THE CHOIR SCREEN.

_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 pa.s.sion flower is prominent in the decoration. It is composed of 11,200 lbs. of iron, 5000 lbs. of copper and bra.s.s, 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 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."

[Ill.u.s.tration: SECTION THROUGH TOWER AND TRANSEPTS.]

SECTION THROUGH TOWER AND TRANSEPTS.

The eastern side of the screen, though without statuary, is no less worthy of inspection. Over the gates the large oval s.p.a.ce 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 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 bra.s.s 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 s.p.a.ce 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 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 pa.s.sage-way in each.

"The first triforium arches in the choir and east side of the south transept, ab.u.t.ting 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 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.*-Pa.s.sing 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.

[Ill.u.s.tration: NORTH ARCH OF CENTRAL TOWER, SHOWING MASONRY ERECTED ABOUT 1320.]

NORTH ARCH OF CENTRAL TOWER, SHOWING MASONRY ERECTED ABOUT 1320.

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 marble, a cl.u.s.tered 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-gla.s.s 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 gla.s.s, 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 bra.s.s 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.

[Ill.u.s.tration: THE NORTH TRANSEPT.]

THE NORTH TRANSEPT.

_Photochrom Co., Ld., Photo._

The next monument in the north transept is the effigy of Bishop Thomas Charlton, treasurer of England, 1329. This effigy and its richly decorated alcove or canopy was most luckily not touched by Wyatt.

Here are stained-gla.s.s 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 att.i.tudes, 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 bra.s.s 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 bra.s.s 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 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 n.o.ble 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, ornaments, and land, and also a handsome legacy to the poor of the diocese."

[Ill.u.s.tration: THE CANTILUPE SHRINE.]

THE CANTILUPE SHRINE.

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."