south porch, and we are at once struck by the extraordinary width of
the church. On each side of the nave there are two aisles. The outer
aisles both on the north and south sides were formerly separated from
the rest of the church by screens, and were occupied by chapels or
chantries. By a somewhat drastic restoration at the beginning of the
nineteenth century these screens were removed, and the outer aisles
thrown open. This procedure rendered the church more useful for
congregational purposes, though we may regret the disappearance of the
historic chapels, a few piscinæ being the only remains. We will
commence our pilgrimage at the west end, and from this point view the
length of the church, which is shrouded in "a divine religious light,"
perhaps a little too dim. Most of the windows are filled with modern
glass which is generally of beautiful design; but modern glass lacks
that transparency which ancient glass has. The sunlight streams
through the old glass, and it is quite possible, as at Fairford, to
read the smallest print; while modern glass effectually shuts out the
light, and at the best too much sunlight is not usually observable in
this region of smoky chimneys and polluted atmosphere. The piers of
the nave are modern imitations of the original Perpendicular ones, and
are lofty and graceful. There is no triforium, and the clerestory is
somewhat contracted. The windows have five lights of Perpendicular
tracery, and most of them are filled with modern glass. The roof is
ancient, but has been much restored. In the distance we see the
handsome choir-screen with the organ over it. The spandrels of the
chancel arch are richly carved with shields in quatrefoils, and above
is the Tudor rose. Shields adorn the spandrels of the main arches.
Above us is the ceiling of the tower, which is a good example of
fan-tracery. The modern baptistry is on our right. Passing the south
porch, erected in memory of Mr. James Jardine, we see the extreme
south aisle, formerly consisting of chantries separated from the rest
of the church by screens. In a recess east of the porch was the Brown
Chapel, and north of this St. George's Chantry (to which saint,
together with St. Mary and St. Denis, the church was formerly
dedicated) founded by W. Galley in 1508. At the dissolution of the
collegiate institution John Barlow and Edward Smyth, priests of this
chantry, received pensions of £6 and £4, 12s. 6d. respectively. Then
comes the Trafford or St. Nicholas Chantry, the priest of which
received a pension of £5. The Traffords of Trafford are an ancient
Lancastrian family who have held the manor, near Manchester, since the
Conquest, and the name of Edmund Trafford appears upon the list of
parishioners given in the licence to erect the collegiate church. A
piscina shows the position of the altar of this chantry. Next follows
the Jesus Chapel which has a fine sixteenth-century screen. It was
founded by Richard Bexwick in 1506, being granted to him "to enjoy its
privileges by James Stanley, warden, and the fellows." His daughter
Isabel gave it to Francis Pendleton and Cicely his wife, daughter of
Isabel. In 1652 it was in a ruinous condition. It is now used as the
library and vestry. From this chapel another chapel founded by Ralph
Hulme in 1507 opened, but it has been destroyed. One of this family of
Hulme founded in 1691 the Hulmeian scholarships at Oxford. Next we see
the entrance to the chapter-house built by James Stanley (1485-1509),
which is good Perpendicular work. Under the arch, which has panelled
work in the soffit, there are two doors having four-centred arches,
and above panelling. The Fraser Chapel, erected in memory of Bishop
Fraser of Manchester (1870-1885), "a man of singular gifts both of
nature and the spirit," who won all hearts and whose memory will ever
be venerated in the Manchester Diocese, stands on the south at the
extreme east end of this aisle. It contains an admirable effigy of the
bishop, who was buried in the little Parish Church of Ufton Nervet,
Berks, where he passed the early years of his clerical life, and for
which he had tender memories. This was a college living to which he
was presented by Oriel College. Turning to the north we enter the
retro-choir and the Lady Chapel, originally founded by George West,
youngest brother of Lord Delaware, who was warden of the college in
1518-1535. The last historian of the Cathedral, Mr. Perkins, considers
that West reconstructed a more ancient building, and that the style of
the windows inserted in the eighteenth century in imitation of earlier
ones point to an earlier date than 1518. This chapel was once known as
the Byron Chapel, and then the Chetham Chapel, as it contains several
memorials of that family. There is a modern statue of Humphrey
Chetham, the founder of Chetham's Hospital (which we shall presently
visit), who was born in 1580, and by trade "acquired opulence, while
his strict integrity, his piety, his works of charity and benevolence
secured him the respect and esteem of those around him."[15] He
founded the school, and clothed, fed and instructed twenty-two boys,
and, though never married, thus became a father of the fatherless and
destitute. At the base of his statue is seated a figure of one of
these youths. Near this statue is the tomb of Hugh Birley, a member of
a distinguished Manchester family and a representative of the city in
Parliament. An ancient organ, more than two centuries old, also is in
this aisle. On the north is the St. John the Baptist or Derby Chapel,
formerly called the Stanley Chapel, separated by an old screen from
the aisle. The Stanleys belong to the same family as the Earls of
Derby. The office of warden was held by two members of the Stanley
family, both having the Christian name of James. The second James
Stanley became Bishop of Ely, and by virtue of his will (he died 1515)
this chapel and the Ely Chapel were built. His tomb remains, of grey
marble, with a small brass figure of the bishop in his robes, with the
inscription:--"Off yur charite pray for the soul of James Stanley,
sutyme Bushype of Ely and Warden of this College of Manchestir, which
decessed out of this transitore world the xxxi. daye of March, the yer
of our Lord MCCCCC. and XV., on whos soul and all Christian souls
Jhesu have mercy."
Westward of this Derby Chapel stands the Ducie Chapel, dedicated to
St. James, founded in 1507, and next comes the Radcliffe Chantry,
dedicated to the Holy Trinity, founded by W. Radcliffe in 1498. The
Radcliffes of Radcliffe, near Manchester, were an ancient race, and
the ballad of "Fair Ellen," the daughter of one member of this family,
who was slain by a cruel stepmother and her body cooked in a pie, is a
gruesome legend of old Lancashire.
The east end of the nave is used for services, and there is a fine
modern pulpit. Manchester Cathedral possesses some very fine carved
woodwork, of which the ancient rood-screen is a good example. The
organ is placed above it. On entering the _Choir_ we notice the
magnificently-carved stalls with rich tabernacle work, and quaint
_misereres_. This is the work of James Stanley (1485-1509) afterwards
Bishop of Ely, assisted by a Manchester merchant named Beck. The
bishop's throne is modern, and also the reredos. The three Patron
Saints-SS. Mary, George and Denys--appear in the niches. In accounting
for this triple dedication Randle Holme states that to St. Mary was
the earlier church dedicated, and that Thomas Delaware, "being partly
a Frenchman, and partly an Englishman," selected St. Dionysee, ye
Patron Saint of France, and St. George, the Patron Saint of England,
as patrons of his new Cathedral. This does not seem probable, and it
is more likely that the claim of Henry V. to the crown of France at
the time of the founding of the college suggested the additional
dedication.
The windows have all modern glass. Formerly there was some curious
ancient glass; in the east window of the south aisle, Michael and his
angels fighting with the dragon; in the east window of the north
aisle, SS. Augustine and Ambrose chanting the _Te Deum Laudamus_; in
the clerestory were pictures of the Virgin; and then there were some
curious representations of the Trinity. These have all disappeared. Of
the modern ones, the most interesting, perhaps, is the Gordon window
in the north aisle.
John Huntingdon, the builder of the present choir (1422-1459), lies
buried in it, and formerly his tomb was inscribed with the words:
_Domine, dilexi decorem domus tuæ_, and there was a brass with this
inscription: _Hic jacet Johan Huntingdon Bacc in Decr. Prim. Magister
sive custos istius collegii qui de novo construxit istam cancellam,
qui obiit ix. mo die xi. bris MCCCCLVIII., cujus animæ proprietur
Deus_. We could not discover this brass, but on each side of the Lady
Chapel entrance is the rebus of the founder, on one side a man
hunting, on the other a tun, which "hieroglyphical quiddity" makes
Hunting-ton.
* * * * *
Crossing the street to the north is a profoundly interesting building,
known as the _Chetham Library and Hospital_, of which Manchester may
be justly proud. Its chequered history has already been partially
told, and carries us back to the days when the college of warden and
fellows, chaplain and choir-boys, lived here. Now, as we have seen,
it is the school, with a noble library attached, founded by that
worthy merchant, Humphrey Chetham. As a baron's hall, an
ecclesiastical establishment, and a remarkable school, the building
presents many features of unique interest, and the grand library is
worthy of minute inspection.
DIMENSIONS
Length of nave and choir 172 ft.
Width of nave and aisles 114 ft.
Length of choir and Lady Chapel 88 ft.
Height of roof 50 ft.
Height of tower 140 ft.
Area 18,000 sq. ft.
PRINCIPAL BUILDING DATES
(1422-1458)--Choir.
(1465-1509)--Nave rebuilt, stalls and canopies, chapter-house,
chantries of St. George, St. Nicholas, Jesus, Ducie and
Radcliffe.
(1518-1535)--Lady Chapel, Ely Chapel.
Modern--Baptistry, north and south and west porches, Fraser
Chapel, throne, reredos and glass.
FOOTNOTE:
[15] Baine's _Lancashire_, Vol. II., p. 365.
CARLISLE CATHEDRAL
This northern city has had a noted history. It was a town of
considerable importance under the Romans, and on their departure was
captured by the furious Picts. It has been a city of sieges. Egfrid of
Northumbria rebuilt it in the seventh century, and granted it to St.
Cuthbert, but the Danes sacked and plundered it. William Rufus again
rebuilt and fortified it, but David, King of Scotland, captured the
place, and died within its walls in 1153. Two more sieges it again
endured, and was at length taken in 1217. Here came Edward I.
frequently on his marches to conquer the Scots, and held Parliaments
here, and near here he died. A goodly company of nobles hastened here
to do homage to his son. After the disaster of Bannockburn Robert
Bruce besieged Carlisle, and had his quarters in the Cathedral, which
is outside the city walls, but he failed to gain the city. The Bishops
of Carlisle were sometimes warlike men, and took the field against the
dread invaders from the north. The old castle has seen much of
fighting, and it had a notable prisoner in the person of ill-fated
Mary Queen of Scots. A long siege, lasting eight months, took place in
the Civil War time, and in that time terrible damage was done to the
Cathedral, as we shall see. Again, in the rebellion of 1745, "Bonnie
Prince Charlie" captured the place, and there was a great flourish of
trumpets, or rather bagpipes, until the king's forces came and put an
end to the poor campaign. The Cathedral was again used as military
quarters, and the prisons of the castle tell the sad story of the fate
of the rebels.
The ecclesiastical history of Carlisle reflects its civil history. As
we have said, St. Cuthbert of Lindisfarne and his successors ruled
over this city and district for many years. When William II. restored
the city and raised the castle, one Walter, a noble and wealthy
priest, who was left as governor by the king, set to work to build a
church and priory. But death stayed his hand, and Henry I. completed
the task, and established here a monastery of Augustinian canons in
1121. In 1133, on the advice of Thurstan, Archbishop of York, he
established a see here, and Udelulf became the first bishop. The
Cathedral, begun by Walter and finished by Henry I., was of the usual
Norman character. Its plan was cruciform, and it had a nave with
aisles, transepts with a low tower at the crossing. The architect was
Hugh, Bishop (1218-1223), formerly Abbot of Beaulieu, Hants, who
brought with him to Carlisle the traditions of a splendid style of
architecture. In the early part of the thirteenth century the Norman
choir was taken down, and rebuilt in the Early English style. Two
fires did much damage, especially the one that raged in 1292. The work
of rebuilding was at once commenced, and a more imposing plan was
projected, but a long time elapsed before it was completely carried
out. At length, about the middle of the fourteenth century, the choir
was completed in the Decorated style, a new triforium, clerestory roof
and east end being erected. The Late Decorated east window, which was
finished at this time, is one of the most beautiful in the world. Fire
again injured the Cathedral in 1392, especially the north transept,
which was restored by Bishop Strickland (1400-1419), who also rebuilt
the tower above the roof, and crowned it with a wooden spire. The
monastery was dissolved at the Reformation, and a Cathedral
establishment formed, consisting of a dean and canons. In Mary's reign
Owen Oglethorpe was made bishop, who, "being a good-natured man and
pliable," according to Fuller, crowned Queen Elizabeth, "which the
rest of his order refused to do." He was, however, deprived on account
of "certain principles of stubbornness instilled into him." The Civil
War did terrible damage to the Cathedral. During the siege Puritan
soldiers were quartered in the sacred building, "who did after their
kind," and, moreover, after the capture of the city, in order to
repair the fortifications, they pulled down a great portion of the
nave, and used the stones for that purpose. In the rising of 1745
Charles Edward, the Pretender, as we have said, occupied Carlisle, and
installed in the Cathedral, as bishop of the see, a Romanist named
James Cappoch. When the Duke of Cumberland arrived and recaptured the
city, Cappoch allowed himself to be taken prisoner, and was hanged.
The church was again used as a barracks, and many of the poor Jacobite
prisoners were confined here.
Since then there have been sundry restorations, some very deplorable,
one about the middle of the eighteenth century, which were happily
effaced, as far as possible, by the work of the middle of the
nineteenth. But the hand of the restorers has fallen rather heavily
upon the beautiful work of the choir, and destroyed much of its
delicate beauty. The architects of 1850 had not yet learned to respect
the antiquity of the buildings which fell into their hands to restore,
and Carlisle and many other churches have suffered much from their
drastic treatment.
THE EXTERIOR
A good view is obtained from the castle. The usual approach is from
the east end, whence we observed the grand east window with its
beautiful Late Decorated tracery. It is flanked by buttresses, with
niches and crocketed pinnacles. In the niches are statues of SS.
Peter, Paul, James and John. A floriated cross crowns the gable, and
on each side are four similar crosses. In the gable is a triangular
window, having three trefoils, and below is a niche with figure of the
Virgin. The _Central Tower_, built by Bishop Strickland (1400-1419) on
the old Norman piers, is too small for the huge choir, and lacks
dignity. Formerly it was crowned with a wooden spire, but this has
been removed. There is a turret set at the north-east angle, and in
the north side is a niche with the figure of an angel. The lower part
of the _Choir_ is Early English, with the exception of a Perpendicular
window at the west, and a Decorated one in the east bay. The
_Clerestory_ is Late Decorated, and the windows have flowing tracery.
The ball-flower ornament is extensively used in the cornice. The
sculpture at Carlisle is worthy of notice. Carved heads and curious
gargoyles abound. The _North Transept_ is nearly all modern. It was
rebuilt by Strickland in the fifteenth century, and again rebuilt when
the church was restored. There is, however, an Early English window in
the west wall. On the east side there was formerly a chapel, which has
not survived the repeated alterations. The greater part of the _Nave_
was taken down by Cromwell's soldiers. What is left is of unmistakable
Norman character. There is some modern imitation work, and late
architectural detail. Most of the windows are modern, and also the
doorway. The west end is the result of modern restoration. The south
side is similar to the north. The _South Transept_ preserves the old
Norman walls. On the south is a modern doorway with a window over it.
On the east is _St. Catherine's Chapel_, a Late Early English or Early
Decorated building. The south side of the choir is similar to the
north, and presents Early English details of construction. The
monastic buildings once stood on the south side of the church, but
they have been pulled down with the exception of the fratry and
gatehouse, the stone being used for repairing the fortifications of
the city by Puritan soldiery. The refectory, or fratry, was rebuilt in
the fifteenth century, and is now used as a chapter-house. There is a
fine reader's pulpit here. The gateway was erected by Prior Slee in
1527. The Deanery is a fine old house, and was formerly the prior's
lodging. It was rebuilt in 1507.
[Illustration
Carlisle
from S E]
THE INTERIOR
The _Nave_ was formerly used as the Parish Church of St. Mary, and was
filled with high pews and galleries. These have all been cleared away,
and it is possible to admire the plain and massive Norman building,
which now, alas! consists of only two bays, the rest having been
destroyed in the Civil War period. Before that act of vandalism there
were eight bays. The work before us, for the most part, belongs to the
earliest church, begun by Walter, finished by Henry I. about 1130.
Formerly a low ceiling shut out the triforium and clerestory from our
view, but this, too, has happily been removed. The piers are low (14
feet high, 17 feet in girth), the arches being semi-circular, some of
the capitals having evidently been carved later with some Early
English foliage. The triforium consists of plain, open, round-headed
arches, and is a little later than the main arcade. The clerestory has
in each bay three arches, resting on shafts with carved capitals. The
west end is modern. The tattered colours of the Cumberland Regiment
tell of the Indian Mutiny, and there is a window in the south aisle to
the memory of the men who died in that melancholy time. Sir Walter
Scott was married in this nave, when it was a church, in 1797, to Miss
Margaret Charlotte Carpenter. The font is modern and also the organ.
The _North Transept_ was rebuilt by Bishop Strickland in the fifteenth
century, and its north end was again rebuilt in modern times. Here a
large modern window of Decorated design has been erected in memory of
five children of Archbishop Tait, who died here of scarlet fever when
Dr. Tait was dean. In the west wall is an Early English window, which
is a good example of plate-tracery. The arch of the choir aisle is
Decorated; the roof is modern. Crossing over to the south transept we
notice the piers which support the _Tower_. These are Norman, and
have additional columns erected by Bishop Strickland when he rebuilt
the tower. The latter have foliated capitals, and are in the
Perpendicular style. On the capitals of the eastern arch are the
badges of the Percy family--the crescent and fetterlock. The most
famous scion of this house--Hotspur--was governor of Carlisle. On the
western side are the rose and escallop shell, badges of the Dacres and
Nevilles.
The _South Transept_ is both narrow and shallow, being only one bay in
length. The east side is Norman work; there is an arch with zigzag
ornament and cushion capitals, opening into the choir aisle. A second
Norman arch opens to St. Catherine's Chapel. The window and door on
the south are both modern, and have much elaborate decoration, which
is scarcely in keeping with the Norman work surrounding it. The
triforium and clerestory resemble those of the nave. _St. Catherine's
Chapel_ stands on the site of a Norman chapel, and is in the Early
Decorated style or Late Early English. It was founded by John de
Capella, a wealthy citizen, and is now used as a vestry. The screen is
Late Decorated, and is of great beauty. The doorway between the aisle
and chapel formerly led to a well, now closed. "A similar well exists
in the north transept, but has been long covered. Besides supplying
water for the use of the church, such wells may have been of special
service in border churches, which, like this of Carlisle, served as
places of refuge for the inhabitants in cases of sudden alarm or
foray" (Murray's Handbooks). The following monuments are in the
transepts:--
Robert Anderson, "the Cumberland Bard" (1833); Bishop Fleming (1747):
Prior Senhouse (_temp._ Henry VII.); and there is a curious Runic
inscription, written in Norse, which, being translated, is: "Tolfihn
wrote these runes on this stone."
We now enter the _Choir_ by the door in organ-screen. This is one of
the finest in England--spacious, lofty, well-proportioned and rich in
all its details. The arches of the main arcade are Early English, as
the mouldings and dog-tooth ornament testify. These remained after the
fire of 1292, and were retained. The piers are Early Decorated, and
were evidently built to support the arches after the fire. The
capitals were carved later in the Late Decorated period, when the
upper parts of the choir, triforium, clerestory, roof and east end
were rebuilt. The builders were probably Bishops Welton and Appleby
(1353-1395). When the choir was rebuilt in Early English times, the
architect determined to enlarge it, and as the monastic buildings on
the south prevented any expansion in that direction, the south piers
of the choir retained their old position, while the north were moved
further northward, and a new north aisle added. Thus the choir and the
tower and nave are not quite symmetrical, and there is a blank wall at
the north-west end of the choir which is thus accounted for. The
details of the architecture of the choir merit close attention,
especially the sculpture. Small figures of men, animals and monsters
are mingled with the foliage. There are some admirable representations
of the seasons, beginning with the second capital on the south,
counting from the east end. There is a very fine timber roof,
constructed about the middle of the fourteenth century. The scheme of
colour decoration is, unfortunately, not original. The _East Window_
is one of the finest Decorated windows in the kingdom. The stone-work
is new, but it is believed to be an exact reproduction of the
original. It has nine lights. The glass of the upper portion is
ancient, dating from the reign of Richard II. It represents the
Resurrection, Final Judgment and the New Jerusalem. Hell is depicted
with the usual mediæval realism. Below is modern glass, representing
scenes from the life of our Lord. The _Stalls_ are Late Perpendicular,
erected by Bishop Strickland, and are excellently carved. The
tabernacle work is generally attributed to Prior Haithwaite (_circa_
1433). There are some quaint and curious _misereres_, the carvings
representing grotesque monsters, such as dragons and griffins, fables
such as the Fox and the Goose, and a great variety of subjects. A
Renaissance screen, erected by Salkeld, the last prior, divides the
west bay of the presbytery from the north choir aisle. The altar,
throne, lectern and pulpit are modern. There is a fine brass to the
memory of Bishop Bell (1495) on the floor of the choir.
Passing to the _North Choir Aisle_ we notice the Early English
character of the arcade and windows. The latter have two lights, and
have deep mouldings and dog-tooth ornament. The wall arcade is
particularly graceful. The last bay eastward was built when the east
window was erected, and is Late Decorated, and in the last bay
west-ward there is a Perpendicular window. The vault was constructed
after the fire of 1292. The two sepulchral recesses in the north wall
are remarkable. They are of Early English character, and have a
chevron moulding which is said to be unique. It is conjectured that
the effigy in one of these recesses is that of Silvester of Everdon
(1254), and that the other was intended for Bishop Hugh of Beaulieu,
who died in Burgundy. In another bay is an aumbrey wherein treasures
of plate and other valuables were stored. There is a late brass to the
memory of Bishop Robinson (1416), formerly Provost of Queen's College,
Oxford. Archdeacon Paley (1791), the learned divine whose _Evidences
of Christianity_ is still a divinity text-book at Cambridge, lies
buried here. The curious paintings on the back of the stalls, of late
fifteenth-century execution, always interest visitors to the
Cathedral. They illustrate the lives of St. Anthony and St. Cuthbert,
with descriptive verses under each scene, and there is a set of
figures of the Apostles with the words of the Apostles' creed
traditionally assigned to each. The _Retro-Choir_ is very narrow and
is of the same date as the window. Bishop Law's monument is here
(1787), carved by T. Banks, R.A. The _South Choir Aisle_ resembles
that on the north. The two western windows are later than the Early
English ones in the opposite aisle. There are monuments here of Bishop
Waldegrave (1869), Bishop Barrow (1429) (or Welton, 1362), Bishop
Goodwin (1891), Dean Close (1882).
The screen here is like that opposite by Prior Gondibour, who did so
much to decorate his Cathedral, and to whom the paintings are
assigned. The back of the stalls on this side has a representation of
scenes from the life of St. Augustine, or, as curious descriptive
verses call him, the "gret doctor Austyne."
DIMENSIONS
Length of nave 39 ft.
Breadth of nave 60 ft.
Height of nave 65 ft.
Length of choir 134 ft.
Breadth of choir 72 ft.
Height of choir 72 ft.
Height of tower 112 ft.
Area 15,270 sq. ft.
PRINCIPAL BUILDING DATES
Norman (1092-1130)--South transept, piers of central tower,
part of nave.
Early English (1219-1260)--Walls and windows of choir aisles,
part of main arcade of choir, St. Catherine's Chapel.
Early Decorated (1292)--Part of main arcade of choir.
Late Decorated (1353-1395)--Upper part of choir, east end and
roof.
Perpendicular (1400-1419)--Upper part of tower.
NEWCASTLE CATHEDRAL
The See of Newcastle was created in 1882, as the result of the
spiritual expansion of the Church of England which caused the
formation of so many new sees. In the days when England and Scotland
were separate kingdoms, and when wars between the two countries were
not infrequent, Newcastle occupied a position of great strategic
importance. Here was a strong castle--the "new castle"--founded by
Henry II. on the site of an older structure built in 1080 by the son
of the Conqueror. It was the mightiest castle in the north of England,
and its keep is one of the finest specimens of Norman military
architecture remaining in the country. In this fortress Baliol was
brought to do homage for the crown of Scotland to Edward I. The keep
is still standing, and also the chapel, a fine specimen of Late Norman
architecture. Many Roman remains have been found here.
The Cathedral was formerly the old Parish Church of St. Nicholas. The
style is principally Late Decorated. An older church was burned down
in 1216. It consists of nave, aisles, chancel and transept. The total
length is 245 feet, and the width 128 feet. The transept is
Perpendicular in style, and so is the fine tower with spire built in
1474, which is the principal feature of the church. Frequent
restorations have taken place and a very extensive renovation was
effected in 1876 at a cost of £30,000. Admiral Collingwood, the
comrade of Nelson, is buried here.