VESTIBULE OF CHAPTER-HOUSE.
Now we return to the cathedral, to the Lady chapel: much restored, of similar date and character to those of Hereford and Bristol. It was a remarkable specimen of mediæval “jerry-building,” built without foundations of any sort or kind. One of the bosses, figured in Dean Howson’s book on “The Dee,” depicts the murder of Thomas Becket. Originally the Lady chapel had three windows, each triplets, on either side.
Eastern choir.—To the same period belongs the east wall of the choir, and the two eastern bays. The east wall is pierced by but one arch, as at Hereford and Chichester; an inferior ending to the triple eastern arches of the choirs of Wells and Salisbury. The mouldings of the southern arches are a cheap imitation of the better work on the north.
Western choir.—The remaining bays to the west have piers of altogether different section, and are Early Geometrical in character (1245-1280); and should be compared with Westminster choir and the Angel choir of Lincoln. In digging, the foundations of the east ends of the thirteenth-century aisles have been found. They turn out to have been polygonal. Sir G. G. Scott has been allowed to rebuild this aisle in apsidal form, and to crown his work with a hideous “extinguisher” roof. To put up this sham Gothic, he pulled down the Perpendicular choir-aisle, and expelled the monuments of three ancient county families in favour of an eminent contractor. This is what is called “restoration.”
All the above work stops at the top of the beautiful triforium, a trefoiled arcade. The clerestory is late Geometrical work; the tracery of the windows is thin and uninteresting (1280-1315). The proportions of the choir as thus completed are not at all satisfactory; the tall clerestory, with its big broad windows, is ruinous to the effect of the low pier-arcade and the diminutive triforium: it looks top-heavy. Compare the choir of Lichfield.
We have seen that by the end of the thirteenth century the monks had rebuilt all the work to the east and north of the cloister, as well as the Lady chapel and the whole of the choir. In the fourteenth century they set to work to rebuild the whole of the south transept, the central tower, and the nave. None of the upper parts of these, however, were finished till the following century. The South Transept is so vast that the old church of St. Oswald may have still remained in use while the transept was building around it. It has western as well as eastern aisles: which it is rare to find except in cathedrals of the first rank, such as Ely and York. Some of the aisle windows retain very beautiful Curvilinear tracery. The springers of vaults remain, but no vaulting was executed, except one bay at the south end of the east aisle, till recently, when the remainder of this aisle was vaulted. The vast size of this transept—it is as large as the choir, and nearly as large as the nave—is in striking contrast to the diminutive North Transept, and is the most remarkable feature in the ground plan of the cathedral. Originally there stood here an independent church, belonging to the parish of St. Oswald. But in the fourteenth century, when the abbey was in possession of great wealth, the monks desired to enlarge their church. They could not enlarge it to the north, for on the north were their cloisters, chapter-house, refectory, and dormitory; on the south was the parish church of St. Oswald. They therefore came to terms with the parishioners, in accordance with which they built a new parish church for them, where now stands the Music Hall. But in the fifteenth century the parishioners were able to evade their bargain, and vindicated their claim to the whole of the new south transept, which the monks by this time had completed. “Sic vos non vobis.” And to get into it they cut the fifteenth-century doorway, which is still to be seen through the lower part of the window at the south end of the west aisle of the new transept. And here they remained in possession till the present century, using the transept as their parish church. In 1824 the transept was actually blocked from the cathedral by a solid wall. But in 1874 a new church, St. Thomas, was once more built for the parishioners, and they were again ejected from the site of the old church of St. Oswald. The dividing wall was pulled down, and the transept has been again thrown into the cathedral. Unfortunately, the congregation being gone, there is no one to fill it, and it remains a squalid and desolate solitude. Why not have replaced the dividing-wall by an open screen and have left the parishioners in peace?
Central Tower.—This was probably commenced in the fourteenth and finished in the fifteenth century. It has been found that the north-west pier rests upon some floriated gravestones of the thirteenth century, which disposes of the idea that the piers of the tower have a Norman core. Notice the variation in the treatment of the tower-arches.
Nave.—Here also there is Curvilinear tracery in the windows of the south aisle. The piers and arches, also, on the south side are of fourteenth-century work, of simple but good design. The northern pier-arcade differs in some features; it may be a little later. On the other hand the initials of Abbot Simon Ripley (1485-1492) are found on the first pier from the west; and so this arcade may be really later work, assimilated in character to the earlier work on the south side.
CHOIR.