“Fan-tracery is a peculiarly English feature, and was invented, according to Fergusson, in order to get rid of the endless repetition of inverted pyramids which earlier vaulting produced. He therefore considers it an improvement on the vaulting of the early English and Decorated periods; and, as he thinks the ceiling of Christ Church Cathedral to be the best example of fan-tracery, he comes near to pronouncing it the finest in the world.”—(P. D.)
The East End is Scott’s restoration in the style of the Twelfth Century. The large wheel-window (an imitation from Canterbury) and the two round-headed windows below produce a fine effect.
On the left of the Choir we come to the most curious part of the Cathedral. Columns and arches mark the divisions of the north-choir-aisle, the Lady-Chapel further north and the Latin Chapel beyond—practically three aisles. The east end of each aisle contains a beautiful Burne-Jones window. The north transept forms the western boundary of these three aisles, which are in reality only an extension of this transept.
“Here the eye wanders among pillars and arches which branch away in so many directions that the grandest churches can scarcely give more thoroughly the idea of infinity. And here one stands on the site of St. Frideswide’s first little church, with the very arches that she had built for her, still standing in all their primitive simplicity.
“At the end of the north-choir-aisle is the St. Cecilia window, presented in honour of the patroness of music by Dr. Corfe, a former organist, in 1873. In the centre light the saint is represented playing her regal or small hand-organ; two angels holding other musical instruments, with palms in their hands, stand by her. The drapery is wrought in white glass, the angels have pale-blue wings, and the flesh tints matted over with red tell warm against the drapery. In the lower panels are three scenes from her life: ‘Here St. Cecilia teaches her husband,’ ‘Here an angel of the Lord teaches St. Cecilia,’ ‘Here St. Cecilia wins a heavenly crown;’ the saint’s figure in the last panel is most touchingly drawn. These lower panels are richer in colour than the rest, and a greater variety of tints is introduced; but the colours are so delicate, and so skilfully blended, that they fall in most harmoniously with the main parts of the window.”—(P. D.)
In the most eastern arch between the north-choir-aisle and the Lady-Chapel we stop to examine the Shrine of St. Frideswide.
“The coffer or shrine, which was made for the translation in 1289 (its base being therefore the most ancient monument in the cathedral), was knocked to pieces at the Reformation (1538), and, being of wood, must have entirely perished. But gradually, and from different places, fragments of the base were brought together: first, several pieces of delicately carved marble were discovered in the sides of a square well in the yard south-west of the cathedral; then a part of the plinth on the south side was found to be in use as a step, luckily with the carved portion turned inwards; next a spandrel was detected by Mr. Francis, the head verger, in the wall of the cemetery; and last of all a piece of the plinth was found in a wall in Tom Quad. Though some portions are still wanting, it is not impossible that more may yet be found.
“As the monument stands now, it cannot, of course, impress one as it would have done in its perfect state, with the rich superstructure crowning it: especially as the restored shafts are merely square stone supports of the clumsiest description, so studiously careful has the restorer been not to confuse them with the original work. Still, though the base of St. Frideswide’s shrine is only a collection of fragments, these fragments are of remarkable beauty and interest. It is of Forest marble, measuring seven feet by three and a half; and consists of an arcade of two richly cusped arches at the sides and one at each end. On the top of this was fixed the feretrum, containing the jewelled casket that held the relics themselves. The spandrels are filled with wonderfully carved foliage, unusually naturalistic, and preserving still the traces of colour and gilding to remind one of its former glories. On the south side there is maple in the central spandrel, with a wreath of what is probably crow’s-foot in a boss below: the two side spandrels contain columbine and the greater celandine. On the north side the foliage is mostly oak, with acorns and numerous empty cups; sycamore and ivy filling the adjoining spandrels. At the east end one of the spandrels contains vine leaves and grapes, the other fig-leaves, but without the fruit; the cusp under the vine has a leaf which may be that of hog-leaf. At the west end there is hawthorn and bryony. The choice of all this foliage was doubtless made for symbolical reasons, referring first to St. Frideswide’s life in the oak woods near Abingdon, and next to her care for the sick and suffering at Thornberrie (now Binsey). And in this connection it is pleasant to think that the sculptor, with tender fancy, chose plants which were famous for their healing virtue.”—(P. D.)
The Lady-Chapel (Thirteenth Century and Early English) is sometimes called the Dormitory, because many canons are buried here. Characteristic curling foliage decorates the capitals. The shafts are filleted. Traces of colouring can be observed here and there and also figures of angels on the roof. The Decorated window (restored) at the east end contains glass designed by Burne-Jones and made by William Morris, a memorial to Frederick Vyner, murdered by brigands at Marathon in 1870.
The figures represent Samuel the Prophet, David, King of Israel, John the Evangelist, and Timothy the Bishop. In the panels beneath are, Eli instructing the young Samuel, David slaying Goliath, St. John at the Last Supper, and Timothy as a little boy learning from his mother.