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B. Clifton + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Bell's Cathedrals: The Cathedral Church of Lichfield + A Description of Its Fabric and A Brief History of the Espicopal See + +Author: A. B. Clifton + +Release Date: August 12, 2011 [EBook #37049] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK CATHEDRAL CHURCH OF LICHFIELD *** + + + + +Produced by Jonathan Ingram, Brad Norton, David Garcia and +the Online Distributed Proofreading Team at +http://www.pgdp.net + + + + + + +</pre> + + +<p><span class="pagenum"><a name="pagei" id="pagei"></a>[i]</span></p> + +<div class="figcenter"> +<a href="images/image01.jpg"> +<img src="images/i-01-s.jpg" height="500" +title="Lichfield Cathedral from the West." +alt="LICHFIELD CATHEDRAL FROM THE WEST." /></a> +<br /> +<div class="left"><small><i>Photochrom Co. Ltd., Photo.</i>]</small></div> +<br /> +LICHFIELD CATHEDRAL FROM THE WEST. +</div> + +<p><span class="pagenum"><a name="pageii" id="pageii"></a>[ii]</span></p> + +<h1> +<small> +THE CATHEDRAL CHURCH OF<br /> +</small> +<big> +LICHFIELD<br /> +</big> +<small> + A DESCRIPTION OF ITS FABRIC<br /> + AND A BRIEF HISTORY OF THE<br /> + EPISCOPAL SEE +</small> +</h1> + +<div style="height: 2em;"><br /><br /></div> + +<h2> +<small> +BY<br /> +</small> +A. B. CLIFTON +</h2> + +<div style="height: 2em;"><br /><br /></div> + +<p class="center"> +<small> +WITH FORTY ILLUSTRATIONS +</small> +</p> + +<div class="figcenter"><a +href="images/image02.png"> +<img src="images/i-02-s.png" width="147" height="165" +title="Arms of the See" +alt="Arms of the See" /></a> +</div> + +<div style="height: 2em;"><br /><br /></div> + +<p class="center"> +LONDON, GEORGE BELL & SONS, 1900 +</p> + +<p><span class="pagenum"><a name="pageiii" id="pageiii"></a>[iii]</span></p> + +<div style="height: 2em;"><br /><br /></div> + +<p class="center"> +<small> +<i>First published February 1898</i> +<br /> +<i>Second Edition revised February 1900</i> +</small> +</p> + +<div style="height: 2em;"><br /><br /></div> + +<p class="center"> +W. H. WHITE AND CO., LTD. +<br /> +RIVERSIDE PRESS, EDINBURGH +</p> + +<div style="height: 2em;"><br /><br /></div> + +<p><span class="pagenum"><a name="pageiv" id="pageiv"></a>[iv]</span></p> + +<div style="height: 4em;"><br /><br /><br /><br /></div> + +<h2> +GENERAL PREFACE +</h2> + +<p> +This series of monographs has been planned to supply visitors +to the great English Cathedrals with accurate and well +illustrated guide-books at a popular price. The aim of each +writer has been to produce a work compiled with sufficient +knowledge and scholarship to be of value to the student of +Archaeology and History, and yet not too technical in language +for the use of an ordinary visitor or tourist. +</p> +<p> +To specify all the authorities which have been made use of in +each case would be difficult and tedious in this place. But +amongst the general sources of information which have been almost +invariably found useful are:—(1) the great county +histories, the value of which, especially in questions of +genealogy and local records, is generally recognised; (2) the +numerous papers by experts which appear from time to time in the +Transactions of the Antiquarian and Archaeological Societies; (3) +the important documents made accessible in the series issued by +the Master of the Rolls; (4) the well-known works of Britton and +Willis on the English Cathedrals; and (5) the very excellent +series of Handbooks to the Cathedrals originated by the late Mr +John Murray; to which the reader may in most cases be referred +for fuller detail, especially in reference to the histories of +the respective sees. +</p> +<p class="right"> +<span class="sc">Gleeson White</span>,<br /> +<span class="sc">Edward E. F. Strange</span>,<br /> +<i>Editors of the Series</i>. +</p> + +<p><span class="pagenum"><a name="pagev" id="pagev"></a>[v]</span></p> + +<div style="height: 4em;"><br /><br /><br /><br /></div> + +<h2> +AUTHOR'S PREFACE +</h2> + +<p> +Concerning any old Cathedral the mass of information is very +great, and the authorities to be consulted many; and perhaps the +almost total absence—as in this case—of a documentary +history of the building of the fabric, makes for a larger bulk of +pamphlets and of communications to the antiquarian journals. +Whether or no theory be wiser than fact, it is certainly more +voluminous. Besides the books and papers mentioned in their +place, I have especially to express my indebtedness to the work +on Lichfield by the Rev. William Beresford, one of the "Diocesan +Histories" Series, and to the "Handbook of Lichfield Cathedral" +by the late John Hewitt, the well-known antiquarian. I have also +to thank Mr R. R. Redmayne of Lichfield for much valuable +information, as also Mr C. Harradine, the Principal Verger, whose +interest in and knowledge of the Cathedral are well known in +Lichfield; and the Photochrom Co. Ltd., Messrs S. B. Bolas & +Co., and Mr F. G. M. Beaumont, for the excellent photographs they +have allowed me to reproduce. +</p> +<p class="right"> +<span class="sc">A. B. Clifton.</span> +</p> + +<p><span class="pagenum"><a name="pagevi" id="pagevi"></a>[vi]</span></p> + +<div style="height: 4em;"><br /><br /><br /><br /></div> + +<h2> +CONTENTS +</h2> + +<table summary="Table of Contents"> +<tr><td> </td><td align="right"><small>PAGE</small></td></tr> +<tr><td><span class="sc">Chapter I.</span>—History of the Cathedral </td><td align="right"> <a href="#page3">3</a> </td></tr> + +<tr><td><span class="sc">Chapter II.</span>—Description of the Exterior </td><td align="right"> <a href="#page30">30</a> </td></tr> +<tr><td> The Close </td><td align="right"> <a href="#page33">33</a> </td></tr> +<tr><td> Bishop's Palace </td><td align="right"> <a href="#page34">34</a> </td></tr> +<tr><td> Spires </td><td align="right"> <a href="#page35">35</a> </td></tr> +<tr><td> West Front </td><td align="right"> <a href="#page39">39</a> </td></tr> +<tr><td> North Doorway </td><td align="right"> <a href="#page48">48</a> </td></tr> +<tr><td> Lady Chapel </td><td align="right"> <a href="#page50">50</a> </td></tr> +<tr><td> South Transept </td><td align="right"> <a href="#page51">51</a> </td></tr> +<tr><td> Bells </td><td align="right"> <a href="#page52">52</a> </td></tr> + +<tr><td><span class="sc">Chapter III.</span>—Description of the Interior </td><td align="right"> <a href="#page54">54</a> </td></tr> +<tr><td> Nave </td><td align="right"> <a href="#page54">54</a> </td></tr> +<tr><td> Pulpit, Lectern, etc. </td><td align="right"> <a href="#page64">64</a> </td></tr> +<tr><td> North Aisle of Nave—Monuments and Glass </td><td align="right"> <a href="#page64">64</a> </td></tr> +<tr><td> South Aisle of Nave—Monuments and Glass </td><td align="right"> <a href="#page67">67</a> </td></tr> +<tr><td> Transepts </td><td align="right"> <a href="#page67">67</a> </td></tr> +<tr><td> Organ </td><td align="right"> <a href="#page71">71</a> </td></tr> +<tr><td> Choir </td><td align="right"> <a href="#page75">75</a> </td></tr> +<tr><td> Screen and Stalls </td><td align="right"> <a href="#page84">84</a> </td></tr> +<tr><td> Reredos </td><td align="right"> <a href="#page87">87</a> </td></tr> +<tr><td> Sedilia and Pavements </td><td align="right"> <a href="#page88">88</a> </td></tr> +<tr><td> Monuments and Glass in the Choir </td><td align="right"> <a href="#page91">91</a> </td></tr> +<tr><td> Lady Chapel </td><td align="right"> <a href="#page99">99</a> </td></tr> +<tr><td> Sacristy and Chapel of St. Chad's Head </td><td align="right"> <a href="#page106">106</a> </td></tr> +<tr><td> Chapter-House </td><td align="right"> <a href="#page110">110</a> </td></tr> +<tr><td> Library </td><td align="right"> <a href="#page113">113</a> </td></tr> + +<tr><td><span class="sc">Chapter IV.</span>—History of the See </td><td align="right"> <a href="#page117">117</a> </td></tr> + +<tr><td><span class="sc">Dimensions</span> </td><td align="right"> <a href="#page136">136</a> </td></tr> +</table> + +<p><span class="pagenum"><a name="pagevii" id="pagevii"></a>[vii]</span></p> + +<div style="height: 4em;"><br /><br /><br /><br /></div> + +<h2> +ILLUSTRATIONS +</h2> + +<table summary="List of Illustrations"> +<tr><td> </td><td align="right"><small>PAGE</small></td></tr> +<tr><td> Cathedral from the West </td><td align="right"><a href="#pagei"><i>Frontispiece</i></a></td></tr> +<tr><td> Arms of the See </td><td align="right"><a href="#pageii"><i>Title page</i></a></td></tr> +<tr><td> South Prospect of the Cathedral (Old Print) </td><td align="right"><a href="#page2">2</a> </td></tr> +<tr><td> Cathedral from Stowe Church (Old Print) </td><td align="right"><a href="#page13">13</a> </td></tr> +<tr><td> Ancient Gateway in the Close </td><td align="right"><a href="#page17">17</a> </td></tr> +<tr><td> South Transept in 1813—Exterior </td><td align="right"><a href="#page23">23</a> </td></tr> +<tr><td> Cathedral from the South </td><td align="right"><a href="#page31">31</a> </td></tr> +<tr><td> Cathedral from the Minster Pool </td><td align="right"><a href="#page37">37</a> </td></tr> +<tr><td> Great West Doorway in 1813 </td><td align="right"><a href="#page42">42</a> </td></tr> +<tr><td> Great West Doorway </td><td align="right"><a href="#page43">43</a> </td></tr> +<tr><td> Southern Doorway in West Front </td><td align="right"><a href="#page46">46</a> </td></tr> +<tr><td> Bay of the Nave—Exterior </td><td align="right"><a href="#page48">48</a> </td></tr> +<tr><td> North Entrance in 1813 </td><td align="right"><a href="#page49">49</a> </td></tr> +<tr><td> Bay of the Choir—Exterior </td><td align="right"><a href="#page50">50</a> </td></tr> +<tr><td> Doorway of South Transept </td><td align="right"><a href="#page51">51</a> </td></tr> +<tr><td> Bay of the Nave—Interior </td><td align="right"><a href="#page55">55</a> </td></tr> +<tr><td> Bay of the Choir—Interior </td><td align="right"><a href="#page56">56</a> </td></tr> +<tr><td> Nave in 1813—Interior </td><td align="right"><a href="#page57">57</a> </td></tr> +<tr><td> Nave, looking East </td><td align="right"><a href="#page59">59</a> </td></tr> +<tr><td> Nave, looking West </td><td align="right"><a href="#page61">61</a> </td></tr> +<tr><td> North Aisle of Nave, looking East </td><td align="right"><a href="#page64">64</a> </td></tr> +<tr><td> Arcade with Semi-Effigy </td><td align="right"><a href="#page68">68</a> </td></tr> +<tr><td> Detail of Semi-Effigy </td><td align="right"><a href="#page69">69</a> </td></tr> +<tr><td> Choir in 1820—Interior </td><td align="right"><a href="#page77">77</a> </td></tr> +<tr><td> Choir, looking East </td><td align="right"><a href="#page79">79</a> </td></tr> +<tr><td> South Choir Aisle </td><td align="right"><a href="#page80">80</a> </td></tr> +<tr><td> Choir, looking West </td><td align="right"><a href="#page81">81</a> </td></tr> +<tr><td> Under the Central Tower </td><td align="right"><a href="#page85">85</a> </td></tr> +<tr><td> Reredos </td><td align="right"><a href="#page89">89</a> </td></tr> +<tr><td> The Sleeping Children </td><td align="right"><a href="#page95">95</a> </td></tr> +<tr><td> Fresco in South Choir Aisle </td><td align="right"><a href="#page97">97</a> </td></tr> +<tr><td> Brackets in Lady Chapel </td><td align="right"><a href="#page99">99</a> </td></tr> +<tr><td> Lady Chapel </td><td align="right"><a href="#page101">101</a> </td></tr> +<tr><td> Brackets in Lady Chapel </td><td align="right"><a href="#page104">104</a> </td></tr> +<tr><td> Capital in Chapter-House </td><td align="right"><a href="#page108">108</a> </td></tr> +<tr><td> Chapter-House </td><td align="right"><a href="#page109">109</a> </td></tr> +<tr><td> Arcade in Chapter-House </td><td align="right"><a href="#page111">111</a> </td></tr> +<tr><td> The Gospels of St. Chad </td><td align="right"><a href="#page115">115</a> </td></tr> +<tr><td> Monument to Dr Johnson </td><td align="right"><a href="#page136">136</a> </td></tr> +<tr><td> <span class="sc">Plan of the Cathedral</span> </td><td align="right"><a href="#page137">137</a> </td></tr> +</table> + +<p><span class="pagenum"><a name="page1" id="page1"></a>[1]</span></p> + +<div style="height: 2em;"><br /><br /></div> + +<p><!--[Blank Page]--><br /></p> + +<p><span class="pagenum"><a name="page2" id="page2"></a>[2]</span></p> + +<div class="figcenter"> +<a href="images/image03.jpg"> +<img src="images/i-03-s.jpg" width="500" +title="The Cathedral at the end of the Seventeenth Century." +alt="THE CATHEDRAL AT THE END OF THE SEVENTEENTH CENTURY." /></a> +<!--The South Prospect of the Cathedral Church of St. Mary & St. Chad at Lichfield--> +<br /> +THE CATHEDRAL AT THE END OF THE SEVENTEENTH CENTURY. +</div> + +<p><span class="pagenum"><a name="page3" id="page3"></a>[3]</span></p> + +<div style="height: 4em;"><br /><br /><br /><br /></div> + +<h2> +CHAPTER I +</h2> +<h3> +THE HISTORY OF THE CATHEDRAL +</h3> + +<p> +The cathedral of Lichfield, as we now know it, was built at +various times in the thirteenth century and the early part of the +fourteenth; and but for some comparatively slight and obvious +alterations, it is therefore entirely in the styles known as +Early English and Decorated. Unhappily nearly all the early +archives and documents belonging to the cathedral are lost, +having been destroyed in the time of the Civil Wars by the +soldiery who sacked the place after the siege of the close by the +forces of the Parliament. The absence of all documentary evidence +as to the dates of the various parts of the cathedral has been +much regretted by antiquarians, since it would be hard to find a +better example of the gradual change which English church +architecture was undergoing during the very busy period when this +cathedral must have been built. Here we have the rigid simplicity +of the Early English style in the transepts, giving place in the +nave to the luxury of the Early Decorated, with its geometrical +tracery; while in the Lady Chapel and presbytery we find an +example, in some respects unique, of the gorgeousness of the +completely evolved Decorated style. To know exactly when each +part was built would be to add to our knowledge of architectural +chronology; but instead, we must employ what knowledge we already +possess, and by a process the very converse of what we could wish +to have been able to use, we can arrive at an approximate history +of the structure of the cathedral. +</p> +<p> +Not so long ago Oswy had the credit of having built the +cathedral, and later it was set down to Roger de Clinton. Modern +criticism as easily disposes of the claims of the latter + +<span class="pagenum"><a name="page4" id="page4"></a>[4]</span> + +as of the former, and there can be no doubt that no part of the +present cathedral is of earlier date than 1200 A.D. +</p> +<p> +Much valuable information as to the cathedral, which Clinton +may have had a part in building, was obtained in 1860, when, for +the alterations which were then in progress, excavations were +made in the choir. The result of his investigations Professor +Willis published in an article in the <i>Archaeological +Journal</i> for 1861, entitled "Memoir on the Foundations of +Early Buildings recently discovered at Lichfield Cathedral," and +the theory which he there set out as to the history of the +cathedral has been generally accepted by antiquarians. Nothing +can be more interesting than this article, but it is too full of +detail for anything beyond the bare results of Professor Willis's +reasoning to be given here: these are set out in their place. +</p> +<p> +Of the early Saxon church which was erected on this site +practically nothing is known, but it is supposed to have been +built by Bishop Hedda at the close of the seventh century, and of +stone taken from Roman ruins in the neighbourhood, though there +is really no evidence to support this theory. The desire to find +another instance of the waste material and sites once dedicated +to a pagan religion being used by the victorious Christian church +may have something to do with such a legend. Nothing except +tradition is left of this church, to which it is said the bones +of St. Chad were removed from Stowe. Probably in the four or five +hundred years which elapsed before the Norman cathedral was +built, several churches succeeded one another on or about the +present site: whatever happened, we know nothing. +</p> +<p> +Our real knowledge commences with the Norman cathedral. The +excavations already spoken of laid bare small portions of its +foundations, and from these Professor Willis decided that the +Norman choir had a semi-circular apse, and extended from the +central tower to about the middle of the fifth bay of the present +choir; while the exterior line of its side walls nearly +corresponded with the interior line of the present aisle. The +Norman building probably possessed transepts, but these certainly +had no aisles; the rest is conjecture, but from other Norman +cathedrals and churches which are in existence we can fairly well +imagine what it was like. The altar probably stood over the +centre of the semi-circle of the apse, while the bishop's + +<span class="pagenum"><a name="page5" id="page5"></a>[5]</span> + +throne was behind it, facing west, with the canons' stalls +spreading out down the choir, and the choir stalls continuing +them right down under the tower into the nave: or perhaps there +were no seats for the choir in those days—we do not know; +but there must have been a processional path round the altar. We +can imagine, too, the massive masonry of the pillars with their +heavy capitals and circular arches. To think of a Norman church +is to think possibly of Peterborough; and Lichfield Cathedral, no +doubt, was like that minster, but on a very much smaller +scale. +</p> +<p> +There is no record as to when the Norman church was built, but +Robert de Lymesey, the bishop, is said in 1088 to have used a +large quantity of silver, which he took from the church at +Coventry, in extensive buildings in Lichfield; and Roger de +Clinton is declared to have exalted the church as well in +building as in honour, so he may have erected, or helped to +erect, the Norman cathedral. Nothing whatever remains above +ground of this building, which was probably taken down gradually +while the cathedral which now stands in its place was being +erected. Before this was done, however, there was added a +rectangular chapel to the east of the Norman apsidal choir, +which, with it, must have extended nearly to the end of the +seventh bay of the present choir. Nothing is known of it beyond +the fact that the foundations were discovered and examined by +Professor Willis, who decided that it was probably built late in +the twelfth century, and that its existence, if it was ever +finished, must have been short. +</p> +<p> +Very early in the thirteenth century the first part of the +present building was begun by erecting a rectangular choir just +outside the walls of the Norman choir, which must have been then +removed. This new Early English choir (including the presbytery) +extended from the central tower to the end of the seventh bay of +the present choir. It will be found that the eastern portion of +this was subsequently removed, but the western half still +remains, and can readily be distinguished from the Decorated +part. The high altar of this period must have stood just to the +west of the space between the fifth piers, thus leaving the space +between the fifth and sixth piers as a processional path between +the two side aisles; while against the eastern wall were four +altars, one at the end of each aisle and two between them. At the +same time that + +<span class="pagenum"><a name="page6" id="page6"></a>[6]</span> + + this choir was built, was also built +on the south side the sacristy, with the room adjoining it: these +both remain. +</p> +<p> +The next alteration took place about 1220, and was the +erection of a new south transept in place of the Norman one, +which, as has been said, almost certainly had no aisle; then +followed in about twenty years the north transept and the +chapter-house, with its vestibule, all these buildings being in +the Early English style, though the difference in their times of +erection is clearly marked in their details. Two royal licences +to dig Hopwas stone for "the new fabric of the church at +Lichfield" in 1235 and 1238 are evidence that work was going on +about this time; and the desire of Henry III. (which is more +fully set out in the description of the interior of the transept) +to have a roof at Windsor like that of Lichfield gives an almost +documental certainty to the architectural theory that the +transepts were built at the time above stated. +</p> +<p> +No historical document exists that can apply to the building +of the nave; but that must have come next, and have been in +progress almost before the north transept could have been +finished. The west front was commenced somewhere about the +beginning of the last quarter of the thirteenth century, and, +including the two towers which form such an important part of it, +must have taken a very long time to complete. From the thorough +examination made when the recent restorations were in progress, +it was decided that these towers were built in three distinct +stages—the lowest, which just included the row of kings, +being assigned to about 1280; the next stage to 1300; and the +upper part, including the belfry windows, to about 1330, while +the spires were not finished till some time after. +</p> +<p> +Walter de Langton became bishop in 1296, and of him it is +distinctly recorded that he commenced the Lady Chapel. From an +old register in the Salt Library at Stafford, it appears that +Langton left £80, 13s. 3d. for the building of the +chapel. He died in 1321. And, in 1323, there is another entry +showing that the chapter came to some agreement with his executor +by which each party should pay half the cost of finding a quarry +for the stone; so that it does not appear that building +operations had proceeded very far at his death. It is interesting +to note, as the same source shows us, that the money left by the +bishop was partly on loan to King Edward II. for the expenses of +his wars with Scotland, which wars had ended so disastrously at + +<span class="pagenum"><a name="page7" id="page7"></a>[7]</span> + + Bannockburn. In the following reign, Edward III. was +asked by the chapter to repay what was still owing of this +money. +</p> +<p> +The Lady Chapel was probably erected beyond the eastern end of +the church as it then stood; and while this was being done, the +Early English presbytery was taken down and rebuilt in the +Decorated style to match the new Lady Chapel, and the old +clerestory of the choir was also rebuilt in the same style. The +main idea was to obtain uniformity; but as it apparently was not +proposed to take down the sacristy on the south, nor the +chapter-house on the north, it was not considered necessary to +pull down the choir—<i>i.e.</i> the last three western +bays—any lower than the triforium; for the lower parts +would be hidden by these buildings from the outside, and inside +various shifts were resorted to to obtain uniformity. The work +almost certainly grew from east to west gradually, as the +clerestory of the choir end is lighter than that of the eastern +or presbytery end; so that no doubt the pulling down of the old +choir clerestory was only done after the building of the eastern +end made it seem better to alter the rest into uniformity. With +regard to the inside effect, Professor Willis says: "The front +half of their pier arches (those belonging to the three western +bays), however was removed and mouldings given them corresponding +to those of the new presbytery. Their piers also were slightly +altered, although partially concealed by the choir stalls. By +these arrangements the aspect of the whole interior of the choir +and presbytery was made uniform." How far this theory is sound +will be seen when the alterations early in the present century +are considered in their place. +</p> +<p> +Bishop Langton also erected the shrine of St. Chad at an +expense of £2000. This shrine stood behind the high +altar in the most eastern bay of the retro-choir, and, as was +usual, had on its western side an altar dedicated to the saint. A +similar arrangement can still be seen in Westminster Abbey, where +the shrine of Edward the Confessor stands behind the reredos. The +space behind the reredos, with the corresponding bays of the +aisles, were in the past called the lady choir. This portion was +separated from the rest of the choir by the reredos in the +centre, and by screens in a line with the reredos in the aisles; +there was a chapel in the lady choir at the end of each aisle, +but to whom they were dedicated is doubtful. Stukeley, writing in +1715, says: "In St. Peter's Chapel, which is now a + +<span class="pagenum"><a name="page8" id="page8"></a>[8]</span> + +place to lay scaffolding and ladders, etc., was painted upon the +wall St. Peter crucified with his head downwards, and two other +apostles, etc. And in this place is the noted St. Chad's tomb, +though defaced, removed from the lady choir to be put here since +the Restoration." The same writer also tells us that: "Over +across the middle of the said choir was a rood loft, finely +carved and gilded, and St. Chad's shrine, but destroyed in time +of war." +</p> +<p> +Professor Willis has pointed out the singular parallelism +between the development of this cathedral and that of York. "The +Norman Cathedral of York was built in 1080, and that of Lichfield +at an uncertain date. Between 1154-1181, Archbishop Roger +substituted for the original chancel at York a long, square-ended +choir, with the aisle carried behind the end. At Lichfield, +during the same period, the large chapel was built at the end of +the Norman apse; and about the beginning of the thirteenth +century the whole Norman eastern termination was, as at York, +replaced by a long, square-ended choir with the low aisles +behind. Next, at York the Norman transepts were rebuilt in Early +English: the south transept, 1230-1241; followed by the north +transept, 1241-1260. Also at Lichfield the Norman transepts were +rebuilt in Early English, beginning with the south and ending +with the north. The Early English work of this cathedral is shown +by the licences to dig stone to have been in progress in 1235 and +1238. York nave and Lichfield were next rebuilt in Early +Decorated—the first in 1291-1324. Lastly, at Lichfield, the +elongation of the eastern part was begun at the extreme east, +beyond the existing choir by the Lady Chapel, in late Decorated +under Bishop Langton, 1296-1321, and followed by taking down the +choir, and continuing the same work on its site westward. The +works at York followed in the same order, but forty or fifty +years later, by first erecting the presbytery outside the +existing choir, and then taking down the latter and continuing +the work of the presbytery to form the new choir. The plans of +the two cathedrals rival each other in the simplicity of their +proportions." +</p> +<p> +One other important thing which Bishop Langton did was to +fortify, or at any rate to add greatly to the fortifications of +the cathedral. He surrounded the close with a high stone wall and +constructed "two beautiful gates" on the west and south + +<span class="pagenum"><a name="page9" id="page9"></a>[9]</span> + +sides of the close. Truly, had he been able to see the result of +his fortification, he might have said with the Preacher: "All is +vanity and vexation of spirit"; for if there was one thing which +brought down on the cathedral the extremities of hatred and +violence in the Civil Wars, it was that it proved able to be held +as a fortress against those who came up against it. +</p> +<p> +Bishop Langton built also the palace, which for so long, with +its towers and turrets, stood in the north-east corner of the +close. It must have been a magnificent building, and we know that +its hall was decorated with frescoes of scenes in the recent +wars. It was destroyed after the siege of the close in 1643, and +Fuller, writing about that time, speaks of it as the "invisible +castle now vanished out of sight." +</p> +<p> +Roger de Norburg completed the Lady Chapel and the new +presbytery, and was succeeded by Robert de Stretton, who (as we +discover from a document dated 1390, four years after his death) +completed St. Chad's shrine; for that is the only meaning which +can be given to the wording of the bond, that the vicar's choral +should offer prayers for, amongst others, "Robert Stretton, +bishop, for making St. Chadd's shrine, and for giving them +£24 to continue amongst them." +</p> +<p> +There has recently been discovered among the muniments of the +chapter, an indenture dated in 1345 or 1346, and made between the +sacrist on the one hand, and the dean and chapter on the other, +for the safe custody of the goods in the sacristy. The "goods" +are too numerous for a list of them to be given, but they include +"the head of Blessed Chad, in a certain painted wooden case; also +an arm of Blessed Chad; also bones of the said saint in a certain +portable shrine." Then follows a list of the bones and relics of +a large number of saints, including part of the sepulchre of Our +Lord, and part of St. Peter's cross. There were also crosses, +gold, and silver, and jewelled—a large number of many +kinds, all set out separately—mitres, jewels, chalices, +copes, and every kind of vestment of the most gorgeous +description. Bishops and kings and queens had apparently showered +their wealth and valuables upon the cathedral; and with the +subscriptions of the diocese, known as Chad's Pennies, and the +offerings of pilgrims, the riches of the cathedral seem to have +been enormous. These "goods," in many cases with their donors' +names, are all set out in the roll, which, it is interesting to + +<span class="pagenum"><a name="page10" id="page10"></a>[10]</span> + + notice, is dated in the year of the Black Death; +possibly the enormous mortality of the time may have made it seem +necessary that the mere memory of man should not be depended upon +when so few seemed likely to survive. To read the list is to get +some notion of the magnificence of the services; and it is no +wonder that pilgrims came from all parts of the diocese, and of +England, to worship where so many relics were collected. The +mid-Sunday in Lent was originally the time, afterwards +Whitsuntide, for the crowds to attend the cathedral. They were +shown the head of St. Chad, probably from the little gallery in +the south aisle of the choir, and then they laid their offerings +at the great shrine, on which were lying the other relics of the +saint. +</p> +<p> +No doubt the early part of the fifteenth century was the +period when the cathedral was most glorious within and without. +Fuller, in his "Church History," published in 1655, from which +quotation has already been made, after giving an account of the +building of the cathedral, says: "But now in the time of the +aforesaid William Heyworth, the Cathedral of Litchfield was in +the verticall height thereof, being (though not augmented in the +essentials) beautified in the ornamentals thereof. Indeed, the +West front thereof is a stately Fabrick, adorned with exquisite +imagerie, which I suspect our age is so far from being able to +imitate the workmanship that it understandeth not the Historie +thereof. Surely what Charles the Fifth is said to have said of +the citie of Florence, that it is a pittie it should be seen save +only on Holy-dayes; as also that it was fit that so fair a Citie +should have a Case and Cover for it to keep it from wind and +weather, so in some sort, this Fabrick may seem to deserve a +shelter to secure it. But alas! it is now in a pittiful +case—indeed, almost beaten down to the ground in our civil +dissensions. Now, lest the Church should follow the +Castle—I mean quite vanish out of view—I have, at the +cost of my worthy friend here exemplified the Portraiture +thereof; and am glad to hear it to be the design of ingenious +persons to preserve ancient churches in the like nature (whereof +many are done in this, and more expected in the next part of +Monasticon), seeing when their substance is gone, their verie +shadows will be acceptable to posteritie." +</p> +<p> +In the fifteenth century a library was built outside the + +<span class="pagenum"><a name="page11" id="page11"></a>[11]</span> + +door of the north transept, but a little to the west; it was +quite separate from the cathedral. This was one of the gifts of +Dean Heywood (1457-1493). It is recorded that he gave £40 +towards the building of it, but died before it was completed, and +this was done by his successor, Dean Yotton, who also contributed +to its erection. According to the statement in "<i>Anglia +Sacra</i>" it was finished in the year 1500. It is marked in the +plan of Browne Willis, 1727, and was taken down about 1750. +</p> +<p> +Some time in this century saw a change in the tracery of many +of the windows. It may be that the introduction of printing was +responsible for this change, and that the greater amount of light +admitted by the windows of the Perpendicular style made their +insertion advisable; or it may be that the tracery of windows +being naturally fragile, in many cases a renewal became +necessary, and the new Gothic style was naturally considered the +best. Whatever the reason, the new Perpendicular tracery was +inserted in many of the windows just as it was in a large number +of cathedrals and churches all over England. +</p> +<p> +In reading the history of the building of this fabric, we +cannot help noticing that even the great Gothic builders could +not leave well alone. Then, as now, Fashion was the ruling power. +Having a Norman church, they altered it into an Early English +one; then they pulled down a good deal of this to get a more +Decorated building; and finally they changed the windows in order +to give the whole a Perpendicular appearance: side by side with +other reasons that actuated them, they did their best to keep +their cathedral in the fashion. +</p> +<p> +In the sixteenth century, Henry VIII., the great destroyer of +religious houses, made but little difference to the fabric of +this cathedral, but he laid his hands on the valuables. The +shrine of St. Chad was denuded of its jewels, and everything +which could be turned into money was taken away, much of it was +fortunately returned for the "necessary uses" of the cathedral, +but the services and ritual must have been much impaired and +their beauty diminished. During that century, however, the +cathedral gradually recovered, and we know that early in the next +the services were again very much on the same scale of +magnificence as they had been + +<span class="pagenum"><a name="page12" id="page12"></a>[12]</span> + + when the good +bishops Patteshull and Weseham directed the diocese. +</p> +<p> +The next event in the history of the building is one which is +necessarily referred to many times in this book. The siege of +Lichfield Cathedral is probably the most famous incident in its +long career; not only on account of the immense injury done to +the fabric itself, to its monuments and its decorations, but also +on account of the "miraculous intervention" on behalf of the holy +building, an intervention which, viewed with nineteenth-century +scepticism, does not appear to have done the cathedral any +obvious good, but which at the time appears to have been treated +with all the deference due to a genuine miracle. +</p> +<p> +The great Civil War began on August 22, 1642, when Charles I. +set up his standard at Nottingham. At Lichfield, as everywhere +else in England, there were partisans of both sides. The +cathedral group was naturally for the king, while others, for one +reason or another, joined either the Royal Party or the +Parliamentarian. After Edgehill, which was fought in the autumn, +matters became more and more serious in the Midlands; and +finally, in February 1643, the Royalists at Lichfield, hearing +that at any moment an outbreak might take place, garrisoned the +close, which ever since the days of Walter de Langton had been +strongly fortified. They hoisted the king's flag on the great +steeple, and waited the result. They had not long to wait. With +March Lord Brooke, one of the fiercest of anti-churchmen, arrived +in command of a strong body of Roundheads, and on the 2nd the +siege commenced. +</p> + +<p><span class="pagenum"><a name="page13" id="page13"></a>[13]</span></p> + +<div class="figcenter"> +<a href="images/image04.jpg"> +<img src="images/i-04-s.jpg" width="500" +title="The Cathedral from Stowe Church." +alt="THE CATHEDRAL FROM STOWE CHURCH." /></a> +<br /> +THE CATHEDRAL FROM STOWE CHURCH. +<br /> +<div class="right"><small>[From Shaw's History and Antiquities of Staffordshire, 1798.</small></div> +</div> + +<p><span class="pagenum"><a name="page14" id="page14"></a>[14]</span></p> + +<p> +Lord Brooke was a fanatic, and ever fierce against cathedrals: +he had, according to the diary of Archbishop Laud, two years +before, as he was passing in a boat upon the Thames, said he +hoped to see St. Paul's with not one stone left upon another. It +was in this spirit that he set about the siege of the cathedral, +and of his fate there are many accounts. Perhaps the following, +taken from Dugdale's "View of the Late Troubles in England," is +as good as any:—"This lord (Lord Brooke) being strangely +tainted with fanatic principles, by the influence of one of his +near relations, and some schismatical preachers (though in his +own nature a very civil and well-humoured man), became thereby so +great a zealot +<!--above lines moved down from page 12--> + against the established discipline of the Church, that +no less than the utter extirpation of Episcopacy, and abolishing +all decent order in the service of God, would satisfy him; to +which end he became leader of all the power he could raise for +the destruction of the cathedral of that diocese of Coventry and +Litchfield. In order whereunto, when he had marched within half a +mile of Litchfield, he drew up his army, and then devoutly prayed +a blessing upon his intended works; withal earnestly desiring +that God would, by some special token, manifest upon them His +approbation of that their design: which being done, he went on +and planted his great guns against the south-east gate of the +close, himself standing in a window of a little house near +thereto, to direct the gunners in their supposed battery; but it +so happened that, there being two persons placed in the +battlement of the chiefest steeple to make shot with long fouling +guns at the cannoniers, upon a sudden accident, which caused the +soldiers to give a shout, this lord, coming to the door +(completely harnessed with plate armour <i>cap-à-pie</i>) +was suddenly shot into one of his eyes; but the strength of the +bullet, so much abated by the glance thereof on a piece of timber +which supported a pentiss over the door, that it only lodged in +his brains, whereupon he suddenly fell down dead; nor is it less +notable that this accident fell out on the second day of March, +which is the festival of that sometime famous Bishop S. Chad, to +whose memory Offa, King of the Mercians, first erected this +stately church and devoutly dedicated it." +</p> +<p> +Tradition has always asserted that the shot which killed Lord +Brooke was fired by one of the sons of Sir Richard Dyott, who, +with the Earl of Chesterfield, was commanding the cathedral +garrison. This son was deaf and dumb, and was known as "Dumb +Dyott." The gun is preserved in the family, and they are +supported by other historians, disagreeing with Dugdale, in their +account that the shot was no accidental one, but that Dyott, who +was an accomplished marksman, recognising Lord Brooke, aimed at +him and killed him. +</p> +<p> +In those days—and indeed even to the present +day—it was believed that one who was afflicted with +dumbness, idiocy, or any natural disease which showed God's hand, +was especially His agent. Dumb Dyott was looked upon as being the +agent of divine vengeance, and the fact of its being St. Chad's + +<span class="pagenum"><a name="page15" id="page15"></a>[15]</span> + + Day strengthened the belief. Here is an extract from a +very courtly letter written a few days afterwards by a young +cavalier to Lady Dyer; in it the feeling that a miracle had been +performed is clearly shown. The writer says: "We have had the +honour in these parts to bring my Lord Brooke to a quiet +condition. That enemy of our Church (March 2) was slain in his +quarrel against our Church, by the God of our Church, with a shot +out of the Cathedral, by a bullet made of Church lead, through +the mouth which reviled our Church; and (if this be worth your +reading) this Cathedral was dedicated to the memory of an old +Saxon holy man (called Ceadda, commonly Chad); the blow of death +came from St. Chad's Church upon St. Chad's Day. This, being a +verity, is fit for a lady of rare worth." The incident is +constantly referred to in contemporary literature, where the +miracles claimed on behalf of the Royalist party are worthy of a +better result. One more quotation will suffice. The celebrated +preacher, Dr South, in his sermon on the text, "God hath loved +the gates of Sion more than all the dwellings of Jacob," says: +"Nor is that instance to be passed over of a commander in the +Parliamentary army, who, coming to rifle and deface the cathedral +at Lichfield, solemnly, at the head of his troops, begged God to +show some remarkable token of His approbation or dislike of the +work they were going about. Immediately after which, he was shot +in the forehead by a deaf and dumb man; and this was on St. +Chad's Day, the name of which saint that church bare, being +dedicated to God in memory of the same: where we see that as he +asked of God a sign, so God gave him one in the forehead, and +that with such a mark as he is like to be known by all +posterity." +</p> +<p> +The house in which Lord Brooke was killed is in Dam Street, at +a distance, it is said, of about 185 yards from the central spire +of the cathedral; the late Mr Green caused the following +inscription to be put up over the doorway:— +</p> +<p> +"<i>March 2, 1643.</i>—Lord Brooke, a general of the +Parliament forces preparing to besiege the Close of Lichfield, +then garrisoned for King Charles the First, received his death +wound on the spot beneath this inscription by a shot in the +forehead from Mr Dyott, a gentleman who had placed himself on the +battlements of the great steeple to annoy the besiegers." +</p> +<p> +The death of Lord Brooke was kept a secret as much as + +<span class="pagenum"><a name="page16" id="page16"></a>[16]</span> + +possible, for fear the soldiers should indeed take it for a sign; +Sir John Gell was appointed in his place, and the siege +continued. Under his direction "all such townsmen that had any +sons, apprentises, or other servants within the close, and +likewise all citizens' wives that had their husbands there, +whether magistrates or other persons whatsoever," were collected +together and put in the front of the soldiers against the close, +but after a while, it not appearing to make much difference, they +were all sent home again. The close meanwhile had been bombarded +with cannon, and finally there arrived from Coventry a new +engine, called a mortar, which cast burning shells. Most of these +fell into the mill pool or went over the close altogether; but it +is said to have caused so much fright, no one there having seen +such an engine before, that the Earl of Chesterfield, knowing +also that his provisions could not last another day, and that +there was little likelihood of their being reinforced, decided to +yield the close on the best terms he could. These included free +quarter to all, and on the 5th March, after a siege of three +days, the close was yielded. +</p> +<p> +The damage that had been done was terrible; not only was the +whole fabric much injured, and all the stained glass destroyed, +but the great steeple had been blown down and had in its fall +broken in the roof of the church in several places. But even now +the work of desecration was not complete. The close having been +taken, the Parliamentary forces and their prisoners were all +housed in and round the cathedral, and the most sacrilegious +conduct is attributed to the former. The wanton soldiers pulled +down the curious carved work, and battered in pieces what was +left of the beautiful old stained glass; they stripped the +gravestones of their brasses, and destroyed the ancient records +which were stored in the cathedral. These acts of destruction +were no doubt due to the religious mania of the Roundheads +against any form of ceremony or beauty in the House or Service of +God; but their passion became keener when they found what rich +spoils were ready to their hands. It happened during their +riotous proceedings that one of the soldiers raised the covering +of the tomb containing the remains of Bishop Scrope, and found in +it a silver chalice and a crozier of considerable value. This +discovery naturally excited the soldiers, and every +<!--following lines moved up from page 18--> +tomb was at once taken to pieces and its contents scattered; +it is not wonderful therefore that the tombs that remain to the +present day are few in number and these terribly mutilated. The +crozier was afterwards sold to Elias Ashmole, the antiquarian, +who took so great an interest in Lichfield. Nor was the sacrilege +confined to destruction and spoliation. Dugdale tells us that +"every day they hunted a cat with hounds through the church, +delighting themselves with the echo from the goodly vaulted roof; +and to add to their wickedness, brought a calf into it, wrapt in +linen; carried it to the font, sprinkled it with water; and gave +it a name in scorn and derision of that holy sacrament of +baptism." +</p> + +<p><span class="pagenum"><a name="page17" id="page17"></a>[17]</span></p> + +<div class="figcenter"> +<a href="images/image05.png"> +<img src="images/i-05-s.png" height="500" +title="Ancient Gateway Formerly in the Close." +alt="ANCIENT GATEWAY FORMERLY IN THE CLOSE." /></a> +<br /> +ANCIENT GATEWAY FORMERLY IN THE CLOSE. +<br /> +<div class="right"><small>[From a Print dated 1773.</small></div> +</div> + +<p><span class="pagenum"><a name="page18" id="page18"></a>[18]</span></p> + +<p> +Not for long, however, did the Roundheads remain in +possession. Prince Rupert was sent from Oxford, the headquarters +of the Royalist party at the time, to retake Lichfield. Having +taken Bromicham on the way, he arrived at Lichfield with a strong +force, and history repeated itself. The town offered no +opposition, and Rupert had to lay siege to the close, which now +was better garrisoned. The Royalists erected batteries on the +north side, and kept up a heavy fire; they also attempted to +undermine the walls, and finally succeeded in blowing up one of +the towers of the close, and a fierce encounter took place, in +which many men were slaughtered on both sides. At length, after +ten days' siege, the close was surrendered to the king by the +governor, who probably got better terms than he expected, as +Rupert was required at Reading. The articles of capitulation are +referred to by Clarendon as being most honourable, and are as +follow:— +</p> +<p> +"It is consented by Colonel Hastings, by the authority given +him by his highness Prince Rupert, that, in consideration of the +delivery and yielding up of the Close of Lichfield, +Lieutenant-Colonel Russel, and all the Captains and Officers with +him, shall march out of the said Close, to-morrow being the one +and twentieth day of this instant April, by ten o'clock in the +morning, with fourscore men and musquetts, with flying colours, +and fourscore horsemen, with arms belonging to them, and all +other persons within the said Close to be at liberty to goe +whither they please; and for their better and safe conveyance, a +free pass or convoy from his highnesse, and eleven carts to +convey away such goods as belong to any of the officers or +soldiers, with themselves, to the City of + +<span class="pagenum"><a name="page19" id="page19"></a>[19]</span> + +Coventry; and that all prisoners shall be released on both sides, +which have been taken in the City of Stafford since the coming +down of the Right Honourable Lord Brooke. In witness whereof, we +have hereunto put our hand and seal, this twentieth day of April +A.D. 1643. <span class="sc">H. Hastings</span>." +</p> +<p> +Russel did not leave empty-handed, as he is said to have taken +away the communion plate and linen, and whatever else was of +value. He was succeeded in command of the close by Colonel Bagot, +who held it until 1646, when in the general ruin of the king's +affairs the close was again taken. +</p> +<p> +In "<i>Mercurius Aulicus</i>" there is an interesting anecdote +which shows the state of feeling between the two parties. A +certain Captain Hunt, who had a command in the neighbouring town +of Tamworth, sent Colonel Bagot the following +challenge:—"Bagot, thou sonne of an Egyptian ... meete mee +half the way to-morrow morning, the half-way betwixt Tamworth and +Litchfeald, if thou darest; if not, I will whippe whensoever I +meete thee. Tamworth, this December 1644.—<span class="sc">Thomas Hunt</span>." +Colonel Bagot did not neglect the challenge, and though he did +not succeed in taking him prisoner, he "whipped" him home to +Tamworth. +</p> +<p> +During the time Colonel Bagot was governor the post can have +been no sinecure, for although there was no regular siege to be +compared to the two just described, yet, lying as it did with so +many Parliamentary strongholds in the immediate neighbourhood, +this period cannot have been one of peace; and Dr Harwood, in his +"History of Lichfield," goes so far as to say that the close was +frequently in a state of seige at this period. The battle of +Naseby was fought on the 14th June 1645, with disastrous effect +to the king. Colonel Bagot was present with 200 men, and no doubt +escorted the king back to Lichfield, for he lay there for at +least one night, and received an address from his faithful +citizens, which, from its wording, shows that there was little +hope left in his side. The king came again later in the year, and +about March in the following year, 1646, the last siege +commenced. It was a desultory affair compared to the first two, +and only ended when the Royalists, in July, finding that the king +had practically no real army in the field anywhere, surrendered +again on terms which were most honourable to both sides. +</p> +<p> +The damage done to the cathedral in these times was estimated + +<span class="pagenum"><a name="page20" id="page20"></a>[20]</span> + + at £14,000, which was for those days a +very large amount. Some of the losses are thus +particularised: +</p> + +<table summary="damage losses"> +<tr><td>For a pair of organs broke in pieces </td><td align="right">£200 </td></tr> +<tr><td>The destruction of the vicars' seats </td><td align="right">600 </td></tr> +<tr><td>The defacing of Lord Paget's tomb, which was executed in Italy </td><td align="right">700 </td></tr> +</table> + +<p> +But enough has been said to show that the cathedral was in a +most ruinous state, and so it remained until a twelvemonth after +the Restoration. From a manuscript in the Ashmolean Collection at +Oxford, it appears that Elias Ashmole had an interview with the +king in June 1660 as to the condition of the cathedral. The +memorandum reads: "16 June 1660. This morning Mr Rawlins of +Lichfield tould me that the Clearke Viccars of the Cathedrall +Church had entered the Chapter-house and there said service; and +this when the Vestry was the only place in the Church yt had a +roof to shelter them. This very afternoon, I, having an +opportunity to waite on the Kg, and being in his Closet, tould +him that the aforesaid remaining number of poore Clearks Vicarrs +had assembled in the aforesaid place, and there kept their +Canonicall houres and prayd for his Maty, which he was pleased to +heare. Upon further discourse, I acquainted him with the +desolacion of the place, which he much lamented, and said he had +been informed that Winchestre Cathedrall had exceedingly suffred +in these late tymes, and that they had turnd it into Brewhouses, +Malt-houses, etc." And again, on "July 18, 1660, Mr Dugdale moved +Dr Sheldon to become an instrument for the repair of Lichfield +Cathedral; and proposed that the prebends, etc., that were +admitted should part with one-half of their profits towards the +repair of the fabrick, which would be no great burden to them; +and by this example the gentry would be invited to join with them +in some considerable contribution. <i>N.B.</i>—I find this +method succeeded accordingly." +</p> +<p> +The see was vacant for nearly a year after the Restoration, as +Bishop Frewen, who had been appointed to the see by Charles I., +was almost at once made Archbishop of York. At last, in December +1661, John Hacket, Doctor of Divinity of Trinity College, +Cambridge, was appointed, and he at once set himself to the +repair of the dilapidated cathedral; on the very morning of his +arrival at Lichfield he is said to have set his carriage-horses + +<span class="pagenum"><a name="page21" id="page21"></a>[21]</span> + + and servants to the work of clearing out the rubbish, +and with his own hands to have set them an example at the start. +The work to be done must have appeared to be almost impossible of +completion, for the central spire was still lying in ruins over +the chapter-house and choir, the roof was broken in, and the +pavements completely destroyed: everything was ruinous, for the +Parliamentary folk had during the Common-wealth seized all +materials which seemed to be of use for the repair of the +dwelling-houses in the close and neighbourhood. However, the work +progressed; the bishop was so energetic that he was able to +collect in the surrounding country about £8000, and +so generous that he subscribed himself a sum of +£1683, 12s.: and in eight years he succeeded in +restoring the beauty of the cathedral. +</p> +<p> +The service at which it was re-consecrated was of great +solemnity and ceremony: "His lordship, being arrayed in his +episcopal vestments, attended by the dean, dignitaries, +prebendaries, and other members of the Church, accompanied by +many of the nobility and gentry, the bailiffs, citizens, and +other public officers of the city and county of Lichfield, with +an immense concourse of people, entered at the great west doors +of the Cathedral. The vicars, choristers, etc., first walked up +the south aisle of the Church, where the bishop with a loud voice +repeated the first verse of the 144th psalm. Afterwards the whole +choir alternately sang the psalm to the organ. In the same order +they proceeded to the north aisle. The bishop sang the 100th +psalm, which was repeated by the whole company. Then the train +passed to the body of the Church, where the bishop began the +102nd psalm, which when the vicars choral had concluded, he +commanded the doors of the choir to be opened, and in the same +form, first encompassed the south side. The bishop began the +first verse of the 122nd psalm; the company finished it, and with +the like ceremony proceeded to the north side, and sang the 131st +psalm." The procession over, the bishop knelt down in the centre +of the choir and prayed silently; and then with a loud voice +called on all the people to join with him in the Lord's Prayer, +which was followed by other prayers suitable to the occasion. He +then pronounced a solemn benediction on the act in which they +were engaged, and upon all that were present. The usual service +of morning prayer followed, with + +<span class="pagenum"><a name="page22" id="page22"></a>[22]</span> + + two special anthems, +and a collection—not for the cathedral—but for the +poor of the parish. The bishop also gave three magnificent +banquets—to the cathedral clergy, to the nobility of the +neighbourhood, and to the principal citizens of the city. +</p> +<p> +Thus concluded the ceremony of re-consecration, a work which +left the cathedral, not, unhappily, as it was when the first +siege took place, but still a very beautiful edifice, with more +of the Perpendicular style about the windows than previously, and +with grievous signs here and there of the terrible misfortunes it +had weathered. Sir Christopher Wren is said to have designed the +new central spire, and to have acted as architect to the +re-builders; but this is almost certainly not the case: his +advice may have been asked, but probably at the most he gave it +with regard to rich altar-piece in the Corinthian style which was +erected in front of the old screen behind the high altar. At any +rate, his signature appears on one of the sixteen papers on this +matter still preserved among the muniments of the cathedral. +</p> +<p> +The king gave 200 fair timber trees out of Needwood forest, +and his brother, the Duke of York, afterwards King James II., +gave the money for the tracery of the great west window. This +window remained until the recent alterations, when it was +replaced by one more in accordance with the original thirteenth +century style. The Duke of York's window, with its +ill-proportioned geometrical tracery, need not be regretted any +more than the removal of the heroic statue of his Majesty King +Charles II., which occupied the central niche above it. The +statue was principally remarkable for its ugliness, and for the +history of the stonemason who hewed it; he afterwards married a +rich wife, and finally arrived at the dignity of knighthood. +Bishop Hacket adorned the church with new stalls and with an +organ which cost £600; and he also made arrangements +for new bells worthy of the cathedral. He ordered six, and three +of them were delivered in his life-time. Only one—the tenor +bell—however, was hung in time for the good bishop to hear +it. His biographer, Dr Plume, says: "The first time it was rung, +the bishop was very weak; yet he went out of his bed-chamber into +the next room to hear it: he seemed well pleased with the sound, +and blessed God, who had favoured him with life to hear it; but +at the same time observed that it would be his passing-bell, and +retiring into his chamber, +<!--following two lines moved up from page 25--> + he never left it till he was carried +to his grave." He died in October 1670. +</p> + +<p><span class="pagenum"><a name="page23" id="page23"></a>[23]</span></p> + +<div class="figcenter"> +<a href="images/image06.jpg"> +<img src="images/i-06-s.jpg" height="500" +title="The South Transept in 1813." +alt="THE SOUTH TRANSEPT IN 1813." /></a> +<br /> +THE SOUTH TRANSEPT IN 1813. +</div> + +<p><span class="pagenum"><a name="page24" id="page24"></a>[24]</span></p> + +<div style="height: 2em;"><br /><br /></div> + +<p><!--[Blank Page]--><br /></p> + +<p><span class="pagenum"><a name="page25" id="page25"></a>[25]</span></p> + +<p> +For some time the cathedral has no history to be recounted. In +1750 we know that the ancient library outside the north aisle, +built by Deans Heywood and Yotton, was removed, and the +churchyard levelled; we also know that the roof became very +defective, and the rain came in, so that a new roofing was +required. Pennant tells us that the dean and chapter were obliged +to substitute slates instead of metal, on account of the narrow +revenues left to maintain this venerable pile; and after the +strictest economy, they were under the necessity of contributing +from their own income in order to complete their plan. +</p> +<p> +A few years later it was found that the fabric itself was in +so dilapidated a condition that much more extensive repairs were +necessary, and so Mr Wyatt, the celebrated architect, as Britton +calls him, came to Lichfield and began that scheme of alteration +which has been the object of so much ridicule and contempt. To +lovers of church architecture at the end of the nineteenth +century it seems astounding that the splendid and inimitable +cathedrals and churches of this country should have been handed +over every one to be destroyed and debased in the way Wyatt +destroyed and debased them. But there is no doubt that Wyatt +represented the spirit of the time, just as Sir Gilbert Scott +represented the spirit of the middle of this century. Then it was +a love of "vistas" which actuated the alterations, and caused the +destruction of anything which came in the way of what was +considered a fine view. In those days "vistas" were the +all-absorbing consideration and the subject of discussion amongst +those who considered themselves cultured, as may be seen in the +novels of Jane Austen, and in "Mansfield Park" in particular. +Later, the passion for replacing what was old or worn by time +with something new, something which was supposed to be a +reproduction of the old, has caused endless destruction. The +later passion has not yet disappeared, unhappily; but thankfully +we may note the signs of the times, and feel sure that in a few +years neither a Wyatt with his vistas and Roman cement, nor +others, who, having more knowledge, are therefore the less +excusable, will be permitted under any circumstances to lay a +finger on what it has here and there graciously pleased their +forerunners to leave unspoiled. How + +<span class="pagenum"><a name="page26" id="page26"></a>[26]</span> + + little this is, can +be judged by a visit to any cathedral church from Worcester +downwards. +</p> +<p> +The achievements of Wyatt are recounted by Britton, who does +not appear to have entirely decided whether he approved or not. +Some of them, no doubt, were necessary; and it would be unfair to +indiscriminately blame any architect who had to deal, however +violently, with a building which had deteriorated, not merely in +the pass of time, but also by the shock of war. Also a great deal +of what Wyatt did was done for the sake of warmth, though the +object in view, it is said, was not attained. Britton says that +not only was there a general restoration of doors, windows, and +flooring throughout, but also "two of the spires were partly +rebuilt, the ends of the transepts were strengthened by new +buttresses, the external roofs of the aisles were raised, and +five divisions of the stone roof in the nave were taken down and +replaced with plaster. The Lady Chapel was united with the choir +by removing the screen which had been erected by Bishop Hacket. +On taking this away, the workmen discovered the beautiful old +screen which formed in all probability the original partition +when the Lady Chapel was completed by the executors of Walter de +Langton. This elaborate piece of architecture was in a very +mutilated state; but Mr Wyatt, having restored it by the +assistance of Roman cement to a very perfect condition, +appropriated part of it to the new altar-piece, and the remainder +to the organ screen or partition which divides the nave from the +Choir," and which took up the whole of the western bay of the +choir. +</p> +<p> +Since Britton's time it has been thought necessary to take +another tone and to try to justify these alterations. Mr James +Potter, the son of Mr Wyatt's chief assistant, who was afterwards +architect to the cathedral, has endeavoured to prove that some of +the alterations were unavoidable, and that the others were not +made under Wyatt's advice, but in spite of it. Incidentally, in +the course of a letter to the <i>Staffordshire Advertiser</i>, he +speaks of the "unsightly and incongruous work of Wren's," in +referring to the wooden reredos, and states that Wren had +previously closed the arches of the four most western bays of the +choir in order to receive the stalls. He also says: "But so +completely did Wren perform his work of blocking-up that he took +care to conceal every vestige of + +<span class="pagenum"><a name="page27" id="page27"></a>[27]</span> + + moulding, both of +the piers and the archivolts, leaving only in view the clustered +shafts from which the vaulting of the roof sprang. I have before +noticed that Mr James Wyatt's death occurred in A.D. 1813, and +that this western portion of the choir remained in the state in +which Sir Christopher Wren left it up to the following year. In +the early part of that year the architect to the fabric, the late +Mr Potter, was instructed by the dean and chapter to cause the +entire removal of the old stall work and unmask the three arches +(then concealed), this being the space on either side of the +choir occupied by the stalls in question. The arches being much +dilapidated and past restoration, Dean Woodhouse decided to have +them made to correspond with the decorated bays in an easterly +direction. This work was executed, as also the canopy of the new +stalls, in Roman cement. I cannot myself think that Dean +Woodhouse exhibited any degree of bad taste in adopting the +existing decorated arches as his model for the new ones; and, as +regards the canopies of the new stalls, they were exact +resemblances of the old reredos, and surely no modern architect +will presume to find fault with them. I must here observe that +the choice of material was not confined to the architect employed +to carry out the work, but was chosen by the dean and chapter, +the state of the fabric fund, out of which the whole of the +expenses were defrayed, being insufficient to meet the outlay of +a more costly material." +</p> +<p> +The above account is most interesting, and, assuming that the +writer was correct in the facts as to what was done by Wyatt and +by his father, we are confronted with a difficulty. From +Professor Willis's account, already quoted, it is obvious that he +was of opinion that the alteration in the style of the front of +these pier arches was made in Gothic times. Mr Potter says it was +done in the nineteenth century. It is, of course, possible for +some alteration to have been made at both these times; but it +looks as if the harmony was not complete until recently, probably +because the height of the old stalls prevented the variations +from being easily seen. As to Wren, Mr Potter probably was only +repeating the recognised tradition that Wren was responsible for +the rebuilding by Bishop Hacket, and no argument can be deduced +on this point, the latest and best opinion being that there is, +as already + +<span class="pagenum"><a name="page28" id="page28"></a>[28]</span> + + stated, no evidence to prove that +the great Sir Christopher had much to do with the cathedral. +</p> +<p> +Soon after Wyatt's death the policy of Roman cement, which he +had inaugurated, was continued, and the whole of the west front +become one mass of stucco and paste. The row of kings was +replaced in this way, as also the statues in the great porch, and +all the mouldings and decorations were covered with cement, and +practically the whole cathedral from end to end had its +deficiencies added to in this way. This work was completed about +1822. From then to 1856 the cathedral did not receive much +alteration; but in the latter year Sir Gilbert, then Mr. Scott +was called in, and the extensive alterations were commenced, +which may be said scarcely to have finished in this year of 1897. +It is not necessary to discuss here this restoration. It is +sufficient to say that it has been the aim of those in authority +to restore the cathedral to the appearance and arrangement it +presented at the beginning of the seventeenth century. Wyatt's +alterations received scant courtesy, and the cathedral as we now +see it may be declared to be a triumph for the restorer—so +great a triumph, indeed, that in many parts the unsuspicious +admirer might be led to conclude that he was looking at a brand +new edifice. Still, the cathedral has some of its old work left, +and perhaps in the nave we are confronted with more of the work +of the original Gothic builders than in any other part. What has +been done in the last forty years is specifically discussed in +the description of the exterior and interior in the two next +chapters; but here it will be well to show what the condition of +the cathedral was in the middle of the century, just before the +recent restoration. Canon Lonsdale has given us a splendid +description in his "Recollections," and if anything can reconcile +us to the wholesale renewal which then took place, it will be +found in the account which he gives in this little pamphlet, from +which are now quoted the following sentences. He says: "The Nave +and Transepts were absolutely empty of furniture of any kind, +except that the South Transept contained the fittings of the +Dean's Consistory Court (since abolished), and in the North +Transept, on the spot where the organ now is, stood the statue of +Bishop Ryder, raised on a high pedestal, and looking as if it +were about to tumble forward. The walls, arches, and pillars were +one + +<span class="pagenum"><a name="page29" id="page29"></a>[29]</span> + + uniform, dead, yellowish whitewash, many coats thick; +as also the Choir from end to end, and from top to bottom, and +indeed the whole of the interior.... The Nave was quite unused; +indeed, except during service hours, the Verger's Silver Key +alone gave admission to any part of the church.... The two parts +of the building were altogether separate from each other. The +Choir was entered by a door under a high partition, composed of +remains of the original High Altar, fourteenth century screen, +and of other materials. This partition filled the whole of the +first bay of the present Choir. On each side of the entrance were +Vestries for the Lay Vicars and the Choristers, and above these +was placed the organ; the rest of the space up to the Roof being +filled in with glass, so that the separation of Nave and Choir +was complete.... In the Choir itself the remains of the Reredos, +which stood at the spot where the present one is now fixed, had +been removed by Wyatt at the end of the last century, and the +Holy Table was carried to the extreme East of the Lady Chapel. On +either side, from the screen up to the very entrance of the Lady +Chapel, were pews made of oak lined with green baize and studded +with brass nails. The Choir Aisles on either side were entirely +shut out from the Choir, the arches being filled in by plaster, +in order, as was imagined, to help towards warmth. In the three +bays eastward from the screen—the second, third, and +fourth, as they are now—stalls were fixed, composed of +plaster, wood, rope, nails, and much else, with canopies of the +same material over them, which the old Verger of that day used to +call 'beautiful Tabernacle work.' The Dean and Canons' +Residentiary had stalls facing eastward in the screen under the +organ.... The Choir Aisles, shut out from the Choir, were long, +narrow passages, never used, ending on the North side in a blank +wall, and on the South with the monument of the 'Sleeping +Children.'" +</p> +<p> +This was the inside of the Cathedral: the outside was stucco. +Such facts as these will have to be borne in mind when the next +century passes judgment on Sir Gilbert Scott. For us, it should +be sufficient that we have judged Wyatt. +</p> + +<p><span class="pagenum"><a name="page30" id="page30"></a>[30]</span></p> + +<div style="height: 4em;"><br /><br /><br /><br /></div> + +<h2> +CHAPTER II +</h2> +<h3> +THE EXTERIOR +</h3> + +<p> +Of all the cathedral churches of England, Lichfield may be +said to be the most lovely. Other cathedrals are +larger—indeed, this is the smallest of them +all—grander, or more magnificent; but for simple beauty, +for charm, for delicacy of construction and appearance, Lichfield +may rightly claim to take the foremost place. Peterborough, when +we stand inside the west door and look down its line of enormous +columns, fills us with awe at its immensity and strength: a +feeling which is perhaps a little impaired by the present +position of its stalls. Salisbury appeals to us with its perfect +simplicity and symmetry, and York with its unequalled grandeur +and splendour; but after viewing all the cathedrals of England, +it is Lichfield which is most likely to be remembered among them +for something which may be most aptly called charm. What can be +more delightful than the view which confronts the traveller who, +approaching from the town, pauses to look across the sparkling +water of the pool at the three graceful spires standing out amid +a wealth of green trees and shrubs. Truly a picture to be long +remembered. Here is, indeed, the precious jewel set in a silver +sea. +</p> + +<p><span class="pagenum"><a name="page31" id="page31"></a>[31]</span></p> + +<div class="figcenter"> +<a href="images/image07.jpg"> +<img src="images/i-07-s.jpg" width="500" +title="The Cathedral from the South." +alt="THE CATHEDRAL FROM THE SOUTH." /></a> +<div class="left"><small><i>Photochrom Co. Ltd., Photo</i>]</small></div> +<br /> +THE CATHEDRAL FROM THE SOUTH. +</div> + +<p><span class="pagenum"><a name="page32" id="page32"></a>[32]</span></p> + +<div style="height: 2em;"><br /><br /></div> + +<p><!--[Blank Page]--><br /></p> + +<p><span class="pagenum"><a name="page33" id="page33"></a>[33]</span></p> + +<p> +The cathedral does not stand on high enough ground for any +very fine view of the entire building to be obtained. But from +whatever point in the neighbourhood of Lichfield we look we can +see its three slender spires, grouping themselves, sometimes so +that only two can be distinguished, sometimes so that they all +appear in one cluster as though rising from one tower, and +sometimes spreading out so that two seem to have very little +connection with the third. For years they have been known as the +"Ladies of the Vale"; they have looked down on many changes, and +indeed have suffered changes themselves. They now rise from an +almost new +<!--above lines moved down from page 30--> + building—new at any rate in appearance. As we +approach the cathedral either from Bird Street and face the west +front, or from Dam Street and confront the south side of the Lady +Chapel, the same sad feeling comes over us that all here is new. +Even as these words are written the south side of the choir is +being renovated, and no doubt what little of the old is still +left will soon disappear. The west front, with its niches and +images, is all new; the south side of the nave is new, and indeed +everywhere it is its newness that first strikes one. One cannot +help wondering if this extreme severity of restoration is +absolutely essential; for if not essential, the vague +disappointment might well turn to anger that in days when the art +of architecture has become almost non-existent, it should be +thought necessary to carry through such wholesale renewal of +work, never to be replaced, belonging to the grand days of Gothic +building. For this old work can never be replaced: it is a sad +thought that in every art, the early groping days, when the new +medium or the new method is hardly settled, and its limitations +but imperfectly understood, produce the great work. It is so in +literature, in music, in painting, in sculpture, and in +architecture; but it is only to the last that we dare to offer +the assistance of our own less artistic age. The cathedral as we +see it to-day has met with many vicissitudes. Of its misfortunes +in the Civil Wars much has already been said; and something of +its sufferings at the hands of restorers. At present, after +studying the west front and contemplating the extreme newness of +its every detail, we can only hope that when age has somewhat +staled the infinite variety of its modern ornament, future +pilgrims to the shrine of St. Chad will not think too unkindly of +an age given over to the rigours of restoration. +</p> +<p> +<b>The Close.</b>—The cathedral stands in a close which +was once surrounded by strong walls with bastions and a moat. +Nature had supplied the moat on the south side, and the Cathedral +Pool, as it is now called, is still there. The artificial moat +has been drained, but its course can be easily traced running +round the bishop's palace, and its water has been replaced by +lovely gardens and gravel walks. Some bits of the old walls +remain, the north-east bastion in the palace gardens and a turret +on a house at the south corner: the "beautiful gates" of Bishop +Langton are gone; but in the Vicars' Close at the west of the +cathedral are two small irregular courtyards with + +<span class="pagenum"><a name="page34" id="page34"></a>[34]</span> + + houses so old that we feel sure that their wooden beams and +plaster were there when the Royalists of the neighbourhood housed +themselves within the fortified close. +</p> +<p> +The close is not large, and of course, as Lichfield is a +cathedral of the old establishment, there are no monastical +buildings, no ruined cloisters. On the north side the ground +rises rapidly in a grassy slope to a terrace, behind which are +some of the canons' houses. Opposite the north transept is the +deanery, a substantial red brick house in the style of the middle +of the last century; next to it, and farther east, is the +bishop's palace. +</p> +<p> +<b>The Bishop's Palace</b> is of stone, and was built by +Thomas Wood, the bishop who succeeded Hacket, and who is said to +have been compelled to erect it as a fine for his neglect of the +diocese. It bears on the front the date 1687. The old palace of +Bishop Langton, which occupied the same position in the close, +was swept away in the Civil Wars. The bishops of Lichfield had +another palace at Eccleshall until the time of Bishop Selwyn, who +sold it, and with a portion of the money erected here the two +unsightly wings and the still more unsightly chapel. In the +palace gardens, in the south-west corner, stood the old +bell-tower of the cathedral, of whose destruction in 1315 we have +a record. From the bishop's garden there is a charming view +through the trees of Stowe pool and St. Chad's Church apparently +standing at its farther edge: its old towers stand out finely, +and the gravestones in the churchyard remind us that in far-off +Mercian days St. Chad was laid to rest in this very spot. +</p> +<p> +On the east side of the close is an unsightly white house +which rises a blot on the otherwise beautiful view of the +cathedral from Stowe; next to it is a charming old building with +the turret already mentioned. +</p> +<p> +On the south side is the entrance from Dam Street, with an old +house at the corner. On this side also is the Theological +College, a low ordinary-looking building, said to have been +originally training-stables for race horses; and farther west are +more houses of the cathedral clergy. And behind all these is the +pool. One cannot help agreeing with Britton in thinking what a +delightful thing it would be for the close if all the houses on +this side could be pulled down so that the cathedral might have +nothing but grass and trees between + +<span class="pagenum"><a name="page35" id="page35"></a>[35]</span> + + it and the pool. +Britton gives an imaginary view of the south side with all the +houses cleared away. +</p> +<p> +On the west side of the cathedral is another entrance to the +close, which runs between the Vicars' Close already mentioned and +the hideous college built by Andrew Newton for the widows and +orphans of clergymen. +</p> +<p> +<b>The Cathedral</b> is built of new red sandstone from +quarries in the immediate neighbourhood of Lichfield itself. On +Borrowcop, to the north (where tradition says two Mercian kings +were killed, to be afterwards buried in the close), is the hole +left by the cathedral; and on the other side, at Wheel Lane, is a +quarry from which much stone, both red and white, has been taken +for the recent repairs to the fabric. Its ruddy colour adds much +to the picturesqueness of the building. +</p> +<p> +Mrs Van Rensselaer, in her interesting account of the English +cathedrals, says: "In any and every aspect, but more especially +when foliage comes close about it, Lichfield's colour assists its +other beauties. Grey is the rule in English churches—dark +cold grey at Ely, for example; light yellow grey at Canterbury, +and pale pearly grey at Salisbury; and although dark greyness +means great solemnity and grandeur, and light greyness great +delicacy and charm, they both need the hand of time—the +stain of the weather and the web of the lichen—to give them +warmth and tone; and the work of the hand of time has almost +everywhere in England been effaced by the hand of the restorer. +Red stone is warm and mellow in itself, and Lichfield is red with +a beautiful soft ruddiness that could hardly be over-matched by +the sandstone of any land." +</p> +<p> +The plan of the cathedral shows a simple cross, with a +chapter-house (joined by a vestibule to the choir) on the north +side, and a sacristy on the south side. It may also be noticed +that the nave and the choir (including the presbytery) have each +eight bays or severies, and that if we regard the bay under the +central tower as a double one, the two transepts together have +eight bays. Thus the transverse arm of the cross is nearly of the +same length as the eastern and the western arms. There is a Lady +Chapel at the eastern end of the choir, and there are aisles on +each side of the nave and choir and on the eastern side of the +transepts. +</p> +<p> +We have already seen that the cathedral has three +<b>Spires</b>, and this is perhaps its most notable +characteristic, for Lichfield + +<span class="pagenum"><a name="page36" id="page36"></a>[36]</span> + + is the only church now existing in England with this +distinction. The cathedral at Coventry, so long the sister church +of the diocese, and so ruthlessly destroyed by Henry VIII., had +also three spires; as had Ripon Minster, but these were of lead, +and have since been pulled down. +</p> +<p> +Of the spires, one rises from the central tower and one +surmounts each of the towers which flank the west front. The +central spire dates only from the Restoration, the older spire +having been entirely destroyed in the Civil Wars. There is no +doubt that the original spire was different in appearance to the +present one, which is an imitation of the western spires, carried +out in the spirit of the Perpendicular style. What the earlier +spire was really like is doubtful, neither is it quite certain +when it was built, though the central tower was probably rebuilt +about 1250, when it is supposed that the intention was to retain +the Norman nave. What the height and pitch of the roof of the old +Norman nave must have been can be seen from the old housing +course which remains to this day above the nave groining. "It was +the custom," as Mr J. O. Scott explained in a lecture on the +cathedral, "of old builders, as of modern builders, to insert in +any wall against which a roof abuts a projecting course of stone, +called a 'housing,' following the slope of the roof, the object +being to keep the wet from getting in between the roof and the +wall. And so when the central tower was rebuilt, there was the +Norman nave to which the new work had to be fitted. Hence, at +this time the builders inserted a 'housing course' of masonry +into the west wall of the new tower, to protect the junction of +the old Norman nave roof from the weather." These disused housing +courses can constantly be seen in old churches, sometimes +several, one above the other, showing the changes in the roofing +of the church. The present spire is said vaguely to have been +erected from the designs or under the direction of Sir +Christopher Wren; but the tradition which connects this great +modern architect with the cathedral is very uncertain. +</p> + +<p><span class="pagenum"><a name="page37" id="page37"></a>[37]</span></p> + +<div class="figcenter"> +<a href="images/image08.jpg"> +<img src="images/i-08-s.jpg" height="500" +title="The Cathedral from the Minster Pool." +alt="THE CATHEDRAL FROM THE MINSTER POOL." /></a> +<div class="left"><small><i>Photochrom Co. Ltd., Photo</i>.]</small></div> +<br /> +THE CATHEDRAL FROM THE MINSTER POOL. +</div> + +<p><span class="pagenum"><a name="page38" id="page38"></a>[38]</span></p> + +<div style="height: 2em;"><br /><br /></div> + +<p><!--[Blank Page]--><br /></p> + +<p><span class="pagenum"><a name="page39" id="page39"></a>[39]</span></p> + +<p> +The two western spires were probably built in Bishop +Norburgh's time, and possibly were finished in the time of his +successor; but the north-west spire has been rebuilt from the +belfry windows upwards in imitation of the old work, but, like +the central tower, in the Perpendicular manner. The +south-west +<!--above lines moved down from page 36--> + or Jesus Tower, which is a little higher than the +other, has also had its two upper storeys rebuilt. The spires are +octagonal, and are divided into six compartments. In the western +spires the four lower compartments have windows of two lights +each with acute crocketted pediments. There are only four windows +in the lowest compartment; but in the second, third, and fourth +compartments there is a window in each face; the fifth is +panelled between crocketted ribs, and the top compartment is +plain with small windows. All the spires are open all the way up +without any inside supports. +</p> +<p> +The central spire has the same number of compartments, with +windows in all of them except the top; but there are only four +windows in each compartment, facing north, east, west, and south. +The top of the central spire is about 252 feet from the floor, +and of the western spire about 193. +</p> +<p> +But if Lichfield's three spires are unique, so also is +Lichfield's <b>West Front</b>. It is not, of course, very large, +and it is not indeed as large as it might have been had the same +means been employed here as were employed at Wells, where an +exaggerated idea of size is attained by placing the towers +outside the lines of the nave aisles. Here the two towers, which +form so important a part of the front, are in their lowest stage +merely part of the aisles, so that the whole width of the west +front is very little greater than the width of the nave itself. +The west front of Lichfield is noted for the richness of its +decorations, covered as it is with niches holding images and, it +might almost be said, with every available inch covered with +decorative work. The whole has a most superb effect, and at a +distance, where the poverty of the modern workmanship is not +easily discerned, its appearance cannot be very different now to +that which it presented at the end of the fourteenth century. +Once again the niches are filled with statuary; but this work is +nearly all new, and it is by some considered doubtful if any of +the original remained in this century. It is, however, generally +supposed, and not without good reason, that the five old statues +which form part of the highest row in the north-west tower may +have been original, and have escaped the general destruction +which followed the Puritan capture of the cathedral. Three of the +old statues are represented in the picture of the west front in +Britton's "Cathedral Antiquities"; and in the interesting picture +in + +<span class="pagenum"><a name="page40" id="page40"></a>[40]</span> + + Fuller's "Church History," published in 1655, the west +front is shewn with every niche filled; but there can be no doubt +that this picture must have been made before the siege, or else +it must have been drawn with the aid of memory from what remained +afterwards. +</p> +<p> +This west front is flat, with octagonal turrets at each side, +and consists of two towers and a central part. The central part +has a doorway, a large window, and an acute pediment, the top +point of the pediment being almost on a level with the parapet of +the towers where the spires commence. These rise from between +square pinnacles, enriched with feathered panels and crockets at +the angles of the towers. The front is in three stages; the +lowest stage contains the three doorways, and is surmounted by a +very elaborate arcading filled with statues of kings. The second +is covered with two storeys of arcading, and is divided into two +parts by the large west window, above which is the pediment. The +third stage consists of the upper part of the two towers; these +are surmounted with parapets with lozenge-shaped mouldings +inclosing quatrefoil and trefoil panels. There are windows to the +belfry floors in this stage. Altogether, including these two +belfry windows, there are only three windows in this front; this +is unusual, as there are commonly windows at the west end of the +nave aisles. +</p> +<p> +It is not easy to give a clear description of this front, or +any which will convey its superb effect. As we see by the +frontispiece, it is not only thickly covered with arcading and +statues, but also it is very much enriched with trefoils, +quatrefoils, and cinquefoils, especially in the spaces over the +doors in the lowest stage, and in the pediment above the great +window. The prevalence of the ball-flower decoration should not +escape notice; upon the third stage and the spires it constantly +occurs, although it is not encountered in the first and second +stages, except in the modern tracery of the west window. The +ball-flower is a fourteenth-century ornament: its constant use in +the upper parts, contrasted with its total absence in the lower +parts, supplies a very strong argument that a considerable time +elapsed between the construction of the two lower stages and the +upper. The very careful examination which took place when the +whole front was lately restored revealed the fact that work was +not proceeded with continuously; and by expert opinion the lowest +stage is assigned to 1280, the next to 1300, + +<span class="pagenum"><a name="page41" id="page41"></a>[41]</span> + + while the upper stages are still later; and perhaps the whole was +not completed until well on into the last half of the fourteenth +century. +</p> +<p> +As has been stated before, the present appearance of the west +front is that of an entirely new building. In 1820 the front, +which is said to have been then in a very dilapidated condition, +was covered with Roman cement. So thoroughly was this done that +the original stone facing only showed on the eastern side of the +north-west tower. Careful drawings of the tracery there were made +by Sir Gilbert Scott, and in 1877 the work of reconstructing was +commenced. It took seven years, and the new west front was +dedicated in 1884. Only five of the old statues remained, and it +was decided to restore the others. There are in all one hundred +and thirteen niches in the west front, including those on the +north and south faces of the side turrets; all but four are now +filled, and about one hundred are in view of any one standing +facing the middle of the front. +</p> +<p> +The large <b>West Window</b> has undergone several changes in its +tracery; fortunately we have pictures showing all of them. In +Fuller's "Church History" the tracery, as shown in Hollar's +engraving, appears to be very simple. This tracery was all +destroyed in the Civil Wars; and that which replaced it at the +Restoration was provided by James II., when Duke of York, but it +was so ugly and unsuitable to the whole spirit of the cathedral +that it was removed in 1869, and is now replaced by work which, +though greatly differing from the original, yet preserves the +spirit of fourteenth-century work. The Restoration window may be +seen in the beautiful engraving in Britton's "Cathedral +Antiquities." +</p> +<p> +There also is an engraving of the great west door as it was in +the early part of the century, and before the Roman cement era of +which mention has just been made. This doorway, one of the most +beautiful in the country, has much in common with the "Prior's +doorway" on the south side of Lincoln Cathedral. As Britton says: +"Both are peculiarly rich and fanciful and calculated to excite +the warmest admiration," but in his time the sculptured foliage +and the figures running round the architrave mouldings and +between the columns were so much battered and injured that it was +almost impossible to tell the characters of some of them. This +doorway + +<span class="pagenum"><a name="page42" id="page42"></a>[42]</span> + + is a recessed porch, the outer arch, in line with the +main walls, being cusped and foliated with elaborate carving; the +inner portion is divided into two arches; the whole being most +elaborately decorated with carvings. The central clustered +supports has a figure of the Virgin and Child, and on either side +of the doorway, standing on clustered pillars beneath canopies, +are figures of St. Mary Magdalene (on the north) with the box of +ointment, and on the south, Mary the wife of Cleophas; farther +forward on each side are vacant pedestals, and in the front are +St. John the Evangelist (on the north) and St. Paul (on the +south). Whether these were the characters originally represented +is open to doubt; Stukeley suggested that what was left in his +time represented the Virgin in the centre, and the four +Evangelists with Moses and Aaron. +</p> + +<div class="figleft"> +<a href="images/image09.jpg"> +<img src="images/i-09-s.jpg" height="300" +title="Great West Doorway in 1813." +alt="GREAT WEST DOORWAY IN 1813." /></a> +<br /> +GREAT WEST DOORWAY IN 1813. +</div> + +<p> +The <b>bas-relief figures</b> in the architrave +already mentioned have been restored to represent the two +genealogies of Christ as given by St. Matthew and St. Luke, on +the north and south sides respectively, as +follows:— +</p> +<p> +North side: Abraham, Isaac, Jacob, Boaz, Jesse, +David, Virgin and Child. +</p> +<p> +South side: Adam, Seth, Enoch, Noah, Shem, +Judah, and St. Joseph; the Virgin and St. Joseph being the two +figures at the top of the arch. +</p> +<p> +There is a very beautiful fourteenth-century +bas-relief above the central pillar of the doorway, representing +Our Lord in Glory, with an angel on each side, having a serpent +under his feet. +</p> +<p> +The doors are covered with fine iron work, +which, with the exception of that on the lowest panel, is +supposed to be original. +</p> + +<p><span class="pagenum"><a name="page43" id="page43"></a>[43]</span></p> + +<div class="figcenter"> +<a href="images/image10.jpg"> +<img src="images/i-10-s.jpg" height="500" +title="The Great West Doorway." +alt="THE GREAT WEST DOORWAY." /></a> +<div class="left"><small><i>Photochrom Co. Ltd., Photo.</i>]</small></div> +THE GREAT WEST DOORWAY. +</div> + +<p><span class="pagenum"><a name="page44" id="page44"></a>[44]</span></p> + +<div style="height: 2em;"><br /><br /></div> + +<p><!--[Blank Page]--></p> + +<p><span class="pagenum"><a name="page45" id="page45"></a>[45]</span></p> + +<p> +The two side doorways in the west front are deeply recessed in +three orders with very finely-carved mouldings. These also have +bas-relief figures in the architraves. Those in the northern +doorway represent the principal princes and princesses who +promoted Christianity in England, while those in the southern +doorway represent the leading early missionaries to England. +</p> +<p> +In the northern doorway, on the north side, are Ethelbert, +Edwin, Oswald, Oswy, Peada, Wulphere; and on the south side, +Bertha, Ethelburga, Hilda, Eanfled, Ermenilda, Werburga. +</p> +<p> +In the southern doorway, on the north side, are St. Aidan, +Finan, Diuma, Ceollach, Trumhere, Jaruman; and on the south side, +Gregory, Augustine, Paulinus, Theodore, Cuthbert, Wilfrid. +</p> +<p> +The corbels of the arches of these two doorways are +interesting. Those of the north-west doorway represent Night on +one side and the Morning Star on the other. The former is a +female face with a reversed torch, and the Greek word NYX for +night; the latter is a beautiful boy's face with a burning +torch. +</p> +<p> +Those on the south-west doorway are a blindfolded face and an +open face, representing the Law and the Gospel respectively. +</p> +<p> +Up to the time of the recent restoration a large statue of +Charles II., who, by gifts of money and also of timber from +Needham Forest, helped Bishop Hacket in the general repair after +the Civil Wars, occupied the principal canopy in the middle of +the central gable of the west front. This statue was the work of +a certain stone-mason named William Wilson, who, by marrying a +rich widow, "arrived at knighthood" in 1681. The statue, which +certainly was not a work of art from all account of it, was taken +down, and the pedestal is now occupied by a figure of Our Lord. +The two other large canopied niches in the gable being filled +with statues of Moses and Elijah, on the north and south sides +respectively; while the four smaller statues represent, on the +north, St. Gabriel, with St. Uriel underneath; and on the south, +St. Michael, with St. Raphael below. +</p> +<p> +In giving the list of the statuary on the west front, which +now follows, it is only necessary to say that there is no +pretence that the characters now chosen were those originally +represented. + +<span class="pagenum"><a name="page46" id="page46"></a>[46]</span> + + All that could be done in filling the niches was to +study the plan of other similar facades, such as that at Wells, +and to imitate the general idea. Tradition, however, had it that +the long row of figures in the top of the lowest stage +represented the Saxon and English kings, with St. Chad in the +centre, and the tradition has been respected. +</p> + +<div class="figcenter"> +<a href="images/image11.jpg"> +<img src="images/i-11-s.jpg" height="500" +title="The Southern Doorway of the West Front." +alt="THE SOUTHERN DOORWAY OF THE WEST FRONT." /></a> +<div class="left"><small><i>Photochrom Co. Ltd., Photo.</i>]</small></div> +THE SOUTHERN DOORWAY OF THE WEST FRONT. +</div> + +<p> +The following is a list of all the statues not already + +<span class="pagenum"><a name="page47" id="page47"></a>[47]</span> + + mentioned on the west front, including these on the +north and south faces of the flanking turrets. The statues are +enumerated in rows from the north side to the south. +</p> +<p> +On the northern tower the highest tier commences round the +corner with two of the old figures already mentioned, then Aaron, +Samuel, Hannah, another old figure, Deborah, Rachel, another old +figure, Sarah, another old figure, and Eve. +</p> +<p> +On the southern tower the highest tier commences with Adam, +Abel, Abraham, Isaac, Jacob, Melchisedec, Enoch, Methuselah, +Noah, Daniel, Job, and Shem (these two last being, of course, +round the corner on the south side). +</p> +<p> +Taking next the two rows on the northern tower to the north of +the great west window, there are in the higher row, St. Editha, +David, St. Helena, Solomon, St. Gabriel, Zechariah, Nahum, Amos, +Jeremiah; and in the lower row, Dean Bickersteth, St. Mark, Queen +Victoria, St. Luke, St. Uriel, Malachi, Habakkuk, Obadiah, Daniel +(Jeremiah being just above Daniel, by the window). +</p> +<p> +Taking next the two rows on the southern tower to the south of +the great west window, there are in the higher row, Isaiah, +Hosea, Jonah, Zephaniah, St. Michael, Bishop Hacket, Bishop +Lonsdale, Bishop Selwyn (the niche round the corner is vacant), +and in the lower row, Ezekiel, Joel, Micah, Haggai, St. Raphael, +Bishop Clinton, Bishop Patteshall, Bishop Langton (the niche +round the corner is vacant). +</p> +<p> +Next again below is the long row of kings with St. Chad in the +centre stretching right across the cathedral, the pre-Conquest +kings on the south side of St. Chad, the post-Conquest on the +north, as follows:—William the Conqueror, William Rufus, +Henry I., Stephen, Henry II., Richard I., John, Henry III., +Edward I., Edward II., Edward III., Richard II., St. Chad, Peada, +Wulphere, Ethelred, Offa, Egbert, Ethelwolf, Ethelbert, Ethelred, +Alfred, Edgar, Canute, Edward the Confessor. +</p> +<p> +Lastly, there is the lowest row, which is broken three times +by the doors; these are St. Cyprian, St. Bartholomew, St. Simon, +St. James the Less, St. Thomas (then the northern door), St. +Philip, St. Andrew (then the central door with its seven niches +and five statues already described), St. Paul, St. Matthew (then +the southern door), St. James the Greater, St. Jude, St. Stephen, +St. Clement, St. Werburga. +</p> + +<p><span class="pagenum"><a name="page48" id="page48"></a>[48]</span></p> + +<p> +There is also a small figure of St. Antony over the belfry +window on the south side. +</p> + +<div class="figleft" > +<a href="images/image12.png"> +<img src="images/i-12-s.png" height="300" +title="A Bay of the Nave--Exterior." +alt="A BAY OF THE NAVE--EXTERIOR." /></a> +<br /> +A BAY OF THE NAVE—EXTERIOR. +</div> + +<p> +A tour of the cathedral, starting by the north +side, leads past the nave with its buttresses and +flying-buttresses looking picturesque in their unrestored state, +and there can be seen outside the seventh bay of the nave the +remains of the entrance to Dean Yotton's chantry. Coming to the +front of the north transept, it will be noticed that the doorway +has steps inside leading down into the cathedral, while on the +opposite side it will be found that the steps lead from the south +door down outside; the level of the ground on the two sides of +the cathedral being very different. +</p> +<p> +<b>The North Doorway</b> is extremely fine, and is deeply recessed. Like the +other two main doorways of the cathedral,—that at the west +end and that in the south transept—this doorway is double, +the main arch being divided into two. The archivolts of these are +lancet-shaped and covered with foliage, but not foliated as in +the west door. Outside the double-arched doorway proper, the +architrave is divided into five principal and several smaller +mouldings; the larger ones being very finely carved, as to two, +the second and fourth, with inter-twisted foliage and scroll +work; and as to the other three, the inner, middle, and outer, +with small lozenge-shaped plaques containing bas-relief figures. +These figures in the inner moulding are angels, in the middle one +probably they are patriarchs and prophets. In the outer one, on +the left or eastern side, the figures show the genealogy of +Christ, beginning with Jesse at the springing stone, and ending +with the Virgin and Child near the crown; while on the +right-hand + +<span class="pagenum"><a name="page49" id="page49"></a>[49]</span> + + side, opposite Jesse, is the figure of St. Chad +baptising the sons of King Wulphere, and above, the Apostles from +St. Matthias to St. Peter at the crown. The whole architrave is +surmounted by a weather moulding in the form of a gable, with a +recently executed cross in the style of the thirteenth century at +the top. The pillars on each side of the doorway have finely +carved capitals, and the outer pillars are separated by lines of +dog-toothing. The central pillar is very +graceful, and consists of four slender shafts with carved +capitals. The whole forms a magnificent example of a doorway in +the Early English style, but showing signs of its derivation from +the Norman. There is a niche in the tympanum which was apparently +in Britton's time empty; but it must soon after have been filled +with an image of St. Anne in Roman cement; this has recently been +replaced by a statue of the same saint by Mr W. R. Ingram, while +above some Roman cement work in the top of the gable has been +removed, and a vesica containing a bas-relief of Our Lord in +Glory by Mr Bridgeman reproduces no doubt the original +architect's idea. The doorway, though it has been considerably +restored, was not so much injured as a great deal of the rest of +the cathedral, and so contains some very charming carving of the +thirteenth century. There are two figures in Roman cement, one on +each side of the doorway, representing St. Jude with a scroll, +and St. James the Less with a club. No doubt these will both +disappear before long, and their place be filled with modern +statues. +</p> + +<div class="figright"> +<a href="images/image13.jpg"> +<img src="images/i-13-s.jpg" height="300" +title="The North Entrance in 1813." +alt="THE NORTH ENTRANCE IN 1813." /></a> +<br /> +THE NORTH ENTRANCE IN 1813. +</div> + +<p> +Passing by the somewhat plain octagonal chapter-house, where +we may perhaps wonder whether the small niches in the top of the +buttresses which stick up like little turrets ever contained +images, we come to the side of the choir and presbytery, + +<span class="pagenum"><a name="page50" id="page50"></a>[50]</span> + + which has not yet been restored, and then to the Lady +Chapel. +</p> + +<div class="figleft"> +<a href="images/image14.png"> +<img src="images/i-14-s.png" height="300" +title="A Bay of the Choir--Exterior." +alt="A BAY OF THE CHOIR--EXTERIOR." /></a> +<br /> +A BAY OF THE CHOIR—EXTERIOR. +</div> + +<p> +The outside of the <b>Lady Chapel</b> has +recently been very much altered; and the old buttresses, which +but the other day were as left by Bishop Langton, with only the +hand of decay showing on them, are now gone, and in their place +are brand new buttresses, with brand new niches and saints. Those +in the top row are the holy women of the Old Testament, while +below them are the holy women of the New Testament. The lower row +represent Priscilla, Anna, Dorcas, Mary, Martha, Lydia, Phœbe +and Elizabeth; and above are Esther, Ruth, Naomi, Rizpah, +Deborah, Miriam, Rachel, and Rebecca. +</p> +<p> +On the south side of the Lady Chapel are the +curious chapels—known as the mortuary chapels—with +their gabled fronts lying in the three spaces between the +buttresses. These are more fully described in their place in the +next chapter. +</p> +<p> +From this end of the cathedral can be well seen +the arcaded parapet with its battlements, which runs round the +top of the eastern half of the building and of the transepts, +also the turrets of the sacristry with their high crocketted +pinnacles; from here, too, can be seen, what Professor Willis +draws attention to, "that the rebuilt clerestory of the western +part of the choir betrays by the lighter colour of its stone that +it was a work subsequent to the eastern part." On one of the +buttresses of the choir on this side is an ancient image of a +female figure, but it is too much decayed to afford any clue to +the character represented, though it remains a very charming +instance of Gothic sculpture. On the east corner of the + +<span class="pagenum"><a name="page51" id="page51"></a>[51]</span> + + sacristry there is +a modern figure of Godefroi de Bouillon, and at the other corner +is a figure of St. Chad. +</p> + +<div class="figcenter"> +<a href="images/image15.jpg"> +<img src="images/i-15-s.jpg" height="500" +title="Doorway of South Transept Before the Last Restoration." +alt="DOORWAY OF SOUTH TRANSEPT BEFORE THE LAST RESTORATION." /></a> +<br /> +<div class="left"><small><i>Photochrom Co. Ltd., Photo.</i>]</small></div> +<br /> +DOORWAY OF SOUTH TRANSEPT BEFORE THE LAST RESTORATION. +</div> + +<p> +In the gable of the <b>South Transept</b> is a very beautiful +rose window, which is hidden by the stone groining from the +inside. Mr J. O. Scott, in a lecture already referred to, declared +that "this rose window is so high up in the gable that it never +could have been combined with any stone groining. But, by + +<span class="pagenum"><a name="page52" id="page52"></a>[52]</span> + + referring to York Minster, between which and Lichfield many +curious parallels may be traced, it is seen at once how a rose +window in this position may be brought into the general design. +This is effected by using a particular kind of wooden groining, +the part of which nearest to the gable wall is lifted up so as to +exhibit the window from within the building." +</p> +<p> +The large doorway in the south transept, which as seen from +the outside is at the top of a flight of steps, very much +resembles the doorway on the north side, but the carving is not +so fine; it has been very much restored, and three shields have +been in comparatively recent times carved in the tympanum. The +shields show the arms of the see, of Bishop Lloyd, and Dean +Addison, thus declaring this to have been done about 1700. +</p> +<p> +To the right of this doorway, outside the southern end of the +transept aisle, is an ancient monument, probably of an +archdeacon. A carved figure lies in a recess surmounted by a +stone canopy. +</p> +<p> +The large heavy buttresses which disfigure the outside of this +transept were the work of Wyatt at the end of the last century. +The outside of the nave on this side presents a very different +appearance to the other side. Here everything is new and +uninteresting. The entrance to the bell tower is on this side, +and a winding stair leads to the belfry stage. +</p> +<p> +There are ten <b>Bells</b>, seven of which date from about +1687, and are therefore of the same age as the bishop's palace. +In that year Hacket's six bells, which can only have been hanging +some sixteen or seventeen years, were found to be useless, and a +subscription was raised to replace them with a peal of ten. There +is a letter from the dean and chapter to Elias Ashmole, in which +it is stated that Henry Bagley of Ecton, the bell-founder, had +"so over-sized the eight bells he had cast, that they had +swallowed up all the metal for the ten," and that eighty pounds +more would be required, but that they did not regret the mistake +as it "would make extremely for the advantage and glory of the +cathedral (the bigness of such a ring far more befitting the +place)." Only seven of these bells are now in use; the other +three are by Rudhall of Gloucester and Mears of London. In 1748 +the belfry caught fire and the ninth bell cracked with the heat, +but it was recast in the same year, and since then there has been +no change. +</p> + +<p><span class="pagenum"><a name="page53" id="page53"></a>[53]</span></p> + +<p> +The story of the earliest +cathedral bells is lost. It was usual in early days to hang the +bells in a separate tower somewhere in the cathedral precincts. +Here, we know that in 1315 the bell tower was burnt +down,—"Combustum fuit campanile cum campanis in clauso +Lichfeldensi." The site of this tower was lately discovered in +the bishop's garden. Dean Heywood, in 1477, gave a large bell to +the cathedral—it was known as the Jesus Bell; the gift is +mentioned in the <i>Cantaria Sancti Blasii</i>, where the cost is +stated to be one hundred pounds. The bell bore this +inscription:— +</p> + +<div class="poem"> +<div class="stanza"> +<p> <i>"I am the bell of Jesus, and Edward is our king,</i> </p> +<p> <i>Sir Thomas Heywood first caused me to ring."</i> </p> +</div> +</div> + +<p> +This bell was hung in the south-west tower, which thus came to +be called the Jesus-Bell Tower. The bell was destroyed during the +Civil Wars. An ancient writer quoted by Shaw, after detailing the +terrible fates of those who took part against religious houses +and churches, says: "Nor shall I relate what happened to one, +Pickins, a pewterer, who on July 26, 1653, knoct in pieces the +fair bell called Jesus, at Lichfield, he being the chief officer +appointed for demolishing that cathedral." +</p> +<p> +There was also a bell called the "Clocke Bell," which was hung +in the lowest storey of the Jesus spire. It is shown in the south +view given in Fuller's "Church History," and particular attention +is there directed to it. The clock bell and all the others are +now hung in the top storey of the tower. +</p> +<p> +There is also a small bell in the great central tower called +"the Tantony": it formerly belonged to the Dyott family. +</p> +<p> +In the south-west tower is also the new <b>Clock,</b> which +was put up in 1890. The face is underneath, in the west end of +the south aisle of the nave; there is no outside face. The +well-known Cambridge quarter chimes can, it is said, be heard at +a distance of three miles. +</p> +<p> +In the green grass of the close are many tombstones, and round +about the cathedral stone coffins have been dug up; on the north +side of the choir is the traditional burying-place of two Mercian +kings. +</p> + +<p><span class="pagenum"><a name="page54" id="page54"></a>[54]</span></p> + +<div style="height: 4em;"><br /><br /><br /><br /></div> + +<h2> +CHAPTER III +</h2> +<h3> +THE INTERIOR +</h3> + +<p> +Lichfield is one of the smallest cathedrals in England. In +length it only measures 370 feet from the inside of the west door +to the extreme end of the inside of the Lady Chapel, while the +interior of the nave, with its aisles, is only a little more than +68 feet wide; and yet its smallness is not the first fact that +will strike the visitor on entering the west door: rather, on the +other hand, its immense length in proportion to its height and +width will be noticed, but probably all other feelings will be +forgotten in the beauty of the vista that lies before him. The +long line of arches and the long low roof, with its almost +countless bosses, lead the eye down to the Lady Chapel, where a +mass of blue and red shows that the cathedral has some of the +most beautiful glass in the kingdom. +</p> +<p> +The orientation of the nave and choir are not the +same—the choir and Lady Chapel being considerably inclined +to the north. Many have been the theories raised by the curious +discoveries made as to the deflections of various parts of this +cathedral. They are too numerous to quote here, and it will be +sufficient to note that the total deflection of the east end from +the true east is about ten degrees. +</p> + +<div class="figright"> +<a href="images/image16.png"> +<img src="images/i-16-s.png" height="300" +title="A Bay of the Nave--Interior." +alt="A BAY OF THE NAVE--INTERIOR." /></a> +<br /> +A BAY OF THE NAVE—INTERIOR. +</div> + +<p> +<b>The Nave.</b>—The view of the interior of the cathedral from +the inside of the west door is, as we have said, extremely +beautiful. This beauty is much enhanced by the general appearance +of unity in the whole design. There seems to be no mixture of +styles, and though a closer examination of the details of the +interior shows that there is a very marked difference between the +style in which the nave is built and that which was in vogue when +the Lady Chapel and presbytery were erected; yet the whole, +having been built at a time when the Early English style was +giving + +<span class="pagenum"><a name="page55" id="page55"></a>[55]</span> + + place gradually to the Decorated, or, in the more eastern +portion, when that later style was well established, the general +effect of the cathedral, seen from this aspect, is one of unity. +The exact date of the nave cannot be determined, and there is no +direct evidence on which to base a theory; but it is very clear, +from a comparison of its style with that of churches whose +history is known, that it must have been commenced and carried to +a speedy conclusion about the middle of the thirteenth century. +Professor Willis gives the date as 1250, and other archaeologists +at various dates between that and 1280. There is no doubt, at any +rate, that it was built at the transitional period of the Early +English style, and it would be described by some as belonging to +the Early Decorated period, and by others as belonging to the +geometrical period of the Decorated style. The nave, including +the western front, consists of eight bays, having aisles on the +north and south sides, with the same number of bays; but the +spaces underneath the two western towers are considerably larger +than the other aisle bays, though not large enough to be looked +upon as western transepts, as is possible in some churches where +there is a similar arrangement. Many writers have complained of +the insufficient height of the nave, and that the general effect +is thereby spoilt, and to a very limited extent this may be true. +Probably the nave roof was at one time of much higher pitch; the +course on the outside of the great tower suggests it, as also +does the fact that the great west window runs into the roof. +Probably the roof was lowered when the presbytery was built, and +the + +<span class="pagenum"><a name="page56" id="page56"></a>[56]</span> + + whole roofing of the cathedral brought down to the same +level. +</p> + +<div class="figleft"> +<a href="images/image17.png"> +<img src="images/i-17-s.png" height="300" +title="A Bay of the Choir--Interior." +alt="A BAY OF THE CHOIR--INTERIOR." /></a> +<br /> +A BAY OF THE CHOIR—INTERIOR. +</div> + +<p> +The piers are large, and consist of clustered shafts, lozenge-shaped in plan, +set on much moulded bases, and having beautifully carved foliated +capitals from which spring architrave mouldings of great variety. +From the base and up the centre of each pier runs a cluster of +three fine columns to capitals, also foliated, at the top of the +triforium; from these spring five vaulting ribs, three of which +diverge to an ornamental central rib, and two to a small +similarly decorated transverse rib. There are finely carved +bosses at the intersection of all the various ribs. The top of +each arch touches the string course, above which is the beautiful +triforium. This consists of a row of double arches, each arch +being sub-divided into two lights with geometrical tracery above. +The mouldings are highly decorated with dog-toothing, and the +string course between the triforium and the clerestory, as well +as the moulding enclosing the clerestory windows, has this same +ornament, which is freely used and produces a very rich effect. +The clerestory windows are spherical triangles enclosing three +circles with quatrefoil cusps; the form of these windows is +somewhat rare, but similar windows are to be seen at Westminster, +Hereford, Carlisle, and York. The spandrels of most of the pier +arches are ornamented with a large circle with five cusps, across +which the vault shafts pass; this decoration will be seen again +in the choir. A notable feature in these bays is the size of the +triforium in proportion to the size of the pier arches and +clerestory; this gives it unusual importance in the +general scheme. At Lincoln, where there is a similar triforium, a +very different effect is produced by its comparative smallness. +The open tracery here is very much like that in Westminster +Abbey. +<!--below lines moved up from page 59--> + It will be seen that the dripstones of the arches and windows +terminate in small sculptured heads: a usual arrangement at this +period. It may be added that the beautiful capitals have scarcely +been restored at all; so little damage had been done +<!--below lines moved up from page 60--> + to them, that when the whitewash was removed during the recent +restorations, they were found to have been hardly touched either +by decay, Puritans, or previous restorers. +</p> + +<p><span class="pagenum"><a name="page57" id="page57"></a>[57]</span></p> + +<div class="figcenter"> +<a href="images/image18.jpg"> +<img src="images/i-18-s.jpg" height="500" +title="The Nave in 1813." +alt="THE NAVE IN 1813." /></a> +<br /> +THE NAVE IN 1813. +</div> + +<p><span class="pagenum"><a name="page58" id="page58"></a>[58]</span></p> + +<div style="height: 2em;"><br /><br /></div> + +<p><!--[Blank Page]--><br /></p> + +<p><span class="pagenum"><a name="page59" id="page59"></a>[59]</span></p> + +<div class="figcenter"> +<a href="images/image19.jpg"> +<img src="images/i-19-s.jpg" height="500" +title="The Nave, Looking East." +alt="THE NAVE, LOOKING EAST." /></a> +<br /> +<div class="left"><small><i>Photochrom Co. Ltd., Photo.</i>]</small></div> +<br /> +THE NAVE, LOOKING EAST. +</div> + +<p><span class="pagenum"><a name="page60" id="page60"></a>[60]</span></p> + +<p> +The roof of the nave was greatly damaged at the time of the +Civil Wars—indeed, it has been said that the central spire, +in its fall, completely smashed it in; but this is probably not +the case, as the spire almost certainly fell on the other side of +the tower. Still, it is not difficult, after reading an account +of the siege, to understand that the roof would be much injured. +About a century after its repair by Bishop Hacket, it was found +that the great weight of the stone groining was forcing out the +clerestory walls, already much weakened by rough usage, and, in +consequence, Wyatt removed the stone work in several bays, and +replaced it with lath and plaster work made to imitate the rest +of the roofing. Sir Gilbert Scott was urged to restore the old +stone vaulting, but he decided that without great structural +alterations, principally to the buttresses, which he did not feel +justified in making, this could not be done. The vaulting has +been coloured so that the difference between the stone +compartments—the most eastern and the two western +ones—and the plaster compartments might not be noticed; it +will easily be seen how much the clerestory walls have been +thrust out. It is also interesting to note that at about the same +time Wyatt restored the roof of the aisles to its old pitch. +Originally, as now, the aisle roof ascended so as to reach to +just below the clerestory windows. In Hollar's picture the upper +portion of the triforium windows can be seen, so that they must +have become practically a portion of the clerestory during this +time. Investigation of the windows themselves proves that they +have been glazed, and this confirms what otherwise, considering +the great inexactness of the pictures of the period, could not be +inferred with certainty. There is a view of the cathedral as late +as 1781 showing this arrangement; but in Jackson's "History of +Lichfield," 1796, the aisle roof hides the whole of the triforium +as at present. +</p> +<p> +The windows of the aisles agree well with the other windows of +the nave, and have three lights with trefoiled circles in the +head, while below the windows is an arcade resting on a bench, +the arches of which are surmounted with pediments richly carved. +There are six of these arches in each bay, and between the bays +rise triple vaulting shafts with carved capitals of leafage; + + +<span class="pagenum"><a name="page61" id="page61"></a>[61]</span> + + from these spring three ribs running to a central rib +on which are beautiful bosses like those in the nave. +</p> + +<div class="figcenter"> +<a href="images/image20.jpg"> +<img src="images/i-20-s.jpg" height="500" +title="The Nave, Looking West." +alt="THE NAVE, LOOKING WEST." /></a> +<br /> +<div class="left"><small><i>Photochrom Co. Ltd., Photo.</i>]</small></div> +<br /> +THE NAVE, LOOKING WEST. +</div> + +<p> +<b>The Great West Window.</b>—The tracery of this window +has already been discussed in the description of the exterior. +The present glass was placed there in 1869, to the memory of +Canon Hutchinson, who, perhaps, of all was most eager for the +restoration of the cathedral, and to whose untiring energy, it +is + +<span class="pagenum"><a name="page62" id="page62"></a>[62]</span> + + said, is due the wholesale renovation of the interior +by Sir Gilbert Scott. This window was the result of a public +subscription, and is the work of Messrs Clayton & Bell. The +six large figures represent St. Michael, St. Joseph, St. Mary, +and the Three Magi, while underneath are small pictures of the +Annunciation, the Angel warning Joseph, the Nativity, the Journey +of the Magi, the Magi inquire of Herod, and the Flight into +Egypt. As to the previous glass in this window, there seems to be +no record of that which must have decorated it before the Civil +Wars. In Shaw's "History of Staffordshire," there are long lists +of the glass to be found in the cathedral; but it is difficult to +decide which window is being described. After the Restoration, we +have in a Bodleian MS. the following record:—"Oct. 6, 1671. +Arms in the Great West Window, Arms of King Charles the Second, +Crest and Supporters; Arms of James Duke of York, his brother, +Crest and Supporters. And beneath them, <i>Serenissimus princeps +Jacobus dux Ebor hanc fenestram. F.F.</i>" Britton says it was +afterwards filled with painted glass, the work of Brookes, by the +legacy of Dr Addenbroke, who died dean of this cathedral in +1776.<br /> +<br /> + +</p> +<p> +Over the great west door in the inside of the cathedral was +formerly inscribed:— +</p> +<div class="poem"> +<div class="stanza"> +<p class="i2"><i>Oswyus est Lichfield fundator, sed reparator</i> </p> +<p class="i4"><i>Offa fuit; regum fama perennis erit:</i> </p> +<p class="i2"><i>Rex Stephanus, rex Heniricus primusque Richardus,</i> </p> +<p class="i4"><i>Rex et Johannis, plurima dona dabant.</i> </p> +</div> +<div class="stanza"> +<p class="i2"><i>Pene haec millenos ecclesia floruit annos,</i> </p> +<p class="i4"><i>Duret ad extremum nobilis usque diem,</i> </p> +<p class="i2"><i>Daque deus longum, ut floreat hae sacra aedes</i> </p> +<p class="i4"><i>Et celebret nomen plebs ibi sancta tuum.</i> </p> +</div> +</div> +<p class="center"> +<i>Fundata est ecclesia Merciencis</i> <br /> +<i>Quae nunc Lichfieldia dicitur</i> <br /> +<i>Facta Cathedralis</i> <br /> +<i>Anno Domini</i> <br /> +<i>DCLVII</i> +</p> + +<p> +Dugdale, in his "Visitation of Staffordshire," gives us this +inscription. It has long since disappeared. Pennant mentions a +curious or, as he calls it, "droll" epitaph on the + +<span class="pagenum"><a name="page63" id="page63"></a>[63]</span> + + floor near the west door, but there is no sign of it +now:—"<i>William Roberts of Overbury, some time malster in +this town (tells you) for the love I bore to choir service, I +chose to be buried in this place.</i> He died Decr. 16th, +1768." +</p> +<p> +From a MS. quoted by Shaw we learn that before the Great War +"on a fair marble gravestone, placed on the right-hand at the +entrance into the choir, is this inscription on a brass +plate:— +</p> +<p> +"<i>Here lyeth George Bullen lat dean of this church who made +his own epitaph—viz.</i>, +</p> + +<div class="poem"> +<div class="stanza"> +<p class="i2"><i>Lo here in earth my body lyes,</i> </p> +<p class="i2"><i>Whose sinfull lyfe deserves the rod:</i> </p> +<p class="i2"><i>Yet I believe the same shall rise,</i> </p> +<p class="i2"><i>And praise the mercies of my God.</i> </p> +<p class="i2"><i>As for my soule let none take thought,</i> </p> +<p class="i2"><i>It is with him that hath it bought;</i> </p> +<p class="i2"><i>For God on me doth mercy take</i> </p> +<p class="i2"><i>For nothing else but Jhesus sake.</i>" </p> +</div> +</div> + +<p> +Bullen or Boleyn was dean during the greater part of the reign +of Elizabeth, who offered him the bishopric of Worcester, which +he refused. Elizabeth, it will be remembered, was the daughter of +Anne Boleyn, whose kinsman the dean was. +</p> +<p> +<b>The Font</b> stands between the first and second pillars +from the west door on the north side of the nave. It is quite +modern, and is the gift of the Honourable Mrs Henry Howard, widow +of the late dean. It is made of alabaster and Caen stone, and is +supported on marble pillars. There are four sculptured panels in +relief, representing—"The Entry into the Ark," "The Passage +of the Red Sea," "The Baptism of our Lord," and "The +Resurrection." Between these there are niches containing figures +of St. Mary, St. Peter, St. Chad, and St. Helen. +</p> +<p> +A curious old font was discovered in 1856 immediately under +the place where the present altar stands. It was very simple in +form, being about a yard and a half square and two feet thick, +with a hemispherical cavity in it. It had been coloured bright +red, and was much cracked, as though it had been subjected to +intense heat. How it came where it was is not known. It may have +been discarded as rubbish or hidden as a relic. +</p> + +<p><span class="pagenum"><a name="page64" id="page64"></a>[64]</span></p> + +<p> +<b>The Pulpit</b> is in the nave, and is fixed to the +north-western pier of the tower. Its design and execution were by +Sir Gilbert Scott and Mr Skidmore respectively, who were also +responsible for the choir screen. The pulpit is of wrought-iron, +brass, copper, enamels, and marble. In the middle there is a +bronze group representing St. Peter preaching on the Day of +Pentecost. There are stairs on each side of the pulpit. The brass +<b>Lectern</b> is also modern, and is in the usual form of an +eagle. It was presented by the members of the Lichfield +Theological College, and was executed by Mr Hardman of +Birmingham. The <b>Litany Desk</b> is by Messrs Rattee & Kett +of Cambridge, the well-known carvers; and the <b>Bishop's +Chair</b>, which stands under the great tower, was presented by +the clergy of Derbyshire when that county was transferred from +this diocese to the new diocese of Southwell. The chair is not of +striking beauty. +</p> + +<div class="figcenter"> +<a href="images/image21.jpg"> +<img src="images/i-21-s.jpg" width="500" +title="North Aisle of Nave, Looking East." +alt="NORTH AISLE OF NAVE, LOOKING EAST." /></a> +<br /> +<div class="left"><small><i>Photochrom Co. Ltd., Photo.</i>]</small></div> +<br /> +NORTH AISLE OF NAVE, LOOKING EAST. +</div> + +<p> +In the North Aisle of the Nave there are several monuments and +some modern glass. The window in the north-west tower has +recently been adorned with glass to the + +<span class="pagenum"><a name="page65" id="page65"></a>[65]</span> + + memory of Bishop +Lonsdale, under whom the recent restoration commenced. The +subject is "The Presentation of Christ in the Temple," and it is +the work of Messrs Burlison & Grylls. Close to this is a +tablet, originally placed in the north transept by order of Ann +Seward, who had considerable fame as a poetess in the last +century, to the memory of her father, Canon Seward, his wife and +daughter Sarah. It also commemorates her own death. The lines are +by Sir Walter Scott, but it is impossible to be enthusiastic over +them. They end— +</p> + +<div class="poem"> +<div class="stanza"> +<p class="i2">"<i>Honour'd beloved, and mourn'd here Seward lies;</i> </p> +<p class="i2"><i>Her worth, her warmth of heart, our sorrows say,—</i> </p> +<p class="i2"><i>Go seek her genius in her living lay.</i>" </p> +</div> +</div> + +<p> +There is a representation of the poetess mourning her dead +relatives, while her harp is hanging neglected on a tree. On the +other side is a memorial tablet to Lady Mary Wortley Montagu, who +was a native of Lichfield. In these days of +anti-vaccination agitations it is interesting to read the +inscription which runs:— +</p> + +<p class="quote"> +"<i>The Right Honourable Lady Mary Wortley Montagu, who +happily introduced from Turkey into this country the Salutary +Art of inoculating the Smallpox. Convinced of its efficacy, she +first tried it with success on her own children, and then +recommended the practice of it to her fellow-citizens. Thus, by +her example and advice, we have softened the Virulence and +escaped the danger of this Malignant Disease. To perpetuate the +memory of such benevolence, and to express the gratitude for the +benefit she hereby has received from this Alleviating Art, this +Monument is erected by Henrietta Inge, Relict of Theodore William +Inge, Esq., and Daughter of Sir John Wrotesley, Baronet. In the +year of Our Lord, 1789.</i>" +</p> +<p> +Close at hand is a tablet in memory of Mr Gilbert Walmesley, +who was registrar of the diocese, and an early and close friend +of Dr Johnson. Of him the latter wrote, in his life of Edmund +Smith (one of the well-known "Lives of the Poets"), that passage +which contains the celebrated sentence about David Garrick so +often quoted. Speaking of Gilbert + +<span class="pagenum"><a name="page66" id="page66"></a>[66]</span> + + Walmesley, he says that he is "not able to name a man +of equal knowledge. His acquaintance with books was great; such +was his amplitude of learning, and such his copiousness of +communication, that it may be doubted whether a day now passes in +which I have not some advantage from his friendship. At this +man's table I enjoyed many cheerful and instructive hours with +companions such as are not often found; with one who has +lengthened, and one who has gladdened life; with Dr James, whose +skill in physic will be long remembered, and with David Garrick, +whose death has eclipsed the gaiety of nations, and impoverished +the public stock of harmless pleasure." +</p> +<p> +There are other monuments in this aisle, but they are scarcely +of such general interest. Here are tablets in memory of Jane and +Catherine Jervis and of Elizabeth and Arabella Buchanan. There is +a stained glass window by Messrs Burlison & Grylls containing +three large figures of Joshua, St. Michael, and the Centurion, +with, underneath, pictures of the Angel appearing to Joshua, the +Centurion at the Cross, and the Centurion coming to Our Lord; +above, in the tracery of the window, are angels. This window was +the gift of the officers of the 38th (1st Staffordshire) +Regiment; on one side are their Peninsular, and on the other +their Crimean colours, which the dean and chapter received from +the regiment with much ceremony in 1886 and 1887 respectively. +Beneath the window is a brass in memory of those members of the +regiment who died in the Peninsula, first Burmah, Crimean, and +Egyptian (1882) wars, and the Indian Mutiny. There are also +brasses to Lieutenant-Colonels Sinclair and Eyre and the officers +and men of this regiment who fell in the first Soudan war, and +also brasses to Colonel Bromley Davenport and Sir Arthur Scott, +Bart. Here, too, is a window in memory of Canon Madan, his wife +and children: the subject being Faith, Hope, and Charity. In the +window next the transept is some quite new glass in memory of +Canon Curteis, the large figures representing Samuel, St. Paul, +and Origen, while below are Samuel teaching the Sons of the +Prophets, St. Paul saying farewell to the Elders at Miletus, and +St. Catherine and the Philosophers of Alexandria. +</p> +<p> +The famous Dr Stukeley, writing about 1715, says: "As you walk +down the north aisle, by a little doorway, formerly a chapel, + +<span class="pagenum"><a name="page67" id="page67"></a>[67]</span> + + where lay several figures now demolished, yet one +remains, who was dean Yotton, his coat of arms at his head and +Yot with a tun by it which shows his name." The only remaining +sign of this chapel is the entrance, which can be plainly seen +from the outside of the cathedral. +</p> +<p> +In the <b>South Aisle of the Nave</b>, at the west end, there +is a monument to Dean Addison, the father of the great essayist +and poet; he died in 1703. His memorial slab is now under the +Jesus Tower, but formerly it was on the north of the west door. +The glass in the window of the tower is in memory of Dean Howard, +during whose time as dean so much of the work of restoration was +done, and who so munificently aided the work. This glass, which +is by Messrs Burlison & Grylls, represents St. Michael and +the Dragon, and St. Chad. The other glass on this side is the +window of the fifth bay, by Messrs Clayton & Bell, the +subjects being Our Lord and Lazarus, Our Lord and Mary and +Martha, and Mary Magdalene washing Our Lord's feet; in the next +bay the glass, by Messrs Ward & Hughes, shows Faith, Hope, +and Charity; in the seventh bay the glass is by Messrs Clayton +& Bell, and has David and Goliath for its subject, and is in +memory of the officers of the 64th (2nd Staffordshire) Regiment +who fell in the Indian Mutiny. There is in the eighth bay a +window by Hardman in memory of Helen, wife of Josiah Spode. +Between the aisle and the nave there is a brass in the floor in +memory of the late Earl of Lichfield, placed there in 1854. There +are several other modern brasses and tablets. +</p> +<p> +In this aisle are two of the three semi-effigies to be seen in +the cathedral. These show only the heads and the feet. Britton +says: "They are said to represent two old canons of the church; +and are evidently of ancient date, as they appear to have been +placed in the present situation at the time of building or +finishing the nave." One of these is in a better state of +preservation than the other, and shows in the drapery the remains +of colour. +</p> +<p> +<b>The Transepts</b> are earlier than the nave in style, +having been built in the beginning of the thirteenth century: the +south transept first, and then the north. It must have been for +these transepts that Henry III., in 1235 and 1238, granted +licences to the dean and chapter of Lichfield to dig stone from +the royal forest of Hopwas for the new fabric of the + +<span class="pagenum"><a name="page68" id="page68"></a>[68]</span> + + church of Lichfield. Whether these ecclesiastics did more harm +than the king liked in digging on the first occasion cannot be +said, but on the second occasion they are permitted "fodere +petram ad fabricam ecclesiae suae de Lichefeld in quarrera de +Hopwas; ita tamen quod hoc fiat sine detrimento forestae +nostrae"—that is to say, they were to do as little damage +as possible. +</p> + +<div class="figleft"> +<a href="images/image22.png"> +<img src="images/i-22-s.png" width="200" +title="Arcade, with Semi-Effigy, in South Aisle." +alt="ARCADE, WITH SEMI-EFFIGY, IN SOUTH AISLE." /></a> +<br /> +ARCADE, WITH SEMI-EFFIGY, IN SOUTH AISLE. +</div> + +<p> +The transepts have three bays each, with eastern aisles, the +aisle belonging to the north transept being very much the larger. +There can be no doubt that when the Norman transepts were +standing there were no aisles; nor were any contemplated when the +choir was built, for, as Professor Willis says: "The side walls +of the choir are continued to the transepts, and had windows in +the part looking into the present transept aisles. Probably when +the choir was built Norman transepts were standing, and had each +an apsidal chapel looking east in the usual manner." +</p> +<p> +The history of the roof is extremely interesting. We know that +"in 1243 King Henry III. issued a commission to Walter Grey, +Archbishop of York, to expedite the works at St. George's Chapel, +Windsor, in which he orders a lofty wooden roof, like the roof of +the new work at Lichfield, to appear like stone work, with good +ceiling (<i>celatura?</i>) and painting. The transepts of +Lichfield have now stone vaults, considerably later than the +walls, and, therefore, may have had a wooden vault at first. The +date would suit the transepts better than the choir, and it may +be remarked that the early abacus of the vault shaft (at least, +in the south transept) is surmounted by a second abacus in the +Perpendicular style, which shows the later construction of the +springing stones of the present stone vault." The low stone +vaulting has destroyed the effect which the original windows in +the north and south ends of the transepts must have produced. At +the south end was probably + +<span class="pagenum"><a name="page69" id="page69"></a>[69]</span> + + a large five-light Early English +window, surmounted by a rose window. The rose window still +remains, but, being above the present groining, cannot be seen +from inside the cathedral; the five lights are replaced by a +nine-light obtuse-headed window, which seems much too large for +the transept; and this effect is increased by the extreme +whiteness and transparency of its glass. At the north end, the +five-light window is surmounted with three small lights, but +these last again are hidden in the roof. +</p> + +<div class="figright"> +<a href="images/image23.png"> +<img src="images/i-23-s.png" height="300" +title="Detail of a Semi-Effigy." +alt="DETAIL OF A SEMI-EFFIGY." /></a> +<br /> +DETAIL OF A SEMI-EFFIGY. +</div> + +<p> +The windows in the transepts have seen many +changes, and are now mostly in the Perpendicular manner, the +exceptions being in the west wall of the south transept, and the +north window just referred to. Until 1892 this was a large +Perpendicular window—which, though early, and prior to the +Civil War, was a manifest intrusion on the space originally +occupied by an Early English window. The old design, which is not +unlike that of the famous window at York, has again taken its +place. Canon Lonsdale says that this change is "in every sense a +restoration: for, on taking out the Perpendicular window, and +removing such of the stone work as was defective on either side, +the headings of the five Early English lights, which had +unquestionably composed the original window, were discovered, +hidden away by the later workmen. The cusps, or headings, of the +lights, as they are now seen from the inside, are, with the +exception of six stones, the very identical material which the +Early English builders carved, and placed in that spot. Of these +six missing stones, three have since been discovered during the +work going on in the south transept." +</p> +<p> +There can be no doubt that some of the +Perpendicular work in the cathedral is due to the general repair +at the Restoration; + +<span class="pagenum"><a name="page70" id="page70"></a>[70]</span> + + but Professor Willis declares that many of the changes +are earlier, and that they were perhaps effected in the time +between Bishops Heyworth and Blythe, 1420 to 1503. The engravings +of Hollar, already referred to, were published before 1660, and +show Perpendicular windows in the gable of the south transept and +in the clerestory; and though from these pictures nothing can be +gleaned about the north transept, the character of the +Perpendicular work was such that it also, as has just been +stated, must have been prior to the Rebellion. It is possible, on +the outside western face of the north transept, to trace the old +lancet windows, which must have been arranged in groups of three, +while the lower windows on the west side of the south transept +are still in their old form, though on this side there are only +two lancets to each bay. It may be mentioned here that underneath +these last windows, on the outside, there is an arcading with +simple pointed arches which does not appear on the other +transept. Inside the arcading differs in the two transepts; in +the south and older one the pointed arches are plain, while on +the north they are cusped. This arcading is almost entirely new; +what there was of it until recently was principally of +plaster. +</p> +<p> +From the ground plan of this cathedral published by Browne +Willis in 1727, we see that the whole of the aisle of the north +transept is described as "The Bishop's Consistory Court and St. +Stephen's Chapel," while the aisle of the south transept is +divided into two parts, the southern being called "The Dean's +Consistory Court," the northern "The Vicar's Vestry." St. +Stephen's Chapel was in the inner bay of the aisle; and it has +been suggested that "the chantry of St. Anne and the image of +Jesus" was in the rood loft of the same transept. +</p> +<p> +In the <b>North Transept</b> are many memorial tablets, but it +cannot be said that they are of general interest either from +their beauty, age, or on account of the eminence of the persons +commemorated. On the west side of the steps down from the north +door is the curious monument to Dean Heywood, who died in 1492, +and whose benefactions are mentioned in their proper places. The +monument is sadly decayed, but there is a print of it in Shaw's +"Staffordshire," taken, says Britton, from Dugdale's +"Visitation." From this we know that the upper part is now +missing; the lower part, which remains, shows the skeleton of the +dean—his body after death—while above was his +representation + +<span class="pagenum"><a name="page71" id="page71"></a>[71]</span> + + in full canonical costume. Similar +monuments may be seen at St. John's College, Cambridge, in the +chapel, and at Exeter and Lincoln Cathedrals. On the other side +of the door is a large modern monument to Archdeacon Iles, who +died in 1888: the figure is recumbent. Above the door is a marble +tablet to Dean Woodhouse; he gave the glass—now in the +Guildhall—which filled the Perpendicular window recently +replaced by the present Early English window. The new glass, and +indeed the new window, was given by Mr James Chadwick of Hints +Hall, near Tamworth; it is known as the Jesse window, and gives +the genealogy of our Lord according to St. Matthew. The figures +beginning from the west side represent (1) Achaz, Asa, Abia; (2) +Ezekias, Solomon, Roboam; (3) the Virgin Mary and Child, +Salathiel, David, Jesse; (4) Josias, Josaphat, Joram; (5) +Manasses, Joatham, Ozias; with angels in the four side lights. +The inscription under the window says: "Hanccine fenestram +Jacobus Chadwick de vico Hints reficiendam vitroque picto +ornandam impensis suis curavit. A.D. MDCCCXCIII." Messrs Clayton +& Bell are responsible for this window. +</p> +<p> +The whole of the aisle of this transept is taken up with the +organ, in front of which a metal screen or gryll was placed in +1881 by the officers and men of the 80th Regiment, in memory of +their comrades who fell in the Zulu War. The screen is ornamented +with imitations of Zulu shields and assegais. There are many +tablets in this aisle, but they are entirely hidden by the +organ. +</p> +<p> +<b>The Organ</b> was presented by Mr Spode of Hawkesyard Park, +near Lichfield, in 1860, and was first used at the reopening in +1861; in 1884 it needed repair, and was then very much enlarged +by Messrs Hill & Son, the well-known organ-builders of +London, the expense being defrayed by voluntary subscriptions. It +was dedicated, at the same time as the restored west front, in +the presence of a vast concourse of people, on May 29th, 1884. +The console of the organ is now behind the stalls in the first +bay of the south aisle of the choir. It is interesting to learn +from Canon Lonsdale that, when it was found necessary to build an +engine-house in the close to supply motive power to the organ, in +digging out the chamber, somewhat to the east of the steps +leading to the north door, two or three cannon balls and the +remains of a shell were unearthed at a short distance from the +surface. +</p> + +<p><span class="pagenum"><a name="page72" id="page72"></a>[72]</span></p> + +<p> +The present organ is the successor to many other organs. The +first of which there is any record was given to the cathedral by +Dean Heywood, as is known from this entry in the <i>Cantaria S. +Blasii</i>, in the cathedral library: "Magna organa in pulpito. +Item cito post festum nativitatis Sancti Johannis Baptiste. Anno +domini MCCCC. octogesimo secundo. ex providencia et sumptibus +magistri Thome Heywode decani antedicti. conferuntur ecclesi cath +lich organa nova magnae quantitatis. et formae decentis. ad +honorem sancti cedde et ornamentirm ecclesiae precij xxvi. Li. +iij.s. iiij.d. totalitur de sumptibus et expensis predicti +decani. Sma xxvj. Li. iij.s. iiij.d." +</p> +<p> +Dean Heywood also presented another organ, which was known as +the Jesus organ; but it was much smaller presumably, as it cost +rather less than half as much. +</p> +<p> +The next time there is mention of an organ is in 1634, when, +in an account of their travels by three tourists, they say: "The +organs and voices were deep and sweet, their anthems we were much +delighted with, and of the voyces, 2 Trebles, 2 Counter-tenors, +and 2 Bases, that equally on each side of the Quire most +melodiously acted and performed their parts." +</p> +<p> +The organ here referred to, however "deep and sweet," was not +considered good enough, for in 1636, according to a deed still +preserved in the cathedral, the dean and chapter purchased an +organ from Robert Dallam of Covent Garden, which, no doubt, "was +the pair of organs valued at £200" destroyed by the +Puritans. The organ that Hacket set up was obtained by the +subscriptions of ladies; the bishop writes: "An Organ is bespoke +at £600 price, to be call'd the Ladies Organ, because none +but the honourable and most pious of that sex shall contribute to +that sum." The names of the chief subscribers were written on the +organ: "Illustrissima heroina Francisca ducissima Somersetensis. +Honoratissima domina, comitissa Devon: Clarissima domina, Jana, +domina de Gerard Bromley," and many others, as set out by +Ashmole, who also tells us that there were "coats of arms under +the organ at the entrance into the choir," showing that the organ +loft was situated between the two eastern piers of the tower. +Harwood, in his "History of Lichfield," tells us of another organ +"which was removed in A.D. 1740 to the vicar's hall, and became +at length an ornament to Mr Greene's museum," whence it +afterwards found its way + +<span class="pagenum"><a name="page73" id="page73"></a>[73]</span> + + to the church at Hamstall Ridware. +While in the vicar's hall it was damaged by soldiers quartered +there in the '45. It is now in the bishop's palace. In 1740 it +was replaced in the cathedral by an organ by Schwarbrook, which +in turn, in Wyatt's time, was superseded by one by Samuel +Green—this was much larger, and took up the whole of the +western bay of the choir. The present organ is much the largest +the cathedral has possessed, and, compared to the old one in the +palace, is so large that, according to Mr Hewitt, the whole of +the latter would go inside the pedal pipes of the former. +</p> +<p> +The south transept has its full share of monuments, two of +which are of great interest. These are the memorials to Dr +Johnson and to his friend, David Garrick, the actor. The busts +are both by Sir Richard Westmacott, R.A. The inscription to the +first says: +</p> +<p class="quote"> +<i>The Friends of Samuel Johnson, LL.D. (a native of +Lichfield), erected this Monument as a tribute of respect to the +Memory of a man of extensive learning, a distinguished Moral +Writer, and a Sincere Christian. He died the 13th of December +1784; Aged 75 years.</i> +</p> +<p> +The other reads: +</p> +<p class="quote"> +<i>EVA MARIA, Relict of DAVID GARRICK, Esq., caused this +Monument to be erected to the Memory of her beloved Husband, who +died the 20th January 1779: Aged 63 years.</i> +</p> +<p> +Garrick had not only the amiable qualities of private life, +but such astonishing dramatic talents as to well verify the +observations of his friend, which have already been quoted (p. +<a href="#page66">66</a>), in reference to the memorial of Gilbert Walmesley. +</p> +<p> +Samuel Johnson was born in Lichfield, where his father was a +bookseller; his shop is still standing, scarcely altered, on the +west side of the Market Place, close to the monument of his +famous son (see p. <a href="#page136">136</a>). David Garrick came with his parents to +live in Lichfield when very young, and he and Johnson attended +the Grammar School together. There was a difference of several +years in their ages, but their life-long friendship must have +begun early, seeing that Johnson wrote the Prologue for Garrick's +performance of Farquhar's comedy, "The Recruiting Officer," which +took place at the Bishop's Palace when Garrick was only eleven +years old. Some years + +<span class="pagenum"><a name="page74" id="page74"></a>[74]</span> + + after, when Johnson had left +Oxford and had set up a school in the neighbourhood of Lichfield, +Garrick joined him as a pupil; but the venture did not prove +successful, and master and pupil left Lichfield for London, where +each in his own line reached the highest summit of fame. +</p> +<p> +These memorials stand side by side in the aisle; for some +reason, the busts were removed to the library when the interior +was being restored by Sir Gilbert Scott, but they have once again +been replaced in the spot originally chosen for them. The +friendship of Johnson and Garrick was long and cordial: it is +fitting we should see that in their death they were not +divided. +</p> +<p> +In this aisle, which until recently was used as the Dean's +Consistory Court, is another monument by Westmacott; this is in +memory of Andrew Newton, who was so munificent a friend to his +native Lichfield. He founded the institution on the west side of +the close for the widows and orphans of clergymen, which he also +endowed; and on his death, in 1806, he left a library of books to +the cathedral. +</p> +<p> +In the first bay of the aisle is a monument to the officers +and men of the 80th Regiment (Staffordshire Volunteers). The +design is Egyptian, and is surmounted by a sphinx. Over the +monument hang colours taken from the Sikhs, and on the wall +behind are the old regimental colours. At the south end is a very +fine and costly altar tomb—to Admiral Sir William Parker, +who, when he died in 1866, was the last survivor of Nelson's +captains. The slab of Pyrenean jasper is inlaid with a gold +cross, and the front is adorned with stones of porphyry and lapis +lazuli. The window above has some of the Herkenrode glass left +over from the Lady Chapel, together with some modern glass. The +great south window, which, as has just been stated, is in the +Perpendicular style, was in 1895 adorned with new glass; this was +the gift of Mr A. P. Heywood-Lonsdale, in memory of his father and +his uncle, Bishop Lonsdale. The subject is "I am the vine, ye are +the branches," and represents Our Lord in the centre surrounded +by angels, with the principal bishops of the Early Christian +Church. The six early British bishops: St. Columba, Scotland; St. +Wulstan, Worcester; St. Chad, Lichfield; St. Augustine, +Canterbury; St. Aidan, Northumbria; St. Hugh, Lincoln, are at the +feet of Our Lord. The other bishops are St. Basil, Caesarea; St. +Cyril, Jerusalem; St. Patrick, Ireland; St. Ignatius, + +<span class="pagenum"><a name="page75" id="page75"></a>[75]</span> + + Antioch; St. Polycarp, Smyrna; St. Boniface, Germany; St. Martin, +Tours; St. David, Wales; St. Gregory, Rome; St. Augustine, Hippo; +St. Athanasius, Alexandria; St. Cyprian, Carthage; St. Isidore, +Spain; St. Chrysostom, Constantinople; St. Ambrose, Milan; and +St. Vigilius, Aries. This glass is by Mr C. E. Kempe. On the west +side are several brasses and tablets, including one to John +Saville, vicar choral of the cathedral, who died in 1803. The +lines underneath are by the Miss Seward whose own memorial is in +the north aisle of the nave; they, like so much of the elegiac +poetry of the period, owe not only their style, but a good many +of their phrases, to the poet Gray. +</p> +<p> +<b>The Choir</b>, with the presbytery and +retro-choir—that is to say, the whole extent of that part +of the cathedral between the central tower and the entrance to +the Lady Chapel—has eight bays. The most noticeable +difference between it and the nave, is the absence of a +triforium. Professor Willis says: "The entire height of the +severey (or bay) is divided into two nearly equal parts, of which +the lower is given to the pier arches, the upper to the +clerestory. The window-sills of the latter are high, and there is +a passage in front of them immediately above the tablement or +string course over the pier arches. This passage, the veritable +triforium, pierces the great piers of masonry which sustain the +vault. The high sills receive the sloping roof of the side +aisles, and have three plain open arches in each severey to air +the roof." These sills are panelled with a foliated arcading, and +in front of the passage there is an open trefoil work parapet. +The effect of the windows inside is much enhanced by the lovely +quatrefoil ornamentation with which their splays are decorated. +In the single window—the east on the south side—where +the original tracery remains, it is very beautiful and graceful, +and is a good example of the Decorated period; but into the other +windows Perpendicular tracery has been introduced. +</p> +<p> +The vaulting is very much the same as in the nave, but the +vaulting shafts divide into seven instead of five ribs. The +bosses, as everywhere else in the cathedral, are very deeply and +richly carved. +</p> +<p> +On the four eastern sets of piers long slender shafts run up +from the base of the piers in the same way as in the nave, and +similarly the spandrels are ornamented with foliated circles, of +which nearly all trace had disappeared before the recent + +<span class="pagenum"><a name="page76" id="page76"></a>[76]</span> + + restoration. This, however, is not the arrangement on the three +western pairs. It was found here that these shafts did not reach +the ground; and so Sir Gilbert Scott, having discovered a portion +of the sculptured wing of an angel just above the dean's present +stall, decided upon finishing the shafts with corbels in the form +of angels occupied in minstrelsy. Above each of these +angels—which were innovations—he placed, under richly +crocketted canopies and standing on very finely-carved brackets, +the figures of six saints. These were not innovations, though no +signs of them appear in the engraving in Britton's "Cathedrals," +where, indeed, the incomplete shafts just mentioned are to all +appearance complete. But in Pennant's "Journey from Chester to +London," 1782, the six statues are mentioned, and he tells us not +only their names, but also that they were richly painted. The new +statues represent the same original characters: St. Mary, St. +Mary Magdalene, and St. Peter on the north side; St. James, St. +Philip, and St. Christopher on the south: these with their niches +have been executed partly from the old description of them and +partly by reference to the niches remaining in the Lady +Chapel. +</p> +<p> +An investigation of the roof proved that its bosses had been +originally profusely gilded and painted, and that the ribs had +been painted in tri-colour, though, oddly enough, this apparently +had not been the case in the Lady Chapel. Mr Dyce, R.A., was +called in to give an opinion, and suggested a large scheme, upon +which he actually started, but after having proceeded only a +small way, difficulties arose and he departed. What little paint +had been applied to the ribs was removed; but a few of the more +easterly bosses remain gilt to this day, and afterwards the +others were reddened to bring out the sculpture. +</p> + +<p><span class="pagenum"><a name="page77" id="page77"></a>[77]</span></p> + +<div class="figcenter"> +<a href="images/image24.png"> +<img src="images/i-24-s.png" height="500" +title="The Choir in 1820." +alt="THE CHOIR IN 1820." /></a> +<br /> +THE CHOIR IN 1820. +</div> + +<p><span class="pagenum"><a name="page78" id="page78"></a>[78]</span></p> + +<p> +The architectural history of the choir and presbytery is very +interesting. There is practically no documentary evidence at all +to tell when and how it was built; and what we know about it now +is due to the antiquarian skill of the late Professor Willis. +Nothing can have been more fortunate than that he should have +been able to make an inspection of the foundations of the choir, +for no man had a greater genius for using the smallest +discoveries to the greatest advantage. Numerous stories are told +of his extraordinary gift for divining what was to be found. As +Canon Lonsdale says: "He knew, as it were, by instinct +<!--above lines moved down from page 76--> + what was hidden under the soil. 'Dig there,' he said, +and the base he wanted came to light. 'Open out the earth here,' +and the solid piece of stone which he had been looking for to +complete his imaginary plan was straightway disclosed to view." +He came here in August 1859, when excavations were being made in +the choir, and on what he saw then he based the theory of the +growth of the cathedral which has found favour with everyone ever +since. The nature of his discoveries here, and the conclusions he +drew from them, have been briefly given in the section of this +book devoted to the history of the cathedral, so that it is +unnecessary to further discuss them, except when they apply to +buildings which are now in existence. +</p> +<p> +The present choir was commenced at the very beginning of the +thirteenth century. Of this choir only the lower portions of the +three bays nearest the tower remain above ground, but there is no +doubt that the original eastern termination had been removed to +make way for the beautiful presbytery which now remains and +extends eastward, with its vaulting at the same elevation as that +of the choir. This was done probably immediately after the Lady +Chapel had been built, or at the same time, and it is supposed +that the work proceeded from the east end and the old choir was +gradually pulled down, leaving the three western bays standing, +and that then the clerestory of these bays was replaced by work +in uniformity with that in the new presbytery; at the same time +the front half of their pier arches was removed and mouldings +given to them corresponding to those in the presbytery, their +piers were also slightly altered. In this way the choir and +presbytery acquired a uniform appearance, both inside and out; +for the portion of the old side aisle on the south is hidden by +the sacristry, and that on the north by the chapter-house and +vestibule. +</p> +<p> +As has been said, only one of the original Decorated +clerestory windows now remain; the others, it may be supposed, +were destroyed in the sieges of the Civil War, for they have been +replaced with Perpendicular tracery which belongs to a period +when this style was only being imitated; it was probably put in +at the Restoration. +</p> +<p> +The high altar is now placed between the sixth pair of piers +(counting from the west). This is probably the old arrangement, +but until the recent restorations the altar was placed in the +Lady Chapel: the pier arches of the choir + +<span class="pagenum"><a name="page79" id="page79"></a>[79]</span> + + were walled up, and a large screen placed in the +eastern tower arch; so that the choir and Lady Chapel were +converted into one long aisleless chapel. +</p> + +<div class="figcenter"> +<a href="images/image25.jpg"> +<img src="images/i-25-s.jpg" height="500" +title="The Choir, Looking East." +alt="THE CHOIR, LOOKING EAST." /></a> +<br /> +<div class="left"><small><i>Photochrom Co. Ltd., Photo.</i>]</small></div> +<br /> +THE CHOIR, LOOKING EAST. +</div> + +<p> +It is very interesting to note the signs in the choir of the +attempt to combine the two styles which, as has been explained, +met here. The third piers stand on the line of demarcation +between the part retained and the part rebuilt, + +<span class="pagenum"><a name="page80" id="page80"></a>[80]</span> + + and consequently carry an Early English arch to the +west and a Decorated arch to the east. The Early English column +was partially cut away and partially used in the new work, as may +be seen on inspection of these piers. It will also be seen that +the vaulting in the aisles is much rougher in the old part than +in the eastern bays. The plaster used to hide this; but Sir +Gilbert Scott caused it to be removed, and is said afterward to +have regretted having done so. +</p> + +<div class="figcenter"> +<a href="images/image26.jpg"> +<img src="images/i-26-s.jpg" width="500" +title="South Aisle of Choir, Looking East." +alt="SOUTH AISLE OF CHOIR, LOOKING EAST."/></a> +<br /> +<div class="left"><small><i>Photochrom Co. Ltd., Photo.</i>]</small></div> +<br /> +SOUTH AISLE OF CHOIR, LOOKING EAST. +</div> + +<p> +Another interesting junction between two buildings of +different dates is the entrance to the vestibule of the +chapter-house. This entrance is in the third bay of the north +aisle, and is obviously a combination of doorway and window, as +may be seen by comparing the window of the first bay with it. +</p> +<p> +Again, in the first bays of the aisles there are windows in +the Early English style, but they look only into the aisles of +the transepts; showing, as has before been stated, that the +transept aisles were not originally contemplated, and certainly +did not take the place of earlier Norman aisles. +</p> + +<p><span class="pagenum"><a name="page81" id="page81"></a>[81]</span></p> + +<div class="figcenter"> +<a href="images/image27.jpg"> +<img src="images/i-27-s.jpg" width="500" +title="The Choir, Looking West." +alt="THE CHOIR, LOOKING WEST." /></a> +<br /> +<div class="left"><small><i>Photochrom Co. Ltd., Photo.</i>]</small></div> +<br /> +THE CHOIR, LOOKING WEST. +</div> + +<p><span class="pagenum"><a name="page82" id="page82"></a>[82]</span></p> + +<div style="height: 2em;"><br /><br /></div> + +<p><!--[Blank Page]--><br /></p> + +<p><span class="pagenum"><a name="page83" id="page83"></a>[83]</span></p> + +<p> +The arch at the west end of the north choir aisle is +<!--above line moved down from page 80--> + decorated with a double chevron +moulding—evidence that it is one of the oldest pieces of +work left in the cathedral. This arch has at a more recent date +been lined with another arch of the Decorated period, probably in +order to strengthen it. +</p> +<p> +The arcading in the aisles is very interesting. In the first +three western bays in both aisles the large arcading, with its +plain trefoiled arches, is clearly Early English. The arcading in +the other bays is equally clearly of the Decorated period, and is +considerably smaller. In the four eastern bays in each aisle the +arches go right up to the course which forms the top of the +arcading, and the triangular spandrels thus formed are ornamented +each with a curious little head, having queer headgear; the rest +of the spandrel is carved with foliage, and in the plates of the +foliated arches are quaint animals. The arcading in the remaining +bay is similar, but angels' heads with wings take up the whole +spandrel. Some of the arcading, notably that in the three +easterly bays of the south aisle, is unrestored. The inferiority +of the modern work in the next bay is only too patent. +</p> +<p> +In the south choir aisle the third window from the east has +very beautiful carved work, the splays being covered with two +bands of richly-carved foliage. Under the window is now the tomb +of Bishop Hacket, and Dean Heywood's monument is said to have +also been in this place. +</p> +<p> +In the south aisle, over the entrance to the sacristy, there +is a very charmingly-proportioned gallery which is known as the +"minstrel gallery." A gallery of this kind, though not unique, is +very rare, but Exeter Cathedral has two—one in the north +transept and another in the nave. In this case the arcading has +been altered to accommodate this obviously later addition, made +probably in the early part of the fifteenth century. Three shafts +from the arcade have been left, which support a fan-shaped +vaulting, upon which the gallery rests. There is little doubt as +to the object of the gallery, though various theories have been +advanced. By some it is supposed that it was used by the priest +whose duty it was to watch the lights burning on the various +altars; others suggest that it was indeed used by the +instrumentalists to keep time during the procession, etc.; but, +as it is immediately in front of the chapel of the Head of St. +Chad, it was no doubt intended for the exhibition of the head to +those below + +<span class="pagenum"><a name="page84" id="page84"></a>[84]</span> + + in the aisle. However, it may be said that the raised +galleries in mediæval halls were always called by the name +of "minstrel gallery," and so the name came to be used of +galleries generally. This gallery is reached by the staircase in +the wall which leads to the upper floor of the sacristy. Just +against the entrance to this staircase, in the wall of the aisle, +is an ancient piscina. Its presence here is unexplained, as there +is no record of a chapel at this spot; though it has been +suggested that the altar dedicated to St. Blaise occupied a +position in this aisle. +</p> +<p> +It is perhaps worth noticing that in the old days the two bays +of the cathedral between the high altar and the Lady Chapel, +together with their portions of the aisles, were generally spoken +of as the Lady Choir, and are marked as such in old plans; other +writers again speak of this part of the building as "the cross +aisle." There were gates across the choir aisles in a line with +the reredos, and these are marked in the plan of the cathedral +published somewhere about 1720. No doubt the eastern ends of the +choir aisles in still earlier days were spoken of as St. Andrew's +Chapel or St. Nicholas' Chapel; but, though it is almost certain +that the east end of the north choir aisle was dedicated to St. +Andrew, there is no certain information as to the dedication of +the corresponding chapel in the south aisle, but it is generally +believed to have contained an altar to St. Nicholas. +</p> +<p> +<b>The Choir Screen</b> was designed by Sir Gilbert Scott and Mr J. B. +Phillips, and executed by Mr Skidmore of Coventry. It is a very +highly-ornamented structure in wrought-iron, copper, and brass, +and is said to have been the first screen of this kind; but other +screens of the same character are now to be seen at Salisbury, +Worcester, Hereford, and other churches. The capitals are of +hammered copper; there are imitations of various fruits in ivory, +onyx, and red and white cornelian: on the upper part, on each +side, are eight angels with instruments of music; the whole is +surmounted with a frieze of open scroll work, and a cross rises +from the top of the pedimented gate-way in the centre. The side +iron gates into the choir aisles were also executed by Mr +Skidmore. +</p> + +<p><span class="pagenum"><a name="page85" id="page85"></a>[85]</span></p> + +<div class="figcenter"> +<a href="images/image28.jpg"> +<img src="images/i-28-s.jpg" width="500" +title="Under the Central Tower." +alt="UNDER THE CENTRAL TOWER." /></a> +<br /> +<div class="left"><small><i>S. B. Bolas & Co. Photo.</i>]</small></div> +<br /> +UNDER THE CENTRAL TOWER. +</div> + +<p><span class="pagenum"><a name="page86" id="page86"></a>[86]</span></p> + +<div style="height: 2em;"><br /><br /></div> + +<p><!--[Blank Page]--><br /></p> + +<p><span class="pagenum"><a name="page87" id="page87"></a>[87]</span></p> + +<p> +<b>The Stalls</b> are modern, and are somewhat disappointing. The +canons' stalls have no canopies, and their absence certainly +deprives the choir of a feature generally to be found in +<!--above lines moved down from page 84--> + cathedrals. Otherwise, the stalls are a satisfactory +instance of modern carving, and were carried out by Mr Evans of +Ellastone in Derbyshire. He is always said to have been the +original of Seth in "Adam Bede," and he certainly was a cousin of +the great authoress. There is much natural foliage in the +carving, with figures of apostles, kings, and bishops, and panels +representing scenes from Old Testament history. The <b>Bishop's +Throne</b> is by the same artist. +</p> +<p> +<b>The Reredos</b> is a very gorgeous piece of work, but it +must be confessed that the effect is again not wholly +satisfactory. It might even be said that in the endeavour to +attain magnificence, over-elaboration has ended in a tawdry +appearance. However, tastes differ, and this reredos has its +admirers. It was designed by Sir Gilbert Scott, and cost +£2000, which sum was raised by the Honourable Mrs H. +Howard, the wife of the dean. It was part of the scheme that all +the materials for the reredos should come from the diocese, and +with the exception of the green malachite, this idea has been +carried out. The alabaster came from near Tutbury, and the +marbles from Derbyshire (then in the diocese): and the Duke of +Devonshire was induced to give some of the beautiful red marble, +which bears the name of the "Duke's red," from his quarry, so +rarely opened. +</p> +<p> +In the centre is a bas-relief of the Ascension, with, a figure +of "The Lamb" underneath; on each side are two compartments +containing the emblems of the four evangelists. All five +compartments are surmounted with very highly-decorated pediments, +the central one being the largest and most magnificent; above it +rises a very elaborate pinnacle, ending in a cross. There is an +open arcading on each side, extending to the piers of the +presbytery. The pediments have each a head in the centre, and +between the pediments are angels with ivory trumpets. +</p> +<p> +The reredos has purposely been kept very low, so that the view +of the glass in the Lady Chapel may be intercepted as little as +possible. One cannot help feeling that too much was sacrificed to +that idea. One of the main principles of the Gothic builder, it +has been said, was to suggest an air of mystery. The light screen +and the low reredos have the very opposite effect; and it may be +prophesied that the days of their admiration are rapidly coming +to an end. +</p> + +<p><span class="pagenum"><a name="page88" id="page88"></a>[88]</span></p> + +<p> +<b>The Sedilia</b> are interesting on account of the canopies, +which are old, and probably formed part of the original high +altar screen. Their style is that known as Perpendicular, but +they obviously belong to its early period. No doubt the screen +suffered grievously after the siege; and at the Restoration of +the monarchy and the cathedral a wooden screen was erected in +front of it. Pennant, who saw it in 1780, says: "The beauty of +the choir was much impaired by the impropriety of a rich +altar-piece, of Grecian architecture, terminating this elegant +Gothic building." +</p> +<p> +This arrangement came to an end in 1788, when Wyatt threw the +choir and Lady Chapel into one long chapel, and the old altar +screen was utilised in the choir screen and helped to support the +organ. When this screen in turn was taken down, the old canopies, +much battered and largely repaired with plaster, were examined, +and found to be of Bath stone, and in this the repairs were +executed. Six of them were used for the sedilia, and the other +three are to be found just behind, over the effigy of Dean +Howard. +</p> +<p> +<b>The Pavement</b> between the stalls is of tiles, made after +the pattern of old tiles which were found in the cathedral. The +modern ones are by Messrs Minton. There is some record of how the +cathedral has at various times been paved, as Dr Plot tells us +that "the old floor of the choir was paved lozengy with cannel +coal and alabaster, the former got at Beaudesert," and at one +time the nave and aisles were paved with brick. Some of the old +tiles and two slabs of coal are preserved in the floor of the +consistory court. +</p> +<p> +The pavement in the presbytery is different, and is made +principally of incised stone, with marble borders. There are four +large medallions, which show scenes in the history of the +diocese, and these are surrounded with representations of kings +and bishops who have had some connection with the see. The +general scheme was arranged by Sir Gilbert Scott, but the +medallions were designed by the Rev. J. Pitman, headmaster of +Rugeley Grammar School. The first medallion represents the +consecration of St. Chad as Bishop of York; round it are Oswy, +King of Northumbria and Mercia, who was the principal instrument +in introducing Christianity into Mercia; Diuma, first Bishop; +Wulphere, King of Mercia; and Jaruman, Bishop of Mercia, the +immediate predecessor of St. Chad. +</p> + +<p><span class="pagenum"><a name="page89" id="page89"></a>[89]</span></p> + +<div class="figcenter"> +<a href="images/image29.jpg"> +<img src="images/i-29-s.jpg" width="500" +title="Reredos." +alt="REREDOS." /></a> +<br /> +<div class="left"><small><i>S. B. Bolas & Co. Photo.</i>]</small></div> +<br /> +REREDOS. +</div> + +<p><span class="pagenum"><a name="page90" id="page90"></a>[90]</span></p> + +<p><!--[Blank Page]--><br /></p> + +<p><span class="pagenum"><a name="page91" id="page91"></a>[91]</span></p> + +<p> +The second medallion gives the well-known story of Theodore, +the great archbishop, setting St. Chad on a horse; around are +Ethelred, king of Mercia after Wulphere; Sexwulf, the bishop who +divided up the diocese; Offa, King of Mercia, who made Lichfield +an archbishopric, and Higbert, the archbishop. +</p> +<p> +The third medallion shows the translation of St. Chad's bones +from Stowe Church, where they were buried, to the cathedral; +around are Stephen, who was king when Bishop Roger de Clinton +built the Norman cathedral; Henry III., who gave stone for the +transept; and Bishop Langton, who built the Lady Chapel. +</p> +<p> +The fourth medallion shows the procession to the chapter-house +for divine service at the Restoration (1660); around are Charles +II. and Bishop Hacket, who then restored the cathedral; Queen +Victoria and Bishop Lonsdale, who was bishop at the time of the +recent restorations. +</p> +<p> +The altar space is covered with encaustic tiles, given by Mr +C. Minton Campbell. In the centre is the Feast of the Passover, +and around are shown Cain and Abel, Melchisedec blessing Abraham, +Abraham and Isaac, Joseph and his brethren, Moses striking the +Rock, and the Brazen Serpent—all Old Testament types of the +Divine Sacrifice. +</p> +<p> +<b>The Monuments</b> in the south choir aisle are particularly +interesting. Commencing from the west end, there is on the south +side an altar tomb in memory of Archdeacon Hodson, who died in +1855. The slab is of Serpentine stone, with a brass cross inlaid, +and there are alabaster plaques representing the Crucifixion, the +Entombment, the Resurrection, and the Ascension. Opposite is a +monument to his son, Major Hodson, known as "Hodson of Hodson's +Horse," who played a dramatic part in the Indian Mutiny, where he +received his death wound. The coped top forms a cross, and +underneath are represented the King of Delhi surrendering his +sword to Major Hodson, with allegorical figures of Justice, +Fortitude, Temperance, and Mercy; and at the corners statuettes +of Joshua, David, St. Thomas of India, and St. George of England. +Both these monuments are by Mr G. E. Street, R.A., the well-known +architect of the Law Courts in London. +</p> +<p> +Close to the gate is a medallion to Erasmus Darwin, "a skilful +observer of Nature," and the author of several books. He died in +1802, and was the grandfather of Charles Darwin, + +<span class="pagenum"><a name="page92" id="page92"></a>[92]</span> + + the celebrated biologist, whose name is a household +word. The memorial to the grandfather directs attention to the +hereditary obligations of the grandson. +</p> +<p> +In the second bay, between the pier arches, is the monument of +Bishop Langton, who died in 1296. This originally stood to the +south of the high altar. The figure is of Purbeck marble, and is +habited <i>in pontificalibus</i>; the head lies on a plain +cushion in a kind of frame. The mitre and shoes were probably +once richly jewelled, and the whole, as we know from Sir William +Dugdale's "Visitation," had a pedimented canopy. Now nothing +remains but the mutilated effigy. +</p> +<p> +In a similar position in the third bay is the effigy of Bishop +Patteshull, who died in 1241. This is also of Purbeck marble, and +was probably jewelled. There are ministering angels outside a +pediment at the head; the figure has the pastoral staff in the +left hand, while the right is obviously raised in benediction, +though only the fingers are left, the second wearing the +episcopal ring. Pennant and others have drawn attention to the +fact that this effigy has the "stigmata" or marks of Our Lord's +wounds on his hands and feet. Some antiquarians think that this +is the monument of Bishop Weseham, and not of Bishop Patteshull. +There are engravings and descriptions of these last two monuments +in Gough's "Sepulchral Monuments in Great Britain," 1796, but it +is certainly strange that Langton's monument is described as +Patteshull's, and <i>vice versa</i>. +</p> +<p> +Opposite to Bishop Langton is the most curious monument in the +cathedral. It has now been identified as the tomb of Sir John +Stanley of Pipe. The effigy represents a knight naked to the +waist, below which was formerly a deep skirt painted with the +arms of Stanley, the legs being in armour, while under the head +is a buck's horn, and a similar horn is placed beneath the feet. +The whole subject of this tomb is one presenting many +difficulties, but they have now been cleared up, and in a +communication to the "Archaeological Journal," vol. 24, Mr J. +Hewitt has given much interesting information. From it the +following account is taken:—The monument was always known +as that of "Captain Stanley," who for some offence had been +excommunicated, and who, after atonement, had been admitted to +sepulture in holy ground on condition that the evidence of his +punishment should appear on his sepultured effigy. The +mutilations + +<span class="pagenum"><a name="page93" id="page93"></a>[93]</span> + + of the Civil Wars have so defaced +the monument as to make this story extremely doubtful, until +among papers belonging to the Earl of Winchelsea was found a +coloured drawing of this effigy, done by Sir William Dugdale just +before the wars for Sir Christopher Hatton. This sketch showed +that the skin was bare, and that the skirt had the Stanley arms. +But this did not clear up the difficulty. Pennant, in his +"Journey from Chester to London," describes the tomb and gives +the story, and then says: "I find a Sir Humphrey Stanley of Pipe, +who died in the reign of Henry VII., who had a squabble with the +Chapter about conveying water through his lands to the close ... +so probably this might be the gentleman who incurred the censure +of the church for his impiety." Shaw, in his "History of +Staffordshire," declares that the arms on the base of the tomb +show "the arms of Stanley impaling or, three chevronels gules +(Clare)," which means that the person represented married a +Clare. This Sir Humphrey did not do, and, moreover, he was buried +in Westminster Abbey, where his brass still remains. Further +investigation showed that the arms of Clare are also the arms of +Gerard, and then that Sir John Stanley of Pipe married Margaret, +the daughter of Sir Thomas Gerard. Pipe is a domain about a mile +from Lichfield, so that the family of the dead knight would +naturally have desired his interment in the cathedral of that +city. +</p> +<p> +It does not appear that there was any ignominy implied in +scourging as a public penance. On the contrary, many royal +personages have submitted to it, and everyone will remember that +Henry II. underwent a scourging upon his naked shoulders by the +hands of the monks of Canterbury. There is a stained-glass window +in the Bodleian Library at Oxford showing this scene. +</p> +<p> +Dr Rock, in the same volume of the "Archaeological Journal," +says that to his thinking "this Stanley, of knightly rank, had +drawn upon himself the greater excommunication through the +spilling of blood in Lichfield Cathedral on some occasion, from a +blow on the face with his hand or possibly by a slight stab with +his avelace on the person of one with whom he had quarrelled. He +lies bareheaded and naked as far down as the girdle. His upraised +hands, according to the representation given by Pennant, and +copied in Shaw's + +<span class="pagenum"><a name="page94" id="page94"></a>[94]</span> + + 'History of Staffordshire,' held a scroll which must +have been the document ... signifying under the bishop's hand +that, having undergone the canonical penance, the offender was +again admitted to all Christian privileges." +</p> +<p> +Farther east than the "minstrel gallery" there is a window in +memory of Bishop Rawle, who was consecrated Bishop of Trinidad in +this cathedral by Bishop Selwyn. The subjects depicted in the +window are Christ's Appeal to St. Peter, St. Paul's Vision, and +The Baptism of the Ethiopian by St. Philip. Underneath the window +is a highly-ornamented altar tomb designed by Sir Gilbert Scott +in memory of Archdeacon Moore, whose effigy lies on the top. He +died in 1876. Opposite, in the next bay, is the monument of Dean +Howard, who died in 1868; the effigy of the dean, in marble, lies +under a triple canopy formed from portions of the old screen. +These last two effigies were the work of H. Armstead, R.A. It was +here that Bishop Langton's monument once stood, and here also was +Bishop Hacket's. This last now stands on the opposite side under +the very beautiful window of the sixth bay of this aisle: it is +in the Jacobean style, and is much painted and gilded. An effigy +of the Bishop lies on an altar tomb under a canopy, while in +front is a lengthy inscription in Latin. +</p> +<p> +Near this place, with other monuments, is one to the memory of +Colonel Richard Bagot, who received his death wound at the battle +of Naseby, 1645, and was buried in the cathedral. His father was +Sir Hervey Bagot, Governor of the Close on behalf of the +king. +</p> +<p> +In the seventh bay is another of the semi-effigies, two of +which are in the south aisle of the nave, but this one is much +more damaged; it is supposed to be the monument of Canon +Strangeways. In Jackson's "History of Lichfield," which was +published in 1805, it is stated that the name, though not then +distinguishable, had only recently become obliterated, and was +known and remembered to be Strangeways. +</p> +<p> +On the south wall, towards the east are, amongst others, +brasses to Dean Champneys, 1875, and Dean Bickersteth, 1892, and +above these there is a monument to Canon Horton, who died in +1728. +</p> +<p> +Two windows have recently been ornamented with new glass by Mr +Kempe, showing scenes taken from the Acts of the + +<span class="pagenum"><a name="page95" id="page95"></a>[95]</span> + + Apostles; one, in memory of Dr H. W. Hewitt, represents Peter and +Paul healing the lame man at the Beautiful Gate of the temple. +The other is in memory of Mr J. T. Godfrey Faussett, and +represents Stephen before the Council, having delivered his +apology, looking up and declaring "Behold I see the heavens +opened, and the Son of Man standing on the right hand of +God." +</p> +<p> +At the east end of this aisle, on the spot where probably once +stood the altar of St. Nicholas, is the famous monument known as +"The Sleeping Children." This was executed by Sir Francis +Chantrey, R.A., and set up in 1817. It is said that this monument +established his fame. Britton, in 1820, devotes more than two +large quarto pages—a great space for him—to ecstasies +over it, and no doubt the taste of the time demanded undiluted +admiration. Now we may prize it as an early example of the new +style which, in art as well as in literature, was to supersede +the artifice of the eighteenth century: the essence of that new +style was, Mr Walter Pater tells us, "an intimate consciousness +of the expression of natural things." +</p> + +<div class="figcenter"> +<a href="images/image30.jpg"> +<img src="images/i-30-s.jpg" width="500" +title="The Sleeping Children." +alt="THE SLEEPING CHILDREN." /></a> +<br /> +<div class="left"><small><i>Photochrom Co. Ltd., Photo.</i>]</small></div> +<br /> +THE SLEEPING CHILDREN. +</div> + +<p><span class="pagenum"><a name="page96" id="page96"></a>[96]</span></p> + +<p> +The monument is in memory of the two daughters of the +Reverend William Robinson, Prebendary of the cathedral, and +represents the young children locked in each other's arms. +</p> +<p> +Behind it is a wall memorial to their father, and to the side +is a piscina, which has at the back of it an old fresco, probably +of the fourteenth century. The subject is the Crucifixion, with +figures of St. Mary and St. John, one on each side of our Lord. +The illustration is from a drawing preserved in the National Art +Library, South Kensington Museum. The window at the end of the +aisle contains some of the old Flemish glass, which has in the +centre a curious representation of the Trinity. +</p> +<p> +In leaving this aisle it may be noted that tradition has it +that between the pillars of the eighth bay was the monument of +Lord Basset: that the tomb of Bishop William de Corkhull was +between the pillars of the seventh bay, and that, in a similar +position in the fifth bay, was buried Bishop de Molend. The +Ashmolean MSS. give a long description of Lord Basset's monument: +"Between the choir and the chapel of the Blessed Mary is the +monument of Ralph, Lord Basset. He is lying in complete armour, +his hands erected, and thereon his gauntlets. On his head, which +is laid upon his helm and crest, viz., a boar, is a steel cap, +and on his right shoulder a square shield of his arms. His dagger +is laid by his right side, and his feet are resting upon a boar." +He died in the reign of Richard II. It is always said that Sir +Walter Scott had this monument in his mind when he described Lord +Marmion's monument:— +</p> + +<div class="poem"> +<div class="stanza"> +<p class="i16"> "Fitz-Eustace care </p> +<p class="i2">A pierced and mangled body bare </p> +<p class="i2">To moated Lichfield's lofty pile; </p> +<p class="i2">And there, beneath the southern aisle, </p> +<p class="i2">A tomb, with Gothic sculpture fair, </p> +<p class="i2">Did long Lord Marmion's image bear, </p> +<p class="i2">(Now vainly for its sight you look; </p> +<p class="i2">'Twas levell'd when fanatic Brook </p> +<p class="i2">The fair cathedral storm'd and took; </p> +<p class="i2">But thanks to Heaven and good St. Chad, </p> +<p class="i2">A guerdon meet the spoiler had!) </p> +<p class="i2">There erst was martial Marmion found, </p> +<p class="i2">His feet upon a couchant hound </p> +<p class="i4">His hands to Heaven upraised; </p> +<p class="i2">And all around, on scutcheon rich </p> +<p class="i2">And tablet carved, and fretted niche, </p> +<p class="i4">His arms and feats were blazed." </p> +</div> +</div> + +<p><span class="pagenum"><a name="page97" id="page97"></a>[97]</span></p> + +<div class="figcenter"> +<a href="images/image31.jpg"> +<img src="images/i-31-s.jpg" height="500" +title="Fresco-Painting of the Crucifixion in the South Choir Aisle." +alt="FRESCO-PAINTING OF THE CRUCIFIXION IN THE SOUTH CHOIR AISLE." /></a> +<br /> +<div class="left"><small><i>F. G. M. Beaumont, Photo.</i>]</small></div> +<br /> +FRESCO-PAINTING OF THE CRUCIFIXION IN THE SOUTH CHOIR AISLE. +</div> + +<p><span class="pagenum"><a name="page98" id="page98"></a>[98]</span></p> + +<p> +The accounts do not entirely tally, so that it may be +the tomb described was as little Lord Basset's as it was really +Lord Marmion's. +</p> +<p> +Not very far from this last tomb was the monument of William, +Lord Paget, who was not buried here but at Drayton. He was +ambassador from Henry VIII. to Charles V., and held other +important posts under that king and his daughter, Queen Mary; he +died in 1563. There is an engraving of his monument in Shaw's +"Staffordshire," which shows it to have been very +magnificent. +</p> +<p> +The monuments in the <b>North Choir Aisle</b> are not only +more scanty than those in other parts of the cathedral, but they +are of less interest. At the east end is the kneeling figure of +Bishop Ryder, who died in 1836. This monument is in white marble, +and one of Chantrey's latest works, just as the more famous +monument in a similar position in the south aisle is one of his +earliest. It was originally intended that the figure should be on +a higher pedestal, and no doubt the effect is not increased by +its lower position. +</p> +<p> +Behind, on the east wall, is an inscription in memory of the +bishop. The window above this contains some old Flemish glass, +which has a figure of St. Christopher in the centre. The window +in the north side in the corner is by Mr C. E. Kempe, in memory of +Mr Patterson, late sub-chanter of the cathedral. The glass shows +King David teaching the singers of the House of the Lord. Beneath +is an ancient aumbry. +</p> +<p> +Opposite, between the pillars, is the traditional site of the +burial-place of Bishop Stretton; he is said to have been buried +in St. Andrew's Chapel. There is little doubt that the end of +this aisle contained an altar dedicated to that saint. +</p> +<p> +Between the next pair of pillars westward, it is said that +Bishop Blythe was buried, but his monument at one time stood in +the other aisle of the choir. +</p> +<p> +On the north side of the altar is the monument to the memory +of Bishop Lonsdale, who died in 1867. The monument, which is +highly decorative, consists of an effigy of the bishop lying on +an altar-tomb of marble and alabaster. The effigy is by Mr G. F. +Watts, R.A., the celebrated artist, and the tomb was designed by +Sir Gilbert Scott, who is said to have taken the idea of the +canopy, with its triple pediment, from the monument of John of +Eltham in Westminster Abbey. +</p> + +<p><span class="pagenum"><a name="page99" id="page99"></a>[99]</span></p> + +<p> +In the space between the next pair of pillars westward, +Archbishop Scrope, formerly bishop of this diocese, is said to +have been buried. He was beheaded in 1405 by Henry IV. +</p> +<p> +In the most easterly bay but one of this aisle there must have +been a doorway leading into the chapel which Dr Stukeley speaks +of: "In the chapel over against the lady choir was the +burying-place of two Mercian Kings; but it is now chosen for a +burying-place by Dr Chandler, present bishop of Lichfield, who +has there buried one child." +</p> +<p> +<b>The Lady Chapel</b> has always most justly been admired by +architects and antiquarians. Not only is it peculiarly beautiful +in its construction, but also its windows are now filled with +some of the most charming old glass to be seen in England. In +shape it forms a symmetrical extension, both in height and width, +to the choir, but without aisles; and it has an octagonal +apse—the only example, it is said, of such a termination in +the country. It is lighted by nine high windows, with Decorated +tracery. This tracery has recently been restored in the style of +that in the three end windows; until this was done most of the +windows contained Perpendicular tracery. +</p> + +<div class="figcenter"> +<a href="images/image32.jpg"> +<img src="images/i-32-s.jpg" width="500" +title="Brackets in the Lady Chapel." +alt="BRACKETS IN THE LADY CHAPEL." /></a> +<br /> +BRACKETS IN THE LADY CHAPEL. +</div> + +<p> +The windows rest on an arcade of very beautiful design. The +arcade may be said to consist of a series of small decorated +canopies, supported by shafts with carved capitals, and separated +by ornamented buttresses. The canopies, which bow forward, have +trefoil ogee arches, surmounted with crockets and finials. Above +the arcade is a similar embattled parapet to that in the choir, +with a similar passage round the chapel behind it. +</p> +<p> +The vaulting of the roof is like that in the choir; the same +number of ribs diverging from the slender shafts which run right +down to the bends of the arcade. Half-way up these + +<span class="pagenum"><a name="page100" id="page100"></a>[100]</span> + + shafts are niches, the brackets and canopies to which +are beautifully carved. These are old, but until recently were +empty, and no authentic record remained as to what were the +characters represented. Dr Stukeley believed that the figures had +been those of the five wise and five foolish virgins. This theory +has not, however, found sufficient favour to lead to a +reproduction of their effigies, for in 1895 the niches were +filled with figures of ten virgin saints and martyrs. These were +executed by Messrs Farmer & Brindley, from designs by Mr C. E. +Kempe, and they may be warmly congratulated on their work. The +statues are really beautiful, and are infinitely superior to most +of the other modern sculpture in the cathedral. It will be +noticed, too, that the figures seem the right size for the +niches, instead of being much too large, as in many other cases. +The statues are as follow:— +</p> + +<p> +1. St. Werburga, with pastoral staff and book, and a +model of Chester Cathedral at her feet. +</p> +<p> +2. St. Cecilia, with organ. +</p> +<p> +3. St. Prisca, with palm branch, and lion at her feet. +</p> +<p> +4. St. Faith, with sword and rack. +</p> +<p> +5. St. Catherine, with sword and wheel and open book, +treading on a monster. +</p> +<p> +6. St. Margaret, with book and cross, treading on a +dragon. +</p> +<p> +7. St. Lucy, with palm branch and lamp. +</p> +<p> +8. St. Agnes, with palm branch and book, and lamb at +her feet. +</p> +<p> +9. St. Agatha, with palm branch and tongs. +</p> +<p> +10. St. Etheldreda, with crown and pilgrim staff, and +pastoral staff and a model of Ely Cathedral at her feet. +</p> + +<p><span class="pagenum"><a name="page101" id="page101"></a>[101]</span></p> + +<div class="figcenter"> +<a href="images/image33.jpg"> +<img src="images/i-33-s.jpg" height="500" +title="The Lady Chapel." +alt="THE LADY CHAPEL." /></a> +<br /> +<div class="left"><small><i>Photochrom Co. Ltd., Photo.</i>]</small></div> +<br /> +THE LADY CHAPEL. +</div> + +<p><span class="pagenum"><a name="page102" id="page102"></a>[102]</span></p> + +<p> +The present altar-piece, which is in the form of a triptych, +has scenes connected with the birth of Our Lord carved in relief. +These are: The Annunciation, the Salutation of Elizabeth, the +Nativity, the Presentation in the Temple, and the Adoration of +the Magi. The doors, which can be closed, have paintings on the +back representing David, Isaiah, St. John the Baptist, and St. +Chad. There are four carved figures of St. Ambrose, St. Jerome, +St. Augustine, and St. Gregory supporting the central panel. The +altar rails are of alabaster. Before the recent alterations there +was a plaster reredos, which had been placed there by Wyatt, and +the continuity of the +<!--above lines moved down from page 100--> + arcading and open carved work, which originally went +right round the chapel, was thus broken. Sir Gilbert Scott is +said to have been anxious not to remove the reredos, partly, +perhaps, on account of the glass behind, which was known to be +plain. However, the restoration to the original style has been +made, and the plain glass replaced by a very excellent imitation +of the Herkenrode glass, representing the three Marys. This was +done by Messrs Burlison & Grylls with great skill. There was +a screen between the Lady Chapel and the rest of the cathedral in +old days. Stukeley mentions it in his notes. He says: "The +partition there betwixt the two choirs is a fine piece of +architecture, but demolished also in time of war; and, though the +figures are destroyed, and at the foot of the same every cherub +defaced, yet it may be perceived to be a fine piece of work; for +though it be uniform from top to bottom, yet every capital and +pedestall are different works within and without." +</p> +<p> +What is known of the building of the Lady Chapel has already +been told in Chapter I. and in the account of the choir and +presbytery. The founder of the chapel, Bishop Langton, was buried +here, but his tomb was afterwards removed to the south side of +the high altar. Shaw tells us of the monument at one time "in the +east part of the chapel, towards the south," of Robert Master and +Catherine, his wife, and says that "the drawing in Dugdale's +'Visitation' represents them each under a round arch, in the +attitude of prayer at a desk." No trace is left of this +monument. +</p> +<p> +As might be expected from what has been given of the history +of the cathedral, there is none of the old glass belonging to it +remaining; but in spite of this, all the nine windows of the Lady +Chapel have very beautiful old glass in them. This glass is not +Mediæval, but belongs to the sixteenth century, and the whole of +it is a comparatively recent acquisition for the cathedral. That +in the seven most eastern windows, and known as the Herkenrode +glass, was put in at the beginning of the century; and the other +two windows which, until recently, held modern glass, bearing the +arms of various dignitaries of the cathedral, have recently been +enriched by old glass of probably very nearly the same period as +the other. +</p> +<p> +The nine windows, for the purposes of explanation, may be +numbered in succession 1 to 9. No. 1, being the first window + +<span class="pagenum"><a name="page103" id="page103"></a>[103]</span> + + on the north, and No. 9, the first on the south, +contain, therefore, the more recently acquired glass. This is +supposed to have come from the Low Countries; but, at any rate, +about the middle of the century it was brought to England, and +lay for years in some cellars in London, where it was forgotten. +Finally, it was purchased from the representatives of the Marquis +of Ely. The glass shows the arms of the kingdom of Aragon, and +amongst other mottoes, that of Charles V. +</p> +<p> +No. 1. The lower compartment is a symbolic picture on the +subject of Baptism. Out of the waters in the fountain come the +children, to be received by their guardian spirits, while above +are figures representing Faith, Fortitude, and Love, and still +higher is a representation of the Divine Presence. No. 9 is a +pictorial representation of the legendary Death of the Virgin +Mary. The Virgin is represented lying in a canopied bed, +surrounded by the apostles, who have been summoned to gather +round her death-bed: they are all present except St. Thomas, who +has been detained at the baptism of a royal prince. Above is a +representation of the Virgin entering into glory. +</p> +<p> +As stated above, these two windows had originally coats of +arms in them, and a reproduction of the arms appears in the +tracery of the windows, No. 1 having those of the dean and +chapter in 1803, and No. 9 those of the bishops of the diocese +from Bishop Hacket to that date. +</p> +<p> +The glass in the other seven windows—the Herkenrode +glass—was purchased in 1802 by Sir Brooke Boothby, who +discovered it in Belgium, where it had been hidden for protection +from the French. It had been taken from the dissolved Abbey of +Herkenrode, near Liege. There were three hundred and forty +pieces, each about twenty-two inches square, and some of them are +marked with dates between 1530 and 1540. Sir Brooke is said to +have given two hundred pounds for it; but it has since been +valued at fifteen thousand pounds. He, however, most generously +sold it to the dean and chapter for the modest sum he had paid +for it. It turned out that there was enough to fill the seven +windows it now occupies in the Lady Chapel. Some portions have +been used in other windows of the cathedral, which have been +already described. +</p> +<p> +There is a considerable difference in appearance between + +<span class="pagenum"><a name="page104" id="page104"></a>[104]</span> + + this glass and that in the other two windows. The +subjects depicted in the latter are very distinct, while in the +former they are more confused, and it must be said that the +Herkenrode glass is much faded. Still, the whole of it is very +beautiful, and if it does not satisfy those who crave after the +Mediæval stained glass, it is certainly some of the finest +glass of the kind to be found in England. The designs have been +conjectured to be by Lambert Lombard, the first, and one of the +most famous, of the Italianised Flemish School of the sixteenth +century; and the other glass belongs to the same period. +</p> + +<div class="figcenter"> +<a href="images/image34.jpg"> +<img src="images/i-34-s.jpg" width="500" +title="Brackets in the Lady Chapel." +alt="BRACKETS IN THE LADY CHAPEL."/></a> +<br /> +BRACKETS IN THE LADY CHAPEL. +</div> + +<p> +The abbey at Herkenrode was founded in 1182, and belonged to +the Cistercian Order. It became noted for the miracles performed +there; from which reason, no doubt, it acquired great wealth, and +increased so much in size that it was almost like a small town. +All the nuns were of noble family. A history of the abbey was +published in 1744, and a copy was presented to the cathedral +library by Sir Brooke Boothby. The book contains a view of the +abbey buildings, in the centre of which is seen the church. In +the third window of the Lady Chapel is a similar picture of the +church. Windows Nos. 2 and 3 contain portraits of founders and +benefactors of the abbey, with their patron saints. The other +five windows, Nos. 4, 5, 6, and 7 show scenes in the life of +Christ. +</p> +<p> +The following is a brief description of these +windows:— +</p> +<p> +No. 2. In this window the glass is in four pictures. In the +lower left-hand compartment is Cardinal Evrad de la Marck, Bishop +of Liege, supported by St. Lambert; and in the corresponding +space to the right is Floris Egmont, Count de Buren, with his +wife, attended by St. Christopher and St. Margaret. The picture +above is of Maximilian Egmont, + +<span class="pagenum"><a name="page105" id="page105"></a>[105]</span> + + Count de Buren, kneeling before an altar, and +attended by St. Christopher and St. Barbara. The remaining +picture on the left has John, Count de Horn, and his wife Anne, +also kneeling before an altar. They are attended by St. John the +Evangelist and St. Anne the mother of the Virgin. +</p> +<p> +No. 3 contains six pictures, which go right across the +window—(1) the lowest, has the church of the abbey already +mentioned, with an abbess and two nuns, and the Virgin and Child; +(2) the Virgin and Child again, with an angel bearing a shield; +(3) the Virgin and Child, an abbot and abbess of the Cistercian +Order, and the Emperor Lotharius II.; (4) Agnes Mettecoven and +her husband kneeling to St. Agnes, with her lamb; (5) St. John +the Evangelist and St. Barbara, St. John the Baptist, and St. +Margaret, with members of the Mettecoven family; (6) the highest, +has Henry de Lechy and his wife, with St. Henry and St. +Christina. +</p> +<p> +No. 4. Christ scourged, Christ crowned with thorns, the +Annunciation. +</p> +<p> +No. 5, the central window. The Ascension, Christ and the two +Disciples at Emmaus, the Three Marys (modern glass). +</p> +<p> +No. 6. The Last Supper, the Entry into Jerusalem, the Betrayal +of Christ in the Garden of Gethsemane. +</p> +<p> +No. 7. The Day of Judgment, the Day of Pentecost, St. Thomas +is reproved for his doubt. +</p> +<p> +No. 8. Pilate delivering Christ to be crucified, Christ +bearing his Cross, the Descent from the Cross, the +Resurrection. +</p> +<p> +On the south side of the Lady Chapel, between the buttresses, +are three erections, which were no doubt built at the same time +as the Lady Chapel itself. They have been known as "the Mortuary +Chapels," and also as "the Vestries." They were probably built +for the former purpose. +</p> +<p> +They have recently been restored as a memorial to Bishop +Selwyn, who died in 1878. All three chapels have groined roofs, +with ribs and bosses, and in the floor some of the old encaustic +tiles still remain. The central chapel is the largest, and is +lighted by two small windows. It is only entered from the eastern +chapel by means of a doorway cut right through the buttress. In +this central chapel lies the effigy, in Derbyshire alabaster, of +Bishop Selwyn. During his life he had expressed a wish to be +buried here, but this was + +<span class="pagenum"><a name="page106" id="page106"></a>[106]</span> + + found to be illegal, and he was +buried in the close just outside. The effigy is by Mr Nicholls, +and the decorations of the walls of the chapel are by Messrs +Clayton & Bell. These show the arms of the bishopric of New +Zealand, to which the bishop was originally consecrated, and the +arms of the dioceses formed out of it, and there are more than +usually hideous frescoes showing the labours of the bishop among +the Maories and among the pitmen of the English diocese. Here he +is not likely to be forgotten; and at Cambridge there is a +college known as Selwyn College, founded with a similar idea to +that which at Oxford caused Keble College to be erected to the +memory of another great modern churchman: there also his memory +will remain. +</p> +<p> +The western chapel has, at its north-western corner, a +stair-way leading to three cryptal chambers whose flooring is the +solid rock. +</p> +<p> +<b>The Sacristy.</b>—The building on the south side of +the choir, which is generally known as the "sacristy," is a very +interesting part of the cathedral. Professor Willis decided that +it was erected at the same time as the original Early English +choir, and no doubt it belongs to the same period. A careful +inspection, however, especially of the entrance from the +"minstrel gallery" to the chapel of St. Chad's Head, which now +forms the top storey, shows unmistakable signs that, like the +entrance to the vestibule in the corresponding bay of the north +choir aisle, this doorway was once a window, similar, no doubt, +to those two still remaining—one in each aisle—which +look into the aisles of the transepts. This being so, it is +obvious that the "sacristy," or, at any rate, the upper storey, +was an afterthought, and that it is later, though perhaps only a +little, than the choir, its date corresponding perhaps with that +of the south transept. +</p> +<p> +The upper storey, which until recently was used as the +muniment room, was originally the chapel of St. Chad's Head. It +has now been restored as a chapel through the zeal and +munificence of the present dean, Dr Luckock, and was re-dedicated +and re-opened on St. Chad's Day, March 2nd of this year, 1897. In +the order of service of that day the dean gave an account of the +chapel as follows:— +</p> +<p> +"The Chapel of St. Chad, first Bishop of Lichfield, and, with +the Blessed Virgin Mary, patron of our Cathedral Church, + +<span class="pagenum"><a name="page107" id="page107"></a>[107]</span> + + was destroyed in all probability when the rest of the +Cathedral was laid in ruins in 1643, the siege beginning on St. +Chad's Day, March 2nd of that year. Little was left: the four +walls remained in a broken condition, with the vaulting-shafts +and caps for the springers of the stone groining, and the +wall-ribs, to mark its original lines; also the very beautiful +Early English windows—twelve lancets in groups of +three—which, singularly enough, were little injured. +Externally these are very plain, but internally they are full of +interest, and there is nothing better of the kind in the +Cathedral. The site of the old altar is clearly marked; indeed, a +small portion of it has been preserved. The piscina also still +remains. After the destruction the chapel must have been left +roofless for years, as, on breaking up the floor which had been +raised by some accumulation of rubbish, the workmen found roots +of shrubs embedded in it. At some time quite unknown, the chapel +was roofed in again, and the tops of the walls rebuilt where they +had been broken down. A flat plaster ceiling was inserted, and +being divided into two rooms, the old chapel was filled with +cupboards and used till last year for the custody of the +muniments. The aumbry remains in which antiquarians suppose that +St. Chad's relics were preserved. Dr Cox, in his Catalogue of the +muniments, page 90, throws some light upon the subject, from the +Chapter Act Books, quoting from F. 4 in the year 1481:—'Two +monstrances given to the Cathedral in charge of William Hukyns, +the custodian of the Head of St. Chad by Dean Heywood, for +keeping relics.' And he appends the following note:—'This +very likely gives the date of the stone gallery in front of the +muniment room in the South Choir aisle (then the chapel of the +head of St. Chad). This gallery is of Perpendicular work, and was +chiefly intended for the exhibition of relics, in monstrances, to +the pilgrims in the aisle below; the second staircase, that +allowed of a flow of pilgrims to the upper chapel, being at this +time removed.' All the stone groining and the wood and iron work +have been completely restored under the direction of Mr J. Oldrid +Scott. There are some very old pieces of stone figure-work, which +have been preserved. The new bosses and corbels have been carved +with subjects from the history of St. Chad, the chief of which +show his being mounted on horseback, by Archbishop Theodore; his +protection of the hart that fled to him for + +<span class="pagenum"><a name="page108" id="page108"></a>[108]</span> + + refuge; and his death in his cell, surrounded by +angels. The reredos, of Staffordshire alabaster, replacing one +the existence of which at the east end is clearly indicated, is +of a very uncommon design, by Mr C. E. Kempe. It consists of an +altar-piece of ornamental arcading, surmounted by three tall +canopied niches in which are placed sculptured figures +representing the Crucifixion, St. Mary, and St. John. These are +supported by angels bearing shields. All the windows are filled +with stained glass by Mr Kempe, and contain Choirs of Angels +singing the Confessor's hymn, or Psalm cxii., <i>Beatus vir</i>, +which runs in scrolls through nine of the lights. The angels over +the crucifix in the east window bear a scroll with the words of +Psalm xxi. 3, <i>Posimisti in capite</i>, etc. St. Chad is +represented in the centre lancet of the west wall." +</p> + +<div class="figleft"> +<a href="images/image35.jpg"> +<img src="images/i-35-s.jpg" height="200" +title="Capital in Chapter-House." +alt="CAPITAL IN CHAPTER-HOUSE." /></a> +<br /> +CAPITAL IN CHAPTER-HOUSE. +</div> + +<p> +This chapel is now approached by a staircase, leading from a +doorway in the fourth bay on to the gallery, usually and +incorrectly known as the "minstrel gallery," from which again two +short flights of steps, right and left, lead into the chapel. +</p> +<p> +The lower storey was originally the sacristy: it is now used +as the consistory court. Against the west wall are some of the +old Jacobean stalls, which were put into the choir in Bishop +Hacket's time; while in the corner are let into the floor some of +the old tiles and slabs of cannel coal with which, and alabaster, +the cathedral was at one time paved. The windows are filled with +Perpendicular tracery, replacing the old Early English windows. +Underneath, and reached by a staircase in the south-east turret, +now closed, is a vault, at present used as the burial vault of +the Paget family. Probably it was once a dungeon. +</p> + +<p><span class="pagenum"><a name="page109" id="page109"></a>[109]</span></p> + +<div class="figcenter"> +<a href="images/image36.jpg"> +<img src="images/i-36-s.jpg" width="500" +title="The Chapter-House." +alt="THE CHAPTER-HOUSE." /></a> +<br /> +<div class="left"><small><i>Photochrom Co. Ltd., Photo.</i>]</small></div> +<br /> +THE CHAPTER-HOUSE. +</div> + +<p> +In the west wall can be seen the place where a doorway led +into a chamber built in between the sacristy and the south +transept aisle. This was no doubt the treasury of the cathedral, +where all the most precious relics and valuables were kept. It is +now entered by a doorway in the choir aisle. At present it +appears to be a receptacle for odds and ends, and cupboards are +placed along the walls. On the west side are several large +aumbries, in which, no doubt, the relics were kept. The floor in +this chamber has been raised at some time or other, and it is now +much higher than that of the adjoining consistory court, so that +there are steps in the south-east corner leading to a door into +the consistory court. This is not the old doorway already +mentioned, which is blocked up, but probably a much later +entrance. Some old cannon balls which have been discovered in and +round the cathedral may be seen in the treasury. On the north +wall in both the consistory court and the treasury can be seen +the remains of an old course or housing which, though in both +cases incomplete, appears to have a semi-circular form. No theory +seems to have been advanced as to these remains, and in this book +it were wiser to follow precedent. +</p> + +<p><span class="pagenum"><a name="page110" id="page110"></a>[110]</span></p> + +<p> +<b>The Chapter-House</b>, which lies to the north of the +choir, is approached by a vestibule which has a doorway, already +described, into the third bay of the north choir aisle. Both the +chapter-house and the vestibule were built at the same time as +the north transept—that is, somewhere near the middle of +the thirteenth century—and the style is therefore that +known as the Early English, but it is a later instance than that +part of the choir into which the doorway leads. That the +vestibule was not built when the early part of the choir was +finished is evident, as "its walls abut against those of the +choir with a straight joint, and the arch of entrance in the side +aisle is a manifest intrusion into the space once occupied by a +window." The north end of the vestibule has also been altered, +there having been a doorway where now there is a window; the +former existed until nearly the end of the last century, but it +had been altered before the plate in Britton's "Cathedrals" was +engraved. It can easily be seen from the outside that such a door +must have existed, from the different colouring of the +stone-work. The window has recently been filled with stained +glass by Messrs Burlison & Grylls, representing Nehemiah and +Simeon, in memory of the late verger, William Yeend. Down each +side of the vestibule there is a very fine arcading, that on the +west side being double and much deeper than that on the east, +which is single; the niches are large enough to be used as seats, +and it has been suggested that here the ceremony of washing the +feet of the poor took place on Maundy Thursday; as there were +thirteen niches, this is highly probable. Some of the capitals of +the pillars of the arcade are very finely carved, and, as was +usual at the time, are very deeply under-cut; and the dripstones +terminate in very interesting corbels in the form of heads and +bunches of foliage. Recently, on the west side, some of the +arcading has been opened out to afford access to the new vestry, +which has been constructed by roofing in the space between the +vestibule and the north transept. On the east side near the +cathedral is the entrance to the library, which is the upper +storey of the chapter-house building, and is approached by a +spiral staircase. At the farther end, on the same side, is the +very fine entrance to the chapter-house. This, like the central +west doorway and that in the north transept, is double and +recessed. The mouldings in the arch are deeply and finely cut, +and the capitals of the grouped shafts are very + +<span class="pagenum"><a name="page111" id="page111"></a>[111]</span> + + richly carved with delicate leaves. The jambs have an +enrichment of dog-toothing behind the slender detached shafts, +and the two small arches have trefoil archivolts, so that the +whole has a very rich effect. In the tympanum of the arch there +is a bas-relief figure of Our Lord in a quatrefoil recess. +</p> + +<div class="figcenter"> +<a href="images/image37.jpg"> +<img src="images/i-37-s.jpg" width="500" +title="Eastern Portion of the Arcade in the Chapter-House." +alt="EASTERN PORTION OF THE ARCADE IN THE CHAPTER-HOUSE." /></a> +<br /> +EASTERN PORTION OF THE ARCADE IN THE CHAPTER-HOUSE. +</div> + +<p> +The chapter-house is a very fine room; it is octagonal in +shape, but the north and south sides of it are double the length +of each of the other six sides, which are equal. There is a +central pillar, the clustered shafts of which are banded in the +centre; the capitals of these shafts have a particularly rich and +elaborate carving of foliage; and above, the vaulting ribs spread +to the roof like the branches of a tree, producing a very fine +effect. The bosses where the ribs intersect are also worthy of +attention, and the ribs rise from very richly-carved and +deeply-moulded corbels. The windows are Early English, and of two +lights each. Below is a very beautiful arcading, similar, indeed, +to that in the vestibule, which entirely surrounds the building. +The arcade is composed of deep, moulded, trefoil arches, + +<span class="pagenum"><a name="page112" id="page112"></a>[112]</span> + + resting on single columns, with beautifully-carved +capitals, in some of which will be found figures of birds and +animals. The canopies of the arches are dog-toothed, and end in +curiously-carved heads, which afford interesting illustrations of +the head-dresses of the time. +</p> +<p> +The chapter-house was decorated with frescoes and stained +glass by Dean Heywood in the fifteenth century, as we know from +the MSS. entitled <i>Cantaria Sancti Blasii</i> in the library. +The frescoes have disappeared except over the doorway, where +still remain faint signs of the representation of the Assumption, +which may have formed part of Dean Heywood's decoration, but more +likely is earlier: it has been suggested that it was placed there +by Bishop Burghill from the fact that a Dominican Friar, to which +order he belonged, is represented in the group in adoration. The +glass contained figures of the apostles, with other pictures +above; these being all pre-Cromwellian, have, of course, +disappeared. More recently the glazing of the chapter-house +displayed armorial bearings, more or less correct, in imitation +of glass known to have ornamented the cathedral in the past. This +armorial glass is gradually giving way to glass representing +scenes in the history of the cathedral. At present, five of the +windows have been so glazed, and the rest will be changed +gradually, as opportunity offers. +</p> +<p> +The first window on the left-hand side on entering is in +memory of Prebendary Edwards. There are figures of St. Chad and +King Wulphere, with scenes showing the Consecration of St. Chad, +and the Baptism by St. Chad of the two sons of King Wulphere. +</p> +<p> +The second window is in memory of Archdeacon Allen and +Prebendary de Bunsen. The figures are St. Oswald and St. Aidan. +The scenes represent St. Aidan preaching to the Northumbrians, +with King Oswald interpreting; and St. Aidan at Lindisfarne, +teaching in his school, where St. Chad is one of the +scholars. +</p> +<p> +The third window is in memory of Dean Bickersteth. The figures +are Archbishop Theodore and St. Ovin, and the scenes St. Chad +teaching his clergy, and St. Ovin listening to the angels who +were calling St. Chad at his death. +</p> +<p> +The fourth window is in memory of Prebendary Gresley. The +figures are Oswy, King of Northumbria, and Diuma, the first +bishop of Mercia. The scenes are Bishop Jaruman + +<span class="pagenum"><a name="page113" id="page113"></a>[113]</span> + + promising to build a church at Lichfield, and the +institution by King Æthelwald of prebendaries. +</p> +<p> +The fifth window is in memory of Prebendary Finch Smith. The +figures represent Archbishop Higbert of Lichfield, and Thomas +Cantelupe, Bishop of Hereford, formerly prebendary of this +cathedral. The scenes are Bishop Aldulf at the Council of +Cloveshoo, renouncing the metropolitan powers in favour of +Canterbury, and Bishop Roger de Clinton building a new cathedral +in honour of St. Mary and St. Chad. +</p> +<p> +<b>The Library</b> is immediately above the chapter-house, and +is of the same octagonal shape. The arrangements also are +similar, but the room is less lofty, the carvings less elaborate, +and there is no reading. Otherwise, we find the same central +pillar, from which similar vaulting ribs spring, with corbels in +the walls to receive them. It is not known for what purpose this +room was originally intended, but certainly, until recent years, +it was not used as a library. The old library, of which there are +pictures by Hollar and King, stood to the north of the north +transept in the close, or, as it is recorded in the Capitular +Acts, vol. 3, "ex parte boreali in cimeterio." Dean Heywood gave +£40 to build the library, and though it was not begun in +his time, it was completed in the time of his successor, Dean +Yotton, who also subscribed to its erection. This was at about +the commencement of the sixteenth century, and the building +remained until the middle of the eighteenth, when it was +demolished. +</p> +<p> +The extent of the library has been increased by opening a +doorway into the room above the vestibule. This room, it has +recently been decided, was the old chapel of St. Peter. Though an +upstairs chapel was not usual, yet it is not by any means +unknown, and chapels were even sometimes to be found in the rood +lofts of cathedrals. No trace can be found of the fresco, +mentioned by Stukeley, of "St. Peter crucified with his head +downwards, and two other apostles, etc." He tells us that the +chapel was in his time used as a place for storing scaffolding +and ladders, and that here was placed the mutilated remains of +St. Chad's tomb. +</p> +<p> +The place still shows signs of its ill-usage, little having +been done to repair the ravages of the Civil War. The vaulting is +much broken, and the walls cracked: these facts strengthen the +belief in the tradition that it was on this building, together + +<span class="pagenum"><a name="page114" id="page114"></a>[114]</span> + + with the choir, that the great central tower fell +during the siege by the soldiers of the Parliament. +</p> +<p> +The library has had many generous donations of books at +various times. Under the will of Frances, Duchess of Somerset, +the cathedral received the library of her late husband, the Duke, +who succeeded his grandfather as Earl of Hertford, and was +restored to the family dukedom at the Restoration. The duchess +was the daughter of the Earl of Essex who was the favourite of +Queen Elizabeth, and whom she afterwards had beheaded. These +books numbered about one thousand, and included many rare old +Black-Letter chronicles and histories printed in the sixteenth +and seventeenth centuries. +</p> +<p> +Many others have contributed to the library, amongst whom are +Archdeacon Davies, 1763; William Smallbroke, 1771; Canon Lamb, +1770; Richard Hurd, 1777; Bishop Cornwallis, 1783; Rev. Henry +White, 1786; Dr Pegge, the well-known antiquary, who, amongst +other things, wrote an account of the life of Bishop Weseham, and +who left the library, by his will, one hundred books out of his +own library; Andrew Newton, who left his books to the cathedral, +and built the college in the close for the widows and orphans of +the clergy, besides spending large sums on educational purposes; +and Sir Brooke Boothby, 1815, who gave the "History of the Abbey +of Herckenrode," referred to in the account of the glass now in +the Lady Chapel. There have been besides many recent +benefactions, including a valuable set of drawings, by herself, +of most of the churches in the county of Stafford, left by Mrs +Moore, the widow of the Archdeacon of Stafford. There is also in +the library a fine old picture of the Duchess of Somerset, as +well as an engraving from Sir Joshua Reynolds' picture of Dr +Johnson. +</p> +<p> +Among the most valuable manuscripts and books in the library +are the "Gospels of St. Chad," of which more immediately; a fine +folio manuscript, on vellum, of Chaucer's "Canterbury Tales," but +without the doubtful Ploughman's Tale; the initial letters, +especially those at the commencement of each tale, being richly +coloured and gilt; the "Valor Ecclesiasticus of Pope Nicholas +IV."—this is an account taken of the value of +ecclesiastical property in the time of Edward I., from which the +tithe granted to the Pope could be ascertained. +</p> +<p> +Other notable volumes are, "Dives and Pauper," a MS. treatise +on the Decalogue—this treatise was one of the earliest + +<span class="pagenum"><a name="page115" id="page115"></a>[115]</span> + + books printed in England; "Orders generally to be +observed of the whole household of the prince his highness," a +large folio, marked with the sign-manual of King Charles I. at +every ordinance; and a collection of recipes by Sir John Floyer, +physician to Charles II. There is also a volume of MSS. already +often referred to, superscribed, "<i>Cantaria Sancti Blasii; +Ordinatio Majistri Thomoe Heywood decani Eccles. Lich de et super +Cantaria Jesu et Sancta Anne in parte boreai eccles. Lich et de +pensione Capellani ibidem perpetuo celebaturi et aliis articulis, +etc.</i>" Besides these, there are many rare +Bibles:—Cranmer's Bible, 1540; the "Breeches" Bible; the +"Vinegar" Bible, and many others. +</p> + +<div class="figcenter"> +<a href="images/image38.jpg"> +<img src="images/i-38-s.jpg" width="500" +title="The Gospels of St. Chad, in the Library." +alt="THE GOSPELS OF ST. CHAD, IN THE LIBRARY." /></a> +<br /> +THE GOSPELS OF ST. CHAD, IN THE LIBRARY. +</div> + +<p> +But to many the most interesting volume in the library will be +a copy of South's Sermons, published in 1694. It belonged to Dr +Johnson, and was used by him in the compilation of his +Dictionary. His method, apparently, was to put a letter in the +margin opposite the word whose particular use here he intended to +quote; and it is interesting, Sermons in hand, to test his method +with the dictionary. On one page a "K" in the margin is opposite +the word "Key." In the dictionary + +<span class="pagenum"><a name="page116" id="page116"></a>[116]</span> + + will be found +under "Key" the expected quotation from South, "that every man +should keep the key of his own breast." +</p> +<p> +The most valuable book in the library is the <i>Textus S. +Ceddæ</i>, generally known as "St. Chad's Gospels." This is +written on vellum, and contains the Gospels of St. Matthew and +St. Mark, and a small portion of the Gospel of St. Luke. It is +undoubtedly an Irish MS., probably about the end of the seventh +century. There is a page in the book which, with its tesselated +work enclosing a cross, recalls to antiquarians similar work in +the famous Irish Book of Kells, and in the Gospels of St. Columba +which are preserved at Dublin. The connection of an Irish MS. +with St. Chad is not difficult of explanation, since, after being +taught by St. Aidan at Lindisfarne, he is supposed to have gone, +as so many other earnest priests did at the time, to Ireland, to +one of the noted monasteries there. The MS. is in Latin, and, +with many remarkable variations, follows closely the <i>Codex +Amiatinus</i> of St Jerome. But its marginal notes are not the +least interesting part of the book; from these, which are +sometimes in Celtic and Anglo-Saxon, and sometimes in Latin, we +learn something of its history, which is remarkable. The +cathedral of Llandaff seems to have acquired it indirectly in +exchange for a horse, and there is a note in Celtic, "underneath +the record of this transaction, which is witnessed by Aidan; +whether or no this is the Northumbrian bishop is not known." +Another entry, on the page devoted to a picture of St. Luke, +shows that the MS. was still at Llandaff at the end of the ninth +century; but on the first page of all is a faint but legible +signature which reads "Kynsy" or "Wynsy Praesul", both names of +bishops of Lichfield at the end of the tenth century, so that it +had probably arrived at its present home not so far short of a +thousand years ago. There are other notes connecting it with +Lichfield. All these have been printed many times in the pages of +learned publications. It owes its escape at the time of the Civil +War to the vigilance of William Higgins, Archdeacon of Derby, who +was precentor of the cathedral. He abstracted it and kept it +until the troubles were over. It now lies in a glass case in the +library, side by side with the beautiful "Canterbury Tales." So +marvellous are some of the decorations, that it is no wonder +that, in an age more faithful than ours, popular belief declared +some of them to be "the work of angels." +</p> + +<p><span class="pagenum"><a name="page117" id="page117"></a>[117]</span></p> + +<div style="height: 4em;"><br /><br /><br /><br /></div> + +<h2> +CHAPTER IV +</h2> +<h3> +THE HISTORY OF THE SEE +</h3> + +<p> +At the present day the diocese of Lichfield consists of almost +the whole of the county of Stafford, part of Shropshire, and a +small part of Flintshire and of Warwickshire. Originally, in +Anglo-Saxon times, when the first bishop was appointed, the see +of Lichfield extended over the whole of Mercia—that is, +from the Humber and East Anglia on the north and east, to Wales +on the west, and the Thames on the south. Since those days the +diocese has been at various times divided, and other dioceses +formed; Hereford, Lincoln, Ely, Peterborough, Chester, Worcester, +Oxford, St. Albans, Gloucester, Manchester, Liverpool, and +Southwell, have all, in whole or in part, been formed out of what +was once the diocese of Lichfield. +</p> +<p> +Of Lichfield in Roman times practically nothing is known. +Situated as it is, at a little distance from the crossing of the +great Roman roads, Watling Street and Ryknield Street—at +which junction the Roman town of Etocetum (the modern Wall) lay, +Lichfield was then probably nothing more than open country. The +neighbouring towns have yielded a rich harvest of archaeological +treasures; but beyond coins of various Roman Emperors, bearing +Christian emblems, there is little to show that the Gospel had +made its way in this part of England; though, in the cemeteries +filled with urns containing the ashes of the dead, there have +been found, near Burton-on-Trent and near Derby, skeletons, no +doubt of Christians who, according to the rites of their +religion, had been buried and not burnt. +</p> +<p> +To Roman times belongs the legend, which is said to give its +name to Lichfield, of the massacre of Christians under +Diocletian; in consequence, it is related, the place was called +Lyccidfelth, or Licidfield—the field of dead men. This is +the derivation most generally accepted at the present day; but + +<span class="pagenum"><a name="page118" id="page118"></a>[118]</span> + + some etymologists think that Lichfield means +Lakefield, from the quantity of water in the neighbourhood. +</p> +<p> +It is almost certain that the people of Mercia remained pagan +from the Roman epoch, and through all the long wars which were +waged between the gradually defeated Britons and the Saxons. +Three Saxon kings, all pagans, ruled Mercia; and Christianity, +which had taken such firm hold in Northumbria, still had not +penetrated to the dark central region of Mercia. Then came Penda +the Strong, himself a pagan. "He was not baptised," it was said +of him, "and never believed in God." He slew many kings, amongst +them being the saintly Oswald, king of Northumbria. One of King +Penda's daughters had married Alchfrid, a nephew of Oswald and +son to the then King Oswy of Northumbria; and in 652 Penda's son, +Peada, became suitor for the hand of one of Oswy's daughters. +Peada was then ruling under his father the Middle Angles, and he +journeyed to the Northumbrian Court, where he was most hospitably +received, in spite of the fact that constant war was being waged +between Mercia and Northumbria; but the princess whom he sought +was promised him only on condition that he and his people in +Mid-Anglia should become Christians. Alchfrid became his teacher; +and the beauty of this new faith so seized on him that he +declared his willingness to become a Christian whether he might +win his princess or not. That same year he was baptised by Finan, +the British bishop and head of the Church in Northumbria, and +with him all his followers. He returned to his own country, +taking with him four priests of the British Church: Cedda, who +was afterwards made Bishop of London, and who was the brother of +St. Chad, Adda, Betti, and Diuma. These four taught the Gospel to +the Mid-Anglians, and even went north among the other Mercians; +and it does not appear that Penda, in spite of his paganism, made +any opposition. +</p> +<p> +Notwithstanding these close links between the two kingdoms, in +the year 655 Penda with an enormous force invaded Northumbria; he +was defeated and killed by Oswy, who now became king of Mercia, +but left Peada in his old rule in Mid-Anglia. This was the +death-blow of paganism in Mercia; Christianity, which was +beginning to take firm hold in Peada's country, spread rapidly, +and <b>Diuma</b> (656-658) was made bishop of Mercia. This may be +said to be the commencement of the + +<span class="pagenum"><a name="page119" id="page119"></a>[119]</span> + + see which +afterwards was called by the name of Lichfield; but as yet there +was no cathedral, nor was any place particularly settled upon as +the headquarters of the work which was so enthusiastically +carried on. Diuma was a travelling or missionary bishop, and when +he died, after a brief rule of two years, the Church in Mercia +was an accomplished fact. +</p> +<p> +Diuma was succeeded by <b>Creollach</b> (658-659), who, unlike +his predecessor an Irishman, was a Briton; he was appointed by +Oswy; but in this same year the Mercians rebelled, Oswy fled, and +Creollach fled with him, and finally retired to Iona. +</p> +<p> +The next bishop was a Saxon abbot named <b>Trumhere</b> +(659-662), and he was succeeded on his death by <b>Jaruman</b> +(662-667). Both were appointed by King Wulphere, son of Penda, +who had been raised to the Mercian throne by his people; and both +were Saxons who had been consecrated in the Northumbrian Church. +Jaruman was a most energetic bishop, and he appears to have been +sent into Essex to reconvert the people there who had fallen into +paganism again; his mission was a success, and Jaruman returned +to his own people in Mercia. +</p> +<p> +It was during Jaruman's episcopate that difficulties arose +between the Church in Britain and the Church in Rome. Rome had +sent messengers to Britain, and they had been the means of +converting a large portion of the south coast and of East Anglia; +but there were differences in the two Churches, and one +particularly caused much trouble. The Roman Church had always +kept Easter Day on a Sunday, but the British Church held this +feast on March 14, whatever day of the week it might be. A synod +was called at Whitby, and it was decided, mainly through the +instrumentality of Wilfrid, the future bishop of York, in favour +of the Roman Sunday. In this way, it may be said, began the rule +of Rome in the English Church. Shortly after, in 667, Jaruman +died, and no successor was appointed for two years. During this +time, Theodorus of Tarsus became Archbishop of Canterbury, and to +him belongs the credit of making the English Church: before, each +kingdom had had its own Church, but Theodore welded them together +into one whole, and completed their dependence on the bishop of +Rome. Wilfrid was made bishop of York, and St. Chad, who had been +consecrated to that see, retired to the abbey at Lastingham, only +in the next year, 669, to + +<span class="pagenum"><a name="page120" id="page120"></a>[120]</span> + + be reconsecrated as bishop of +Mercia by the new Archbishop of Canterbury. +</p> +<p> +<b>St. Chad</b> or <b>Ceadda</b> (669-672) made his seat at +Lichfield, and in so doing founded the diocese of Lichfield. +</p> +<p> +St. Chad, as has been stated before, was the patron saint of +Lichfield. What is known of him is principally derived from +Bede's "Ecclesiastical History of the English Nation." From this +we learn that when not on his missionary travels over the diocese +he spent most of his time in prayer, and in meditation on death +and supernatural things. His method was to proceed from place to +place in his diocese on foot; and there is a story of Theodore +taking St. Chad in his arms and lifting him on to a horse which +he presented to him. He founded the abbey of Barrow-on-Humber, +which King Wulphere endowed with fifty hides of land. His +headquarters, as we have said, were at Lichfield, and he built, +or finished building, a small church near what is still known as +St. Chad's Well, at the eastern end of Stowe Pool. +</p> +<p> +Like his predecessors' his time was short; only for two years +was he allowed to labour at Lichfield. There is a beautiful +legend of his death which has been well told by Dean Bickersteth. +"A week before his death a sound of angelic melody was heard +coming from the south-east, until it reached and filled the +little oratory where he was praying. This the good bishop +interpreted to be his summons to heaven. The voices, he privately +told Ovin, were those of angels. The messenger of death, that +'lovable guest,' was with them. They would come again in seven +days and take him with them. About the same time, Egbert, a +Northumbrian who had been a fellow-student with St. Chad in an +Irish monastery, dreamt that he saw the soul of Cedda, Chad's +brother, descending from heaven with a company of angels to take +the soul of Chad with him into the heavenly kingdom." As he had +foretold, so he died; but he was not forgotten, and many were the +miracles said to have been performed at his shrine. His bones +were removed from their first resting-place near Stowe Church +into a beautiful shrine in the cathedral, where they remained +until the Reformation, when they were taken away, and are now +said to be in the Roman Catholic cathedral at Birmingham. +</p> +<p> +There is another legend concerning St. Chad which has become +more closely attached to Peterborough than to + +<span class="pagenum"><a name="page121" id="page121"></a>[121]</span> + + Lichfield, but it must be briefly stated here, as the +story appears in some of the decorations of the cathedral. Bede +does not mention it, and it has been given in varying forms by +different writers. Briefly, the essence of the legend is that +Wulphere, the king of Mercia, had killed two of his sons, Wulfade +and Rufin, on account of their having been baptised by St. Chad. +Each of these young princes had been hunting in the forest when +he came across a hart with a rope round its neck. The prince gave +chase, and the hart led him to St. Chad, who, having prayed with +him, baptised him. This happened to both Wulfade and Rufin +separately. Then Wulphere in his anger slew them. Afterwards he +repented, and setting out to St. Chad, was led there by the same +hart, and found the saint at prayer, with his cloak hanging on a +sunbeam. Wulphere was absolved on condition that he should +expiate his crime by founding churches and monasteries all over +his kingdom. Lichfield is said to have been one of these +churches, and Peterborough one of these monasteries. Many +churches have been dedicated to St. Chad, especially in the +Midlands, and in the east of London there was a well known as St. +Chad's Well, where miracles were performed; and it was noted for +its medicinal waters up to quite recent times. A large district +in east London is still called after St. Chad's Well in the +corrupted form of Shadwell. +</p> +<p> +The next bishop was <b>Winfrid</b> (672-675), the abbot of St. +Chad's Abbey at Barrow-on-Humber; but in the year that he was +appointed a church council was held by Theodore, at which it was +decided to split up some of the dioceses. Lichfield being one of +the largest, would have been divided at once, but Winfrid, +whether for his own sake or at the instigation of King Wulphere, +resisted, and the diocese remained unchanged until Wulphere died, +when in 675, Winfrid, still remaining opposed to the scheme, was +deprived. He subsequently was murdered on his way to Rome. +</p> +<p> +The new bishop was <b>Saxwulf</b> (675-691), abbot of +Peterborough, and the work of cutting up the diocese was begun. +The sees of Hereford and Worcester were made. Lincolnshire was +taken from the diocese, and the Middle Angles became the see of +Leicester. However, Lichfield still remained an enormous diocese, +and when Saxwulf died he was bishop of both Lichfield and +Leicester. He was + +<span class="pagenum"><a name="page122" id="page122"></a>[122]</span> + + succeeded by <b>Hedda</b> +(691-721), who is said to have determined the site of the present +cathedral by building a church there. However, nothing remains of +this cathedral, but it is always supposed that Hedda brought St. +Chad's bones from Stowe Church and deposited them here. The +cathedral was dedicated to St. Peter. +</p> +<p> +Hedda and his successor, <b>Aldwin</b> (721-737), were bishops +of both Lichfield and Leicester. They were followed at Lichfield +by <b>Witta</b> (737-752), and the connection with Leicester +ceased. In 756 Offa, the greatest of the Mercian kings, ascended +the throne. Offa added a part of Shropshire to the diocese, which +from this time remained the same in extent down to the +Reformation. Here followed three bishops—<b>Hemele</b> +(752-764), <b>Cuthred</b> (765-768), and <b>Berthum</b> +(768-779)—of whom little is known; and then came +<b>Higbert</b> or <b>Hygeberht</b> (785-801), who holds a +remarkable position in the history of the diocese. Offa had by +this time advanced himself into the leading position in England; +and so great was his power that Charlemagne called him emperor of +the west, keeping for himself the title of emperor of the east. +But Offa was first of all king of Mercia, and it did not please +him to think that his bishops were subordinate to an archbishop +who lived in one of his subject states; and so he determined "to +humble Canterbury and exalt Lichfield." He began by confiscating +all the property of Canterbury situated in Mercia, and then he +appealed to the Pope that the bishop of Lichfield should be made +an archbishop. The Pope assented, a council held at Chelsea in +785 also agreed, and Higbert, the new bishop, became archbishop, +with the bishoprics of Worcester, Leicester, Lincoln, and +Hereford, parts of the old diocese of Mercia, as well as Elmham +and Dunwich, to make up his province. Offa died in 796, and +immediately a stir was made to restore Canterbury to its old +dignity. The negotiations were long, but in 802 Pope Leo decided +in favour of Canterbury, and the council of Cloveshoe in 803 +formally annulled the metropolitan dignity of Lichfield. +<b>Aldulf</b> (801-812), who had succeeded Higbert as archbishop, +became bishop, but took precedency after Canterbury overall the +other bishoprics, and <b>Herewin</b> (812-818) on his appointment +submitted to Canterbury. +</p> +<p> +Shortly afterwards <b>Æthelwald</b> (818-828) organised the + +<span class="pagenum"><a name="page123" id="page123"></a>[123]</span> + + bishopric upon the basis of its present constitution. +Churches were springing up all over the diocese, with their own +clergy, and so, although the church at Lichfield remained the +headquarters of the diocese, yet the clergy attached to it were +no longer to be responsible for the ministrations of the whole +diocese, but were to confine themselves to the estates of the +bishop and the cathedral, where they were to dwell under canons +or rules. It is possible that from this time the cathedral clergy +became known as canons. +</p> +<p> +Then comes the period of the invasion by the Danes, whereby +the country was devastated and the rich abbeys were destroyed. +Peterborough, Crowland, and Ely, "went up in flames"; the enemy +advanced along the Trent, and levelled to the ground the famous +monastery of Repton—the Walhalla of Mercia—where +countless kings and princes had been buried. What happened at +Lichfield is not known, but many bishops succeeded one another, +of whose consecration, in some cases, the dates are so doubtful +that it is not worth while to give them. Their names +are:—<b>Hunbert</b>, 828; <b>Kynebert</b>; <b>Tunfrith</b>; +<b>Ella</b>; <b>Algar</b>, 941; <b>Kinsy</b>, 949; <b>Winsy</b>, +964; <b>Elfege</b>, 973; <b>Godwin</b>, 1004; <b>Leofgar</b>, +1020; <b>Brithmar</b>, 1026; and <b>Wulsy</b>, 1039; but little +is known of them, though these two centuries are far from being +unimportant in the history of the diocese. +</p> +<p> +Probably the destruction of the royal abbeys caused the +building of numerous parish churches during this period, and of +the collegiate churches which were planted in the principal +centres of the population. The former were mostly endowed with +lands or tithes to support the parish clergy, or to recompense +the canons who should attend the church, in which latter case the +tithes were probably "appropriated" to the cathedral. +</p> +<p> +So the system developed until about the year 1000, when began, +in Mercia, a new age of monasteries, not like the old royal +abbeys which had mostly been destroyed, but houses that were +filled with monks or nuns of the Benedictine order. These +competed with the secular clergy in appropriating the endowments +of the churches, and a jealousy began between the two systems +which blazed continually, with greater or less heat, until the +final overthrow of the monasteries by Henry VIII. at the +beginning of the sixteenth century. +</p> +<p> +Early in the eleventh century was founded, at Coventry, the + +<span class="pagenum"><a name="page124" id="page124"></a>[124]</span> + + Benedictine abbey which had so great a share in the +history of the diocese. Its founder, Earl Leofric, was the +husband of the beautiful Godiva whose ride through the town made +Coventry free from tolls. +</p> + +<div class="poem"> +<div class="stanza"> +<p class="i2"> "I, Luriche, for love of thee, </p> +<p class="i2"> Doe make Coventre toll-free," </p> +</div> +</div> + +<p style="text-indent:0;"> +are the old words. She induced her husband to found and endow +the abbey with its twenty-four monks; she herself contributed her +gold and silver, and the monastery became so wealthy that "the +walls seemed almost too strait to hold it all." +</p> +<p> +<b>Leofwin</b>, bishop of Lichfield (1054-1066), was made the +first abbot of Coventry; he died in the year of the Conquest, and +was the last Saxon bishop: henceforth a new order of men was to +rule the Church in England. +</p> +<p> +No doubt Lichfield owed to its insignificance as a city the +immunity which it again enjoyed while all the neighbouring +country was being pillaged. William appointed his own chaplain, +<b>Peter</b> (1072-1084), as bishop, and here, no doubt, he lived +until 1075, when, at the synod of London, it was decided that the +seats of the bishops should be in the larger towns and not in the +villages. So to the town of Chester, where there were about 400 +or 500 houses, the bishop's seat was moved. +</p> +<p> +It is interesting to find in "Domesday Book" mention of the +extraordinarily heavy fines payable to the bishop at Chester for +such offences as the following:—"If any free man does work +on a holy day, the bishop has a forfeit of eight shillings. A +slave or maidservant so transgressing pays four shillings. A +merchant coming into the city and carrying a stall shall pay to +the bishop four shillings if he take it down between the ninth +hour of the Sabbath and Monday without licence from the bishop's +officer." +</p> +<p> +Following Peter came <b>Robert de Lymesey</b> (1087-1117), +who, after waiting a short time, obtained papal leave to remove +his seat to Coventry, the barony of which he bought from the +king; and so he became both bishop and abbot, and for about a +century his successors united the two offices. This arrangement +was not at all to the taste of the monks, and constant quarrels +occurred. Robert de Lymesey is said to have rifled the place; +some contend, for the sake of the cathedral at Lichfield, but +others, in order to prosecute the suit at Rome in which he was +involved with the monks. +</p> + +<p><span class="pagenum"><a name="page125" id="page125"></a>[125]</span></p> + +<p> +The next bishop was <b>Robert Peche</b> (1121-1126), +and then came <b>Roger de Clinton</b> (1129-1148); he was known +as the soldier-bishop, and was certainly a strong man, whatever +his reputation may have been in other ways. At Lichfield, he was +a reformer who did much good to the place. The five canons he +found there were dependent for their support on the bishop, and +he seems to have settled property on the cathedral to support +them. He also added a number of prebendaries, or non-resident +canons, who were to be members of the chapter, and were to enjoy +a stall in the choir; and to each stall a small estate or prebend +was attached. Many other things he did; but, principally, he is +supposed to have built the Norman cathedral, and to have +fortified the close. +</p> +<p> +Bishop Roger seems to have been also a great supporter of the +Cistercian monks, who appeared in the neighbourhood about this +time, and for whom he built an abbey in the diocese at Buildwas, +not very far from Shrewsbury. Then, being a soldier as well as a +bishop, he started for the East, and died, after fighting in the +Crusades, at Antioch in 1148. +</p> +<p> +Ever since the Conquest the struggles in the Church had been +growing sharper. There is no room for a full discussion of these +quarrels, but, briefly, it may be said that they arose largely +from a desire on the part of the monks and the collegiate +churches to shake off the power of the bishops. In doing this it +had been necessary to appeal more and more to the Pope, and in +consequence the Pope was gradually increasing his power in +England, to the detriment not only of the bishops, but also of +the king. On the death of Bishop Clinton, Stephen, instead of +appointing a successor himself, as had been the custom of the +king on previous occasions, found it necessary to depute his +authority to a joint council of the monks of Coventry and the +canons of Lichfield and Chester. They met at Leicester, and the +monks by themselves appointed <b>Walter Durdent</b> (1149-1159), +prior of Canterbury. The canons would not admit this election, +although the new nominee had been precentor at Lichfield; they +appealed to Rome, and—how the result came about is not +clear, but indeed is a matter of dispute—Durdent was +consecrated at Canterbury. He was enthroned at Coventry, but was +barred out of Lichfield, where he commenced his rule by +excommunicating the canons. But Durdent, being now a bishop, soon +drew the canons to his + +<span class="pagenum"><a name="page126" id="page126"></a>[126]</span> + + side, and it was with Coventry +that the differences continued. He and the prior were summoned to +Rome, where it was settled that the bishop should keep the abbey +as a monastic cathedral, but that the prior should in the future +have the first voice in the election of bishops. +</p> +<p> +Durdent died at Rome, and was succeeded by <b>Richard +Peche</b> (1161-1182), son of Robert Peche—for the clergy +of that day often married—who seems to have secured the +suffrages of both sets of electors. He retired just before his +end to the priory of St Thomas, near Stafford, which he had +founded in 1180 in memory of Thomas à Becket, who had been +murdered ten years previously. He was one of those who had +consecrated the archbishop a few years before, and he joined in +the popular indignation which ended in the canonisation of the +victim. About this time the diocese was permanently divided into +the archdeaconries of Derby, Stafford, Chester, and Coventry. +</p> +<p> +The next bishop was <b>Gerard Puella</b> (1183), a celebrated +authority on ecclesiastical and canon law. Lichfield refused to +admit him, and he died soon after his consecration. +</p> +<p> +The next bishop was <b>Hugh de Nonant</b> or Nunant +(1184-1199); his intense hatred of the monks led to terrible +disturbances at Coventry. Soon after his consecration he +exasperated the monks so greatly that they beat him, and Nonant, +with the wounds upon him, hurried to the king, and obtained his +consent—some say by purchase—to the monks being +turned out. This was done, and secular canons instituted in their +place. During the absence of King Richard at the Crusades, Nonant +appears to have identified himself too much with the cause of +Prince John. This brought about his ruin; for, being suspected by +Richard on his return from captivity of participation in the +plots against the crown, he was deprived of his bishopric, which +in course of time, however, he was allowed to buy back for 5000 +marks. He lived not only to see the monks restored to Coventry by +the Pope, but also to repent of his harshness to monastical +institutions. He died on his way to Rome, and was buried among +the monks of Caen. +</p> +<p> +The next election revived the bitterness between Coventry and +Lichfield, a bitterness accentuated by the political adherence of +the two parties, Coventry being on King Richard's side, + +<span class="pagenum"><a name="page127" id="page127"></a>[127]</span> + + Lichfield for Prince John. Under these circumstances, +the canons had not even been called to the ceremony of election, +and Coventry's candidate, <b>Geoffry de Muschamp</b> (1198-1208), +was elected. But the greatest difficulty of all arose at the +election of the next bishop. John was now king, and Lichfield in +favour. The monks chose their prior, but John would not allow his +consecration; then came a series of proposals, to none of which +could king, monks, and canons all three assent, but finally, at +the intercession of Pandulf, the Pope's legate, they all agreed +on <b>William de Cornhull</b> (1215-1223). Thomas of Chesterfield +tells us that this bishop conferred the right upon the chapter of +electing their own dean. +</p> +<p> +The next bishop, <b>Alexander de Stavenby</b> (1224-1238), was +appointed by the Pope, on the appeal to him of both parties, who +were still unable to agree. He built the friary in Lichfield, and +dedicated it to St. Francis, the founder of the Friar Minors, +which order he first introduced into the diocese. +</p> +<p> +The high position of Stavenby in the councils of the realm +make him an important personality among the bishops of the +diocese. He died in 1238; and it might have been expected that a +successor would have been appointed without difficulty, for +during his rule it had been agreed that Coventry and Lichfield +should appoint to the vacant bishopric alternatively. Coventry +appointed William de Raleigh, but he accepted Norwich in +preference, and then the monks claimed to appoint again, but the +canons would not allow this, and appointed their dean, William of +Manchester, who, however, stood aside when the monks suggested +Nicholas de Farnham, and he was too modest to accept the office. +Then <b>Hugh de Patteshull</b> (1239-1241) was chosen at the +king's desire. He was Treasurer of England and a native of the +diocese; he seems to have followed in the steps of his +predecessor, and it is said that he made new regulations as to +the manner of the cathedral services. He died only eighteen +months after his appointment, and a fresh trouble arose over the +election of a successor; but the Pope intervened without asking +permission of the king, and, under the advice of Grosseteste, the +famous bishop of Lincoln, appointed <b>Roger de Weseham</b> +(1245-1256), the dean of the cathedral. The king in his anger +seized the endowments of the see, and Weseham began his work amid +great difficulties, but finally Henry restored the endowments, +and allowed Weseham + +<span class="pagenum"><a name="page128" id="page128"></a>[128]</span> + + to prosecute his salutary +re-organisation of the clergy. Weseham retired in 1256, and died +shortly after. It is doubtful if the monument in the south aisle, +generally known as that of Bishop Patteshull, is not in reality +that of Bishop Weseham. +</p> +<p> +There was no contention over the election of the next bishop, +<b>Roger de Molend</b> or Meyland (1256-1295). He was a natural +son of the Earl of Salisbury, William Longespée, and so +nephew to King Henry III. His was not an admirable role, the most +remarkable event being his attempt, <i>vi et armis</i>, to obtain +admittance to the Royal Free Chapel of St. Mary at Stafford. Both +sides refused to plead at the Assizes, but it was finally decided +that the bishop should be allowed the use of the free chapels in +Derby and Stafford, but should have no disciplinary powers over +their clergy. Afterwards he seems to have neglected his diocese, +and the scandalous and avaricious conduct of the clergy, which +the last two bishops had controlled, now became so intense that +in 1282 Archbishop Peckham had to interfere, and Roger was forced +to come into residence. Soon after it was found necessary to find +him a coadjutor, who was to advise him in all official acts. +Incompetent as he was as a bishop, the diocese obtained several +remarkable benefits during his rule. The king gave Cannock Chase +to the see, and the west front of the cathedral was begun. It may +well be that in his travels he had acquired a love of beauty he +would not have acquired at home, and that we owe to him the +conception of this beautiful feature of the cathedral. The money +it must have cost, too, could only have been found by one whose +princely rank enabled him to obtain money with some ease. In +London also he left his mark, unhappily now entirely obliterated. +Where Somerset House now stands he erected his palace, next to +the palace of his brother Bishop of Worcester. It was a beautiful +mansion, but the site was too valuable to permit of it belonging +to any one but the king when Henry VIII. graced the throne. +</p> +<p> +About this time the archdeaconry of Stafford was occupied by +Thomas de Cantilupe, afterwards Bishop of Hereford. The story of +his life belongs to the account of that diocese, but such a man +must have had great influence on his archdeaconry. +</p> +<p> +The next bishop was <b>Walter de Langton</b> (1296-1321), +Treasurer of England, and friend to King Edward I. + +<span class="pagenum"><a name="page129" id="page129"></a>[129]</span> + + He was chosen unanimously by both parties. At first +his political duties claimed him, and brought him into collision +with the Prince of Wales, who, as soon as he had ascended the +throne as Edward II., threw him into prison. There he does not +seem to have remained long, and when Piers Gaveston, the king's +favourite, was beheaded in 1312, he was restored to his former +treasurership. Langton is principally remembered in connection +with the see as having founded the Lady Chapel and built the +Bishop's Palace, for so long a splendid monument to his memory in +the north-east corner of the close. He rebuilt also Eccleshall +and Haywood Manor houses, and walled the close for "the honour of +God, the dignity of the cathedral, and the bodies of the saints +there reposing, and also for security and quiet of the canons." +This last a mistaken work, as we who live after the event are +well able to judge. He also bridged the cathedral pool, and made +a magnificent shrine for St. Chad's bones. Langton died in 1321 +in London, and was carried to Lichfield, where he was buried with +much ceremony. His bones were removed into the Lady Chapel when +it was finished during the rule of the next bishop, and a +sumptuous monument placed over them. The mutilated remains of +this monument can be seen in the south choir aisle to this +day. +</p> +<p> +His successor, <b>Roger de Norbury</b> or Northbury +(1322-1359), was appointed by the Pope, as the two chapters had +not agreed once more. His was a long rule, nearly forty years, +and filled with good for the see. The registers of both Langton +and Norbury are both still in existence among the muniments of +the cathedral, and from them we know much of the life of a bishop +of this time. Every kind of evil seems to have come under the +notice of the bishop—whose power of inducing those who had +done wrong to repent and do right was the direct outcome of the +terrible threat of excommunication which he was able to wield. +Lichfield had constantly during the later reigns been the scene +of royal festivities, and after the battle of Crecy Edward III. +held his Court here, and there were tournaments and banquets at +which the flower of English chivalry assisted. It is said by some +that here occurred the famous incident of the garter which led to +the institution of the order of that name. + +<span class="pagenum"><a name="page130" id="page130"></a>[130]</span> + + At any rate, Uttoxeter was appropriated to the chapel +of the garter. +</p> +<p> +About this time, too, the cathedral must have been finished; +now, too, was the terrible visitation of the black death, that +most deadly of all plagues, which is said to have cut off one +half of the whole population of the realm. Whether the fear of +it, or the occasion of the completion of the cathedral, caused +the chapter to set their house in order, certain it is that we +have, in the discovery of the sacrist's roll of 1346, a kind of +inventory of the valuables of the cathedral at this time; these +are set out in the part devoted to the cathedral. Thomas of +Chesterfield, the early historian of the diocese, whose work is +printed in Wharton's <i>Anglia Sacra</i>, and on whom all later +writers on the subject have had largely to rely, lived at this +time, and brought down his "chronicle" to 1348, one of the years +of the black death. +</p> +<p> +<b>Roger de Stretton</b> (1360-1386), an absolutely uneducated +man, succeeded Langton; then came <b>Walter Skirlaw</b> (1386) +and <b>Richard Scrope</b> (1386-1396), but the former, between +his consecration and his enthronement, was translated to Bath and +Wells, from whence he went to Durham, and the latter, though +distinguished in English history, is more noted as Archbishop of +York. Next came Bishop <b>John Burghill</b> (1398-1414), a +barefooted Black Friar, who gained a reputation for asceticism, +and left his worldly goods to the church. Richard II. was present +at the enthronement of these two last bishops. They were followed +by <b>John Catterick</b> (1415-1419). +</p> +<p> +In 1419, <b>William Heyworth</b> (1419-1447), the abbot of St. +Albans, became bishop. An important question was settled in his +time—viz. the bishop's position in the cathedral. At his +suggestion, it was arranged that he should give notice to the +dean when he intended a visitation: the chapter should be +summoned, and they should conduct him to the high altar and there +leave him to stand or kneel alone in prayer. Afterwards they were +to conduct him to the chapter-house, where he might inquire into +the title and conduct of the canons; the other cathedral clergy +were to be entirely subject to the dean and chapter. His rule saw +also the beginnings of the collegiate church of Manchester, which +so long after was to become the cathedral of the new diocese to +be carved out of our see. +</p> +<p> +It is unnecessary to more than mention the names of bishops + +<span class="pagenum"><a name="page131" id="page131"></a>[131]</span> + + who succeeded about this time: they +are—<b>William Booth</b> (1447-1450), <b>Nicholas +Cloose</b> (1452), <b>Reginald Bolars</b> (1453-1459). <b>John +Halse</b> (1459-1492) was called on to give shelter to Queen +Margaret after the battle of Bloreheath. +</p> +<p> +At the end of the fifteenth century there is another political +bishop. This was <b>William Smyth</b> (1492-1496). He, like +several of his successors, was President of Wales, and he was +also the founder of Brasenose College, Oxford. Next comes <b>John +Arundel</b> (1496-1503), and then comes <b>Geoffry Blythe</b>, +whose rule, commencing in 1503, lasts until 1531, the year when +Henry required the clergy to acknowledge him as supreme head of +the Church. This period of the dark days before the Reformation +must have been one of great difficulty for the bishops, but +Blythe seems to have been very popular at Lichfield; he made +several attempts to stamp out Lollardism, and has earned for +himself an unenviable niche in the house of fame by his inclusion +in Fox's "Book of Martyrs" for his holding of the "Court of +Heresy." One martyr (a woman) was burned at Coventry, and others +were tried and acquitted or condemned to less horrible +punishments. On the whole, Blythe seems to have been as gentle as +the times would allow him to be. He died in 1531, and escaped the +storm which was now to burst. When it had cleared away, many of +the old religious landmarks had disappeared; Lichfield Cathedral +had lost her sister minster, and had been shorn of much that it +valued and was beautiful. +</p> +<p> +After an interval, <b>Rowland Lee</b> (1534-1543) was +appointed. He had been chaplain to the king, and it was he who +officiated at the private marriage of Henry and Anne Boleyn; he +was rewarded with the bishopric of Lichfield and Coventry, and +was made President of Wales, in which latter appointment he was +said to have ruled so wisely that we owe to him the kindly +feelings which have ever since existed between the two countries. +This work must have kept him much away from the diocese, and it +was superintended by two suffragans; but we have it on record +that he did his best to save something for the diocese from the +wreck of the Reformation; how little he was able to do we shall +now see. He also issued to the clergy a set of injunctions, in +which the new teaching and ideas are set forth, "that the King's +Majesty is only Supreme Head under Chryst in Erthe of this his +Churche of England"; that + +<span class="pagenum"><a name="page132" id="page132"></a>[132]</span> + + every parish priest shall provide for his church a +"Boke of the hole Byble both in Latin and alsoe in Englishe, and +lay the same in the Quiere for every man that will loke and read +therein"; and other injunctions on prayers and preaching and +behaviour, which are not, like the first two, new and startling, +but are reminiscences of the ordinances and manners of the +past. +</p> +<p> +Bishop Lee, who had failed in his efforts to save the +cathedral church of Coventry, also exerted himself on behalf of +the shrine of St. Chad, and succeeded so well that, though the +shrine was rifled of its jewels and precious metals, they were +granted to the uses of the cathedral, instead of finding their +way into the coffers of the king. The ashes of the saint were +stolen by one of the prebendaries. Soon after, the collegiate +churches were confiscated, and the diocese, like other dioceses, +found itself stripped of all its finest churches. The royal +chapels of Stafford, Shrewsbury, Chester, Bridgenorth, Derby, and +Penkridge all went; and throughout the country, for want of the +endowments which had been confiscated, churches and chapels were +falling into ruin. +</p> +<p> +Henry seems to have had ideas of using some of the money thus +obtained for ecclesiastical purposes, but his own needs did not +permit him to do much. The bishopric of Shrewsbury, which he had +planned, came to nothing, though a suffragan with that title was +appointed; but at Chester the abbey of St. Werburgh became a +cathedral church when, in 1541, the see of Chester was founded, +and Cheshire and Lancashire were taken from Lichfield to form the +new diocese. +</p> +<p> +<b>Richard Sampson</b> (1543-1553), dean of the cathedral, +succeeded Lee as bishop, and died early in Mary's reign. His +successor, <b>Ralph Bane</b> (1554-1558), lighted the fires in +the diocese, and many perished at his hands. He was a bishop +after Mary's heart, and sat with Tonstall and Bonner in the +inquisitions which disgraced the reign. He resigned on the advent +of Elizabeth. And then another kind of persecution commenced; +this time it was the Papists who suffered, and many were done to +death in the diocese. +</p> +<p> +Following Bane came <b>Thomas Bentham</b> (1560-1579), and +<b>William Overton</b> (1580-1609); then <b>George Abbott</b> was +bishop in 1609, and in one year was promoted to Canterbury, where +he preceded Laud, whose life-long opponent he was. + +<span class="pagenum"><a name="page133" id="page133"></a>[133]</span> + + Then came <b>Richard Neill</b> (1610-1614), who was dean of +Westminster as well, and earned an ignoble reputation by burning +a Papist named Wightman, at Lichfield. He was consecrated to +Rochester in 1608, and translated successively to Lichfield, +1610; Lincoln, 1614; Durham, 1617; Winchester, 1628; and York, +1632. <b>John Overall</b> (1614-1618) wrote that part of the +"Church Catechism" which explains the sacraments; he afterwards +went to Norwich. <b>Thomas Morton</b> (1619-1632) came from +Chester; he was one of the most learned bishops of the time, and +a noted advocate of the Church of England principles. +</p> +<p> +<b>Robert Wright</b> (1632-1644) was a supporter of Laud; +under him the cathedral service became again something like that +of the time of Bishop Patteshull. He was one of the twelve +bishops who were impeached by the Long Parliament in 1641, and, +though an old man, pleaded his cause at the bar of the House of +Commons. He was still bishop when the Civil War broke out; and +during the famous siege of Lichfield he was shut up in his castle +at Eccleshall, where he died while it was being defended against +the Parliamentarians. His successor, <b>Accepted Frewen</b>, +president of Magdalen College, Oxford, was appointed by the king, +and consecrated in the chapel of his college; but, having neither +cathedral, revenues, nor power, he retired into Kent, until in +1660 he became Archbishop of York. +</p> +<p> +<b>John Hacket</b> (1661-1671) was appointed to the see by +Charles II., and decided that its title should be altered from +"Coventry and Lichfield" to "Lichfield and Coventry"; partly, no +doubt, because the cathedral was here, and partly because in the +late troubles Lichfield had been loyal to the Crown, and Coventry +had not. His great work was the restoration of the cathedral from +its ruins, and the re-organisation of the diocese. He had had a +distinguished record, and was one of the sub-committee in 1640 +appointed to try and settle the vexed questions in the Church, +and as such he made an eloquent speech at the bar of the House of +Commons. Later he continued the use of the liturgy in his church +of St. Andrew, Holborn, after it had been forbidden, and when the +officer and soldiers were sent to arrest him and ordered him to +desist on pain of instant death, he answered: "Soldier, I am +doing my duty, do you do yours," and continued the service. +Surely a man pre-eminently fitted for the work of re-organisation +he was to do at Lichfield; and the king got the credit from the +clergy of having the old + +<span class="pagenum"><a name="page134" id="page134"></a>[134]</span> + + "apostolic spirit of +discerning," so greatly was he to their minds. He must have been +a wit too, for, when the bishopric was offered to him, he +remarked that he would rather that in future times people should +ask why Dr Hacket was not a bishop, than why he was. He is also +said to have entreated the gentleman who had declared that hell +was paved with bishops' skulls to tread lightly over his. +</p> +<p> +Hacket's dean cannot have confirmed the clergy in their +opinion of Charles, whose appointment to the post he had +purchased; so bad was he that the bishop excommunicated him, and +the sentence was even read in the cathedral while he was there, +but he heeded it not. The chapter loathed him, but apparently the +king's feelings were different, for at Hacket's death he was +appointed to succeed him. So <b>Thomas Wood</b> (1671-1692) +became bishop, and was the worst the see ever had: he lived much +away from the diocese. Lancelot Addison, the father of the famous +Joseph Addison, was dean in his time. William III., staying a +night at the deanery, was attracted to the genial essayist early; +and we may imagine that he must have been greatly influenced by +that part of his life spent within the cathedral close. +</p> +<p> +The next bishop was <b>William Lloyd</b> (1692-1699): he came +from St. Asaph, and went to Worcester. While bishop of St. Asaph +he was one of the seven bishops who were sent to the Tower in +1688. <b>John Hough</b> (1699-1717) came next; he also had +crossed the path of James II., for he had been elected President +of Magdalen over the head of James's nominee, but James had +proved the stronger at the time, and he was ejected, only to be +reinstated by the frightened king soon after. At the Revolution +he was made bishop of Oxford, whence he was translated hither; he +afterwards refused the primacy. +</p> +<p> +The next two bishops—<b>Edward Chandler</b> (1717-1730) +and <b>Richard Smallbroke</b> (1730-1749)—were +distinguished defenders of Christianity against the infidelity of +the time. Their controversial writings are numerous and well +known. +</p> +<p> +The next bishop, <b>Frederick Cornwallis</b> (1749-1768), +afterwards became Archbishop of Canterbury. Then came <b>John +Egerton</b> (1768-1771), from Bangor, and went to Durham; +<b>Brownlow North</b> (1771-1774), who was translated to +Worcester, and thence to Winchester; <b>Richard Hurd</b> +(1774-1781), who also went to Worcester; <b>James</b> + +<span class="pagenum"><a name="page135" id="page135"></a>[135]</span> + + <b>Cornwallis</b> (1781-1824), and <b>Henry Ryder</b> +(1824-1836), who came from Gloucester. He succeeded in founding +many new churches and immensely increasing the membership of the +Church in the diocese. His successor, <b>Samuel Butler</b> +(1836-1843), went on with this work. It was in his time that the +archdeaconry of Coventry was taken from the diocese and added to +Worcester. The title of the see now becomes Lichfield only; +Coventry, which at one time held the premier place in the title, +and then the second, now slips out altogether. +</p> +<p> +Ten years later the deanery of Bridgenorth was allotted to +Hereford, and in the same year all peculiar and exempt +jurisdiction was abolished, so that the archdeacons had power to +visit every church in the diocese; the number of canons of +Lichfield was reduced from six to four. +</p> +<p> +In the meantime <b>James Bowstead</b> (1840-1843) and <b>John +Lonsdale</b> (1843-1867) became bishops. The latter was one of +the greatest bishops the diocese has had, and his work, like that +of Ryder, lives in the increased power of the Church in the +diocese. He was succeeded by another great bishop, <b>George +Augustus Selwyn</b>, who, as bishop of New Zealand, had organised +the Church in those islands. +</p> +<p> +The next bishop, <b>William Dalrymple Maclagan</b> +(1878-1891), is now Archbishop of York. It was during his rule, +in 1884, that the new diocese of Southwell was formed and +Derbyshire was taken from Lichfield. +</p> +<p> +The present bishop is the Hon. <b>Augustus Legge</b>. +</p> + +<p><span class="pagenum"><a name="page136" id="page136"></a>[136]</span></p> + + +<div class="figcenter"> +<a href="images/image39.jpg"> +<img src="images/i-39-s.jpg" height="500" +title="Monument to Dr Johnson in the Market-Place." +alt="MONUMENT TO DR JOHNSON IN THE MARKET-PLACE."/></a> +<br /> +<div class="left"><small><i>Photochrom Co. Ltd., Photo.</i>]</small></div> +<br /> +MONUMENT TO DR JOHNSON IN THE MARKET-PLACE. +</div> + +<h3> +DIMENSIONS OF THE CATHEDRAL +</h3> + +<table summary="Dimensions of the Cathedral"> +<tr><td> </td><td align="right"> <small>Feet</small> </td></tr> +<tr><td> Length, total (interior) </td><td align="right"> 370 </td></tr> +<tr><td> " of Nave </td><td align="right"> 140 </td></tr> +<tr><td> " of Transept </td><td align="right"> 149 </td></tr> +<tr><td> Width of Nave and Aisles </td><td align="right"> 68 </td></tr> +<tr><td> Height of Vault </td><td align="right"> 57 </td></tr> +<tr><td> Area </td><td align="right"> 27,720 sq. feet </td></tr> +</table> + +<p><span class="pagenum"><a name="page137" id="page137"></a>[137]</span></p> + +<div class="figcenter"> +<a href="images/image40.png"> +<img src="images/i-40-s.png" height="500" +title="Plan of Lichfield Cathedral." +alt="PLAN OF LICHFIELD CATHEDRAL." /></a> +<br /> +PLAN OF LICHFIELD CATHEDRAL. +</div> + +<div style="height: 2em;"><br /><br /></div> + + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of Bell's Cathedrals: The Cathedral +Church of Lichfield, by A. 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