Scenes and Characters of the Middle Ages / Third Edition

by Edward Lewes Cutts

The nucleus of a monastery was the cloister court. It was a quadrangular space of green sward, around which were arranged the cloister buildings, viz., the church, the chapter-house, the refectory, and the dormitory.[66] The court was called the Paradise—the blessed garden in which the inmates passed their lives of holy peace. A porter was often placed at the cloister-gate, and the monks might not quit its seclusion, nor strangers enter to disturb its quiet, save under exceptional circumstances.

The cloister-court had generally, though it is doubtful whether it was always the case, a covered ambulatory round its four sides. The ambulatories of the twelfth and thirteenth centuries have usually an open arcade on the side facing the court, which supports the groined roof. In the fourteenth and fifteenth centuries, instead of an open arcade, we usually find a series of large traceried windows, tolerably close together; in many cases they were glazed, sometimes with painted glass, and formed doubtless a grand series of scriptural or historical paintings. The blank wall opposite was also sometimes painted. This covered ambulatory was not merely a promenade for the monks; it was the place in which the convent assembled regularly every day, at certain hours, for study and meditation; and in some instances (e.g., at Durham) a portion of it was fitted up with little wooden closets for studies for the elder monks, with book-cupboards in the wall opposite for books. The monks were sometimes buried in the cloister, either under the turf in the open square, or beneath the pavement of the ambulatory. There was sometimes a fountain at the corner of the cloister, or on its south side near the entrance to the refectory, at which the monks washed before meals.

The church was always the principal building of a monastery. Many of them remain entire, though despoiled of their shrines, and tombs, and altars, and costly furniture, and many more remain in ruins, and they fill us with astonishment at their magnitude and splendour. Our existing cathedrals were, in fact, abbey churches; nine or ten of them were the churches of Benedictine monasteries, the remainder of secular Augustines. But these, the reader may imagine, had the wealth of bishops and the offerings of dioceses lavished upon them, and may not be therefore fair examples of ordinary abbey churches. But some of them originally were ordinary abbey churches, and were subsequently made Episcopal sees, such as Beverley, Gloucester, Christ Church Oxford, and Peterborough, which were originally Benedictine abbey churches; Bristol was the church of a house of regular canons; Ripon was the church of a college of secular canons. The Benedictine churches of Westminster and St. Alban’s, and the collegiate church of Southwell, are equal in magnitude and splendour to any of the cathedrals; and the ruins of Fountains, and Tintern, and Netley, show that the Cistercians equalled any of the other orders in the magnitude and beauty of their churches.

It is indeed hard to conceive that communities of a score or two of monks should have built such edifices as Westminster and Southwell as private chapels attached to their monasteries. And this, though it is one aspect of the fact, is not the true one. They did not build them for private chapels to say their daily prayers in; they built them for temples in which they believed that the Eternal and Almighty condescended to dwell; to whose contemplation and worship they devoted their lives. They did not think of the church as an appendage to their monastery, but of their monastery as an appendage to the church. The cloister, under the shadow and protection of the church, was the court of the Temple, in which its priests and Levites dwelt.

The church of a monastery was almost always a cross church, with a nave and aisles; a central tower (in Cistercian churches the tower was only to rise one story above the roof); transepts, which usually have three chapels on the north side of each transept, or an aisle divided into three chapels by parclose screens; a choir with or without aisles; a retro-choir or presbytery; and often a Lady chapel, east of the presbytery, or in some instances parallel with the choir.

The entrance for the monks was usually on the south side opposite to the eastern alley of the cloisters; there was also in Cistercian churches, and in some others, a newel stair in the south transept, by means of which the monks could descend from their dormitory (which was in the upper story of the east side of the cloister court) into the church for the night services, without going into the open air. The principal entrance for the laity was on the north side, and was usually provided with a porch. The great western entrance was chiefly used for processions; the great entrance gate in the enclosure wall of the abbey being usually opposite to it or nearly so. In several instances stones have been found, set in the pavements of the naves of conventual churches, to mark the places where the different members of the convent were to stand before they issued forth in procession, amidst the tolling of the great bell, with cross and banner, and chanted psalms, to meet the abbot at the abbey-gate, on his return from an absence, or any person to whom it was fitting that the convent should show such honour.

A Semi-choir of Franciscan Friars.

The internal arrangements of an abbey-church were very nearly like those of our cathedrals. The convent occupied the stalls in the choir; the place of the abbot was in the first stall on the right-hand (south) side to one entering from the west—it is still appropriated to the dean in cathedrals; in the corresponding stall on the other side sat the prior; the precentor sat in the middle stall on the right or south side; the succentor in the middle stall on the north side.

The beautiful little picture of a semi-choir of Franciscan friars on the opposite page is from a fourteenth-century psalter in the British Museum (Domitian, A. 17). It is from a large picture, which gives a beautiful representation of the interior of the choir of the church. The picture is worth careful examination for the costume of the friars—grey frock and cowl, with knotted cord girdle and sandalled feet; some wearing the hood drawn over the head, some leaving it thrown back on the neck and shoulders; one with his hands folded under his sleeves like the Cistercians at p. 17. The precentor may be easily distinguished in the middle stall beating time, with an air of leadership. There is much character in all the faces and attitudes—e.g., in the withered old face on the left, with his cowl pulled over his ears to keep off the draughts, or the one on the precentor’s left, a rather burly friar, evidently singing bass.[67] On the next page is an engraving from the same MS. of a similar semi-choir of minoresses, which also is only a portion of a large church interior.