The great Norman church which Bishop Walkelin built to take the place of the Saxon minster cannot fundamentally have differed very much from the church we see, at any rate so far as its nave and transepts were concerned. The eastern arm was, however, different. It consisted of four bays, with north and south aisles at the end of which were rectangular chapels, an apse about which the aisles ran as an ambulatory, and beyond the apse an eastern apsidal chapel. Of this church all that really remains to us is the crypt and the transept. In the crypt we divine the old eastern limb of the church, and are doubtless in the presence of the earliest work in the Cathedral. It is, however, in the double aisled transepts that we can best appreciate how very glorious that first Norman church must have been; there is nothing in England more wonderful; and so far as I know there is nothing in Europe quite to put beside them. If only the whole mighty church could have remained to us!
The first disaster that befell Bishop Walkelin's building was the fall of the central tower in 1107, which all England, at the time, attributed to the burial beneath it of William Rufus. The tower was rebuilt, though not to its original height, but in the reconstruction, the parts of the transept nearest to the tower were also rebuilt, and thus we have here two periods of Norman work; the main building of 1107 and the reconstruction after that date.
Of the Transitional work of the second half of the twelfth century very little is to be seen at Winchester. It was for the most part the period of that great Bishop Henry of Blois, and he was probably too much immersed in the brutal politics of his time, too busy building and holding his castle to give much thought to the Cathedral. The font, however, dates from his time, and perhaps a door in the north-western bay of the south transept.
The earliest Gothic work in the Cathedral is the chapel of St Sepulchre, which was built upon the northern wall of the choir before the north transept. There we may still see wall paintings of the Passion of Our Lord. Not much later is the retro-choir. This consists of three bays, and is the largest in England. It was begun in 1189 by Bishop Godfrey de Lucy, and we must admit at once that it is wholly without delight, and yet to build it the Norman apse was sacrificed. According to Mr Bond, this was probably a very popular destruction. The reversion, says he, "to the favourite square east end of English church architecture was popular in itself. Almost every Norman cathedral ended in an apse; and in the apse, high raised behind the high altar, sat the Norman bishop facing the congregation; the hateful symbol of Norman domination." This may have been so, but considering that the monastic choir of Winchester occupied not one, as the choir does to-day, but three bays of the nave from which it was separated by a vast rood screen, though the Bishop had been as high as Haman, he would have been scarcely visible to the populace in the western part of the nave. Popular or no, however, the apse was sacrificed and the low retro-choir built with the Lady Chapel in the Early English style.
The next thing undertaken was to place in the old Norman choir the magically lovely choir stalls (1245-1315) which happily still remain to us. Perhaps it was their enthusiastic loveliness which led about 1320 to the rebuilding of the Presbytery and the lovely tabernacle in the back of the wall of the Feretory. When all this was done there remained of the old Norman church only the transepts and the nave. The transepts remain to us still, but the nave was transformed, in the very beginning of the Perpendicular time. It was transformed not rebuilt. Bishop William of Wykeham has obliterated Bishop Walkelin, but fundamentally the nave of Winchester remains Norman still. The Perpendicular work is only a lovely mask, or rather just the sunlight of the fourteenth century which has come into the dark old Norman building. The most notable change is the roof, in Norman times a flat ceiling, now a magnificent vault. But that century was not content with transforming the nave, it littered it with the first of its various delights, those chantries which are among the greatest splendours of this Cathedral, and which still, in some sort, commemorate Bishop Edingdon (1366), Bishop Wykeham (1404), Bishop Beaufort (1447), Bishop Waynflete (1416), Bishop Fox (1528) and Bishop Gardiner (1555) the last Catholic Bishop to fill the See.
The transformation of the nave, which occupied full an hundred years, was not, however, the last work undertaken in the Cathedral before the change of religion. Bishop Courtenay, in the last years of the fifteenth century, lengthened the Lady Chapel, and finally Bishop Fox in the very beginning of the sixteenth century began the transformation of the early fourteenth century Presbytery, but got little further than the insertion of the Perpendicular windows. He did, however, transform the Norman aisles there, and screened them, and upon the screens in six fine Renaissance chests he gathered the dust of the old Saxon saints and kings.
But apart from its architecture the church is full of interest. Where can we find anything to match the exquisite iron screen of the eleventh century which used to guard St Swithin's shrine but which, now that is gone, covers the north-west doorway of the nave? Is there another font in England more wonderful than that square black marble basin sculptured in the twelfth century with the story of St Nicholas? Is there any series of chantries in England more complete or more lovely than these at Winchester, or anywhere a finer fourteenth century monument than that of Bishop Wykeham? Nowhere in England certainly can the glorious choir stalls be matched, nor shall we easily find a pulpit to surpass that in the choir here dating from 1520. If the restored retablo over the high altar is disappointing in its sophistication, we have only to pass into the Feretory to discover certain marvellous fragments of the original reredos which are so beautiful that they take away our breath—that broken statue of the Madonna and Child, for instance, perhaps the loveliest piece of fourteenth century sculpture to be found in England. No, however we consider the great church of Winchester, it stands alone. As a mere building it is more tremendous and more venerable than anything now left to us upon English soil; as a burial place it possesses the dust not only of the Apostle of the heart of England but of the greatest of the Saxon kings, while beneath its mighty vault William Rufus sleeps, the only Norman king that lies in England. And as a shrine of art it still possesses incomparable things. It stands there as the Pyramids stand in the desert, a relic of a lost civilisation; but by it we may measure the modern world.
It is, too, when you consider it, utterly lonely. The revolution we call the Reformation upon which the modern world turns and turns as upon a pivot, while it spared Winchester Cathedral, though reluctantly, swept away all the buildings which surrounded it. The great monastery is gone, scarcely a sign of it remains. Nothing at all is left of the famous nunnery of St Mary. Of Wolvesey Castle there are a few beautiful ruins, of Hyde Abbey, all has been swept away, even the stones, even the bones of Alfred. Nor have the other and later religious houses, with which Winchester was full, fared better. It is difficult to find even the sites of the houses of the Franciscans, the Dominicans, the Austin Friars, the Carmelites. And what remains of the College of St Elizabeth, and, but for a Norman doorway, now in Catholic hands, of the Hospital of St Mary Magdalen? Only the Hospital of St John remains at the east end of the High Street, still in possession of its fine Hall and Chapel, and the great school founded by William of Wykeham in 1382, "for seventy poor and needy scholars and clerks living college-wise in the same, studying and becoming proficient in grammaticals or the art and science of grammar." It remains without compare, the oldest and the greatest school in England, whose daughter is Eton and whose late descendant is Harrow.