Bell's Cathedrals: The Cathedral Church of Wells Part 10

[Ill.u.s.tration: The South Transept From North Side Of Nave.]

[Ill.u.s.tration: Capitals In Transept]

THE FONT is of peculiar interest as the one surviving relic of Bishop Robert's Norman church. Whether it also stood in the still earlier Saxon church is still an open question: it is as likely to be of pre-Norman as of Norman date, and the fact that whatever ornament there may have been in the spandrels of its shallow arcades has been hacked off, makes conjecture unsafe. Its unusual position in the south transept may be due to the Bishop Giso's quasi-conventual buildings on the south of the church, which would have made this transept the most common entrance to the cathedral at the time of the Conquest. A Jacobean cover rests upon the font, and with it forms a charming combination of pre-Gothic and post-Gothic Romanesque design.

[Ill.u.s.tration: The Font. (Drawn by W. Heywood.)]

At the south end of the south transept is the tomb of Bishop _de Marchia_ (_ob._ 1302). The effigy lies in a recess, and is covered with a canopy of three bays, the ogival arches, finished in sumptuous crockets and finials, painted red and gold, the spandrels being alternately green and red, powdered with a little pattern, the cusps and mouldings scarlet and crimson and green and gold, with a dark colour in the shadows. The effigy of the bishop is one of the best in the cathedral, but even more lovely are the three little figures so charmingly supported on foliage at the back of the tomb--two angels and a bishop between them. The heads of these three figures have been wickedly destroyed, but parts of the chains of the angels' censers remain. Of the two beautiful angels which hold the cushion the heads fortunately remain. Along the plinth of the tomb are six heads which are quite unique in their treatment; three are bearded (one of these is bald); one is shaven, tonsured, and turned half round in a strangely naturalistic manner; another is also shaven, and the remaining head is that of a woman in a veil. Two large faces are carved on the east and west ends of the tomb, both with long wavy hair--one of a woman, the other with a wavy beard. The central boss of the vaulting is carved with five roses, which are coloured green, their foliage, like all the foliage in this tomb, being gilt on a red ground with the red edges showing. The little angels at the back had gilded robes with red lining, and blue wings; the little bishop wore a red chasuble with green (or blue) dalmatic, and red tunicle over his white alb; the lappets of his mitre, which have survived, were red, and traces of dark blue are on his shoes: there seem to have been patterns on the various vestments, and the colours can still be seen where their sleeves overlapped. Modern lettering has been cut across the back of the tomb and coloured, by way of contrast to the ancient work.

Under the battlemented cornice of the curtain-wall to the west a row of heads is painted in fresco on a red ground, which seems to be part of the same scheme with the curious heads on the plinth of de Marchia's tomb: one of these, a woman in a dark-coloured hood, is especially distinct. No doubt, the whole wall was originally painted.

The sill of the window over the tomb seems to have been used for some special purpose: there is a pa.s.sage cut through the splay of the window, through which the sill may be reached, which is not the case with the corresponding window of the north transept. The pa.s.sage is reached from a staircase concealed behind the curtain-wall, which is reached by an ogee-headed doorway (with cusps in the head, finial, and two small heads to its very beautiful mouldings). This staircase also leads to a chamber on the level of the pa.s.sage, but on the west side: the interior of the chamber can be seen from the ground, as its old wooden door is kept open. It is supposed by some to have been a watching chamber in connection with the tomb. There can, indeed, be little doubt that these arrangements had something to do with de Marchia's tomb, or that the ornamented doorway in the curtain wall of the same date as the tomb, together with the frescoes on the wall, were connected with the strong efforts that were made at this time for his canonisation. Perhaps the sill was used for the display of his relics, and the chamber was the ordinary resting-place of the reliquary, for which purpose the door and the absence of windows would have fitted it.

Next to de Marchia's tomb on the other side, the monument of Joan Viscountess _Lisle_ (_ob._ 1463) gives a good ill.u.s.tration of the change of architecture in a hundred and fifty years. The crockets are less free, and straight lines and square members abound; the fine ogee curve of its single arch is weakened by the rather weedy cusps, its shafts have become tiny mouldings, and their capitals mere knops. It is coloured, too, all over, in green and red and yellow, but heavily in comparison with its neighbour. The colour has been unusually well preserved, owing to the fact that the tomb was plastered over, and not discovered till 1809. There is no effigy, but a bra.s.s of apparently recent date bears this inscription:--_Hic jacet Joanna Vicecomitilla de Lisle una filiarum et haeredum Thomae Chedder, armiger quae fuit uxor Joannis Vicecomitis de Lisle, filii et haeredis Joannis Comitis Salopiae et Margaretae u[=x] ejus unius filiarum et haeredum Ricardi comitis Warwici et Elizabethae uxoris ejus filiae et haeredis Thomae de Berkley militis, domini de Berkeley, quae obiit xv^{mo} die mensis Julii A[=n][=n] D^i MCCCCLXIII._ Lady Lisle's husband was killed at the battle of Chastillon (1453), when he was serving under his father, the famous Earl of Shrewsbury. The painted designs above the three niches should be noticed, and also those of the moulding and fleurs-de-lys at the side. The monument was evidently used as a chantry chapel; but it did not originally stand here. The bra.s.s by the north side of the screen (p. 89) may mark the site.

The eastern aisles of the transepts are divided off into chapels by two Perpendicular stone screens, that of the south transept having a doorway in it for each chapel. These chapels are thus dedicated, beginning from the south--St. Martin, St. Calixtus, St. David, Holy Cross. From the last-named chapel the chapter-house is reached through an Early English doorway, and a similar doorway (now partly blocked by Biconyll's tomb) led from St. Martin's to a small building, supposed to have been a vestry, which once stood outside. In the south transept there are also--a small door to the tower, a small door with ogee head (p. 96), a rather larger doorway with modern lintel leading to the library (two shafts just above this door have been cut off, and faces very roughly cut on their extremities by way of corbel), and the large doorway leading to the cloister. The princ.i.p.al windows belong to the original work, having been merely filled with Perpendicular tracery.

The windows of the south-east aisle contain Decorated tracery, but the tracery of the north-east aisle is not good.

The western aisle of the south transept is open; that of the north transept is cut off by a Perpendicular stone screen, which is solid in the southern bay, and through carved in the northern. The latter is, however, boarded up, and used as the vestry of the priest-vicars, the other being the vestry of the vicars-choral. From the priest-vicars'

vestry a door leads into a small chamber now used for the water supply, and over the doorway there is a small and pretty figure of a woman under a little niche.

There are a very few fragments of Early Perpendicular gla.s.s in some of the upper lights of the nave and transept windows. There are also two modern windows at the west end of the nave, and one in the south transept, of which I have been unable to discover the actual designers' names.

TRANSEPT CHAPELS.--ST. MARTIN'S, where the obits of Savaric and Jocelin were celebrated, is separated by a solid Perpendicular screen from the adjoining chapel of St. Calixtus. It is now used as the canons' vestry. Partly blocking the old Early English doorway is the tomb of _Biconyll_, who was chancellor in 1454. His will, with a good deal of information about him, is given in the _Somerset Proceedings_ for 1894, by Mr A.S. Bicknell, a descendant. The name was originally Bykenhulle (A.S. for Beacon Hill), and has been spelt in forty-seven different ways. His effigy lies on the tomb, dressed in ca.s.sock, long surplice, and _cappa nigra_ or choral cope. The ends of the almuce can be seen in the opening of the cope, and its hood hangs over the shoulders.

ST. CALIXTUS' chapel is enclosed on the side of the choir aisle by part of the beautiful ironwork from Beckington's tomb. The doors of this and St. Martin's chapel are also made from the same iron screen.

Within the chapel, and near the screen, in strange contrast to it, stands one of those indescribable stoves which disfigure the church, its chimney, as usual, driven through the vault. The east end of the chapel is occupied by the canopy which formed part of Bishop _Beckington's_ tomb till the restoration of 1850, when it was, by an inexcusable act of vandalism, taken down and fixed up in this place (p. 125). This canopy did not cover the tomb, but stood at its foot so as to form the eastern part of a chantry chapel, the tomb being on its south side and the iron screen enclosing it where it jutted into the choir on the north side. It will be noticed that its northern angle was sloped off so as not to present an awkward corner on the side of the choir. The reredos, for such it really is, is a most elaborate and charming piece of work; "pretty" is perhaps the word that describes it best, if "pretty" be taken in its very best sense. Here there is nothing of the suave grace of de Marchia's tomb, nothing of the vigour and truth of the transept capitals, nothing of the n.o.ble delicacy of the north porch, which was a delicacy of intellect, while this is a delicacy of execution. It is certainly decadent; even by the side of Sugar's chapel it is over-refined and a thought effeminate, but, with the colour that still covers it fresh and bright, it must have had all the fascination of a splendid piece of jewellery, where profusion of ornament is more desired than structural grace. The cornice is particularly rich with a finely-carved vine ornament, and with two angels, their long outstretched wings minutely feathered, who bear shields having representations of the sacred wounds. The tabernacle work behind the altar is gone, like the altar itself, with the exception of the small niches which formed the sides of the central composition, but the little canopy of the central niche remains to give us a slight idea of its workmanship. The short wings of the reredos have panels and traceried openings, and, on the south, a piscina which looks almost too tiny to be real. The top has a toy-like vault of fan-tracery with little pendants.

On the south side of St. Calixtus' chapel is _Dean Husse's_ alabaster tomb (_ob._ 1305), which bears some of the best carved work in the cathedral. The effigy itself is good: it represents the Dean clad in the same choir vestments as the figures on the panels below. These panels should on no account be missed. The first on the left represents the Annunciation with a grace that is not less delightful for the strain of exaggeration which pervades it. The Blessed Virgin (see ill.u.s.tration on p. 101), a lovely figure in long, close-fitting kirtle and mantle thrown gracefully over her shoulders, turns round from the desk at which she is kneeling, and throws out her arms with a quaint gesture of surprise; her crown and nimbus are both of enormous size. A very small Gabriel dashes down from the top corner, bearing a scroll which takes up the whole of the panel; he is preceded by a Dove with very long rays. The next three panels (pa.s.sing over these with shields) contain three figures of clergy, two of which hold books, and all their short staves. They wear the ca.s.sock, long surplice, and a long, graceful choral cope, somewhat like the modern academic gown in shape, the rounded ends of the hooded almuce reach to the knee and are held at the chest by a cord with ta.s.sels. There is no better representation of medieval choir vestments in existence than these three figures. The last panel is a curious representation of the Eternal Father holding the crucifix; this remarkable figure has a _very_ long face, great ma.s.ses of curly hair, a huge crown, and _very_ long hands.

The two chapels of the north transept can only be reached through the choir aisle, no doubt because the way to the chapter-house was through them. The first was probably ST DAVID'S chapel. Here should be noticed the capital of the easternmost shaft of the second transept pier--a head with curly hair and handsome smiling face. This shaft is corbelled off, and the corbel through carved in the shape of a lizard eating the leaves of a plant with berries thereon; it is a charming study. The tomb of Bishop _Still_ (1543-1607) in this chapel is under a handsome canopy of warm-coloured marbles, with black columns and red, blue, and gold decoration. The effigy is dressed in rochet and chimere, over which is a red robe lined with white fur; a ruff is round the neck, a close-fitting black cap covers the head and part of the ears, and the rochet is finished at the wrists with a plain black band.

In the chapel of the HOLY CROSS the monument of the intruding Bishop _Kidder_, Ken's successor (p. 158, _ob._ 1703), stands on the site of the altar, whither it has been removed from its original position on the south side of the choir. Standing in all its chilly pretentiousness so near to Still's tomb, it well ill.u.s.trates the immense decline in monumental art which took place during the seventeenth century. The bishop's daughter, who erected the monument, is represented reclining, as, with one arm outstretched, she looks at two urns which are supposed to contain the ashes of her father and mother; underneath is a very long Latin inscription.

[Ill.u.s.tration: The Annunciation--Husse's Tomb.]

Against the north wall and close to the entrance to the chapter-house stands the tomb of Bishop _Cornish_ (_ob._ 1513). He was chancellor and precentor of Wells, and suffragan bishop under Bishop Fox of Bath and Wells and Bishop Oldham of Exeter, his t.i.tle being Bishop of Tenos. Part of the inscription remains:--_Obiit supradictus d[)u]s Thomas Tinensis Ep[)u]s tercio die mensis Julii anno ... MCCCCCXIII Cujus Anime p_[_ropitietur Deus A_]_men_. The three panels on the front bear shields--T with a sheaf of corn, Cornish's arms (on a chevron between three birds' heads erased a mitre) and C with a sheaf of corn; on the side panel are the arms of the chapter, the arms, that is, of the see without the pastoral staff. Against the wall within the canopy are some matrices of small bra.s.ses, in which the kneeling figure of a bishop, a scroll, and two plates for inscriptions can be traced.

[Ill.u.s.tration: Priest In Surplice--Husse's Tomb.]

From several peculiarities in Cornish's tomb, I am convinced that it was also used as the _Easter Sepulchre_, where the Host was laid during the concluding days of Holy Week. These sepulchres were often made in connection with a tomb, and the usual place for them was somewhere on the north side of the choir. The position here in the chapel of the Holy Cross (which is an appropriate dedication) would be particularly convenient for the purpose. The chapel was easily reached by the clergy without their having to go into the public part of the church; it was thus as safe a place as the choir itself, and at the same time was much more open to the people, who could pay their devotions from the transept, and through the open stone screen could see the candles burning round the sepulchre.

[Ill.u.s.tration: The East End In 1823.]

Just where it could be best seen from the transept, on the eastern end of the upper storey of the tomb under the canopy, is a carving of the Resurrection. A wide arch is cut in the stone; within this is carved a square opening, not through-cut, but farther recessed, to represent the mouth of the sepulchre; in front of the square recess is the figure of Christ, issuing from the tomb, clad only in a long mantle, which He holds across His body; the hair is long, the face mutilated, and the hands gone. At the left is the kneeling figure of a bishop, the head gone, but part of the staff remaining in the hands. There is a great crack (now filled with mortar) round these two figures, as if the attack of the iconoclasts had been made with heavy tools. A pedestal at the right-hand corner of the square recess seems a later insertion, as it is loose and does not exactly fit; probably it was added soon after the tomb was made, to hold a small silver figure of an angel, or of a soldier, as there is a little hole (now filled with mortar) at a height above it convenient for rivetting a metal figure.

The Sepulchre proper would have consisted of a small coped chest, in shape like a reliquary, round which would be painted the incidents of the Pa.s.sion. The slab of the tomb, being without the usual rec.u.mbent effigy, would have formed the place on which this "coffer" rested, this being the usual method when a tomb was used for the purpose. On Good Friday, the Host, often in a specially-made pyx, was with much ceremony laid in the coffer, together with the altar-cross, and there was kept, surrounded by candles and guarded by watchers, till Easter Day. We know that there was a special provision at Wells for one candle to burn continuously within the Sepulchre "_I cereus in sepulchro c.u.m corpori Dominico qui continue ardebit donec Matutinae cantentur in die Paschae_" (_MS. Harl._ 1682, _fo._ 5). There is a small hole in the east wall of this chapel, close to the tomb and a little below the level of of the slab whereon the coffer would have rested; this may have held a sconce or some ornament. But the _cereus in sepulchro_ was probably a large candle within the chapel, and in accordance with general usage, there would have been other candles burning upon cressets. There are two other holes in the north wall, a few inches to the east of the top of the tomb, which may have held rods for the curtains that were used in much profusion for the adornment of Easter sepulchres. While the coffer stood on the slab it would have hidden the carving of the Resurrection; but on its removal on Easter Day, the carving would have stood in full view of the people, bright, no doubt, with colour and surrounded by lights. It will further be noticed that the tomb stands eighteen inches away from the east wall, the s.p.a.ce being now filled with modern masonry; this was probably in order to leave ample room for the sacred ministers in their vestments; had it stood close against the wall the ceremonial could not have been conveniently carried out.

Near the tomb is the doorway, with a fine old oak door, which leads into the chapter-house; and above the tomb is a window which was blocked up when the vestibule was built, and a bracket set in the masonry.

THE CLOCK is a great favourite with visitors, who generally congregate in the north transept at the striking of the hour and laugh gently to one another when the quaint performance is over. "Jack Blandiver"

(this is the name given him by the country people for some undiscovered reason) kicks his bell at each quarter in the most life-like manner, his feet trembling afterwards with the exertion; but at the hour, after Jack has sounded his four quarters, as the big bell begins to toll, the four "knights" above the clock rush round in contrary directions, and charge each other with so much ferocity that one unfortunate is felled at each encounter, and has barely time to recover his upright position before he is again and again knocked down with resounding clatter upon his horse's back. The other three fight twenty-four times a day unscathed.

The clock was thus described by Mr Octavius Morgan, F.R.S., in the _Archaeological Journal_ for 1883:

"In the Cathedral of Wells is what remains of the ancient clock which once belonged to Glas...o...b..ry Abbey. This very curious timepiece is said to have been originally executed by Peter Lightfoot, a monk of the abbey, but at the cost of Adam de Sodbury, who was promoted to the abbacy in 1322. It appears to have been originally placed in the south transept of Glas...o...b..ry Abbey Church, where it continued till the Dissolution, when, tradition says, it was carried to Wells and placed in the north transept of the cathedral with all its belongings--viz.

the figure which strikes the quarters with his heels on two little bells within the church, and the two "knights" which perform the same service with their battle axes on the outside. The inside figure strikes the hour on a bell before him with a battle-axe in his hands.

The face of the dial is 6 feet in diameter, contained in a square frame, the spandrels of which are filled with angels holding in their hands the head of a man; the outer circle is painted blue, with gilt stars scattered over it, and is divided into twenty-four parts, corresponding with the twenty-four hours; the horary numbers are in black-letter characters on circular tablets, and mark the hours from twelve at noon to midnight, and from thence to midnight again (noon and midnight being marked by a cross instead of a numeral). The hour index, a large gilt star or sun, is attached to the machinery behind a second circle which conceals all except the index. On the second circle are marked the minutes, indicated by a smaller star; a third and lesser circle contains the numbers of the days of the month, which is marked by a point attached to a small circular opening in the plate, through which the phases of the moon are shown. On the opposite side is a female figure, with the motto _Semper peragrat Phoebe_.

"An arched pediment surmounts the whole, with an octagonal projection from its base like a gallery, capped with a row of battlements, forming a cornice to the face of the clock. A panelled and battlemented turret is fixed in the centre, round which four figures mounted on horses revolve in opposite directions, as if charging at a tournament, when set in motion by a communication with the clockwork, to be made at pleasure; these are commonly called _knights_, but their costume is only that of ordinary persons. The movement is at a distance from the dial, and connected with it by a long horizontal rod; the dial work was close at the back of the dial. The revolving figures on horseback are moved by a separate weight, and are set in motion by the freeing of a detent. The old boarding at the back [in the vestry of the vicars-choral] is painted black, with a diaper scroll of foliage with red and white roses. The female figure on the dial, representing the moon, is always kept upright by a balance weight; the quarter-boys inside, who strike the quarters, are much later, having _knee-breeches_.

"The outside dial has now two hands; it was once like a star with only one hand. The bells outside are struck by two figures in armour, _temp._ Henry VIII., probably put up when it was removed from Glas...o...b..ry.

"The clock seems to have remained without alteration after it was then put up, till the present modern movement, made by Thwaites & Reed of Clerkenwell, was, in the time of Dean Goodenough, subst.i.tuted for it, and the old original movement was taken and deposited in the crypt under the chapter-house, where it remained uncared for, for many years, during which time, 1853, I visited and examined it, made notes of it, and took drawings of it. The great wheel has ninety teeth, and the pinion, a lantern-pinion, had nine leaves, or rather bars; the second wheel had sixty teeth; the remainder of the works were all disjointed and bent, and remained unheeded." The whole is now fitted together, and in a going condition, in the mechanical museum at South Kensington.

The _Antiquary_ for August 1897 ("Some Mediaeval Mechanicians") reminds us that, as the clock was in constant use at Glas...o...b..ry for about 250 years, and then at Wells for another 250 years, and as the old movement is now still working at the South Kensington, "as though its life were interminable"--it is probably the oldest piece of working mechanism extant.

The same article says of these old works: "It will give an idea of the labour involved, when it is stated the mechanism of the clock occupies a s.p.a.ce of about 5 feet cube (125 cubic feet), that the structure is wholly of forged iron; that the numerous wrought-iron wheels, some of which are nearly 2 feet in diameter and about inch thick, besides having to be made truly circular and concentric, had all their teeth cut out and trimmed to workable shape by hand; and that the heavy wrought-iron frames, etc., are fastened entirely by means of mortise, tenon, and colter, no screws being used in the whole structure. The pinions are of the lantern form, with octagonal cheek-plates on square spindles, and the pendulum of modern form beats seconds."

THE INVERTED ARCHES.--Undoubtedly the first thing that the stranger notices in Wells Cathedral, and the last that he is likely to forget, is the curious contrivance by which the central tower is supported. Of the three pairs of arches (the upper arch resting inverted upon the lower) which stretch across the nave and each of the transepts, that in the nave is seen at once, and lends a unique character to the whole church. At first these arches give one something of a shock, so unnecessarily frank are they, so excessively st.u.r.dy, so very English, we may think. They carry their burden as a great-limbed labourer will carry a child in a crowd, to the great advantage of the burden, and the natural dissatisfaction of the crowd. In fact, they seem to block up the view, and to deform what they do not hide.

That is the first impression, but it does not last for long.

Familiarity breeds respect for this simple, strong device, which arrested the fall of the tower in the fourteenth century, and has kept its walls ever since in perfect security, so that the great structure has stood like a rock upon the watery soil of Wells for nearly seven centuries, with its rents and breaks just as they were when the damage was first repaired. The ingenuity, too, of these strange flying b.u.t.tresses becomes more and more evident; the "ungainly props" are seen to be so worked into the tower they support, that they almost seem like part of the original design of the first builders. One discovers that it is the organ, and not the arches, that really blocks the view, and one marvels that so huge a ma.s.s of masonry can look so light as to present, with the great circles in the spandrels where the arches meet, "a kind of pattern of gigantic geometrical tracery."

Indeed, I think no one who has been in Wells a week could wish to see the inverted arches removed.

Professor Willis, who had made a most careful investigation of the masonry, thus describes the cause and the construction of the inverted arches (_Somerset Proceedings, 1863, i. 21_):

"It is evident that the weight of the upper storey of the tower completed in 1321 had produced fearful settlements, the effects of which may still be seen in the triforium arches of the nave, and transepts next to the tower, which are dragged downwards and deformed, partly rebuilt, filled up, and otherwise exhibiting the signs so often seen under central towers, of a thorough repair. The great piers of the tower are cased and connected by a stone framework, which is placed under the north, south, and west tower-arches, but not under the east. This framework consists of a low pointed arch, upon which rests an inverted arch of the same form, so as to produce a figure somewhat resembling a St. Andrew's cross, to use the happy phrase applied by Leland to a similar contrivance introduced for a similar reason [but at a later date] into the central tower arches of Glas...o...b..ry." To this description there only needs to be added a mention of the circles which occupy the spandrels, and help to prevent the whole structure from seeming a mere inert ma.s.s of masonry. To appreciate the work fully, it should be looked at from some spot, such as the north-east corner of the north transept, whence the three great pairs of arches can be seen together. The effect from here is very fine, especially when the nave is lighted up, and strong shadows are cast. The extreme boldness of the mouldings, the absence of shafts and capitals and of all ornament, give them a primitive vigour, and their great intermingling curves, which contrast so magnificently with the little shafts of the piers beyond, seem more like a part of some great mountain cavern than a mere device of architectural utility.

[Ill.u.s.tration: The Inverted Arches, From The North Transept.]

At the same time as the arches were built, flying b.u.t.tresses were inserted further to secure the tower, and they can be seen blocking up the triforium and clerestory of those bays, in nave, choir, and transepts, which adjoin it. Other repairs were necessary, for the pier-arches of the same bays in nave and transepts were completely shattered, and had to be replaced by the present ones, the queer-looking capitals of which contrast so oddly with the earlier work. It is instructive, also, to compare the lightness of these fourteenth-century mouldings with the boldness of those, wrought at exactly the same time, of the great inverted arches.

THE TOWER.--Besides its inverted arches and other signs of repair, the tower is mainly noticeable for its Perpendicular fan-tracery vault of fifteenth-century date. This vault hides the lantern with its arcades, and thus destroys one of the elements of distance and mystery which, before the advent of the more prosaic Perpendicular period, had been a characteristic of Gothic architecture. Nothing else but the desire for uniformity can account for this unjustifiable addition; for there can have been no intention of hanging bells in the lantern when there were already two western bell-towers. The lantern, with its cracked masonry, can be seen during the ascent of the tower (p. 47).

The shafts of the eastern tower arches were corbelled off at some height from the ground, in order to allow the stalls of the first ritual choir to be set flat against the wall. This shows that Bishop Reginald, when he rebuilt the church, kept to the old Romanesque arrangement and made his choir under the tower, reserving his three bays of what is now the choir for the presbytery--a very dignified arrangement. The square holes for fixing the wooden screen of this earlier choir can still be traced on the aisle walls in a line with the ninth piers of the nave.

THE SCREEN was built in the fourteenth century; but Salvin altered and spoilt it by bringing forward the middle portion to carry the unsightly organ. Mr Freeman objected very strongly to the choir being shut off from the nave by this screen, and urged the authorities to pull it down and throw the whole church open from end to end. The remedy suggested by Mr St. John Hope, on the other hand, is that a second screen should be erected under the western arch of the tower, against which the nave or rood altar should stand, with seats for the choir on either side. Such a screen as this was certainly used in conventual churches, and would be more in accord with the spirit of medieval architecture, which was content to sacrifice the grandeur of great s.p.a.ce in order to gain the qualities of seclusion and mystery, and inexhaustible variety.

Two things, at least, are certain. The long-established custom of crowding the Sunday congregation into the choir should be abolished, and the organ should be modified or removed. Magnificent Sunday services could be held in the nave, either with a second screen and altar or without a screen at all; but, as the former plan could be tried without any destruction of old work, it should be tried first.

[Ill.u.s.tration: Choir, Looking West.]

As for the organ, the cathedral will always be defaced while it remains as a whole in the midst of the screen. Musical experts could no doubt distribute it so that it would no longer be an offence to the eye, and yet would sound more effectively than at present. Perhaps galleries for the swell, pedal, and great organs might be built above the pier-arches in the western bay of the choir on either side, and the consol, with the choir organ, might remain on the screen. Some fragments of tabernacle work on the triforium level would thus be hidden, but it is unremarkable work, exactly similar to that of the adjoining bays, and, moreover, it was so blocked and patched when the tower was strengthened that it would not be a disadvantage to hide it.

As it is, the organ, unsightly in shape, and garishly painted, blocks up the view of the splendid east window, and makes the nave a mere vestibule to the choir. The inverted arches are generally thought to block up the church, but were the organ removed it would be found that they do not.

THE ORGAN is a modern instrument by Willis. Dean Creyghton, a musician whose services are still sung in the cathedral, built the old organ in 1664, and S. Green of London repaired it in 1786, but only one diapason remains of the old stops. The case also disappeared, the present one being among the ugliest in England. There are three manuals; thirteen speaking stops on the great organ, ten on the swell, nine on the choir, and eight on the pedal organ. The swell organ is rather small, but has been recently improved; the pedal organ is the best feature of the instrument. The wind is supplied by hydraulic machinery. There are four pneumatic pistons, six couplers, and seven composition pedals. The organist now sits on the south side, so that he can see his choristers, whether they sing in the choir or the nave.

THE CHOIR.--The western part of the choir should be particularly noticed. For, while the three eastern bays which form the presbytery are Late Decorated, the three western bays of the choir are twelfth-century work of Bishop Reginald's time, being, in fact, the oldest part of the interior. That they were finished before Reginald's other work in the transepts and nave is not only likely from the general custom of medieval architects, but is made probable by the carving of the capitals, which is less advanced than that in any other part of the church.