ST. OSWALD'S GATE
ST. OSWALD'S GATE
The church has, however, a very interesting history. Possibly there may have been a Christian church here in Roman times. An old chronicler tells us of an early church dedicated to SS. Peter and Paul, and that in the time of the Saxons it was re-dedicated to St. Werburgh and St. Oswald. St. Oswald we have met before at Durham and elsewhere. St. Werburgh was the daughter of Walphur, King of Mercia,A.D.660, who, perceiving that his daughter was much disposed to a religious life, caused her to take the veil. Her aunt, St. Ethelreda of Ely, was her spiritual mother, and when St. Werburgh died her body was conveyed to Chester, where a monastic house was built, dedicated to her. The early history of this houseis somewhat uncertain. Ormerod, the historian of Chester, states that it continued a nunnery until the time of the Norman Conquest, when secular canons were installed in their stead, but this change took place in the time of King Athelstan (925). Leofric, the husband of Lady Godiva, is also recorded as a great benefactor of the church and monastery. When Hugh Lupus, the nephew of the Conqueror, became Earl of Chester, in the time of William Rufus he founded a new monastery of Benedictine monks, and endowed it with rich possessions. He introduced the famous Anselm, Abbot of Bec, afterwards Archbishop of Canterbury, who made his chaplain, Richard, the first abbot. The Norman church was begun in his time, and some of the features of the Norman Abbey of Bec were introduced at Chester, especially the stone roof of the apse in the south-east of the Cathedral. Some fragments of this church remain in spite of the changes which time has wrought, notably the small arches in the east wall of north transept, and an arch in the canons' vestry, the north wall of the nave, the doorway between the east cloister and the nave, the lower part of the north-west tower and the crypt. Fire played havoc here as elsewhere, and we find Abbot Geoffrey lamenting over the intolerable ruin of his church. This was at the close of the twelfth century, and some reparation was affected, while, during the time of his successor, Hugh Grylle, prosperity dawned upon the Abbey, and the number of monks was soon after increased. Increased wealth tempted the rapacious, and the abbey had to withstand a siege. A noted abbot was Simon de Albo Monasterio, or Whitchurch, who did much for his monastery. He rebuilt the Lady Chapel, enlarged the chapter-house, and began the present choir. The refectory, with its beautiful pulpit, must have been constructed about this time, the close of the thirteenth century, when the king, Edward I., gave grants of venison from his forests for the support of the monks, "who were engaged on the work of building the church." No records tell of any work being done by succeeding abbots until the time of Simon Ripley (1472-1493); but where records are silent the stone-work tells us that in the fourteenth century some beautiful work was accomplished, notably the shrine of St. Werburgh, the sedilia and choir stalls. Simon Ripley was an energetic abbot, and rebuilt the nave, tower and south transept. This south transept was claimed as the Parish Church of the parishioners of St. Oswald, and there were much disputings, but the people had their way, and retained their rights until 1881.We also find that the usual quarrels took place between the monks and citizens about the rights to hold fairs and markets. Abbot Birkenshawe continued Ripley's work, and completed the west front and part of the west tower. An unfortunate alteration was made at this time. The vault of the cloisters was raised, tradition says, by Cardinal Wolsey, and mars the beauty of the earlier work. Then came the dissolution of monasteries, and the Abbey of St. Werburgh shared the fate of the rest. The See of Chester was created in 1541, the last abbot becoming the first dean, and John Byrde the first bishop. Most of the lands and wealth of the church were seized by the king and his courtiers. But, shorn of its wealth, the Cathedral itself was at this time one of the most beautiful in England. Dire troubles were, however, in store. The waves of the Civil War beat fiercely on Royal Chester; and when, after the protracted siege, the victorious Puritan soldiers entered the city, they defaced the Cathedral choir, injured the organ, and demolished the font, broke all the painted windows, and used the church as a stable. Randle Holme, the historian of Chester, utters a sad lament over the condition of the city which he loved so well, and compares it with Jerusalem, "the beloved citie of God, with not a stone left upon another." Since then the story of the Cathedral has been one of continual reparation and restoration. The exterior of the choir was recased by Bishop Stratford (1689-1707). Bishop Law, in 1818, effected some considerable repairs, and other efforts were made, until at length Sir G. Scott was engaged in 1868, when Dean Howson ruled, and a very "thorough" restoration was made. A modern authority on Gothic architecture states that Sir G. Scott's was "a rebuilding of every external feature of this Cathedral in the style of his own Victorian Gothic." Perhaps this criticism is a little too severe. It must be remembered that the stone of Chester Cathedral was very soft and perishable, that the state of the fabric was so bad that it was almost dangerous, and that the difficulties of the architect were great. However, in spite of what has been done, there is still much to admire, and we will proceed to examine the details of this ancient church.
The Exterior
To examine the exterior we must avoid the narrow streets in its vicinity, and ascend the old walls of the city, from which we can obtain an excellent view. Starting at the east gate, we get a goodview of the south-east of the Cathedral, including the tower, the east side of the south transept, choir and Lady Chapel. We notice the colour of the stone—red sandstone. The plan of the church is cruciform. TheToweris Perpendicular in style, and was probably built by Abbot Ripley. Two windows of Perpendicular character look out from each side. It has been much restored, and was only just saved from destruction by this process. Sir G. Scott devised the turrets and pinnacles out of his inner consciousness, and also the parapet; but the effect, though differing, doubtless, from the original design, is not unpleasing. TheLady Chapelis a simple and beautiful construction of Early English design. On the south side there are three triple lancets under a pointed arch, separated by buttresses crowned with pinnacles, and a parapet above. The south aisle of the choir is Early Decorated, and there is a modern apsidal termination, with a curious steep roof, almost resembling the spire of a church, which Sir G. Scott constructed, and for which he found justification in the remains of the earlier roof. This example is unique in England, but not unusual in France. The south transept is unusually large, which is accounted for by its being the Church of St. Oswald. There are some curious modern sculptures in a corbel here, representing modern statesmen, and the features of Mr. Gladstone and Lord Beaconsfield are not difficult to discover. Passing along the wall of the city, at the east of Abbey Street we see the north-east view. Near at hand, on the right, is the refectory, and on the left the chapter-house, which is Early English. The north transept is Norman work. The north choir aisle, which extends along the side of the Lady Chapel, is, in its eastern part, Perpendicular; further west it is Early Decorated, while by the canons' vestry we see unmistakable Norman work. In this wall much of the old stone remains, as it has not suffered so much from the weather as on the south side. We see the long expanse of the nave roof, and then pass along Abbey Street, and have a fine view of this north side. Then houses interfere with the prospect. Then we see the old Abbey gateway, a fourteenth-century structure, and the new buildings of the King's School, which occupies the site of the old Palace, and soon stand opposite theWest Front, which lacks the grandeur of this feature of many cathedrals. It has a large Perpendicular window of good design and rich tracery; beneath it is a Tudor doorway, and canopied niches, and on the south the base of a tower which was never completed. Passing along we have a grand view of the south side.
Chester Cathedral
Chester Cathedral
There is a porch, with a parvise over it, of Late Perpendicular design, with Tudor doorway, and battlements and pinnacles. The vault is modern; the windows of the aisle are Decorated, and those of the clerestory Perpendicular. This concludes our survey of the exterior, and we now enter the Cathedral and examine the principal features of the interior.
The Interior
Entering by the south porch or the west door, we examine first theNave, which is small and not very striking in appearance. There are six bays, but the southern arcade is much earlier than the north. The piers consist of groups of attached shafts, with capitals of foliage. The southern arcade is Decorated, while the northern is later. The initials S.R. appear on the capital of the first northern pier. These letters stand for Simon Ripley, abbot (1485-1492). He probably built the upper part of the northern arcade, but the lower part is earlier. The clerestory was finished by Abbot Birkenshawe. The last bay eastward is more ornamented than the rest, and has cusped windows in the clerestory and tracery in the triforium opening. This is earlier, and is perhaps more ornate, because the choir included this bay. The roof is modern, and has a good specimen of fan-tracery vault. Some of the bosses are noticeable, and record the benefactors—the Prince of Wales, Duke of Westminster, and others.
Under the south tower is theConsistory Court, which is separated from the nave by some curious Jacobean stone-work, and contains some good woodwork of the same period. The south aisle has Decorated windows; the north aisle contains some interesting remains of the old Norman church. The north wall is entirely Norman. A Norman doorway leads to the cloisters at the east end, and at the west there are some remains of the Norman tower built by the nephew of the Conqueror. This is now the baptistry, which has a curiousfont, presented by Earl Egerton in 1885. The dean states that "it came from a ruined church in the Romagna, but it is not known whence it was brought to Venice. It is of a rectangular form, of white marble; and in all probability it was originally a village well-head in early Roman times, and afterwards taken by the Christians and carved with symbols for a font. The work is of the Ravenna type, of the sixth or seventh century." Near here is hung an ancient piece of tapestry, which has been inthe Cathedral since 1668. The subject is Raphael's cartoon of Elymas the Sorcerer. The vault of this aisle is modern. The old wall is covered with rich mosaics, representing Abraham, Sarah, Moses, David, Elijah, and other Old Testament characters.
TheNorth Transeptis small, and is of the same size as the original church, there being no room for expansion on this side because of the monastic buildings. The lower walls are original Norman, the upper Late Norman. A Norman arch, now blocked up, leads to the canons' vestry on the east. The arches of the triforium are very early, and are rude and massive. On the west there are three Norman windows blocked up. Perpendicular tracery has been inserted in some of the windows. That of the north window is modern. The roof is Perpendicular, and on one of the bosses are the arms of Cardinal Wolsey. A conspicuous monument here is that of Bishop Pearson (1686), the author of the famous work onthe Creed. The initiation of the erection of this magnificent memorial of one of the greatest of English divines was due to an American bishop, Dr. Whittingham of Maryland. The organ-loft is very rich, and the instrument itself is a very noble one, and replete with every modern contrivance. Crossing to theSouth Transept, which until 1881 was the Parish Church of St. Oswald, we notice its great size when compared with that on the north. It was undergoing restoration when we last visited the Cathedral. It has Decorated windows, and Perpendicular in the west aisle. The monuments in the naves and transepts do not possess many features of interest, and may be passed over.
THE CHOIR
THE CHOIR
We now enter theChoir, and can admire the modern screen, designed by Sir G. Scott, and beautifully executed. The choir is remarkable for the great beauty of the woodwork which it contains, as well as for its architectural merits. The style is that of the transition between the Early English and Decorated. The north side differs from the south, especially in regard to the mouldings. The north side is earlier than the south, the building having been commenced at the east end of that side. The mouldings on the north are bold rounds, while those on the south are shallow and small hollows. The triforium has a series of elaborately-carved cusped arches, and the clerestory windows are light and graceful, with geometrical tracery. The vault is modern, constructed of good English oak. At the east there are figures of the sixteen prophets, and at the west are angels playing musical instruments. There are some curious grotesque corbels, from which the vaulting shafts spring. The carving of theChoir Stallsis equal, if notsuperior, to anything in England. These are fourteenth-century work, and rival the noble stalls of Amiens. They have been restored with much accuracy and taste. The carving of the dean's stall should be noticed, as it represents the Jesse tree, surmounted by the Coronation of the Virgin. That representing Jacob's dream is modern. TheMisereresare extremely interesting and curious, and full of religious instruction, though often conveyed in the way of sarcastic reproof. There are forty-eight, of which three are modern. Some of the most curious are: a pelican feeding her young; St. Werburgh and the stolen goose; a wife beating her husband; the strategy of the fox; stag hunt; Richard I. pulling out the heart of a lion; a fox in the garb of a monk presenting a gift to a nun; various wild men; wrestlers; unicorn resting its head on a virgin's knee, and numerous grotesques. TheThroneis a handsome modern work, and also thePulpit, presented by the Freemasons of Cheshire, who restored also the ancient sedilia, which, tradition states, came from the old Church of St. John without the city walls. The altar is made of wood grown in Palestine. The oak of Bashan, olive wood from the Mount of Olives, and the cedar of Lebanon, are all used, and the carvings represent palm, vine, wheat, olive, thorn, bulrush, hyssop, myrrh and flax, all of which are included in thefloraof Palestine. The reredos is a mosaic of the Last Supper. The magnificent candelabra of Italiancinque centowork are the gift of the late Duke of Westminster. Over the altar is an arch, through which the window of the Early English Lady Chapel can be seen, and above is a window with Decorated tracery.
TheNorth Aisleof the choir is interesting. Traces of Norman work are seen in the base of a massive round pillar at the west entrance, in the inverted capital of a Norman pier, with an Early Decorated pier constructed on it, and the Norman apse is marked on the pavement by a line of dark marble. The canons' vestry is architecturally a very important building, as it contains work of the eleventh, twelfth, thirteenth and fourteenth centuries. The arch in east wall of the transept is Early Norman; the Norman apsidal termination can be traced. It was rebuilt in the Early English period, and made to terminate in a square form, and the doorway from the north aisle is fourteenth-century work. There is an old chest or reliquary here with very good iron-work and lock of the thirteenth century. Re-entering the aisle we can trace the abandonment ofthe apse and the extension eastward in the Early English period, as shown in the character of the vaulting and in the piscina, which belongs to this period. In Perpendicular times a further extension took place, in order to gain an entrance to the Lady Chapel. The gates of both aisles are old Spanish work of 1558, presented by the late Duke of Westminster.
TheSouth Aislehas passed through somewhat similar vicissitudes, but "restoration" has removed some of their traces, and it is now terminated by the apse, the erection of which we recorded when examining the exterior, and which is conjectured to be an exact reproduction of the appearance of this end of the Cathedral in the time of Edward I. The apse has been fitted up as a memorial to Thomas Brassey, the great contractor.
TheLady Chapelis of Early English design, and was built about 1266, previous to the present choir. Many alterations were made subsequently, including the removal of the ancient steep and lofty roof and the substitution of a flat roof, and the insertion of Perpendicular windows. Most of these additions have been removed and the Early English character restored. The east window of five lights was designed by Scott, and the original form of the roof has been restored. The vault, which is original Early English, has a boss representing the murder of Thomas à Becket. The mosaics were designed by Sir A. Blomfield. Here the consistory court was held at the time of the Reformation, and George Marsh, the Chester martyr, was condemned to be burnt.
TheMonumentsin the choir and Lady Chapel are to the memory of Dean Howson, Bishop Graham (1865), Dean Arderne, an altar tomb to an unknown person, and the famous shrine of St. Werburgh, of fourteenth-century work, which is of exquisite design and construction. It was richly ornamented by figures. There was a great resort of pilgrims to this shrine in mediæval times. The pavement of the choir is worthy of attention. It is modern; around the lectern are the heads of the twelve Apostles, and of the four doctors of the Church—SS. Ambrose, Augustine, Athanasius and Chrysostom. On the east end are representations of the Passover, and some fragments of tesselated pavement are inserted here which came from the Temple at Jerusalem. The stained glass is all modern. The Cathedral has a rare treasure of the seventeenth century, a carved narwhal tusk, beautifully carved by a Flemish artist. It is thus described by the dean: "The leading subject is the Incarnation of our Lord Jesus Christ, passingon to the exaltation of the Cross.... A Jesse tree occupies about 3 feet, and above is seated the Blessed Virgin with the Holy Child. Higher up is the Cross with the figure of our Saviour, whose countenance is full of compassion.... St. Michael thrusting down Lucifer with a cross; the figures of SS. Peter and Paul and the four Evangelists; St. Anthony of Padua and another monk holding up a cross, and figures of angels, each holding in uplifted hands a cross."
SHRINE OF ST. WERBURGH
SHRINE OF ST. WERBURGH
We will now proceed to theMonastic Buildings, which are of great importance. They are situated on the north side of the Cathedral, and are approached through a Norman doorway in the north aisle. Turning to the left we see some good Norman arcading. The tombstones of some of the earlier abbots are seen here. The south walk is entirely new, having been restored by Scott. The west walk adjoins a fine Early Norman chamber, probably the great cellar of the abbot's house. The cloisters are Perpendicular work. In the south and west walks there is a double arcade on the cloister-garth side, which contained theCarrelsor enclosed studies of wainscot, where the monks read or wrote, and on the opposite side are recesses which are not tombs, butArmariaor cupboards, where their books and materials for illuminations were stored. In the Perpendicular period the roof of the cloisters was raised, which was not an advantage, as it caused the aisle windows and those of the refectory to be partly blocked up, and the vaulting cuts into the earlier work. TheLavatoriumis near the entrance totheRefectory, an Early English building with Perpendicular windows. It is a noble structure, shorn of some of its length, and now used as a music room. The stone pulpit is remarkably fine, of Early English design, which rivals the famous pulpit of Beaulieu Abbey. In the east walk we see the doorway leading to theVestibuleof the chapter-house. It consists of a cusped arch, and three small windows are above it; on the centre one the dog-tooth ornament is used. Both the vestibule and the chapter-house are fine examples of Early English. In the former light, graceful piers support the vaulting without capitals, the mouldings being continued along the piers and vaulting in a very beautiful manner. TheChapter-Houseis a noble chamber. Its shape is oblong, and it was built about 1240. There is a fine east window of five lights; and windows of three lights are on the north and south sides, and have detached shafts. The glass is modern, and represents the chief persons associated with the history of the Cathedral. Here is stored the library, which is not rich in treasures of bibliography. There is a fair collection of the Fathers and liturgical works, a book which belonged to Bishop Pearson and Higden'sPolyolbion.
Dimensions
Length, 355 ft.; length of nave, 145 ft.; width of nave, 75 ft.; height, 78 ft.; height of tower, 127 ft.
Principal Building Dates
Norman (1093-1140)—north wall of north aisle and doorways, part of north-west tower, north transept, part of canons' vestry, cellar in monastic buildings; Early English (1266-1300)—Lady Chapel, choir, part of north choir aisle, chapter-house, refectory; Decorated (1300-1400)—Abbey Gate, south and lower part of north nave, windows of south aisle, part of south transept; Perpendicular (1472-1500)—tower, upper part of north of nave, east of north choir aisle, west front, south porch, part of south transept and some windows; Choir recased (1689-1707).
St. John's Church is well worthy of a visit. It has an important history, and was once the Cathedral of the first Norman bishop. It is mainly of Norman construction. The massive piers are very early (1067-1105), the triforium and clerestory are Transitional. A good history of the church has been written by the Rev. Cooper Scott.
Liverpoolis a very modern see, the bishopric having been formed in 1880. It has at length been possible to take steps to found a Cathedral, and many architectural problems have to be solved by the citizens with regard to the site and the style of the new church. We trust that these will be solved satisfactorily, and that the Cathedral of Liverpool will be made worthy of the city. If wealth can accomplish this great achievement, there should be no difficulty in this place. The Church of St. Peter is at present used as the Cathedral, but it has no feature of either architectural or historical interest.
Otherobjects of interest rather than those of history or architecture usually attract the stranger to Manchester. The great centre of modern industry, the city that brings the sea to its walls, that finds employment for tens of thousands, where the pulse of life beats fast—that is the Manchester we all know. But there is another Manchester of quiet and sedate ways, which is not devoid of history, which we will endeavour to read amidst the din and turmoil of this hive of industry. It is difficult to imagine that the parish "was originally a wild, unfrequented tract of woodland, inhabited merely by the boar, the bull, and the wolf, and traversed only by the hunters of the neighbouring country." Under Agricola, Manchester became a Roman station. Camden tells of Roman inscriptions, and many other Roman remains have been found. Edwin of Northumbria came here, and Paulinus brought Christianity and thousands were baptised by him. Two Saxon churches were built, St. Michael's and St. Mary's. Ina and his queen, Ethelburga, sojourned here. The Danes ravaged it, and Edward the Elder re-edified the town in 924. We find that Canute came here, and the historian of the town derives Knot, or Knut, Mill from his name. The Conqueror gave the manor to Roger de Poictiers, but it appears to have been regranted to the Greslie family. It is unnecessary to follow the history of the manor and barony. In 1235 Manchester is said to have had a Deanery, and Peter de Greleigh (Greslie) held the Rectory in 1261. Hugh de Manchester, a favourite of Edward I., went on an embassage to Philip of France to recover certain lands for his king. Other distinguished rectors were William de Marchia (1284), afterwards Bishop of Bath and Wells, and William de Langton, afterwards Bishop of Lichfield, the builder of the beautiful Lady Chapel of that Cathedral; Otto de Grandisson, Geoffrey de Stoke, afterwards Dean of St. Paul's, London. In 1373 Thomas de la Warre was presented to the living, and he obtained Royal licence in 1422 to found a collegiate church,consisting of one warden, eight fellows, four clerks and six choristers. The parishioners cheerfully agreed to build the new church. John Huntingdon, the first warden, built the choir, and several leading families, the Radcliffes, Stanleys, Traffords, Byrons and Strangeways erected chantries. The college was founded at the same time as the residence of the warden and fellows. The right of sanctuary was granted to the collegiate church, the sanctuary men bearing a cross on their hand. The college has a chequered career. In the reign of Edward VI. it was dissolved and its possessions seized. Under Mary it was re-established, together with the chantries in the church. In the time of Elizabeth the college had prolonged disputes with the town, the clergy were beaten by the populace, and one of them stabbed, and the plate and ornaments stolen. In 1578 the charter was renewed. A famous warden was Dr. Dee, who is well known as a dealer in magical arts, and his successor, Murray, was not a very learned divine; when preaching before James I. from the text, "I am not ashamed of the Gospel of Christ," the monarch said the Gospel of Christ might well be ashamed of him. In 1617 a gallery was erected in the church, which was much dilapidated and the income impoverished. In the time of the Civil War, Richard Heyrick was warden and sided with the Parliament, the Independents setting up a meeting-house at the college. Manchester underwent a siege during the war, and in 1649 the chapter-house and chest were broken into by soldiers and the deeds carried off to London, where it is thought that they perished in the great fire. The college was dissolved. Heyrick was a veritable "Vicar of Bray," and embraced all the opinions in turn of all the parties in that troublous period. The collegiate buildings were in much decay during the Commonwealth period, when Humphrey Chetham, one of the worthiest of benefactors, conceived the idea of converting them into a school and library, and left a large sum of money for this purpose. Chetham's Hospital is quite the most interesting building in the city, which has retained few of its ancient edifices. Lancashire folk were very faithful to the House of Stuart, and in both the rebellions of 1715 and 1745 Manchester took part. The young Pretender was proclaimed here King James III., and the "Manchester Regiment" was formed to fight in the prince's cause, and subsequently many lost their heads, some being stuck upon the Exchange. The Diocese of Manchester was formed in 1847, and has only hadthree bishops—James Prince Lee, Fraser, and the present Bishop Moorhouse, formerly Bishop of Melbourne.
The Exterior
Manchester smoke soon causes stone-work to assume a venerable appearance, and although much of the Cathedral is new, its first appearance is one of an ancient edifice. Manchester is a modern see, founded in 1847, but its church, as we have seen, dates back to a very respectable antiquity and has many features of special interest. It stands out well amidst the surrounding mass of modern buildings, of shops and railway stations, and seems to raise the thoughts of all who behold its beauties above the buying and selling in this busy mart of human enterprise.
The present generation of merchants of Manchester and the Cathedral authorities have done much for their Cathedral, and striven to make it worthy of its name and position as the Mother Church of the diocese, and all the resources of modern art have been lavished on the building. We shall see this better in the interior. The exterior also shows that very much has been done in building and decoration. There is first the newWest Porch, which has just been finished with a statue of Queen Victoria in the niche over the doorway. Just as the burghers of the Middle Ages loved to enrich their churches with the triumphs of architectural art, so do the modern merchants of Manchester strive to adorn their Cathedral with elaborate handiwork. This new piece of work is richly carved. The style follows that of the Cathedral and is mainly Perpendicular. There is rich panel work, an open-work battlemented parapet, and a richly-crocketed pinnacle crowns a turret on the south side. The door itself is a very handsome piece of work. On each side of the main porch there are rooms. TheTowerstands at the west end above the porch. There is a good west window in the lowest stage with an ogee label richly crocketed. Above is the clock. In former days this clock was not noted for keeping correct time. An old gentleman was observed each morning setting his watch by it. "Excuse me," said a bystander, "that clock is five minutes late." "Sir," he replied, "I have set my watch by that clock for forty years, and right or wrong, I shall go by it for the rest of my life." At each corner of the tower there are three pinnacles. The windows of the church, we observe, as we pass to the south, are all Perpendicular, but there is a pleasing variety in the tracery. TheSouth Porchhas a parvise, and was built by Mr. James Jardine, a distinguished citizen of Manchester, in 1891. On this side there are several chapels—the Brown Chapel, St. George's, St. Nicholas or Trafford Chapel, Jesus Chapel, the chapter-house with its pyramidal roof, the Fraser Chapel, a new building erected in memory of Bishop Fraser. The battlemented parapet on this side of the church is modern. On the east side is a tiny Lady Chapel with a Decorated east window, which has been reproduced from the earlier design. Proceeding onwards we notice the Ely Chapel, the Derby or John the Baptist's Chapel, the St. James's Chapel, and that dedicated to the Holy Trinity. TheNorth Porchis similar in character to that on the south, and was erected in memory of James Craven in 1888.
The Interior
The interior of the Cathedral is full of interest. We enter by the south porch, and we are at once struck by the extraordinary width of the church. On each side of the nave there are two aisles. The outer aisles both on the north and south sides were formerly separated from the rest of the church by screens, and were occupied by chapels or chantries. By a somewhat drastic restoration at the beginning of the nineteenth century these screens were removed, and the outer aisles thrown open. This procedure rendered the church more useful for congregational purposes, though we may regret the disappearance of the historic chapels, a few piscinæ being the only remains. We will commence our pilgrimage at the west end, and from this point view the length of the church, which is shrouded in "a divine religious light," perhaps a little too dim. Most of the windows are filled with modern glass which is generally of beautiful design; but modern glass lacks that transparency which ancient glass has. The sunlight streams through the old glass, and it is quite possible, as at Fairford, to read the smallest print; while modern glass effectually shuts out the light, and at the best too much sunlight is not usually observable in this region of smoky chimneys and polluted atmosphere. The piers of the nave are modern imitations of the original Perpendicular ones, and are lofty and graceful. There is no triforium, and the clerestory is somewhat contracted. The windows have five lights of Perpendicular tracery, and most of them are filled with modern glass. The roof is ancient, but has beenmuch restored. In the distance we see the handsome choir-screen with the organ over it. The spandrels of the chancel arch are richly carved with shields in quatrefoils, and above is the Tudor rose. Shields adorn the spandrels of the main arches. Above us is the ceiling of the tower, which is a good example of fan-tracery. The modern baptistry is on our right. Passing the south porch, erected in memory of Mr. James Jardine, we see the extreme south aisle, formerly consisting of chantries separated from the rest of the church by screens. In a recess east of the porch was the Brown Chapel, and north of this St. George's Chantry (to which saint, together with St. Mary and St. Denis, the church was formerly dedicated) founded by W. Galley in 1508. At the dissolution of the collegiate institution John Barlow and Edward Smyth, priests of this chantry, received pensions of £6 and £4, 12s. 6d. respectively. Then comes the Trafford or St. Nicholas Chantry, the priest of which received a pension of £5. The Traffords of Trafford are an ancient Lancastrian family who have held the manor, near Manchester, since the Conquest, and the name of Edmund Trafford appears upon the list of parishioners given in the licence to erect the collegiate church. A piscina shows the position of the altar of this chantry. Next follows the Jesus Chapel which has a fine sixteenth-century screen. It was founded by Richard Bexwick in 1506, being granted to him "to enjoy its privileges by James Stanley, warden, and the fellows." His daughter Isabel gave it to Francis Pendleton and Cicely his wife, daughter of Isabel. In 1652 it was in a ruinous condition. It is now used as the library and vestry. From this chapel another chapel founded by Ralph Hulme in 1507 opened, but it has been destroyed. One of this family of Hulme founded in 1691 the Hulmeian scholarships at Oxford. Next we see the entrance to the chapter-house built by James Stanley (1485-1509), which is good Perpendicular work. Under the arch, which has panelled work in the soffit, there are two doors having four-centred arches, and above panelling. The Fraser Chapel, erected in memory of Bishop Fraser of Manchester (1870-1885), "a man of singular gifts both of nature and the spirit," who won all hearts and whose memory will ever be venerated in the Manchester Diocese, stands on the south at the extreme east end of this aisle. It contains an admirable effigy of the bishop, who was buried in the little Parish Church of Ufton Nervet, Berks, where he passed the early years of his clerical life, and for which he had tender memories. This was a college living to which he was presentedby Oriel College. Turning to the north we enter the retro-choir and the Lady Chapel, originally founded by George West, youngest brother of Lord Delaware, who was warden of the college in 1518-1535. The last historian of the Cathedral, Mr. Perkins, considers that West reconstructed a more ancient building, and that the style of the windows inserted in the eighteenth century in imitation of earlier ones point to an earlier date than 1518. This chapel was once known as the Byron Chapel, and then the Chetham Chapel, as it contains several memorials of that family. There is a modern statue of Humphrey Chetham, the founder of Chetham's Hospital (which we shall presently visit), who was born in 1580, and by trade "acquired opulence, while his strict integrity, his piety, his works of charity and benevolence secured him the respect and esteem of those around him."[15]He founded the school, and clothed, fed and instructed twenty-two boys, and, though never married, thus became a father of the fatherless and destitute. At the base of his statue is seated a figure of one of these youths. Near this statue is the tomb of Hugh Birley, a member of a distinguished Manchester family and a representative of the city in Parliament. An ancient organ, more than two centuries old, also is in this aisle. On the north is the St. John the Baptist or Derby Chapel, formerly called the Stanley Chapel, separated by an old screen from the aisle. The Stanleys belong to the same family as the Earls of Derby. The office of warden was held by two members of the Stanley family, both having the Christian name of James. The second James Stanley became Bishop of Ely, and by virtue of his will (he died 1515) this chapel and the Ely Chapel were built. His tomb remains, of grey marble, with a small brass figure of the bishop in his robes, with the inscription:—"Off yur charite pray for the soul of James Stanley, sutyme Bushype of Ely and Warden of this College of Manchestir, which decessed out of this transitore world the xxxi. daye of March, the yer of our Lord MCCCCC. and XV., on whos soul and all Christian souls Jhesu have mercy."
Westward of this Derby Chapel stands the Ducie Chapel, dedicated to St. James, founded in 1507, and next comes the Radcliffe Chantry, dedicated to the Holy Trinity, founded by W. Radcliffe in 1498. The Radcliffes of Radcliffe, near Manchester, were an ancient race, and the ballad of "Fair Ellen," the daughter of one member of this family, who was slain by a cruel stepmother and her body cooked in a pie, is a gruesome legend of old Lancashire.
The east end of the nave is used for services, and there is a fine modern pulpit. Manchester Cathedral possesses some very fine carved woodwork, of which the ancient rood-screen is a good example. The organ is placed above it. On entering theChoirwe notice the magnificently-carved stalls with rich tabernacle work, and quaintmisereres. This is the work of James Stanley (1485-1509) afterwards Bishop of Ely, assisted by a Manchester merchant named Beck. The bishop's throne is modern, and also the reredos. The three Patron Saints-SS. Mary, George and Denys—appear in the niches. In accounting for this triple dedication Randle Holme states that to St. Mary was the earlier church dedicated, and that Thomas Delaware, "being partly a Frenchman, and partly an Englishman," selected St. Dionysee, ye Patron Saint of France, and St. George, the Patron Saint of England, as patrons of his new Cathedral. This does not seem probable, and it is more likely that the claim of Henry V. to the crown of France at the time of the founding of the college suggested the additional dedication.
The windows have all modern glass. Formerly there was some curious ancient glass; in the east window of the south aisle, Michael and his angels fighting with the dragon; in the east window of the north aisle, SS. Augustine and Ambrose chanting theTe Deum Laudamus; in the clerestory were pictures of the Virgin; and then there were some curious representations of the Trinity. These have all disappeared. Of the modern ones, the most interesting, perhaps, is the Gordon window in the north aisle.
John Huntingdon, the builder of the present choir (1422-1459), lies buried in it, and formerly his tomb was inscribed with the words:Domine, dilexi decorem domus tuæ, and there was a brass with this inscription:Hic jacet Johan Huntingdon Bacc in Decr. Prim. Magister sive custos istius collegii qui de novo construxit istam cancellam, qui obiit ix. mo die xi. bris MCCCCLVIII., cujus animæ proprietur Deus. We could not discover this brass, but on each side of the Lady Chapel entrance is the rebus of the founder, on one side a man hunting, on the other a tun, which "hieroglyphical quiddity" makes Hunting-ton.
Crossing the street to the north is a profoundly interesting building, known as theChetham Library and Hospital, of which Manchester may be justly proud. Its chequered history has already been partially told, and carries us back to the days when the college of warden and fellows, chaplain and choir-boys,lived here. Now, as we have seen, it is the school, with a noble library attached, founded by that worthy merchant, Humphrey Chetham. As a baron's hall, an ecclesiastical establishment, and a remarkable school, the building presents many features of unique interest, and the grand library is worthy of minute inspection.
Dimensions
Principal Building Dates
Thisnorthern city has had a noted history. It was a town of considerable importance under the Romans, and on their departure was captured by the furious Picts. It has been a city of sieges. Egfrid of Northumbria rebuilt it in the seventh century, and granted it to St. Cuthbert, but the Danes sacked and plundered it. William Rufus again rebuilt and fortified it, but David, King of Scotland, captured the place, and died within its walls in 1153. Two more sieges it again endured, and was at length taken in 1217. Here came Edward I. frequently on his marches to conquer the Scots, and held Parliaments here, and near here he died. A goodly company of nobles hastened here to do homage to his son. After the disaster of Bannockburn Robert Bruce besieged Carlisle, and had his quarters in the Cathedral, which is outside the city walls, but he failed to gain the city. The Bishops of Carlisle were sometimes warlike men, and took the field against the dread invaders from the north. The old castle has seen much of fighting, and it had a notable prisoner in the person of ill-fated Mary Queen of Scots. A long siege, lasting eight months, took place in the Civil War time, and in that time terrible damage was done to the Cathedral, as we shall see. Again, in the rebellion of 1745, "Bonnie Prince Charlie" captured the place, and there was a great flourish of trumpets, or rather bagpipes, until the king's forces came and put an end to the poor campaign. The Cathedral was again used as military quarters, and the prisons of the castle tell the sad story of the fate of the rebels.
The ecclesiastical history of Carlisle reflects its civil history. As we have said, St. Cuthbert of Lindisfarne and his successors ruled over this city and district for many years. When William II. restored the city and raised the castle, one Walter, a noble and wealthy priest, who was left as governor by the king, set to work to build a church and priory. But death stayed his hand, and Henry I. completed the task, and established here a monastery of Augustinian canons in 1121. In 1133, on the advice of Thurstan, Archbishop of York, he established a see here, and Udelulf became the first bishop. The Cathedral, begun by Walter andfinished by Henry I., was of the usual Norman character. Its plan was cruciform, and it had a nave with aisles, transepts with a low tower at the crossing. The architect was Hugh, Bishop (1218-1223), formerly Abbot of Beaulieu, Hants, who brought with him to Carlisle the traditions of a splendid style of architecture. In the early part of the thirteenth century the Norman choir was taken down, and rebuilt in the Early English style. Two fires did much damage, especially the one that raged in 1292. The work of rebuilding was at once commenced, and a more imposing plan was projected, but a long time elapsed before it was completely carried out. At length, about the middle of the fourteenth century, the choir was completed in the Decorated style, a new triforium, clerestory roof and east end being erected. The Late Decorated east window, which was finished at this time, is one of the most beautiful in the world. Fire again injured the Cathedral in 1392, especially the north transept, which was restored by Bishop Strickland (1400-1419), who also rebuilt the tower above the roof, and crowned it with a wooden spire. The monastery was dissolved at the Reformation, and a Cathedral establishment formed, consisting of a dean and canons. In Mary's reign Owen Oglethorpe was made bishop, who, "being a good-natured man and pliable," according to Fuller, crowned Queen Elizabeth, "which the rest of his order refused to do." He was, however, deprived on account of "certain principles of stubbornness instilled into him." The Civil War did terrible damage to the Cathedral. During the siege Puritan soldiers were quartered in the sacred building, "who did after their kind," and, moreover, after the capture of the city, in order to repair the fortifications, they pulled down a great portion of the nave, and used the stones for that purpose. In the rising of 1745 Charles Edward, the Pretender, as we have said, occupied Carlisle, and installed in the Cathedral, as bishop of the see, a Romanist named James Cappoch. When the Duke of Cumberland arrived and recaptured the city, Cappoch allowed himself to be taken prisoner, and was hanged. The church was again used as a barracks, and many of the poor Jacobite prisoners were confined here.
Since then there have been sundry restorations, some very deplorable, one about the middle of the eighteenth century, which were happily effaced, as far as possible, by the work of the middle of the nineteenth. But the hand of the restorers has fallen rather heavily upon the beautiful work of the choir, and destroyed much of itsdelicate beauty. The architects of 1850 had not yet learned to respect the antiquity of the buildings which fell into their hands to restore, and Carlisle and many other churches have suffered much from their drastic treatment.
The Exterior
A good view is obtained from the castle. The usual approach is from the east end, whence we observed the grand east window with its beautiful Late Decorated tracery. It is flanked by buttresses, with niches and crocketed pinnacles. In the niches are statues of SS. Peter, Paul, James and John. A floriated cross crowns the gable, and on each side are four similar crosses. In the gable is a triangular window, having three trefoils, and below is a niche with figure of the Virgin. TheCentral Tower, built by Bishop Strickland (1400-1419) on the old Norman piers, is too small for the huge choir, and lacks dignity. Formerly it was crowned with a wooden spire, but this has been removed. There is a turret set at the north-east angle, and in the north side is a niche with the figure of an angel. The lower part of theChoiris Early English, with the exception of a Perpendicular window at the west, and a Decorated one in the east bay. TheClerestoryis Late Decorated, and the windows have flowing tracery. The ball-flower ornament is extensively used in the cornice. The sculpture at Carlisle is worthy of notice. Carved heads and curious gargoyles abound. TheNorth Transeptis nearly all modern. It was rebuilt by Strickland in the fifteenth century, and again rebuilt when the church was restored. There is, however, an Early English window in the west wall. On the east side there was formerly a chapel, which has not survived the repeated alterations. The greater part of theNavewas taken down by Cromwell's soldiers. What is left is of unmistakable Norman character. There is some modern imitation work, and late architectural detail. Most of the windows are modern, and also the doorway. The west end is the result of modern restoration. The south side is similar to the north. TheSouth Transeptpreserves the old Norman walls. On the south is a modern doorway with a window over it. On the east isSt. Catherine's Chapel, a Late Early English or Early Decorated building. The south side of the choir is similar to the north, and presents Early English details of construction. The monastic buildings once stood on the south side of the church, but they have been pulled down with the exception of the fratry and gatehouse,the stone being used for repairing the fortifications of the city by Puritan soldiery. The refectory, or fratry, was rebuilt in the fifteenth century, and is now used as a chapter-house. There is a fine reader's pulpit here. The gateway was erected by Prior Slee in 1527. The Deanery is a fine old house, and was formerly the prior's lodging. It was rebuilt in 1507.