Bell's Cathedrals: The Cathedral Church of Hereford Part 3

The *Bishop's Cloisters* consist of two walks only, or covered corridors, though that on the west, which was pulled down in the reign of Edward VI.

to make room for a pile of brick building appropriated to the Grammar School, and in its turn demolished in 1836, is now in course of restoration.

It does not appear that the cloisters ever had a walk on the north side against the cathedral.

These cloisters are of Perpendicular date, and between a continued series of b.u.t.tresses are windows of large dimensions, with mullions and tracery.

The vaulting of the roof is adorned with numerous ribbed mouldings, at the intersections of which are shields charged with sculptured figures, foliage, arms, etc. These ribs spring from slender pillars between the windows and corbels heads on the other side: over the exterior of the windows are carved grotesque heads, of which we give some ill.u.s.trations.

The south walk of the cloisters is the more richly groined. At the south-east corner is a square turreted tower containing a small chamber, which has been carefully and completely restored. It has always been called the "Ladye Arbour," although no one has been able to discover the origin of this name or the use to which the chamber was put; many antiquarians suggest a possible reference to the Virgin.

[Ill.u.s.tration: EXTERIOR OF THE LADY CHAPEL. DRAWN BY A. HUGH FISHER.]

EXTERIOR OF THE LADY CHAPEL. DRAWN BY A. HUGH FISHER.

The entrance doorway to the *Chapter-house* from the east walk still remains, but is walled up. It consists of a pointed arch under a lofty, richly ornamented pedimental moulding, having cl.u.s.tered shafts on the sides, with foliated capitals. The archway is divided by a slender pillar into two smaller openings. The once elegant chapter-room to which this doorway communicated, whether or not they fell, as Britton a.s.serts, "beneath the fanatic frenzy of the Cromwellian soldiers," was certainly neglected; and then, as long as any material could be got from it, treated as a stone quarry by Bishop Bisse and his successors. This chapter-house appears to have been a beautiful piece of design of the rich Decorated period. It was decagonal in plan, with a projecting b.u.t.tress at each angle. Each side, except the one occupied by the entrance, was sub-divided into five panels or seats. Remains of three sides only are left, and these only as far as the window-sills.

Against the south wall of the cloisters, towards its east end, are some remains of two Norman chapels, one above the other. The lower was dedicated to St. Katherine and the upper to St. Mary Magdalene.

"The form, excepting a portico and choir (_i.e._ chancel) was an exact square; four pillars in the middle, with arches every way, supported the roof; the portico was composed of a succession of arches retiring inwards, and had a grandeur in imitation of Roman works; two pillars on each side consisted of single stones. There was a descent of a few steps to the lower chapel, which had several pillars against the walls made of single stones, and an octagonal cupola on the four middle pillars. The walls were much painted, and the arched roof was turned with great skill, and resembled the architecture which prevailed during the declension of the Roman Empire (see Stukeley, Havergal, etc.).

Mentioning the existence of the doorway and two small windows in the remaining north wall, the author of _The Picturesque Antiquities of Hereford_ proceeds to say: "These are extremely interesting, as they pertained to an edifice which once stood on the south side of this wall, and is believed to have been the original church of St. Mary, the patron saint of the cathedral before the translation of the body of St.

Ethelbert. It was the parish church of St. Mary, to which the residences in the cathedral close belonged. Transcripts of registers of marriages there solemnised so late as the year 1730 are existent in the Dean's archives."

A second cloister, known as the *Vicars' Cloister*, connects the Vicars'

College with the south-east transept. The arrangement here may be compared with that of Chichester, as showing the most probable plan of the latter before the destruction of the south walk and its connection with the cloister of the Vicars Choral.

In the area of the Bishop's Cloister was formerly a preaching cross, which fell into a decayed state during the latter part of the last century.

Beneath it was a dome of masonry which closed the aperture to a well of considerable depth, which had been formed with great exactness. This well still exists beneath a plain square stone. Another well was (according to Stukeley) situated between the College and the Castle Green, with a handsome stone arch over it.

[Ill.u.s.tration: THE CLOISTERS, WITH THE LADIES' ARBOUR.]

THE CLOISTERS, WITH THE LADIES' ARBOUR.

_Photochrom Co., Ld., Photo._

Building operations are still in progress at Hereford, and it was proposed to mark the year of Her Majesty's Jubilee by a special restoration, dealing princ.i.p.ally with the west end and central tower.

CHAPTER III. - THE INTERIOR OF THE CATHEDRAL.

The Cathedral is usually entered from the north-west through the beautiful parvise porch of Bishop Booth. The lower stage of this porch is formed by three arches with octagonal turrets at their outer angles. These turrets are each capped by a lantern. The second stage has three fine Perpendicular windows. The doorway, which actually opens into the church, belongs to a smaller porch within this outer one. The inner porch is of the Decorated period. There is some particularly good iron-work on the doors, made by Messrs Potter from designs by Mr. Cottingham, junior.

Hereford has a smaller area than either of the other two sister cathedrals, being only 26,850 feet in extent.

[Ill.u.s.tration: THE NORTH PORCH.]

THE NORTH PORCH.

The *Nave*, which is separated from the aisles by eight ma.s.sive Norman piers (part of the original church), of which the capitals are worthy of notice, has somewhat suffered by restorations at the hand of Wyatt. The triforium, the clerestory, the vaulting of the roof and the western wall and doorway are all his work; and it must not be forgotten that he shortened the original nave by one entire bay. Walking to the west end, from which the best general view is to be obtained, one is impressed by the striking effect of the great Norman piers and arches and the gloom of the choir beyond. Through the n.o.ble circular arches, which support the central tower and the modern screen on the eastern side of it, we see the eastern wall of the choir, pierced above by three lancet windows and below by a wide circular arch receding in many orders. A central pillar divides this lower arch, two pointed arches springing from its capital and leaving a spandrel between them, which is covered with modern sculpture. In the far distance may be distinguished the east wall of the Lady Chapel and its brilliant lancet lights.

Throughout the Cathedral the Norman work is remarkable for the richness of its ornament as compared with other buildings of the same date, such as Peterborough or Ely.

The main arches of the nave are ornamented with the billet and other beautiful mouldings, and the capitals of both piers and shafts are also elaborately decorated. The double half shafts set against the north and south fronts of the huge circular piers are in the greater part restorations.

Over each pier arch there are two triforium arches imitated from the Early English of Salisbury. They are divided by slender pillars, but there is no triforium pa.s.sage.

During the Late Decorated period the nave-aisles were practically rebuilt, the existing walls and windows being erected upon the bases of the Norman walls, which were retained for a few feet above the foundations. The vaulting of the roofs of the nave-aisles and the roof of the nave itself were coloured under the direction of Mr. Cottingham.

*The Font*, of late Norman design, probably twelfth century, is in the second bay of the south aisle beginning from the west.

The circular basin is 32 inches in diameter, large enough for the total immersion of children. Beneath arches round the basin are figures of the twelve Apostles. These, however, with one exception, have been much broken. The most curious feature of this interesting font is the base with four demi-griffins or lions projecting therefrom. The whole is protected by a mosaic platform.

*Monuments in the Nave.*-The first monument on the south side as we walk from the western end is the fine effigy in alabaster of Sir Richard Pembridge in plate and mail armour with his greyhound. This monument was formerly at the Black Friars Monastery, but was removed here at the Suppression. Sir Richard Pembridge was a Knight of the Garter (53rd of that order) at the time of Edward III., and was present at Poitiers. He died in 1375. There are still traces of colour on this monument and gold remains on the points of the cap to which the camail is fastened, as also on the jewelled sword-belt. A sheaf of green coloured leathers is separated from the tilting helmet, on which the head rests, by a coronet of open roses. When the effigy was brought here it had but one leg left, and that the gartered one. A wooden limb was carved, and the workman showed such accuracy in duplicating the stone leg that the Knight was adorned with a pair of garters for many years until Lord Saye and Sele, Canon Residentiary, presented the Cathedral with a new alabaster leg, and the wooden one was banished to a shelf in the library.

[Ill.u.s.tration: THE NAVE.]

THE NAVE.

_Photochrom Co., Ld., Photo._

Under a foliated Decorated arch in the wall in the fifth bay is the carved figure of an unknown ecclesiastic. The effigy is headless and otherwise much mutilated.

In the sixth bay is another mutilated and headless figure, under a foliated arch, which is crowned by a bearded head wearing a cap. It is thought to be the monument of a former treasurer.

In the fifth bay a quaint door leads from the aisle to the Bishop's Cloister. This has a square heading which rises above the sill of the window over it. There is an interesting series of heads in the hollow moulding, which are said to be copies of earlier work in the same position. The iron-work of the door itself is modern by Potter. A lofty Norman arch leads from this aisle into the south transept.

The north aisle of the nave is similar in style to the south. It contains six memorial windows to Canon Clutton and his wife, with subjects by Warrenton from the life of St. John the Baptist.

In the sixth bay from the west of the north wall of the nave is the effigy and tomb under which is buried Bishop Booth (1535), the builder of the large projecting porch which bears his name. The rec.u.mbent figure of the Bishop is fully vested with a _mitra pretiosa_ with pendent fillets. He wears a ca.s.sock, amice, alb, stole, fringed tunic and dalmatic, and chasuble with orfrays in front. On his feet are broad-toed sandals; his hands are gloved; a crozier (the head of which has been broken) is veiled on the right. At this side is a feathered angel. The original inscription, cut into stone and fixed above the effigy, remains uninjured:

"Carolus Booth, episcopus Herefordensis c.u.m 18 annos, 5 menses et totidem dies Ecclesiae huic c.u.m laude prefuisset, quinto die Maii 1535 defunctus sub hoc tumulo sepultus jacet."

The iron-work in front of this tomb is the only specimen in the Cathedral which has not been disturbed, although Mr. Havergal says "most of our large ancient monuments were protected by iron railings." It is divided into six square panels, having shields and heraldic ornaments.

The beautiful wrought iron *Screen*, an elaborate example of artistic metal-work, painted and gilt, executed by Messrs Skidmore of Coventry, from designs by Sir Gilbert Scott, stands between the eastern piers of the central tower, a little towards the nave. The first great piece of metal-work of this kind executed in England in modern times was the choir screen at Lichfield, designed and carried out by the same artists as the Hereford screen; though the latter and subsequent production transcends that of Lichfield, both in craftsmanship and beauty.

It has five main arches, each subdivided into two sub-arches by a slender shaft. The central arch is larger and higher than the others, is gabled and surmounted by a richly jewelled cross. This forms the entrance, and on either side, to a height of 4 feet, the lower part of the arches are filled with tracery in panels. The spandrels between the heads of the arches are enriched with elaborate ornament in flowing outline.

[Ill.u.s.tration: THE CHOIR SCREEN.]