Part 1

CANTERBURY

AGENTS

AMERICA THE MACMILLAN COMPANY 64 & 66 FIFTH AVENUE, NEW YORK

CANADA THE MACMILLAN COMPANY OF CANADA, LTD. 27 RICHMOND STREET WEST, TORONTO

INDIA MACMILLAN & COMPANY, LTD. MACMILLAN BUILDING, BOMBAY

CANTERBURY

BY W. TEIGNMOUTH SHORE PAINTED BY W. BISCOMBE GARDNER · PUBLISHED BY ADAM & CHARLES BLACK SOHO SQUARE · LONDON · W.

_Published April 1907_

TO

E. A. B.

FROM

E. G. O.

CONTENTS

PAGE

FIRST VIEW 1

THE STORY OF THE CATHEDRAL 7

THE CATHEDRAL--INTERIOR 18

THE CATHEDRAL--EXTERIOR 41

CANTERBURY PILGRIMS 54

THE RELIGIOUS 66

OTHER SHRINES 87

A CANTERBURY ROUNDABOUT 104

ENVOI 117

INDEX 119

LIST OF ILLUSTRATIONS

1. The North Side of the Cathedral _Frontispiece_

FACING PAGE

2. Christ Church Gate 4

3. The South Side of the Cathedral 10

4. The Chapel of “Our Lady” in the Undercroft 18

5. In the Nave of the Cathedral after Evensong 22

6. Edward the Black Prince’s Tomb in Trinity Chapel 32

7. The Warrior’s Chapel, looking Westwards 38

8. The West Towers and South-West Entrance to the Cathedral 42

9. Ruins of the Infirmary 44

10. The Baptistry, Canterbury Cathedral 46

11. Norman Staircase, King’s School 48

12. The Martyrdom, Canterbury Cathedral 50

13. South-West Transept and St George’s Tower 56

14. The Greyfriars’ House 64

15. Doorway from the Cloisters into the Martyrdom 70

16. Westgate 88

17. The Canterbury Weavers 92

18. The Quadrangle, St Augustine’s College 96

19. St Martin’s Church 102

20. The Cathedral, St Martin’s Church Tower, and Harbledown 110

CANTERBURY

FIRST VIEW

As we stand upon the summit of Bell Harry Tower--more happily called the Angel Steeple--of Canterbury Cathedral, looking down upon city and countryside, much of the history of England lies spread beneath our feet: the Britons were at work here before the Romans came marching with their stolid legions; here to Ethelbert, Saxon King of Kent, St Augustine preached the gospel of Christ; in the church below, Becket was murdered and the Black Prince buried; to this city, to the shrine of St Thomas, came innumerable pilgrims, one of them our first great English poet; then the crash of the Reformation swept away shrines and pilgrims, the mirk and romance of mediævalism vanished into the mists of history, and the city to-day lives chiefly in the past. Away to the east and south are the narrow seas, crossed by conquering Romans and Normans, crossed for centuries by a constant stream of travellers from all ends of the earth, citizens of every clime, to some of whom the sight of the English coast was the first glimpse of home, to others the first view of a strange land; away to the north and west are the Medway and the Thames, Rochester and London. From no other tower, perhaps, can so wide a bird’s-eye view of our history be obtained; Canterbury is so situated that ever since England has been and as long as England shall be, this city has been and will be a centre of the nation’s life.

At first entrance to it, Canterbury does not impress with its antiquity; there are, indeed, the ancient Cathedral, ancient gates and ancient houses. But as the sights of the city grow familiar, as its atmosphere enters into our souls, as its story becomes known, gradually and surely we realise that most of what we see now is but youthful compared with the great age of the place; and we feel that when all this of the present day has mouldered to dust, as must all man’s works, here will be another city, perhaps even fairer than the one we are looking on, and that the men of those days to come will wonder and speculate as to the likeness of us of to-day. Canterbury is ancient and beautiful; no place for the mere tourist who fancies that in an hour or two of sight-seeing he can learn to know and love her: she is like a beautiful woman, whose charms never stale; like a good woman, ever showing to those who love her some fresh enchantment.

But it is not history--not the story of dead events--that chiefly fascinates us in Canterbury, or, indeed, in any such city; it is the lives of the men who made that history, who took part in those events. Here, as we walk the streets, we think of Augustine, of Thomas, of the Black Prince, of many another; and of many great men of letters--Chaucer, Erasmus, Marlowe, Thackeray, Dickens, Stanley: the first painting for us the Canterbury of his own days, the last that of past times. To understand fully the beauty of such a place, we must allow not only its spirit to enter into us, but we must in our mind’s eyes people its ways with those who have walked there aforetime, with the shadows not of the great only but of the humble, who all in their degree helped to the making of history and of this historic city.

It is to the Cathedral that most men, when set down here, first turn their steps; and rightly so. We must not refuse to listen to the voices of its stones, must not look upon them as dull, dead, dumb things; to those who are ready to hear they will always a tale unfold--of beliefs gone beyond recall, of the men whose untiring patience and skill raised for us this splendid monument of the past, of saints and of sinners, of victors and of vanquished. The least advantageous way to attempt the attainment of any true sense of the fascination of Canterbury Cathedral is to enter it straightway, intent on seeing rapidly all that it contains of interest; though every stone in its fabric is of interest, almost every charm that it possesses will be lost to those who thus wrongly approach. Rather walk slowly round, entering the close by Christ Church gateway, completed in 1517, sadly battered by time but unspoiled by the hand of the destroying restorer; without stands the monument to Christopher Marlowe, son of the city. But we pass in to the quiet trees and the trim grass; we look up at Bell Harry Tower, the centre of the Cathedral as the Cathedral is of the city. Walk round, not troubling to seek out the name or the record of this portion of the building or of that;

round by Becket’s Crown and the ruins of the Infirmary, by the Dark Entry and so out into Green Court.

The face of Nature never grows so familiar to us that we know her every tone and expression; so is it with some of the handiworks of man--with this Cathedral, for instance. Great changes are wrought in its aspect by the seasons of the year, by daylight, by the lights of night, by sunrise and by sunset; changes which every man may see; and slight yet never insignificant changes are touched in upon the picture by every passing cloud that casts a shadow upon the grey towers and walls, by every snowflake that finds a lodgment on its countless graven stones; changes which only the few who love will discern.

In visiting the interior the usual course pursued by visitors is curious and unsatisfactory, leaving but a confused impression upon those who have not read the story of the building, and killing what may be called its humanity. Of course, the traveller who desires to see as much as possible in the shortest possible time must not complain if he sees much and understands little; but those who have sufficient time at their disposal will do well to make several short visits rather than one of prolonged duration, each visit being devoted to a specific end. The two principal points of interest are the history of the fabric, and the martyrdom or murder of St Thomas à Becket, with its consequences.

THE STORY OF THE CATHEDRAL

To the eye of the expert the buildings of any ancient church or cathedral tell their story with simplicity and directness. Even to the eye of the inexpert in such matters, it is at once apparent that Canterbury is a growth of long ages, the handiwork of many generations of builders. The grey weather-beaten exterior, with its varied architecture, is evidently not the design of any single brain, and the dim, religious aisles and chapels echo with hints of memories of architects and masons into whose various hands came the glory of carrying on the work which their forefathers had begun and left for them to continue or to complete.

It is believed that on this same site there stood once a Roman or British church, which was granted to Augustine by Ethelbert, and by him consecrated and reconsecrated “in the name of the Saviour, our God and Lord Jesus Christ, and there he established an habitation for himself, and for all his successors”; in short, he founded the monastery of Christ Church. To this church additions were made by Archbishop Odo toward the end of the tenth century, concerning whom is narrated a pretty monkish legend: “The roof of Christ Church had become rotten from excessive age, and rested throughout upon half-shattered pieces: wherefore he set about to reconstruct it, and being also desirous of giving to the walls a more aspiring altitude, he directed his assembled workmen to remove altogether the disjointed structure above, and commanded them to supply the deficient height of the walls by raising them. But because it was absolutely necessary that the Divine Service should not be interrupted, and no temple could be found sufficiently capacious to receive the multitude of the people, the archbishop prayed to Heaven that until the work should be completed, neither rain nor wind might be suffered to intrude within the walls of the church, so as to prevent the performance of the service. And so it came to pass: for during three years in which the walls of the church were being carried upwards, the whole building remained open to the sky; yet did no rain fall either within the church, or even within the walls of the city, that could impede the clergy standing in the church in the performance of their duty, or restrain the people from coming even to the beginning of it. And truly it was a sight worth seeing, to behold the space beyond the walls of the city drenched with water, while the walls themselves remained perfectly dry.”[1]

Of this Saxon building it is not likely that there are any remnants in the present church, though it is barely possible that there are some relics of it in the west wall of the crypt.

When Alphege was archbishop, in the year 1011, the Danes attacked the city, sacked it, slaughtered the citizens, the while the monks sought refuge in the church. The archbishop went forth to utter an appeal to the marauders, who however, turning a deaf ear to his entreaties for mercy, seized and bound him: “Then these children of Satan piled barrels one upon another, and set them on fire, designing thus to burn the roof. Already the heat of the flames began to melt the lead, which ran down inside.” Driven from their sanctuary, the wretched monks went out to their death, only four of them escaping. Alphege was carried away to prison and to torture, and, after seven months, was put to death at Greenwich. Years after, the saint’s body was restored to his own church.

Fire without the sword wrought havoc in 1067, when “the devouring flames consumed nearly all that was there preserved most precious, whether in ornaments of gold, of silver, or of other materials, or in sacred and profane books.” Three years later when Lanfranc, Abbot of Caen, became archbishop, he found himself without a cathedral, and set to with vigour to restore the monastery and the church. In seven years he had raised a fair, new edifice upon the site of the wrecked building. “But before this work began, he commanded that the bodies of the saints, which were buried in the eastern part of the church, should be removed to the western part, where the oratory of the blessed Virgin Mary stood. Wherefore, after a three days’ fast, the bodies of those most precious priests of the Lord, Dunstan and Alphege were raised, and in the presence of an innumerable multitude, conveyed to their destined place of interment, and there decently buried. To which I, Edmer,

can bear witness, for I was then a boy at the school.”

Under the high altar of the old church the relics of St Wilfrid were found, and eventually buried to the north of the altar in the new building. Here may be quoted another story told us by Edmer: “In our own time, it happened to one of the elder brethren of the church, Alfroin by name, who filled the office of sacrist, that he, on the night of the festival of St Wilfrid, was resting in a certain lofty place in the church, outside the choir, and before an altar, above which, at that time, the relics of the blessed Wilfrid were deposited in a shrine. There, as he lay between sleeping and waking, he saw the church filled with light, and angelic persons performing the service, and beheld those whose duty it was to read or sing, ascend the cochlea or winding-stair, and ask a blessing before the altar and body of the blessed man, which done, they straightway descended, returned, and resumed the usual office of the church with all solemnity.”

Are not these stories quaint and simple, these told us by the old monks, with their simple faith? They dreamed dreams in those days and called them heavenly visions. To-day we attribute all our dreams to earthly causes. Who knows whether they or we are the wiser?

Of Lanfranc’s work there are most likely no further remains than some portions of the walls of the nave, of the Martyrdom and of the splendid crypt.

Under Anselm, Prior Ernulf continued Lanfranc’s work, by pulling down the eastern part and rebuilding it with far greater splendour. So magnificent was it that “nothing like it could be seen in England, either for the brilliancy of its glass windows, the beauty of its marble pavement, or the many coloured pictures which led the wandering eyes to the very summit of the ceiling.”

Ernulf was succeeded by Conrad, who completed the chancel, “the glorious choir of Conrad.” In 1130 the beautiful church was dedicated by Archbishop William. Never since the days of the dedication of the Temple of Solomon, so the story runs, had so famous a dedication been heard of in all the world.

Yet again did fire conquer and destroy; and once again it will be best to quote from the monkish chronicler, this time from Gervase, who was witness of the destruction.[2]

“In the year of grace one thousand one hundred and seventy-four, by the just but occult judgment of God, the church of Christ at Canterbury was consumed by fire.... Now the manner of the burning ... was as follows. In the aforesaid year, on the nones of September, at almost the ninth hour, and during an extraordinarily violent south wind, a fire broke out before the gate of the church, and outside the walls of the monastery.... From thence, while the citizens were assembling and subduing the fire, cinders and sparks carried aloft by the high wind were deposited upon the church, and being driven by the fury of the wind between the joints of the lead, remained there amongst the half-rotten planks, and shortly glowing with increasing heat, set fire to the rotten rafters; from thence the fire was communicated to the larger beams and their braces, no one yet perceiving or helping. For the well-painted ceiling below, and the sheet-lead covering above, concealed between them the fire that had arisen within.... But the beams and braces burning, the flames rose to the slopes of the roof; and the sheets of lead yielded to the increasing heat and began to melt. Thus the raging wind, finding a freer entrance, increased the fury of the fire; and the flames beginning to show themselves, a cry arose in the churchyard: ‘See! see! the church is on fire.’

“Then the people and the monks assemble in haste; they draw water, they brandish their hatchets, they run up the stairs full of eagerness to save the church, already, alas! beyond their help. But when they reach the roof and perceive the black smoke and scorching flames that pervade it throughout, they abandon the attempt in despair, and, thinking only of their own safety, make all haste to descend.

“And now that the fire had loosened the beams from the pegs that bound them together, the half-burnt timbers fell into the choir below upon the seats of the monks; the seats, consisting of a great mass of wood-work, caught fire, and thus the mischief grew worse and worse. And it was marvellous, though sad, to behold how that glorious choir itself fed and assisted the fire that was destroying it. For the flames multiplied by this mass of timber, and extending upwards full fifteen cubits, scorched and burnt the walls, and more especially injured the columns of the church.

“And now the people ran to the ornaments of the church, and began to tear down the pallia and the curtains, some that they might save, but some to steal them. The reliquary chests were thrown down from the high beam and thus broken, and the contents scattered; but the monks collected them and carefully preserved them from the fire. Some there were, who, inflamed with a wicked and diabolical cupidity, feared not to appropriate to themselves the things of the church, which they had saved from the fire.

“In this manner the house of God, hitherto delightful as a paradise of pleasures, was now made a despicable heap of ashes, reduced to a dreary wilderness, and laid open to all the injuries of the weather.

“The people were astonished that the Almighty should suffer such things, and maddened with excess of grief and perplexity, they tore their hair and beat the walls and pavement of the church with their heads and hands, blaspheming the Lord and His saints, the patrons of the church; and many, both of laity and monks, would rather have laid down their lives than that the church should have so miserably perished.”

It was worth quoting this account almost in full both for its vividness and vigour, and for the incidental details given of the structure; but the account of the rebuilding must be summarised, full as it is of picturesque and graphic touches. For some time nothing was accomplished in the way of restoration; the roof of the choir was, of course, entirely gone, and all the columns were in a dangerous condition. A French architect, William of Sens, was called in to advise. He was an active, handy man, skilful and resourceful, and the carrying out of the work was entrusted to him. The ruins were cleared away, stone procured from beyond the Channel, sculptors and masons assembled, and a commencement made in September 1174. For over four years William of Sens worked diligently, when by a terrible fall he was “rendered helpless alike to himself and for the work, but no other person than himself was in the least injured. Against the master only was the vengeance of God or spite of the devil directed.” How closely in touch with God--or the devil--were those men of old.

William the first, rendered helpless by his injuries, after a brave struggle returned to France, and was succeeded by William the second: “English by nation, small in body, but in workmanship of many kinds acute and honest.” It was not until 1184 that the new choir and some of the adjacent buildings were completed, and it is these that we view to-day. But some five years after the disastrous fire, the eager monks urged on the builders, being filled with a longing to celebrate Easter in the new choir. William the second worked manfully toward this end. On Easter Eve fire was lit and consecrated in the cloister, then carried in solemnity, with the singing of hymns and burning of incense, into the church, and the Paschal candle lit therewith.

The next great undertaking was the destruction of Lanfranc’s nave in 1378. The Norman’s work seems to have fallen into desperate disrepair. Archbishop Sudbury appealing for public help, “issued a mandate addressed to all ecclesiastical persons in his diocese enjoining them to solicit subscriptions for rebuilding the nave of the church, ‘propter ipsius notoriam et evidentem ruinam,’” and promising forty days’ indulgence to all who subscribed. Nowadays we should hold a bazaar. The works were not completed until 1411, under Archbishop Arundel, who contributed a thousand marks and the five bells known as the Arundell ryng. But it was not the archbishops in person but Prior Chillenden who actually carried out the rebuilding, becoming Prior in 1390 and dying in the same year that his task was completed. Practically nothing of Lanfranc’s nave remains; it was pulled down wholesale, and the existing nave, transepts, and portions of Bell Harry raised.

With the building of the towers it is better to deal when we come to walk round the exterior of the church.

So it will be seen, and more clearly understood as we wander round the interior, that Canterbury Cathedral sets before us the history of English ecclesiastical architecture. From Norman down to late Decorated, all styles are exemplified here, often most beautifully. From these historic stones echo back not only the voices of the great dead--warriors, kings and priests--but the noise of chisel and hammer and axe wielded by pious hands of those who in their humble sphere lived to the glory of God and of His Church.

THE INTERIOR

The best way to obtain a fair view of the beautiful proportions of the nave and of the most striking picture of the interior of the church, is to enter by the south-west door or porch. Here in Saxon days courts of law were held, cases being tried which could not be referred to other courts. Prior Chillenden about 1400 built the