Chapter III: The Interior of the Cathedral (2)

"Next came wee into a brave and ancient priviledg'd Place, through the Lady Arbour Cloyster, close by the Chapter-house, called the Vicars Chorall or Colledge Cloyster, where twelve of the singing men, all in orders, most of them Masters in Arts, of a Gentile garbe, have their convenient several dwellings, and a fayre Hall, with richly painted windows, colledge like, wherein they constantly dyet together, and have their cooke, butler, and other officers, with a fayre library to themselves, consisting all of English books, wherein (after we had freely tasted of their chorall cordiall liquor) we spent our time till the Bell toll'd us away to Cathedral prayers. There we heard a most sweet Organ, and voyces of all parts, Tenor, Counter-Tenor, Treble, and Base; and amongst that orderly shewy crew of Queristers our landlord guide did act his part in a deep and sweet Diapason."

*The North-East Transept.*--This transept shows ample evidence of the original Norman plan, although its present character is Early Decorated.

Of the triple apse in which the Norman Cathedral probably terminated--an arrangement similar to the eastern apses of Gloucester and Norwich Cathedrals--portions remain in the walls of the vestibule to the Lady Chapel, and in this, the north-east transept, still remain parts of the apses which opened from the choir aisles. These are somewhat later than the nave and belong to the Transition period.

After the completion of the great north transept for the reception of the shrine of St. Thomas Cantilupe, the terminal apses of the choir aisles were almost entirely removed, and the present north-east transept erected.

In the centre of this transept rises an octagonal pier which helps to carry the quadripartite vaulting. Some Norman arches in the west wall doubtless formed part of the original apse. The windows belong to the Early Decorated period. Sir G. G. Scott was responsible for the restoration of the transept.

*Monuments in the North-East Transept.*--Under the north-west window is the canopied tomb of Bishop Swinfield. The effigy of the bishop has been lost, and in its place, which is now shown, is an unknown figure which was found buried in the cloisters. In the mouldings of the arched canopy the ball-flower ornament is again in evidence, and behind the tomb a carving of the crucifixion is still visible, though nearly obliterated by the chisel of the Puritans. The beautiful vine leaf carving at the sides has, however, been happily spared; it is similar to the leafage on the Cantilupe shrine.

The altar-tomb of Dean Dawes, 1867, one of the most active of the modern restorers, is very beautiful. It is by Sir G. G. Scott, with effigy by Noble.

Under the north-east window is an altar-tomb of an unknown bishop. It has been assigned to Bishop Godwen, 1633, but is probably much earlier.

There is also an old stained glass window, restored by Warrington, with figures of SS. Catherine, Gregory, Michael, Thomas, and a modern one, by Heaton, to the Rev. J. Goss.

In the north choir aisle, which is entered through the original Norman arch, is an exquisite little chapel known as Bishop Stanbury's Chantry. In style it is late Perpendicular (1470). The roof is a good specimen of fan-vaulting, and the walls are panelled with heraldic bearings. Its dimensions are 8 feet by 16 feet, and it is lighted by two windows on the north side, the entrance being on the south.

At the east end are shields with emblems over the place of the altar, and the west is covered with shields in panels and tracery.

The capitals of the shafts at the angles are formed by grotesques, and over the arch on the south side are shields with emblems of St. Matthias, St. Thomas, and St. Bartholomew. The Lancaster rose is prominent in the decoration, and there is much under-cutting in the carving.

The stained windows, which form an interesting collection of arms and legends, are in memory of Archbishop Musgrave, once Bishop of Hereford, to whom there is also another window by Warrington in the wall of the aisle above the chantry, which is only 11 feet in height. The subjects are taken from the life of St. Paul.

Monument to Bishop Raynaldus, 1115, one of the chief of the Norman builders of Hereford.

In a Perpendicular recess on the left of the door opening to the turret staircase which leads to the archive room and chapter library is an effigy said to be of Bishop Hugh de Mapenore, 1219. Above is a stained glass window by Clayton and Bell, placed here as a memorial of John Hunt, organist, who died 1842, and his nephew. There is also a small brass plate at the side of the window, from which we learn that the nephew James died "of grief three days after his uncle."

VIEW BEHIND THE ALTAR, LOOKING NORTH. AFTER A DRAWING BY W. H. BARTLETT,
1830.

In the middle bay on the north side of the choir is the monument of Bishop Bennett (1617), who was buried here. He wears a close black cap, and the rochet and his feet are resting on a lion. Across his tomb one gets a fine view of the Norman double arches of the triforium stage on the other side of the choir.

In the north wall of the north choir aisle in the first of the series of arched recesses, of Decorated character, with floral ornament in the mouldings, is an effigy assigned to Bishop Geoffrey de Cliva (died 1120), and in the same bay of the choir as Bishop Bennett's tomb is the effigy of a bishop, fully vested, holding the model of a tower. It is assigned to Bishop Giles De Braose (died 1215), who was erroneously thought to have been the builder of the western tower (which fell in 1786). This effigy belongs to the Perpendicular period, when a number of memorials were erected to earlier bishops.

In the calendar of the ancient missal "_Secundum usum Herefordensem_," previously quoted, occurs the following entry:--"_XV. Kal. Decem. Obitus pie memorie Egidii de Breusa Herefordensis Episcopi, qui inter cetera bona decimas omnium molendinorum maneriorium suorum Herefordensi Ecclesie contulit, et per cartam quam a Domino Rege Johanne acquisivit omnes homines sui ab exactionibus vicecomitum liberantur._"

In the easternmost bay on the north of the choir is the effigy of Bishop Stanbury, provost of Eton and builder of the chantry already described. It is a fine alabaster effigy with accompanying figures. The bishop wears alb, stole, and chasuble.

Beyond the entrance to Bishop Stanbury's Chantry is a Perpendicular effigy under an arch which is assigned to Bishop Richard de Capella (died 1127).

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

In the north-east transept are the following antiquarian remains:--Two altar-stones, nearly perfect, whereon are placed:--

Six mutilated effigies of unknown lay persons, probably buried in or near the Magdalen Chapels, but dug up on the south side of the Bishop's Cloisters, A.D. 1820, and brought inside the cathedral A.D. 1862.

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

The wooden pulpit--very late Perpendicular work from which every canon on his appointment formerly had to preach forty sermons on forty different days in succession.

We may also notice two rich pieces of iron-work from Sir A. Denton's tomb: the head of a knight or templar's effigy and several heraldic shields from monuments in the cathedral--especially seven in alabaster now placed against the east wall.

COMPARTMENT OF CHOIR, EXTERIOR, NORTH SIDE.

*The Choir*, with its details of architecture and its individual accessories, is very beautiful, notwithstanding an unusual deficiency of light, caused by the position of the transepts, which practically intercept all light except that from the clerestory. It consists of three lofty Norman bays of three stages. The middle of the three stages has some exquisite dwarfed Norman arches with no triforium passages; but there is one in the upper stage, with slender and graceful Early English arches and stained glass at back. The vaulting is also Early English, and dates from about the middle of the thirteenth century.

COMPARTMENT OF CHOIR, INTERIOR, NORTH SIDE.

The principal arches of the choir are supported by massive piers with square bases. The shafts are semi-detached and bear capitals enriched with foliated and grotesque ornament. In each bay on the triforium level a wide Norman arch envelops two smaller arches, supported by semi-circular piers on each side.

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

The east end of the choir was covered before 1841 by the "Grecian" screen, a wooden erection placed there by Bishop Bisse in 1717, and above it a Decorated window containing a stained glass representation of the Last Supper after the picture by Benjamin West. The improvement effected by the removal of this screen with its heterogeneous appendages was immense. The great Norman arch was once more exposed to view; and, in place of the Decorated window, we now have three lancets at the back of the clerestory passage.

In describing the discoveries led up to by the removal of the old screen, Dean Merewether says: "By cautious examination of the parts walled up it was discovered that the capitals were all perfect, and that this exquisite and grand construction, the mutilation and concealment of which it is utterly impossible to account for, was in fact made up of five arches, the interior and smallest supported by the two semi-columns, and each of the others increasing in span as it approached the front upon square and circular shafts alternately, the faces of each arch being beautifully decorated with the choicest Norman ornaments. Of the four lateral arches, the two first had been not only hid by the oak panelling of the screen, but were also, like the two others, closed up with lath and plaster as the central arch; and when these incumbrances and desecrations were taken away it is impossible to describe adequately the glorious effect produced, rendered more solemn and impressive by the appearance of the ancient monuments of Bishops Reynelm, Mayew, Stanbury, and Benet, whose ashes rest beneath these massive arches, of which, together with the noble triforium above, before the Conquest, Athelstan had probably been the founder, and the former of those just mentioned, the completer and restorer after that era."

The reredos is in Bath stone and marble, and was designed by Mr. Cottingham, junior, as a memorial to Mr. Joseph Bailey, 1850, who represented the county for several years in Parliament.

The sculptor was Boulton, and the subject is our Lord's Passion, in five deep panels occupying canopied compartments divided by small shafts supporting angels, who carry the instruments of the Passion. The subjects in the separate panels are:--1. The Agony in the Garden; 2. Christ Bearing the Cross; 3. The Crucifixion; 4. The Resurrection; and 5. The Three Women at the Sepulchre.

EAST END OF THE CHOIR IN 1841.

Above the reredos a broad spandrel left by two pointed arches springing from a central pier fills the upper part of the Norman arch. The pier itself is old, but the upper part is a restoration of Mr. Cottingham's. The spandrel is covered with modern sculpture, as may be seen in the illustration. The subject is the Saviour in Majesty, the four evangelists holding scrolls; and below a figure of King Ethelbert.

An older representation of King Ethelbert is the small effigy on a bracket against the easternmost pier south of the choir, close to the head of the tomb of Bishop Mayo, who had desired in his will to be buried by the image of King Ethelbert. It was dug up about the year 1700 at the entrance to the Lady Chapel, where it had doubtless been buried in a mutilated condition when the edict went forth for the destruction of shrines and images.

EARLY ENGLISH WINDOW MOULDING.

Originally there were other representations of St. Ethelbert: on the tombs of Bishops Cantilupe and Mayo, Dean Frowcester, Archdeacon Rudhale, Praecentor Porter; in colour on the walls of the chapter-house and the tomb of Joanna de Kilpec; in ancient glass, recently restored, in a window in the south aisle of the choir; and in a stone-carving over the door of the Bishop's Cloister, and the effigy formerly on the west front.

Opposite the throne a slab of marble, from designs by Scott, marks the spot, as far as it is known, where Ethelbert was buried.

*The Choir-stalls* are largely ancient, belonging to the Decorated period. They have good canopy work, and are otherwise excellent in detail. Some of the _misereres_ are quaint, among them being found several examples of the curiously secular subjects chosen for this purpose by the wood-carvers of the period.

In addition to the bishop's throne, which is of the fourteenth century, there is, on the north side of the sacrarium, a very old episcopal chair, concerning which a tradition remains that King Stephen sat in it when he visited Hereford. Be this as it may, the Hereford chair is undoubtedly of very great antiquity, and belongs to, or at least is similar to, the earliest kind of furniture used in this country. The dimensions of the chair are--height, 3 feet 9 inches; breadth, 33 inches; front to back, 22 inches. The entire chair is formed of 53 pieces, without including the seat of two boards and the two small circular heads in front.

Traces of ancient colour--vermilion and gold--may still be seen in several of the narrow bands: a complete list of other painted work which has been recorded or still exists in the cathedral has been compiled by Mr C. E. Keyser.(6)

*The Cathedral Library.*--The Archive Chamber, on the Library. This room, which has been restored by Sir G. G. Scott, is now approached by a winding stone staircase.

In earlier times access was only obtainable either by a draw-bridge or some other movable appliance crossing the great north window. The Library (which Botfield(7) calls "a most excellent specimen of a genuine monastic library") contains about 2000 volumes, including many rare and interesting manuscripts, most of which are still chained to the shelves. Every chain is from 3 to 4 feet long, with a ring at each end and a swivel in the middle. The rings are strung on iron rods secured by metal-work at one end of the bookcase. There are in this chamber eighty capacious oak cupboards, which contain the whole of the deeds and documents belonging to the Dean and Chapter, the accumulation of eight centuries.

THE REREDOS.

_Photochrom Co., Ld., Photo._

Among the most remarkable printed books are:--A series of Bibles, 1480 to 1690; Caxton's _Legenda Aurea_, 1483; Higden's _Polychronicon_, by Caxton, 1495; Lyndewode, _Super Constitutiones Provinciales,_ 1475; Nonius Marcellus, _De proprietate sermonum_, 1476, printed at Venice by Nicolas Jenson; and the _Nuremberg Chronicle_, completed July 1493. Of the manuscripts, the most interesting is an ancient _Antiphonarium_, containing the old "Hereford Use." One of the documents attached to this volume states: "The Dean and Chapter of Hereford purchased this book of Mr William Hawes at the price of twelve guineas. It was bought by him some years since at a book-stall in Drury Lane, London, and attracted his notice from the quantity of music which appeared interspersed in it."

The date of the writing is probably about 1270, the obit of Peter de Aquablanca being entered in the Kalendar in the hand of the original scribe and the following obit in another hand.

The oldest of all the treasures preserved at Hereford Cathedral, being certainly one thousand years old at least, is a Latin version of the Four Gospels written in Anglo-Saxon characters.

The Rev. F. Havergal thus describes it: "This MS. is written on stout vellum, and measures about 9 x 7 inches. It consists of 135 leaves. Three coloured titles remain, those to the Gospels of St. Matthew, St. Mark, and St. John. Two illuminated leaves are missing--those that would follow folio 1 and folio 59. With the exception of these two lacunae, the MS. contains the whole of the Four Gospels.

No exact date can be assigned, but several eminent authorities agree that it is the work of the eighth or ninth century.

It does not exactly accord with any of the other well-known MS. of that period, having a peculiar character of its own.

From the evidence of the materials it would appear to have been written in the country, probably in Mercia, and not at any of the great monasteries.

The text of this MS. is ante-Hieronymian, and offers a valuable example of the Irish (or British) recension of the original African text. Thus it has a large proportion of readings in common with the Cambridge Gospels, St. Chad's Gospels, the Rushworth Gospels, and the Book of Deir.

On the concluding leaves of this volume there is an entry of a deed in Anglo-Saxon made in the reign of Canute, of which the following is a translation:--

"Note of a Shire-mote held at AEgelnoth's Stone in Herefordshire in the reign of King Cnut, at which were present the Bishop Athelstan, the Sheriff Bruning, and AEgelgeard of Frome, and Leofrine of Frome, and Godric of Stoke, and all the thanes in Herefordshire. At which assembly Edwine, son of Enneawne, complained against his mother concerning certain lands at Welintone and Cyrdesley. The bishop asked who should answer for the mother, which Thurcyl the White proffered to do if he knew the cause of accusation.

"Then they chose three thanes and sent to the mother to ask her what the cause of complaint was. Then she declared that she had no land that pertained in ought to her son, and was very angry with him, and calling Leofloeda, her relative, she, in presence of the thanes, bequeathed to her after her own death all her lands, money, clothes, and property, and desired them to inform the Shire-mote of her bequest, and desire them to witness it. They did so; after which Thurcyl the White (who was husband of Leofloeda) stood up, and requested the thanes to deliver free (or clean) to his wife all the lands that had been bequeathed to her, and they so did. And after this Thurcyl rode to St. Ethelbert's Minster, and by leave and witness of all the folk caused the transaction to be recorded in a book of the Gospels."

*An Ancient Chasse or Reliquary* is shown among the treasures of the cathedral, which was looked upon for a long time as a representation of the murder of St. Ethelbert, but this is only an example of the many traditional tales which modern study and research are compelled to discard. It undoubtedly represents the martyrdom of St. Thomas of Canterbury. On the lower part is the murder; on the upper, the entombment of the saint, very similar in style to the later Limoges work of the thirteenth century.

The Rev. Francis Havergal gives a detailed description, which we have condensed to the following:--

This reliquary consists of oak, perfectly sound, covered with copper plates overlaid with Limoges enamel. It is 8-1/4 inches high, 7 long and 3-1/2 broad. The back opens on hinges and fastens with a lock and key, and the upper part sloped so as to form an acutely-pointed roof; above this is a ridge-piece; the whole rests on four square feet. Front of Shrine:--Here are two compartments; the lower one shows on the right side an altar, of which the south end faces the spectator; it is supported on four legs and has an antependium. Upon the altar stands a plain cross on a pyramidal base, and in front of it a chalice covered with a paten. Before, or technically speaking, in the midst of the altar stands a bishop celebrating mass, having both hands extended towards the chalice, as if he were about to elevate it. He has curly hair and a beard and moustache. He wears a low mitre, a chasuble, fringed maniple, and an alb.

In the top right-hand corner is a cloud from which issues a hand pointing towards the figure just described.

Behind, to the left, stand three figures. The foremost has just thrust the point of a large double-edged sword, with a plain cross hilt, through the neck of the bishop from back to front.

ANCIENT RELIQUARY IN THE CATHEDRAL.

The upper compartment represents the entombment of the bishop. The middle of the design is occupied by an altar tomb, into which the body, swathed in a diapered winding-sheet, is being lowered.

The ends of the bier are supported by two kneeling figures.

On the side of the tomb furthest from the spectator is a bishop or abbot without the mitre looking toward a figure on his right, who carries a tablet or open book with some words upon it.

At either extremity of this panel stands a figure censing the corpse with a circular thurible.

The border of each compartment is formed by a double invected pattern of gold and enamel. The ridge-piece is of copper perforated with eight keyhole ornaments.

The back of the shrine is also divided into two compartments, and is decorated with quatrefoils.

It is pierced in the middle of the upper border by a keyhole communicating with a lock on the inside.

The right-hand gable is occupied by the figure of a female saint. The left gable is occupied by the figure of a male saint.

A border of small gilt quatrefoils on a chocolate ground runs round the margins of the two ends and four back plates.

Those parts of the copper plates which are not enamelled are gilded, while the colours used in the enamelling are blue, are light-blue, green, yellow, red, chocolate, and white.

In the interior, on that side to which the lower front plate corresponds, is a cross _pattee fitchee_ painted in red upon oak, which oak bears traces of having been stained with blood or some other liquid. The wood at the bottom is evidently modern. This reliquary is said to have been originally placed upon the high altar. It appears to have been preserved by some ancient Roman Catholic family until it came into the possession of the late Canon Russell, and bequeathed by him to the authorities of the cathedral.

The art of enamelling metals appears to have been introduced from Byzantium through Venice into Western Europe at the close of the tenth century. After this time Greek artists are known to have visited this country, and to have carried on a lucrative trade in the manufacture of sacred vessels, shrines, etc.

*Ancient Gold Rings.* One of pure gold, supposed to have been worn by a knight templar, was ploughed up near Hereford. The device on the raised besel is a cross pattee in a square compartment, on each side of which are a crescent and a triple-thonged scourge.

Within the hoop is engraved in black-letter character "_Sancte Michael_." Date about 1380.

A massive ring set with a rough ruby of pale colour was found in the tomb of Bishop Mayew. On each side a bold tan cross with a bell is engraved. These were originally filled with green enamel. Inside is engraved and enamelled "Ave Maria."

A superb ring was also found in Bishop Stanbury's tomb, on the north side of the altar. It contains a fine and perfect sapphire, and flowers and foliage are beautifully worked in black enamel on each side of the stone.

A fine gold ring was discovered in Bishop Trilleck's grave in 1813, but was stolen in 1838 from the cathedral. It was never recovered, though _L_30 was offered as a reward.

*The Stained Glass* has survived only in a few fragments, scattered about the eastern end of the cathedral.

Some of the best, apparently of early fourteenth century date, is in one of the lancets on the south side of the Lady Chapel, west of the Audley Chapel. The subjects are:

1. Christ surrounded by symbols of the four evangelists; 2. Lamb and flag; 3. Angel and Maries at the sepulchre; 4. Crucifixion; 5. Christ bearing His cross.

In the north-east transept is an ancient glass window, restored and entirely releaded by Warrington, at the cost of the Dean and Chapter, Oct. 1864. It is a fairly good specimen of fourteenth century work. For many years it was hidden away in old boxes, and was formerly fixed in some of the windows on the south side of the nave.

The figures represent--1. St. Katherine; 2. St. Michael; 3. St. Gregory; 4. St. Thomas of Canterbury.

In the south-east transept, again, is a window of ancient glass, erected under the same circumstances. The figures in this case represent--1. St. Mary Magdalene; 2. St. Ethelbert; 3. St. Augustine; 4. St. George.

In the north aisle of the nave is a two-light window by Warrington. It was erected in 1862 by Archdeacon Lane Freer to the memory of Canon and Mrs. Clutton. The subjects are from the life of St. John the Baptist.

In the north transept is a very fine memorial window to Archdeacon Lane Freer, erected at a cost of L1316. The window is one of the largest of the Geometric period (_temp._ Edward I.) in England, the glass being 48 feet 6 inches in height by 21 feet 6 inches in breadth. About five or six shades each of ruby and Canterbury blue are the dominating colours. Plain white glass has also been wisely used in the upper part of the window. It was designed and erected by Messrs. Hardman.

There is a small window by Clayton and Bell in the north aisle of the choir to the memory of John Hunt, organist of the cathedral. The subjects, in eight medallions, are:--1, 2. King David; 3, 4. Jubal; 5, 6. Zachariah the Jewish Priest; 7. St. Cecilia; 8. Aldhelm. In Bishop Stanbury's Chapel is a memorial window to Archdeacon Musgrave, of which the subjects are:--1. St. Paul present at the Martyrdom of S. Stephen; 2. Conversion of St. Paul; 3. The Apostle consecrating Presbyters; 4. Elymas smitten with Blindness. In the lower part of the window, 5. Sacrifices to Paul and Barnabas at Lystra; 6. St. Paul before the Elders at Jerusalem; 7. His Trial before Agrippa; 8. His Martyrdom.

MONUMENTAL CROCKET.

EARLY ENGLISH BASEMENT MOULDING.

The five eastern windows in the Lady Chapel were designed by Mr. Cottingham, junior, and executed by Gibbs, to the memory of Dean Merewether.

A series of twenty-one subjects, in medallions, connected with the life of our Lord. These windows were erected in 1852.

In the south-east transept is a memorial window to Bishop Huntingford, 1816 to 1832. It was designed and manufactured by Warrington at the sole cost of Lord Saye and Sele.

The upper part of the tracery is filled with the arms of George III., those of the See of Gloucester, the See of Hereford, Winchester College, and of the bishop's family.

The subjects, relating to St. Peter, are:--

1. His Call; 2. Walking on the Sea; 3. Receiving the Keys; 4. Denial of our Lord; 5. S. Peter and S. John at the Gate of the Temple; 6. Baptism of Cornelius; 7. Raising of Dorcas; 8. Deliverance from Prison by an Angel.

In the north and south side of the clerestory of the choir are simple stained glass windows, consisting of various patterns. They were manufactured by Messrs. Castell of Whitechapel.

The eastern central window of the choir was an anonymous gift in 1851, executed by Hardman.

Its beauties are entirely lost at its present height from the ground. The circular medallions are 3 feet in diameter, the subjects being:--

1. The Ascension; 2. The Resurrection; 3. The Crucifixion.

The upper semi-circles represent Christ healing lepers and demoniacs; the lower, His being taken down from the Cross, and Mary with the box of precious ointment.