HEREFORD CATHEDRAL

The DeaneryHerbert Railton

History of the Cathedral

Gloucester was one of the sees founded by Henry VIII.; its episcopal life, therefore, does not extend further back than 1541, when the last Abbot of Tewkesbury became the first Bishop of Gloucester. The story of the minster, however, carries us back to very early times. The first Abbey, as we have said, was founded by Osric, nephew of King Ethelred, in 689, and was designed for both monks and nuns. It was not long-lived, and in a century was deserted and fell into decay. The Mercian kingdom was much distracted, and confusion reigned until Beornwulph restored the ruined walls of St. Peter's Abbey, and introduced secular canons, who seem to have lived as they pleased, and loved not discipline. So Canute in 1022 turned them out and established Benedictine monks. These did no better. Their abbot, Eadric, was a waster of the goods of the Abbey, and the pious chronicler saw in the destruction of the monastery by fire the vengeance of God for their sins. Then Bishop Ealdred of Worcester, who brought back the Black monks of St. Benedict, began to build a new church. Then came Abbot Wulfstan from the Worcester Monastery in 1072, and Abbot Serlo, a worthy monk of Mont St. Michel, who found desolation, an almost empty monastery, a poor, mean building, and began to raise that glorious pile which we see now. It was dedicated in 1100, when there was a mighty concourse of bishops and great men. A remarkable sermon was preached here by Abbot Fulcher of Shrewsbury, prophetic of the death of the cruel king, Rufus. Abbot Serlo sent to warn him, but in vain, and soon the news of his death in the New Forest rang throughout the country.

Fire frequently played havoc with the minster. In 1102 it suffered much, and again in 1122, when "in Lent-tide the town was burnt while the monks were singing their Mass, and the deacon had begun the GospelPræteriens Jesus," and the fire came in the upper part of the steeple, and burnt all the monastery and the treasures except a few books and three Mass robes. Again in 1179 and 1190 fires raged. The Early English builders set to work to repair the damage, and the church was re-dedicated by Walter de Cantilupe, Bishop of Worcester, in 1239. The monks were now very busy building, and in 1242 they had finished the stone vaulting of the nave, which replaced the old Norman wood vault; in 1246 the south-west tower was completed, and they had begun to rear for themselves a new refectory. Yet another fire in 1300 wrought havoc in the cloisters, and deprived the monks of their dormitory. Abbot Thokey was a noble prelate who did much building, erected some of the beautiful Decorated windows in the aisles and choir triforium, and was the means of enriching his Abbey "beyond the dreams of avarice." When Edward II. lay dead, foully murdered at Berkeley Castle, unlike the time-serving Abbot of Bristol, who feared the anger of Queen Isabella and her party, he boldly demanded the body of the dead king and gave it honoured burial in his minster. Then arose that strange cult, the worship at the dead king's shrine. Thousands came from far and near, and their offerings so enriched the monastic treasury that the monks were able to adorn and beautify their church and monastery, and make it one of the glories of English architectural achievement. The fearless abbot felt himself too old to carry on the work; so he resigned in favour of his friend, Abbot Wygmore (1331-1337), who began to erect that "veil of stone" which covers the old Norman work, and is such a characteristic feature of Gloucester.

The south transept was the first recased, a noble screen erected, and the work was carried on by succeeding abbots. Abbot de Stanton (1337-1351) constructed the vaulting of the choir and the stalls on the prior's side, which Abbot Horton completed on the abbot's side, together with the altar and choir and north transept, and also began the great cloister, which Abbot Froucester finished. The west front, south porch and two western bays of the nave are Abbot Morwent's work (1420-1437). The tower was built by Abbot Seabrooke (1450-1457), and Abbots Hanley (1457-1472) and Farley (1472-1498) built the Lady Chapel.

Cathedral from S EHerbert Railton GLOUCESTER

At length the day of dissolution came. Abbot Malvern, the last abbot, was offered the bishopric which Henry VIII. had justfounded; but he declined, and died of a broken heart. The continued progress of adornment was checked by the appropriation of much of the wealth of the monastery by the king, and the building began to fall into decay. It did not suffer much during the Civil War, in spite of the long siege. The Lady Chapel was mutilated and defaced, and some other damage done, but the burghers seem to have acted well, took a pride in their church, and suffered it not to be destroyed. There have since been frequent "restorations," and some damage done by destructive architects; but, on the whole, Gloucester has escaped with less scars than many of our cathedrals, and retains much of its original beauty and delicate attractiveness.

The Exterior

The plan is cruciform, and consists of a nave with two aisles; north and south transepts, with apsidal chapels on the east side of each; a tower rises at the crossing. The eastern portion consists of choir with aisles, forming a processional path, with four apsidal chapels opening from them, and a Lady Chapel. With the exception of the Lady Chapel this plan is exactly the same as that of the original Norman church built by Abbot Serlo. We approach the Cathedral from the south-east and obtain a good view of its beauties across the close. TheWest Front, built by Abbot Morwent (1420-1437), is not very rich or striking when compared with many others. There is a large Perpendicular window, and another on each side, and a rather small doorway. The flanking buttresses are crowned with pinnacles, and a cross crowns the centre of the embattled parapet. The pierced buttresses, designed so as not to darken the west window, and the parapets of open-work below and above, are distinguishing features. The south aisle is Abbot Thokey's work, and is very beautiful with its fine Decorated work. The buttresses are very massive, and are surmounted by figures, and the windows deeply recessed.

TheSouth Porchis rich Perpendicular work, built by Abbot Morwent. The figures are modern, and represent SS. Peter and Paul, and the four Evangelists, Osric and Abbot Serlo, the founders of the earlier and Norman Church—SS. Jerome, Ambrose, Augustine and Gregory—against whose figures the fanatics of Bristol manifested such unreasonable hate. There is an upper chamber or parvise. The doors are contemporary with thebuilding. TheSouth Transeptshows the remodelling of the Perpendicular period. Norman work may be seen in the arcading, the turrets, and traces of an original window; while the capping of the turrets, the windows and battlement belong to the Perpendicular style.

Passing on to the east we notice the beautiful lofty choir. The main part of the walls are Norman, and we notice the unusual polygonal radiating chapels, which are part of the original Norman plan. The windows are Decorated and Perpendicular, inserted in Norman openings. The great east window is the largest and finest in England. TheLady Chapelwas originally Early English work, built in 1225, but it was rebuilt in 1457-1499, during the rule of Abbots Hanley and Farley. It has four bays, each bay being filled with a lofty Perpendicular window. There is a passage beneath the chapel, which was necessary in order to reach the northern side. The chapel is one of the most beautiful in England. The centralToweris remarkable for its grace and grandeur. The present one is the work of Abbot Seabrooke (1450-1457), and belongs to the Perpendicular period. The bells are ancient, and happily were saved, when the monastery was dissolved, from the greedy hands of the commissioners of Henry VIII. The monastic buildings are on the north side, which we shall examine later. There is a fine view of the Cathedral from the north-west. On the north-west is the Deanery, formerly the prior's lodging, a very interesting house; and between it and the north aisle is a passage, the old Norman slype communicating between the cloisters and the close.

The Interior

NAVE PILLARS FROM THE WEST

Entering by the south porch we note its Norman character. The old Norman wooden roof has been replaced by a stone vault, and Decorated windows of the time of the second Edward have been inserted, but otherwise there has been little change. The west end, with two bays of the nave, is Abbot Morwent's work (1420-1437). He destroyed two western towers or turrets, which were built in 1222-1243 in place of two similar Norman structures. The height of the Norman piers is unusual, leaving a small space for the triforium and clerestory. The zigzag and double cable moulding appear on the main arches. Abbot Serlo was the builder of the original nave. The stone vault was erected by the monks in the thirteenth century (1242), when the clerestory was altered in the Early English style by Abbot Foliot (1228-1243). Morwent insertedPerpendicular tracery in these windows. The remains of coloured decoration were discovered during the restoration. We have mentioned the numerous fires which wrought havoc here. Traces of the fire may still be seen in the reddened surface of the piers. The contrast between the Norman piers and the Perpendicular piers at the west end is noticeable, also the disappearance of the triforium in the last bay and the lierne vault. The west window contains some modern glass inserted in memory of Bishop Monk (1856). There is a curious series of grotesque heads on the arches of the nave showing the mummeries of gleemen. The story of theNorth Aisleis similar to that of the nave. We have the same Norman work and the Perpendicular western bays of Abbot Morwent. Perpendicular tracery fills the Norman windows which have zigzag mouldings, and the vault is Norman. The monks' entrance to the cloisters is at the west end of the north wall, and is richly ornamented in Perpendicular style. Another Perpendicular doorway, called the Abbot's Door, is at the east end of the wall. The history of the mythical King Lucius is the subject of the west window. There are memorials of Bishop Warburton (1779), the friend of Pope, a learned divine; Flaxman's monument of Sarah Morley and Thomas Machen (1614).

TheSouth Aisleretains some of its Norman style, but was remodelled by Abbot Thokey (1306-1329) in the Decorated style. The ball-flower ornament is much used on the windows. The vault is Decorated work erected by Thokey, and the windows have been more effectually transformed than in the north aisle. There are monuments to John Jones, M.P. for Gloucester at the time of the Gunpowder Plot, with his deeds and documents; Sir G.O. Paul (1820), a prison reformer; Dr. Jenner, the discoverer of vaccination. The Chantry of Abbot Seabrooke (1457), the builder of the tower, is at the east of this aisle, much mutilated. The chantry has been restored. The effigy is a good study of ecclesiastical dress of the period. Near at hand are the effigies of a knight and his lady, supposed at one time to represent one of the Bohun Earls of Hereford, but they are now declared to be members of the Brydges family, perhaps Sir John Brydges, who fought at Agincourt, more probably a descendant of his. We notice the SS. on the collar, and the study of the armour shows that at that time chain armour was being supplanted by plate armour. On north side of entrance to transept we see a canopied bracketwith remains of blue colouring. Entering theSouth Transeptwe see the first part of the Cathedral which was recased, and may be said with truth to be the birthplace of the Perpendicular style. This example is quite the earliest which can be traced, and was finished in 1337 when the treasury of the Abbey was being filled by the offerings of pilgrims at the shrine of Edward II. This part of the church has therefore peculiar interest. The designer was Abbot Wygmore (1329-1337). All the walls are covered with the panel work, which is the "sign-manual" of the Perpendicular style. The clustered shafts form very beautiful groups. On the south is a large Perpendicular window, and below it a passage behind an open arcade. Two doorways should be noticed, one called theConfessional, with figures on each side said to represent angels, and the other, now blocked up, with a grotesque monster over it. The angel-guarded door is sometimes called the Pilgrims' Door, by which they entered to worship at the shrine of King Edward. Another story is that penitents entered beneath the monster emblematical of sin, and returned by the other door protected by the guardianship of angels. The curiousPrentice's Bracket, said to be the memorial of a master-builder and his 'prentice, was probably intended as bracket for a lamp. The roof is a lierne vault without bosses. The flying arches or buttresses which support the tower are very graceful. The effigies of Alderman Blackleech and his wife (1639) are remarkable as studies of the costume of the period. Other monuments are to the memory of Richard Pates (1588) and Canon Evan Evans (1891). TheChapel of St. Andrewis on the east side, adorned with paintings by Gambier Parry. Above this is the east window, which has some beautiful old glass contemporary with the remodelling of the building. On the north is the curious Chantry of Abbot John Browne (1510-1514), dedicated to St. John Baptist because of the similarity of the initials. The floor has some interesting tiles and the reredos has been painted.

THE CHOIR, LOOKING EAST

In theNorth Transeptwe see the further development of the Perpendicular style in the recasing by Abbot Horton (1351-1377). Here is the remarkably interestingReliquary, of Early Decorated work, said by some to be a lavatory. The carved foliage is very beautiful and also the figures, though mutilated. A chapel is at the east side of this transept, similar to that in the south transept, dedicated to St. Paul. A door opens to the north choir aisle. At the entrance from the transept there is a curious desk which was used by a monk appointed to check the pilgrims as they wentto the shrine of Edward. The chapel was repaired in 1870, and the niches supplied with figures of SS. Peter, Paul and Luke. A good Perpendicular doorway is on the north side, with carved angels in the moulding. TheChapel of St. Anthonyis on the south of this transept, now used as a vestry. There is a curious painting here of St. Anthony rescuing a female from the mouth of hell. The transept has a monument of John Bower (1615), which bears the words: "Vayne, Vanytie. All is Vayne. Witnesse Solomon."

TheScreensupporting the organ was erected in 1823 and replaced an earlier one. The story of the screens is a long one which Mr. St. John Hope has told so well that we need not repeat it. It appears there were two screens, one called thePulpitumand the other a stone screen supporting the rood-loft. But these have disappeared, and we have instead an early nineteenth-century structure which need not be described. The original organ was built at the time of the Restoration, and some of the pipes bear the monogram of the Merry Monarch. TheChoiris remarkable for its extreme beauty. From the lofty traceried roof down to the elaborately-tiled floor the walls are covered with richly-carved panelled work, broken here and there with delicate screens of stone. Behind this veiled work of stone stand the old Norman walls and piers. This casing was done by Abbots Staunton (1337-1351) and Horton (1351-1377). The lierne vault is one of the finest in England, with its multitudinous ribs, and ranks with King's College Chapel, Cambridge, and Westminster. The vaults of the tower and choir both belong to the same period. TheStallswere erected by the builders of the choir and have fine canopies. TheMisereresare curious and well carved. Some of them represent hunting scenes, St. George slaying a giant, etc. Before us is the grandEast Window, the finest in Christendom. Its date is 1345-1350, and is part of Abbot Horton's work. The Coronation of the Virgin is the subject, and the figures consist of angels, apostles, saints, kings and abbots. The arms of Edward III., the Black Prince, and the lords of Berkeley, Arundel, Warwick, Talbot and others appear, who took part in the campaign against France when Creçy was fought. It is thought by some that the window is a memorial of that famous victory. The clerestory windows retain some of their old glass, which is of the same date as that of the east window, but has been restored. TheReredosis modern, designed by Sir G. Scott. The Birth, Burial and Ascension of Our Lord are represented. The floor of the presbytery is paved with some remarkable oldTiles, which record the names of some of the abbots, the arms of knights, and other interesting devices. The sedilia are adorned with modern sculptured figures, and the restoration has been accomplished with much care and taste. There are five principal historicMonumentsin the choir. Near the altar is the canopied tomb of Osric, the founder of the first Abbey, said to have been erected by Abbot Parker (1515-1539). Guided by the description of the tomb told by Leland, Dean Spence opened the cenotaph and found the grey dust and bones of this ancient benefactor. Near at hand is the beautifulTomb of King Edward II., murdered at Berkeley Castle. It was erected by Edward III. The effigy is of alabaster, and the features are thought to have been reproduced from a waxen mask taken after death. The tomb is a forest of pinnacles and rich tabernacle work. It has been much restored at various times, but the extreme beauty of the work has in no way been impaired. The white hart, chained and collared, the badge of Richard II., is painted on the pillars. The Chantry of Abbot Parker, or Malverne (1515-1539), has a much mutilated effigy of this, the last Abbot of Gloucester. Vine leaves and grapes adorn the screen, and the base has some heraldic devices and the emblems of the Passion. On the south side is a projecting bracket which Leland tells us marks the grave of Abbot Serlo, the founder of the Norman Church. The bracket is Perpendicular, the effigy Early English, both much mutilated. The figure has a model of a church in his hand, and therefore denotes that the abbot was a founder, but the Early English character of the effigy points to it representing a later abbot than Serlo, and possibly Abbot Foliot (1243).

TheNorth Choir Aisle, or ambulatory, is original Norman, the windows being filled with Perpendicular tracery. At the north-east corner is Abbot Boteler's Chantry (1433-1450). The old tiles are interesting, amongst which we see some representing the arms of the Boteler or Butler family (three cups). The decoration of the chapel is all Perpendicular work, screens, windows and reredos. This last is very fine, and has some well-carved figures of the Apostles. Here is the effigy of Robert, Duke of Normandy, eldest son of William I., whose wild youth was atoned for by his prowess in the Crusades. He, however, had to endure twenty years' imprisonment, inflicted by his father. The effigy was probably made not long after his death. The chest on which it rests is fifteenth-centurywork. The effigy was hacked to pieces by Cromwell's soldiers, but the fragments were put together by Sir Humphrey Tracy, and replaced in the Cathedral.

THE LADY CHAPEL

TheAnte-Chapel, or vestibule, leading to the Lady Chapel, is the meeting-place of the old and new work, and is ingeniously contrived. The Norman apse is pierced by a doorway and two Perpendicular windows. It is separated from the Lady Chapel by an open-work screen, which is very beautiful, and has a fine lierne vault. This, and theLady Chapel, are the work of Abbots Hanley and Farley, who presided over the Abbey during the last half of the fifteenth century. The Lady Chapel ranks with Ely as the largest in England, and certainly it is a triumph of Perpendicular architecture. It has lofty Perpendicular windows, which seem to produce the effect of a wall of glass with panelled tracery. The head of each panel is much ornamented, and panel work, with niches, covers the walls. The lierne vault is very fine, and the bosses carved with beautiful foliage. At one time the walls were painted, and traces of colour remain. The east window has much old glass, which is also visible in the heads of the other windows. There is a very poor modern reredos, which might be removed without much regret, as it hides a very interesting, though much mutilated, mass of rich tabernacle work. The altar rails belong to the time of Laud, who was dean here, and are said to be the first introduced into churches. Many of the original tiles remain, and bear inscriptions:Ave Maria grā plē, Dñe Jhū Miserere. There are two side chapels, with fan-tracery vaulting. In the north chapel is the monument of Bishop Goldsbrough (1604). There is an upper chapel, or oratory, and the same arrangement obtains on the south side. This chapel has a monument of Th. Fitz-williams (1579). The marks on the walls of these upper oratories show that the love of recording names by visitors in historic places is not confined to modern times, and dates as far back as the sixteenth century.

Returning to the entrance, we follow the ambulatory to the south, which retains its northern features.St. Philip's Chapelis at the south-east corner, and has been restored in memory of Sir C. Codrington, Bart. (1864). There are Norman arches, and fourteenth-century tracery inserted in the windows. The spacious chests for copes are interesting records of the rich ecclesiastical vestments in use in former times.

TheTriforiumis unusually fine, and now extends over the north and south choir aisles, but not over the east end. That part was removed when the choir was reconstructed, and in order to connect the severed portions of the triforium together, the Whispering Gallery was constructed. This part of the church retains its Norman features, and is full of interest. The first chapel on the south has Decorated windows, with ball-flower ornament. There is a double piscina. A very ancient painting of a Doom or Last Judgment, discovered in 1718, is a very remarkable example of early art. It was probably painted towards the end of the reign of Henry VIII. The view of the choir is very beautiful, and the way in which the later builders cased the Norman work with a veil of stone can best be observed from the triforium. The next chapel (south-east) is Norman, with later windows inserted. There are some fragments of an old choir-screen stored here.

TheWhispering Galleryis built out at the back of the great east window, and in its construction old Norman stone-work has been re-used. It happens to possess the curious acoustic property of the famous gallery of St. Paul's, London. The next chapel is over the ante-chapel of the choir, and has a stone altar, with the usual five crosses carved on it. The north-east chapel has a Decorated window, and the north-west a double piscina of the same period.

We will now descend to theCrypt(entrance in south-east transept), which is very Early Norman, founded before 1085. The walls and piers are very strong and massive, the former being 10 feet thick. There is a central apse, an ambulatory, out of which radiate five chapels. The half columns in the ambulatory have been strengthened and recased in later Norman times. The chapels have little of interest except their own intrinsic architectural merits. There are some good piscinæ, and some memorial slabs.

CARREL IN SOUTH CLOISTER

TheMonastic Buildingsare some of the finest in England, especially the cloisters, which are remarkable for their excellent preservation and for the beauty of the fan-traceried vault. It is thought that this kind of vaulting, peculiar to this country, originated here. The outer walls are Norman, and have been recased with Perpendicular panelling. This work was begun by Abbot Horton (1351-1377), and finished by his successors, Abbot Boyfield (1377-1381) and Abbot Froucester (1381-1412). The south walk possesses a very interesting feature in theCarrelsor studies of the monks. The glass of the windows is modern. The passage or slype, of Norman date, at the west end, was the main entrance to the cloister from the outer court. At the north end was thedoor to the refectory. A window has been placed there instead, but Mr. Hope points out "the iron hooks on which the doors were hung." Little of the refectory, which was on the north of the garth, remains, except the south wall, preserved by the cloister, and part of the east end. The action of the fire of 1540, which destroyed this noble hall, is observed on the walls. In the north walk are the monks' lavatories, the most perfect in England; opposite is theManutergia, or recess for towels. This walk was reserved for novices, and Mr. Hope shows us the tables for games which they played scratched on the stone bench, the "Nine Men's Morris" and "Fox and Geese" being their favourite pastimes. The east walk gives entrance to the chapter-house. The doorway is Norman, with zigzag ornament. The chapter-house is Norman, with a Perpendicular east end. At the west end is a Norman doorway and an unglazed window (the corresponding one being covered up when the south-east staircase was added), and three Norman windows. Traces of fire may be seen here. The seats of the monks under the arcading may be traced. The vault of the Perpendicular part is finely groined, and there is a large Perpendicular window at the east end. The names of several illustrious leaders under William I. appear on the walls.

TheLocutorium, or monks' parlour, lies between the chapter-house and the north transept of the church. This passage is often erroneously called the "Abbot's Cloister." Here the monks met to converse when talking was prohibited in the cloister. Above is the vestry and library. The latter is a long room, of Perpendicular character. The library at Gloucester has had many migrations and vicissitudes; the books of the old monastic library were dispersed. A new collection was begun in 1624 by Bishop Goodman. The books have been stored in the chapter-house, and elsewhere, and have now found a permanent resting-place. Its principal treasure is Abbot Froucester'sLives of the Abbots of Gloucester to 1381. This copy was lost at the beginning of the nineteenth century, and discovered again at Berlin, and restored to the library. The dormitory has been destroyed. It probably stood on the north of the chapter-house. The remains of the infirmary and little cloisters are on the north of the cloister.

The Cathedral close was surrounded by a wall. Some of the gateways remain. St. Mary's Gate, on the west, is a fine thirteenth-century structure; the Inner Gate, of fourteenth-centurywork, leading to Miller's Green, the site of the old Abbey Mill and outhouses; the south, or King Edward's Gate, built by Edward I., of which only fragments remain; and the Westgate Street Gate. The Deanery, as we have said, has many interesting features, and remains of the work of eleventh, twelfth, thirteenth and fourteenth centuries. The Bishop's Palace is modern, built on the site of the abbot's house, erected in the early part of the fourteenth century. Previous to that period the abbot lived at the present Deanery.

Dimensions

Principal Building Dates

PLAN OF GLOUCESTER CATHEDRAL

Thestory of the See of Hereford takes us back to very early times, to the days of the British, and shows the connection and identity of the Church of England of the twentieth century with that which existed even prior to the landing of Augustine. The see was in existence in the sixth century, and was subject to the Archbishop of Caerleon. Legends tell us of Dubricius, who crowned King Arthur at Cirencester. One Bishop of Hereford represented the old British bishops at the famous conference with Augustine, when, by his want of tact and haughty demeanour, the Roman missionary alienated the native British Church. A very tragic event enhanced the glories of the see. King Offa slew Ethelbert, King of the East Angles, who was a suitor for his daughter's hand, and buried him at Hereford. On the night of the funeral, "a column of light, brighter than the sun, arose towards heaven," according to the monkish chronicler, and miracles were wrought at the tomb of the martyred monarch. This distressed Offa, who tried to expiate his crime by erecting a noble monument, founding the monastery at St. Alban's, and devoting costly gifts to the church of Hereford. One Mildred, Offa's viceroy, built "an admirable stone church," dedicated to the martyr Ethelbert. This was rebuilt by Bishop Ethelstan in 1012. Then followed sad times when the Welsh tribes invaded the land and destroyed the city and church by fire. When the Normans came Bishop de Losinga (1079-1095) began to rebuild the ruined church, and the work was continued by his successor, Raynhelm (1107-1115). During the troubles of Stephen's reign Hereford suffered much. The Cathedral was deserted and desecrated, and Bishop Robert de Bethune, a worthy prelate, was forced to seek safety in flight. Stephen entered the Castle of Hereford with great pomp, and occupied during service the episcopal chair, which still remains. On his return he cleansed and repaired the building. Then we see Gilbert Foliot, Bishop of Hereford, the stern opponent of Becket, who preached the sermon at Canterbury, when Henry II.did penance for the murder of the archbishop. Bishop William de Vere (1189-1199) is said to have built much, removed the apsidal terminations at the east end, and made other alterations. His work was continued by the erection of the Early English Lady Chapel. Probably he built the Palace. Bishop Giles de Bruce (1200-1215) took part with the barons against King John, and was a very warlike prelate, who allied himself with Prince Llewellyn, and destroyed the castle of Earl Mortimer, an adherent of the king. He was driven from his see, but afterwards made peace with John, and died at Gloucester when he was returning to his see. Writers commonly assign to him the building of the tower, on the ground that his effigy has a model of the church in its hand. But this effigy was erected long after his death, and cannot be taken as any evidence of the truth of the statement. The profusion of ball-flower ornament certainly points out that the tower belongs to the fourteenth and not to the thirteenth century.

Peter d'Acquablanca in Savoy (1240-1268) was one of the foreign favourites of Henry III., who fought in the Crusades. He was a simoniacal prelate who tried to gain the See of Bordeaux, and was much ridiculed when, after paying the money, the Archbishop of Bordeaux was found to be alive. He was expelled from England, but returned, and then went off to Ireland to collect tithes. Unfortunately King Henry visited Hereford during his absence, and found that no clergy were there, and the church in ruin and decay. He therefore wrote a strongly-worded remonstrance to the absent bishop, who returned in time to be seized by Simon de Montfort and put into prison, while his hoards of wealth were divided amongst his captors. He died soon after this. His tomb remains, but his heart is buried in Savoy, his native land. He is said to have rebuilt the north transept.

Thomas de Cantilupe (1275-1282) was a noted bishop, who attained to the honour of canonisation, and was, moreover, Chancellor of England. He was by no means a meek-spirited saint, excommunicated an earl for capturing his game, and made another lord walk barefoot to the altar of the Cathedral, after chastising him for interfering with his tenants. On his death in Italy his flesh was buried at Florence, his heart at Ashridge, Bucks, and his bones at Hereford. Various miracles were said to have been wrought at his tomb. His successor Swinfield (1283-1317), built, or began, the eastern transept, the clerestory of the choir, the central tower above the roof, and probably the nave aisles. Adamde Orleton (1316-1327) espoused the cause of the queen against Edward II., and involved Hereford in the troubles of that disastrous time. He is said to have instigated the murder of the king; at any rate he captured the fugitive monarch, and Hugh Despenser, the king's favourite, was brought here and hanged. He obtained from the Pope a grant of the tithes of two Berkshire parishes, Shinfield and Swallowfield, for the repair of his Cathedral. The fifteenth century saw several additions to the fabric, the cloisters in 1418-1448, the great west window by W. Lochard, the precentor, some chantry chapels which we shall notice later, and the enlargement of the north porch. At the Reformation an ardent reformer, Edward Fox, was appointed bishop, and Hereford, like other cathedrals, was despoiled of its valuables and treasures. Fox's successor, Skip, was a liturgical scholar, and helped in compiling our liturgies. Another learned prelate was Francis Godwin (1617-1633), the author of the Lives of English Bishops (de Præsulibus Anglicæ). At the Civil War period Hereford suffered the usual misfortunes. Both bishop and people espoused the cause of the king. The city was taken and retaken without much damage being done, until Lord Leven with the Scottish army besieged it in 1645, when the church suffered considerably; and when, by the treachery of the governor, Colonel Birch, the city was again taken, it was plundered and the Cathedral ransacked. Brasses were torn up, monuments defaced, old windows broken, the library pillaged, and when the dean courageously preached to the riotous soldiers on their sacrilege, they levelled their muskets at him, and were scarcely restrained from firing.

Injudicious "restorers" have worked their wicked will on the fabric; amongst these was Bishop Bisse (1713-1721) who spent much money, erected several monstrosities, which have happily been removed, and destroyed the half-ruined chapter-house in order to restore the Palace. In 1786 the western tower fell, and carried with it the west front. Then Wyatt, of evil memory, was let loose on the Cathedral. He made a new west front, shortened the nave, and took down the Norman work in triforium and clerestory, substituting his own designing. Plaster was used unsparingly. The old spire was removed, the roofs lowered, and much other vandalism perpetrated. From 1837 to 1863 continued restoration took place, and in spite of the havoc which has been wrought the church retains much of its ancient and interesting character, and is well worthy of accurate study.

HEREFORD CATHEDRAL FROM THE WYE

The Exterior

A good view is obtained from the close on the south side. On the banks of the Wye is the Palace and College of Vicars Choral; on the east was the old castle, one of the strongest on the Welsh marches. TheWest Frontis an erection of Wyatt's, and need not be noticed. Formerly there was a great tower here, which fell in 1786 and destroyed the old west front. TheCentral Toweris very fine. The abundance of ball-flower ornament proclaims its Decorated style. The date is about 1300. It has two stages. The pinnacles are modern. As we have said, a wooden spire which once capped it has been removed. On the west side there is a noblePorchof Perpendicular style, built by Bishop Booth in 1530. There is a parvise in the second storey with Perpendicular windows. This porch joins on to an inner one of the Decorated period. Octagonal turrets containing staircases stand at the angles. The iron-work of the doors is excellent modern work. The walls and windows of the aisles are Late Decorated, about 1360. The clerestory is Wyatt's construction, who destroyed the original Norman work. TheNorth Transeptis worthy of attention. The buttresses are very massive. It was built about 1285 for the reception of the shrine of Bishop Cantilupe. The windows are very lofty, of three lights under triangular-headed arches. The window on the north is similar, but double. On the east side there is an aisle, with triforium windows of three lancets, and above the clerestory windows are triangular.

The Lady Chapel is fine Early English work, and belongs to the first half of the thirteenth century. We notice especially the tall and graceful lancets and elegant arcades of interesting arches.

The east end was rebuilt in 1850. On the south is the Audley Chapel. It is difficult to approach the south side, as walls and gardens prevent easy access. TheVicar's Cloister, connecting the Cathedral with the College of the Vicars Choral (incorporated in 1396), is Perpendicular work. The oak beams are finely carved. The quadrangle of the college is well worthy of notice. TheBishop's Cloisteris on the south of the nave. Two walks remain, and the west walk is partially restored and contains the library. Their style is Perpendicular. The chapter-house was pulled down by Bishop Bisse; only the double doorway remains. We notice the grotesque heads over the windows, the richly-groined roof, and the Lady's Arbour, a small room in the tower at the south-eastangle, which may possibly have obtained its name from the Virgin, our Lady. The Chapels of SS. Katherine and Mary Magdalene, of Norman construction, formerly stood against south wall, and some remains are evident.

The Interior

We enter the nave by the north porch, and proceeding to the west end we notice the grand Norman piers and arches. Wyatt's hand was heavily laid upon this structure, and the triforium, clerestory and vault are all his handiwork. Moreover, he took away one bay entirely. The view eastward is very impressive. The arches are adorned with the billet and other Norman mouldings, and are remarkable for their richness. TheFontis curious and of Late Norman design. It has figures of the Apostles, and at the base projecting lions. The aisles are Late Decorated, except the lower part of the walls, which is original Norman. The chief monuments in the nave and aisle are, on the south:—Sir Richard Pembridge (1375), who fought at Poictiers. The effigy is a good study of the armour of the period. The right leg is a restoration. Two unknown figures of ecclesiastics. On the north—Bishop Booth (1535), the builder of the porch; a fine tomb, protected by original iron-work.

TheScreenis a magnificent work, designed by Sir G. Scott. The lectern is modern.

TheCentral Towerhas passed through many vicissitudes. The original Norman piers being unable to support the heavy Early English shaft, they were cased with new stone-work, and the Norman arches were blocked up. In Dean Mereweather's time extensive restoration was found necessary. All the parts above the arches is fourteenth-century work. The vaulting has been removed, and the tower is now open to the belfry floor.

TheNorth Transeptis particularly fine and remarkable, and is Late Early English or Early Decorated (1282-1287). It was built for the shrine of Bishop Cantilupe. The arches are sharply-pointed and unusual. On the west are two windows of two narrow lights under sharply-pointed arches, the tracery of the heads being in the form of three circles enclosing trefoils. On the north is a double window of the same character. On the east is an aisle with clerestory and triforium. Dog-tooth ornament appears in the mouldings. The arches of the triforium are very beautiful, and thediaper of leaf-ornament in the spandrels is effective. The windows above are octofoils.

The Cantilupe Shrine

This aisle contains the remains of the Cantilupe shrine, which was a source of much revenue to the church, derived from the pilgrims who flocked hither. The date of the tomb is 1287, and the details are worthy of study. It is made of Purbeck marble. The lower part has fifteen figures of Knights Templar, of which order the bishop was Provincial Grand Master. The details of the armour are very exact. Curious monsters appear at the feet of the knights. The foliage is excellent Early Decorated, retaining some of Early English features. Other monuments are Bishop Westfayling (1602), John Philips, author ofThe Splendid Shilling(1708), Bishop Charlton (1329), Bishop Field (1639), Dean D'Acquablanca (1320), and brasses to Dean Frowcester (1529) and Richard Delamare and his wife (1435). Near at hand is the beautiful monument of Bishop D'Acquablanca (1240-1268), the finest in the Cathedral. (Concerning the unenviable repute of this bishop,seethe history of the see). The tomb was originally elaborately coloured.

The South Transepthas much Norman work. The east wall is entirely Norman, and has five ranges of arcades. Perpendicular windows have been inserted in south and west walls, and the lierne vaulting belongs to the same period. Bishop Trevenant (1389-1404) is said to have been responsible for this later work.

The monuments in this transept are:—Sir Alexander Denton and his wife (1566), an altar tomb with alabaster effigies. The latter died with her infant, who is represented as a "chrysome" child, i.e., one who dies within a month of its baptism, and wears its white baptismal robe. Bishop Trevenant, who was responsiblefor the Perpendicular alterations, is buried here; his effigy has been much mutilated. Masons' marks are observable, and the Norman fireplace is said to be unique.

TheChoiris full of interest. The main arches and triforium are Norman, the clerestory and vaulting Early English (circa1250). The carving of the capitals exhibits foliage and grotesque heads, and the lozenge ornament appears round the arches. The headings of the pilasters between the piers are Early English. The clerestory windows consist of one lofty pointed window and a small trefoiled one on each side. The reredos was designed by Cottingham, the architect at the restoration in 1850, and represents the Passion of Christ. A curious effect is produced by the central pillar and arches in the retro-choir appearing through the arch at the east of the choir, and presenting a broad spandrel, on which are carved some modern figures of our Lord and St. Ethelbert. The stalls are good Decorated work with rich canopies and some curious misereres, with carvings representing a pair of wrestlers with ropes round their necks, an irate cook throwing a dish at a troublesome guest, etc. Some are modern. TheThroneis also Decorated, and there is the remarkable old chair already mentioned, on which Stephen is said to have sat on the occasion of his visit here. TheOrganhas some parts of the instrument presented by Charles II. The monuments in the choir are those of—

Bishop Trilleck (1360), an excellent brass; Bishop Stanbery (1474), whose chantry we shall see in the west choir aisle; Bishop Giles de Bruce (1215), with model of church in his hand; Bishop Bennett (1617). We notice the small figure of St. Ethelbert on a bracket on east pier on south side, of fourteenth century.

In theNorth Choir Aislethe wall has Decorated arched recesses, which contain the effigies of Bishop Godfred de Clive (1120) (executed in Perpendicular period); Bishop Hugh de Mapenore (1219); Bishop Richard de Capella (1127). Bishop Stanbery's Chantry (1453-1474) is entered from this aisle, and is Late Perpendicular. It is very richly ornamented with tracery and panelling and shields and has a groined roof. It is a good example of the over-elaborateness of Late Perpendicular work.

TheNorth-East Transeptis Early Decorated, the original apsidal termination being altered in the latter part of the thirteenth century. Traces of Norman work are still evident. There is a central octagonal pier which supports the vaulting. There are monuments here of Dean Dawes (1867); Bishop Godwin? (1633)(the tomb is certainly earlier and cannot be his); and the altar tomb of Bishop Swinfield (1316), though the effigy upon it is not his. The ball-flower moulding is plentifully used. Proceeding onwards we come to theRetro-Choiror ambulatory, which is Transitional Norman. The chevron and diamond moulding on the ribs of the vaulting point to its Late Norman date. There was evidently an ambulatory and Lady Chapel in Norman times, and the windows on each side of the vestibule show that formerly these walls were outside walls, and the windows were glazed. Here is a monument of Dean Beaurieu (1462), which is of some interest on account of the accurate carving of the dress, and the rebusboarandrueleaves; and there are some late brasses.

TheLady Chapelis remarkably fine, being very rich Early English. Its story is difficult to read, as the architect Cottingham redressed the old stone-work and made complications in 1840-1850. He rebuilt the east gable. Five narrow lancets form the east window, and above are five quatrefoil openings. The glass was erected to the memory of Dean Mereweather, to whom the Cathedral owes so much. The subject is the life of the Virgin. The aumbrey and piscina are reproductions. On the north there is an interesting but somewhat conglomerate tomb. The effigy is supposed to be Humphrey de Bohun, Earl of Hereford, in the reign of Edward III., but the canopy is Perpendicular, and the figures in the arches were discovered elsewhere and placed here, except the two mutilated central ones, our Lord and the Virgin. The others are SS. John Baptist, Cantilupe and Thomas of Canterbury. The Countess of Hereford, Johanna de Bohun (1327), lies here, a great benefactress, whose effigy and tomb are worthy of study. On the south is theAudley Chantry, erected by Bishop Audley (1492-1502), who constructed another chantry at Salisbury, whither he was translated, and where he was buried. It has two storeys, and a curious and interesting screen separates it from the Lady Chapel. There are traces of considerable colour decoration. The chapel has five sides, with two windows in the lower and five in the upper storey. The central boss of the vaulting in the upper chamber or oratory has a figure of the Virgin crowned. The window west of this chapel has some good fourteenth-century glass. Beneath the choir is the crypt, of Early English date, and is the only example of a crypt constructed later than the end of the eleventh century. It is called "Golgotha," on account of its being used as a charnel-house.

TheSouth-East Transeptis similar to its opposite. It has monuments of Bishop Charlton (1369); Bishop Coke (1646); Bishop Ironside, who died in London, 1701, and was buried in a city church, which was destroyed in 1863, and the body brought here. This was the bishop who, as Vice-Chancellor of Oxford, resisted the action of James II. in regard to the expulsion of the Fellows of Magdalen College.

In theSouth Choir Aisleare four Perpendicular tombs under Decorated arched recesses, supposed to represent Bishop William de Vere (1199); Bishop Hugh Foliot (d. 1234); Bishop Robert de Betun (1148); and Bishop Robert de Melun (1167). There is a brass of Dean Frowsetown (1529), an effigy of Bishop Mayew (1516), who conducted Catherine of Arragon to England from Spain; and an effigy of Bishop de Losinga (1096), erected in Perpendicular period. The vestries are of Norman construction; the vaulting is the only example of Norman vaulting in the Cathedral. Here in this south choir aisle is preserved the famousMap of the World, as known in 1300. It was designed by Richard de Haldingham, Prebendary of Hereford. This was generally supposed to be the most ancient of its size in the world; but another map has been discovered at Ebstorp, near Hanover, which is larger, more highly coloured, and about the same age. The library of Corpus Christi College, Cambridge, has an earlier map of Henry of Mainz, and there is a small Psalter map in the British Museum. The world is shown to be round; at the top is Paradise, with its rivers and trees, Eve's transgression, etc. Above is the last Judgment with the Virgin interceding for mankind. Jerusalem is in the centre. Rome proclaims itself the head of the world, and Troy the most warlike city. The British Isles have much space, and most of the cathedrals are mentioned. Monstrous animals, birds and fish abound. The monkey appears to live in Norway, the scorpion on the Rhine. There is very much that is strange and curious to be seen in this wonderful map.

The Libraryhas a splendid collection of chained books. The building is modern, having been opened in 1897, and built on the site of the old west cloister. There is an ancient copy of the Gospels at least 1000 years old, written in Anglo-Saxon characters, a beautiful twelfth-century MS., a copy of the "Hereford Use" of thirteenth century, Wycliffe's Bible (1420), "Bangor Use" (1400), with a curious charm for toothache inserted in thebook,Decreta Gratiani, of twelfth century. There are manyIncunabula, Nicholas de Lyra's Bible and Commentary (1485),Polychronycon, by R. Higden, with additions by Caxton (1495); Caxton'sGolden Legend, a very fine copy.

Here is an ancientReliquary, with representation of the martyrdom of St. Thomas of Canterbury, a pre-Reformation chalice and paten, taken from the coffin of Bishop Swinfield (1316), and some episcopal rings. This collection of chained books is the finest in England.

Dimensions

Principal Building Dates

Worcesterhas many points of interest outside its Cathedral. All round the city is historic ground. It was the battlefield of Briton, Roman, Saxon, Dane and Norman. It heard the sounds of fighting in the wars of the barons and in the wars of the Roses, and in the great Civil War Worcester repeatedly suffered, and within its boundaries the great battle of Worcester was fought, the last effort of a dying cause. The half-timbered houses of the Elizabethan and early Stuart times, the interesting churches, and streets that by their names record many a curious custom and phase of old English life, all remind us of ancient times and the manners of our forefathers.

We will walk round the town and note its chief points of interest. We notice the old houses in New Street, the remains of the old city wall, "the Cross," the old centre of civic life, the Guild Hall, designed by a pupil of Wren in 1721; St. Helen's Church, from the tower of which still nightly sounds the curfew. Along Sidbury the tide of battle rolled in 1651, when Charles II. was making his last gallant struggle against the army of the Protector. The old Edgar Gate is near at hand, which leads to the castle and Monastery of St. Mary.

The Commandery in Sidbury was a hospital founded by St. Wulfstan, Bishop of Worcester about 1085, for a Master, Priests and Brethren under the rule of St. Augustine. The house is a wonderful example of mediæval architecture, and is kept in its ancient state by the present occupier, Mr. Littlebury, who allows it to be inspected. Here in 1300 Hugh le de Spencer held a court. The great hall is of Tudor architecture. King Charles I. stayed a night here, and the Duke of Hamilton died here, after wounds received in the fatal battle. "Fort Royal," fortified by Charles I., is seen from the garden, and cannon were placed here at the battle of Worcester; but Cromwell captured the stronghold. Charles II. withdrew with difficulty, and the house in the old Corn Market is shewn where he took refuge, and effected his escape at the backdoor as Colonel Cobbett, his pursuer, entered at the front. Over the entrance is the inscription: "Love God. Honour the Kinge."

History of the Cathedral

The See of Worcester was first formed in 680, when the unwieldy Diocese of Mercia was divided, and Bosel was its first bishop. The successive Kings of Mercia poured wealth into the episcopal treasury, and endowed the see with many a rich manor. St. Dunstan was bishop here (957-961), and then came Oswald, subsequently Archbishop of York, the reformer of monasteries, who is said to have replaced the secular priests by a community of monks, and built the Church and Monastery of St. Mary on the site of the present Cathedral. This sacred fane was destroyed by the Danes, under Hardicanute, in 1041. Bishop Wulfstan, the second prelate of that name who held the see, was appointed in 1062, a holy, simple and earnest prelate, who, though a Saxon, held his see in spite of Norman opposition and prejudice. He laid the foundations of the existing Cathedral, and some of his work remains in the crypt and monastic buildings. When he saw the workmen pulling down the ruins of the old Church of St. Oswald he wept, saying, "We destroy the works of our forefathers only to get praise.... We neglect the care of souls and labour only to heap up stones." He was canonised, and many miracles were reported to have taken place at his tomb, to which there was great resort. In 1113 fire destroyed part of the Cathedral, as well as the city and castle. In the troublous times of Stephen, Florence, a monk of Worcester, tells us that when a raid was made on the city the people took their chests and sacks of goods and deposited them in the great church, while all the church goods, the curtains and palls, albs and copes were hidden away in recesses in the walls. The west bays of the nave were built about 1160. In 1175 the "new tower" fell, a misfortune common to so many cathedrals; in 1189 another great fire raged, and the troubles of John's evil reign were felt heavily here, when the city was taken by the king's forces, the church pillaged and the monks compelled to pay a heavy fine, to defray which they even melted down the shrine of the saint. Soon John was buried here, and could do no further mischief.

In 1218 the church was dedicated, when Henry III. and a goodly number of bishops and nobles were present.

In a storm is 1221 the two "lesser towers" fell. Happily theofferings at the shrine of St. Wulfstan, which was soon repaired, were very numerous, and in 1224 the present choir and Lady Chapel were begun by Bishop William de Blois in the Early English style, and doubtless continued by Bishop Walter Cantilupe, uncle of the sainted Bishop of Hereford. He was a sturdy Englishman who upheld the rights of the English Church against the Pope, and was excommunicated by the Roman Pontiff. The work of rebuilding the church gradually progressed. The nave was built in the Decorated style on the north side (1317-1327), and Bishop Thomas Cobham, styled "the good clerk," made the vault of the north aisle; so Leland informs us. The south side of the nave is a little later, about 1360, when traces of Perpendicular work are evident, blended with the Decorated. In this century also was built the Guesten Hall, now, alas! destroyed, the roof of which is now seen in Holy Trinity Church.

Henry de Wakefield was a vigorous builder (1376-1394). During his time the refectory and cloister, the tower, the stone vault over the choir, under the belfry, over the nave, library, treasury and dormitory, the water-gate, infirmary, the stalls in the choir, the west window and the north porch were erected.

At the Reformation Worcester had a very zealous reforming bishop in the person of Hugh Latimer, who was subsequently burnt at Oxford. Under his rule the costly shrines of St. Oswald and St. Wulfstan were destroyed, and the relics buried near the high altar. During the Civil War Worcester fared badly, and terrible scenes took place in the sacred building. In 1642 Cromwell's soldiers under the Earl of Essex entered the town and did after their kind. They pulled down altars, destroyed vestments and furniture, and carried off stores of treasure concealed in the crypt and deposited there for safety. The bishop at this time, John Prideaux, was a vigorous Royalist, who excommunicated freely all who fought against the king. In return the soldiers pillaged his palace, and the poor bishop was reduced to selling his books in order to gain a livelihood. But this was not all the evil that befell the "faithful city." It was besieged four years later from March 26 to July 23, but when the Roundheads gained the day and entered the city they behaved in most becoming manner, and did less damage than the soldiers of the Royalist garrison. But even this was not all. In 1651 was fought the battle of Worcester. We can see Charles II. watching the issues of the fight from the top of the tower, and then the divers fortunes of the fight (to which allusion has already been made), the final victory of Cromwell, thecapture of 6000 prisoners, who were confined in this sacred building. Then followed one of the most terrible scenes in the war, when the soldiers of Cromwell were let loose on the helpless citizens, and ravaged and plundered without mercy in the streets and lanes and houses of this unhappy city.

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