Bell's Cathedrals: The Cathedral Church of Chichester (1901) Part 3

Another drawing [26] which was made some time after 1829 shows the choir looking east towards the reredos. It is a careful study, and is of peculiar interest, since it is a record of many features now entirely removed. The early reredos appears still in its place, but the upper portion of it is gone. This was a gallery which was accessible from either triforium, across which boys early in the century used to run races by starting up the staircase in one aisle and down that in the other. The absence of the gallery in the drawing shows that it was made after 1829, the year in which the gallery was removed. The "glory" which was added to the reredos during the eighteenth century appears just above the altar. On the south side of the choir are some spectators in the gallery above the stalls. There were also at this time other galleries on the north and south of the sanctuary, and above the arch on the east side of the north arm of the transept was a gallery too. To this last there was access from the staircase that led to the chamber above the east chapel of the transept close by. These drawings show what the interior of the church was like up to the time when that extraordinary revival of activity in matters ecclesiastical began in the nineteenth century.

[25] See ill.u.s.trations, pp. 33 and 125.

[26] Supposed to be by Carter, an architect of Winchester.

Like other churches, that at Chichester felt the sting of controversy in unnecessary vandalism. But it may be admitted that destruction, like a storm, carried at least some virtue in its clouds. In attempting to sweep away the acc.u.mulated refuse heaped within the building, some precious things fell before the broom of zealous furnishers, and were lost for ever in the dust raised by this new cleansing dream.

[Ill.u.s.tration: THE NAVE, ABOUT 1836. _From Winkles's Cathedral Churches_.]

The removal of the gallery above the old fifteenth-century reredos in 1829 was the beginning of a serious attempt to repair, restore, and reanimate the fabric. This revival of faith began to try to do good works--but not always with discretion, not always with knowledge, wisdom, and taste. Here was rash ardour, often without the hesitation of true reverence.

[Ill.u.s.tration: THE RETRO-CHOIR AND REREDOS, ABOUT 1836. _From Winkles's Cathedral Churches_.]

It is certain the building was not all it should have been when these works were begun; it is not what it might have been had some of them been deferred. Consequently any ill.u.s.trations which show its condition before the middle of the nineteenth century are of interest and value to those who would know what changes have been made.

In Winkles's essay on Chichester, in his "Cathedrals of England,"

published between 1830 and 1840, are many beautiful drawings of the fabric. There is one which shows the Arundel screen still in its original position with the organ above it; and in another the complete design of the back of the reredos appears. These careful studies of the building, which were made before it became so changed by the removal of its best remaining treasures, help to convey some idea of what the place was before it was so radically "restored."

None of the drawings, however, show any of the beautiful decorations of the vaults, for all this had been smeared over with a dirty yellow wash about 1815, which earned for the church the name of "the leather breeches cathedral." And when, later, the plaster on the stone-filling between the ribs was removed, the paintings were utterly obliterated for ever, excepting only the small portion remaining in the lady-chapel bearing the Wykeham motto upon a scroll. But this recital is but a prelude to the changes that were to follow. The energy of revival found expression in many ways, and English architecture suffered sorely at the hands of ardent ignorance. But the very desire to deal well with the fabrics of our churches that were to be repaired taught men to study closely the facts of archaeology. The studies had a practical end, and at Chichester they found their opportunity in the cathedral.

But first a new church of S. Peter was built in West Street in 1853, so that the north arm of the transept should no longer be used as it had been for about four hundred years. Then not long afterwards Dean Chandler, at his death, left a large sum to be used for the purpose of decorating the cathedral. To this sum other funds were added. The need that more s.p.a.ce should be provided for the congregation arose, and to satisfy this it was decided that the choir should be opened out to the nave. Consequently, in 1859 the work of decoration was begun by the removal of the Arundel screen with the eighteenth-century organ above it--one of the most beautiful remnants of the art of earlier days that remained in the cathedral. The object of this act was most admirable, but it involved in addition the destruction of the fourteenth-century "return" stalls which were on the eastern face of the doomed screen.

In taking down the screen, or shrine, all the stones composing it had been carefully numbered, with the intention that it should be rebuilt in a new position. But although these materials are still wantonly distributed about the cathedral and precincts, no attempt has been made to use them again, either as a screen or as an evidence to show by contrast that the result has justified the change. Its removal was the beginning of a series of alterations, both by accident and design.

The old reredos, that quiet and beautiful witness of things so sacred and some so profane, was torn away. The whole of the choir was to be rearranged. But when the piers of the central tower were exposed by the removal of the screen, it was discovered that they were in a precariously rotten condition at the core. Other indications of weakness, which had been overlooked before, were now observed. Large and deep cracks and various earlier signs of apprehended weakness both in arches and piers were remarked. That the work now begun had given impetus to the fall has been denied on excellent authority, and to discuss such a question at this time is useless. The serious trouble now was that the whole tower with the spire was rapidly settling on its base. Every method that could be used was tried in order to save the piers. They were propped up with sh.o.r.es, and the arches held up with centres, while new masonry was bonded into the older work. But the labour availed nothing, for towards the end of the year 1860 matters had developed seriously.

"Old fissures extended themselves into the fresh masonry, and new ones made their appearance.... But in the next place, the walling began to bulge towards the end of January 1861, first in the north-west pier, and afterwards in the south. Cracks and fissures, some opening and others closing, and the gradual deformation of the arches in the transept walls and elsewhere, indicated that fearful movements were taking place throughout the parts of the wall connected with the western piers."

On Sunday, February 17th,

"the afternoon service was performed in the nave of the cathedral, as usual, but ... was interrupted by the urgent necessity for shoring up a part of the facing of the south-west pier.... On Wednesday, crushed mortar began to pour from the old fissures, flakes of the facing stone fell, and the braces began to bend. Yet the workmen continued to add shoring until three hours and a half past midnight."

Next day the effort was resumed before daybreak; but by noon

"the continual failing of the sh.o.r.es showed, too plainly, that the fall was inevitable."

Just before half-past one

"the spire was seen to incline slightly to the south-west, and then to descend perpendicularly into the church, as one telescope tube slides into another, the ma.s.s of the tower crumbling beneath it. The fall was an affair of a few seconds, and was complete at half-past one."

Such, briefly, is the record of the fall, which so admirably has been related by Professor Willis, from whose work these extracts have been taken.

Sir Gilbert Scott, [27] after the central tower had collapsed, was consulted concerning its reconstruction. He examined the remains; and by the great care his son Gilbert exercised in labelling and registering all the moulded and carved stone that was discovered in the debris, the new tower and spire was designed upon the pattern of the old one. Old prints and photographs were used to help in this work of building a copy of what had been lost. But this task could not have been done had it not been that Mr. Joseph Butler, a former resident architect and Surveyor to the Chapter, had made measured drawings of the whole, which supplied actual dimensions that otherwise could not have been recovered. These drawings had come into the possession of Mr. Slater, the architect a.s.sociated with Sir. G. Scott in the rebuilding of the tower, and they enabled him

"to put together upon paper all the fragments with certainty of correctness: so one thing with another, the whole design was absolutely and indisputably recovered. The only deviation from the design of the old steeple was this. The four arms of the cross had been (probably in the fourteenth century) raised some five or six feet in height, and thus had buried a part of what had originally been the clear height of the tower, and with it an ornamental arcading running round it. I lifted out the tower from this encroachment by adding five or six feet to its height; so that it now rises above the surrounding roofs as much as it originally did. I also omitted the partial walling up of the belfry windows, which may be seen in old views." [28]

[27] See "Recollections," p. 309. Edited by his son, 1861.

[28] _Ibid._, p. 310.

These statements have been taken from Sir Gilbert Scott's own account of the work. He further a.s.sures us that many portions of the original moulded and carved work were re-fixed in the new tower. As we have now in existence so careful an imitation of the former tower, all praise is due to Sir Gilbert Scott, Mr. George Gilbert Scott, and Mr. Slater, for the admirable way in which they co-operated, so that their care has given to posterity this admirable instance in which a lost specimen of architectural art has been reproduced by successful copying. But the satisfactory nature of the work is chiefly due to the preservation of those careful studies of the original which were made by Mr. Joseph Butler.

In 1867 the wall enclosing the library in the lady-chapel was removed, and three years later, with the consent of the Duke of Richmond, the floor was lowered to its original level and the chapel restored in memory of Bishop Gilbert. Soon afterwards the windows were provided with new stained gla.s.s.

During the last half of the nineteenth century several small portions of the building were repaired, restored, or rebuilt. The cloister was carefully restored by the late Mr. Gordon M. Hills. More recently the roof of the lady-chapel, the two eastern pinnacles of the choir as well as those two lower ones to the chapels of S.M. Magdalen, and S.

Catherine, have been restored by his son Mr. Gordon P.G. Hills, A.R.I.B.A., with much care and consideration for the fabric of which he is the surveyor. The latest act affecting the history of the building has been the addition of a new north-western tower to take the place of the unsightly rents and wreckage that have disfigured and helped to destroy the structure at that part during the last two hundred years. It was designed by the late Mr. J.L. Pearson, R.A.

[Ill.u.s.tration: SOUTH WEST VIEW OF THE CATHEDRAL FROM THE GARDEN OF THE BISHOP'S PALACE. _Photochrom Co., Ltd., Photo_. ]

CHAPTER II.

THE EXTERIOR.

As a design, the west front offers four important parts for observation; these are the two towers, the west wall of the nave proper, with the gable and the windows which compose it, and then the porch.

The #Towers# are now similar. The upper stage of that on the north is an imitation, as far as possible, of the same section of the other tower which was built in the thirteenth century. In its third stage some differences are introduced. The masonry of the new work is executed so as to carry on the courses of the old stonework that attach it to the rest of the front. The new work has followed the custom of the older and better traditions of the stonemasons, in that it has been left strictly as it was finished by the tool upon the "banker." The natural and simple texture imparted by the action of chiselling leaves a character upon the stonework similar to that of the earlier work.

The upper portion of the new north-west tower [29] being copied from that part of the old one to the south, it will be enough to describe the original. But first it is necessary to notice the lower stage of the southern tower. The b.u.t.tressing on the south angle is of a later date than the rest of this section of the tower. It has a low weathered base. The central part of it has its projection at the base reduced when it reaches its summit by means of three steep sloping weatherings. There are also openings in the b.u.t.tress for the staircase windows. The two lower windows of the west front in this tower are not placed in the same vertical line. This peculiarity has been followed in the new tower. The upper of these two windows is pointed, and has no label-mould. But the angle shafts that carry the arch have carved capitals and square-moulded abaci. Above the head of the pointed window the tower changes in character. The b.u.t.tresses run up to the top as broad, flat surfaces, except that the northern one is slightly weathered twice. The coupled windows are more deeply recessed, having three orders of moulded arch-stones instead of the two, as in the lower window of a similar date; and the arch is carried by three shafts attached as parts of the jamb-stones. The windows have label-moulds over them, and the abaci of the capitals are carried across the b.u.t.tresses on either side as a string-course. By this means the lines of the composition are continued horizontally, notwithstanding the interruption by the openings in the walling. These are now glazed as windows; but they were originally open, as some bells once hung in the tower at this level.

[29] By the late J.L. Pearson, R.A., and completed by his son.

[Ill.u.s.tration: THE NORTH-EAST ANGLE OF THE SOUTH-WEST TOWER. _S.B.

Bolas & Co., photo_.]

The west end of the nave has six windows grouped in it above the porch. The two upper ones are small and close up under the gable coping. This latter is simply chamfered and capped with a modern cross. The windows are arched in two orders. The inner order has a plain, straight chamfered moulding; and the outer, a hollow chamfered one. The label-mould and the capitals of the attached shafts in the jambs are a little later in design than the windows themselves. A moulded string-course separates the point of the large west window from those above it; and from the level of this string-course up to the coping of the gable the whole surface of the wall is covered with a diagonal pattern of incised diapers.

The West Window is entirely modern, but copied from fourteenth-century examples with some success. It has five divisions between the jambs and mullions. The central one is larger than those on either side. The upper part is filled with geometrical tracery.

Below the west window are three other windows grouped together. They are at the triforium level, where they were probably inserted before the middle of the thirteenth century; but they have been restored at various times since then.

The #West Porch# is a comparatively simple structure. It rises from the ground with a deep weathered base. At the top of the walls is a plain weathered coping, which overhangs about one inch. The simple, but extremely well designed, b.u.t.tresses at the north and south angles add much interest to it as a composition artistically and as a study in structure. The small, straight b.u.t.tresses on the west are only weathered once, and this at the top; but those on the north and south sides are different. There is a broad central b.u.t.tress weathered twice from the base to its top, and in the angle on either side of it are what appear to be two lower, smaller b.u.t.tresses, with one weathering slope. The probability is that there was only a small b.u.t.tress here at first, and that the larger one on either side was added by being built over the shallower, broader, and shorter one.

[Ill.u.s.tration: WALL-ARCADE IN THE WEST PORCH. _S.B. Bolas & Co., photo_.]

These b.u.t.tresses have been placed here in order to counteract the thrust of the large, deeply-set covering arch over the entrance to the porch. This arch is of interest, as it has but a slight label; and then the outside angle of the soffit only is moulded, the rest being recessed both at the jambs and in the arch for about two feet, with no mouldings at all. Then comes a delicately moulded arch in two orders, immediately beneath which are the coupled arches which give entrance to the interior, vaulted apartment. These two arches, the central and side shafts on which they rest, as well as the tympanum between them, are restorations.

The vault over the interior of the porch is carried on moulded diagonal ribs. On the north, south, and west are wall ribs as well, to carry the chalk filling between them. The insertion of two later monuments, now much dilapidated, involved the destruction of much of the beautiful wall arcades. These were of three complete divisions on each wall, and have cusped heads. The upper part, below the finis.h.i.+ng horizontal string-course, is composed of two full and two half quatrefoils. The work in each arcade is recessed quite seven inches from the face of the general walling above; and the multiplied detail in the mouldings is finely studied. Opposite the entrance is the west doorway into the nave. The deep arch over this is seriously cracked in several places, though it has already been much restored. It has an outer label, which indicates that when it was built in there was then no porch to protect it. The three orders, or main groups, of mouldings do not run down on to the capitals, but finish by dying on to a plain piece of stonework of circular form set immediately upon the capitals.

The Purbeck marble capitals themselves are rather large and heavily moulded, and the shafts under them are sandstone restorations of recent date. The west door and the woodwork about it is a poor specimen of modern ingenuity.

The #South Side# of the church introduces many interesting varieties of work. These may well be followed in the course of this description from the west to the east end.

The lowest part of the south-west tower presents a treatment different from that on the west side. There is here a doorway, and an additional window. Both are round-arched. The doorway is one of the most notable pieces of beautiful design on all the exterior of the building. It is treated solely with variations of the well-known chevron ornament. The cut work upon it is in no case at all deep, but the total effect is truly delightful. There is none of the dead, formal regularity invariable in modern attempts to imitate this type of work. The voussoirs of the arch are not all of equal size in each order, and on one member the chevrons are reversed on opposite sides of the centre stone except for one accidental intermission. The abacus, nearly six inches deep, has a flat upper part on which a continuous diaper of Greek crosses has been cut. The lower part is a plain, hollowed chamfer moulding. Though the small columns in the jambs are new, and also parts of the inner reveal of the jamb, yet the old carved capitals are still in position and also the bases. These capitals bear distinct traces of Byzantine feeling in the design of them. Above the doorway is a billet-moulded string-course, which stops against the circular shafts by the b.u.t.tresses, and forms the sill of the window. The design of this opening is like that of the one over it in the next stage, which is similar to that in the same position on the west face of the tower. But the abaci of its capitals run from the jambs across to the b.u.t.tresses, as is the case with those of the doorway. The billet-moulded sill evidently pa.s.sed round the tower completely, before the addition of the angle b.u.t.tresses, since it appears again on the north b.u.t.tress of the west front of the same tower; and the obvious inference is that there was once a window also on the west in this same stage at the same level. The window immediately below the upper division of the tower is of the same date and character exactly as the one on the west in the like place; and it should be noticed that the sills of the upper windows run on as string-courses, which are continued round the circular angle-shafts of the b.u.t.tresses.

Pa.s.sing eastward from the tower, the external #Roof# of the nave becomes visible. The irregularly waved line of the ridge where the lead rolls meet, as it were, against the sky, is a pretty indication of the presence of the aged timbers underneath that support it above the walls.

The oldest part of the building to be seen from this point is the strip of walling at the clerestory level. The twelfth-century round-arched windows are there almost complete. In detail they are like those of the tower. Two of them, those in the fourth and fifth bays from the tower, have had later work inserted in the same openings.

The crest of the wall between the west and the central tower was renewed in the fourteenth century. It consists of a parapet with a weathered coping for the top course of stonework, so that the water might not rest upon it and percolate through the walls. Three courses below this is a simply moulded string-course, and immediately beneath is the cusped arcade supported on the course of detached moulded and shaped corbels. For five feet below the bottom of the corbels the newer part of the wall is continued. It will be interesting later to notice the way in which the parapet on the north side of the nave has been dealt with. The reason for the presence of so much new walling at this level is no doubt to be found in the fact that the roof timbers at the time of the second fire were carried down over the walls.