THE CHOIR IN 1820.THE CHOIR IN 1820.
The architectural history of the choir and presbytery is very interesting. There is practically no documentary evidence at all to tell when and how it was built; and what we know about it now is due to the antiquarian skill of the late Professor Willis. Nothing can have been more fortunate than that he should have been able to make an inspection of the foundations of the choir, for no man had a greater genius for using the smallest discoveries to the greatest advantage. Numerous stories are told of his extraordinary gift for divining what was to be found. As Canon Lonsdale says: "He knew, as it were, by instinctwhat was hidden under the soil. 'Dig there,' he said, and the base he wanted came to light. 'Open out the earth here,' and the solid piece of stone which he had been looking for to complete his imaginary plan was straightway disclosed to view." He came here in August 1859, when excavations were being made in the choir, and on what he saw then he based the theory of the growth of the cathedral which has found favour with everyone ever since. The nature of his discoveries here, and the conclusions he drew from them, have been briefly given in the section of this book devoted to the history of the cathedral, so that it is unnecessary to further discuss them, except when they apply to buildings which are now in existence.
The present choir was commenced at the very beginning of the thirteenth century. Of this choir only the lower portions of the three bays nearest the tower remain above ground, but there is no doubt that the original eastern termination had been removed to make way for the beautiful presbytery which now remains and extends eastward, with its vaulting at the same elevation as that of the choir. This was done probably immediately after the Lady Chapel had been built, or at the same time, and it is supposed that the work proceeded from the east end and the old choir was gradually pulled down, leaving the three western bays standing, and that then the clerestory of these bays was replaced by work in uniformity with that in the new presbytery; at the same time the front half of their pier arches was removed and mouldings given to them corresponding to those in the presbytery, their piers were also slightly altered. In this way the choir and presbytery acquired a uniform appearance, both inside and out; for the portion of the old side aisle on the south is hidden by the sacristry, and that on the north by the chapter-house and vestibule.
As has been said, only one of the original Decorated clerestory windows now remain; the others, it may be supposed, were destroyed in the sieges of the Civil War, for they have been replaced with Perpendicular tracery which belongs to a period when this style was only being imitated; it was probably put in at the Restoration.
The high altar is now placed between the sixth pair of piers (counting from the west). This is probably the old arrangement, but until the recent restorations the altar was placed in the Lady Chapel: the pier arches of the choirwere walled up, and a large screen placed in the eastern tower arch; so that the choir and Lady Chapel were converted into one long aisleless chapel.
THE CHOIR, LOOKING EAST.Photochrom Co. Ltd., Photo.]THE CHOIR, LOOKING EAST.
Photochrom Co. Ltd., Photo.]
It is very interesting to note the signs in the choir of the attempt to combine the two styles which, as has been explained, met here. The third piers stand on the line of demarcation between the part retained and the part rebuilt,and consequently carry an Early English arch to the west and a Decorated arch to the east. The Early English column was partially cut away and partially used in the new work, as may be seen on inspection of these piers. It will also be seen that the vaulting in the aisles is much rougher in the old part than in the eastern bays. The plaster used to hide this; but Sir Gilbert Scott caused it to be removed, and is said afterward to have regretted having done so.
SOUTH AISLE OF CHOIR, LOOKING EAST.Photochrom Co. Ltd., Photo.]SOUTH AISLE OF CHOIR, LOOKING EAST.
Photochrom Co. Ltd., Photo.]
Another interesting junction between two buildings of different dates is the entrance to the vestibule of the chapter-house. This entrance is in the third bay of the north aisle, and is obviously a combination of doorway and window, as may be seen by comparing the window of the first bay with it.
Again, in the first bays of the aisles there are windows in the Early English style, but they look only into the aisles of the transepts; showing, as has before been stated, that the transept aisles were not originally contemplated, and certainly did not take the place of earlier Norman aisles.
THE CHOIR, LOOKING WEST.Photochrom Co. Ltd., Photo.]THE CHOIR, LOOKING WEST.
Photochrom Co. Ltd., Photo.]
The arch at the west end of the north choir aisle isdecorated with a double chevron moulding—evidence that it is one of the oldest pieces of work left in the cathedral. This arch has at a more recent date been lined with another arch of the Decorated period, probably in order to strengthen it.
The arcading in the aisles is very interesting. In the first three western bays in both aisles the large arcading, with its plain trefoiled arches, is clearly Early English. The arcading in the other bays is equally clearly of the Decorated period, and is considerably smaller. In the four eastern bays in each aisle the arches go right up to the course which forms the top of the arcading, and the triangular spandrels thus formed are ornamented each with a curious little head, having queer headgear; the rest of the spandrel is carved with foliage, and in the plates of the foliated arches are quaint animals. The arcading in the remaining bay is similar, but angels' heads with wings take up the whole spandrel. Some of the arcading, notably that in the three easterly bays of the south aisle, is unrestored. The inferiority of the modern work in the next bay is only too patent.
In the south choir aisle the third window from the east has very beautiful carved work, the splays being covered with two bands of richly-carved foliage. Under the window is now the tomb of Bishop Hacket, and Dean Heywood's monument is said to have also been in this place.
In the south aisle, over the entrance to the sacristy, there is a very charmingly-proportioned gallery which is known as the "minstrel gallery." A gallery of this kind, though not unique, is very rare, but Exeter Cathedral has two—one in the north transept and another in the nave. In this case the arcading has been altered to accommodate this obviously later addition, made probably in the early part of the fifteenth century. Three shafts from the arcade have been left, which support a fan-shaped vaulting, upon which the gallery rests. There is little doubt as to the object of the gallery, though various theories have been advanced. By some it is supposed that it was used by the priest whose duty it was to watch the lights burning on the various altars; others suggest that it was indeed used by the instrumentalists to keep time during the procession, etc.; but, as it is immediately in front of the chapel of the Head of St. Chad, it was no doubt intended for the exhibition of the head to those belowin the aisle. However, it may be said that the raised galleries in mediæval halls were always called by the name of "minstrel gallery," and so the name came to be used of galleries generally. This gallery is reached by the staircase in the wall which leads to the upper floor of the sacristy. Just against the entrance to this staircase, in the wall of the aisle, is an ancient piscina. Its presence here is unexplained, as there is no record of a chapel at this spot; though it has been suggested that the altar dedicated to St. Blaise occupied a position in this aisle.
It is perhaps worth noticing that in the old days the two bays of the cathedral between the high altar and the Lady Chapel, together with their portions of the aisles, were generally spoken of as the Lady Choir, and are marked as such in old plans; other writers again speak of this part of the building as "the cross aisle." There were gates across the choir aisles in a line with the reredos, and these are marked in the plan of the cathedral published somewhere about 1720. No doubt the eastern ends of the choir aisles in still earlier days were spoken of as St. Andrew's Chapel or St. Nicholas' Chapel; but, though it is almost certain that the east end of the north choir aisle was dedicated to St. Andrew, there is no certain information as to the dedication of the corresponding chapel in the south aisle, but it is generally believed to have contained an altar to St. Nicholas.
The Choir Screenwas designed by Sir Gilbert Scott and Mr J. B. Phillips, and executed by Mr Skidmore of Coventry. It is a very highly-ornamented structure in wrought-iron, copper, and brass, and is said to have been the first screen of this kind; but other screens of the same character are now to be seen at Salisbury, Worcester, Hereford, and other churches. The capitals are of hammered copper; there are imitations of various fruits in ivory, onyx, and red and white cornelian: on the upper part, on each side, are eight angels with instruments of music; the whole is surmounted with a frieze of open scroll work, and a cross rises from the top of the pedimented gate-way in the centre. The side iron gates into the choir aisles were also executed by Mr Skidmore.
UNDER THE CENTRAL TOWER.S. B. Bolas & Co. Photo.]UNDER THE CENTRAL TOWER.
S. B. Bolas & Co. Photo.]
The Stallsare modern, and are somewhat disappointing. The canons' stalls have no canopies, and their absence certainly deprives the choir of a feature generally to be found incathedrals. Otherwise, the stalls are a satisfactory instance of modern carving, and were carried out by Mr Evans of Ellastone in Derbyshire. He is always said to have been the original of Seth in "Adam Bede," and he certainly was a cousin of the great authoress. There is much natural foliage in the carving, with figures of apostles, kings, and bishops, and panels representing scenes from Old Testament history. TheBishop's Throneis by the same artist.
The Reredosis a very gorgeous piece of work, but it must be confessed that the effect is again not wholly satisfactory. It might even be said that in the endeavour to attain magnificence, over-elaboration has ended in a tawdry appearance. However, tastes differ, and this reredos has its admirers. It was designed by Sir Gilbert Scott, and cost £2000, which sum was raised by the Honourable Mrs H. Howard, the wife of the dean. It was part of the scheme that all the materials for the reredos should come from the diocese, and with the exception of the green malachite, this idea has been carried out. The alabaster came from near Tutbury, and the marbles from Derbyshire (then in the diocese): and the Duke of Devonshire was induced to give some of the beautiful red marble, which bears the name of the "Duke's red," from his quarry, so rarely opened.
In the centre is a bas-relief of the Ascension, with, a figure of "The Lamb" underneath; on each side are two compartments containing the emblems of the four evangelists. All five compartments are surmounted with very highly-decorated pediments, the central one being the largest and most magnificent; above it rises a very elaborate pinnacle, ending in a cross. There is an open arcading on each side, extending to the piers of the presbytery. The pediments have each a head in the centre, and between the pediments are angels with ivory trumpets.
The reredos has purposely been kept very low, so that the view of the glass in the Lady Chapel may be intercepted as little as possible. One cannot help feeling that too much was sacrificed to that idea. One of the main principles of the Gothic builder, it has been said, was to suggest an air of mystery. The light screen and the low reredos have the very opposite effect; and it may be prophesied that the days of their admiration are rapidly coming to an end.
The Sediliaare interesting on account of the canopies, which are old, and probably formed part of the original high altar screen. Their style is that known as Perpendicular, but they obviously belong to its early period. No doubt the screen suffered grievously after the siege; and at the Restoration of the monarchy and the cathedral a wooden screen was erected in front of it. Pennant, who saw it in 1780, says: "The beauty of the choir was much impaired by the impropriety of a rich altar-piece, of Grecian architecture, terminating this elegant Gothic building."
This arrangement came to an end in 1788, when Wyatt threw the choir and Lady Chapel into one long chapel, and the old altar screen was utilised in the choir screen and helped to support the organ. When this screen in turn was taken down, the old canopies, much battered and largely repaired with plaster, were examined, and found to be of Bath stone, and in this the repairs were executed. Six of them were used for the sedilia, and the other three are to be found just behind, over the effigy of Dean Howard.
The Pavementbetween the stalls is of tiles, made after the pattern of old tiles which were found in the cathedral. The modern ones are by Messrs Minton. There is some record of how the cathedral has at various times been paved, as Dr Plot tells us that "the old floor of the choir was paved lozengy with cannel coal and alabaster, the former got at Beaudesert," and at one time the nave and aisles were paved with brick. Some of the old tiles and two slabs of coal are preserved in the floor of the consistory court.
The pavement in the presbytery is different, and is made principally of incised stone, with marble borders. There are four large medallions, which show scenes in the history of the diocese, and these are surrounded with representations of kings and bishops who have had some connection with the see. The general scheme was arranged by Sir Gilbert Scott, but the medallions were designed by the Rev. J. Pitman, headmaster of Rugeley Grammar School. The first medallion represents the consecration of St. Chad as Bishop of York; round it are Oswy, King of Northumbria and Mercia, who was the principal instrument in introducing Christianity into Mercia; Diuma, first Bishop; Wulphere, King of Mercia; and Jaruman, Bishop of Mercia, the immediate predecessor of St. Chad.
REREDOS.S. B. Bolas & Co. Photo.]REREDOS.
S. B. Bolas & Co. Photo.]
The second medallion gives the well-known story of Theodore, the great archbishop, setting St. Chad on a horse; around are Ethelred, king of Mercia after Wulphere; Sexwulf, the bishop who divided up the diocese; Offa, King of Mercia, who made Lichfield an archbishopric, and Higbert, the archbishop.
The third medallion shows the translation of St. Chad's bones from Stowe Church, where they were buried, to the cathedral; around are Stephen, who was king when Bishop Roger de Clinton built the Norman cathedral; Henry III., who gave stone for the transept; and Bishop Langton, who built the Lady Chapel.
The fourth medallion shows the procession to the chapter-house for divine service at the Restoration (1660); around are Charles II. and Bishop Hacket, who then restored the cathedral; Queen Victoria and Bishop Lonsdale, who was bishop at the time of the recent restorations.
The altar space is covered with encaustic tiles, given by Mr C. Minton Campbell. In the centre is the Feast of the Passover, and around are shown Cain and Abel, Melchisedec blessing Abraham, Abraham and Isaac, Joseph and his brethren, Moses striking the Rock, and the Brazen Serpent—all Old Testament types of the Divine Sacrifice.
The Monumentsin the south choir aisle are particularly interesting. Commencing from the west end, there is on the south side an altar tomb in memory of Archdeacon Hodson, who died in 1855. The slab is of Serpentine stone, with a brass cross inlaid, and there are alabaster plaques representing the Crucifixion, the Entombment, the Resurrection, and the Ascension. Opposite is a monument to his son, Major Hodson, known as "Hodson of Hodson's Horse," who played a dramatic part in the Indian Mutiny, where he received his death wound. The coped top forms a cross, and underneath are represented the King of Delhi surrendering his sword to Major Hodson, with allegorical figures of Justice, Fortitude, Temperance, and Mercy; and at the corners statuettes of Joshua, David, St. Thomas of India, and St. George of England. Both these monuments are by Mr G. E. Street, R.A., the well-known architect of the Law Courts in London.
Close to the gate is a medallion to Erasmus Darwin, "a skilful observer of Nature," and the author of several books. He died in 1802, and was the grandfather of Charles Darwin,the celebrated biologist, whose name is a household word. The memorial to the grandfather directs attention to the hereditary obligations of the grandson.
In the second bay, between the pier arches, is the monument of Bishop Langton, who died in 1296. This originally stood to the south of the high altar. The figure is of Purbeck marble, and is habitedin pontificalibus; the head lies on a plain cushion in a kind of frame. The mitre and shoes were probably once richly jewelled, and the whole, as we know from Sir William Dugdale's "Visitation," had a pedimented canopy. Now nothing remains but the mutilated effigy.
In a similar position in the third bay is the effigy of Bishop Patteshull, who died in 1241. This is also of Purbeck marble, and was probably jewelled. There are ministering angels outside a pediment at the head; the figure has the pastoral staff in the left hand, while the right is obviously raised in benediction, though only the fingers are left, the second wearing the episcopal ring. Pennant and others have drawn attention to the fact that this effigy has the "stigmata" or marks of Our Lord's wounds on his hands and feet. Some antiquarians think that this is the monument of Bishop Weseham, and not of Bishop Patteshull. There are engravings and descriptions of these last two monuments in Gough's "Sepulchral Monuments in Great Britain," 1796, but it is certainly strange that Langton's monument is described as Patteshull's, andvice versa.
Opposite to Bishop Langton is the most curious monument in the cathedral. It has now been identified as the tomb of Sir John Stanley of Pipe. The effigy represents a knight naked to the waist, below which was formerly a deep skirt painted with the arms of Stanley, the legs being in armour, while under the head is a buck's horn, and a similar horn is placed beneath the feet. The whole subject of this tomb is one presenting many difficulties, but they have now been cleared up, and in a communication to the "Archaeological Journal," vol. 24, Mr J. Hewitt has given much interesting information. From it the following account is taken:—The monument was always known as that of "Captain Stanley," who for some offence had been excommunicated, and who, after atonement, had been admitted to sepulture in holy ground on condition that the evidence of his punishment should appear on his sepultured effigy. The mutilationsof the Civil Wars have so defaced the monument as to make this story extremely doubtful, until among papers belonging to the Earl of Winchelsea was found a coloured drawing of this effigy, done by Sir William Dugdale just before the wars for Sir Christopher Hatton. This sketch showed that the skin was bare, and that the skirt had the Stanley arms. But this did not clear up the difficulty. Pennant, in his "Journey from Chester to London," describes the tomb and gives the story, and then says: "I find a Sir Humphrey Stanley of Pipe, who died in the reign of Henry VII., who had a squabble with the Chapter about conveying water through his lands to the close ... so probably this might be the gentleman who incurred the censure of the church for his impiety." Shaw, in his "History of Staffordshire," declares that the arms on the base of the tomb show "the arms of Stanley impaling or, three chevronels gules (Clare)," which means that the person represented married a Clare. This Sir Humphrey did not do, and, moreover, he was buried in Westminster Abbey, where his brass still remains. Further investigation showed that the arms of Clare are also the arms of Gerard, and then that Sir John Stanley of Pipe married Margaret, the daughter of Sir Thomas Gerard. Pipe is a domain about a mile from Lichfield, so that the family of the dead knight would naturally have desired his interment in the cathedral of that city.
It does not appear that there was any ignominy implied in scourging as a public penance. On the contrary, many royal personages have submitted to it, and everyone will remember that Henry II. underwent a scourging upon his naked shoulders by the hands of the monks of Canterbury. There is a stained-glass window in the Bodleian Library at Oxford showing this scene.
Dr Rock, in the same volume of the "Archaeological Journal," says that to his thinking "this Stanley, of knightly rank, had drawn upon himself the greater excommunication through the spilling of blood in Lichfield Cathedral on some occasion, from a blow on the face with his hand or possibly by a slight stab with his avelace on the person of one with whom he had quarrelled. He lies bareheaded and naked as far down as the girdle. His upraised hands, according to the representation given by Pennant, and copied in Shaw's'History of Staffordshire,' held a scroll which must have been the document ... signifying under the bishop's hand that, having undergone the canonical penance, the offender was again admitted to all Christian privileges."
Farther east than the "minstrel gallery" there is a window in memory of Bishop Rawle, who was consecrated Bishop of Trinidad in this cathedral by Bishop Selwyn. The subjects depicted in the window are Christ's Appeal to St. Peter, St. Paul's Vision, and The Baptism of the Ethiopian by St. Philip. Underneath the window is a highly-ornamented altar tomb designed by Sir Gilbert Scott in memory of Archdeacon Moore, whose effigy lies on the top. He died in 1876. Opposite, in the next bay, is the monument of Dean Howard, who died in 1868; the effigy of the dean, in marble, lies under a triple canopy formed from portions of the old screen. These last two effigies were the work of H. Armstead, R.A. It was here that Bishop Langton's monument once stood, and here also was Bishop Hacket's. This last now stands on the opposite side under the very beautiful window of the sixth bay of this aisle: it is in the Jacobean style, and is much painted and gilded. An effigy of the Bishop lies on an altar tomb under a canopy, while in front is a lengthy inscription in Latin.
Near this place, with other monuments, is one to the memory of Colonel Richard Bagot, who received his death wound at the battle of Naseby, 1645, and was buried in the cathedral. His father was Sir Hervey Bagot, Governor of the Close on behalf of the king.
In the seventh bay is another of the semi-effigies, two of which are in the south aisle of the nave, but this one is much more damaged; it is supposed to be the monument of Canon Strangeways. In Jackson's "History of Lichfield," which was published in 1805, it is stated that the name, though not then distinguishable, had only recently become obliterated, and was known and remembered to be Strangeways.
On the south wall, towards the east are, amongst others, brasses to Dean Champneys, 1875, and Dean Bickersteth, 1892, and above these there is a monument to Canon Horton, who died in 1728.
Two windows have recently been ornamented with new glass by Mr Kempe, showing scenes taken from the Acts of theApostles; one, in memory of Dr H. W. Hewitt, represents Peter and Paul healing the lame man at the Beautiful Gate of the temple. The other is in memory of Mr J. T. Godfrey Faussett, and represents Stephen before the Council, having delivered his apology, looking up and declaring "Behold I see the heavens opened, and the Son of Man standing on the right hand of God."
At the east end of this aisle, on the spot where probably once stood the altar of St. Nicholas, is the famous monument known as "The Sleeping Children." This was executed by Sir Francis Chantrey, R.A., and set up in 1817. It is said that this monument established his fame. Britton, in 1820, devotes more than two large quarto pages—a great space for him—to ecstasies over it, and no doubt the taste of the time demanded undiluted admiration. Now we may prize it as an early example of the new style which, in art as well as in literature, was to supersede the artifice of the eighteenth century: the essence of that new style was, Mr Walter Pater tells us, "an intimate consciousness of the expression of natural things."
THE SLEEPING CHILDREN.Photochrom Co. Ltd., Photo.]THE SLEEPING CHILDREN.
Photochrom Co. Ltd., Photo.]
The monument is in memory of the two daughters of the Reverend William Robinson, Prebendary of the cathedral, and represents the young children locked in each other's arms.
Behind it is a wall memorial to their father, and to the side is a piscina, which has at the back of it an old fresco, probably of the fourteenth century. The subject is the Crucifixion, with figures of St. Mary and St. John, one on each side of our Lord. The illustration is from a drawing preserved in the National Art Library, South Kensington Museum. The window at the end of the aisle contains some of the old Flemish glass, which has in the centre a curious representation of the Trinity.
In leaving this aisle it may be noted that tradition has it that between the pillars of the eighth bay was the monument of Lord Basset: that the tomb of Bishop William de Corkhull was between the pillars of the seventh bay, and that, in a similar position in the fifth bay, was buried Bishop de Molend. The Ashmolean MSS. give a long description of Lord Basset's monument: "Between the choir and the chapel of the Blessed Mary is the monument of Ralph, Lord Basset. He is lying in complete armour, his hands erected, and thereon his gauntlets. On his head, which is laid upon his helm and crest, viz., a boar, is a steel cap, and on his right shoulder a square shield of his arms. His dagger is laid by his right side, and his feet are resting upon a boar." He died in the reign of Richard II. It is always said that Sir Walter Scott had this monument in his mind when he described Lord Marmion's monument:—
"Fitz-Eustace careA pierced and mangled body bareTo moated Lichfield's lofty pile;And there, beneath the southern aisle,A tomb, with Gothic sculpture fair,Did long Lord Marmion's image bear,(Now vainly for its sight you look;'Twas levell'd when fanatic BrookThe fair cathedral storm'd and took;But thanks to Heaven and good St. Chad,A guerdon meet the spoiler had!)There erst was martial Marmion found,His feet upon a couchant houndHis hands to Heaven upraised;And all around, on scutcheon richAnd tablet carved, and fretted niche,His arms and feats were blazed."
"Fitz-Eustace careA pierced and mangled body bareTo moated Lichfield's lofty pile;And there, beneath the southern aisle,A tomb, with Gothic sculpture fair,Did long Lord Marmion's image bear,(Now vainly for its sight you look;'Twas levell'd when fanatic BrookThe fair cathedral storm'd and took;But thanks to Heaven and good St. Chad,A guerdon meet the spoiler had!)There erst was martial Marmion found,His feet upon a couchant houndHis hands to Heaven upraised;And all around, on scutcheon richAnd tablet carved, and fretted niche,His arms and feats were blazed."
"Fitz-Eustace care
A pierced and mangled body bare
To moated Lichfield's lofty pile;
And there, beneath the southern aisle,
A tomb, with Gothic sculpture fair,
Did long Lord Marmion's image bear,
(Now vainly for its sight you look;
'Twas levell'd when fanatic Brook
The fair cathedral storm'd and took;
But thanks to Heaven and good St. Chad,
A guerdon meet the spoiler had!)
There erst was martial Marmion found,
His feet upon a couchant hound
His hands to Heaven upraised;
And all around, on scutcheon rich
And tablet carved, and fretted niche,
His arms and feats were blazed."
FRESCO-PAINTING OF THE CRUCIFIXION IN THE SOUTH CHOIR AISLE.F. G. M. Beaumont, Photo.]FRESCO-PAINTING OF THE CRUCIFIXION IN THE SOUTH CHOIR AISLE.
F. G. M. Beaumont, Photo.]
The accounts do not entirely tally, so that it may be the tomb described was as little Lord Basset's as it was really Lord Marmion's.
Not very far from this last tomb was the monument of William, Lord Paget, who was not buried here but at Drayton. He was ambassador from Henry VIII. to Charles V., and held other important posts under that king and his daughter, Queen Mary; he died in 1563. There is an engraving of his monument in Shaw's "Staffordshire," which shows it to have been very magnificent.
The monuments in theNorth Choir Aisleare not only more scanty than those in other parts of the cathedral, but they are of less interest. At the east end is the kneeling figure of Bishop Ryder, who died in 1836. This monument is in white marble, and one of Chantrey's latest works, just as the more famous monument in a similar position in the south aisle is one of his earliest. It was originally intended that the figure should be on a higher pedestal, and no doubt the effect is not increased by its lower position.
Behind, on the east wall, is an inscription in memory of the bishop. The window above this contains some old Flemish glass, which has a figure of St. Christopher in the centre. The window in the north side in the corner is by Mr C. E. Kempe, in memory of Mr Patterson, late sub-chanter of the cathedral. The glass shows King David teaching the singers of the House of the Lord. Beneath is an ancient aumbry.
Opposite, between the pillars, is the traditional site of the burial-place of Bishop Stretton; he is said to have been buried in St. Andrew's Chapel. There is little doubt that the end of this aisle contained an altar dedicated to that saint.
Between the next pair of pillars westward, it is said that Bishop Blythe was buried, but his monument at one time stood in the other aisle of the choir.
On the north side of the altar is the monument to the memory of Bishop Lonsdale, who died in 1867. The monument, which is highly decorative, consists of an effigy of the bishop lying on an altar-tomb of marble and alabaster. The effigy is by Mr G. F. Watts, R.A., the celebrated artist, and the tomb was designed by Sir Gilbert Scott, who is said to have taken the idea of the canopy, with its triple pediment, from the monument of John of Eltham in Westminster Abbey.
In the space between the next pair of pillars westward, Archbishop Scrope, formerly bishop of this diocese, is said to have been buried. He was beheaded in 1405 by Henry IV.
In the most easterly bay but one of this aisle there must have been a doorway leading into the chapel which Dr Stukeley speaks of: "In the chapel over against the lady choir was the burying-place of two Mercian Kings; but it is now chosen for a burying-place by Dr Chandler, present bishop of Lichfield, who has there buried one child."
The Lady Chapelhas always most justly been admired by architects and antiquarians. Not only is it peculiarly beautiful in its construction, but also its windows are now filled with some of the most charming old glass to be seen in England. In shape it forms a symmetrical extension, both in height and width, to the choir, but without aisles; and it has an octagonal apse—the only example, it is said, of such a termination in the country. It is lighted by nine high windows, with Decorated tracery. This tracery has recently been restored in the style of that in the three end windows; until this was done most of the windows contained Perpendicular tracery.
BRACKETS IN THE LADY CHAPEL.BRACKETS IN THE LADY CHAPEL.
The windows rest on an arcade of very beautiful design. The arcade may be said to consist of a series of small decorated canopies, supported by shafts with carved capitals, and separated by ornamented buttresses. The canopies, which bow forward, have trefoil ogee arches, surmounted with crockets and finials. Above the arcade is a similar embattled parapet to that in the choir, with a similar passage round the chapel behind it.
The vaulting of the roof is like that in the choir; the same number of ribs diverging from the slender shafts which run right down to the bends of the arcade. Half-way up theseshafts are niches, the brackets and canopies to which are beautifully carved. These are old, but until recently were empty, and no authentic record remained as to what were the characters represented. Dr Stukeley believed that the figures had been those of the five wise and five foolish virgins. This theory has not, however, found sufficient favour to lead to a reproduction of their effigies, for in 1895 the niches were filled with figures of ten virgin saints and martyrs. These were executed by Messrs Farmer & Brindley, from designs by Mr C. E. Kempe, and they may be warmly congratulated on their work. The statues are really beautiful, and are infinitely superior to most of the other modern sculpture in the cathedral. It will be noticed, too, that the figures seem the right size for the niches, instead of being much too large, as in many other cases. The statues are as follow:—
1. St. Werburga, with pastoral staff and book, and a model of Chester Cathedral at her feet.
2. St. Cecilia, with organ.
3. St. Prisca, with palm branch, and lion at her feet.
4. St. Faith, with sword and rack.
5. St. Catherine, with sword and wheel and open book, treading on a monster.
6. St. Margaret, with book and cross, treading on a dragon.
7. St. Lucy, with palm branch and lamp.
8. St. Agnes, with palm branch and book, and lamb at her feet.
9. St. Agatha, with palm branch and tongs.
10. St. Etheldreda, with crown and pilgrim staff, and pastoral staff and a model of Ely Cathedral at her feet.
THE LADY CHAPEL.Photochrom Co. Ltd., Photo.]THE LADY CHAPEL.
Photochrom Co. Ltd., Photo.]
The present altar-piece, which is in the form of a triptych, has scenes connected with the birth of Our Lord carved in relief. These are: The Annunciation, the Salutation of Elizabeth, the Nativity, the Presentation in the Temple, and the Adoration of the Magi. The doors, which can be closed, have paintings on the back representing David, Isaiah, St. John the Baptist, and St. Chad. There are four carved figures of St. Ambrose, St. Jerome, St. Augustine, and St. Gregory supporting the central panel. The altar rails are of alabaster. Before the recent alterations there was a plaster reredos, which had been placed there by Wyatt, and the continuity of thearcading and open carved work, which originally went right round the chapel, was thus broken. Sir Gilbert Scott is said to have been anxious not to remove the reredos, partly, perhaps, on account of the glass behind, which was known to be plain. However, the restoration to the original style has been made, and the plain glass replaced by a very excellent imitation of the Herkenrode glass, representing the three Marys. This was done by Messrs Burlison & Grylls with great skill. There was a screen between the Lady Chapel and the rest of the cathedral in old days. Stukeley mentions it in his notes. He says: "The partition there betwixt the two choirs is a fine piece of architecture, but demolished also in time of war; and, though the figures are destroyed, and at the foot of the same every cherub defaced, yet it may be perceived to be a fine piece of work; for though it be uniform from top to bottom, yet every capital and pedestall are different works within and without."
What is known of the building of the Lady Chapel has already been told in Chapter I. and in the account of the choir and presbytery. The founder of the chapel, Bishop Langton, was buried here, but his tomb was afterwards removed to the south side of the high altar. Shaw tells us of the monument at one time "in the east part of the chapel, towards the south," of Robert Master and Catherine, his wife, and says that "the drawing in Dugdale's 'Visitation' represents them each under a round arch, in the attitude of prayer at a desk." No trace is left of this monument.
As might be expected from what has been given of the history of the cathedral, there is none of the old glass belonging to it remaining; but in spite of this, all the nine windows of the Lady Chapel have very beautiful old glass in them. This glass is not Mediæval, but belongs to the sixteenth century, and the whole of it is a comparatively recent acquisition for the cathedral. That in the seven most eastern windows, and known as the Herkenrode glass, was put in at the beginning of the century; and the other two windows which, until recently, held modern glass, bearing the arms of various dignitaries of the cathedral, have recently been enriched by old glass of probably very nearly the same period as the other.
The nine windows, for the purposes of explanation, may be numbered in succession 1 to 9. No. 1, being the first windowon the north, and No. 9, the first on the south, contain, therefore, the more recently acquired glass. This is supposed to have come from the Low Countries; but, at any rate, about the middle of the century it was brought to England, and lay for years in some cellars in London, where it was forgotten. Finally, it was purchased from the representatives of the Marquis of Ely. The glass shows the arms of the kingdom of Aragon, and amongst other mottoes, that of Charles V.
No. 1. The lower compartment is a symbolic picture on the subject of Baptism. Out of the waters in the fountain come the children, to be received by their guardian spirits, while above are figures representing Faith, Fortitude, and Love, and still higher is a representation of the Divine Presence. No. 9 is a pictorial representation of the legendary Death of the Virgin Mary. The Virgin is represented lying in a canopied bed, surrounded by the apostles, who have been summoned to gather round her death-bed: they are all present except St. Thomas, who has been detained at the baptism of a royal prince. Above is a representation of the Virgin entering into glory.
As stated above, these two windows had originally coats of arms in them, and a reproduction of the arms appears in the tracery of the windows, No. 1 having those of the dean and chapter in 1803, and No. 9 those of the bishops of the diocese from Bishop Hacket to that date.
The glass in the other seven windows—the Herkenrode glass—was purchased in 1802 by Sir Brooke Boothby, who discovered it in Belgium, where it had been hidden for protection from the French. It had been taken from the dissolved Abbey of Herkenrode, near Liege. There were three hundred and forty pieces, each about twenty-two inches square, and some of them are marked with dates between 1530 and 1540. Sir Brooke is said to have given two hundred pounds for it; but it has since been valued at fifteen thousand pounds. He, however, most generously sold it to the dean and chapter for the modest sum he had paid for it. It turned out that there was enough to fill the seven windows it now occupies in the Lady Chapel. Some portions have been used in other windows of the cathedral, which have been already described.
There is a considerable difference in appearance betweenthis glass and that in the other two windows. The subjects depicted in the latter are very distinct, while in the former they are more confused, and it must be said that the Herkenrode glass is much faded. Still, the whole of it is very beautiful, and if it does not satisfy those who crave after the Mediæval stained glass, it is certainly some of the finest glass of the kind to be found in England. The designs have been conjectured to be by Lambert Lombard, the first, and one of the most famous, of the Italianised Flemish School of the sixteenth century; and the other glass belongs to the same period.
BRACKETS IN THE LADY CHAPEL.BRACKETS IN THE LADY CHAPEL.
The abbey at Herkenrode was founded in 1182, and belonged to the Cistercian Order. It became noted for the miracles performed there; from which reason, no doubt, it acquired great wealth, and increased so much in size that it was almost like a small town. All the nuns were of noble family. A history of the abbey was published in 1744, and a copy was presented to the cathedral library by Sir Brooke Boothby. The book contains a view of the abbey buildings, in the centre of which is seen the church. In the third window of the Lady Chapel is a similar picture of the church. Windows Nos. 2 and 3 contain portraits of founders and benefactors of the abbey, with their patron saints. The other five windows, Nos. 4, 5, 6, and 7 show scenes in the life of Christ.
The following is a brief description of these windows:—
No. 2. In this window the glass is in four pictures. In the lower left-hand compartment is Cardinal Evrad de la Marck, Bishop of Liege, supported by St. Lambert; and in the corresponding space to the right is Floris Egmont, Count de Buren, with his wife, attended by St. Christopher and St. Margaret. The picture above is of Maximilian Egmont,Count de Buren, kneeling before an altar, and attended by St. Christopher and St. Barbara. The remaining picture on the left has John, Count de Horn, and his wife Anne, also kneeling before an altar. They are attended by St. John the Evangelist and St. Anne the mother of the Virgin.
No. 3 contains six pictures, which go right across the window—(1) the lowest, has the church of the abbey already mentioned, with an abbess and two nuns, and the Virgin and Child; (2) the Virgin and Child again, with an angel bearing a shield; (3) the Virgin and Child, an abbot and abbess of the Cistercian Order, and the Emperor Lotharius II.; (4) Agnes Mettecoven and her husband kneeling to St. Agnes, with her lamb; (5) St. John the Evangelist and St. Barbara, St. John the Baptist, and St. Margaret, with members of the Mettecoven family; (6) the highest, has Henry de Lechy and his wife, with St. Henry and St. Christina.
No. 4. Christ scourged, Christ crowned with thorns, the Annunciation.
No. 5, the central window. The Ascension, Christ and the two Disciples at Emmaus, the Three Marys (modern glass).
No. 6. The Last Supper, the Entry into Jerusalem, the Betrayal of Christ in the Garden of Gethsemane.
No. 7. The Day of Judgment, the Day of Pentecost, St. Thomas is reproved for his doubt.
No. 8. Pilate delivering Christ to be crucified, Christ bearing his Cross, the Descent from the Cross, the Resurrection.
On the south side of the Lady Chapel, between the buttresses, are three erections, which were no doubt built at the same time as the Lady Chapel itself. They have been known as "the Mortuary Chapels," and also as "the Vestries." They were probably built for the former purpose.
They have recently been restored as a memorial to Bishop Selwyn, who died in 1878. All three chapels have groined roofs, with ribs and bosses, and in the floor some of the old encaustic tiles still remain. The central chapel is the largest, and is lighted by two small windows. It is only entered from the eastern chapel by means of a doorway cut right through the buttress. In this central chapel lies the effigy, in Derbyshire alabaster, of Bishop Selwyn. During his life he had expressed a wish to be buried here, but this wasfound to be illegal, and he was buried in the close just outside. The effigy is by Mr Nicholls, and the decorations of the walls of the chapel are by Messrs Clayton & Bell. These show the arms of the bishopric of New Zealand, to which the bishop was originally consecrated, and the arms of the dioceses formed out of it, and there are more than usually hideous frescoes showing the labours of the bishop among the Maories and among the pitmen of the English diocese. Here he is not likely to be forgotten; and at Cambridge there is a college known as Selwyn College, founded with a similar idea to that which at Oxford caused Keble College to be erected to the memory of another great modern churchman: there also his memory will remain.
The western chapel has, at its north-western corner, a stair-way leading to three cryptal chambers whose flooring is the solid rock.
The Sacristy.—The building on the south side of the choir, which is generally known as the "sacristy," is a very interesting part of the cathedral. Professor Willis decided that it was erected at the same time as the original Early English choir, and no doubt it belongs to the same period. A careful inspection, however, especially of the entrance from the "minstrel gallery" to the chapel of St. Chad's Head, which now forms the top storey, shows unmistakable signs that, like the entrance to the vestibule in the corresponding bay of the north choir aisle, this doorway was once a window, similar, no doubt, to those two still remaining—one in each aisle—which look into the aisles of the transepts. This being so, it is obvious that the "sacristy," or, at any rate, the upper storey, was an afterthought, and that it is later, though perhaps only a little, than the choir, its date corresponding perhaps with that of the south transept.
The upper storey, which until recently was used as the muniment room, was originally the chapel of St. Chad's Head. It has now been restored as a chapel through the zeal and munificence of the present dean, Dr Luckock, and was re-dedicated and re-opened on St. Chad's Day, March 2nd of this year, 1897. In the order of service of that day the dean gave an account of the chapel as follows:—
"The Chapel of St. Chad, first Bishop of Lichfield, and, with the Blessed Virgin Mary, patron of our Cathedral Church,was destroyed in all probability when the rest of the Cathedral was laid in ruins in 1643, the siege beginning on St. Chad's Day, March 2nd of that year. Little was left: the four walls remained in a broken condition, with the vaulting-shafts and caps for the springers of the stone groining, and the wall-ribs, to mark its original lines; also the very beautiful Early English windows—twelve lancets in groups of three—which, singularly enough, were little injured. Externally these are very plain, but internally they are full of interest, and there is nothing better of the kind in the Cathedral. The site of the old altar is clearly marked; indeed, a small portion of it has been preserved. The piscina also still remains. After the destruction the chapel must have been left roofless for years, as, on breaking up the floor which had been raised by some accumulation of rubbish, the workmen found roots of shrubs embedded in it. At some time quite unknown, the chapel was roofed in again, and the tops of the walls rebuilt where they had been broken down. A flat plaster ceiling was inserted, and being divided into two rooms, the old chapel was filled with cupboards and used till last year for the custody of the muniments. The aumbry remains in which antiquarians suppose that St. Chad's relics were preserved. Dr Cox, in his Catalogue of the muniments, page 90, throws some light upon the subject, from the Chapter Act Books, quoting from F. 4 in the year 1481:—'Two monstrances given to the Cathedral in charge of William Hukyns, the custodian of the Head of St. Chad by Dean Heywood, for keeping relics.' And he appends the following note:—'This very likely gives the date of the stone gallery in front of the muniment room in the South Choir aisle (then the chapel of the head of St. Chad). This gallery is of Perpendicular work, and was chiefly intended for the exhibition of relics, in monstrances, to the pilgrims in the aisle below; the second staircase, that allowed of a flow of pilgrims to the upper chapel, being at this time removed.' All the stone groining and the wood and iron work have been completely restored under the direction of Mr J. Oldrid Scott. There are some very old pieces of stone figure-work, which have been preserved. The new bosses and corbels have been carved with subjects from the history of St. Chad, the chief of which show his being mounted on horseback, by Archbishop Theodore; his protection of the hart that fled to him forrefuge; and his death in his cell, surrounded by angels. The reredos, of Staffordshire alabaster, replacing one the existence of which at the east end is clearly indicated, is of a very uncommon design, by Mr C. E. Kempe. It consists of an altar-piece of ornamental arcading, surmounted by three tall canopied niches in which are placed sculptured figures representing the Crucifixion, St. Mary, and St. John. These are supported by angels bearing shields. All the windows are filled with stained glass by Mr Kempe, and contain Choirs of Angels singing the Confessor's hymn, or Psalm cxii.,Beatus vir, which runs in scrolls through nine of the lights. The angels over the crucifix in the east window bear a scroll with the words of Psalm xxi. 3,Posimisti in capite, etc. St. Chad is represented in the centre lancet of the west wall."