[Illustration: 0051]
|AT the east end of the choir aisle of the Cathedral there is a portion
of the wall which is possibly the oldest piece of masonry in Oxford, for
it is thought to be a part of the original Church of St. Frideswyde, on
whose site the Cathedral Church of Christ (to give its full title) now
stands. Even so it is not possible to speak with historical certainty of
the saint or of the date of her Church, which was built for her by her
father, so the legend says, when she took the veil; though the year
740 may be provisionally accepted as the last year of her life. St.
Frideswyde's was a conventual Church, with a Priory attached, and
both were burnt down in 1002, but rebuilt by Ethelred. How much of his
handiwork survives in the present structure it is not easy to determine;
but the Norman builders of the twelfth century effected, at any rate,
such a transformation that no suggestion of Saxon architecture
is obtruded. Their work went on for some twenty years, under the
supervision of the then Prior, Robert of Cricklade, and the Church was
consecrated anew in 1180. The main features of the interior--the massive
pillars and arches--are substantially the same to-day as the builders
left them then.
The Priory was surrendered to Henry VIII. in 1522, who made it over to
Wolsey. That cardinal, in his zeal for the new College, which he
now proceeded to found, shewed little respect for the old Church.
He practically demolished its west end to make room for his building
operations. The truncated Church was used as a chapel for his students,
until the new and magnificent one which he had planned should be
completed. That edifice was never built. Wolsey was disgraced, and the
king took over St. Frideswyde's, to be the Cathedral Church of his newly
created diocese of Oxford.
From this date, then, 1546, it is a Cathedral, but a College chapel
also; for Henry was content that the one building should serve the two
purposes. The Cathedral was restored in the seventeenth century and
again in the nineteenth, with considerable alterations. It is hardly
worth while here to enumerate these in their entirety; but when one sees
in old engravings the beautiful east window, put up in the fourteenth
century, which was removed at the time of Sir Gilbert Scott's
restoration, it is impossible not to regret a change which appears to
be quite unjustifiable. At the same time it may be readily admitted that
the east end, designed on Norman lines, which the architect substituted,
has considerable beauty, and harmonises with the general tone of the
building. Regret is unavailing, and it is perhaps wiser to console
oneself with the reflection that at any rate things might have been
worse.
[Illustration: 0054]
[Illustration: 0055]
The Cathedral is so hemmed in by the various buildings of Christ Church
that it is difficult to obtain a comprehensive view from the outside.
Perhaps one sees it best from Merton Fields, with the beautiful Rose
Window prominently visible. Even so the Cathedral is in part hidden by
the ancient Refectory of St. Frideswyde's (long since converted into
rooms). This is the view, sketched from the nearer foreground of the
Canon's Garden, which appears in Mr. Matthison's drawing, only that the
Rose Window is hidden by trees. The spire--or spire and tower
combined--no longer holds the bells which chimed originally in Osney
Abbey, on the river's farther side; they were removed to the new Belfry
(completed in 1879), which appears to the left of the Refectory.
We are now to speak of the interior of the building. It is sketched from
various points of view in the accompanying six illustrations: but twice
as many would not suffice to exhaust its interest. At no time does the
nave appear more impressive than when a shaft of sunlight strikes across
the massive columns; and Miss Cheesewright has sought to fix upon her
canvas the charm of such a moment. The Lady Chapel was added early
in the thirteenth century; here are enshrined the remains of St.
Frideswyde, which were moved several times before they reached their
final resting-place. The Latin Chapel dates from the fourteenth century,
and is full of interest. Some of its carved woodwork is to be referred
to Wolsey's time, and it contains the tombs, among others, of Lady
Elizabeth Montacute, the Chapels reputed builder, and of Sir George
Nowers, a comrade-in-arms of the Black Prince. Other notable tombs in
various parts of the Cathedral are those of Robert Burton, author of the
Anatomy of Melancholy; Bishop Berkeley, the metaphysician and upholder
of the virtues of tar-water; Bishop King, last Abbot of Osney and first
Bishop of Oxford; Dean Liddell and Dr. Pusey. A window in the south
transept depicts the murder of Thomas à Becket, whose head has been
obliterated, by the order, it is said, of Henry VIII. Another window in
the same transept commemorates Canon Liddon. The art of Burne-Jones has
contributed not a little to the Cathedral's beauty. In the east
window of the Latin Chapel he has set forth the romantic story of St.
Frideswyde. Another of the windows which he designed is at the east
end of the Lady Chapel, and serves as a memorial of Mr. Vyner, who was
murdered by Greek brigands in 1870; another, at the east end of
the north aisle of the choir, commemorates St. Cecilia, with which
corresponds a "St. Catherine of Alexandria" in the south aisle, put up
in memory of Miss Edith Liddell, daughter of Dean Liddell. Lastly, at
the west end of this aisle, the artist has chosen "Faith, Hope, and
Charity" as his subject.
[Illustration: 0058]
[Illustration: 0059]
The Cloister and Chapter-House (thirteenth century) must not be
overlooked. The entrance to the Chapter-House is by a singularly fine
Norman doorway. The Cloister saw the unworthy degradation of Archbishop
Cranmer, after the Pope had pronounced him guilty of heresy.
Enough has perhaps been said to shew intending visitors to Oxford that
the interest of the Cathedral is both great and varied. To those who
already know it, these hints will seem a poor and inadequate attempt
to express its manifold charm, but the pictures may serve to emphasise
their vivid recollections. Those who have yet to make acquaintance with
it will perhaps exclaim, as the Queen of Sheba did of Solomon's wisdom
and prosperity, "Behold, the half was not told me."
[Illustration: 0062]
[Illustration: 0063]