Part 1

THE CATHEDRALS OF GREAT BRITAIN

THE CATHEDRALS OF GREAT BRITAIN

_THEIR HISTORY AND ARCHITECTURE_

BY P.H. DITCHFIELD, M.A., F.S.A.

_Fellow of the Royal Historical Society, Rector of Barkham_

WITH NUMEROUS ILLUSTRATIONS BY HERBERT RAILTON, J.A. SYMINGTON, H.M. JAMES, H. CRICKMORE, ETC.

1902 LONDON: J.M. DENT & COMPANY PHILADELPHIA: J.B. LIPPINCOTT COY.

_All Rights Reserved_

PREFACE

In this volume I have attempted to give an architectural description of all the cathedral churches of England, Wales, and Scotland, together with a brief history of each see. In order to include any adequate account of each church and bishopric in one volume of portable size, which may be of use to visitors in their travels, much compression has been necessary, but it is hoped that nothing of importance has been omitted which might be useful to those who would read aright the architectural history of our great churches. On account of their immense importance in the history of Gothic art, it has been thought well to include in this volume some account of the churches of Westminster and Beverley. At the close of each history of a cathedral will be found a record of the principal building dates and dimensions, and also a brief account of the chief places and churches of interest in the city or neighbourhood which it is advisable to visit.

I desire to express my grateful thanks to all who have kindly assisted in the preparation of this work, to the deans and canons-in-residence who have often guided me by their counsel during my study of their cathedrals, and also to the vergers who have readily afforded me much valuable help. More especially do I wish to thank the Deans of Lincoln, Ely, Chester and Gloucester, Canon Tristram of Durham, Bishop Anson of Lichfield, and Archdeacon Richardson of Southwell, for their courtesy and kindly interest. I have also to record my obligations to the work of many previous writers. The works of Freeman, Rickman, Britton, Willis, Winkle, and the Diocesan histories published by S.P.C.K. have been consulted, as well as the special monographs on each cathedral, which are too numerous to mention. Prior's _Gothic Art_ has been of the greatest possible assistance, Addis's _Scottish Cathedrals and Abbeys_, and also the very valuable and indispensable handbooks published by the late Mr. John Murray. I have found the volumes of Bell's Cathedral Series most useful when visiting the buildings of which they treat, and Messrs. Isbister's volumes written by the deans of our cathedrals contain picturesque and attractive accounts of the historic buildings. To all these works I desire to acknowledge my great indebtedness. And lastly I have to record my grateful thanks to the artists who have enriched these pages with their charming drawings, and to Mr. Dent, the publisher of this work, for much encouragement, valuable advice, and able direction, without which this volume would have lacked whatever of merit it may possess.

P.H. DITCHFIELD.

BARKHAM RECTORY, _September 8, 1902_.

CONTENTS

PAGE

THE ARCHITECTURE OF THE CATHEDRALS OF GREAT BRITAIN 1

ST. PAUL'S 8

WESTMINSTER 35

ROCHESTER 57

CANTERBURY 68

WINCHESTER 85

CHICHESTER 96

SALISBURY 108

OXFORD 125

BRISTOL 138

WELLS 149

BATH 161

EXETER 164

TRURO 177

GLOUCESTER 178

HEREFORD 204

WORCESTER 216

LICHFIELD 230

CHESTER 248

LIVERPOOL 263

MANCHESTER 264

CARLISLE 272

NEWCASTLE 282

DURHAM 283

RIPON 297

YORK 309

BEVERLEY 327

WAKEFIELD 333

LINCOLN 337

SOUTHWELL 351

PETERBOROUGH 360

ELY 377

NORWICH 393

ST. ALBAN'S 409

ST. ASAPH'S 423

BANGOR 426

LLANDAFF 429

ST. DAVID'S 432

GLASGOW 439

IONA 441

BRECHIN 442

ABERDEEN 443

DUNBLANE 444

DUNKELD 445

ST. ANDREW'S 446

ST. GILES', EDINBURGH 447

KIRKWALL 448

GLOSSARY OF ARCHITECTURAL TERMS 450

LIST OF ILLUSTRATIONS

PAGE

York Minster _Frontispiece_

St. Paul's from Cheapside 11

The West Front 23 The Nave from the Choir 28 Woodwork, South Choir Aisle 29 Johnson's Statue 31

Dean's Yard, Westminster, in 1730 37

The North Front 40 Poets' Corner 43 Henry V.'s Chantry 47 Interior from Chapel of St. John 51

Rochester Cathedral 59

Canterbury Cathedral 71

Tomb of the Black Prince 78 The Crypt 80

Winchester Cathedral 89

West Front 93

Chichester Cathedral 99

The Presbytery 105

Salisbury Cathedral 111

Strengthening Arches, East Transepts 116

Oxford Cathedral 129

The Interior 133

Bristol Cathedral, the Central Tower 143

Wells Cathedral 153

Entrance to Crypt 159

Exeter Cathedral 165

Detail of Minstrels' Gallery 170

Gloucester Cathedral, The Deanery 179

From S.E. 183 Nave Pillars from the West 187 The Choir, looking East 191 The Lady Chapel 195 Carrel in South Cloister 199

Hereford Cathedral from the Wye 207 The Cantelupe Shrine 211

Worcester Cathedral from the Severn 219

Lichfield Cathedral, Distant View of Exterior 235

St. Oswald's Gate, Chester Cathedral 249

Chester Cathedral 253

The Choir 257 Shrine of St. Werburgh 261

Carlisle Cathedral from S.E. 275

Durham Cathedral 285

The Galilee Chapel 290 The Bishop's Throne 293

Ripon Cathedral from North 299

The Great Buttresses 302 The Apse 303

York Cathedral--Tomb of Archbishop Walter de Grey 311

Chapter House 313 North Aisle of Choir 317 The Ladye Chapel 321 The Crypt 323

Beverley Minster, the West Front 328

Beverley Minster 329

Percy Shrine 332

Wakefield Cathedral 334

Chantry Chapel on Wakefield Bridge 335

Lincoln Cathedral Towers and Potter Gate 338

Lincoln Cathedral and Exchequer Gate 342

The Angel Choir 347

Southwell Central Tower and N. Transept 355

Peterborough Cathedral 365

North-west Transept 370

Ely Cathedral--Arm of Abbot's Chair 378

West Tower from Deanery Gardens 379

The Assumption of the Blessed Virgin Mary, Lady Chapel 381

Ely Cathedral from South-east 383 The Octagon and Lantern from North-west 384 St. Catherine's Chapel 386 In South Aisle of Nave looking to North Transept 387 Carrel in Cloister 388

Norwich Cathedral 397

A Bay, North Side of Nave 401 Ancient Bishop's Throne 403 Bridge, North Aisle of Presbytery 404

St. Alban's Cathedral 411

LIST OF PLANS

PAGE

St. Paul's Cathedral 34

Westminster Abbey 56

Canterbury Cathedral 83

Winchester Cathedral 95

Salisbury Cathedral 124

Wells Cathedral 163

Gloucester Cathedral 203

Worcester Cathedral 229

Durham Cathedral 296

York Cathedral 326

Lincoln Cathedral 350

Peterborough Cathedral 376

Ely Cathedral 392

Norwich Cathedral 408

Cathedrals of Great Britain

THE ARCHITECTURE OF THE CATHEDRALS OF GREAT BRITAIN

We are endeavouring to follow the traces of the handiwork of the great master-builders who have filled the English Isle with so many noble shrines, to mark the growth and development of the various styles and modes of building, and to endeavour to interpret their meaning. The story of the rise and fall of English Gothic art has a fascination that is all its own; and with the intention of endeavouring to realise its high aims, its strength and beauty, and to understand its true spirit, we will start on our pilgrimage to those fanes which it has reared to the honour and glory of the Most High. And as we watch the rise and progress of English Gothic art, we shall note that it is no exotic, no alien welcomed to our shores; but a true English native art, born in the brains and faith of our English forefathers, and nourished here with a nation's whole-hearted affection. French writers on architecture are accustomed to state that our English Gothic came from France, and that each stage and change were wrought by the influence of foreign masons and were borrowed from them. There could not be a greater error. The Anglo-Norman style was developed quite as much in this country as in Normandy, which was then a province of England. We shall see that English Gothic sprang into being in the choir of Lincoln. No foreign mason taught our English masons the secret of their art. Even Westminster, most French of all our buildings, and designed by a foreigner, is, in the language of Sir Gilbert Scott, "a great French thought expressed in excellent English." And while we have a style peculiarly our own, the Perpendicular of the fifteenth century, at that period the French with their Flamboyant tracery were only imitating the flowing lines of our fourteenth-century Decorated. And as we study more carefully these examples of English Gothic art, we shall admire the great unknown toilers who built so surely and so well, who put their hearts and lives, affections and religion into their work; we shall reverence the relics of their handiwork which time has spared and love them exceedingly.

For the convenience of classification, mediæval architecture has been divided into four distinct styles or periods, and we must again chronicle the oft-told story of their varied peculiarities.

I. The Norman style commenced in the reign of Edward the Confessor, whose work at Westminster (the sub-structure of the dormitory and the lower part of the walls of the refectory with the ornamental arcade) is declared to be the earliest example of the Norman style in England. This style prevailed to the time of Henry II., when a period of transition set in, and the style began to approximate to that of the succeeding century. The main characteristics of the Norman style are--cylindrical massive piers, round-headed arches, a great variety of mouldings such as zigzag, billet, double-cone, pellet, lozenge, beak-head, etc., small and narrow windows splayed only on the inside, buttresses slightly projecting from the wall. Some of the best examples of this style are the naves of Ely, Gloucester, Durham, and much Norman work is seen at Winchester, Exeter, Canterbury, Chester, Peterborough, Norwich, Rochester, Chichester, Oxford, Worcester, Wells and Hereford.

II. The Early English style began with the thirteenth century, in the reign of King John, the choir of Lincoln being the earliest example. Wearied with the Romanesque uncouth details of Norman art, the English masons were feeling after and finding a more excellent way, and discovered the beauties of Gothic architecture. This style flourished until the time of Edward I.; during his reign another period of transition set in, and this style gradually developed into the Decorated.

Its main characteristics are lighter and more elegant forms of construction and decoration, pointed arches, often shaped like a surgeon's lancet, whence they derive their name, deeply undercut mouldings, dog-tooth ornament, piers formed of columns with detached shafts united under one capital, and bound together by a band, bell-shaped capitals, stiff-leaved foliage, trefoiled arches, plate-tracery. Early English work is seen in the choir of Lincoln, Worcester, Chichester, Salisbury, Exeter, Wells, Rochester, York (south transept), Southwell, Ripon, Ely, Peterborough, Durham ("nine altars"), Glasgow.

III. The Decorated style commenced in the fourteenth century, or a few years earlier, reached its zenith before the middle of the century, and ended with the reign of the third Edward. The period of transition between this style and the last is perhaps the era of the greatest beauty of English art. The characteristics of the style are, more elaborateness of detail and ornament, much larger windows with beautiful and complex tracery, heavier buttresses, piers with closely-joined shafts, not detached as before, sculpture closely imitating natural foliage, mouldings less deeply cut, the ball-flower ornament. Decorated work is very plentiful, and may be seen in the chapter-houses of Wells, Norwich, Winchester, Canterbury, also at York, Lichfield, Exeter, Carlisle, Lincoln, Southwell, and elsewhere. A period of transition again followed during the last half of the fourteenth century, during which the style developed into the Perpendicular.

IV. The Perpendicular style prevailed during the fifteenth century and continued until the reign of Henry VIII., when the mediæval period ceased. This style is, as we have said, peculiar to England. In Scotland, where French influence was great, there are many examples of the Flamboyant style, which prevailed in France, and was scarcely known in England. This style is characterised by more elaborate and richer work, increased use of ornament and panelled decoration, peculiar window tracery (the mullions being carried straight up through the head of the window, while smaller mullions spring from the heads of the principal lights), much larger windows, depressed arches (Tudor arch), much heavier buttresses, mouldings carried up the piers and arches without any break or capital, cavetto (a wide and rather shallow variety), ogee, bowtell mouldings, the rose ornament, Tudor flower. The extensive use of panelling is always the hall-mark of the Perpendicular period. The choir of Gloucester is the earliest known example of this style, and King's College, Cambridge, St. George's Chapel, Windsor, and Henry VII.'s Chapel at Westminster, are the most perfect specimens of Perpendicular art.

Then followed the Renaissance period, when classical and Roman features were mingled with the latest English style. There was an attempt to revive the Gothic style in the time of James I., but the foreign influence was too strong, and not till the close of the eighteenth century did this revival take place. The love of Gothic art had never been quite extinguished in this country, and to the English people belongs the honour of restoring to its rightful place that style which has created so many superb and magnificent buildings instinctive of the faith and reverence which first called them into being.

In our cathedrals we have endless varieties of plan, construction, style and adornment, as well as in the associations connected with their histories. They derive their name from the Latin word _Cathedra_ (Greek, [Greek: Kathedra]), signifying a seat, a cathedral church being that particular church of the diocese where the bishop's seat or throne is placed. If this church belonged to a monastery it was served by the monks, but many of our cathedrals were in the hands of secular canons, who were not monks, and should not be confused with the "regular" clergy. Monastic churches had always a complete series of monastic buildings--the cloister-court, the centre of a monk's life, around which were grouped the chapter-house, dormitory, refectory, infirmary, hospitium or guest-hall. Churches served by secular canons sometimes have a cloister, but this was added more as an ornament, and was not a necessity. The Reformation wrought many changes in our cathedrals. Out of the spoil of the monasteries Henry VIII. undertook to endow five new sees, and thus created the sees of Oxford, Peterborough, Chester, Gloucester and Bristol. These are called the cathedrals of the New Foundation, and with these are classed the monastic cathedrals which survived the shock of the Reformation, viz.: Canterbury, Winchester, Worcester, Rochester, Norwich, Ely, Durham, Carlisle. The cathedrals of the Old Foundation which survived, with some changes in their constitution, were York, London, Salisbury, Wells, Chichester, Hereford, Exeter, Lichfield and Lincoln, and the Welsh dioceses of St. David's, Llandaff, Bangor and St. Asaph. Episcopacy was finally banished from the Church of Scotland on the advent of William III.; hence the cathedrals in the northern country are so only in name. The Episcopal Church of Scotland has, of course, cathedrals, but most of these are modern. Since the Reformation in England, and especially in modern times, many new sees have been formed; these are Manchester, Liverpool, Ripon, St. Alban's, Southwell, Truro, Wakefield and Newcastle. The plan of our cathedrals is usually cruciform, formed by a nave with aisles, north and south transepts, central tower, choir and presbytery. Sometimes the plan is that of a double cross, there being a second or eastern transept towards the eastern end of the choir.

Our inspection of the exterior begins first by trying to obtain a good general view of the building. We notice the remains of the walls and gates which guarded the close, or precincts of the cathedral. Within these walls the bishop's power was supreme. If sanctuary was claimed by a fugitive from justice, here he was safe; and the clergy and the serving-men were free from the ordinary law, and could be tried only by the ecclesiastics.

Then we notice the west front, usually a fine screen of stone-work, wherein are enshrined in niches weather-worn statues telling of the men of old who had done well in their days for their Church and realm.

Passing to the north we see the central tower, possibly Norman as high as the roof, with a superstructure of later times. The pitch of the roof may have been altered in later times from a high pitch to a flat one, and the marks of the old roof may often be seen on the tower walls. Just below the eaves is the range of clerestory windows. Flying buttresses connecting the buttresses of the outer wall with those of the inner are frequent and produce a very graceful effect. Niches for statues are often carved upon the buttresses. Curious grotesquely-carved heads, called gargoyles, look down upon us from the gutters of the roof. The tracery of the windows is no indication of the age of the walls, as they have frequently been inserted in place of others of an older period. The porch is a large structure, and sometimes has a chamber, called a parvise, over it. The object of this chamber cannot always be determined. Sometimes it was the abode of the sacristan, and occasionally it was set apart for the use of an anchorite or recluse. The monastic buildings are usually on the south side in Benedictine monasteries, but sometimes on account of the nature of the ground they are on the north.

On entering the church we view the nave, which is usually in three storeys--the main arcade, the triforium, which opens into a gallery or passage, and the clerestory. Sometimes the choir occupies two bays of the nave, but usually begins with the screen placed on the east side of the central tower. This screen was formerly the rood-screen, and a large crucifix stood on it; but at the Reformation all roods were destroyed, and sometimes the organ stands in its place.