CARDINAL BEAUFORT’S Tower was built in the early part of the fifteenth century, when he revived the foundation of St. Cross. To the left of the illustration is the brewery, formerly called the Hundred Men’s Hall, because a hundred of the poorest inhabitants of Winchester were daily entertained to dinner here, and, as that repast was provided on a very bountiful scale, the guests were always permitted to carry provisions to their families. This tower and the buildings around it are noble examples of the domestic architecture of the fifteenth century. The dwellings of the brethren consist of a parlour, bedroom, scullery, and closet; they are beautiful examples of old cottage architecture, and are compactly planned. In this hospital the custom yet prevails of giving any wayfarer who may ask it a horn of ale and a dole of bread. The ale is brewed on the premises, and is said to be the same kind as that which was brewed here hundreds of years ago. The revenues of this building were till lately enormous, and much dissatisfaction is openly expressed at the way in which one high in office, recently appropriated the greater part of them. Nothing can exceed the beauty of St. Cross as it is approached from the Southampton road. This noble gateway is seen through great elms and walnut trees, and the long lines of quaint high chimneys, combining with the church and foliage, are astonishingly picturesque. The river Itchen sometimes is well in view along the road, and sometimes it is lost in the trees. The hospital itself, with the brethren in their black gowns and silver crosses, gives, perhaps, a more vivid picture of ancient England, and that in its best features, than any other scene that is left us.
Just a mile from this charming spot is the West Gate of Winchester. Formerly there were four gates, but three have been demolished. The one here shown is said (probably with accuracy) to have been built by King John. It is unnecessary, however, to remark that later architecture has been introduced. There is a strong room on the ground-floor, called a cage, that was for the temporary confinement of disorderly persons, and till lately it was used for a similar purpose.
The beautiful “Cross” at Winchester is supposed by Britton to have been erected by Cardinal Beaufort. The cardinal is said to have spent much of his ill-gotten wealth in splendid architectural works. His wealth was prodigious, even for a high prelate of those days. In the fine scene which closes his career in “Henry VI.,” he says in his last moments—
“If thou be’st death, I’ll give thee England’s treasure,
Enough to purchase such another island,
So thou wilt let me live and feel no pain.”
The probability is that the great dramatist more nearly hit off the truth of the last hours and crimes of the great churchman than ordinary history has done.
The Cathedral Close at Winchester is extremely picturesque, and the little houses round it are of considerable antiquity. If the visitor enters the church from the west end, the scene is of almost unequalled grandeur. He looks through one continuous vista of pillars, arches, and roof, extending
to the eastern extremity, where the eye finally rests on the great eastern window, that seems to dimly light up the choir. The size of this magnificent vista may best be understood if we consider that a journey from the west door to the east window and back is only some eighty yards short of a quarter of a mile. It is curious that Winchester is really cased in and hidden by a more recent style, in order to adapt it to the more modern styles of thought and practice; and I am indebted to Mr. Barry for bringing forward the following problem:—How is it that in the Georgian era the great rage was for pulling down dwelling-houses, and, indeed, unhappily, other buildings of a secular character, cathedrals and parish churches were spared, especially as they were all generally classified under the term of Gothic, or barbarous? Gothic, it must always be remembered, is the term of reproach that Wren applied to all mediæval architecture, though it has now been converted into a word of praise. Vandalism was the parallel term in those days, and Goths and Vandals were always brought forward when any signal piece of art-spoliation had to be described:—
“The Goths and Vandals of our Isle,
Sworn foes to sense and law,
Have burnt to dust a nobler pile
Than Roman ever saw.”