20. St. James the Greater.
21. St. Thomas.
{ a
22. St. James the Less,{ modern
{ statue.
23. St. Simon.
24. St. Luke.
25. St. Mark.
26. St. Augustine.
27. King Ethelbert.
28. St. Berinus.
29. St. Boniface.
30. Kynigils, }
31. Cwichelm, }
32. Kenwalch, } Kings of
33. Kentwald, } Wessex.
34. Caedwalla,}
35. Ina, }
The sculpture has been pronounced "remarkable, characteristic and
beautiful," but that at Wells and Lincoln is earlier and perhaps
better.
Above the screen is a platform on which the bishop used to stand when
he blessed the people, and also the choristers and minstrels when they
hailed with song the advent of distinguished persons.
The three doorways should be noticed. The central one has a moulding
of carved foliage, and on the central boss of the groined roof is a
representation of the Crucifixion. The south doorway has two
sculptures, the appearance of an angel to Joseph in a dream, and the
Adoration of the Shepherds. Between the south and central doorways is
the Chantry of St. Radegunde, which we will examine on entering the
Cathedral. The north porch was built by Grandisson, and is very
beautiful with its triple canopy. The Puritan soldiers have mutilated
the Crucifixion scene on the east wall. On the central boss is a
well-carved Agnus Dei. Notice the cresting of the roof in a
_fleur-de-lis_ pattern, which somewhat relieves the long, unbroken
stretch of leaden roofing.
We now enter the Cathedral. Though the nave is less lofty than many,
it is most beautiful, and the richness of the architectural details
abundantly atones for the lack of height, which is 70 feet. The roof
springs from slender vaulting shafts and is studded with
beautifully-carved bosses, representing foliage, animals, strange
figures and heraldic shields. The murder of Thomas à Becket occurs in
one of these bosses. Clustered pillars of Purbeck marble support the
roof and separate the nave from the aisles. Notice the sculptured
corbels between the arches, which are peculiar, and the exquisite
carving of the leaves and figures. In the triforium on the north side
is the _Minstrels' Gallery_, the most perfect in England, where the
musicians played on high festivals, or on the occasion of some Royal
visitor. The figures are represented as playing on various
instruments--cittern, bagpipes, flageolet, violin, harp, trumpet,
organ, guitar, some unknown wind instrument, tambour and cymbals. The
heads of Edward III. and his queen, Philippa, support two niches. This
gallery is a very beautiful example of mediæval art.
Instead of the usual triforium we have a blind arcade, the height of
which is much less than in most cathedrals, but above this there is a
very lofty clerestory. The windows of the nave are Decorated, and have
a great variety of most beautiful and elaborate tracery. They are
arranged in pairs, one window corresponding to its opposite. The glass
of the west window, erected in 1766, is a great eyesore, and spoils
the beauty of the stone tracery.
[Illustration Detail of Minstrels' Gallery]
We have abundant evidence that this noble nave was constructed almost
entirely in Norman times, and subsequently transformed into the
Decorated style, just as Winchester was changed from Norman to
Perpendicular work. Disturbances of masonry in both north and south
walls indicate the position of Norman pilasters, and outside flat
buttresses of Norman type are observed which correspond to the
position of these. We gather that the nave was finished in Norman
times by Bishop Marshall, and that Stapledon (1308-1326) began the
transformation, which was carried on and completed by Grandisson
(1327-1369).
Nor must the work of our modern men be disregarded. The nave was in a
very dilapidated state. The Purbeck marble columns were fallen into
decay, and hideous high pews disfigured the view. Sir Gilbert Scott in
recent times most judiciously restored the Cathedral, and made it
again one of the finest in the land.
We will now examine the chapels and monuments in the nave. On the left
of the west door is the _Chapel of St. Radegunde_, which contained
formerly the body of Bishop Grandisson; but in the time of Queen Bess
the tomb was plundered and his remains scattered no one knows whither.
St. Radegunde was a Frankish princess, the wife of Chlotar, the son of
King Clovis. Notice the carved figure of our Lord on the roof, His
hand outstretched to bless, and the holes in the stone for suspending
lamps.
On the north side is the Chapel of St. Edmund, which is earlier than
the nave itself, and was connected with it by Bishop Grandisson.
The following monuments in the nave should be examined:--
_North Aisle_--
Tablet memorial of Lieutenant Allen, and window to memory of one
of the Earls of Devon.
Brass memorial of men of North Devon Regiment slain in Afghan war
(1880-1881), with regimental flags.
Memorial of 9th Lancers who died in India.
Tablet to the musician Samuel Wesley.
_South Side of Nave_--
High tomb of Hugh Courtenay (d. 1377), second Earl of Devon,
and of his Countess, Margaret (d. 1391), a connection of Edward
I. The effigies have been much mutilated.
Brass to memory of General Elphinstone, V.C. (d. 1890).
Brass to Hugh, second Earl of Devon.
Window to Thomas Latimer.
Window to Dean Cowie.
We now pass into the north transept. The Norman towers at each end of
the transepts were originally separated from the church. Bishop
Quivil, however, wishing to enlarge the building, took down the
massive walls which divided the interior of the towers from the body
of nave, and constructed arches to sustain the sides of the tower. The
original Norman walls remain, and in the north transept one Norman
window and two narrow, circular-headed doorways. Quivil also erected
the two galleries. On the east of north transept is _St. Paul's
Chapel_, used as a vestry for lay choral vicars; there are here some
interesting old tiles with heraldic devices, and amongst them the arms
of Richard, Duke of Cornwall, brother of Henry III. Near this is the
_Sylke Chantry_, founded in 1485 by William Sylke, sub-chanter, whose
skeleton effigy proclaims the message--_Sum quod eris, fueram quod es,
pro me, precor, ora_. An interesting mural painting has been
discovered representing the Resurrection.
The old clock is very remarkable, which is about 700 years old. The
historian of the Cathedral thus describes it:--
"On the face or dial, which is about 7 feet in diameter, are two
circles: one marked from one to thirty for the moon's age; the other
figured from one to twelve twice over for the hours. In the centre is
fixed a semi-globe representing the earth, round which a smaller ball,
the moon, painted half white and half black, revolves monthly, and by
turning on its axis shows the varying phases of the luminary which it
represents. Between the two circles is a third ball, representing the
sun, with a _fleur-de-lis_, which points to the hours as it daily
revolves round the earth."
The maker of the clock was a believer in the old-fashioned astronomy
which recognised the earth, and not the sun, as the centre of the
solar system. Below the clock is a door leading to the tower, which
contains the great bell called "Peter," which is only exceeded in
weight by the Great Tom of Oxford. It was brought from Llandaff by
Bishop Courtenay at the end of the fifteenth century, and weighs
12,500 tons. It was cracked on 5th November 1611, "from a too violent
ringing in commemoration of the Gunpowder Plot."
We now enter the south transept, which is similar to the north. The
monuments here are interesting. There is the supposed tomb of Bishop
John the Chaunter (1185-1191), but is of later date; a sixteenth
century monument of Leofric, the first Bishop of Exeter; a mural
tablet to the memory of Sir Peter Carew, who played an important part
in the rebellion of the Devon men, caused by the changes introduced
into the Prayer-Book at the Reformation, when they besieged Exeter and
well-nigh gained an entrance. Sir John Gilbert has a monument, a
relative of Sir Walter Raleigh, one of the brave discoverers of the
Elizabethan age and founders of our maritime supremacy. The colours of
the Cornwall Light Infantry hang here, which were carried at Waterloo
and in the Indian Mutiny.
The Chantry of the Holy Ghost in the south-west corner of this
transept is a Norman structure. It has a font which was first used at
the baptism of Henrietta, daughter of Charles I., who was born in
Exeter in 1644. The Chapel of St. John the Baptist, on the east side,
is similar to that of St. Paul in the north transept. Bishop Oldham,
whose chantry is in the south choir aisle, erected the screen of this
chapel. Beyond the Chapel of the Holy Ghost is the chapter-house. The
cloisters were destroyed by the Puritans. The chapter-house has been
recently restored. Notice the Early English character of the arcade
(thirteenth century) in the lower part; the upper part has
Perpendicular niches. The Chapter Library has about 8000 volumes.
Retracing our steps we approach the choir, entered by a door in the
beautiful screen supporting the organ. This was the old rood-screen,
on which formerly stood the rood or figure of our Lord on the Cross.
It was erected in the fourteenth century. The rose and thistle in the
carvings were inserted later, in the time of James I., to mark the
Union of England and Scotland under one monarch, but these have
happily been removed, and probably the worthless paintings belong to
the same period. The organ was built by Loosemore in 1665 (one of the
oldest in England), rebuilt in 1819, and has been so much renovated
that very little of the old work remains.
The choir is remarkably fine. The style is now Decorated. The original
Norman choir extended to the third arch. Bishop Marshall completed
this by adding four more bays. Then came the builders of the early
fourteenth century who transformed the Norman pillars and other
details, and converted the choir into Decorated work. The bishops who
accomplished all this were De Bytton (1292-1306) and Walter de
Stapledon (1306-1329) and Bishop Grandisson (1327-1369). The last
dedicated the high altar in 1328. The bosses of the vaulted roof are
worthy of especial examination, so remarkable are they for the
delicacy of the carved foliage. The choir has been carefully restored
in recent years, and the stalls, pulpit and reredos are modern, and
were designed by Sir Gilbert Scott. Notice the interesting old
misereres, which are very remarkable, and probably the oldest and most
curious in England. The foliage denotes the Early English period, and
they were probably designed by Bishop Bruere (1224-1244). Notice the
mermaid and merman on the south side, the elephant, knight slaying a
leopard, a minstrel, etc. The lofty bishop's throne was erected by
Stapledon, and is said to have been taken down and hidden away during
the civil war period. The painted figures represent the four great
building bishops--Warelwast, Quivil, Stapledon and Grandisson. The
sedilia by Stapledon are very fine. Notice the carved lions' heads,
and the heads of Leofric, Edward the Confessor and his wife Editha.
The east window is Early Perpendicular, inserted by Bishop Brantyngham
in 1390, and contains much old glass. The tombs in the choir are:--
_On North Side_--
Bishop Stapledon (holding a crozier and a book).
Bishop Marshall (d. 1206).
Bishop Lacey (d. 1455), to which tomb pilgrimages used to be made
on account of the reported miracles wrought there.
Bishop Bradbridge (d. 1578).
_On South Side_--
Bishop Chichester (d. 1155).
Bishop Wolton (1594).
Entering the north choir aisle we see the Chapel of St. Andrew,
renovated by Stapledon, having an upper chamber containing the
archives, the Fabric Rolls, MSS. of Roger Bacon, Leofric's book of
Saxon poetry, and many other valuable treasures.
Next in order we see the Chantry of St. George, or Speke's Chantry
(Perpendicular style), containing the monument of Sir John Speke, who
endowed this chantry for the good of his soul. When the Cathedral was
divided into two portions in the days of the Puritans, a doorway was
made through the east window as an entrance to "East Peter's." At the
east end of this aisle is the Chapel of St. Mary Magdalene, erected
originally by Bronescombe, transformed by Quivil, but has
Perpendicular screen. The east window has good fifteenth-century
glass. Notice the noble monuments of Sir Gawain Carew (1589, restored
in 1857), his wife and nephew, Sir Peter Carew (_see_ p. 172). The
latter is remarkable as a very late example of cross-legged effigy.
The monuments in this north choir are--a cross-legged effigy of Sir
Richard de Stapledon, brother of the bishop (d. 1330). [It need not be
stated that this fashion of crossing the legs has nothing to do with
the Crusades]; effigy of Bishop Carey (d. 1626); a tablet to Robert
Hall, son of the bishop; tablet to Canon Rogers (d. 1856); an
emaciated sepulchral figure; Elizabethan tomb of Anthony Harvey
(1564), who gained great wealth from the dissolution of monasteries.
Passing behind the high altar we come to the ambulatory, or
"procession path." The style is Early Decorated. Notice the ancient
Bible-boxes and the two Jacobean tablets. The windows contain good
modern glass.
The Lady Chapel was entirely transformed by Bishop Quivil (1280-1291)
into the Decorated style. The bosses in the east bay show the
Saviour's head and the emblems of the Evangelists. The reredos was
erected by Grandisson, but only the central portion is ancient, the
rest has been severely "restored." This chapel contains the tombs
of:--
1. Bishop Peter Quivil (d. 1291), a slab with the
inscription--_Petra tegit Petrum nihil officiat sibi tetrum_.
2. Bishop Bartholomaus Iscanus (d. 1184), a bearded figure, of
military type.
3. Bishop Simon of Apulia (d. 1223). This effigy, when compared
with the last, shows the advance of art made in a century.
4. Bishop Bronescombe (d. 1280). The canopy is older than the
monument, and is Perpendicular.
5. Bishop Stafford (d. 1419). A fine monument, much defaced.
6. Sir John and Lady Doddridge. Sir John (d. 1628) was one of
the judges of James I., called by Fuller the "sleepy judge,
because he would sit on the bench with his eyes shut to
sequester his sight from distracting objects." The dress of
Lady Doddridge is remarkable.
In the south choir aisle we see first the Chapel of St. Gabriel,
similar to that of St. Mary Magdalene on the north. This was built by
Bishop Bronescombe, whose patron saint was St. Gabriel. The colouring
of the roof has been carefully restored. Some early glass is in the
windows. Then we enter Bishop Oldham's Chantry, or the Chapel of St.
Saviour. This bishop died in 1519. His chantry resembles the Speke
Chantry in the opposite aisle. Notice the effigy of the bishop, with
the owls in the panels, referring to the first syllable of his name,
"old," or "owld." The bishop was a Lancashire man, and in that county
_old_ is usually pronounced _owld_.
The third chapel in the south choir aisle is that of St. James, built
by Bishop Marshall, and renovated by Bishop Bronescombe in very Early
Decorated style. It contains a beautiful monument, raised in the
fifteenth century to the memory of Leofric, first Bishop of Exeter.
There are two cross-legged effigies in this aisle, which are usually
said to represent Crusaders.
With this chapel our tour of the Cathedral closes. Of some of the
great men who have been Bishops of Exeter we have already spoken. The
names Warelwast, Marshall, Bronescombe, Quivil, Stapledon, Grandisson,
have often been mentioned, and of others whose tombs still adorn their
mighty resting-place. Others there are whose memory remains. Miles
Coverdale, the well-known reformer; Joseph Hall, the famous
theologian; John Gauden, the supposed author of the _Eikon Basilike_
(though modern scholars have come round to the belief that the book
was really written by Charles I.); the learned Seth Ward; Trelawny,
one of the seven bishops committed to the Tower by James II.;
Phillpots and Temple, have all added lustre to the See of Exeter.
* * * * *
The city of Exeter is full of interest. The old Guild Hall and scanty
remains of Rougemont Castle should be visited, and fifteen miles away
is the noble collegiate Church of Ottery St. Mary, which well repays a
minute examination. In construction it somewhat resembles the
Cathedral of Exeter, and the main part of the building belongs to the
fourteenth century.
DIMENSIONS
Total length, 383 ft.; length of nave, 140 ft.; breadth of nave,
72 ft.; height of nave, 66 ft.; area, 29,000 sq. ft.
PRINCIPAL BUILDING DATES
1107-1200--Part of towers in transept and core of walls of nave;
1224-1244--stalls; 1258-1291--Lady Chapel and transepts;
1308-1369--choir, nave, porches and west front; 1390-1519--east
window, part of chapter-house, Oldham's Chantry, Speke's Chantry.
TRURO CATHEDRAL
Truro is one of the oldest towns in England. The courts of the Duchy
of Cornwall are held here, and it once enjoyed the privilege of a
mint. In the time of Elizabeth it had jurisdiction over the port of
Falmouth. Norden, in his survey of England, in 1574, wrote of
Truro:--"There is not a towne in the west part of the shire more
commendable for neatness of buyldinges, nor discommendable for the
pride of the people." It showed its loyalty by furnishing a large body
of soldiers for the king in 1642, commanded by Sir Ralph Hopton.
In 1876 the See of Truro was formed, and a new Cathedral was built,
Mr. Pearson being the architect. It is one of the most important
modern ecclesiastical buildings in England, and is a fine imitation of
the Early English style at its best period. The south wall of the old
Church of St. Mary, which formerly stood on this site, has been
incorporated in the new Cathedral. The newness of this Cathedral and
the entire absence of any historical traditions and associations will
perhaps hardly tempt travellers to journey so far west to see the
creation of modern architects and builders. The whole plan of the
Cathedral has not yet been completely carried out, and the church
still lacks its towers. Whether our modern architects can build so
surely and so well as our ancient monks and priors time will show; but
reports speak none too well of the substantial nature of all that has
been done at Truro.
GLOUCESTER CATHEDRAL
Gloucester is a very venerable city. It was a Roman station, and was
known as Glevum. Remains of the old Roman wall of the city exist in
various places, under the house, 36 Westgate Street, under a furniture
shop (Messrs. Lea) in Northgate Street, at "Symond's Arms," in Hare
Lane. Roman pavements and pottery, coins and altars have also been
found, and the four straight streets crossing in the centre are the
modern forms of the old Roman roads which intersected the city,
forming _insulæ_, as the sections were called. It was an important
place in Saxon times, and Bede called it one of the noblest cities in
the land. The first monastery was founded by Osric in 681 for monks
and nuns. Of the history of this we shall treat presently. The Danes,
of course, ravaged and burnt the city. Saxon and Norman kings loved
the fair city of the west. We seem to see a procession of monarchs who
held their courts here--Alfred, Athelstan, Edgar, Hardicanute, Edward
the Confessor, and then the stark Conqueror, who here ordered the
compilation of that important survey, the _Domesday Book_. "In the
reign of Rufus," wrote a great historian, "everything that happened at
all somehow contrived to happen at Gloucester." Here Anselm was
consecrated Archbishop of Canterbury. It is famous for lampreys, for
which Henry I., when feasting here, acquired a liking, which unhappily
proved fatal to him, as he died of a surfeit of them. Here Henry II.
held a great council, and Henry III. was crowned, "who loved
Gloucester better than London." The Statutes of Gloucester were passed
here in an Edwardian Parliament, and the murdered king, Edward II.,
found here his last resting-place. Numerous Parliaments were held
here, and monarchs visited the city. In the Civil War period
Gloucester was held by the Parliamentarians, and subjected to a
protracted siege, which was eventually raised by the advent of Earl of
Essex. The city retains many of its old houses. The house of Robert
Raikes, the founder of Sunday Schools, is a fine old building. The
Deanery, formerly the prior's lodging, has many interesting
associations. Here Henry VIII. and Anne Boleyn sojourned. The inns are
famous, especially "New Inn," which was used by the pilgrims to the
shrine of Edward II., and "The Old Raven." Colonel Massey, the
governor during the siege, sojourned at 154 Westgate Street. Before
the dissolution of monasteries there were many religious houses, and
the friars were numerous; there were colleges of Grey, White and Black
Friars, some remains of which still exist. There are several
interesting churches--St. Mary de Crypt, a cruciform building of
twelfth century, with some Decorated and Perpendicular work; St. Mary
de Lode, built on the site of a Roman temple, with an old chancel and
tower; St. Michael, from the tower of which the curfew sounds each
night; St. Nicholas, of Norman construction.
[Illustration The Deanery Herbert Railton]
HISTORY OF THE CATHEDRAL
Gloucester was one of the sees founded by Henry VIII.; its episcopal
life, therefore, does not extend further back than 1541, when the last
Abbot of Tewkesbury became the first Bishop of Gloucester. The story
of the minster, however, carries us back to very early times. The
first Abbey, as we have said, was founded by Osric, nephew of King
Ethelred, in 689, and was designed for both monks and nuns. It was not
long-lived, and in a century was deserted and fell into decay. The
Mercian kingdom was much distracted, and confusion reigned until
Beornwulph restored the ruined walls of St. Peter's Abbey, and
introduced secular canons, who seem to have lived as they pleased, and
loved not discipline. So Canute in 1022 turned them out and
established Benedictine monks. These did no better. Their abbot,
Eadric, was a waster of the goods of the Abbey, and the pious
chronicler saw in the destruction of the monastery by fire the
vengeance of God for their sins. Then Bishop Ealdred of Worcester, who
brought back the Black monks of St. Benedict, began to build a new
church. Then came Abbot Wulfstan from the Worcester Monastery in 1072,
and Abbot Serlo, a worthy monk of Mont St. Michel, who found
desolation, an almost empty monastery, a poor, mean building, and
began to raise that glorious pile which we see now. It was dedicated
in 1100, when there was a mighty concourse of bishops and great men. A
remarkable sermon was preached here by Abbot Fulcher of Shrewsbury,
prophetic of the death of the cruel king, Rufus. Abbot Serlo sent to
warn him, but in vain, and soon the news of his death in the New
Forest rang throughout the country.