Bell's Cathedrals: The Cathedral Church of Wells Part 7

[Ill.u.s.tration: The Central Tower From The South-east.]

THE CENTRAL TOWER is Early English to the level of the roof. The two upper stages are Decorated, but there is a curious inter-mixture of styles in them, owing to the repairs that were made after the settlements of 1321. The chapter seemed determined to allow no possibility of another accident, for besides the inverted arches and b.u.t.tresses of the interior, the original high narrow windows of the upper part of the tower have been fortified by later insertions, by way of bonding and stiffening the structure, which had been so endangered by the sinking of its piers below. There are, however, no signs of any rents in the Decorated part. The tower has square angular turrets, and is divided vertically into three main compartments, each division being marked by a small pinnacle, and the turrets by large compound pinnacles. It is an interesting tower to ascend, the rents in the wall being plainly discernible; and from the summit there is a fine view of Wells and of the valley in which the city stands.

The NORTH PORCH is perhaps the finest piece of architecture at Wells, though it generally receives far less attention than it deserves. It is certainly the oldest part of the church, and must have been the first work which Bishop Reginald undertook, about 1185; in style it retains much of the Norman influence. The mouldings of the n.o.ble entrance arch are numerous and bold, and twice the Norman zig-zag occurs, though enriched with leaves in a manner that suggests the coming Gothic. A weather moulding, exquisitely carved with deeply undercut foliage, covers the arch. Its capitals on the east side contain figures among their leaves representing the martyrdom of St.

Edmund the King: the first three of the caps have the saint in the midst, crowned, and transfixed with a number of conventionally-arranged arrows, and his enemies, two on either side, drawing their bows; the fourth cap shows an executioner cutting off the saint's head; in the fifth the head is found by the wolf; the sixth has been partly cut away, but the body of the wolf and the heads of two figures remain.

In the spandrels above are two square panels containing a c.o.c.katrice, and another strange beast. The gable is filled with an arcade, the central member of which is corbelled off to make room underneath for three little lancet windows which light the parvise chamber within.

The b.u.t.tresses of the porch have slender shafts at the angles, which are finished off with foliage of a remarkably free and graceful kind; it should be noticed as an example of those subtle touches that are so abundant in this porch. On the b.u.t.tresses are pinnacles with an arcade, at the top of which little openings cast a shadow that gives a lightness to the whole effect. A smaller pinnacle is at the apex of the gable, and underneath it an ornament of twisted foliage.

Nothing could well surpa.s.s 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.

[Ill.u.s.tration: The North Porch.]

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) ill.u.s.trates 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 s.p.a.ce between it and the two arches to be occupied by foliage.

The general character of the WALLS is distinctly Transitional; the b.u.t.tresses are almost as low, broad, shallow and ma.s.sive 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-pa.s.sengers; a further s.p.a.ce 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 b.u.t.tress which was wanted here, and so here was put. On the south of the b.u.t.tress 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 subst.i.tute 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.

[Ill.u.s.tration: The Bishop's Eye.]

Pa.s.sing under the Chain Bridge a good view of the CHAPTER-HOUSE is obtained. It is a ma.s.sive, b.u.t.tressed octagon, the lower stage marked by the small broad barred windows of the undercroft, the next by the rather squat traceried windows of the house itself, while under the cornice is an open arcade. The gargoyles are interesting. A parapet, different in design and inferior to that of the church itself, finishes the building. From this part of the road, there is a good view of the cathedral in one of its most characteristic aspects;--the Lady Chapel, the low buildings of the north-eastern transept and retro-choir, the chapter-house in the foreground, all lying on ground below the level of the road, and over the Chain Bridge a glimpse of the north transept gable and the north-west tower.

A queer corner, hidden by a thick tree, is formed between the chapter-house and the choir aisle; in spite of the obscure position, a fine gargoyle of the head and shoulders of a man, carved in unusually colossal proportions, is placed here at a low alt.i.tude, to carry off the water that must gather at the junction of aisle with undercroft pa.s.sage. Through the walls that rise high on either side a capital glimpse of the tower can be had.

From the same road, opposite the prebendal house (now allotted to the Princ.i.p.al of the Theological College), which has a picturesque Perpendicular doorway with a window above, the grouping of the Lady Chapel with the rest of the church can be well seen.

The rich and light appearance of the EAST END is due not only to the charm of its tracery, which contrasts so well with the network of the Lady Chapel windows, and to the parapet which rises slightly in the centre, but also to the three lights which pierce the gable; of these the upper is diamond-shaped, and thus the masonry that is left has the appearance of a stout Y cross.

FROM THE SOUTH-EAST.--One of the most interesting views of the exterior is from the lovely gra.s.s-plot on the east of the cloisters, where once stood the cloister Lady Chapel, and where the vicars were formerly buried. It is being again used as a cemetery, which is unfortunate, since there are few things more irreligiously dismal than a modern burial-ground, and already a cl.u.s.ter of marble and granite monuments has arisen to spoil one of the most peaceful and unspoilt places in Wells. If monuments there must be (and why need we so advertise the dead?), let them at least be quiet and humble and beautiful: those ostentatious erections of hard and polished stone ruin the grey walls before which they stand; their frigid materials are too obtrusive for Christian modesty, too enduring for human memory. May we not yet hope that this spot will be spared the fate of the cloister garth?

From here the Lady Chapel is well seen as quite a separate building, joined to the rest of the church only in its lower part, and with its own parapet round all its eight sides; its form harmonises most charmingly with the square presbytery behind it, and with the lofty chapter-house, like itself octagonal. A further beauty is added by the solitary flying b.u.t.tress which stands out at the south-eastern corner; though certain rents in the southern wall show that the b.u.t.tress was built for reasons of the gravest utility. On the south side of the chapel there is a little door, covered by what looks at first like a kind of porch, but it is really the pa.s.sage of a small vestry (p. 132) which was built up against the wall; the roof of the vestry was a little higher than that of the pa.s.sage, and must have leant against the wall just under the window, as is proved by its gargoyle near the pa.s.sage door. This vestry was fatuously destroyed in the early part of this century by an official who did not even know that it was medieval work till the soundness of the masonry proved almost too much for his workmen.

The junction between the earlier and the later presbytery is well seen from here--too well seen, in fact, for it is awkwardly managed. The later choir windows, with their crocketed ogee hood-moulds, are a good feature, and so are the flying b.u.t.tresses; but the high-pitched roof of the earlier aisle is discontinued at the break in order to give room for these windows and b.u.t.tresses; and the effect of this sudden termination of an aisle roof half-way along a building is not pleasant. In the earlier part, too, the later windows have been clumsily inserted some distance below the Early English dripstone, as if only the internal effect had been considered. The same may also be said of the window in the south transept gable: the gable, by the way, is a much plainer affair than that of the north transept.

Here stood the two CLOISTER LADY CHAPELS, but unfortunately their sites were not marked on the gra.s.s after the excavations were finished three years ago. Thus nothing can be seen from here of the earlier chapel, and, of the later, only the doorway and the Perpendicular panelling against the cloister which marks its western end, and the commencement of the walls. A small quatrefoiled hagioscope may be noticed in the library above the cloister; it, no doubt, commanded a view of the high altar of the chapel.

The earlier _Capella B.M.V. juxta claustrum_ is often referred to in the chapter doc.u.ments, and was a favourite centre of devotion. It became a kind of family chapel for the numerous clan of Byttons, after the first bishop of that name was buried there; it was also sometimes used as a chapter-house. The Early English doorway which led to it can still be seen in the cloister wall, on the right of the present doorway; it is partly covered by an I.H.S. of later date, made with the instruments of the Pa.s.sion. The excavations of 1894, when the foundations were laid bare under Mr Buckle's direction, showed that this chapel consisted originally of a plain oblong building, earlier even than the north porch in date (_i.e._ before 1185), which was afterwards (c. 1275) enlarged by the addition of an aisle on either side. The excavations showed that arches were used at this time to replace the western part of the older walls, and thus to throw the ancient chapel open to its new aisles. The original chapel, then, if it was not actually part of Bishop Gisa's buildings, spared when John de Villula destroyed Gisa's cloister, seems to have been built not long after Gisa's time, and at least on the site of Gisa's chapel.

This would account for its orientation, which was in a more northerly direction than that of the cathedral, and probably was the same as that of the pre-Norman church. Excellent plans of the foundations both of this and the later chapel are to be found in the _Somerset Proceedings_ for 1894, where the whole matter is discussed in detail by Canon Church and Mr Edmund Buckle.

The later chapel on this site was built by _Bishop Stillington_ (1466-91): it followed the orientation of the cathedral, and was of much larger size than the former building, being about 107 ft. in length. It consisted of a nave, transepts and choir, with fan-tracery vault, of which some fragments have been lately fixed in the cloister wall. Most profusely ornamented and panelled within, as can be seen by the west end against the cloister wall, it is considered to have been the _chef d'oeuvre_ of the Somerset Perpendicular, surpa.s.sing even Sherborne and St. Mary, Redcliffe.

But its glory was not to be for long. Stillington was buried in this "goodly Lady Chapell in the Cloysters," says G.o.dwin, "but rested not long there; for it is reported that divers olde men, who in their youth had not onely scene the celebration of his funeral, but also the building of his tombe, chapell, and all did also see tombe and chapell destroyed, and the bones of the Bishop that built them turned out of the lead in which they were interred." This was in 1552, when Bishop Barlow and the chapter made a grant to that barbarous scoundrel, Sir John Gates, of "the chappie, sett, lyinge and beynge by the cloyster on the south syde of the said Cathedral Church of Wells, commonly called the Ladye Chapple, with all the stones and stonework, ledde, gla.s.se, tymbre, and iron ... the soyle that the sayd chappie standeth upon only excepted." The condition was that the rubble should be all cleared away, and the ground made "fayre and playn," within four years; but before this period had elapsed, Sir John's head had gone the way of the Lady Chapel.

[Ill.u.s.tration: Doorway, South-east Of Cloister.]

The CLOISTER in its more prominent features is Perpendicular, having been rebuilt in the fifteenth century. Nevertheless the outer walls are of Jocelin's date, together with the doorway leading into the palace (see ill.u.s.tration on this page); and the lower part of the east cloister wall, including the two small doorways therein, is said by Mr Buckle to be undoubtedly earlier than Jocelin's time, and contemporary with the north porch, _c._ 1185. Thus we have still the original plan at least of the thirteenth-century cloisters. This plan is characteristic of a non-monastic church, where the cloister is not the centre of a common life, but merely an ornamental convenience which might or might not be added, and when added might be of any fashion that was desired. There is no walk on the north side, no refectory or dormitory, and the plan is not square, as would be the case with a conventual building, but an irregular parallelogram, while the eastern walk is built up against the south end of the transept instead of against its western wall.

[Ill.u.s.tration: East Walk Of Cloister.]

The inner part of Jocelin's cloister was probably a wooden penthouse like that of Glas...o...b..ry. At all events, it has entirely disappeared.

The eastern alley was built by the executors of Bishop Bubwith, who died in 1424. That on the west, with its rooms, was built by Beckington (1443-65) and his executors. That on the south was completed soon after by Thomas Henry, the treasurer. Beckington, by the way, showed a reckless disregard of the earlier work by carrying his cloister right up against the south-west tower, and completely concealing the beautiful arcading of that part. Beckington's executors, in the time of Bishop Stillington, also built the singing school over the western cloister. Bubwith's executors built the northern part of the library over the eastern cloister; but the southern part was added at a later date. The square windows were inserted later still by the famous Dr Busby, about 1670. The fourteen bays of lierned vaulting over the east alley, and one on the south, were executed in 1457-8 by John Turpyn Lathamo, at the cost, we find from the fabric roll, of d. per foot, or 6, 11s. 3d. for the whole, though an additional ten shillings was presented to him for his diligence.

Each alley consists of thirteen bays in the Perpendicular style; the windows are now all unglazed, of six lights, with transoms and tracery; between the windows are b.u.t.tresses to support the rooms above, which extend, however, only over the east and west alleys.

Turpyn's vaulting is of a curiously decadent character, which reminds one of the Jacobean Gothic of Oxford and Cambridge. The ribs spread at the start to enclose a trefoiled panel, and they curve into one another when they meet at the bosses. In the rest of the south walk, however, the bosses are square, and receive the ribs in the usual manner; in the west walk they are still square, and more varied in their ornament, bearing Beckington's initials, arms, and rebus, arranged in several different ways. Beckington's arms, which occur also on the gateways, are argent on a fess azure, between in chief three bucks' heads caboshed gules, and in base as many pheons sable, a bishop's mitre or. His rebus is a fire _beacon_ lighted, a _tun_ holding the fire.

Two small stone pent-houses, of which the purpose is uncertain, are built up against the windows of the fourth and sixth bays of the eastern alley. The vault of this alley was built without reference to the fine Early English doorway into the transept, one side of which it hides, the weather moulding being cut away. This doorway is mentioned in an Act of the Chapter of 1297, but it was probably made by Jocelin before he built the cloister wall, which comes uncomfortably near to the door, as if it were an afterthought. The companion doorway from the western alley, which was the usual entrance to the cathedral in the thirteenth century, has been similarly defaced by the vault. Three annual fairs used to be held in the cemetery, till Bishop Reginald set apart for the purpose the new ground which is still the market-place.

The traditional entrance to the church by this south-western porch may have been due to the fact that the citizens gathered for secular business on the south-western side. At the south end of the eastern alley is the Early English bishop's doorway, which no doubt led straight to the palace in the days when there was no moat to obstruct this route. The door was originally hung to open inwards; a beautiful moulding was destroyed to hang it in its present position. There is a bracket of later date over this doorway.

The cloister-garth, which is hideous with modern tombstones, is traditionally called the _Palm Churchyard_, no doubt because of the yew which grows there. Yew trees, so common in churchyards, are still commonly called palms, because their branches were used for the procession on Palm Sunday. This churchyard was anciently the burial-place of the canons, the ground east of the cloister (now used again as a cemetery) being reserved for the vicars, while the s.p.a.ce before the west front was the lay burial-ground.

An admirably contrived _dipping-place_ was still standing in the Palm churchyard, near the second bay of the east cloister, within the memory of living persons, but now no trace of it remains above ground.

A water-course, held within a channel of carefully-worked masonry, runs under the eastern cloister from St. Andrew's well, and pa.s.ses on to fall ultimately into the old mill-stream. The oblong building over it that formed the dipping-place was entered at the south end, and a few steps (with aumbries for the linen at either side) led to the washing-place at the little stream. An arch covered this spot, where the water ran through two low arches on either side and was bridged in the midst by a pavement. The place was used for washing linen, and the water required for the cathedral was drawn here before the modern supply pipes were introduced.

THE LIBRARY is over the east walk of the cloister, and is entered from the south transept. It is a charming old-world place, full of ancient volumes, many of which are of great interest. A pa.s.sage runs from end to end, along the east side of the long room, the other side being mainly occupied by the old desks, benches and bookcases, which project at right angles to the wall, many of the book-chains still hanging on them. There are said to be over three thousand volumes, including the bulk of Bishop Ken's library, a collection of early editions of his works, and his copy of Bishop Andrewe's "Devotions." There are also several books (including one Aldine "Aristotle") with MS. notes and autograph of Erasmus. The collection of old charters, which have recently been made to throw so much light on the history of the cathedral, is also preserved here. Some of the most interesting charters are displayed in gla.s.s cases; one of them, Edgar's grant to Ealhstane, is specially venerable for the signature of St.

Dunstan--_Ego Dunitan Ep._--which occurs third among the witnesses to the doc.u.ment.

Two precious relics of medieval times are also kept here. One, which is generally called a lantern, was till lately hung in the undercroft.

There is no trace of its ever having been used as a lantern, and it is probably the wooden _canopy of the pyx_ which hung before the high altar. The Blessed Sacrament was in medieval times reserved, not in a tabernacle, but in a hanging pyx of precious metal; and this graceful wooden canopy probably contained the pyx. There are only two other possible examples of the pyx-canopy (at Milton Abbas and Tewkesbury), and both are of later date than this, which is thirteenth century.

Woodwork of this period is so rare that, even were it not a pyx-canopy, it would be of extreme interest. It is cylindrical in form, divided into three storeys of open tracery, and crowned with a cresting of three-lobed leaves. Its height is 3 ft. 11 in., its internal diameter 14 inches. It is made of oak, certain parts of a later restoration being of deal. Mr St. John Hope (_Proc. of Soc. of Antiquaries_, 1897), thus enumerates the traces of colour: "The whole of the body and its upper and lower rings have been painted red, with gold flowers or other devices upon the transverse bands. The slender dividing shafts seem to have been coloured blue. The leaves of the cresting have apparently been painted white, but the circular boss in the middle of each leaf was entirely red." Two pairs of iron rods, with a ring and swivel hook, serve to suspend it in a steady position.

The other relic is the thirteenth-century _crozier_ which was recently found in a tomb in the cathedral, and probably belongs to the time of Savaric, though there is no evidence, beyond its style, for describing it as his crozier. It was dug up in a stone coffin in the western burial-ground of the cathedral in the time of Dean Lukin (1799-1812).

It is thus described in the _Catalogue_ of the Burlington Fine Arts Club exhibition of enamels, June 1897: "A complete crozier, [the staff] wooden (modern), with enamelled head one foot in length.

Limoges, thirteenth century. The volute is a serpent with blue scales and serrated crest, enclosing a winged figure of St. Michael and a dragon studded with turquoises. The knop is encased in pierced repousse open work formed of dragons, and the socket ornamented with thirteenth-century foliated scrolls in these slightly spiral bands, separated by jewelled dragons whose tails form three rings under the knop." St. Michael is represented in the act of attacking the dragon with his spear.

A little MUSEUM has been formed in one of the rooms over the western cloister. It contains a collection of seals, Mr Buckle's plans of the cloisters and the Cloister Lady Chapel excavations, and many other objects of interest.

The princ.i.p.al buildings in connection with the cathedral are the vicars' close, the bishop's palace, the deanery, the archdeaconry, and the canon's houses. There are also Beckington's fine gates,--the Chain Gate by the vicars' close, Brown's, or the Dean's Gate, near the deanery, the Penniless Porch, leading from the Market Place to the cathedral; and the Bishop's Eye, leading from the Market Place to the palace.

[Ill.u.s.tration: The Chain Gate, Entrance To Close, 1824]

Most deservedly famous is the unrivalled VICARS' CLOSE, which contains the houses built by Bishop Ralph and his successors for the vicars-choral. Pa.s.sing through the gate, one sees the two long ranges of quiet and lovely houses, fronted by their little gardens, with a roadway betwixt them. Nothing can surpa.s.s this arrangement for its peaceful seclusion and constant charm, not even the square quadrangles and cloisters of Oxford, and yet, so convenient is it, that no better model could be chosen should there ever come any general return to the old collegiate life; for a settlement, for a model factory, one can imagine nothing better even now. There are forty-two houses, twenty-one on either side: each consisted originally of two rooms, one above the other, with a staircase; for the vicars were single men. Now that the vicars-choral are married, many of them live in the town, but all the theological students are lodged here, and there are always a few rooms to be let to those visitors who are wise enough to stay in this charming place.

The tall chimneys rise up through the eaves of the little houses; octagonal at the top, they are perforated like a lantern, with two openings on each side. On them are shields bearing the arms of the see, of Bishop Beckington and his executors, Swan, Sugar, and Pope, sugar-loaves and swans abounding in the decoration.

At the farther end of the close is the tiny chapel (finished by Bubwith, and finally consecrated in 1489, after Beckington had added the wooden ceiling and the chamber above), where compline is still said by the theological students. It is one of the most beautiful things in Wells--a jewel, like so much of its period--and it has been well decorated in sgraffitto and colour by Mr Heywood Sumner. An interesting feature of its exterior is that some of the old Early English carving was worked in with the masonry of the wall, by way of decoration, and very effective it is. A pa.s.sage at the side leads to the Liberty, where are some of the prebendal houses.

Over the entrance, and leading into the bridge of the Chain Gate, are the hall and its offices, which are approached by a fine staircase. In the hall is a painting of much interest, which represents Bishop Ralph seated on his throne, the vicars kneeling before him; the pet.i.tion which he holds runs--_Per vicos positi villae, Pater alme rogamus, Ut simul uniti, te, Dante domos maneamus_; and the answer, which has the episcopal seal, is--_Vestra petunt merita, Quod sint concessu pet.i.ta: Ut maneatis ita, Loca fecimus hic stabilita._ On the right are seventeen figures with ruffles, evidently added in Elizabethan times; corresponding inscription has also been added--_Quas primus struxit_, etc.

There is also a pulpit over the fireplace, which is large, with good mouldings and an inscription, _In vestris prec[=i] habeat^s comedat[=u] do[=m] Ricard[=u] Pomroy quem salvet Ihs. Amen_. On the hearth are a pair of fine fire-dogs.