Gothic or Early English, free from the trace of Norman influence. It
was built by Bishop St. Hugh. The first stone was laid in 1192. The
perfection of the ornament is wonderful. This part of the church
suffered severely from the fall of the tower in 1237, and many traces
of the disaster may still be seen. Screens divide the choir from the
aisles, and were erected to strengthen the building. The _Choir
Stalls_ are very fine, and were erected by Treasurer Welbourn in 1370.
The carving is most elaborate and beautiful, and the _misereres_ are
extremely curious and interesting. Behind each stall is a list of the
Psalms which, according to the constitution of Lincoln, each
prebendary is bound to repeat daily. The pulpit and bishop's throne
are fairly modern. The brass lectern bears the date 1667. The
_Reredos_ was restored about the middle of the eighteenth century, but
contains some thirteenth-century work. A very interesting feature of
the north side is the _Easter Sepulchre_, fashioned for the deposition
of the consecrated elements of the Eucharist from the evening of Good
Friday until the morning of Easter day; during which time it was
watched by a quasi-guard. Three figures of sleeping soldiers appear in
the carving. The style is Decorated. This tomb has been very
doubtfully assigned to Remigius. There are the monuments of Katherine
Swinford, third wife of John of Gaunt (d. 1403), from whom King Edward
is descended in a direct line, and of her daughter, the Countess of
Westmoreland (d. 1440), much mutilated by the soldiers. In the _North
Aisle_ of the choir the beautiful double arcade work of Bishop Hugh is
seen on the wall. In the _South Aisle_ are the remains of the _Shrine
of Little St. Hugh_, the Christian boy with whose crucifixion the Jews
were charged in 1255. The style is Decorated, but the shrine was
mutilated by the soldiers in the Civil War. The great chronicler,
Henry of Huntingdon, also lies buried here.
The eastern transept is part of Bishop Hugh's church. In each arm, on
the east side, there are two apsidal chapels, with arcading round the
walls. The style of the construction resembles that of the choir. On
the south of the north arm is the so-called _Dean's Chapel_, the use
of which can only be conjectured. The iron-work of the door is worthy
of notice, and also the faded paintings of some Lincoln prelates, by
Vincenzo Damini (1728). It is sad to see the fragments of the tomb of
Grosseteste, to whom the Cathedral of Lincoln and the whole Church of
England owe so much, stored away in one of the chapels. Respect for
his memory and gratitude for his work might suggest the restoration of
this tomb. The southern arm of this east transept has been much
altered, and most of the present work is later than the choir. In one
of the chapels the sub-dean was murdered by one of the vicars in 1205.
Here is the tomb of Bishop Kaye (d. 1853). The screen and lavatory of
the choristers' vestry are beautiful examples of Decorated work.
[Illustration The Angel Choir]
We now enter the _Angel Choir_ (1256-1280), pronounced by Sir Gilbert
Scott to be "the most splendid work of that period which we possess,
and did it not lack internal height, I do not think it could be
exceeded in beauty by any existing church." It is the latest portion
of the main fabric, and was built when the Early English style was
developing into the Decorated. The piers are beautiful clustered
shafts, with carved capitals of Purbeck marble. The east window of
eight lights is very fine (the glass is modern), and is said to be the
noblest example of Geometrical Decorated in the kingdom. The choir
takes its name from the carved angels in the spandrels of the
triforium, which exhibit combined grace and dignity. The famous
_Lincoln Imp_ can with difficulty be distinguished on the north side,
above the most eastern pier. Early English glass fills the east
windows of the north and south aisles. On the north of the Angel Choir
is the _Fleming Chantry_, which contains the double effigy of the
bishop (d. 1431), the founder of Lincoln College, Oxford, first in his
episcopal robes, and then of his corpse in a state of decay. Bishop
Fleming exhumed and burnt the bones of Wyclif. Opposite this chantry
is the _Russell Chantry_, founded by Bishop Russell (d. 1494),
Chancellor of Richard III., and near this the Chantry of Bishop
Longland (d. 1547).
Here in the Angel Choir stood, in former days, the rich shrine of St.
Hugh, plundered at the Reformation, and a monument of Queen Eleanor,
the beloved wife of Edward I., who caused to be erected the famous
Eleanor crosses at every place where her body rested, as it was borne
to its final resting-place at Westminster. This monument was destroyed
by Cromwell's soldiers, and recently a modern copy of the original has
been erected. The Burghersh monuments are worthy of careful study. The
family played an important part in history, and held high honours.
Also we notice the tombs of Nicholas de Cantelupe (much mutilated),
the artists Peter De Wint (d. 1849) and W. Hilton (d. 1839); Bishop
Fuller's memorial of St. Hugh, Bishop Fuller (d. 1675), Bishop
Gardiner (d. 1705) and Sub-Dean Gardiner (d. 1732), Bishop Wordsworth
(d. 1885), Dean Butler (d. 1894), Bishop Sutton (d. 1299) and Robert
Dymoke (d. 1735), whose family held the office of King's Champion.
The _Cloisters_ were erected in the thirteenth century, with the
exception of the north colonnade, which was built by Sir Christopher
Wren. Over this is the _Library_, which contains many treasures: an
original copy of Magna Charta, a letter of Edward I.; a chalice of
Bishop Grosseteste (1254) and his ring; Bishop Sutton's ring and
chalice and paten (1299); a Roman mile-stone (260 A.D.). Of books
there is a large collection, including a MS. copy of the Vulgate
(1106), other valuable MSS., and many versions of the Bible in
English. The old desks are curious and interesting.
The beautiful _Chapter-House_ is of Early English design, and was
completed about 1230. It is ten-sided, and has a central pillar girt
with Purbeck marble shafts, and a stone vaulted roof; lancet windows,
filled with good modern glass enlighten the chamber, two in each side.
An arcade runs round the walls beneath the windows, and in the carving
we see the tooth ornament. There is a very ancient Chair of State
here, which is said to have been the throne of Edward I. when he held
his Parliament in this room.
* * * * *
[My grateful thanks are due to the Very Reverend the Dean of Lincoln
for the great assistance which he has kindly rendered me in
investigating the history of his Cathedral.]
DIMENSIONS
Total length 482 ft.
Length of nave 252 ft.
Breadth of nave with aisles 80 ft.
Height of nave 82 ft.
Length of choir 158 ft.
Length of presbytery 72 ft.
Height of central tower 271 ft.
Height of west towers 200 ft.
Area 44,400 sq. ft.
PRINCIPAL BUILDING DATES
Norman (1074-1092)--Central part of west front, fragments of
first bay of nave.
(1123-1183)--West doors, arcade of west front, three lower
storeys of west towers.
Early English (1192-1253)--Choir and presbytery, nave, transept
to west chapels, turrets and screen of west front, Galilee,
vestries, two lower stages of tower and chapter-house.
(1255-1296)--Angel Choir, cloisters.
Decorated (1307-1380)--Upper storeys of tower, "Bishop's Eye,"
stalls, statues over west door, upper stages of west towers.
(1450-1500)--Chapels.
(1674)--North colonnade of cloister and library.
[Illustration PLAN OF LINCOLN CATHEDRAL]
FOOTNOTES:
[17] This swineherd is said to have given a peck of silver pennies to
the building of the Cathedral.
[18] Page 291.
SOUTHWELL CATHEDRAL
The ancient and interesting Church of St. Mary, Southwell, became a
Cathedral in 1884, when the bishopric was founded, and the building is
worthy of its high honour. In the time of Henry VIII. it nearly
attained that rank, Southwell being one of the sees which that monarch
proposed to found out of the spoils of the monasteries, but his good
intentions were not fulfilled. For centuries it was in the large
Diocese of York, and was esteemed as the Mother Church of the
district, and enjoyed many rights and privileges.
With the exception of a few fragments, no part of the present church
dates further back than the twelfth century. There was an early Saxon
church here, which was probably founded by Paulinus when he converted
the wild folk of Nottinghamshire and Lincolnshire to the Christian
faith. Then came the savage Danes, who swept away all traces of
Christianity. The next church is said to have been built by the Saxon
King Edgar, in 960 A.D., which was one of much importance before the
Conquest; and in 1061 Aldred, Archbishop of York, founded prebends
here, and built refectories for the canons. In the time of Henry I. it
was raised to the dignity of Mother Church of the district, and the
church was entirely rebuilt in the Norman style. When Walter de Grey
was Archbishop of York (1216-1255), he was very energetic in improving
the condition of his diocese and in erecting churches. He rebuilt the
nave of Southwell, granting an indulgence of thirty days' pardon to
all who should assist the work. John de Romeyn, sub-dean, whose son
was afterwards Archbishop of York, assisted him in the work. There is
a close resemblance between the nave of York Cathedral and the earlier
choir of Southwell, and it is not improbable that the latter served as
a model for the former. There is also a very close resemblance between
the chapter-house of the two Cathedrals, which are evidences of the
same designer and workmanship. Archbishop John de Romeyn was doubtless
the architect of both buildings.
The community of clergy at Southwell consisted of the prebendaries,
who formed the chapter, the vicars-choral and chantry priests and
choristers. The prebendaries had much power and many privileges. They
held property, and each had a large house, hunted in neighbouring
forests, and lived as country gentlemen as well as canons of
Southwell. At the Reformation they surrendered their goods to Henry
VIII., who contemplated making Southwell a Cathedral. He despoiled the
church of vast quantities of plate and other valuables. In 1574,
however, the college, like other similar institutions, was seized by
the unscrupulous advisers of Edward VI. In Mary's reign it reverted to
the Crown, and she restored the college to its former owners and uses,
and this arrangement was happily left undisturbed by her successors.
During the Civil War Cromwell's soldiers stabled their horses in the
nave of the church. Charles I. stayed in the town at the "Saracen's
Head," and here he delivered himself up to the Scotch commissioners,
who stayed at the Palace. Cromwell wished to destroy the nave, but was
stayed in his fanatical design by the intercession of one of his
officers. The story is told of the wife of a hunted Royalist, named
William Clay, registrar of the minster, hiding herself in the parvise,
or room over the porch, and there giving birth to a child, while the
soldiers lived in the church. A general pillage took place in the
church at this time; the font was destroyed, lead torn from the roofs,
brasses from the tombs, and every vestige of an image swept away.
The College of Southwell has suffered in many other ways, sometimes
from the carelessness of the prebendaries and their lack of zeal,
sometimes from the effects of unwise and revolutionary legislation. In
1846 its position as a peculiar ceased to exist. Southwell is now a
Cathedral with a diocese of its own, and if the ecclesiastical
commissioners and the friends of the Church could see their way to
granting an adequate endowment and means for carrying on its great
work, Southwell would be able to maintain the dignity of an important
see, and fulfil its mission to the Church and nation.
EXTERIOR
The finest view of this noble minster is obtained from the north-west
corner of the churchyard. We notice the general Norman character of
the building. The massive western towers, capped with spires, the
lantern tower, the north transept and beautiful chapter-house, the
noble roof, all combine to form a magnificent example of dignified and
noble building.
The _West Front_ has been altered in character from its original
Norman work. We see a huge Perpendicular window with an embattled
parapet over it, an alteration made in the fifteenth century. The
windows in the lower stages of the towers are modern imitation of
Norman work. The towers have seven stages, and the sixth is enriched
with fine arcading composed of intersecting arches. The present spires
are modern imitations of the originals destroyed by fire in 1711.
These were immediately restored, but removed in 1802, and have now
again been replaced. The old Norman doorway is remarkably fine. It has
five orders, the zigzag and filleted edge roll being the chief
mouldings.
Passing to the south side we see the wall of the nave pierced by
apparent Norman windows, but these are modern imitations. The most
western window in the north side is the only original Norman window;
the rest are copied from it, and were erected in 1847.
Four Perpendicular windows were inserted in the fifteenth century.
There is a row of small square windows above which light the
triforium, and the clerestory has a curious series of circular windows
which are unique in this country. The roof is high pitched, having
been erected in modern times by the architect Christian, and the
parapets are Perpendicular in style.
The south doorway should be noticed, of Norman workmanship with zigzag
string-course over it. Near here are the remains of the old Palace.
The banqueting hall has been recently restored. The kitchens belong to
the time of Henry VI. On the east of the transepts there were formerly
apsidal chapels, which were removed when the present choir was built
in the Early English period.
The _Choir_ is a noble specimen of Early English work and "seems to be
an emanation from Lincoln," wrote Sir Gilbert Scott, which it much
resembles. We notice the extensive use of the dog-tooth ornament.
Lancet windows give light to the interior. Two flying buttresses
support the walls on the south side, and were added subsequently in
the Decorated period to help them to bear the weight of the vaulted
roof.
The _Chapter-House_ is on the north side, and was built in the
Decorated period during the reign of Edward I., when York was
extremely prosperous and profited by the presence of the court. The
resemblance between the chapter-houses of York and Southwell is very
striking, and both were evidently designed by the same architect.
This one is octagonal, and has windows of three lights with trefoil
and circular ones in the heads. The roof is modern. A vestibule
connects it with the church. An Early English wall with an arcade of
lancets connects the vestibule with the north transept. The _North
Porch_ is good Norman work, and has a parvise which is very unusual in
a porch of this date. This parvise was the scene of the story of the
hiding of Mistress Clay in the troublous times of the Civil War. The
inner doorway is very fine with its zigzag and beak-head moulding.
THE INTERIOR
We now enter the church by the west door, and looking down the nave
(1110-1150) we are impressed by the massive appearance of the
interior. The piers are rather short, only 19 feet high, six on each
side, with square bases and round capitals. The triforium is large,
and above is the clerestory with its unique plain circular windows.
The Norman mouldings, zigzag, billet, hatchet, etc., are easily
recognised. The present roof was erected in 1881.
The _Font_, erected in 1661, is a poor substitute for the one
destroyed by the soldiers of Cromwell. The _Pulpit_ is modern; the
figures represent the Virgin and Child, King Edwin and his queen,
Augustine and Paulinus. The second pillar from the east on the south
side is called Pike's Pillar, and retains faint traces of a mural
painting of the Annunciation; the nave aisles have some good vaulting.
A plain stone bench runs along the walls. This was common in old
churches, and was the origin of the saying, "let the weakest go to the
wall," where they could sit and rest, as the days of pews were not
yet. The only original Norman window which remains is at the west end
of the north aisle. Formerly there were several chantry chapels in the
aisles, but all have been destroyed. The marble slab in the north
aisle marks the site of one.
The _Tower_ is a lantern, and also has a peal of bells. The chimes
were given by Wymondesole in 1693. This tower is part of the original
Norman church, and was built in 1150. The cable moulding round the
four large arches should be noticed. It is composed of a series of
double cones.
[Illustration Southwell Central Tower & N Transept]
The _Transepts_ are beautiful specimens of the work of Norman
builders, and are full of interest. Originally there were apsidal
chapels on the east side of both transepts. One has been destroyed,
but the arch which connected it with the church can be seen in the
wall, with its zigzag and cable mouldings. The Norman chapel on the
east of the north transept has been replaced by a Late Early English
building which will repay careful study. There were formerly two
altars here, as the piscinæ and aumbreys show. The old Norman arch is
replaced by two pointed arches of unequal width. The windows are later
insertions, and belong to the Decorated period. There is an upper
storey, formerly the treasury, now the library. The chapel has been
recently restored, and is a most interesting architectural study.
Returning to the north transept we see a curious tympanum over the
belfry doorway, with strange carving representing the teaching of
Psalm xci. 13: "The lion and the dragon shalt Thou tread under Thy
feet." Other interpretations are given of this subject, but this is
the one usually accepted by scholars. It is also said by some to be
Saxon, but this is incorrect. There is a very similar sculpture in the
church of Charney Bassett, Berks. Here is the fine alabaster tomb of
Archbishop Sandys (d. 1588). He is represented in his episcopal robes,
and the details of his dress are important, as they show what the
vestments of a bishop really were in the time of Elizabeth, a point
often disputed by English Churchmen of to-day. The east arch of the
central tower has some curious sculptured capitals hidden by the organ
which belong to the twelfth century. Beginning on the south side, the
subjects are lamb and dove, Triumphal Entry into Jerusalem, Nativity
or Resurrection, Last Supper, bishop saying Mass, the Blessed Trinity,
and the Virgin and Child.
A stone _Screen_ of rich Decorated work separates the transept from
the choir, over which is now the organ (a modern instrument). The
screen is richly ornamented, and a noble specimen of the work of the
period. There are three arches opening to the space beneath the tower,
separated by slight piers of clustered shafts, the capitals carved
with foliage of a Late Decorated character. The walls of the screen
support the old rood-loft, access to which is gained by two
staircases.
Entering the _Choir_ we see on each side of the doorway three
prebendal stalls with _misereres_, on which are carved some foliage.
The bishop's stall was once occupied by Cardinal Wolsey. The choir, as
we have said, was built by Archbishop Grey in Early English style
(1230-1250). There are six arches, with piers of eight clustered
shafts. The dog-tooth moulding is conspicuous in the arches, and on
the vaulting of the roof. It will be noticed that the triforium and
clerestory are blended together. The east window consists of two rows
of lancets, the lower ones containing old glass brought from Paris in
1815, where it was formerly in the Chapel of the Knights Templar. The
Baptism of our Lord; Raising of Lazarus (Francis I. is to be seen in a
crimson cap); Christ entering Jerusalem (Luther is near our Lord,
Louis XI. and the Duke of Orleans); the Mocking of our Lord (the
figure of Dante appears).
The _Sedilia_ were erected in 1350, and are good Decorated work. They
have the unusual number of five seats on the same level. The arches
are ogee-shaped, and are richly carved. The sculptured figures are
remarkable, and represent the Creation and the Redemption. Beginning
at the east we see the Father holding the world (two groups
uncertain), Joseph's Dream, the Nativity and Flight into Egypt.
The _Lectern_ belonged to the monks of Newstead Abbey, who threw it
into the lake to hide it from the commissioners of Henry VIII. Its
date is about 1500. The choir aisles had several altars, as we see
from the piscinæ and aumbreys which are left. We will now visit the
_Chapter-House_, and pass through the vestibule which leads to it,
entering by a beautiful doorway in the north aisle. The transition
between the Early English work of the choir and the Decorated style of
the chapter-house is very gradual. The doorway, with its two arches
and shafts of Purbeck marble, is remarkably fine. There is a small
cloister court, with a stone-covered well. In the vestibule we see the
walls covered with beautiful arcading of lancet arches of an Early
English character. The capitals are beautifully carved with foliage.
There is a curious boss of sculpture representing a secular priest
shaking the regular monk by his hair, which figuratively depicts the
supremacy of the former in the church of Southwell.
The _Chapter-House_ (1285-1300) is described by Ruskin as "the gem of
English architecture," and all architects agree in singing the praises
of this noble building. It much resembles that of York, but is smaller
and perhaps more beautiful. It is octagonal, has no central pillar,
and is remarkable for its fine sculpture. The historian of Southwell
says: "The foliage everywhere is most beautiful: the oak, the vine,
the maple, the white-thorn, the rose, with a vast variety of other
plants, are sculptured with exquisite freedom and delicacy; and no two
capitals or bosses or spandrels are found alike. Everywhere we meet,
in ever-changing and ever-charming variety, with some fresh object of
interest and admiration. Figures are introduced amid the foliage,
heads with branches issuing out of their mouths, birds and lizard-like
monsters. In the capitals a man reclines beneath a tree, puffing
lustily at a horn, or a goat is gnawing the leaves, or a bird pecking
the berries, or a pair of pigs are grunting up the acorns, or a brace
of hounds just grabbing a hare. All this is the work of no mere
chiseller of stone, but of a consummate artist; than whom it may be
doubted whether any sculptor, of any age or country, ever produced
anything more life-like and exquisitely graceful." The entrance
doorway is remarkably fine and is worthy of close study. The main arch
is divided into two by a slender shaft, and over them is a
quatrefoiled circle, of beautiful design. The leaf ornament is largely
used, both in the smaller arches and in the main arch. Filleted rounds
and hollows are the other mouldings used.
Southwell once contained the shrine of a Saxon saint--St. Eadburgh,
Abbess of Repton (d. 714). "The Pilgrim's guide to the Saints of
England" (a MS. in the British Museum, written in 1013) states that
"the shrine of St. Eadburgh is still at Southwell," but no trace of it
can now be found. There are several incised monumental slabs in the
minster which have been cut and set in the floor. There is a Latin
inscription to the memory of William Thorton, a chorister of the
church, and the humble epitaph of William Talbot, who was a shining
light in his day and died 1497, is of pathetic interest:--
"Here lies William Talbot, wretched
and unworthy priest, awaiting
the resurrection of the dead under the sign of the Cross."
[My thanks are due to the kindness of Archdeacon Richardson, Rector of
Southwell Minster, for his kindness in explaining to me the
interesting features of his church. I am also indebted to the works of
Mr. Dimock, Mr. Livett and Mrs. Trebeck for much valuable
information.]
DIMENSIONS
Length, 306 ft.; breadth, 61 ft.; length of transept, 123 ft.; height
of central tower, 105 ft.; height of west towers and spires, 150 ft.
PETERBOROUGH CATHEDRAL