THE ALTAR-SCREEN.Plate II.
THE ALTAR-SCREEN.Plate II.
THE ALTAR-SCREEN.
Plate II.
three lancets have been inserted at the back of the clerestory passage. Of these, the central window has been filled with stained glass byHardman; too minute perhaps in design for the height at which it is placed, but very good. The subjects in this window are the Saviour in Majesty, the Resurrection, the Crucifixion. The subjects in the north and south lancets will comprise the principal events of our Lord’s Passion.
Thereredos[Plate II.] below was designed by Mr. Cottingham, jun., as a memorial forJoseph Bailey, Esq., M.P. for the county of Hereford, who died in 1850. It is in oolite (Bath stone) and marble; and although too high for its position, is a fine work. Between the five canopied compartments rise small shafts, supporting angels, who carry the instruments of the Passion. The pierced leafage at the back of the canopies is very beautiful. The subjects in the panels are—the Agony in the Garden, Bearing the Cross, the Crucifixion, with floating angels above the Cross, the Resurrection, and the three Maries at the Sepulchre.
At the back of the reredos rises a pier from which spring two pointed arches, leaving a broad tympanum or spandrel, closing the upper part of the Norman arch. This is a restoration of Mr. Cottingham’s. The pier itself is ancient. The spandrel is covered with modern sculpture, having, above, the Saviour in Majesty, with the Evangelists holding scrolls; and below, a figure of Ethelbert, King of East Anglia, who was murdered by Offa, King of Mercia, and is said to have been interred in the first Saxon church on this spot. (See Pt. II.)Miracles were reported as having occurred at his tomb, and the second church here was dedicated to St. Ethelbert.
The very good brass of BishopTrilleck(died 1360) is placed on the chancel floor. The graceful arrangement of the vestments—which do not include the tunic—and the architectural design of the canopy deserve special notice. The greater part of the inscription has been lost[35].
Against the easternmost pier on the south side of the choir is a small figure on a bracket, which possibly represents St. Ethelbert. It was found about the year 1700, buried at the entrance of the Lady-chapel, (where it is said to have been concealed during the siege of 1645,) and was replaced in what is believed to have been its original position. The figure wears a coronet terminating in leaves. The strings of the long mantle are crossed on the breast. Whatever the hands once held has been destroyed. The figure is certainly not earlier than the first half of the fourteenth century.
On thenorthside of the choir, in the easternmost bay, is the effigy of BishopStanbery, (died 1474,) whose chantry opens from the aisle opposite; (§XIV.) The Bishop wears the alb, stole, and chasuble, the flowing ornament on which should be noticed. It should here be mentioned that Wyatt, following the same destructive course as at Salisbury, removed manymonuments in the cathedral from their original positions; thereby rendering even their identification a matter of some difficulty.
In the next bay is the effigy of a bishop, fully vested, holding the model of a tower. This is assigned to BishopGiles de Bruce, (died 1215); and Godwin (De Præsulibus) conjectured that the model indicated this bishop as having been the builder of the central tower—a conjecture which has been assumed as a certainty by every succeeding writer. But whatever architectural work Bishop Giles may have done, the tower, as was pointed out by Professor Willis, is nearly a century later. His effigy is one of ten which were erected during the Perpendicular period as memorials of earlier bishops, and which are now scattered in different parts of the cathedral. (In the same manner, many effigies of earlier bishops were sculptured at Wells (see that Cathedral) in the first half of the thirteenth century, and are all of Early English character.)
In the same bay is the monument of BishopBennett, (died 1617). He wears the rochet, and a close black cap, and rests his feet on a lion; an unusual instance of the retention of an earlier form. The Bishop was buried on this spot.
Thestallsof the choir range up to this bay. They are Decorated, and very good. The small heads and ornaments of the shafts which support the projecting canopies should especially be noticed. The misereres are interesting, but of no special excellence. Two on the south side represent a cook throwing a platter at an intruder, anda pair of wrestlers with ropes about their necks. The whole of this ancient work has been carefully cleaned, and restored where necessary, under the direction of Mr. Scott. The new carving, which is very fine, and well worthy of its companionship with fourteenth-century wood-work, is entirely by Messrs. Ruddle and Thompson of Peterborough. Some of the new misereres, and the elaborately carved ends or heads, sixteen in number, deserve careful attention. The panel-work in front of the stalls is an exact reproduction of that before the episcopal throne.
The floor of the whole choir has been laid with tiles, manufactured (as are those throughout the church with the exception of the nave) by Godwin of Lugwardine. The pavement of the sacrarium is especially rich and elaborate.
The organ (by Renatus Harris, but remodelled and reconstructed by Davison under the direction of Sir Frederick Ouseley) is to be placed within the first archway on the south side of the choir.
XI. Through the north arch of the tower we pass into thenorth transept, [Plate III.]; one of the finest and most interesting parts of the church, which fortunately remained untouched until the cathedral was placed under the care of Mr. G. G. Scott, by whom this transept has been carefully restored. The date of its erection has not been recorded; but we cannot be wrong in assigning it to the period between the death of BishopCantilupe(1282) and his translation in 1287. The Bishop was at first buried in the Lady-chapel, but was
BAY OF THE NORTH TRANSEPT.Plate III.
BAY OF THE NORTH TRANSEPT.Plate III.
BAY OF THE NORTH TRANSEPT.
Plate III.
removed to this transept in 1287. The miracles reported at his tomb had already brought large sums to the Church; and the rebuilding of the transept for the reception of his shrine must have been completed before the removal of his body in 1287.
The Norman arches opening to the aisles of nave and choir resemble those which correspond to them on the south side of the church. The transept beyond them was, as we have seen, entirely rebuilt, and is one of the most remarkable examples of the period remaining in England. The unusual form of its arches, and its pure, lofty windows, are sufficiently impressive now; but their effect must have been wonderfully increased when the windows were filled with glass displaying the history and miracles of the sainted Bishop, and when the shrine itself was standing on its pedestal within the eastern aisle, rich with the gold and jewels offered by the numerous pilgrims who knelt daily before it.
Thewestside of the transept (which is of two bays beyond the aisle passage) is entirely filled by two very lofty windows, of three lights each. The heads of the narrow lights are sharply pointed; and the tracery above is formed by three circles enclosing trefoils. These windows are set back within triangular-headed arches. On thenorthside is a double window of the same character, divided by a group of banded shafts. The triple lights on either side of these shafts, and the foiled circles above them, precisely resemble the windows on the west side of the transept. The centraltracery of the window is formed by a foiled circle, with a larger circle, enclosing a sexfoil, above it. The whole window is set back within a segmental pointed arch, with banded shafts at the angles of the jambs. Theeastern aisleof the transept is divided into two bays by a clustered pier, the shafts surrounding which are alternately of sandstone and dark marble. Their capitals are enriched with foliage, and small knots of foliage are placed between the bases. The main arches are sharply pointed, and have many plain mouldings, with one band of dog-tooth ornament, highly detached. Thetriforiumabove (which extends beyond the actual transept, over the Norman arch opening to the choir-aisle) is especially striking. In each bay are two sharply pointed arches, each subdivided into three lesser arches, with foiled headings; and with three open quatrefoils as tracery above. The main arch is surrounded by a row of dog-tooth. The large spandrel spaces between the arches are entirely covered with a diaper of leaf-ornament, in low relief. Theclerestorywindows are octofoils, set far back within pointed arches. On the exterior, the form of the window openings is triangular, like those of the triforium at Westminster and those in the clerestory of the nave at Lichfield. On the interior, the sills of the windows slope forward with overlapping courses of stone, to the stringcourse at the top of the triforium. The sills of the great windows in the transept are formed in a similar manner, with overlapping courses of stone.
PEDESTAL OF THE SHRINE OF BISHOP CANTILUPE.Plate IV.
PEDESTAL OF THE SHRINE OF BISHOP CANTILUPE.Plate IV.
PEDESTAL OF THE SHRINE OF BISHOP CANTILUPE.
Plate IV.
The shafts at the angles of all the windows are ringed, and the triangular arches, throughout the transept, are slightly stilted. Such arches are by no means common. They occur, however, in the clerestory on the south side of the nave in Worcester Cathedral, but of later date than this transept, which was possibly imitated by the Worcester architect.
This transept has been carefully and truly “restored,” under the direction of Mr. G. G. Scott. The stone-work has been freed from whitewash and cleaned; and the plain quadripartite vaulting has been touched with colour, and the bosses gilt, with excellent effect. The vaulting springs from clustered shafts, the corbels supporting which, on the east side, are beautiful and singular, and resemble bunches of reeds, terminating in a small open flower. The small heads below these corbels, at the intersection of the main arches, should also be noticed.
The transept has been laid with red and green tiles in panels, the divisions being marked in grey sandstone.
XII. The eastern aisle is lighted by three very beautiful windows, each of three lights, with three quatrefoils in the tracery. They are set back within wider arches, as is the case with the windows in the main transept. In this aisle, in a line with the central pier, is the pedestal of theCantilupe Shrine. [Plate IV.] (For a sketch of the life of St. Thomas Cantilupe, the last Englishman canonized before the Reformation, see Pt. II.) Bishop Cantilupe died on his way to Rome, atCivita Vecchia, Aug. 25, 1282. His remains were divided. A portion was interred near Orvieto; the heart was brought to Ashridge in Buckinghamshire; and the bones were brought to his own cathedral at Hereford, where they were deposited in the Lady-chapel. The reputation of Bishop Cantilupe had been great during his life. Numerous miracles were recorded as having taken place at his tomb, which soon became one of the most frequented places of pilgrimage in the west of England; and in 1286 (April 6) his remains were translated to a more stately resting-place in this transept, which had probably been rebuilt in his honour. The King, Edward II., was present at the translation. Bishop Cantilupe was not canonized until 1320[36]; but the pedestal of his shrine, which alone now exists, is (with the exception of the western end, which seems to be at least thirty years later) of the date of his translation.
This is a long parallelogram, narrowing toward the lower end, and is entirely of Purbeck marble. It has two divisions; the lower closed, like an altar-tomb, the upper a flat canopy, supported on small open arches. Upon this rested the actual shrine, containing the relics of the saint. Cantilupe was Provincial Grand Master of the Knights Templars in England; and round the lower division of the pedestal are fifteen figures of Templars in various attitudes, placed in the recesses of a foliated arcade. All are fully armed, in chain-mail, with surcoat, shield, and sword. All areseated, and tread on various monsters, among which are dragons, and swine muzzled. The spandrels in this arcade, and the spandrels between the arches in the upper division, are filled with leafage of the most beautiful and varied character. It is the leafage of the first Decorated period, retaining some of the stiff arrangement of the Early English, but directly copied from nature. In the lower spandrels it is arranged in sprays; in the upper it is often laid in rows of leaves, among which occur oak, maple, and trefoil. The whole of this work will repay the most careful examination. (It should be compared with the foliage of the capitals of the shafts surrounding the central pier of the aisle, which is far more stiff and conventional.) On the top of the lower division of the pedestal was a brass of the Bishop, of which the matrix alone remains.
The position of the shrine in this transept may be compared with that of St. Frideswide at Oxford, and with that of St. Richard de la Wych at Chichester. All had an altar immediately adjoining the shrine, which was dedicated to the saint, and at which the offerings of pilgrims were made. In these cases, however, the usual position of a great shrine—at the back of the high altar—was, for some special reason, departed from. At Hereford, this position of highest honour was probably occupied by the shrine of St. Ethelbert; and the shrine of St. Thomas Cantilupe must have taken an inferior place, had it been fixed near that. This was avoided by the dedication of the entire transept to the sainted Bishop. In the same manner, the south transeptat Chichester seems to have been occupied by the shrine of St. Richard de la Wych; in whose honour the great south window was probably inserted.
On a bracket against the wall adjoining the shrine is a bust of BishopField, (died 1636). On the floor is a slab with effigy ofJohn d’Acquablanca, Dean of Hereford, (died 1320). He was the nephew of Bishop d’Acquablanca, whose monument (seepost) is close by. Under the north window of the aisle is a stone coffin, found under the centre of the north arch of the tower, during the restoration of the piers. It may be the coffin of BishopJohn de Breton, (died 1275).
Under the great north window of the transept is a richly canopied tomb with effigy of BishopThomas Charlton, (died 1369). This effigy was not disturbed by Wyatt, and remains in its original position. West of this monument is the effigy of BishopWestfaling, (died 1602). The canopy was destroyed by Wyatt. This is the bishop who is said so rarely to have smiled after his consecration to the episcopate; (see Pt. II.)
In the pavement adjoining the choir-aisle, a very good small brass has been inserted forJohn Philips, (died 1708, aged 32,) whose family were natives of Herefordshire, although the poet himself was born at Bampton in Oxfordshire, of which place his father was rector. His principal work, however, “Cider,” belongs essentially to Herefordshire. A monument to Philips was placed in Westminster Abbey by Lord Chancellor Harcourt, and bears an inscription written by Bishop Atterbury.
MONUMENT OF BISHOP D’AQUABLANCA.(FROM THE NORTH TRANSEPT.)Plate V.
MONUMENT OF BISHOP D’AQUABLANCA.(FROM THE NORTH TRANSEPT.)Plate V.
MONUMENT OF BISHOP D’AQUABLANCA.
(FROM THE NORTH TRANSEPT.)Plate V.
XIII. Thenorth choir-aisleis entered through the original Norman arch; which (together with that opening from the nave-aisle) was cleared by Mr. Cottingham from the masonry with which it had been nearly closed, in order to strengthen the tower piers. Between this aisle and the eastern aisle of the transept is the very beautiful monument of Bishopd’Acquablanca, (1240-1268). [Plate V.] The effigy lies under a canopy supported by light shafts of Purbeck marble. The gables of the canopy are crowned with floriated crosses, the central cross bearing a figure of the crucified Saviour. The monument may be compared with that of Bishop Bridport at Salisbury, (died 1262,) which is, however, far richer and more elaborate. The tomb of Bishop d’Acquablanca was originally richly coloured; and an attempt at restoration was made by an amateur in 1861. It was soon, however, discontinued,—not unwisely, as the commencement remains to prove.
The Norman piers of the choir and the monuments described in §X.should be noticed from the aisle, the pavement of which has been laid in square panels of red and green tiles, with a border of grey stone. In the north wall of the aisle is a series of arched recesses, of Decorated character, with the open-flower ornament in the mouldings, episcopal heads at the crown of the arches, and heads of ecclesiastics at the intersections. In the first of these recesses east of the transept, is an effigy assigned to BishopGeoffry de Clive, (died 1120). This is one of the series of Perpendicular effigies already noticed, (§X.) Beyond this recess a door opens tothe turret staircase leading to the Archive Room and Chapter Library, (see §XXIII.,) above the north transept. The effigy in the next recess (also Perpendicular) is given to BishopHugh de Mapenore, (died 1219). The window above is filled with stained glass, by Clayton and Bell, as a memorial ofJohn Hunt, organist, died 1842, and his nephew James, “who died of grief three days after his uncle;” as appears from an inscription on a small brass plate at the side of the window. Beyond the entrance to Bishop Stanbery’s chapel is an arch open to the chapel itself, under which is a Perpendicular effigy assigned to BishopRichard, (called “de Capella,”) died 1127.
XIV.Bishop Stanbery’s Chantry(1453-1474) [Plate VI.] is a good example of rich late Perpendicular. It is 16 ft. by 8 ft.; with two windows on the north side, (filled with stained glass, which forms part of the Musgrave memorial; seepost,) and on the south the entrance, and the arch with effigy already mentioned. The west end is covered with tracery and shields in panels; and the east has shields with emblems above the place of the altar. The ceiling is richly groined. The grotesque capitals at the angles of the chapel should be remarked; as should the shields with emblems of St. Matthias, St. Thomas, and St. Bartholomew, over the arch on the south side. Other shields bear the arms of the see and of the deanery, with those assigned to St. Ethelbert, and to Leofric of Mercia.
Bishop Stanbery’s monument (§X.) is on the wall of the choir immediately opposite his chantry. On the
BISHOP STANBERY’S CHAPEL.Plate VI.BISHOP STANBERY’S CHAPEL.Plate VI.
BISHOP STANBERY’S CHAPEL.Plate VI.BISHOP STANBERY’S CHAPEL.Plate VI.
BISHOP STANBERY’S CHAPEL.
Plate VI.
BISHOP STANBERY’S CHAPEL.
Plate VI.
panels toward the aisle are figures of saints, and angels bearing shields. In the wall of the aisle above the chantry, which is only 11 ft. in height, is a Decorated window filled with stained glass as a memorial of the late Dr.Musgrave, Archbishop of York; who, as Bishop of Hereford, was among the first to set on foot the restoration of his cathedral. The glass, which is byWarrenton, exhibits the principal events in the life of St. Paul. The subjects are continued in the windows of the chantry, which form part of the memorial.
XV. Thenorth-east transeptopens immediately beyond Bishop Stanbery’s chantry. The main character of this lesser, or eastern transept, is at present early Decorated, (geometrical); but it retains traces of the original Norman ground-plan. The Norman cathedral, like most great churches in England of that period, seems to have terminated in a triple apse, of which the arrangement may have resembled the eastern apses of Norwich and Gloucester, (see those Cathedrals). Portions of the central apse remain in the walls of the vestibule to the Lady-chapel; and parts of the apses which opened from the choir-aisles have been retained in the existing transept. These are all of transitional Norman character; and are considerably later than the Norman choir or nave.
Extensive alterations had been made in this part of the Norman cathedral before the great north transept was rebuilt in order to receive the shrine of St. Thomas Cantilupe. The Lady-chapel, dating from the early part of the thirteenth century, was the first addition; and itsbuilding must have followed very closely on the completion of the Norman retro-choir with its apses, the side walls of which were retained in the vestibule of the Lady-chapel. Considerably later, (at the beginning of the fourteenth century), after the completion of the north transept, the terminal apses of the choir-aisles were almost entirely removed, and the existing transept constructed. It is much to be regretted that none of these works have any recorded date.
A peculiar character is given to this transept by an octagonal pier, which rises in the centre, and assists in carrying the vaulting. The vaulting is quadripartite, with very good bosses of leafage. The windows are early Decorated. In the west wall of the transept are some Norman arches, which belonged to the original apse.
The transept has been restored under the direction of Mr. G. G. Scott. The tiles of the pavement are laid in panels, in which red and yellow are the prevailing colours. In one of the panels is a good modern brass for members of theTerryfamily.
Under the north-east window is a monument which has been assigned to BishopGodwin, (died 1633); but which is in reality much earlier. Under the adjoining window, west, is the canopied tomb of BishopSwinfield, (1283-1317). The episcopal effigy has long disappeared, and that which is now seen on the tomb is the effigy of some unknown lay person, dug up in the cloisters. The arched canopy has the ball-flower in its mouldings; and at the back of the recess is a much
COFFIN SLAB IN THE NORTH-EAST TRANSEPT.Plate VII.
COFFIN SLAB IN THE NORTH-EAST TRANSEPT.Plate VII.
COFFIN SLAB IN THE NORTH-EAST TRANSEPT.
Plate VII.
mutilated sculpture of the Crucifixion, surrounded by vine-leaves and tendrils. The work resembles the leafage of the Cantilupe Shrine, and is possibly by the same hand. In a recess decorated with the ball-flower under the arch opening to the vestibule of the Lady-chapel, is the effigy of an unknown lady, (fourteenth century,) dug up outside the church during the restorations. Against the walls of the transept are ranged some coffin slabs, with floriated and enriched crosses, found at different times and in various parts of the cathedral. One of these (circa1250?) is given in Plate VII.
XVI. From the transept we pass into theambulatory, orretro-choir, at the back of the altar. This is transitional Norman, and its two bays are divided by a pointed arch, which springs from circular shafts, at the back of the altar and at the entrance to the vestibule of the Lady-chapel. The ribs of the quadripartite vaulting are enriched with chevron and diamond mouldings of late character. The arches at the back of the choir-screen were decorated (see §X.) by Mr. Cottingham. On the base of the central shaft is an inscription recording the erection of the screen as a memorial of the lateJoseph Bailey, Esq.; (see §X.)
The existing arrangement seems to indicate (although this has not been directly proved) that the Norman ground-plan, like that of Norwich, comprised an ambulatory or “procession-path,” passing round at the back of the high altar, and giving access to the central and side apses, which opened from it.
Window in vestibule of Lady-chapel.
Window in vestibule of Lady-chapel.
Window in vestibule of Lady-chapel.
XVII. The walls of this central apse are retained in thevestibuleto the Lady-chapel. They are pierced north and south with transitional Norman window openings; pointed arches, with massive mouldings, one of which, an enriched diamond, runs round the soffete, and is carried on the capitals of triple side shafts. The foliage of the capitals is of completely Early English character. These windows (the glass in which, as is indicated by their rebated jambs, was fixed in wooden
EASTERN BAY OF LADY-CHAPEL.Plate VIII.
EASTERN BAY OF LADY-CHAPEL.Plate VIII.
EASTERN BAY OF LADY-CHAPEL.
Plate VIII.
frames) were built up in the wall, until the restoration of this part of the cathedral by Mr. Cottingham.
In the south wall of the vestibule is the very interesting monument, with effigy, of DeanBerew, orBeaurieú, (died 1462). The head of the effigy, delicately featured and full of expression, and the arrangement of the robe, especially at the feet, are very striking, and should be noticed. The feet rest on a boar; and in the hollow of the arch-moulding are boars and rue leaves, forming a “rebus” of the Dean’s name. Over the whole monument there are traces of painting, and at the back of the recess the kneeling figure of an ecclesiastic is distinguishable; possibly that of Dean Berew himself.
On the floor is the very finebrassof Richard Delamare (1435) and his wife Isabella. There is also here thebrassof a priest in cope,circa1450.
XVIII. An ascent of five steps (rendered necessary by the height of the crypt below; see §XXVI.) leads to theLady-chapel, [Plate VIII.]; very rich Early English, and dating from the first half of the thirteenth century, (circ.1220). It is 45 ft. by 24, and consists of three bays, in each of which, on either side, (except where the bay on the south side is filled by the Audley Chantry,) are two large windows. When Professor Willis made his report in 1841, the eastern gable of this chapel (then used as the Chapter Library) was in a state of “ruinous disintegration;” and one of the first works entrusted to Mr. Cottingham was the rebuilding of this eastern end. The pavement of theLady-chapel, and other restorations, have happily been completed under the direction of Mr. G. G. Scott.
At the east end are five narrow lancets, set back within arches resting on clustered shafts, and much enriched with the dog-tooth ornament. The wall above these windows is pierced with five foiled openings; of which the three central are oval, the exterior on either side circular. The windows have been filled with stained glass designed by Cottingham and executed byGibbs, as a memorial to the late DeanMerewether,—to whom the cathedral is so greatly indebted,—who is interred at the north-east angle of the chapel. The subjects commence with the early life of the Virgin, and proceed through that of our Lord, terminating with the supper in the house of Mary and Martha. The glass is good, but suffers from the want of white and neutral tints.
A black marble slab, with a brass plate by Hardman, has been placed over the grave of Dean Merewether. The inscription bears record that “to the restoration of this cathedral he devoted the unwearied energies of his life till its close on the 4th of April, 1850.”
The very rich clustered shafts and arches of the side windows should be especially noticed. The capitals of the shafts are of Early English leafage; and there are small heads at the intersections and crowns of the arches. A circle enclosing a quatrefoil pierces the wall above these windows. The vaulting is plain quadripartite, and springs from shafts which descend upon a base raised slightly above the pavement.
The modern pavement of the Lady-chapel is laid with red and green tiles, in large square panels. The whole design is broad and good in outline; and is somewhat richer at the altar end, which is raised on one step. The aumbry and double piscina on the south side of the altar are reproductions of the originals, which were in a state of extreme decay. Of the two stained windows on the south side, the most eastern (of late fourteenth-century character) was removed from St. Peter’s Church in Hereford, and was given to the cathedral by the late R. B. Phillipps, Esq. The window below is filled with Munich glass.
In the central bay on the north side of the chapel is a very fine Perpendicular monumental recess, within which is laid the effigy (much earlier than the recess) of a knight of the Bohun family. The recess itself has an upper stage or canopy, with open tabernacle-work, in the arches of which figures have been placed, none of which originally belonged to it, with the exception of the two central ones, now headless, representing the Saviour and the Blessed Virgin. The figures on either side were found imbedded in a mass of mortar behind the oaken choir-screen, on its removal by Mr. Cottingham. They represent St. John the Baptist, St. Thomas Cantilupe, and St. Thomas of Canterbury,—the latter distinguished by the pall and the patriarchal cross,—the fourth figure is uncertain.
The effigy placed in this recess has generally been assigned to Humphrey de Bohun, Earl of Hereford,temp.Edward III. He was not however interred inthis cathedral; and although the effigy is certainly of that date, it probably represents some less distinguished member of that great family. The features, uninjured, are fine. The chain-mail, the fringed poleyns at the knees, the surcoat, and all the details, should be noticed. The dog at the feet turns upward, licking his paw.
The monument, with effigy, in the most eastern bay on this side, is that ofJoanna de Bohun, Countess of Hereford, (called Joanna de Kilpeck, from her castle there,) (died 1327). It has been painted in accordance with the remains of colour on its several portions; but with very indifferent success. The effigy is a good example of costume. Male and female heads project at the angles of the canopy; and the border of the slab on which the effigy rests has small human heads and roses with their leaves, alternately. The will of the Countess bequeaths a considerable estate to the cathedral.
XIX. In the central bay on the south side is theAudley Chapel or Chantry, [Plate IX.,] constructed by BishopEdmund Audley, (1492-1502,) before his translation to Salisbury in the latter year. The chantry here was no doubt intended for the place of his own interment; but during his episcopate at Salisbury (1502-1524) he built a second chantry in the choir of that cathedral, (see Handbook forSalisbury,) within which he was buried.
The Audley Chapel at Hereford is of two stages, access to the upper being afforded by a circular staircase at the south-west angle. The lower story is separated
THE SCREEN OF BISHOP AUDLEY’S CHANTRY.Plate IX.
THE SCREEN OF BISHOP AUDLEY’S CHANTRY.Plate IX.
THE SCREEN OF BISHOP AUDLEY’S CHANTRY.
Plate IX.
from the Lady-chapel by a lofty stone screen with pierced panels. Figures of saints and of religious persons are represented on this screen, which has been restored and painted. The iron-work on the door opening to the staircase is excellent as an example, and should be noticed. The lock bears the Bishop’s initials.
The chapel is five-sided, and is lighted by two windows. There is a third window, opening through the screen into the Lady-chapel. The vaulted ceiling shews the remains of rich colour; and at the east end, over the place of the altar, are traces of a large painting with trees and figures. The upper story has five windows, in which are some good remains of the original glass. On the central boss of the groining is the Virgin, crowned, and surrounded by an aureole of rays. The arms of the Deanery, (Azure, five bends or,) and those of Bishop Audley, appear on other parts of the ceiling, with a shield bearing the initials (R. I.) of some unknown person. The top of the screen forms a parapet, dividing this story from the Lady-chapel. There are no traces of an altar here; and the upper story of this chantry probably served—like those of the chantries of Abbots Farley and Hanley at Gloucester, (see that Cathedral,) which are also attached to the Lady-chapel, and are constructed on a similar plan—as an oratory.
XX. Thesouth-east transeptresembles that opposite; but it was perhaps altered from the Norman apse at a somewhat later date. Its details are not so goodas those of the north-east transept; and the window tracery is of almost flamboyant character. Bases of the earlier work remain in the walls.
Under the wall dividing the vestibule of the Lady-chapel from this transept is the monument, with effigy, of BishopLewis Charlton, (died 1369). Above it is that of BishopCoke, (died 1646). In a square recess, in the east wall, is the fine bust of a Mr.James Thomas, who is buried near this place; and under it the brass of SirRichard Delabere, (1514,) and two wives. In the recess, with the bust, are placed some carved Norman capitals, of early character. Under the south wall of the transept are monuments for BishopLindsell, (died 1634,) and DeanHarvey, (died 1500); neither of any great interest. Some fragments of brasses are attached to the walls of this transept, but are of little importance. The north-east window has been filled with stained glass byWarrenton, at the sole expense of Lord Saye and Sele, as a memorial of BishopHuntingford, (1815-1834). The subjects are from the life of St. Peter.
XXI. In the south wall of thesouth choir-aisleare four arched recesses, of the same date and character (Decorated) as those in the aisle opposite. They contain four Perpendicular effigies; assigned (beginning from the east) to BishopWilliam de Vere, (died 1199); BishopHugh Foliot, (died 1234); BishopRobert de Betun, (died 1148); and BishopRobert de Melun, (died 1167). On the floor is the fine brass of DeanEdmund Frowsetoure, (died 1529,) in a richly diaperedcope. Among the figures in the canopy are those of St. Ethelbert and of St. Thomas Cantilupe.
Between the two easternmost piers of the choir is the monument, with effigy, of BishopMayew, (1504-1516; see Pt. II.) The elaborate canopy has been restored, so far as any authority remained for the details. The panels in front of the monument are filled with figures of saints. The effigy, fully vested, and wearing a richly jewelled mitre, should be especially noticed. Under an arch opening to the choir, in the next bay, is a Perpendicular effigy assigned to Bishopde Losinga, (died 1096). Above it is a fragment of good wooden screen-work, of Decorated character.
A door in the westernmost bay of this aisle opens to two plain Norman rooms, now used as vestries. In the Perpendicular period an “eastern chamber” of two stories was added to this Norman building, and served as the treasury of the cathedral.
XXII. The greatsouth transeptretains much of its Norman work, but was much altered during the Perpendicular period. The east wall is entirely Norman, and is covered with five ranges of arcades, all of which are blank except those at the levels of the triforium and clerestory, which open to a wall-passage. The transept is only lighted on this side by two Norman windows in the clerestory. A large Norman arch, including two smaller, all much enriched, occupies the triforium space above the arch opening to the choir-aisle; and perhaps indicates that the Norman triforium
BOOKS IN THE LIBRARY.Plate X.
BOOKS IN THE LIBRARY.Plate X.
BOOKS IN THE LIBRARY.
Plate X.
has been already mentioned, to theArchive RoomandChapter Library, above the great north transept. This room has been thoroughly restored by Mr. G. G. Scott. The Library contains about 2,000 volumes, many of great rarity and interest. Nearly all are chained to the shelves; and the general appearance of the carefully guarded treasures is sufficiently curious. [Plate X.] Among the most remarkable printed books are—A series of Bibles, ranging from 1480 to 1690; Higden’sPolychronicon, by Caxton, 1495; Caxton’sLegenda Aurea, 1483; and LyndewodeSuper Constitutiones Provinciales, 1475. Of the MSS., by far the most interesting is an ancientAntiphonariumcontaining the old “Hereford Use.” This “sets forth not only the services of particular days, the chants to be used and the lectures to be read, but contains a treatise on music and an ample calendar, in which are noted the obits of the benefactors and bishops of the church; and by which, with the aid of the Dominical letter, we are enabled to assign to the volume the date of 1265[37]”. It was purchased at a book-stall in Drury-lane about the year 1820; and redeemed by the Dean and Chapter, who restored it to its original and legitimate resting-place. Here also is preserved, carefully protected by plate glass, the remarkableMap of the World, [Plate XI.,] which is one of the most valuable relics of mediæval geography. It was the work of a certain Richard of Haldingham and of Lafford, (Holdingham andSleaford in Lincolnshire,) who has commemorated himself in the following verses:—
“Tuz ki cest estorie ontOu oyront, ou luront, ou veront,Prient à Jhesu en deytéDe Richard de Haldingham e de Lafford eyt pitéKi l’at fet e compasséKe joie en cel li seit doné.”
“Tuz ki cest estorie ontOu oyront, ou luront, ou veront,Prient à Jhesu en deytéDe Richard de Haldingham e de Lafford eyt pitéKi l’at fet e compasséKe joie en cel li seit doné.”
“Tuz ki cest estorie ontOu oyront, ou luront, ou veront,Prient à Jhesu en deytéDe Richard de Haldingham e de Lafford eyt pitéKi l’at fet e compasséKe joie en cel li seit doné.”
The latter part of the thirteenth century is the date which has usually been assigned to it; but M. D’Avezac, President of the Geographical Society of Paris, who has recently examined the map with much care, arrives, from internal evidence, at the conclusion that it was designed at the beginning of the year 1314[38]. The map itself (drawn on thick vellum, and glued to a framework of oak) is founded on the mediæval belief that all geographical knowledge resulted from the observations of three philosophers, (here named Nichodoxus, Theodotus, and Policlitus,) who were sent forth by Augustus Cæsar to survey the three divisions of the world, when it was about to be taxed at the birth of our Lord. The Emperor is accordingly figured giving his directions to the philosophers. The world is represented as round, and surrounded by the ocean. At the top of the map, which represents the east, is Paradise,
ANCIENT MAP.Plate XI.
ANCIENT MAP.Plate XI.
ANCIENT MAP.
Plate XI.
with the Tree of Life, and Adam and Eve. Above is the Last Judgment, with the Virgin interceding for mankind. Jerusalem appears in the centre of the map; and near it, the crucifix is planted on “Mount Calvary.” Babylon has its famous tower; Rome bears the inscription, “Roma caput mundi tenet orbis frena rotundi;” and Troy is described as “Troja civitas bellicosissima.” (These four cities were regarded as the most important in the world: Troy, in the twelfth and thirteenth centuries, was a favourite subject of romance.) The British Isles occupy a considerable space; and Hereford, with its cathedral, is by no means obscurely placed. A great part of the map is filled with inscriptions taken from Solinus, Isidore of Seville, and others; and with drawings of the monstrous animals and peoples which the mediæval cosmography supposed to exist in different parts of the world. The monkey is assigned to Norway; the scorpion to the banks of the Rhine; and the “oroc” (aurochs) to Provence. Lot’s wife, the labyrinth of Crete, the columns of Hercules, and Scylla and Charybdis, should also be noticed. “The portrait of Abraham is seen in Chaldæa, and that of Moses on Mount Sinai. Amid the deserts of Ethiopia St. Anthony is recognised, with his hook-beaked satyrs and fauns. St. Augustine in his pontifical habit marks the situation of his own Hippo[39].”
The history of this very remarkable map is uncertain. It was discovered, probably about a century ago,under the floor of Bishop Audley’s Chapel; and Dean Merewether suggested (but apparently without the slightest authority) that it might have served originally as an altar-piece[40].
In the church is preserved a very curious chair of the thirteenth or fourteenth century, closely resembling those often represented in early sculpture and painting. It is formed in great measure of little turned balusters; and may be compared with a chair figured by M. Viollet-le-Duc[41]from sculpture at Auxerre. The Hereford chair (which at first sight looks like work of the seventeenth century, but is undoubtedly early, and a most valuable remnant of antiquity) may perhaps have served as the bishop’s throne, before the construction, in the fourteenth century, of that now in use;—or it may have been the bishop’s chair at the altar.
XXIV. A door at the eastern end of the south nave-aisle opens to thecloisters, of which only two walks, the east and south, remain. The west walk was pulled down in the reign of Edward VI. to make room for the