Part 26

“The surface or exterior of Lincoln Cathedral presents at least four perfect specimens of the succeeding styles of the first four orders of Gothic architecture. The greater part of the front may be as old as the time of its founder, Bishop Remigius, at the end of the Eleventh Century; but even here may be traced invasions and intermixtures, up to the Fifteenth Century. The large indented windows are of this latter period, and exhibit a frightful heresy. The western towers carry you to the end of the Twelfth Century; then succeeds a wonderful extent of the Early English, or the pointed arch. The transepts begin with the Thirteenth, and come down to the middle of the Fourteenth Century; and the interior, especially the choir and the side aisles, abounds with the most exquisitely varied specimens of that period. Fruits, flowers, vegetables, insects, _capriccios_ of every description, encircle the arches or shafts, and sparkle upon the capitals of pillars. Even down to the reign of Henry VIII. there are two private chapels, to the left of the smaller south porch, on entrance, which are perfect gems of art.”--(T. F. D.)

In the Seventh Century, Paulinus, Bishop of York, made converts in the Roman hill-town of Lincoln, and several churches were founded. The “bishop’s stool” was at Sidnacester and Dorchester-on-Thames before it was fixed at Lincoln.

“The king” (William the Conqueror) “had given Remigius, who had been a monk at Fescamp, the bishopric of Dorchester which is situated on the Thames. This bishopric, being larger than all others in England, stretching from the Thames to the Humber, the bishop thought it troublesome to have his episcopal See at the extreme limit of his diocese. He was also displeased with the smallness of the town, the most illustrious city appearing far more worthy to be the See of a bishop. He therefore bought certain lands on the highest parts of the city, near the castle standing aloft with its strong towers, and built a church, strong as the place was strong, and fair as the place was fair, dedicated to the Virgin of Virgins, which should both be a joy to the servants of God, and as befitted the time unconquerable by enemies.”

Such is Henry of Huntingdon’s account of the transference of the See, which took place between 1072 and 1075.

The church built by Remigius, on the site of an earlier church, was completed in twenty years. Remigius died three days before the date appointed for the consecration, May 9, 1092, and was buried before the Altar of the Holy Cross in front of the rood-screen. This first church was 300 feet long. It was severely plain; but so strong that Stephen used it as a fortress in 1141, when the castle opposite was held by his enemies.

The next great builder was Alexander the Magnificent (1123-1148), nephew of Roger, Bishop of Salisbury. A fire destroying the roof in 1141 necessitated repairs. Alexander remodeled parts of the church. He added the elaborate doorways in the west front in 1146; the Norman arcade along the west front; and built the western towers.

“Part of the west front of Lincoln was built by Bishop Remi, or Remigius, 1085-1092: the small portion which remains of this work is a very valuable specimen of early Norman, the more so that the insertion of later and richer Norman doorways by Bishop Alexander, about fifty years afterwards, enables us to compare early and late Norman work, while the jointing of the masonry leaves no doubt of the fact that these doorways are insertions and, therefore, confirms the early date of the three lofty arches under which they are inserted. A comparison of the capitals and details of these two periods, thus placed in juxtaposition, is extremely interesting. The wide-jointing of the masonry and the shallowness of the carving distinguish the old work from the new. Several capitals of the later period are inserted in the older work, as is shewn on careful examination by the jointing of the masonry, and by the form of the capitals themselves: the earlier capitals are short, and have volutes at the angles, forming a sort of rude Ionic; the later capitals are more elongated, and have a sort of rude Corinthian, or Composite foliage.”--(J. H. P.)

In 1185 an earthquake injured the Cathedral; and so, when Hugh of Avalon became Bishop of Lincoln in 1186, he began to collect money for repairs and rebuilding. The eastern end of the original Cathedral was removed, and in 1192 Bishop Hugh laid the foundations of his very original Choir. The architect was Geoffrey de Noyers. J. H. Parker, who studied Lincoln Cathedral for thirty years, considers this work of St. Hugh (A.D. 1192-1200) pure Early English Gothic and the earliest building of that style in the world.

“Canterbury was completed in 1184 and in 1185 St. Hugh of Grenoble, also called St. Hugh of Burgundy, was appointed Bishop of Lincoln, and immediately began to rebuild his cathedral. It is therefore plain that this portion of the building was completed before 1200, and a careful examination enables us to distinguish clearly the work completed in the time of Bishop Hugh, which comprises his choir and the eastern transepts with its chapels. The present vaults of St. Hugh’s Choir, and of both the transepts, were introduced subsequent to the fall of the tower, which occurred in 1240.

“The architecture in the north of Lincolnshire and the south of Yorkshire appears to have been a little in advance of any other in Europe at that period. St. Hugh’s Choir at Lincoln is the earliest building of the pure Gothic style free from any mixture of the Romanesque that has been hitherto found in Europe, or in the world. The Oriental styles are not Gothic, though they helped to lead to it. The French Gothic has a strong mixture of the Romanesque with it down to a later period than the Choir of Lincoln. St. Hugh of Lincoln certainly did not bring the Gothic style with him from his own country Dauphiny, or from the Grande Chartreuse where he was educated, for nothing of the kind existed there at that period. Grenoble (the place from which St. Hugh was brought to England) and its neighbourhood was quite half-a-century behind England in the character of its buildings, in the time of Henry II. of England and of Anjou, in whose time this style was developed.

“Nothing can well exceed the freedom, delicacy and beauty of this work; the original arcade of the time of St. Hugh is of the same free and beautiful style as the additions of his successors. The crockets, arranged vertically one over the other behind the detached marble shafts of the pillars, are a remarkable and not a common feature, which seems to have been in use for a few years only; it occurs also in the west front of Wells Cathedral, the work of Bishop Jocelin, a few years after this at Lincoln; or perhaps under him, of Hugh de Wells.”--(J. H. P.)

The eight years during which Hugh carried on the work

“were busy ones at Lincoln. Contemporary records enable us to picture him encouraging the workmen by his presence and example, even shewing his zeal by carrying the stones on his own shoulders. He did not live to see his work completed, as Remigius had done. But he had set the example and given the pattern, and the work was continued by his successors until the building was again entire. Hugh had already finished the apse, the eastern transept, the choir, and part of the western transept (i.e., the whole eastern portion of the church) when he fell ill. Finding

his death approaching, he sent for his architect Geoffrey de Noyers, and enjoined him to hasten the completion of the altar of St. John the Baptist, his patron. He then gave directions for his funeral, and instructions that he was to be buried in the mother-church of his diocese dedicated to the Mother of God, near the altar of St. John the Baptist. The personality of the great bishop comes vividly before us when we read that he also wished his tomb to be placed near the wall, in a convenient place, lest it should be a stumbling-block to those approaching. On the 16th of November, 1200, Hugh breathed his last, lying, as he had wished, on the bare ground, on a cross of consecrated ashes. His instructions regarding the funeral were carried out; but such a light as Hugh’s could not be hid, and within a century we find his remains enclosed in a costly golden shrine, borne on the shoulders of kings and bishops, and placed at last in a structure erected specially for their reception, ‘one of the loveliest of human works,’ the celebrated Angel Choir. The original place of Hugh’s burial has been somewhat disputed. The _Magna Vita_ tells us that he was buried near the altar he had named, _a boreali ipsius aedis regione_. On the east side of the eastern transept, Hugh had placed four apsidal chapels, two north and two south of the central apse. From the words above quoted, it has been considered that the northern-most of these chapels was the site of his tomb.”--(A. F. K.)

The western transept and the nave were next finished (Thirteenth Century), and a central tower was built to replace the one that fell in 1237-1239. To this period belongs Bishop Hugh de Wells, brother of Jocelin (see page 108), who contributed largely to the funds for building and roofing.

He was succeeded by Roger Bacon’s friend, Robert Grosseteste (1235-1253). In his time the new nave was completed. The large screen of the west front, the central gable and the octagonal turrets at the corners, belong to this period; also the lower part of the central tower, the Canon’s Vestry at the eastern transept, and the Galilee Porch at the western transept. The trellis ornament always marks Grosseteste’s work. He made many changes in the windows.

To the treasurer, John de Welburne (died 1380), the Cathedral is indebted for its splendid choir-stalls.

The Russell and Longland chantries, the upper parts of the tower, and many windows date from the Perpendicular period.

John Evelyn, visiting Lincoln in 1654, gives us an idea how the Cathedral suffered in the Civil Wars:

“Lincoln is an old confused town, very long, uneven, steep and ragged, formerly full of good houses, especially churches and abbeys. The minster almost comparable to that of York itself, abounding with marble pillars, and having a fair front (here was interred Queen Eleanora, the loyal and loving wife who sucked the poison out of her husband’s wound); the abbot founder, with rare carving in the stone; the great bell, or Tom, as they call it. I went up the steeple, from whence is a goodly prospect all over the country. The soldiers had lately knocked off most of the brasses from the gravestones, so as few inscriptions were left; they told us that these men went in with axes and hammers, and shut themselves in, till they had rent and torn off some bargeloads of metal, not sparing even the monuments of the dead; so hellish an avarice possessed them: besides which, they exceedingly ruined the city.”

We are now able to analyze the =West Front=, knowing the periods of the great screen wall, with its Gothic arcading and the octagonal stair turrets capped by tall pyramids that terminate the ends; the two tall square towers, Norman below, Perpendicular above; the three great recesses pierced with windows and doors; the gable above the recess with seven arches (two pierced with windows and two containing statues) in a row and one above with angels.

We must note that upon the southern turret stands a statue of St. Hugh; and The Swineherd of Stow, who contributed a peck of silver pennies towards building the Cathedral, ornaments the northern one. It is a copy of the original, now in the Cloisters.

The tracery of the windows in the three recesses is supposed to date from the end of the Fourteenth Century. The big west window and the cinquefoil window above were placed there in Grosseteste’s rule (1235-1253).

The central door and those on either side of it, date from the Twelfth Century, and give the best possible idea of the Romanesque period just before it merged into Gothic.

Above the central door are eleven kings, from William the Conqueror to Edward III. These statues date from 1350 and were originally coloured and gilt.

The two western towers (Norman) were built in the Twelfth Century. The arcading (which is not the same in both) shows where they ended and where the Perpendicular stories were added, carrying them two hundred feet higher. Like the central tower, they were originally crowned with tall wooden spires, covered with lead. These spires became unsafe and were removed in 1807. In the northern, or =St. Mary’s=, hung “Great Tom of Lincoln” and its successor until 1834. The southern tower, called =St. Hugh’s=, has a ring of eight bells. Under St. Hugh’s the =Ringers’ Chapel= is naturally situated; and there is a corresponding chapel under =St. Mary’s Tower=.

Beneath =St. Mary’s Tower= we find the =Northwest Chapel=; under =St. Hugh’s=, the =Ringers’ Chapel=. Both chapels are vaulted with stone and date from the first half of the Thirteenth Century.

The =Nave=, a very characteristic example of the first half of the Thirteenth Century,

“exhibits an Early English style in its highest stage of development: massive without heaviness, rich in detail without exuberance, its parts symmetrically proportioned and carefully studied throughout, the foliated carving bold and effective, there seems no deficiency in any way to deteriorate from its merits.”--(G. G. S.)

There are seven bays. The first bay was converted into a sort of vestibule by arches constructed in the Eighteenth Century to add strength to the western towers. The big arch, separating the vestibule from the nave, dates from about 1730. The vaulting under the western towers dates from the Fourteenth Century; also the tracery covering the walls of these compartments.

“Each pier is surrounded by round shafts of Purbeck marble. The arch mouldings, like those of St. Hugh’s choir, were considered ‘beautiful specimens’ by Rickman. They are deeply cut, and throw good, bold shadows. In the triforium each bay contains two arches, supported by clustered columns with foliaged capitals. The spandrels are decorated with sunk trefoils or quatrefoils. In most cases the arches are each divided into three sub-arches with clustered shafts, the tympanum being pierced with quatrefoils. A difference is noticeable, however, in the easternmost arch and the two westernmost bays (five arches altogether) on both sides. Here the sub-arches are only two in number. The narrowness of the two western bays accounts for the variation at that end. The clerestory is the same throughout its length, having three tall narrow windows in each bay, with slender banded shafts. In the nave we have, according to Fergusson, ‘a type of the first perfected form of English vaulting.’ He calls it ‘very simple and beautiful.’ At the junctions of the ribs are elaborate bosses of foliage. The compartments are covered with plaster, once decorated in colours and gold. In the second bay from the east is the name: W. L. PARIS:--evidently intended as a record of some repairs to the vault. The springers rest on clusters of three long slender vaulting-shafts, rising from foliaged corbels just above the capitals of the nave piers.

“In the aisles, each bay has two lancet windows, except the easternmost bay on the south side, which has only one. In the jambs are slender Purbeck shafts, twice banded. Just beneath these windows, an arcade of trefoiled arches runs along the whole length of the nave, being continued on the screen walls to the western chapels. The arches are deep, with bold mouldings, and are supported by clustered columns. There are five arches in each bay, but they are not placed in the same manner on both sides of the nave. On the south, the arches are arranged in groups of five, with blank spaces of wall between, in front of which pass the vaulting-shafts. On the north, the arcade is continuous, and is so arranged that each cluster of shafts supporting the vault passes in front of an arch. The work on the south side is more elaborate; tooth ornament is used, a string-course runs along at the height of the capitals, and foliaged bosses are found in the lower corners of the spandrels. In addition to the clustered vaulting-shafts already mentioned, there is a single vaulting-shaft in the centre of each bay, between the windows, rising from a corbel above the wall-arcade. On the north side these corbels merely have plain mouldings, but on the south side they are foliated. The arrangement of the vaulting-ribs is different in the north and south aisles; and in the latter it will be noticed that some of the bosses have figure-subjects, besides the foliage met with on the north side. The _Agnus Dei_ carved on the boss in the fourth bay from the west should be noticed. To such minor differences, continually found in the corresponding parts of a Gothic edifice, the style undoubtedly owes a peculiar charm.”--(A. F. K.)

The great =West Window= was inserted, as we have seen, in Bishop Grosseteste’s time (1235-1253). Its tracery, however, dates from the end of the Fourteenth Century and is Early Perpendicular. The upper lights are filled with fragments of Fourteenth Century glass; but the glass in the lower lights is modern. The cinquefoil above, of the same date, contains modern glass also. The central figure represents Remigius, with his bishop’s staff in one hand and the church in the other. The rest of the glass in the nave is also modern.

Under the last arch on the north side of the nave we come to a slab supposed to mark the original burial-place of Remigius. This slab was discovered in the cloisters and is supposed to date from the time of that worthy prelate.

The neighbouring =Pulpit= is probably of the Eighteenth Century. On the other side of the nave stands the black basalt Norman =Font=, reminding us of the font in Winchester. Around the sides of the square basin a row of grotesque monsters is carved in low relief.

Now we come to the =Central Tower=. Four massive piers carry the four arches from which it rises. Foliage decorates the top of each arch. The spandrels are ornamented by two rows of arcading with slender-clustered shafts. The vaulting is of the Fourteenth Century. The iron rings on the piers were placed there for the purpose of fastening the bell-ropes of the “Lady Bells” that once hung in this tower.

A beautiful stone =Rood-Screen=, Decorated in style and dating from the end of the Thirteenth Century, fills the eastern tower arch, and marks the boundary of St. Hugh’s Choir. Traces of colour and gilding reveal themselves to an earnest scrutiny.

“On either side of the central doorway are four deep arches supported by detached pillars, decorated with grotesque heads and small figures of bishops. The wall behind is richly carved with diaper designs, shewing much freedom and variety. This screen was once decorated with colours and gilding, traces of which are still visible. It appears to have suffered a good deal at the hands of iconoclasts; many statues have doubtless been removed, and one must be very cautious with regard to the decoration which remains, as it was considerably restored by a mason named James Pink during the second half of last century. The screen now carries the organ erected in 1826.

“The two side doorways leading into the north and south aisles of the choir are somewhat earlier than the screen between them. They are beautiful examples of carving, dating from the end of the Early English period. The exquisite openwork foliage which runs round the arch is executed with the utmost skill and care, and is without the laboured effect of so much of our later stone-work. The injured parts were carefully restored about 1770 by James Pink, who was also employed by Essex on the canopy of the reredos. The doorways have modern iron gates.”--(A. F. K.)

The =Choir= now includes St. Hugh’s Choir and two bays of the Angel Choir beyond.

=St. Hugh’s Choir= is the earliest example of pure Gothic in the world. People are frequently disappointed in it because of its low vault and squat arches; but it must be remembered that the fall of the central tower in 1237-1239 greatly damaged this part of the building. In order to strengthen the choir some heavy columns without capitals replaced the original slender shafts. The arches were also partly reconstructed. Arcaded screens between the piers divide the choir from the aisles north and south, and aid in the support.

“The foliage of the capitals is exquisitely beautiful, and though distinguished technically by the name of _stiff-leaf foliage_, because there are stiff stalks to the leaves rising from the ring of the capital, the leaves themselves curl over in the most graceful manner, with a freedom and elegance not exceeded at any subsequent period. The mouldings are also as bold and as deep as possible, and there is scarcely a vestige of Norman character remaining in any part of the work.”--(R.)

Viollet-le-Duc, who fixes the date of St. Hugh’s Choir at 1220 or 1210 at the earliest, says:

“We have in Normandy, especially in the cathedral of Rouen and the church of Eu, architecture of the date of 1190; it is purely French, that is to say, it corresponds exactly with the architecture of the ‘Isle de France’ except in certain details. At Eu, at the cathedral of Le Mans, at Seez, we have architecture which resembles that of the choir of Lincoln, but that architecture is from 1210 to 1220, it is the Norman school of the Thirteenth Century. There is, indeed, at Lincoln, an effort at, a tendency to originality, a style of ornament which attempts to emancipate itself; nevertheless the character is purely Anglo-Norman.

“The construction is English, the profiles of the mouldings are English, the ornaments are English, the execution of the work belongs to the English school of workmen of the beginning of the Thirteenth Century.

“On the exterior the choir of the Cathedral of Lincoln is thoroughly English or Norman, if you will; one can perceive all the Norman influence; arches acutely pointed, blank windows in the clerestory, reminding one of the basilica covered with a wooden roof; a low triforium; each bay of the aisles divided into two by a small buttress; shafts banded. In the interior vaults which have not at all the same construction as the French vaults of the end of the Twelfth Century; arch-mouldings, slender and deeply undercut; the abacus round; the tooth-ornament; which do not at all resemble the ornaments which we find at Paris, Sens, St. Denis, etc.”

The =Choir-Stalls=, dating from the Fourteenth Century, are among the finest in England. Pugin considered them quite the best.