cathedral and the chapter-house. This is also called the =Abbot’s
Cloister=. This is Norman in its western portion and Perpendicular
beyond.[7] Above this is situated the Chapter Library, a long, dark
Perpendicular room with a roof of dark oak, a large Perpendicular window
east and a row of small windows on the north side.
Though the cloisters are quadrangular, the length of the four walks is
not quite the same. The width (12½ feet) and height (18½ feet) are
alike.
In the =North Alley=, the Monks’ Lavatory is
“one of the most perfect of its date. It projects 8 feet into the
garth, and is entered from the cloister alley by eight tall arches
with glazed traceried openings above. Internally it is 47 feet long
and 6½ feet wide, and is lighted by eight two-light windows
towards the garth and by a similar window at each end. One light of
the east window has a small square opening below, perhaps for the
admission of the supply pipes, for which there seems to be no other
entrance either in the fan vault or the side walls. Half the width
of the lavatory is taken up by a broad, flat ledge or platform
against the wall, on which stood a lead cistern or laver, with a
row of taps, and in front a hollow trough, originally lined with
lead, at which the monks washed their hands and faces. From this
the waste water ran away into a recently discovered (1889) tank in
the garth.”--(H.)
From the =West Alley= the monks entered their great dining-hall; and at
the south-west corner a vaulted passage called the =Slype= lies under part
of the old lodging of the Abbots, now the Deanery. In this passage, a
sort of outer parlour, the monks held conversation with strangers. In
the =South Alley= the monks studied after dinner until evensong. It has
ten windows of six lights and twenty recesses, or “carrels,” below the
transoms.
The roof of the =East Alley= is a perfectly plain barrel vault without
ribs. In the south-west corner we find a hollowed bracket, or cresset
stone, in which a wick, floating in tallow, was kept to light the
passage.
Opposite the fifth bay a doorway, containing some good Norman work,
slightly restored, leads into the =Chapter-House=.
Originally consisting of three Norman bays, it probably, like the
chapter-houses at Norwich, Reading, and Durham, terminated in a
semi-circular apse. The present east end is Late Perpendicular, and
makes a fourth bay. The vaulting of the later part is well groined, and
the window is good. The roof of the three Norman bays is a lofty barrel
vault supported by three slightly pointed arches springing from the
capitals of the columns, which are curiously set back, and separate the
bays.
Norman arcading of twelve arches--_i.e._ four to each bay--runs along
the three westernmost bays on the north and south walls.
“The west end is arranged in the usual Benedictine fashion, with a
central door, flanked originally by two large unglazed window
openings, with three large windows above. Only one of the windows
flanking the doorway can now be seen, the other having been partly
destroyed and covered by Perpendicular panelling when the new
library stair was built in the south-west corner of the
room.”--(H.)
Of the four old gateways remaining the finest is =St. Mary’s Gate=, a
typical specimen of Early English work. It leads into St. Mary’s Square.
In the northwest corner of the Precincts the famous vineyard was
situated.
HEREFORD
DEDICATION: ST. MARY AND ST. ETHELBERT. A CHURCH SERVED BY SECULAR
CANONS.
SPECIAL FEATURES: NORTH TRANSEPT AND EAST END.
Hereford is situated in the fertile and cultivated valley of the Wye.
“Almost in the midst of the city the sturdy mass of the cathedral
building reposes in a secluded close, from which the best general
view is obtained. The close is entered either from Broad Street,
near the west window, or from Castle Street; the whole of the
building lying on the south side of the close between the path and
the river. The space between the Wye and the Cathedral is filled by
the Bishop’s Palace and the college of the Vicars’ Choral. On the
east are the foundations of the castle, which was formerly one of
the strongest on the Welsh marshes.”--(A. H. F.)
A stone church was begun here about 830 in honour of St. Ethelbert, the
East Anglian king, murdered by Offa near Hereford in 792. At his shrine
miracles were wrought. This church was rebuilt in Edward the Confessor’s
reign; but was plundered and burnt by the Welsh and Irish. The present
building was begun by Robert de Losinga about 1079 and finished by the
middle of the Twelfth Century. The most remarkable part of the building
is the north transept. This is supposed to have been built by Bishop
Aquablanca (see page 177), who was succeeded by Thomas de Cantilupe, the
great saint of the Cathedral (see page 178).
Hereford has suffered greatly from calamities and restorations. In 1786
the western tower and west front fell. They were reconstructed by Wyatt.
He also shortened the nave by one bay and destroyed the Norman
triforium. Repairs and restorations were undertaken in 1841, 1852 and
1858.
The most striking feature of the exterior is the central =Tower=--of two
stories above the roof with buttresses and exhibiting the ball-flower in
great profusion. The four pinnacles at the corners were added in 1830.
The Lady-Chapel with its tall lancet-shaped windows and bold buttresses
is also interesting. On the south side the Audley Chantry projects with
great effect; and from the west we gain a good view of the =Bishop’s
Cloisters=, with the square turreted tower called the =Lady Arbour=, though
nobody knows why. Only the east and the south walks now remain. They are
Perpendicular with fine window openings and richly carved roof.
We enter the Cathedral by the =North porch=, completed in 1530. It is of
two stages, and projects beyond an inner porch of the Decorated period.
The doorway opening into the church is also Decorated.
On entering the =Nave=, we pass to the west end to get the best general
view.
“The nave, which is separated from the aisles by eight massive
Norman piers (part of the original church), of which the capitals
are worthy of notice, has somewhat suffered by restorations at the
hands of Wyatt. The triforium, the clerestory, the vaulting of the
roof and the western wall and doorway are all his work; and it must
not be forgotten that he shortened the original nave by one entire
bay. Walking to the west end, from which the best general view is
to be obtained, one is impressed by the striking effect of the
great Norman piers and arches and the gloom of the choir beyond.
Through the noble circular arches, which support the central tower
and the modern screen on the eastern side of it, we see the eastern
wall of the choir, pierced above by three lancet windows and below
by a wide circular arch receding in many orders. A central pillar
divides this lower arch, two pointed arches springing from its
capital, and leaving a spandrel between them, which is covered with
modern sculpture. In the far distance may be distinguished the east
wall of the Lady-chapel and its brilliant lancet lights. Throughout
the Cathedral the Norman work is remarkable for the richness of its
ornament as compared with other buildings of the same date, such as
Peterborough or Ely.
“The main arches of the nave are ornamented with the billet and
other beautiful mouldings and the capitals of both piers and shafts
are also elaborately decorated. The double half shafts set against
the north and south fronts of the huge circular piers are in the
greater part restorations.
“Over each pier-arch there are two triforium arches imitated from
the Early English of Salisbury. They are divided by slender
pillars, but there is no triforium passage. During the Late
Decorated period the nave-aisles were practically rebuilt, the
existing walls and windows being erected upon the bases of the
Norman walls, which were retained for a few feet above the
foundations. The vaulting of the roofs of the nave-aisles and the
roof of the nave itself were coloured under the direction of Mr.
Cottingham.”--(A. H. F.)
In the second bay of the south aisle stands an ancient =Font= of late
Norman design, decorated with figures of the Apostles, on a base with
four demi-griffins or lions. Among the monuments in the nave is an
alabaster =Effigy of Sir Richard Pembridge=, in plate and mail armour with
his greyhound. He died in 1375. Here are also the =effigy= and =tomb= of
=Bishop Booth= (died 1535), who built
[Illustration: HEREFORD: NAVE, EAST]
[Illustration: HEREFORD: NORTH-EAST]
the north porch. The handsome iron grille in front of the tomb is of the
same date.
The =Central Tower= rests on massive piers with Norman arches. The entire
space is open from the floor of the Cathedral to the wooden floor of the
bell-chamber, painted beneath in blue and gold. From this floor hangs a
corona of wrought iron, coloured like the screen. The tower contains a
fine peal of ten bells.
Through the north arch of the tower we pass into the =North Transept=,
said to be the work of Peter of Savoy, who became Bishop of Hereford. He
was called Bishop Aquablanca from his birthplace near Chambéry. He died
in 1268 intensely hated. The original Norman north transept was pulled
down about 1260 for this new one, rebuilt
“on a design which is perhaps the most original, as it certainly is
one of the most beautiful in the history of English Gothic
architecture. To the north and west were built enormous windows,
with tracery of cusped circles, quite exceptional in their
elongation, more like late German than English work. On the east
side was built an aisle of exquisite beauty. Its arches, almost
straight-sided--its triforium windows, a ring of cusped circles set
under a semicircular arch--its clerestory windows, spherical
triangles, enclosing a cusped circular window--the composition of
the triforium--the north and west windows--are quite unique, except
so far as they were copied in later work in the city and
neighbourhood. At the south end of the aisle is the exquisite TOMB
of Bishop Peter Aquablanca (died 1268); no doubt built in his
lifetime. The tomb is as unique as the transept, and chiefly
resembles it in design. The inference is that Bishop Aquablanca
built the transept. The credit of it, however, is constantly given
to his successors, apparently on account of his private vices. But
saints as well as sinners have liked to leave memorials behind them
in stone; and, moreover, Aquablanca had his good points. To this
day four thousand loaves are distributed every year out of funds
which he bequeathed. It is recorded, too, that of a fine which was
imposed on the citizens for encroachments on his episcopal rights,
he remitted one half and handed over the other for works on the
cathedral.”--(F. B.)
Aquablanca was succeeded by Thomas Cantilupe, as much loved as the
former was hated. Dying on a homeward journey from Rome, in 1282, his
bones were removed from the flesh by boiling and carried to Hereford to
be placed in the Lady-Chapel. Forty years later he was canonized. Many
miracles were effected at his shrine, removed to the transept in 1287.
King Edward I. sent sick falcons to be cured and people thronged with
large offerings. We shall soon see all that is left of the =Cantilupe
Shrine=.
“The Norman arches opening to the aisles of the nave and choir
resemble those which correspond to them on the south side of the
church. The transept beyond them was, as we have seen, entirely
rebuilt, and is one of the most remarkable examples of the period
remaining in England. The unusual form of its arches, and its pure,
lofty windows, are sufficiently impressive now; but their effect
must have been wonderfully increased when the windows were filled
with glass displaying the history and miracles of the sainted
Bishop, and when the shrine itself was standing on its pedestal
within the eastern aisle, rich with the gold and jewels offered by
the numerous pilgrims who knelt daily before it.
“The west side of the transept (which is of two bays beyond the
aisle passage) is entirely filled by two very lofty windows of
three lights each. The heads of the narrow lights are sharply
pointed; and the tracery above is formed by three circles enclosing
trefoils. These windows are set back within triangular-headed
arches. On the north side is a double window of the same character
divided by a group of banded shafts. The triple lights on either
side of these shafts, and the foiled circles above them, precisely
resemble the windows on the west side of the transept.
“The vaulting springs from clustered shafts, the corbels supporting
which, on the east side, are beautiful and singular, and resemble
bunches of reeds, terminating in a small open flower. The small
heads below these corbels, at the intersection of the main arches,
should also be noticed.
“The eastern aisles, lighted by three very beautiful windows, each
of three lights, with three quatrefoils in the tracery, are set
back within wider arches, as is the case with the windows in the
main transept. In this aisle, in a line with the central pier, is
the pedestal of the _Cantilupe Shrine_. This is a long
parallelogram, narrowing toward the lower end, and is entirely of
Purbeck marble. It has two divisions; the lower closed, like an
altar-tomb, the upper a flat canopy, supported on small open
arches. Upon this rested the actual shrine, containing the relics
of the saint. Cantilupe was Provincial Grand Master of the Knights
Templars in England; and round the lower division of the pedestal
are fifteen figures of Templars in various attitudes, placed in the
recesses of a foliated arcade. All are fully armed, in chain-mail,
with surcoat, shield and sword. All are seated, and tread on
various monsters, among which are dragons and swine, muzzled. The
spandrels in this arcade, and the spandrels between the arches in
the upper division, are filled with leafage of the first Decorated
period, retaining some of the stiff arrangement of the Early
English, but directly copied from nature. In the lower spandrels it
is arranged in sprays; in the upper it is often laid in rows of
leaves, among which occur oak, maple and trefoil. The whole of this
work will repay the most careful examination. (It should be
compared with the foliage of the capitals of the shafts surrounding
the central pier of the aisle, which is far more stiff and
conventional). On the top of the lower division of the pedestal was
a brass of the Bishop, of which the matrix alone remains.
“The position of the shrine in this transept may be compared with
that of St. Frideswide at Oxford, and with that of St. Richard de
la Wych at Chichester. All had an altar immediately adjoining the
shrine, which was dedicated to the saint, and at which the
offerings of pilgrims were made. In these cases, however, the usual
position of a great shrine--at the back of the high altar--was, for
some special reason, departed from. At Hereford, this position of
highest honour was probably occupied by the shrine of St.
Ethelbert.”--(R. J. K.)
Close by is the interesting =monument= of =Bishop d’Aquablanca=, just by the
north-choir-aisle. This Early English monument was once richly coloured.
The effigy of this foreign priest--Peter of Savoy--lies under a canopy
supported by delicate shafts of Purbeck marble, the gables surmounted by
floriated crosses, the central cross bearing a figure of the Saviour.
The richly canopied =tomb= under the great north window bears the effigy
of =Bishop Thomas Charlton=, treasurer of England in 1329 (died 1369).
Under the north-west-window is the canopied =tomb of Bishop Swinfield=
(1283-1317). His effigy disappeared long ago, and some unknown figure
lies there. The ball-flower is conspicuous in the mouldings of the
canopy and behind the tomb there is a mutilated carving of the
_Crucifixion_, surrounded by vine-leaves and tendrils, quite similar to
the leafage of the Cantilupe Shrine. In a neighbouring recess decorated
with the ball-flower lies the effigy of an unknown lady of the
Fourteenth Century.
The =North-choir-aisle= is entered through the original Norman arch. In
the north wall of this aisle in a series of arched recesses (Decorated)
lie the effigies of various ecclesiastics. Beyond the first one, =Bishop
Geoffry de Clive= (died 1120), a door opens upon the turret staircase
leading to a typical monastic =Library=, containing more than 2,000
volumes, MSS. and ancient deeds, the accumulations of eight centuries.
These are kept in eighty old oak cupboards and the ancient books are
chained.
Descending and passing to the corner of the north-east transept we come
to =Bishop Stanbery’s Chantry=, a rich example of late Perpendicular, with
two windows on the north side. The ceiling is richly groined. The
capitals at the corners of the chapel are very grotesque. Opposite the
chantry, on the north side of the choir, is the alabaster effigy of
Bishop Stanbery (died 1474).
In the wall of the aisle above is a =Decorated window=. The glass is in
memory of =Dr. Musgrave=, Archbishop of York, previously Bishop of
Hereford. The subject is St. Paul, the story of whose life is continued
in the windows of the chantry.
Immediately beyond, the =north-east-transept= opens. It is Early
Decorated, retaining some Norman characteristics. In the centre rises an
octagonal pier which helps to carry the quadripartite vaulting, which
has good bosses of leafage. This pier gives a peculiar character to this
transept. The windows are Early Decorated.
The =South transept= retains much that is Norman, although it was altered
during the Perpendicular period, when two huge windows were cut into the
walls. Perpendicular panelling surrounds that in the south wall. The
lierne vaulting is also of the same date. The east wall has five series
of Norman arcades. Two Norman windows in the clerestory contribute
light.
The =Denton tomb=, with its effigies in alabaster showing traces of
colour, dates from 1576.
The =organ=, in the first archway on the south side of the choir, was the
gift of Charles II. It has been twice enlarged.
Effigies of bishops fill the four Decorated arched recesses on the south
wall of the =south-choir-aisle= and on the north wall, under an arch
opening to the choir, is the tomb of =Bishop De Lorraine=, or =Losinga=
(died 1095). Here is also the monument and tomb to =Bishop Mayhew=, of
Magdalen College (1504-1516); some old windows restored by Warrington;
and the famous =Map of the World=, one of the most valuable relics of
mediæval geography in existence. It was designed about 1314 by Richard
of Haldingham, a Lincolnshire monk. It was discovered more than a
hundred years ago under the floor of Bishop Audley’s Chapel.
The =South-east-transept=, between the retro-choir and the chapter-house,
opens into the latter. The style is in the main Decorated, though the
window tracery is later quite Flamboyant. One single octagonal pillar
separates it from its eastern aisle. From this transept a lovely view of
the Lady-Chapel can be enjoyed.
The peculiar darkness of the =Choir= is due to the arrangement of the
transepts, which prevents the admission of light except from the
clerestory.
“The main arches of the choir are of three orders, and spring from
massive composite piers, with broad, square bases. The capitals of
the semi-detached shafts are enriched with leafage and grotesque
heads. The _triforium_ in each bay consists of one wide Norman arch
circumscribing two smaller, divided by a central shaft, and
springing on either side from two massive semicircular piers, with
small capitals. Both outer and inner arches spring from these
piers. The capitals of the central shafts have square abaci, and
are enriched. The tympana of the outer arches are covered with
scallop, leaf and billet ornament. At the base of the triforium
runs a square string-course, enriched with minute carving. The
lozenge ornament prevails round the main arches of the choir, as
does the zigzag round those of the nave.
“Broad square pilasters, with semi-detached shafts at their angels,
fill the spaces between the piers. They terminate at the spring of
the triforium arches in double triangular headings, with crocketed
sides and finials of leafage. These headings are Early English, of
the same date as the clerestory and vaulting; and between each pair
rises a group of so-called vaulting-shafts, with capitals of
leafage, terminating at the base of the clerestory; and connected
(under the actual base of the clerestory) by a band of open
flowers. The clerestory consists of one lofty pointed arch in each
bay, divided by a central; on either side is a smaller trefoiled
arch. The windows, of two lights, with a quatrefoil in the heading,
are placed at the back of the wall-passage, and form in effect a
double plane with the large inner arches. They are filled on each
side with indifferent stained glass. The choir vaulting is plain
quadripartite, with bosses of leafage at the intersections.”--(R.
J. K.)
The =Choir-stalls= are Decorated. Some of the =Misereres= are quaint. The
=Bishop’s Throne= dates from the Fourteenth Century. The Cathedral also
possesses an ancient episcopal chair, which, it is said, King Stephen
sat in when he visited Hereford.
Within a great Norman arch of five orders stands the modern =Reredos=, at
the back of which rises a great pier from which spring two pointed
arches. The spandrel, or Tympanum, is covered with modern sculpture--the
Saviour in Majesty and the Evangelists; and below a statue of King
Ethelbert, who was said to have been buried in the first Saxon church
somewhere about this spot.
From the =Retro-choir= we pass into the =Vestibule= of the Lady-Chapel, the
walls of which are broken with transitional Norman window
openings,--pointed arches with massive mouldings. The foliage of the
capitals is Early English.
Five steps (necessitated by the height of the crypt below) lead up to
the =Lady-Chapel=, very rich Early English, dating from the first half of
the Thirteenth Century. It is 24 × 45 feet and of three bays. On the
north side each bay contains two large windows; on the south side, the
third bay is filled by the Audley Chapel.
“The very rich clustered shafts and arches of the side windows
should be especially noticed. The capitals of the shafts are Early
English leafage; and there are small heads at the intersections and
crowns of the arches. A circle enclosing a quatrefoil pierces the
wall above these windows. The vaulting is plain quadripartite, and
springs from shafts which descend upon a base raised slightly above
the pavement. The modern pavement of the Lady-chapel is laid with
red and green tiles in large square panels. The whole design is
broad and good in outline; and is somewhat richer at the altar end,
which is raised on one step.”
Ferguson has remarked that
“Nowhere on the Continent are such combinations to be found as the
Five Sisters at York, the east end of Ely, or such a group as that
which terminates the east end of Hereford.”
Many of its features were hidden until the restorations and repairs were
undertaken in 1841.
“The glorious EAST-WINDOW consists of five narrow lancets recessed
within arches supported by clustered shafts, the wall above being
perforated with five quatrefoil openings, of which the outside ones
are circular and the centre three are oval. It was as a memorial to
Dean Merewether, to whom the cathedral owes so much, that the
stained glass designed by Cottingham was placed in the east
windows in the narrow lancets that he loved so dearly. It
represents scenes in the early life of the Virgin and the life of
Christ, the last being the supper in the house of Mary and Martha.
In the side windows the visitor should especially notice the rich
clustered shafts and arches, the Early English capitals and the
ornamentation of the arches. The double PISCINA and AUMBRY south of
the altar are restorations necessitated by the dilapidated state of
the originals.”--(A. H. F.)