OLD ST. PAUL'S--EXTERIOR.
The church was cruciform, with aisles to every arm; and we will give
the external dimensions before the fire of 1561, which include the
lofty spire and exclude the portico. The figures must in all cases be
considered approximate.
The extreme length east and west is difficult to ascertain:
authorities do not agree; neither do their different estimates with
their scales. Mr. William Longman, upon the authority of Mr. E.B.
Ferrey, estimates it at 596 feet, and his accompanying scale even
more. If the accuracy of the comparative ground-plan in "St. Paul's
and Old City Life" can be depended upon, we must put it at a little
over 580 feet; but Mr. F.C. Penrose's invaluable excavations do not
appear to have fixed the precise termination of the west front. Mr.
Longman also gives a comparative ground-plan of the two cathedrals
from a drawing of Wren's (see below, p. 64); and this, though on a
small scale, is perhaps our safest guide, and we shall probably not be
far wrong if we say 580 feet or a little over, and divide our length
as follows: nave, 252 feet; across transept, 104 feet; choir, 224
feet. To this must be added the portico of 40 feet, making a total
length of at least 620 feet. The old west end was some 70 feet nearer
Ludgate Hill, and with the portico 110 feet nearer. Length of
transepts, 293 feet, the two arms being equal; breadth of both nave
and transepts, 104 feet, Dugdale's scale making them exactly 100 feet:
breadth of choir a trifle less. Height of nave from ground to apex of
roof, about 130 feet, and of choir, 143 feet. Height of central tower
by Wren's estimate, the lowest, 260 feet, and of spire about 200
feet; altogether according to Wren, 460 feet, and according to others
still higher. Height of western towers with the spires I take the
liberty of adding, unknown. I have calculated the area at about 81,000
to 82,000 square feet; and in this have excluded St. Gregory's (say 93
X 23 feet plus the apse) and the Chapter House, with the surrounding
cloister; a square of 90 feet and more than half covered in. These two
members were structurally part and parcel of the building.
Thus we see that Old St. Paul's was by far the largest cathedral
church in England. Its area exceeded York and Durham: its length
Winchester: the height of its graceful lead-covered spire exceeded
Salisbury; and this, taking Wren's safe and low estimate, and not
counting ball, cross and eagle weathercock of some thirty feet more.
If we allow St. Gregory and the covered part of the Chapter House
area, as we should, it equalled in area or slightly exceeded alike its
successor and Cologne and Florence, and was surpassed only by the new
St. Peter's, Milan, and Seville. "See the bigness," said Bishop Corbet
of Norwich, "and your eye never yet beheld such a goodly object."
The difficulties which present themselves in any attempt to describe
the architecture still continue to beset us; such earlier drawings as
we have are contradictory and rude to a degree.[38] The NAVE
was Norman, rebuilt to a great extent after the fire of 1137. The
aisles had the usual round-headed windows, with the unusual (for
England) circular windows above. There were flat buttresses; but I
must reject the flying-buttresses of some restorers. The clerestory
windows are a puzzle. Everybody maintains they were Pointed, and, if
so, they would have been inserted at the same time as the new roof;
but there seems to be no trustworthy authority for this. In Finden's
engravings after Hollar they are taken at a peculiar angle which is
apt to mislead. Hollar and his engravers give two windows on the south
side in the interior, _i.e._, of the nave and clerestory. Both seem
alike; and Inigo Jones' patched-up north and south fronts represent
them both as round, so that the balance of evidence appears to be in
favour of round.[39]
Another difficulty is the question of the existence or nonexistence
of the western towers. Mr. William Longman and Mr. E.B. Ferrey give
none in their south-west view, because "no drawings or plates are
known to exist which would settle the question." But it is our
misfortune that we have to reconstruct Old St. Paul's practically
without the help of drawings, until we come to Inigo Jones' finished
work. In Dugdale's ground-plan they cover almost exactly the same area
as one of the severies of the neighbouring aisles, and are flush with
the west front; in both respects resembling those of Wells and other
cathedrals. Besides, they are constantly mentioned, and at various
dates, as Mr. Longman duly acknowledges. The southern tower was the
original LOLLARDS' TOWER from which the Lambeth tower has
borrowed its name, and was utilised for a prison by the Bishops of
London for ecclesiastical offences. It was both bell and clock tower,
and abutted on to both the cathedral proper and St. Gregory's. So late
as 1573, Peter Burchet of the Middle Temple, shortly afterwards
executed for murdering his gaoler in the tower, was imprisoned here
for heresy, and would then have been sentenced to death but for
recanting.
The north-west tower was likewise used at times as a prison, and was
connected with the bishop's palace. In the days of Bonner, an upper
floor almost as high as the parapet of the nave contained a room eight
feet by thirteen; and the two towers were connected by a passage in the
thickness of the west wall. Hollar's views show us that Inigo Jones
overlaid these towers with a new coating, and finished them off with
turrets. The original towers were probably crowned with spires of wood
and lead, and both projected some thirty feet from the aisles. The high
roof of the nave[40] of the middle of the thirteenth century had an
angle of about forty-five, and replaced an older one during the
rebuilding of the choir. The CENTRAL TOWER had double flying-buttresses
with pinnacles springing from the clerestory; and, assuming that the
west towers had also spires, the grouping must have been nearly
perfect.
Yet another puzzle is the architecture of the TRANSEPTS. The
north and south windows at the ends are sometimes represented as of a
late date, but not by Hollar. They were probably Norman in their three
stages. In his report[41] Wren says, "The North and South Wings have
Aisles only on the West side, the others being originally shut up for
the 'Consistory.'" What he meant was that the two east aisles were
shut off from the rest of the transepts. Their architecture (of the
same dimensions as their western counterparts) was Geometrical as
regards windows, buttresses, and pinnacles. The rest of the transepts
resembled the nave; and this part of the south front was very much
broken. The cloister and chapter house occupied almost the whole of
the west side of the south transept, and four bays of the nave; St.
Gregory's Church occupied four more bays at the west of the nave,
leaving only three aisle windows of the nave on the south side.
Taking the CHOIR next, we will at once dismiss as
untrustworthy the view taken in 1610 in Speed, as reproduced in "St.
Paul's Cathedral and Old City Life." Here the windows are represented
as Norman; but this is not the first time I have found Speed at fault.
We have records of the consecration of the western part in 1240, and
of the pulling down of St. Faith's and of the completion of the
eastern part by the end of the century, or, counting certain
additions, a little later. The western and earlier part extended to
the fourth window, which is broader than the rest; and the mouldings
were somewhat different in this part; but still the matter is not
without difficulty. The engravings represent the whole of the tracery
of the twelve windows on either side as Geometrical. We should have
expected the four western windows to be lancets; and there is no
explanation for the uniformity. The East End contained a great window
some thirty-seven feet in height, of seven lights and trefoiled at the
head; and above this the circular rose window, the four angles of the
square stage filled in with an arrangement of smaller circles. There
were eastern aisle windows on either side of the main window, and four
crypt lights below.
When we add that the buttresses were crowned with pinnacles to
strengthen them in their resistance to the flying-buttresses of the
clerestory and to the aisle walls beneath, and that these pinnacles
contained niches for statues and were terminated with crockets and
finials, so far as we can judge the exterior of the choir was in every
respect a fitting completion of the exterior of Old St. Paul's.
We have already said sufficient of Inigo Jones, how he flagged [_i.e._
cased] the outside of the nave and transept, says Wren, "with new
stone of larger size than before."[42] Owing to this, the plates are
silent as to the window mouldings and other details. Let us pass on to
the
INTERIOR.
=The Nave= was of eleven bays (not twelve), with triforium and
clerestory, and aisles in addition. The outer coating only of the
pillars was of good stone. Wren says, "They are only cased without,
and that with small stones, not one greater than a Man's Burden, but
within is nothing but a Core of small Rubbishstone, and much Mortar,
which easily crushes and yields to the Weight." Even the outer casing,
he adds, "is much torn with age, and the Neglect of the Roof."[43]
Double engaged shafts reached to the clerestory, and supported the
springers. The actual arcading sprang from these shorter engaged
shafts, which had cushioned capitals; and the arcading of the
triforium was similar. The mouldings of the arches of arcading and
triforium look like the lozenge. The vaulting, too heavy for its
supports, was quadripartite, with cross springers intervening, and the
longitudinal rib unbroken. The =Transepts= were each of four bays, and
in their details similar to the nave. Their north aisles were shut off
by blank walls which displayed here and there the architecture of the
rest; and each aisle of four bays was further divided into two equal
parts of two bays each, making four compartments altogether. In one or
other of these four the Consistory Court, according to Wren, was held.
To the arcading of nave and transepts, Wren says that in later years
four new and stronger piers were added in the common centre under the
tower for the purpose of strengthening it. As these are not shown in
Dugdale's plates, we can only conjecture their date to have been after
the fire of 1445. By the plan they were far more massive than the
others, and we can well understand Wren's complaint that they broke in
upon the perspective.
[Illustration: THE NAVE OF OLD ST. PAUL'S.
_After Hollar._]
The dates of the nave and transepts have already been suggested. After
the fire of 1087, Bishop Maurice and his successor built everything
afresh on a larger scale. The fire of 1136 did great damage, and
restoration on a considerable scale was effected. Mr. E.A. Freeman, by
a happy coincidence, touches on restorations at Wells of this time,
and contrasts our two dates.[44] After the fire of 1136 the
restoration would be in a style "somewhat less massive, somewhat more
highly enriched." I have already pointed out Freeman's statement that
the custom towards the middle of the eleventh century was to throw a
coating of the more refined Romanesque of the day over earlier Norman
work, and this agrees with the statements both of Wren and Pepys.
We may, then, assume that while the former ground-plan and general
outline remained the same, after 1136 the pillars were encased and
more elaborate mouldings added. By another statement of the same
authority[45] it would seem that "the vaulting shafts run up from the
ground" belong to the second restoration, when the vaulting itself was
completed, and the date of this is indicated in Bishop Basset's letter
of 1255.
Hence the nave and transepts were restored after the transitional
Norman style, and vaulting shafts added in the fully developed Early
English style, while the window tracery and other details of the
isolated north aisles of the transepts were Geometrical. The four
piers supporting the central tower were of a later date; but surely
there must have been others, though less massive, before, otherwise it
is difficult to understand how the tower and spire were supported.
Dugdale gives only two monuments in the nave. Thomas Kemp, who died
bishop, reposed under the penultimate arch in the north side, in a
chapel enclosed by a screen and railings. The second was that of Sir
John Beauchamp, who died in 1358, and whose monument was under the
eastern arch on the south side. Somehow the populace entertained the
idea that this latter was the burial place of Duke Humphrey of
Gloucester, uncle to Henry VI., who was murdered in 1447 and buried at
St. Alban's. The adjacent part of the south aisle was called Duke
Humphrey's Walk: and the tomb seems to have been a sanctuary. At
dinner-time, needy people who lacked both the means to purchase a meal
and friends to provide them with one, and who chanced to loiter about
this sanctuary, were said _to dine with Duke Humphrey_, and the phrase
was equivalent to having no dinner at all.
[Illustration: THE CHOIR, LOOKING EAST.
_After Hollar._]
=The Choir.=--As our ancestors looked eastward from under the central
tower, both aisles of the choir were completely hidden from view by
the height of the blank wall. The choir screen in the centre was of
less altitude, had four niches for statues on either side, and a fine
Pointed doorway in the centre of three orders of arches. The plates
are of a date too late to show any rood. Entering through this door
was the choir of twelve bays. Stephen Wren implies that the whole of
this magnificent member was completed by 1240;[46] but much of the
architecture belonged to a somewhat later date, and the prints are
corroborated by numerous documents.[47] The extension eastward on the
site of Old St. Faith's must have almost amounted to a rebuilding.
Where did this extension begin, and where did the choir of 1240 end?
Wren noticed that the intercolumnar spacing was less irregular to the
east. Mr. Longman points out that the clustered pillars towards the
west differed from the others, as did their capitals and the triforium
arcading, while the fifth arch-space was greater than all the rest.
Here we have the original east end.
Westward, the square fronts of the pillars were left bare; eastward
they were covered with clustered shafts, and the springers which
supported the vaulting were continued to the ground. Westward,
moreover, the triforium arcading differed from that to the east, and
was occasionally even left blank.
There remains, however, this peculiarity, that according to the prints
the main aisle windows were uniform throughout, and with Geometrical
tracery. The vaulting differed from the nave in this, that the
diagonals, where they met the longitudinal rib, had bosses, and three
single cross ribs alternated instead of one. The longitudinal rib was
again unbroken throughout.
That part of the Choir devoted to public worship was limited to the
first seven bays, of which the three to the east were on a higher
level. The stalls of the dignitaries extended four bays, and shut out
the aisles. On the north side the organ occupied the third bay, and on
the south the bishop's cathedral throne, as now, was at the end. The
Chapel of St. Mary, or Lady Chapel, was east of the presbytery at the
extreme end, with St. George's to the north and St. Dunstan's south;
and the whole of the space outside the presbytery--north, south,
east--was taken up by some of those monuments which contributed so
much to the beauty and interest of the interior, and they even
encroached inside. Dugdale gives some seventy to eighty. Between the
altar and the Lady Chapel was St. Erkenwald's noted and richly
decorated shrine, and the tombs of Bishop Braybroke and Dean Nowell.
Hard by in the north aisle slept John of Gaunt under his magnificent
canopy; and supporter of Wycliffe though he was, his tomb was rifled
and defiled during the Commonwealth. Near at hand was the monument of
Sebba, King of the East Saxons--a convert of Erkenwald, from whom he
received the cowl. In the disgraceful chaos after the Fire, the body
of Sebba, says Dugdale "was found curiously enbalmed in sweet odours
and clothed in rich robes." Here also could be read the unflattering
epitaph over the monument of Ethelred the Unready; and hard by the
tomb of John of Gaunt, in December, 1641, the corpse of another
Fleming by birth was interred. Sir Anthony Van Dyck had spent the last
nine years of his life in England at the invitation of Charles, and
this great pupil of Rubens was probably the last buried in the choir
before the Civil War. The Lady Chapel contained a wooden tablet to Sir
Philip Sidney, with the inscription:
"England, Netherlands, the Heavens and the Arts,
The Souldiers and the World, have made six parts
Of noble Sidney; for none will suppose
That a small heap of stones can Sidney enclose.
His body hath England, for she it bred;
Netherlands his blood, in her defence shed;
The Heavens have his soule, the Arts his fame,
All Souldiers the grief, the World his good name."
Another wooden tablet in the north aisle was to the memory of his
father-in-law, the statesman Walsingham; and numerous other statesmen,
nobles, divines, and lawyers were buried, or at least remembered. We
can but regret that these are now things of the past, and gone, with
the exception of the effigy of Dean Donne--as remarkable as the man
himself--and a few mutilated remains. Even Colet's is gone.
Before descending to the Crypt we may remark that the Interior must
have fully emphasised the sense of majestic beauty produced by the
Exterior. The long perspective eastward from the West Door, flanked on
either side by the arcading and terminating with a glimpse of the rose
window over the choir screen, as depicted in Dugdale, leaves nothing
to be desired.
=The Crypt or Shrouds.=--The crypt was underneath the eight eastern
bays of the choir, and was about 170 feet in length.[48] The entrance
was from the churchyard on the north side, and the gloom was lit up by
basement windows both at the sides and east end. An additional row of
piers down the centre supported the choir pavement above; and the
whole undercroft may best be described as of eight arches in length
and four in breadth, the arches springing from engaged columns and the
vaulting quadripartite.
The mouldings of the clustered columns were plain rounds and hollows,
and everything throughout appears to have been uniform and of the same
date. The four western bays, rather more than half, formed the parish
church of St. Faith; the eastern part the Jesus Chapel, which, after
the suppression of the Guild, was added to St. Faith's. These two
parts were separated by a wooden screen, and over the door was an
image of Jesus, and underneath the inscription:
"Jesus our God and Saviour
To us and ours be Gouernour."
These remarks about the Jesus Chapel, be it noted, date only from the
reign of Henry VI., by whom the Guild was incorporated, and the
members of which held high festival on the days of the Transfiguration
and of the Name of Jesus.
At the south-west corner of St. Faith's, but outside, was the Chapel
of St. John the Baptist, and near this were the three Chapels of St.
Anne, St. Sebastian, and St. Radegund. Dugdale gives a list of sixteen
of the more noted tombs. They include that of William Lyly, the first
master of Colet's famous foundation. Had his bones not been disturbed
by Wren's workmen, they could still have been found underneath the
arcading due south-west from Dean Milman's tomb.[49] To Lyly's memory
his son George, Prebendary of Cantlers, also placed a tablet in the
nave above.
Having mentioned our last chapel and altar, it may here be added that
the records enumerate not less than twenty chapels and three dozen
altars altogether. Besides the Guild of Jesus there were four
others--All Souls', the Annunciation, St. Catherine's, and the
Minstrels--and these do not seem to include the oldest of all, that
founded by Ralph de Diceto in 1197, which met four times a year to
celebrate the mass of the Holy Ghost. We now go on to the surrounding
buildings.
THE PRECINCTS.
=St. Gregory's=, in reality part of the cathedral with the Lollards'
Tower common to both, is mentioned as a parish church in early
documents. Pulled down and rebuilt, in the plates of Hollar it appears
as an uninteresting building, hiding from view the four west bays of
the south aisle of the nave. After the Fire the parish was united for
ecclesiastical purposes to St. Mary Magdalen, Old Fish Street, and
both have since been by a further union annexed to St. Martin, Ludgate
Hill. The Petty Canons were parsons or rectors--that is to say, the
income of the benefice was devoted to their support, and so continued
until their suppression as a corporation. =The Bishop's Palace= was to
the north-west, and joined the tower. We know nothing of its
architecture, and it is last mentioned in Inigo Jones' Report of 1631.
=Pardon Church Haugh=, or Pardonchirche Haw, on the north side and
east of the palace, was not a church at all, and was situated probably
in St. Gregory's parish. How the "Haw," or small enclosure, received
its name is doubtful: there may have been some unrecorded connection
with pardons or indulgences. Here Thomas a Becket's father, who was
Portreeve, built his chapel, rebuilt by Dean Thomas Moore, whose
executors added three chantries. The Haugh was environed by a
cloister, and the tombs in this part traditionally exceeded, both in
number and workmanship, those in the cathedral, but this is all we
know about them. In the cloister was the picture of the Dance of
Death. Death, represented by a skeleton, leading away all sorts and
conditions of mankind, beginning with Pope and Emperor. The
accompanying verse of Dean John Lydgate, monk of Bury (or his
translation from the French), was as gruesome as the picture.
Somewhere here the Petty Canons had their common hall. Near the
cloister, and on the east side, was Walter Sheryngton's Library; and
adjacent to the north-west corner of the neighbouring transept, his
chapel with its two chantries. East of the Haugh and about opposite
the north point of the transept, was the =Charnel=, a chapel with a
warden and three chantries. Underneath was a crypt or vault for the
decent reception of any bones that might be disinterred, and hence the
name.
[Illustration: ST. PAUL'S CROSS.
_From an Engraving in Wilkinson's "Londina Illustrata," after the
picture in the possession of the Society of Antiquaries,
London._]
We have now arrived at the north side of the transept, and inside the
angle formed by chancel and transept stood =Paul's Cross=, in St.
Faith's parish. It was an octagon of some thirty-seven feet, and stood
about twelve feet from the old cathedral. Mr. Penrose excavated for
the site, and found it just at the north-east angle of the present
choir. The last structure--of wood on a stone foundation, and with an
open roof--was the gift of Thomas Kemp; but a pulpit cover existed in
1241. Above the roof rose the cross from which the name was derived;
and from 1595 the whole was surrounded by a low brick wall, at the
gate of which a verger was stationed. Against the choir wall was a
gallery of two tiers: in the upper was the projecting royal box or
closet, below the Lord Mayor's; and the parishioners of St. Faith had
a right to seats. In very bad weather an adjournment was made to the
crypt; but our sturdy forefathers endured alike stress of weather,
length of discourse, and undiluted frankness of speech, after a manner
that altogether puts us, their degenerate descendants, to shame.
From a rude picture, painted in 1620 at the instance of Henry Farley,
we can see the preacher for the day with a sand-glass at his right
hand. King James, in his state box, has his Queen on his right, and
his unhappy son on his left, with the Lord Mayor below. These are to
the left of the preacher, who faces the transept. The congregation,
partly composed of parishioners of St. Faith, is seated on forms; and
the men wear their steeple-crowned hats. A dog-whipper is vigorously
belabouring a poor animal with a cat-o'-nine-tails; but the cries of
the victim do not in the least disturb either preacher or audience;
and two led horses are behind the preacher. A well-dressed youth, a
late arrival, bows and accosts a grave-looking citizen with "I pray,
sir, what is the text?" and the citizen answers, "The 2nd of Chron.
xxiv." A second citizen is dropping a coin into a large money-box by
the transept door. The subject of the sermon, judging from the text,
was the much-needed restoration; and perchance the preacher was none
other than the diocesan, James' "king of preachers."[50]
In 1633 the preaching was removed into the choir "for the repaire of
the Church," though we cannot quite see in what way this could help
the repairing. Those who shortly afterwards obtained control of the
City could tolerate neither the name nor the actual cross, and were
afraid of disturbances as well. The structure came down, and although
it was said at the time only to make way for another "fairer and
bigger," was never restored again. The endowments out of which the
preachers were paid went to the Sunday morning preachers, and these
latter are the legitimate successors of the old-time divines.
[Illustration: THE CHAPTER HOUSE AND CLOISTER.
_After Hollar._]
=The Clochier=, or =Bell Tower=, with its lead-covered spire crowned
with a statue of St. Paul, stood at the east end of the churchyard.
There must have been a tower here from a very early period if this was
the bell that summoned the folk-mote. The Guild of Jesus owned the
four bells of later times; and when that body was dissolved they
reverted to the Crown, and were lost at dice to a Sir Miles Partridge,
subsequently executed for sharing in the fortunes of the Protector
Somerset. The cloister of the =Chapter House=, or =Convocation House=,
shut off almost entirely the west wall of the south transept and four
bays of the south wall of the nave. This was of the unusual
arrangement of two stories, and formed a square of some ninety feet on
the plan, with seven windows in either story. This was called the
"Lesser Cloisters," apparently to distinguish it from the cloister of
Pardon Church Haugh. In the centre of the square, and approached
through a vestibule from the east, was the Chapter House, an octagon
with a diameter of nearly forty feet, supported by massive buttresses.
In Dugdale's engraving the lofty roof has gone; and the tracery of
Chapter House and Cloisters alike are Perpendicular. It will be seen
there were two places for the two Houses of Convocation, one near the
west door of the nave, and this.
There was St. Peter's College, where the Petty Canons lived, Holmes
College, and the Lancaster College. Thomas Plantagenet, Earl of
Lancaster, executed for high treason against his cousin, Edward II.,
who was canonised by the people, though not by the Pope, had a tablet
somewhere in the church at which miracles were believed to be wrought,
and two offices to himself. But whether the Lancaster College referred
to him or to John of Gaunt, or where it was situated, is uncertain.
Of all these various buildings which surrounded the cathedral and
added to its interest, the curious, by going to the south side of the
nave, may discern some traces of the old Lesser Cloisters and Chapter
House. Everything else has gone so completely that it would be
difficult to fix even the exact site.
[Illustration: PLAN OF OLD ST. PAUL'S IN 1666.]
DIMENSIONS.
OLD ST. PAUL'S.
LENGTH of Nave 252 feet
LENGTH across Transept 104 feet
LENGTH of Choir 224 feet
---------
580 feet
LENGTH across Portico 40 feet
---------
Total length 620 feet
LENGTH of Transept 293 feet
BREADTH of Nave 104 feet
HEIGHT of Central Tower 260 feet
HEIGHT Spire 200 feet
---------
Total height 460[51] feet
HEIGHT of Nave roof 130 feet
HEIGHT Choir 143 feet
Area about 80,000 sq. ft.
FOOTNOTES:
[38] Particularly so in the "Gleanings."
[39] _I.e._, assuming that Inigo Jones did not convert pointed into
round.
[40] Bishop Fulk Basset sent out in 1255 letters hortatory for the
contributions of the faithful. "Quod Ecclesia St. Pauli, in retroactis
temporibus, tantis turbinibus fuit quassata, &c. _ut totum ejus
tectum_, jam quasi in ruinam gravissimam declinare videtur" (Dugdale,
p. 9).
[41] "Parentalia," p. 276.
[42] "Parentalia," p. 275.
[43] Ibid.
[44] "Wells," p. 69. His exact dates are shortly after 1088 and 1136.
[45] "Wells," p. 132.
[46] "Parentalia," p. 273.
[47] Particularly the 68 Indulgences between 1228-1316 cited in
"Documents Illustrating," p. 174.
[48] This crypt, under the extension of the thirteenth century choir,
cannot be that mentioned by William of Malmesbury. According to the
plan in Dugdale, there was no crypt underneath the Norman cathedral.
[49] "Chapters on the History" (pp. 91-93) gives more details about
the crypt. Dean Milman calls Lyly John; and Chambers' "Book of Days"
buries him in the churchyard.
[50] "Chapters in the History," with plate, pp. 159, 222, etc.
[51] This is Wren's estimate; others are higher.