student of Mediæval architecture one of the most interesting and
important of our cathedrals. At Salisbury one or two styles of
architecture are represented; at Canterbury two or three; at
Chichester every single style is to be seen without a break from
the Eleventh to the Sixteenth Century. It is an epitome of English
architectural history for five hundred years. Early Norman, late
Norman, late Transitional, early Lancet, late Lancet, early
Geometrical, late Geometrical, Curvilinear, Perpendicular and Tudor
work all appear in the structure side by side. We have many other
heterogeneous and composite cathedrals, but nowhere, except perhaps
at Hereford, can the whole sequence of Mediæval styles be read so
well as at Chichester.”--(F. B.)
Chichester was consecrated in 1148, again suffered from fire in
1186-1187 and was restored and enlarged by Bishop Seffrid II.
(1180-1204).
“The fire of 1186 was not as serious as that of Canterbury in 1182,
so that there was no need of rebuilding. Bishop Seffrid, however,
covered the Cathedral with a stone vault and added the necessary
buttresses and flying-buttresses. He also built the Choir, making
great use of Purbeck marble. He removed the Norman apse and built
the aisled retro-choir of two bays.
“This is the architectural gem of the Cathedral. The idea of it
probably came from Hereford, where the retro-choir is a few years
earlier. At Hereford, however, the retro-choir projects
picturesquely and forms an eastern transept. The central piers of
the Chichester retro-choir are remarkably beautiful. They consist
of a central column surrounded by four shafts very widely detached;
columns and shafts are of Purbeck marble. The capitals are
Corinthianesque; their height is proportioned to the diameters of
the column and shafts. This beautiful capital was reproduced a few
years later by St. Hugh at Lincoln. The triforium is of quite
exceptional beauty, as indeed is the whole design. Semicircular
arches occur in the pier arcade and triforium, and some of the
abaci are square; otherwise the design is pure Gothic. Here, as at
Abbey Dore, St. Thomas’s, Portsmouth, Boxgrove and Wells, we see
the transition to the ‘pure and undefiled Gothic’ of St. Hugh’s
choir at Lincoln. In these beautiful churches the ancient
Romanesque style breathed its last.
“The aisles of the new retro-choir were continued on either side of
the first bay of the Norman Lady-Chapel whose three bays had
probably been remodelled before the fire in Transitional fashion.
The capitals of the Lady-Chapel are of exceptional interest and
importance, as showing experimental foliation which had not yet
settled down into the conventional leafage of early Gothic. The
apse also of the south transept was replaced by a square chapel,
now used as a Library, in the vaulting of which the Norman zigzag
occurs.
“A little later in the Lancet period was built (1199-1245) the
lovely south porch, with small exquisite mouldings, and the
charming foliated capitals and corbels. The difference between
early Transitional, late Transitional and Lancet foliation may be
well seen by examining successively the capitals of the
Lady-Chapel, the triforium of the retro-choir and the south porch.
The north porch is almost equally fine. The vaulting ribs, square
in section, show that the two porches both belong to the very first
years of the Thirteenth Century. Rather later, the sacristy was
built on to the south porch, with a massive vault supported by
foliated corbels.”--(F. B.)
Chichester’s saint was one of its own bishops--Richard de la Wych--who
died in 1253. He was canonized in 1261. In 1276, his remains were
removed from their first resting-place to the shrine in the south
transept opposite the beautiful Early Decorated window (one of the
loveliest examples of this style in England). Edward I., his Queen and
the Court were present at the Translation. From that time the shrine
received many visits from pilgrims.
The central tower was built during the first half of the Fourteenth
Century, and the spire was completed at the end of the Fourteenth
Century. The campanile was built by Bishop John de Langton (1305-1336).
Bishop Sherborne (1507-1536) added the upper portion of the choir-stalls
and the decorations of the south transept. These are the ornamentations
referred to by Fuller, who quaintly says Bishop Seffrid “bestowed the
cloth and making on the church, while Bishop Sherborne gave the trimming
and best lace thereto, in the reign of Henry VII.”
In 1643, the Parliamentarian troops broke the organ, defaced the
monuments and hacked the seats and stalls, which, of course,
necessitated restorations and repairs. Repairs, restorations and
alterations were also made from 1843 to 1856, the most important of
which was the reconstruction of the central tower and spire under Sir
Gilbert Scott. In 1867 the floor of the Lady-Chapel was lowered to its
original level and the Gilbert Chapel restored; and during the last half
of the Nineteenth Century, the cloister was restored and the roof of the
Lady-Chapel, and a new north-western tower designed by Mr. J. L.
Pearson.
“The Cathedral stands on the south of West Street, where a fine
view may be had of the whole of the north side of the building and
of the detached Campanile. The Close occupies entirely the
south-west quadrant of the city, being bounded by South and West
Streets and the City Wall. The central tower and spire, rising to a
height of 277 feet, are conspicuous for many miles around, but the
west front is much shut in. Perhaps the most pleasing view is that
seen from the meadows on the south of the city, from which point
the Campanile fits in admirably with the general mass of the
building.”--(J. C.-B.)
This =Campanile=, in which eight bells hang, stands on the north side of
the Cathedral, and was built in the Fourteenth Century. It covers a
square of 50 feet and consists of two cubes with an octagonal lantern (8
feet).
The =Central Tower= and its delicate =Spire= have had a peculiar history.
Exposed to the south-west gales from the Channel, the authorities in the
Seventeenth Century had fears for its safety; and, consequently the
upper part was taken down and rebuilt by Sir Christopher Wren, who
placed within it a pendulum-stage of wood and iron to steady it. This
ingenious invention lasted until 1861; and it is said that Wren’s
contrivance prevented the spire from toppling over when the collapse
occurred.
About 1859 this spire showed signs of weakness, and underpinning was of
no avail. On the 21st of February it inclined slightly to the
south-west, then seemed to right itself; and then, amid a great cloud of
dust, descended perpendicularly into the walls of the tower, doing no
harm to the roof of the church. The fall only lasted a few seconds. As
this happened in Queen Victoria’s reign, the old Sussex prophecy was
fulfiled:
“If Chichester Church steeple fall
In England there’s no King at all.”
The rebuilding was entrusted to Sir Gilbert Scott with a stipulation
that the new tower and spire should be exact reproductions of the
originals. Scott, however, added six feet to the height.
“The central tower, which is battlemented, with octagonal turrets
at the angles, also battlemented, has in its principal or second
story, two couplets in each face, with a quatrefoil in the head,
each under a pointed arch. The spire is of beautiful design,
octagonal; in each face is a window of two lights, flanked by
pinnacled turrets, crocketed and canopied. Its elegance has
constantly led to its being compared with that of Salisbury, which,
however, differs from it in age and many other particulars, as well
as size. It forms not only the central but the principal feature of
the church, all whose lines are designed to work in with it, a very
perfect effect of unity, as at Salisbury, being attained. It is
locally said that the master built Salisbury and the man,
Chichester.”--(W. J. L.)
The =West Front= is composed of three stories, a gable, porch and two
towers. The northern tower is modern, copied from its twin, which is
Early English above the third story. The great =West Window= is modern,
copied from Fourteenth Century examples. The central porch (Early
English) is of the same date and character as the south porch, which
opens into the cloisters. The north porch (Early English) lies between
the aisle and the north-west tower.
The north wall of the nave has some curious buttresses. In the south
transept notice a richly traceried window (Decorated), of seven lights,
with a beautiful rose window above. A trefoiled string-course ornaments
the parapet in the transept and choir. The =East Window= consists of three
lancet windows, with a rose window of seven foliated circles of the
choir in the gable; it is flanked by arcaded pinnacles with small
spires.
The first view of the interior of Chichester is somewhat severe.
“On entering the nave the eye is at once caught by the five aisles,
a peculiarity shared by no other English cathedral but that of
Manchester, although some parish churches have it on a smaller
scale, as Taunton and Coventry. On the Continent the increased
number of aisles is common, witness Beauvais, Cologne, Milan,
Seville, and seven-aisled Antwerp. Grand effects of light and shade
are produced by these five aisles: remark especially the view from
the extreme north-east corner of the north aisle, looking across
the cathedral. The great depth of the triforium shadows is owing to
the unusual width of this wall passage. The breadth of the nave (91
feet) is greater than that of any English cathedral except York
(103 feet).
“The first two stories of the south-west tower at the end of the
nave deserve examination. The rude, long capitals, and plain
circular arches, probably indicate that it formed a part of the
first church completed by Bishop Ralph in 1108. The nave itself, as
far as the top of the triforium, and the two aisles immediately
adjoining, are the work of the same Bishop (died 1123),--or should
perhaps be described as having formed part of the Norman cathedral
completed in 1148. The clerestory above, and the shafts of Purbeck
marble which lighten the piers, are Seffrid’s additions (died
1204). The vaulting is perhaps somewhat later; and it was because
it was determined, after the burning of 1187, to replace with a
stone vault the wooden roofs to which the frequent fires had been
owing that Seffrid carried up his vaulting-shafts along the face of
the Norman piers, some of which he re-cased. The two exterior
aisles, north and south, were probably added by Bishop Neville
(died 1244), when it became necessary to provide additional room
for chantries and relic shrines. The positions of the various
altars are marked by piscinas and aumbries in the walls. The two,
however, occur together in the south aisle alone; in the north are
aumbries only, an arrangement possibly resulting from the feeling
with which that quarter was always anciently regarded. A certainly
triplicity pervades all this part of the cathedral, which was
dedicated by Bishop Seffrid to the Holy Trinity. The side shafts
are triple throughout. The bearing-shafts of the vaulting are
clustered in threes, and branch out with three triple vaulting-ribs
above. The transitional character of Bishop Seffrid’s work is
especially marked in the clerestory, the inner arcade of which is
pointed, whilst the windows themselves are round-headed.”--(R. J.
K.)
The nave is full of monuments and tablets, some of which are by Flaxman.
The one in the =Chapel of the Four Virgins= (north side) is a memorial to
Collins the poet. Near it are the two figures of the =Earl of Arundel= and
=Maud=, his wife. Arundel was beheaded in 1297. He is represented in full
armour and at his feet is a lion.
“The most beautiful monument now remaining in the church is that
which is said to represent Maud, Countess of Arundel (1270). The
modelling of the whole figure and the long flowing lines of her
robes are worthy of careful study. The hands are clasped over the
breast with the forearms bent upwards slightly towards the face. On
each of the long sides of the base supporting the figure are six
elongated quatrefoil panels, containing in all six female figures
and six shields. Between the quatrefoils are winged heads of ten
angelic figures. The blazoning of the shields is entirely gone, and
the brilliant colouring that once covered the entire monument is
only to be traced in a few places. The outer robe still shows
[Illustration: CHICHESTER.]
[Illustration: CHICHESTER: NAVE, EAST]
some signs of the rich blue with which it used to be covered. The
face of the figure appears to be badly mutilated, but the damage to
the features has been done principally by an endeavour to preserve
them.”--(H. C. C.)
In the =choir= we find stalls that have been in use since the Fourteenth
Century. On the backs of the =choir-stalls= pictures by Bernardi represent
Ceadwalla and Henry VIII. confirming privileges to the bishops of their
day.
In the =south transept= is a beautiful window, better seen from the
Cloisters because the bad glass spoils the effect of the tracery.
At the end of the south side in the =Chapel of St. Mary Magdalene= St.
Richard’s head was preserved in a silver reliquary in the aumbry in the
north wall.
The Chapel of St. Mary Magdalene is balanced by the =Chapel of St.
Katherine= at the end of the north-choir-aisle. In the =south-choir-aisle=,
two curiously carved =Slabs=, representing the _Raising of Lazarus_ and
_Martha and Mary meeting Jesus_, are supposed to have been brought from
the first Cathedral in Selsey when the See was transferred to Chichester
in 1082.
A doorway in the north-choir-aisle leads to the old =Chapel of St. John
the Baptist and St. Edmund the King=. The vaulting is unlike any other in
the Cathedral. The zigzag, or chevron, occurs upon the moulding of the
ribs. A finely carved head appears on the spring of the arch. This
chapel is now used as the =Library=.
“At Chichester there were built, one after another, four sets of
chapels--of St. George and St. Clement on the south of the south
aisle, and of St. Thomas, St. Anne and St. Edmund on the north of
the north aisle. The WINDOWS should be studied in the above order;
they form quite an excellent object-lesson of the evolution of
bar-tracery from plate-tracery, itself a derivative from such
designs as that of the east window of the south transept chapel.
When the chapels were completed, the Norman aisle-walls were
pierced, and arches were inserted where Norman windows had been;
and the Lancet buttresses, which had been added when the nave vault
was erected, now found themselves inside the church, buttressing
piers instead of walls. The new windows on the south side were
built so high that the vaulting of the chapels had to be tilted up
to allow room for their heads; externally they were originally
crowned with gables, the weatherings of which may be seen outside.
In St. Thomas’s chapel is a charming example of a simple Thirteenth
Century reredos.”--(F. B.)
Above the south porch there is a small chamber popularly known as the
“=Lollards’ Prison=.”
Between the back of the reredos (modern) and the entrance to the
Lady-Chapel is the Retro-choir, or presbytery, which many critics
consider the chief glory of Chichester.
“The design in detail of these two bays is very different in
character from the three in the choir, which are like those in the
nave. The two piers of Purbeck marble are circular, and about them
are grouped four detached shafts of the same material. They are
united only at the base and by the abacus above the capitals, which
are beautifully carved. The main arches in the two bays are not
pointed, but round, like those in the nave and choir; but, unlike
the latter, they have deeply cut mouldings in three orders. The
triforium arcade above, on the north and south sides, has moulded
and carved details of a similar character. Some of the beautifully
carved figure-work still remains in the spandrels between the
subsidiary pointed arches. But the most beautiful piece of design
in all this work is in the arches of the triforium passage across
the east wall, above the entrance to the Lady-Chapel.”--(F. B.)
=St. Richard’s Shrine= stood on a platform in the bay in the presbytery
immediately behind the High Altar. This platform was removed at the
time of the general restoration in 1861-1867.
The =Lady-Chapel= was once decorated with designs in colour, remains of
which are still to be seen. The new =Reredos= is of alabaster. The glass
of the window is also modern. Here is the =Tomb of Bishop Ralph=, founder
of the original Norman church.
The visitor should walk around the =Cloisters= for the sake of the
exterior views of the Cathedral. The south transept window is well seen
here. Note the beautiful tracery of the circular window above it. The
position of the Cloisters, lying eastward under the Transept and Choir,
instead of westward along the Nave, is unusual.
“The cloister which was added in the Fifteenth Century is of a
peculiarly irregular shape, and encloses the south transept within
the paradise. It has been much restored at different times. The
present roof is of tiles and is carried on common rafters. Each has
a cross tie, and the struts are shaped so as to give a pointed arch
form to each one. The old Fifteenth Century wooden cornice still
remains in some sections. The tracery is divided into four
compartments by mullions, and each head is filled with cusped work.
Round the cloister are placed the old houses of the Treasurer, the
Royal Chaplains, and Wiccamical Prebendaries. Above the door
leading to the house of the Royal Chaplains is an interesting
monument of the Tudor Period. It is a panel divided into two
compartments by a moulded stone fragment. Leading out of the south
walk is a doorway, through which the deanery may be seen beyond the
end of a long walled passage known as ST. RICHARD’S WALK. Looking
back northwards, there is fine view of the spire and transept from
the end of this walk.”--(H. C. C.)
In the south-east corner the Cloister passes under the west end of =St.
Faith’s Chapel=, founded in the Fourteenth Century.
SALISBURY
DEDICATION: ST. MARY; A CHURCH SERVED BY SECULAR CANONS.
SPECIAL FEATURES: SPIRE; CHAPTER-HOUSE.
Salisbury, on the edge of the great Salisbury Plain, haunted by
Ingoldsby’s “Dead Drummer” and not far from weird Stonehenge, is famous
for its beautiful Early English Cathedral.
“The visitor who sees it first on a bright day can never forget the
impression it has made on his mind. Unlike the architects of the
so-called ‘Great Gothic Revival,’ the builders of Salisbury put
their trust in proportion. Incidentally they made their details as
elaborate and as perfect as possible; but they were subordinated to
the general effect, and when, during the frightful ravages of the
‘restorers,’ let loose upon the church in the past and present
centuries, many of the best and most precious of these details and
ornaments perished or were renewed, the main building survives,
raising its exquisitely graceful spire into the blue sky, its
thousand pinnacles all pointing upward and gleaming white against
the deep green of the old trees and the emerald turf of the
surrounding close. England can show no fairer sight. ‘How long,’
asked an American visitor, ‘does it take to grow such turf?’ ‘Oh!
not long,’ was the reply; ‘only a couple of centuries.’ One feels
at Salisbury that whether the answer was given there or at Oxford,
of no place could it be more true. Though, when we look near
enough, we can see that fresh and white as is the general effect,
the masonry of Salisbury is of great antiquity, except of course
where it has been restored; and antiquity adds another charm, for
Salisbury was the first complete cathedral built after the
Romanesque tradition had died out, as St. Paul’s is the first built
after it had been revived. In other cathedrals there are fragments
of the same style, and they are always the most
[Illustration: CHICHESTER: SCREEN]
[Illustration: SALISBURY: NORTH]
beautiful features of the whole building. We can recall the western
porch at Ely, and the Angel Choir at Lincoln, and the chapter-house
at Southwell; but, here, at Salisbury, we have the whole vast
cathedral, all in the same supreme style, every part fitting into
its place, and adding its contribution to the general effect, never
in contrast but always in harmony until the effect is attained.
What that is may be read in countless books of travel or criticism.
Salisbury Cathedral, like the Parthenon and all other--there are
not many--buildings which tempt one to call them poems in
stone--produces a different feeling in the minds of all who see
it.”--(W. J. L.)
Salisbury was built on a site unoccupied by a former church. The
“Bishop’s Stool” had long been at Old Sarum on Salisbury Plain, a
fortified castle and cathedral; but the castle became too important and
Bishop Poore and his canons removed the See in the early part of the
Thirteenth Century. An old legend says that the site of the new
Cathedral was determined by an arrow shot by an archer from the ramparts
into the green vale below.
The first stone was laid for the Pope, who had consented to the removal
of the church from Old Sarum; the second, for Stephen Langton,
Archbishop of Canterbury, then with young Henry III. in Wales; the
third, for Bishop Poore; the fourth was laid by William Longespée, Earl
of Salisbury; and the fifth, by the Countess Ela, his wife. When the
King returned from Wales many of his courtiers visited Salisbury, “and
each laid his stone, binding himself to some special contribution for a
period of seven years.”
The building was undertaken by Elias of Dereham, clerk of the works; and
his successors were Nicholas of Portland and Richard of Fairleigh. The
latter completed the spire in 1375.
The Cathedral was consecrated in 1258, by the Archbishop of Canterbury
in the presence of Henry III. and his Queen.
The Cloisters and Chapter-House were built in the Thirteenth Century and
the Spire (which seems, however, to have formed part of the original
plan) in the Fourteenth.
“The history of no English cathedral is so clear and so readily
traceable as that of Salisbury. It was the first great church built
in England in what was then the new or pointed style (Early
English); of which it still remains, as a whole, one of the finest
and most complete examples. The Abbey Church of Westminster,
commenced in 1245, and completed to the east end of the choir in
1269, is the only great building of this age in England which can
be considered finer than Salisbury; and it is probable that Henry
III. was induced to undertake the rebuilding of Westminster from
admiration of the rising glories of the new Wiltshire cathedral,
which he had several times visited. On the Continent, the great
rival of Salisbury is Amiens; commenced in the same year (1220) and
completed, nearly as at present, in 1272.