Part 17

“The east window in this chapel is in memory of Lieut. Arthur John Lawford (1885), and is dedicated to St. Martin.

“The chapel above has a vaulted roof with bosses of foliage, and there are small portions of ancient glass.

“The Lady-chapel is one of the largest in the kingdom, and is said, at the time of the Dissolution, to have been one of the richest. A great part of it is said to have been gilded and gloriously ornamented. Traces of the colour can be seen in the mouldings of the panellings and in the carving upon the walls.”--(H. J. L. J. M.)

The =Reredos= still retains traces of its gorgeous colours. It is very richly ornamented.

The =East Window=, consisting of nine lights, dates from 1472-1479. The monuments are not especially remarkable. The tiles of the floor and the sedilia are notable.

On our right, as we leave the Lady Chapel, we come to =Abbot Boteler’s Chapel= (1437-1450). It contains a fine ancient reredos, interesting tiles and a curious wooden =effigy of Robert, Duke of Normandy=, son of William the Conqueror. Critics think it nearly contemporary with the Duke himself. The figure rests on a Fifteenth Century chest.

Next we come to =St. Paul’s Chapel= (north-west) entered by a doorway. The reredos here is very fine. It was repaired in 1870. St. Peter, St. Paul and St. Luke, by Redfern, ornament the niches.

An ancient stone reading-desk, from which pilgrims to the shrine of Edward II. were addressed, attracts our attention near the door leading into the =North Transept=. This is originally Norman, cased over with Perpendicular panelling, more developed, however, than that in the south transept. The work here was done in 1368-1373. Angular mouldings are used in the place of round mouldings and the mullions run right up to the roof, which is much richer than that in the south transept. The vaulting of the north transept somewhat resembles the fan-tracery of the cloisters. This transept is 8 feet lower than that on the south side and it is 2 feet shorter.

Beneath the north window is a greatly admired piece of Early English (1240), supposed to have been a =Reliquary=. The middle of the three divisions is a doorway. Beautifully carved foliage and Purbeck marble shafts are the chief ornamentation.

Opposite, between the tower-piers, is a small chapel, said to have been dedicated to St. Anthony. It is used as the Dean’s vestry.

The =South Transept= (=St. Andrew’s Aisle=) was transformed from the Norman in 1329-1337. The vaulting is lierne with short ribs. The walls are panelled.

On the north side of the south transept, we find the =Seabroke Chapel=.

“The alabaster effigy represents the Abbot in his alb, stole, tunic, dalmatic, chasuble, amice and mitre, with his pastoral staff on his right side. The chapel has been partially restored. Traces of colour are to be seen in the reredos and the roof over it.

“Almost opposite to this, but nearer to the iron gate, is a recessed tomb to a knight in mixed armour of mail and plate, and by his side his lady, with kirtle, mantle and flowing hair. Both wear SS. collars, and this helps to give the age of the monument, by narrowing the date down to a year not earlier than 1399.”--(H. J. L. J. M.)

On the east side the =Chapel of St. Andrew= occupies a corresponding position to that of =St. Paul= in the north transept. This chapel has been restored. Some of the best glass in the Cathedral is contained in the east window over St. Andrew’s Chapel. It dates from about 1330 and consists of the head of a white scroll-work of vine leaves, etc., on a fine ruby-coloured ground, and below plain quarries with very simple borders.

Opposite Boteler’s Chapel we find =St. Philip’s Chapel= (south-east), restored in 1864. There is some dog-tooth moulding near the piscina. A fine Perpendicular arch, supporting the triforium above, attracts attention before the Lady-Chapel is entered.

The =Crypt= is entered from the eastern door in the south transept. It is one of the five great eastern crypts erected before 1085[5] and consists of an apse, three small apsidal chapels and two chapels underneath the eastern chapels of the north and south transepts.

“Great alterations have from time to time been made in the crypt. The large semicircular columns against the walls, though of great antiquity, are not parts of the original structure, but are casings built round, and enclosing the former smaller piers, and the ribs springing from their capitals are built _under_, with a view to support the vaulting.”--(F. S. W.)

Through a door in the organ screen in the north aisle of the nave we enter the =Cloisters=, which are among the most perfect and beautiful in England. They form a quadrangle and each walk is divided into ten compartments. Fan-tracery is thought to have originated here in the vaulting. They were begun by Abbot Horton (1351-1377) and completed by Abbot Froucester (1381-1412).

“The view looking down either of the walks is very fine, mainly owing to the richness of the groined roof, which is the earliest example of the fan-vault. This style of vaulting is entirely peculiar to England; and Professor Willis has suggested that the school of masons who were employed in this cathedral may have originated it. The wall sides of the cloisters are panelled; and the windows, divided by a transom, have rich Perpendicular tracery. The lights above the transom were glazed. Each walk is divided into ten compartments. In the south walk are the Carrels--places for writing or study, twenty in number, formed by a series of arches, running below the main windows. In each carrel is a small and graceful window of two lights.[6] The very fine view at the angle of the south and west walks should especially be noticed. In the north walk are the lavatories, projecting into the cloister garth; these are very perfect. Under the windows is a long trough or basin into which the water flowed. The roof is groined. Opposite in the wall of the cloister, is the recess for towels, or _manutergia_. The windows of the east walk are filled with memorial glass by Hardman (the eighth is by Ballantyne, as is one window in the west walk).”--(R. J. K.)

A small cloister, or slype, opens from the east walk between the cathedral and the chapter-house. This is also called the =Abbot’s Cloister=. This is Norman in its western portion and Perpendicular beyond.[7] Above this is situated the Chapter Library, a long, dark Perpendicular room with a roof of dark oak, a large Perpendicular window east and a row of small windows on the north side.

Though the cloisters are quadrangular, the length of the four walks is not quite the same. The width (12½ feet) and height (18½ feet) are alike.

In the =North Alley=, the Monks’ Lavatory is

“one of the most perfect of its date. It projects 8 feet into the garth, and is entered from the cloister alley by eight tall arches with glazed traceried openings above. Internally it is 47 feet long and 6½ feet wide, and is lighted by eight two-light windows towards the garth and by a similar window at each end. One light of the east window has a small square opening below, perhaps for the admission of the supply pipes, for which there seems to be no other entrance either in the fan vault or the side walls. Half the width of the lavatory is taken up by a broad, flat ledge or platform against the wall, on which stood a lead cistern or laver, with a row of taps, and in front a hollow trough, originally lined with lead, at which the monks washed their hands and faces. From this the waste water ran away into a recently discovered (1889) tank in the garth.”--(H.)

From the =West Alley= the monks entered their great dining-hall; and at the south-west corner a vaulted passage called the =Slype= lies under part of the old lodging of the Abbots, now the Deanery. In this passage, a sort of outer parlour, the monks held conversation with strangers. In the =South Alley= the monks studied after dinner until evensong. It has ten windows of six lights and twenty recesses, or “carrels,” below the transoms.

The roof of the =East Alley= is a perfectly plain barrel vault without ribs. In the south-west corner we find a hollowed bracket, or cresset stone, in which a wick, floating in tallow, was kept to light the passage.

Opposite the fifth bay a doorway, containing some good Norman work, slightly restored, leads into the =Chapter-House=.

Originally consisting of three Norman bays, it probably, like the chapter-houses at Norwich, Reading, and Durham, terminated in a semi-circular apse. The present east end is Late Perpendicular, and makes a fourth bay. The vaulting of the later part is well groined, and the window is good. The roof of the three Norman bays is a lofty barrel vault supported by three slightly pointed arches springing from the capitals of the columns, which are curiously set back, and separate the bays.

Norman arcading of twelve arches--_i.e._ four to each bay--runs along the three westernmost bays on the north and south walls.

“The west end is arranged in the usual Benedictine fashion, with a central door, flanked originally by two large unglazed window openings, with three large windows above. Only one of the windows flanking the doorway can now be seen, the other having been partly destroyed and covered by Perpendicular panelling when the new library stair was built in the south-west corner of the room.”--(H.)

Of the four old gateways remaining the finest is =St. Mary’s Gate=, a typical specimen of Early English work. It leads into St. Mary’s Square. In the northwest corner of the Precincts the famous vineyard was situated.

HEREFORD

DEDICATION: ST. MARY AND ST. ETHELBERT. A CHURCH SERVED BY SECULAR CANONS.

SPECIAL FEATURES: NORTH TRANSEPT AND EAST END.

Hereford is situated in the fertile and cultivated valley of the Wye.

“Almost in the midst of the city the sturdy mass of the cathedral building reposes in a secluded close, from which the best general view is obtained. The close is entered either from Broad Street, near the west window, or from Castle Street; the whole of the building lying on the south side of the close between the path and the river. The space between the Wye and the Cathedral is filled by the Bishop’s Palace and the college of the Vicars’ Choral. On the east are the foundations of the castle, which was formerly one of the strongest on the Welsh marshes.”--(A. H. F.)

A stone church was begun here about 830 in honour of St. Ethelbert, the East Anglian king, murdered by Offa near Hereford in 792. At his shrine miracles were wrought. This church was rebuilt in Edward the Confessor’s reign; but was plundered and burnt by the Welsh and Irish. The present building was begun by Robert de Losinga about 1079 and finished by the middle of the Twelfth Century. The most remarkable part of the building is the north transept. This is supposed to have been built by Bishop Aquablanca (see page 177), who was succeeded by Thomas de Cantilupe, the great saint of the Cathedral (see page 178).

Hereford has suffered greatly from calamities and restorations. In 1786 the western tower and west front fell. They were reconstructed by Wyatt. He also shortened the nave by one bay and destroyed the Norman triforium. Repairs and restorations were undertaken in 1841, 1852 and 1858.

The most striking feature of the exterior is the central =Tower=--of two stories above the roof with buttresses and exhibiting the ball-flower in great profusion. The four pinnacles at the corners were added in 1830. The Lady-Chapel with its tall lancet-shaped windows and bold buttresses is also interesting. On the south side the Audley Chantry projects with great effect; and from the west we gain a good view of the =Bishop’s Cloisters=, with the square turreted tower called the =Lady Arbour=, though nobody knows why. Only the east and the south walks now remain. They are Perpendicular with fine window openings and richly carved roof.

We enter the Cathedral by the =North porch=, completed in 1530. It is of two stages, and projects beyond an inner porch of the Decorated period. The doorway opening into the church is also Decorated.

On entering the =Nave=, we pass to the west end to get the best general view.

“The nave, which is separated from the aisles by eight massive Norman piers (part of the original church), of which the capitals are worthy of notice, has somewhat suffered by restorations at the hands of Wyatt. The triforium, the clerestory, the vaulting of the roof and the western wall and doorway are all his work; and it must not be forgotten that he shortened the original nave by one entire bay. Walking to the west end, from which the best general view is to be obtained, one is impressed by the striking effect of the great Norman piers and arches and the gloom of the choir beyond. Through the noble circular arches, which support the central tower and the modern screen on the eastern side of it, we see the eastern wall of the choir, pierced above by three lancet windows and below by a wide circular arch receding in many orders. A central pillar divides this lower arch, two pointed arches springing from its capital, and leaving a spandrel between them, which is covered with modern sculpture. In the far distance may be distinguished the east wall of the Lady-chapel and its brilliant lancet lights. Throughout the Cathedral the Norman work is remarkable for the richness of its ornament as compared with other buildings of the same date, such as Peterborough or Ely.

“The main arches of the nave are ornamented with the billet and other beautiful mouldings and the capitals of both piers and shafts are also elaborately decorated. The double half shafts set against the north and south fronts of the huge circular piers are in the greater part restorations.

“Over each pier-arch there are two triforium arches imitated from the Early English of Salisbury. They are divided by slender pillars, but there is no triforium passage. During the Late Decorated period the nave-aisles were practically rebuilt, the existing walls and windows being erected upon the bases of the Norman walls, which were retained for a few feet above the foundations. The vaulting of the roofs of the nave-aisles and the roof of the nave itself were coloured under the direction of Mr. Cottingham.”--(A. H. F.)

In the second bay of the south aisle stands an ancient =Font= of late Norman design, decorated with figures of the Apostles, on a base with four demi-griffins or lions. Among the monuments in the nave is an alabaster =Effigy of Sir Richard Pembridge=, in plate and mail armour with his greyhound. He died in 1375. Here are also the =effigy= and =tomb= of =Bishop Booth= (died 1535), who built

the north porch. The handsome iron grille in front of the tomb is of the same date.

The =Central Tower= rests on massive piers with Norman arches. The entire space is open from the floor of the Cathedral to the wooden floor of the bell-chamber, painted beneath in blue and gold. From this floor hangs a corona of wrought iron, coloured like the screen. The tower contains a fine peal of ten bells.

Through the north arch of the tower we pass into the =North Transept=, said to be the work of Peter of Savoy, who became Bishop of Hereford. He was called Bishop Aquablanca from his birthplace near Chambéry. He died in 1268 intensely hated. The original Norman north transept was pulled down about 1260 for this new one, rebuilt

“on a design which is perhaps the most original, as it certainly is one of the most beautiful in the history of English Gothic architecture. To the north and west were built enormous windows, with tracery of cusped circles, quite exceptional in their elongation, more like late German than English work. On the east side was built an aisle of exquisite beauty. Its arches, almost straight-sided--its triforium windows, a ring of cusped circles set under a semicircular arch--its clerestory windows, spherical triangles, enclosing a cusped circular window--the composition of the triforium--the north and west windows--are quite unique, except so far as they were copied in later work in the city and neighbourhood. At the south end of the aisle is the exquisite TOMB of Bishop Peter Aquablanca (died 1268); no doubt built in his lifetime. The tomb is as unique as the transept, and chiefly resembles it in design. The inference is that Bishop Aquablanca built the transept. The credit of it, however, is constantly given to his successors, apparently on account of his private vices. But saints as well as sinners have liked to leave memorials behind them in stone; and, moreover, Aquablanca had his good points. To this day four thousand loaves are distributed every year out of funds which he bequeathed. It is recorded, too, that of a fine which was imposed on the citizens for encroachments on his episcopal rights, he remitted one half and handed over the other for works on the cathedral.”--(F. B.)

Aquablanca was succeeded by Thomas Cantilupe, as much loved as the former was hated. Dying on a homeward journey from Rome, in 1282, his bones were removed from the flesh by boiling and carried to Hereford to be placed in the Lady-Chapel. Forty years later he was canonized. Many miracles were effected at his shrine, removed to the transept in 1287. King Edward I. sent sick falcons to be cured and people thronged with large offerings. We shall soon see all that is left of the =Cantilupe Shrine=.

“The Norman arches opening to the aisles of the nave and choir resemble those which correspond to them on the south side of the church. The transept beyond them was, as we have seen, entirely rebuilt, and is one of the most remarkable examples of the period remaining in England. The unusual form of its arches, and its pure, lofty windows, are sufficiently impressive now; but their effect must have been wonderfully increased when the windows were filled with glass displaying the history and miracles of the sainted Bishop, and when the shrine itself was standing on its pedestal within the eastern aisle, rich with the gold and jewels offered by the numerous pilgrims who knelt daily before it.

“The west side of the transept (which is of two bays beyond the aisle passage) is entirely filled by two very lofty windows of three lights each. The heads of the narrow lights are sharply pointed; and the tracery above is formed by three circles enclosing trefoils. These windows are set back within triangular-headed arches. On the north side is a double window of the same character divided by a group of banded shafts. The triple lights on either side of these shafts, and the foiled circles above them, precisely resemble the windows on the west side of the transept.

“The vaulting springs from clustered shafts, the corbels supporting which, on the east side, are beautiful and singular, and resemble bunches of reeds, terminating in a small open flower. The small heads below these corbels, at the intersection of the main arches, should also be noticed.

“The eastern aisles, lighted by three very beautiful windows, each of three lights, with three quatrefoils in the tracery, are set back within wider arches, as is the case with the windows in the main transept. In this aisle, in a line with the central pier, is the pedestal of the _Cantilupe Shrine_. This is a long parallelogram, narrowing toward the lower end, and is entirely of Purbeck marble. It has two divisions; the lower closed, like an altar-tomb, the upper a flat canopy, supported on small open arches. Upon this rested the actual shrine, containing the relics of the saint. Cantilupe was Provincial Grand Master of the Knights Templars in England; and round the lower division of the pedestal are fifteen figures of Templars in various attitudes, placed in the recesses of a foliated arcade. All are fully armed, in chain-mail, with surcoat, shield and sword. All are seated, and tread on various monsters, among which are dragons and swine, muzzled. The spandrels in this arcade, and the spandrels between the arches in the upper division, are filled with leafage of the first Decorated period, retaining some of the stiff arrangement of the Early English, but directly copied from nature. In the lower spandrels it is arranged in sprays; in the upper it is often laid in rows of leaves, among which occur oak, maple and trefoil. The whole of this work will repay the most careful examination. (It should be compared with the foliage of the capitals of the shafts surrounding the central pier of the aisle, which is far more stiff and conventional). On the top of the lower division of the pedestal was a brass of the Bishop, of which the matrix alone remains.

“The position of the shrine in this transept may be compared with that of St. Frideswide at Oxford, and with that of St. Richard de la Wych at Chichester. All had an altar immediately adjoining the shrine, which was dedicated to the saint, and at which the offerings of pilgrims were made. In these cases, however, the usual position of a great shrine--at the back of the high altar--was, for some special reason, departed from. At Hereford, this position of highest honour was probably occupied by the shrine of St. Ethelbert.”--(R. J. K.)

Close by is the interesting =monument= of =Bishop d’Aquablanca=, just by the north-choir-aisle. This Early English monument was once richly coloured.

The effigy of this foreign priest--Peter of Savoy--lies under a canopy supported by delicate shafts of Purbeck marble, the gables surmounted by floriated crosses, the central cross bearing a figure of the Saviour. The richly canopied =tomb= under the great north window bears the effigy of =Bishop Thomas Charlton=, treasurer of England in 1329 (died 1369).

Under the north-west-window is the canopied =tomb of Bishop Swinfield= (1283-1317). His effigy disappeared long ago, and some unknown figure lies there. The ball-flower is conspicuous in the mouldings of the canopy and behind the tomb there is a mutilated carving of the _Crucifixion_, surrounded by vine-leaves and tendrils, quite similar to the leafage of the Cantilupe Shrine. In a neighbouring recess decorated with the ball-flower lies the effigy of an unknown lady of the Fourteenth Century.

The =North-choir-aisle= is entered through the original Norman arch. In the north wall of this aisle in a series of arched recesses (Decorated) lie the effigies of various ecclesiastics. Beyond the first one, =Bishop Geoffry de Clive= (died 1120), a door opens upon the turret staircase leading to a typical monastic =Library=, containing more than 2,000 volumes, MSS. and ancient deeds, the accumulations of eight centuries. These are kept in eighty old oak cupboards and the ancient books are chained.