THE CATHEDRAL FROM THE NORTH AT THE END OF THE SEVENTEENTH CENTURY.
By this clearing the beauty of the chapel so long obscured became again manifest: its symmetrical proportions, the remains of its ancient painting, the disclosure of two most interesting monuments, two aumbries, a double piscina, the chapel of Bishop Audley, but more important than all, two of the most beautiful specimens of transition arches to be found anywhere, Early English in form, but ornamented in their soffits with the Norman moulding and the zigzag decoration, corresponding with the remarkable union of the Norman intersecting arches on the exterior of the building, with its pointed characteristics.
The further examination by Dean Merewether and Mr. Cottingham, the architect, showed that the great central tower of the cathedral was in imminent danger of falling, and might at any moment entirely collapse.
Above the Grecian altar screen of Bishop Bisse they were struck by the traces of Norman mouldings, whilst on traversing the clerestory gallery the remains of Norman ornaments were everywhere to be found, the gallery itself being still existent at each side, returned behind the wooden coverings, up to the splays of the eastern windows.
The whole incongruous covering of the east end of the choir shown on p. 77 was then removed, and the change effected was most striking. It was evident that long before the introduction of the Grecian screen in 1717, the original arrangement had been disturbed by the insertion of a Perpendicular window, to support which the low circular arch in the centre had been constructed; on either side of this window were now to be seen the mouldings and featherings of the original early decorated lights, on a level with the lateral clerestory range; below these the Norman arcade, based upon a string course of nebule ornaments.
"But below," says Dean Merewether, "the beauty of beauties was to be traced,—the thickness of that part of the wall is 8 feet; on either side of the arch, 24 feet in span, were portions of shafts, corresponding with the pair of Norman shafts exposed to view seven years ago. The bases of these (standing on a sort of plinth, which was continued through those already referred to), as well as the capitals, of most curious detail, were perfect, and upon them were visible as far as the level of the window above, the remaining stones which[pg 025] formed the architecture of the exterior arch, from which it was evident that its crown must have risen to the height of 30 feet. 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 already described, 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 hidden 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."
Under Mr. Cottingham many improvements were made, though it cannot be said that all the work he did was good either in design or execution. The beautiful lantern of the central tower, with its fifty-six shafts, was satisfactorily strengthened and thrown open to view. At the time of Dean Merewether's death in 1850 much still remained to be done, and in 1857 a further scheme was set going under the financial management of Dean Richard Dawes, and the architectural direction of Mr., afterwards Sir Gilbert, Scott, who restored the north transepts, the north porch, the choir, and Lady Chapel. He also erected the large metal screen and fitted up the Lady Chapel as a church for the parish of St. John the Baptist.
Altogether in these two works of repair about £45,000 was expended, and the cathedral was opened for service on June 30th, 1863.