Read Ebook: Bell's Cathedrals: The Cathedral Church of Norwich A Description of Its Fabric and A Brief History of the Episcopal See by Quennell C H B Charles Henry Bourne

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dings, with a result that the whole of the monastery and the cathedral itself was soon in flames. It seems to be an established fact that the prior had placed men in the tower to shoot at the citizens, and it is conjectured that they, and not the citizens, were the cause of the outbreak here.

The only part of the cathedral that escaped was the Lady Chapel; the rest was gutted, vestments and ornaments were carried off, and the monks for the most part slain.

So ended the first part of this lamentable chapter in the history of Norwich. A sentence of excommunication was passed on the city, and King Henry hastened to Norwich to preside at the trial of the prisoners.

The accounts which have come down to us are as varied as might be expected, the chroniclers of the one party, of course, blaming the other side; it seems, however, to have been proved "that, after all, the church was burnt by that accursed prior"; but many of the citizens were hung, drawn and quartered, and the city had to pay in all 3000 marks towards repairing the church and monastical buildings, and to provide a gold pyx, weighing ten pounds, of gold; the monks in their turn had to make new gates and entrances into the precincts. The St. Ethelbert's Gate-house was part of the work imposed on the monks; it is of early Decorated character and was erected probably early in the fourteenth century.

Bishop Walpole built the eastern walk of the cloisters, together with the chapter-house; he was translated to Ely about 1299, and the work carried on by his successor, Bishop Salmon, who built the south walk, also a chapel and hall attached to the bishop's palace. Of this nothing remains in the garden of the palace except a grand ruin, which is supposed to have formed the entrance or porch to the hall.

Continuing the history of the fabric, we can pass on to the episcopate of Bishop Percy, during which, about 1361, the wooden spire and parts of central tower of the cathedral were blown down by a violent gale of wind, and the presbytery was greatly damaged by the falling material. This bishop rebuilt the present clerestory, designed in the transitional style between Decorated and Perpendicular; the vault is later. It is also probable that he repaired the spire.

During Bishop Wakering's time the Erpingham gate of the close was erected, and as well the cloister that formerly connected the palace on the north side with the cathedral. He also founded a chantry for one monk at his tomb.

His successor, Alnwick, completed the cloisters. The gateway to the palace was built by him about 1430, and probably replaced an earlier structure. He also began the work of remodelling the central compartment of the west front. He left directions in his will to his executors to make a large west window, the cost to be charged to his estate. The doorway under this window, built over the old Norman one, and encroaching on the side arcading, was executed during his episcopate, the window being eventually added during the time of Bishop Lyhart to throw additional light on to the vault he erected, and its wonderful sculptures.

During this episcopate the rood screen was erected, and a sumptuous monument placed over the grave of the founder.

The stone spire must have been added about this time, replacing the former wooden construction.

Bishop Lyhart left to his successor, Bishop Goldwell, in his will 2200 marks for repairing the dilapidations caused by the fire of 1463. During this bishop's episcopate we find that the cathedral was brought nearly to that state in which we have it now,--the tower was still further adorned with Perpendicular battlements, the presbytery was vaulted in with stone, and the flying-buttresses added around the eastern apse to take the consequent thrust of the new vault.

Internally, also, the lower stages of the presbytery were Perpendicularised by the addition of the four centred arches that still remain, and in the second bay of which, eastward from the tower, on the south side, was erected Bishop Goldwell's altar tomb.

Bishop Nykke constructed the stone vaulting that, covering both arms of the church, completed the stone vaulting throughout the cathedral. His chantry, which is on the south side of the nave, and occupies two bays of the aisle, was arranged by him before his death, and its richness is inversely proportionate to the degradation of his character.

The tracery in the Norman arch leading from the south aisle of the presbytery into the transept, is of late Perpendicular style, and was added by Robert of Calton, who was destined to be the last prior but one of Norwich: William Castleton was the last prior and the first dean. Bishop Nykke died in 1535-6, and was succeeded by William Rupgg or Repes, who was the last bishop elected by the chapter of the monks of the Benedictine monastery of Norwich. Monasticism was doomed; Wolsey had fallen, and his property had been confiscated in 1529. The smaller monasteries were dissolved in 1536, and in 1538 the greater shared the same fate, among them Norwich.

Most interesting is the parallel which can be drawn between the history of the Church and of that architecture which she especially fostered. Gothic or Christian art was developed from the remains of a Roman civilisation, and so long as it had the healthy organic growth which was consequent on the evolution of a series of constructive problems fairly faced and in turn conquered, and again, stimulated by the growth of the Church, to which it was handmaiden, developed style after style in regular sequence, until the builders, finding they had conquered construction, took to imposing ornament. From that time, instead of ornamenting construction, they constructed ornament; and as the Reformation came to the Church in the sixteenth century so to architecture came degradation. And then the Renaissance of pagan types, from which the Gothic had derived its being by a rational development, was by the revivalists of those days hotch-potched into a more or less homogeneous mass, which even the genius of Wren could leave but coldly pedantic.

The history of the architecture of the cathedral might safely stop with the Dissolution of the Monasteries in 1538, since when it is a mere recapitulation of the doings and undoings of various sets of more or less deeply incriminated fanatics and restorers.

So that we do not feel inclined to enter into more detail, in the few remaining notes on the history of the structure.

Dean Gardiner, 1573-89, was a great reformer, and, as we have already noted, pulled down the thirteenth-century Lady Chapel, and as well the chapter-house.

In 1643 the cathedral was taken possession of by Cromwell's soldiers, and the work of spoliation carried on. The organ was probably destroyed at this time, for Dean Crofts set up a new organ in 1660, the case of which was re-modelled in 1833, and still remains. It is also perhaps needless to state that the cathedral was repeatedly whitewashed during the eighteenth century.

In June 1801 a fire broke out in the roof of the nave, but was extinguished before much damage had been done.

The various works effected during this century are mentioned specifically elsewhere in these notes, under the headings of the parts of the building where they have occurred.

THE CATHEDRAL--EXTERIOR

Norwich Cathedral does not tell to great advantage from the outside: its chief charm is undoubtedly the interior. It stands in a hollow, on what is probably the lowest ground in the city. The best view of the cathedral is obtained from the low ground to the eastward near the river, and close to Pull's Ferry; here the extreme length of the nave, which Fergusson remarked justified the addition of western towers, is lost partly by foreshortening, and by the projection forward of the south transept, over which the old Norman tower, with its later battlements and spire, rises grandly above the sweep of the apse, with the still remaining circular chapels below.

#The Cathedral Precincts#, or Close, running from Tombland eastward to the river, are entered by two gates to the precincts and one to the bishop's palace.

#The Erpingham Gate#, opposite the west front of the cathedral, was built by Sir Thomas Erpingham, and as an architectural compilation "is original and unique." In elevation it consists of one lofty well-proportioned arch supported on either side by semi-hexagonal buttresses taken up as high as the apex of arch; above comes a plain gable, in which, centred over the arch below, is a canopied niche with the kneeling figure of Sir Thomas Erpingham.

Built probably about 1420, and while yet some of the noble simplicity of the thirteenth had not passed into the over-wrought richness of the fifteenth and sixteenth centuries, it presents a type of the best Perpendicular work we have in England.

The form of the arch is lofty, and may have been suggested by the wish to preserve a view through of the cathedral.

The arch moulding is enriched on the outer part with figures of fourteen female saints, and on the inner with twelve male saints; the semi-hexagonal panelled buttresses are covered with the shields of the families of Erpingham, Clopton, and Walton, and each has a seated figure of an ecclesiastic on the top.

The richness of this lower arch stage tells against the plain gable over, and is quite admirable in effect and defensible as a method of design; it is ornament decorating construction pure and simple, and not what later work generally was and is, constructed ornament, suggesting over-elaborate construction thereby made necessary. It will be noticed that labels with the word "Yenk" sculptured thereon are placed between the shafts on either side of the archway; this has been construed "pend" by some writers, and from this the view was taken that Sir Thomas Erpingham was made to build the gate as a penance for favouring Lollardism, and that the figure of himself in the gable over the archway represents him as praying pardon for the offence.

Sir Thomas Erpingham had two wives, Joan Clopton and Joan Walton, whose arms appear on the gateway.

#The Gate-House# forming the entrance to the bishop's palace, on the north side of the cathedral, was built by Bishop Alnwyck about 1430, and probably replaced an earlier structure; it is an interesting piece of Perpendicular work, and consists, in the lower stage, of a gate and doorway under a deep horizontal band ornamented with plain shields and monograms of the Virgin. The gateway on the left side reaches up to the horizontal bands, and has spandrels on either side; the doorway is smaller. Above are two windows with a niche between, and over all is a parapet of modern work. Flat buttresses flank the entire composition on either side. The wooden gates were added by Bishop Lyhart .

Returning to the Erpingham gate, and entering the Close through it, immediately on our left we come to the #Chapel of St. John the Evangelist# , founded by Bishop Salmon . This building replaced an older structure, used as a charnel, and provision was made for this need in the new edifice; the vaults under the chapel were used for the same purpose. The porch is a later building added by Lyhart .

The addition, however, of later Perpendicular triforium windows to the nave superimposed over the original Norman lights, which were blocked up, may have affected the west front. This can best be seen by viewing, for instance, the south side of the nave. The Norman roofs sloped down to the original triforium windows, but after the later addition were made almost flat, and must have necessitated some mask wall in the west front.

The two pinnacles at the sides of the west window have since been removed.

The earlier change in the central compartment of the front from Norman to Perpendicular was effected by the additions of the door and window still remaining. Bishop Alnwyck, who was translated to Lincoln in 1436, added the doorway during his episcopate, and it was probably built right over and covering the original Norman door and arcading. He also left provision in his will for the west window, and this was added by Bishop Lyhart , to throw additional light on to the vaulting and sculptures of the nave; from the inside it will be seen that it completely fills the width of the nave, and follows the line of the vault up.

The north side of the cathedral lies within the gardens of the bishop's palace, which can be entered from the interior of the cathedral, through a small door in the north aisle of the presbytery; the eastern end of the cathedral also lies within a private garden, but permission to enter it can usually be obtained.

#Exterior of Nave.#--Those portions of the precincts near the western end of the cathedral are known as the Upper Close; and, walking round the exterior of the cloisters, we come to the Lower Close. The nave on the south side can be seen well either from the upper or lower Close, and can be better examined in detail from the interior of the cloisters. Its elevation consists of fourteen bays divided by flat Norman buttresses. In height it is composed of what, at first sight, appears a bewildering confusion of arches, arcades, and windows. Over the aisle windows, hidden by the north walk of cloisters, comes a Norman wall arcading; and over this the Norman triforium windows blocked up, and again, above the later Perpendicular triforium, superimposed on the old, and finished with a battlemented parapet. Behind this come the triforium roof, and then beyond the original Norman clerestory, each bay with a triple arch formation, the centre arch pierced for a window. And then above all, the lead roof over nave vault.

The radical changes that have taken place since the nave was built by Bishop Eborard consist of the insertion in the aisles of later "Decorated" traceried windows in place of the original Norman ones, and of the superimposition, before referred to, at triforium level of a whole range of "Perpendicular" windows over the old Norman work, which were blocked up at this period. The pristine aspect, then, of this elevation of the nave would have shown a sloping roof over the aisles where now the later addition occurs. The battlementing, too, over the clerestory to the nave is later work, to correspond with battlementing over the triforium windows. It will be noticed that the two bays next the transept in the triforium are higher than the others, in order to throw additional light into the choir.

Also on this same south side, in the seventh and eighth bays from the west end, two very late windows occur, inserted in the Norman arcading under the original triforium windows; these were inserted by Bishop Nykke to light the chapel he built in two bays of the south aisle of the nave.

The curious raking of the lead rolls to the nave roof is noticeable; the mediaeval builders did this with a view of counteracting the "crawl" of the lead. Lead, under the variations of temperature of the atmosphere, expands and contracts considerably; and from its own weight, and the steepness of the roofs, the contraction takes place in a downward direction, and starts the joints, letting in the weather. This raking of the vertical rolls was a device whereby the old builders in some measure got over their difficulty by inducing a fixed expansion and contraction.

#The Diocesan Registry Offices# now occupy the space on which once stood the Norman chapel, and later the Sacristy.

At the same time that the later restorations were effected to the south transept, the groined #Slype# and singing-school above it were destroyed, and the present door in the south transept from the lower close was opened. A pre-restoration view is published of the east end of the cathedral, showing the slype, in Britton's "Norwich." The visitor should also bear in mind that this space immediately in front of the south transept was originally occupied by the #Chapter-House#, situated as shown by dotted lines on plan, and separated from the cathedral by the slype. The entrance arches to the chapter-house from the east walk of the cloisters still remain and fix definitely its position; it projected eastward about eighty feet.

It will hardly be necessary to enlarge on the beauty of this spire of Norwich, as the dominant feature, seen from the south-east, rising above the curved sweep of the apse, and strongly buttressed by the south transept, it stands up, clearly defined against the western sky, and points upward, significant and symbolical at once of the ends and aspirations of the church below.

#The Eastern Arm of Cathedral or Presbytery# takes its history from the tower. Here, as in the nave, there are the original triforium windows blocked up, and a range of Perpendicular work superimposed on the old. Above and beyond this, supported between each bay by flying buttresses, comes the transitional Decorated to Perpendicular clerestory, considerably higher than the original Norman clerestory remaining to the nave. At the base of each flying buttress are figures of saints. The roof and Norman clerestory were damaged by the falling tower in 1361, but were rebuilt by Bishop Percy, 1355-69. This work is transitional Decorated to Perpendicular. The presbytery was then re-roofed with a framed timber construction, which was consumed by the falling of the burning spire, struck by lightning in 1463. The present stone vault was added in its place by Bishop Goldwell, 1472-99. This necessitated the addition as well of flying buttresses to take the thrust of the vault.

The battlementing to the presbytery also was added at the same time as the flying buttresses.

It will also be noted that here, as in the nave, an addition was made in the way of a range of later "Perpendicular" windows superimposed over the original Norman triforium, which was blocked up.

#The Chapel of St. Mary-the-Less#, marked B on plan, projects southward from the presbytery, and dates from the fourteenth century. Between this and the circular Norman chapel of St. Luke, was Bishop Wakeryng's chapel. It has long since disappeared, but the doorway of Perpendicular design remained until about 1841, when it was removed and the compartment Normanised--a piece of wanton vandalism and the destruction of an historical link.

The circular Norman chapels, of which two remain, are very interesting. In the original plan of the founder there were three; but the easternmost was superseded by Early English structure, which in its turn was demolished.

#The Jesus Chapel#, marked D on plan, on the north side of the apse, retains the early "Perpendicular" windows inserted in the Norman work; its other characteristics are as those described to St. Luke's Chapel in the south.

On the north side of the presbytery, and to the west of the Jesus Chapel, were other chapels, shown on the plan by dotted lines; the positions of their roofs are clearly marked yet on the stonework. One must have been the #Reliquary Chapel#; the bridge chapel in the north aisle of presbytery formed its ante-chapel.

#The North Transept#, and generally the north side of the cathedral, are more conveniently examined from the gardens of the bishop's palace, whence this portion of the exterior of the cathedral can best be seen.

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