Chapter IV (2)

Mr. B. B. Woodward, F.S.A., in his lectures delivered here on “Norwich in the Olden Time,” adopted this view of the earth works, which he believed did not consist of three concentric lines of defence. He described the Saxon fortress as probably no more than a strong palisade carried along the inner edge of two great trenches and the top of the steep bank of the small stream called the “Cockey;” the buildings consisting of a great timber hall with offices and stabling. He believed that the Normans strengthened the outworks, cast up the great mound, dug the vast inner ditch, and reared the noble donjon, which, before the “restoration” of its exterior, was a fine feudal monument. After the Norman period the earth works, Mr. Woodward thought, underwent great changes. The horse-shoe trench on the east side disappeared and was built upon. This horse-shoe trench enclosed the Castle Meadow. Another smaller outwork was formed on the south side of the original great southern trench, both of the last named being crossed by bridges. In support of this view, Mr. Woodward referred to the account given by Kirkpatrick, who, as we have said, described the second ditch as lying between the great circular ditch and the Shire house, which then stood near the old weighing house. The old way from King Street had been disused because the growth of the city had so greatly altered the defensive character of the fortress. In addition to this, there were the names of two churches, one of which was St. Martin’s, (originally called “on the Hill,”) but afterwards “at Bailey” or “at the Castle gate;” and the other, St. John, now Timberhill, but then “at the Castle gate.” Unless a way existed through the outworks to the castle hill, these churches could not have been properly called “at the Castle gate;” and as the “Bailey,” was the space enclosed within the intrenchments of the Castle, the other name of St. Martin would be quite inappropriate. The Buckes, in their view of the Castle, represented a ruined building, like a bridge house, on the inner side of the great southern ditch. Before the end of the last century, the level of the south side of the hill was raised to form a Cattle Market.

Mr. Harrod, some years since, at a meeting of the Archæological Society held in the Museum, exploded the theory of three circular ditches by showing from the city records that houses had always stood on the sites of the supposed outer and middle ditches; the inner vallum was the only one, and extended round the base of the hill on which the keep is erected, and is plainly traceable at the present time. It is planted with trees and shrubs, having a gravelled walk in the centre, and is enclosed with an iron palisade. The area of the upper ballium is level and comparatively high, and forms an irregular circle on the summit of the hill, surrounded by an iron railing. The great Keep situated within this area is a massive quadrangular pile, 110 feet in length from east to west, 92 feet 10 inches in breadth from north to south, and 69½ feet high to the top of the merlons of the battlements, and the walls are from 10 to 13 feet in thickness. From the basement to the top are three stories, each strengthened by small projecting buttresses, between which the walls are ornamented with semi-circular arches resting on small three-quarter columns. In the upper story the backs of some of these arcades are decorated with a kind of reticulated work, formed by the stones being laid diagonally, so that the joints resemble the meshes of a net. To give it greater richness of effect, each stone had two deeply chased lines, crossing each other parallel with the joints, so as to present the appearance of Mosaic. On the exterior of the west side are two arches which appear to have been originally intended as a deception to the enemy, giving an idea of weakness externally, where in fact was the greatest strength; for the wall is not only 13 feet in thickness in this place, but, within, it was additionally barricaded by two oblique walls which were, long ago, taken down. On the east side of the keep there is a projecting tower called Bigod’s tower, which was most probably built by Hugh Bigod, third Earl of Norfolk, who succeeded his brother as High Constable of the Castle, early in the 12th century. This tower, which was an open portal to the grand entrance of the Castle, is of a richer kind of architecture, and in the genuine Norman style, and since 1824, has been entirely restored, so as now to exhibit its pristine aspect, which is certainly different from the rest of the keep. The interior of the keep has been so greatly altered in order to adapt it to prison purposes, that the original arrangement of apartments cannot be traced.

The style of architecture has been a matter of dispute, as to whether it is Saxon, Danish, or Norman. Mr. Boid, in his history and analysis of the principal styles of architecture, ventures to challenge any one to prove the existence of any monument in this country of real Saxon skill; nor has any specimen been discovered. Mr. Wilkins, of Norwich, who has described both the ancient and modern states of the fortress in Vol. xii. of the Archæologia, believed, however, that the part which yet remains might have been constructed chiefly in the reign of Canute, but that it is notwithstanding in the style of architecture practised by the Saxons, long before England became subject to the Danes, and is the best exterior specimen of the kind. Other and later writers, with much better evidence, believe the whole keep to be Norman, of the time of William Rufus; for it is similar in style to Castle Rising, built in the reign of that king, by Albini. The earth works and stone works are very similar. The whole of the exterior of the keep has been refaced, the original style being preserved. It is to be regretted that the work was not wholly refaced with small square stones, in the Norman manner, instead of commencing with the large massive freestone, which is coloured to represent smaller stones. This defect, however, on being discovered was remedied, for a great part of the exterior was finished after the Norman fashion. The county jail stands on the east side of the keep, and was built on the site of a previous prison in 1824–28 at a cost of £15,000. It comprises a governor’s house and three radiating wings, and has room for 224 male prisoners. Three bridges are, as we have said, thought by some authorities to have crossed three ditches, but for more than a century the present bridge has been the only one. This bridge consists of one large semicircular arch. Mr. Wilkins supposed that it was the original bridge built by the Saxons, but this is only conjectural like the rest of his theory about the earth works. At the termination of this bridge, upon the upper ballium, are the remains of two circular towers, 14 feet in diameter, which are supposed to have flanked the portal of the ballium wall. The history of the castle will be given at some length in subsequent pages. We shall now proceed to

THE CATHEDRAL.

THIS grand Norman pile is the great ornament to the city, but its situation is so low that its goodly proportions can be seen only from one point of view, namely from Mousehold Heath. From that elevation it presents the dignity of a great work of architecture, and the spire may be seen on a clear day, on the north, at a distance of twenty miles. The noble tower, with its gracefully tapering spire, second in height only to that of Salisbury, the flying buttresses, and the circular chapels at the east end, are objects of interest to the attentive antiquarian observer.

The cloisters on the south side, and the bishop’s palace and grounds on the north, and other premises, shut out from public view most of the exterior, except the west front. A fine view of the splendid effect, produced by a series of unbroken lines, may be obtained opposite the south transept, where the whole pile, comprising the transept, tower, and spire, blend themselves into one harmonious whole. The interior from the west front entrance presents a most imposing appearance, and when surveying the vast length of the nave, we feel that our forefathers

“Builded better than they knew,
Unconscious stones to beauty grew.”

We shall first give, in as complete a manner as our limited space will permit, a sketch of the foundation and progress of the edifice, the erection of which occupied a century, and then we shall describe its different parts, exterior and interior, including the nave, the screen, the choir, the transepts, and the cloisters.

The original structure was begun in 1096 by Herbert de Losinga, the first bishop of the diocese. The portions he built comprise the choir, with the aisles surrounding it, the chapels of Jesus and St. Luke, and the central tower with the episcopal palace on the north side of the church, and a monastery on the south. Bishop Eborard, the successor of Herbert, added the nave and its two aisles, from the ante-choir or rood loft, to the west end. The building, as left by Eborard, remained till 1171, when it sustained some damage by fire, but was repaired by Bishop John de Oxford, about 1197, who also added some alms houses to the monastery. The Lady chapel at the east end, which has long since been destroyed, was the next addition to the building, and was erected by Walter de Suffield, the tenth bishop, who filled the See from 1244 to 1257.

In the year 1271, the tower was greatly injured by lightning during divine service, and in 1272 the whole church was damaged considerably, in the violent warfare which was at that time carried on between the monks and the citizens; but in 1278, having been repaired, the church was again consecrated by William de Middleton on the day he was enthroned Bishop of Norwich, in the presence of King Edward I. and Eleanor his queen, the Bishops of London, Hereford, and Waterford, and many lords and knights. We can now form no idea of the grandeur of such a ceremony in that age.

The tower having been much injured and weakened by fire, a new one, according to Blomefield, was begun and finished by Bishop Ralph de Walpole; but this, says Britton, more properly applies to the spire, the style of which, rather than of the tower, corresponds with that period. Bishop Walpole ruled the diocese from 1289 to 1299. Before his translation to Ely, which took place in the latter year, he commenced the cloister at the north-east angle, and built the chapter house. He only completed a small portion of the east aisles. The chapter house has since been destroyed. The rest of the cloister was built by Richarde de Uppenhall, Bishop Salmon, Henry de Will, John de Hancock, Bishop Wakering, Jeffery, Symonds, and others, and was completed A.D. 1430, in the 133rd year from the first commencement of the work.

In January, 1362, the spire was blown down, and the choir thereby much injured; but under the auspices of Bishop Percy, the present spire was erected and the choir repaired. In 1629, the upper part of the spire was again blown down, and in 1633, at a general chapter, it was ordered to be repaired. In 1843, seven feet were added to its elevation, with the present finial which formed a consistent termination to the crockets.

In 1463, the church was much injured by fire, the wood work in the interior of the tower having been ignited by lightning. Under Bishop Lyhart, however, it was again repaired and ornamented. The splendid stone roof of the nave was added, the cathedral was paved, and a tomb was erected over the founder, which was afterwards demolished during the great rebellion. About the year 1488, Bishop Goldwell built the roof of the choir of similar but inferior work to that of the nave, adding the upper windows and flying buttresses. He also fitted up the choir and the chapels around it, and covered the arched stone work with lead. In 1509 the transepts having been much injured by fire, Bishop Nykke repaired them, adding stone roofs to them in the same manner as the rest of the church.

At the dissolution of the monasteries, the cathedral suffered greatly from the zeal of the Reformers, much curious work being destroyed; and several obnoxious crucifixes, images, niches, tabernacles, and paintings, were removed. In 1643, the fanatics took possession of the church and the adjoining palace, and plundered them of all that was valuable. The Yarmouth people being in want of a workhouse, sent a petition to the Lord Protector, praying that “that great useless pile, the cathedral, might be pulled down, and the stones given them to build a workhouse.” Of course the petition was not granted. Soon after the restoration, the church was fitted up again. In 1740, the nave and aisles were newly paved, the tower was repaired, and the church cleaned. In 1763, the floor of the choir was again repaved, the stalls repaired and painted, and other improvements made, not always in harmony with the original structure.

The edifice was extended, embellished, altered, and repaired by many bishops and by wealthy families till it was completed about 1500. Alternate dilapidations and restorations followed. The dilapidations were sometimes sudden, sometimes gradual, and the restorations have continued at frequent intervals almost to the present day. The entire pile was repaired and beautified on an extensive scale in 1806–7. The decayed ornaments of the west front were restored, and many improvements in other parts were effected in 1818 and following years. The south front was renovated, and several houses which had stood against the walls were removed in 1831. The entire fabric was again restored, on the plan of Edward Blore, about 1840–3; and some portions were repaired, some embellishments were added, and some interesting ancient features were brought into view between the years 1843 and 1868.

The pile as it now stands, comprises a nave of fourteen bays with aisles, a transept of three bays in each wing, a central tower, a steeple, an apsidal sacristy on the north-east side, a choir of four bays with aisles, an apsidal end, and a procession path; also three chapels, in the south side, the north-east side, and south-east side; and a cloister with each alley of eleven panes to the south of the nave. The dimensions of the Cathedral as taken from actual measurement are as follows:—

_Feet_. _Inches_. Length of church 407 0 ,, nave to choir screen 204 0 ,, choir from screen 183 0 ,, roof of nave 251 0 ,, transept 178 0 Breadth of nave and aisles 72 0 ,, choir from back of stalls 27 1 ,, aisles of choir 15 0 Height of spire from ground 315 0 ,, tower 140 5 ,, spire from tower 174 7 ,, roof of nave from pavement 69 6 ,, roof of choir from pavement 83 6

_The Interior_.

We shall now proceed with our description of the interior, which contains the finest specimens of Norman architecture in existence, and admired by all men of taste. Nothing can exceed the grandeur of the lofty nave, massive columns, and wide circular arches. The whole pile is chiefly of the early Norman style, wherein the semi-circular arches and massive short columns are the leading features. These are considerably varied in size, moulding, and ornament, in different parts of the edifice.

The Nave comprises fourteen semicircular arches, ornamented with billet and zigzag mouldings, and supported by massive piers. The arches of the triforium are of similar style to those below. The magnificent roof, the work of Bishop Lyhart, the rebus of whose name is of frequent occurrence upon the vault and corbels, is ornamented with 328 historical figures, curiously carved, in a kind of relievo peculiar to itself, being chiefly composed of little figures, most exactly put together, said to be the only work of the kind in existence, being a complete chain of sacred history, beginning at the tower with the Creation of the World; the different days of the creation being disposed of in the several figures in the intersections of the arched work of the roof. The Fall of Man, Noah’s Ark, and incidents in the lives of the patriarchs, are represented in the first seven arches; the rest to the west end represent events narrated in the New Testament. The interior of the nave looks much too long in proportion to the rest of the pile, and the triforium is out of keeping in consequence of its heavy circular arches being too high as compared with those of the tier below, but the piers of the nave, with the grand arches which they support, are splendid specimens of Norman work and decoration.

The south transept is Norman work modified by a few innovations, and is flanked by square turrets, arcaded at the top and terminating in pinnacles. The north transept is of similar character. The side aisles are low, and the roof of plain vaulting. The west window is of unusually large size, and is of the same design, as regards the tracery, with that in Westminster Hall. This window has been filled in with gorgeously coloured glass, being designed as a memorial of Bishop Stanley, who was buried in the middle of the nave.

In the seventh arch of the north side are the remains of a doorway, with a stone bench, formerly leading into the monks’ preaching yard, now part of the bishop’s garden. Even after the Reformation, and up to the time of the great rebellion, sermons were preached here before the Civic Authorities and the Members of the Cathedral. Between the sixth and seventh pillars is an unpretending inscription to the memory of the learned Dr. Prideaux, formerly Dean of Norwich, author of the “Connection of the Old and New Testaments,” who died November 1st, 1724. The tomb between the corresponding pillars on the opposite side is that of Miles Spencer, Chancellor of the Diocese in 1537. Between the seventh and eighth pillars is the low tomb of Bishop Nykke, who died in 1535. At the eighth pillar a pulpit formerly stood. Bishop Parkhurst’s tomb stands in the next space, between the eighth and ninth pillars.

The Screen was originally the division between the rood-loft and the chapel of our Lady of Pity. Bishop Lyhart erected the rood-loft, and upon it the principal rood or cross was placed with the representation of the Holy Trinity, to whom this church was dedicated; together with the images of the Blessed Virgin and St. John, and such other saints as were esteemed here. The rood or crucifix, of full proportions, was made of wood, and in most churches was placed in a loft constructed for the purpose over the entrance from the church into the chancel. The nave represented the Church Militant, and the chancel the Church Triumphant. Those, therefore, who would pass out of the former into the latter, must go under the loft; that is, must go under the cross and suffer affliction. But no rood was complete without the images of the Virgin and St. John on either side of the cross, in allusion to St. John xix. 26,—“Jesus saw His mother and the disciple standing by, whom He loved.”

The Choir contains sixty-two stalls according to the number of the old foundations, namely, a prior, sub-prior, and sixty monks. They are adorned with rich and quaint carvings and canopies, as far as the west pillars of the tower. The “misereres” (projecting brackets on the under side of the seats of stalls in churches), are richly carved and present a great variety of design. Among the stalls the Rev. R. Hart discovered upwards of sixty _misereres_, and he described them very minutely. In every example that he had seen the space under the ledge is carved in a bold relief, with an ornamented boss on each side to balance, as it were, the centre, whatever it might have been. As may be supposed scriptural or legendary designs are not often found in such a position. There are, however, a few examples.

The interior of the tower, which is raised on four massive arches, presents three arcades, the upper and lower forming galleries, and the former containing the lower windows of the lantern, which are filled with painted glass. The clerestory and roof of the chancel are the work of Bishop Goldwell. Here is an admirable specimen of engrafting a later style upon the Norman architecture, with as little violence to the eye as possible.

The tomb of Bishop Goldwell stands within the chapel, formerly dedicated to St. James, and with its canopy forms a rich specimen of ornamental sculpture and architecture. On the east side of the fifteenth north pillar is the monument to the memory of the learned Bishop Home, author of an excellent “Introduction to the Study of the Bible.” In the space between the seventeenth and eighteenth pillars was the chapel dedicated to St. Anne, and in the next space was the seat occupied by Queen Elizabeth, when she attended divine service during her visit to this city. The monument to the late Bishop Bathurst now occupies the spot, a sitting statue sculptured in white marble. Not only for its intrinsic merits is this statue of great value, but also because it is the last finished work of Sir Francis Chantrey, who visited Norwich for the purpose of fixing it only a few days before his death. Opposite to this monument is the altar tomb of Sir William Boleyn, now despoiled of its brasses. Sir Thomas Browne tells us in his “Repertorium,” that, during the Commonwealth, “more that a hundred” brasses were reeved in the Cathedral alone,—a greater number than the whole county of Norfolk could now supply. Hence our readers may easily understand what an immense number of these interesting memorials must have been lost, independently of the number that have been partially despoiled by the removal of their canopies.

At the foot of the altar steps, in the middle of the chancel, is the tomb of Bishop Herbert de Losinga, erected by the Dean and Chapter, in 1682, in the place of one destroyed during the civil wars. It has been levelled with the pavement and presents a long Latin inscription from the pen of Dean Prideaux. The east windows of the clerestory were the gift of the Bishop, the Misses Morse, and the Dean and Chapter of the Cathedral, and were erected between 1840 and 1847. The lower one in the triforium is an obituary window to the memory of the late Canon Thurlow, placed there by his friends. This space had before been occupied by a window with a pointed arch, representing the Transfiguration. The window was removed to the south transept, and the arches of both windows have been restored.

The bishop’s throne, ascended by three steps, was originally placed at the east end of the church, behind the altar, and raised so high that before the partition was made between the altar and the entrance to Our Lady’s chapel, the bishop had an uninterrupted view from his throne directly in a line through the whole church. The custos, or master of the high altar, annually accounted for the offerings made there, which produced a large sum; and at the annual processions of the city and country clergy, on the feasts of the Holy Trinity and St. Paul, something considerable was realized.

The stone roof of the south transept, as well as that of the north, was raised by Bishop Nykke, about 1501. At the same time, probably, the old Norman arch leading into the chancel aisle was filled with the rich and numerous mullions and tracery, which characterise the last period of pointed architecture. The adjoining aisle leads to the chapel of our Lady the Less, otherwise called Bawchyn’s Chapel, having been dedicated to the Virgin and all the Saints, by William de Bawchyn, about the middle of the fourteenth century. The founder is buried in an arched vault under the chapel. This chapel is now used as the Consistory Court. Adjoining is St. Luke’s Chapel, sometimes used as the parish church of St. Mary in the Marsh, that church having been demolished. Strictly speaking, the circular part only is the chapel dedicated to St. Luke, but the adjoining aisle, as far as the most eastward point, is now enclosed and fitted up for the use of the parish. It is part of Bishop Herbert’s original foundation. The font was brought from the parish church; it is richly carved with designs of the seven sacraments, &c. Passing round at the back of the altar we come to the Jesus Chapel.

The north transept is similar to the south. From the east wall of it there was a doorway leading to a chapel, said to be the ancient Vestiary. The arch has been filled up, and the entrance is from a small door on the outside. Over the exterior of the door leading to the Bishop’s palace is a niche, containing a figure, said to represent Bishop Herbert, one of the few specimens extant of a Norman statue.

_The Exterior_.

THE exterior of the Cathedral is not very imposing. The west front was the work of Bishop Alnwick, in the reign of Henry VI. It is divided into three compartments, forming the termination of the nave and the aisles. The central division presents the grand entrance doorway, and a large central window filled with coloured glass, which we have already described. It rises into a gable, formerly pierced with a small light, now a niche, flanked by two turrets with spirelets and round-headed single panels, and surmounted by a cross. The doorway is formed by a bold deep-pointed arch, and is much enriched in the spandrels and side fasciæ with mouldings, niches, pedestals, statues, and other decorations. The central window is divided, both horizontally and vertically, into three leading compartments, and subdivided by small mullions; and has good decorations of perpendicular character. Each of the two lateral divisions of the west front exhibits pure Norman work, and is of three stories; the first pierced with the doorway; the second pierced with four windows separated only by small columns; the third displaying three blank arches, and flanked with a small staircase turret. At each side of the great window, and at the extremities of the side divisions, are Norman turrets, lately restored and substituted for very debased cupolas. Engravings are extant representing this front with high and slender pinnacles where the Norman turrets now stand.

The north and south elevations of the nave show a three-storied aisle; and a clerestory and triforium, with an embattled parapet in each, exhibit a great height, and tiers of blank arches or arcades with some later perpendicular windows. On the exterior of the nave will be observed many traces of alterations in times long subsequent to the original building. The lowest tiers of windows are of comparatively modern insertion, and intersect the string course of a billet moulding, all round the exterior of the edifice. Next above is the arcade of blank arches, with semicircular mouldings, having regular bases and capitals, and continuing round the whole structure. Above these was the tier of original windows now closed up, but surmounted by windows of the sixteenth century. The exterior of the side aisles is here terminated by a plain embattled parapet of the same date as the windows before mentioned. The windows of the clerestory are, however, Norman, and have blank arches on each side, and continue the same all round the upper part of the nave and transept. They are surmounted by a parapet similar to that of the side aisles. The exterior of the south transept has been lately restored, and various old houses that blocked up the entrance have been cleared away.

The tower is grandly Norman in four stages, each adorned with arcades, columns, and tracery mouldings. It has, at the corners, square turrets with their angles cut off, and is surmounted by decorated battlements and crocketted pinnacles. The spire is decorated English octangular, elegantly proportioned, enriched with bands, and boldly crocketted in ribs running up its angles. It terminates in a handsome finial, and is the loftiest in England except that of Salisbury. The base of the spire is supported by projecting buttresses at each angle, terminating in a small pinnacle.

THE CLOISTERS.

The Cloisters, which are entered by a tasteful modern door on the south side of the nave, form one of the most beautiful quadrangles in England. They comprise a square of about 174 feet, and are 12 feet wide. They were commenced by Bishop Walpole about 1297, but were not completed by succeeding prelates till 1430. The style of architecture is the decorated, with traces of the perpendicular. The eastern part is the most ancient, and a progressive change may be observed in the tracery of the windows, commencing at the north-east corner, continuing through the south and the west, and terminating with the north sides. The roof is much admired for its exquisitely beautiful groining, and its bold yet elegant bosses, with their sculptured subjects and tasteful foliage. The doorway leading from the eastern aisle of the cloisters to the nave is deserving especial notice, being a pointed arch with four columns on each side, having archwolt mouldings, in front of which are seven canopied niches, with richly-sculptured crockets containing figures. Above the door, at the south-west corner, are carved figures of “The Temptation of our First Parents.” In the first two arches on the west side of the door are two lavatories, where the monks used to wash their hands before going into the refectory or common eating hall. Over each of these are three niches, where images formerly stood. The cloisters are surpassed by none in beauty of architecture and solemnity of effect. They branch off from the south transept, and enclose a square court or area. There are eleven noble windows or arched openings on the western side, twelve on the east, eleven on the north, and eleven on the south. All these windows are divided into three lights by two columns, and are decorated with a variety of beautiful tracery. They are of decorated architecture, except eight on the north side, which have perpendicular tracery in decorated arches. The upper portion of the tracery of all the windows appears to have been once filled with stained glass.

The pavement of the north side of the cloisters was torn up in the great rebellion, and relaid by William Burleigh, Esq. In this alley Queen Elizabeth dined in public when she visited Norwich in 1578. In memory thereof, her Majesty’s arms and those of the nobility who attended her were painted on the wall of the church, and properly blazoned with supporters, etc., but they were entirely effaced a century ago.

The dormitory of the monks adjoined the cloisters on the south. At a short distance from the cloisters are the only remains of the Priory founded by Bishop Herbert, consisting of three massive clustered columns, the capitals of which are curiously carved.

THE BISHOP’S PALACE.

The Bishop’s Palace stands on the north side of the Cathedral Church, to which there was in former times a passage from the door of the north transept, arched over with stone similar to the cloisters. The original palace was founded by Bishop Herbert, but has undergone so many repairs and alterations, that but little of the first building remains, and that part adjoins a new structure, in a similar style of architecture. In the garden there is a fine ruin, said to be remains of the grand entrance into the great hall, which reached to the site of the present episcopal chapel, and was 110 feet long, and 60 broad. This chapel was restored in 1662, and in it are monuments of Bishops Reynolds and Sparrow. The entrance to the episcopal residence is from St. Martin’s Plain, by the palace gate, built by Bishop Alnwyck about 1430. It has a large pointed arch of several mouldings, and the spandrels are filled with tracery; but it has suffered materially from injudicious repairs. Over the arch is a series of pannelled compartments with the letter M crowned. On the west side is a small door, on which, amongst other ornaments, are a heart and mitre, the supposed rebus of Bishop Lyhart.

THE CATHEDRAL PRECINCTS.

The Cathedral Precincts include the Upper and Lower Close, and a large portion of garden ground, with good houses on the south side. The Upper Close was formerly used as a play ground to the Grammar School; it is now enclosed with palisades. At the south-east corner is the Audit Room, which contains the library of the Dean and Chapter. The Lower Close was enclosed by Dean Lloyd, in 1782, and converted into a garden. At the extremity of the Lower Close, near the edge of the river, still stands a double arch of black flint, which is considered the roughest bit of picturesque in Norwich, and has been frequently sketched. It was formerly the Water-gate to the precincts, and is now known as “Pull’s Ferry.”

THE FREE GRAMMAR SCHOOL.

[Picture: The Free Grammar School]

The Free Grammar School, near the west end of the Cathedral, was founded by Bishop Salmon, in 1325, and annexed to a small Collegiate Chantry. At the dissolution of this college, the Corporation, by their Hospital Charter, were required to find a master and usher, and to remunerate them out of the ample revenues assigned to them by that charter. This trust was transferred, in 1836, from the Corporation to the Charity Trustees. There are generally a little more than a hundred pupils at the school. The celebrated Dr. Valpy was once the head-master; and in addition to many eminent scholars, the celebrated “Norfolk hero,” Lord Nelson; Sir James Brooke, the Rajah of Sarawak; and other noted characters, were educated here. Opposite the school is a colossal marble statue of Nelson. It was executed by Mr. Milne, of London, and has been highly commended as a work of art. Of this school, and also of the Commercial School, which is under the same trust, we shall have more to say in subsequent pages.

The Gateways to the Cathedral on the west side are deserving of notice.

THE ERPINGHAM GATE

is situated directly before the west front of the Cathedral, and is in an excellent state of preservation. It was built in 1428 by Sir Thomas Erpingham, (who lies buried in the choir of the Cathedral) as a penance for having espoused the cause of Wickliffe. It consists of a lofty pointed arch, in the mouldings of which are a series of thirty-eight statues in canopied niches. The spandrels are highly decorated with tracery mouldings and shields, the whole being enclosed in a kind of square frame with semi-circular buttresses, each of which is divided into four compartments with statues, niches, pedestals, and shields. As a matter of some interest, it may here be mentioned that over against the front of this gate is a large block of buildings, enclosing what is commonly called Sampson and Hercules’ Court. The grotesque wood figures, designed to represent these personages, formerly supported the portico, but are now placed in the paved court. The one holds a club, and the other the jawbone of an ass. The house itself was formerly owned by Sir John Fastolf, and afterwards by the Countess of Lincoln; and in the time of Henry VII. by Elizabeth Duchess of Suffolk, who used it as a city house for herself and family. It is now in the occupation of Messrs. Pratt and Hancock, wholesale grocers and cheese factors, who have covered in the whole court.

THE ETHELBERT GATEWAY

leads to the south end of the Upper Close. It was built by the citizens as an atonement for the injuries done in a quarrel which they had with the monks in 1272. The chamber over the arch was formerly used as a chapel dedicated to St. Ethelbert, the church of that name having been destroyed during the riots. The west front has a modern pediment of stone tracery, inlaid with flint. Beneath is a series of blank niches with a statue in the centre. In the spandrels of the arch are figures, in basso relievo, of a man with a sword and round shield attacking a dragon. The east front consists of stone tracery and flint with painted windows.

THE VIEW FROM THE CASTLE HILL.

We shall now return to the Castle-hill Walk, which is favourable for a view of the whole city, with all its churches and towers. If we take our position on the eastern side we shall see the broad vale of the Yare, where the Romans came up in their galleys and landed on that side of the river, then very wide. We shall see also where the first street (King Street,) extends southward the whole length of the city, with tall chimnies of great breweries sending forth volumes of smoke. Northward the same street extends to an open space called Tombland; beyond which, Wensum Street and Magdalen Street lead in a straight line to Catton and the village of Sprowston. The circle of vision includes the Cathedral, the Grammar School, St. Helen’s Church, Mousehold Heath, Kett’s Castle, Lollards’ Pit, the hamlet of Thorpe, the churches of St. Peter per Mountergate, St. Julian, and St. Peter Southgate, in King Street. Walking round to the west side, we have before us the spacious Market Place, and the noble church of St. Peter Mancroft, with a mass of buildings. From the Market Place we see several lines of streets running in a direction from east to west; Bethel Street, leading to St. Giles’ Church, and St. Giles’ Street, in a straight line to Heigham. Here in the foreground, the Guildhall is a conspicuous object. More on the right we have London Street, Prince’s Street, St. Andrew’s Street, Pottergate Street, and St. Benedict’s Street, running in lines from east to west. Here, the chief objects are the churches of St. John’s Maddermarket and St. Gregory; and in the distance, St. Lawrence, St. Margaret’s, and St. Michael’s at Coslany. From the north side of the Castle walk we see Exchange Street, Post Office Street leading into St. Andrew’s, and St. George’s Street, Pitt Street, and St. Augustine’s, and St. Martin’s at Oak, all the lower parts of the town, full of close narrow streets, yards, and courts. The principal objects in view are St. Andrew’s Hall, the churches of St. Martin at Oak, St. Mary, St. Augustine, St. George’s Colegate, St. Saviour, St. Clement, St. Peter Hungate, St. Michael at Plea, St. Paul, St. Simon and Jude, St. Edmund, and St. George Tombland.

THE CATTLE MARKET.

The Cattle Market, on the south side of the hill, has been greatly extended, and presents the most extensive area for the purpose in England. On the east side whole blocks of old houses have been cleared away, and great additions made to the space for the display of horses, cattle, sheep, and pigs. The improvements cost the city over £50,000. Every Saturday the hill presents a busy and highly interesting scene, and a vast amount of business is transacted here in the space of a few hours. The area has recently been further enlarged by the demolition of some old houses at the corner of Golden Ball Street. A line of new houses has been built on the east side, ending with the handsome show rooms of Messrs. Holmes and Sons, the well-known Agricultural Machine Makers, who have won many prizes for their implements.

THE SHIREHALL.

The Shirehall, on the Castle Meadow, was erected from a plan by William Wilkins, Esq. It was commenced on September 9th, 1822, and opened September 27th, 1823, and is a poor imitation of the Tudor style of architecture. It stands on the north-east side of the Castle, and is a substantial brick edifice, possessing all the usual accommodations. It comprises Crown Court, Nisi Prius Court, and rooms for witnesses and others. The county assizes and sessions are held in these courts. Near the crown court there is a small room communicating, by a shaft, with the prison above, whence prisoners are brought down for trial. The grand Jury room is a large apartment, and the walls are adorned with fine portraits of the late Lord Wodehouse and the late Earl of Leicester, painted by Sir T. Lawrence. There is also a portrait of the late Henry Dover, Esq., for many years Chairman at Quarter Sessions.

THE GUILDHALL.

The Guildhall is a large antique building, chiefly of flint, at the north end of the Market Place. It was completed in 1413, when the windows of the Council Chamber were glazed chiefly with stained glass; but all these ornaments have disappeared, except in three east windows. The furniture of this room is of the time of Henry VIII., and the wood work is ornamented with the linen pattern. The room has been much improved of late years. The principal court is on the ground floor, where the city assizes and sessions are held. The Police Court is in a room above, opposite the Council Chamber. The Town Clerk and City Treasurer have offices in the building. The Police Station is on the ground floor of the east side.

The interior of the hall is decorated with portraits, some interesting trophies of the battle of St. Vincent, presented by Nelson, the city regalia, and the buskins of a famous dancer, who danced from London to Norwich in the reign of Queen Elizabeth. When that Queen visited the city in 1578, there was a magnificent banquet given in the Council Chamber, and a pageant devised for her amusement was exhibited. In one of the cells at the bottom of the building, the martyr Thomas Bilney was confined, and there tested his powers of endurance by holding his finger in the lighted flame of a candle, to prove his willingness to suffer his approaching doom. In 1660, the lower court at the west end, now used as an assize court, was set apart as a cloth hall, and the room above as a place for the sale of yarn. During the present century the hall has been much improved on the south side. New windows should be inserted on the north side.

ST. ANDREW’S HALL.

St. Andrew’s Hall stands in the centre of the city, in the parish of St. Andrew. It was originally the Church of the Convent of the Blackfriars, the building of which was begun about the year 1415, by Sir Thomas Erpingham, who died in 1428, before it was finished. It was completed by his son, Sir Robert Erpingham, who was rector of Bracon Ash, in Norfolk, a friar of the order of St. Dominic, and a member of this convent. This convent extended from St. Andrew’s Street to the river from south to north, and as far as Elm Hill on the east. The cloister was on the north side of the church, with a burial place in the middle. The convent kitchen was at the north-west corner. Between the nave and choir of the church there was a neat sexangular steeple, which had three large bells in it and a clock. It was built about 1462, and fell down on November 6th, 1712. A turret was afterwards erected in its place, in which a clock bell hung. At the dissolution of the monasteries in 1538, the citizens applied to Henry VIII., through the interest of the Duke of Norfolk, for a grant of the convent for the use of the city, and requested that he would allow them to make the church into “a large hall, for the mayor and his brethren, with all the citizens to repair unto at common assemblies,” to make a chapel of the choir, and to appropriate the rest of the building to other purposes. This was complied with, and the petition is dated June 25th, 1540. After this, the guilds of the several companies in the city, twenty in number, used to hear mass in the choir, and make their offerings in that place; and most of them held their feasts in the hall.

In 1544, Henry Fuller, Esq., being then mayor, kept the first mayor’s feast in grand style in the new hall. In 1561, the Earls of Northumberland and Huntingdon, the Lord Thomas Howard, and Lord Willoughby, with many other lords and knights, came to Norwich to visit the Duke of Norfolk, and they lodged at the Duke’s palace. At that very time the mayor’s feast was held; and William Mingay, then mayor, invited the noble lords and their ladies to the banquet. They accepted the invitation, and were entertained in princely style; and they expressed great satisfaction with their reception. After dinner, Mr. John Martin, a wealthy citizen, delivered the following characteristic speech:—

“Maister Mayor of Norwich, and it please your Worship, you have
feasted us like a King. God bless the Queen’s Grace. We have fed
plentifully; and now, whilom I can speak plain English, I heartily
thank you Maister Mayor; and so do we all. Answer, Boys, Answer.
Your Beer is pleasant & potent, and will soon catch us by the
_caput_, and stop our manners: And so Huzza for the Queen’s Majesty’s
Grace, and all her bonny-brow’d Dames of Honour. Huzza for Maister
Mayor and our good Dame Mayoress. His noble grace, there he is, {53}
God bless him, and all this jolly company. To all our friends round
county, who have a penny in their purse, and an English heart in
their bodies, to keep out Spanish Dons, and Papists with their
faggots to burn our whiskers. Shove it about, twirl your cap cases,
handle your jugs, and Huzza for Maister Mayor, and his brethren,
their Worships.”

On many subsequent occasions, the hall was the scene of grand civic festivities, to which we shall have to allude hereafter.

The Triennial Musical Festivals are held here. And, formerly, the assizes for the city; the nomination of candidates to represent the city in Parliament; and the mayor’s feasts, which were generally given on the day when he was sworn into office, were also all held in this spacious building; and on some festive occasions, nearly 1000 ladies and gentlemen have dined here, including most of the principal families of the city. Several times between 1650 and 1700 the hall was proclaimed “a public exchange for the despatch of business between merchants and tradesmen.” The last time was in 1725, when it was used only one year. It was opened in October, 1796, as a corn exchange and continued to be used as such every Saturday till 1828. Under the superintendance of Mr. Barry, the City Surveyor, a complete restoration of the hall was effected in 1863.

The exterior of the hall, as seen from the plain, presents an imposing appearance, chiefly owing to the fine effect of its long range of clerestory windows, of which there are fourteen on each side. The five westernmost windows on the south side are each of three lights, of decorated character, being of earlier date than any of the other windows. The sixth or easternmost window is of four lights, perpendicular in style. On the north side are six beautiful perpendicular windows of four lights, probably the most elegant in style in the eastern counties. The principal entrance is through the new porch on the south-west, which is similar in style to the original building. A large entrance door is provided in the centre of the west front, and above this there is a large and beautiful five-light window, producing a fine effect in the interior of the hall. The interior consists of a nave, 124 feet by 32 feet; and north and south aisles, 124 feet by 16 feet, each being divided from the nave by six lofty and handsomely-moulded stone columns, supporting seven elegant stone arches. Above these arches are the clerestory windows, fourteen on each side, perpendicular in style, and somewhat later in character than the other windows. The roof, which is of chestnut, is of hammer-beam construction, with moulded spandrel brackets and circular shafts. From the hammer-beams spring moulded arch ribs. The rafters, which were originally visible, are plastered on the underside, giving the effect of panelling; the ground-work being intense blue with gilded stars. The hollows in the whole of the timber are coloured vermillion, and gilded pateræ are inserted within these hollows at stated distances. The circular ribs are finished with a bead on the underside, which is decorated by spiral bands, alternately drab and oak colours. The intersection of the main timbers at the apex of the roof is distinguished by carved bosses, richly gilt. The aisle roofs are similarly decorated, but without the gilded pateræ. At the east end the orchestra is placed within a recess, under a fine deeply-moulded stone arch, of large size.

The nave and aisles are lighted at night by nine polished brass coronæ, of characteristic design, pendant from the centres of the arched ribs of the roof. When lighted up at night, during the Choral Society and Festival Concerts, the interior presents a very brilliant appearance. Amongst the principal attractions of the hall are the portraits of city worthies and some historical paintings. A fine work of art, Queen Eleonora sucking the poison from her husband’s wound; and another, the Death of Lady Jane Grey, by Martin, a native of this city; may be seen at the west end. Large sums have been offered for them. The two oldest portraits in the hall are Queen Anne and Prince George of Denmark. A fine portrait of Admiral Lord Nelson, painted by Sir William Beechey, was the last for which the illustrious “Norfolk Hero” sat after his return to England in 1801. It is allowed to be an admirable likeness. He is standing on the quarter deck of a man of war; the tri-coloured flag of France is lying at his feet; and the flag of Spain lies on a cannon; leaning against which is the sword of the Spanish Admiral, Don Xavier Winthysen, surrendered to him on February 14th, 1797. On the hero’s hat is the magnificent diamond Aigrette, or Plume of Triumph, and under it the rich pelisse of sable fur, both of which were presented to him by the Grand Seigneur. He is decorated with the red riband as Knight of the Bath, and with the blue riband and medal suspended therefrom, which are the Insignia of the Order of St. Ferdinand. On his breast are stars of the most honourable Order of the Bath, of the Grand Cross, of the Order of St. Ferdinand, and of the Imperial Order of the Crescent Suspended from his neck by a riband, hang two gold chains, and another is affixed to his button hole on the right side, all of which had been presented to him, at various times, for his unparalleled naval victories.

“Such honours England to her hero paid,
And peaceful sleeps the mighty Nelson’s shade.”

This superb painting may be seen at the west end of the hall on the north side. Gainsborough painted the portrait of Sir Harbord Harbord, afterwards Lord Suffield, considered one of the best in the hall. Amongst the other portraits in the building are some painted by Gainsborough, Beechey, Heins, Smith, Bardwell, Stoppelaer, Adolphe, Opie, Clover, Hoppner, Lawrence, and Thompson. The following is a list in chronological order, with names of the painters.