The Cathedrals of Great Britain: Their History and Architecture

by P. H. Ditchfield

Oxford Cathedral

The Interior

Entering by the new porch from the quadrangle and passing under the organ-screen we see a Cathedral, small, indeed, but possessing features of peculiar interest. In its main plan it is possibly the church of Ethelred begun in 1004, but finished in Late Norman times when Robert de Cricklade or Canutus was prior (1141-1180).[10] The piers of the Nave are alternatively circular and octagonal. There is a very unusual triforium. Arches spring from the capitals of the piers, and in the tympana are set the triforium arcade. From half capitals set against the piers spring another series of arches at a lower level than the others we have mentioned, and above the curve of these is the triforium arcade. Very few examples of this curious construction are found in this country. The carving of the capitals is graceful, and though it differs somewhat from the stiff-leaved foliage of Early English style, it somewhat resembles that character. The clerestory belongs to the period of transition between Norman and Early English. The central arch of the triple windows is pointed, and the others, which are blocked up, round. The corbels and shafts which support the roof are Norman, but the brackets are Perpendicular, erected by Wolsey, who intended to build a stone vault. The present fine timber roof belongs to his time, or a little later. The stalls and seats are modern. The screen is Jacobean, above which is the organ, a fine instrument enclosed in a Jacobean case. The pulpit belongs to the same period and is very interesting, especially its grotesque carving. The central tower has fine and lofty arches, and its appearance has been improved by the removal of the ceiling which formerly existed here. A curious subterranean chamber was discovered here in 1856. It contained two aumbries, and was evidently intended for the keeping of some treasure, possibly of the monastery, or of the university. It is known that the university chest during the thirteenth century was deposited in a secret place within the Church of St. Frideswide, and this, doubtless, was the spot. The Choir is of the same character as the nave. The piers are more massive, and the style of the carving of the capitals differs. We are told that we have distinct evidence here that this is part of Ethelred's church, that the sculpture is Saxon, copied from Saxon MSS., that it has been worn by weather which could only have been done during the ruinous condition of the church prior to its Late Norman restoration. Possibly this may be true, and the carving is certainly peculiar, but at present we cannot quite agree to accept this view. The triforium is Late Norman, and the roof is a fine example of fan-tracery begun in the fifteenth century. Wolsey changed the appearance of the clerestory, and introduced Perpendicular details.

Oxford Cathedral
(Herbert Railton)

The East End is modern, and is a fine conception of Sir G. Scott based upon early models. The Reredos is a fine modern work, and the altar, lectern and throne are also new. Turning to the north we enter the North Choir Aisle, where we stand upon debatable ground. Perhaps we are in the Early Saxon church built for St. Frideswide, or the later Saxon church of Ethelred. Authorities differ, and it is impossible to decide. At any rate, there in the east wall are the remains of the three Saxon arches which lead to the apses discovered on the outside. And here, too, is the noted Shrine of St. Frideswide, of which Mr. Ruskin said that every stone was worth its weight in silver, if not in gold. It has been gradually collected from odd corners of the precincts, as the shrine was destroyed by Henry VIII. The carved foliage is very beautiful, and when this base of the shrine was complete and crowned with the jewelled cover, beneath which reposed the relics of the saints, it must have been very imposing. There is a curious story in connection with these relics. When the tomb was destroyed these were carefully preserved in secret by "the faithful," and in the meantime the body of the wife of Peter Martyr, a Protestant professor, was laid near the saint's shrine. As this poor lady was an ex-nun, in the time of Mary and Cardinal Pole her body was cast out into a cesspool, and the relics of the saint restored to their place of honour. In Elizabeth's time the saint's bones were again removed. The queen ordered the decent re-burial of the remains of Peter Martyr's wife, and while this was being done the sacred box containing the relics was produced, and "the married nun and the virgin saint were buried together, and the dust of the two still remains under the pavement beneath our feet inextricably blended."[11] The exact spot is conjecturable, but a brass has been placed where the mingled remains are supposed to lie.

The Lady Chapel is on the west of the choir aisle, and is of Early English construction. It was added about 1250, when the present piers and vault were built. The east wall, as we have said, is manifestly earlier, and is part of one of the earlier Saxon churches. The east window is restored Decorated. The west arch is round-headed, and shows that this part of the chapel was the east aisle of the north transept. There are extensive remains of colouring. Here is the remarkable "Watching Chamber," supposed by some to be a later shrine of St. Frideswide, and by Professor Willis and others to be the chamber where watch was kept for guarding the gold and jewels which adorned the actual shrine. It has three stages, and is very beautiful Perpendicular work. In this chapel there are some interesting monuments—Sir George Nowers (1425) (with good example of armour); Prior Guymond (?) (1149), or Prior Alexander de Sutton (1316), with Decorated canopy and effigy; Lady Montacute (1353), the supposed founder of the Latin Chapel; Robert Burton, author of Anatomy of Melancholy (1639). Some "Morris" windows have been inserted here designed by Burne-Jones, very beautiful in themselves, but perhaps scarcely in keeping with their surroundings. The St. Cecilia window is extremely fine. The Latin Chapel is mainly Decorated work of the time of Edward III., the western parts being earlier. The vault has some richly-foliated bosses, on which appear the waterlily and the roses, and heads surmounted with crown and mitre. The east window has strange Venetian tracery, but some excellent modern glass designed by Burne-Jones and representing incidents in the life of St. Frideswide. The other windows have some fine old fourteenth-century glass; the north-east window is modern. The woodwork is very fine; it is later than the chapel, and was not designed for it. The cardinal's hat, supported by angels on one of the carved poppy-heads, shows that this was prepared for Wolsey's choir. Some of the work is much older. In this chapel the writer used to listen to the lectures of the divinity professor, and was often distracted from the discourse by the architectural beauties around him. Beautiful vistas may be obtained here of "long-drawn aisles and fretted vault," and he became very conversant with the history of St. Frideswide as depicted in the fine east window.

The North Transept is similar to the nave in style. The north window is a modern restoration, and the glass is not very pleasing modern work. Here is the Perpendicular tomb of a monk, Zouch (1503), and some good brasses in the aisle. The north aisle has Norman vaulting. The windows are restored Perpendicular, and the glass is modern. The window at the west end of the aisle was refashioned by Dean Brian Duppa in his usual barbarous manner, but it has some good Flemish glass by Van Ling representing Jonah and the Gourd, with Nineveh in the background.