In the second bay (counting from the west) of the south aisle is the font, of Norman design, and curious. The basin is circular, and has figures of the Apostles beneath arches, in the spandrels of which is a leaf-ornament. A lion projects from each corner of the base, an unusual and perhaps unique example. In the fourth bay is the very fine alabaster effigy of Sir Richard Pembridge, temp. Richard II. Sir Richard, an ancestor of the Chandos family, was one of the first knights of the Garter, and was present at Poictiers. The armour is an excellent example. Gold remains on the points of the cap to which the camail is attached, and on the jewelled sword-belt. The head rests on a tilting-helmet, with a sheaf of feathers coloured green. Between the feathers and the helmet is a coronet of open roses. The garter is on the left leg, and the feet rest on a greyhound. This monument was originally in the church of the Black Friars, and was brought thence to the cathedral after the Dissolution. The right leg, which had been destroyed, has been restored at the cost of the Rev. Lord Saye and Sele, Canon Residentiary.
In the wall of this aisle, in the third bay from the east, is the headless figure of an ecclesiastic, under a Decorated arch, foliated. In the second bay is an effigy of a priest of the early Decorated period, much mutilated, under a foliated arch, at the crown of which is a bearded head wearing a cap. In the third bay is a door opening to the cloisters, with a square heading which rises above the sill of the window over it. A row of heads in the hollow moulding of the door,—a fac-simile of a former composition, which had become entirely decayed,—and the modern iron-work, by Potter, with which the door itself is covered, deserve notice.
A narrow and lofty Norman arch opens from this aisle into the transept.
VII. The north aisle is Decorated, of the same character as the south. In the third bay from the tower is the north porch, (§ IV.); and in the bay above it is the monument of Bishop Booth, (died 1535,) the constructor of the porch itself. The effigy lies under a foliated arch with canopy. The Bishop, mitred and fully vested, holds the crozier (the head of which has been broken) wrapped with the infula, or fillet. Much colour remains on this monument, which is protected by its original iron-work, banded with shields and heraldic ornaments.
In this aisle, a stained-glass window by Warrenton, with subjects from the life of St. John the Baptist, has been inserted as a memorial of Canon Clutton and his wife.
VIII. Between the eastern piers of the central tower, but projecting from their bases more than 3 ft. toward the nave, is placed the magnificent screen of wrought iron-work, painted and gilt, executed by Messrs. Skidmore of Coventry, from the designs of Mr. G. G. Scott. This is the second great work of the kind which has been produced in England. It is in many respects finer and more important than the screen at Lichfield; but it is designed and constructed on precisely the same principles; and affords a complete vindication of the advantage and beauty of metal-work for the purpose to which it is here applied. Whilst the screen forms a sufficient division between the nave and choir, its extreme lightness permits the use of both tower and transept for congregational purposes.
The Hereford screen consists of five main arches, each subdivided by a slender shaft. The central arch, wider and higher than the rest, forms the entrance, and is surmounted by a lofty gable, on the summit of which is the cross. Panels of hollow tracery fill in the lower part of the arches on either side of the entrance, to the height of about four feet. The heads of the arches and the spandrels between them are enriched with elaborate tracery, chiefly formed by flowers and leafage; and the design of the cornice and cresting is of similar character. In the tympanum above the shaft which divides the arch of entrance is a figure of the Saviour, with hands outstretched in blessing. On either side, placed on brackets supported by the pillars of the main arch, are adoring angels, two in each group. Single figures of angels, holding instruments of music, are placed on brackets at the terminations of the screen, north and south.
The screen is wrought by hand throughout. It is mainly constructed of iron; but copper and brass are largely used; the first in the capitals, figures, and cornice; the second in the shafts of the smaller columns, and in parts of the larger. Coloured mosaics have also been employed. The variety of metals is another source of colour; but the hammered iron-work, forming the whole of the foliage, has been painted throughout. No colours have been used, however, but those of the oxydes of iron and copper—the metals employed in the work. The result is entirely successful. The beauty of the capitals of leafage, in which fine effects of light and shade are produced, and of the foliage and flowers in other parts of the screen, is very great; and every band and line of ornament deserves notice. The forms of both leafage and flowers are to a certain extent conventional, but may easily be recognised. The passion-flower especially has been much used, and with admirable effect. On the whole it may safely be said that this screen is the finest and most complete work of its class which has been produced in recent times; nor would it be easy to mention any piece of ancient metal-work—at least of equal dimensions—which will bear comparison with it.
Near the south-west corner of the screen is placed an eagle-lectern, designed by Cottingham and executed by Potter. The projecting branches, for lights, are unusual and picturesque. The cost of the lectern was defrayed by the Misses Rushout; but the money was misappropriated, and it was eventually paid for by subscription.
The old pulpit, of the seventeenth century, now stands against the north-west tower-pier; but will shortly be replaced by one more worthy of the cathedral.