Part 14

At the extreme end of the north-choir-aisle is =Saint Stephen’s Chapel= and at the extreme end of the south-choir-aisle is the corresponding =Saint Catherine’s Chapel=. Both contain effigies of bishops, tombs and monuments. Between and back of these is the Lady-Chapel.

We now return to the =Retro-choir=. Four slender piers of Purbeck marble bear up the vault. The arrangement of the columns should be particularly noticed here. It is hard to realise that this =Retro-choir= was merely a device for connecting the Lady-Chapel with the Choir, it seems so entirely a part of the scheme.

“The beauty of the retro-choir, or ‘procession aisles,’ the arrangement of its piers and clustered columns, and the admirable manner in which it unites the Lady-chapel with the choir should be here remarked. It is throughout Early Decorated. The foliage of the capitals and the bosses of the vaulting will repay careful examination. Many of the vaulting ribs appear to spring from two grotesque heads--one on either side of the low choir-screen--which hold them between their teeth. The four supporting pillars and shafts are placed _within_ the line of the choir-piers, thus producing the unusual intricacy and variety of the eastward view from the choir. At Salisbury, and in all other English cathedrals, the piers of the procession-aisles are placed in a line with those of the choir.”--(R. J. K.)

Mr. Bond thinks the Wells architect got his idea for the octagonal Lady-Chapel by tacking on the elongated octagonal of the Lichfield Chapter-House to the rectangular retro-choir of Salisbury.

“The Lady-chapel is an early work of the Curvilinear period; for it seems to have been complete in 1324. The windows have beautiful reticulated tracery of early type. There is lovely carving in the capitals, bosses, reredos, sedilia and piscina. The Curvilinear foliated capitals here and in the choir should be compared with the somewhat earlier capitals of the chapter-house, with the early Geometrical capitals of the staircase, the Lancet capitals of the west front and the late Transitional ones of porch, nave and transepts. The ancient glass here and in the Jesse window of the choir is superb in colour.

“As every one knows, it is the most beautiful east end we have in England. It may be worth while to see how this design was arrived at--a design as exceptional as it is effective. The simplest form of an east end in English Gothic is seen at York and Lincoln: it consists merely of a low wall with a big window above it. The next improvement is to build an aisle or processional path behind the east end; at the same time piercing the east wall with one, two or three arches. This was done at Hereford about 1180; and on a magnificent scale in the Chapels of Nine Altars at Durham and at Fountains early in the Thirteenth Century. But the French apsidal cathedrals--of which we have an example in Westminster--have not only an encircling processional aisle, but also a chevet of chapels radiating out from it; thus providing ever-changing vistas of entrancing beauty. The next step in England also was to provide our rectangular choirs with a chevet as well as with a processional aisle. An early example of this plan is to be seen at Abbey Dore, in Herefordshire, about 1190. It occurs early in the Thirteenth Century on a still grander scale at Salisbury, where one finds not one but two processional aisles, as well as chapels to the east of them; and, in addition, a Lady-chapel projecting still farther to the east, thus producing a design of great complexity and beauty. Nevertheless, at Salisbury, since the chief supporting piers of the retro-choir and the chevet are in a line with those of the choir, there is by no means the same changeful intricacy of vista that affords one ever fresh delight in an apsidal church. At Wells, however, the architect attained all the success of the Continental builder simply because he built his Lady-chapel not rectangular but octagonal. For to get this octagon, of which only five sides were supported by walls, he had to plant in the retro-choir two piers to support the remaining three sides; and these piers are necessarily out of line with the piers of the choir. He had got the Continental vista. He saw it; but he saw also that it could be improved upon. And he did improve it, by putting up an outer ring of four more piers round the western part of the octagon of the Lady-chapel. It was an intuition of genius: it makes the vistas into the retro-choir and the Lady-chapel a veritable glimpse into fairyland; and provides here alone in England a rival to the glorious eastern terminations of Amiens and Le Mans. And that is not all. We saw in the chapter-house the grand effect of the central stalk branching upward and outward in all directions, like some palm tree transmuted into stone. This beautiful effect he transfers to the retro-choir, but multiplied--four palm trees in place of one; for each of the four external piers of the octagon emulates the chapter-house’s central stalk.”--(F. B.)

The large windows are filled with fine specimens of Fourteenth Century glass unfortunately now jumbled together. The =East Window= is composed of odd pieces put together by Willement. David and other patriarchs occupy the upper tier, and the Virgin, Eve and the Serpent and Moses and the Brazen Serpent, the lower tier. The upper lights display angels with the instruments of the Passion, emblems of the Evangelists and busts of bishops and patriarchs.

“From the south-west transept we pass into the CLOISTERS, which occupy an unusual amount of space, but have only three walks instead of the usual four.

“The difference between a true monastic cloister and this of Wells should be remarked. The canons of Wells were not monks and did not require a cloister in the ordinary sense. This is merely an ornamental walk around the cemetery. It did not lead to either dormitory, refectory or chapter-house. It served as a passage to the Bishop’s Palace; and the wall of the east walk is Early English of the same date as the palace itself. The lavatory in the east walk should be remarked, as well as the grotesque bosses of the roof in the portion built by Bishop Beckington. Over the western cloister is the Chapter Grammar School. The central space is known as the ‘Palm Churchyard,’ from the yew-tree in its centre, the branches of which were formerly carried in procession as palms. From the south-east angle of the cloisters we descend into the open ground within the gateway adjoining the marketplace, and opposite the episcopal palace. This is surrounded by a moat, as well as by strong external walls and bastions, and would have been capable of sustaining a long siege according to the mediæval system of warfare. The moat is fed by springs from St. Andrew’s, or the ‘bottomless well’--the original ‘great well’ of King Ina,--which rise close to the palace and fall into the moat in a cascade at the north-east corner. Both walls and moat were the work of Bishop Ralph of Shrewsbury (1329-1365).”--(R. J. K.)

Wells is famous for its ancient houses. The old Palace and the Deanery are still occupied by the bishop and the dean; the canons and vicars also live in the individual houses built for these ecclesiastics. Wells was never a monastery with a common refectory and dormitory: there were always secular priests here and each man lived in his own house. Of all the domestic buildings the Bishop’s Palace is the most beautiful. It is considered the most perfect specimen of an Early English house that exists.

BATH ABBEY

DEDICATION: ST. PETER AND ST. PAUL. A CHURCH SERVED BY SECULAR CANONS.

SPECIAL FEATURE: WEST FRONT.

Standing before the =West Front=, we notice, first of all, that upon the angles of the nave on either side of the great window are two turrets, on the face of each of which is carved a ladder with angels ascending or descending. The space above the window is also carved with angels; and, under a canopy above the group, stands a figure of God the Father. Of this strange decoration the following story is told:

Oliver King, Bishop of Exeter, was translated to the See of Bath and Wells in 1495. He went at once to Bath, and found the church in a dilapidated condition. While there, he had a repetition of Jacob’s famous dream of a ladder reaching from heaven to earth with angels ascending and descending. Above them stood the Lord, who said: “Let an Olive establish the crown and a King restore the church.” Taking the hint, Bishop Oliver King immediately set to work to rebuild the church and had his dream recorded upon the west front. He also had an olive-tree and crown carved on each of the corner buttresses.

Bishop King’s new church was smaller than the old one. It only occupied the site of the former nave. He died before it was finished. Prior William Birde continued the work, not forgetting a chantry for himself, which is regarded as the best thing in the church. Birde died in 1525; and the work was still unfinished when it was seized by the king’s commissioners. The roofless and neglected church soon fell into decay; but in 1572 it was patched up a little in order that services might be held in it. The east window was glazed and the choir was roofed. The nave, however, was not roofed until Bishop Montague’s rule (1608-1616).

At the beginning of the Nineteenth Century, many mean houses that had clustered around Bath Abbey were removed, and buttresses and pinnacles were added to strengthen the walls. Repeated restorations have made it exceedingly trim in appearance.

About 775, Offa, the Mercian king, founded here a college of secular canons, who were expelled by Dunstan in the Tenth Century and superseded by monks.

One great event in the abbey church was the coronation of King Edgar on the Feast of Pentecost, 973; and for centuries afterwards it was the custom to select on Whitsunday a “King of Bath” from among its citizens, in honour of this circumstance.

John de Villula, a Frenchman from Tours, who was Bishop of Somerset in the reign of William Rufus, greatly preferred Bath to Wells. He was able to merge Bath Abbey into the bishopric; and then he began to rebuild the church dedicated to St. Peter. When it was finished, he transferred the bishop’s seat from Wells to Bath. This did not satisfy Wells, however, and when Robert of Lewes became bishop of Bath and Wells, he seems to have arranged matters by allowing the Bishop of Somerset to have a throne at St. Andrew’s in Wells and at St. Peter’s in Bath, the bishop to be chosen by the monks of Bath and the canons of Wells (See page 108).

The church built by John of Tours having suffered from fire, Robert was compelled to rebuild it; but subsequent bishops neglected Bath; and at the end of the Fifteenth Century, when Oliver King was removed here from Exeter, he found the church was in a ruinous condition and began to rebuild it, as we have seen.

Bath Abbey is a very interesting example of late Perpendicular. It was nearing completion when it surrendered to Henry VIII. in 1539, and is, therefore, the last expression of Gothic Art. The most interesting part of the church is the =West Front=, with its large window flanked by the turrets with the ladders, already described. Each turret contains a staircase; rises far above the parapet of the nave; and terminates in an embattled parapet surmounted by an eight-sided and crocketed pyramid.

“The great west window is one of seven lights, divided horizontally into four parts. Below it is a battlemented parapet with a niche in the centre, in which, no doubt, a statue formerly stood, and in which a new statue has recently been placed. At the base of it are the arms and supporters of Henry VII. Below it is the west door, beneath a rectangular label. The spandrels contain emblems of the Passion. On either side stand statues of St. Peter and St. Paul, to whom the church was jointly dedicated; these seem to be of Elizabethan date. The doors themselves were the gift to the church of the Lord Chief Justice, Sir Henry Montague, brother of the bishop who completed the church. On them may be seen shields bearing the arms of the Montagues and of the Bishop of Bath and Wells.”--(T. P.)

The =Central Tower= is oblong and rises two stages above the roof. It contains two pairs of windows

with rectangular heads and each corner is ornamented by a heavy octagonal turret also terminating in octagonal pyramids decorated with crockets. Similar pyramids terminate the turrets that flank the sides of the east window of the choir.

There is no Lady-Chapel.

Let us survey the exterior:

“The nave consists of five bays. The clerestory windows are unusually lofty, and are divided by transoms; they are of five lights. Along the top of the clerestory wall is a battlemented, pierced parapet; but the pattern of the pierced openings differs from that of the parapet which runs along the top of the aisle walls. The aisles have five light windows without transoms; their heads are four centred arches; between each bay are projecting buttresses of three stages with gabled offsets, finished with crocketed pinnacles; against them rest flying-buttresses formed of a lower semi-arch, with a straight rectilinear truss. From the points where the arched flying-buttresses abut against the clerestory walls, vertical, slightly projecting buttresses are built upwards against the wall and rising above the parapet, are finished by crocketed pinnacles. The same design is carried right round the church. The clerestory of the transepts resembles those of the nave and the choir.”--(T. P.)

Entering, our first and general view is impressive, because of the fan-vaulting and height of the =Nave=. Owing to the absence of horizontal lines, the vault seems higher than it really is. There is no triforium. A string-course runs above the arches of the main arcade beneath the clerestory windows, which are unusually tall. On account of the enormous windows and the absence of painted glass, Bath Abbey received the name of the “Lantern of the West”; but now that the windows of the nave and choir-aisles have been supplied with painted lights, the name is less appropriate. The tracery of these windows is, of course, Perpendicular. The one in the south-transept is a thanksgiving for the recovery of the Prince of Wales in 1872. The lower lights depict the recovery of Hezekiah and the royal arms of the Prince and Princess of Wales and also those of the city of Bath. The upper part represents the Tree of Jesse. The great east and west windows have seven lights. The west window contains subjects from Old Testament history, and the east-window, representations of the life of Christ.

“There is little variety in the arches and shafts throughout the church. This repetition is a well-known feature in Perpendicular work. The piers have no general capital. The shaft which carries the inner order of the arch has a capital, and so, at the same level, have the vaulting-shafts of the high vault and that of the aisles. These shafts spring from the bases of the main pillars. The capitals at this level are plain, and so are the capitals of the vaulting-shafts of the nave from which the vaulting-ribs spring. But in the choir the place of these plain bands is taken by carved angels. Carved angels also form the termination of the hood-moulding of the lower windows of the south transept, and probably those of the north transept also, though these windows are hidden by the wooden pipes of the organ.

“Over the heads of the clerestory windows of the nave are small shields, and shields may also be seen in the centre of the fan-tracery in the nave, choir and transept. In the aisles the fan-tracery is somewhat different, as in the centre of each bay there is a pendant. The vaulting of the nave and its aisles and that of the south transept are modern, put up, under the direction of Sir Gilbert Scott, to match the roof of the choir and its aisles and north transept respectively. The reredos was designed by the same architect. The oak screen across the eastern part of the south choir aisle is due to his son. The font is also modern. In fact, beyond the walls and the roofing of the eastern part of the church, there is little old about it. In the clerestory windows are a few fragments of Seventeenth-Century glass--heraldic shields.”--(T. P.)

Although Bath Abbey is full of monuments (there are over six hundred memorial tablets besides statues), the only tombs that deserve attention are those of =Bishop Montague=, in the fourth arch of the nave on the north side, and =Lady Waller’s Monument= under the southern window of the transept. The figure of her husband, Sir William Waller, who commanded the Parliamentary army in the Battle of Landsdown, near Bath, clad in mail, gazes down upon his dead wife. Two weeping children kneel at her feet.

Between the choir and the south-aisle =Prior Birde’s Chantry= occupies two bays. It is a most elaborate piece of carving. The rebus of the founder (a bird and a W) appears frequently. Fan-tracery decorates the vault.

The very fine organ is placed in the transept. The bells of Bath are famous.

BRISTOL

DEDICATION: THE HOLY TRINITY. A CHURCH SERVED BY AUGUSTINIAN CANONS.

SPECIAL FEATURES: EAST WINDOW (TRACERY AND GLASS); CHAPTER-HOUSE; GREAT GATEWAY.

The =West Front= of Bristol gives us a slight suggestion of a French cathedral, for here we find a rose window and a large doorway, at the side of which rise two square towers. The balustrade above the crocketed gable of the doorway partly hides the rose-window.

The towers were built in 1887 and 1888: the north-west is Bishop Butler’s Tower and the south-west, the Colston Tower. The Butler tower is enriched with statues of St. Michael, St. Gabriel and the Angel of Praise; the Colston, with the Angel of the Gospel, St. Raphael and the Angel of the Sun. On our right is the Great Gateway.

The exterior of Bristol is not very striking. The buttresses of the Elder-Lady-Chapel are Decorated and of the same date as the east window of the same chapel. We should also view the great east window of the Lady-Chapel from without and the =Central Tower=.

“Early in the Fifteenth Century a central tower was added. Here again one is struck by the originality of the British people: it is as beautiful as it is original. The designer had noticed how beautiful is the effect of a close-packed range of tall clerestory windows, such as those of Leighton Buzzard Church. So instead of restricting himself on each side of the tower to one or two windows, he inserts no less than five. The range of clerestory windows, which the Fourteenth Century builder refused to the choir, becomes the special ornament and glory of the tower.”--(F. B.)

As we enter through the =North Porch=, which occupies the space between two buttresses and is adorned with statues of the Four Evangelists, we may remember that when Henry VIII. created the diocese of Bristol there had been a church and monastery of Augustine canons on this site for four hundred years. This monastery was founded in 1142 by Robert Fitzhardinge, Lord of Berkeley Castle. Of his Norman church little remains but portions of the walls in both transepts, a staircase in the north-aisle leading to the tower, and some fragments in the choir. The Norman nave was removed in 1542, because it was thought unsafe. The new nave and western towers were completed in 1888 by Mr. Street, who copied from the old, repeating the vaulting and the recesses of the eastern end.

The ground plan consists of a nave with an aisle on either side; a central tower and transepts; then the choir with north and south aisles; and finally, the Lady-Chapel at the end. On the north of the north-choir-aisle is the first Lady-Chapel--built in the Early English style, and called Elder-Lady-Chapel to distinguish it from the later Lady-Chapel at the east end.

At the south-east end of the south-choir-aisle we find the Berkeley Chapel; and at the end of the south transept, the Newton Chapel. Beyond it is the Chapter-House with its Vestibule, and on the south and west the remains of the Cloisters.

Our best position for viewing the =Nave= is from the north or between the two big towers. It is 120 feet long, 60 feet high and 69 broad including the aisles. One peculiarity of Bristol is that the aisles are of the same height as the Nave; and another, that this Cathedral has neither clerestory, nor triforium. The windows of the Nave are very large and are strengthened by transoms.

The =West Window= has for its subject the _Adoration of the Lamb_. The =Choir= consists of four bays. It is in the Decorated style and dates from 1306 to 1332.

“The piers of the choir carry triple shafts which support the vaulting of the choir, and others for the aisles, which are here of the same height as the choir. Capitals of great delicacy and beauty, modelled from real foliage, serve to break the line of the mouldings and accentuate the springing of the vault. Graceful though the span of the roof is admitted to be, the lines of the arcade of the choir are finer, and the effect of the contrast of their soft mouldings carried up and around without a break is excellent. The iron screen-work that separates the choir from its aisles is uninteresting and too small in scale.”--(H. J. L. J. M.)

On either side of the high altar are canopied recesses containing monuments. The reredos is a memorial to Bishop Ellicott and is rather too high, therefore interfering with a good view of the splendid east window in the Lady-Chapel. The mosaic pavement is new, and the stalls are also modern. Some of the old =Misereres= have been preserved, however, and consist of grotesques. Some of them illustrate _Reynard the Fox_.

In both aisles of the Choir we are struck by the very peculiar vaulting designed by Abbot Knowle to strengthen the building and help carry the lateral thrust occasioned by the heavy central vaulting. These bridges, or transoms, therefore, do the work of flying-buttresses as faithfully to-day as when they were erected six hundred years ago.