THE INTERIOR
Norwich Cathedral is justly celebrated for the beauty of its interior.
Entering from the upper close by the north aisle door, and then taking a
position immediately under the great west window, facing east, there is
before one the long perspective of the Norman nave, the choir and
presbytery, while overhead comes the later vault, telling richly by
contrast with the severe plainness of the earlier work below. The
extreme length of the cathedral is about 407 feet. The nave, always long
in Norman churches, is here over 200 feet from the west door to the
choir screen. Although some critics object to the position of the organ
on this same screen, there can be no doubt that, not only is it a most
admirable position for the instrument acoustically, but also that its
presence here does not detract from the general effect of the interior.
From the west end of the nave, as a dark silhouette against the eastern
apsidal windows, or as an object in the middle distance, it helps the
spectator to realise the length of the cathedral. A certain sense of
mystery and something undiscerned adds to the charm of an interior, and
the organ here helps, with the screen, to enshrine the eastern arm and
most sacred portion of the building, and interrupts the vista for the
sake of which disastrous sacrifices have been made in many of our
cathedral churches.
#The Nave# consists of seven double bays; in all, fourteen compartments
from the west end to the tower crossing.
It will be noticed that, in the plan (page 113), a square of the nave,
occupying longitudinally the space of two bays of the aisles, is
indicated by the dotted lines; also a main pier is marked as Y and a
subsidiary pier as z.
The main piers, as at Y, are large rectangular masses, having on the
nave side a flat buttress-like piece added, with shafts in the angles,
and bearing on the face the two vaulting shafts. On the aisle side are
two shafts to each transverse arch; and on the two lateral faces are
triple shafts to the arcade arches, with four angle shafts at each
corner of the main pier, taking the outer rings to same. The plan is the
same at the triforium level. The smaller or subsidiary piers (as at X)
have single vaulting shafts on the nave face, double ones to the aisle,
and under the arcade arches convex faces, with four angle shafts, as in
main piers. The plan of these piers determines the elevation. The nave
arcade arches, ornamented with the billet, and triforium with a
_chevron_ or zig-zag, are almost equal in size, and over these lower
stages comes the typical triple Norman clerestory with walk; the whole
covered in by the fine lierne vault.
[Illustration: A Norman Capital.]
The vault has thirteen complete bays and two semi-bays, one at either
end. The junctions between this later vault and the Norman work can be
seen. The main piers had the original double shafts cut off at the level
of the top of the triforium arches, the later single shaft being brought
down and joined by a peculiar branch-like connection. The original
shafts to the subsidiary piers, which it is probable took only a minor
part in carrying the flat Norman wooden roof, were finished by a cap at
the impost level of the triforium, and the later shaft was brought down
and finished by the _rebus_ of Bishop Lyhart, the constructor of the
vault. This _rebus_ should be noticed; it is a pun in stone, with its
hart lying in water. It will also be noticed that the outer arches of
the triforium are not concentric with the sub-arches.
[Illustration: The Nave, looking East.]
The bases of the shafts have been Perpendicularised, probably when the
vault was added, and the Norman character of the lateral shafts spoilt
by scraping.
The building of the nave is usually attributed to Bishop Eborard
(1121-45), but some eminent archæologists believe that the whole
cathedral, nave and all, was built by Herbert, 1091-1119, the first
bishop and founder. We believe there is no documentary evidence against
this theory. The _Registrum Primum_ says: "Moreover, the same Herbert
completed the church of Norwich in his own time, as I have learned from
the account of old people, _but have not found in writing,_ as far as
the altar of the holy cross, which is now called the altar of S.
William."
The billet enrichment on the main arches, and the chevron or zig-zag on
those of the triforium, have been looked upon as indicating that this
part of the building--the five western bays of nave--is later than the
presbytery, the arches there lacking this ornament. But as these are
quite the earliest forms of ornament used by the Norman builders, their
occurrence here at Norwich cannot prove much. It is better perhaps to
reserve judgment, and be content with merely stating the facts and the
more generally accredited theories as to the age of the western part of
the nave.
The subsidiary circular columns in the fifth bay of the nave from the
west end should be noticed. A small enriched shaft in the clerestory of
the north transept is here illustrated. This very beautiful style of
treatment was common to the Norman builder, with the Romanesque, and the
Romans before them.
#The Choir Screen# crosses the nave between the subsidiary piers to the
sixth bay. Of the original work erected by Bishop Lyhart, 1446-72, the
sub-structure of the present screen is the only portion remaining.
Traces of two altars, one on either side of the doorway, can still be
seen; these were originally dedicated to St. William of Norwich and St.
Mary. These altars were enclosed in chapels formed by screens coming
forward to the extent of half the bay, and stopped against the main nave
piers on either side--the double vaulting shafts on the face of which
are stopped by corbels, carved as heads, at about the height that the
chapels would have reached. They were vaulted over, and above came the
rood loft and organ. The rood loft was damaged by the Puritans, and
probably removed after the Restoration. Dean Crofts, in 1660, set up a
new organ.
In Britton's "Norwich," 1816, the upper stage of the choir screen is
shown divided into square panels, occurring vertically over the lower
stage; the screens to the chapels before referred to having been
destroyed. In 1833 Salvin remodelled the choir, and turned his attention
to the choir screen: the organ was placed in its present position, and
cased with the frame of that instrument which Dean Crofts had set up in
1660; and the overhanging vault to the screen was added.
#The Nave Vault# (height 72 feet), which was added by Bishop Lyhart,
1446-72, took the place of the original Norman wooden roof destroyed by
fire in 1463. This earlier Norman roof was most probably like that now
existing at Peterborough, and was no doubt profusely decorated with
colour. The vault is of Perpendicular design, and known as _lierne_;
such vaults may be distinguished by the fact that between the main ribs,
springing from the vaulting shafts, are placed cross ribs forming a
pattern, as it were, and bracing the main ribs, but not in any great
measure structural. This vault at Norwich may be taken as typical of the
last legitimate development of the stone roof; it was the precursor of
the later fan vaulting, such as we find in Henry VII.'s chapel at
Westminster, where legitimate construction was replaced by ostentatious
ingenuity and the accumulation of needless ornament and detail.
The carved bosses here at Norwich, occurring at the intersection of the
ribs, are worth careful study. Those who care to go into the matter in
the fullest detail should consult Dean Goulburn's book published in
1876, which not only gives an admirable history of the fabric and the
See, but enters fully into the detail and symbolic meaning of each of
the 328 bosses.
In this list, compiled from that volume, mention is made only of those
bosses on the main longitudinal rib of the vault; it is hoped that this
method will enable the visitor to readily enter into the meaning of any
group of bosses, by providing a keynote to the whole. The subjects are
taken from Bible history, and each epoch is usually grouped around some
central incident figured on the main longitudinal ribs. In each bay No.
4 is the large central boss.
[Illustration: The Choir Screen and Organ from the Nave.]
#The Easternmost Bay.--No. 1.#
(1.) The Creation of Light.
(2.) A Figure of the Almighty.
(3.) A White Hart.
(4.) The Temptation.
(5.) A White Swan.
(6.) The Death of Cain.
#The Second Bay.--No. 2.#
(1.) Cain driven out as a Fugitive.
(2.) Noah building the Ark.
(3.) Noah's Drunkenness.
(4.) The Ark on the Waters.
(5.) Meaning indefinite.
(6.) Noah planting the Vine.
#The Third Bay.--No. 3.#
(1.) The Building of the Tower of Babel.
(2.) The Tower of Babel shown as Feudal Fortress.
(3.) Abraham entertaining an Angel.
(4.) Abraham sacrificing Isaac.
(5.) Jacob deceiving Isaac.
(6.) Isaac blessing Esau.
#The Fourth Bay.--No. 4.#
(1.) Sarah at the Door of Abraham's House.
(2.) Jacob going to Padan-Aram.
(3.) Jacob wrestling with the Angel.
(4.) Jacob pilling the Green Poplar Rods.
(5.) Jacob's Ladder.
(6.) Jacob making the Covenant with Laban.
#The Fifth Bay.--No. 5.#
(1.) Jacob sending Joseph to his Brethren.
(2.) Joseph journeying to his Brethren.
(3.) Joseph stripped of his Coat of Many Colours.
(4.) Joseph cast into the Pit.
(5.) Joseph sold to the Ishmaelite Merchants.
(6.) Joseph set up over the Egyptians.
#The Sixth Bay.--No. 6.#
(1.) Joseph selling corn.
(2.) Moses in the Ark of Bulrushes.
(3.) The Angel appearing to Moses in the Burning Bush.
(4.) The Overthrow of the Egyptians in the Red Sea.
(5.) The Ark of the Covenant.
(6.) Samson rending the Lion.
#The Seventh Bay.--No. 7.#
(1.) Samson taking the Gates of the City of Gaza.
(2.) David smiting Goliath.
(3.) David cutting off Goliath's Head.
(4.) David crowned.
(5.) David charging Solomon.
(6.) Solomon enthroned.
#The Eighth Bay.--No. 8.#
(1.) Solomon enthroned.
(2.) The Annunciation.
(3.) The Presentation in the Temple.
(4.) The Nativity.
(5.) The Visitation.
(6.) Herod decreeing the Massacre of the Innocents.
#The Ninth Bay.--No. 9.#
(1.) The Flight into Egypt.
(2.) Christ in the midst of the Doctors.
(3.) The Marriage in Cana of Galilee.
(4.) The Baptism of Our Lord.
(5.) The Raising of Lazarus.
(6.) The Supper in Bethany.
#The Tenth Bay.--No. 10.#
(1.) Christ's Entry into Jerusalem.
(2.) Circular Hole for Descent of Thurible.
(3.) Our Lord sending forth the Disciples.
(4.) The Last Supper.
(5.) Disciples preparing for the Foot-washing.
(6.) Our Lord washing Peter's Feet.
#The Eleventh Bay.--No. 11.#
(1.) Our Lord in Gethsemane.
(2.) Christ crowned with Thorns.
(3.) Christ led to Pilate.
(4.) Christ before Pilate.
(5.) Christ Blindfolded.
(6.) Christ Betrayed.
#The Twelfth Bay.--No. 12.#
(1.) Christ taken to the House of the High Priest.
(2.) Christ nailed to the Cross.
(3.) The Soldiers casting Lots.
(4.) The Crucifixion.
(5.) The Entombment.
(6.) Christ in Hades.
#The Thirteenth Bay.--No. 13.#
(1.) Soldiers watching the Holy Sepulchre.
(2.) The Resurrection.
(3.) Three Apostles.
(4.) The Ascension.
(5.) The Virgin praying.
(6.) The Day of Pentecost.
#The Fourteenth Bay.--No. 14.#
(1.) A Miracle of Exorcism.
(2.) The Jaws of Hell.
(3.) The Drunkard's Doom.
(4.) The Last Judgment.
(5.) St. Peter.
(6.) The Holy Trinity.
(7.) Bishop Lyhart, the Builder of the Vault.
To all those who take an interest in early stone cutting, this vault of
Norwich is a store of inexhaustible treasure; the bosses, rudely cut as
they are, tell their own tales with singular truth and directness. Their
sculpture may not display the anatomical knowledge of the work of the
Renaissance; yet it has a distinct decorative value that has been seldom
equalled in the later decadent period. The fourteen large central bosses
on the main longitudinal ribs present in themselves an epitome not only
of Bible history, but of the connecting incidents forming the theme of
Christian teaching. In the tenth bay, on the longitudinal rib, there is,
in place of a boss, a circular hole through the vault. It is supposed to
have been formed to allow a thurible to be suspended therefrom into the
church below. Harrod, quoting from Lambard's "Topographical Dictionary,"
says: "I myself, being a child, once saw in Poule's Church at London, at
a feast of Whitsontide, wheare the comyng down of the Holy Gost was set
forth by a white pigeon that was let to fly _out of a hole that is yet
to be seen in the mydst of the roof of the great ile_, and by a long
censer which, descending out of the same place almost to the very
ground, was swinged up and down at such a length that it reached at one
swepe _almost to the west gate of the church, and with the other to the
queer_ [_quire_] _stairs of the same_, breathing out over the whole
church and companie a most pleasant perfume of such sweet things as
burned therein."
It is probable that the hole in the nave vault at Norwich was used for a
similar purpose; and its position would seem to agree with such use,
situated as it is about midway between the west end and where the front
of the mediæval rood loft occurred.
#The West Window#, added, as we have already noted by Bishop Lyhart, to
light the vault, resembles that of Westminster Hall in the lines of its
tracery; the glass by Hedgeland constitutes a memorial to Bishop Stanley
(d. 1849).
#West Door.#--The original Norman arch remains over the doorway on the
inside.
#The North Aisle of Nave#, the Norman windows of which were entirely
replaced by Decorated ones, is covered by plain quadri-partite vaults.
In the triforium over, as previously noted in description of exterior,
the side walls were raised, the original Norman windows blocked up and
Perpendicular ones placed over, the roof being at the same time raised
on the outside to the necessary height, and made of a shallower pitch;
this is clearly noticeable from the triforium walks.
In the easternmost bays, two windows were raised still more to gain
additional light for the choir.
In the seventh bay from the west end occurs the door once leading to the
_green yard_.
[Illustration: The North Aisle of Nave, looking West.]
#The South Aisle of Nave# corresponds with the north, and is covered
with a plain quadri-partite vault, with the exception of the seventh and
eighth bays from the west; these were converted by Bishop Nykke into a
chapel enclosed by screens, and are marked on the plan as E.E. The
Norman vaults were here removed and the late Perpendicular ones
constructed in their stead; the windows appear to be of still later
date, but are supposed to have been, and most probably were, inserted at
this period.
#Monuments in Nave.#--The nave suffered severely at the hands of the
Puritans, who destroyed many of the early tombs and effigies. Especially
noticeable is the lack of brasses; all these have disappeared, with the
exception only of one in the Jesus Chapel. Another singularity is that
the burial-place of most of the bishops who are known to have been
interred in the cathedral is quite uncertain. The best of them seem to
have been content with a plain slab and inscribed brass; only Nykke, of
infamous memory, left so gorgeous a chapel behind to perpetuate it.
Bishop Hall, in his "Hard Measure," gives a sketch of vivid historical
interest of the sacrilege committed during the Puritan rebellion, and
when, in 1643, the cathedral was in the possession of the fanatics.
"Lord, what work was here, what clattering of glasses, what beating down
of Walls, what tearing up of Monuments, what pulling down of Seates,
what wresting out of Irons and Brass from the Windows and Graves. What
defacing of Armes, what demolishing of curious stone work, that had not
any representation in the World, but only of the cost of the Founder and
skill of the Mason, what toting and piping upon the destroyed Organ
pipes, and what a hideous triumph on the Market day before all the
Countrey, when, in a kind of Sacrilegious and profane procession, all
the Organ pipes, Vestments, both Copes and Surplices, together with the
Leaden Crosse which had been newly sawne down from over the Green-Yard
Pulpit, and the Service books and singing books that could be had, were
carried to the fire in the publick Market place; A leud wretch walking
before the Train, in his Cope trailing in the dirt, with a Service book
in his hand, imitating in an impious scorne the tune, and usurping the
words of the Letany; neer the Publick Crosse, all these monuments of
Idolatry must be sacrificed to the fire, not without much Ostentation of
a zealous joy."
#Monuments in North Aisle of Nave.#--In the fifth bay of the nave arcade
(marked I on plan) is the altar tomb of Sir Thomas Wyndham and his four
wives. This was originally in the Lady Chapel, then, for a time, the
Jesus Chapel, and about 1869 moved to its present position.
Between the sixth and seventh bay is buried Dean Prideaux (d. 1724). The
ninth bay of aisle is lighted by a memorial window to William Smith (d.
1849), Professor of Modern History at Cambridge. In the tenth bay
(marked 2 on plan) is the altar tomb, with panelled sides, to Sir John
Hobart (d. 1507), Attorney-General to Henry VII.
#Monuments in South Aisle of Nave# from the west.--In the sixth bay is a
memorial window by Wailes to members of the Hales family. In the seventh
bay (marked 3 on plan) is the tomb of Chancellor Spencer; the rents of
the dean and chapter were formerly paid here. The ninth bay (marked 4 on
plan) contains the altar tomb of Bishop Parkhurst (1560-74).
[Illustration: The East Walk of the Cloisters.]
#The Cloisters# and destroyed monastic buildings.--The cloisters are
on the south side of the cathedral, the interior garth being about 145
feet square.
[Illustration: The Cloisters from the Garth.]
The original Norman cloisters, which were probably of a wooden
construction, were destroyed by the fire of 1272; and the work of
building the present cloisters was commenced by Bishop Walpole (1289-99)
about 1297, but they were not completely finished until 1430, in the
time of Bishop Alnwyck (1426-36). They present an interesting, and, at
the same time, complex study of the development of the styles during the
one hundred and thirty-three years which passed during their erection; a
paper by the Rev. D.J. Stewart (published in vol. 32 of the
_Archæological Journal_) goes minutely into their construction, and the
several parts the various bishops of Norwich played in their design.
Those who wish to study this part of the cathedral thoroughly cannot do
better than refer to this paper.
It will be noticed that, despite the lengthy period occupied in the
construction of the cloisters, the result is in no way inharmonious; it
is only in the detail, and especially the open tracery to the bays, that
the difference of style is very perceptible.
Counting the angle severies as in each walk, it will be noticed that
there are fourteen severies on the east side; and thirteen on the other
three. Each is nearly square on plan, and vaulted over with horizontal
longitudinal and transverse ribs, between which occur diagonals and
_tiercerons_; with carved bosses at the intersections. The piers
carrying the vaults consist of groups of separate cylindrical shafts of
Purbeck marble.
On the three sides--east, west, and south--there are separate storeys of
apartments over the vaults, which were used for various purposes by the
monks.
In elevation--and of course this can best be seen from the Garth--each
bay is divided by a projecting buttress with diagonal one in the angles;
the arches are filled with open tracery carried by two mullions; it is
this tracery which marks most clearly the various changes of style. The
shape of the arch is similar throughout. This was a concession on the
part of the later builders which ensured harmony in the whole; but on
each side the tracery is varied. On the east side it is geometrical in
character, the work being transitional between Early English and
Decorated; on the south side the tracery is more flowing and has
advanced to Decorated; on the west side again, we get the transitional
style between Decorated and Perpendicular, with some _flamboyant_ or
flame-like detail; while on the north and latest side it is frankly
Perpendicular.
#The East Walk# of cloisters is the earliest; access to which is gained
from the south aisle of nave of cathedral, through the #Prior's Door#;
of this fine specimen of early Decorated work we give an illustration.
In the sixth bay, from, and counting the angle, may be seen the
walled-up entrance to the Slype. In the seventh, eighth, and ninth bays
remain the arches which once gave entrance to the chapter-house; these
were walled up until about 1850.
According to the itinerary of William of Worcester, the chapter-house,
which was built by Bishop Walpole (1289-99), projected eastward about 80
feet, terminating with a polygonal apse, as shown by the dotted lines to
our plan.
The prolongation of this east walk southwards beyond the south walk of
the cloisters, led formerly to the infirmary; of which now only remain
the three piers in the lower close; the greater part having been pulled
down in 1804. During some time in the eighteenth century the infirmary
was used as a workhouse.
The dormitories in all monasteries were connected with one of the
transepts, usually the south, so that the monks could at all hours
easily gain access to the cathedral for the performance of the offices
of their order; it is probable, therefore, that the rooms over this east
walk of the cloisters here at Norwich may have been used as dormitories,
with a staircase on the western side of the south transept leading to
them. The dormitories are supposed by some antiquarians to have been
placed south of the destroyed chapter-house; the door in the twelfth bay
of the east wall of the cloisters (marked 5 on plan) probably giving
rise to the supposition.
The sculptured vault-bosses in this walk are illustrative of incidents
in Gospel story and of the legends of the four evangelists.
#The South Walk#, the south wall of which was also the wall of the
refectory. A door (marked 6 on plan) at the western end of this walk led
to the refectory. To the west were probably the kitchen and offices. The
sculptured bosses of the vault over this walk are illustrations of
scenes from the Book of Revelation.
[Illustration: The Prior's Door.]
#The West Walk.#--In the first two bays (marked 7 on plan) are the
lavatories of the monks; and in the fourth bay, a door (marked 8 on
plan) that formerly led to the guest hall, pulled down by Dean Gardiner,
1573-89. The cellarer whose duty it was to look after the guests
probably had apartments above.
A door in the last bay leads to the #Choir School#; this was formerly
the #Locutory#, where the monks indulged in their daily gossip. The
western wall is in the Early Decorated style; the body of the room
dating from Norman times.
The door into the south aisle of the cathedral from this walk, known as
the #Monks' Door#, is of an elaborate example of the Perpendicular
style.
Returning along the #North Walk#, the latest part of the cloisters, we
come again to the prior's door, by entering which the rest of the
interior may be inspected.
#The Ante-choir# occupies one compartment of the nave, and is
immediately under the organ loft. It was in mediæval times a chapel
dedicated to Our Lady of Pity. The screens between this ante-choir and
the aisles on north and south, were in part formed from the
Perpendicular screen which originally divided off the Jesus Chapel from
the north aisle of the presbytery. Here in the ante-choir they are
certainly preferable, even as "mutilated Perpendicular," to any modern
substitute; though it was lamentable vandalism to remove them from their
original positions, where they are shown in Britton's "History."
#The Choir.#--It may be as well here to give a brief sketch of the
various re-modellings which have been effected in the arrangement of the
choir and presbytery of the cathedral.
Britton shows, in one of his plates published in 1816, the floor of the
choir continued at its level until, immediately before the altar, in the
apse, it rises by five steps to the level of the sanctuary (the
presbytery, after the Reformation, had been cut off from the choir by a
wooden screen, in front of which stood the communion table). Across both
transepts, in the beginning of the century, there stood cumbrous
two-storeyed structures containing pews not unlike boxes at a theatre,
as shown in a drawing here reproduced. In 1837, when Salvin re-modelled
the choir, these were removed, and on the south side replaced by a stone
gallery, and this again has been taken down.
In Dean Goulburn's time the floor of the presbytery was raised by two
steps, which occurred one bay past the tower arch eastward.
[Illustration: The Choir and Presbytery.]
Quite recently, there have been further alterations carried out by
Dean Lefroy. The eastern arm of the building was closed for two and a
half years, and during this time the whole of the whitewash, etc.,
covering the stonework was flaked off, with much benefit to the
appearance of this part of the interior. The level of the presbytery
floor has been brought forward to the tower arch, and at the same time
the floors of both transepts and choir were brought to one level, and
various obstructions in the way of pews and raised floors removed.
The choir was opened after this work by Archbishop Benson, 2nd May 1894.
[Illustration: A Stall in the Choir.]
#The Choir# extends one bay, or the space of two compartments, into the
nave, as was usual in cathedral priories, and was originally occupied
during the offices of the Benedictines by the prior, sub-prior, and the
sixty monks. The bishop--who was the nominal abbot--with his presbyters,
occupied the presbytery.
The stalls, sixty in number, with an additional two for the prior and
sub-prior, facing east, are fine specimens of fifteenth-century work,
the detail varying though the main lines are preserved in each.
Each of these stalls retains the _subsellium_ or _miserere_, which,
hinged at the back, turns up and discloses a small ledge beneath
supported by carving, which ledge is supposed to have been used by the
aged monks to rest on during the first long office of the Benedictines,
which lasted four hours. Did they, however, by any chance allow the
seat to fall, they are said to have had to go through the whole of their
prayers again as a penance. All these _misereres_ are worth studying,
especially as the white and grey paint which had disfigured them has
been cleaned off since 1806.
The choir was re-arranged by Salvin in 1833, and the chancellor's stall,
shown in early prints, against the north-east tower pier, was removed at
this time. The presbytery was filled with stalls, which have been lately
removed, and in part refixed in the nave. During the recent alterations
the row of fifteenth-century stalls, each with its _miserere_, has been
removed from its original position in front of the canopied stalls, and
placed across the transepts, and their place taken by others, made up of
various fragments of old seating.
Also the older bishop's throne, erected by Dean Lloyd late in the
eighteenth century, "in resemblance to ancient Gothic workmanship," was
removed from the south-east pier of the tower and placed in the
consistory court, and its place taken (1894) by the present erection,
designed by Pearson also in the style of ancient Gothic workmanship, and
made by Cornish and Gaymer. The new pulpit, taking the place of that put
up after the demolition of the chancellor's stall, was designed by J.D.
Seddon, and executed by H. Hems of Exeter.
#The Pelican Lectern#, now in the choir (see illustration, p. 110), was
formerly hidden away in the Jesus Chapel; it is late Decorated in
character; the three small figures were added in 1845. There is enough
metal in this piece of mediæval work to make a dozen modern replicas.
#The Presbytery# consists of two double severies, or four compartments,
terminated by a semi-circular apse of five compartments. The four
compartments on either side have, in the lower stages of their design,
rich four-centred arches of Perpendicular period, with niches between on
the piers; the spandrels are filled in to a horizontal line, above
which, at the level of the triforium floor, is an elaborate cusped
cresting. The triforium is Norman, lofty in scale. Over this come four
light transitional (Decorated to Perpendicular) clerestory windows, with
niches canopied forward in the thickness of the wall over the clerestory
path; the windows being on the outer face of wall. From the apex of the
ogee arches of the niches spring the vaulting ribs of the later vault,
without any intermediate shaft. The apse preserves its Norman
characteristics in the lower stage as well as at the triforium level.
Here the interest of the student must surely be concentrated; as this
eastern arm of the cathedral is the earliest part of the building.
Herbert, the founder, laid the foundation-stone at the extreme east,
probably in the original Norman Lady Chapel, and built westwards, and
here, in front of the high altar, was he buried.
[Illustration: The Choir and Presbytery in 1816.]
The remains of the first bishop's throne, with the westward position,
are in the central bay of the apse. Behind it, in the screen wall, can
be discerned an arch which looks like a door head; if there be a vault
beneath the presbytery, it is probable that this is the walled-up
entrance.
On the east side of the tower over the arch can be seen the lines of the
original Norman roof. The Norman clerestory was so badly damaged by part
of the tower falling in 1362 that the present clerestory was built in
its place by Bishop Percy (1355-69), the presbytery, at the same time
being covered over with a framed timber roof. In 1463 this (together
with the spire) was struck by lightning, and fell burning into the
presbytery, where it burned itself away. Here and there in the aisles,
and wherever the Norman stonework is visible, traces of an orange
discoloration give evidence of the heat generated by the mass.
The present lierne vault was added by Bishop Goldwell (1472-99), and his
rebus, a gold well, can be seen cut on the bosses at the intersections
of vaulting ribs. The curious junction of the later vault with the
ogee-shaped arches of the clerestory should be noticed.
While the original triforium yet remains, the character of the main
arcade was altered by the insertion of the four-centred "Perpendicular"
arches, the work of Bishop Goldwell, whose tomb is under one on the
south side. These lower arches were filled with screens, removed in
1875.
The lower apsidal arches, in the beginning of the century, were
completely filled with imitation Norman work; this has been cleared away
to the original height of the screen wall, with much improvement to the
general effect.
[Illustration: The Choir Stalls at the beginning of the Nineteenth
Century.]
The present altar, designed by Sir A.W. Blomfield, occupies probably the
position of the original altar. The question where the high altar stood
has provoked much speculation. Professor Willis placed it more to the
westward, thinking that a quatrefoiled opening or hagioscope in the
screen wall of the last bay on the north side of the Presbytery (marked
9 on plan) was made to afford a view of it from the aisle. Harrod points
out that there is a small hole in the vault above, from which probably
hung down the light of the sacrament. The position of this hole, and the
fact that such a light would necessarily be placed before the altar, and
not over or behind it, is evidence that the altar was about where it is
now. Blomfield, again, averred that the people stood in the aisle and
confessed to the priest standing in the sanctuary, the "voice coming
through a hole made in the wall for that purpose," the hole being the
hagioscope referred to. But, as Harrod observes, to do this the priest
must have assumed a recumbent position, which is neither convenient nor
usual.
The real use, no doubt, of this bay of the arcade, was for the Easter
sepulchre; its usual position is on the north side of the sanctuary. It
will be noticed also that in the aisle immediately behind is a raised
gallery of Decorated character, access to which was gained from the
sanctuary by steps on the left side of the bay of the arcade, in which
occurs the hagioscope. This gallery formed the ante-chapel to the
#Reliquary Chapel#, which projected northwards from the aisle of the
cathedral; the roof line of this chapel can be seen plainly from the
outside. From the reliquary chapel on Good Friday the crucifix and pyx
were taken out and deposited in the Easter sepulchre below; and from the
vault above, through the hole before referred to, was hung the great
sepulchre light. More probably the hagioscope was intended to be used by
the watcher at the sepulchre.
[Illustration: The Choir, looking West.]
The arrangement of the presbytery, as we have already noted when
referring to the plates here reproduced from Britton, has undergone many
changes; in the beginning of the century the level of the floor of the
choir was continued until between the third and fourth bay from the
tower in the presbytery, where it rose by five steps to the level of the
sanctuary floor. Harrod speaks of two steps up at the third pier past
the tower, and three at the fourth or point of the junction of the apse.
In Dean Goulburn's time, the sanctuary space was enlarged by being
brought forward one bay. The present floor, designed by Sir A.W.
Blomfield in glass mosaic and porphyry, was executed by Powell
Brothers. Then also was added the somewhat elaborate communicants' rail,
executed in bronze and spars. In enlarging the sanctuary, Dean Goulburn
moved the three steps from the fourth pier past the tower to the third,
and at the same time the two steps at the third pier were moved forward
to the first past the tower. And now again, during the recent works of
reparation, the presbytery floor has been brought forward at one level
to the tower arch, where it descends to the level of the choir floor by
five steps: screens which filled the first bays on either side were
removed, and similar flights of steps now descend from the presbytery
and the north and south aisles. The cumbrous stalls were also removed,
and in part refixed in the nave.
The stained glass which fills the clerestory windows of the apse dates
from 1846, and was made by Yarrington. The window in the triforium just
above the altar contains modern stained-glass, dedicated to the memory
of Canon Thurlow.
#Monuments in the Presbytery.#--The monument of Herbert, the first
bishop of Norwich, and the founder of the cathedral, was raised in the
centre of presbytery, before the high altar. It was so much injured
during the time of the Rebellion that a new one was erected in 1682;
this again was levelled, and a slab placed in the floor at the same
place now remains.
In the second bay eastward from the tower (south side), marked 10 on
plan--Bishop Goldwell's (1472-99) chantry, and the altar tomb,
remarkable for the effigy in full pontificals (see illustration). Bloxam
remarks that it is "the only instance of the monumental effigy of a
bishop, prior to the Reformation, in which the _cappa pluvialis_, or
processional cope, is represented as the outward vestment instead of the
casula or chesible." The tomb is placed to the south of the recess; in
the space east was an altar.
In the third bay eastward was Bishop Wakering's (1416-25) tomb, the only
part of which now remaining is visible from the south aisle, and
consists of a series of panels with plain shields and figures two by
two, with the several instruments of the Passion. There were formerly
steps down into the south aisle from this bay. In the same place is a
monument to Bishop Overall (d. 1619).
[Illustration: Detail of the Presbytery Clerestory and Vaulting.]
In the fourth bay (marked 11 on plan) the altar tomb of Sir William
Boleyn of Blickling (d. 1505).
Of the fourth bay eastward from tower on the south side (marked 9 on
plan), Sir Thomas Browne says: "On the north of the choir--_the
presbytery is meant_--between the two arches, next to Queen
Elizabeth's seat, were buried Sir Thomas Erpingham and his wives, the
Lady Joan, etc., whose pictures were in the painted glass windows next
to this place, with the arms of the Erpinghams. The insides of both the
pillars were painted in red colours, with divers figures and
inscriptions from the top almost to the bottom, which are now washed out
by the late whiting of the pillars.... There was a long brass
inscription about the tombstone, which was torn away in the late times,
the name of Erpingham only remaining."
During the recent works, under this same spot was found a leaden coffin
enclosing human bones, which were possibly the remains of Sir Thomas
Erpingham.
An amusing tale is told by Harrod of Roger Bigod's burial in the
cathedral. He was the founder of Thetford Priory, and died in 1107,
leaving directions that his body should be buried in his own monastery.
The prior of Thetford was much perplexed to hear that Bishop Herbert had
taken possession of the body, and had determined that it should be
interred with all the due solemnities at Norwich. Herbert was anxious to
secure for his own foundation so valuable a source of income as the
offerings and celebrations at the tomb of a pious man like Bigod; and no
doubt the prior was not actuated alone by love for his departed abbot.
The bishop won, and Roger Bigod was buried in the cathedral, possibly in
the same crypt which is supposed to contain the bones of Herbert
himself.
#The North Transept#, like the south, is without aisles or triforium,
the wall space up to the clerestory level being decorated with wall
arcading, varying considerably in position and detail in each
compartment. The clerestory follows round from the nave, and overhead is
the later lierne vault. It was, together with the eastern arm of the
cathedral, closed for two and a half years, during which period the
whole of the lime-white and paint encrusting the stonework was flaked
off. The work, so far as we can understand, was really a restoration,
inasmuch as the original stonework was restored to view. The level of
the floor was made to correspond with that of the choir, and a raised
wooden floor with the benches thereon removed. The transepts were built
by Herbert, the first bishop and founder. Both originally had an apsidal
chapel on the eastern wall, but only that on the north arm remains,
and access to this now is not possible from the transept. Dedicated at
one time to St. Anne, it is now used as a store-house.
[Illustration: The Choir Apse.]
The vault was added by Bishop Nykke, and was necessitated by a fire in
1509, which consumed the wooden roofs of both transepts. During the
recent works the small arcading immediately under the line of the vault
was discovered walled up, the builders of the later vault in all
probability having done this, as in many cases the line of the vault
cuts over the arcading. This was opened up, and is distinctively
interesting in helping to reconstruct the original finish to the Norman
work under the roof.
#The Tower and Triforium Walks#, to which access is gained by a
staircase in the east wall of north transept, are of much interest. In
the triforium the imposition of the later work on the Norman is clearly
noticeable, and the original Norman triple windows walled up with the
wall shafts which once supported the semi-arches of the triforium roof.
Some of the best views of the interior are to be gained from the
triforium and clerestory paths.
#Interior of Tower.#--A continuation of the same staircase leads to the
clerestory, and from thence access is gained to the tower galleries.
Above the arches of the crossing there is a vaulted passage in the
thickness of the tower walls, with six arches pierced in the inner wall,
so that the parts of the interior can be seen from this walk. Above
occurs a smaller wall arcade, stopped before reaching the angle to admit
of large circular holes being deeply recessed in the walls; and above
this again another vaulted gallery, with three windows on either side,
pierced through the tower. In the lower of these walks openings occur
through the thickness of the walls into the presbytery, the nave, and
transepts, just under the vaults, and interestingly quaint peeps can be
gained through them.
The #Processional Path#, or aisles to the presbytery, consists of four
bays to the north and south, with quadri-partite vaulting, with a
similar five following round the line of the apse. A door in the north
aisle leads out into the gardens of the bishop's palace, and from thence
the exterior of this part of the cathedral is best seen.
Crossing the north aisle to the presbytery, at the fourth bay eastward
past the tower, marked F on plan, there occurs a curious bridge chapel
spanning the aisle, access thereto being gained by a newel staircase on
the north side. In our notes on the Presbytery, we have referred to the
uses assigned to this structure and its connection with the Easter
sepulchre. It formed the ante-chapel to the reliquary chapel projecting
northward from the outer wall of the cathedral; it probably was built as
a bridge so that relics and symbols might be exhibited thereon to
processions passing along underneath. It is decorated in character, and
the vault is constructed of chalk. The chapel above is decorated with
frescoes, the subjects of which are as follow:--In the western quarter
of the four-part vault, The Blessed Virgin between SS. Margaret and
Catherine; in the eastern, SS. Andrew, Peter, and Paul; in the northern,
SS. Martin, Nicholas, Richard; in the southern, SS. Edmund, Lawrence,
and a bishop; a figure of Christ occurs centrally. Copies of these
frescoes have been made in facsimile, and hang in the aisle and
consistory court. Passing through the small door in the north wall of
the north aisle before mentioned to the outside, the lines of the
reliquary chapel can be plainly seen, and also of another to the west;
the position of both these chapels is shown by dotted lines on the plan.
[Illustration: Detail of the Clerestory, North Transept.]
A coped coffin lid of Purbeck marble, now in the aisle of presbytery,
should be noticed; an inscribed brass once occupied the bevelled edge.
[Illustration: The South Aisle of Presbytery, looking East.]
#The Chapels.#--In the Norman cathedral, grouped round the east end of
the presbytery, was a trefoil of chapels; the one on the north, the
Jesus Chapel, yet remains, and as well its fellow on the south. The Lady
Chapel, or easternmost of the three (shown on plan by dotted lines) was
succeeded by an Early English building, which, in its turn, was
destroyed; the entrance arches, of beautiful proportion, alone
remaining.
[Illustration: Norman Work in the Lantern of Tower.]
#The Jesus Chapel# formerly belonged to the bishop. On plan its shape is
that of segments of circles joined, the altar placed in the smaller
part. A simple wall arcade runs round the lower half, the whole being
covered by a plain quadri-partite vault. The windows are insertions of
Perpendicular work, varied in character from the Norman work of the
chapel itself. The mural colouring is a restoration; it may be something
like the original, but the general effect is somewhat garish.
[Illustration: The Ante-Reliquary Bridge Chapel.]
The altar consists of a slab of grey Barnack-stone, with Purbeck
inlaid, the whole being supported on shafts.
The tomb of Sir Thomas Wyndham, now in the north of nave, at one time
stood here, as also the pelican lectern now in the choir.
In Britton, the chapel is shown divided off from the aisle by a stone
screen of Perpendicular character; this was removed, and used to form in
part the present screens dividing the ante-choir from the aisles.
A room over the Jesus Chapel, once the plumbery, is now used as a
museum.
The Entrance which led to the Lady Chapel is immediately behind the
apse, and takes the form of a double arch with clustered columns to the
jambs and central pier; the archivolt is deeply moulded and enriched
with the typical Early English "dog-tooth" ornament. In the spandrel
over the pier, and between the archivolts, is a quatrefoiled opening
fitting just under the line of the semi-circular Norman vault. The
arches, walled-in up to the impost level, are now filled with glass, as
well as the opening. The original circular Norman Lady Chapel was
destroyed in part by the fire of 1169; it was repaired by Bishop De
Turbe (1146-74), but it was not until the time of Walter de Suffield
(1245-57) that it was decided to pull it down and rebuild a chapel in
the style of the period--viz. Early English; it was this later building
that Dean Gardiner (1573-89) destroyed.
Dean Goulburn, in his work on the cathedral, points out that it was the
_cultus_ of the Blessed Virgin, which gathered strength all over Europe
during the twelfth and thirteenth centuries, that led to the erection of
such sumptuous chapels as this thirteenth-century Lady Chapel of Norwich
must have been. When the theological reaction followed, they fell into
disuse and neglect, and their final ruin followed when it was found
cheaper to pull them down than keep them in repair.
The beautiful proportion of the entrance arches still remaining, the
archivolt enriched with the "dog-tooth" moulding--the only example of
this particular ornament at Norwich--gives one an idea of what the
chapel may have been like. During the recent works of reparation in the
choir, pieces of stone were found with the "dog-tooth" built inwards:
evidently the stone from the pulled down chapel had been used by the
masons for the repair of the fabric.
#St. Luke's Chapel#, on the south side of the apse corresponding with
the Jesus Chapel on the north, was formerly the chapel of the prior. It
is now used as the parish church of St. Mary in the Marsh. It has been
much restored, and the Decorated windows shown in Britton's view of the
east end of the cathedral were replaced early in the sixties, by what
the restorer would no doubt have called Norman.
The coloured glass was inserted to the east window in 1868, the south
window in 1870, the west window in 1881. That in the east and south is
by Hardman, in the west by Clayton & Bell. The glass in the south window
forms a memorial to Adam Sedgwick, Professor of Geology at Cambridge,
and canon of the cathedral for many years.
The room over the St. Luke's Chapel is used as the #Treasury and
Muniment Room#.
#The Bauchon Chapel#--corrupted to Beauchamp--dedicated to St.
Mary-the-Less, projects to the south of the third bay of the presbytery
aisle past the tower, (marked B on plan). It was founded in the
fourteenth century and the vault added in the fifteenth century. Its
bosses represent the Life, Death, and Assumption of the Virgin. The
chapel is now used as the consistory court. The bishop's throne, erected
by Dean Lloyd late in the eighteenth century in the choir, has found a
resting-place here.
A chapel, founded by Bishop Wakering, and which is said to have been
used as the chapter-house after the demolition of that structure, came
between the Bauchon Chapel and the east wall of the south transept. Its
exact position is, however, doubtful. Harrod, quoting Blomfield, speaks
of another chapel that was dedicated to St. Osyth, and which was paved
in 1398.
[Illustration: Doorway and Screen between South Transept and Aisle of
Presbytery.]
#The South Transept.#--The screen and doorway filling the Norman arch
between the south aisle of presbytery and the south transept should be
noticed; it is an interesting piece of work of late Perpendicular
design. There is a tradition that the Puritans disliked especially any
tracery that took the form of this piece of screen work, calling windows
in which it occurred "wicked windows." The intersection of the lines of
the tracery made the monogram of the Blessed Virgin; and the fanatics
destroyed such work wherever noticed. The tale is interesting, though we
cannot vouch for its truth.
[Illustration: View across the Apse from the Chapel of St. Luke.]
At the time the whitewash and paint covering the south transept was
cleaned off a range of small arcading was discovered immediately under
the line of the vault, as in the north transept, walled-up evidently
when the vault was added.
The south transept had in Norman times a circular chapel projecting
eastward similar to that remaining to the north transept. This was
replaced by a later sacristy during the fifteenth century, and the line
of this roof can be seen from the outside.
Across the south end there was formerly a stone screen built by Bishop
Lyhart (1446-72) communicating with the vestry on the east side, and on
the west with the staircase to rooms above the east walk of cloisters.
These rooms, as we have before noted, were in all probability the
dormitories of the monks, placed that they might so conveniently gain
access to the cathedral for the services.
On the top of Lyhart's screen came a clock; there are records in the
sacrists' rolls of materials used in the construction of an earlier
clock that was made between 1322-25--of two hundred pieces of Caen stone
and ten of "Gobetz" used to make a base, and that for making thirty
images to represent the days of the month, no less than 47s. 4d. was
paid.
The vault was added by Bishop Nykke at the same time as that to the
north transept; the carved bosses representing the early history of
Christ--the Presentation, Baptism, etc. The painted glass window on the
east side, the subject of which is the Ascension (after Raphael), was
erected by the widow of Dean Lloyd about a century since. Speaking of
its original position in the triforium of the presbytery, Britton says
"it disfigures, rather than ornaments, its station"; it can safely be
added that it fulfils the same purpose still.
#Monuments.#--Chantrey's statue of Bishop Bathhurst (d. 1837),
originally in the presbytery, has been placed here in the south
transept. The west wall has a memorial to the men and officers of the
9th (East Norfolk) Regiment of Foot who fell in China and Japan.
The east wall has a similar tablet to those of the same regiment who
fell in Afghanistan, 1842. A monument, originally on the west wall, to
Bishop Scambler (1585-95), has been removed to the south aisle of nave.
The county of Norfolk is peculiarly rich in painted screens of the
fourteenth and fifteenth centuries; and it would have been strange
indeed if no specimen of their work had been preserved in the cathedral.
Fortunately, a superb #retable# in five panels, representing scenes in
the Passion of our Lord was discovered by Professor Willis in 1847, and
is now preserved in the aisle outside the Jesus Chapel.
This was formerly an altar-piece to the Jesus Chapel, and was preserved
by the happy accident of its admirable carpentry having saved it for the
purposes of a table. It appears to have been the work of an Italian
artist of about 1370 A.D., and is executed in a kind of _gesso_ work.
The size is now 7 ft. 5½ ins. × 2 ft. 4 ins.; but it was formerly
surrounded by an ornamented frame, of which portions remain on three
sides. The subjects represented are--from the left--The Scourging,
Bearing the Cross, the Crucifixion, the Resurrection, and the
Ascension.[1]
[Footnote 1: Royal Arch. Institute: Norwich volume, p. 198.]
Traces of other decorative painting have also been discovered in the
Sacrist's Room, St. Luke's and the Jesus Chapels, the choir aisles, and
other places.
[Illustration: The Resurrection: from the Painted Retable formerly in
the Jesus Chapel.]