Bell's Cathedrals: The Cathedral Church of Lichfield Part 5

In a similar position in the third bay is the effigy of Bishop Patteshull, who died in 1241. This is also of Purbeck marble, and was probably jewelled. There are ministering angels outside a pediment at the head; the figure has the pastoral staff in the left hand, while the right is obviously raised in benediction, though only the fingers are left, the second wearing the episcopal ring. Pennant and others have drawn attention to the fact that this effigy has the "stigmata" or marks of Our Lord's wounds on his hands and feet. Some antiquarians think that this is the monument of Bishop Weseham, and not of Bishop Patteshull. There are engravings and descriptions of these last two monuments in Gough's "Sepulchral Monuments in Great Britain," 1796, but it is certainly strange that Langton's monument is described as Patteshull's, and _vice versa_.

Opposite to Bishop Langton is the most curious monument in the cathedral. It has now been identified as the tomb of Sir John Stanley of Pipe. The effigy represents a knight naked to the waist, below which was formerly a deep skirt painted with the arms of Stanley, the legs being in armour, while under the head is a buck's horn, and a similar horn is placed beneath the feet. The whole subject of this tomb is one presenting many difficulties, but they have now been cleared up, and in a communication to the "Archaeological Journal," vol. 24, Mr J.

Hewitt has given much interesting information. From it the following account is taken:--The monument was always known as that of "Captain Stanley," who for some offence had been excommunicated, and who, after atonement, had been admitted to sepulture in holy ground on condition that the evidence of his punishment should appear on his sepultured effigy. The mutilations of the Civil Wars have so defaced the monument as to make this story extremely doubtful, until among papers belonging to the Earl of Winchelsea was found a coloured drawing of this effigy, done by Sir William Dugdale just before the wars for Sir Christopher Hatton. This sketch showed that the skin was bare, and that the skirt had the Stanley arms. But this did not clear up the difficulty. Pennant, in his "Journey from Chester to London," describes the tomb and gives the story, and then says: "I find a Sir Humphrey Stanley of Pipe, who died in the reign of Henry VII., who had a squabble with the Chapter about conveying water through his lands to the close ... so probably this might be the gentleman who incurred the censure of the church for his impiety." Shaw, in his "History of Staffordshire," declares that the arms on the base of the tomb show "the arms of Stanley impaling or, three chevronels gules (Clare)," which means that the person represented married a Clare. This Sir Humphrey did not do, and, moreover, he was buried in Westminster Abbey, where his bra.s.s still remains. Further investigation showed that the arms of Clare are also the arms of Gerard, and then that Sir John Stanley of Pipe married Margaret, the daughter of Sir Thomas Gerard. Pipe is a domain about a mile from Lichfield, so that the family of the dead knight would naturally have desired his interment in the cathedral of that city.

It does not appear that there was any ignominy implied in scourging as a public penance. On the contrary, many royal personages have submitted to it, and everyone will remember that Henry II. underwent a scourging upon his naked shoulders by the hands of the monks of Canterbury. There is a stained-gla.s.s window in the Bodleian Library at Oxford showing this scene.

Dr Rock, in the same volume of the "Archaeological Journal," says that to his thinking "this Stanley, of knightly rank, had drawn upon himself the greater excommunication through the spilling of blood in Lichfield Cathedral on some occasion, from a blow on the face with his hand or possibly by a slight stab with his avelace on the person of one with whom he had quarrelled. He lies bareheaded and naked as far down as the girdle. His upraised hands, according to the representation given by Pennant, and copied in Shaw's 'History of Staffordshire,' held a scroll which must have been the doc.u.ment ... signifying under the bishop's hand that, having undergone the canonical penance, the offender was again admitted to all Christian privileges."

Farther east than the "minstrel gallery" there is a window in memory of Bishop Rawle, who was consecrated Bishop of Trinidad in this cathedral by Bishop Selwyn. The subjects depicted in the window are Christ's Appeal to St. Peter, St. Paul's Vision, and The Baptism of the Ethiopian by St. Philip. Underneath the window is a highly-ornamented altar tomb designed by Sir Gilbert Scott in memory of Archdeacon Moore, whose effigy lies on the top. He died in 1876. Opposite, in the next bay, is the monument of Dean Howard, who died in 1868; the effigy of the dean, in marble, lies under a triple canopy formed from portions of the old screen. These last two effigies were the work of H. Armstead, R.A. It was here that Bishop Langton's monument once stood, and here also was Bishop Hacket's. This last now stands on the opposite side under the very beautiful window of the sixth bay of this aisle: it is in the Jacobean style, and is much painted and gilded. An effigy of the Bishop lies on an altar tomb under a canopy, while in front is a lengthy inscription in Latin.

Near this place, with other monuments, is one to the memory of Colonel Richard Bagot, who received his death wound at the battle of Naseby, 1645, and was buried in the cathedral. His father was Sir Hervey Bagot, Governor of the Close on behalf of the king.

In the seventh bay is another of the semi-effigies, two of which are in the south aisle of the nave, but this one is much more damaged; it is supposed to be the monument of Canon Strangeways. In Jackson's "History of Lichfield," which was published in 1805, it is stated that the name, though not then distinguishable, had only recently become obliterated, and was known and remembered to be Strangeways.

On the south wall, towards the east are, amongst others, bra.s.ses to Dean Champneys, 1875, and Dean Bickersteth, 1892, and above these there is a monument to Canon Horton, who died in 1728.

Two windows have recently been ornamented with new gla.s.s by Mr Kempe, showing scenes taken from the Acts of the Apostles; one, in memory of Dr H. W. Hewitt, represents Peter and Paul healing the lame man at the Beautiful Gate of the temple. The other is in memory of Mr J. T. G.o.dfrey Faussett, and represents Stephen before the Council, having delivered his apology, looking up and declaring "Behold I see the heavens opened, and the Son of Man standing on the right hand of G.o.d."

At the east end of this aisle, on the spot where probably once stood the altar of St. Nicholas, is the famous monument known as "The Sleeping Children." This was executed by Sir Francis Chantrey, R.A., and set up in 1817. It is said that this monument established his fame. Britton, in 1820, devotes more than two large quarto pages--a great s.p.a.ce for him--to ecstasies over it, and no doubt the taste of the time demanded undiluted admiration. Now we may prize it as an early example of the new style which, in art as well as in literature, was to supersede the artifice of the eighteenth century: the essence of that new style was, Mr Walter Pater tells us, "an intimate consciousness of the expression of natural things."

[Ill.u.s.tration: THE SLEEPING CHILDREN.]

The monument is in memory of the two daughters of the Reverend William Robinson, Prebendary of the cathedral, and represents the young children locked in each other's arms.

Behind it is a wall memorial to their father, and to the side is a piscina, which has at the back of it an old fresco, probably of the fourteenth century. The subject is the Crucifixion, with figures of St. Mary and St. John, one on each side of our Lord. The ill.u.s.tration is from a drawing preserved in the National Art Library, South Kensington Museum. The window at the end of the aisle contains some of the old Flemish gla.s.s, which has in the centre a curious representation of the Trinity.

In leaving this aisle it may be noted that tradition has it that between the pillars of the eighth bay was the monument of Lord Ba.s.set: that the tomb of Bishop William de Corkhull was between the pillars of the seventh bay, and that, in a similar position in the fifth bay, was buried Bishop de Molend. The Ashmolean MSS. give a long description of Lord Ba.s.set's monument: "Between the choir and the chapel of the Blessed Mary is the monument of Ralph, Lord Ba.s.set. He is lying in complete armour, his hands erected, and thereon his gauntlets. On his head, which is laid upon his helm and crest, viz., a boar, is a steel cap, and on his right shoulder a square shield of his arms. His dagger is laid by his right side, and his feet are resting upon a boar." He died in the reign of Richard II. It is always said that Sir Walter Scott had this monument in his mind when he described Lord Marmion's monument:--

"Fitz-Eustace care A pierced and mangled body bare To moated Lichfield's lofty pile; And there, beneath the southern aisle, A tomb, with Gothic sculpture fair, Did long Lord Marmion's image bear, (Now vainly for its sight you look; 'Twas levell'd when fanatic Brook The fair cathedral storm'd and took; But thanks to Heaven and good St. Chad, A guerdon meet the spoiler had!) There erst was martial Marmion found, His feet upon a couchant hound His hands to Heaven upraised; And all around, on scutcheon rich And tablet carved, and fretted niche, His arms and feats were blazed."

[Ill.u.s.tration: FRESCO-PAINTING OF THE CRUCIFIXION IN THE SOUTH CHOIR AISLE.]

The accounts do not entirely tally, so that it may be the tomb described was as little Lord Ba.s.set's as it was really Lord Marmion's.

Not very far from this last tomb was the monument of William, Lord Paget, who was not buried here but at Drayton. He was amba.s.sador from Henry VIII. to Charles V., and held other important posts under that king and his daughter, Queen Mary; he died in 1563. There is an engraving of his monument in Shaw's "Staffordshire," which shows it to have been very magnificent.

The monuments in the =North Choir Aisle= are not only more scanty than those in other parts of the cathedral, but they are of less interest. At the east end is the kneeling figure of Bishop Ryder, who died in 1836. This monument is in white marble, and one of Chantrey's latest works, just as the more famous monument in a similar position in the south aisle is one of his earliest. It was originally intended that the figure should be on a higher pedestal, and no doubt the effect is not increased by its lower position.

Behind, on the east wall, is an inscription in memory of the bishop. The window above this contains some old Flemish gla.s.s, which has a figure of St. Christopher in the centre. The window in the north side in the corner is by Mr C. E. Kempe, in memory of Mr Patterson, late sub-chanter of the cathedral. The gla.s.s shows King David teaching the singers of the House of the Lord. Beneath is an ancient aumbry.

Opposite, between the pillars, is the traditional site of the burial-place of Bishop Stretton; he is said to have been buried in St. Andrew's Chapel. There is little doubt that the end of this aisle contained an altar dedicated to that saint.

Between the next pair of pillars westward, it is said that Bishop Blythe was buried, but his monument at one time stood in the other aisle of the choir.

On the north side of the altar is the monument to the memory of Bishop Lonsdale, who died in 1867. The monument, which is highly decorative, consists of an effigy of the bishop lying on an altar-tomb of marble and alabaster. The effigy is by Mr G. F. Watts, R.A., the celebrated artist, and the tomb was designed by Sir Gilbert Scott, who is said to have taken the idea of the canopy, with its triple pediment, from the monument of John of Eltham in Westminster Abbey.

In the s.p.a.ce between the next pair of pillars westward, Archbishop Scrope, formerly bishop of this diocese, is said to have been buried. He was beheaded in 1405 by Henry IV.

In the most easterly bay but one of this aisle there must have been a doorway leading into the chapel which Dr Stukeley speaks of: "In the chapel over against the lady choir was the burying-place of two Mercian Kings; but it is now chosen for a burying-place by Dr Chandler, present bishop of Lichfield, who has there buried one child."

=The Lady Chapel= has always most justly been admired by architects and antiquarians. Not only is it peculiarly beautiful in its construction, but also its windows are now filled with some of the most charming old gla.s.s to be seen in England. In shape it forms a symmetrical extension, both in height and width, to the choir, but without aisles; and it has an octagonal apse--the only example, it is said, of such a termination in the country. It is lighted by nine high windows, with Decorated tracery. This tracery has recently been restored in the style of that in the three end windows; until this was done most of the windows contained Perpendicular tracery.

[Ill.u.s.tration: BRACKETS IN THE LADY CHAPEL.]

The windows rest on an arcade of very beautiful design. The arcade may be said to consist of a series of small decorated canopies, supported by shafts with carved capitals, and separated by ornamented b.u.t.tresses. The canopies, which bow forward, have trefoil ogee arches, surmounted with crockets and finials. Above the arcade is a similar embattled parapet to that in the choir, with a similar pa.s.sage round the chapel behind it.

The vaulting of the roof is like that in the choir; the same number of ribs diverging from the slender shafts which run right down to the bends of the arcade. Half-way up these shafts are niches, the brackets and canopies to which are beautifully carved. These are old, but until recently were empty, and no authentic record remained as to what were the characters represented. Dr Stukeley believed that the figures had been those of the five wise and five foolish virgins. This theory has not, however, found sufficient favour to lead to a reproduction of their effigies, for in 1895 the niches were filled with figures of ten virgin saints and martyrs. These were executed by Messrs Farmer & Brindley, from designs by Mr C. E. Kempe, and they may be warmly congratulated on their work. The statues are really beautiful, and are infinitely superior to most of the other modern sculpture in the cathedral. It will be noticed, too, that the figures seem the right size for the niches, instead of being much too large, as in many other cases. The statues are as follow:--

1. St. Werburga, with pastoral staff and book, and a model of Chester Cathedral at her feet.

2. St. Cecilia, with organ.

3. St. Prisca, with palm branch, and lion at her feet.

4. St. Faith, with sword and rack.

5. St. Catherine, with sword and wheel and open book, treading on a monster.

6. St. Margaret, with book and cross, treading on a dragon.

7. St. Lucy, with palm branch and lamp.

8. St. Agnes, with palm branch and book, and lamb at her feet.

9. St. Agatha, with palm branch and tongs.

10. St. Etheldreda, with crown and pilgrim staff, and pastoral staff and a model of Ely Cathedral at her feet.

[Ill.u.s.tration: THE LADY CHAPEL.]

The present altar-piece, which is in the form of a triptych, has scenes connected with the birth of Our Lord carved in relief. These are: The Annunciation, the Salutation of Elizabeth, the Nativity, the Presentation in the Temple, and the Adoration of the Magi. The doors, which can be closed, have paintings on the back representing David, Isaiah, St. John the Baptist, and St. Chad. There are four carved figures of St. Ambrose, St. Jerome, St. Augustine, and St. Gregory supporting the central panel. The altar rails are of alabaster. Before the recent alterations there was a plaster reredos, which had been placed there by Wyatt, and the continuity of the arcading and open carved work, which originally went right round the chapel, was thus broken. Sir Gilbert Scott is said to have been anxious not to remove the reredos, partly, perhaps, on account of the gla.s.s behind, which was known to be plain. However, the restoration to the original style has been made, and the plain gla.s.s replaced by a very excellent imitation of the Herkenrode gla.s.s, representing the three Marys. This was done by Messrs Burlison & Grylls with great skill. There was a screen between the Lady Chapel and the rest of the cathedral in old days. Stukeley mentions it in his notes. He says: "The part.i.tion there betwixt the two choirs is a fine piece of architecture, but demolished also in time of war; and, though the figures are destroyed, and at the foot of the same every cherub defaced, yet it may be perceived to be a fine piece of work; for though it be uniform from top to bottom, yet every capital and pedestall are different works within and without."

What is known of the building of the Lady Chapel has already been told in Chapter I. and in the account of the choir and presbytery. The founder of the chapel, Bishop Langton, was buried here, but his tomb was afterwards removed to the south side of the high altar. Shaw tells us of the monument at one time "in the east part of the chapel, towards the south," of Robert Master and Catherine, his wife, and says that "the drawing in Dugdale's 'Visitation' represents them each under a round arch, in the att.i.tude of prayer at a desk." No trace is left of this monument.

As might be expected from what has been given of the history of the cathedral, there is none of the old gla.s.s belonging to it remaining; but in spite of this, all the nine windows of the Lady Chapel have very beautiful old gla.s.s in them. This gla.s.s is not Mediaeval, but belongs to the sixteenth century, and the whole of it is a comparatively recent acquisition for the cathedral. That in the seven most eastern windows, and known as the Herkenrode gla.s.s, was put in at the beginning of the century; and the other two windows which, until recently, held modern gla.s.s, bearing the arms of various dignitaries of the cathedral, have recently been enriched by old gla.s.s of probably very nearly the same period as the other.

The nine windows, for the purposes of explanation, may be numbered in succession 1 to 9. No. 1, being the first window on the north, and No. 9, the first on the south, contain, therefore, the more recently acquired gla.s.s. This is supposed to have come from the Low Countries; but, at any rate, about the middle of the century it was brought to England, and lay for years in some cellars in London, where it was forgotten.

Finally, it was purchased from the representatives of the Marquis of Ely. The gla.s.s shows the arms of the kingdom of Aragon, and amongst other mottoes, that of Charles V.

No. 1. The lower compartment is a symbolic picture on the subject of Baptism. Out of the waters in the fountain come the children, to be received by their guardian spirits, while above are figures representing Faith, Fort.i.tude, and Love, and still higher is a representation of the Divine Presence. No. 9 is a pictorial representation of the legendary Death of the Virgin Mary. The Virgin is represented lying in a canopied bed, surrounded by the apostles, who have been summoned to gather round her death-bed: they are all present except St. Thomas, who has been detained at the baptism of a royal prince. Above is a representation of the Virgin entering into glory.

As stated above, these two windows had originally coats of arms in them, and a reproduction of the arms appears in the tracery of the windows, No. 1 having those of the dean and chapter in 1803, and No. 9 those of the bishops of the diocese from Bishop Hacket to that date.

The gla.s.s in the other seven windows--the Herkenrode gla.s.s--was purchased in 1802 by Sir Brooke Boothby, who discovered it in Belgium, where it had been hidden for protection from the French. It had been taken from the dissolved Abbey of Herkenrode, near Liege. There were three hundred and forty pieces, each about twenty-two inches square, and some of them are marked with dates between 1530 and 1540. Sir Brooke is said to have given two hundred pounds for it; but it has since been valued at fifteen thousand pounds. He, however, most generously sold it to the dean and chapter for the modest sum he had paid for it. It turned out that there was enough to fill the seven windows it now occupies in the Lady Chapel. Some portions have been used in other windows of the cathedral, which have been already described.

There is a considerable difference in appearance between this gla.s.s and that in the other two windows. The subjects depicted in the latter are very distinct, while in the former they are more confused, and it must be said that the Herkenrode gla.s.s is much faded. Still, the whole of it is very beautiful, and if it does not satisfy those who crave after the Mediaeval stained gla.s.s, it is certainly some of the finest gla.s.s of the kind to be found in England. The designs have been conjectured to be by Lambert Lombard, the first, and one of the most famous, of the Italianised Flemish School of the sixteenth century; and the other gla.s.s belongs to the same period.