth of ,york are commemorated by intertwining these ,lancastrian symbols with the ,greyhound of ,cecilia ,neville1 wife of ,richard1 ,duke of ,york1 with the ,rose in the ,sun1 which scattered the mist at ,barnet1 and the ,falcon on the ,fetterlock1 by which the first ,duke of ,york expressed to his descendants that #8he was locked up from the hope of the kingdom1 but advising them to be quiet and silent1 as ,god knoweth what may come to pass4' 8,it is also the revival of the ancient ,celtic-,british ,illustration3 ,,westminster ,,abbey3 ,,cloisters ,illustration3 ,,westminster ,,abbey3 ,,south-,,west element in the ,english monarchy1 after centuries of eclipse4 ,it is a strange and striking thought1 as we mount the steps of ,henry ,,vii4's ,chapel1 that we enter there a mausoleum of princes1 whose boast it was to be descended not from the ,confessor or the ,conqueror1 but from ,arthur and ,llewellyn2 and that roundabout the tomb1 side by side with the emblems of the great ,english ,houses1 is to be seen the ,red ,dragon of the last ,british ,king ,cadwallader--#8the dragon of the great ,pendragonship1' of ,wales1 thrust forward by the ,tudor ,king in every direction1 to supplant the hated ,white ,boar of his departed enemy--the fulfilment1 in another sense than the old ,welsh bards had dreamt1 of their prediction that the progeny of ,cadwallader should reign again40--7,a4 ,p4 ,s47 ,and now we will begin a more detailed survey3 8,we now enter ,henry ,,vii4's ,chapel1 the most perfect example of the ,perpendicular style at its best in the country4 ,at the entrance are beautiful bronze doors covered with designs symbolical of the titles of the ,royal founder4 ,it is impossible to describe in words the richness and beauty of the interior of this noble chapel4 ,the vault is very beautiful with fan-tracery4 ,the banners of the ,knights of the ,order of the ,bath hang over their stalls4 ,the misereres are wonderfully carved1 and are worthy of close examination4 ,the black marble tomb of the founder is considered to be the best example of the ,renaissance style in ,england4 ,it was fashioned by ,torregiano4 ,very numerous monuments are found here4 ,the tombs of ,mary ,queen of ,scots and of ,queen ,elizabeth have especial interest4 ,oliver ,cromwell's body once lay in the most eastern chapel1 but the ,royalists at the ,restoration wrought vengeance on his corpse1 and on that of other regicides1 and did not suffer them to remain in these hallowed precincts40--7,p4 ,h4 ,d47 ,the tombs that attract the most attention are those of ,queen ,elizabeth and ,mary1 ,queen of ,scots4 ,queen ,elizabeth's1 erected by ,james ,i41 consists of a canopy supported on ten ,corinthian pillars1 under which the effigy of the queen lies on a slab borne by lions4 ,mary ,i4 rests in the same tomb4 ,mary ,stuart's tomb bears an effigy4 ,at her feet is the crowned lion of ,scotland4 ,her body was removed from ,peterborough 7see page #cca7 by ,james ,i4 ,from the east walk of the ,cloisters1 finished in #acde1 we enter the ,chapter-,house1 dating from #acej4 ,it is octagonal and is noted for its fine tracery4 ,the ,house of ,commons used to meet here 7before #acdj74 ,the speaker sat in the abbot's seat4 8,the ,chapter-,house is visited by comparatively few of the myriads who come to the ,abbey2 but those who know what to look for may well linger for some time in this deeply interesting building4 ,the splendour and loveliness of the entrance to it show the important place which it held in the general estimation2 the stones under the left arcade of the vestibule are still deeply worn by the feet of generations of monks1 as they walked two and two to their weekly assemblies4 ,the vaulting and its bosses are quaint and rich4 ,the quaint entrance door itself1 bleared and ruined as it now is1 was once rich with gold and scarlet4 8,entering the ,chapter-,house we see at a glance an octagon of the noblest proportions1 of which the roof is supported by a slender and graceful pillar of polished ,purbeck1 thirty-five feet high1 #8surrounded by eight subordinate shafts1 attached to it by three moulded bands4' ,the painted windows were placed there as a memorial to ,dean ,stanley4 ,one was given by the ,queen1 and one by ,americans4 ,in the central light at the summit of each is represented the greatest man of each century--the ,venerable ,bede1 ,st4 ,anselm1 ,roger ,bacon1 ,chaucer1 ,caxton and ,shakespeare4 ,in the window over the door is ,queen ,victoria4 ,the central band of the windows represents many of the great historical events connected with the ,abbey40--7,f4 ,w4 ,f47 8,the ,chapel of the ,pyx is approached from the ,east ,cloister ,walk by a massive door with seven locks4 ,it is beneath the old dormitory and occupies two bays of the ,confessor's building1 and1 historically considered1 is perhaps the most interesting portion of the ,abbey buildings4 ,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 currency4 ,it has now been removed to the ,mint1 where the trial of the pyx takes place40--7,c4 ,h47 ,the ,cloisters with their arches1 beautiful tracery and ancient memorials are strangely impressive1 particularly as they are situated in the midst of ,london's roar2 yet here there is quiet4 ,the most famous part of the ,deanery is the ,jerusalem ,chamber projecting just beyond the south-west tower4 ,it probably was so called on account of the tapestry representing the history of ,jerusalem that adorned it4 ,henry ,,iv4 died in it in #adac1 according to the prophecy that he should die in ,jerusalem4 7,see ,henry ,,iv41 ,part ,,ii41 ,act ,,iv41 ,scene #d47 ,in this room the ,assembly of ,divines met in #afdc2 and the ,revisers of the ,old and ,new ,testaments of late years4 ,a small room with carved panelling1 built by ,abbot ,islip1 leading from it1 is known as the ,jericho ,parlour4 ,,index ,abbey of ,st4 ,werburgh1 #bae4 ,abbot's ,cloister1 #aga4 ,abbot's ,pew1 #dca4 ,abbots of ,st4 ,albans1 #cfj-cfa4 ,aisles1 ,five1 #ga4 ,aldred1 #aeb1 #aec4 ,alfred1 ,king1 #df1 #dg1 #di4 ,alleyn1 ,edward1 #dbd4 ,altar3--,canterbury1 #af2 ,chester1 #bai2 of the ,martyrdom1 #c2 ,st4 ,paul's1 #dji2 of the ,sword's ,point1 #c2 of the ,virgin1 #d4 ,ambulatories3--,exeter1 #ajb2 ,gloucester1 #afb4 ,amen ,corner1 #cih4 ,andr1 ,major ,john 7tomb71 #dca4 ,andrews1 ,bishop 7tomb71 #dbb4 ,angel ,choir1 #bhe1 #bhi1 #bih-cjj1 #cjg1 #cji4 ,angel ,tower 7,canterbury71 #i1 #aj1 #aa1 #ac1 #cj4 ,angel ,windows 7,salisbury71 #hh4 ,anne of ,bohemia 7tomb71 #dce4 ,anne of ,cleves 7tomb71 #dce4 ,anselm1 #ab2 burial-place of1 #be4 ,aquablanca1 ,thomas1 #agd1 #agg1 #ahj4 ,arcade1 ,winchester1 #fj4 ,archbishop of ,canterbury1 #b1 #bfc4 ,archbishop of ,york1 #bfc1 #bfe4 ,arches1 ,inverted 7,wells71 #aaj1 #aaf4 ,arundel1 ,earl1 and ,maud 7tomb71 #gb4 ,arundel ,tower1 #i1 #aa4 ,athelstan1 #ij4 ,atholl1 ,countess 7tomb71 #cj4 ,austen1 ,jane 7brass71 #ed4 ,aveline of ,lancaster 7tomb71 #dcc4 ,ave ,maria ,lane1 #cih4 ,ball-flower1 #adc1 #aei1 #afc1 #age4 ,ball and ,cross1 ,st4 ,paul's1 #djc4 ,baptistry ,tower1 #dcj4 ,bath ,abbey1 #acd-aci4 ,bayeux ,tapestry1 #dbe4 ,beauchamp1 ,james de 7effigy71 #aih4 ,beauchamp1 ,john 7tomb71 #aib4 ,beaufort1 ,cardinal1 #ec1 #ei1 #dag1 #dah4 ,beaufort1 ,jane1 #dag1 #dba4 ,beaumont1 ,francis1 #dbd1 #dcc4 ,becket1 ,thomas 1 #b1 #c1 #aj1 #ah1 #ai1 #bdi1 #bfb4 ,becket's ,crown1 #ai1 #bc-bd4 ,beckington1 ,bishop1 #ajh1 #aaj1 #aai4 ,beckington 7tomb71 #abi4 ,bede1 ,venerable1 grave of1 #bdb-bdc4 ,belfry ,tower1 #dcj4 ,bell ,harry ,tower1 #aa1 #cj4 ,bell ,tower1 #chj4 ,bell3--,dunstan 7,canterbury71 #aa2 7,rochester71 #cf2 ,great ,peter1 #bfh2 ,peter1 #ih2 ,tom of ,lincoln1 #caj-caa2 ,tom of ,oxford1 #cge4 ,bells3--,canterbury1 #cf2 ,exeter1 #ib2 ,gloucester1 #aeb2 ,lincoln1 #caj-caa2 ,oxford1 #cge1 #chj2 ,peterborough1 #cba2 ,st4 ,albans1 #cfi2 ,st4 ,saviour's1 #dah2 ,winchester1 #fe2 ,york1 #bfh4 ,bell ,ringer's ,gallery1 #bch4 ,ben ,jonson1 #dca4 ,berkeley1 ,maurice 7tomb71 #ade4 ,birde1 ,william1 #acd-ace4 ,bishop's ,cloisters 7,hereford71 #age4 ,bishops' ,gardens 7,norwich71 #cjc1 #ceg4 ,bishop's ,eye 7,lincoln71 #cje1 #cjh4 ,bishop's ,palace 7,wells71 #acb1 #acc4 ,bishop's ,throne3--,chester1 #bai2 ,exeter1 #ii1 #ajj-aja2 ,hereford1 #ahc2 ,lincoln1 #big2 ,ripon1 #beh4 ,bitton1 ,bishop1 #ij4 ,black ,prince 7tomb71 #i1 #bj-ba4 ,blois1 ,william de 7effigy71 #aih4 ,blue ,dick1 #i1 #ac1 #bg4 ,bohun1 ,joanne de1 #ahe4 ,booth1 ,bishop 7effigy71 #agf4 ,booth 7tomb71 #agf4 ,borough1 ,the1 #dae4 ,bouchier1 ,cardinal1 #af4 ,bowet1 ,archbishop 7tomb71 #bgd4 ,boy ,bishop1 #hb-hc4 ,boys1 ,dean 7tomb71 #bg4 ,brantingham1 #ia1 #ajj4 ,bridport1 ,giles de 7tomb71 #hf-hg4 ,brithnoth1 #cce4 ,bristol1 #adj-aej4 ,bronescomb1 ,bishop1 #ia1 #ajb4 ,bronescomb 7tomb71 #ajc4 ,browne's ,gate1 #ajh4 ,bruce1 ,robert1 #bbg4 ,bubwith1 ,bishop1 #aaj4 ,bubwith ,tower1 #aac1 #aad1 #aah4 ,burne-,jones1 ,windows by1 #hh1 #chj1 #chb1 #chd1 #chf1 #chh1 #cia4 ,butler1 ,bishop 7tomb71 #adi4 ,butler ,tower1 #adj4 ,bytton1 ,st4 ,william 7tomb71 #abi4 ,campanile1 #fi4 ,canon ,alley1 #cih4 ,cantelupe1 ,walter de 7effigy71 #aih4 ,canterbury1 #a-cb4 ,carileph1 #bdd4 ,carlisle1 #bbg-bcb4 ,carving3--,carlisle1 #bbh2 ,exeter1 #ie1 #if2 ,lincoln1 #bhe1 #bie-bif2 ,wells1 #aag-aah1 #abj-abb1 #acj2 ,worcester1 #aif-aig2 ,york1 #bhj2 ,southwell1 #cag-cah4 ,cathedral ,pool1 #bja1 #bjc4 ,celia1 ,john de1 #cfc1 #cfd4 ,cemetery1 #e4 ,cemetery ,gate1 #ch4 ,censing ,angels1 #dcb4 ,cerdic1 #df4 ,chain-,gate1 #ajb1 #aab1 #aac1 #abd4 ,chantry3--,audley1 #he1 #age1 #ahe-ahf2 ,beaufort1 #fb2 ,birde1 #aci2 ,bubwith1 #abb2 ,edington1 #ed1 #afb2 ,fleming1 #cjb1 #cji2 ,fox1 #fb1 #he2 ,gardiner1 #fb2 ,henry ,,iv1 #bb2 ,henry ,v1 #dce2 ,hungerford1 #he2 ,langton1 #fj1 #fa2 ,longland1 #cjb1 #cjh2 ,oldham1 #ajb1 #ajd-aje2 ,prince ,arthur1 #aie-aif2 ,ramryge1 #cgj1 #cga2 ,russell1 #cjb1 #cjh2 ,speke1 #ajb2 ,st4 ,george1 #ajd2 ,st4 ,radegunde1 #ig2 ,stanbery1 #aha2 ,sugar1 #abb2 ,sylke1 #ih2 ,waynflete1 #fb2 ,wheathampstead1 #cgj1 #cga2 ,william of ,wykeham1 #ed-ee4 ,chapel3--,alcock1 ,bishop1 #cde2 ,berkeley1 #ada1 #adf2 ,botelers1 #afh2 ,christ ,church1 #cge2 ,derby1 #bbc1 #bbf2 ,dean's 7,canterbury71 #bb1 #bf1 #bg2 ,dean's 7,lincoln71 #cjf2 ,ducie1 #bbb1 #bbe2 ,four ,virgins1 #gb2 ,fraser1 #bbc1 #bbf2 ,guardian ,angels1 #fj1 #fa2 ,holy ,cross1 #aah1 #abc2 ,holy ,ghost1 #ii2 ,holy ,sepulchre1 #fd2 ,holy ,trinity1 #bbd2 ,islip1 #dcf2 ,jesus1 #aib1 #bbb1 #bbc1 #bbe1 #dji2 ,mallory1 #bee1 #bei2 ,morning1 #daj2 ,newton1 #ada1 #ade2 ,nine ,altars1 #acj1 #bcf1 #bcg1 #bch1 #bdj1 #bdf-bdg2 of the ,pyx1 #ddc2 ,order of ,st4 ,michael and ,st4 ,george1 #daj2 ,ringers1 #cji2 ,saints1 #cfg1 #cga2 ,seabroke1 #afi2 ,silkstede's1 #fd2 of the ,transfiguration1 #cgd2 ,warriors'1 #ah1 #be1 #bf2 ,west1 ,bishop1 #cde2 ,st4 ,andrews1 #ajb1 #afi2 ,st4 ,benedict1 #cca1 #dce2 ,st4 ,calixtus1 #abc2 ,st4 ,catherine1 #abi1 #chg2 ,st4 ,chad1 #baj-baa1 #bac2 ,st4 ,david1 #abc2 ,st4 ,dunstan1 #daj2 ,st4 ,edward the ,confessor1 #dcd2 ,st4 ,edmund1 #de1 #ig1 #dcf2 ,st4 ,erasmus1 #dcf2 ,st4 ,faith1 #ge1 #dcb2 ,st4 ,gabriel1 #cj1 #aje2 ,st4 ,george1 #bbd2 ,st4 ,hugh1 #cji2 ,st4 ,james1 #ajb1 #bbd2 ,st4 ,john1 #aic1 #aif2 ,st4 ,john the ,baptist1 #dc1 #ih1 #abi1 #dcf2 ,st4 ,john the ,baptist and ,st4 ,edmund the ,king1 #gc2 ,st4 ,john the ,divine1 #dbc2 ,st4 ,katherine1 #gc2 ,st4 ,kyneburga1 #cca2 ,st4 ,kyneswitha1 #cca2 ,st4 ,lucy1 #cha1 #cij2 ,st4 ,luke1 #cec1 #ceh2 ,st4 ,martin1 #abc2 ,st4 ,mary the ,less1 #cec1 #ceg2 ,st4 ,mary ,magdalene1 #gc1 #aje2 ,st4 ,nicholas1 #bbd1 #dcf2 ,st4 ,oswald1 #cca2 ,st4 ,paul1 #ih1 #afh1 #dcf2 ,st4 ,philip1 #afi2 ,st4 ,stephen1 #abi2 ,st4 ,thomas of ,canterbury1 #cbc2 ,trinity1 #f1 #i1 #ab1 #ah1 #ai1 #bj2 ,warner1 #dc4 ,chapels3--,ely1 #bbc1 #bbf2 ,lincoln1 #bib4 ,chapter-,house3--,bristol1 #ada2 ,carlisle1 #bcb2 ,chester1 #bba1 #bbe2 ,durham1 #bcg1 #bdh2 ,gloucester1 #adi-aej1 #aea1 #agb2 ,lichfield1 #acj1 #bjg1 #bac1 #bad2 ,lincoln1 #cjg2 ,peterborough1 #cca2 ,oxford1 #cgi1 #cib2 ,ripon1 #bei2 ,salisbury1 #gh1 #hh-hi2 ,southwell1 #cac1 #cag-cah2 ,wells1 #aab1 #aac1 #abd1 #abe-abf2 ,westminster ,abbey1 #dbh1 #ddb2 ,winchester1 #fd2 ,worcester1 #aii2 ,york1 #bfa1 #bhj1 #bha1 #bhb4 ,chapter-,house ,doorway 7,rochester71 #dd-de4 ,charles ,edward1 #bbh4 ,charlton1 ,bishop 7tomb71 #ahj4 ,chaucer1 #a1 #aj1 #dae4 ,chaucer 7tomb71 #dcb1 #dcc4 ,chaucer ,window1 #dai4 ,cheapside1 #cih4 ,chequers ,inn1 #h1 #aj4 ,chertsey's ,gate1 #ch4 ,chests1 ,mortuary1 #eg4 ,chester1 #bae-bba4 ,chichele ,tower1 #aa1 #ab4 ,chichele1 ,archbishop 7tomb71 #ag4 ,chichester1 #ff-ge4 ,chillenden1 ,prior1 #i1 #ab1 #ac1 #ca1 #cb4 ,choate1 ,joseph ,h41 #dbc4 ,choir3--,bath ,abbey1 #ach2 ,bristol1 #adb2 ,canterbury1 #ad-ag2 ,carlisle1 #bbg1 #bbh1 #bcj-bcb2 ,chester1 #bah2 ,chichester1 #gc2 ,durham1 #bcg1 #bdd2 ,ely1 #cdc-cde2 ,exeter1 #ii-ajb2 ,gloucester1 #ec1 #afj-afc2 ,hereford1 #ahb-ahc2 ,lincoln1 #bie-big2 ,lichfield1 #bji-baa2 ,manchester1 #bbe2 ,norwich1 #cef2 ,oxford1 #cha1 #chc2 ,peterborough1 #cbh-cbi2 ,ripon1 #bee-bef2 ,rochester1 #db2 ,salisbury1 #hd-he2 ,southwell1 #caf2 ,st4 ,alban's1 #cef2 ,st4 ,paul's1 #djd2 ,st4 ,saviour's1 #dba2 ,wells1 #abf-abi2 ,westminster ,abbey1 #dbg1 #dcc2 ,winchester1 #ee2 ,worcester1 #aic-aid2 ,york1 #bga-bgb1 #bha4 ,choir of ,conrad1 glorious1 #b1 #d1 #ab1 #ad4 ,choir-screen 7,lichfield71 #baa4 ,choir-screen 7,southwell71 #cac1 #caf4 ,choir-stalls3--,canterbury1 #i1 #ad2 ,carlisle1 #bca2 ,chester1 #bah-bai2 ,chichester1 #gc2 ,durham1 #bde2 ,ely1 #cde2 ,exeter1 #eg2 ,gloucester1 #afa2 ,hereford1 #ahc2 ,manchester1 #bbe2 ,norwich1 #cef2 ,peterborough1 #cbi2 ,ripon1 #bef-beg2 ,rochester1 #dc2 ,salisbury1 #he2 ,st4 ,albans1 #cfi2 ,st4 ,paul's1 #djh2 ,winchester1 #ef-eg2 ,worcester1 #aid2 ,york1 #bga4 ,choristers' ,green1 #hj4 ,choristers' ,vestry1 #cjf4 ,christ ,church ,gate1 #aj4 ,christ ,church1 ,oxford1 #cge4 ,clive1 ,geoffrey de 7tomb71 #ahj4 ,clock 7,exeter71 #ih4 ,cloisters3--,bristol1 #ada1 #adi2 ,canterbury1 #bh1 #ca-cb2 ,chester1 #bbj-bba2 ,chichester1 #ge2 ,durham1 #bdh2 ,ely1 #cdj1 #cda2 ,exeter1 #ii2 ,gloucester1 #aea1 #aei1 #agj-agb2 ,oxford1 #cej1 #ceh1 #cei1 #chj1 #cib2 ,peterborough1 #ccc2 ,salisbury1 #gh1 #hi2 ,wells1 #aaj1 #acb2 ,westminster ,abbey1 #dbh2 ,worcester1 #aih-aii4 ,cloister ,court1 #ccc4 ,close 7,salisbury71 #hj2 7,wells71 #ajh4 ,close ,gate1 #hj4 ,coldstream ,guards1 #daa4 ,college ,gate1 #cg4 ,collingwood1 #dab4 ,colston ,tower1 #adj4 ,conrad1 ,prior1 #b1 #ad4 ,cornish1 ,bishop 7tomb71 #abc4 ,cornwallis1 ,lord1 #dab4 ,constantine1 #df1 #bfb4 ,corona1 #ab1 #bc-bd4 ,coronation ,chairs1 #dce4 ,courtenay1 ,archbishop1 #ba4 ,creed ,lane1 #cih4 ,cricklade1 ,robert of1 #cgg1 #cgh4 ,cross1 ,st4 ,paul's1 #djg4 ,crouchback1 ,edmund 7tomb71 #dcd4 ,crypt3--,canterbury1 #bi-ca2 ,exeter1 #ajb2 ,gloucester1 #afi-agj2 ,hereford1 #ahf2 ,ripon1 #bed1 #bei2 ,rochester1 #de2 ,st4 ,paul's1 #dab2 ,wells1 #abf2 ,winchester1 #fd2 ,worcester1 #aih2 ,york1 #bgi-bhj4 ,dark ,entry1 #ca4 ,davenport1 ,bishop1 #he4 ,deanery 7,carlisle71 #bcb1 #ddc4 ,deanery ,gate1 #ch4 ,deanery ,gateway1 #cca-ccb4 ,dean's ,door1 #ccb4 ,dean's ,eye 7,lincoln71 #cjd1 #cji4 ,dean's ,yard1 ,st4 ,paul's1 #djj4 ,decorated3--,bristol1 #ade1 #adg2 ,canterbury1 #cb2 ,carlisle1 #bbg1 #bca1 #bcb2 ,chester1 #bae1 #bag2 ,ely1 #cch1 #cdc1 #cdd1 #cde1 #cdf2 ,exeter1 #ij2 ,hereford1 #age1 #ahj1 #ahb2 ,lichfield1 #bjb1 #bjg1 #bji1 #baj2 ,lincoln1 #cja1 #cje1 #cjg2 ,norwich1 #cej1 #cec1 #ced1 #cei2 ,oxford1 #cgi1 #chg2 ,peterborough1 #cba1 #cbe1 #cbf1 #cbg1 #cbi1 #ccc2 ,ripon1 #bej1 #beb2 ,rochester1 #ch1 #da1 #dd-de2 ,southwell1 #cae1 #caf1 #cag2 ,st4 ,albans1 #cfh1 #cgd2 ,st4 ,saviour's1 #dah2 ,wells1 #aaa1 #aab1 #aad2 ,worcester1 #aia1 #aib2 ,york1 #bgi1 #bhj1 #bha4 ,devil ,looking over ,lincoln1 #cja1 #cji4 ,dickens1 ,charles1 #ch1 #da4 ,diocletian1 #df4 ,doddridge1 ,sir ,john and ,lady 7tomb71 #ajc4 ,dog-tooth1 #bjg1 #bjh1 #bad1 #bcj1 #bca1 #bea1 #cjg1 #cae1 #cbd1 #cfh4 ,dome 7,st4 ,paul's71 #cig1 #djb1 #dab4 ,doorway1 ,southwest 7,st4 ,saviour's71 #dah4 ,drum 7,st4 ,paul's71 #djg4 ,duncan1 #cai1 #ccj4 ,dun ,cow1 #bcd1 #cch4 ,dunstan1 #dbe4 ,durham1 #bcc-bdh4 ,earl of ,hertford 7monument71 #hg4 ,early ,decorated3--,hereford1 #aha2 ,lichfield1 #bja2 ,wells1 #acj2 ,york1 #bfg1 #bhb4 ,early ,english3--,bristol1 #ada1 #add2 ,carlisle1 #bcj2 ,chester1 #bae1 #bag1 #bbj1 #bba2 ,chichester1 #gj2 ,durham1 #bcf2 ,ely1 #cch1 #cdj1 #cdd1 #cdf2 ,exeter1 #ig2 ,gloucester1 #afh2 ,hereford1 #ahd2 ,lichfield1 #bja1 #bjg1 #baj1 #bad2 ,lincoln1 #bib1 #bie2 ,oxford1 #chf2 ,peterborough1 #cbj1 #cbd1 #cbg1 #cbh1 #ccb2 ,ripon1 #bej1 #beb2 ,rochester1 #ch1 #dj1 #da2 ,salisbury1 #gf1 #gh2 ,southwell1 #cae1 #caf2 ,st4 ,albans1 #cfd1 #cfh2 ,wells1 #aaa1 #aah1 #aai1 #abg1 #acc2 ,westminster ,abbey1 #dcj1 #dcb2 ,winchester1 #dh1 #eg1 #fj2 ,worcester1 #aif2 ,york1 #bjb1 #bhb4 ,earthquakes1 #aji1 #aec1 #bhg4 ,easter ,sepulchre1 #cja4 ,eastern ,transept 7,lincoln71 #big-bih4 ,east ,end3--,hereford1 #ahd2 ,wells1 #acj1 #aca2 ,st4 ,saviour's1 #dag4 ,east ,front 7,york71 #bha4 ,east ,window3--,bristol1 #adg-adh2 ,canterbury1 #bh2 ,carlisle1 #bbg1 #bbh1 #bca2 ,chichester1 #gj2 ,exeter1 #ajj1 #ajc2 ,gloucester1 #afd-aff1 #afg2 ,hereford1 #ahd2 ,lincoln1 #cjb-cjc2 ,oxford1 #cia2 ,ripon1 #beb2 ,southwell1 #caf2 ,st4 ,saviour's1 #dai1 #dbb2 ,wells1 #acb2 ,winchester1 #eh2 ,york1 #bfa1 #bfd1 #bgc-bgd1 #bha4 ,eboracum1 #bfb4 ,edfrid1 #ccd4 ,edgar1 #cac1 #cag1 #ccj1 #cce4 ,edgar1 ,coronation of1 #ace4 ,edington1 ,bishop1 #dh1 #di1 #ea1 #ec1 #ed4 ,edward ,i41 #bfe1 #bgd4 ,edward ,i4 7tomb71 #dce4 ,edward ,,ii4 7tomb71 #aeb1 #afa-afb4 ,edward ,,iii4 7tomb71 #dce4 ,edward ,,iv41 #e4 ,edward of ,caernarvon 7tomb71 #afb4 ,edward the ,confessor1 #cce1 #dbe4 ,edwin ,drood1 #ch4 ,edwin1 ,king1 #bfc4 ,eleanor1 ,queen 7monument71 #cjj2 7tomb71 #dce4 ,elder ,lady ,chapel 7,bristol71 #ada1 #add4 ,elias of ,dereham1 #gg4 ,elizabeth1 ,queen 7tomb71 #dch1 #dda4 ,elizabeth1 ,lady ,montacute 7tomb71 #chf4 ,elizabethan ,players and ,dramatists1 #dbd4 ,ely1 #ai1 #fc1 #ccd-cdh2 ,isle of1 #ccd4 ,erasmus1 #bi4 ,ernulf1 #b1 #ad1 #be1 #cj1 #ca1 #cd4 ,erpingham ,gate1 #cej1 #cea4 ,ethelbert1 ,king of ,kent1 #b1 #cc4 ,ethelred1 the ,unready1 #cgf1 #cgh4 ,ethelwold1 ,st41 #df1 #dg1 #dh1 #cai1 #cce4 ,evelyn1 ,john1 #bij1 #cif4 ,exchequer ,gate1 #caa4 ,exeter1 #ij-ajf4 ,faith1 ,hope and ,charity 7window71 #chb4 ,fan-tracery1 #bb1 #bg1 #abf1 #acg1 #ach1 #agj1 #cbi1 #chc4 ,feretory1 #ei4 ,fire3--,bath ,abbey #acf2 ,canterbury1 #d1 #i1 #ad-ae1 #ag1 #ah2 ,carlisle1 #bbg2 ,chichester1 #ff1 #fg2 ,exeter1 #ia2 ,gloucester1 #aec1 #aeh2 ,lincoln1 #bhf2 ,norwich1 #cej1 #cee1 #ceh2 ,peterborough1 #cai1 #ccj2 ,rochester1 #ce2 ,st4 ,paul's1 #cic2 ,st4 ,saviour's1 #daf1 #dag2 ,york1 #bff-bfg4 ,fitzhardinge1 ,robert1 #ada1 #adi1 #aej4 ,fitzjocelyn1 ,bishop1 #ajh1 #aag4 ,five ,sisters 7,york71 #bfa1 #bfi-bgj1 #bhb4 ,flambard1 ,randolph1 #bce1 #bdb4 ,fleet ,street1 #cih4 ,fletcher1 ,john1 #dbd4 ,flos ,florum1 #bfa1 #bhj4 ,flying-buttresses3--,canterbury1 #ab2 ,ely1 #cci1 #cdj2 ,gloucester1 #afd4 ,font3--,durham1 #bdj2 ,hereford1 #agf2 ,lincoln1 #bid2 ,peterborough1 #cbg2 ,ripon1 #bec2 ,wells1 #abb2 ,winchester1 #ec-fd4 ,four ,doctors of the ,church 7,durham71 #bcg1 #bdd4 ,fox1 ,bishop1 #ee1 #eg1 #ei1 #dba4 ,french ,church 7,canterbury71 #bi4 ,galilee ,chapel 7,durham71 #bcc1 #bcf1 #bdj-bdb2 ,porch 7,ely71 #ccf1 #cch2 ,porch 7,lincoln71 #cje-cjf4 ,garrick1 ,david1 #bjh4 ,gateway1 ,great 7,bristol71 #aej4 ,geometrical ,staircase1 #daa4 ,gibbons1 ,grinling1 #i1 #ad1 #djh-dji4 ,gibbons1 ,orlando1 #ag4 ,glass3--,lincoln1 #bid2 ,oxford1 #cij-cia2 ,york1 #bfa-bfb1 #bfd1 #bfi1 #bgj1 #bgb4 ,glastonbury1 #ajg4 ,glastonbury ,clock1 #abd4 ,glenham ,window 7,bristol71 #adc1 #ade4 ,globe ,theatre1 #dbd4 ,gloucester1 #aea-agc4 ,godelee1 ,john de1 #aji4 ,goldstone ,,ii1 #i1 #aj1 #aa1 #ac1 #bg1 #ca4 ,goldwell1 ,bishop1 #cej1 #ceb4 ,golden ,gallery1 #dac4 ,gorges1 ,thomas 7monument71 #hg4 ,gordon1 ,general1 #daa4 ,gower1 ,john 7tomb71 #dai-dbj4 ,grandison1 ,bishop1 #ij1 #ia1 #ib1 #ig1 #ii4 ,grandison1 ,sir ,peter1 #ahe4 ,gray 7,grey71 ,walter de1 #bej1 #bfd1 #cac1 #caf2 7tomb71 #bgj4 ,great ,fire1 #cif1 #dab4 ,great ,gate1 ,st4 ,albans1 #cfb4 ,grecian ,stairs1 #cab4 ,green ,church ,haw1 #cg4 ,green ,court1 #aj1 #ca4 ,gregory1 ,pope1 #a1 #b4 ,grimthorpe1 ,lord1 #cfj1 #cfd1 #cfe1 #cgc4 ,grosseteste1 ,robert1 #bhi1 #bic1 #caj1 #cba4 ,gundulf1 #cc1 #dj1 #aec2 7tomb71 #dd2 7tower71 #ce1 #cg4 ,gunthorpe1 ,dean1 #aaj4 ,hackett1 ,bishop1 #bjd4 ,hackett 7tomb71 #baj4 ,hadrian1 #bfb4 ,hagiscopes1 #bh4 ,hamo de ,hythe1 #cf4 ,harbledown1 #a4 ,harewell1 ,bishop1 #aaj4 ,harewell ,tower1 #aac1 #aad1 #aah4 ,harnham ,gate1 #hj4 ,harvard ,window1 #dbc4 ,hatfield1 ,bishop 7tomb71 #bde4 ,hawford 7effigy71 #aih4 ,henry ,,iii41 #d1 #gg1 #gh1 #dbe2 7tomb71 #dcd-dce4 ,henry ,,iv4 7tomb71 #ba-bb4 ,henry ,v41 ,chantry1 #dce4 ,henry ,,vii4's ,chapel1 #dbg1 #dcg-dda4 ,henry ,,viii41 #f1 #i1 #cba1 #cfj1 #cgf4 ,henry of ,huntingdon1 #bhf1 #cja4 ,hereford1 #ce1 #fg1 #acj1 #agd-ahg4 ,hereward1 #cai4 ,herkenrode ,glass1 #bji1 #bab-bac4 ,hugh of ,avalon1 #bhg4 ,hugh of ,eversden1 #cfe4 ,hugh de ,wells1 #bhh1 #bhi4 ,hodson of ,hodson's ,horse1 #baa4 ,holland1 ,lady ,m41 #bf4 ,holy ,hole1 #fj4 ,hotham1 ,john1 #ccf1 #cch1 #cdb1 #cdc2 7tomb71 #cdf4 ,house of the ,six ,poor ,travellers1 #da4 ,howley1 ,archbishop1 #af4 ,humble ,richard 7tomb71 #dbb4 ,hunton1 ,prior1 #fa4 ,husse1 ,dean 7tomb71 #abc4 ,imp on ,back of ,witch1 #cjh4 ,ina1 ,king1 #ajg4 ,ingoldsby ,legends1 #ca1 #gf4 ,islip1 ,abbot1 #dca1 #dcf1 #ddc4 ,irving1 ,w41 #dbi1 #dch4 ,jack ,blandiver1 #abd4 ,james ,i41 #dag4 ,jericho ,parlour1 #dbh1 #ddc4 ,jerusalem ,chamber1 #dbh1 #ddc4 ,jesse ,window 7,wells71 #abh4 ,jesus ,chapel1 ,norwich1 #cec1 #ceh4 ,jesus ,tower1 #bjj4 ,jewell1 ,bishop1 #gh4 ,joan of ,navarre 7tomb71 #ba-bb4 ,jocelin1 ,bishop1 #ajh1 #aji1 #aaa1 #aag4 ,john1 ,king 7tomb71 #aid-aie4 ,john of ,canterbury1 #cd4 ,john ,le ,romeyn1 #bfg4 ,john of ,thorsby1 #bfd1 #bhc4 ,johnson1 ,dr4 ,samuel1 #bjh4 ,joseph of ,arimathea1 #ajg4 ,joseph's ,window 7,durham71 #bdh4 ,justus1 #cc4 ,katherine of ,aragon1 #cba1 #ccj4 ,kemp1 ,cardinal1 #af4 ,kenwalk1 #df4 ,kilkenny1 ,bishop1 #cdf4 8,king of ,bath10 #ace4 ,king1 ,oliver1 #acd4 ,king ,window1 #cia4 ,kirton1 ,abbott1 #ccb1 #ccc4 ,knight 7effigy71 #fb 7,fourteenth ,century74 ,knight 7tomb71 #ajd4 ,knowle1 ,abbot1 #adb1 #adc1 #add1 #ade1 #adf1 #adg4 ,kyneburga1 #aeb4 ,kynegils1 #df4 ,lacey1 ,bishop 7tomb71 #aja4 ,lady ,arbour1 #age4 ,lady ,bells1 ,lincoln1 #bid1caa4 ,lady ,chapel3--,bristol1 #ada1 #adg2 ,canterbury1 #bg2 ,chester1 #bbj2 ,chichester1 #fg1 #fi1 #gd-ge2 ,durham1 #bcf2 ,ely1 #ccf1 #ccg1 #cch1 #cci1 #cdj1 #cdg2 ,exeter1 #ajb2 ,gloucester1 #aea1 #aed-aee1 #aff-afg2 ,hereford1 #age1 #ahc-ahd2 ,lichfield1 #bjc1 #bjg1 #baa-bab2 ,manchester1 #bbb1 #bbc1 #bbe2 ,oxford1 #cgd1 #cgi1 #chd1 #che1 #chf2 ,peterborough1 #cba2 ,ripon1 #bei2 ,rochester1 #cg1 #ch1 #da2 ,st4 ,alban's1 #cfg2 ,st4 ,saviour's1 #dag1 #dbb2 ,wells1 #aji1 #aab1 #abf1 #abi1 #acj-aca2 ,westminster ,abbey1 #dbf2 ,winchester1 #fj2 ,worcester1 #aif1 #aig1 #aih2 ,york1 #bfd1 #bgc1 #bhb4 ,lady ,lisle 7tomb71 #abc4 ,lady ,loft1 #bei4 ,lady1 ,fourteenth ,century 7effigy71 #ig4 ,la ,farge1 ,john1 #dbc4 ,lancet1 #fg4 ,lanfranc1 #b1 #ac1 #ah1 #cc4 ,langley1 ,cardinal 7tomb71 #bdb4 ,langton1 ,john de1 #fh4 ,langton1 ,stephen1 #d1 #gg4 ,langton1 ,stephen 7tomb71 #bf4 ,langton1 ,walter de1 #bjc4 ,lantern 7,ely71 #cci2 ,york1 #bfi4 ,lantern of the ,west1 #acg4 ,late ,decorated 7,york71 #bfg4 ,latin ,chapel1 #cha1 #chd1 #chg4 ,laurel ,court1 #ccc4 ,lee1 ,archbishop1 #bff4 ,leighton1 ,lord1 #daa4 ,library3--,chichester1 #gc2 ,gloucester1 #aea1 #aga2 ,hereford1 #aha2 ,st4 ,paul's1 #daa2 ,wells1 #aaj4 ,lichfield1 #bjj-bad4 ,liddell1 ,edith 7window71 #cia4 ,lincoln1 #bhd4 ,lincoln ,imp1 #cja4 ,ling1 ,a4 ,van1 #cgi1 #chb4 ,lollards' ,prison1 #gd4 ,london ,bridge1 #dae-daf4 ,longespe1 ,william1 #gg2 7tomb71 #hb4 ,longfellow 7bust71 #dcc4 ,losinga1 ,robert de1 #agd2 7tomb71 #ahb4 ,losinga1 ,herbert de1 #cdi4 ,louth1 ,bishop 7tomb71 #cdf4 ,louis ,,vii41 #d1 #h4 ,lucius1 ,king1 #b1 #df4 ,lucy1 ,bishop1 #dh1 #eg1 #fa2 7tomb71 #fj4 ,ludgate ,hill1 #cih1 #djj4 ,luffa1 ,bishop1 #ff4 ,lyhard1 ,bishop1 #cej1 #ceb1 #cee1 #cef4 ,manchester1 #bbb-bbf4 ,mandeville1 ,sir ,john1 #cfh4 ,map of the ,world1 #ahb4 ,marchia1 ,bishop 7tomb71 #abc4 ,margaret of ,anjou1 #cfa4 ,massinger1 ,philip1 #dbd4 ,maurice1 ,lord ,berkeley 7effigy71 #ade4 ,mary1 ,queen of ,scots1 #cbb1 #cca2 7tomb71 #dch1 #dci1 #dda1 #ddb4 ,meist' ,omers1 #ca4 ,melbourne1 ,lord1 #daa4 ,melrose ,abbey1 #bdi4 ,melton ,arch1 #bge4 ,mercery ,lane1 #h1 #aj4 ,merton1 ,walter de1 #dc4 ,minster ,yard1 #caa4 ,minstrels' ,gallery3--,exeter1 #if2 ,winchester1 #ed2 ,lichfield1 #baj-baa4 ,misereres1 ,exeter1 #ii-ajj4 ,misericords1 ,wells1 #abh2 ,bristol1 #adb4 ,mitford1 ,bishop 7tomb71 #he4 ,mompesson1 ,sir ,richard 7tomb71 #he4 ,monks' ,door3--,ely1 #cdj2 ,norwich1 #cei4 ,monks' ,stone1 #ccj4 ,monmouth ,rebellion1 #aaa4 ,montagu1 ,lady ,mary ,wortley1 #bjh4 ,montague1 ,bishop1 #ace2 7tomb71 #aci4 ,morning ,chapel1 #cca4 ,morton1 ,cardinal 7tomb71 #cj4 ,morwent1 ,abbot1 #aef1 #aeh1 #aei4 ,music ,gallery 7,wells71 #aai4 ,nave3--,bath1 #acg2 ,bristol1 #ada2 ,canterbury1 #ab-ac2 ,carlisle1 #bbi2 ,chester1 #bag2 ,chichester1 #ga-gb2 ,durham1 #bci-bdj2 ,ely1 #cda2 ,exeter1 #ie-if2 ,gloucester1 #aef-aeh2 ,hereford1 #age-agf2 ,lichfield1 #bjg-bjh2 ,lincoln1 #bib-bid1 #cji2 ,manchester1 #bbc-bbd2 ,norwich1 #cec1 #ced-cee1 #cff2 ,oxford1 #cha2 ,peterborough1 #cbh2 ,ripon1 #beb-bec2 ,rochester1 #dj-da2 ,salisbury1 #ha-hb2 ,southwell1 #cae2 ,st4 ,albans1 #cfg1 #cfh2 ,st4 ,paul's1 #djd2 ,st4 ,saviour's1 #dai2 ,wells1 #aae-abj2 ,westminster ,abbey1 #dbh2 ,winchester1 #ab1 #ea-ec2 ,worcester1 #aia-aib2 ,york1 #bgd-bgf1 #bhb4 ,nelson1 ,lord1 #daa-dab4 ,neville1 ,lady ,alice1 #bdc4 ,neville1 ,lord ,john 7tomb71 #bdc1 #bde4 ,neville1 ,lord ,ralph 7tomb71 #bdc4 ,neville ,screen1 #bdj1 #bde-bdf4 ,new ,building1 #cba1 #cbi-ccj1 #ccc4 ,new ,work 7,durham71 #bdf4 ,nicholas of ,portland1 #gg4 ,norman3--,bristol1 #ada1 #adi1 #aej2 ,canterbury1 #be1 #bi1 #cb2 ,carlisle1 #bbi2 ,chester1 #bbj2 ,durham1 #bch1 #bda2 ,ely1 #cdj1 #cda1 #cdd2 ,exeter1 #ia1 #ib2 ,gloucester1 #aea1 #aef1 #aeg1 #aeh1 #aei1 #afj1 #afh1 #agb2 ,hereford1 #age1 #agf1 #agh2 ,lincoln1 #bhf2 ,norwich1 #cdi1 #ceb1 #cec1 #ced1 #cee1 #ceg1 #ceh2 ,oxford1 #chc2 ,peterborough1 #cbj1 #cbf1 #cbg1 #cbh1 #cbi1 #ccj1 #cca1 #ccb1 #ccc2 ,rochester1 #cd1 #ch1 #dj1 #da2 ,southwell1 #cad1 #cae1 #caf2 ,st4 ,albans1 #cfc1 #cfe1 #cfi2 ,welles1 #aaj1 #aaa1 #aad-aae2 ,winchester1 #dh1 #eb1 #eg1 #fc2 ,worcester1 #aia1 #aib2 ,york1 #bjb1 #bfd1 #bgi4 ,northcote 7,chantreys71 #aje4 ,north ,door3--,durham1 #bch2 ,lichfield1 #bjf-bjg4 ,north ,front 7,westminster ,abbey71 #dbf-dbg4 ,north ,porch3--,bristol1 #ada2 ,exeter1 #ig1 #aij-aia2 ,hereford1 #age1 #agg2 ,manchester1 #bbc2 ,southwell1 #cae2 ,wells1 #aad-aae2 ,worcester1 #aij-aia4 ,north ,transept3--,hereford1 #agd1 #agg-ahj2 ,norwich1 #ceg2 ,st4 ,saviour's1 #dbj2 ,westminster ,abbey1 #dca-dcb2 ,york1 #bhb4 ,northwold 7,norwold71 ,bishop1 #ccf1 #ccg1 #cdc2 7tomb71 #cdf4 ,norwich1 #cdi-cei4 ,octagon 7,ely71 #ccd1 #cch1 #cci1 #cda4 ,offa1 ,king1 #ace1 #acf1 #agd1 #cfj1 #cfc4 ,old ,st4 ,paul's1 #cic-cie4 ,osric1 #aeb1 #aef4 ,osric 7monument71 #afb4 ,oswald1 #ahh1 #baf4 ,organ3--,canterbury1 #af2 ,gloucester1 #aei2 ,hereford1 #ahb2 ,rochester1 #cg2 ,salisbury1 #hd2 ,st4 ,paul's1 #djh-dji4 ,organs1 ,ancient1 #dg4 ,oseney ,abbey1 #chj1 #cia4 ,oxford1 #cge-cib4 ,painters' ,corner1 #dab4 ,palace ,green1 #bcg4 ,paris1 ,matthew1 #cba1 #cfb1 #cfc4 ,parker1 ,abbot 7tomb71 #afa4 ,parvise1 #cbe-cbf4 ,paternoster ,row1 #cih4 ,paulinus1 #cc1 #cd1 #bfc1 #bhe4 ,paul of ,caen1 #cfc4 ,paul's ,cross1 #cih1 #cii4 ,paul's ,walk1 #cie4 ,peckham1 ,archbishop1 #bg4 ,pembridge1 ,sir ,richard 7effigy71 #agf4 ,penda1 #cai4 ,penniless ,porch1 #ajh4 ,pepys1 ,samuel1 #cg4 ,perpendicular3--,bath ,abbey1 #acf2 ,canterbury1 #ab1 #bf2 ,chester1 #bae1 #bag1 #bbj2 ,ely1 #cdj1 #cda1 #cdg2 ,gloucester1 #aeg1 #aeh1 #aei1 #afj1 #afh1 #afi1 #agj1 #aga1 #agb2 ,hereford1 #age1 #aha1 #ahg2 ,lichfield1 #bjd1 #bji1 #baj2 ,lincoln1 #bid1 #cjh2 ,manchester1 #bbb2 ,norwich1 #cej1 #ceb1 #cec1 #ced1 #cei2 ,oxford1 #cgi1 #chc2 ,peterborough1 #cba1 #cbe1 #cbh1 #cbi1 #cca1 #ccb1 #ccc2 ,ripon1 #bea1 #beb2 ,rochester1 #ch1 #da2 ,southwell1 #cad2 ,st4 ,albans1 #cfe2 ,st4 ,saviour's1 #dah2 ,wells1 #aaa1 #aac1 #aah1 #aai2 ,winchester1 #dh1 #di1 #ea1 #eb1 #eg2 ,worcester1 #aia1 #aib2 ,york1 #bfg1 #bfh1 #bga1 #bgc1 #bha4 ,peterborough1 #cai-ccc4 ,peter's ,pence1 #cfb4 ,philippa of ,hainault 7tomb71 #dce4 ,pilgrimage of ,grace1 #bff4 ,pilgrims1 #d1 #e1 #f1 #g1 #h1 #aj1 #ag1 #ah1 #ca1 #dc1 #fh1 #afh1 #bce1 #bfe1 #cff1 #dae4 ,piscina3--,ripon1 #bec1 #beh2 ,rochester1 #dc2 ,wells1 #abi4 ,poets' ,corner1 #dbg1 #dbi1 #dcb4 ,pole1 ,cardinal1 #cg2 7tomb71 #bc4 ,pont l'vque1 ,roger de1 #bdi1 #bej1 #bfb1 #bfc4 ,poore1 ,bishop1 #gg1 #bcf4 ,porch 7,central71 ,chichester1 #gj4 ,portico 7,peterborough71 #cbd4 ,pottergate ,arch1 #cab4 ,precincts 7,canterbury71 #aj4 ,presbytery3--,norwich1 #ceg2 ,st4 ,alban's1 #cfi-cgj2 ,winchester1 #eg4 ,primate of ,england1 #b1 #bfc4 ,primate of ,all ,england1 #bfc4 ,priors' ,court1 #ca4 ,priors' ,door3--,ely1 #cda2 ,norwich1 #cei4 ,priors' ,gate1 #ch4 ,processional ,path1 #ceg4 ,pudsey1 ,hugh1 #bcf4 ,pulpit3--,oxford1 #cij2 ,wells1 #abb4 ,puritans1 desecrations by1 #i1 #bg1 #cg1 #baf1 #bjd1 #bbh1 #cbb-cbc1 #ccj-cca1 #cej-cea1 #cgi4 ,quivil1 ,bishop1 #ij1 #ia1 #ih1 #ii1 #ajb2 7tomb71 #ajb4 ,ralph1 ,bishop 7tomb71 #ge4 ,ralph of ,shrewsbury1 #aaj4 ,redman1 ,bishop1 #cdf4 ,refectory3--,carlisle1 #bcb2 ,worcester1 #aii4 ,regale of ,france1 #d1 #g4 ,relics of ,st4 ,thomas1 #c1 #e1 #f4 ,relics1 #cfh1 #cgh4 ,remigins1 #bhf1 #bid4 ,reredos3--,bristol1 #adg2 ,canterbury1 #af2 ,gloucester 7,lady ,chapel71 #afg2 ,hereford1 #ahc2 ,lincoln1 #big2 ,st4 ,albans1 #ei2 ,winchester1 #ei2 ,worcester1 #aid4 ,retable 7,italian71 #ceh4 ,retro-,choir3--,canterbury1 #ah2 ,carlisle1 #bcb2 ,chichester1 #fg1 #gd2 ,peterborough1 #cbi-ccj2 ,salisbury1 #acj1 #aca2 ,st4 ,albans1 #cgc2 ,st4 ,saviour's1 #dbb2 ,wells1 #abf1 #abi-acj4 ,reynolds1 ,sir ,joshua1 #daa4 ,reynolds1 ,archbishop 7tomb71 #be4 ,richard of ,fairleigh1 #gg4 ,richard of ,wallingford1 #cfe4 ,richard1 ,sir ,w41 #dji-daj4 ,ringers' ,chapel1 #bia1 #bib4 ,robert of ,lewes1 #ace4 ,robert1 ,bishop1 #ajh4 ,robert1 ,duke of ,normandy 7effigy71 #afh4 ,rochester1 #cc-de4 ,rodney1 ,admiral1 #daa4 ,roger de ,norbury1 #bjj4 ,roger and ,sigar1 #cfi4 ,romeyn1 ,john1 #bfd1 #cac4 ,romeyn1 ,john ,,ii41 #bfd4 ,rood-,screen3--,exeter1 #ii2 ,lincoln1 #bid2 ,ripon1 #bee2 ,st4 ,albans1 #cfg2 ,york1 #bgj4 ,roofs 7,winchester71 #fe4 ,royal ,children 7tomb71 #dce4 ,rupibus1 ,peter de1 #dah1 #dba1 #dbb4 ,sacrarium1 #dd4 ,sais1 ,john de1 #cbj1 #cbi4 ,salisbury1 #gf-hi4 ,sanctuary 7,durham71 #bci4 ,saxon3--,oxford1 #cgf1 #chc2 ,peterborough1 #ccj2 ,ripon1 #bed2 ,winchester1 #dg2 ,york1 #bgi4 ,scott1 ,sir ,g41 #fh1 #gj1 #hb1 #he1 #ii1 #aib1 #baa1 #bej1 #bef1 #beh1 #cbi1 #cdc1 #cde1 #cfj1 #chj4 ,screen3--,canterbury1 #ac1 #bi2 ,ely1 #cdc2 ,exeter1 #ii2 ,lincoln1 #cjf2 ,st4 ,saviour's1 #dba2 ,winchester1 #ee4 ,screen 7exterior73--,exeter1 #ib-ic2 ,wells1 #abf4 ,scrope1 ,richard1 #bfe2 7tomb71 #bgi4 ,sedilia3--,bristol1 #adg2 ,exeter1 #aja2 ,gloucester1 #afa2 ,ripon1 #beh2 ,rochester1 #dc2 ,southwell1 #caf2 ,st4 ,albans1 #cgd4 ,seffrid ,,ii41 #ff1 #fh1 #gb4 ,selwyn1 ,bishop 7effigy71 #bac4 ,serlo1 #aec1 #aef1 #aeg4 ,sermon ,lane1 #cih4 ,shakespeare1 #dbd4 ,sherborne1 ,bishop1 #fh4 ,sheppy1 ,john de 7tomb71 #dc-dd4 ,shrine of3--,st4 ,alban1 #cga-cgc2 ,st4 ,amphibalus1 #cfh1 #cgc2 ,cantilupe1 #agh1 #agi2 ,edward the ,confessor1 #dcd2 ,st4 ,etheldreda1 #cdf1 #ceg2 ,st4 ,erkenwald1 #cic2 ,st4 ,frideswide1 #cgh1 #che-chf2 ,john of ,dalderby1 #cje2 ,little ,st4 ,hugh1 #cjb2 ,st4 ,albans1 #cga2 ,st4 ,chad1 #bjc1 #bjd2 ,st4 ,cuthbert1 #bce1 #bdf2 ,st4 ,hugh1 #bii1 #cjj2 ,st4 ,paulinus1 #cd1 #cf2 ,st4 ,richard1 #gd2 ,st4 ,swithun1 #dh1 #ei2 ,st4 ,thomas1 #c1 #d1 #e1 #f1 #g1 #i1 #ah2 ,st4 ,werburgh1 #ai2 ,st4 ,wilfrid1 #bej2 ,st4 ,william1 #dc1 ,st4 ,ythmar1 #cf4 ,siebert1 #dbe2 7tomb71 #dce4 ,silkstede1 ,prior1 #ei1 #fd2 pulpit of1 #eg4 ,simcoe1 ,general1 #aje4 ,simeon of ,ely1 #fc1 #fd1 #cce1 #ccg1 #cdf4 ,simeon's ,tower1 #cce1 #ccf1 #ccg4 ,simon de ,montfort1 #cf4 ,skirlowe1 ,walter1 #bfh4 ,slabs1 carved1 #gc4 ,sleeping ,children 7,chantrey71 #baa4 ,slype3--,oxford1 #cib2 ,peterborough1 #ccc4 ,solomon's ,porch1 #dca4 ,south ,porch3--,canterbury1 #ab2 ,chester1 #bag2 ,gloucester1 #aef2 ,manchester1 #bbb4 ,southwark ,bridge1 #dae4 ,south ,transept3--,chester1 #bag2 ,lichfield1 #bjg2 ,westminster ,abbey 7see ,poets' ,corner72 ,york1 #bfi1 #bhb1 #ceh1 #dcb4 ,southwell1 #ce1 #cac-cah4 ,south ,door3--,lichfield1 #bjg2 ,lincoln1 #cjh4 ,spire3--,chichester1 #fh1 #fi1 #gi2 ,norwich1 #gi1 #ceb2 ,oxford1 #cgi2 ,peterborough1 #ccc2 ,salisbury1 #gg1 #gh1 #gi1 #ha1 #bdi4 ,spires 7,lichfield71 #bjj4 ,st4 ,aiden1 #bcc4 ,st4 ,alban1 #cfb1 #cfc4 ,st4 ,albans1 #cfj-cgd4 ,st4 ,albans1 ,battle of1 #cfa4 ,st4 ,alphege1 #dg4 ,st4 ,amphibalus1 #cfb-cfc4 ,st4 ,augustine1 #a1 #b1 #cc4 ,st4 ,birinus1 #df4 ,st4 ,chad1 #bjc4 ,st4 ,columba1 #bdi4 ,st4 ,cuthbert1 #bcc-bcd1 #bce1 #bdj4 ,st4 ,ermenilda1 #ccf4 ,st4 ,etheldreda1 #bae1 #ccd1 #cce1 #ccf1 #cdb-cdc1 #cdd4 ,st4 ,frideswide1 #cgg4 ,st4 ,helena1 #bfb4 ,st4 ,hugh of ,grenoble1 #bhg-bhi4 ,st4 ,hugh of ,lincoln1 #ajh1 #bih1 #cjj1 #cjf4 ,st4 ,hugh1 ,little1 #cjb4 ,st4 ,mary ,overie1 #daf1 #dag4 ,st4 ,paul's1 #cic-dad4 ,st4 ,saviour's1 #dae-dbd4 ,st4 ,sexburga1 #ccf4 ,st4 ,swithun1 #df1 #ea1 #daf4 ,st4 ,thomas1 #c1 #f-i4 ,st4 ,werburgh1 #bae4 ,st4 ,wilfrid1 #bdi1 #bej4 ,st4 ,william1 #bfd1 #bfe4 ,st4 ,william of ,perth1 #ce4 ,st4 ,william ,bytton1 #aji1 #aba1 #abb4 ,st4 ,william of ,norwich1 #cej4 ,st4 ,withburga1 #ccf4 ,st4 ,andrew's ,chapel1 #bh4 ,st4 ,andrew's ,tower1 #ah1 #ai4 ,st4 ,anne's ,gate1 #hj4 ,st4 ,anselm's ,chapel1 #be4 ,st4 ,anselm's ,tower1 #ai1 #be4 ,st4 ,augustine's ,choir1 #bh-bi4 ,st4 ,catherine's ,window1 #cia4 ,st4 ,cecelia's ,window1 #chd-che4 ,st4 ,cuthbert's ,window1 #bdh1 #bfa1 #bgc4 ,st4 ,dunstan's ,tower1 #aa4 ,st4 ,edmund's ,chapel1 #cdg4 ,st4 ,ethelbert's ,gate1 #cej1 #cea4 ,st4 ,frideswide's ,priory1 #cge4 ,st4 ,frideswide's ,window1 #chh-chi4 ,st4 ,hugh's ,choir1 #fg1 #bhe1 #bhg-bhi1 #bie1 #cjf4 ,st4 ,hugh's ,tower1 #big4 ,st4 ,hugh's ,transept1 #ce1 #cjh4 ,st4 ,lucy's ,chapel1 #cha4 ,st4 ,mary's ,gate1 #agc4 ,st4 ,mary's ,tower1 #bia1 #bib4 ,st4 ,michael's ,chapel1 #be4 ,st4 ,oswald1 ,church of1 #baf-bag1 #bah4 ,st4 ,paul's ,bridge1 #djj4 ,st4 ,paul's ,cathedral1 #cib-dad4 ,st4 ,paul's ,churchyard1 #cig-cih4 ,st4 ,richard's ,walk1 #ge4 ,st4 ,wilfrid's ,needle1 #bed4 ,st4 ,william's ,head1 #bfd1 #bff4 ,st4 ,william's ,window1 #bfa1 #bgc4 ,st4 ,william1 ,tomb of1 #dc4 ,stafford1 ,bishop 7tomb71 #ajc4 ,staircase 7,wells71 #abd4 ,stanley1 ,sir ,john1 #baa4 ,stapledon1 ,bishop 7tomb71 #aja4 ,still1 ,bishop 7effigy71 #abc4 ,stone ,gallery 7,st4 ,paul's71 #dab-dac4 ,stratford1 ,archbishop1 #af4 ,strickland1 ,bishop1 #bbg1 #bbh4 ,swinfield1 ,bishop 7tomb71 #ahj4 ,swynford1 ,catherine 7tomb71 #cja4 ,tabard ,inn1 #dae4 ,tait1 ,archbishop1 #bh4 ,te ,deum ,window1 #bdd4 ,thanksgiving at ,st4 ,paul's1 #djj4 ,thomas of ,bayeux1 #bfc4 ,thomas1 ,lord ,berkeley 7tomb71 #ade4 ,throne1 ,archbishop's1 #af4 ,tijou1 #djh4 ,tom of ,lincoln1 ,great1 #bia1 #caj4 ,tom of ,oxford1 #cge4 ,tom ,quad1 #cge1 #cgi4 ,tom ,tower1 #cge4 ,tower1 ,central3--,bath1 #acf-acg2 ,bristol1 #adj2 ,carlisle1 #bbh2 ,chichester1 #fh1 #fi2 ,durham1 #bce1 #bch1 #bdd1 #bfh2 ,ely1 #fc1 #cba1 #ccf1 #ccg2 ,gloucester1 #aec1 #aed2 ,hereford1 #age1 #agg2 ,lincoln1 #bid1 #caj2 ,oxford1 #cgh1 #cij2 ,peterborough1 #cbd2 ,ripon1 #bea2 ,rochester1 #cf2 ,st4 ,albans1 #cfe1 #cfi2 ,st4 ,saviour's1 #dah2 ,wells1 #aji1 #aad2 ,winchester1 #ee-ef1 #fc1 #fd2 ,worcester1 #aij2 ,york1 #bfe-bff1 #bfh4 ,tower3--,north1 ,exeter1 #ih2 ,simeon's1 ,ely1 #fd1 #dje1 #djf2 ,salisbury1 #ha2 ,walkelyn's1 ,winchester1 #fd4 ,towers3--,lincoln1 #bia-bib2 ,norwich1 #ceb2 ,wells1 #aac2 ,york1 #bfh4 ,tracery3--,exeter1 #ie2 ,hereford1 #ahg2 ,lincoln1 #bia1 #bid1 #cjb1 #cjd2 ,wells1 #abh2 ,york1 #bgh4 ,transept of the ,martyrdom1 #c1 #e1 #ag1 #ah1 #bf4 ,transepts3--,canterbury1 #ae1 #ag1 #be1 #bh2 ,carlisle1 #bbi1 #bcj2 ,chester1 #bah2 ,durham1 #bdc2 ,ely1 #cdf2 ,exeter1 #ih2 ,gloucester1 #afh-afi2 ,hereford1 #aha1 #ahb2 ,lichfield1 #bji2 ,peterborough1 #cca2 ,ripon1 #bed-bee2 ,rochester1 #da1 #db-dc2 ,salisbury1 #hc-hd2 ,st4 ,hugh's1 #cjh2 ,st4 ,paul's1 #daj2 ,st4 ,saviour's1 #dah2 ,wells1 #abj2 ,winchester1 #fc1 #fd1 #aif2 ,worcester1 #aib-aic2 ,york1 #bfi-bgj1 #bgb4 ,translation of ,st4 ,thomas1 #d1 #ai2 ,st4 ,swithun1 #dg4 ,trehearne1 ,john1 #dbc4 ,tully1 #aed4 ,valence1 ,a4 de 7tomb71 #dcc4 ,vaulting 7,norwich71 #cee-cef4 ,vicars' ,cloister1 #ahg4 ,vicars' ,close 7,lichfield71 #bja4 ,vicars' ,college1 #ajh1 #aab4 ,vigil of the ,translation1 #d4 ,villula1 ,john de1 #ace4 ,wakefield1 ,battle of1 #cfa4 ,walkelyn1 ,bishop1 #dg1 #dh1 #fd4 ,walsingham1 ,alan1 #ccf1 #ccg1 #cch1 #cdb1 #cde1 #dje4 ,waller1 ,lady 7monument71 #aci4 ,wallingford1 ,william of1 #cfe4 ,wallingford ,screen1 #cgj-cga4 ,walter1 ,hubert1 #be4 ,walton1 ,izaak 7tomb71 #fd4 ,warelwast1 ,william1 #ij1 #ajj4 ,warham1 ,archbishop 7tomb71 #bg4 ,wars of the ,roses1 #cfa4 ,watching ,chamber1 #ai1 #be1 #chg4 ,wat ,tyler's ,rebellion1 #cfa1 #cfb4 ,watts1 ,richard1 #da4 ,waxhouse ,gate1 #cff4 ,waxworks 7,westminster ,abbey71 #dcf-dcg4 ,waynflete1 ,bishop1 #ec4 ,well1 ,sacred 7,winchester71 #fe4 ,well of ,st4 ,thomas1 #ca4 ,wellington1 #daa1 #dab4 ,wells1 #ajg-acc4 ,west ,door3--,durham1 #bdb2 ,lichfield1 #bjf2 ,rochester1 #ch-ci4 ,west ,end 7,worcester71 #aij4 ,west ,front3--,bath1 #acd1 #acf2 ,bristol1 #adj2 ,canterbury1 #aa2 ,chester1 #bag2 ,chichester1 #gj2 ,durham1 #bcc2 ,exeter1 #ib2 ,ely1 #cch2 ,gloucester1 #aee-aef2 ,lichfield1 #bjd-bje2 ,lincoln1 #bij-bia2 ,norwich1 #cea2 ,peterborough1 #cbd-cbe2 ,ripon1 #bej1 #bea2 ,rochester1 #ch2 ,southwell1 #cad2 ,st4 ,paul's1 #dja2 ,westminster ,abbey1 #dbf2 ,winchester1 #ea2 ,wells1 #aac1 #aad2 ,york1 #bfg-bfh4 ,west ,tower 7,ely71 #cch4 ,west ,window3--,bristol1 #adb2 ,canterbury1 #ac1 #ad2 ,chichester1 #gj2 ,gloucester1 #afb2 ,lichfield1 #bje2 ,lincoln1 #bic-bid2 ,peterborough1 #cbg2 ,rochester1 #dj-da2 ,wells1 #abj2 ,westminster ,abbey1 #dcj2 ,winchester1 #ea2 ,york1 #bge4 ,west1 ,benjamin1 #dc1 #ei4 ,western ,porch 7,manchester71 #bbb4 ,western ,transept3--,lincoln1 #cjc2 ,peterborough1 #cbg4 ,westminster ,abbey1 #gh1 #dad1 #dbe-ddc4 ,wheathampstead1 ,john de1 #cfe4 ,wheel of ,fortune1 #db4 ,whispering ,gallery3--,gloucester1 #aee1 #afd2 ,st4 ,paul's1 #djd1 #djg1 #daj4 ,white ,church1 #bcd4 ,winchester1 #df-fe2 burials in1 #fc2 coronations in1 #di-ej4 ,winchester ,historical ,associations1 #di-ej1 #eh4 ,william the ,conqueror1 #bce4 ,william1 ,earl of ,dudley 7effigy71 #aih4 ,william1 ,english1 #d1 #ah1 #be1 #cf4 ,william1 ,fitzherbert 7tomb71 #bfc4 ,william of ,hatfield 7tomb71 #bgd4 ,william de ,hoo1 #cf1 #dc1 #dd4 ,william of ,malmsbury1 #bfc4 ,william ,rufus1 #dg1 #ee-ef1 #eh1 #aeg1 #cei1 #dbe4 ,william of ,sens1 #d1 #ab1 #ae1 #ah1 #be1 #cf4 ,william of ,st4 ,carileph1 #bcd4 ,william of ,trumpington1 #cfc1 #cfd1 #cfg4 ,william of ,wykeham1 #dh1 #di1 #ea1 #ec4 ,william ,la ,zouche1 #bfe4 ,window 7,decorated73--,chichester1 #fh2 ,diamond ,jubilee1 #dbj2 ,edward ,,iv4 7,canterbury71 #e1 #bf-bg2 ,edward ,,vii41 #daj2 ,flamboyant 7,oxford71 #cij2 ,south 7,st4 ,saviour's71 #dba4 ,windows3--,bath1 #acf1 #acg1 #ach2 ,bristol1 #adb1 #add1 #ade1 #adf1 #adh2 ,canterbury1 #aa1 #ac1 #ag1 #bb-bc1 #bd1 #be2 ,carlisle1 #bbi2 ,durham1 #bdc1 #bdh2 ,ely1 #cdj1 #cdf1 #cdg2 ,exeter1 #id1 #ig2 ,gloucester1 #aei2 ,hereford1 #aha1 #ahb1 #ahf-ahg2 ,lichfield1 #bji1 #bab2 ,lincoln1 #bia1 #cjg2 ,norwalk1 #cef2 ,oxford1 #cgi1 #chj2 ,peterborough1 #cbh1 #ccb2 ,rochester1 #cg1 #ch2 ,salisbury1 #hd1 #hg-hh2 ,southwell1 #cad1 #cae1 #caf2 ,st4 ,saviour's1 #dbc1 #dbd2 ,wells1 #aah1 #aai1 #abh2 ,westminster ,abbey1 #dcj2 ,winchester1 #eh2 ,york1 #bgf-bgi4 ,wolsey1 ,thomas1 #bff1 #caf1 #cge1 #cgi1 #dab4 ,worcester1 #ahh-aii4 ,wordsworth1 ,bishop 7tomb71 #cja4 ,wren1 ,bishop1 #cdj4 ,wren1 ,sir ,c41 #fi1 #gh1 #he1 #cjg1 #cdj1 #cge1 #cif1 #cig1 #djc1 #dje-djf1 #dab1 #dbf4 ,wulstan1 #aec1 #ahh1 #ahi4 ,wyatt1 #gh1 #hd1 #age1 #bcg1 #bdh4 ,wyvill1 ,bishop 7brass71 #he-hf4 ,wych1 ,richard de la1 #fh4 ,york1 #bjb1 #bfj-bhc4 ,york and ,lichfield1 #bjb4 ,young1 ,sir ,john 7tomb71 #adg4 ,ythamar1 #cc4 ,zouch 7tomb71 #cij4 ,,footnotes3 #a ,the dog-tooth being in the form of a four-leaved flower with a projecting centre1 has caused some authorities to think it derived from the dog-tooth violet4--7,e4 ,s47 #b ,the ,regale of ,france1 the glory of the ,shrine1 was long worn by ,henry himself in the ring which after the manner of those times encircled his enormous thumb4 ,it last appears in history among the 8diamonds0 of the golden collar of his daughter1 ,queen ,mary4 #c ,see page #d4 #d ,see p4 #abj4 #e ,canterbury1 ,rochester1 ,winchester1 ,worcester1 ,gloucester4 #f ,similar stalls1 or carrels1 existed at ,durham4 #g ,the cloister1 of which the inner walls only remain1 itself extended beyond this passage eastward4 #h ,a triforium in purely ,perpendicular buildings is rare4 #i ,see pp4 #ii1 #aja4