The Cathedrals of Great Britain: Their History and Architecture

by P. H. Ditchfield

The best views are obtained from the mound in the Dane John (or Donjon—probably a fortified earthwork of Norman times) approached by St. George's Terrace, adjoining the Cattle Market, from the green or outer court of the monastery, and from the village of Harbledown. The West Front is flanked by two towers. That on the north was built in 1840, as the former one, called the Arundel, was in a dangerous condition; that on the south, called the Dunstan, was finished by Prior Goldstone (1449-1468), and is in the Perpendicular style, with characteristic panelling. A large window is in the centre of the front, and two smaller windows for the aisles, and above, in the gable, another window with elaborate tracery. The South Porch was built by Prior Chillenden about 1400. Erasmus tells us that he saw figures of Becket's murderers here, but these have disappeared. The niches have been filled with modern figures. Proceeding along the south side of the church, we notice the Perpendicular style of the nave and aisles, the work of Prior Chillenden, which replaced the old Norman nave. There is a close resemblance between this and Winchester, which was being constructed at the same time. All that remains here of Lanfranc's nave is the lowest base of the aisle walls. The south-west transept is of the same date as the nave and has a large window on the south front with three tiers of panels over it, and an elaborate turret at the south-west corner. The south-east transept is Late Norman, the work of William of Sens and William the Englishman. Here we have Norman round-headed windows with arcades, also a circular window, and on the west a Norman turret capped with a short spire. Proceeding eastwards we see Anselm's Tower, and on the extreme east the corona, the work of English William. On the west Henry IV.'s Chantry, St. Andrew's Chapel, corresponding to that of St. Anselm, the treasury, and the range of monastic buildings, consisting of library, chapter-house and cloisters, which we will examine later. A wall surrounded the precincts, the principal gate being that called Christ Church Gate, erected by Goldstone in Perpendicular style in 1517.

The Interior

We enter the Nave by the south porch. Lanfranc's nave was entirely removed in 1380 on account of its ruinous state, and the present nave erected by Prior Chillenden, who was employed and supported by Archbishops Sudbury, Courtenay and Arundel. As we have said, it resembled Winchester, built at the same time, but it is lighter in character, as here the piers were built anew, and not cased with Perpendicular work as at Winchester. The height of the floor of the choir necessitated a lofty flight of steps leading to it from the nave; and this is a peculiar feature of this Cathedral and of much beauty. The nave is very lofty, being 80 feet high. The great west window contains the fragments of old glass which have been brought together here. The rest of the stained glass is modern and hideous. In the north aisle are monuments of Adrian Saravia, the friend of Hooker (1612), Orlando Gibbons, organist to Charles I., Sir John Boys (1614), founder of a hospital, Archbishop Sumner (1862), who crowned Queen Victoria, and memorials of military men who died for their country. In the south aisle are monuments of Dr. Broughton, Bishop of Sydney, and Dean Lyall (1858).

The central tower is supported by original Norman piers, cased with Perpendicular work at the time when the nave was built. The vault and all the upper part of the tower above the roof were erected by Prior Goldstone (1495-1517), and also the arches, which act as buttresses and bear the Prior's rebus, three golden bars. The screen is fifteenth-century work and is remarkable for its beauty; formerly the figures of our Lord and the Twelve Apostles occupied the upper niches, but these fell victims to Puritan iconoclasm. The devastators spared, however, the figures of the kings in the lower tier.

The North-West Transept, or Chapel of the Martyrdom of Becket, claims our close attention, as the event which occurred here filled Christendom with amaze.

The martyrdom of Thomas à Becket took place on Tuesday, 29th December 1170. Early in the morning the four barons had an interview with him, pretending to come on a peaceful visit with messages from the king. They were shown into the room in the palace where the archbishop usually remained. Some high words passed between them and they departed; in the evening they entered the Cathedral, armed. While the archbishop was ascending the steps, Sir Reginald Fitzurse entered the door of the church, clad in complete armour, and, waving his sword, cried, "Come hither, servants of the king!" The other conspirators, Sir Hugh Morvill, Sir William Tracey and Sir Richard le Breton, immediately followed him, armed to the teeth, and brandishing their swords. It was already twilight, which within the walls of the dimly-lighted church had deepened into the blackest obscurity. Becket's attendants entreated him to fly to the winding staircase which led to the roof of the building, or to seek refuge in the vaults underground. He rejected both of these expedients and still stood to meet his assailants. "Where is the traitor?" cried a voice. There was no answer. "Where is the archbishop?" "Here I am," replied Becket; "but here is no traitor. What do ye in the House of God in warlike equipment?" One of the knights seized him by the sleeve; he pulled back his arm violently. They then advised him to go with them, as though they repented of the evil design. They called upon him to absolve the bishops. He refused; and Fitzurse, drawing his sword, struck at his head. The blow was intercepted by the arm of one of the monks who stepped forward to protect him, but in vain. A second blow descended, and while the blood was streaming from his face some one of his assailants whispered to him to fly and save himself. Becket paid no heed to the speaker, but clasped his hands and bowed his head, commending his soul to God and the saints. The conspirators now fell upon him with their swords and quickly despatched him. One of them is said to have kicked the prostrate body, saying, "So perishes a traitor." The deed thus accomplished, the conspirators passed out of the town without hindrance, but no sooner had they done so than the news spread throughout the city and the inhabitants, in the utmost excitement and indignation, assembled in crowds in the streets and ran towards the Cathedral. Seeing the body of their archbishop stretched before the altar, men and women began to weep, and while some kissed his hands and feet others dipped linen in the blood with which the pavement was covered. It was declared by the people that Becket was a martyr, and although a Royal edict was published forbidding anyone to express such an opinion, the popular feeling still manifested itself. Some soldiers attempted to seize the corpse, but the monks, who had received an intimation of the design, buried it hastily in the crypt of the Cathedral.

Since that eventful scene the transept has been rebuilt. The stones around us, except it be the pavement, did not witness that bloody deed. When the nave was rebuilt by Chillenden this part of the church was much transformed. Portions of the old Norman walls built by Lanfranc remain, but the main character of the building is Perpendicular. The door is the same by which the murderers entered, part of the wall, and probably the pavement, wherein is a small square piece which marks the actual spot where Becket fell. The great window was given by Edward IV., and has figures of his queen, his daughters, and the two princes who were murdered in the Tower. The west window is modern, and represents scenes from the life of Becket. There are monuments here of Archbishop Peckham (1292), the oldest in the Cathedral, and Archbishop Warham (1532), who crowned Henry VIII., and was the opponent of Wolsey and the friend of Erasmus. A door at the east end of this transept leads to the Dean's Chapel, formerly the Lady Chapel, built by Goldstone in Perpendicular style. The monuments here are to Dean Fotherby, Dr. Bargrave, Dean Boys with his books, and Dean Turner, a favourite of Charles I.

The daily crowd of pilgrims who visited the scene of the martyrdom in mediæval times used to pass on to the shrine of St. Thomas by the north choir aisle, on their way to his shrine, and we will follow in their steps. In this aisle we see much of the original Norman work of Archbishop Anselm's choir, erected under the supervision of Prior Ernulf. William of Sens added many architectural details and made some alterations, but he seems to have intended to preserve the special features of the earlier work. The roof was, however, raised, and the clerestory of Ernulf's building converted into the triforium windows of William of Sens. The latter brought with him the use of the chisel, the former carving his ruder ornamentation by means of an axe. William also introduced the pointed arch. Here is the monument of Archbishop Tait. Three "squints" will be observed in the west wall. Two apsidal chapels are at the east end, dedicated to SS. Stephen and Martin. In the aisle there is some ancient glass of thirteenth-century work, which is of extreme beauty, also an old desk with ancient Bible. An ancient mural painting should be noticed, representing the conversion of St. Hubert. Next we visit the Chapel of St. Andrew, now the vestry, which has some traces of colour decoration. It was built by Prior Ernulf, and was formerly the sacristy, where relics of Becket were preserved in a chest, together with a quantity of vestments. Beyond this, to the north, was the treasury, which was well protected by a massive door. The treasures of costly plate and jewels at Canterbury were of enormous value. In the aisle on the south side there is the splendid tomb of Archbishop Chichele (1443), whom Shakespeare represents in Henry V. as instigating the war with France, and who was the founder of All Souls', Oxford. Also there are monuments of Archbishop Howley (1848) and Archbishop Bourchier (1486).

Up lofty steps, climbed by pilgrims on their knees, we ascend to the Retro-Choir, the work of William the Englishman, the successor of William of Sens. Holy Trinity Chapel occupies the centre, where stood the wondrous shrine of Becket. Architecturally it is interesting as showing the triumph of English achievement over the foreign influence, and the gradual development of the English Gothic style; and historically it is fascinating as being the goal of pilgrims from all quarters of the land. The famous shrine has entirely disappeared, owing to the cupidity of Henry VIII. and his commissioners. Some idea of what it was like is given by a representation of it in one of the windows of the chapel. There was a stone base with marble arches, and above the shrine covered with a wooden canopy, "which at a given signal was drawn up, and the shrine then appeared, blazing with gold and damasked with gold wire, and embossed with innumerable pearls and jewels and rings, cramped together on this gold ground." One great diamond or carbuncle was as large as a hen's egg, called the Regale of France, and presented by Louis VII. All the monarchs and nobles in mediæval times came here to worship, and crowds flocked from all quarters "the holy blissful martyr for to seek"; the pavement is worn by their knees; cripples begged to rub their limbs against the pillars of the holy shrine, and perchance were healed—faith plays a wondrous part in many a cure—and Chaucer sings of the tales and doings of the not always very austere Canterbury pilgrims. The windows of this chapel contain some of the best thirteenth-century glass in existence. They record miracles wrought by Becket. Above the shrine is a gilded crescent, concerning which many theories have been suggested, none wholly satisfactory.