The two side doorways in the west front are deeply recessed in three orders with very finely-carved mouldings. These also have bas-relief figures in the architraves. Those in the northern doorway represent the principal princes and princesses who promoted Christianity in England, while those in the southern doorway represent the leading early missionaries to England.
In the northern doorway, on the north side, are Ethelbert, Edwin, Oswald, Oswy, Peada, Wulphere; and on the south side, Bertha, Ethelburga, Hilda, Eanfled, Ermenilda, Werburga.
In the southern doorway, on the north side, are St. Aidan, Finan, Diuma, Ceollach, Trumhere, Jaruman; and on the south side, Gregory, Augustine, Paulinus, Theodore, Cuthbert, Wilfrid.
The corbels of the arches of these two doorways are interesting. Those of the north-west doorway represent Night on one side and the Morning Star on the other. The former is a female face with a reversed torch, and the Greek word NYX for night; the latter is a beautiful boy's face with a burning torch.
Those on the south-west doorway are a blindfolded face and an open face, representing the Law and the Gospel respectively.
Up to the time of the recent restoration a large statue of Charles II., who, by gifts of money and also of timber from Needham Forest, helped Bishop Hacket in the general repair after the Civil Wars, occupied the principal canopy in the middle of the central gable of the west front. This statue was the work of a certain stone-mason named William Wilson, who, by marrying a rich widow, "arrived at knighthood" in 1681. The statue, which certainly was not a work of art from all account of it, was taken down, and the pedestal is now occupied by a figure of Our Lord. The two other large canopied niches in the gable being filled with statues of Moses and Elijah, on the north and south sides respectively; while the four smaller statues represent, on the north, St. Gabriel, with St. Uriel underneath; and on the south, St. Michael, with St. Raphael below.
In giving the list of the statuary on the west front, which now follows, it is only necessary to say that there is no pretence that the characters now chosen were those originally represented.All that could be done in filling the niches was to study the plan of other similar facades, such as that at Wells, and to imitate the general idea. Tradition, however, had it that the long row of figures in the top of the lowest stage represented the Saxon and English kings, with St. Chad in the centre, and the tradition has been respected.
THE SOUTHERN DOORWAY OF THE WEST FRONT.Photochrom Co. Ltd., Photo.]THE SOUTHERN DOORWAY OF THE WEST FRONT.
Photochrom Co. Ltd., Photo.]
The following is a list of all the statues not alreadymentioned on the west front, including these on the north and south faces of the flanking turrets. The statues are enumerated in rows from the north side to the south.
On the northern tower the highest tier commences round the corner with two of the old figures already mentioned, then Aaron, Samuel, Hannah, another old figure, Deborah, Rachel, another old figure, Sarah, another old figure, and Eve.
On the southern tower the highest tier commences with Adam, Abel, Abraham, Isaac, Jacob, Melchisedec, Enoch, Methuselah, Noah, Daniel, Job, and Shem (these two last being, of course, round the corner on the south side).
Taking next the two rows on the northern tower to the north of the great west window, there are in the higher row, St. Editha, David, St. Helena, Solomon, St. Gabriel, Zechariah, Nahum, Amos, Jeremiah; and in the lower row, Dean Bickersteth, St. Mark, Queen Victoria, St. Luke, St. Uriel, Malachi, Habakkuk, Obadiah, Daniel (Jeremiah being just above Daniel, by the window).
Taking next the two rows on the southern tower to the south of the great west window, there are in the higher row, Isaiah, Hosea, Jonah, Zephaniah, St. Michael, Bishop Hacket, Bishop Lonsdale, Bishop Selwyn (the niche round the corner is vacant), and in the lower row, Ezekiel, Joel, Micah, Haggai, St. Raphael, Bishop Clinton, Bishop Patteshall, Bishop Langton (the niche round the corner is vacant).
Next again below is the long row of kings with St. Chad in the centre stretching right across the cathedral, the pre-Conquest kings on the south side of St. Chad, the post-Conquest on the north, as follows:—William the Conqueror, William Rufus, Henry I., Stephen, Henry II., Richard I., John, Henry III., Edward I., Edward II., Edward III., Richard II., St. Chad, Peada, Wulphere, Ethelred, Offa, Egbert, Ethelwolf, Ethelbert, Ethelred, Alfred, Edgar, Canute, Edward the Confessor.
Lastly, there is the lowest row, which is broken three times by the doors; these are St. Cyprian, St. Bartholomew, St. Simon, St. James the Less, St. Thomas (then the northern door), St. Philip, St. Andrew (then the central door with its seven niches and five statues already described), St. Paul, St. Matthew (then the southern door), St. James the Greater, St. Jude, St. Stephen, St. Clement, St. Werburga.
There is also a small figure of St. Antony over the belfry window on the south side.
A BAY OF THE NAVE--EXTERIOR.A BAY OF THE NAVE—EXTERIOR.
A tour of the cathedral, starting by the north side, leads past the nave with its buttresses and flying-buttresses looking picturesque in their unrestored state, and there can be seen outside the seventh bay of the nave the remains of the entrance to Dean Yotton's chantry. Coming to the front of the north transept, it will be noticed that the doorway has steps inside leading down into the cathedral, while on the opposite side it will be found that the steps lead from the south door down outside; the level of the ground on the two sides of the cathedral being very different.
The North Doorwayis extremely fine, and is deeply recessed. Like the other two main doorways of the cathedral,—that at the west end and that in the south transept—this doorway is double, the main arch being divided into two. The archivolts of these are lancet-shaped and covered with foliage, but not foliated as in the west door. Outside the double-arched doorway proper, the architrave is divided into five principal and several smaller mouldings; the larger ones being very finely carved, as to two, the second and fourth, with inter-twisted foliage and scroll work; and as to the other three, the inner, middle, and outer, with small lozenge-shaped plaques containing bas-relief figures. These figures in the inner moulding are angels, in the middle one probably they are patriarchs and prophets. In the outer one, on the left or eastern side, the figures show the genealogy of Christ, beginning with Jesse at the springing stone, and ending with the Virgin and Child near the crown; while on the right-handside, opposite Jesse, is the figure of St. Chad baptising the sons of King Wulphere, and above, the Apostles from St. Matthias to St. Peter at the crown. The whole architrave is surmounted by a weather moulding in the form of a gable, with a recently executed cross in the style of the thirteenth century at the top. The pillars on each side of the doorway have finely carved capitals, and the outer pillars are separated by lines of dog-toothing. The central pillar is very graceful, and consists of four slender shafts with carved capitals. The whole forms a magnificent example of a doorway in the Early English style, but showing signs of its derivation from the Norman. There is a niche in the tympanum which was apparently in Britton's time empty; but it must soon after have been filled with an image of St. Anne in Roman cement; this has recently been replaced by a statue of the same saint by Mr W. R. Ingram, while above some Roman cement work in the top of the gable has been removed, and a vesica containing a bas-relief of Our Lord in Glory by Mr Bridgeman reproduces no doubt the original architect's idea. The doorway, though it has been considerably restored, was not so much injured as a great deal of the rest of the cathedral, and so contains some very charming carving of the thirteenth century. There are two figures in Roman cement, one on each side of the doorway, representing St. Jude with a scroll, and St. James the Less with a club. No doubt these will both disappear before long, and their place be filled with modern statues.
THE NORTH ENTRANCE IN 1813.THE NORTH ENTRANCE IN 1813.
Passing by the somewhat plain octagonal chapter-house, where we may perhaps wonder whether the small niches in the top of the buttresses which stick up like little turrets ever contained images, we come to the side of the choir and presbytery,which has not yet been restored, and then to the Lady Chapel.
A BAY OF THE CHOIR--EXTERIOR.A BAY OF THE CHOIR—EXTERIOR.
The outside of theLady Chapelhas recently been very much altered; and the old buttresses, which but the other day were as left by Bishop Langton, with only the hand of decay showing on them, are now gone, and in their place are brand new buttresses, with brand new niches and saints. Those in the top row are the holy women of the Old Testament, while below them are the holy women of the New Testament. The lower row represent Priscilla, Anna, Dorcas, Mary, Martha, Lydia, Phœbe and Elizabeth; and above are Esther, Ruth, Naomi, Rizpah, Deborah, Miriam, Rachel, and Rebecca.
On the south side of the Lady Chapel are the curious chapels—known as the mortuary chapels—with their gabled fronts lying in the three spaces between the buttresses. These are more fully described in their place in the next chapter.
From this end of the cathedral can be well seen the arcaded parapet with its battlements, which runs round the top of the eastern half of the building and of the transepts, also the turrets of the sacristry with their high crocketted pinnacles; from here, too, can be seen, what Professor Willis draws attention to, "that the rebuilt clerestory of the western part of the choir betrays by the lighter colour of its stone that it was a work subsequent to the eastern part." On one of the buttresses of the choir on this side is an ancient image of a female figure, but it is too much decayed to afford any clue to the character represented, though it remains a very charming instance of Gothic sculpture. On the east corner of thesacristry there is a modern figure of Godefroi de Bouillon, and at the other corner is a figure of St. Chad.
DOORWAY OF SOUTH TRANSEPT BEFORE THE LAST RESTORATION.Photochrom Co. Ltd., Photo.]DOORWAY OF SOUTH TRANSEPT BEFORE THE LAST RESTORATION.
Photochrom Co. Ltd., Photo.]
In the gable of theSouth Transeptis a very beautiful rose window, which is hidden by the stone groining from the inside. Mr J. O. Scott, in a lecture already referred to, declared that "this rose window is so high up in the gable that it never could have been combined with any stone groining. But, byreferring to York Minster, between which and Lichfield many curious parallels may be traced, it is seen at once how a rose window in this position may be brought into the general design. This is effected by using a particular kind of wooden groining, the part of which nearest to the gable wall is lifted up so as to exhibit the window from within the building."
The large doorway in the south transept, which as seen from the outside is at the top of a flight of steps, very much resembles the doorway on the north side, but the carving is not so fine; it has been very much restored, and three shields have been in comparatively recent times carved in the tympanum. The shields show the arms of the see, of Bishop Lloyd, and Dean Addison, thus declaring this to have been done about 1700.
To the right of this doorway, outside the southern end of the transept aisle, is an ancient monument, probably of an archdeacon. A carved figure lies in a recess surmounted by a stone canopy.
The large heavy buttresses which disfigure the outside of this transept were the work of Wyatt at the end of the last century. The outside of the nave on this side presents a very different appearance to the other side. Here everything is new and uninteresting. The entrance to the bell tower is on this side, and a winding stair leads to the belfry stage.
There are tenBells, seven of which date from about 1687, and are therefore of the same age as the bishop's palace. In that year Hacket's six bells, which can only have been hanging some sixteen or seventeen years, were found to be useless, and a subscription was raised to replace them with a peal of ten. There is a letter from the dean and chapter to Elias Ashmole, in which it is stated that Henry Bagley of Ecton, the bell-founder, had "so over-sized the eight bells he had cast, that they had swallowed up all the metal for the ten," and that eighty pounds more would be required, but that they did not regret the mistake as it "would make extremely for the advantage and glory of the cathedral (the bigness of such a ring far more befitting the place)." Only seven of these bells are now in use; the other three are by Rudhall of Gloucester and Mears of London. In 1748 the belfry caught fire and the ninth bell cracked with the heat, but it was recast in the same year, and since then there has been no change.
The story of the earliest cathedral bells is lost. It was usual in early days to hang the bells in a separate tower somewhere in the cathedral precincts. Here, we know that in 1315 the bell tower was burnt down,—"Combustum fuit campanile cum campanis in clauso Lichfeldensi." The site of this tower was lately discovered in the bishop's garden. Dean Heywood, in 1477, gave a large bell to the cathedral—it was known as the Jesus Bell; the gift is mentioned in theCantaria Sancti Blasii, where the cost is stated to be one hundred pounds. The bell bore this inscription:—
"I am the bell of Jesus, and Edward is our king,Sir Thomas Heywood first caused me to ring."
"I am the bell of Jesus, and Edward is our king,Sir Thomas Heywood first caused me to ring."
"I am the bell of Jesus, and Edward is our king,
Sir Thomas Heywood first caused me to ring."
This bell was hung in the south-west tower, which thus came to be called the Jesus-Bell Tower. The bell was destroyed during the Civil Wars. An ancient writer quoted by Shaw, after detailing the terrible fates of those who took part against religious houses and churches, says: "Nor shall I relate what happened to one, Pickins, a pewterer, who on July 26, 1653, knoct in pieces the fair bell called Jesus, at Lichfield, he being the chief officer appointed for demolishing that cathedral."
There was also a bell called the "Clocke Bell," which was hung in the lowest storey of the Jesus spire. It is shown in the south view given in Fuller's "Church History," and particular attention is there directed to it. The clock bell and all the others are now hung in the top storey of the tower.
There is also a small bell in the great central tower called "the Tantony": it formerly belonged to the Dyott family.
In the south-west tower is also the newClock,which was put up in 1890. The face is underneath, in the west end of the south aisle of the nave; there is no outside face. The well-known Cambridge quarter chimes can, it is said, be heard at a distance of three miles.
In the green grass of the close are many tombstones, and round about the cathedral stone coffins have been dug up; on the north side of the choir is the traditional burying-place of two Mercian kings.
Lichfield is one of the smallest cathedrals in England. In length it only measures 370 feet from the inside of the west door to the extreme end of the inside of the Lady Chapel, while the interior of the nave, with its aisles, is only a little more than 68 feet wide; and yet its smallness is not the first fact that will strike the visitor on entering the west door: rather, on the other hand, its immense length in proportion to its height and width will be noticed, but probably all other feelings will be forgotten in the beauty of the vista that lies before him. The long line of arches and the long low roof, with its almost countless bosses, lead the eye down to the Lady Chapel, where a mass of blue and red shows that the cathedral has some of the most beautiful glass in the kingdom.
The orientation of the nave and choir are not the same—the choir and Lady Chapel being considerably inclined to the north. Many have been the theories raised by the curious discoveries made as to the deflections of various parts of this cathedral. They are too numerous to quote here, and it will be sufficient to note that the total deflection of the east end from the true east is about ten degrees.
A BAY OF THE NAVE--INTERIOR.A BAY OF THE NAVE—INTERIOR.
The Nave.—The view of the interior of the cathedral from the inside of the west door is, as we have said, extremely beautiful. This beauty is much enhanced by the general appearance of unity in the whole design. There seems to be no mixture of styles, and though a closer examination of the details of the interior shows that there is a very marked difference between the style in which the nave is built and that which was in vogue when the Lady Chapel and presbytery were erected; yet the whole, having been built at a time when the Early English style was givingplace gradually to the Decorated, or, in the more eastern portion, when that later style was well established, the general effect of the cathedral, seen from this aspect, is one of unity. The exact date of the nave cannot be determined, and there is no direct evidence on which to base a theory; but it is very clear, from a comparison of its style with that of churches whose history is known, that it must have been commenced and carried to a speedy conclusion about the middle of the thirteenth century. Professor Willis gives the date as 1250, and other archaeologists at various dates between that and 1280. There is no doubt, at any rate, that it was built at the transitional period of the Early English style, and it would be described by some as belonging to the Early Decorated period, and by others as belonging to the geometrical period of the Decorated style. The nave, including the western front, consists of eight bays, having aisles on the north and south sides, with the same number of bays; but the spaces underneath the two western towers are considerably larger than the other aisle bays, though not large enough to be looked upon as western transepts, as is possible in some churches where there is a similar arrangement. Many writers have complained of the insufficient height of the nave, and that the general effect is thereby spoilt, and to a very limited extent this may be true. Probably the nave roof was at one time of much higher pitch; the course on the outside of the great tower suggests it, as also does the fact that the great west window runs into the roof. Probably the roof was lowered when the presbytery was built, and thewhole roofing of the cathedral brought down to the same level.
A BAY OF THE CHOIR--INTERIOR.A BAY OF THE CHOIR—INTERIOR.
The piers are large, and consist of clustered shafts, lozenge-shaped in plan, set on much moulded bases, and having beautifully carved foliated capitals from which spring architrave mouldings of great variety. From the base and up the centre of each pier runs a cluster of three fine columns to capitals, also foliated, at the top of the triforium; from these spring five vaulting ribs, three of which diverge to an ornamental central rib, and two to a small similarly decorated transverse rib. There are finely carved bosses at the intersection of all the various ribs. The top of each arch touches the string course, above which is the beautiful triforium. This consists of a row of double arches, each arch being sub-divided into two lights with geometrical tracery above. The mouldings are highly decorated with dog-toothing, and the string course between the triforium and the clerestory, as well as the moulding enclosing the clerestory windows, has this same ornament, which is freely used and produces a very rich effect. The clerestory windows are spherical triangles enclosing three circles with quatrefoil cusps; the form of these windows is somewhat rare, but similar windows are to be seen at Westminster, Hereford, Carlisle, and York. The spandrels of most of the pier arches are ornamented with a large circle with five cusps, across which the vault shafts pass; this decoration will be seen again in the choir. A notable feature in these bays is the size of the triforium in proportion to the size of the pier arches and clerestory; this gives it unusual importance in the general scheme. At Lincoln, where there is a similar triforium, a very different effect is produced by its comparative smallness. The open tracery here is very much like that in Westminster Abbey.It will be seen that the dripstones of the arches and windows terminate in small sculptured heads: a usual arrangement at this period. It may be added that the beautiful capitals have scarcely been restored at all; so little damage had been doneto them, that when the whitewash was removed during the recent restorations, they were found to have been hardly touched either by decay, Puritans, or previous restorers.
THE NAVE IN 1813.THE NAVE IN 1813.
THE NAVE, LOOKING EAST.Photochrom Co. Ltd., Photo.]THE NAVE, LOOKING EAST.
Photochrom Co. Ltd., Photo.]
The roof of the nave was greatly damaged at the time of the Civil Wars—indeed, it has been said that the central spire, in its fall, completely smashed it in; but this is probably not the case, as the spire almost certainly fell on the other side of the tower. Still, it is not difficult, after reading an account of the siege, to understand that the roof would be much injured. About a century after its repair by Bishop Hacket, it was found that the great weight of the stone groining was forcing out the clerestory walls, already much weakened by rough usage, and, in consequence, Wyatt removed the stone work in several bays, and replaced it with lath and plaster work made to imitate the rest of the roofing. Sir Gilbert Scott was urged to restore the old stone vaulting, but he decided that without great structural alterations, principally to the buttresses, which he did not feel justified in making, this could not be done. The vaulting has been coloured so that the difference between the stone compartments—the most eastern and the two western ones—and the plaster compartments might not be noticed; it will easily be seen how much the clerestory walls have been thrust out. It is also interesting to note that at about the same time Wyatt restored the roof of the aisles to its old pitch. Originally, as now, the aisle roof ascended so as to reach to just below the clerestory windows. In Hollar's picture the upper portion of the triforium windows can be seen, so that they must have become practically a portion of the clerestory during this time. Investigation of the windows themselves proves that they have been glazed, and this confirms what otherwise, considering the great inexactness of the pictures of the period, could not be inferred with certainty. There is a view of the cathedral as late as 1781 showing this arrangement; but in Jackson's "History of Lichfield," 1796, the aisle roof hides the whole of the triforium as at present.
The windows of the aisles agree well with the other windows of the nave, and have three lights with trefoiled circles in the head, while below the windows is an arcade resting on a bench, the arches of which are surmounted with pediments richly carved. There are six of these arches in each bay, and between the bays rise triple vaulting shafts with carved capitals of leafage;from these spring three ribs running to a central rib on which are beautiful bosses like those in the nave.
THE NAVE, LOOKING WEST.Photochrom Co. Ltd., Photo.]THE NAVE, LOOKING WEST.
Photochrom Co. Ltd., Photo.]
The Great West Window.—The tracery of this window has already been discussed in the description of the exterior. The present glass was placed there in 1869, to the memory of Canon Hutchinson, who, perhaps, of all was most eager for the restoration of the cathedral, and to whose untiring energy, it issaid, is due the wholesale renovation of the interior by Sir Gilbert Scott. This window was the result of a public subscription, and is the work of Messrs Clayton & Bell. The six large figures represent St. Michael, St. Joseph, St. Mary, and the Three Magi, while underneath are small pictures of the Annunciation, the Angel warning Joseph, the Nativity, the Journey of the Magi, the Magi inquire of Herod, and the Flight into Egypt. As to the previous glass in this window, there seems to be no record of that which must have decorated it before the Civil Wars. In Shaw's "History of Staffordshire," there are long lists of the glass to be found in the cathedral; but it is difficult to decide which window is being described. After the Restoration, we have in a Bodleian MS. the following record:—"Oct. 6, 1671. Arms in the Great West Window, Arms of King Charles the Second, Crest and Supporters; Arms of James Duke of York, his brother, Crest and Supporters. And beneath them,Serenissimus princeps Jacobus dux Ebor hanc fenestram. F.F." Britton says it was afterwards filled with painted glass, the work of Brookes, by the legacy of Dr Addenbroke, who died dean of this cathedral in 1776.
Over the great west door in the inside of the cathedral was formerly inscribed:—
Oswyus est Lichfield fundator, sed reparatorOffa fuit; regum fama perennis erit:Rex Stephanus, rex Heniricus primusque Richardus,Rex et Johannis, plurima dona dabant.Pene haec millenos ecclesia floruit annos,Duret ad extremum nobilis usque diem,Daque deus longum, ut floreat hae sacra aedesEt celebret nomen plebs ibi sancta tuum.
Oswyus est Lichfield fundator, sed reparatorOffa fuit; regum fama perennis erit:Rex Stephanus, rex Heniricus primusque Richardus,Rex et Johannis, plurima dona dabant.
Oswyus est Lichfield fundator, sed reparator
Offa fuit; regum fama perennis erit:
Rex Stephanus, rex Heniricus primusque Richardus,
Rex et Johannis, plurima dona dabant.
Pene haec millenos ecclesia floruit annos,Duret ad extremum nobilis usque diem,Daque deus longum, ut floreat hae sacra aedesEt celebret nomen plebs ibi sancta tuum.
Pene haec millenos ecclesia floruit annos,
Duret ad extremum nobilis usque diem,
Daque deus longum, ut floreat hae sacra aedes
Et celebret nomen plebs ibi sancta tuum.
Fundata est ecclesia MerciencisQuae nunc Lichfieldia diciturFacta CathedralisAnno DominiDCLVII
Dugdale, in his "Visitation of Staffordshire," gives us this inscription. It has long since disappeared. Pennant mentions a curious or, as he calls it, "droll" epitaph on thefloor near the west door, but there is no sign of it now:—"William Roberts of Overbury, some time malster in this town (tells you) for the love I bore to choir service, I chose to be buried in this place.He died Decr. 16th, 1768."
From a MS. quoted by Shaw we learn that before the Great War "on a fair marble gravestone, placed on the right-hand at the entrance into the choir, is this inscription on a brass plate:—
"Here lyeth George Bullen lat dean of this church who made his own epitaph—viz.,
Lo here in earth my body lyes,Whose sinfull lyfe deserves the rod:Yet I believe the same shall rise,And praise the mercies of my God.As for my soule let none take thought,It is with him that hath it bought;For God on me doth mercy takeFor nothing else but Jhesus sake."
Lo here in earth my body lyes,Whose sinfull lyfe deserves the rod:Yet I believe the same shall rise,And praise the mercies of my God.As for my soule let none take thought,It is with him that hath it bought;For God on me doth mercy takeFor nothing else but Jhesus sake."
Lo here in earth my body lyes,
Whose sinfull lyfe deserves the rod:
Yet I believe the same shall rise,
And praise the mercies of my God.
As for my soule let none take thought,
It is with him that hath it bought;
For God on me doth mercy take
For nothing else but Jhesus sake."
Bullen or Boleyn was dean during the greater part of the reign of Elizabeth, who offered him the bishopric of Worcester, which he refused. Elizabeth, it will be remembered, was the daughter of Anne Boleyn, whose kinsman the dean was.
The Fontstands between the first and second pillars from the west door on the north side of the nave. It is quite modern, and is the gift of the Honourable Mrs Henry Howard, widow of the late dean. It is made of alabaster and Caen stone, and is supported on marble pillars. There are four sculptured panels in relief, representing—"The Entry into the Ark," "The Passage of the Red Sea," "The Baptism of our Lord," and "The Resurrection." Between these there are niches containing figures of St. Mary, St. Peter, St. Chad, and St. Helen.
A curious old font was discovered in 1856 immediately under the place where the present altar stands. It was very simple in form, being about a yard and a half square and two feet thick, with a hemispherical cavity in it. It had been coloured bright red, and was much cracked, as though it had been subjected to intense heat. How it came where it was is not known. It may have been discarded as rubbish or hidden as a relic.
The Pulpitis in the nave, and is fixed to the north-western pier of the tower. Its design and execution were by Sir Gilbert Scott and Mr Skidmore respectively, who were also responsible for the choir screen. The pulpit is of wrought-iron, brass, copper, enamels, and marble. In the middle there is a bronze group representing St. Peter preaching on the Day of Pentecost. There are stairs on each side of the pulpit. The brassLecternis also modern, and is in the usual form of an eagle. It was presented by the members of the Lichfield Theological College, and was executed by Mr Hardman of Birmingham. TheLitany Deskis by Messrs Rattee & Kett of Cambridge, the well-known carvers; and theBishop's Chair, which stands under the great tower, was presented by the clergy of Derbyshire when that county was transferred from this diocese to the new diocese of Southwell. The chair is not of striking beauty.
NORTH AISLE OF NAVE, LOOKING EAST.Photochrom Co. Ltd., Photo.]NORTH AISLE OF NAVE, LOOKING EAST.
Photochrom Co. Ltd., Photo.]
In the North Aisle of the Nave there are several monuments and some modern glass. The window in the north-west tower has recently been adorned with glass to thememory of Bishop Lonsdale, under whom the recent restoration commenced. The subject is "The Presentation of Christ in the Temple," and it is the work of Messrs Burlison & Grylls. Close to this is a tablet, originally placed in the north transept by order of Ann Seward, who had considerable fame as a poetess in the last century, to the memory of her father, Canon Seward, his wife and daughter Sarah. It also commemorates her own death. The lines are by Sir Walter Scott, but it is impossible to be enthusiastic over them. They end—
"Honour'd beloved, and mourn'd here Seward lies;Her worth, her warmth of heart, our sorrows say,—Go seek her genius in her living lay."
"Honour'd beloved, and mourn'd here Seward lies;Her worth, her warmth of heart, our sorrows say,—Go seek her genius in her living lay."
"Honour'd beloved, and mourn'd here Seward lies;
Her worth, her warmth of heart, our sorrows say,—
Go seek her genius in her living lay."
There is a representation of the poetess mourning her dead relatives, while her harp is hanging neglected on a tree. On the other side is a memorial tablet to Lady Mary Wortley Montagu, who was a native of Lichfield. In these days of anti-vaccination agitations it is interesting to read the inscription which runs:—
"The Right Honourable Lady Mary Wortley Montagu, who happily introduced from Turkey into this country the Salutary Art of inoculating the Smallpox. Convinced of its efficacy, she first tried it with success on her own children, and then recommended the practice of it to her fellow-citizens. Thus, by her example and advice, we have softened the Virulence and escaped the danger of this Malignant Disease. To perpetuate the memory of such benevolence, and to express the gratitude for the benefit she hereby has received from this Alleviating Art, this Monument is erected by Henrietta Inge, Relict of Theodore William Inge, Esq., and Daughter of Sir John Wrotesley, Baronet. In the year of Our Lord, 1789."
Close at hand is a tablet in memory of Mr Gilbert Walmesley, who was registrar of the diocese, and an early and close friend of Dr Johnson. Of him the latter wrote, in his life of Edmund Smith (one of the well-known "Lives of the Poets"), that passage which contains the celebrated sentence about David Garrick so often quoted. Speaking of GilbertWalmesley, he says that he is "not able to name a man of equal knowledge. His acquaintance with books was great; such was his amplitude of learning, and such his copiousness of communication, that it may be doubted whether a day now passes in which I have not some advantage from his friendship. At this man's table I enjoyed many cheerful and instructive hours with companions such as are not often found; with one who has lengthened, and one who has gladdened life; with Dr James, whose skill in physic will be long remembered, and with David Garrick, whose death has eclipsed the gaiety of nations, and impoverished the public stock of harmless pleasure."
There are other monuments in this aisle, but they are scarcely of such general interest. Here are tablets in memory of Jane and Catherine Jervis and of Elizabeth and Arabella Buchanan. There is a stained glass window by Messrs Burlison & Grylls containing three large figures of Joshua, St. Michael, and the Centurion, with, underneath, pictures of the Angel appearing to Joshua, the Centurion at the Cross, and the Centurion coming to Our Lord; above, in the tracery of the window, are angels. This window was the gift of the officers of the 38th (1st Staffordshire) Regiment; on one side are their Peninsular, and on the other their Crimean colours, which the dean and chapter received from the regiment with much ceremony in 1886 and 1887 respectively. Beneath the window is a brass in memory of those members of the regiment who died in the Peninsula, first Burmah, Crimean, and Egyptian (1882) wars, and the Indian Mutiny. There are also brasses to Lieutenant-Colonels Sinclair and Eyre and the officers and men of this regiment who fell in the first Soudan war, and also brasses to Colonel Bromley Davenport and Sir Arthur Scott, Bart. Here, too, is a window in memory of Canon Madan, his wife and children: the subject being Faith, Hope, and Charity. In the window next the transept is some quite new glass in memory of Canon Curteis, the large figures representing Samuel, St. Paul, and Origen, while below are Samuel teaching the Sons of the Prophets, St. Paul saying farewell to the Elders at Miletus, and St. Catherine and the Philosophers of Alexandria.
The famous Dr Stukeley, writing about 1715, says: "As you walk down the north aisle, by a little doorway, formerly a chapel,where lay several figures now demolished, yet one remains, who was dean Yotton, his coat of arms at his head and Yot with a tun by it which shows his name." The only remaining sign of this chapel is the entrance, which can be plainly seen from the outside of the cathedral.
In theSouth Aisle of the Nave, at the west end, there is a monument to Dean Addison, the father of the great essayist and poet; he died in 1703. His memorial slab is now under the Jesus Tower, but formerly it was on the north of the west door. The glass in the window of the tower is in memory of Dean Howard, during whose time as dean so much of the work of restoration was done, and who so munificently aided the work. This glass, which is by Messrs Burlison & Grylls, represents St. Michael and the Dragon, and St. Chad. The other glass on this side is the window of the fifth bay, by Messrs Clayton & Bell, the subjects being Our Lord and Lazarus, Our Lord and Mary and Martha, and Mary Magdalene washing Our Lord's feet; in the next bay the glass, by Messrs Ward & Hughes, shows Faith, Hope, and Charity; in the seventh bay the glass is by Messrs Clayton & Bell, and has David and Goliath for its subject, and is in memory of the officers of the 64th (2nd Staffordshire) Regiment who fell in the Indian Mutiny. There is in the eighth bay a window by Hardman in memory of Helen, wife of Josiah Spode. Between the aisle and the nave there is a brass in the floor in memory of the late Earl of Lichfield, placed there in 1854. There are several other modern brasses and tablets.
In this aisle are two of the three semi-effigies to be seen in the cathedral. These show only the heads and the feet. Britton says: "They are said to represent two old canons of the church; and are evidently of ancient date, as they appear to have been placed in the present situation at the time of building or finishing the nave." One of these is in a better state of preservation than the other, and shows in the drapery the remains of colour.
The Transeptsare earlier than the nave in style, having been built in the beginning of the thirteenth century: the south transept first, and then the north. It must have been for these transepts that Henry III., in 1235 and 1238, granted licences to the dean and chapter of Lichfield to dig stone from the royal forest of Hopwas for the new fabric of thechurch of Lichfield. Whether these ecclesiastics did more harm than the king liked in digging on the first occasion cannot be said, but on the second occasion they are permitted "fodere petram ad fabricam ecclesiae suae de Lichefeld in quarrera de Hopwas; ita tamen quod hoc fiat sine detrimento forestae nostrae"—that is to say, they were to do as little damage as possible.
ARCADE, WITH SEMI-EFFIGY, IN SOUTH AISLE.ARCADE, WITH SEMI-EFFIGY, IN SOUTH AISLE.
The transepts have three bays each, with eastern aisles, the aisle belonging to the north transept being very much the larger. There can be no doubt that when the Norman transepts were standing there were no aisles; nor were any contemplated when the choir was built, for, as Professor Willis says: "The side walls of the choir are continued to the transepts, and had windows in the part looking into the present transept aisles. Probably when the choir was built Norman transepts were standing, and had each an apsidal chapel looking east in the usual manner."
The history of the roof is extremely interesting. We know that "in 1243 King Henry III. issued a commission to Walter Grey, Archbishop of York, to expedite the works at St. George's Chapel, Windsor, in which he orders a lofty wooden roof, like the roof of the new work at Lichfield, to appear like stone work, with good ceiling (celatura?) and painting. The transepts of Lichfield have now stone vaults, considerably later than the walls, and, therefore, may have had a wooden vault at first. The date would suit the transepts better than the choir, and it may be remarked that the early abacus of the vault shaft (at least, in the south transept) is surmounted by a second abacus in the Perpendicular style, which shows the later construction of the springing stones of the present stone vault." The low stone vaulting has destroyed the effect which the original windows in the north and south ends of the transepts must have produced. At the south end was probablya large five-light Early English window, surmounted by a rose window. The rose window still remains, but, being above the present groining, cannot be seen from inside the cathedral; the five lights are replaced by a nine-light obtuse-headed window, which seems much too large for the transept; and this effect is increased by the extreme whiteness and transparency of its glass. At the north end, the five-light window is surmounted with three small lights, but these last again are hidden in the roof.
DETAIL OF A SEMI-EFFIGY.DETAIL OF A SEMI-EFFIGY.
The windows in the transepts have seen many changes, and are now mostly in the Perpendicular manner, the exceptions being in the west wall of the south transept, and the north window just referred to. Until 1892 this was a large Perpendicular window—which, though early, and prior to the Civil War, was a manifest intrusion on the space originally occupied by an Early English window. The old design, which is not unlike that of the famous window at York, has again taken its place. Canon Lonsdale says that this change is "in every sense a restoration: for, on taking out the Perpendicular window, and removing such of the stone work as was defective on either side, the headings of the five Early English lights, which had unquestionably composed the original window, were discovered, hidden away by the later workmen. The cusps, or headings, of the lights, as they are now seen from the inside, are, with the exception of six stones, the very identical material which the Early English builders carved, and placed in that spot. Of these six missing stones, three have since been discovered during the work going on in the south transept."
There can be no doubt that some of the Perpendicular work in the cathedral is due to the general repair at the Restoration;but Professor Willis declares that many of the changes are earlier, and that they were perhaps effected in the time between Bishops Heyworth and Blythe, 1420 to 1503. The engravings of Hollar, already referred to, were published before 1660, and show Perpendicular windows in the gable of the south transept and in the clerestory; and though from these pictures nothing can be gleaned about the north transept, the character of the Perpendicular work was such that it also, as has just been stated, must have been prior to the Rebellion. It is possible, on the outside western face of the north transept, to trace the old lancet windows, which must have been arranged in groups of three, while the lower windows on the west side of the south transept are still in their old form, though on this side there are only two lancets to each bay. It may be mentioned here that underneath these last windows, on the outside, there is an arcading with simple pointed arches which does not appear on the other transept. Inside the arcading differs in the two transepts; in the south and older one the pointed arches are plain, while on the north they are cusped. This arcading is almost entirely new; what there was of it until recently was principally of plaster.
From the ground plan of this cathedral published by Browne Willis in 1727, we see that the whole of the aisle of the north transept is described as "The Bishop's Consistory Court and St. Stephen's Chapel," while the aisle of the south transept is divided into two parts, the southern being called "The Dean's Consistory Court," the northern "The Vicar's Vestry." St. Stephen's Chapel was in the inner bay of the aisle; and it has been suggested that "the chantry of St. Anne and the image of Jesus" was in the rood loft of the same transept.
In theNorth Transeptare many memorial tablets, but it cannot be said that they are of general interest either from their beauty, age, or on account of the eminence of the persons commemorated. On the west side of the steps down from the north door is the curious monument to Dean Heywood, who died in 1492, and whose benefactions are mentioned in their proper places. The monument is sadly decayed, but there is a print of it in Shaw's "Staffordshire," taken, says Britton, from Dugdale's "Visitation." From this we know that the upper part is now missing; the lower part, which remains, shows the skeleton of the dean—his body after death—while above was his representationin full canonical costume. Similar monuments may be seen at St. John's College, Cambridge, in the chapel, and at Exeter and Lincoln Cathedrals. On the other side of the door is a large modern monument to Archdeacon Iles, who died in 1888: the figure is recumbent. Above the door is a marble tablet to Dean Woodhouse; he gave the glass—now in the Guildhall—which filled the Perpendicular window recently replaced by the present Early English window. The new glass, and indeed the new window, was given by Mr James Chadwick of Hints Hall, near Tamworth; it is known as the Jesse window, and gives the genealogy of our Lord according to St. Matthew. The figures beginning from the west side represent (1) Achaz, Asa, Abia; (2) Ezekias, Solomon, Roboam; (3) the Virgin Mary and Child, Salathiel, David, Jesse; (4) Josias, Josaphat, Joram; (5) Manasses, Joatham, Ozias; with angels in the four side lights. The inscription under the window says: "Hanccine fenestram Jacobus Chadwick de vico Hints reficiendam vitroque picto ornandam impensis suis curavit. A.D. MDCCCXCIII." Messrs Clayton & Bell are responsible for this window.
The whole of the aisle of this transept is taken up with the organ, in front of which a metal screen or gryll was placed in 1881 by the officers and men of the 80th Regiment, in memory of their comrades who fell in the Zulu War. The screen is ornamented with imitations of Zulu shields and assegais. There are many tablets in this aisle, but they are entirely hidden by the organ.
The Organwas presented by Mr Spode of Hawkesyard Park, near Lichfield, in 1860, and was first used at the reopening in 1861; in 1884 it needed repair, and was then very much enlarged by Messrs Hill & Son, the well-known organ-builders of London, the expense being defrayed by voluntary subscriptions. It was dedicated, at the same time as the restored west front, in the presence of a vast concourse of people, on May 29th, 1884. The console of the organ is now behind the stalls in the first bay of the south aisle of the choir. It is interesting to learn from Canon Lonsdale that, when it was found necessary to build an engine-house in the close to supply motive power to the organ, in digging out the chamber, somewhat to the east of the steps leading to the north door, two or three cannon balls and the remains of a shell were unearthed at a short distance from the surface.
The present organ is the successor to many other organs. The first of which there is any record was given to the cathedral by Dean Heywood, as is known from this entry in theCantaria S. Blasii, in the cathedral library: "Magna organa in pulpito. Item cito post festum nativitatis Sancti Johannis Baptiste. Anno domini MCCCC. octogesimo secundo. ex providencia et sumptibus magistri Thome Heywode decani antedicti. conferuntur ecclesi cath lich organa nova magnae quantitatis. et formae decentis. ad honorem sancti cedde et ornamentirm ecclesiae precij xxvi. Li. iij.s. iiij.d. totalitur de sumptibus et expensis predicti decani. Sma xxvj. Li. iij.s. iiij.d."
Dean Heywood also presented another organ, which was known as the Jesus organ; but it was much smaller presumably, as it cost rather less than half as much.
The next time there is mention of an organ is in 1634, when, in an account of their travels by three tourists, they say: "The organs and voices were deep and sweet, their anthems we were much delighted with, and of the voyces, 2 Trebles, 2 Counter-tenors, and 2 Bases, that equally on each side of the Quire most melodiously acted and performed their parts."
The organ here referred to, however "deep and sweet," was not considered good enough, for in 1636, according to a deed still preserved in the cathedral, the dean and chapter purchased an organ from Robert Dallam of Covent Garden, which, no doubt, "was the pair of organs valued at £200" destroyed by the Puritans. The organ that Hacket set up was obtained by the subscriptions of ladies; the bishop writes: "An Organ is bespoke at £600 price, to be call'd the Ladies Organ, because none but the honourable and most pious of that sex shall contribute to that sum." The names of the chief subscribers were written on the organ: "Illustrissima heroina Francisca ducissima Somersetensis. Honoratissima domina, comitissa Devon: Clarissima domina, Jana, domina de Gerard Bromley," and many others, as set out by Ashmole, who also tells us that there were "coats of arms under the organ at the entrance into the choir," showing that the organ loft was situated between the two eastern piers of the tower. Harwood, in his "History of Lichfield," tells us of another organ "which was removed in A.D. 1740 to the vicar's hall, and became at length an ornament to Mr Greene's museum," whence it afterwards found its wayto the church at Hamstall Ridware. While in the vicar's hall it was damaged by soldiers quartered there in the '45. It is now in the bishop's palace. In 1740 it was replaced in the cathedral by an organ by Schwarbrook, which in turn, in Wyatt's time, was superseded by one by Samuel Green—this was much larger, and took up the whole of the western bay of the choir. The present organ is much the largest the cathedral has possessed, and, compared to the old one in the palace, is so large that, according to Mr Hewitt, the whole of the latter would go inside the pedal pipes of the former.
The south transept has its full share of monuments, two of which are of great interest. These are the memorials to Dr Johnson and to his friend, David Garrick, the actor. The busts are both by Sir Richard Westmacott, R.A. The inscription to the first says:
The Friends of Samuel Johnson, LL.D. (a native of Lichfield), erected this Monument as a tribute of respect to the Memory of a man of extensive learning, a distinguished Moral Writer, and a Sincere Christian. He died the 13th of December 1784; Aged 75 years.
The other reads:
EVA MARIA, Relict of DAVID GARRICK, Esq., caused this Monument to be erected to the Memory of her beloved Husband, who died the 20th January 1779: Aged 63 years.
Garrick had not only the amiable qualities of private life, but such astonishing dramatic talents as to well verify the observations of his friend, which have already been quoted (p.66), in reference to the memorial of Gilbert Walmesley.
Samuel Johnson was born in Lichfield, where his father was a bookseller; his shop is still standing, scarcely altered, on the west side of the Market Place, close to the monument of his famous son (see p.136). David Garrick came with his parents to live in Lichfield when very young, and he and Johnson attended the Grammar School together. There was a difference of several years in their ages, but their life-long friendship must have begun early, seeing that Johnson wrote the Prologue for Garrick's performance of Farquhar's comedy, "The Recruiting Officer," which took place at the Bishop's Palace when Garrick was only eleven years old. Some yearsafter, when Johnson had left Oxford and had set up a school in the neighbourhood of Lichfield, Garrick joined him as a pupil; but the venture did not prove successful, and master and pupil left Lichfield for London, where each in his own line reached the highest summit of fame.
These memorials stand side by side in the aisle; for some reason, the busts were removed to the library when the interior was being restored by Sir Gilbert Scott, but they have once again been replaced in the spot originally chosen for them. The friendship of Johnson and Garrick was long and cordial: it is fitting we should see that in their death they were not divided.
In this aisle, which until recently was used as the Dean's Consistory Court, is another monument by Westmacott; this is in memory of Andrew Newton, who was so munificent a friend to his native Lichfield. He founded the institution on the west side of the close for the widows and orphans of clergymen, which he also endowed; and on his death, in 1806, he left a library of books to the cathedral.
In the first bay of the aisle is a monument to the officers and men of the 80th Regiment (Staffordshire Volunteers). The design is Egyptian, and is surmounted by a sphinx. Over the monument hang colours taken from the Sikhs, and on the wall behind are the old regimental colours. At the south end is a very fine and costly altar tomb—to Admiral Sir William Parker, who, when he died in 1866, was the last survivor of Nelson's captains. The slab of Pyrenean jasper is inlaid with a gold cross, and the front is adorned with stones of porphyry and lapis lazuli. The window above has some of the Herkenrode glass left over from the Lady Chapel, together with some modern glass. The great south window, which, as has just been stated, is in the Perpendicular style, was in 1895 adorned with new glass; this was the gift of Mr A. P. Heywood-Lonsdale, in memory of his father and his uncle, Bishop Lonsdale. The subject is "I am the vine, ye are the branches," and represents Our Lord in the centre surrounded by angels, with the principal bishops of the Early Christian Church. The six early British bishops: St. Columba, Scotland; St. Wulstan, Worcester; St. Chad, Lichfield; St. Augustine, Canterbury; St. Aidan, Northumbria; St. Hugh, Lincoln, are at the feet of Our Lord. The other bishops are St. Basil, Caesarea; St. Cyril, Jerusalem; St. Patrick, Ireland; St. Ignatius,Antioch; St. Polycarp, Smyrna; St. Boniface, Germany; St. Martin, Tours; St. David, Wales; St. Gregory, Rome; St. Augustine, Hippo; St. Athanasius, Alexandria; St. Cyprian, Carthage; St. Isidore, Spain; St. Chrysostom, Constantinople; St. Ambrose, Milan; and St. Vigilius, Aries. This glass is by Mr C. E. Kempe. On the west side are several brasses and tablets, including one to John Saville, vicar choral of the cathedral, who died in 1803. The lines underneath are by the Miss Seward whose own memorial is in the north aisle of the nave; they, like so much of the elegiac poetry of the period, owe not only their style, but a good many of their phrases, to the poet Gray.
The Choir, with the presbytery and retro-choir—that is to say, the whole extent of that part of the cathedral between the central tower and the entrance to the Lady Chapel—has eight bays. The most noticeable difference between it and the nave, is the absence of a triforium. Professor Willis says: "The entire height of the severey (or bay) is divided into two nearly equal parts, of which the lower is given to the pier arches, the upper to the clerestory. The window-sills of the latter are high, and there is a passage in front of them immediately above the tablement or string course over the pier arches. This passage, the veritable triforium, pierces the great piers of masonry which sustain the vault. The high sills receive the sloping roof of the side aisles, and have three plain open arches in each severey to air the roof." These sills are panelled with a foliated arcading, and in front of the passage there is an open trefoil work parapet. The effect of the windows inside is much enhanced by the lovely quatrefoil ornamentation with which their splays are decorated. In the single window—the east on the south side—where the original tracery remains, it is very beautiful and graceful, and is a good example of the Decorated period; but into the other windows Perpendicular tracery has been introduced.
The vaulting is very much the same as in the nave, but the vaulting shafts divide into seven instead of five ribs. The bosses, as everywhere else in the cathedral, are very deeply and richly carved.
On the four eastern sets of piers long slender shafts run up from the base of the piers in the same way as in the nave, and similarly the spandrels are ornamented with foliated circles, of which nearly all trace had disappeared before the recentrestoration. This, however, is not the arrangement on the three western pairs. It was found here that these shafts did not reach the ground; and so Sir Gilbert Scott, having discovered a portion of the sculptured wing of an angel just above the dean's present stall, decided upon finishing the shafts with corbels in the form of angels occupied in minstrelsy. Above each of these angels—which were innovations—he placed, under richly crocketted canopies and standing on very finely-carved brackets, the figures of six saints. These were not innovations, though no signs of them appear in the engraving in Britton's "Cathedrals," where, indeed, the incomplete shafts just mentioned are to all appearance complete. But in Pennant's "Journey from Chester to London," 1782, the six statues are mentioned, and he tells us not only their names, but also that they were richly painted. The new statues represent the same original characters: St. Mary, St. Mary Magdalene, and St. Peter on the north side; St. James, St. Philip, and St. Christopher on the south: these with their niches have been executed partly from the old description of them and partly by reference to the niches remaining in the Lady Chapel.
An investigation of the roof proved that its bosses had been originally profusely gilded and painted, and that the ribs had been painted in tri-colour, though, oddly enough, this apparently had not been the case in the Lady Chapel. Mr Dyce, R.A., was called in to give an opinion, and suggested a large scheme, upon which he actually started, but after having proceeded only a small way, difficulties arose and he departed. What little paint had been applied to the ribs was removed; but a few of the more easterly bosses remain gilt to this day, and afterwards the others were reddened to bring out the sculpture.