CHAPTER III.

THE INTERIOR.

#The floor levels.#--The Church of St. Alban is built so that its axis points considerably to the south of east, a thing that would hardly have been expected, seeing that the sun rises as far to the north of east as it ever does on St. Alban's Day, June 22nd. The orientation of the church may have been due to the fact that no great attention was paid to it by the builders, or it may have been due to the natural slope of the ground, which would have made the building of the church difficult had the east end been swung round further to the north where the ground is higher, and the west end to the south-west where it is lower; even as the church was built the slope of the ground has had its effect on the floor levels. These have been modified from time to time; to describe all the changes would take too much s.p.a.ce, but it may be interesting to state the differences of level that exist at the present day.

On entering by the west door a peculiarity will at once be noticed.

About fifteen feet from the inner side of the west wall there is a rise of five steps which stretch right across the church from north to south.

The floor to the east of these steps slopes imperceptibly upwards for eight bays, when a rise of three more steps is met with. On this higher level stands the altar, which is backed up by the rood screen. There is another step to be ascended to the level of the choir, and another to reach the s.p.a.ce below the tower. Five steps lead from this into the presbytery; there is another step at the high altar rails, and four more lead up to the platform on which the high altar will stand. From the s.p.a.ce below the tower one step leads up into the north aisle and two more into the north arm of the transept. From the level of the south choir aisle and south transept two steps lead up into the south aisle of the presbytery; from this aisle there is a rise of four steps into the aisle south of the Saint's Chapel, and from this into the chapel itself a rise of four more. So that the floor of this chapel is, with the exception of the high altar platform, which is one step higher, the highest in the whole church, or nineteen steps above the floor just inside the west door. From the aisle of the Saint's Chapel one step leads into the retro-choir, and two more into the Lady Chapel; hence the floor of the Lady Chapel is one step lower than that of the Saint's Chapel. If we take seven inches as the average height of a step, it would appear that the floor of the Lady Chapel is about ten feet higher than the floor at the west end of the nave.

As we stand just inside the west door of the church we are struck by the length of ritual nave, about 200 feet, the flatness of the roofs, and the ma.s.siveness of the arcading dividing the nave from the aisles; for, though the four western bays on the north side and five on the south are Early English in date, there is none of that lightness and grace that we are accustomed to a.s.sociate with work of this period, no detached shafts of Purbeck marble such as we see at Salisbury, no exquisitely carved capitals such as we meet with at Wells. William of Trumpington seems to have aimed at making his work harmonize with the Norman work that he left untouched; and when the rest of the main arcade on the south side was rebuilt in the next century, it was made to differ but little in general appearance and dimensions from Abbot William's.

The vertical proportions of the nave elevation are very fine. If the whole be divided into nine equal parts, four of these are occupied by the main arcade, two by the triforium, and three by the clerestory. The view eastward is often closed by a dark red curtain that hangs behind the organ, which stands in a gallery behind the rood screen. The screen divides the congregational nave from the three eastern bays of the architectural nave, which form the western part of the ritual choir.

When the curtain is drawn aside we get a view of the tower arches and more of the length of the church is seen. It is to be hoped that no attempt to move the organ will now be made, as some, no doubt, would suggest, in order to get a more open vista; for the organ stands just where it can be used equally well for a service either in the nave or choir, and its sound can be heard with more effect than if it were stowed away on either side of the church. The longest view of the church which can be obtained is to be seen by standing at the extreme west end of the south aisle, from which, when a draught-excluding curtain that hangs across the aisle just to the east of the transept is drawn aside, the view extends as far as the east window of the retro-choir, distant about 440 feet from the western wall, that is, about one-twelfth of a mile. A better idea of the enormous length of the whole building is given by saying that it is about a tenth of a mile long, rather than by giving its length in feet.

[Ill.u.s.tration: BASE OF INCOMPLETE PIER.]

At the extreme west of the nave, on the north side, will be seen the base of what was intended for an Early English pillar, probably John de Cella's work, for provision is made for the slender detached columns of Purbeck marble, the intended use of which his successor abandoned. An inscription beneath the west window records the fact that when pestilence prevailed in London in the reign of Henry VIII., and again in that of Elizabeth, the courts of justice were held in the nave. This took place in the years 1543, 1589, and 1593.

[Ill.u.s.tration: PLAN OF PIER.]

On the second pier on the north side is an inscription to the memory of Sir John Mandeville, who was born at St. Albans early in the fourteenth century, and educated at the monastery school. He studied medicine and set out in 1322 for his famous travels, professing, in the account which he published in French in 1357 in Paris, to have visited not only every part of the south of Europe, but many parts of Asia, even China. It is not known where he was buried, whether in England or abroad, and the statement of the Latin inscription on this pillar that he was buried in this church cannot be regarded as more trustworthy than most of the statements in the book of travels.

[Ill.u.s.tration: ARCADE ON NORTH SIDE OF NAVE.]

[Ill.u.s.tration: EASTERN PART OF NORTH SIDE OF NAVE.]

The first four bays on this side are thirteenth-century work. The junction of this with the earlier Norman work is of the most curious character: the Norman pier was cut off level, a short distance below the impost, and on the top of this three courses of the Early English pier were laid. Why the Early English pier was not carried down to the ground, in a way similar to that, in which the easternmost Early English pier on the south side is carried, we cannot tell. It has been conjectured that some special sanct.i.ty attached to the statue which stood on the bracket, which may still be seen on the western face of this pier. It will be noticed how plain is the plan of the Norman piers (see ill.u.s.tration, p. 37). They have no capital, only a projecting course of brickwork from which the arch springs. The two easternmost piers, however, were altered at some time (see ill.u.s.tration, p. 39), and a rough kind of capital formed by cutting away the pier below. The Norman piers were first covered with plaster, and then painted both on their western and southern faces, and when the white-wash with which they had been covered in post-Reformation days was removed in 1862, the frescoes were discovered in a more or less perfect condition. All those on the western faces with one exception, represent the same subject, the Crucifixion, with a second subject below. No doubt against these piers altars used to stand, and these frescoes served, as we should say, as painted reredoses or altarpieces.

The subjects are as follows, beginning at the west of the Norman arcade:

First pier, west face. Christ on the Cross, crowned; the Virgin on the north side, St. John on the south, holding a book. Beneath, Virgin (crowned and holding a sceptre) and Child; on each side an angel censing. Late twelfth or early thirteenth century.

South face. St. Christopher. Fourteenth century.

Second pier, west face. Christ on the Cross; the Virgin with clasped hands on south side, St. John on north. Beneath, Virgin and Child under a canopy. Early thirteenth century.

South face. Archbishop Becket. Fourteenth century.

Third pier, west face. Christ on the Cross; the Virgin on the south side, St. John on north, resting his head on his hand.

Beneath, under a pointed arch, the Annunciation. This is in outline only. Fourteenth century.

South face. A woman in a blue gown holding a rosary in her left hand, possibly St. Citha (Osyth). Fourteenth century.

Fourth pier, west face. Christ on the Cross. Beneath, the Annunciation. A rude painting of the thirteenth or fourteenth century.

South face. A pilgrim and slight traces of another figure. The subject is supposed to be either Edward the Confessor relieving St. John disguised as a pilgrim, or St. John giving a ring to a pilgrim. Fourteenth century.

Fifth pier, west face. Christ on the Cross, much draped; the Virgin and St. John with red background. Beneath, the Coronation of the Virgin. Fourteenth century.

South face. This was once painted, but not enough remains to allow the subject to be made out.

Sixth pier, west face. Christ in his Glory; very slight traces only.

[Ill.u.s.tration: NORTH NAVE ARCADE: WESTERN END.]

Besides these figure subjects painted on the piers, the soffits of the arches were decorated with colour, some of which still remains.

Although in the four western bays of the main arcade the Early English work is very plain, yet the triforium is ornate. The arcading consists of two pointed arches in each bay, each comprising two sub-arches; the supporting columns are slender and enriched with dog-tooth mouldings, with which also the string-course below the triforium is decorated. The shafts, which probably were intended to support a stone vault over the nave, should be noticed.

This ill.u.s.tration also shows the character of the clerestory. The triforium over the Norman main arcade consists of large, wide-splayed, round-headed openings, in which the tracery and glazing introduced in the fifteenth century, when the aisle roof was lowered in pitch so as to expose the north side of the triforium to the sky, still remains. One of the triforium arches, namely, the third from the tower, was simply walled up at this time, and so retains its original form. The clerestory in this part of the church consists of plain, round-headed openings.

Between each bay the outer southern face of each Norman pier is continued in the form of a flat pilaster b.u.t.tress up to the roof.

[Ill.u.s.tration: SOUTH NAVE ARCADE, SHOWING THE JUNCTION OF THIRTEENTH AND FOURTEENTH-CENTURY WORK.]

The rood screen behind the altar, which is sometimes erroneously called St. Cuthbert's screen, is of fourteenth-century work, but much restored, and is pierced by two[6] doorways, which were used when processions pa.s.sed from the nave into the choir. The doors themselves are fourteenth-century work. Against this screen once stood three altars.

The northern one was dedicated to St. Thomas of Canterbury and St.

Oswyn, King of Northumbria; the central one to the Holy Apostles, the confessors, and St. Benedict; and that on the south to St. Mary. These once stood against the western faces of the Norman piers of the south arcade of the nave, which fell in the fourteenth century. These piers doubtless corresponded with those we still see on the north side, and were probably similarly decorated with frescoes. The south arcade at its eastern end differs entirely from that on the north. This part of the church was rebuilt after the fall of part of the Norman arcade. The five Early English bays to the west are divided from the Decorated ones to the east by a ma.s.sive pier, generally supposed to be Norman, but probably rebuilt. The northern face of this runs up as a pilaster b.u.t.tress to the roof; the string round it in continuation of that below the triforium is carved with tooth ornament. West of this we have tooth ornament, to the east the characteristic ball flower. The junction of the two styles is shown in the ill.u.s.tration below, from which it will be noticed that, though there is a general resemblance in the bays on either side of the dividing pilaster, yet the details are different. To the east we see shields below the triforium string, and heads at the termination of the hood moulding. The head shown in this photograph is possibly that of Master Geoffrey, master mason to Abbot Hugh of Eversden; the others pa.s.sing on to the east are probably those of Edward II., Queen Isabella, and Abbot Hugh. The shields, also counting from the west, are those of England, France, Mercia, England, Edward the Confessor, and England. The hood mouldings of the triforium and clerestory also terminate in heads, some of them grotesque. The Decorated piers were found by Lord Grimthorpe in a very unsound condition, not on account of any defect in the foundation, but on account of the bad mortar in which their rubble cores had been set. This had become dust, and tended to burst out the ashlar casing: this sh.e.l.l was indeed doing all the work of supporting the weight resting on the piers. Lord Grimthorpe sh.o.r.ed up the arches, and in large measure rebuilt the piers of larger stones. He says: "It took no small trouble and scolding to get these worked as roughly as the old ones, so as to make the work h.o.m.ogeneous and bewilder antiquaries." This sentence shows the false principles on which Lord Grimthorpe sometimes worked; necessary repairs should never be executed with a view to make the work appear as old as that the place of which it takes.

[6] This was the original Benedictine arrangement, which is said to remain in this church and Westminster Abbey only.

The pulpit against the fourth pier on the north side, counting from the rood screen, is new, decorated with pentagonal diaper work--pentagons being apparently particularly attractive to Lord Grimthorpe.

#The Organ.#--The present organ when first built in 1862 was placed in the north arm of the transept, where the previously used organ had stood; in 1877 it was moved to the north-east corner of the nave; and was again moved in 1882, being then placed where it now is. In 1885 it was enlarged by Lord Grimthorpe, and the key-board was placed at the south end, so that the organist might command a view of the choristers, whether they were singing in the nave or in the choir. It is considered a fine and powerful instrument, and no better position in the church could be found for it.

[Ill.u.s.tration: SOUTH AISLE OF NAVE FROM EAST.]

#The South Aisle.#--At the western end of the south wall of this aisle may be seen the remains of an arch which was intended to lead into the south-west tower. Above it, high up, is a single-light window. The next three windows, of two lights each, with Decorated tracery, were inserted by Lord Grimthorpe in the blank wall; the next window probably dates from the seventeenth century. The windows in the next five bays come down on the inside to a much lower level than those to the west (see ill.u.s.tration, p. 43), but the bottom of the gla.s.s was kept high so as to be above the roof of the north walk of the cloister, which rested against the wall of these bays. Two of these windows contain modern gla.s.s, one being inserted to the memory of the present Dean's father.

There was once a door in the second bay from the west, which probably was used for processions, and in the seventh bay was a small door opening into the cloister, from which a pa.s.sage in the thickness of the wall led up by a flight of steps into the Abbot's chapel. This opening has been converted into a muniment room, and is closed by an iron door leading from the aisle. The vaulting of the western part is of stone, and was erected by Sir Gilbert Scott in 1878. The vaulting of the eastern part is fourteenth-century work erected at the time of the reconstruction of this part of the church in Decorated style, and is only plaster.

Against the south face of the large pier, at the junction of the Early English and Decorated bays, once stood an altar dedicated to our Lady of the Pillar, with a painting of the Adoration of the Magi above it. Iron railings inclosing the s.p.a.ce between this pier and the next to the west formed a chapel set apart for the use of the Guild of St Alban. This guild was founded in the reign of Edward III., but dissolved at the time of Wat Tyler's rebellion. It was the duty of the brethren of this guild to follow the shrine containing the relics of St. Alban whenever it was carried outside the church.

[Ill.u.s.tration: HOLY WATER STOUP.]

#North Aisle.#--At the west end of this aisle the beautiful though much restored holy water stoup should be noticed. A semicircular arch crosses this aisle, springing from the pier where the Early English and Norman work join (see ill.u.s.tration, p. 47). The roof is of timber with only a slight slope, built in 1860. The first four windows from the west are new, inserted by Lord Grimthorpe in the new wall which he built here.

The other windows have new tracery, but the internal parts remain as William of Trumpington left them. Some old gla.s.s (fifteenth century) is to be seen in the eighth, ninth, and tenth windows of the aisle. The font, a modern one, stands at the east end of this aisle. It took the place in 1853 of a marble one, now in the workhouse chapel. There was once a brazen one brought as spoil from Dunkeld in Scotland, together with the lectern now in St. Stephen's Church; but this font disappeared during the civil wars. The continuation of the screen across the north aisle is due to Lord Grimthorpe. His object was to form a vestry out of that part of the north aisle that lies along the north side of the choir as far as the transept. On the south side he merely erected a glazed wooden screen with a door, through which visitors pa.s.s to enter the eastern part of the church.

[Ill.u.s.tration: NORTH AISLE OF NAVE.]

It may be asked, of what use could the vast nave be to a monastery like that at St. Albans, which does not seem to have contemplated the admission of the laity to its services? The monks' services were chaunted in the choir: the people had the parish church of St. Andrew for their use, in which, however, the priests of the Abbey officiated.

But we must remember that in mediaeval times, on Sundays and on other great festivals, grand processions formed part of the ritual. The monks, leaving the choir, perambulated the church. The general order of the procession was probably as follows: the north arm of the transept, the north aisle of the presbytery into the Saint's Chapel, thence back into the aisle round the ambulatory or retro-choir, through the south presbytery aisle into the south arm of the transept, through the Abbot's door into the cloister, along the east, south, and west alleys back into the church by the blocked-up door in the south wall, up the nave, and through the two doors of the rood screen into the choir.

On special occasions it was customary for the shrines or feretories containing the relics of the saints--in this Abbey those of St. Alban and St. Amphibalus--to be removed from the pedestals on which they stood, and carried in solemn procession round the church and sometimes even outside it. For such ceremonials the naves were needed. It was also to allow for these processions pa.s.sing round the church that the ambulatory was built leading round the back of the high altar. The idea of holding _ordinary_ services for the laity in the nave is an entirely new idea, and however desirable they may be, yet they have led in modern days to the introduction into the building in some places of benches or seats like those of parish churches, and in others to the introduction of chairs, either of which additions considerably detracts from the architectural effect of the building. But though in early times the laity had not in all churches regular access to the building, yet it appears that they were some times admitted even in those churches that as a rule excluded them. For we find it recorded that a great number both of men and women were in the nave of St. Albans for the purpose of hearing Ma.s.s and praying at the time when the Norman piers on the south side of the nave fell in 1323.

#South Choir Aisle.#--Pa.s.sing through the door mentioned above, we enter the aisle which, since it runs alongside of the ritual choir west of the crossing, is known as the south choir aisle. In this part of the church the Norman work of Abbot Paul remains. The aisle, however, was vaulted in stone by Lord Grimthorpe. In the south wall is a recessed tomb, where two celebrated hermits, Roger and Sigar, were buried, and which was at one time a popular place of pilgrimage. In the recess now stands a stone coffin, but who originally occupied it there is nothing to show. Many of these would be found if the monks' cemetery were excavated, as after the twentieth Abbot, Warin (1183-1195), had issued his new orders regulating burial, all the monks were buried in coffins of stone. Roger the Hermit was a monk of St. Albans, a deacon; but though as monk he rendered obedience to the Abbot, he did not live within the precincts, for on one occasion as he was returning from Jerusalem three holy angels met him, and led him to a spot between St. Albans and Dunstable, called Markyate, when it was intimated to him that he should live the life of a hermit.

Many were the trials and temptations he endured, many the combats he fought with the arch enemy of mankind. Once the prince of darkness even set the hermit's hood on fire, but the holy man was not disturbed, nor did he cease his prayers. In course of time a holy virgin of Huntingdon, Christina, came and occupied a cell in the immediate neighbourhood, and received religious instruction from Roger; here she endured many privations and mortified her body, bearing patiently the diseases brought on by her austerities. In time Roger, at the summons of G.o.d, quitted the world and went the way of all flesh, and his body was buried in the arched recess made for its reception. Christina still lived on.

One day the Lord Jesus Christ appeared to her in the form of an infant, and abode with her for the s.p.a.ce of a whole day; from that time forward no more temptations a.s.sailed her, and she was filled with the spirit of prophecy and wrought many notable miracles. She took the Abbot Geoffrey under her special care, advising him in matters of difficulty and reproving him when he did amiss. She was the first Prioress of the Benedictine Cell of Markyate, 1145.