Part 4 (2/2)

[Ill.u.s.tration: Boss from Lantern Tower Roof.]

=The Nave=, notwithstanding the years it took to build, the change of architecture that was coming into use as it was being finished, and the alteration in plan that was decided upon towards the end, is a very complete and almost uniform structure. There are ten bays, all having round arches; in the triforium each large arch has two smaller ones beneath it; and in each bay of the clerestory is one high arch and two smaller ones. The triforium arches in the two easternmost bays, on both sides, have the hatchet ornamentation in the tympanum; this may either mark the limits of the old Benedictine choir, or may simply suggest earlier work. Almost the only indication of distinct later work, as we proceed towards the west, is in the different forms of the bases of the piers. The arcading of the aisles curiously changes towards the west in both aisles, but not at corresponding points; the change consists in the reversing the interlacing of the arches. The third pillars from the west end on either side are not really, strictly speaking, pillars at all. They were built as supports to two western towers which it was intended certainly to erect at this point, even if they were not at least in part built. There are many other little details in the neighbourhood of these piers, all confirming Mr Paley's discovery with respect to these contemplated towers, one at any rate of which he thinks was actually erected. The pillars are cylindrical with numerous attached shafts. In addition to the changed form of the bases, careful observers can detect proofs of later work in the capitals of the shafts in the triforium. In front of each pier a shaft rises to the roof; and on these the original ceiling rested. On some of the piers in the south aisle, near the west end, may be seen several very curious masons' marks. In the nave is a very ma.s.sive pulpit given in 1873 by the family of Dr James, for forty years Canon, bearing an inscription to his memory. It is from the design of Mr Edward Barry, and was meant to be in keeping with the Norman architecture of the nave. The central shaft is of Devons.h.i.+re marble, the main body of the pulpit of red Dumfries stone, and some of the smaller pillars are of green Greek marble. At the angles are four large figures of the Evangelists. There is a wooden eagle lectern, carved by the late Rev. R.S. Baker, behind the choir-stalls on the south side.

[Ill.u.s.tration: The Nave, looking East.]

=The Nave Ceiling= is very curious and remarkable. If originally flat, and supported on the tall shafts last mentioned, it would be just above the great arch of the central tower before that was altered from the round form. It is supposed that this was the case; and that when the pointed arch was subst.i.tuted the central compartment of the ceiling was raised, and the two outer ones made to slope as we see it now. But if the Norman roof was flat, its outer compartments would manifestly not be broad enough to fill the s.p.a.ce now occupied by the sloping sides. And yet there is no alteration in the style of ornamentation: nor are the diamonds, which are divided by the line where the slope joins the horizontal portion, unduly elongated, as would seem to be necessary in the part nearest the wall. Some change was clearly made when the Decorated arches were built; for above the Norman cornice on which the roof was originally laid, there is now a length of painted wood containing coats of arms obviously of later date than the ceiling. It is not possible to p.r.o.nounce with certainty on the question. But considering (1), that the whole ceiling was certainly raised in consequence of the superior height of the tower arch (2), that no difference can be detected between the centre compartments and those at the side in the patterns, and (3), that additional height has been secured by the Decorated boarding above mentioned, the most probable solution seems to be that the whole is the original Norman work, practically unaltered, and that it was never flat, but had always sloping sides as at present. All agree that the style of the painting is perfectly characteristic of the period. The divisions are of the lozenge shape; in each lozenge of the central line is a figure, and in each alternate one of the sides. The middle set has more elongated lozenges than the others. The borders are black and white, with some coloured lines, in odd zigzag patterns. The figures, which are mostly seated, are very quaint and strange. Some are sacred, some grotesque. We can see S. Peter with the keys, kings, queens, and minstrels; we find also a head with two faces, a monkey riding backwards on a goat, a human figure with head and hoofs of an a.s.s, a donkey playing a harp, a winged dragon, a dancing lion, an eagle, and other curious devices.

[Ill.u.s.tration: The Choir and Nave, looking West.]

=The Font= stands between the first and second piers on the north side of the nave; the basin is of a local marble of thirteenth century date, but the lower part is modern. For many years it was used as a flower pot in one of the prebendal gardens, whence it was rescued by Dean Monk and ultimately restored to its original use in the south end of the western transept. It was placed where it is in 1920. Another font had been erected in 1615, as appears by an entry in the cathedral register of that date, when the son of one of the prebendaries was baptized ”in the new font in the bodye of the Cathedral Church here.”

=The West Transept= extends beyond the aisles. The huge pointed arches covered with Norman mouldings are very remarkable. The arcading which goes round the lower part of the aisle walls was continued round the east sides and the ends of this transept, but it has all been hacked away, and the walls now are flat. The position of the arcade is very plainly to be seen. The south end in 1921 was again restored to its former use as a chapel by the Dean of Winchester, Dr. Hutton. The north end of this transept is used as a vestry. It is screened off, with the adjacent bays of the north aisle, by some of the woodwork that has been removed from Dean Monk's choir. From these specimens the general character of the whole can be easily gathered.

The west wall has no trace of Norman work. The arcade by the ground consists of pointed arches, though the great doorway has a round arch; all have Early English mouldings. The great doors themselves are of the same date, as shown by the carved capital at the top. The west window, with its Perpendicular tracery, is set inside an Early English arch, which has two lofty lancets by the side; and in looking at it from the east it can hardly be detected that this arch is not the very framework of the window. The very lofty lancets on the east of the projecting parts of this transept, as well as the decoration of the arches in the triforium above the aisles, should be noticed.

The number of =Altars= in the church was considerable. They were of course all served by members of the foundation. but they had not separate endowments like chantries in a parish church. Nor does any one appear to have been a.s.sociated with any company or guild. There were, besides the High Altar and that in the Lady Chapel, three in the new building, one in the little chapel between the choir and Lady Chapel, one in each choir aisle, two (SS. John and James) in the north transept, four (SS. Oswald, Benedict, and Kyneburga, and the Holy Trinity) in the south transept, two (the Ostrie Chapel and that of the Holy Spirit) in the building west of the south transept, one in the rood-loft, most likely four against pillars in the nave (a bracket on a pillar on the north side marks the position of one), and apparently one in the south part of the west transept. If this enumeration is correct there were not less than twenty-two. There seems also to have been an altar in the hea.r.s.e over Queen Katherine's tomb; and, though no mention of them occurs, we should suppose there must have been one on each side of the entrance beneath the rood-loft.

Two altar-stones only have been found. One is marked on a plan made about 180 years ago as being laid down in the choir a little to the east of where the eagle lectern now stands. It was subsequently taken up, sawn into three pieces, and placed beneath the arch leading from the western transept to the south aisle. Some twenty-five years ago it was again removed from the pavement and is preserved elsewhere. The five crosses are large and deeply cut, and are in the form of cross-crosslets. The other has been taken up from the pavement in the eastern chapel. It is a very curious example, and one that might well escape notice. The stone is of the usual size, and uninscribed. It is much worn by constant treadings, and the five crosses are nearly obliterated, though quite distinctly to be seen. But instead of there being, as usual, one in each corner of the stone, or nearly so, all the five are towards the centre of the stone, within a s.p.a.ce of about two square feet. There is also an extra cross on the front edge. This stone is now used for the altar in S. Oswald's Chapel, in the south transept, refitted in 1900.

Of =Stained Gla.s.s= the only ancient examples are some fragments that have been collected from different parts of the church, mostly as it seems from the cloister, and put together in two central windows in the apse. These are well worth observing with care. No scenes of course can be made out, but the faces, when examined closely, are found to be singularly good. Most of the pieces formed portions of a window or series of windows representing incidents in the life of S. Peter. This is apparent from the few words that can still be made out on the labels, which are all fragments of texts referring to that Saint. The large west window is in memory of soldiers of Northamptons.h.i.+re who fell during the South African War, 1899-1902; the window has five lights in two tiers; in the upper are representations of King Peada, S. Paul, S.

Peter, S. Andrew, and Bishop Ethelwold; in the lower, S. George, Joshua, S. Michael, Gideon, and S. Alban. Bra.s.s plates below give the roll of honour.

[Ill.u.s.tration: Head of S. Peter in Ancient Stained Gla.s.s.]

Five windows of the eastern chapel have now been refilled with-stained gla.s.s, one facing north to the late Dean Barlow, 1908; another behind the altar was given by Canon Argles (afterwards Dean) in memory of his father-in-law, Bishop Davys. In the south-east corner the east window is to the memory of Dean Butler, 1861, and the south one to Canon Alderson; the churches pictured are S. Mary's, Lutterworth, All Saints', Holdenby, and a view of the south-east of this cathedral. The next window is in memory of Canon Twells, author of several hymns, including ”At even ere the sun was set.” In S. Oswald's Chapel is a very beautiful window given in 1900. In the north choir aisle is a memorial window to Thomas Mills, Hon. Canon, 1856. In the south transept some in memory of Payne Edwards, LL.B., 1861; Sir Chapman Marshall, Kt., Alderman of London, whose son was Precentor here; and James Cattel, cathedral librarian, 1877. In the north transept are several given by Mr G.W. Johnson, two in memory of his father and mother, one to the Prince Consort, and some unconnected with any names; there are also two in memory of George John Gates, 1860, and John Hewitt Paley ”juvenis desideratissimi,” 1857.

The architecture of =The Parvise=, over the western porch, has been already described. It now contains the library, removed to this place from the new building by Dean Tarrant. The collection was begun by Dean Duport, who presented books himself, and obtained more from the Prebendaries and other persons; it was afterwards enriched with the whole of the valuable library of Bishop Kennett, and part of Dean Lockier's, and has since had many considerable additions. The ma.n.u.scripts are not numerous, the chief being the very important book known as Swapham. The greater part of this has been printed by Sparkes.

His publication includes Abbot John's Chronicle, The History of Burgh by Hugo Candidus with its continuation by Swapham, the Chronicle of Walter of Whittlesey, and two other works. There are also kept here some of the fabric rolls of the monastery. Bishop Kennett's library contained a most valuable collection of tracts and pamphlets published in the latter part of the seventeenth century. There are also some books of much earlier date, a few of great rarity. A memorandum written in the Book of Swapham above mentioned tells us that the Precentor, Humphrey Austin, had hidden it in 1642 in antic.i.p.ation of coming troubles. But Cromwell's soldiers found it, and would probably have destroyed it; the Precentor, however, under pretence of enquiring after an old Latin bible, found out where it was, and redeemed it for the sum of ten s.h.i.+llings.

=Monuments and Inscriptions=.--We proceed to speak of these, treated as a single subject, instead of describing them at the various parts of the building where they are to be found.

At first sight it is thought that this cathedral is singularly deficient in monuments of interest. To a certain extent this is the case. There are no memorial chantries, such as add to the beauty of many of our n.o.blest churches; no effigies of warriors or statesmen; no series of ancient tablets or inscriptions that ill.u.s.trate the history of the neighbourhood; not a single bra.s.s. With few exceptions all the monuments and inscriptions that remain commemorate abbots or other members of the monastery, or, after the Reformation, bishops, and members of the cathedral foundation and their families. While of famous persons known to have been buried within the walls, such as Katherine of Arragon, Mary Queen of Scots, the Archbishops Elfricus and Kinsius of York, Sir Geoffrey de la Mare, Sir Robert de Thorpe, and others, no memorials worthy of their fame and importance are in existence. The wanton destruction during the civil war in great part explains this; but it is sad to remember that numbers of mediaeval inscriptions in the floor were hidden or destroyed during some well-meaning but ill-judged alterations in the eighteenth century.

First in interest and importance is that known as the Monks' Stone, now preserved in the new building. It is generally thought that this was constructed in commemoration of the ma.s.sacre of Abbot Hedda and his monks in 870, by the Danes. It was not till nearly a century later that any attempt was made to rebuild the monastery. But Mr Bloxam read a paper at Peterborough in 1861 in which he disputed the authenticity of this monument, which had been previously regarded as one of the most ancient monumental stones extant. He p.r.o.nounced it to be Norman, and not Saxon work, and some centuries later in date than the ma.s.sacre of the monks. He considered the figures did not represent the slain monks and their abbot, but Christ and eleven disciples. It has been further conjectured by Bishop Westcott that it may have been part of the shrine erected over the relics of S. Kyneburga, when they were removed from Castor to Peterborough in the former half of the eleventh century. A fragment of sculpture in the same style is built into the west wall of the south transept. Even if the latter years of the ninth century are deemed too early a date for the stone, at any rate the style of the sculpture and ornamentation seems much earlier than anything we can now see in position in the building itself. May it not have been erected when the minster was reconstructed at the end of the tenth century? It was formerly in the churchyard; sometimes testators (like Dr Pocklington) desired in their wills that they might be interred near it.

It has been usually stated that the stone was erected by Abbot G.o.dric of Crowland, who died in 941. Unvarying tradition has a.s.sociated it with the Danish ma.s.sacre; its dimensions almost exactly agree with the earliest records of the stone said to have been so erected. The cruciform nimbus round the head of one figure leaves no doubt that it was designed for the Saviour; but this had been recognised many years before Mr Bloxam wrote.

[Ill.u.s.tration: Part of the Monks' Stone.]

In the north transept, below the level of the floor, and protected by wooden doors, are several richly ornamented slabs or coffin lids, of undoubted Saxon date; and they form a series which may be considered one of the very best in England. They are in their original position, the spot on which they lie being outside the Saxon church and they were then in the grave-yard. They were discovered in 1888. The interlacing work, and other carvings, are deeply cut and in excellent preservation.

[Ill.u.s.tration: Saxon Coffin Lids in North Transept.]

The six rec.u.mbent effigies of abbots are the very best series of Benedictine memorials in the country. Attempts have been made to identify them from the character of the carvings. But as four are certainly of thirteenth century date, and one late in the twelfth century, and as thirteen abbots ruled during that period, it may be p.r.o.nounced impossible to name each one. One only, manifestly the latest in date, and also in poorest preservation (being carved in clunch), has the mitre; this is now temporarily placed in the New Building; there is little doubt that it represents John Chambers, the last Abbot and first Bishop. All the other five abbots are represented in alb and chasuble, holding a book (signifying, it is said, the statutes of the Benedictine order), in the left hand; while in the right hand is a crosier. In one instance this is not very clear. Four have their feet resting on fanciful creatures, which, in three cases, hold the lower ends of the crosiers in their mouths. Two of these crosiers, at least, are turned outwards: this is contrary to the commonly received opinion that the turning inward symbolised the domestic rule over a monastic house. The head of one abbot rests on a square cus.h.i.+on. Four of these effigies are in the south choir aisle; one of them being beneath the Norman sepulchral arch raised to commemorate three abbots, John de Sais, who died in 1125, Martin of Bee, in 1155, and Andrew, in 1199. It seems unlikely that the one placed beneath the arch should represent one of those three, although usually a.s.signed to the latest, Andrew. The next two in the aisle were found in the ruins of the old chapter-house, and brought into the church.[28] The date of the easternmost is known. It is more richly ornamented than the rest, and the entire coffin is above ground, with handsome quatrefoils and other carving. This commemorates Alexander of Holderness, 1226. It was found under the woodwork of the old choir which was removed in 1830, beneath the second arch, on the north of the choir. The coffin contained the body, in a large coa.r.s.e garment, with boots on, and a crosier in the left hand. The boots were what are called ”rights and lefts,” and in fair preservation. The head was gone. A piece of lead was found inscribed ”Abbas: Alexandr:” The remains were gathered together and re-interred beneath the present position of the coffin. At the same time in all likelihood the effigy that was already on the spot (one of those that had been found in the ruins of the chapter-house) was removed to one of the chapels in the south transept; from which place it was afterwards moved to the New Building immediately behind the apse, where now is the monument to Bishop Chambers; and now it has been put on a stone plinth on the spot where the coffin of Abbot Alexander was found, under the mistaken impression that it was the figure found there in 1830.

[Ill.u.s.tration: Portion of Abbot's Tomb.]

The other prae-Reformation memorials are very few. Two have lately been found concealed by the paving, Abbot G.o.dfrey, 1321, moved from the choir to the north aisle, and sub-prior Fraunceys, at the east end of the south nave aisle. In the morning chapel is an early stone with inscription in capitals, and three stone coffin lids; other fragmentary inscriptions remain in S. Oswald's chapel, in the north choir aisle, and under the bell-tower.

In the floor on the north side of the choir, near the altar rails, is a stone with modern inscription recording the burial places of Elfrieus and Kinsius, both Archbishops of York: the former died in 1051, the latter in 1060. An old guide-book says that ”on the north side, in two hollow places of wall, were found two chests about three feet long, in each of which were the bones of a man: and of whom appeared by a plate of lead in each chest, whereon the name of the person was engraved,”

<script>