The Cathedral is usually entered from the north-west through the beautiful parvise porch of Bishop Booth. The lower stage of this porch is formed by three arches with octagonal turrets at their outer angles. These turrets are each capped by a lantern. The second stage has three fine Perpendicular windows. The doorway, which actually opens into the church, belongs to a smaller porch within this outer one. The inner porch is of the Decorated period. There is some particularly good iron-work on the doors, made by Messrs Potter from designs by Mr. Cottingham, junior.
Hereford has a smaller area than either of the other two sister cathedrals, being only 26,850 feet in extent.
The Nave, which is separated from the aisles by eight massive Norman piers (part of the original church), of which the capitals are worthy of notice, has somewhat suffered by restorations at the hand of Wyatt. The triforium, the clerestory, the vaulting of the roof and the western wall and doorway are all his work; and it must not be forgotten that he shortened the original nave by one entire bay. Walking to the west end, from which the best general view is to be obtained, one is impressed by the striking effect of the great Norman piers and arches and the gloom of the choir beyond. Through the noble circular arches, which support the central tower and the modern screen on the eastern side of it, we see the eastern wall of the choir, pierced above by three lancet windows and below by a wide circular arch receding in many orders. A central pillar divides this lower arch, two pointed arches springing from its capital and leaving a spandrel between them, which is covered with modern sculpture. In the far distance[pg 036] may be distinguished the east wall of the Lady Chapel and its brilliant lancet lights.
Throughout the Cathedral the Norman work is remarkable for the richness of its ornament as compared with other buildings of the same date, such as Peterborough or Ely.
The main arches of the nave are ornamented with the billet and other beautiful mouldings, and the capitals of both piers and shafts are also elaborately decorated. The double half shafts set against the north and south fronts of the huge circular piers are in the greater part restorations.
Over each pier arch there are two triforium arches imitated from the Early English of Salisbury. They are divided by slender pillars, but there is no triforium passage.
During the Late Decorated period the nave-aisles were practically rebuilt, the existing walls and windows being erected upon the bases of the Norman walls, which were retained for a few feet above the foundations. The vaulting of the roofs of the nave-aisles and the roof of the nave itself were coloured under the direction of Mr. Cottingham.
The Font, of late Norman design, probably twelfth century, is in the second bay of the south aisle beginning from the west.
The circular basin is 32 inches in diameter, large enough for the total immersion of children. Beneath arches round the basin are figures of the twelve Apostles. These, however, with one exception, have been much broken. The most curious feature of this interesting font is the base with four demi-griffins or lions projecting therefrom. The whole is protected by a mosaic platform.
Monuments in the Nave.—The first monument on the south side as we walk from the western end is the fine effigy in alabaster of Sir Richard Pembridge in plate and mail armour with his greyhound. This monument was formerly at the Black Friars Monastery, but was removed here at the Suppression. Sir Richard Pembridge was a Knight of the Garter (53rd of that order) at the time of Edward III., and was present at Poitiers. He died in 1375. There are still traces of colour on this monument and gold remains on the points of the cap to which the camail is fastened, as also on the jewelled sword-belt. A sheaf of green coloured leathers is separated from the tilting helmet, on which the head rests, by a coronet of open roses. When the effigy was brought here it had but one leg[pg 037] left, and that the gartered one. A wooden limb was carved, and the workman showed such accuracy in duplicating the stone leg that the Knight was adorned with a pair of garters for many years until Lord Saye and Sele, Canon Residentiary, presented the Cathedral with a new alabaster leg, and the wooden one was banished to a shelf in the library.
Photochrom Co., Ld., Photo.
Under a foliated Decorated arch in the wall in the fifth bay is the carved figure of an unknown ecclesiastic. The effigy is headless and otherwise much mutilated.
In the sixth bay is another mutilated and headless figure, under a foliated arch, which is crowned by a bearded head wearing a cap. It is thought to be the monument of a former treasurer.
In the fifth bay a quaint door leads from the aisle to the Bishop's Cloister. This has a square heading which rises above the sill of the window over it. There is an interesting series of heads in the hollow moulding, which are said to be[pg 038] copies of earlier work in the same position. The iron-work of the door itself is modern by Potter. A lofty Norman arch leads from this aisle into the south transept.
The north aisle of the nave is similar in style to the south. It contains six memorial windows to Canon Clutton and his wife, with subjects by Warrenton from the life of St. John the Baptist.
In the sixth bay from the west of the north wall of the nave is the effigy and tomb under which is buried Bishop Booth (1535), the builder of the large projecting porch which bears his name. The recumbent figure of the Bishop is fully vested with a mitra pretiosa with pendent fillets. He wears a cassock, amice, alb, stole, fringed tunic and dalmatic, and chasuble with orfrays in front. On his feet are broad-toed sandals; his hands are gloved; a crozier (the head of which has been broken) is veiled on the right. At this side is a feathered angel. The original inscription, cut into stone and fixed above the effigy, remains uninjured:
The iron-work in front of this tomb is the only specimen in the Cathedral which has not been disturbed, although Mr. Havergal says "most of our large ancient monuments were protected by iron railings." It is divided into six square panels, having shields and heraldic ornaments.
The beautiful wrought iron Screen, an elaborate example of artistic metal-work, painted and gilt, executed by Messrs Skidmore of Coventry, from designs by Sir Gilbert Scott, stands between the eastern piers of the central tower, a little towards the nave. The first great piece of metal-work of this kind executed in England in modern times was the choir screen at Lichfield, designed and carried out by the same artists as the Hereford screen; though the latter and subsequent production transcends that of Lichfield, both in craftsmanship and beauty.
It has five main arches, each subdivided into two sub-arches by a slender shaft. The central arch is larger and higher than the others, is gabled and surmounted by a richly jewelled cross. This forms the entrance, and on either side, to a height of 4 feet, the lower part of the arches are filled with[pg 039] tracery in panels. The spandrels between the heads of the arches are enriched with elaborate ornament in flowing outline.
Photochrom Co., Ld., Photo.
A variety of foliage and flowers has been worked in thin plates of copper and hammered iron, in imitation of natural specimens, and throughout the screen the passion flower is prominent in the decoration. It is composed of 11,200 lbs. of iron, 5000 lbs. of copper and brass, 50,000 pieces of vitreous and other mineral substances in the mosaic panels, and about 300 cut and polished stones. There are also seven bronze figures, three single figures, and two groups. Of these the Times, May 29, 1862, well said: "These figures are perfect[pg 040] studies in themselves. Every one can understand them at a glance, and from the centre figure of Our Saviour to those of the praying Angels, the fulness of their meaning may be felt without the aid of any inscriptions beneath the feet to set forth who or what they are."
The eastern side of the screen, though without statuary, is no less worthy of inspection. Over the gates the large oval space is filled with the sacred monogram I.H.C. The base consists of polished Devonshire marble. The diversity of tint of the metals used is in itself a source of colour, but the whole of the hammered iron-work of the foliage has been[pg 041] painted with oxides of iron and copper, while the colour scheme is further carried out in the mosaics.
The whole effect is certainly beautiful, and the screen is perhaps the best example of this kind of work produced in modern times. The cost of the screen was £3000, though the sum paid by the Chapter in accordance with their agreement was only £1500. The same firm, the Skidmore Art Company, who made it, also supplied the large corona and gasfittings.
A brass eagle presented by the Misses Rushort to the Cathedral, is placed near the south-west corner of the screen; it was designed by Cottingham.
The Central Tower.—Immediately above the four great arches of the central tower, the interior walls are, says Professor Willis in his report on the Cathedral, "Of a very singular construction; twelve piers of compact masonry on each side, beside angle piers, are carried up to the height of 26 ft., and connected half-way up by a horizontal course of stone, in long pieces, and by an iron bar, which runs all round immediately under this bonding course. Upon these gigantic stone gratings, if I may be allowed the expression, the interior wall of the tower rests, and they also carry the entire weight of the bell-chamber and bells.
The whole space is now completely open from the floor of the Cathedral to the wooden floor of the bell-chamber, which is painted underneath in blue and gold. From this floor hangs, the handsome corona of wrought iron.
Before Mr. Cottingham's restoration was commenced in 1843, however, the whole appearance of the central tower was different, and the beautiful lantern with its many shafts was hidden from view by a vault of the fifteenth century, which rose above the great arches and completely concealed the upper portion of the tower.
In his specific report of the condition of the central tower in particular, which he was instructed to deliver in writing, Mr. Cottingham said:
"To enable me to form the opinion which I have now the honour of reporting, I have carefully examined the construction of the four great piers which support the tower; they are of Norman workmanship, and sufficient in bulk to carry a much greater weight than the present tower, had the masonry been[pg 042] more carefully constructed; they consist of a series of semi-circular columns attached to a thin ashlar casing, which surrounds the piers, and the chambers or cavities within are filled with a rubble core, composed of broken stones, loam and lime grouting; this was undoubtedly sufficient to carry a low Norman tower, but when the great Early English shaft was added on the top of this work the pressure became too great for such kind of masonry to bear. The ashlar and semi-columns, not being well bonded and deeply headed into the rubble cores, split and bulged, and the cores, for want of a proper proportion of lime, diminished and crushed to pieces. To remedy these defects, a second facing of ashlar has been attached to the piers, in some places by cutting out a part of the old ashlar, and in others by merely fixing long slips of stone round the pier with iron plugs, run in with lead,—these most unsightly excrescences have destroyed the beauty of the original design, without adding any strength to the masonry. The same unskilful hands blocked up all the original Norman arches, except one, connected with the tower piers and communicating with the aisles, choir, and transepts, leaving only a small passage-way in each.
"The first triforium arches in the choir and east side of the south transept, abutting against the tower, have also been closed up with masonry, so as to leave scarcely a trace of the rich work which lies concealed behind it. These injudicious performances have tended to weaken instead of strengthen the tower. The interior walls above the main arches of the tower, up to the bases of the fifty-two pillars, which surround the bellringers' chamber, are in a very ruinous state, particularly at the four angles, where rude cavities, running in a diagonal direction, have been made large enough for a man to creep in,—these unaccountable holes have tended very much to increase the danger, as all the masonry connected with them is drawn off its bond, and many of the stones shivered to pieces by the enormous pressure above. The stone-work, also, above the pillars, is drawn off at the angles just below the timber-work of the bell floor. On the whole, I never witnessed a more awful monument of the fallibility of human skill than the tower of Hereford Cathedral at this moment presents."
In addition to the report of the architect the Chapter availed themselves, on recommendation of the Bishop, of the opinion of Professor Willis, of Cambridge. This gentleman, after the[pg 043] most minute scrutiny and indefatigable labour, produced his elaborate and well-known report. He essentially corroborated the architect, especially as to the general state of the tower; and, under the strenuous exertions of Dean Merewether, the great work of restoration was commenced. The tower contains a fine peal of ten bells in the key of C. A new clock was erected in 1861, which strikes the hours and quarter-hours.
The North Transept.—Passing through the north arch of the tower we come into some of the most interesting parts of the Cathedral. The transept beyond was entirely rebuilt for the reception of the shrine of Bishop Cantilupe, when his body was removed from the Lady Chapel in 1287, after the miracles reported at his tomb had already largely increased the revenues of the Cathedral. The unusual shape of the arches and the fine and effective windows of this transept render it one of the most distinguished English specimens of the style.
On the north is a window with triple lights on each side of a group of banded shafts, the tracery above being formed of circles enclosing trefoils. The heads of the lights are sharply pointed.
The west side has two lofty windows recessed inside triangular-headed arches, which completely fill the two bays. They have three lights each, and are exactly similar to the windows on the north side of the transept.
Surrounded by alternate shafts of sandstone and dark[pg 044] marble, a clustered pier divides the eastern aisle of the transept into two bays. These shafts have foliated capitals, and the bases have knots of foliage between them.
With the exception of one string of dog-tooth ornament the mouldings of the main arches are plain.
Above is the interesting triforium stretching across the Norman arch opening to the choir-aisle beyond the transept itself. There are in each bay two pointed arches, each containing three smaller arches with foiled headings surmounted by three open quatrefoils. The spandrels between the arches are diapered in low relief with leaf ornament. Above, far back in the clerestory arches, are octofoil windows with sills of over-lapping courses, which incline forward to the string course above the triforium.
The shafts of all the windows are ringed at the angles, and the triangular arches are of an unusual stilted shape, similar to those in the clerestory of Worcester Cathedral on the south side of the nave. These are, however, of later date, and may have been imitated by the Worcester architect.
The restoration of the north transept by Sir G. G. Scott was satisfactorily carried out, and certainly improves the general effect.
Monuments in the North Transept.—The great north stained-glass window by Hardman was placed there as a memorial to Archdeacon Lane-Freer who died in 1863. Underneath this window, which is described later on in the section devoted to stained glass, is the stone effigy of Bishop Westfayling (died 1602). The canopy was removed by Wyatt, and the effigy is now leaning on its side against the wall. There is an undoubted original half-length portrait of this bishop in the Hall of Jesus College, Oxford. There are monuments to other members of the family in the church at Ross.
In the pavement near the choir-aisle is a brass to John Philips, the author of The Splendid Shilling and of Cyder, a poem endearing him to Herefordshire. His family belonged to this county, although he himself was born in Oxfordshire. There is also a monument to Philips in Poets' Corner, Westminster Abbey. He died in 1708, at the early age of 32.
Photochrom Co., Ld., Photo.
The next monument in the north transept is the effigy of Bishop Thomas Charlton, treasurer of England, 1329. This[pg 047] effigy and its richly decorated alcove or canopy was most luckily not touched by Wyatt.
Here are stained-glass windows to Captain Arkwright, lost in an avalanche; Captain Kempson, and Rev. S. Clark, Headmaster of Battersea College.
In a line with the central pier of the eastern aisle is the most important monument in the north transept, viz.:—the pedestal of the celebrated shrine of St. Thomas de Cantilupe, 1282, who died at Civita Vecchia, near Florence, on his way to Rome, August 25th, 1282. His heart was sent to Ashridge in Buckinghamshire, part of the body was buried near Orvieto; and the bones were brought to Hereford and deposited in the Lady Chapel.
The pedestal is in shape a long parallelogram, narrower at the lower end. It is of Purbeck marble, and consists of two stages, the lower having a series of cinquefoiled niches and fourteen figures of Templars in chain armour in different attitudes, for Bishop Cantilupe was Provincial Grand Master of the Knights Templars in England.
All the figures are seated with various monsters under their feet. The filling of the spandrels between these niches and that of the spandrels between the arches of the upper stage is especially noteworthy. It belongs to the first Decorated period, and while the arrangement is still somewhat stiff or formal, the forms are evidently directly copied from nature.
The slab inside the open arcade, which forms the upper stage, still bears the matrix of the brass of an episcopal figure having traces of the arms of the See (i.e., the arms of Cantilupe).
By the dedication of the north transept especially to Bishop Cantilupe was avoided the secondary part which his shrine must have played if it had been placed in the usual post of honour at the back of the high altar. The shrine of St. Ethelbert was probably already there, and wisely enough a distinguished position was specially created by rebuilding the north transept for the purpose. There is a similar state of affairs at Oxford Cathedral with the shrine of St. Frideswide, and in the south transept of Chichester Cathedral with that of St. Richard de la Wych.
We note also a brass to Dean Frowcester, 1529; and another to Richard Delamare and his wife Isabella (1435).
Near the Cantilupe shrine is a bust of Bishop Field (died[pg 048] 1636), and on the floor is an effigy of John D'Acquablanca, a Dean of Hereford (died 1320), and nephew of Bishop D'Acquablanca, whose beautiful monument is close to it, between the north choir-aisle and the eastern aisle of the transept. Beholding the exquisite grace of this tomb we are reminded of the more elaborate and equally beautiful chantry of the same period (1262) in the south choir transept of Salisbury to Bishop Giles de Bridport.
Over the effigy, which is a most interesting example of minute ecclesiastical costume, delicate shafts of Purbeck marble support a gabled canopy, each gable of which is surmounted by a finial in the form of a floriated cross.
This monument once glowed with rich colour, and in 1861 a feeble attempt was made to restore it, which was, however, not carried out. Bishop Aquablanca, Peter of Savoy, had been steward of the household to his relative, William of Savoy, the Queen's uncle. His preferment was one of the noteworthy instances of Henry III.'s love of foreigners, and as Bishop of Hereford he was especially unpopular. The King made him his treasurer and consulted him on all matters of state. At his death, says the Rev. H. W. Phillott,2 "He was probably little regretted in his cathedral city, whose citizens he had defeated in an attempt to encroach on his episcopal rights. But he used his victory with moderation, for he forgave them one half of their fine and devoted the other half to the fabric of the cathedral, probably that noble and graceful portion of it, the north-west transept, which contains the exquisitely beautiful shrine, probably erected by himself, under which repose the remains of his nephew, John, Dean of Hereford, as well as his own, his heart excepted, which, with a pathetic yearning of home-sickness, he desired should be carried to the church which he had founded in his own sunny land at Aigue-Belle, in Savoy. Yet, though his memory has received no mercy at the hands of historians and song-writers of his day, though his example did much to swell the tide of ill-repute in which many of the clergy of all ranks were held (for the laity, says the song-writer, are apt to pay less attention to the doctrine than to the life of their teachers), we ought not to leave out of sight that he did much to improve the fabric of the Cathedral, and bequeathed liberal gifts to its foundation in money, books,[pg 051] ornaments, and land, and also a handsome legacy to the poor of the diocese."
In the north transept is a doorway leading to the tower.
South Transept.—Crossing the Cathedral in front of the Skidmore screen it is a relief to turn from the nave with its sham triforium to the south transept with its fine three stage Norman east side. The groining, although incongruous, is still beautiful, and does not irritate in the same way as Wyatt's abominations in the nave. This transept contains several disputed architectural points, and opinions are divided as to whether it may not be the oldest existing portion of the Cathedral. "At any rate," says G. Phillips Bevan,3 "this transept seems to have been the happy hunting-ground of successive races of builders, who have left the side-walls in admired confusion."
Though it underwent great alteration in the Perpendicular period much of the Norman work remains. The east wall is in the best preservation, and is certainly entirely Norman with the exception of the groining. It is covered with five series of arcades, which may be divided into three stages. In the middle stage is a notably good triforium passage of very short Norman arches. All the other ranges of arcades, except those at the level of the clerestory, are blocked. On this side the transept is lighted from the clerestory by two Norman windows.
In both east and west walls there is a very fine Norman moulded double arch.
In the west wall Perpendicular windows have cut into the Norman work, and a large Perpendicular window nearly fills the south wall with panelling round it of the same period.
Monuments in the South Transept.—There is an interesting altar-tomb of Sir Alexander Denton, 1576, of Hillesden, Co. Bucks, Esq., and his lady and a child in swaddling clothes, toward the south-east angle of the transept. The effigies are in alabaster, and retain considerable traces of colour. They are in full proportion, and the knight wears a double chain and holds a cross in his hands. The Dentons were ancestors of the Coke family, now Earls of Leicester. The swaddled body of the child lies to the left of its mother,[pg 052] its head resting on a little double pillow by her knee, and a part of the red cloth on which she lies wraps over the lower part of the babe.
To the right of the knight, balancing the child in the composition, lie his two gauntlets or mail gloves, which have been much scratched with names.
The head of the knight rests upon his helmet.
Round the verge of the tomb is this inscription:
"But," says Browne Willis, "this was but a cænotaph, for Alexander Denton, the husband, who lived some years after, and marry'd another lady, was bury'd with her at Hillesden, Co. Bucks; where he died January the 18th, 1576."
Under the south window is an effigy of Bishop Trevenant (1389-1404), the builder of the Perpendicular alterations in this transept. The effigy is unfortunately headless and has lost its hands. The feet are resting on a lion.
There is a brass to T. Smith, organist of the Cathedral (1877).
The remains of an ancient fireplace may be noticed on the west side of the south transept.
They consist of a rectangular recess with chimney vault behind. This was doubtless cut away when the Perpendicular window was placed above on this side.
From this transept a beautiful side view is obtained of the lantern arches.
Photochrom Co., Ld., Photo.
The Organ, which occupies the first archway on the south side of the choir, contains work by Renatus Harris. Mr. Phillips Bevan4 writes of it, "It was the gift of Charles II., and was very nearly destroyed by the fall of the central tower. It has twice been enlarged since, once by Gray and Davidson, and lastly by Willis. It has 16 great organ stops, 11 swell, 7 choir, 7 solo, 8 pedals, with 2672 pipes. A great feature in Willis's improvements is the tubular pneumatic[pg 055] action, which does away with trackers and other troublesome internals. Sir F. Gore Ouseley having been precentor of the Cathedral, it goes without saying that he made everything about the organ as nearly perfect as possible, and, for the matter of that, no lover of music should omit to hear the Unaccompanied service usually held on Friday morning."
In the south wall of the south choir-aisle are four Decorated arched recesses containing four effigies of bishops, belonging to the Perpendicular period. These effigies have been attributed, beginning from the west, to R. de Melun, 1167; Robert De Bethune (died 1148), the last Norman builder; Hugh Foliot (died 1234) or Robert Foliot (died 1186); and William De Vere (died 1199).
On the north wall under an arch opening to the choir is the tomb of Bishop De Lorraine or Losinga (died 1095), who superintended the building of the fine west front of the cathedral so unfortunately destroyed. This effigy also belongs to the Perpendicular period. The large size of the ball flower and fine wood-carving of the Decorated period on these tombs is noticeable.
Between the two eastern piers of the choir is the fine effigy and brass to Bishop Mayhew, of Magdalen College (1504-1516). The effigy is wearing a mitre, and is fully vested. In front of the monument are panels filled with figures of saints, and over the effigy is an elaborate canopy, which has been restored.
In the last bay to west of the south choir aisle a door gives access to two Norman rooms, used as vestries or robing rooms, to enter which you pass beneath the bellows of the organ. Exhibited in cases in one of these rooms are some of the treasures of the cathedral, ancient copies of the Scriptures, chalices, rings, etc., described in detail towards the close of this section. A two-storied eastern chamber was added to the Norman work in the Perpendicular period, and was used as the cathedral treasury.
Before leaving the south choir aisle the old stained glass windows with figures restored by Warrington should be noticed, and the celebrated Map of the World is well worth some study. It was discovered under the floor of Bishop Audley's Chapel during the last century, and appears from internal evidence to have been probably designed about 1314 by a[pg 056] certain Richard of Haldingham and of Lafford (Holdingham and Sleaford in Lincolnshire).
Prebendary Havergal says: "It is believed to be one of the very oldest maps in the world, if not the oldest, and it is full of the deepest interest. It is founded on the cosmographical treatises of the time, which generally commence by stating that Augustus Cæsar sent out three philosophers, Nichodoxus, Theodotus, and Polictitus, to measure and survey the world, and that all geographical knowledge was the result. In the left-hand corner of the map the Emperor is delivering to the philosophers written orders, confirmed by a handsome mediæval seal. The world is here represented as round, surrounded by the ocean. At the top of the map is represented Paradise, with its rivers and trees; also the eating of the forbidden fruit and the expulsion of our first parents. Above is a remarkable representation of the Day of Judgment, with the Virgin Mary interceding for the faithful, who are seen rising from their graves and being led within the walls of heaven.
"The map is chiefly filled with ideas taken from Herodotus, Solinus, Isidore, Pliny, and other ancient historians. There are numerous figures of towns, animals, birds, and fish, with grotesque customs, such as the mediæval geographers believed to exist in different parts of the world; Babylon with its famous tower; Rome, the capital of the world, bearing the inscription—'Roma, caput mundi, tenet orbis frena rotundi'; and Troy as 'civitas bellicosissima.' In Great Britain most of the cathedrals are mentioned; but of Ireland the author seems to have known very little.
"Amongst the many points of interest are the columns of Hercules, the Labyrinth of Crete, the pyramids in Egypt, the house of bondage, the journeys of the Children of Israel, the Red Sea, Mount Sinai, with a figure of Moses and his supposed place of burial, the Phœnician Jews worshipping the molten image, Lot's wife," etc.
Bishop's Cloisters.—At the eastern end of the south[pg 057] nave aisle a door opens to the cloisters connecting the cathedral with the episcopal palace. In the cloister is placed a monument and inscription to Colonel John Matthews of Belmont, near Hereford, who died 1826. The subject, "Grief consoled by an Angel," is carved in Caen stone.
Other monuments are:—one to the Hon. Edward Grey, D.D., formerly Bishop of Hereford, 1832 to 1837. He died July 1837, and is buried beneath the bishop's throne. A monument to Bishop George Isaac Huntingford, D.D., 1815 to 1832. He died in his eighty-fourth year, April 1832, and was buried at Compton, near Winchester. Also a monument to Dr. Clarke Whitfield, an organist of the cathedral.
The following inscription, on an ancient brass, affixed to a gravestone near the west part of the cathedral, which, being taken off, was kept in the city tolsey or hall for some time until it was finally fastened to a freestone on the west side of the Bishop's Cloisters:—
The South-east Transept, lying between the retro-choir and the chapter-house, into which it opens, is in the main Decorated, though its window tracery is perhaps somewhat later, being almost flamboyant in character. It was altered from the original Norman apse, and in the walls bases of the[pg 058] earlier work remain. It has an eastern aisle, separated from it by a single octagonal pillar.
Before the aisles were added the now open window looking into the Lady Chapel formed part of the outside wall of the chapel, and was glazed. There is a lovely view from this transept, looking slantwise into the Lady Chapel. In this transept are a number of fragments of brasses, mouldings, stone, etc. The chief monument is that to Bishop Lewis Charleton, 1369. His effigy lies under the wall dividing the transept from the vestibule of the Lady Chapel. Above it is a fine monument, restored in 1875, to Bishop Coke, died 1646. This bishop was brother to Sir John Coke, Secretary of State to Charles I. His coloured shield is borne by two angels.
A black marble slab, in excellent preservation, marks the spot where the remains of Bishop Ironside were laid on Christmas Eve, 1867, in presence of the dean, archdeacon, and praecentor, in a vault specially prepared for them; and there is a small brass on the wall. Gilbert Ironside, D.D., Warden of Wadham College, Oxford, was Vice-Chancellor of the University in 1687, when James II. seized upon the venerable foundation of Magdalen College and sent his commissioners to Oxford to expel the Fellows.
In his replies to the king, Dr. Ironside showed a firm and resolute spirit in defence of the rights of Oxford. His refusal to dine with the commissioners on the day of the Magdalen expulsion is described thus by Macaulay:—"I am not," he said, "of Colonel Kerke's mind. I cannot eat my meals with appetite under a gallows."
The brave old Warden of Wadham was not left to "eat his meals" much longer in his beautiful college hall. William III., almost immediately after his accession, made him Bishop of Bristol, whence he was translated to Hereford, and, dying in 1701 at the London residence of the Bishops of Hereford, in the parish of St. Mary Somerset, was buried in that church.
It was at the instigation of the Warden and Fellows of Wadham College that the Dean and Chapter of Hereford consented to the proposal that the remains and marble slab should be removed to the precincts of their cathedral.
St. Mary Somerset, Thames Street, was the first church closed under the Bishop of London's Union of Benefices Act, and when it was dismantled and the dead removed from their[pg 059] vaults in the autumn of 1867, the remains of Bishop Ironside were found encased in lead only, all the outer coffins in the vault having been previously removed or stolen.
For the purpose of identification the lead coffin was opened by the Burial Board authorities, "and," says Mr. Havergal, "so perfect were the remains that the skin was not broken, and the features of the placid-looking bishop were undisturbed." In a square recess on the east wall is a bust which has been taken by various critics to be Hogarth, Cowper, Garrick, and others, but is in reality a portrait of a Mr. James Thomas, a citizen of Hereford, who is buried near this place. Under it is a brass to Sir Richard Delabere, 1514, his two wives and twenty-one children; the inscription is as follows:—
"Of your Charitie pray for the Soul of Sir Richard Delabere, Knight, late of the Countie of Hereford; Anne, daughter of the Lord Audley, and Elizabeth, daughter of William Mores, late sergeant of the hall to King Henry VII., wyves of the said Sir Richard, whyche decessed the 20th day of July, A.D. 1513, on whose souls Jesu have mercye. Amen."
The north-east window contains stained glass to the memory of Bishop Huntingford. There is also an old effigy supposed to represent St. John the Baptist.
The Lady Chapel.—The elaborate and beautiful Early English work of this chapel, which dates from the first half of the thirteenth century, about 1220, was twice under the restorers' hands, the eastern end and roof having been rebuilt by Cottingham and the porch and Audley Chapel by Sir G. G. Scott. It is 24 by 45 feet in extent and has three bays. On the north side each of these bays contains two large windows, and on the south side two of the bays contain each two windows, while the third is filled by the Audley Chapel.
In 1841 the eastern gable of the chapel was stated by Professor Willis to be in a parlous state, and the rebuilding of this portion was one of the first works undertaken by Mr. Cottingham. Sir G. G. Scott completed the pavement and other restorations.
The glorious east window consists of five narrow lancets recessed within arches supported by clustered shafts, the wall above being perforated with five quatrefoil openings, of which the outside ones are circular and the centre three are oval.
[pg 060]Fergusson5 remarks: "Nowhere on the Continent are such combinations to be found as the Five Sisters at York, the east end of Ely, or such a group as that which terminates the east end of Hereford."
Of the beauties and interesting features which were developed by the clearing of the Lady Chapel by Mr. Cottingham, Dean Merewether wrote:—