convulsed the land, and here Henry II. did penance before the tomb of
the archbishop slain at his instigation. In 1174 a fierce
conflagration raged and destroyed the beautiful choir, and at the
sight of the ruins, Gervase tells us, the people were mad with grief,
and beat the walls and tore their hair, blaspheming the Lord and His
saints. The task of rebuilding was at once commenced, and William of
Sens was appointed architect. He laboured for four years, and then
falling from a scaffold was so much injured that he was obliged to
return to France. An English William then took over the
superintendence of the work. It is not stated that he was a pupil of
William of Sens, or was in any way influenced by French models. In
1184 the choir was finished, and soon new cloisters were added. In
1304 the choir was beautified and a new pulpit erected by Prior
d'Estria, who added the great bell called Thomas. In 1376 Archbishop
Sudbury took down the western transepts and the nave, and began the
rebuilding of the former in the Perpendicular style, the work being
continued by Prior Chillenden during the rule of Archbishop Courtenay,
the oppressor of Lollardism. The cloisters and chapter-house were
finished at this time. Archbishop Arundel (1396-1414), who was
addicted to burning heretics, also added greatly to the beauty of the
church, and his successor, Chichele, spent vast sums on the church,
founded a library, and began the spire on the west tower. In 1449
Prior Goldstone built the beautiful chapel of the Virgin called the
Dean's Chapel, and another prior of the same name in 1495 began the
great central tower, or Angel Steeple, when Archbishop Morton ruled,
whose rebus is inscribed upon it. The same prior also built the Christ
Church Gate in 1517. The troublous times of the Reformation followed,
and we find Cranmer occupying the archiepiscopal throne, who was
ultimately doomed to the stake at Oxford. Fanatical reformers wrought
terrible havoc in the Cathedral. The magnificent shrine of Becket, to
which millions had flocked to pay their devotions, was entirely
destroyed, and numerous other costly shrines shared its fate.
Archbishop Laud attempted to restore the beauty of the sanctuary, and
erected a fine altar with reredos; but soon the pikes of the Puritans
and their wild savagery reduced the interior of the Cathedral to a
ruinous desolation. The usual scenes of mad iconoclasm were enacted,
windows broken, altars thrown down, lead stripped off the roof,
brasses and effigies defaced and broken. A creature nicknamed "Blue
Dick" was the wild leader of this savage crew of spoliators, who left
little but the bare walls and a mass of broken fragments strewing the
pavement.
[Illustration Canterbury Cathedral]
Since then numerous alterations and restorations have taken place. At
the Restoration of the monarchy Bishop Juxon of London, who attended
Charles I. on the scaffold at Whitehall, was made Archbishop of
Canterbury, and he and Archbishop Sheldon, his successor, did much to
restore the fabric and remove the traces of Puritan fanaticism.
Archbishop Tenison (1694-1716) removed the old stalls and substituted
pews. He covered Prior d'Estria's screen with wainscotting, and
erected a fine throne with carving by Grinling Gibbons. Queen Mary
also added to the beauty of the Cathedral by sundry costly gifts. In
1834 a new north-west tower was built. In 1872 a fire broke out in the
roof, but happily no very extensive damage was done, and five years
later Sir G. Scott began his restorations, which have removed some of
the faults committed in the early eighteenth-century alterations.
THE EXTERIOR
The best views are obtained from the mound in the Dane John (or
Donjon--probably a fortified earthwork of Norman times) approached by
St. George's Terrace, adjoining the Cattle Market, from the green or
outer court of the monastery, and from the village of Harbledown. The
_West Front_ is flanked by two towers. That on the north was built in
1840, as the former one, called the Arundel, was in a dangerous
condition; that on the south, called the Dunstan, was finished by
Prior Goldstone (1449-1468), and is in the Perpendicular style, with
characteristic panelling. A large window is in the centre of the
front, and two smaller windows for the aisles, and above, in the
gable, another window with elaborate tracery. The _South Porch_ was
built by Prior Chillenden about 1400. Erasmus tells us that he saw
figures of Becket's murderers here, but these have disappeared. The
niches have been filled with modern figures. Proceeding along the
south side of the church, we notice the Perpendicular style of the
nave and aisles, the work of Prior Chillenden, which replaced the old
Norman nave. There is a close resemblance between this and Winchester,
which was being constructed at the same time. All that remains here of
Lanfranc's nave is the lowest base of the aisle walls. The south-west
transept is of the same date as the nave and has a large window on the
south front with three tiers of panels over it, and an elaborate
turret at the south-west corner. The south-east transept is Late
Norman, the work of William of Sens and William the Englishman. Here
we have Norman round-headed windows with arcades, also a circular
window, and on the west a Norman turret capped with a short spire.
Proceeding eastwards we see Anselm's Tower, and on the extreme east
the corona, the work of English William. On the west Henry IV.'s
Chantry, St. Andrew's Chapel, corresponding to that of St. Anselm,
the treasury, and the range of monastic buildings, consisting of
library, chapter-house and cloisters, which we will examine later. A
wall surrounded the precincts, the principal gate being that called
_Christ Church_ Gate, erected by Goldstone in Perpendicular style in
1517.
THE INTERIOR
We enter the _Nave_ by the south porch. Lanfranc's nave was entirely
removed in 1380 on account of its ruinous state, and the present nave
erected by Prior Chillenden, who was employed and supported by
Archbishops Sudbury, Courtenay and Arundel. As we have said, it
resembled Winchester, built at the same time, but it is lighter in
character, as here the piers were built anew, and not cased with
Perpendicular work as at Winchester. The height of the floor of the
choir necessitated a lofty flight of steps leading to it from the
nave; and this is a peculiar feature of this Cathedral and of much
beauty. The nave is very lofty, being 80 feet high. The great west
window contains the fragments of old glass which have been brought
together here. The rest of the stained glass is modern and hideous. In
the north aisle are monuments of Adrian Saravia, the friend of Hooker
(1612), Orlando Gibbons, organist to Charles I., Sir John Boys (1614),
founder of a hospital, Archbishop Sumner (1862), who crowned Queen
Victoria, and memorials of military men who died for their country. In
the south aisle are monuments of Dr. Broughton, Bishop of Sydney, and
Dean Lyall (1858).
The central tower is supported by original Norman piers, cased with
Perpendicular work at the time when the nave was built. The vault and
all the upper part of the tower above the roof were erected by Prior
Goldstone (1495-1517), and also the arches, which act as buttresses
and bear the Prior's rebus, three golden bars. The screen is
fifteenth-century work and is remarkable for its beauty; formerly the
figures of our Lord and the Twelve Apostles occupied the upper niches,
but these fell victims to Puritan iconoclasm. The devastators spared,
however, the figures of the kings in the lower tier.
The _North-West Transept_, or Chapel of the _Martyrdom of Becket_,
claims our close attention, as the event which occurred here filled
Christendom with amaze.
The martyrdom of Thomas à Becket took place on Tuesday, 29th December
1170. Early in the morning the four barons had an interview with him,
pretending to come on a peaceful visit with messages from the king.
They were shown into the room in the palace where the archbishop
usually remained. Some high words passed between them and they
departed; in the evening they entered the Cathedral, armed. While the
archbishop was ascending the steps, Sir Reginald Fitzurse entered the
door of the church, clad in complete armour, and, waving his sword,
cried, "Come hither, servants of the king!" The other conspirators,
Sir Hugh Morvill, Sir William Tracey and Sir Richard le Breton,
immediately followed him, armed to the teeth, and brandishing their
swords. It was already twilight, which within the walls of the
dimly-lighted church had deepened into the blackest obscurity.
Becket's attendants entreated him to fly to the winding staircase
which led to the roof of the building, or to seek refuge in the vaults
underground. He rejected both of these expedients and still stood to
meet his assailants. "Where is the traitor?" cried a voice. There was
no answer. "Where is the archbishop?" "Here I am," replied Becket;
"but here is no traitor. What do ye in the House of God in warlike
equipment?" One of the knights seized him by the sleeve; he pulled
back his arm violently. They then advised him to go with them, as
though they repented of the evil design. They called upon him to
absolve the bishops. He refused; and Fitzurse, drawing his sword,
struck at his head. The blow was intercepted by the arm of one of the
monks who stepped forward to protect him, but in vain. A second blow
descended, and while the blood was streaming from his face some one of
his assailants whispered to him to fly and save himself. Becket paid
no heed to the speaker, but clasped his hands and bowed his head,
commending his soul to God and the saints. The conspirators now fell
upon him with their swords and quickly despatched him. One of them is
said to have kicked the prostrate body, saying, "So perishes a
traitor." The deed thus accomplished, the conspirators passed out of
the town without hindrance, but no sooner had they done so than the
news spread throughout the city and the inhabitants, in the utmost
excitement and indignation, assembled in crowds in the streets and ran
towards the Cathedral. Seeing the body of their archbishop stretched
before the altar, men and women began to weep, and while some kissed
his hands and feet others dipped linen in the blood with which the
pavement was covered. It was declared by the people that Becket was a
martyr, and although a Royal edict was published forbidding anyone to
express such an opinion, the popular feeling still manifested itself.
Some soldiers attempted to seize the corpse, but the monks, who had
received an intimation of the design, buried it hastily in the crypt
of the Cathedral.
Since that eventful scene the transept has been rebuilt. The stones
around us, except it be the pavement, did not witness that bloody
deed. When the nave was rebuilt by Chillenden this part of the church
was much transformed. Portions of the old Norman walls built by
Lanfranc remain, but the main character of the building is
Perpendicular. The door is the same by which the murderers entered,
part of the wall, and probably the pavement, wherein is a small square
piece which marks the actual spot where Becket fell. The great window
was given by Edward IV., and has figures of his queen, his daughters,
and the two princes who were murdered in the Tower. The west window is
modern, and represents scenes from the life of Becket. There are
monuments here of Archbishop Peckham (1292), the oldest in the
Cathedral, and Archbishop Warham (1532), who crowned Henry VIII., and
was the opponent of Wolsey and the friend of Erasmus. A door at the
east end of this transept leads to the _Dean's Chapel_, formerly the
Lady Chapel, built by Goldstone in Perpendicular style. The monuments
here are to Dean Fotherby, Dr. Bargrave, Dean Boys with his books, and
Dean Turner, a favourite of Charles I.
The daily crowd of pilgrims who visited the scene of the martyrdom in
mediæval times used to pass on to the shrine of St. Thomas by the
north choir aisle, on their way to his shrine, and we will follow in
their steps. In this aisle we see much of the original Norman work of
Archbishop Anselm's choir, erected under the supervision of Prior
Ernulf. William of Sens added many architectural details and made some
alterations, but he seems to have intended to preserve the special
features of the earlier work. The roof was, however, raised, and the
clerestory of Ernulf's building converted into the triforium windows
of William of Sens. The latter brought with him the use of the chisel,
the former carving his ruder ornamentation by means of an axe. William
also introduced the pointed arch. Here is the monument of Archbishop
Tait. Three "squints" will be observed in the west wall. Two apsidal
chapels are at the east end, dedicated to SS. Stephen and Martin. In
the aisle there is some ancient glass of thirteenth-century work,
which is of extreme beauty, also an old desk with ancient Bible. An
ancient mural painting should be noticed, representing the conversion
of St. Hubert. Next we visit the _Chapel of St. Andrew_, now the
vestry, which has some traces of colour decoration. It was built by
Prior Ernulf, and was formerly the sacristy, where relics of Becket
were preserved in a chest, together with a quantity of vestments.
Beyond this, to the north, was the treasury, which was well protected
by a massive door. The treasures of costly plate and jewels at
Canterbury were of enormous value. In the aisle on the south side
there is the splendid tomb of Archbishop Chichele (1443), whom
Shakespeare represents in _Henry V._ as instigating the war with
France, and who was the founder of All Souls', Oxford. Also there are
monuments of Archbishop Howley (1848) and Archbishop Bourchier (1486).
Up lofty steps, climbed by pilgrims on their knees, we ascend to the
_Retro-Choir_, the work of William the Englishman, the successor of
William of Sens. _Holy Trinity Chapel_ occupies the centre, where
stood the wondrous shrine of Becket. Architecturally it is interesting
as showing the triumph of English achievement over the foreign
influence, and the gradual development of the English Gothic style;
and historically it is fascinating as being the goal of pilgrims from
all quarters of the land. The famous shrine has entirely disappeared,
owing to the cupidity of Henry VIII. and his commissioners. Some idea
of what it was like is given by a representation of it in one of the
windows of the chapel. There was a stone base with marble arches, and
above the shrine covered with a wooden canopy, "which at a given
signal was drawn up, and the shrine then appeared, blazing with gold
and damasked with gold wire, and embossed with innumerable pearls and
jewels and rings, cramped together on this gold ground." One great
diamond or carbuncle was as large as a hen's egg, called the _Regale
of France_, and presented by Louis VII. All the monarchs and nobles in
mediæval times came here to worship, and crowds flocked from all
quarters "the holy blissful martyr for to seek"; the pavement is worn
by their knees; cripples begged to rub their limbs against the pillars
of the holy shrine, and perchance were healed--faith plays a wondrous
part in many a cure--and Chaucer sings of the tales and doings of the
not always very austere Canterbury pilgrims. The windows of this
chapel contain some of the best thirteenth-century glass in existence.
They record miracles wrought by Becket. Above the shrine is a gilded
crescent, concerning which many theories have been suggested, none
wholly satisfactory.
[Illustration Tomb of the Black Prince]
In this chapel is the monument of _Edward, the Black Prince_ (1376),
who fought at Creçy and Poictiers, one of the bravest of our national
heroes. The effigy is of brass and was once gilded, and represents the
prince in full armour. The head rests on a casque, and the features of
the Plantagenets are distinctly traceable. Above the tomb is a canopy,
having on it a representation of the Trinity, and above that are the
remains of dress and armour actually worn by the prince--his helmet, a
shield, a velvet surcoat, gauntlets, and the scabbard of the sword. On
the tomb is an inscription in Norman French which, translated, tells:
"Here lies the most noble Prince Edward, eldest son of the most noble
King Edward III., Prince of Aquitaine and Wales, Duke of Cornwall and
Earl of Chester, who died on Trinity Sunday, the 8th of June 1376. To
the soul of whom God grant mercy.--Amen." Then follow some verses
written by the prince, which begin:--
"Tu que passez ove bouche close pur la ou c'est corps repose,
Entent ce qe te dirray, sicome te dire la say,"
and proceed to contrast the riches and glory of this present life with
the mouldering and decay of death. Below are seen shields of arms
which bear those of France and England, and the ostrich or Prince of
Wales's feathers, with the motto _Houmont Ich diene_. Both Welsh and
German origin is claimed for the motto. Dean Stanley preferred the
latter, and stated that _Houmont_ meant _high-spirited_, while the
latter words signify _I serve_.
Another interesting tomb is that of Henry IV. (1413), and his second
wife, Joan of Navarre (1437). The tomb was opened in 1832, and the
body of the dead king discovered in wonderful preservation. He founded
the chantry near his tomb. Some vestments taken from a tomb are
preserved in this chapel. Other memorials are those of Dean Wotton, by
Bernini; Cardinal Coligny, whose brother fell in the massacre of St.
Bartholomew, and who was poisoned by his servant; Archbishop
Courtenay, the oppressor of the Lollards, who is represented in
archiepiscopal robes, with his mitre and crosier.
The _Corona_ at the extreme east end is a beautiful piece of work,
accomplished by English William. It is in the form of a circular apse,
and has a triforium and clerestory. For some obscure reason it has
been popularly called "Becket's crown," possibly from the presence
here of some relic of the martyr. Here were the shrines of Archbishop
Odo and St. Wilfrid of York, and here is the tomb of Cardinal Pole,
archbishop in the time of Mary, a plain brick monument, plastered over
with the inscription: "The body of Cardinal Pole."
Turning to the _South Choir_ aisle, which resembles the north, we see
the _Chapel of St. Anselm_, formerly that of SS. Peter and Paul. It
resembles that of St. Andrew, and was built by Ernulf, and probably
restored after the great fire. Behind the altar was buried the great
Anselm, one of the most saintly and renowned prelates who ever
occupied the see of Augustine. The south window is Decorated, inserted
by Prior d'Estria in 1336. There is a monument here of Archbishop
Simon de Mepham (1333), whom we shall hear of again at Exeter, when
his visitation was resisted by the arrogant Bishop Grandisson; and
also of Archbishop Bradwardine (1349). Above this chapel is the
_Watching Chamber_, where a monk was stationed to guard the shrines.
Proceeding along the aisle on the right are monuments of Archbishop
Sudbury (1381), beheaded in the Wat Tyler rebellion; Archbishop
Stratford (1348) and Archbishop Kemp (1454).
The _South-East Transept_ is similar to the northern one. The walls
are the work of Ernulf. It is to William of Sens, however, that we
have to attribute the architectural details. There are apsidal chapels
dedicated to SS. John and Gregory, the remains of Archbishop
Winchelsey's tomb (1313); and the "patriarchal chair," erroneously
called "St. Augustine's." In the aisle on the left are two tombs said
to be those of Archbishop Hubert Walter, who accompanied Richard I.
on a Crusade, and Archbishop Reynolds (1327), the friend of Edward II.
The _South-West Transept_ was rebuilt at the same time as the nave by
Chillenden. On the east of this is the _Warrior Chapel_, dedicated to
St. Michael. Its style is Perpendicular, _circa_ 1370, and was
probably erected by Chillenden. Here is the monument of Stephen
Langton (1228), who wrested from King John the Magna Charta. The
position is curious, only the head of the tomb appearing through the
wall. Other monuments are those of John Beaufort, Earl of Somerset,
half brother of Henry IV. (1409), and Thomas of Clarence, second son
of the same king, killed in battle in 1421, erected by the widow of
both; Lady Thornhurst (1609) and Sir Thomas, Sir John Rooke, one of
the heroes of the capture of Gibraltar, and some military trophies and
memorials.
[Illustration The Crypt.]
The _Crypt_ is one of the finest in England, built before 1085. There
is here some very fine Norman work, the western portion was
constructed mainly by Ernulf, though there is some of the work of
Lanfranc also here. The carving was executed after the stones were set
in their places, and we can see that some of the carving was left
unfinished, the designs having been roughly traced out. The portion of
the crypt east of the Trinity Chapel is the work of English William
(1178-1184). The Chapel of Our Lady Undercroft is enclosed by some
Late Perpendicular open stone-work, and was very magnificent. Only
privileged pilgrims were allowed to see the wealth of precious stones
and costly ornaments with which this wondrous shrine was adorned. In
the crypt is the monument of Lady Mohun of Dunstar (1395), the chantry
founded by the Black Prince, St. John's Chapel, the tomb of Isabel,
Countess of Athole (1229). Here Becket's body was hastily buried by
the monks after his murder; it remained here for fifty years, and was
resorted to by the crowds of pilgrims, and here Henry II. endured his
penance, receiving five strokes of a rod from each bishop and abbot
present, and three from each of the eighty monks, and remaining all
the night fasting, resting against one of the pillars. Queen Elizabeth
gave the Flemish refugees the use of the crypt both as a place of
worship and as a home for their industry. Here they plied their busy
looms, and in their moments of leisure wrote inscriptions on the
walls. The descendants of these settlers still live in Canterbury, and
use part of the crypt as their chapel.
THE MONASTIC BUILDINGS
Canterbury was a Benedictine monastery. We enter the _Cloisters_ from
the north transept, which are mainly Perpendicular in style, though
occupying the site of the old Norman buildings, and containing remains
of earlier work. Chillenden, the builder of the nave, is responsible
for all the Perpendicular work. The _Chapter-House_ was rebuilt on
Norman lines late in the thirteenth century, and re-ceiled and
re-windowed in the fourteenth by Chillenden. The ceiling is composed
of panels of Irish oak. Unfortunately a severe restoration in 1897 has
somewhat vulgarised its former beautiful features. At the east end
there is the beautiful priors' sedilia, with glass mosaics on the
spandrels of the throne. After the Reformation the chapter-house was
used for preachings, and acquired the name of the sermon-house. On the
north of the garth was the refectory, the entrance to which may be
seen, and also the remains of the monks' lavatory.
Passing along we see the Priors', now known as the Green Court, a
large open space surrounded with the remains of the domestic buildings
of the monastery. The Deanery, previously part of the priors'
lodgings, is on the east, and the south was also occupied by the
dormitory and refectory, with kitchens. On the west is the Porter's
Gate, a Norman structure, with curious ornamentation. The very
interesting late _Norman Staircase_ leading to the hall of the
Grammar School should be examined. Returning, we traverse the passage
north of the chapter-house, and come to the _Lavatory Tower_--erroneously
called the baptistry--of Late Norman construction, built by Prior
Wibert for supplying the various buildings with water, and adjoining
this is the _Library_, which possesses a fine collection of books. A
very interesting MS. is the charter of Eadred (949 A.D.), written by
Dunstan; there is an ancient portrait of Queen Edgiva (late fourteenth
century). The remains of the infirmary and the garden of the monastery
may also be seen; and an arched doorway in Palace Street is all that
remains of the once famous Archbishop's Palace, which was inhabited by
so many distinguished prelates, and the scene of so many events in
English history. It was destroyed during the Commonwealth period.
DIMENSIONS
Total length 522 ft. (inside, 514 ft.)
Length of nave 178 ft.
Width of nave 71 ft.
Length of choir 180 ft.
Height of nave 80 ft.
Height of central tower 235 ft.
Height of west tower 130 ft.
PRINCIPAL BUILDING DATES
Nave (1378-1411), Prior Chillenden.
Choir (1174-1184), William of Sens and English William.
Choir-screen (1304-1305), Prior d'Estria.
Towers of St. Andrew and Anselm, Prior Ernulf.
Retro-choir and corona (1178-1184), English William.
Crypt, west part (1070-1109), Lanfranc and Ernulf.
Crypt, east part (1178-1184), English William.
Central tower (1495), Prior Goldstone.
[Illustration PLAN OF CANTERBURY CATHEDRAL]
OTHER CHURCHES AND OBJECTS OF INTEREST
_St. Martin's Church_, traditionally said to be the oldest church in
the kingdom, is certainly of great antiquity. A large number of Roman
bricks are built up in the walls. It contains a stone coffin, in which
it is said that Queen Bertha lies, the wife of King Ethelbert,
converted by Augustine, but this is improbable. The font is Saxon, and
it is, according to tradition, which is not very reliable, the font in
which Ethelbert was baptised.
_St. Augustine's College_ for Missionaries was formerly the Monastery
of St. Augustine. The earliest house was dedicated to SS. Peter and
Paul, said to have been founded by Augustine. Dunstan enlarged it, and
added the founder's name to the dedication. It became very rich and
important. The buildings were destroyed by the Danes, but they arose
again in greater glory, and at the dissolution of monasteries the
house became a Royal palace. The buildings are well worthy of a visit.
_St. Dunstan's Church._
The _West Gate_, built by Archbishop Sudbury, _temp._ Richard II.
_Holy Cross Church._
_St. Peter's Church._
_St. Thomas's Hospital_ for Entertainment of Pilgrims.
The remains of the old _Chequers Inn_ at the south-west corner of
Mercery Lane, can be traced, and a portion of it is incorporated in
the house known as Grafton House. There are some fine old houses in
this street, anciently called _La Merceri_, each stone projecting
outwards, so as almost to meet at the top, typical of an old English
city street.
WINCHESTER CATHEDRAL