CHAPTER III. - THE INTERIOR OF THE CATHEDRAL.

The Cathedral is usually entered from the north-west through the beautiful

parvise porch of Bishop Booth. The lower stage of this porch is formed by

three arches with octagonal turrets at their outer angles. These turrets

are each capped by a lantern. The second stage has three fine

Perpendicular windows. The doorway, which actually opens into the church,

belongs to a smaller porch within this outer one. The inner porch is of

the Decorated period. There is some particularly good iron-work on the

doors, made by Messrs Potter from designs by Mr. Cottingham, junior.

Hereford has a smaller area than either of the other two sister

cathedrals, being only 26,850 feet in extent.

[Illustration: THE NORTH PORCH.]

THE NORTH PORCH.

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 hand 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.

*The Font*, of late Norman design, probably twelfth century, is in the

second bay of the south aisle beginning from the west.

The circular basin is 32 inches in diameter, large enough for the total

immersion of children. Beneath arches round the basin are figures of the

twelve Apostles. These, however, with one exception, have been much

broken. The most curious feature of this interesting font is the base with

four demi-griffins or lions projecting therefrom. The whole is protected

by a mosaic platform.

*Monuments in the Nave.*--The first monument on the south side as we walk

from the western end is the fine effigy in alabaster of Sir Richard

Pembridge in plate and mail armour with his greyhound. This monument was

formerly at the Black Friars Monastery, but was removed here at the

Suppression. Sir Richard Pembridge was a Knight of the Garter (53rd of

that order) at the time of Edward III., and was present at Poitiers. He

died in 1375. There are still traces of colour on this monument and gold

remains on the points of the cap to which the camail is fastened, as also

on the jewelled sword-belt. A sheaf of green coloured leathers is

separated from the tilting helmet, on which the head rests, by a coronet

of open roses. When the effigy was brought here it had but one leg left,

and that the gartered one. A wooden limb was carved, and the workman

showed such accuracy in duplicating the stone leg that the Knight was

adorned with a pair of garters for many years until Lord Saye and Sele,

Canon Residentiary, presented the Cathedral with a new alabaster leg, and

the wooden one was banished to a shelf in the library.

[Illustration: THE NAVE.]

THE NAVE.

_Photochrom Co., Ld., Photo._

Under a foliated Decorated arch in the wall in the fifth bay is the carved

figure of an unknown ecclesiastic. The effigy is headless and otherwise

much mutilated.

In the sixth bay is another mutilated and headless figure, under a

foliated arch, which is crowned by a bearded head wearing a cap. It is

thought to be the monument of a former treasurer.

In the fifth bay a quaint door leads from the aisle to the Bishop's

Cloister. This has a square heading which rises above the sill of the

window over it. There is an interesting series of heads in the hollow

moulding, which are said to be copies of earlier work in the same

position. The iron-work of the door itself is modern by Potter. A lofty

Norman arch leads from this aisle into the south transept.

The north aisle of the nave is similar in style to the south. It contains

six memorial windows to Canon Clutton and his wife, with subjects by

Warrenton from the life of St. John the Baptist.

In the sixth bay from the west of the north wall of the nave is the effigy

and tomb under which is buried Bishop Booth (1535), the builder of the

large projecting porch which bears his name. The recumbent figure of the

Bishop is fully vested with a _mitra pretiosa_ with pendent fillets. He

wears a cassock, amice, alb, stole, fringed tunic and dalmatic, and

chasuble with orfrays in front. On his feet are broad-toed sandals; his

hands are gloved; a crozier (the head of which has been broken) is veiled

on the right. At this side is a feathered angel. The original inscription,

cut into stone and fixed above the effigy, remains uninjured:

"Carolus Booth, episcopus Herefordensis cum 18 annos, 5 menses et

totidem dies Ecclesiae huic cum laude prefuisset, quinto die Maii

1535 defunctus sub hoc tumulo sepultus jacet."

The iron-work in front of this tomb is the only specimen in the Cathedral

which has not been disturbed, although Mr. Havergal says "most of our

large ancient monuments were protected by iron railings." It is divided

into six square panels, having shields and heraldic ornaments.

The beautiful wrought iron *Screen*, an elaborate example of artistic

metal-work, painted and gilt, executed by Messrs Skidmore of Coventry,

from designs by Sir Gilbert Scott, stands between the eastern piers of the

central tower, a little towards the nave. The first great piece of

metal-work of this kind executed in England in modern times was the choir

screen at Lichfield, designed and carried out by the same artists as the

Hereford screen; though the latter and subsequent production transcends

that of Lichfield, both in craftsmanship and beauty.

It has five main arches, each subdivided into two sub-arches by a slender

shaft. The central arch is larger and higher than the others, is gabled

and surmounted by a richly jewelled cross. This forms the entrance, and on

either side, to a height of 4 feet, the lower part of the arches are

filled with tracery in panels. The spandrels between the heads of the

arches are enriched with elaborate ornament in flowing outline.

[Illustration: THE CHOIR SCREEN.]

THE CHOIR SCREEN.

_Photochrom Co., Ld., Photo._

A variety of foliage and flowers has been worked in thin plates of copper

and hammered iron, in imitation of natural specimens, and throughout the

screen the passion flower is prominent in the decoration. It is composed

of 11,200 lbs. of iron, 5000 lbs. of copper and brass, 50,000 pieces of

vitreous and other mineral substances in the mosaic panels, and about 300

cut and polished stones. There are also seven bronze figures, three single

figures, and two groups. Of these the _Times_, May 29, 1862, well said:

"These figures are perfect studies in themselves. Every one can understand

them at a glance, and from the centre figure of Our Saviour to those of

the praying Angels, the fulness of their meaning may be felt without the

aid of any inscriptions beneath the feet to set forth who or what they

are."

[Illustration: SECTION THROUGH TOWER AND TRANSEPTS.]

SECTION THROUGH TOWER AND TRANSEPTS.

The eastern side of the screen, though without statuary, is no less worthy

of inspection. Over the gates the large oval space is filled with the

sacred monogram I.H.C. The base consists of polished Devonshire marble.

The diversity of tint of the metals used is in itself a source of colour,

but the whole of the hammered iron-work of the foliage has been painted

with oxides of iron and copper, while the colour scheme is further carried

out in the mosaics.

The whole effect is certainly beautiful, and the screen is perhaps the

best example of this kind of work produced in modern times. The cost of

the screen was L3000, though the sum paid by the Chapter in accordance

with their agreement was only L1500. The same firm, the Skidmore Art

Company, who made it, also supplied the large corona and gasfittings.

A brass eagle presented by the Misses Rushort to the Cathedral, is placed

near the south-west corner of the screen; it was designed by Cottingham.

*The Central Tower.*--Immediately above the four great arches of the

central tower, the interior walls are, says Professor Willis in his report

on the Cathedral, "Of a very singular construction; twelve piers of

compact masonry on each side, beside angle piers, are carried up to the

height of 26 ft., and connected half-way up by a horizontal course of

stone, in long pieces, and by an iron bar, which runs all round

immediately under this bonding course. Upon these gigantic stone gratings,

if I may be allowed the expression, the interior wall of the tower rests,

and they also carry the entire weight of the bell-chamber and bells.

The whole space is now completely open from the floor of the Cathedral to

the wooden floor of the bell-chamber, which is painted underneath in blue

and gold. From this floor hangs, the handsome corona of wrought iron.

Before Mr. Cottingham's restoration was commenced in 1843, however, the

whole appearance of the central tower was different, and the beautiful

lantern with its many shafts was hidden from view by a vault of the

fifteenth century, which rose above the great arches and completely

concealed the upper portion of the tower.

In his specific report of the condition of the central tower in

particular, which he was instructed to deliver in writing, Mr. Cottingham

said:

"To enable me to form the opinion which I have now the honour of

reporting, I have carefully examined the construction of the four great

piers which support the tower; they are of Norman workmanship, and

sufficient in bulk to carry a much greater weight than the present tower,

had the masonry been more carefully constructed; they consist of a series

of semi-circular columns attached to a thin ashlar casing, which surrounds

the piers, and the chambers or cavities within are filled with a rubble

core, composed of broken stones, loam and lime grouting; this was

undoubtedly sufficient to carry a low Norman tower, but when the great

Early English shaft was added on the top of this work the pressure became

too great for such kind of masonry to bear. The ashlar and semi-columns,

not being well bonded and deeply headed into the rubble cores, split and

bulged, and the cores, for want of a proper proportion of lime, diminished

and crushed to pieces. To remedy these defects, a second facing of ashlar

has been attached to the piers, in some places by cutting out a part of

the old ashlar, and in others by merely fixing long slips of stone round

the pier with iron plugs, run in with lead,--these most unsightly

excrescences have destroyed the beauty of the original design, without

adding any strength to the masonry. The same unskilful hands blocked up

all the original Norman arches, except one, connected with the tower piers

and communicating with the aisles, choir, and transepts, leaving only a

small passage-way in each.

"The first triforium arches in the choir and east side of the south

transept, abutting against the tower, have also been closed up with

masonry, so as to leave scarcely a trace of the rich work which lies

concealed behind it. These injudicious performances have tended to weaken

instead of strengthen the tower. The interior walls above the main arches

of the tower, up to the bases of the fifty-two pillars, which surround the

bellringers' chamber, are in a very ruinous state, particularly at the

four angles, where rude cavities, running in a diagonal direction, have

been made large enough for a man to creep in,--these unaccountable holes

have tended very much to increase the danger, as all the masonry connected

with them is drawn off its bond, and many of the stones shivered to pieces

by the enormous pressure above. The stone-work, also, above the pillars,

is drawn off at the angles just below the timber-work of the bell floor.

On the whole, I never witnessed a more awful monument of the fallibility

of human skill than the tower of Hereford Cathedral at this moment

presents."

In addition to the report of the architect the Chapter availed themselves,

on recommendation of the Bishop, of the opinion of Professor Willis, of

Cambridge. This gentleman, after the most minute scrutiny and

indefatigable labour, produced his elaborate and well-known report. He

essentially corroborated the architect, especially as to the general state

of the tower; and, under the strenuous exertions of Dean Merewether, the

great work of restoration was commenced. The tower contains a fine peal of

ten bells in the key of C. A new clock was erected in 1861, which strikes

the hours and quarter-hours.

*The North Transept.*--Passing through the north arch of the tower we come

into some of the most interesting parts of the Cathedral. The transept

beyond was entirely rebuilt for the reception of the shrine of Bishop

Cantilupe, when his body was removed from the Lady Chapel in 1287, after

the miracles reported at his tomb had already largely increased the

revenues of the Cathedral. The unusual shape of the arches and the fine

and effective windows of this transept render it one of the most

distinguished English specimens of the style.

[Illustration: NORTH ARCH OF CENTRAL TOWER, SHOWING MASONRY ERECTED ABOUT

1320.]

NORTH ARCH OF CENTRAL TOWER, SHOWING MASONRY ERECTED ABOUT 1320.

On the north is a window with triple lights on each side of a group of

banded shafts, the tracery above being formed of circles enclosing

trefoils. The heads of the lights are sharply pointed.

The west side has two lofty windows recessed inside triangular-headed

arches, which completely fill the two bays. They have three lights each,

and are exactly similar to the windows on the north side of the transept.

Surrounded by alternate shafts of sandstone and dark marble, a clustered

pier divides the eastern aisle of the transept into two bays. These shafts

have foliated capitals, and the bases have knots of foliage between them.

With the exception of one string of dog-tooth ornament the mouldings of

the main arches are plain.

Above is the interesting triforium stretching across the Norman arch

opening to the choir-aisle beyond the transept itself. There are in each

bay two pointed arches, each containing three smaller arches with foiled

headings surmounted by three open quatrefoils. The spandrels between the

arches are diapered in low relief with leaf ornament. Above, far back in

the clerestory arches, are octofoil windows with sills of over-lapping

courses, which incline forward to the string course above the triforium.

The shafts of all the windows are ringed at the angles, and the triangular

arches are of an unusual stilted shape, similar to those in the clerestory

of Worcester Cathedral on the south side of the nave. These are, however,

of later date, and may have been imitated by the Worcester architect.

The restoration of the north transept by Sir G. G. Scott was

satisfactorily carried out, and certainly improves the general effect.

*Monuments in the North Transept.*--The great north stained-glass window by

Hardman was placed there as a memorial to Archdeacon Lane-Freer who died

in 1863. Underneath this window, which is described later on in the

section devoted to stained glass, is the stone effigy of Bishop

Westfayling (died 1602). The canopy was removed by Wyatt, and the effigy

is now leaning on its side against the wall. There is an undoubted

original half-length portrait of this bishop in the Hall of Jesus College,

Oxford. There are monuments to other members of the family in the church

at Ross.

In the pavement near the choir-aisle is a brass to John Philips, the

author of _The Splendid Shilling_ and of _Cyder_, a poem endearing him to

Herefordshire. His family belonged to this county, although he himself was

born in Oxfordshire. There is also a monument to Philips in Poets' Corner,

Westminster Abbey. He died in 1708, at the early age of 32.

[Illustration: THE NORTH TRANSEPT.]

THE NORTH TRANSEPT.

_Photochrom Co., Ld., Photo._

The next monument in the north transept is the effigy of Bishop Thomas

Charlton, treasurer of England, 1329. This effigy and its richly decorated

alcove or canopy was most luckily not touched by Wyatt.

Here are stained-glass windows to Captain Arkwright, lost in an avalanche;

Captain Kempson, and Rev. S. Clark, Headmaster of Battersea College.

In a line with the central pier of the eastern aisle is the most important

monument in the north transept, viz.:--the pedestal of the celebrated

shrine of St. Thomas de Cantilupe, 1282, who died at Civita Vecchia, near

Florence, on his way to Rome, August 25th, 1282. His heart was sent to

Ashridge in Buckinghamshire, part of the body was buried near Orvieto; and

the bones were brought to Hereford and deposited in the Lady Chapel.

The pedestal is in shape a long parallelogram, narrower at the lower end.

It is of Purbeck marble, and consists of two stages, the lower having a

series of cinquefoiled niches and fourteen figures of Templars in chain

armour in different attitudes, for Bishop Cantilupe was Provincial Grand

Master of the Knights Templars in England.

All the figures are seated with various monsters under their feet. The

filling of the spandrels between these niches and that of the spandrels

between the arches of the upper stage is especially noteworthy. It belongs

to the first Decorated period, and while the arrangement is still somewhat

stiff or formal, the forms are evidently directly copied from nature.

The slab inside the open arcade, which forms the upper stage, still bears

the matrix of the brass of an episcopal figure having traces of the arms

of the See (_i.e._, the arms of Cantilupe).

By the dedication of the north transept especially to Bishop Cantilupe was

avoided the secondary part which his shrine must have played if it had

been placed in the usual post of honour at the back of the high altar. The

shrine of St. Ethelbert was probably already there, and wisely enough a

distinguished position was specially created by rebuilding the north

transept for the purpose. There is a similar state of affairs at Oxford

Cathedral with the shrine of St. Frideswide, and in the south transept of

Chichester Cathedral with that of St. Richard de la Wych.

We note also a brass to Dean Frowcester, 1529; and another to Richard

Delamare and his wife Isabella (1435).

Near the Cantilupe shrine is a bust of Bishop Field (died 1636), and on

the floor is an effigy of John D'Acquablanca, a Dean of Hereford (died

1320), and nephew of Bishop D'Acquablanca, whose beautiful monument is

close to it, between the north choir-aisle and the eastern aisle of the

transept. Beholding the exquisite grace of this tomb we are reminded of

the more elaborate and equally beautiful chantry of the same period (1262)

in the south choir transept of Salisbury to Bishop Giles de Bridport.

Over the effigy, which is a most interesting example of minute

ecclesiastical costume, delicate shafts of Purbeck marble support a gabled

canopy, each gable of which is surmounted by a finial in the form of a

floriated cross.

This monument once glowed with rich colour, and in 1861 a feeble attempt

was made to restore it, which was, however, not carried out. Bishop

Aquablanca, Peter of Savoy, had been steward of the household to his

relative, William of Savoy, the Queen's uncle. His preferment was one of

the noteworthy instances of Henry III.'s love of foreigners, and as Bishop

of Hereford he was especially unpopular. The King made him his treasurer

and consulted him on all matters of state. At his death, says the Rev. H.

W. Phillott,(2) "He was probably little regretted in his cathedral city,

whose citizens he had defeated in an attempt to encroach on his episcopal

rights. But he used his victory with moderation, for he forgave them one

half of their fine and devoted the other half to the fabric of the

cathedral, probably that noble and graceful portion of it, the north-west

transept, which contains the exquisitely beautiful shrine, probably

erected by himself, under which repose the remains of his nephew, John,

Dean of Hereford, as well as his own, his heart excepted, which, with a

pathetic yearning of home-sickness, he desired should be carried to the

church which he had founded in his own sunny land at Aigue-Belle, in

Savoy. Yet, though his memory has received no mercy at the hands of

historians and song-writers of his day, though his example did much to

swell the tide of ill-repute in which many of the clergy of all ranks were

held (for the laity, says the song-writer, are apt to pay less attention

to the doctrine than to the life of their teachers), we ought not to leave

out of sight that he did much to improve the fabric of the Cathedral, and

bequeathed liberal gifts to its foundation in money, books, ornaments, and

land, and also a handsome legacy to the poor of the diocese."

[Illustration: THE CANTILUPE SHRINE.]

THE CANTILUPE SHRINE.

In the north transept is a doorway leading to the tower.

*South Transept.*--Crossing the Cathedral in front of the Skidmore screen

it is a relief to turn from the nave with its sham triforium to the south

transept with its fine three stage Norman east side. The groining,

although incongruous, is still beautiful, and does not irritate in the

same way as Wyatt's abominations in the nave. This transept contains

several disputed architectural points, and opinions are divided as to

whether it may not be the oldest existing portion of the Cathedral. "At

any rate," says G. Phillips Bevan,(3) "this transept seems to have been

the happy hunting-ground of successive races of builders, who have left

the side-walls in admired confusion."

Though it underwent great alteration in the Perpendicular period much of

the Norman work remains. The east wall is in the best preservation, and is

certainly entirely Norman with the exception of the groining. It is

covered with five series of arcades, which may be divided into three

stages. In the middle stage is a notably good triforium passage of very

short Norman arches. All the other ranges of arcades, except those at the

level of the clerestory, are blocked. On this side the transept is lighted

from the clerestory by two Norman windows.

In both east and west walls there is a very fine Norman moulded double

arch.

In the west wall Perpendicular windows have cut into the Norman work, and

a large Perpendicular window nearly fills the south wall with panelling

round it of the same period.

*Monuments in the South Transept.*--There is an interesting altar-tomb of

Sir Alexander Denton, 1576, of Hillesden, Co. Bucks, Esq., and his lady

and a child in swaddling clothes, toward the south-east angle of the

transept. The effigies are in alabaster, and retain considerable traces of

colour. They are in full proportion, and the knight wears a double chain

and holds a cross in his hands. The Dentons were ancestors of the Coke

family, now Earls of Leicester. The swaddled body of the child lies to the

left of its mother, its head resting on a little double pillow by her

knee, and a part of the red cloth on which she lies wraps over the lower

part of the babe.

To the right of the knight, balancing the child in the composition, lie

his two gauntlets or mail gloves, which have been much scratched with

names.

The head of the knight rests upon his helmet.

Round the verge of the tomb is this inscription:

"Here lieth Alexander Denton, of Hillesden, in the County of

Buckingham, and Anne his wife, Dowghter and Heyr of Richard

Willyson of Suggerwesh in the Countie of Hereford; which Anne

deceased the 29th of October, A.D. 1566 the 18th yere of her Age,

the 23rd of his Age."

"But," says Browne Willis, "this was but a caenotaph, for Alexander Denton,

the husband, who lived some years after, and marry'd another lady, was

bury'd with her at Hillesden, Co. Bucks; where he died January the 18th,

1576."

Under the south window is an effigy of Bishop Trevenant (1389-1404), the

builder of the Perpendicular alterations in this transept. The effigy is

unfortunately headless and has lost its hands. The feet are resting on a

lion.

There is a brass to T. Smith, organist of the Cathedral (1877).

The remains of an ancient fireplace may be noticed on the west side of the

south transept.

They consist of a rectangular recess with chimney vault behind. This was

doubtless cut away when the Perpendicular window was placed above on this

side.

From this transept a beautiful side view is obtained of the lantern

arches.

[Illustration: EAST WALL OF THE SOUTH TRANSEPT.]

EAST WALL OF THE SOUTH TRANSEPT.

_Photochrom Co., Ld., Photo._

The *Organ*, which occupies the first archway on the south side of the

choir, contains work by Renatus Harris. Mr. Phillips Bevan(4) writes of

it, "It was the gift of Charles II., and was very nearly destroyed by the

fall of the central tower. It has twice been enlarged since, once by Gray

and Davidson, and lastly by Willis. It has 16 great organ stops, 11 swell,

7 choir, 7 solo, 8 pedals, with 2672 pipes. A great feature in Willis's

improvements is the tubular pneumatic action, which does away with

trackers and other troublesome internals. Sir F. Gore Ouseley having been

precentor of the Cathedral, it goes without saying that he made everything

about the organ as nearly perfect as possible, and, for the matter of

that, no lover of music should omit to hear the _Unaccompanied_ service

usually held on Friday morning."

In the south wall of the south choir-aisle are four Decorated arched

recesses containing four effigies of bishops, belonging to the

Perpendicular period. These effigies have been attributed, beginning from

the west, to R. de Melun, 1167; Robert De Bethune (died 1148), the last

Norman builder; Hugh Foliot (died 1234) or Robert Foliot (died 1186); and

William De Vere (died 1199).

On the north wall under an arch opening to the choir is the tomb of Bishop

De Lorraine or Losinga (died 1095), who superintended the building of the

fine west front of the cathedral so unfortunately destroyed. This effigy

also belongs to the Perpendicular period. The large size of the ball

flower and fine wood-carving of the Decorated period on these tombs is

noticeable.

Between the two eastern piers of the choir is the fine effigy and brass to

Bishop Mayhew, of Magdalen College (1504-1516). The effigy is wearing a

mitre, and is fully vested. In front of the monument are panels filled

with figures of saints, and over the effigy is an elaborate canopy, which

has been restored.

In the last bay to west of the south choir aisle a door gives access to

two Norman rooms, used as vestries or robing rooms, to enter which you

pass beneath the bellows of the organ. Exhibited in cases in one of these

rooms are some of the treasures of the cathedral, ancient copies of the

Scriptures, chalices, rings, etc., described in detail towards the close

of this section. A two-storied eastern chamber was added to the Norman

work in the Perpendicular period, and was used as the cathedral treasury.

Before leaving the south choir aisle the old stained glass windows with

figures restored by Warrington should be noticed, and the celebrated *Map

of the World* is well worth some study. It was discovered under the floor

of Bishop Audley's Chapel during the last century, and appears from

internal evidence to have been probably designed about 1314 by a certain

Richard of Haldingham and of Lafford (Holdingham and Sleaford in

Lincolnshire).

"Tuz ki cest estorie ont

Ou oyront, oy luront, ou veront,

Prient a Jhesu en deyte

De Richard de Haldingham e de Lafford eyt pite

Ki l'at fet e compasse

Ke joie en cel li seit done."

Prebendary Havergal says: "It is believed to be one of the very oldest

maps in the world, if not the oldest, and it is full of the deepest

interest. It is founded on the cosmographical treatises of the time, which

generally commence by stating that Augustus Caesar sent out three

philosophers, Nichodoxus, Theodotus, and Polictitus, to measure and survey

the world, and that all geographical knowledge was the result. In the

left-hand corner of the map the Emperor is delivering to the philosophers

written orders, confirmed by a handsome mediaeval seal. The world is here

represented as round, surrounded by the ocean. At the top of the map is

represented Paradise, with its rivers and trees; also the eating of the

forbidden fruit and the expulsion of our first parents. Above is a

remarkable representation of the Day of Judgment, with the Virgin Mary

interceding for the faithful, who are seen rising from their graves and

being led within the walls of heaven.

"The map is chiefly filled with ideas taken from Herodotus, Solinus,

Isidore, Pliny, and other ancient historians. There are numerous figures

of towns, animals, birds, and fish, with grotesque customs, such as the

mediaeval geographers believed to exist in different parts of the world;

Babylon with its famous tower; Rome, the capital of the world, bearing the

inscription--_'Roma, caput mundi, tenet orbis frena rotundi'_; and Troy as

'_civitas bellicosissima_.' In Great Britain most of the cathedrals are

mentioned; but of Ireland the author seems to have known very little.

"Amongst the many points of interest are the columns of Hercules, the

Labyrinth of Crete, the pyramids in Egypt, the house of bondage, the

journeys of the Children of Israel, the Red Sea, Mount Sinai, with a

figure of Moses and his supposed place of burial, the Phoenician Jews

worshipping the molten image, Lot's wife," etc.

*Bishop's Cloisters.*--At the eastern end of the south nave aisle a door

opens to the cloisters connecting the cathedral with the episcopal palace.

In the cloister is placed a monument and inscription to Colonel John

Matthews of Belmont, near Hereford, who died 1826. The subject, "Grief

consoled by an Angel," is carved in Caen stone.

Other monuments are:--one to the Hon. Edward Grey, D.D., formerly Bishop of

Hereford, 1832 to 1837. He died July 1837, and is buried beneath the

bishop's throne. A monument to Bishop George Isaac Huntingford, D.D., 1815

to 1832. He died in his eighty-fourth year, April 1832, and was buried at

Compton, near Winchester. Also a monument to Dr. Clarke Whitfield, an

organist of the cathedral.

The following inscription, on an ancient brass, affixed to a gravestone

near the west part of the cathedral, which, being taken off, was kept in

the city tolsey or hall for some time until it was finally fastened to a

freestone on the west side of the Bishop's Cloisters:--

"Good Christeyn People of your Charite

That here abide in this transitorye life,

For the souls of Richard Philips pray ye,

And also of Anne his dere beloved wife,

Which here togeder continued without stryfe

In this Worshipful City called Hereford by Name,

He being 7 times Mayer and Ruler of the same:

Further, to declare of his port and fame,

His pitie and compassion of them that were in woe,

To do works of charitie his hands were nothing lame,

Throughe him all people here may freely come and goe

Without paying of Custom, Toll, or other Woe.

The which Things to redeme he left both House and Land

For that intent perpetually to remain and stand.

Anne also that Godlye woman hath put to her Hand,

Approving her Husband's Acte, and enlarging the same,

Whyche Benefits considered all this Contry is band

Entirely to pray for them or ellis it were to blame.

Now Christe that suffered for us all Passion, Payne, and Shame,

Grant them their Reward in Hevyn among that gloriouse Company.

There to reigne in Joy and Blyss with them eternally!

Amen."

*The South-east Transept*, lying between the retro-choir and the

chapter-house, into which it opens, is in the main Decorated, though its

window tracery is perhaps somewhat later, being almost flamboyant in

character. It was altered from the original Norman apse, and in the walls

bases of the earlier work remain. It has an eastern aisle, separated from

it by a single octagonal pillar.

Before the aisles were added the now open window looking into the Lady

Chapel formed part of the outside wall of the chapel, and was glazed.

There is a lovely view from this transept, looking slantwise into the Lady

Chapel. In this transept are a number of fragments of brasses, mouldings,

stone, etc. The chief monument is that to Bishop Lewis Charleton, 1369.

His effigy lies under the wall dividing the transept from the vestibule of

the Lady Chapel. Above it is a fine monument, restored in 1875, to Bishop

Coke, died 1646. This bishop was brother to Sir John Coke, Secretary of

State to Charles I. His coloured shield is borne by two angels.

A black marble slab, in excellent preservation, marks the spot where the

remains of Bishop Ironside were laid on Christmas Eve, 1867, in presence

of the dean, archdeacon, and praecentor, in a vault specially prepared for

them; and there is a small brass on the wall. Gilbert Ironside, D.D.,

Warden of Wadham College, Oxford, was Vice-Chancellor of the University in

1687, when James II. seized upon the venerable foundation of Magdalen

College and sent his commissioners to Oxford to expel the Fellows.

In his replies to the king, Dr. Ironside showed a firm and resolute spirit

in defence of the rights of Oxford. His refusal to dine with the

commissioners on the day of the Magdalen expulsion is described thus by

Macaulay:--"I am not," he said, "of Colonel Kerke's mind. I cannot eat my

meals with appetite under a gallows."

The brave old Warden of Wadham was not left to "eat his meals" much longer

in his beautiful college hall. William III., almost immediately after his

accession, made him Bishop of Bristol, whence he was translated to

Hereford, and, dying in 1701 at the London residence of the Bishops of

Hereford, in the parish of St. Mary Somerset, was buried in that church.

It was at the instigation of the Warden and Fellows of Wadham College that

the Dean and Chapter of Hereford consented to the proposal that the

remains and marble slab should be removed to the precincts of their

cathedral.

St. Mary Somerset, Thames Street, was the first church closed under the

Bishop of London's Union of Benefices Act, and when it was dismantled and

the dead removed from their vaults in the autumn of 1867, the remains of

Bishop Ironside were found encased in lead only, all the outer coffins in

the vault having been previously removed or stolen.

For the purpose of identification the lead coffin was opened by the Burial

Board authorities, "and," says Mr. Havergal, "so perfect were the remains

that the skin was not broken, and the features of the placid-looking

bishop were undisturbed." In a square recess on the east wall is a bust

which has been taken by various critics to be Hogarth, Cowper, Garrick,

and others, but is in reality a portrait of a Mr. James Thomas, a citizen

of Hereford, who is buried near this place. Under it is a brass to Sir

Richard Delabere, 1514, his two wives and twenty-one children; the

inscription is as follows:--

"Of your Charitie pray for the Soul of Sir Richard Delabere, Knight, late

of the Countie of Hereford; Anne, daughter of the Lord Audley, and

Elizabeth, daughter of William Mores, late sergeant of the hall to King

Henry VII., wyves of the said Sir Richard, whyche decessed the 20th day of

July, A.D. 1513, on whose souls Jesu have mercye. Amen."

The north-east window contains stained glass to the memory of Bishop

Huntingford. There is also an old effigy supposed to represent St. John

the Baptist.

*The Lady Chapel.*--The elaborate and beautiful Early English work of this

chapel, which dates from the first half of the thirteenth century, about

1220, was twice under the restorers' hands, the eastern end and roof

having been rebuilt by Cottingham and the porch and Audley Chapel by Sir

G. G. Scott. It is 24 by 45 feet in extent and has three bays. On the

north side each of these bays contains two large windows, and on the south

side two of the bays contain each two windows, while the third is filled

by the Audley Chapel.

In 1841 the eastern gable of the chapel was stated by Professor Willis to

be in a parlous state, and the rebuilding of this portion was one of the

first works undertaken by Mr. Cottingham. Sir G. G. Scott completed the

pavement and other restorations.

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.

Fergusson(5) remarks: "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."

Of the beauties and interesting features which were developed by the

clearing of the Lady Chapel by Mr. Cottingham, Dean Merewether wrote:--

[Illustration: THE LADY CHAPEL.]

THE LADY CHAPEL.

_Photochrom Co., Ld., Photo._

"Its symmetrical proportions, before completely spoilt; the remnants of

its ancient painting, which were traceable beneath the whitewash; the fair

disclosure of the monuments of Joanna de Kilpec, a benefactress to this

very edifice, and Humphry de Bohun, her husband, both of exceeding

interest; the discovery of two aumbries, both walled up, but one with the

stones composing it reversed; the double piscina on the south side, the

chapel of Bishop Audley; but especially two of the most beautiful

specimens of transition arches which can be found in any edifice, bearing

the Early English form, the shafts and capitals and the lancet-shaped arch

above, but ornamented in their soffits with the Norman moulding, and the

zig-zag decoration, corresponding with the remarkable union of the Norman

intersecting arches on the exterior of the building, with its pointed

characteristics. The appearance of the central column with a base in the

Early English and its capital with the Norman ornament might be added: the

stairs to the crypt, and the discovery of several most interesting relics

in the adjoining vaults opened in reducing the floor to its original

level."

[Illustration: SECTION THROUGH LADY CHAPEL AND CRYPT.]

SECTION THROUGH LADY CHAPEL AND CRYPT.

[Illustration: ARCH DISCOVERED AT ENTRANCE OF LADY CHAPEL.]

ARCH DISCOVERED AT ENTRANCE OF LADY CHAPEL.

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. Above these

windows, corresponding to the openings above the east window, a quatrefoil

opening enclosed by a circle pierces the wall. The quadripartite vaulting

springs from slender shafts, which descend upon a slightly raised base.

The double piscina and aumbry south of the altar are restorations

necessitated by the dilapidated state of the originals.

*Monuments in the Lady Chapel.*--Of great beauty and interest is the

Perpendicular recess in the central bay on the north side of the Lady

Chapel, in which is the recumbent effigy which tradition has assigned

without evidence to Humphrey de Bohun, Earl of Hereford, who died in the

46th year of the reign of Edward III., 1372. He was, however, buried in

the north side of the Presbytery in Walden Abbey, Essex.

The Rev. Francis Havergal considers this to be the monument of Peter,

Baron de Grandisson, who died 1358. In any case, the knight was probably

one of the Bohun family, and husband of the lady whose effigy lies under

an arch in the wall adjoining. The costume is of the earlier part of the

fourteenth century; full armour, and covered (a rare example) by a

cyclass, a close linen shirt worn over the armour in Edward III.'s reign.

This shirt is cut short in front and about 6 inches longer behind. The

visitor should also notice the fringed poleyns at the knees.

The upper story of the recess itself has open tabernacle-work, now

containing a series of figures representing the crowning of the Virgin; on

one side are figures of King Ethelbert and St. John the Baptist, and on

the other St. Thomas a Becket (with double crozier) and Bishop Thomas de

Cantilupe. Of these, however, only the two central carvings are in their

original positions, the others having been discovered by Mr. Cottingham

when the oak choir-screen was removed.

In the easternmost bay on this side is the tomb of Joanna de Bohun,

Countess of Hereford, 1327. To quote from Dean Merewether: "The effigy of

the lady, there can be scarcely a doubt, represents 'Johanna de Bohun,

Domina de Kilpec.' She was the sister and heiress of Alan Plonknett or

Plugenet of Kilpec, in the county of Hereford, a name distinguished in the

annals of his times; and of his possessions, his sister doing her homage,

had livery 19 Edward II.

"In 1327 Johanna de Bohun gave to the Dean and Chapter of Hereford, the

church of Lugwardyne, with the chapels of Llangarren, St. Waynards and

Henthland, with all the small chapels belonging to them, which donation

was confirmed by the king by the procurement and diligence of Thomas de

Chandos, Archdeacon of Hereford; and the Bishop of Hereford further

confirmed it to the Dean and Chapter by deed, dated Lugwas, 22nd July,

1331 (ex Regist. MS. Thomae Chorleton, Epi.): And afterwards the Bishop,

Dean and Chapter appropriated the revenues of it to the service peculiar

to the Virgin Mary, 'because in other churches in England the Mother of

God had better and more serious service, but in the Church of Hereford the

Ladye's sustenance for her prieste was so thinne and small, that out of

their respect they add this, by their deeds, dated in the Chapter at

Hereford, April 10th, 1333.' (Harl. MS. 6726, fol. 109.)

"Johanna de Bohoun died without issue, 1 Edward III., 1327, the donation

of Lugwardyne being perhaps her dying bequest. On the 17th of October in

that year, she constituted John de Badesshawe, her attorney, to give

possession to the Dean and Chapter of an acre of land in Lugwardine, and

the advowson of the church with the chapels pertaining to it. This

instrument was dated at Bisseleye, and her seal was appended, of which a

sketch is preserved by Taylor, in whose possession this document appears

to have been in 1655, and a transcript of it will be found Harl. MS. 6868,

f. 77 (see also 6726, f. 109, which last has been printed in _Shaw's

Topographer_, 1. 280).

"In the tower is preserved the patent 1 Edward III., pro Ecclesia de

Lugwarden cum capellis donandis a Johanna de Bohun ad inveniendum 8

capellanos et 2 diaconos approprianda (Tanner's _Notitia Monast._).

[Illustration: SEAL OF JOHANNA DE BOHUN.]

SEAL OF JOHANNA DE BOHUN.

"The circumstances above mentioned appear sufficiently to explain why the

memorial of Johanna de Bohoun is found in the Lady Chapel, to which

especially she had been a benefactress. They also explain the original

ornaments of this tomb, the painting which was to be seen not many years

since under the arch in which the effigy lies, now unfortunately concealed

by a coat of plaster, of which sufficient has been removed to prove that

Gough's description of the original state of the painting is correct. He

says, 'The Virgin is represented sitting, crowned with a nimbus; a lady

habited in a mantle and wimple kneeling on an embroidered cushion offers

to her a church built in the form of a cross, with a central spire--and

behind the lady kneel eleven or twelve religious, chanting a gorge

deployee after the foremost, who holds up a book, on which are seen

musical notes and "salve sca parens." Fleur-de-lys are painted about both

within and without this arch, and on the spandrils two shields; on the

left, a bend cotised between twelve Lioncels (Bohun); and on the right,

Ermines, a bend indented, Gules.' This description was published 1786.

"By this painting there can be no doubt that the donation of the church of

Lugwardine was represented; the eleven or twelve vociferous choristers

were the eight chaplains and two deacons mentioned in the patent, who were

set apart for the peculiar service of the Lady Chapel, and provided for

from the pious bequest of Johanna de Bohoun. The two shields mentioned by

Gough are still discernible, that on the dexter side bearing the arms of

Bohun, Azure a bend, Argent between two cotises, and six lions rampant,

or.--The other, Ermines, a bend indented, (or fusily) Gules, which were the

bearings of Plugenet, derived perhaps originally from the earlier Barons

of Kilpec, and still borne by the family of Pye in Herefordshire, whose

descent is traced to the same source. In the list of obits observed in

Hereford Cathedral, Johanna is called the Lady Kilpeck, and out of

Lugwardine was paid yearly for her obit forty pence."

The effigy of Joanna de Bohun is also valuable as a specimen of costume.

Its curious decoration of human heads is also noteworthy.

Over the grave of Dean Merewether, who is interred at the north-east angle

of the chapel, is a black marble slab with a brass by Hardman bearing an

inscription, which records that to the restoration of the cathedral "he

devoted the unwearied energies of his life till its close on the 4th of

April 1850."

The next monument to notice is the effigy of Dean Berew or Beaurieu (died

1462) in the south wall of the vestibule. This is one of the best

specimens of monumental sculpture in the cathedral. The face, which is

well modelled, and the arrangement of the drapery at the feet, are

especially noticeable. There are remains of colour over the whole

monument. In the hollow of the arch-moulding are sixteen boars with rue

leaves in their mouths, forming a "rebus" of the dean's name.

To the west of this monument is the effigy of a priest, supposed to be

Canon de la Barr, 1386.

*The Audley Chantry.*--In the central bay on the south side of the wall is

the Audley Chantry--a beautiful little chapel built by Bishop Edmund Audley

(1492-1502), with an upper chamber to which access is obtained by a

circular staircase at the south-west angle.

After Bishop Audley's translation to Salisbury in 1502 he erected a

similar chantry in that cathedral wherein he was buried, so that the

object of the Hereford Chantry as the place for his interment was of

course never fulfilled.

The following is an extract taken from the calendar of an ancient

missal:--"_Secundum usum Herefordensem_," which notes a number of

"_obiits_" or commemorations of benefactors, chiefly between the times of

Henry I. and Edward II. "_X. Kal. Obitus Domini Edmundi Audeley, quondam

Sarum Episcopi, qui dedit redditum XX. Solidorum distribuendorum Canonicis

et Clericis in anniversario suo presentibus, quique capellam novam juxta

Feretrum Sancti Thomae Confessoris e fundo construxit, et in eadem

Cantariam perpetuam amortizavit, etc. Constituit necnon Feretrum argenteum

in modum Ecclesiae fabricatum atque alia quam plurima huic Sacre Edi

contulit beneficia._"

The lower chamber is shut off from the Lady Chapel by a screen of painted

stone with open-work panelling in two stages. The chapel is a pentagon in

plan, and has two windows, while a third opens into the Lady Chapel

through the screen. The ceiling is vaulted, and bears evidences of having

in former times been elaborately painted.

There are five windows in the upper chamber, and the groined roof is

distinctly good. The boss in the centre represents the Virgin crowned in

glory. On other parts of the ceiling are the arms of Bishop Audley and

those of the Deanery as well as a shield bearing the letters R.I. The

upper part of the chantry, which is divided from the Lady Chapel by the

top of the screen which serves as a kind of rail, may have been used as an

oratory; but no remains of an altar have been found. On the door opening

on the staircase is some good iron-work, and Bishop Audley's initials may

be noticed on the lock.

Standing by the door of this chapel the visitor has a lovely view

westward, two pillars rising in the roof and across the top of the

reredos, to the right the Norman arches of the north transept, and further

on still the nave.

The Lady Chapel was used for very many years as a library, and after 1862

as the church of the parish of St. John the Baptist, which surrounds the

cathedral, and claimed to hold its service in some part of the building.

*The Crypt* is entered from the south side of the Lady Chapel where a

porch opens to a staircase leading down. The porch is deeply in-set, and

like the crypt itself and the Lady Chapel, Early English. Professor Willis

points out that Hereford is the only English cathedral whose crypt is

later in date than the eleventh century; the well-known examples at

Canterbury, Rochester, Worcester, Winchester, and Gloucester all belonging

to earlier times. A flight of twenty steps leads down to the crypt, which

is now light and dry, although previous to Dean Merewether's excavations

it was utterly neglected and nearly choked up with rubbish. There is

another approach to it from the interior of the church.

[Illustration: THE CRYPT.]

THE CRYPT.

_Photochrom Co., Ld., Photo._

It is 50 feet in length, and consists of a nave and aisles marked out by

undecorated columns. It runs beneath the whole extent of the Lady Chapel.

This crypt having been used as a charnel-house is called the "Golgotha."

In the centre is an altar tomb, upon which is a large and elaborately

decorated alabaster slab, in a fair state of preservation. It bears an

incised representation of Andrew Jones, a Hereford merchant, and his wife,

with an inscription setting forth how he repaired the crypt in 1497.

Scrolls proceeding from the mouths of the figures bear the following

lines:--

"Remember thy life may not ever endure,

That thou dost thiself thereof art thou sewre.

But and thou leve thi will to other menis cure,

And thou have it after, it is but a venture."

At the back of the reredos is a brass to Mr. Bailey, M.P. for the county,

whose bust formerly stood here, but was removed to a more fitting position

in the county hall.

*The Vicars' Cloisters.*--The entrance to the college of Vicars Choral is

from the south side of the Lady Chapel. Leading from the south-east

transept of the cathedral to the quadrangle of the college is a long

cloister walk.

In the morning, when the sun shines upon the cloister, its richly carved

roof may be best seen. The western wall, with the exception of a few

mortuary tablets, is quite plain. The eastern wall is pierced with eight

three-light windows, between which are the remains of small niches.

Many old vicars are buried within this cloister. The roof is of oak, the

wall-plates, purlins, and rafters are richly moulded and the tie-beams and

principals are richly carved on both sides with various patterns and

devices.

The Rev. F. Havergal says:--"The late William Cooke acquired an immense

amount of information relating to the college and the vicars in olden

time. His biographical notices of them are most curious and amusing,

giving a complete insight into the manners, traditions, and customs of the

place." He goes on to quote from the _Lansdowne Manuscript_ in the British

Museum, 213, p. 333.

"Relation of a survey of twenty-six counties in 1634, by a captain, a

lieutenant, and an ancient, all three of the military company in Norwich.

"Next came wee into a brave and ancient priviledg'd Place, through the

Lady Arbour Cloyster, close by the Chapter-house, called the Vicars

Chorall or Colledge Cloyster, where twelve of the singing men, all in

orders, most of them Masters in Arts, of a Gentile garbe, have their

convenient several dwellings, and a fayre Hall, with richly painted

windows, colledge like, wherein they constantly dyet together, and have

their cooke, butler, and other officers, with a fayre library to

themselves, consisting all of English books, wherein (after we had freely

tasted of their chorall cordiall liquor) we spent our time till the Bell

toll'd us away to Cathedral prayers. There we heard a most sweet Organ,

and voyces of all parts, Tenor, Counter-Tenor, Treble, and Base; and

amongst that orderly shewy crew of Queristers our landlord guide did act

his part in a deep and sweet Diapason."

*The North-East Transept.*--This transept shows ample evidence of the

original Norman plan, although its present character is Early Decorated.

Of the triple apse in which the Norman Cathedral probably terminated--an

arrangement similar to the eastern apses of Gloucester and Norwich

Cathedrals--portions remain in the walls of the vestibule to the Lady

Chapel, and in this, the north-east transept, still remain parts of the

apses which opened from the choir aisles. These are somewhat later than

the nave and belong to the Transition period.

After the completion of the great north transept for the reception of the

shrine of St. Thomas Cantilupe, the terminal apses of the choir aisles

were almost entirely removed, and the present north-east transept erected.

In the centre of this transept rises an octagonal pier which helps to

carry the quadripartite vaulting. Some Norman arches in the west wall

doubtless formed part of the original apse. The windows belong to the

Early Decorated period. Sir G. G. Scott was responsible for the

restoration of the transept.

*Monuments in the North-East Transept.*--Under the north-west window is the

canopied tomb of Bishop Swinfield. The effigy of the bishop has been lost,

and in its place, which is now shown, is an unknown figure which was found

buried in the cloisters. In the mouldings of the arched canopy the

ball-flower ornament is again in evidence, and behind the tomb a carving

of the crucifixion is still visible, though nearly obliterated by the

chisel of the Puritans. The beautiful vine leaf carving at the sides has,

however, been happily spared; it is similar to the leafage on the

Cantilupe shrine.

The altar-tomb of Dean Dawes, 1867, one of the most active of the modern

restorers, is very beautiful. It is by Sir G. G. Scott, with effigy by

Noble.

Under the north-east window is an altar-tomb of an unknown bishop. It has

been assigned to Bishop Godwen, 1633, but is probably much earlier.

There is also an old stained glass window, restored by Warrington, with

figures of SS. Catherine, Gregory, Michael, Thomas, and a modern one, by

Heaton, to the Rev. J. Goss.

In the north choir aisle, which is entered through the original Norman

arch, is an exquisite little chapel known as Bishop Stanbury's Chantry. In

style it is late Perpendicular (1470). The roof is a good specimen of

fan-vaulting, and the walls are panelled with heraldic bearings. Its

dimensions are 8 feet by 16 feet, and it is lighted by two windows on the

north side, the entrance being on the south.

At the east end are shields with emblems over the place of the altar, and

the west is covered with shields in panels and tracery.

The capitals of the shafts at the angles are formed by grotesques, and

over the arch on the south side are shields with emblems of St. Matthias,

St. Thomas, and St. Bartholomew. The Lancaster rose is prominent in the

decoration, and there is much under-cutting in the carving.

The stained windows, which form an interesting collection of arms and

legends, are in memory of Archbishop Musgrave, once Bishop of Hereford, to

whom there is also another window by Warrington in the wall of the aisle

above the chantry, which is only 11 feet in height. The subjects are taken

from the life of St. Paul.

Monument to Bishop Raynaldus, 1115, one of the chief of the Norman

builders of Hereford.

In a Perpendicular recess on the left of the door opening to the turret

staircase which leads to the archive room and chapter library is an effigy

said to be of Bishop Hugh de Mapenore, 1219. Above is a stained glass

window by Clayton and Bell, placed here as a memorial of John Hunt,

organist, who died 1842, and his nephew. There is also a small brass plate

at the side of the window, from which we learn that the nephew James died

"of grief three days after his uncle."

[Illustration: VIEW BEHIND THE ALTAR, LOOKING NORTH. AFTER A DRAWING BY W.

H. BARTLETT, 1830.]

VIEW BEHIND THE ALTAR, LOOKING NORTH. AFTER A DRAWING BY W. H. BARTLETT,

1830.

In the middle bay on the north side of the choir is the monument of Bishop

Bennett (1617), who was buried here. He wears a close black cap, and the

rochet and his feet are resting on a lion. Across his tomb one gets a fine

view of the Norman double arches of the triforium stage on the other side

of the choir.

In the north wall of the north choir aisle in the first of the series of

arched recesses, of Decorated character, with floral ornament in the

mouldings, is an effigy assigned to Bishop Geoffrey de Cliva (died 1120),

and in the same bay of the choir as Bishop Bennett's tomb is the effigy of

a bishop, fully vested, holding the model of a tower. It is assigned to

Bishop Giles De Braose (died 1215), who was erroneously thought to have

been the builder of the western tower (which fell in 1786). This effigy

belongs to the Perpendicular period, when a number of memorials were

erected to earlier bishops.

In the calendar of the ancient missal "_Secundum usum Herefordensem_,"

previously quoted, occurs the following entry:--"_XV. Kal. Decem. Obitus

pie memorie Egidii de Breusa Herefordensis Episcopi, qui inter cetera bona

decimas omnium molendinorum maneriorium suorum Herefordensi Ecclesie

contulit, et per cartam quam a Domino Rege Johanne acquisivit omnes

homines sui ab exactionibus vicecomitum liberantur._"

In the easternmost bay on the north of the choir is the effigy of Bishop

Stanbury, provost of Eton and builder of the chantry already described. It

is a fine alabaster effigy with accompanying figures. The bishop wears

alb, stole, and chasuble.

Beyond the entrance to Bishop Stanbury's Chantry is a Perpendicular effigy

under an arch which is assigned to Bishop Richard de Capella (died 1127).

On the chancel floor is a very good brass to Bishop Trilleck (died 1360).

In the north-east transept are the following antiquarian remains:--Two

altar-stones, nearly perfect, whereon are placed:--

Six mutilated effigies of unknown lay persons, probably buried in or near

the Magdalen Chapels, but dug up on the south side of the Bishop's

Cloisters, A.D. 1820, and brought inside the cathedral A.D. 1862.

Two matrices of brasses; also a small one on the wall.

The wooden pulpit--very late Perpendicular work from which every canon on

his appointment formerly had to preach forty sermons on forty different

days in succession.

We may also notice two rich pieces of iron-work from Sir A. Denton's tomb:

the head of a knight or templar's effigy and several heraldic shields from

monuments in the cathedral--especially seven in alabaster now placed

against the east wall.

[Illustration: COMPARTMENT OF CHOIR, EXTERIOR, NORTH SIDE.]

COMPARTMENT OF CHOIR, EXTERIOR, NORTH SIDE.

*The Choir*, with its details of architecture and its individual

accessories, is very beautiful, notwithstanding an unusual deficiency of

light, caused by the position of the transepts, which practically

intercept all light except that from the clerestory. It consists of three

lofty Norman bays of three stages. The middle of the three stages has some

exquisite dwarfed Norman arches with no triforium passages; but there is

one in the upper stage, with slender and graceful Early English arches and

stained glass at back. The vaulting is also Early English, and dates from

about the middle of the thirteenth century.

[Illustration: COMPARTMENT OF CHOIR, INTERIOR, NORTH SIDE.]

COMPARTMENT OF CHOIR, INTERIOR, NORTH SIDE.

The principal arches of the choir are supported by massive piers with

square bases. The shafts are semi-detached and bear capitals enriched with

foliated and grotesque ornament. In each bay on the triforium level a wide

Norman arch envelops two smaller arches, supported by semi-circular piers

on each side.

A richly carved square-string course runs along the base of the triforium.

The east end of the choir was covered before 1841 by the "Grecian" screen,

a wooden erection placed there by Bishop Bisse in 1717, and above it a

Decorated window containing a stained glass representation of the Last

Supper after the picture by Benjamin West. The improvement effected by the

removal of this screen with its heterogeneous appendages was immense. The

great Norman arch was once more exposed to view; and, in place of the

Decorated window, we now have three lancets at the back of the clerestory

passage.

In describing the discoveries led up to by the removal of the old screen,

Dean Merewether says: "By cautious examination of the parts walled up it

was discovered that the capitals were all perfect, and that this exquisite

and grand construction, the mutilation and concealment of which it is

utterly impossible to account for, was in fact made up of five arches, the

interior and smallest supported by the two semi-columns, and each of the

others increasing in span as it approached the front upon square and

circular shafts alternately, the faces of each arch being beautifully

decorated with the choicest Norman ornaments. Of the four lateral arches,

the two first had been not only hid by the oak panelling of the screen,

but were also, like the two others, closed up with lath and plaster as the

central arch; and when these incumbrances and desecrations were taken away

it is impossible to describe adequately the glorious effect produced,

rendered more solemn and impressive by the appearance of the ancient

monuments of Bishops Reynelm, Mayew, Stanbury, and Benet, whose ashes rest

beneath these massive arches, of which, together with the noble triforium

above, before the Conquest, Athelstan had probably been the founder, and

the former of those just mentioned, the completer and restorer after that

era."

The reredos is in Bath stone and marble, and was designed by Mr.

Cottingham, junior, as a memorial to Mr. Joseph Bailey, 1850, who

represented the county for several years in Parliament.

The sculptor was Boulton, and the subject is our Lord's Passion, in five

deep panels occupying canopied compartments divided by small shafts

supporting angels, who carry the instruments of the Passion. The subjects

in the separate panels are:--1. The Agony in the Garden; 2. Christ Bearing

the Cross; 3. The Crucifixion; 4. The Resurrection; and 5. The Three Women

at the Sepulchre.

[Illustration: EAST END OF THE CHOIR IN 1841.]

EAST END OF THE CHOIR IN 1841.

Above the reredos a broad spandrel left by two pointed arches springing

from a central pier fills the upper part of the Norman arch. The pier

itself is old, but the upper part is a restoration of Mr. Cottingham's.

The spandrel is covered with modern sculpture, as may be seen in the

illustration. The subject is the Saviour in Majesty, the four evangelists

holding scrolls; and below a figure of King Ethelbert.

An older representation of King Ethelbert is the small effigy on a bracket

against the easternmost pier south of the choir, close to the head of the

tomb of Bishop Mayo, who had desired in his will to be buried by the image

of King Ethelbert. It was dug up about the year 1700 at the entrance to

the Lady Chapel, where it had doubtless been buried in a mutilated

condition when the edict went forth for the destruction of shrines and

images.

[Illustration: EARLY ENGLISH WINDOW MOULDING.]

EARLY ENGLISH WINDOW MOULDING.

Originally there were other representations of St. Ethelbert: on the tombs

of Bishops Cantilupe and Mayo, Dean Frowcester, Archdeacon Rudhale,

Praecentor Porter; in colour on the walls of the chapter-house and the tomb

of Joanna de Kilpec; in ancient glass, recently restored, in a window in

the south aisle of the choir; and in a stone-carving over the door of the

Bishop's Cloister, and the effigy formerly on the west front.

Opposite the throne a slab of marble, from designs by Scott, marks the

spot, as far as it is known, where Ethelbert was buried.

*The Choir-stalls* are largely ancient, belonging to the Decorated period.

They have good canopy work, and are otherwise excellent in detail. Some of

the _misereres_ are quaint, among them being found several examples of the

curiously secular subjects chosen for this purpose by the wood-carvers of

the period.

In addition to the bishop's throne, which is of the fourteenth century,

there is, on the north side of the sacrarium, a very old episcopal chair,

concerning which a tradition remains that King Stephen sat in it when he

visited Hereford. Be this as it may, the Hereford chair is undoubtedly of

very great antiquity, and belongs to, or at least is similar to, the

earliest kind of furniture used in this country. The dimensions of the

chair are--height, 3 feet 9 inches; breadth, 33 inches; front to back, 22

inches. The entire chair is formed of 53 pieces, without including the

seat of two boards and the two small circular heads in front.

Traces of ancient colour--vermilion and gold--may still be seen in several

of the narrow bands: a complete list of other painted work which has been

recorded or still exists in the cathedral has been compiled by Mr C. E.

Keyser.(6)

*The Cathedral Library.*--The Archive Chamber, on the Library. This room,

which has been restored by Sir G. G. Scott, is now approached by a winding

stone staircase.

In earlier times access was only obtainable either by a draw-bridge or

some other movable appliance crossing the great north window. The Library

(which Botfield(7) calls "a most excellent specimen of a genuine monastic

library") contains about 2000 volumes, including many rare and interesting

manuscripts, most of which are still chained to the shelves. Every chain

is from 3 to 4 feet long, with a ring at each end and a swivel in the

middle. The rings are strung on iron rods secured by metal-work at one end

of the bookcase. There are in this chamber eighty capacious oak cupboards,

which contain the whole of the deeds and documents belonging to the Dean

and Chapter, the accumulation of eight centuries.

[Illustration: THE REREDOS.]

THE REREDOS.

_Photochrom Co., Ld., Photo._

Among the most remarkable printed books are:--A series of Bibles, 1480 to

1690; Caxton's _Legenda Aurea_, 1483; Higden's _Polychronicon_, by Caxton,

1495; Lyndewode, _Super Constitutiones Provinciales,_ 1475; Nonius

Marcellus, _De proprietate sermonum_, 1476, printed at Venice by Nicolas

Jenson; and the _Nuremberg Chronicle_, completed July 1493. Of the

manuscripts, the most interesting is an ancient _Antiphonarium_,

containing the old "Hereford Use." One of the documents attached to this

volume states: "The Dean and Chapter of Hereford purchased this book of Mr

William Hawes at the price of twelve guineas. It was bought by him some

years since at a book-stall in Drury Lane, London, and attracted his

notice from the quantity of music which appeared interspersed in it."

The date of the writing is probably about 1270, the obit of Peter de

Aquablanca being entered in the Kalendar in the hand of the original

scribe and the following obit in another hand.

The oldest of all the treasures preserved at Hereford Cathedral, being

certainly one thousand years old at least, is a Latin version of the Four

Gospels written in Anglo-Saxon characters.

The Rev. F. Havergal thus describes it: "This MS. is written on stout

vellum, and measures about 9 x 7 inches. It consists of 135 leaves. Three

coloured titles remain, those to the Gospels of St. Matthew, St. Mark, and

St. John. Two illuminated leaves are missing--those that would follow folio

1 and folio 59. With the exception of these two lacunae, the MS. contains

the whole of the Four Gospels.

No exact date can be assigned, but several eminent authorities agree that

it is the work of the eighth or ninth century.

It does not exactly accord with any of the other well-known MS. of that

period, having a peculiar character of its own.

From the evidence of the materials it would appear to have been written in

the country, probably in Mercia, and not at any of the great monasteries.

The text of this MS. is ante-Hieronymian, and offers a valuable example of

the Irish (or British) recension of the original African text. Thus it has

a large proportion of readings in common with the Cambridge Gospels, St.

Chad's Gospels, the Rushworth Gospels, and the Book of Deir.

On the concluding leaves of this volume there is an entry of a deed in

Anglo-Saxon made in the reign of Canute, of which the following is a

translation:--

"Note of a Shire-mote held at AEgelnoth's Stone in Herefordshire in the

reign of King Cnut, at which were present the Bishop Athelstan, the

Sheriff Bruning, and AEgelgeard of Frome, and Leofrine of Frome, and Godric

of Stoke, and all the thanes in Herefordshire. At which assembly Edwine,

son of Enneawne, complained against his mother concerning certain lands at

Welintone and Cyrdesley. The bishop asked who should answer for the

mother, which Thurcyl the White proffered to do if he knew the cause of

accusation.

"Then they chose three thanes and sent to the mother to ask her what the

cause of complaint was. Then she declared that she had no land that

pertained in ought to her son, and was very angry with him, and calling

Leofloeda, her relative, she, in presence of the thanes, bequeathed to her

after her own death all her lands, money, clothes, and property, and

desired them to inform the Shire-mote of her bequest, and desire them to

witness it. They did so; after which Thurcyl the White (who was husband of

Leofloeda) stood up, and requested the thanes to deliver free (or clean) to

his wife all the lands that had been bequeathed to her, and they so did.

And after this Thurcyl rode to St. Ethelbert's Minster, and by leave and

witness of all the folk caused the transaction to be recorded in a book of

the Gospels."

*An Ancient Chasse or Reliquary* is shown among the treasures of the

cathedral, which was looked upon for a long time as a representation of

the murder of St. Ethelbert, but this is only an example of the many

traditional tales which modern study and research are compelled to

discard. It undoubtedly represents the martyrdom of St. Thomas of

Canterbury. On the lower part is the murder; on the upper, the entombment

of the saint, very similar in style to the later Limoges work of the

thirteenth century.

The Rev. Francis Havergal gives a detailed description, which we have

condensed to the following:--

This reliquary consists of oak, perfectly sound, covered with copper

plates overlaid with Limoges enamel. It is 8-1/4 inches high, 7 long and

3-1/2 broad. The back opens on hinges and fastens with a lock and key, and

the upper part sloped so as to form an acutely-pointed roof; above this is

a ridge-piece; the whole rests on four square feet. Front of Shrine:--Here

are two compartments; the lower one shows on the right side an altar, of

which the south end faces the spectator; it is supported on four legs and

has an antependium. Upon the altar stands a plain cross on a pyramidal

base, and in front of it a chalice covered with a paten. Before, or

technically speaking, in the midst of the altar stands a bishop

celebrating mass, having both hands extended towards the chalice, as if he

were about to elevate it. He has curly hair and a beard and moustache. He

wears a low mitre, a chasuble, fringed maniple, and an alb.

In the top right-hand corner is a cloud from which issues a hand pointing

towards the figure just described.

Behind, to the left, stand three figures. The foremost has just thrust the

point of a large double-edged sword, with a plain cross hilt, through the

neck of the bishop from back to front.

[Illustration: ANCIENT RELIQUARY IN THE CATHEDRAL.]

ANCIENT RELIQUARY IN THE CATHEDRAL.

The upper compartment represents the entombment of the bishop. The middle

of the design is occupied by an altar tomb, into which the body, swathed

in a diapered winding-sheet, is being lowered.

The ends of the bier are supported by two kneeling figures.

On the side of the tomb furthest from the spectator is a bishop or abbot

without the mitre looking toward a figure on his right, who carries a

tablet or open book with some words upon it.

At either extremity of this panel stands a figure censing the corpse with

a circular thurible.

The border of each compartment is formed by a double invected pattern of

gold and enamel. The ridge-piece is of copper perforated with eight

keyhole ornaments.

The back of the shrine is also divided into two compartments, and is

decorated with quatrefoils.

It is pierced in the middle of the upper border by a keyhole communicating

with a lock on the inside.

The right-hand gable is occupied by the figure of a female saint. The left

gable is occupied by the figure of a male saint.

A border of small gilt quatrefoils on a chocolate ground runs round the

margins of the two ends and four back plates.

Those parts of the copper plates which are not enamelled are gilded, while

the colours used in the enamelling are blue, are light-blue, green,

yellow, red, chocolate, and white.

In the interior, on that side to which the lower front plate corresponds,

is a cross _pattee fitchee_ painted in red upon oak, which oak bears

traces of having been stained with blood or some other liquid. The wood at

the bottom is evidently modern. This reliquary is said to have been

originally placed upon the high altar. It appears to have been preserved

by some ancient Roman Catholic family until it came into the possession of

the late Canon Russell, and bequeathed by him to the authorities of the

cathedral.

The art of enamelling metals appears to have been introduced from

Byzantium through Venice into Western Europe at the close of the tenth

century. After this time Greek artists are known to have visited this

country, and to have carried on a lucrative trade in the manufacture of

sacred vessels, shrines, etc.

*Ancient Gold Rings.* One of pure gold, supposed to have been worn by a

knight templar, was ploughed up near Hereford. The device on the raised

besel is a cross pattee in a square compartment, on each side of which are

a crescent and a triple-thonged scourge.

Within the hoop is engraved in black-letter character "_Sancte Michael_."

Date about 1380.

A massive ring set with a rough ruby of pale colour was found in the tomb

of Bishop Mayew. On each side a bold tan cross with a bell is engraved.

These were originally filled with green enamel. Inside is engraved and

enamelled "Ave Maria."

A superb ring was also found in Bishop Stanbury's tomb, on the north side

of the altar. It contains a fine and perfect sapphire, and flowers and

foliage are beautifully worked in black enamel on each side of the stone.

A fine gold ring was discovered in Bishop Trilleck's grave in 1813, but

was stolen in 1838 from the cathedral. It was never recovered, though

_L_30 was offered as a reward.

*The Stained Glass* has survived only in a few fragments, scattered about

the eastern end of the cathedral.

Some of the best, apparently of early fourteenth century date, is in one

of the lancets on the south side of the Lady Chapel, west of the Audley

Chapel. The subjects are:

1. Christ surrounded by symbols of the four evangelists; 2. Lamb and flag;

3. Angel and Maries at the sepulchre; 4. Crucifixion; 5. Christ bearing

His cross.

In the north-east transept is an ancient glass window, restored and

entirely releaded by Warrington, at the cost of the Dean and Chapter, Oct.

1864. It is a fairly good specimen of fourteenth century work. For many

years it was hidden away in old boxes, and was formerly fixed in some of

the windows on the south side of the nave.

The figures represent--1. St. Katherine; 2. St. Michael; 3. St. Gregory; 4.

St. Thomas of Canterbury.

In the south-east transept, again, is a window of ancient glass, erected

under the same circumstances. The figures in this case represent--1. St.

Mary Magdalene; 2. St. Ethelbert; 3. St. Augustine; 4. St. George.

In the north aisle of the nave is a two-light window by Warrington. It was

erected in 1862 by Archdeacon Lane Freer to the memory of Canon and Mrs.

Clutton. The subjects are from the life of St. John the Baptist.

In the north transept is a very fine memorial window to Archdeacon Lane

Freer, erected at a cost of L1316. The window is one of the largest of the

Geometric period (_temp._ Edward I.) in England, the glass being 48 feet 6

inches in height by 21 feet 6 inches in breadth. About five or six shades

each of ruby and Canterbury blue are the dominating colours. Plain white

glass has also been wisely used in the upper part of the window. It was

designed and erected by Messrs. Hardman.

There is a small window by Clayton and Bell in the north aisle of the

choir to the memory of John Hunt, organist of the cathedral. The subjects,

in eight medallions, are:--1, 2. King David; 3, 4. Jubal; 5, 6. Zachariah

the Jewish Priest; 7. St. Cecilia; 8. Aldhelm. In Bishop Stanbury's Chapel

is a memorial window to Archdeacon Musgrave, of which the subjects are:--1.

St. Paul present at the Martyrdom of S. Stephen; 2. Conversion of St.

Paul; 3. The Apostle consecrating Presbyters; 4. Elymas smitten with

Blindness. In the lower part of the window, 5. Sacrifices to Paul and

Barnabas at Lystra; 6. St. Paul before the Elders at Jerusalem; 7. His

Trial before Agrippa; 8. His Martyrdom.

[Illustration: MONUMENTAL CROCKET.]

MONUMENTAL CROCKET.

[Illustration: EARLY ENGLISH BASEMENT MOULDING.]

EARLY ENGLISH BASEMENT MOULDING.

The five eastern windows in the Lady Chapel were designed by Mr.

Cottingham, junior, and executed by Gibbs, to the memory of Dean

Merewether.

A series of twenty-one subjects, in medallions, connected with the life of

our Lord. These windows were erected in 1852.

In the south-east transept is a memorial window to Bishop Huntingford,

1816 to 1832. It was designed and manufactured by Warrington at the sole

cost of Lord Saye and Sele.

The upper part of the tracery is filled with the arms of George III.,

those of the See of Gloucester, the See of Hereford, Winchester College,

and of the bishop's family.

The subjects, relating to St. Peter, are:--

1. His Call; 2. Walking on the Sea; 3. Receiving the Keys; 4. Denial of

our Lord; 5. S. Peter and S. John at the Gate of the Temple; 6. Baptism of

Cornelius; 7. Raising of Dorcas; 8. Deliverance from Prison by an Angel.

In the north and south side of the clerestory of the choir are simple

stained glass windows, consisting of various patterns. They were

manufactured by Messrs. Castell of Whitechapel.

The eastern central window of the choir was an anonymous gift in 1851,

executed by Hardman.

Its beauties are entirely lost at its present height from the ground. The

circular medallions are 3 feet in diameter, the subjects being:--

1. The Ascension; 2. The Resurrection; 3. The Crucifixion.

The upper semi-circles represent Christ healing lepers and demoniacs; the

lower, His being taken down from the Cross, and Mary with the box of

precious ointment.