WORCESTER CATHEDRAL.

PART OF CHOIR AND LADY-CHAPEL.

in those pier-arches of the work which have the dog-tooth. But the transverse vault-ribs throughout the remainder of this work, namely, the eastern transepts and Lady-chapel, have a projecting rib in their soffit, corresponding to the moldings of their pier-arches[74].” “The ribbed soffit, in fact, is confined to the portion of Early English work which is founded upon the open ground of the cemetery, and was capable of being erected complete, without disturbing any more of the existing Norman presbytery than the circumscribing aisle and radiating chapels. The hollow soffit, on the contrary, is used throughout the part of the Early English work, which is based upon the walls of that portion of the crypt which was allowed to remain. I conclude, therefore, that the ribbed soffit-work was begun in 1224, and carried on without disabling the Norman presbytery and the high altar; so that the services of the Church continued in their original place, until the completion of this first portion of the work made it necessary to pull down the Norman presbytery, and erect the hollow soffit-work in its room, by which the Early English structure was connected with the tower[75].”

Thechoir, [Plate I.,] like all the cathedral eastward of the tower, has been restored under the direction of Mr. Perkins, architect to the Dean and Chapter. (A design has (1866) been supplied by Mr. G. G. Scott, for the stalls and fittings of the choir, a reredos and a western screen, to be of metal and wood combined. This, itis hoped, may soon be carried into execution.) The choir consists of five bays, the easternmost of which, in a line with the eastern transepts, is considerably wider than the others. The destruction of the Norman choir was not complete; a portion of its walls was allowed to remain; and in the present triforium, which extends over the aisles, Norman buttresses exist, of the same character as those in the triforium of the two western bays of the nave. Except at the southern surface of the north wall of the choir, however, where it joins the tower, whatever Norman masonry remained was entirely hidden by the rich Early English work of the new choir. This has been compared to the Early English of Salisbury Cathedral, begun in 1220, with which, no doubt, there is a certain general resemblance. On the other hand, Lincoln Cathedral—probably the first great Early English church built in England—was far advanced at the death of St. Hugh in 1200; and there are some peculiarities at Worcester—especially the ornamentation of the tympana in the triforium arches, and the sculpture in the spandrils of the wall-arcades—which strongly recall Lincoln. At any rate, Worcester Cathedral was one of the earliest churches in England built in the new style, which, there is much reason for believing, was invented by St. Hugh’s architect at Lincoln.

The design first seen in the transition Norman portion of each bay of the nave—one arch below, two in the triforium, and three in the clerestory, (see §IV.)—was followed in this Early English work, as it was in all thelater portions of the cathedral. The octangular piers of the choir have large shafts of Purbeck marble, alternating with white stone; the Purbeck shafts ringed half way up. The shafts have foliaged capitals; and the dog-tooth ornament is used (as at Salisbury) in the mouldings of the main arches. The triforium in each bay consists of two large arches, each enclosing two smaller, divided by a slender shaft, with a plain capital of Purbeck. The groups of shafts between and at the sides of the larger arches have capitals of leafage worked in oolite, with Purbeck above. In the spandrils or tympana above the small central shafts are sculptured figures. At the back of the outer triforium arches is a wall, covered by an arcade with semi-detached shafts, so arranged that the crowns of the arches are nearly on a level with the capitals of the shafts in the main arcade. A very rich and intricate effect is thus produced, which may be compared with that of the double arcades in the choir-aisles of Lincoln Cathedral,—in all probability part of St. Hugh’s work. The triforium passage itself, which extends over the aisles, is shut out, by this arcaded wall, from the choir, which was no doubt rendered much warmer by this arrangement. The clerestory has in each bay three sharply-pointed arches; that in the centre being much higher than the two others, with slender shafts and capitals of Purbeck marble. The windows at the back, which had been filled with mean Perpendicular tracery, have been restored to their original Early English condition. A single vaulting-shaft of Purbeck rests on a corbelledhead at the intersection of the main arches, and terminates in a capital of leafage at the base of the triforium. A second shaft rises through the triforium stage, and terminates in a small capital at the base of the clerestory. The vaulting itself is quadripartite, with carved bosses.

The restoration of the choir, under Mr. Perkins, was begun in 1859. Much of the stone-work was in so ruinous a condition that it was necessary to replace it with new; but although the building has thus lost something of its interest in the eyes of archæologists, it should here be said that the repairs have been made with good judgment, and that no unnecessary destruction of ancient work has taken place. Wherever it was possible the old stone-work has been carefully cleaned, and is otherwise untouched. This is the case with nearly all the leafage of the capitals, which is unusually good and varied. The greater part of the figures in the tympana of the triforium arches, however, were unfortunately sculptured in the local stone, and had crumbled away so completely, partly from the effects of time and partly perhaps before the matchlocks of Cromwell’s troopers, that their subjects were hardly to be deciphered. They have been restored, in accordance, as far as could be ascertained, with the original design, by Boulton of Worcester, under the direction of Mr. Perkins.

VIII. Evidences remain in the choir of earlier alterations and additions. The piers adjoining the north-east transept had been thrown greatly out of the perpendicular by the thrust of the arches. These piers have now been reconstructed with the old materials in a sound manner; and a wall pierced with quatrefoils, which had been built for their support, between the two easternmost piers on the north side, has been removed. The second pier from the organ, on the same side, also appears to have shewn signs of weakness, and has been re-cased and enlarged in Jacobean Gothic, with a curious base of masonry in the shape of a tulip.

Thestone pulpit, on the north side of the choir, was removed from the west end of the nave about the middle of last century. It is late Perpendicular work, with the emblems of the Evangelists placed on truncated shafts in the panels. The sculpture at the back of the pulpit apparently represents the Heavenly Jerusalem, with the Tree of Life in the centre. The ancient stalls were partly destroyed by the Puritan soldiery, the seats alone remaining. The present canopies date from the reign of Charles II., but are of no great interest.

It is proposed to replace the present (modern) reredos by one of better design and character; and to erect a low stone screen, allowing a view into the transept beyond it, between the piers on the north side of the altar.

In December, 1861, a leaden coffin, moulded to the shape of a body, which had been enclosed in an outer coffin of wood, was discovered beneath the flooring at the east end of the choir. It no doubt contained theembalmed body ofWilliam, fourthMarquisand secondDuke of Hamilton, who was mortally wounded at the battle of Worcester in 1651, and was interred here,—since his body was not allowed to be conveyed to Scotland.

IX. The monuments of especial interest in the choir, are the tomb with effigy of King John and the chantry of Prince Arthur.

The tomb ofKing John[Title-page] stands in the centre of the second bay from the east, immediately before the step ascending to the sanctuary. In 1797 a coffin with the remains of the King, was found below the pavement. It is expressly said that King John was buried between the shrines of SS. Oswald and Wulfstan, (see Pt. II. for short notices of both saints,) and that a prophecy of Merlin (who is constantly mentioned by the chroniclers of this period) was thereby fulfilled:—“Et inter sanctos collocabitur.” The King was buried, it must be remembered, in the Norman presbytery, the apse of which terminated nearly in a line with the third piers (counting from the east) of the existing choir. On the reconstruction of the choir and presbytery by the Early English builders, the altar was removed to nearly its present position, and the King’s coffin and tomb were also carried eastward, so as to occupy the same position with respect to the high altar and the shrines as they had done in the Norman Church. In both the Norman and the Early English presbyteries the shrines of the two saints “were deposited in front of the high altar, inthe same manner as St. Dunstan and St. Elfege in the cathedral of Canterbury[76].” In either case the King might be said to have been laid “between” them. King John died at Newark, October 19, 1216, commending his body and soul to God, and to St. Wulfstan, the last great English saint who had been canonized. His body, arrayed in royal apparel, was accordingly conveyed to Worcester, where it was interred by the Bishop, Silvester of Evesham[77].

The high tomb on which the King’s effigy rests is a work of the sixteenth century, and was probably constructed when Prince Arthur’s chantry was erected[78]. “The sides of the tomb are divided into three square compartments by panelled buttresses; each compartment contains a shield, bearing the royal arms, within a quatrefoil richly cusped; the spandrels are also foliated and cusped. Though of no unusual design it hasa rich effect, and the base mouldings are numerous[79].” On this tomb rests the effigy of King John, the earliest effigy of an English monarch remaining in this country. It was no doubt originally the cover of the stone coffin in which the King’s remains were discovered in 1797. The effigy was evidently sculptured soon after the interment of the King; and represents him in the regal habiliments. “First, the tunic, yellow, or of cloth of gold, reaching nearly to the ancles, with close-fitting sleeves, little of which is apparent. Over the tunic is worn the dalmatic, or outer robe, of a crimson colour, with wide sleeves, edged with a gold and jewelled border: this is girt about the waist by a girdle, and buckled in front; the pendent end of the girdle, which is jewelled, falling down to the skirt of the dalmatic. At the back is worn the mantle; but little of this is visible. On the feet are sandals, to the heels of which are affixed spurs. On the hands are gloves, jewelled at the back; the right hand has held a sceptre, the lower portion of which only is left; the left hand grasps the hilt of the sword. On the head is worn the crown; the face has both the moustache and beard, and the hair is long. On either side of the head is the figure of a bishop holding a thurible or censer, perhaps intended to represent St. Oswald and St. Wulfstan. Roger de Hoveden, in his Annals, treating of the coronation of Richard I.,enumerates the regal vestments, and how worn, and his description may be applied to this effigy. In the crown, in the mitres of the bishops, and on different portions of the robes appear cavities for stones, paste, or glass, imitative of jewels. The feet of the effigy rest against a lion, in whose jaws the point of the sword is inserted[80].”

The coffin in which the King’s remains were discovered in 1797 (at the beginning of some repairs in the cathedral) was found at the bottom of the tomb, level with the pavement. It was cut out of Higley stone, and only covered with two elm boards. “Part of the royal apparel was firm in texture, but the colour was gone; part of the sword and leather sheath were lying on the left side of the body, but much mouldered; the boots on the feet were more perfect; part of one of the robes appeared to have been embroidered: the head was covered with a close-fitting scull-cap, which appeared to have been buckled under the chin. A quantity of a sort of white paste, which lay in lumps, was, I think, the salt of which Matthew Paris speaks, used for preserving the body for a time. The tomb was shortly after closed. It is hardly to be doubted that the body of the King had been arrayed in the same apparel as that exhibited on his effigy[81].”

X.Prince Arthur, the eldest son of Henry VII., born at Winchester in 1486, died at Ludlow Castle April 2, 1502, and was brought to this cathedral for interment. His chantry fills the whole bay on the southside of the altar, and is a very rich example of late and elaborate Gothic. [Plate II.] The sides are formed of open and closed panel-work, enriched with figures and heraldic devices, among which occur the rose, fetter-lock, and portcullis. The small figures, however, are rudely executed, and have been greatly injured. Within, the chantry has a flat groined roof, with curious flying supports. In the central panel are the arms of the Prince, with stags as supporters. At the west end is a small seated figure of Henry VII. The east wall is covered by a rich mass of tabernacle-work, with niches. In the central niche is a small figure of the Saviour on the Cross, with censing angels at the head. On either side are figures of saints, one of which is apparently St. George. The whole has been terribly shattered, but the details deserve attention. In the centre of the chantry is the high tomb of the Prince, with shields and armorial bearings in the side panels. There is no effigy.

XI. Passing out of the choir we ascend from the transept into thesouth choir-aisleby a flight of five steps, rendered necessary by the crypt below. The aisle is of the same date and character as the choir, and an Early English chapel, which, has been restored in the same manner as the choir, opens from the two westernmost bays. The view into this chapel from the south transept has already (§VII.) been noticed. From within the chapel the fine and lofty Norman arch, receding in three orders, which opens to the

CHANTRY OF PRINCE ARTHUR.

transept, is well seen. It is of late Norman character. A doorway in the south wall, close to this arch, now opens to the apartments formerly used as treasuries, over the narrow ‘slype’ or passage between the great south transept and the chapter-house.

XII. A descent of five steps, indicating the termination of the crypt, which extends only beneath the choir and its aisles, leads into thesouth-east transept. The bay on the north side is filled by the screen of Prince Arthur’s Chapel. The transept itself is Early English, of the same general character as the choir. The northern bay is precisely similar to the choir in the arrangement and design of its lower arches (opening to the aisles east and west), the triforium, and clerestory. The southern bay has its three sides pierced with two tiers of triple lancet windows set back in the wall, with a passage through the jambs. The inner arches are supported by clustered shafts of Purbeck marble, ringed. An arcade, with sculptures in the spandrils, runs below the windows. The vaulting is quadripartite, with bosses of leafage, of unusual beauty, at the intersections.

The south, east, and west walls, with the windows of this transept, were in so ruinous a condition before the late restoration, that it was found necessary to take it entirely down. Every stone was marked, and it has been rebuilt precisely as before. The sculptures in the spandrils of the arcade were also much shattered, and those on the east side are in effect modern works by Boulton of Worcester. They are, however, direct reproductionsof the old ones, as far as they could be deciphered. It has been suggested, and apparently with truth, although the arrangement is by no means clear, that the entire series was intended to represent the life present, and that to come. Beginning at the north-west angle, the subjects are—A bishop giving his benediction; knights fighting with lions and centaurs, (the world and its temptations); St. Michael weighing souls; demons torturing souls over flames, (purgatory); the mouth of hell—demons drawing in souls. North side—Two figures carrying a body, (the burial of Adam?); the expulsion from Paradise; an angel dismissing souls to punishment(?). (From this point the figures look in the opposite direction.) The Resurrection; the dead breaking their coffin-lids; an angel sounding a trumpet; an angel bearing the cross; the Saviour in judgment. East side—An angel with a trumpet; a seraph; an angel with a lute; the coronation of the just(?); St. Gabriel with a lily; St. Michael with the dragon; an angel bearing a crown.

The sculptures may be compared, for both design and execution, with those on the west front of Wells Cathedral, which are nearly of the same date. The imagery used here is not of so refined or dignified an order as that at Wells, but the whole work deserves careful attention.

There is a piscina in the south wall, and aumbries remain in the walls east and west.

XIII. Against the south wall of this transept, and connected with the arcade in a remarkable manner, isthe effigy of a knight, on a raised tomb of comparatively recent date. The effigy is that of a knight of theHarcourtfamily, and belongs to the early part of the fourteenth century. The armour is of ringed mail, with the exception of the poleyns at the knees, which are of plate. The shield has the arms of Harcourt—Gules, two bars or. The small brass plate below, with the inscription “Ici gist sur Guilliamme de Harcourt,” is not coeval with the effigy, which is slightly raised on the left side.

In the centre of the transept is a high tomb, of good character, from which the brasses had been removed, forSir Gryffyth Ryce, (died 1523). The ancient inscription remains; and brasses byHardmanhave taken the places of the originals.

Inclosed within the screen-work of Prince Arthur’s chantry are two high tombs, with effigies, which deserve especial attention. They are both apparently of the same date, (early in the fourteenth century,) and have been assigned, the westernmost to BishopGiffard, (died 1302,) and the eastern toAudela, wife ofJohn de Warren. The fronts of the tombs, which are of Purbeck, have quatrefoiled compartments, in which are sculptures, now much mutilated. BishopGiffard’seffigy “represents the chin close shaven. The mitre is ornamented with quatrefoiled and other concavities, in which stones, glass, or paste have been set, to represent jewels.” The square apparel of the amice in front of the breast, the collar, and the episcopal boots, seem also to have been set with stones.“The folds of the chasuble are well and tastefully arranged[82].”

The effigy ofAudela de Warren, “which is beautifully executed, represents her in the veiled headdress, and the wimple or gorget, ... the latter perhaps a sign of widowhood, leaving but a small portion of the face visible. The veil is very tastefully disposed.... Over the gown is worn a mantle, on the left side of which is a lozenge-shaped fermail, to fasten the mantle in front, in a somewhat unusual fashion. The left arm is gone; the right arm reclines on the breast, and in the hand is held a string of prayer-beads, or, as they were anciently called, a pair of paternosters, with larger ones at intervals; an early and singular instance of their being thus represented, the beads being gracefully disposed, and not hanging down formally. The feet rest against a whelp. The admirable manner in which this effigy is treated is worthy of all praise. The mantle and gown were formerly covered with painted shields, representing the arms of Warren, Checky, argent and sable, and those of Blanchminster, Argent, fretty gules[83].” Audela was the daughter and heiress of Griffin de Blanchminster.

XIV. Immediately beyond the transept a good general view occurs of theretro-choirand Lady-chapel. The aisles extend to the end of the retro-choir, which is three bays in depth. The Lady-chapel forms an additional eastern bay. All this part of the cathedral is ofthe same general design as the choir; but, as a result of the lower level, the main arches are loftier than those of the choir, and a much finer effect is consequently produced. Together with the eastern transepts, this part of the church was, as has been already shewn, constructed before the western end of the choir; and besides the difference of mouldings, it is distinguished by the rich wall-arcade which runs round below the windows. BishopGiffard(1268-1302) is said to have ornamented the columns “of the east part of the church” with brass rings, (which still remain, occupying the usual place of stone bands in Early English shafts,) but the main work was probably completed long before his accession. The brass rings occur on the intermediate piers throughout choir, presbytery, and Lady-chapel. Similar rings occur in Westminster Abbey, (in that portion of the nave which contains the choir stalls,) where they are probably of the same date as those at Worcester. Professor Willis has shewn that the shafts in this cathedral were originally fixed to the piers by iron cramps, such as may still be seen in the church at Pershore; and that the brass rings were additions for covering the joint[84].

The dog-tooth moulding does not occur in the arches of the retro-choir, and there are some slight differences between the foliage of the capitals in this part of the cathedral and of those in the choir. The restoration has included this part of the church, and the sculptures in the spandrils of the triforium (which were little morethan shapeless masses of stone) have been restored by Boulton, under the direction of the architect.

The windows in the aisles are triple lancets, at the back of inner arches, supported by slender shafts of Purbeck marble. The dilapidated Perpendicular tracery with which the lights were filled has been removed, leaving the windows in their original state. Under the windows runs a wall-arcade resembling that already described in the transept, with trefoiled arches, and sculptures in the spandrils. Many of these have been restored, but all deserve careful notice. The subjects are—masses of foliage; knights fighting with monsters; mystic animals, such as the basilisk and cockatrice, and others described in early bestiaries. In the north aisle is a bishop offering a church, and in the south the Crucifixion. Nothing like a definite arrangement can be traced throughout the series. The vaulting of both aisles is quadripartite, with small bosses.

The east window of the north aisle has been filled with very good stained glass byHardman, in memory of the late Hon. and Rev. CanonCocks. That in the south aisle is a memorial of the Rev.Allen Wheeler, B.D.

Theeastern bay, in which stood the altar of the Lady-chapel, was disfigured by a large debased window, inserted early in the present century; and was, before the restorations, in a dangerous condition. It was found necessary to rebuild the east wall entirely; and two tiers of lancet lights, five in each tier, have been inserted, in strict keeping with the architecture of all this part of the cathedral. Two lancets, one aboveanother, are placed in the north and south walls. A very beautiful wall-arcade, of the same character as that in the aisles and transepts, but more enriched, runs round below the windows. This is entirely new, and the very good sculptures in the spandrils were executed, under direction, byBoultonof Worcester. The subjects at the east end are—Isaiah; Abraham and Isaac; the selling of Joseph; the brazen serpent; Jonah; and Jeremiah. Foliage and grotesques, copied from the older spandrils, are repeated at the sides. The eastern lancets have been filled with stained glass byHardman, given to the cathedral by the citizens of Worcester. In the central lower light is the Crucifixion; above, the Ascension. A series of medallions, representing the principal events in the life of our Lord, fill the remaining lancets. The glass is very good, though perhaps a little thin in quality. The spandrils above the lights in both tiers have been filled with sculpture byBoulton; chiefly figures of angels.

XV. On the north side of the chapel is a small mural slab, with flowers at the sides and an urn above, forAnne, wife ofIzaac Walton, who no doubt wrote the inscription, which is as follows:—“Ex terris ... M.S. Here lyeth buried so much as could die of Anne, the wife of Isaac Walton, who was a woman of remarkable prudence, and of the Primitive Piety. Her great and generall knowledge being adorned with such true humility, and blest with so much Christian meeknesse as made her worthy of a more memorable monument. She died (alas that she is dead!) the 17th of April, 1662, aged52. Study to be like her.” The wife thus commemorated was the sister of Bishop Ken. Walton himself survived until 1683, and was interred in Winchester Cathedral.

XVI. In the arcade of the south aisle are monuments forJohn Banks Jenkinson, Bishop of St. David’s, who died at Malvern in 1840; and for PrebendaryDavison, Fellow of Oriel, who died in 1834, the author of a well-known work on Prophecy. On the floor of this aisle is the recumbent effigy of anunknown lady, of the fourteenth century. The head is covered with a veil. “The folds of the gown are disposed with great breadth, taste, and skill.... The feet rest against a whelp or dog. This effigy is sculptured in high relief out of a slab somewhat coffin-shaped, and is one of the most beautiful mediæval monumental relics in the cathedral. It is indeed well worthy of artistic study[85].” This effigy is not in its original position. The much mutilated figure near it, also of the fourteenth century, was found recently at the foot of the steps of the south-east transept.

At the back of the choir-screen, to which place it was removed within the last century, is a high tomb with an effigy, which probably represents the last Abbot ofEvesham, Philip Ballard de Hawford, who died between 1550 and 1558. The tomb is of earlier date. The Abbot, who wears themitra preciosa, is fully vested. The pastoral staff, placed on the leftside, is covered with the veil. The effigy is of alabaster.

On the floor, and immediately in front of the easternmost bay which contained the altar of the Lady-chapel, are three episcopal effigies, two of which are of much interest. The most northernly, which according to Mr. Bloxam is the earliest episcopal effigy in the cathedral, is assigned by him to BishopWilliam of Blois, (died 1236,) who laid the foundation of this part of the church. “The effigy is sculptured in low relief, on a coffin-shaped slab, and was probably set originally on the stone coffin which contained the remains of the Bishop.... On the head is the low mitre; about the neck is seen the amice. In front of the breast, on the chasuble, is a lozenge-shaped ornament like a morse, in which stones, glass, or paste have been inserted.” Under the chasuble appears the alb, above which one of the fringed extremities of the stole is visible. The maniple hangs on the left arm. The pastoral staff crosses the body diagonally, from the left shoulder to the right foot. On each side of the head is Early English foliage. The southernmost effigy is assigned by Mr. Bloxam to BishopWalter de Cantilupe, who died Feb. 12, 1266. It is sculptured in Purbeck marble, and represents the Bishop with a moustache and beard, wearing the low mitre, the alb, the stole, the dalmatic, and the chasuble. The amice is round the neck. “I believe,” writes Mr. Bloxam, “this effigy to have been originally placed as the lid to and on the stone coffin of Bishop Walter de Cantilupe, and to have beensculptured and prepared during the lifetime of that bishop. Great care has evidently been taken in its execution, and as a specimen of the monumental sculpture of the middle of the thirteenth century it is not without considerable merit[86].” A coffin, containing the remains of a bishop in his episcopal vestments, in all probability Walter de Cantilupe, was found in December, 1861, under the wall on the north side of the choir, near the east end. On measuring this coffin, and comparing it with the effigy described above, they were found to correspond exactly. The central effigy, which is much mutilated, is either that of BishopBrian(died 1361) or BishopLynn(died 1373).

In the central bay of thenorthaisle is the effigy of anunknown lady, of the thirteenth century, and the earliest female effigy in the cathedral. It “is not of much merit as a work of art, but if the lady is here represented of the natural size, she must have been 6 ft. 3 in. in height. I think, however, from the examination of not a few examples, that many early sepulchral effigies were greatly exaggerated as to size[87].” In the adjoining bay is the effigy (also 6 ft. 3 in. in height) of an unknownknight, temp. Henry III. He wears mailed armour, with the long surcoat over it.

XVII. Thenorth-eastern transeptprecisely resembles that opposite. The windows have been rebuilt, and restored where necessary, but without any alteration of the original design. The sculptures in the wall-arcade are curious and interesting, but no principle of arrangement is evident.

On a high tomb in the centre of the transept is a full-length figure, byChantrey, ofCharlotte Elizabeth, wife of the Rev.William Digby, who died in 1820. The sculpture is fine, but the design is scarcely appropriate, and suffers infinitely when compared with the repose and dignity of the earlier effigies in this cathedral.

Against the south wall of the transept, between it and the choir, under a Decorated arch, is an effigy which has been ascribed to BishopCobham, (died 1337). “The head, which is mitred, reposes on a square double cushion, supported by much mutilated figures of angels. The vestments, consisting of the chasuble, dalmatic, tunic, and alb, are not well defined[88].” Below this, “on a high tomb of the seventeenth century, and under a pointed arch of the fourteenth century,” is an effigy assigned to BishopWulstan Bransford, died 1349. He wears the chasuble, the dalmatic, and the alb. “The chasuble is enriched with the orfrey, or super-humerale, an ornament not unlike the archiepiscopal pall, hanging down in front, and fringed at the lower extremity[89].”

XVIII. Thenorth choir-aisle, of the same general character as that opposite, has also been restored. The beauty of the capitals and bosses of foliage is here especially noticeable. In the last bay toward the west, on the west side of the window, and high in the wall, isa small oriel window, of Perpendicular date, formerly communicating with the sacrist’s lodgings. There is now no access whatever to it; but Norman arches in the wall (evident from without) indicate the existence of a sacrist’s chamber, and probably of a window afterwards replaced by that now existing, before the rebuilding of the choir in the thirteenth century. From the window the position of the great shrines at the head of the choir was commanded, and it perhaps served as a watching-chamber.

In this aisle (removed from the south transept) is the monument of BishopMaddox, (1743-1759,) who had “an exact knowledge of the constitution of this national Church.”

XIX. In the easternmost bay of the south aisle of the nave a door (the Prior’s entrance) opens to thecloisters. These are of Perpendicular date, but their construction has not been recorded. They are (1866) undergoing a complete restoration, externally and internally; and the debased stone-work, inserted in the windows in 1762, has been removed. The exterior was so dilapidated that an entire re-casing was necessary; but the ancient details have been most carefully decyphered and restored. Although very perfect, however, the cloisters are of no great interest or beauty. The arrangement of the vaulting-shafts on the piers between the windows should be noticed, as well as the flowing tracery on the sides of the arches. The use of the squared openings in the piers, on three sides of the cloisters, is quite uncertain, and Professor Willishas suggested that it may have been a mere caprice of the builder[90]. The vaulting of the cloisters is lierne, with bosses of foliage. In the west walk the ancient lavatory remains.

In the north walk is the well-known sepulchral slab, with the single wordMiserrimus. This “most wretched one” was the Rev.Thomas Morris, Minor Canon of Worcester, and Vicar of Claines, about two miles north of the city. At the Revolution he refused to take the oaths to William III., and consequently lost his preferments. He was supported by the richer Nonjurors, and in allusion to his destitute condition ordered this single word to be engraved on his tomb-stone. The inscription thus really intimates a very different feeling from that suggested in Wordsworth’s sonnet:—

“ ... Himself aloneCould thus have dared the grave to agitate,And claim, among the dead, this awful crown.Nor doubt that he marked also for his own,Close to these cloistral steps a burial place,That every foot might fall with heavier tread,Trampling upon his vileness. Stranger, passSoftly!—To save the contrite, Jesus bled.”

XX. Although the cloisters are not in themselves of any unusual interest, they afford one of the best illustrations remaining in England of the manner in which the chief monastic buildings were grouped about them.On theeastside is a passage formerly leading to the prior’s house, and beyond it the chapter-house. On thesouthside is the refectory, now used as a school-room. On thewestside, close to the lavatory in the wall, is the entrance to thedormitory, which has itself been destroyed; and beyond again is a narrow passage (in which are staircases communicating with the triforium of the nave, and with the upper part of the dormitory) by which the west front of the church was approached from the cloisters.

Theslype, or arched passage in the east walk, is Norman, (with some details, on the north side, of very early character,) and separates the chapter-house from the south wall of the great transept. Between the entrance to this passage and the chapter-house are two recesses in the wall, which may be compared with those in a similar position at Norwich; (see the Handbook for that Cathedral). Their original use is unknown.

Thechapter-house[Plate III.] is circular within, (as it was without until the Perpendicular casing was added,) but is divided into ten bays by vaulting-ribs which spring from a central column, and from shafts at the sides. Without, the building is decagonal, with a buttress between each bay. The lower part of the chapter-house, the central column, and the vaulting, are transition Norman, of nearly the same date as the two western bays of the nave. Early in the sixteenth century, however, a Perpendicular window was inserted in the upper part of each bay, and the exterior of the building was entirely cased with Perpendicular masonry. The doorway

THE CHAPTER-HOUSE.

opening from the cloisters is Perpendicular. A plain circular arcade, slightly recessed, runs round the interior, above a stone bench. A second arcade, of interlacing arches, covers the upper part of the wall, and is surmounted by a stringcourse with the billet-moulding, the whole being in alternate courses of grey and white stone. Above this are the Perpendicular windows. The chapter-house has shared in the late restoration.

XXI. At the end of the east walk of the cloisters is a passage under the refectory, to the Close beyond. Therefectory(120 ft. long) extends the whole length of the south walk. There is an entrance to it near the south-west end. The lower part, or crypt, is early Norman; the room above, a long parallelogram, is Decorated, of the reign of Edward III. It is now used as the school-room of the “King’s school,” founded by Henry VIII. after the dissolution of the priory.

In the west walk is the lavatory (Perpendicular), already mentioned, and the entrance (Perpendicular) to thedormitory; this, like the refectory, was a long parallelogram. The foundations of the walls have been traced, and portions of a row of columns (Perpendicular) which ran down the centre of the undercroft.

At the north-west angle of the cloister is the monks entrance to the cathedral. The cloister terminates nearly in a line with the third bay of the nave. Parallel with the last two, or transition Norman bays, is a narrow arched and vaulted passage, also transition Norman, of very good character, with a doorway of thesame date at the western end. On the south side of this passage there is a staircase which led to the dormitory, and at the north-west angle one which leads to the triforium of the south aisle of the nave.

Beyond this passage a view is obtained of the very plainwest front, with its Norman portals and modern Decorated window.

XXII. On thenorth sideof the cathedral, between the north porch and the west front, stood the “Carnerie,” or charnel-house chapel, built by Bishop William de Blois in the thirteenth century, and demolished in 1677. The crypt is still remaining, although no trace of it is visible above ground. The two transition Norman bays on this side had apparently shewn signs of weakness in the Perpendicular period, when the existing flying buttresses were erected. A third occurs between the two transepts, and close beyond it is the entrance to thecrypt. [Plate IV.]

This is by no means the least interesting portion of the cathedral, since it is unquestionably the work ofWulfstan, and the only part of the building which can be assigned to him. In 1084 Wulfstan began the rebuilding of the monastery, and in 1094 he held a synod in the crypt of the cathedral, “which he had built from the foundation.” This was no doubt the existing crypt, which extends under the choir and its aisles. The main piers, which are solid masses of masonry, stand immediately below those in the choir. In the central division of the crypt, the vaulting is carried on three rows of pillars, with plain cushioned capitals and

THE CRYPT.

square abaci. There are also semi-detached shafts, of similar character, connected with the main piers on either side. In the aisles of the crypt the vaulting springs from semi-detached shafts on either side, and rests on a single row of columns in the centre. The east end of the central division (which remains entire) is apsidal; and the curious and intricate arrangement of the vaulting at this point (arising “from the complicated slopes which had to be adjusted there”) should be especially noticed. The aisles of the crypt terminate at present nearly at the bend of the apse, but they were originally carried quite round it, so as to form a circular procession-path. “There are but four apsidal crypts in England, which in chronological order are,—Winchester (1079), Worcester (1084), Gloucester (1089), and Canterbury (1096). In all these the side aisles run completely round the apse. Amongst them, Worcester is remarkable for the multiplicity of small pillars employed to sustain the vaults. The side aisle has a row of small pillars running along the centre, which are not employed in the other examples. The central portion has three rows of intermediate pillars, whereas Gloucester and Canterbury have but two rows, and Winchester but one. Yet the width of the central crypt of Worcester is less than the others. The increased number of pillars, by diminishing the span of the arches, and dividing the weight of the vault upon so many supports, enables the diameters of the pillars to be reduced, and gives greater lightness to the architecture. For the height of all these crypts is nearlythe same; so that at Winchester and Gloucester the arches are flattened into ellipses, the pillars are low and squat, and the crypts appear as sepulchral vaults; while at Worcester, where the arches are semicircular and the pillars more slender, the crypt is a complex and beautiful temple[91].” It has been compared to the mosque (now the cathedral) of Cordova. We may re-people this crypt in imagination with the venerable abbots and priests of the synod convened by Wulfstan[92].

It is probable that small apsidal chapels flanked the crypt at its western termination, on both sides. On the south side such a chapel still exists, immediately under that which opens from the south aisle of the choir. The western, and part of the southern, wall of this chapel is Norman, as are the central pillars. Thesquare eastern end, however, is Early English, of the same date as the chapel above it.

In the crypt are preserved the ancient north doors of the cathedral, removed about the year 1820. They date from the fourteenth century, and are coeval with Bishop Wakefield’s work. These doors are said to have been covered with human skin. Tradition asserts that a man who stole the sanctus-bell from the high altar was flayed alive for the sacrilege; and portions of skin, which the late Mr. Quekitt, Assistant Conservator of the Museum of the Royal College of Surgeons, declared to be human, remain fixed to the inside of the doors, under the iron-work.

The west doors of Rochester Cathedral, and the north doors of Hadstock and Copford Churches, both in Essex, were also covered with skins, said to have been those of piratical Northmen. The Rochester doors have entirely disappeared. Those of Copford have been removed, but portions of them are still in existence. The doors of Hadstock Church remain in place. Fragments of skin from Hadstock and Copford were examined by Mr. Quekitt, who pronounced it human in both cases[93].

XXIII. The great Norman tower fell in 1175, “a circumstance of such common occurrence that there is some evidence against a tower being Norman work if it had not fallen down[94].” The existingcentral towerdates from 1374, but the general design alone remained before its restoration (still, 1866, in progress) was commenced. The soft sandstone of which it is built had crumbled away to such an extent, that all the details had perished. The tower, which is 196 ft. in height, is of good proportion. It was by no means improved by the modern parapet and pinnacles which were placed on it in the last century, and somewhat altered in the early part of this. A new peal of ten, or possibly twelve bells will be hung in the tower after its complete restoration.

Close beyond the north-east transept stood an octangular “clocherium,” or bell-tower, which was taken down in 1647. It was of very early character. The east end of the cathedral has been rebuilt, as already described, (§XIV.,) by Mr. Perkins. The walls of the south-east transept have also been rebuilt, and its veryfine buttresses with open turrets deserve special notice. A little west of this transept, and between it and the chapter-house, are the remains of theGuesten Hall. This was a very fine hall of the fourteenth century, built for the entertainment of noble guests of the priory and of the more illustrious pilgrims to the shrine of St. Wulfstan. Like “La Gloriole” at Canterbury, and the guest-chambers of other great monasteries, it closely adjoined the prior’s lodgings. These were assigned to the Dean on the creation of the Dean and Chapter after the dissolution, and the Guesten Hall formed part of the deanery until 1842, when the Ecclesiastical Commissioners made over the episcopal palace to the Dean, and the former deanery was pulled down. The Guesten Hall was then disclosed, and attracted much attention, not only from its own beauty, but as a very interesting historical relic. It was, however, much out of repair, and a considerable sum would no doubt have been required to effect its restoration. Accordingly, in 1860, the greater part of it was pulled down, and the roof was given by the Dean and Chapter to a new church which it is proposed to erect in the city of Worcester.

The Guesten Hall was commenced in 1320 by Wulstan Bransford, then prior of the monastery, and afterwards Bishop of Worcester. The beauty of the Decorated tracery, which still remains in the windows, calls for especial notice; and the oaken roof was a very fine example. It is evident that nothing but absolute necessity could justify the destruction of such a relic. “This magnificent guest-chamber of the fourteenth century was an historical monument of considerable importance, as shewing the splendid hospitality of the clergy of those days, and as illustrating in a remarkable manner the manners and customs of the time of Edward III. It was the last of these structures that we had remaining, and with it we have erased a chapter out of the history of England[95].”

XXIV. The College Green, on the south side of the cathedral, is entered through an archway under theEdgar tower, which tradition asserts to have been erected by Ethelred II., son of Edgar. It may possibly occupy the site of an older building, but the present tower is late work, and of little interest. In a niche on the east front is a much shattered figure of King Edgar. The rooms in the tower are now used as the chapter library, and as offices of the diocesan registry. Among the MSS. of the chapter library is one of great interest—An Epitome of Roman Law by Vacarius, an Italian who was brought to this country by Theobald, Archbishop of Canterbury, and who introduced the study of Roman or “Civil” Law at Oxford in the reign of Stephen. This is the only copy of the work of Vacarius known to exist in England, and only four copies are known on the continent—inthe libraries of Konigsberg, Prague, and Bruges, and one in the possession of the Emperor of Russia[96].

Thedeanery, north-west of the cathedral, was the episcopal palace until 1842. It contains a fine hall, and some ancient portions. The east front was built by Bishop Hough in 1723.

History of the See, with Short Notices of the principal Bishops.

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