Part 9

About 1859 this spire showed signs of weakness, and underpinning was of no avail. On the 21st of February it inclined slightly to the south-west, then seemed to right itself; and then, amid a great cloud of dust, descended perpendicularly into the walls of the tower, doing no harm to the roof of the church. The fall only lasted a few seconds. As this happened in Queen Victoria’s reign, the old Sussex prophecy was fulfiled:

“If Chichester Church steeple fall In England there’s no King at all.”

The rebuilding was entrusted to Sir Gilbert Scott with a stipulation that the new tower and spire should be exact reproductions of the originals. Scott, however, added six feet to the height.

“The central tower, which is battlemented, with octagonal turrets at the angles, also battlemented, has in its principal or second story, two couplets in each face, with a quatrefoil in the head, each under a pointed arch. The spire is of beautiful design, octagonal; in each face is a window of two lights, flanked by pinnacled turrets, crocketed and canopied. Its elegance has constantly led to its being compared with that of Salisbury, which, however, differs from it in age and many other particulars, as well as size. It forms not only the central but the principal feature of the church, all whose lines are designed to work in with it, a very perfect effect of unity, as at Salisbury, being attained. It is locally said that the master built Salisbury and the man, Chichester.”--(W. J. L.)

The =West Front= is composed of three stories, a gable, porch and two towers. The northern tower is modern, copied from its twin, which is Early English above the third story. The great =West Window= is modern, copied from Fourteenth Century examples. The central porch (Early English) is of the same date and character as the south porch, which opens into the cloisters. The north porch (Early English) lies between the aisle and the north-west tower.

The north wall of the nave has some curious buttresses. In the south transept notice a richly traceried window (Decorated), of seven lights, with a beautiful rose window above. A trefoiled string-course ornaments the parapet in the transept and choir. The =East Window= consists of three lancet windows, with a rose window of seven foliated circles of the choir in the gable; it is flanked by arcaded pinnacles with small spires.

The first view of the interior of Chichester is somewhat severe.

“On entering the nave the eye is at once caught by the five aisles, a peculiarity shared by no other English cathedral but that of Manchester, although some parish churches have it on a smaller scale, as Taunton and Coventry. On the Continent the increased number of aisles is common, witness Beauvais, Cologne, Milan, Seville, and seven-aisled Antwerp. Grand effects of light and shade are produced by these five aisles: remark especially the view from the extreme north-east corner of the north aisle, looking across the cathedral. The great depth of the triforium shadows is owing to the unusual width of this wall passage. The breadth of the nave (91 feet) is greater than that of any English cathedral except York (103 feet).

“The first two stories of the south-west tower at the end of the nave deserve examination. The rude, long capitals, and plain circular arches, probably indicate that it formed a part of the first church completed by Bishop Ralph in 1108. The nave itself, as far as the top of the triforium, and the two aisles immediately adjoining, are the work of the same Bishop (died 1123),--or should perhaps be described as having formed part of the Norman cathedral completed in 1148. The clerestory above, and the shafts of Purbeck marble which lighten the piers, are Seffrid’s additions (died 1204). The vaulting is perhaps somewhat later; and it was because it was determined, after the burning of 1187, 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 piers, some of which he re-cased. The two exterior aisles, north and south, were probably added by Bishop Neville (died 1244), when it became necessary to provide additional room for chantries and relic shrines. The positions of the various altars are marked by piscinas and aumbries in the walls. The two, however, occur together in the south aisle alone; in the north are aumbries only, an arrangement possibly resulting from the feeling with which that quarter was always anciently regarded. A certainly triplicity pervades all this part of the cathedral, which was dedicated by Bishop Seffrid to the Holy Trinity. The side shafts are triple throughout. The bearing-shafts of the vaulting are clustered in threes, and branch out with three triple vaulting-ribs above. The transitional character of Bishop Seffrid’s work is especially marked in the clerestory, the inner arcade of which is pointed, whilst the windows themselves are round-headed.”--(R. J. K.)

The nave is full of monuments and tablets, some of which are by Flaxman. The one in the =Chapel of the Four Virgins= (north side) is a memorial to Collins the poet. Near it are the two figures of the =Earl of Arundel= and =Maud=, his wife. Arundel was beheaded in 1297. He is represented in full armour and at his feet is a lion.

“The most beautiful monument now remaining in the church is that which is said to represent Maud, Countess of Arundel (1270). The modelling of the whole figure and the long flowing lines of her robes are worthy of careful study. The hands are clasped over the breast with the forearms bent upwards slightly towards the face. On each of the long sides of the base supporting the figure are six elongated quatrefoil panels, containing in all six female figures and six shields. Between the quatrefoils are winged heads of ten angelic figures. The blazoning of the shields is entirely gone, and the brilliant colouring that once covered the entire monument is only to be traced in a few places. The outer robe still shows

some signs of the rich blue with which it used to be covered. The face of the figure appears to be badly mutilated, but the damage to the features has been done principally by an endeavour to preserve them.”--(H. C. C.)

In the =choir= we find stalls that have been in use since the Fourteenth Century. On the backs of the =choir-stalls= pictures by Bernardi represent Ceadwalla and Henry VIII. confirming privileges to the bishops of their day.

In the =south transept= is a beautiful window, better seen from the Cloisters because the bad glass spoils the effect of the tracery.

At the end of the south side in the =Chapel of St. Mary Magdalene= St. Richard’s head was preserved in a silver reliquary in the aumbry in the north wall.

The Chapel of St. Mary Magdalene is balanced by the =Chapel of St. Katherine= at the end of the north-choir-aisle. In the =south-choir-aisle=, two curiously carved =Slabs=, representing the _Raising of Lazarus_ and _Martha and Mary meeting Jesus_, are supposed to have been brought from the first Cathedral in Selsey when the See was transferred to Chichester in 1082.

A doorway in the north-choir-aisle leads to the old =Chapel of St. John the Baptist and St. Edmund the King=. The vaulting is unlike any other in the Cathedral. The zigzag, or chevron, occurs upon the moulding of the ribs. A finely carved head appears on the spring of the arch. This chapel is now used as the =Library=.

“At Chichester there were built, one after another, four sets of chapels--of St. George and St. Clement on the south of the south aisle, and of St. Thomas, St. Anne and St. Edmund on the north of the north aisle. The WINDOWS should be studied in the above order; they form quite an excellent object-lesson of the evolution of bar-tracery from plate-tracery, itself a derivative from such designs as that of the east window of the south transept chapel. When the chapels were completed, the Norman aisle-walls were pierced, and arches were inserted where Norman windows had been; and the Lancet buttresses, which had been added when the nave vault was erected, now found themselves inside the church, buttressing piers instead of walls. 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 heads; externally they were originally crowned with gables, the weatherings of which may be seen outside. In St. Thomas’s chapel is a charming example of a simple Thirteenth Century reredos.”--(F. B.)

Above the south porch there is a small chamber popularly known as the “=Lollards’ Prison=.”

Between the back of the reredos (modern) and the entrance to the Lady-Chapel is the Retro-choir, or presbytery, which many critics consider the chief glory of Chichester.

“The design in detail of these two bays is very different in character from the three in the choir, which are like those in the nave. The two piers of Purbeck marble are circular, and about them are grouped four detached shafts of the same material. They are united only at the base and by the abacus above the capitals, which are beautifully carved. The main arches in the two bays are not pointed, but round, like those in the nave and choir; but, unlike the latter, they have deeply cut mouldings in three orders. The triforium arcade above, on the north and south sides, has moulded and carved details of a similar character. Some of the beautifully carved figure-work still remains in the spandrels between the subsidiary pointed arches. But the most beautiful piece of design in all this work is in the arches of the triforium passage across the east wall, above the entrance to the Lady-Chapel.”--(F. B.)

=St. Richard’s Shrine= stood on a platform in the bay in the presbytery immediately behind the High Altar. This platform was removed at the time of the general restoration in 1861-1867.

The =Lady-Chapel= was once decorated with designs in colour, remains of which are still to be seen. The new =Reredos= is of alabaster. The glass of the window is also modern. Here is the =Tomb of Bishop Ralph=, founder of the original Norman church.

The visitor should walk around the =Cloisters= for the sake of the exterior views of the Cathedral. The south transept window is well seen here. Note the beautiful tracery of the circular window above it. The position of the Cloisters, lying eastward under the Transept and Choir, instead of westward along the Nave, is unusual.

“The cloister which was added in the Fifteenth Century is of a peculiarly irregular shape, and encloses the south transept within the paradise. It has been much restored at different times. The present roof is of tiles and is carried on common rafters. Each has a cross tie, and the struts are shaped so as to give a pointed arch form to each one. The old Fifteenth Century wooden cornice still remains in some sections. The tracery is divided into four compartments by mullions, and each head is filled with cusped work. Round the cloister are placed the old houses of the Treasurer, the Royal Chaplains, and Wiccamical Prebendaries. Above the door leading to the house of the Royal Chaplains is an interesting monument of the Tudor Period. It is a panel divided into two compartments by a moulded stone fragment. Leading out of the south walk is a doorway, through which the deanery may be seen beyond the end of a long walled passage known as ST. RICHARD’S WALK. Looking back northwards, there is fine view of the spire and transept from the end of this walk.”--(H. C. C.)

In the south-east corner the Cloister passes under the west end of =St. Faith’s Chapel=, founded in the Fourteenth Century.

SALISBURY

DEDICATION: ST. MARY; A CHURCH SERVED BY SECULAR CANONS.

SPECIAL FEATURES: SPIRE; CHAPTER-HOUSE.

Salisbury, on the edge of the great Salisbury Plain, haunted by Ingoldsby’s “Dead Drummer” and not far from weird Stonehenge, is famous for its beautiful Early English Cathedral.

“The visitor who sees it first on a bright day can never forget the impression it has made on his mind. Unlike the architects of the so-called ‘Great Gothic Revival,’ the builders of Salisbury put their trust in proportion. Incidentally they made their details as elaborate and as perfect as possible; but they were subordinated to the general effect, and when, during the frightful ravages of the ‘restorers,’ let loose upon the church in the past and present centuries, many of the best and most precious of these details and ornaments perished or were renewed, the main building survives, raising its exquisitely graceful spire into the blue sky, its thousand pinnacles all pointing upward and gleaming white against the deep green of the old trees and the emerald turf of the surrounding close. England can show no fairer sight. ‘How long,’ asked an American visitor, ‘does it take to grow such turf?’ ‘Oh! not long,’ was the reply; ‘only a couple of centuries.’ One feels at Salisbury that whether the answer was given there or at Oxford, of no place could it be more true. Though, when we look near enough, we can see that fresh and white as is the general effect, the masonry of Salisbury is of great antiquity, except of course where it has been restored; and antiquity adds another charm, for Salisbury was the first complete cathedral built after the Romanesque tradition had died out, as St. Paul’s is the first built after it had been revived. In other cathedrals there are fragments of the same style, and they are always the most

beautiful features of the whole building. We can recall the western porch at Ely, and the Angel Choir at Lincoln, and the chapter-house at Southwell; but, here, at Salisbury, we have the whole vast cathedral, all in the same supreme style, every part fitting into its place, and adding its contribution to the general effect, never in contrast but always in harmony until the effect is attained. What that is may be read in countless books of travel or criticism. Salisbury Cathedral, 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 it.”--(W. J. L.)

Salisbury was built on a site unoccupied by a former church. The “Bishop’s Stool” had long been at Old Sarum on Salisbury Plain, a fortified castle and cathedral; but the castle became too important and Bishop Poore and his canons removed the See in the early part of the Thirteenth Century. 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 below.

The first stone was laid for the Pope, who had consented to the removal of the church from Old Sarum; the second, for Stephen Langton, Archbishop of Canterbury, then with young Henry III. in Wales; the third, for Bishop Poore; the fourth was laid by William Longespée, Earl of Salisbury; and the fifth, by the Countess Ela, his wife. When the King returned from Wales many of his courtiers visited Salisbury, “and each laid his stone, binding himself to some special contribution for a period of seven years.”

The building was undertaken by Elias of Dereham, clerk of the works; and his successors were Nicholas of Portland and Richard of Fairleigh. The latter completed the spire in 1375.

The Cathedral was consecrated in 1258, by the Archbishop of Canterbury in the presence of Henry III. and his Queen.

The Cloisters and Chapter-House were built in the Thirteenth Century and the Spire (which seems, however, to have formed part of the original plan) in the Fourteenth.

“The history of no English cathedral is so clear and so readily traceable as that of Salisbury. It was the first great church built in England in what was then the new or pointed style (Early English); of which it still remains, as a whole, one of the finest and most complete examples. The Abbey Church of Westminster, commenced in 1245, and completed to the east end of the choir in 1269, is the only great building of this age in England which can be considered finer than Salisbury; and it is probable that Henry III. was induced to undertake the rebuilding of Westminster from admiration of the rising glories of the new Wiltshire cathedral, which he had several times visited. On the Continent, the great rival of Salisbury is Amiens; commenced in the same year (1220) and completed, nearly as at present, in 1272.

“The usual alterations took place in Salisbury Cathedral at the Reformation, when much of the painted glass is said to have been removed by Bishop Jewell. Although desolate and abandoned, it escaped material profanation during the Civil War, and workmen were even employed to keep it in repair. On the Restoration, a report of the general condition of the cathedral was supplied by Sir Christopher Wren, and certain additions for the strengthening of the spire were made at his recommendation. The great work of destruction was reserved for a later period and more competent hands. Under Bishop Barrington (1782-1791) the architect Wyatt was, unhappily, let loose upon Salisbury; and his untiring use of axe and hammer will stand a very fair comparison with the labours of an iconoclast emperor, or with the burning zeal of an early Mohammedan caliph. He swept away screens, chapels and porches; desecrated and destroyed the tombs of warriors and prelates; obliterated ancient paintings; flung stained glass by cartloads into the city ditch; and levelled with the ground the Campanile--of the same date as the Cathedral itself--which stood on the north side of the churchyard. His operations at the time were pronounced ‘tasteful, effective and judicious.’ The best point of view is from the north-east, which Rickman has pronounced ‘the best general view of a cathedral to be had in England, displaying the various portions of this interesting building to the greatest advantage.’ The Cathedral is built (and roofed) throughout with freestone obtained from the Chilmark quarries, situated about twelve miles from Salisbury towards Hendon, and still worked. The stone belongs to the Portland beds of the oölite. The pillars and pilasters of the interior are of Purbeck marble. The local rhyme in which the cathedral is celebrated may here be quoted; it is attributed by Godwin, who gives a Latin version of it, to a certain Daniel Rogers:

“‘As many days as in one year there be, So many windows in this church you see. As many marble pillars here appear As there are hours through the fleeting year. As many gates as moons one here does view, Strange tale to tell, yet not more strange than true.’

The great point to which the attention of the stranger is at once drawn is, of course, the grand peculiarity of Salisbury, the ‘silent finger’ of its _spire_. This is the loftiest in England, rising 400 feet above the pavement (Chichester said, but very doubtfully, to have been built in imitation of it, is 271 feet in height; Norwich 313 feet) and its summit is 30 feet above the top of St. Paul’s.”--(R. J. K.)

Dean Stanley said that Westminster is all-glorious within and Salisbury, all-glorious without.

“Much has been written on the beauty of the Cathedral church of Salisbury, the chastity of its style and the purity of its detail. The east end may be said to display the utmost refinement of the Early English era. Every subordinate feature is so perfectly disposed, so admirably carried out and adapted to its purpose, so necessary to the full effect of the whole, so simple and yet so rich, that nothing, even by the most critical, can be found wanting there or considered _de trop_. The northern side is scarcely less perfect; the simple lancet openings of its eastern transept, the more fully developed quatrefoils of the central gable and the still more advanced northern porch beyond these, all mark the progress of construction. At the intersection rises the still later tower and spire, the final limb of the whole, on an embattled lower stage of earlier date. It is rich to the utmost limit. Every ballflower, every projecting shaft and moulding sparkles for itself and casts its own diminutive shadow upon its fellow, entirely relieving the wall-surface of that flatness which is and must be the fault in every view purporting to suggest its elegance. The church stands alone; like a model of itself; in its entirety perhaps the most stately of which we can boast.”--(A. A.)

In the close, which is about half a square mile, there are three gates: the South, or =Harnham=; the East, or =St. Anne’s=; and the North, or =Close Gate=, built about 1327.

“The first thing to be noticed in Salisbury is the ample breadth of the space in which its cathedral stands, the beauty of which space is enhanced by rows and avenues of magnificent trees; so that it is difficult to conceive a more appropriate enclosure in which to find ‘the most chaste of English’ churches. Salisbury covers no less than eight acres of ground.

“Entering from the High Street, the visitor finds himself almost in another township. A street lined with houses conducts to the Cathedral lawn, where from the north-eastern extremity the full proportions of the church may be comprehended. The whole north side of the close is thus open. On the east we find another gateway and the entrance to the Palace; on the other side the Choristers’ Green, in itself another little close. The west is occupied by a group of interesting and extremely handsome houses of various dates. Here are the Deanery, standing in its own grounds opposite the Cathedral façade; the King’s House, a long, many-gabled mansion of the early Fifteenth Century, with mullioned windows and a vaulted porch, the occasional resting-place of the English monarchs on their passage through Salisbury; and the Wardrobe, distinguished by its heavy roof, its projecting double gables, and the immense square windows, back and front, through which the evening sun penetrates with a curious half-ghostly gleam. These form the most effective line of buildings of the enclosure, which at this least trim but not the less picturesque side, terminates at the Harnham Gate.”--(A. A.)

Raising our eyes to the =Tower= and =Spire=, we note: