Nothing could well surpass the interior of this porch; the delicacy, and refinement which are shown in every detail are the more amazing when we consider that the architect and his masons had only just emerged from the large methods of Norman building. A range of three arcades on either side is divided in the midst by three shafts boldly detached from the pear-shaped moulding round which they are grouped. These shafts carry the ribs of the groined vault, and divide the porch into two square bays. Their capitals are very boldly undercut, and bear distinct traces of Romanesque influence; indeed, the volutes of the cap on the west side give it almost the appearance of a very freely-carved Corinthian capital. Those at the angles are of like fashion, except that on the north-east, which has fuller and freer foliage, wherein stands a man shooting with his bow at a bird, the whole most vigorously conceived.
In the uppermost arcade the little touch of foliage that is worked on to the junction of the mullions (which are made up of four pear-shaped mouldings) illustrates the love of delicate things that is so characteristic of this architect. Below is a projecting double arcade, behind which, against the wall, is a third row of arches: the outer mouldings intersect and the abaci of the outer caps are finished off in a carefully restrained curl of foliage; those on the soffit are deeply undercut, by means of which a very black shadow is secured. All the capitals are carved with the stiff-leafed foliage; and in the spandrels are grotesque beasts, full of character. The string-course below is finished with dragons who bend round and swallow the end of the string, their tails (on the west side) twisting right along the moulding. It is significant of the free way in which the masons were employed, that the carving varies very much on the two sides. The grotesques in the spandrels above mentioned are finest on the east side, but the dragons of the string course are best on the west side, where their expressions, as they bite the moulding, are full of life and humour. On this western side, too, the foliage which fills the spandrels of the lowest arcade is at its best; it is indeed the purest and truest piece of decorative work in the whole cathedral. Each moulding in this beautiful porch, from the filleted ribs of the groins to the bands round the shafts, and the moulded edge of the stone bench, is most carefully thought out, and adapted to its position, in a way that every architect will appreciate. The double doorway which leads into the church has an unusual and most effective moulding on its jambs, very large and simple, with slight projections worked upon it: the inner moulding of the enclosing arch, however, is a boldly projecting zig-zag, the supporting capitals of which have two figures, one in a cope, the other a bishop in a very pointed chasuble. The central pillar is of much later date. Above is a square recess filled with later masonry, where perhaps a figure was once inserted.
Most happily, the North Porch has been spared from the restorer's hand. It is a unique and most beautiful example of early work; any restoration of it would practically destroy it, and would be an unpardonable crime. The hungry eye of the modern vandal is sure to seize on this piece of virgin work, sooner or later; for its very purity will tempt him. We only hope that when that day comes the Chapter will be faithful to their trust.
The gable end of the north transept, which must be very near to the north porch in date, is a very similar example of the early work. It is flanked by turrets which are capped with pinnacles; both turrets, pinnacles and wall are rich with arcading, the effect of which is especially charming in the gable, where, by a happy device, the weather moulding is made to curve suddenly over the two topmost arches, filling the angle at the apex of the coping, and leaving a little space between it and the two arches to be occupied by foliage.
The general character of the walls is distinctly Transitional; the buttresses are almost as low, broad, shallow and massive as in Norman work; and the windows, though now filled with Perpendicular tracery, are so broad that, were they but round-headed, they would look more Norman than much real Norman work.
The richness of exterior effect is much increased by a most graceful Decorated parapet, which is carried all round the church on the wall of both nave and aisles. As for the masonry as a whole, with the exception of the west front nothing could be sounder and more skilfully executed. Mr Britton's opinion was that "perhaps there is not a church in the kingdom of the same age where the stone has been so well chosen, better put together, and where it remains in so perfect a state: this deserves the particular notice and study of architects."[5]
The Chain Gate, one of the peculiar glories of Wells, is really a bridge over the roadway, built by Bishop Beckington and his executors, to connect the chapter-house staircase with the vicars' close. Freeman spoke of it as a "marvel of ingenuity," yet perhaps its excellence consists rather in its simplicity. A covered way was needed to the close, but the road lay between, and so a bridge was built; the bridge had to rest on something: three arches were therefore made, one large for carts, and two small for foot-passengers; a further space had to be spanned between the road and the staircase: the bridge was therefore continued on the same level, but, as the ground here was lower, the arch on this side was built on a lower level. Furthermore, the two ends of the bridge not being exactly opposite to one another, the bridge had to turn at a slight angle where it reaches the road. It is just such simple adaptation of means to an end that gave his chance to a medieval architect; it is this that gives what is called its picturesqueness to an ancient town, it is this that makes nature so picturesque. A modern architect would have built his bridge in a straight line across the road, and have pulled down something to avoid the irregularity; he would not have had the sense of proportion which alone was needed to make utility supremely beautiful. The builder of the Chain Gate just used his opportunities to their very best. He saw that but a small thing was wanted, that the close must not be dwarfed; so he kept the work little and delicate, rich and light: he made its chief beauty to lie in its bijou character. Yet he preserved its dignity by the wide opening of the central arch, the height of which is emphasised by the smallness of the two arches on either side. But although the two small arches effect so much by their contrast with the large one, the harmony of the gateway is preserved by the panelling above them which marks this part of the bridge off from the rest. On the south of the gate is a blank wall, supported by a buttress which was wanted here, and so here was put. On the south of the buttress is the lower arch which is so admirable a foil both to the height of the main gateway and the delicacy of the windows. A correctly-minded architect would not have tolerated this blank wall and irregularly-placed arch; but substitute what you will for the wall, or alter the height of the arch, or replace both by an arcade, and the dignity of the little gateway is gone. It may further be noticed that the builder kept the upper and lower stages very distinct, and made the upper storey as clearly a bridge as the lower is a gateway: the charming little windows run in a continuous range over blank wall, gate, and all, but they are grouped closer together over the gate. A battlemented parapet finishes the top of the bridge. Niches are placed in the midst of the two windows over the gate; they contain graceful statues of St. Andrew and other saints. In the wide moulding of the string course there are angels, curiously placed in a horizontal position, as well as the stags' heads of Beckington's arms.