THE MINSTER FROM THE CLOISTERS.F. G. M. Beaumont, Photo.]THE MINSTER FROM THE CLOISTERS.(From a Water-colour Painting by Frederick Mackenzie, in the South Kensington Museum.)
F. G. M. Beaumont, Photo.]
The chief feature of the south side of the western transept is the beautiful round window, "the bishop's eye," with its delicate leaf-like tracery. From the outside, this window would look much better if it were a little higher up, but the reason of its position is sufficiently evident from the inside, where it is quite clear of the vault, while the admirable round window on the north side is spoilt by not being completely visible until you approach it very closely. Above "the bishop's eye" is a horizontal band of seven elaborately-carved quatrefoils, considered to have formed part of the tracery of the earlier round window. They are enough to shew that the window was different to "the dean's eye" at the other end of the transept. The window in the gable, though much too large for its position, is nevertheless worthy of notice on account of its fine flowing tracery, which was inserted, like that of the round window below, about the middle of the fourteenth century. This window is not visible from the inside. The gable is outlined by a curious band of open Gothic tracery, surmounted by a cross. This band was erected by the architect to the fabric, named Hayward, in the year 1804. It is a copy of the original (see old view, p.21), constructed about the time of the insertionof the window below. This was blown down on the 20th January 1802. It fell at about eleven o'clock in the morning, but fortunately did little damage. It will be noticed that the two turrets are different: the western is octagonal and crocketed; the other is shorter, plainer, and four-sided. Near the top of the last buttress on the east side of the transept is a stone with the date 1746, apparently a record of restoration. The roof of the choir of St. Hugh, the earliest Gothic portion of the building, is somewhat lower than that of the nave; the clerestory windows are remarkably slender. The narrow buttresses are later additions, constructed to resist the thrust of the stone vault. In the corner of the east transept is a small stone flue from the old fireplace in the choristers' vestry. At the south-west corner of this transept is the canons' vestry; the buttresses, which appear above, pass right down to the ground, and are seen inside the vestry, clearly shewing this to be a later addition to the transept. Over this vestry is the room where the muniments of the chapter were kept until they were removed to the chamber above the Galilee Porch. The room they had occupied was then appropriated as a singing-school, and a small organ was erected in it, which is still there. The vestry is plain and unpretending, but it would have been a pity if, as was at one time proposed, it had been altogether removed. In 1854 it was thoroughly restored under the architect, J. T. Willson, when the present parapet was added. Underneath are seen the low windows of an old vaulted crypt, which was probably used as a treasury. The south face of the slender transept of St. Hugh looks very different to that of the western transept; its many windows leave but little wall space. First is a pair of lancets, then two rows of three above them, and lastly three narrow lights to fill the gable. On either side are two octagonal turrets, with pyramidal roofs surmounted by sculptured figures of angels. On the east side of the transept are seen the two semi-circular chapels of St. Hugh's design. On the buttress at the south-eastern corner of the transept are two sundials, with inscriptions, one being the familiar quotation from Martial—Pereunt et imputantur; the other isCito ætas præterit.
ThePresbytery, or eastern limb of the minster, is the finest example of the best period of English Gothic.Its crocketed gables and pinnacles, its panelled buttresses, its elaborate tracery, and, above all, its wealth of sculpture, form a striking contrast to the simplicity of St. Hugh's work. The choir is divided into five bays, indicated by the boldly-projecting buttresses, once covered with statues; the canopies and pedestals still remain, within arches supported by tall clustered pillars with foliaged capitals. The buttresses are crowned by slender crocketed gables, at the bases of which grotesque figures project. One of these, an imp on the back of a witch (on the third buttress), serves, like the sculpture in the gable of the consistory court, for the "devil looking over Lincoln."
SOUTH-EAST PORCH, WITH THE CHANTRY-CHAPELS OF BISHOPS LONGLAND AND RUSSELL.Photochrom Co. Ltd., Photo.]SOUTH-EAST PORCH, WITH THE CHANTRY-CHAPELS OF BISHOPS LONGLAND AND RUSSELL.
Photochrom Co. Ltd., Photo.]
Cast of the Figure of Christ, in the South-East Porch.F. G. M. Beaumont, Photo.]Cast of the Figure of Christ, in the South-East Porch.(Taken before the Porch was restored.)
F. G. M. Beaumont, Photo.]
(Taken before the Porch was restored.)
Both in the aisles and in the clerestory, broad windows, filled with elegant geometric tracery, take the place of the plain lancets seen in other parts. The most magnificent exterior feature of the eastern arm is undoubtedly the sculptured doorway on the south side. Leland, in the time of Henry VIII., writes: "There is a very faire Doore in theupper part of the Churche Southward to go into the Close, and againe this lyith the Byshop's Palace hanggingein declivio." It was probably constructed, like the Galilee doorway, as a state entrance for the bishop. The porch fills the third bay, and projects as far as the buttresses; its sides recede inwards to the pair of doors giving access to the Angel Choir. Although the doorways of our cathedrals, as a rule, cannot in any way be compared with the magnificent portals to be seen in France, yet this single example at Lincoln would be quite enough to prove that English architects were capable of designing a really magnificent doorway. In the tympanum is the subject of the Last Judgment in relief. A majestic figure of Christ the Judge occupies the central space, with an angel on either side swinging a censer. He is surrounded by a quatrefoiledaureole supported by angels. To the left, the dead are rising from their tombs, and are borne aloft by angels; on the other side demons are dragging the condemned down to the jaws of hell, which gape wide open beneath the Saviour's feet. The archivolt is richly decorated with sculpture. In the inner band is a row of niches with twelve seated figures, apparently kings and queens: next a double band of delicate open-work foliage; outside this a row of sixteen slender standing figures enclosed by interlacing stems, richly decorated with foliage. The doorway is formed of two cinquefoiled arches, separated by a central pillar having the canopy and base for a figure of the Virgin, which has been removed. On either side of the doorway is a triple canopy for statues, and behind this a row of slender columns with foliated capitals.
The hand of the restorer might well have spared this beautiful porch, where the question of the stability of the fabric did not in any way arise. But, unfortunately, an attempt was made about thirty years ago to restore the mutilated figures, and further restorations are now [1897] being carried out. A cast of the headless figure of Christ, with the two angels at the sides, has recently been acquired by the South Kensington Museum. It is valuable as shewing the state of the central figure before restoration (see illustration, p.67). It is believed that Essex also had tampered with this door in the last century. On the buttresses on either side of the doorway are four headless statues, resting on corbels supported by projecting figures.
The two smallchapelswhich stand to the right and left of the doorway are those built as chantries by Bishops Russell and Longland. The one on the eastern side is that of Bishop Russell (d. 1494). The mullions which run from top to bottom of the three windows, dividing them into vertical strips, are sufficient to mark this building as of the Perpendicular period. Between the windows there is only just room for the panelled buttresses which separate them. The embattled parapet, far more conspicuous and elaborate than one of an earlier period would have been, is covered with tracery, and broken by crocketed pinnacles. The whole shews on a small scale the extravagance into which Gothic architecture had lapsed, and contrasts unfavourably with the sober dignity of the structure to which this small chapel is attached. The other chapel to the west was built half-a-century later by Bishop Longland (d. 1547).Although an imitation of Bishop Russell's, it shews points of difference both inside and outside. Leaving these chapels, we notice on the second buttress from the east a queenly figure. On the eastern buttress is a statue of Edward I., trampling on a Saracen, and by his side is his Queen, Eleanor of Castile, whose effigy is to be seen inside this choir.
VIEW FROM THE SOUTH-EAST.Photocrom Co. Ltd., Photo.]VIEW FROM THE SOUTH-EAST.
Photocrom Co. Ltd., Photo.]
Theeast end, in spite of its defects, is perhaps the finest in the country, and the broad expanse of the minster green offers exceptional opportunities for seeing this part of the building to advantage. An excellent general view may be had from the south-east, in the direction of Pottergate. The main feature is the magnificent central window in the geometrical Decorated style. Above this is another fine window of the same period. The latter looks somewhat awkward on account of its position, balanced, so to speak, on the apex of the window below; like the window over the "bishop's eye," it is far too large for the gable in which it is placed. In the trefoil over the top is a figure of the Virgin with the Infant Saviour, and on either side of the gable is a turret with a richly crocketed pyramidal roof. The aisle windows (the two which are filled with the beautiful early stained glass) look very small when compared with the giant central window, from which they are separated by panelled buttresses of bold projection. We have already noticed the insincerity of the west front of the minster, and the same charge must be brought against this eastern end, although the deception here is not so extensive. The two panelled gables over the aisle windows are shams; there is nothing behind them, and they appear to have been only designed for the sake of effect. The northern gable is higher than the other, and the tracery is not quite the same. An arcade runs right across the lower part of the front, beneath the three principal windows. Another short arcade is seen beneath the sham gables.
The hexagonal stone structure at the north-east corner, with a pyramidal roof, covers the minster well. This stonework is presumably not very ancient; in a view of Hollar's in Dugdale's "Monasticon Anglicanum," the well is covered by a wooden shed.
On the north side of the angel choir, the second bay contains the chantry chapel of Bishop Fleming (d. Jan.1430-1), which formed a model for the two chapels on the other side of the choir. The parapet is panelled, and the buttresses contain niches for small statues. In the next bay is a door leading into the choir; its position corresponds to the sculptured porch on the other side, but it is much smaller and plainer. One of the mouldings of the arch is of oak; in the tympanum is an aureole with a bracket for a figure. The doorway is divided by a central shaft, an addition of the latter part of the fourteenth century. The shield of arms in front of the capital is that of Richard II. (1377-99); quarterly, first and fourth, the mythical Arms of Edward the Confessor; second and third, the Royal Arms of England. The supporters are—dexter, a lion; sinister, a bull. It will be noticed that the next window of the aisle, and the buttress beyond it, are much plainer than the rest, left so doubtless owing to their having been to a great extent hidden by the walls of the lengthened chapel (see p.20).
In the year 1875 the ground round the chapter-house was lowered, and the foundations of the chapel were laid bare. They extend as far as the second buttress of the angel choir. A general idea of the appearance of this chapel may be had from a view of Hollar's, in Dugdale's "Monasticon." There were two windows in the east wall, and above these a blind arcade. The roof was pointed; its outline may still be traced on the transept wall.
Between this chapel and the vestibule of the chapter-house is the old common chamber, of which parts are now used as a lavatory. The position of the ten-sided chapter-house, like that of the neighbouring cloisters, is somewhat unusual. Two windows, with a lozenge-shaped panel above them, occupy each of the sides. The buttresses attached to the walls at the angles were originally crowned by pedimental gables, all but the two westernmost of which have been replaced by crocketed pinnacles of the Decorated period. The pressure of the stone vault, which was added some time after the chapter-house was built, necessitated the strengthening of the walls, which was done by means of flying buttresses attached to eight huge blocks of masonry, standing about 20 feet from the walls. The roof is pyramidal, and is surmounted by a cross. A guide-book of 1810 states that there was "originally a fine spire rising from the roof, but was taken down notlong since, being greatly decayed." This apparently refers to an alteration made by James Essex in 1761-2, when the roof was "reduced to an ugly hipped shape." It was again altered to its original form in the year 1800. A wall, which is shewn in early prints, between some of the outer buttresses was removed in 1806. On several of the buttresses the marks may still be seen of houses once built against them. These houses have now been all removed, and a delightful view of the minster has been obtained by clearing away all the dwellings which stood until quite recent years on the now vacant piece of ground beyond the chapter-house.
NORTH DOORWAY OF THE ANGEL CHOIR.H. C. Oakden, Photo.]NORTH DOORWAY OF THE ANGEL CHOIR.
H. C. Oakden, Photo.]
The north side of the minster is, to a large extent, blocked by the deanery, but a fine general view may be hadfrom the road at the north-east corner, with the chapter-house just in front, surrounded by its massive supporters. The transept of St. Hugh, beyond this, is hidden by the chapter-house vestibule and the cloisters. At the end of the western transept is the circular window, the "dean's eye," with the large quatrefoil in the middle, surrounded by a band of sixteen small circles. Above, in the gable, is a lancet window of five lights. The difference between these two windows and those inserted in a corresponding position on the south side of the transept, is very noticeable. The southern pair are over a century later in date. Both the turrets on the north side are octagonal, but neither of them is crocketed. The view from this spot at sunset is particularly fine. After passing the deanery, and turning to the left, it will be noticed that the north side of the nave has not a row of niches such as has been seen on the south side. The tower at the west end has a gable on its north face, similar to that on the opposite side of the companion tower.
A visit to the minster would not be complete without a climb to the breezy top of the great central tower. The ascent is not difficult, and may be made for a small fee. The clock was made by William Potts & Sons of Leeds, in 1880, and weighs about four tons. It took the place of one made in 1775 by Thwaites, and afterwards improved by Vulliamy.
The Cathedral Close, orMinster Yard, as old-fashioned Lincoln people still love to call it, was first protected by a wall in the last years of the thirteenth century. The licence from Edward I. to the Dean and Chapter, giving them permission to undertake this work, dates from the year 1285. Edward's successor granted a further licence in the year 1319 to fortify the walls; the two ruined towers in the chancery garden are relics of the fortifications begun about this time. Massive double gateways were erected to protect the approaches, except in one instance, where a steep ascent was considered to justify the erection of a single gateway only. Unfortunately, these gateways were for the most part destroyed early in the present century. The principal one remaining is that opposite the western end of the minster, known as the "Exchequer Gate." Indeed, even when all the gateways were standing, this seems to have been the chief.
NORTH SIDE OF THE ANGEL CHOIR.S. B. Bolas & Co., Photo.]NORTH SIDE OF THE ANGEL CHOIR.
S. B. Bolas & Co., Photo.]
Leland, who was at Lincoln in the latter part of HenryVIII.'s reign, writes thus: "Al the hole Close is environid withe an highe stronge wawle havynge dyvers Gats in it, whereof the principall is the Escheker gate." Of course, when Leland wrote, the companion outer gateway was yet standing, and it remained so until early in the present century. It hadthen fallen into disrepair, and does not seem to have been considered worth renovating. An idea of the appearance of the Exchequer Gate will be gained from De Wint's picture, reproduced on p.33. Like its former companion, it has a large archway in the middle and a postern on either side; above are two storeys of rooms, formerly let as dwellings. A guide-book of the year 1810 mentions that a public-house was at that time "kept in the apartment to the north of the southern postern." Another gateway of the same period (early fourteenth century) is still standing near the top of the New Road, at the south-east corner of the close. This was the only single gateway. It is now called "Pottergate Arch." A little westward of this gate, a flight of steps, with a postern at the top, leads up to the minster yard from the New Road. Respecting its name, the "Grecian Stairs," much has been written. It may be sufficient here to remark that the old name appears to have been simply "The Greesen," from the early Englishgree, a step.
"a sentenceWhich, as a grize or step may help these lovers."
"a sentenceWhich, as a grize or step may help these lovers."
"a sentence
Which, as a grize or step may help these lovers."
("Othello," Act I. sc. iii.).
The "Priory Gate" to the north-east, near the chapter-house, is a plain modern arch, a poor substitute for the two gateways destroyed in the year 1815. In addition to those already mentioned, there were anciently two other double gateways to the close. One of them stood between the White Hart and Angel Inns, at the west end of Eastgate; the other was near the deanery, at the end of East Bight.
The venerable ruins of the oldPalace of the Bishopsat Lincoln bear sufficient testimony to long years of neglect. But it is gratifying to know that this beautiful spot has been restored in recent years to its ancient use, and that a new bishop's palace now occupies an appropriate place beside the ruins of the old. It lies on the south side of the close, and anciently commanded a lovely view over the straggling city in the valley beneath, and over the surrounding country. The prospect is now marred by a fast-increasing number of tall, smoking chimneys, signs of awakening activity; but it is still beautiful, and the view of the minster from the palace grounds is as fine as ever.
ELEVATION OF THE FORMER CHAPEL OF THE BISHOP'S PALACE, WITH BISHOP ALNWICK'S TOWER.ELEVATION OF THE FORMER CHAPEL OF THE BISHOP'S PALACE, WITH BISHOP ALNWICK'S TOWER.[completed from Buck's Print, 1726.
[completed from Buck's Print, 1726.
Special permission is necessary to visit the ruins. The entrance gateway, at the corner of the Vicars' Close, bears the arms of Bishop Smyth. The chapel used to stand on the left, where the coach-house and stable now are. In front is Bishop Alnwick's tower, which was restored by the late bishop, Dr. Wordsworth. Just westward of the tower are the ruins of the hall, extending in a southerly direction towards the ruins of the kitchen. The present chapel of the bishops stands between the ancient hall and kitchen, and has been quite recently erected. There are also remains of buildings of less importance.
The Deanerylies on the north side of the minster, just beyond the cloisters. The present house, built half-a-century ago, replaced a much finer building, with a quadrangular central court. The commencement of the old deanery is dated as far back as the end of the twelfth century, but the chief part was the work of Dean Fleming (1451-83). Leland seems to imply that there were traces of more ancient buildings. "Where the Deane of Lyncolnes Howse is," he says, "and there about was a Monasterye of Nunes afore the time that Remigius began the new Mynstar of Lyncolne: and in this Howse yet remayne certayne tokens of it." The demolition, towards the end of the year 1847, of the fine tower built by Dean Fleming caused much regret. It used to be called "Wolsey's tower," from the popular opinion that it was built by that celebrated prelate when bishop of Lincoln. In the painting by Mackenzie, reproduced on p.53, the tower is shown, to the left of the chapter-house. The new deanery lies a little to the eastward of its predecessor.
The most interesting of all the old houses around the minster yard is theCantelupe chantry house, which stands almost opposite to the south-east doorway of the minster, near the entrance to the Vicars' Court. This house was originally the residence of the clergy who served at the altar of St. Nicholas in the minster, where Nicholas, Lord Cantelupe, founded a chantry in the year 1355, with an endowment for the maintenance of three priests. It is probable that the house was erected by Lord Cantelupe's widow eleven years later, when the foundation was enlarged by her for a warden and seven chaplains. The house is of stone, with a fine oriel window, which has, however,been much mutilated. The two shields of arms, one on either side of this window, are those of the Cantelupe and Zouche families. In the gable above is a niche, with a seated figure of Christ. Several windows of the househave been filled in, and the interior has been completely transformed.
PLAN OF THE BISHOP'S PALACE, LINCOLN, ON THE LEVEL OF THE HALL FLOOR.PLAN OF THE BISHOP'S PALACE, LINCOLN, ON THE LEVEL OF THE HALL FLOOR.
VIEW OF THE ANCIENT DEANERY.VIEW OF THE ANCIENT DEANERY.
Close by is the entrance to theVicars' Court, founded by Bishop Oliver Sutton (1280-99); the work was continued by his successor, John de Dalderby, and taken up again by Bishop John Buckingham (1363-1397), The entrance gateway is the work of Bishop Buckingham, and bears his shield of arms. Some houses on the east side of the court also bear these arms, and date from the same bishop's time. Part of Bishop Button's work is to be traced in a house on the south side. The other buildings are of later date. The residence of the chancellor, on the eastern side of the close, near the south end, may be recognised by its fine old red-brick front, dating from the latter part of the fifteenth century; parts of the house are of earlier date. The precentory stands on the south side of the close, next to the Exchequer Gate. Very little now remains of the ancient building; the present front was designed by J. L. Pearson, R.A. The next house eastward, the sub-deanery, has more extensive remains of early work; a bay window ofthe fifteenth century should in particular be noticed. In the year 1884, when the eighteenth century railings at the western end of the minster were removed, and the ground round this part lowered, the sub-deanery was considerably altered to allow of the widening of the road.
PART OF THE ANCIENT DEANERY, WITH DEAN FLEMING'S TOWER.PART OF THE ANCIENT DEANERY, WITH DEAN FLEMING'S TOWER.
A detailed description of the interior of Lincoln minster may be fittingly preceded by a brief review of its chief features. As regards the Presbytery or Angel Choir, no one, with the exception of a recent American critic, has ventured to lower the just reputation of this lovely work, distinguished for a rare combination of beauty of architecture and sculpture. The next place in point of architectural excellence must be assigned to the Nave, a harmonious and characteristic example of the Early English style. But the unique position the choir of St. Hugh holds in the history of Gothic architecture should not be lost sight of. The principal interior defect, and this rendered all the more conspicuous by the general gracefulness of other parts, is the lowness of the vault. But, after all, there are only four loftier vaults in England, and one of these is only higher by two feet; nevertheless the defect is conspicuous, and is a serious one. Of the windows, the most noticeable are the great east window and the two "eyes," and these are equal to any in their respective styles in the country. The modern coloured glass which fills the former, as well as many lesser windows in the minster, brings out in greater contrast the loveliness of even the wrecks of the early stained glass still remaining in some others.
Considering that Lincoln once possessed the monuments of a queen, of another direct ancestress of our Royal family, and of two bishops whose fame has spread to the farthest limits of Christendom, as well as of others of more local celebrity, it must be confessed that the monuments at present in the minster are disappointing. That of Queen Eleanor is represented by a modern reproduction; Catherine Swynford's is mutilated almost beyond recognition; those of St. Hugh andGrosseteste are gone altogether; and the ancient monuments which are left retain very little of their original splendour.
TheGround Planillustrates the lengthening process to which the building has been subjected. It is a double cross, with side chapels extended beyond the nave walls at the western end. The lesser transept has four apsidal chapels towards the east, and the great transept has a single eastern aisle divided into six chapels. The symmetry of the presbytery has been disturbed by the addition of projecting chantry-chapels, one on the north side and two on the south. The cloisters are accessible from the eastern transept, and the chapter-house from the cloisters.
The westernmost bay of the nave has been formed into a kind ofvestibuleby means of the archways constructed, during the last century, to strengthen the towers at that end. The vestibule is in three compartments, two of which, under the western towers, are square. The centre one is the most interesting, since it preserves to us a portion of the first bay of Remigius' nave. High up in the side walls is a Norman arch, part of the original clerestory. Below this we can trace the outline of a wider arch (now filled in), which belonged to the triforium. Considerable alterations were made in these walls by Treasurer Welburne in the second half of the fourteenth century, and the arches were filled in during the early part of the eighteenth century, owing to the instability of the towers. The arch dividing the vestibule from the nave was constructed by an architect named John James (apparently not James Gibbs, as some have supposed) about the year 1730, and altered by James Essex thirty or forty years later. In the time of Bishop Grosseteste (1235-53) the side walls were carried above the Norman clerestory to the height of the present nave, and covered with the characteristic lattice-ornament which we have already seen in the central arch outside. The great west window was also inserted in Grosseteste's time, as well as the cinquefoil window above. The tracery now filling the former is in the Early Perpendicular style, and dates from the end of the fourteenth century. From the broad sill of this window a good view of the interior can be obtained, and a much finer one still from the passage which runs beneath the other window above. From the latter position we have an uninterrupted view of the entire length of the minster, whichlooks longer than it really is, from the fact that the vaulting is carried at an almost uniform height throughout.
Elevation of One Bay on the North Side of the Nave.Elevation of One Bay on the North Side of the Nave.
In the floor are slabs bearing the names of Chancellor Reynolds (d. 1766) and of Precentor Trimnell (d. 1756), the "chanter" who was accused of removing the statues over the central doorway outside. On the wall at the north-east corner is a tablet to the memory of the officers, non-commissioned officers, and privates of the 10th or North Lincolnshire regiment of infantry, who died in the campaigns of the Sutlej (1845-46) and of the Panjab (1848-49); the tablet was erected by their surviving comrades. The compartments under the western towers were vaulted by Treasurer Welburne (ab. 1350-80), to whom is also due the tracery which covers the walls. The curious chambers constructed in the thickness of the old Norman west front are accessible from the sills of the western windows, these being joined by narrow passages in the wall. On the north side we are able in the same way to reach a long narrow chamber, which probably served as a treasury, constructed in the north wall of the tower. The chamber was originally lighted by four small round-headed windows. One of them, on the west side, is still open; the two facing northwards, formerly outside windows, are now enclosed by the northwest chapel, and blocked up; the fourth, on the east, is also blocked. A square hole in the floor formed at one time the only means of access to the chamber beneath, which may now be reached by a doorwayfrom the porch. In the north wall of this lower chamber is a low semi-circular arch, supposed to have been constructed by the Norman builders, in order to avoid some obstacle in the way of the foundations. This arch was filled in with masonry, now pierced by a doorway. The north-west chapel, which is entered by this doorway, encloses the outer wall of St. Mary's tower.
Half Section of the Nave, looking West.Half Section of the Nave, looking West.
The corresponding chapel on the south side of the minster is sometimes called the "Ringers' Chapel." On its walls is painted a seventeenth century list of the "Names of the Companie of Ringers of our Blessed Virgen Marie of Lincolne." In one place we see "Edward Whipp 1617 at the kings coming to Lincolne." This refers to the visit of King James I. in March of that year, when he visited the minster, and touched a number of persons for the evil. His Majesty went also to a cock-fight at an inn near the Stone-bow, and to a horse-race on the Heath. Edward Whipp was evidently one of those who rang the bells in honour of the royal visit. The Ringers' Chapel encloses part of the south wall of St. Hugh's tower, which has a large arched recess and a niche, similar to those in the west front.
The curious "stone beam," about which so much hasbeen conjectured, and so little is known, is constructed between the walls of the two western towers, just above the stone vault of the nave. It is really an arch of very slight curvature, composed of twenty-three stones of unequal length, but of uniform depth and breadth. Examination has proved that there is nothing but mortar in the joints, and there are no traces of iron having been used in the construction. When jumped upon, the "beam" vibrates appreciably. It has been suggested that it was constructed in order to try whether the towers were capable of supporting the additional weight of upper storeys, but nothing appears to be satisfactorily known as to the purpose it served or the date of its erection.
TheNavewas constructed, together with the two chapels at its western end, during the first half of the thirteenth century. Attempts have been made to distinguish earlier and later features in different parts. For example, the morning chapel on the north side is considered to be somewhat earlier than the consistory court opposite to it; but there being no documentary evidence to guide us, all that we may safely say is, that the nave is later than the time of St. Hugh (d. 1200), and was practically completed before the death of Bishop Grosseteste, which occurred in 1253. Taken as a whole, it is one of the best examples of the Early English style we possess. The late Sir G. G. Scott, in his lectures on Mediæval Architecture, thus speaks of it—"It exhibits an Early English style in its highest stage of development: massive without heaviness, rich in detail without exuberance, its parts symmetrically proportioned and carefully studied throughout, the foliated carving bold and effective, there seems no deficiency in any way to deteriorate from its merits." In dignity especially, the eminent architect considered the nave to be superior to all other parts of the cathedral.
THE NAVE, LOOKING WEST.Photochrom Co. Ltd., Photo.]THE NAVE, LOOKING WEST.
Photochrom Co. Ltd., Photo.]
The general complaint against the interior—the lowness of the vault—is applicable here. The architects were, undoubtedly, influenced by the vault of St. Hugh's choir, which is 8 feet lower than that of the nave. According to the measurements in Lord Grimthorpe's "Book on Building," the height is 82 feet—21 feet less than is found at Westminster, 11 feet less than at York, 6 feet less than at Ripon, and 2 feet less than at Salisbury. Lincoln comes fifth of the English cathedrals in interior height, but since this height is maintained almost uniformlythroughout, the vault looks lower than it really is. For this reason the defect is not so noticeable in looking westward from beneath the great tower. Another complaint, which appears hardly so justifiable, is the remarkable lightness of the piers, and the great width of the arches. Many, in fact, might be inclined to agree with Mr. F. C. Penrose, who points out that the effect of this lightness is an increase in the dignity and apparent sizeof the nave, which would be felt to a much greater extent if the windows had their original stained glass, and thus admitted less light than at present. Mr. Penrose has investigated the matter, and given the result in the Lincoln volume (1848) of the Archæological Institute. He states that "the ratio of voids to solids appears to be more remarkable than is to be found in any vaulted building in Europe; at least, among the larger structures." The piers, we are told, are quite secure. The greatest care was taken in their foundations, and the footing courses extend so as to reach those of the side walls. The nave is in seven bays, the two westernmost of which are conspicuously narrower than the others. The reduction is a little more than 5 feet, the measurements being 26.6 feet, and 21.3 feet. Another peculiarity, already noticed, is that these two western bays are not quite in a straight line with the others (see p.23). The vault drops about 2 feet, and turns slightly northwards. Each pier of the nave is surrounded by eight circular shafts, some more slender than the others; the slender ones are separately banded in the middle. The shafts are principally of Purbeck marble, which is capable of receiving a fine polish. This marble has been used extensively throughout the interior. It has, however, become much decayed, and in many parts has had to be renewed; whilst in some cases it appears to have been replaced by the far more durable Lincoln stone. Many of the Purbeck shafts in the minster are being polished up or restored. The bases of the nave piers are seen to be higher on the north side than on the south. This peculiarity is also found in the western transept, in St. Hugh's choir, and in the Angel Choir beyond. The "dean's eye," too, on the north, is higher than the round window at the southern end of the transept, and on the west front of the minster, the lower rows of arcading on the north side are at a higher level than the corresponding rows on the south. It has been conjectured that this peculiarity was owing to the inequality of the ground. If it had been a mere freak of St. Hugh's architect, it seems, hardly probable that the succeeding architects would have imitated it for another century. Turning again to the nave, a difference will be noticed in the foliage of the capitals on the two sides. The arch mouldings, like those of St. Hugh's choir, were considered "beautiful specimens" by Rickman. They are deeply cut, and throw good, bold shadows.In the triforium, each bay contains two arches, supported by clustered columns with foliaged capitals. The spandrels are decorated with sunk trefoils or quatrefoils. In most cases the arches are each divided into three sub-arches with clustered shafts, the tympanum being pierced with quatrefoils. A difference is noticeable, however, in the easternmost arch, and the two westernmost bays (five arches altogether) on both sides. Here the sub-arches are only two in number.The narrowness of the two western bays accounts for the variation at that end. The clerestory is the same throughout its length, having three tall narrow windows in each bay, with slender banded shafts. In the nave we have, according to Fergusson, "a type of the first perfected form of English vaulting." He calls it "very simple and beautiful." At the junctions of the ribs are elaborate bosses of foliage. The compartments are covered with plaster, once decorated in colours and gold. In the second bay from the east is the name:W. L. PARIS:—evidently intended as a record of some repairs to the vault. The springers rest on clusters of three long slender vaulting-shafts, rising from foliaged corbels just above the capitals of the nave piers.
PART OF THE DOUBLE ARCADING OF ST. HUGH.S. B. Bolas & Co., Photo.]PART OF THE DOUBLE ARCADING OF ST. HUGH.
S. B. Bolas & Co., Photo.]
In the aisles, each bay has two lancet windows, except the easternmost bay on the south side, which has only one. In the jambs are slender Purbeck shafts, twice banded. Just beneath these windows, an arcade of trefoiled arches runs along the whole length of the nave, being continued on the screen walls to the western chapels. The arches are deep, with bold mouldings, and are supported by clustered columns. There are five arches in each bay, but they are not placed in the same manner on both sides of the nave. On the south, the arches are arranged in groups of five, with blank spaces of wall between, in front of which pass the vaulting-shafts. On the north, the arcade is continuous, and is so arranged that each cluster of shafts supporting the vault passes in front of an arch. The work on the south side is more elaborate; tooth ornament is used, a string-course runs along at the height of the capitals, and foliaged bosses are found in the lower corners of the spandrels. In addition to the clustered vaulting-shafts already mentioned, there is a single vaulting-shaft in the centre of each bay, between the windows, rising from a corbel above the wall-arcade. On the north side these corbels merely have plain mouldings, but on the south side they are foliated. The arrangement of the vaulting-ribs is different in the north and south aisles; and in the latter it will be noticed that some of the bosses have figure-subjects, besides the foliage met with on the north side. TheAgnus Deicarved on the boss in the fourth bay from the west should be noticed. To such minor differences, continually found in the corresponding parts of a Gothic edifice, the style undoubtedly owes a peculiar charm. In the case of the nave at Lincoln, theyprobably indicate a slight difference in the date of erection, but they certainly point to a far greater scope for individuality being accorded to the masons than was allowed in the rigidly symmetrical styles of the Renaissance. The chapel at the south-west corner of the nave is used as the Consistory Court, and that opposite to it was reappropriated to its ancient use as the Morning-Prayer Chapel by the late Archbishop Benson, when Chancellor of Lincoln. A small brass tablet to his memory has recently been fixed to the wall by the side of the altar. Both chapels are stone-vaulted, but the northern has a feature which is not found in the Consistory Court. This is the slender Purbeck column in the centre, erected to support the vaulting. In this chapel was formerly placed the massive font of black basalt, which was removed in 1874 to its original position in the second bay from the west on the opposite side of the nave. The font is of Norman workmanship, and apparently dates from the time of Remigius (1067-92). There is another of a similar character in the cathedral at Winchester. The basin is square, and rests on a massive circular drum in the centre and four small columns at the corners, supported by a square base. Round the sides of the basin, a row of grotesque monsters, some winged, is carved in bas-relief. The font is now raised on steps. It was used by the parishioners of St. Mary Magdalene's, whose church was destroyed to make room for the minster. They were allowed to worship in the nave until the time of Bishop John de Dalderby (1300-20), when a new church was built for them. The old pavement of the nave was removed towards the end of the last century (about 1782), when many of the grave-slabs it contained were taken away.8It was in the nave that the gorgeous processions of olden days were formed, and the original pavement was marked with two rows of circles to indicate the different positions of the clergy. The pavement of the north aisle is considered by some to have been slightly raised; from it the populace might then have watched these processions. Of English cathedrals, Lincoln comes next to Canterbury for the richness of its stained glass, but there is little in the nave which is worthy of notice. Almost all that escaped the stray arrows and bolts from the bows of dwellers round the close appears to have been destroyedduring the disastrous times of the Civil War in the seventeenth century, when the mere beauty of a work of art appears to have often served as a sufficient excuse for its destruction. In the windows of the aisles the glass is all coloured, but modern. The lower lights of the great west window are also filled with modern glass, the work of two amateurs, the Revs. Augustus and Frederick Sutton, who produced many others of the coloured glass windows in the minster; the upper lights contain fragments of glass of the same date as the tracery (latter part of the fourteenth century). The cinquefoil window above has been filled with modern glass, inserted in 1859 in honour of the founder, Remigius, who is seen in the centre, holding his church in one hand, and his bishop's staff in the other. The windows of the clerestory are plain.
The nave has very few monuments. Of those which remain, the foremost place must certainly be taken by the dark mutilated slab under the easternmost arch on the north side. Remigius, it will be remembered, was originally buried near the altar of the Holy Cross, where his tomb-slab was broken by the beams which fell in flames from the roof of the Norman church. Some years ago, a monumental slab, in two parts, with carved subjects, which might very well date back to the time of Remigius, was brought to light in the cloisters. Canon Massingberd had this removed to the spot where it now lies, not far from the original burial-place of the bishop. The carving consists of various scriptural subjects in low relief; it is now much worn. The surrounding inscription records the foundation of the cathedral by Remigius in the year 1072, and the restitution of the tomb-slab in 1872. On the opposite side, at the end of the aisle wall, is a marble tablet in memory of Michael Honywood (b. 1597: d. 1681), who was made Dean of Lincoln in the year of the Restoration. The present library was erected by him at a cost of £780, and received his collection of books.
Near the western end of the nave are slabs in the floor, marking the burial-places of Bishops Smyth (d. Jan. 1513-14), Alnwick (d. 1449), and Atwater (d. Feb. 1520-1). Bishop Smyth was the founder of Brasenose College, Oxford. Bishop Alnwick was buried in the place where he used to stand when processions were formed in the nave. Besides the slabs in the pavement, other monuments of a more conspicuouscharacter appear to have once adorned the nave. A century ago, beneath the easternmost arch on the south side there stood "a raised Altar Tomb of grey marble, this for Dean Mackworth; it was once very costly adorned with figures of Brass Work, but defaced in the time of Cromwell." No altar-tomb now recalls the memory of the dean who refused to walk in a straight line in processions, and brought armed men into the chapter-house to lend weight to his arguments.
The carved mahoganyPulpitagainst the second pillar from the east on the north side has been moved to its present position from the choir. It may be hardly necessary to remark that the idea held by some, that this pulpit dates from the time of James I., is quite erroneous; the slightest examination will shew that very little, if any, could be of so early a period. The details of the ornament are of the last century. It is hexagonal, and is supported on open arches of ogee form. A sounding board has recently been suspended above. The brass eagle lectern was given as a memorial of the late Dean Butler (d. 1894), whose recumbent effigy now rests in the angel choir. Before passing under the central tower, an irregularity at the western end should be noticed. The great arch which spans the nave, separating it from the vestibule, is not placed in the centre; it will be seen that there is more wall space on the south side than on the north.
TheCentral Towerrests on four lofty arches supported by massive piers. These piers were enlarged to carry the additional weight of the upper storeys of the tower, and are surrounded by banded shafts, chiefly of Purbeck marble. The foliage at the crown of each arch should be noticed; the same occurs on the great central arch of the west front. Above the spandrels, which are covered with the trellis-work also seen elsewhere, are two rows of arcading, with slender clustered shafts. There is a passage all round the upper arcade, and the wall behind is pierced with four windows on each side. The vaulting, like that of the western towers, was erected by Treasurer Welburne (d. 1380); it is 125 feet high. The iron rings in the great piers, two or three feet from the ground, were used for fastening the ropes of the Lady Bells, which were hung in the tower above, and were rung before service by the four choristers in black.
TheWestern Transeptis considered to be the least satisfactory part of the interior of the minster. The lowness of the vault is especially noticeable. In fact, it had to be raised in the last bay to the north, in order to include the whole of the circular window, part of which would otherwise have been cut off. Yet the transept possesses features of considerable interest. It was planned and commenced by St. Hugh and continued by his immediate successors. A low aisle runs along the eastern side, divided into six chapels, which are dedicated respectively (beginning at the north end) to St. Nicholas, St. Denis, St. James (or St. Thomas), St. Edward the Martyr, St. John the Evangelist and St. Giles. To the walls of these chapels we must look in order to trace the limit of St. Hugh's labours. A characteristic of the bishop's work is the curious double arcading on the walls he built (see p.89). It is found in the choir and the eastern transept. Mr. Parker's theory that the front arcade was an afterthought, put up when the original flimsy walls were strengthened to support the vault, has been already given in his own words (p.18). To whatever circumstance the feature may be due, its effect is certainly very good. It will be noticed that the two chapels nearest the choir, and parts of the two chapels next to them, have this double arcading, in which a slight difference has been pointed out. On the north side, the trefoiled arch is against the wall, and the simple arch in front; on the other side the order is reversed. This fact seems rather to strengthen the opinion of those who consider the double arcade to have been designed as such from the beginning. The end of this arcading must be taken to mark the limit of St. Hugh's work. An arcade of single arches is seen in the last chapel on each side, and this simpler design is continued round the other walls of the transept, the arches varying in breadth and resting on clustered shafts. The chapels each occupy one bay of the aisle, and are formed by projecting "perpeyn" walls of stone, originally continued to the piers by wooden screens. The arcading of these walls is deserving of attention. It now remains to notice the screens placed between the piers, to separate the chapels from the transept. The most interesting is that of the chapel nearest the choir on the south side, sometimes called the "Works Chantry." The endowment of this chapel was to provide for prayers on behalf of the benefactors of the church, both living and dead. The screen is of carvedstone; round the arch is the inscription "Oremus probenefactoribusistius Ecclesie" in Gothic characters. On each side are two small kneeling figures, representing the chaplains who served the chantry. Above is a canopy with a seated figure of a bishop and the Royal Arms of England. The shield of arms is a help in assigning a date to the screen. It contains thefleurs-de-lysas assumed by Edward III. in the year 1338, when he laid claim to the French crown. The screen was probably erected soon after this date. It could not have been much later, since Henry IV., towards the end of his reign, reduced the number offleurs-de-lysto three, in imitation of the French king, Charles V. The corresponding chapel on the other side has a feeble imitation of this screen in pine-wood, a work of the end of the last century. The other screens are of oak, carved with Perpendicular tracery, partly in openwork; they apparently date from the latter half of the fifteenth century. The altars are no longer standing, but in the middle chapel to the north the sockets for the pillars which supported the altar-slab maystill be seen. In one of the pavement-slabs in the next chapel to the south, nine holes are pointed out, which served a very different purpose. They are said to have been used for games by some of the officials (choir-boys, one would suppose) connected with the minster.