=The Choir.=--Although considerably larger than the Norman building it
supplanted, we still somehow, on entering underneath the rood screen
from the nave, receive the impression of a certain want of size. The
length is 114 feet, the breadth 52, and at the east end, and also
across between pillar and pillar, 27 feet. It is possible likewise to
take objection to the height; and perhaps in combining the triforium
and clerestory into one stage and making it so low, the extent of the
elevation was suggested to the builders by the already existing nave.
Beyond this there is nothing but admiration to express at so perfect
a piece of Early English architecture. The window most to the west on
the north side has been replaced by an early Decorated one of inferior
workmanship, so as to make way for the door leading to the vestibule
of the chapter-house, and some images have disappeared; everything
else of the masonry is as it was six hundred and fifty years ago;
everywhere we see how carefully the stone was selected, and how well
put together. The completely detached pillars on each side number five,
and on a level with the eye are about eleven feet apart, at the base
less. A line drawn between the third and fourth from the west will show
the dimensions of the old Norman choir, and all east of this line was
first built. Three of the four eastern and earlier pillars above their
broad and plain plinth, with its irregular sides, have a moulding of
two rounds with a filleted hollow between capable of holding water.
Of the six western and somewhat later pillars only one has the same
ornamentation; the remainder have one or two rounds above a larger one.
Where the base mouldings are capable of holding water it is a sign that
they belong to the earlier examples of the style. These ten pillars are
octofoil, with the shafts engaged and filleted. But the half pillars
at the east end and those at the two entrances of the chapels show a
difference: the engaged shafts are smaller, though of the same number;
and between them are detached shafts banded mid-way. There is then no
trace of the most primitive form of Early English, for this consists of
detached and isolated shafts. In the intermediate stage of development
the detached and engaged are combined as in these last-mentioned
instances; and the late, or completely developed, Early English shows
pillars with the shafts fully engaged. The capitals have mouldings of
the inverted bell shape.
On the choir side the arches are of three orders besides the hood; on
the side of the aisles of two only, the roof being lower. The dog-tooth
moulding is as conspicuous in the arches as is the cable in the
transepts, excepting in the three to the east on the south side, and is
placed in a peculiar way; between two rounds a broad fillet is raised
on to which it is worked. The rounds and hollows are also lavishly
used; and the hood is finished off with foliage.
For some reason which no one has been able to solve, one of the arches
on the south side is lower than the rest; and the apex does not quite
reach up to the string course which separates the higher double stage.
In this space is a curious piece of sculpture which tradition asserted
to be the Prince of Wales’ feathers. The historian of the minster, in
following this tradition, added that the heads of Edward III., his
queen, and the Black Prince “support the ribs or springs of several
arches in the choir.” The beautiful foliage bears no resemblance
to these heads, neither is there anything resembling the feathers.
Assisted by the misreading of two fourteenth-century documents, those
of 1337 and 1352, he hence drew the following inference, which was
widely credited before the more accurate study of archæology and
architecture dissipated it:--“By these numerous compliments to the
Prince we may presume this part was erected just at that point of time,
when by his conquest of France he [the Black Prince] was in the zenith
of his popularity.” In spite of Archbishop Grey’s indulgence of 1233,
which gives the real date, in spite of the arches, windows, pillars,
and the dog-tooth and round and hollow mouldings, where everything
points to the first half of the thirteenth century, Dickinson
introduced an interior as purely Early English as anything in the
country into the midst of Decorated times.
[Illustration: _S. B. Bolas & Co., Photo._
CHOIR, LOOKING EAST.]
=Triforium and Clerestory=.--These two stages are combined: an
effective arrangement considering the dimensions and altitude of the
choir. Perhaps the best explanation is to say that the clerestory is
not above the triforium and separated by a string course on a bare wall
space, but that the clerestory windows are behind the upper part of the
lofty lancet arches of the triforium, through which they shed their
light. This combination, although in the Norman church at Steyning, and
in the Early English one of Pershore, both of which, however, are on a
smaller scale, marks off a choir of the date and the size of Southwell
as quite unique. The intimate connection, always maintained between
York and Southwell, is shown in the like arrangement in the early
Decorated nave of the former. The architect had seen the beautiful
effect, and determined to adopt it. A bold, deep undercut string course
continued round the upright vaulting shafts separates this double stage
from that below. These triple shafts rest on corbels or brackets,
placed as low down as possible between the great arches of the choir
arcade, and rising some three feet above the string course, terminate
in foliaged capitals from which springs the vaulting of the roof. It is
these shafts running up the wall, and the vaulting springing from them,
that divide the second stage into bays like the first. In each bay are
a pair of lofty lancet arches reaching from the string course right up
to the cross vault of the roof above. In the centre of each bay triple
clustered shafts are between the two lancets, and two engaged shafts
at the sides with capitals of foliage or plain moulded; and above
are the well moulded acute lancet arches; and dog-tooth everywhere
in the shafts and arches. Behind these arches runs the triforium
passage or gallery; and, again, behind the passage is the following
arrangement:--First, plain blank arches opening into the space between
the vaulting and roof of the aisles; next, a blank wall space, and then
above the level of the aisle roofs the clerestory lancets throwing
their light from the outside through the upper part of the lofty lancet
arches of the triforium, and then underneath the lower part of the
choir vaulting. The combination of this stage can only be appreciated
by the study of an illustration.
[Illustration: SECTIONAL DRAWING, SHOWING TRIFORIUM AND CLERESTORY OF
CHOIR IN ONE STAGE.]
=The Roof.=--Internally the vaulting has not suffered from the lowering
of the external roof, but remains intact. At the apex, a longitudinal
rib runs the whole length; and the vaulting is quadripartite,
consisting of diagonals with the addition of cross springers. At the
points of intersection are fine bosses of foliage; but figures are
not introduced as in the chapter-house at Oxford of the same date.
All the ribs are deeply moulded, and the longitudinal rib as well
as the cross springers of the eastern bay have the dog-tooth. Mr
Petit remarked “from the narrowness of the cells compared with the
principal vault, the elliptical curve in the clerestory arches is
very evident; this is the case with most Early English vaulting.” The
western compartment of vaulting nearest the tower is very narrow, and
has no arch corresponding, the whole bay being filled up by the wall.
To the neglect of this precaution in rebuilding choirs is attributed
the collapse of several Norman central towers. At the east end is a
striking peculiarity. The great longitudinal rib is continued below the
vaulting, and brought down right into the shaft between the two centre
windows of the upper stage. This bisection of the east front, which
prevents the introduction of a central window, occurs at Romsey and in
Glasgow Cathedral.
[Illustration: _S. B. Bolas & Co., Photo._
CHOIR FROM SOUTH AISLE.]
=The Aisles and Chapels.=--Beyond what has been already said of the
windows in treating of the exterior, it should be added that in the
inside the edges of the chamfered arches are moulded with a keeled
roll. Beneath the windows is an undercut string course, which is
continued all round the east end. As in the main part of the choir, the
vaulting is quadripartite, but with more elaboration, for additional
ribs are introduced besides the cross springers, and the vaulting
shafts of these rest on corbels plainly moulded on a level with the
window sills. This is because there is no external buttress; but
where there is such a buttress, no shaft is used, the strength of the
buttress being considered sufficient, and the ribs merely terminate in
corbels. The mouldings of the ribs and shafts are similar to those of
the main vaulting.
Formerly there were altars in the two transepts, and in the end bays,
four in all, and the piscinas and aumbries remain, while in the end
bay of the south aisle and in both transepts are sedilia. It is to be
regretted that no one has been able to settle to which chantries these
belonged. In the north aisle two of the windows look into the court;
and underneath the western one a blocked-up doorway, and adjacent to it
the doorway of the vestibule--a Decorated insertion for the use of the
chapter-house. It is double, with a central shaft of Purbeck marble,
and an open trefoil above, and under this a head supporting a bracket;
but the statue, unfortunately, has shared the common fate. Up this
central shaft crawls a grotesque serpent; and into its folds the bolts
of the door slide. The Purbeck marble is again used for the detached
outer shafts; and the hood terminates in two heads, one with a crown
and the other with a mitre. Altogether this is very fine, but the same
cannot be said of the window above. When the doorway was made, the pair
of lancets came too low; and a shorter and broader triple light with
the old shafts and arches replaced it. It can be seen at once that the
proportions are not so elegant as the original lancets to the east.
There is reason to believe that Thomas de Corbridge, Archbishop of
York at the commencement of the fourteenth century for a few years,
was buried in the choir. Dickinson asserts that his remains lay near
the pulpit, and that the inscription “lately remained legible.” In a
statement of this kind, he is likely to be correct. This prelate is
quite unknown to fame; and in the uncertainty regarding his burial, he
resembles more distinguished occupants of the throne of York. In the
south transept chapel is a sepulchral recess with a semicircular arch
of earlier date. It shares with other monuments in the general neglect;
and owing to its mutilated condition, it is impossible to say who lies
buried under it. According to Mr Bloxam, the robes on the effigy are
those of a priest; and the remains must be those of a prebendary, or
of the founder of the chantry. Dickinson (p. 60) has a plate of a fine
fifteenth-century canopy reaching from arch to arch on the north side
over a tomb; and his plate and description correspond with the effigy.
If this be so, when the canopy was removed or fell down the monument
was placed where it now is.
[Illustration: _S. B. Bolas & Co., Photo._
THE CHOIR, LOOKING EAST.]
=The Chancel=.--The longitudinal rib of the vaulting, as already
explained, bisects the upper stage, and explains the unusual number
of four windows. The lower stage has a continuous arcade with richly
foliated capitals. The bosses of the outer arches, excepting the
centre, which is foliated, are faces, and have a peculiar effect.
The four lower windows are filled with Cinque Cento[26] glass paintings
of the French school. An inscription states that they were given by
Mr Henry Gully, Knight, in 1818. The donor, a member of Parliament,
visited Paris after the peace, and found the glass in a neglected heap,
in a corner of some shop; and the shopkeeper told him it came from the
chapel of the Temple prison. The subjects represented are the Baptism
of Christ, the Raising of Lazarus, the Triumphal Entry, and the Mocking
in the Pretorium. Below the knees of Christ the glass of the first
figure is modern, and the remainder poor both in colour and shadow;
but the others are fine effective specimens, particularly the second,
and the perspective of buildings in the background excellent. The glass
in the upper tier, representing the four evangelists, is modern, like
the rest of the painted work in the choir.
[Illustration: _S. B. Bolas & Co., Photo._
THE SEDILIA.]
To the south wall of the chancel the =Sedilia= was added in the
fourteenth century; and of the same style is the arch or canopy of the
adjoining piscina. This addition was intended for the use of the clergy
during the singing or chanting of part of the office. The usual number
of these seats is three--for the celebrant, deacon and sub-deacon. At
Furness there were four, at others two or only one. In the possession
of five, as in other things, Southwell is always quoted as unique; and
the probable explanation is to be found in the constitution of the
chapter. Since all prebendaries in residence were equal, all would
expect during the celebration to occupy a position of equal dignity.
The ogee-shaped arches have double foliations, with crockets and
finials; and in the spandrels between are figures. These, mutilated
like so much of the carved work supposed to represent “graven images,”
have been restored in composition. Above the stalls are a row of
detached ornaments of foliage work. A miniature battlement with merlons
and embrasures--very frequent as an ornament in tabernacle work and
the like--here surmounts the sedilia. It is difficult to fix the date
of this beautiful addition to the chancel. The double foliation of the
arches suggests a later date than the rood screen (1237); and we must
put it at some short time after this.
There yet remain some features of interest.
=The Lectern=, a finely-worked brazen eagle with wings expanded to
receive the book, was presented in 1805 by Sir Richard Kaye, prebendary
of Dunham, and subsequently of North Muskham and Dean of Lincoln. It
bears the inscription “Orate pro ana Radulphi Savage, et pro anabus Omn
Fidelium Defunctorum.” It was formerly the property of the neighbouring
abbey of Newstead; and at the dissolution the monks hid some documents
inside, and threw it into the lake. During the last century it was
discovered and passed into the hands of a Nottingham dealer. Readers of
Washington Irving’s visit to Newstead will remember that he says that
in one of these documents a plenary “pardon is assured in advance for
all kinds of crimes.” As a matter of fact, the pardon was one granted
by Henry V. to the abbey on the payment of a round sum of money,
because the monks had acquired property without the royal licence. This
was merely a way of raising money to meet the expense of the French war
without the consent of Parliament; and the document reflects in no way
on the morals of Newstead.
The restorations of the late Mr Christian have so improved the choir
by allowing the original beauties to be exposed, that only those who
remember the days of the sixties can fully appreciate the services
rendered by him. To one part, however, exception has been taken in
high quarters. The plaster work and screens of Bernasconi at the west
end between the arches, said Professor Freeman, “may legitimately be
regretted by the most orthodox ecclesiologist as really remarkable
works, full of ancient feeling, and well-deserving the place they have
found in the Art Museum of Nottingham.” The screens have been replaced
by new ones of oak on the model of those which formerly existed; but
it seems a pity the arches were not left exposed. Beyond this it is
only possible to commend. A new flooring of stone and marble has been
laid down, and the old deal pews with their thin oak-panelled fronts
of the last years of George III. (for which the money was procured by
selling the very lead of the roofs) have been replaced by chairs, while
at the west end oaken stalls for the clergy and choir have been placed
in position. But most needed of all the galleries, which formerly
hid the arches and aisles, while underneath in the darkness were
passages and coal cellars, through which the preacher wended his way
ere he reappeared in the pulpit--these have gone. The Society for the
Protection of Ancient Buildings, in their protest to the Ecclesiastical
Commissioners, included the removal of these galleries, only put in
during the present century. This protest declared that they imparted “a
fitted look,” and that the choir was “never intended to be nakedly seen
from the base to the apex.”
The Rood Screen with its stalls belongs to the Geometrical period. In
the olden days, besides the six stalls facing east, which still remain,
were seven on either side. The one immediately to the right on entering
was the archbishop’s throne; and by courtesy the Prior of Thurgarton
was allowed the outside one on the south side, that on the other side
facing not being appropriated. The stall to the left on entering
belonged to the senior prebendary who happened to be in residence, and
the remaining sixteen were assigned to the particular prebends. After
the reorganisation of the sixteenth century, the archbishop’s stall was
appropriated for the new official, the vicar-general. The visitor may
take time to reflect that in the summer of 1530 this stall was usually
occupied by the disgraced and fallen Wolsey; and looking towards the
east end may picture to himself the great cardinal singing high mass on
Corpus Christi Day, as at other times, assisted by his chaplains and
the minster staff.
Almost exactly, then, as it left the builder’s hand, the choir yet
remains; and we see in its structure how much depends upon the
measurement by eye alone. That stiffness characteristic of modern
buildings is entirely absent. Archbishop Benson learnt the secret when
Chancellor of Lincoln, and in his new cathedral at Truro is said to
have urged the builders to discard measuring instruments so far as
possible.
=The North Transept Chapel of the Nave.=--When the choir had been
completed, there still remained the small Norman apsidal chapels
projecting eastward from the nave transepts. That to the south in
course of time was simply pulled down after falling into decay; but a
different fate awaited its fellow to the north. Projecting only some
fifteen feet, and of so slight a width as to stand quite clear of the
choir aisle, it was found to be too small, and a larger one took its
place. This projects some seven feet more than its predecessor, and
is of such a width as to abut against the choir aisle to the south,
and extend slightly beyond the line of the transept to the north. Like
its predecessor, it has two storeys; and the lower in addition to the
actual chapel includes the passage next the staircase, part of which is
taken up by the staircase leading to the upper room.
The date of erection is readily found by a combination of evidence.
It has been already said, while treating of the exterior, that where
this addition abuts upon the choir aisle, the marks still left show
that it was added after the choir was completed; and it has further
been said that documentary evidence shows the workmen to have been
busy in the middle of the thirteenth century. While the interior is
plainly of the same date, and other records show that several chantries
were then being founded, the general arrangement of the interior of
the lower storey, and more particularly two piscinas and aumbries,
demonstrate its purpose. We may then assign it as built for two of
these newly-founded chantries, and of the date of the middle of the
thirteenth century.
The lower storey, of which the floor is now on a lower level than the
transept, is of two bays, each with its east window, the division
being made by two triple clustered vaulting shafts. The east shaft is
attached to the wall between the windows, the west to the pillar in
the centre at the west side. Owing to the chapel projecting some feet
beyond the transept, this is not the centre as seen from the transept
itself outside the chapel; and the consequence is that the two fine
acute arches between the chapel and the transept were made unequal
in height and span, that to the south being considerably the larger.
While the general character of the interior agrees with that of the
choir, the difference in size and shape and other reasons cause certain
peculiarities. In the four corners are single vaulting shafts; and by
altering the curve of the ribs springing from them these latter unite
with the mouldings of the window arches on the east side, and with
those of the arches opening into the transept on the west; and, again,
the filleted mouldings of the choir are replaced by that peculiar kind
of keel which consists of ogee-shaped curves with a sharp edge. The
upper storey is reached by the staircase which opens from the choir
aisle; and the only feature of interest is a blocked-up Norman doorway,
formerly opening into the triforium gallery of the transept. Even in
the days of the chantries, it would seem that the lower storey served
also as the “song” schoolroom, where the choir boys were taught. Since
then it has served for the music-school for the choir, for the vicars’
vestry, and for the library. It is now utilised as a robing-room and
vestry. The room above, once used as the treasury, now contains the
library.