If we proceed to the west doors, we have before us a vista of exceptional beauty. The apparent length of the interior is greatly increased by the screen thrown across it, which, however, is not so solid and lofty as to block up the vista entirely, as at Canterbury and York, nor so exiguous as the metal screens at Lichfield and Ely.
Passing under the new organ screen, we come to the most ancient work to be found in the cathedral—viz., genuine early Norman work of the eleventh century. It is to be compared with that of the south transepts of St. Albans and Hereford. Below, in the east wall, is an arch, which once led into an apse. Above is a balustraded arcade, quite of the St. Albans and Hereford type. Above, there must have been small clerestory windows, such as those built up in the opposite wall. The whole transept must have been low and humble, and is invaluable as showing us what eleventh-century work was really like, and of enabling us to realise the vast progress that had taken place in design, in masonry, and in carving by the time that Durham, Romsey, and Peterborough were built. This early transept was of one bay only. Notice how small the stones are, the gaping joints, and the irregularity of the courses.
North-West Tower.—Bearing in mind the character of this masonry, pass out into the north aisle of the nave, and proceed to the Norman tower at the end of it. The work here is clumsy and massive, but far superior to that of the north transept, c. 1120. The north wall of the nave (now covered with mosaics) is also Norman. Other traces of the Norman cathedral will be found in the north aisle of the choir, to which we retrace our steps. On the right will be seen a great circular capital upside down, which has been used as a foundation for the north-east pier of the tower. A few feet farther is one of the original circular bases, proving that the Norman choir had vast circular piers like those of Gloucester, Durham, and St. John’s, Chester. Two bays farther east will be found in the pavement a semicircular band of dark marble. This marks foundations that have been found of the apsidal ending of this aisle; one of the stones of this Norman apse remains in the pavement. Moreover, it has been found that the central aisle of the choir, at the end of the second bay from the tower, ended in a semicircular range of columns, like St. Bartholomew’s, Smithfield. From these indications we can restore the plan of the original Norman cathedral with some certainty. It had a nave and aisles of the same dimensions as the present ones; unaisled transepts, each of a single bay, and an eastern apse to each transept; perhaps a low central tower; a choir of two bays, ending in a semicircular range of columns and arches, and surrounded to the east by a semicircular ambulatory or processional path. On either side were aisles, three and a half bays long, each terminating in an eastern apse. So that the Norman cathedral had five eastern apses, and resembled in plan Gloucester and Norwich, except that the chapels of the choir-aisles of Chester point, not north-east and south-east, but due east.
NORTH TRANSEPT.
Norman Cloisters.—Returning to the north aisle of the nave we pass through the doorway at the east end of the aisle into the cloister. This doorway, as seen from the cloister, is, from its ornamentation, of later date than the north transept, and may also be about 1120. The south wall of the cloister is now seen to be Norman; Norman abbots are buried in the recesses. Passing along the cloister westwards, we have in front another Norman door, and a very late Norman passage. Passing along the west walk of the cloister, a doorway on the left leads into a large Norman undercroft, with two aisles roofed with massive unribbed vaulting. Above, as the division in the vaulting shows, were a large and a small hall. These buildings on the west of the cloisters may have been originally the cellars, refectory and dormitory of the lay brethren, as at Fountains and Kirkstall; and afterwards the cellar and halls of the Abbot’s house. To the south, above the late Norman passage, is the Episcopal chapel, also Norman, with good Jacobean work.
Vestry.—We now return through the north transept to the north aisle of the choir. The next work done in the cathedral is to be found in the vestry to the left. The Norman apse of the north transept was pulled down; the arch in the west wall is nearly all that is left of it; and a new chapel was built here in the Transitional period, between 1145 and 1190, to which period the vaulting belongs. Later on, the east end of it was remodelled, and the western arch built up. Part of the foundation of the original Norman apse may be seen in the pavement near the door.
Vestibule.—Now we come to the Lancet or Early Gothic work (1190-1245), including vestibule, chapter-house, fratery, refectory, Lady chapel, and the eastern bays of the choir. Passing through the north transept again, and out through its north door, we enter the vestibule, the architectural gem of the cathedral. The piers have bases, but no capitals—a feature common enough in late Gothic, but very unusual in such early work. Pass into the cloister to see the lovely trefoiled doorway of the vestibule. Then return to the Chapter-house, which is of the same date as the vestibule. It is rectangular, as were most of the monastic Chapter-houses originally: e.g., Exeter, Durham, Oxford, and Bristol. The windows have an inner arcade. Here is a bust of Canon Kingsley, by Mr. Belt. Returning to the vestibule, and passing out of it by the modern north doorway, we cross the Slype with its elaborate vault, and pass into a vaulted building of two aisles, each of four bays, laboriously restored at considerable expense, and then allowed to relapse into a coal-cellar: this is the so-called fratery. Rooms in similar positions occur at Fountains and Kirkstall; their use is not known. Notice the day-stairs which led to the Monks’ dormitory, which was overhead, on the east side of the cloister, also the curious cusped windows adjacent. Along the whole of the north side of the cloister extended the Refectory, the Monks’ dining-hall; now the west end has been lopped off, and a passage driven through the east of it. Towards the west end will be found a fine doorway by which it was originally entered. To the right of the doorway is a recess marking the site of the lavatory. Inside, in the south wall, is the original staircase and pulpit of the refectory. Table talk was forbidden in all monasteries; a good book was read aloud to the monks during meals. Another equally fine pulpit remains in the refectory of Beaulieu, Hampshire; another, in the open air, opposite Shrewsbury Abbey. The upper part of the refectory has Perpendicular tracery inserted in the original windows.
