John de Cella, twenty-first abbot (1195-1214), commenced to rebuild the W. front, notably the three fine E.E. porches now replaced by those of Lord Grimthorpe, but the work was completed by his successor William de Trumpyntone (1214-35), who added the two flanking towers. This abbot erected the rood screen between the nave and choir, added the octagon above the tower after removing the Norman turrets and parapets, and probably built those E.E. bays on each side of the nave which are nearest to the W. front. He also restored portions of the S. transept and S. aisle, and rebuilt St. Cuthbert’s Chapel on the spot now partly occupied by the Rood Screen.
The E. end of the Abbey next received the attention of these architect-abbots. Commencing at the second bay E. from the tower, John de Hertford (1235-60) almost entirely replaced the Norman and E.E. work of his predecessors by work which merged into a graceful E. Dec. The work was carried on by his immediate successors, doubtless sadly hindered by the turbulent state of the times. John de Norton (1260-90) built the S. aisle of the Retro-choir, and part of the Lady-chapel, but his work was supplemented by that of John de Berkhampstead (1291-1302). John de Marinis (1302-8) removed the feretry and tomb of St. Alban to the position which it occupied until about the time of the Dissolution and spent 820 marks in the erection of a tomb of Purbeck marble. Hugh de Eversden (1308-26) built the five moulded Dec. bays of the S. aisle, replacing the Norman work, which had given way, and completed the Lady-chapel at the extreme E., thereby greatly increasing the length of the entire building. There was subsequently, however, for a long period, a passage between the Retro-choir and the Lady-chapel.
Abbot Michael de Mentmore (1335-49) completed the restoration of the S. aisle and repaired the Cloister. His successor, Thomas de la Mere, paved the W. floor, and no doubt minor restorations were almost continually in progress during the latter half of the fourteenth century; but a new chapter in the story of the Abbey commenced when John de Wheathampsted became abbot (1420-40 and 1451-64). This celebrated man, during the two periods of his abbacy, hardly rested in his efforts to beautify the Abbey. It is stated in a Cottonian MS. that this abbot constructed a little chapel near the shrine of St. Alban; this was perhaps the Watching Loft (N. of Saint’s Chapel) in which the keeper of the holy shrine and relics (Custos Feretri) spent much of his time. John de Wheathampsted also built the tomb of Humphrey, Duke of Gloucester (d. 1447), on the side of the chapel opposite the Watching Loft (a few steps lead down to the coffin); prepared his own tomb W. from that of the duke; built the great Perp. window over the W. porches, now replaced by one Dec. in design, and the nine N. windows of Nave and Ante-Choir; and was probably responsible for the paintings discovered on the choir ceiling, and for many of the embellishments of the Lady-chapel. Perhaps, however, his fame chiefly rests on the High Altar Screen, which he designed, but which was erected by the thirty-sixth abbot, William Wallingford (1476-84).
There were apparently few important features added to the Abbey, and but little restoration effected during the rule of the last four abbots (1492-1539). A few brief paragraphs concerning its modern restorations and present appearance must now be added.
Those modern restorations date largely from the middle of last century. Its condition, internally and externally, was at that time certainly discreditable to everybody concerned in its welfare. In 1856 a National Committee placed the matter in the hands of Sir Gilbert Scott, under whose direction the building was in part restored; but public funds presently failed and in 1879 the direction of the workers was undertaken by one who had at once the inclination and the funds necessary to its completion—Lord Grimthorpe.
The Abbey, from the W. porches to the E. end of the Lady-chapel and the Chapel of Transfiguration, measures inside 520 feet, outside 550 feet; the entire transept length from N. to S., on the floor, 177 feet; the nave, the longest Gothic one in the world, 292 feet × 75 feet 4 inches; the Lady-chapel, 57 feet × 24 feet; the great Screens are rather less than 170 feet apart; the height of the tower is 144 feet. Visitors will find some slight discrepancies as to measurements in the several guides which have been compiled; but the foregoing figures will assist them to realise the vast dimensions of the building. Its area is approximately 40,000 square feet. Of special interest are:—
(1) The Tower, which is seen to greater advantage since Sir Gilbert Scott removed the exterior plaster, thus exposing the wonderfully preserved Roman tiles with which it was faced by Abbot Paul de Caen. The four enormous piers upon which it rests were weakened by the ignorance of early restorers, who cut into them freely, and dug graves in such manner as to imperil their foundations. The most arduous work of Sir Gilbert Scott was the strengthening of these piers, effected piecemeal by partial reconstruction of the piers themselves and by laying a durable substratum of cement right down to the chalk. The fine ring of eight bells was rehung. Visitors will find the ascent of the spiral staircase long and arduous, but will be rewarded by the almost unrivalled view from between the merlons on its summit.
(2) St. Alban’s Shrine (in the Saint’s Chapel between the Altar Screen and the Lady-chapel), already referred to (p. 188), disappeared about the time of the suppression of the monastery (1539), and all traces of it were lost except the fragment of Purbeck marble marking its former site on the chapel floor. Yet that shrine, its genuineness unquestioned, stands to-day on the site which it occupied centuries ago! Hundreds of fragments of Purbeck marble were discovered when the central arches of the Lady-chapel were opened by Dr. Nicholson previous to the restorations of Sir Gilbert Scott. Subsequently, other fragments were discovered and the whole collection, the importance of which was suspected, was pieced together with indefatigable ingenuity by the late John Chapple. The feretry itself, mentioned by Matthew Paris, which was supposed to contain the relic of the martyr, has not, and probably never will be, discovered. The vaulted niches are of clunch, but the rest of the shrine is of Purbeck marble. Note the beautiful tracery of these groined niches, the cusps of the arches and crocketted pediments, and the carvings in the tympana, representing scenes from the martyrdom of SS. Alban and Amphibalus.