Bell's Cathedrals: The Cathedral Church of Wells Part 9

Toothless monster, with hands on knees.

_South side, seventh Pier._--Birds with human heads, one wearing a mitre.

_Eighth Pier._--Peasant, with club, seized by a lion: Bird with curious foliated tail: (Within St. Edmund's chapel) Owl: Peasant with mallet (?).

The lofty clerestory windows are divided into two lights by Perpendicular tracery of late fourteenth or early fifteenth century date, which extends to the level of the pa.s.sage, the lower part being filled with masonry. The windows were not, however, altered in shape when the tracery was inserted. In the tracery are very slight traces of the old gla.s.s.

The triforium pa.s.sage is capacious enough to form a large tunnel, which gives a good effect to its lancet openings. The small iron rings, which are prominent enough to be rather tiresome to the eye, were recently inserted for the use of those engaged in cleaning the walls. Within the pa.s.sage additional arches may be seen, inserted to strengthen the arcade at the commencement of the later work and in other places.

The groined ceiling has carved bosses at the intersection of its ribs.

The red pattern is a restoration of the old design which was found on the removal of the whitewash, but the restorer seems to have missed the right tints.

There is a music-gallery in the clerestory of the sixth bay on the south side; it is composed of three panels with quatrefoils containing plain shields, and is finished with an embattled cornice. Another gallery, perhaps for an organ, must have been supported by the two noticeable brackets on the spandrels of the fourth bay of the same side. One may conjecture that it was of wood, and was reached from the triforium. The brackets are carved in the shape of very large heads of a bishop and a king, both supported by smaller heads, and of an extremely benevolent expression. The hair of the king has that curious formal twist with which we are familiar on playing-cards. As some of the small heads in the chapter-house have the same style of hair, these two brackets probably belong to the end of the thirteenth century.

[Ill.u.s.tration: A Capital--toothache.]

Sir John Harrington in the _Nugae Antiquae_ (ii. 148) says of these two heads that "the old men of Wells had a tradition, that, when there should be such a king and such a bishop, then the church should be in danger of ruin." At the time of the Reformation it was noticed that the head of the king bore a certain resemblance to Henry VIII., and that the king held in his hands a child falling, who, it was said, could be none other than Edward VI. The peculiarity of the bishop's figure is that he has women and children about him. "This fruitful bishop, they affirmed, was Dr Barlow (p. 156), the first married bishop of Wells, and perhaps of England. This talk being rife in Wells in Queen Mary's time, made him rather affect Chichester at his return than Wells, where not only the things that were ruined but those that remained, served for records and remembrances of his sacrilege."

The west end of the nave is covered in its lower portion by an arcade of five arches with Purbeck shafts, the middle one being wider than the rest, to contain the two smaller arches of the doorway. The three lancet windows were re-modelled in Perpendicular times by the insertion of the triple shafts, which have the cas.e.m.e.nt mouldings and angular caps of the period; but the dog-tooth moulding of the arches, the medallions in the spandrels, and the little corbel heads of the Early English work remain. A Perpendicular parapet along the sill of the window marks the gallery which, pierced through the splays, carries the triforium pa.s.sage round the end of the nave. A string course runs along the bottom of this gallery and forms the bases of the triple shafts; the bases are supported on corbels which die off upon the sloping wall below. This wall conceals a curious gallery, the purpose of which is not known; it is entered by steps from the triforium, and lighted by round openings which can be seen in the central quatrefoils of the west front; when these quatrefoils were filled with sculpture it would have been difficult to detect the existence of the dark gallery.

[Ill.u.s.tration: Specimens Of Capitals.]

Two small transepts at the west end of the nave are formed by the western towers, which project in this church beyond the aisles. These transepts are connected with the aisles by an arch, the lower part of which is closed by wooden doors. That on the north was used as a chapel of the Holy Cross, and of late years as the consistory court: it is now the choir-boys' vestry; that on the south served as a porch in the days when the usual entrance to the church was by the Early English doorway which leads into it from the cloister; it is now appropriated to the bell-ringers. They are both of strikingly different style to the rest of the interior, as they were built in pure Early English style, at the same time as the west front, of which the towers form, of course, an integral part. Their shafts are of blue lias, the capitals richly carved; their groined vaults have a circular opening to admit to the upper storey of the tower, which has its corbels ornamented with foliage, although they cannot be seen. Over the doorway in the south chapel an arcade is curiously fitted into the available s.p.a.ce beneath the vault.

[Ill.u.s.tration: A Capital.]

THE AISLES OF THE NAVE (see p. 19) are of the same character as the nave itself, the later part having been resumed at about the same time, and at the same place. Among the capitals the following in the north aisle may be specially mentioned:--

_Fifth Shaft._--Peasants carrying sheep, etc., a dog in the midst.

_Ninth Shaft._--Man in rough coat, which falls before and behind rather like a chasuble, carrying foliage on his back. A very good figure.

_Tenth Shaft._--(By arch of vestry) Man carrying what seems to be a hod of mortar and a mason's mallet.

_Opposite side of arch_, at end of the string course: Peasant in hood carrying a staff. On the caps opposite are two heads with tongues on their teeth (see p. 92).

The windows, both of these aisles and those of the transepts, were filled with Perpendicular tracery at about the same time as the clerestory windows. The date of this addition must have been before Bishop's Bubwith's time, for the library which that prelate built over the cloister blocks the south window of the west aisle of the south transept. A stone bench runs along all the aisles.

[Ill.u.s.tration: Specimens Of Capitals.]

GLa.s.s OF THE NAVE, TRANSEPTS, AND AISLES.--Most of the gla.s.s of the west window was collected abroad, during his exile, by Bishop Creyghton, while he was yet dean (1660-70). The main part of it is devoted to the life and death of St. John Baptist, and is of excellent early sixteenth-century work, for under the fantastic figure of the executioner is the inscription _Sancti Johannis Decollatio_ 1507. The two other lights containing the large figures of King Ina and Bishop Ralph are, however, of later date, and to judge by their costume they should belong to Creyghton's own time; moreover, on the southern one are Creyghton's arms. Apparently the compositions at the extreme top and bottom of the middle light are much later; a little handbook on the cathedral by Mr John Davies, the verger in 1814, states that the then dean and chapter re-arranged and restored the window in 1813; these additions must belong to that time, and according to him they were brought from Rouen. Their ugly reds and blues certainly do not blend with the earlier gla.s.s, as do the figures of Ina and Ralph, but considerably mar the mellow and delicate effect of the whole. There are only a few slight fragments of old gla.s.s in the other windows.

There are also two modern windows at the west end of the aisles.

[Ill.u.s.tration: View Across Nave, Shewing Sugar's And Bubwith's Chapels.]

BISHOP BUBWITH'S CHANTRY CHAPEL.--Two chantry chapels stand opposite each other under the ninth pier-arches of the nave. They are alike in general characteristics, though there is an interval of sixty years between them. The chantry of Bishop Bubwith (_ob._ 1424), who built the north-west tower, is formed by a hexagonal screen between the piers, the three eastern sides being filled with a reredos that gives the chapel a square appearance within. The screen is composed of the most light and elaborate tracery, its corners surmounted by a crest; it is open above, but has a rather coa.r.s.ely-carved canopy over where the altar stood. Doorways, whose jambs are too delicately carved to have ever carried doors, give free access and a clear view of the interior from either side. Altogether it was an ideal place for votive Celebrations, when but few worshippers were present. The niches over the altar have been hacked level with the wall, and the little pillar piscina is also defaced. The triple shafts of the pier at the western end are corbelled off, the corbel being carved with Bubwith's arms (argent, a fess engrailed sable between twelve holly leaves vert, 4, 4, 4, and 4, arranged in quadrangles) impaled with those of the see.

The altar here was formerly dedicated to St. Saviour.

SUGAR'S CHANTRY.--In the ninth bay of the nave, on the south side, is the chantry of Treasurer Hugh Sugar. Before its erection, the altar of St. Edmund of Canterbury, who was canonised in 1246, stood here; and perhaps, when it comes to be used again, it will be maintained in honour of that most attractive scholar saint. Speaking of these chantries, which were endowed in such profusion in the later Middle Ages, Canon Church (_Somerset Proceedings_, 1888, ii. 103) says: "The belief in the communion of saints, living and dead, and the desire for continued remembrance after death, and for the intercessions of the living, led practically to the endowment of chantries and obits, whereby not only was the church enriched, and the services of many priests provided for, but also attachment to the church of their fathers was greatly strengthened, as being the common home of the dead and the living." That attachment, one would think, is hardly likely to be revived by this beautiful chapel and its fellow being put to base uses. At present it serves as a kind of booking-office, where visitors deposit their sixpences and sign their names, while the other is stored with ha.s.socks, and becomes the resting-place of any brooms, pails, and dustpans that are in use.

St. Edmund's (or Sugar's) chapel is hexagonal, like that of Bishop Bubwith, but its tracery, frieze, and reredos are more elaborate. The canopy over the altar is vaulted with lace-like fan-tracery. Five niches, now empty of their figures, form the reredos; their sumptuous pedestals and canopies are in excellent condition. Attached to the frieze without, on either side, are six demi-angels, with delicate wings and extremely curly hair, bearing shields, with representations of the Five Wounds, the Lily of the Annunciation, between angels'

wings; the arms of the see (a plain saltire surmounting a pastoral staff in pale between two keys addorsed, the bows interlaced on the dexter, and a sword erect on the sinister); the arms of Glas...o...b..ry Abbey (a cross flory, in dexter chief a demi-virgin with child proper), the arms of the vicars (a saltire), the initials H.S., and Sugar's arms, originally a "canting coat," three sugar-loaves, and in chief a doctor's cap. Sugar's initials and arms also occur under the canopy. It is the fashion to consider this chapel inferior to its fellow, merely because it is later in date, but a little impartial study will show that it is much the better of the two. The tracery, though less uncommon, is more graceful, that over the doorway especially being far better contrived; the cornice is better proportioned, and is not spoilt by the untidy trail of foliage which runs round that of Bubwith's chapel; the canopy, too, fits in with the curve of the tracery, while that of the others projects clumsily across it.

THE PULPIT.--From the west end of this chapel steps lead into the stone pulpit which adjoins it. This pulpit was built in Henry VIII.'s reign, by Bishop Knight, who died in 1547. It is a low, but well-proportioned, structure, resting on a bas.e.m.e.nt, and fronted with panelled pilasters; it is surmounted by an entablature. In front are the bishop's curious arms, which occur more distinctly in the gla.s.s of the north choir aisle--Per fess, in chief a demi-eagle with two heads and sans wings issuing from a demi-rose conjoined to a demi-sun in splendour in base. On the frieze is the inscription--_preache. thov.

the. worde. be. fervent. in. season. and. ovt. of. season. reprove.

rebvke. exhorte. w^t. all. longe. svfferyng. &. doctryne. 2. Tim[=o]._ A board along the top, covered with red baize, impairs its beauty at present.

[Ill.u.s.tration: Sugar's Chapel--the Lectern And Pulpit.]

THE LECTERN, which stands near, is composed of a ma.s.sive double desk, surmounted by ornamental work, containing the arms of the see. It rests upon a ball and turned stem and base, and is entirely of bra.s.s.

Bishop Creyghton, who had it made when he was yet dean, inscribed it on both desks with his arms and this legend:--_Dr. Rob^{t.} Creyghton upon his returne from fifteen years Exile, w^{th} o^r Soveraigne Lord Kinge Charles y^e 2^{d.} made Deane of wells, in y^e yeare 1660, gave this Brazen Deske, w^{th} G.o.d's holy worde thereon to the saide Cathedrall Church._ The Bible referred to still rests upon it, bearing the same date; it is bound up with the Prayer Book, and contains initial letters and a frontispiece, but it stops at the book of Job.

Opposite the lectern are two sixteenth-century panelled wooden stalls, with round finials, all bearing the same device on both sides--a Tudor rose with _I.H.S._ in the centre, and the letters _m.d.l.i.i._ (1552) on the five petals. These excellent examples of simple and effective woodwork were found amongst some lumber in 1846, and now form part of the temporary choir stalls that are used for the nave services.

On the south side of Bubwith's chapel, and partly covered by it, is a slab, 10 ft. long, covering the grave of Bishop Haselshaw, with the inscription, _Walterus de Haselshaw Ep. 1308_. On the west of Sugar's chapel, another slab bears the inscription, _Radulphus Erghum Ep.

1401_. In a slab near the entrance to the choir there is the matrix for a bra.s.s of a lady, with mitred head-dress of the period, _c._ 1460, beneath a canopy. The style suggests that it may belong to Lady Lisle, whose tomb possibly stood here.

THE TRANSEPTS are both of the same architectural character, and were evidently built before the nave. They have less ornament, the medallions and the carved tympana of the nave being alike absent, although there are the same small heads at the angles of the pier arches. The triforium, too, is different; each bay consists of two large openings, devoid of ornament, instead of three narrower ones, and is separated from the next bay by the vaulting-shaft which reaches down to the string-course of the pier arch (see p. 77). Some of the carved work, however, of the capitals and corbels is of a later date than that of the nave, which may be due to the capitals having been left uncut till after the nave was finished, or to damage done by the fall of the _tholus_ in 1248. Apparently the corbels of the vaulting shafts are later than those of the nave, they are certainly more elaborate. Of the capitals those on the west side of both transepts are of one style and abound in representations of the toothache. The capitals on the east side are different from those on the west of the third pier on this side of the south transept, and that is of a style that suggests the Decorated period. Those on the west are certainly the best, and some of the following are the finest in the church, and perhaps in England:--

NORTH TRANSEPT, _first Pier._--(Inside the Priest Vicars' vestry) A prophet (?) with scroll on which there is no name: Man carrying goose.

(Outside) Head with tongue on teeth.

_Second Pier._--Aaron, writing his name on a scroll: Moses with the tables of stone.

_Third Pier._--Woman with a bandage across her face.

Above this cap the corbel consists of a seated figure, naked, with distorted mouth and an agonised expression.

[Ill.u.s.tration: Section of North Transept, and Elevation of South Transept.]

SOUTH TRANSEPT, _second Pier_ (from the south end).--Two men are stealing grapes, one holds the basket full, the other plucks grapes, holding a knife in his other hand: The farmers in pursuit, one carries a spade and the other a pitchfork: The man with the fork, a vigorous figure, catches one thief: The man with the spade hits the other (whose face is most woe-begone) on the head (ill.u.s.t. p. 79).

_Third Pier._--Woman pulling thorn out of her foot: Man with one eye, finger in his mouth: Baboon head: Cobbler; this figure shows very plainly the method of shoemaking at this time; the cobbler, in his ap.r.o.n, sits with the shoe on one knee, his strap pa.s.ses over the knee and round the other foot, his foot is turned over so as to present the side and not the sole to the strap: Woman's head with long hair.

_Fourth Pier._--Head perfectly hairless: "Elias P." (the prophet) with hand on cheek as if he too has the toothache: Head in hood, with tongue on the one remaining tooth.

It may be well here to say a word about the general cla.s.sification of these earlier capitals, since their date is a matter of great architectural interest. I would venture to divide them into five groups--

1. Those of the three western bays of the choir: simple carved foliage of distinctly Norman character, as in the north porch: these belong to the time of Reginald (1174-1191).

2. The four eastern bays of the nave and its aisles. Some of these may belong to the first period, though later than the choir: they are more advanced in the foliage, and teem with grotesque birds and beasts.

Some, however, of the caps in these bays are of quite different character (p. 80); they contain _genre_ subjects of perfectly naturalistic treatment, very different to the St. Edmund of the north porch capital, but exactly similar to the figure caps of the transepts. They must therefore have been carved later than the death of Saint William Bytton.

3. The western bays of the nave. These, which are of much less interest, belong to the period of Jocelin's reconstruction (1220-1242). They are characteristic examples of rich stiff-leaf foliage, freer than that of the earlier work, but much less varied and without either human figures or grotesques.

4. On the eastern range of transept piers. These would seem also to come within Jocelin's period, with the exception of the third pier of the south transept.

5. On the western range of transept piers (p. 89), with which must be cla.s.sed those later caps already referred to in the nave under group 2. Their date is settled by the fact that they abound in unmistakable representations of the toothache. Now Saint William Bytton died in 1274, and his tomb became immediately famous for cures of this malady.

In 1286 the chapter decided to repair the old work, no doubt because the offerings at his tomb had brought money to the church; this part of the church had been damaged ever since the fall of the _tholus_ in 1248. The caps must therefore have been carved during the episcopate of Burnell (1275-1292). Mr Irvine, indeed, suggests that the figure of the woman taking a thorn ("bur") from her foot may contain a reference to Bishop Burnell. The undercroft pa.s.sage, with its curious corbels and bosses, was probably also a part of the old work then completed, as it contains one "toothache" head. Although the introduction of such finished figure-subjects into the capitals suggests this lateness of date, they are still completely Early English in style, and a great gulf is fixed between them and the Decorated caps of the chapter-house begun by Burnell's successor, William de Marchia (1293-1302).