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 b.u.t.tresses 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.

[Ill.u.s.tration: The Erpingham Gate.]

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" (think) 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.

This interpretation, however, amusing as it is, is probably erroneous, and the gate, with its shields of allied families, stands to the memory of its founder. Sir Thomas Erpingham was at Agincourt in 1415, and Shakespeare, in Act iv. of Henry V., remarks of him that he was "a knight grown grey with age and honour." Sir Thomas Browne also (p. 9 of his "Repertorium") says: "He was a Knight of the Garter in the time of Henry IV. and some part of Henry V., and I find his name in the list of the Lord Wardens of the Cinque Ports."

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

[Ill.u.s.tration: St. Ethelbert's Gate.]

#St. Ethelbert's Gate#, to the south, is an early "Decorated" structure.

Its elevation is divided into three storeys, in the lowest of which is the gateway, with flat b.u.t.tresses on each side carried up the height of two storeys, and enriched with pedimented niches in both stages. In the compartment over the arch are seven niches, four of which are pierced with windows. The upper stage is in flintwork. It was built by the citizens as part of the fine imposed on them for their share in the riots and fire of 1272 by the Court of King Henry III., though probably not until some years had elapsed, and when Edward the First had come to the throne. The upper part of the front was restored early in this century. The back elevation is interesting--the window over the arch being typical of the style.

[Ill.u.s.tration: The Gate-House of the Bishop's Palace.]

#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 b.u.t.tresses flank the entire composition on either side. The wooden gates were added by Bishop Lyhart (1446-72).

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# (converted by Edward VI., and still used as a school), founded by Bishop Salmon (1299-1325). 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 (1446-72).

#The West Front of the Cathedral# has probably received worse treatment than any other portion of the building, and stands now as the most unsatisfactory part of the whole. The design consists in its width of three compartments, with two separating and two flanking turrets. The centre compartment is of the width of the nave, and those on either side the width of the aisles. In the centre comes the main doorway, flanked on either side with niches, and over these, filling the entire breadth, the great nine-light west window, with the Norman turrets carried up to the base of the gable. The compartments on either side are finished off by horizontal mouldings taken across somewhat below the level of the springing of the archivolt of the main window, and have flanking turrets covered with plain pinnacles. The large west window is disproportionate, and even the a.s.surance cheerfully given by most authorities, that it resembles the window of Westminster Hall, fails to prove that it is of suitable size here. It may be as well to note in order the various changes which have affected the west front. Mr B.W. Spaull, in Dean Goulburn's work on the Cathedral, made reference to the discovery of an alteration to the main entrance which must have been prior to that now existing. It consisted of a small _parvise_ or room added above at some time subsequent to the original foundation. As the details are not now apparent, it is best to refer readers to the work named for fuller information.

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.

[Ill.u.s.tration: West Front of the Cathedral.]

In Britton's "History of Norwich" is a drawing which is reproduced at p.

15. It will be seen that the turrets at each side of the west window are shown finished with stone cupolas, the tops of which were level with the apex of the gable. The two outside flanking turrets are shown finished by circular drums above the parapet, and covered with leaden cupolas; these, with the Perpendicular battlements, were probably added as the mask before referred to, and necessitated by the imposition of an additional storey at the triforium level. Certainly the west front, as shown then, was better far than now. However, in 1875, "_restoration_"

set in, and these cupolas were removed, and stone "pepper-box" pinnacles imposed on the turrets in their stead. The gable was restored, and the character of the work wholly destroyed, crocketted where before plain, and the niche added in the place of the small light over the vault shown in Britton's plate. In the side compartments the Perpendicular battlementing was removed and the round cannon ball holes gratuitously inserted.

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 (1446-72), 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 b.u.t.tresses. 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 (1121-45) 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.

[Ill.u.s.tration: The Clerestory and Triforium of Choir (South Side).]

#The South Transept# projects boldly forward from under the tower; without aisles, its ridge and parapet correspond in height to those of the nave; this narrowness, with the tower and spire showing over behind, gives it an appearance of height, as approached from the lower close. This effect of height is emphasised by the part.i.tion of the design in its width, by flat Norman b.u.t.tresses, with shafts in the angles, and by the flat faces of the flanking turrets. The work, however, is without interest, from the fact that, though the _ensemble_ in some measure has been retained, the whole of the exterior face of the stonework was re-cased by Salvin, 1830-40, during which period various restorations were effected. Before these alterations, the Norman flanking turrets finished with a "Perpendicular" battlementing, enriched with shields and quatrefoils, and with crocketted pinnacles set at the four angles; this battlementing was removed, and the present uninteresting pepper-boxes took their place. No doubt they have it in their favour that they _may_ be more like the original Norman terminations than were those they replaced, which were, however, real "Perpendicular," and these are only sham Norman. Originally, from the eastward side of the south transept, projected a semi-circular chapel, shown on plan by dotted lines, and corresponding to that still remaining on the north side of the cathedral. It was part of the original plan, and though we believe no record exists of its destruction, it can safely be premised that its fate came about through the _cultus_ of the saint to whom it was dedicated declining, and consequent neglect and ruin following made its destruction cheaper than its reparation. It was replaced by a sacristy in the fifteenth century, the lines of roof to which can still be seen over on the stonework. This later sacristy was destroyed by the fire of 1509, that burned as well the wooden roofs of the transepts, and necessitated the stone vaults added by Bishop Nykke.

#The Diocesan Registry Offices# now occupy the s.p.a.ce on which once stood the Norman chapel, and later the Sacristy.

The building projecting eastward, south of this s.p.a.ce, and marked A on plan, was once a chapel, said by Blomefield to have been dedicated to St. Edmund. It is now used as the #Dean's Vestry# in the lower storey, and as the #Chapter Clerk's Office# in the upper.

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 s.p.a.ce 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.

#The Tower and Spire# mark the crossing of the choir and transepts, the tower only being Norman, and square on plan, with flat Norman b.u.t.tresses, covered with vertical shafts on the face of each. These b.u.t.tresses start from the level of the parapets to Nave, Transept, and Presbytery, and rise right up until, well over the parapet of the tower, they are finished by crocketted pinnacles. Between these b.u.t.tresses are horizontal bands of design: the lowest, a Norman arcade of nine arches, three of which are pierced as windows; then, above this, a smaller wall arcade with interlaced arches; and then, above again, the princ.i.p.al feature, an arcading of nine arches, three pierced for windows, and the others filled with wall tracery of diamonds and circles; then, between this last and the battlemented parapet, occur five vertical panels, each comprising two circles, the upper pierced for a window. Above, soaring upward, rises the later crocketted spire. Herbert, the founder, provided the foundations of tower, and probably carried up the walls to the level of the nave roof; the rest of the tower was finished during the reign of Henry I., and is a beautiful specimen of the work of that time; but here again our sentiment and sympathy experience a shock when we learn that the stonework was almost entirely refaced in 1856. The tower was crowned by a wooden spire from 1297; this was blown down in 1361, and probably brought away in its fall some part of the Norman turrets of the tower.

It fell eastward, damaging the presbytery so badly that the clerestory had to be rebuilt. The wooden spire was reconstructed probably at the same time, though no record exists of such work, and the present Early Perpendicular turrets were added. The spire, we know, was again overtaken by misfortune in 1463, when it was struck by lightning, and again falling eastward, went through the presbytery roof. The present spire was then constructed in stone by Bishop Lyhart (1446-72), and was finished by his successor, Bishop Goldwell (1472-99), who added the battlements.

[Ill.u.s.tration: The Tower in 1816.]

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 b.u.t.tressed 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 b.u.t.tresses, comes the transitional Decorated to Perpendicular clerestory, considerably higher than the original Norman clerestory remaining to the nave. At the base of each flying b.u.t.tress 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 b.u.t.tresses to take the thrust of the vault.

The battlementing to the presbytery also was added at the same time as the flying b.u.t.tresses.

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 Chapel of Saint Luke#, marked C on plan, flanking the south side of the apse, was much restored in the sixties; in Britton's "Norwich,"

published in 1816, late "Decorated" windows are shown; these were replaced by _modern_ Norman. Its form is peculiar; on plan, that of two circles interpenetrating. On elevation, in the lower stage, are the modern Norman windows, with shafts in jambs, over which occur two tiers of arcading, in the higher of which window openings are pierced. The position of the Norman Lady Chapel is shown by dotted lines, as well as the rectangular shape of the Early English chapel built by Walter de Suffield (1245-57) about 1250. The line of the roof of the later chapel can still be seen plainly traced on the stonework over the arches which once gave entrance to it. This later chapel was destroyed by Dean Gardiner in Queen Elizabeth's reign. The foundations of both chapels have been laid open quite recently but a few feet under the level of the garden.

[Ill.u.s.tration: Exterior of the Chapel of St. Luke from the East.]

#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.

The details of the fabric on the north side are essentially the same as those described to the south side of cathedral; though here the work has been less restored, and consequently is of more interest to the student.

The original Norman chapel, now used as a store-house, projects eastward from the north transept; a corresponding feature occurred in the south transept, but has long since vanished.

#The Bishop's Palace# stands to the north of the cathedral, and was formerly connected with it by a vaulted pa.s.sage, Herbert, the founder, built the first palace, of which portions are incorporated in the present building. Bishop Salmon (1299-1325) in 1318, according to the patent rolls of the twelfth year of the reign of Edward II., obtained licence to buy a piece of land 47 perches 4 feet in length, and 23 perches 12 feet in breadth, to enlarge and rebuild thereon the palace of Herbert. He also built a chapel, and the great hall, measuring 120 feet from north to south, and 60 feet wide, with kitchen, b.u.t.tery, and offices at the west end. The grand ruin somewhat to the east of the palace now is supposed to have formed part of the entrance to this hall.

It was, however, too large to keep up, and so was leased by Bishop Nykke, just before his death in 1535 to the mayor, sheriff, and citizens, so that the Guild of S. George might hold their annual feast there. Later on it became a meeting-house. The present private chapel of the bishop was built by Bishop Reynolds in 1662 across part of the south end.

To the north of the nave of the cathedral, and on the west side of the palace, was an open area called the _green-yard,_ and in Sir Thomas Browne's "Works," vol. iv. p. 27 (London, 1835) is an account of the _combination sermons_ which were preached here in the summer prior to the Reformation.

"Before the late times the combination sermons were preached, in the summer time, at the Cross in the Green Yard where there was a good accommodation for the auditors. The mayor, aldermen, with their wives and officers, had a well-contrived place built against the wall of the Bishop's palace, covered with lead, so that they were not offended by rain. Upon the north side of the church, places were built gallery wise, one above another, where the dean, prebends and their wives, gentlemen, and the better sort, very well heard the sermon: the rest either stood or sat in the green, upon long forms provided for them, paying a penny or half-penny a-piece, as they did at S. Paul's Cross in London. The Bishop and chancellor heard the sermons at the windows of the Bishop's palace: the pulpit had a large covering of lead over it, and a cross upon it; and there were eight or ten stairs of stone about it, upon which the hospital boys and others stood. The preacher had his face to the south, and there was a painted board of a foot and a half broad and about a yard and a half long hanging over his head, before, upon which were painted the names of the benefactors towards the Combination Sermon which he particularly commemorated in his prayer...."

On the north side of the cathedral, in the seventh compartment of the aisle from the west end, the walled-up entrance to the _green-yard_ is to be noticed.