A 
 
THE 
 
 ARCHITECTURAL HISTORY 
 
 Ctanterftur g & a t f) t 8 r a I 
 

 Digitized by 
 
 the Internet Archive 
 
 
 
 in 2015 
 
 
 https://archive.org/details/architecturalhis00will_1 
 
THE 
 
 ARCHITECTURAL HISTORY 
 
 OF 
 
 ©ante rfi ttrg ©atfjeliralL 
 
 BY THE 
 
 REV. E, WILLIS, M.A., F.E.S., &c. 
 
 JACKSONIAN ntOFESSOR OF THE UNIVERSITY OF CAMBRIDGE. 
 
 Fig 17. Diaper, south side <>( Clio;i' (See p 103 | 
 
 LONDON : 
 
 LONGMAN & Co.; W. PICKERING ; AND G. BELL, 
 OXFORD : PARKER. CAMBRIDGE : DETGHTONS. 
 M DCCC XLV. 
 
OXFORD : 
 PRINTED BY I. SHPJMPTON. 
 
PREFACE. 
 
 The translation of Gervase, which it is the principal object 
 of the following history to illustrate, was read by me with a 
 few necessary omissions at the evening meeting of the Archi- 
 tectural Section of the British Archaeological Association, on 
 the 11th of September 1844, and on the following morning I 
 had the honor of explaining to a numerous audience in the 
 cathedral itself, the application of this translation to the 
 building, and also of pointing out those later parts of which 
 the history has been recorded, and which are the subject of 
 the concluding chapters. The work may therefore be con- 
 sidered as forming part of the Transactions of the Association 
 in question, although it is obviously too bulky and independent 
 for insertion in the Journal, which is the recognised organ 
 of that body. In preparing it for the press, however, I 
 have made many additions to it, including especially the 
 entire history of the Saxon cathedral ; and on a subsequent 
 visit, with the able assistance of Mr. De la Motte, the drawings 
 were made which illustrate its pages. These, however, have 
 no pretensions to form a complete delineation of the building, 
 architecturally speaking, which would plainly have required 
 larger paper and a different material. And this delineation 
 has been so well effected by previous publishers, especially in 
 the work of Mr. Britton, to whose admirable plates I have 
 referred throughout, that I had the less motive for attempting 
 
VI 
 
 PREFACE. 
 
 it. The sections of moldings which I have given were all, 
 with the exception of a few that were inaccessible, drawn 
 with the cymagraph, and reduced for the engraver by the help 
 of the pantograph and camera lucida, their contours may 
 therefore be depended upon for precision. The cloisters, 
 chapter-house, and other monastic buildings connected with 
 the cathedral, are of the most interesting character, but their 
 history is so completely distinct, and would have extended 
 this work so much beyond its proper limits, that I have re- 
 served them entirely for the subject of a future essay. 
 
TABLE OF CONTENTS. 
 
 PAGE 
 
 Preface , v 
 
 Contents vii 
 
 List of Illustrations ix 
 
 Introduction xi 
 
 Chapter I. 
 
 The Architectural History of Canterbury Cathedral, from the earliest period 
 
 to the year 1130, translated from the works of Edmer the singer, and others 1 
 
 Chapter II. 
 
 On the Plan and Arrangement of the Saxon Cathedral 20 
 
 Chapter III. 
 
 Gervase his History of the Burning and Repair of the Church of Canterbury. 
 
 1 . The Conflagration 32 
 
 2. The Operations of the hist year 34 
 
 3. Of the Church of Lanfranc 37 
 
 4. Of the Choir of Conrad , 41 
 
 5. Operations of the first five years 48 
 
 6. The Entry into the new Choir , 52 
 
 7. Remaining Operations of the sixth year , 55 
 
 8. Explanations 58 
 
 9. Operations of the seventh, eighth, and tenth years 61 
 
 Chapter IV, 
 
 On the Church of Lanfranc - , 63 
 
 Chapter V. 
 
 The Works of Ernulf and the two Williams 72 
 
vm 
 
 TABLE OF CONTENTS. 
 
 Chapter VI. 
 
 PAGE 
 
 The History of the Choir from the twelfth century 97 
 
 1. The Choir ib. 
 
 2. The Crypt 114 
 
 3. The Window of Anselm's Chapel 115 
 
 Chapter VII. 
 
 History of the Nave, Tower, and Western Transepts from the end of the 
 twelfth century. 
 
 1. The Nave 117 
 
 2. The Lady Chapel, south-west Tower, and Chapel of St. Michael 123 
 
 3. The Central Tower, or Angel Steeple 125 
 
 Chapter VIII. 
 
 The Monuments 128 
 
 List of the Archbishops with their places of Sepulture, and also of some other 
 
 Personages who were buried in Christ Church 133 
 
 Explanation of the Plan and Section 136 
 
 List of Dated Examples of Architectural Works 137 
 
 List of the principal Works and Editions referred to 138 
 
 Additional Notes, and Corrections 140 
 
LIST OF ILL U S T RATIONS. 
 
 PAGE 
 
 1. Plan of part of the ancient Basilica of St. Peter at Home 22 
 
 2. Plan of the Saxon Cathedral of Canterbury 27 
 
 3. Plan of Canterbury Cathedral in 1 174 38 
 
 4. Plan of the crypt of Trinity chapel 38 
 
 5. Historical plan of the present Cathedral ) 
 
 6. Block section of ditto J 
 
 7. View of the triforium of the choir from within 49 
 
 8. Arches in south aisle 58 
 
 9. Capital of choir, south side 59 
 
 10. Capital of choir, north side ib. 
 
 11. Capital of semi-pillar ib. 
 
 12. Column on South-west side of crypt, with capital of the same 69 
 
 13. Plan of the south-eastern pier of the tower 67 
 
 14. Transverse section of the choir 73 
 
 15. Internal elevation of one compartment of the choir ib. 
 
 16. External ditto ib. 
 
 17. Base moldings 76 
 
 18. Masonry of a vaulting shaft ib. 
 
 19. Base of Ernulf 's vaulting shaft 77 
 
 20. Base of William's vaulting shaft ib. 
 
 21. Elevation of part of the side-aisle wall of the choir 77 
 
 22. Buttress in the crypt (looking south-east) 79 
 
 23. Additional pillar in the crypt (looking- north-east) 80 
 
 24. View in the north aisle (looking north-west) a 82 
 
 25. Dog-tooth moldings ib. 
 
 26. Base of clustered column in the south transept 83 
 
 27. Base in the north aisle of the choir 84 
 
 28. Section of the arch leading to Anselm's chapel 85 
 
 29. Norman arches north side exterior 87 
 
 30. Diaper work in passage to crypt ib. 
 
 31. Norman window-heads 88 
 
 32. Arches in side aisle of choir ib. 
 
 33. Transverse rib-mold of side aisle 89 
 
 34. Diagonal rib-mold of side aisle 90 
 
 35. Diagonal rib-mold of great vault ib. 
 
 a Owing to an accident this is unavoidably omitted. 
 
 b 
 
X 
 
 LIST OF ILLUSTRATIONS. 
 
 PAGE 
 
 36. Transverse rib-mold of great vault 90 
 
 37. Pier-arch mold of choir and Trinity chapel ib. 
 
 38. Triforium arch-mold ib. 
 
 39. Moldings of lower arcade, eastern transepts ib. 
 
 40. Rib-mold of the crypt, Trinity chapel 92 
 
 41. Abacus molds 93 
 
 42. One compartment of the corona 95 
 
 43. Section of the lateral choir screen 98 
 
 44. Enlarged section of the upper part of ditto ib. 
 
 44. *Inner face of the north doorway of the choir 99 
 
 45. Outer face of ditto ib. 
 
 46. Moldings of ditto ib. 
 
 47. Specimen of diaper work, probably of Dunstan's shrine (see "> Title 
 
 p. 102) J page 
 
 48. Elevation of the window in Anselm's chapel 115 
 
 49. Moldings of ditto ib. 
 
 50. Compartment of nave 121 
 
 51. Pier of the nave 122 
 
 52. Jamb-mold of the side-aisle windows of the nave 122 
 
 Directions to the Binder for placing the separate Plates. 
 
 Fig. 5) 
 
 q I opposite to page j 136 
 
 7 49 
 
 14 73 
 
 la} I 73 
 
 21 77 
 
 42 93 
 
 it] !- 
 
 S} -!>- 
 
 50 121 
 
INTRODUCTION. 
 
 The cathedral which is the subject of the following pages 
 is remarkable for its extent, beauty, and importance, for the 
 variety of its architectural styles, for the changes of plan and 
 structure which it has undergone, and especially for the 
 numerous historical particulars relating to these changes 
 which have been preserved to us. 
 
 By a careful investigation of the architectural history of 
 Canterbury cathedral, we may therefore expect to obtain great 
 insight into the motives that dictated such changes of plan 
 and structure in all similar buildings, as well as a knowledge 
 of the mode of their erection, and of the causes that led to 
 those well known varieties of style that form so interesting and 
 at the same time so perplexing a subject for investigation. 
 
 Amongst the other difficulties of such enquiries, two are 
 prominent ; first, that of understanding the exact meaning of 
 the historical documents, which is too often obscured by our 
 imperfect knowledge of their technical terms. Next, the un- 
 certainty which often occurs with respect to the application of 
 the documents to the buildings that exist. 
 
 I have endeavoured, therefore, throughout this history, to 
 separate as much as possible my own opinions and interpreta- 
 tions from the historical documents upon which they are 
 based. It will be found that I have given in each case the 
 written records in their own words as closely as translation 
 would allow, and usually accompanied in the notes by the 
 passages in the original language. I have done this partly 
 
Xll 
 
 INTRODUCTION. 
 
 because the words and phrases and sentiments of a coeval 
 writer appear to me to possess an interest so great, that every 
 change, every attempt to modernize them, must deteriorate 
 from their value, and from the pleasure and instruction which 
 they convey to their readers. Partly also because the rapid 
 strides which are now making in architectural history, may 
 probably weaken or correct many of my interpretations ; and 
 by thus separating the evidence from the opinions, the 
 foundation of each will always be manifest and the correction 
 rendered more easy, while the history, as a collection of 
 evidence, will lose none of its value. My plan therefore 
 has been, first to collect all the written evidence, and then by 
 a close comparison of it with the building itself, to make the 
 best identification of one with the other that I have been able. 
 
 I have also confined myself strictly to the history of the 
 building, without mixing up with it the history of the see, 
 which most writers upon this subject have been tempted to 
 do. Thus the mission of Augustine, vast and important as 
 its consequences were, has for my purpose no other result 
 worth noting than the recovery of the ancient Christian 
 church at Canterbury, the work of the Roman believers, 
 which in the course of ages grew up into the huge fabric of 
 the present cathedral ; and the murder of Thomas a Becket 
 only concerns me as the cause of the removal of the pillar and 
 vault which originally occupied the scene of his death, and as 
 the motive which led to the erection of the magnificent eastern 
 termination of the cathedral; and perhaps as the source of the 
 wealth which enabled the monks to re-erect the church on so 
 extensive a plan. On the other hand, various events so 
 trifling, that they would be neglected altogether in a history 
 of the see, require in a history of the building a complete and 
 prominent notice if they even affect the change of position of 
 a door or the reconstruction of a window. 
 
INTRODUCTION. 
 
 Xlll 
 
 It is impossible to understand the intricacies and changes 
 of these buildings unless we take the trouble to examine the 
 purposes for which they were constructed, and steadily recollect 
 the state of learning and religious opinions at the same period. 
 A vision, or the supposed acquisition of the relics of some 
 noted saint, were often reasons which led to the erection 
 or enlargement of a considerable church or chapel, the plan of 
 which is usually distributed so as to display these latter trea- 
 sures to the greatest advantage. 
 
 In the following history I have shewn how the gradual 
 acquirement of relics, and the accumulation of sainted arch- 
 bishops, led from one addition to another to the present com- 
 plicated plan of the structure. The language in which the 
 history is clothed by the original writers will shew that they 
 considered a provision for the repose of the saints to be one 
 of the principal objects for which the building was erected. 
 This may serve as my apology for having so often quoted 
 passages which relate to the relics and entombment of the 
 saints and archbishops. 
 
 I have been the more tempted to do this, because the 
 minute descriptions of such objects by Gervase (whose tract 
 on the cathedral I have given entire) enables us to assign the 
 local position of most of them ; and I have been desirous of 
 presenting to my readers a picture of the manner in which 
 these buildings were in the old time occupied in all directions 
 by shrines, altars, and monuments, and obstructed by screens 
 and lofts, roods and reredoses, in singular contrast to the 
 modern attempts to throw open and expose to sight as much 
 as can be by any possibility seen at one view. This at any 
 rate is in flat opposition to the intention of the original con- 
 trivers of such structures. 
 
 I must also plead guilty to the introduction of certain 
 miraculous narratives in the earlier part of the history. It 
 
XIV 
 
 INTRODUCTION. 
 
 will be found, however, that each legend contains some in- 
 direct evidence relating to the arrangement or construction of 
 the building, which is wholly independent of the miraculous 
 part of the story. And as the narrators are usually speaking 
 of buildings with which themselves and their readers at that 
 time were well acquainted, we may be quite sure that what 
 they say of the building is true, however they may deceive 
 themselves and others with respect to the supernatural inter- 
 pretations which the habits of thought in those days led 
 them to give to the events in question. 
 
 The most remarkable medieval writer of architectural 
 history is undoubtedly Gervase. Himself a monk of Christ 
 Church at the time of Becket's death, and an eye-witness of 
 the fire in 1174, and of the rebuilding of the church, he has 
 left us a most valuable and minute account of the latter events 
 in his tract " On the burning and repair of the Church of 
 Canterbury." The information thus conveyed is not confined 
 to the church in question, but gives us a general insight into 
 the modes of proceeding in the carrying on of buildings at 
 that period, the manner of providing architects, the time con- 
 sumed in erecting these structures, the way in which old 
 portions were adopted and worked up, the temporary expe- 
 dients for carrying on the daily service, the care which was 
 taken of the venerated remains unavoidably disturbed by the 
 progress of the work, and many other most instructive parti- 
 culars which occur in every page of this circumstantial writer. 
 For these reasons it has always appeared to me that a com- 
 plete translation of his book would supply an exceedingly 
 useful help to architectural investigation. It is true that the 
 complete original was most excellently printed in the well 
 known collection of Chronicles, usually called the " Decern 
 Scriptores," and that considerable extracts from it have been 
 translated by every subsequent writer on Canterbury cathedral. 
 
INTRODUCTION. 
 
 XV 
 
 But the work loses its interest by being served up piecemeal, 
 and I have therefore given it entire in a new translation a , and 
 have endeavoured to supply a more close and particular com- 
 parison of the text with the existing building than has been 
 hitherto undertaken. A task the more easy from the con- 
 sistency and evident veracity of our historian in the most 
 minute particulars. 
 
 But Gervase confines his history to the few years of his own 
 experience, first describing the church as he knew it before 
 the fire, then the events of the fire, and lastly the progress of 
 the rebuilding. The previous and subsequent history of the 
 structure must be supplied from other sources. The most 
 copious authority for the early history is Edmer (or Eadmer) 
 the singer, that is, the cantor or precentor of the cathedral. 
 He was a boy in the school of the monastery when Lanfranc 
 began to pull down the Saxon cathedral in order to erect his 
 own, and he also lived under the rule of Anselm and his 
 successor Radulph. He wrote a history of his own times, 
 and a volume of Opuscula, consisting principally of biographies 
 of the archbishops. Prom these works may be gathered a 
 number of particulars of the Saxon cathedral and of the 
 Norman one which succeeded. These of course have not the 
 value of a continuous narrative like that of Gervase, because 
 we can never be certain that some important link in the chain 
 of events may not be wanting, because it did not happen to 
 be connected with the person whose life was the immediate 
 object of the writer we are quoting. But this is unfortunately 
 the case with the greater part of structural history. Few 
 medieval writers made a building the theme of their literary 
 
 a I have not given the original Latin these pages are filled, for the original 
 text of Gervase, because it would have Latin below saves the trouble of search- 
 swelled the book unnecessarily, and is ing through a number of books and 
 printed entire in a work of easy refer- particular editions of books which may 
 ence. The case is very different from not be accessible to every reader, 
 the detached quotations with which 
 
XVI 
 
 INTRODUCTION. 
 
 efforts, and even Gervase thinks it necessary to apologize for 
 writing about the mere putting together of stones, by explain- 
 ing his object to be the description of the resting-places of the 
 saints. The monastic writers usually enumerate the building 
 or repairing of a church, or part of it, amongst the good 
 works of their ecclesiastics, and from such disjointed hints, for 
 the most part, we must be content to heap together our archi- 
 tectural histories. Thus from Edmer and a few other autho- 
 rities I have compiled the first chapter, mostly from well 
 known materials, which I have tried to give as nearly as 
 possible in the words of the originals, leaving my own com- 
 ments and interpretations of their meaning to the subsequent 
 chapters. But I can lay no claim to literary research in the 
 following pages. Every one who is acquainted with the 
 writings of Somner, Battely, Dart, Gostling, Wharton, &c, 
 must know that every available source of information has 
 been already indicated, and indeed for the most part printed 
 by them. 
 
 All that is left for their successors is the far easier task of 
 the selection and classification of their materials, and the 
 application of them to the buildings in existence. This 
 application must of course be made by each new writer after 
 his own fashion. I have endeavoured to make a closer com- 
 parison step by step between the documents and the masonry 
 than has yet been attempted ; with what success my readers 
 must judge. But I cannot conclude without expressing my 
 most grateful thanks to the Dean and Chapter of the cathe- 
 dral, and to their architect, Mr. Austin, for the most liberal 
 and unbounded freedom of access to every part of the build- 
 ing, accompanied by every kind of assistance and information; 
 without which it would have been impossible for me to have 
 carried on my researches. 
 
CHAPTER L 
 
 THE ARCHITECTURAL HISTORY OF CANTERBURY CATHEDRAL, FROM 
 THE EARLIEST PERIOD TO THE YEAR 1130; TRANSLATED 
 FROM THE WORKS OF EDMER THE SINGER, AND OTHERS. 
 
 In this chapter I propose to relate the history of the building, and the 
 events which bore upon its construction, arrangement, and changes, and to 
 do this in the words of the original authors as much as possible. To this 
 effect I have divided it into distinct and numbered articles. Each of these 
 is translated from the corresponding passage quoted at the foot of the page 
 unless the contrary is stated, for in some cases I have found it necessary to 
 give an abstract only of some events that affected the building, and yet did 
 not require to be related at length ; such as the sack of Canterbury by the 
 Danes. As this chapter is pieced together from various works, I have 
 usually given the original Latin below, omitting it only when a long narra- 
 tive has been abridged from the Anglia Sacra, or some other book of com- 
 mon occurrence. I have added dates, and numbered each archbishop in the 
 order of his succession. 
 
 1. "When Augustine (the first archbishop of Canterbury) 
 a d 602 assume d the episcopal throne in that royal city, he reco- 
 vered therein, by the king's assistance, a church which, as 
 he was told, had been constructed by the original labour of 
 Roman believers. This church he consecrated in the name of 
 the Saviour, our God and Lord Jesus Christ ; and there he 
 established an habitation for himself, and for all his suc- 
 cessors. 
 
 a "At Augustinus, ubi in regia civitate 
 sedem episcopaleni, ut prsediximus, ac- 
 cepit ; recuperavit in ea, regio fultus 
 adminiculo, ecclesiam, quam inibi anti- 
 quo Roinanorum fidelium opere factam 
 
 fuisse didicerat, et earn in nomine sancti 
 Salvatoris Dei et Domini nostri Jesu 
 Christi sacra vit, atque ibidem sibi habi- 
 tationem statuit et cunctis successoribus 
 suis." Bedse, Ecc. Hist. 1. i. c. 33. 
 
2 THE ARCHITECTURAL HISTORY [740 
 
 2. Cuthbert b , (the eleventh archbishop,) amongst his other 
 a.d. 740 good works, constructed a church to the east of the 
 to 758. g rea £ c h urc h^ a nd almost touching it, which he so- 
 lemnly dedicated in honour of St. John the Baptist. He 
 fabricated this church for the following purposes ; that bap- 
 tisms might be celebrated therein ; that certain judicial trials, 
 which are wont to be held in the church, might be carried on 
 there ; and lastly, that the bodies of the archbishops might 
 therein be buried ; thus departing from the ordinary ancient 
 custom of burial beyond the walls of the city. And he was 
 accordingly buried in the aforesaid church of St. John. 
 
 3. c For when Cuthbert went to Rome to receive the pal- 
 
 lium from Pope Gregory, he obtained from him, that 
 'all future archbishops might be buried in the church of 
 Canterbury, and that a cemetery should be made within that 
 city. Prom the earliest times, the kings of Kent, the archbishops, 
 and the monks of Christ Church, as well as the people of the 
 city, had been buried in the atrium or churchyard of the 
 church of the Apostles Peter and Paul, beyond the walls. Por 
 the Romans, who were first sent into England, said that the 
 city was for the living, and not for the dead. But now by 
 Divine permission, and at the request of Cuthbert, it was or- 
 dained by Pope Gregory, with the consent of King Eadbrith, 
 that the archbishops of Canterbury should be buried in their 
 own church, to the intent that they might have their resting- 
 place where they had living ruled in honour d . 
 
 4. e Archbishop Bregwin (the twelfth) was buried in the 
 a.d. 762. aforesaid church of St. John, near the body of the 
 
 b " Is inter alia bona . . . fecit Eccle- (the thirteenth) having been abbot 
 
 siam in orientali parte majoris Ecclesise of St. Augustine, chose to be buried 
 
 eidem pene contiguam ; eamque in hono- there; and after Athelard, the arch- 
 
 rem beati Johannis Baptistae solenniter bishops are said to have been buried in 
 
 dedicavit, &c " Edmer. Vit. S. Christ Church : but perhaps this term 
 
 Bregwini, Ang. Sac. t. ii. p. 186. See includes the church of St. John. Vide 
 
 also Osbern. in Ang. Sac. t. ii. p. 75. Ang. Sac. t. i. p. 85. Gervase, pp. 1295 
 
 c A literal translation from Gervase, and 1641. 
 Act. Pont. Cant., p. 1640. e Edmer. Vit. Bregw. Ang. Sac. t. ii. 
 
 d Of the successors of Cuthbert, it is p. 187. and MS. C.C.C p. 286. " Pla- 
 
 recorded that Bregwin (the twelfth) num siquidem sepulchrum fuit, paulum 
 
 and Athelard (the fourteenth) were a pavimento decenti opere altius struc- 
 
 buried in St. John's church. Jambert turn." (Also Osbern. p. 76.) 
 
891.] OF CANTERBURY CATHEDRAL. 3 
 
 reverend Cuthbert. His tomb was flat, of decent workman- 
 ship, and a little raised above the pavement. 
 
 5. f Archbishop Plegemund (the nineteenth) journeyed to 
 
 Rome, and bought the blessed martyr Blasius for a 
 
 A D 891 
 
 great sum of gold and silver. He brought the body 
 with him when he returned to Canterbury, and placed it there 
 in Christ Church. 
 
 6. g In the days of Archbishop Odo (the twenty-second) the 
 a.d. 940 ro °f °f Christ Church had become rotten from exces- 
 to96o. s « ve a g e ^ an( j res t e( j throughout upon half-shattered 
 
 pieces : wherefore he set about to reconstruct it, and being 
 also desirous of giving to the walls a more aspiring altitude, 
 he directed his assembled workmen to remove altogether the 
 disjointed structure above, and commanded them to supply 
 the deficient height of the walls by raising them. But because 
 it was absolutely necessary that the Divine Service should not 
 be interrupted, and no temple could be found sufficiently 
 capacious to receive the multitude of the people, the arch- 
 bishop prayed to Heaven that until the work should be com- 
 pleted, neither rain nor wind might be suffered to intrude 
 within the walls of the church, so as to prevent the perform- 
 
 f « Plegemundus archiepiscopus Ro 
 mam profectus est, et beatum martyrem 
 Blasium cum multa pecunia auri et ar- 
 genti emit et secum rediens Cantuariam 
 detulit et in ecclesia Christi collocavit." 
 Gerv. Act. Pont. Cant. p. 1644. 
 
 & " Tectum ejusdem Ecclesiae Christi 
 nimia vetustate corruptum, semirutis 
 per totum partibus pendebat. Quod ille 
 renovare cupiens, murum quoque in por- 
 rectiorem celsitudinem exaltari deside- 
 rans, congregatis artificibus praecepit et 
 quod dissolutum desuper eminebat pe- 
 nitus tolli, et quod minus in altitudine 
 mums habebat jussit extolli. Sed quia 
 clerus ac populus absque divino servitio 
 esse non valebat ; et tantae magnitudi- 
 nis templum non reperiebatur, quae ad 
 capiendam numerosae plebis multitudi- 
 nem sufficere videretur ; deprecatus est 
 Pontifex Dominimi ut quousque opus 
 incaeptum consummatum fuisset, nulla 
 aut infusio imbrium aut vis ventorum 
 infra parietes Ecclesiae descenderet quae 
 
 eos a divino opere probibere valeret. 
 Factumque est ; ut in tribus annis qui- 
 bus Ecclesiae muri in altum porrigeban- 
 tur, tota fabrica desuper pateret, nec 
 tamen non dico infra ambitum solius 
 Ecclesiae, sed nec intra muros totius 
 civitatis imber aliquando descenderet, 
 qui vel clerum in Ecclesia Christi con- 
 sistentem ab officio prsepediret, vel po- 
 pulum ad Ecclesiam concurrentem ali- 
 quatenus posset ab incaepto cohibere. 
 Eratque res digna spectaculo; cum vide- 
 res omnia civitatis pomaeria aquis in- 
 fundi, et ejus moenia nulla pluviarum 
 inundatione madefieri." Edmer. Vit. 
 Odonis. Ang. Sac. t. ii. p. 83. 
 
 The same story is told in other words 
 by the same author, in his Life of S. Os- 
 wald "parietes Ecclesiae Christi 
 
 Dorobernensis .... in altiorem quam 
 erat statum sublato tecto ipse pater 
 
 construere volens, &c " (Ang. Sac. 
 
 p. 193.) Also by Malmsbury. 
 
4 THE ARCHITECTURAL HISTORY [940— 
 
 ance of the service. And so it came to pass • for during three 
 years in which the walls of the church were being carried 
 upwards, the whole building remained open to the sky : yet 
 did no rain fall either within the walls of the church, or even 
 within the walls of the city, that could impede the clergy 
 standing in the church in the performance of their duty, or 
 restrain the people from coming even to the beginning of it. 
 And truly it was a sight worth seeing, to behold the space 
 beyond the walls of the city drenched with water, while the 
 walls themselves remained perfectly dry. 
 
 7. h During the primacy of this good and holy Odo, it 
 happened that in the course of one of his visitations he came 
 to the monastery of Ripon, which had been founded by Wil- 
 frid, and in the church of which his remains had been depo- 
 sited. But at this time the place was reduced by wars and 
 hostile incursions to a deserted and ruined solitude. Where- 
 fore having opened the ground where the blessed Wilfrid was 
 deposited, he reverently raised his bones and dust, with the 
 intention of conveying them to his church at Canterbury. 
 "Nevertheless, lest the place which Wilfrid had loved above all 
 others while he remained in the flesh, should be utterly de- 
 prived of all relics of him, he deposited there in a convenient 
 place a small portion of them, and then, enriched with so great 
 a treasure, returned to Canterbury, where he was received by 
 the whole population with great rejoicing, and accompanied to 
 the house of God with solemn praises. He there placed the 
 relics of the blessed Wilfrid which he had brought with him 
 in the great Altar, which was consecrated in honour of our 
 Lord Jesus Christ." 
 
 8. It has been related to me by certain of the seniors of 
 
 ll This article is abridged from a 
 passage in Eadmer's Life of Wilfrid, 
 which concludes with the following 
 words : — 
 
 " . . . . venerabilis Odo tanto munere 
 locupletatus Cantuariam rediit ubi 
 magna totius civitatis exsultatione sus- 
 
 ceptus et in aulam Dei sacra cum laude 
 percluctus, sanctissimas beati Wilfridi 
 reliquias quas advexerat, in majori 
 altare, quod in honorem Jesu Christi 
 Domini nostri sacratum erat, colloca- 
 vit " Edm. Vit. S. Wilfridi, Ma- 
 billon, t. iii. p. 227. MS. C.C.C. p. 77. 
 
960.] OF CANTERBURY CATHEDRAL. 5 
 
 the convent, that in the time of King Edgar \ there came to 
 England fonr clerks, who presented themselves at his court, 
 and. asserted that they had brought with them the body of 
 Saint Aucloen. And when the king refused to believe this, 
 they appealed to the miraculous power which the relics pos- 
 sessed. Whereupon the king, thinking this to be a matter 
 rather for ecclesiastical judgment than for his own, commanded 
 the attendance of Archbishop Odo. And when he had suc- 
 ceeded in performing several miraculous cures by the contact 
 of the relics in question, the truth of the story was no longer 
 doubted ; the king munificently rewarded the bearers of this 
 treasure, and committed it to the charge of the archbishop, 
 that it might be conveyed to Canterbury, and worthily de- 
 posited in Christ Church. As to the four clerks, they accom- 
 panied it thither, and were so well pleased with the monastery, 
 that they became monks, and ended their days therein k . 
 
 9, L When the sacred bones of the blessed Father Audoen 
 were brought to Canterbury, a precious and handsome coffer 
 (scrinium) was made for them, according to the fashion of those 
 days, in which they were decently laid, and carefully enwrapped 
 in several winding-sheets. This took place about the same 
 
 1 Edgar began his reign A.D. 957, 
 abont three years before the death of 
 Odo ; the year of Odo's death is however 
 uncertain. 
 
 k Abridged from a diffuse narrative 
 among the Opuscula of Edmer, bearing 
 the following title : " De reliquiis Sancti 
 Audoeni, et quorundam aliorum sancto- 
 rum quae Cantuariae in Ecclesia domini 
 Salvatoris habentur." MS. C.C.C. p, 441. 
 Audoen, otherwise called Ouen and 
 Dado, was archbishop of Rouen, and 
 died A.D. 686. 
 
 Capgrave has introduced the above 
 legend into his Life of St. Audoen, in 
 Edmer's words, but with some abridg- 
 ments. It seems that another entire 
 body of St. Audoen was preserved at 
 Rouen, and detached relics of him else- 
 where ; which unlucky facts are the 
 subject of grave discussion in the Acta 
 Sanctorum. (August, t. iv. p. 803.) My 
 
 purpose in introducing this and similar 
 anecdotes, is merely to shew the suc- 
 cessive acquisition of relics at Canter- 
 bury, which were then and there be- 
 lieved to be genuine, and which, toge- 
 ther with the gradual accumulation of 
 sainted archbishops, necessitated the 
 plan, and successive enlargements of 
 the present magnificent church. 
 
 1 " Igitur ubi sacratissima ossa bea- 
 tissimi patris Audoeni Cantuariam de- 
 lata sunt : scrinium illis pro illorum 
 dierum qualitate factum est preciosum 
 atque honestum in quo decenter diversis 
 involumentis * obvoluta diligentissime 
 collocata sunt. Ipsis pene diebus idem 
 venerabilis Odo corpus beati Wilfridi 
 pontificis Eboracensium de Rhipis sub- 
 latum Cantuariam transtulerat, &c. . ." 
 (vide infra, Art. 15.) Edm. de Reliq. MS. 
 C.C.C. p. 444. 
 
 Involumen. Lintcum vero quo corpus involvitur, vulgo Linccul, drap. (Du. Cange.) 
 
6 
 
 THE ARCHITECTURAL HISTORY 
 
 [962— 
 
 time that the venerable Odo had translated the body of the 
 blessed Wilfrid, archbishop of York, from Ripon to Canter- 
 bury (as above related). 
 
 10. m Now on the day of the coming of Dunstan, the suc- 
 a d 962 cessor °f to Canterbury, he was celebrating mass 
 
 at the Altar of the Saviour, when suddenly the house was 
 covered with a cloud, and that dove which erst was seen of 
 John in Jordan, again appeared, and hovered over him. And 
 when the sacrifice was completed, it rested upon the tomb of 
 the blessed Odo, which was constructed in the fashion of a 
 pyramid, to the south of the Altar. 
 
 11. Archbishop Dunstan (the twenty-fourth) was buried 
 98g in the spot which he himself had chosen (two days be- 
 fore his death), the place, to wit, where the Divine office 
 
 was daily celebrated by the brethren, and which was before 
 the steps which led up to the Altar of the Lord Christ. Here 
 in the midst of the choir his body was deposited in a leaden 
 coffin, deep in the ground, according to the ancient custom of 
 the English, and the depth of his grave was made equal to the 
 stature of an ordinary man. A tomb was afterwards con- 
 structed over him, in the form of a large and lofty pyramid, 
 and having at the head of the saint the matutinal Altar. Thus 
 by choosing so conspicuous a spot, he left a mournful and 
 tender memorial of himself to the brethren singing in the 
 choir, or ascending the steps of the Altar". 
 
 m " Cum die adventus sui primo sacris 
 altaribus assisteret f . . . . repente con- 
 tecta nube domo coluinba in Jordane a 
 Johanne olim visa iterum apparuit ; 
 quae quousque sacrificium fuisset con- 
 sumptum, super ilium mansit. Cumque 
 consumptum fuisset sacrificium ; requi- 
 evit supra memoriam Beati Odonis, quae 
 ad australem partem altaris in modum 
 pyramidis exstructa fuit." Osbernus de 
 Vit. Dunst. Ang. Sac. t. ii. p. 110. 
 
 n The passages whence the above ar- 
 ticle has been compiled are the follow- 
 ing : " Cum fratribus Ecclesiam 
 
 Christi ingreditur, signatoque sepulchri 
 sui loco omnibus ad Altare Christi ascen- 
 dentibus conspicuo " Osbern. Vit. 
 
 S. Dunst. Ang. Sac. t. ii. p. 117. " Sepul- 
 
 tus sane est in loco quo ipse disposuerat, 
 loco scilicet ubi cotidie divinum ofiicium 
 a fratribus celebrabatur, quod fuit ante 
 gradus quibus ad altare domini Christi 
 ascendebatur." Edm. Vit. S. Dunstani, 
 MS. C.C.C. p. 153. " In medio chori ante 
 gradus quibus ad majus Altare ascende- 
 batur corpus Beati Dunstani humatum 
 fuit in plumbeo loculo et illo in magna 
 profunditate terras locato uti Anglis olim 
 moris erat suorum cadavera tumulare." 
 Edm. Epistola. MS. C.C.C. 15. Ang. 
 Sac. t. ii. p. 225. " Infra terram ad sta- 
 turam virilis corporis foveas profunditas 
 penetravit." d°. d°. . . p. 224. « Tumba 
 super eum in modum pyramidis grandi 
 
 f " Ad Altare Domini Salvatoris Cantuarise." Edm. Vit. Odonis. Ang. Sac. t. ii. p. 86. 
 
A.D. 1011. 
 
 1011.] OF CANTERBURY CATHEDRAL. 7 
 
 12. In the primacy of Archbishop Elphege (the twenty- 
 eighth) the sack of Canterbury by the Danes took place. 
 During the massacre of the inhabitants, the monks bar- 
 ricaded themselves in the church. The archbishop at length 
 rushed out, and appealed in vain to the conquerors, in favour of 
 the people : he was immediately seized, and dragged back to the 
 churchyard. " Here these children of Satan piled barrels one 
 upon another, and set them on fire, designing thus to burn the 
 roof. Already the heat of the flames began to melt the lead, 
 which ran down inside, wiien the monks came forth 0 ," and 
 submitted to their fate : four only of their number escaped 
 slaughter. "And now that the people were slain, the city burnt, 
 and the church profaned, searched and despoiledp;" the arch- 
 bishop was led away bound, and after enduring imprisonment 
 and torture for seven months, was finally slain. His body was 
 ransomed by the Londoners, and deposited with all reverence 
 in their church of St. Paul. After ten or eleven years, we find 
 the Christian Canute established on the throne, who repaired 
 the monasteries which had been defiled and ruined in his own 
 and his father's incursions q , and amongst various other acts by 
 which his zeal for the Church was shewn, commanded the 
 body of Elphege to be restored to his own church of Canter- 
 bury. Accordingly the body was raised, and conveyed 
 
 A.D. 1023. 
 
 thither from London with all possible solemnity and 
 reverence, the king himself and Archbishop Egelnoth accom- 
 panying it to Christ Church, where it was deposited 1 *. The 
 
 sublimique constructa habente ad caput caepit introrsum defluere ; cum beata 
 
 Sancti altare matutinale." Edm. de Re- Monachorum plebs .... egrediebatur, 
 
 liquiis. MS. C.C.C. p. 444. (vide infra. Art. &c " 
 
 15.) " In loco quern ante biduum ipse die- p " Jam populo caeso, jam urbe flam- 
 
 taverat cum diligentia sepultus et post mata, jam denique Christi templo vio- 
 
 haec eminentioris operis structura decen- lato, perscrutato, spoliato, &c. . ." Os- 
 
 ter opertus, flebilem simul et amabilem bern. Vit. S. Elphegi, Ang. Sac. t. ii. 
 
 cunctis sive in choro psallentibus seu p. 136. 
 
 per gradus ad Altare ascendentibus sui •> " Monasteria per Angliam suis et pa- 
 
 memoriam dereliquit." Osbern. Vit. S. tris excursionibus partim fcedata, parthn 
 
 Dunst. Ang. Sac. t. ii. p. 119. eruta reparavit." Will. Malm. 1. ii. c. 11. 
 
 ° " Accedunt itaque filii Diaboli ad r The events which occupy the above 
 
 templum filii omnipotentis Dei ; cuppas article, are related at great length by 
 
 super invicem positas inflammant ; tec- Osbern in his Life of Elphege, and in his 
 
 turn exinde molientes amburere. Jam account of the translation of his body, 
 
 plumbi materies a facie ignis resoluta (Ang. Sac. t. ii.) As they exercised a di- 
 
8 THE ARCHITECTURAL HISTORY [1023- 
 
 day of this translation (June 8th) was ever after observed at 
 Canterbury. This "Archbishop Egelnoth restored the Church of 
 Canterbury to its former dignity 8 ." And King Canute gave 
 to Christ Church his crown of gold, which is still kept at the 
 head of the great cross, in the nave of the same \ 
 
 13. u It must be remarked, however, that the church itself at 
 the time of the suffering of the blessed martyr Elphege, was 
 neither consumed by the fire, nor were its walls or its roof de- 
 
 rect influence upon the building, I found 
 it necessary to give a short abstract of 
 thern, although they may be found in 
 every history of England. In this I have 
 carefully preserved the exact words of 
 the original in the sentences that 
 belong expressly to the Church. For 
 our present purpose it is only necessary 
 to ascertain the exact amount of the 
 damage. Now Gervase reckons this 
 event as one of the fires that the cathe- 
 dral suffered ; namely, the first of the 
 three. (Gerv. de Comb. p. 1291, and be- 
 low.) And again in his Acts of the 
 archbishops, he says the church was 
 burnt and spoiled, " Ecclesia Christi 
 spoliata comburitur." (p. 1649.) Edmer 
 describing this event in the Historia 
 Novorum asserts the same, " Ecclesiam 
 
 quoque Salvatoris flamma con- 
 
 sumpsit." On the other hand, the same 
 author in our next article will be found 
 endeavouring to explain that the flames 
 neither destroyed the roof nor the walls, 
 and it must be confessed, that the cir- 
 cumstantial narrative of Osbern, from 
 which I have just given the exact words 
 that apply to this matter, completely 
 confirms Edmer's view, although a gene- 
 ral historian might, in condensing the 
 narrative, easily exaggerate the amount 
 of the mischief done by the fire. No 
 doubt Edmer is endeavouring in this 
 last passage to represent the mischief 
 to have been as small as possible : but 
 whatever it might have been, it was 
 evidently reparable without requiring 
 any works of sufficient extent to alter 
 or affect the arrangements or style of 
 the building, for these repairs are 
 scarcely noticed. We are left to infer 
 that this church is to be included a- 
 mongst those which Canute restored. 
 
 8 " Cantuariensem Ecclesiam in sta- 
 tum pristine dignitatis reparavit," &c. 
 
 Gerv. Act. Pont. Cant. p. 1651. It does 
 not follow however that this alludes to 
 the building ; more probably (from the 
 context) to the influence and importance 
 of the see. 
 
 1 "AD. Mxxiij. Kanutus Rex dedit 
 Ecclesise Christi in Dorobernia portum 
 de Sandwico cum corona sua aurea quae 
 adhuc servatur in capite crucis majoris 
 in navi ejusdem Ecclesiag." (Donationes, 
 &c. Somner. App. p. 39.) With respect 
 to Sandwich, it must be remembered, 
 that it forms no part of my plan to 
 record this class of endowments. 
 
 About this time the province of 
 Apulia was afflicted by a grievous fa- 
 mine : wherefore the bishop of Bene- 
 ventum, being desirous of raising a sum 
 of money to alleviate the sufferings of 
 his people, travelled over Italy and 
 France collecting gifts. He brought 
 with him the arm-bone of St. Bartholo- 
 mew, which he had abstracted from the 
 body, and hearing of the great riches 
 of England, he came hither, and in ad- 
 dition to the presents which he received, 
 he sold the bone to Queen Emma for a 
 large sum, and she presented it to the 
 church of Canterbury. (Edm. Hist. 
 Nov. p. 50.) 
 
 u "Ecclesia ipsa in passione beatissimi 
 martyris Elphegi nec igne consumpta 
 nec tecto aut parietibus diruta fuit. 
 Violatam quippe fuisse et pluribus or- 
 namentis spoliatam, ac supposito deforis 
 igne ut concremaretur adorsam novimus, 
 quo vesana manus Pontificem intus sese 
 tuentem quern mandaret exire com- 
 pelleret. At ubi ipsum exeuntem com- 
 prehenderunt ; omissis ignibus et aliis 
 malis, quibus ad captionem illius occu- 
 pabantur, ipsum necatis aliquibus nio- 
 nachis in oculis ejus abduxerunt." 
 Edm. Epist. de Corp. S. Dunst. Ang. 
 Sac. t. ii. p. 225. 
 
1067.] 
 
 OF CANTERBURY CATHEDRAL. 
 
 9 
 
 stroyed. We know indeed that it was profaned and despoiled 
 of many of its ornaments, and that the furious band attacked 
 it, and applied fire from without to drive out the pontiff who 
 was defending himself inside. But when they had laid hands 
 upon him on his coming forth, they abandoned their lire, and 
 other evil deeds which were addressed to his capture, and 
 after slaying his monks before his eyes, they carried him 
 away. 
 
 14. x After these things, and while misfortunes fell thick 
 a.d. 1067. upon all parts of England, it happened that the city 
 of Canterbury was set on fire by the carelessness of some in- 
 dividuals, and that the rising flames caught the mother church 
 thereof. How can I tell it ? — the whole was consumed, and 
 nearly all the monastic offices that appertained to it, as well 
 as the church of the blessed John the Baptist, where as afore- 
 said the remains of the archbishops were buried. The exact 
 nature and amount of the damage occasioned by that confla- 
 gration no man can tell. But its extent may be estimated, 
 from the fact that the devouring names consumed nearly all 
 that was there preserved most precious, whether in ornaments 
 of gold, of silver, or of other materials, or in sacred and 
 profane books. Those things that could be replaced, were 
 therefore the less to be regretted ; but a mighty and intermi- 
 nable grief oppressed this Church because the privileges granted 
 by the popes of Borne, and by the kings and princes of this 
 kingdom, all carefully sealed and collected together, by which 
 they and theirs were bound to defend and uphold the Church 
 for ever, were now reduced to ashes. Copies of these docu- 
 ments were sought for, and collected from every place where 
 such things were preserved : but their bulls and seals were 
 irrecoverably destroyed with the church in which they had 
 been deposited. 
 
 15. y This was that very church (asking patience for a di- 
 gression) which had been built by y Romans, as Bede bears 
 
 x This article is literally translated ? The description which occupies this 
 from Edmer. (Vit. Bregwini, Ang. Sac. article, is quoted by Gervase in the 
 t. ii. p. 187.) tract " de combustione'' of which a trans- 
 
10 THE ARCHITECTURAL HISTORY 
 
 witness in his history, and which was duly arranged in some 
 parts in imitation of the church of the blessed Prince of the 
 Apostles, Peter ; in which his holy relics are exalted by the 
 veneration of the whole world. The venerable Odo had trans- 
 lated the body of the blessed Wilfrid archbishop of York, from 
 Ripon to Canterbury, and had worthily placed it in a more 
 lofty receptacle, to use his own words, that is to say, in the 
 
 lation will be found in the third chap- 
 ter of this work, and of which the 
 original text is ably edited in the De- 
 cern Scriptores. As far as I know, the 
 source from whence Gervase obtained 
 this passage, has been hitherto consi- 
 dered to have been lost, although he 
 plainly refers to " Edmerus venerabilis 
 cantor in opusculis suis," and a collec- 
 tion of the works of Edmer are preserv- 
 ed in the library of Corpus Christi Coll. 
 under the very title " Opuscula Edmeri 
 Cantoris," which although not a very 
 definite title, was yet sufficient to invite 
 a search. Accordingly I found the pas- 
 sage in question in the tract entitled 
 " De Reliquiis S. Audoeni, &c." See the 
 note to Art. 8, above. In the first part 
 of this description, some slight varia- 
 tions occur between the MS. of Edmer 
 in C.C.C. and those of Gervase, which I 
 have marked below by italics. I have 
 followed the first, and have given below 
 that portion of the original text which be- 
 longs to the building ; referring for the 
 remainder to the Dec. Scrip, pp. 1291, 
 1292. It will be seen that I have taken 
 the liberty of transposing a short sen- 
 tence at the beginning of my transla- 
 tion, to preserve the continuity of the 
 narrative ; in other respects, the entire 
 article is literally translated from the 
 original : " Ipsis pene diebus idem ve- 
 nerabilis Odo corpus beati Wilfridi pon- 
 tificis Eboracensium de rhipis sublatum 
 Cantuariam transtulerat, et illud in 
 editiore entheca ut ipsemet scribit *, hoc 
 est in majori altari quod in orientali 
 presbiterii parte parieti contiguum de 
 impolitis lapidibus et cemento extruc- 
 tum erat, digniter collocaverat. Erat 
 enim ipsa ecclesia quod per excessum 
 dici pacienter quaeso accipiatur, sicut 
 in historiis Beda testatur, Romanorum 
 opere facta, et ex quadam parte ad 
 
 * Ang. Sac. 
 
 imitationem ecclesiae beati apostolorum 
 principis Petri, in qua sacratissimae re- 
 liquiae illius totius orbis veneratione 
 celebrantur decenter composita. Porro 
 aliud altare congruo spatio antepositum 
 prEedicto altari erat dedicatum in ho- 
 norem Domini nostri Jesu Christi, ubi 
 cotidie divina mysteria celebrabantur. 
 In quo altari beatus Aelfegus caput 
 sancti Swithuni quod ipse a pontificatu 
 Wintoniensi in archiepiscopatum Can- 
 tuariensem translatus secum tulerat, 
 cum multis aliorum sanctorum reliquiis 
 solenniter reposuerat. Ad hgec al- 
 taria nonnullis gradibus ascendebatur 
 a choro cantorum qucedam cripta quam 
 confessionem Romani vocant. Subtus 
 erat ad instar confessionis sancti Petri 
 fabricata, cujus fornix eo in altum ten- 
 debatur ut superiora ejus non nisi per 
 plures gradus possent adiri. Haec intus 
 ad orientem altare habebat quod caput 
 beati Fursei ut antiquitas fatebatur 
 in se habebat. Sane via una quam 
 curvatura criptae ipsius ad occidentem 
 vergentem concipiebat, usque ad locum 
 quietis beati Dunstani tendebatur, qui 
 maceria forti ab ipsa cripta dirimebatur. 
 Ipse namque sanctissimus pater ante 
 ipsos gradus in magna profunditate 
 terrae jacebat humatus, tumba super 
 eum in modum piramidis grandi sub- 
 limique constructa, habente ad caput 
 sancti altare matutinale. Inde ad oc- 
 cidentem chorus psallentium in aulam 
 ecclesias porrigebatur, decenti fabrica a 
 frequentia turbae seclusus. Dein sub 
 medio longitudinis aulae ipsius duse 
 tiirres erant, prominentes ultra ecclesiae 
 alas. Quarum una quae in austro erat 
 sub honore beati Gregorii papae altare 
 in medio sui dedicatum habebat et in 
 latere principale ostium ecclesiae, quod 
 antiquitus ab Anglis et nunc usque 
 £uti)tltne dicitur, &c " 
 
 ;. ii. p. 206. 
 
OF CANTERBURY CATHEDRAL. 
 
 11 
 
 great Altar which was constructed of rough stones and mortar, 
 close to the wall at the eastern part of the presbytery. After- 
 wards another altar was placed at a convenient distance before 
 the aforesaid altar, and dedicated in honour of our Lord Jesus 
 Christ, at which the Divine mysteries were daily celebrated. 
 In this altar the blessed Elphege had solemnly deposited the 
 head of St. Swithin, which he had brought with him when he 
 was translated from Winchester to Canterbury, and also many 
 relics of other saints. To reach these altars, a certain crypt 
 which the Romans call a Confessionary, had to be ascended by 
 means of several steps from the choir of the singers. This crypt 
 was fabricated beneath in the likeness of the confessionary of 
 St. Peter, the vault of which was raised so high, that the part 
 above could only be reached by many steps. Within, this crypt 
 had at the east an altar, in which was enclosed the head of 
 the blessed Eurseus, as of old it was asserted. Moreover, the 
 single passage (of entrance) which ran westward from the 
 curved part of the crypt, reached from thence up to the resting- 
 place of the blessed Dunstan, which was separated from the 
 crypt itself by a strong wall ; for that most holy father was 
 interred before the aforesaid steps at a great depth in the 
 ground, and at the head of the saint stood the matutinal 
 altar. Thence the choir of the singers was extended westward 
 into the body (aula) of the church, and shut out from the 
 multitude by a proper enclosure. 
 
 In the next place, beyond the middle of the length of the 
 body, there were two towers which projected beyond the aisles 
 of the church. The south tower had an altar in the midst of 
 it, which was dedicated in honour of the blessed Pope Gregory. 
 At the side was the principal door of the church, which, as 
 of old by the English, so even now is called the Sbutfjtrttre, 
 and is often mentioned by this name in the law-books of the 
 ancient kings z . Eor all disputes from the whole kingdom, 
 which cannot be legally referred to the king's court, or to the 
 hundreds or counties, do in this place receive judgment. Oppo- 
 site to this tower, and on the north, the other tower was built 
 
 1 See a learned legal disquisition by Selden. (Dec. Script, p. xlii.) 
 
12 
 
 THE ARCHITECTURAL HISTORY 
 
 in honour of the blessed Martin, and had about it cloisters for 
 the use of the monks. And as the first tower was devoted to 
 legal contentions and judgments of this world, so in the second 
 the younger brethren were instructed in the knowledge of the 
 offices of the Church, for the different seasons and hours of the 
 day and night. 
 
 a The extremity of the church was adorned by the oratory of 
 Mary, the blessed Mother of God ; which was so constructed, 
 that access could only be had to it by steps. At its eastern 
 part, there was an altar consecrated to the worship of that 
 Lady, which had within it the head of the blessed virgin 
 Austroberta. When the priest performed the Divine myste- 
 ries at this altar he had his face turned to the east, towards 
 the people who stood below. Behind him to the west, was 
 the pontifical chair constructed with handsome workmanship, 
 and of large stones and cement ; and far removed from the 
 Lord's table, being contiguous to the wall of the church which 
 embraced the entire area of the building. And this was the 
 plan of the church of Canterbury. These things we have 
 shortly described, in order that the men of the present and 
 future generations, when they find them mentioned in the 
 writings of old, and perceive that the existing things do not 
 coincide with their narratives, may know that all these old 
 things have passed away, and that new ones have taken their 
 place. For after the innumerable vicissitudes which this 
 church underwent, the whole was finally consumed in our own 
 days by fire as we have above related. 
 
 16. In the conflagration, however, by the Divine mercy and 
 the intercession of the pious Dunstan, it happened that two 
 houses, indispensably necessary to the existence of the brethren, 
 
 a " Finis ecclesise ornabatur oratorio ad populuin qui deorsum stabat ad ori- 
 
 beatoa Matris Dei Marise. Ad quod quia entem versam habebat. Post se vero ad 
 
 Btructura ejus talis erat, non nisi per occidentem cathedrani pontificalem de- 
 
 gradus cuivis patebat accessus. In cujus centi opere ex niagnis lapidibus et 
 
 parte orientali erat altare in veneratione cemento constructam, et hanc longe a 
 
 ipsius Doinina) consecratum, et in eo Dominica mensa remotam, utpote pa- 
 
 caput beatae virginis Austrobertae hono- rieti ecclesioe qui totius templi com- 
 
 rabatur inclusum. Ad hoc altare cum plexio erat omnino contiguam, &c. . . " 
 sacerdos ageret divina misteria, faciem 
 
OF CANTERBURY CATHEDRAL. 
 
 13 
 
 remained unhurt. The refectory, namely, and the dormitory, 
 as well as the cloisters which were attached to them b . 
 
 After this, there was erected over the resting-place of the 
 blessed man a house of small magnitude ; and in this were 
 performed daily over his holy body, masses together with the 
 other services 0 . 
 
 17. d Now, after this lamentable fire, the bodies of the 
 
 b Osbern's expression is, " so much of 
 the cloisters as enabled them to pass 
 from one house to the other without 
 being wetted by rain." " Tantamque 
 claustri partem sub quanta absque im- 
 briurn infusione ab una domo in aliam 
 possent introire." Osb. de Mirac. S. 
 Dunst. Mabillon, t. vii. p. 695. 
 
 c " In qua tamen conflagratione mag- 
 na misericordia Dei et intercessione pii 
 Dunstani actum est ut due domus sine 
 quibus fratres esse non poterant, illese 
 ab incendio remanerent, refectorium 
 videlicet ac dormitorium cum claustris 
 quae appendebant. Dehinc edificata est 
 domus non adeo grandis super locum 
 quietis beati viri et in ea circa sacrum 
 corpus ei missse cum reliquo servitio dei 
 cotidie fiebant." (Ead. Mirac. S. Dunst. 
 MS.C.C.C. p. 160.)— This book of the mi- 
 racles of St. Dunstan is the complete 
 tract of which Mabillon has published, 
 from an imperfect copy, fragments con- 
 sisting of the beginning and the end 
 only, without knowing the author, whom 
 he guesses to be Osbert. In his seventh 
 volume these fragments follow a tract 
 on the same subject by Osbern, quoted 
 in the last note. 
 
 d The proceedings of Lanfranc, 
 which occupy this article, are re- 
 lated in several different works of 
 Edmer, and others, and in each with 
 some peculiar particulars. To avoid 
 tautology in the text, therefore, I have 
 amalgamated these accounts together, 
 but have given them separately below, 
 in their original language : — 
 
 " . . . . post istud gemendum incen- 
 dium corpora pontificum supra memo- 
 ratorum suis loculis immota quiescebant 
 donee ille virorum strenuissimus . . . 
 Lanfrancus .... Archiepiscopatu Can- 
 tuariensi functus est. Is quippe omnia 
 quae combusti Monasterii repperit vel 
 acdificia vel aedificiorum detrita monu- 
 menta terrae coaequans et quae sub terra 
 
 erant fundamenta effodiens, cuncta nova 
 extruxit et praefatos Antistites levari ac 
 in tuto locari constituit ; donee ea quam 
 coeperat Ecclesia facta esset in qua de- 
 center poni valerent. Et ita factum est. 
 Post aliquot annos in Ecclesiam jam 
 fundatam illati sunt et in aquilonali 
 parte super voltum singuli sub singulis 
 locellis ligneis ubi quotidie mysterium 
 sacrificii salutaris celebratur positi 
 sunt." (Edm., Vit. S. Bregwini, Aug. 
 Sac. t. ii. p. 188.) 
 
 " Hie ergo Lanfrancus cum Cantuariam 
 primo venisset et Ecclesiam Salvatoris, 
 quam regere susceperat, incendio atq; 
 minis pene nihili lactam invenisset, 
 mente consternatus est. Sed cum mag- 
 nitude mali ilium cogeret desperare, 
 rediit in se, animique fortitudine fretus 
 sua commoditate posthabita domos ad 
 opus Monachorum necessarias, citato 
 opere consummavit. Quibus ubi per 
 plures annos usi sunt, adaucto eorum 
 conventu parvse admodum visae sunt, 
 Destructis itaque illis, alias decore ac 
 magnitudine prioribus multum prasstan- 
 tes aedificavit. iEdificavit et Curiam sibi, 
 Ecclesiam praeterea quam spacio septem 
 annorum a fundamentis ferme totam 
 perfectam reddidit ; in Cappis Casulis 
 Dalmaticis Tunicis auro magnifice in- 
 signitis, palliis et aliis ornamentis mul- 
 tis ac praeciosis nobiliter decoravit." 
 (Edmeri Hist. Nov m . 1. i. p. 7.) 
 
 " V. Cal. Junii Obiit foelicis memorise 
 Lanfrancus Archiepiscopus, .... qui 
 istam Ecclesiam a fundamentis funda- 
 vit et consummavit .... Hie etiam 
 claustra celaria refectoria, dormitoria, 
 caeterasque omnes officinas necessarias, 
 et omnia aedificia infra ambitum Curiae 
 consistentia cum ipso ambitu mira- 
 biliter miranda aedificavit." (Obituar. 
 in Ang. Sac. t. i. p. 55.) — I omit some 
 details concerning ornaments and books. 
 
 " Lanfrancus .... Ecclesiam Salvato- 
 ris quam cum prefatum incendium 
 
14 
 
 THE ARCHITECTURAL HISTORY 
 
 pontiffs (namely, Cuthbert, Bregwin, and their successors) 
 rested undisturbed in their coffins for three years e , until that 
 most energetic and honourable man, Lanfranc, abbot of Caen, 
 was made archbishop of Canterbury. And when he came to 
 Canterbury, and found that the church of the Saviour, 
 which he had undertaken to rule, was reduced to 
 almost nothing by fire and ruin, he was filled with consterna- 
 tion. But although the magnitude of the damage had well 
 nigh reduced him to despair, he took courage, and neglecting 
 his own accommodation, he completed, in all haste, the houses 
 essential to the monks. For those which had been used for 
 many years, were found too small for the increased numbers 
 of the convent f . He therefore pulled down to the ground 
 all that he found of the burnt monastery, whether of buildings 
 or the wasted remains of buildings, and, having dug out their 
 foundations from under the earth, he constructed in their 
 stead others, which excelled them greatly both in beauty and 
 magnitude. He built cloisters, celerers' offices, refectories, dor- 
 mitories, with all other necessary offices, and all the buildings 
 within the enclosure of the curia, as well as the walls thereof. 
 As for the church, which the aforesaid fire, combined with its age, 
 had rendered completely unserviceable, he set about to destroy 
 it utterly, and erect a more noble one. And in the space of 
 seven years, he raised this new church from the very founda- 
 tions, and rendered it nearly perfect. But before the work 
 began, he commanded that the bodies of the saints, which 
 
 turn vetustas inutilem fecerat, funditus 
 destruere et augustiorem construere 
 cupiens, jussit corpora sanctorum quae 
 in orientali parte ipsius ecclesiee hu- 
 mata erant in occidentalem partem ubi 
 memoria beatse dei genetricis et perpe- 
 tuee virginis Marie Celebris habebatur 
 demutari. Quamobrem celebrato tri- 
 duano jejunio sub innumera hominum 
 multitudine levata sunt corpora pretio- 
 sissimorum pontificumChristi Dunstani 
 atque Elfegi. Jam transferebantur ad 
 destinatum locum sepulture et om- 
 nium ora personabant in domini laude 
 .... Itaque sacratissima corpora decen- 
 tissime tumulata sunt et dies totius 
 
 festivis .... gaudio plenum effulsit." 
 (Edm., Mirac. S. Dunst., MSS. C.C.C. 
 p. 161.) " Testis enim est mihi . . . 
 quia ciim adhuc in scholis puerulus 
 essem &c. . . ." (Edm. Epist. Ang. Sac. 
 t. ii. p. 222.) 
 
 e " Cujus conflagrationis anno tertio 
 .... Lanfrancus .... ipsam ecclesiam 
 regendam suscepit." (Eadm. Vit. S. Wil- 
 fridi, MS. C.C.C. p. 77. Mabillon, t. iii. 
 p. 227.) 
 
 f He added one hundred monks, and 
 ordained that the total number should 
 always be from one hundred and forty 
 to one hundred and fifty. (Gerv. Act. 
 Pont. p. 1654.) 
 
OF CANTERBURY CATHEDRAL. 
 
 15 
 
 were buried in the eastern part of the church, should be re- 
 moved to the western part, where the oratory of the blessed 
 Virgin Mary stood. Wherefore, after a three days' fast, the 
 bodies of those most precious priests of the Lord, Dunstan 
 and Elphege, were raised, and in presence of an innumerable 
 multitude, conveyed to their destined place of interment, and 
 there decently buried. To which I, Edmer, can bear witness, 
 for I was then a boy at the school. 
 
 18. g But, in process of time, as the new work of the com- 
 menced church proceeded, it became necessary to take down 
 the remainder of the old work, where the bodies of the saints 
 just mentioned were deposited. Having prepared, therefore, 
 the refectory of the brethren for the celebration of Divine 
 Service, we all proceeded thither from the old church in festal 
 procession, bearing with honour and reverence our glorious 
 and sweet fathers, Dunstan and Elphege h . 
 
 19. 1 When the high Altar of the old church was taken down, 
 
 s " Inter hsec proficiente novo opere 
 coeptse ecclesiae res exegit residuum 
 vetusti operis, ubi memorata Sanctorum 
 corpora erant locata subverti. Parato 
 igitur refectorio fratrum ad divinum 
 officium inibi celebrandum, omnes cum 
 festiva processione illuc a veteri ecclesia 
 perreximus prseferentes cum honore et 
 reverentiagloriosos ac dulcissimos patres 
 nostros Dunstanum atque Elfegum." 
 (Edm. de Mirac. S. Dunst., MS. C.C.C. 
 p. 163 ; also, Mabill., ssec. v. p. 709.) 
 
 h The phrase perrexi?nus, " we pro- 
 ceeded," shews that our author was 
 present. In Mabillon's work, on account 
 of the imperfection of the MS. which he 
 employed, it happens that Osbern is 
 made to relate the removal of the bodies 
 of Dunstan and Elphege to the Lady 
 Chapel, and Edmer, (or Osbert, as he 
 calls him,) this removal to the refectory; 
 so that the two authors seem to be relat- 
 ing the same event with contradictory 
 particulars. However, in the complete 
 MS. copy of Edmer's Miracles of St. Dun- 
 stan, these two removals are distinctly 
 related as I have given them, and they 
 appear to me to afford much curious 
 information respecting the mode of con- 
 ducting the operations. They give new 
 reasons for thinking that the Saxon 
 
 building was entirely eradicated ; for, 
 if it had been merely worked up into 
 the new one, there could have been no 
 necessity for digging the archbishops 
 from their graves. Again, the double 
 translation shews, that the new build- 
 ing occupied the same site as the old, 
 and, also, that the work was carried on 
 from east to west. 
 
 1 " . . . . Cum ergo prcedictum altare 
 subverteretur reliquiae beati Wilfridi re- 
 pertse ac levatae sunt atque in scrinio 
 collocatae. Verum cum post aliquot 
 annos fratrum voluntas in eo consenti- 
 ret, ut magis fixo loco clauderentur : 
 sepulcrum eis in aquilonari parte altaris 
 factum est, et in eo sunt quarto idus 
 Octobris reverenter inclusae." (Edm., Vit. 
 S. Wilf. MS. C.C.C. p. 77. Mabillon, t. iii. 
 p. 227.) "... Cum altaria qusenomina- 
 vimus subverterentur, sanctuaria omnia 
 (quae in eis ut diximus antiquorum auc- 
 toritas patrum esse astruxerat) sine 
 diminutione reperta sunt. Quae ita se 
 habuisse sine ulla ambiguitate fateri 
 veraciter possum, quippe qui propriis 
 oculis omnia cum fierent intuitus sum 
 . . ." (Ead., de Reliq. MS. C.C.C. Gervase, 
 p. 1292.) The 12th of October appears 
 in the Romish calendar as the deposition 
 of Wilfrid. Gervase tells us below that 
 
16 
 
 THE ARCHITECTURAL HISTORY 
 
 the relics of the blessed Wilfrid were found, and placed in a 
 coffer (scrinium) ; but after some years, the brethren became 
 of opinion that they ought to have a more permanent resting- 
 place, and, accordingly, a sepulchre was prepared for them, on 
 the north side of an altar, in which they were reverently inclosed, 
 on the fourth idus of October. Moreover, when the other 
 altars were destroyed, all the holy places, which the wisdom of 
 the ancient fathers had constructed within them, were dis- 
 covered ; to the truth of which I can bear a faithful testimony, 
 seeing that I was myself an eye-witness of all that was 
 done. 
 
 20. k After a few years, the bodies of the pontiffs, Cuthbert, 
 Bregwin, and their successors, were brought into the newly - 
 founcled church, and placed in the north part, upon a vault, 
 each in a separate wooden coffin, and there, daily, the mystery 
 of the Sacrifice of Salvation was celebrated. 
 
 21. l In our own time, it happened to one of the elder 
 brethren of the church, Alfwin by name, who filled the office of 
 sacrist, that he, on the night of the festival of St. Wilfrid, 
 was resting in a certain lofty place in the church, outside the 
 choir, and before an altar, above m which, at that time, the relics 
 
 Wilfrid was deposited behind the altar 
 of the Trinity chapel, to the left, that 
 is, on the north, if used with reference 
 to a person standing in front of the 
 altar. This deposition of Wilfrid must 
 have taken place after the enlargement 
 of the choir by Anselm, described 
 below. 
 
 k "Post aliquot annos in Ecclesiam 
 jam fundatam illati sunt et in aquilo- 
 nali parte super voltum* singuli sub 
 singulis ligneis locellis, ubi quotidie 
 mysterium Sacrificii salutaris celebratur 
 positi sunt." (Edm., Vit. Bregw. Ang. 
 Sac. t. ii. p. 188.) 
 
 1 Slightly abridged from a passage in 
 Edm., Vit. S. Wilf. MS. C.C.C. p. 86. It 
 is contained in a sequel which has es- 
 caped Mabillon. The dream gives some 
 useful information respecting the ar- 
 rangement of the church of Lanfranc, 
 
 of which more below. " Nocte festivi- 
 tatis extra chorum in quodam edito 
 ipsius ecclesiee loco coram altari super 
 quod tunc temporis reliquise beati Wil- 
 fridi in feretro erant locatse quiesceret, 
 et nec plene vigilans nec plene dormiens 
 
 jaceret, &c Cumque ad lectiones 
 
 et responsoria ventum esset eos qui vel 
 legere vel cantare debebant per cocleam 
 ascendere ac coram altari et corpore 
 beati viri quasi pro benedictione sup- 
 plicare contemplatus est. Quo facto 
 mox redeundo descendebant et offi- 
 cium legendi et cantandi ubi mos est 
 in ecclesia ipsa decentissime persol- 
 vebant." 
 
 m " Super," that is, beyond or behind 
 the altar. The eastern parts of a church 
 were the upper parts, and the western 
 the lower parts, in the ancient nomen- 
 clature ; and as the early altars were 
 
 * " Lanfrancus .... Sanctorum Episcoporum corpora in aquilonari parte super 
 voltum magnum et pulcherrimum imposuit reverentur et collocavit decenter et sub 
 singulis locellis mirifice ordinavit." (Osbern., Ang. Sac. t. ii. p. 77.) 
 
1114.] OF CANTERBURY CATHEDRAL. 17 
 
 of the blessed Wilfrid were deposited in a shrine (feretrum). 
 There, as he lay between sleeping and waking, he saw the 
 church filled with light, and angelic persons performing the 
 service, and beheld those whose duty it was to read or sing, 
 ascend the cochlea or winding-stair, and ask a blessing before 
 the altar and body of the blessed man, which done, they 
 straightway descended, returned, and resumed the usual office 
 of the church with all solemnity. 
 
 22. Archbishop Anselm, who succeeded Lanfranc, (A.D. 
 1093), appointed Ernulf to be prior. This Ernulf was a 
 Frenchman and originally a monk of St. Lucian, in Beauvais. 
 He, then, becoming dissatisfied with that monastery, joined 
 Lanfranc, whose pupil he had been at Bee, and remained with 
 him as a monk at Canterbury. After the death of Lanfranc, 
 he was made prior, as above related, then (in 1107) abbot of 
 Burgh, (Peterborough,) and finally, (A.D. 1114,) bishop of 
 Rochester. While at Canterbury, having taken down the 
 eastern part of the church which Lanfranc had built, he 
 erected it so much more magnificently, that nothing like it 
 could be seen in England, either for the brilliancy of its glass 
 windows, the beauty of its marble pavement, or the many 
 coloured pictures which led the wondering eyes to the very 
 summit of the ceiling 0 . 
 
 23. This chancel, however, which Ernulf left unfinished, 
 was superbly completed by his successor Conrad, who deco- 
 rated it with excellent paintings, and furnished it with pre- 
 cious ornaments 15 . At Burgh, Ernulf pulled down the 
 ruinous old buildings, laid new foundations, and finished them 
 
 isolated, eminent saints were honoured vimenti nitore, in diversicoloribus pic- 
 
 by being deposited behind the altars, turis, quae mirantes oculos trahunt ad 
 
 " retro altare." fastigia lacunaris." (Will. Malms., de 
 
 n " Is natione Gallus," says Malms- Gestis Pont. p. 234.) The whole article 
 
 bury, (de Gest. Pont. p. 224) ; on the is derived from the same page. 
 
 contrary, according to the Annals of p " Cancellum quippe Eccle- 
 
 Rochester, he was an Englishman, " de si?e, quern venerabilis Ernulphus 
 
 Anglia natus," Ang. Sac. t. i. p. 342. antecessor ejus imperfectum reliquerat, 
 
 ° " Cantias dejectam priorem par- ipse sua industria magnifice consum- 
 
 tem Ecclesise, quam Lanfrancus Eedifi- mavit, consummatumque egregia pic- 
 
 caverat, adeo splendide erexit, ut nihil tura decoravit, decoratum vero precio- 
 
 tale possit in Anglia videri, in vitrea- sis ornamentis locupletavit." Obit, in 
 
 rum fenestrarum luce, in marmorei pa- Ang. Sac. t. i. p. 137. 
 
 D 
 
18 THE ARCHITECTURAL HISTORY [1114. 
 
 to the roof ; to wit, a dormitory, chapter-house, refectory, and 
 necessarium q . And at Rochester, he built a dormitory, 
 chapter-house, and refectory r . 
 
 24. His works at Canterbury, however, originated with An- 
 selm, for that prelate allowed the monks to manage their own 
 affairs, and gave them for priors Ernulf, and then Conrad, both 
 monks of their own monastery. And thus it happened that, 
 in addition to the general prosperity and good order of their 
 property, which resulted from this freedom, they were enabled 
 to enlarge their church, by all that part which stretches from 
 the great tower to the east ; which work Anselm himself pro- 
 vided for. For when Duke Robert of Normandy undertook 
 his crusade, (A J). 1096,) great riches were exacted from the 
 English by his brother King Henry to supply him with 
 funds, and the archbishop being compelled to contribute, drew 
 out a large sum from the treasury of the church of Canter- 
 bury. And to make amends, straightway granted to the said 
 church the revenues of his town of Peckham, for seven years, 
 the whole of which were expended upon the new work 8 . 
 
 25. 1 Not long before the death of Archbishop Radulf, a cer- 
 tain Teutonic monk named Lambert, who came into 
 England under the patronage of the new queen 
 
 (Adelais), visited Canterbury, and remained there for some 
 time, residing with the brethren. He became fond of fre- 
 quenting the place where the relics of the archbishops were de- 
 posited, to pray there, to celebrate masses there, and was wont 
 to ask all manner of questions, as to who this or that one had 
 been, and what might be the name of the one who rested in 
 this or that coffin. At length he conceived a vehement desire 
 to obtain the body of St. Bregwyn, and take it to his own 
 
 i Chron. J. Abbas, p. 61. villse et toti redditus ejus in novo opere, 
 
 r Ann. Ecc. Roff., in Angl. Sac. t. i. quod a majori turre in orientem tendi- 
 
 p. 342. tur, quodq; ipse Pater Anselmus in- 
 
 8 "... . Super hcec, ipsum oratorium choasse dinoscitur, consumpta sunt." 
 
 quantum a majore turri in Orientem (Hist. Nov. 1. ii. p. 35.) The whole of 
 
 porrectum est ipso Patre Anselmo pro- Article 24. is derived from the Historia 
 
 vidente, disponente, auctum est." (Ed., Novorum, pp. 108 and 35. 
 
 Hist. Nov. 1. v. p. 108.) " Et 1 Abridged from the narrative of 
 
 quidem eodem spatio ipsa Ecclcsia Edmer. (Vit. S. Breg. ; Ang. Sac. t. ii. 
 
 eadem villa potita est, et silva et p. 188.) 
 
1130.] OF CANTERBURY CATHEDRAL. 19 
 
 country, intending, as he said, to construct a monastery under 
 his patronage. He had even got the consent of the archbishop, 
 and was making interest with the king, through the queen, 
 for this purpose, when his own death put a stop to the matter. 
 But the monks were set on their guard ; and to make such 
 attempts more difficult in future, they removed the relics of the 
 above-named father, together with those of the blessed Arch- 
 bishop Plegemund, to the south part of the church, and there 
 decently entombed them behind u the altar of St. Gregory. One 
 of the monks named William, by consent of the others, 
 undertook the management of this affair, and, by his industry 
 and care, nearly all the funds were obtained that were required 
 for the translation of the relics, and for the erection of the 
 sepulchres. 
 
 26. The church of Canterbury, thus founded and finished 
 ad ii3o ^ Lanfranc, but enlarged by Anselm, was dedicated 
 by Archbishop William, with all respect and liberality, 
 on the 4th of May. At this dedication were present, Henry 
 king of England, David king of Scotland, and all the bishops 
 of England. So famous a dedication has never been heard of 
 on the earth since the dedication of the temple of Solomon x . 
 
 u "Post Altare," Edmer. "Supra 
 Altare," Osbern (p. 77). See note m, 
 p. 16. above. 
 
 x " . . . . Ecclesiam Cantuariee a Lan- 
 franco fundatam et consummatum sed 
 per Anselmum auctam. iiij non. Maii 
 anno M.C. xxx. cum honore et muni- 
 ficentia multa dedicavit. Huic dedica- 
 tion! interfuit Rex Angloruni Henricus 
 Rex etiam Scotise David inter- 
 fuit praefatse dedicationis et omnes 
 episcopi Anglia?. Non est audita talis 
 dedicatio in terra post dedicationem 
 templi Salomonis." (Gerv. Act. Pont. p. 
 1 664.) This dedication is also mentioned 
 by Diceto, Bromton, and Matthew Paris, 
 but the latter historian also mentions a 
 dedication in 1115, which, as it is not 
 to be found in any other author, and 
 especially not in the local historian 
 Gervase, is probably an error. Diceto 
 terms the church Ecc a . S*. Trinitatis, 
 
 (p. 504) ; and Matthew Paris, (in the 
 dedication of 1130,) Ecc\ Christi, (p. 60.) 
 It is not certain at what time the name 
 of the Holy Trinity was bestowed on 
 this church. Thorn employs it through- 
 out his chronicle, even from the time 
 of Abp. Cuthbert, probably, however, 
 using the name by which it was known 
 in his own time. But to the sentence 
 of Bede, (Art. 1. above,) which he co- 
 pies, he adds, that the church was 
 called Christ Church from that day, 
 and the above dedication he records by 
 saying, " that the church of the Holy 
 Trinity was dedicated, which was after- 
 wards vulgarly denominated Christ 
 Church," (p. 1799.) It is called Trinity 
 Church in Domesday. On the other 
 hand, Gervase always calls it Christ 
 Church. The modern historians do not 
 throw any light upon the matter. (Vide 
 Somner, p. 87; Battely, p. 1 1 ; Dart. p. 9.) 
 
20 
 
 THE ARCHITECTURAL HISTORY 
 
 CHAPTER II. 
 
 ON THE PLAN AND ARRANGEMENT OF THE SAXON CATHEDRAL. 
 
 In the last chapter I have endeavoured to collect in order 
 every passage from the historians that contains the slightest 
 allusion to the building. From these we gather that an 
 ancient church, the work of the Romans, was by Augustine (in 
 602) again recovered to Christianity, that it was enlarged by 
 Oclo (about 950), and finally pulled down by Lanfranc in 
 1070. These facts are but scantily sufficient for a period of 
 six centuries, and as the essential repairs of Odo are related in 
 connexion with a monkish legend, we may fairly suspect that 
 other facts of equal importance concerning the repairs or 
 changes have been forgotten, because no such legend had been 
 attached to them. 
 
 It is scarcely necessary to remark, that this building was 
 plainly not of wood ; Odo is distinctly said to have raised the 
 'walls, but whether of stone or brick does not appear. How- 
 ever, the expression and details which have survived to us con- 
 cerning the operation of Lanfranc, are so decided with respect 
 to the hopeless condition and total destruction of the church 
 when he came to the see, that I have no doubt whatever of 
 its entire eradication at that time. Consequently it is vain to 
 look to the present building for the slightest remains of the 
 Saxon cathedral, and in endeavouring to form its plan, we 
 must depend wholly upon the written description. 
 
 Fortunately, however, we owe that written description, as 
 well as most of the allusions which are collected in the last 
 chapter, to a writer who by his own account had seen the 
 ruined cathedral before it was pulled down, and was himself a 
 witness to the various operations carried on, besides being a 
 diligent collector of traditions relating to the place. 
 
 Perhaps one of the most striking features of Edmer's de- 
 scription, is the statement that the church was in some sort 
 arranged in imitation of the church of St. Peter at Rome, and 
 
OF CANTERBURY CATHEDRAL. 
 
 21 
 
 as Edmer had accompanied Anselm to Rome, he was well 
 qualified to judge of the resemblance. Accordingly the truth 
 of this assertion appears fully borne out by comparing the two. 
 For although the ancient Basilica of St. Peter was altogether 
 destroyed in the sixteenth century, to make way for the exist- 
 ing building, yet ample particulars of it have been preserved. 
 Plans and drawings were made before its demolition, which 
 are still preserved in the Vatican, and which have been pub- 
 lished by various authors, as well as minute descriptions and 
 investigations. From these I have drawn up the short de- 
 scription which follows of the arrangement of St. Peter's, as far 
 as may be necessary for the explanation of those of the Saxon 
 church in question, referring for more ample particulars to the 
 authorities cited below y . 
 
 Fig. 1. (page 22.) represents a small portion of the plan of 
 the church including the apse, part of the transept and part of 
 the nave, and of the aisle on each side of it. But it must be 
 added, that this church had two aisles on each side of the 
 nave, which could not be included within the boundary of this 
 sketch. 
 
 The pavement of the transepts was on the same level as 
 that of the nave and its aisles. But that of the apse was 
 raised about five feet higher z, forming the platform of the 
 presbytery, which extended about nine feet into the transept. 
 
 This church, like most of the ancient churches, had its 
 entrance at the east end, and the apse in question at the west. 
 At the extreme west point, B, was placed the pontifical chair, 
 upon a platform raised by several steps above the level of the 
 presbytery. To the right and left of this chair, the walls 
 of the apse were lined by the seats of the cardinals, at C C. 
 At the edge of the platform to the east stood the high Altar A, 
 under a ciborium or canopy which rested upon four pillars of 
 
 y Fontana ; II Tempio Vaticano. silica diS.Pietro in Vaticano, Rom. 1684. 
 
 Roma, 1694. — Ciampini ; De Sacris z These measures I have reduced to 
 
 Edificiis a Constantino M°. constructis. English feet ; I have been obliged to 
 
 Rom. 1693. — Bonanni ; Templi Vati- trust to the scales upon the engravings, 
 
 can Historia, Rom. 1700. — Costaguti which unfortunately are often far from 
 
 e Ferrabosco ; Architettura della Ba- being precise or consistent. 
 
22 
 
 THE ARCHITECTURAL HISTORY 
 
 porphyry, the situation of which is marked upon the plan, 
 which also shews that this altar was raised by steps above the 
 pavement of the presbytery. The apse itself was fifty-eight 
 feet in diameter, and thirty-two feet in depth. On each side 
 
 w 
 
 
 
 Is 
 
 
 [1 
 
 Q 
 
 
 ffl 
 
 m 
 
 N AV E 
 
 EAST. 
 
 ffl 
 ffl 
 ffl 
 
 Unf Feet 
 
 Fig 1. PLAN OF PART OF THE ANCIENT BASILICA OF ST PETER AT ROME 
 
 a flight of five steps, D, led down to the transept. Beneath this 
 platform, and close to the wall of the apse, there was a semi- 
 circular passage or vaulted crypt, which was employed as a 
 polyandrum, or burial-place, and filled with the coffins of the 
 popes. The entrances to this crypt were to the right and left 
 of the platform of the presbytery, at F and G in the plan, for 
 the steps, D, already mentioned, abutted at their extremities 
 against a low vertical wall, in the face of which the entrances 
 
OF CANTERBURY CATHEDRAL. 
 
 23 
 
 to these passages were constructed, so that persons entering 
 at F, could pass completely round and come out at 67, as 
 Ciampini expressly states a . 
 
 Under the high Altar and central portion of the presbytery, 
 was constructed the famous subterranean chapel, which was 
 termed the confessionary (Confessio) of St. Peter b . The exact 
 dimensions of this chapel have not been recorded, but some 
 facts mentioned by ancient authors shew that it was suffi- 
 ciently capacious to receive a considerable number of persons 
 at once. There was an altar within this chapel, and in 
 the front of the altar a small window-like opening, called the 
 confessionary of the altar. To this opening corresponded another 
 opening in the pavement within the altar, which looked into a 
 small chamber or cell below it. In this cell was deposited the 
 coffer of bronze, inclosing another of silver, which was believed 
 to contain the remains of St. Peter. By means of these two 
 openings the coffer could be seen, and the pallia, as also veils 
 for the decoration of churches, golden keys, and other similar 
 matters, could be brought into contact with it, from which 
 ceremony they were thought to have acquired marvellous 
 virtues, which made them acceptable gifts for archbishops and 
 kings. This chapel had no communication with the polyan- 
 drum, and the access to it was by means of a flight of steps in 
 front of the high Altar at E. These steps are not shewn in the 
 plan, for it appears that at the beginning of the thirteenth 
 century, and probably by order of Innocent III., it was thought 
 advisable no longer to allow access to the body of St. Peter, 
 lest some German emperor or antipope should be tempted to 
 remove so invaluable a relic from Rome. Accordingly, the steps 
 which led down to the chapel were removed, their place made 
 
 a The dimensions of this passage of their flock. The first is clearly de- 
 have not been preserved, but it was fined by Du Cange as follows. " Cow- 
 evidently narrow and small. Lonigo fessio is a name anciently applied to 
 calls it " quel picciol luogo." (Bonanni, the sepulchres of the Martyrs, or Con- 
 p. 306.) And Ciampini terms the en- fessors, as they were termed. Over 
 trance " angustum ostium," p. 53. these, altars were often placed, and 
 
 b Confessio, the confessionary, must hence the name was also given to the 
 
 not be confounded with confessionale, place under the high Altar, in which 
 
 the confessional, a place in which the the relics and bodies of the Saints were 
 
 Romish priests receive the confessions enclosed." 
 
24 
 
 THE ARCHITECTURAL HISTORY 
 
 level with the rest of the pavement, and the openings into the 
 confessionary walled up, thus reducing the front of it to a plain 
 vertical face. The plan therefore which, as before said, was 
 taken in the sixteenth century, represents this new arrange- 
 ment ; previously to which, the front of the presbytery ex- 
 hibited a descending flight of steps in the centre, with an 
 ascending flight to right and left c . 
 
 In front of the steps were placed twelve columns of 
 Parian marble, arranged in two rows. These were of a spiral 
 form, and decorated with sculpture of vine-leaves. They were 
 of great antiquity, and reported to have been brought from 
 Greece, or from the temple of Solomon. Their bases were 
 connected by lattice-work of metal, or by walls of marble, 
 breast high, and shewn by the dotted lines, so as to enclose 
 the space marked K X } which was termed the vestibule of the 
 confessionary. The entrance to this was at II, between the cen- 
 tral pillars, where the cancelli or lattices were formed into doors, 
 which thus gave access to the presbytery, as well as to the confes- 
 sionary. Above these columns were laid beams, or entablatures, 
 upon which were placed images, candelabra, and other deco- 
 rations ; and, indeed, the successive popes seem to have 
 lavished every species of decoration in gold, silver, and marble- 
 work, upon the enclosure and the crypt below. For ample 
 details of which, I must refer to the works already quoted, as 
 my present object is with the arrangements only. The entire 
 height, measured to the top of the entablature, was about 
 thirty feet. The columns, with their connecting lattices and 
 entablature, formed, in fact, the screen of the chancel d . 
 
 The nave was divided from the transept by an arch, 
 L, termed the principal arch, or triumphal arch e . Nearly 
 
 c Similar arrangements still exist in 
 the Roman churches of S. Prassede, and 
 S. Lorenzo fuori le mure, and partly 
 at the Lateran. 
 
 d Eight of these venerable columns 
 were employed by Bernini in the deco- 
 ration of the four upper niches of the 
 great piers of the dome, where they 
 may be still seen. 
 
 e Under this arch a beam was fixed, 
 and the tympanum or space included 
 between the soffit of the arch and the 
 beam was occupied by a singular kind 
 of iron lattice-work, representing a 
 cross in the centre, and the keys on 
 each side. The antiquity of this 
 arrangement is not recorded, but it 
 corresponds to the rood-beam. 
 
OF CANTERBURY CATHEDRAL. 
 
 25 
 
 under this stood the ambo, or pulpit, M } from whence the Gos- 
 pel was read to the people. The choir of the canons was a 
 wooden structure, placed opposite one of the south pillars of 
 the nave, at P. Whether this was the original position does 
 not appear, for it is merely described as a very ancient arrange- 
 ment. In the other churches of Rome it was placed in the 
 centre of the nave, and had two ambones, one on the north 
 and the other on the south, for the Epistle and Gospel respec- 
 tively^ At Q, however, an oratory and altar of relics was 
 erected by Pope Gregory III. (a.d. 731 — 741.) for the use of 
 the canons. And it must be observed, that all the arrange- 
 ments which I have described, are of great antiquity, and all 
 existed at the time of Odo, and most of them, indeed, in the 
 clays of Augustine, and were similar to those of other churches 
 of the same period. The confessionary and presbytery belong 
 to the original building of Constantine and Pope Sylvester, 
 although they were repaired by subsequent popes. Six of 
 the columns in front were placed there by Constantine, and 
 the other six by Gregory III. I shall merely add, that in front 
 of the columns at P, Pope Paschal I. (A.D. 817 — 824.) placed 
 an altar dedicated to Sixtus I. ; and that another ancient altar 
 stood at Sy on the spot where the bodies of St. Peter and St. 
 Paul were originally buried. The tomb of Pope Sylvester 
 stood at T, and of Pope Vigilius at V. The font was placed 
 at the end of the north transept by Pope Liberius (A.D. 352 
 — 366.), and was reconstructed on a larger scale by Leo III. 
 (A.D. 795 — 816.) The end of this transept was screened 
 off by columns and an entablature, and the font stood in the 
 space behind them. It was circular, and surrounded by 
 porphyry columns. 
 
 The description of the Saxon church of Canterbury (in 
 Art. 15.) will be found to coincide with the above of St. Peter 
 at Rome, in several particulars. 1. The crypt evidently ex- 
 tends only under the presbytery or altar end of the church, 
 and not under the choir of the singers. 2. This crypt has 
 
 f For example : the Lateran, S. Maria Maggiore, S. Lorenzo fuori le mure, 
 S. Clemente, S. Maria in Cosmedin, &c. 
 
 E 
 
26 
 
 THE ARCHITECTURAL HISTORY 
 
 an altar within, and a single entrance in the middle of its 
 western face. That the floor of this Saxon crypt was not on 
 the same level with that of the choir, is shewn by the wall 
 which is said to have separated it from the grave of Dunstan : 
 for Dunstan was buried before the steps, and in a grave six 
 feet beneath the pavement. Now, if the floor of the crypt 
 was four or five feet below that of this pavement, its western 
 wall behind and under the steps, may naturally be said to 
 have separated the crypt from his grave ; but this phrase 
 would hardly have been either necessary or applicable, if the 
 pavements within and without the crypt had been at the 
 same elevation. Moreover, Edmer tells us that the altar-plat- 
 form was ascended by a few steps from the pavement. But 
 if the crypt had been entirely above the level of the pavement, 
 many steps would have been required, for the crypt must, at 
 least, have been high enough for a man to stand upright in. 
 
 3. The matutinal altar, which seems to have been employed by 
 the monks in their daily service, was placed below the platform 
 of the presbytery, and in front of the steps, a position analagous 
 to the altars shewn in the plan of St. Peter's, due allowance 
 being made for the enormous magnitude of the latter. No 
 mention is made of any outer crypt behind the principal one, 
 and similar to the polyandrum of St. Peter's. But such a 
 circumscribing crypt has been discovered in the ancient Saxon 
 church of Brixworth, running, however, outside the apse. 
 
 4. The choir of the singers is extended in our Saxon 
 church into the nave ; an arrangement perfectly analogous to 
 those of the Roman basilicas, and like them it was probably 
 enclosed by a breast-high wall, which was intended to keep 
 off the laity, without preventing their view of the ceremonies. 
 
 Fig. 2. will serve to make my explanation of the plan of 
 the Saxon cathedral more intelligible. 
 
 Edmer's description plainly mentions the body or aula of 
 the church and its aisles, but is silent with regard to a tran- 
 sept. That it had a circular termination or apse, may be 
 gathered from the use of the word curvatura, in the crypt, 
 and from analogy with its model, St. Peter's at Rome, as well 
 
OF CANTERBURY CATHEDRAL. 
 
 27 
 
 as the other churches of the period. Now, although the large 
 Basilicas at Rome have transepts, yet in the lesser ones the 
 building is a plain parallelogram, of which the aisles extend 
 from end to end, and the divisions of the church, are made out 
 upon its floor by steps and partitions, but do not shew them- 
 
 WEfT. 
 
 Fig. 2. PLAN OF THE SAXON CATHEDRAL OF CANTERBURY. 
 
 selves in the external form. Thus in the oft-quoted example 
 of St. Clement, the transept is traced within by a low transverse 
 partition, which runs immediately in front and below the steps 
 of the presbytery, cutting off a strip at the altar end, which 
 rises in the aisles a step or two above the general level ; and 
 the choir, in like manner, is formed by breast-high partitions, 
 which enclose a parallelogram, less in breadth than the central 
 
28 THE ARCHITECTURAL HISTORY 
 
 alley of the aula, or body, into which this enclosed space ex- 
 tends, and occupies about half its length. 
 
 The phrase employed by Edmer in describing this chorus or 
 choir of the singers, which he says extended into the body of 
 the church, has induced me to follow the model of St. Clement 
 in the plan, (fig. 2.), which must of course be looked upon as 
 a mere diagram. 
 
 The platform of the presbytery (or upper floor of the crypt, 
 to use the phraseology of Edmer' s description), may be sup- 
 posed to extend, in imitation of that of St. Peter, in front of the 
 apse. The front boundary will be formed by two lateral 
 ascending flights of steps, C C, having between them in the 
 centre the descending flight into the crypt, at D; and the posi- 
 tion of the tomb of Dunstan is distinctly defined to be at the 
 western end of this passage, and therefore in the central line 
 of the plan, and of course sufficiently in advance of the steps 
 to allow access to them, while the matutinal altar being at the 
 head of the saint, is therefore at the west end of his tomb at U. 
 
 On the platform of the presbytery at the extreme east point, 
 A, was the high Altar enclosing the body of St. Wilfrid, and at 
 B } in front of it, the Altar of Christ, where mass was daily cele- 
 brated. Edmer tells us, in his Life of Wilfrid, (Art. 7,) that Arch- 
 bishop Odo deposited his relics in the great Altar which was con- 
 secrated to Christ ; but in his description of the Saxon church, 
 (Art. 1 3,) this author relates that the relics were deposited in the 
 great Altar which was close to the eastern wall of the presby- 
 tery, and which was built of rough stones and cement, and 
 that afterwards another altar was set before this, and dedicated 
 to Christ for the daily mass. The rude construction especi- 
 ally mentioned, indicates the venerable antiquity of the first 
 altar, and the subsequent addition of another altar for daily 
 use, seems to shew that the first was now considered too 
 sacred for the ordinary priests, and that like the high Altar of 
 St. Peter and some others at Rome, at which the pope only 
 officiates on great festivals, this was reserved in a similar way. 
 The second altar, B } was perhaps erected by Archbishop Elphege, 
 the fourth after Dunstan, as he is said to have enclosed in it 
 
OF CANTERBURY CATHEDRAL. 
 
 29 
 
 so many relics. The position of the high Altar is different 
 from the usual disposition of the period, which places it on 
 the spot occupied by the second altar, B, namely, in front of 
 the presbytery. 
 
 The tomb of Odo was on the south side of the Altar of 
 the Saviour (about M) ; U, F, is the probable extent of 
 the choir of the singers. About or beyond the middle of 
 the body of the church were two towers, K, L ; K had an 
 altar, and also seemed to have served as a porch to the 
 church. The altar therefore was probably in an apse. The 
 tower, Z, on the north side may have formed a part of the 
 cloister, as I have shewn it, or it may have stood in one angle of 
 the cloister ; the use to which it was put, namely, to teach the 
 younger brethren, was common to all the cloisters. As for 
 the Lady-chapel, so minutely and curiously described by our 
 author, we are told that it was raised above the level by steps, 
 that the altar was at the east end, and therefore in front of the 
 steps, G, and that the officiating priest turned his face to the 
 people below, while standing at this altar. The altar must 
 therefore have been between him and the people ; and the 
 people must also have been without the boundary of the chapel 
 and in the body of the church. Hence I conclude this chapel 
 to have been a mere apse as T have drawn it, and as the 
 episcopal throne was at its western extremity, H, it becomes 
 very probable that this was in fact the original altar end 
 of the church, and that like most of the ancient churches, 
 including St. Peter's, it was at first built with its altar at 
 the west end g . 
 
 Of the Baptistery, or church of St. John, erected by Arch- 
 bishop Cuthbert, no particulars have been preserved except 
 the meagre notice that it stood at the east of the great church, 
 and nearly touched it. It was not, therefore, a chapel brandi- 
 sh Churches that have been thus Benoit at Paris (now used as the theatre 
 turned from west to east, are to be of the Pantheon), are French ex- 
 found on the continent exhibiting amples ; Germany will furnish several 
 ancient apses at the west end, and more others, and at Rome we may cite the 
 recent ones at the east. The cathe- Basilica of S. Lorenzo, 
 dral of Nevers and the church of St. 
 
30 
 
 THE ARCHITECTURAL HISTORY 
 
 ing from it. I have sketched an octagon in the plan from 
 analogy merely with other examples 11 . 
 
 As to the history of these arrangements of the church, we 
 can offer little beyond conjecture; Edmer describes it as he knew 
 it, and had seen it during its demolition ; and we know that 
 Odo raised the walls when he made a new roof, and that this 
 operation took up three years, a period which seems to imply a 
 considerable work, if indeed the time has not been exaggerated 
 to give importance to the miracle. However, the church of 
 Brixworth has plainly had its walls raised, and a clerestory 
 with windows added, even in the Saxon period ; assuming 
 that midwall balustre-shafts are to be received as charac- 
 teristic of this period; for a triple window with such shafts 
 was inserted in the western wall when the walls were so 
 raised. By analogy then, we may guess that Odo gave to 
 his church a clerestory which it had not before. But whe- 
 ther the said church was the ancient Roman Christian build- 
 ing, or whether Augustine or one of his successors might 
 not have rebuilt it, who can tell. The communication with 
 Rome was always maintained in these early centuries, and the 
 imitation of St. Peter's was as likely to have been an object with 
 Odo or with Augustine, as to have resulted from the original 
 plan and derivation of the building and its site from the pri- 
 mitive Christianity of the island. That the Saxons did imi- 
 tate Roman models is shewn by the very midwall shafts of 
 the Saxon windows which are directly copied from those of 
 the Roman Campanili. 
 
 It was a part of the policy of Augustine, acting under the 
 advice of Pope Gregory, not to destroy the heathen temples, 
 but only the idols therein ; and to consecrate their buildings 
 to Christianity, that the people might the more readily be 
 induced to worship according to the new doctrines, because 
 the buildings were familiar to them as houses of prayer ; 
 similar motives would operate much more strongly in favour of 
 
 h The Baptistery of Constantine stands a greater distance. The Baptistery of 
 in a somewhat similar relative position St. Peter's was at the end of the north 
 to the church of the Lateran, but at transept, as already mentioned. 
 
OF CANTERBURY CATHEDRAL. 
 
 31 
 
 preserving the old Christian church ; and I do not, therefore, 
 think it probable that it was rebuilt by Augustine, whatever 
 his successors might have done during the three centuries that 
 separated him from Odo. But as all this is but vain conjec- 
 ture, I shall conclude this chapter, reserving the discussion of 
 Lanfranc's building and its subsequent enlargement, to follow 
 the tract of Gervase, to which I must now introduce my 
 readers. 
 
32 
 
 THE ARCHITECTURAL HISTORY 
 
 CHAPTER III. 
 
 HERE BEGINNETH GERVASE HIS HISTORY OF THE BURNING 
 AND REPAIR OF THE CHURCH OF CANTERBURY. 
 
 This Chapter is literally translated from the tract of Gervase, and con- 
 tains the whole of it, with the omission only of a long digression upon the 
 merits of Thomas a Becket, and of a quotation from the Opuscula of Edmer, 
 which I have already given in its proper place in the first chapter. I have 
 broken the original into sections, for the convenience of reference, and have 
 also added, within parentheses, letters referring to my plans and sections. 
 
 1. The Conflagration. 
 
 In the year of grace 1 one thousand one hundred and seventy- 
 four, by the just but occult judgment of God, the church of 
 Christ at Canterbury was consumed by fire, in the forty-fourth 
 year from its dedication k , that glorious choir, to wit, which had 
 been so magnificently completed by the care and industry of 
 Prior Conrad. 
 
 Now the manner of the burning and repair was as follows. 
 a.d. ii74. In the aforesaid year, on the nones of September, at 
 tween 5 3 and about the ninth hour, and during an extraordinarily 
 4 P M " violent south wind, a fire broke out before the gate of 
 the church, and outside the walls of the monastery, by which 
 three cottages were half destroyed. From thence, while the 
 citizens were assembling and subduing the fire, cinders and 
 sparks carried aloft by the high wind, were deposited upon 
 the church, and being driven by the fury of the wind between 
 the joints of the lead, remained there amongst the half rotten 
 planks, and shortly glowing with increasing heat, set fire to 
 
 ' This chronological term, " the year mas Day (vide Chron. Gervasii, p. 1337, 
 
 of grace," was invented by Gervase him- also see V Art de Verifier les Dates.) 
 self. The years so termed correspond k For it was dedicated in 1130. (Art. 
 
 to our years of our Lord, with the dif- 26. chap, i.) 
 ference only that they begin from Christ- 
 
AND REPAIR OF CHRIST CHURCH. 33 
 
 the rotten rafters ; from these the fire was communicated to 
 the larger beams and their braces, no one yet perceiving or 
 helping. For the well-painted ceiling below, and the sheet- 
 lead covering above, concealed between them the fire that had 
 arisen within. 
 
 Meantime the three cottages, whence the mischief had 
 arisen, being destroyed, and the popular excitement having 
 subsided, everybody went home again, while the neglected 
 church was consuming with internal fire unknown to all. But 
 beams and braces burning, the flames rose to the slopes of 
 the roof ; and the sheets of lead yielded to the increasing heat 
 and began to melt. Thus the raging wind, finding a freer 
 entrance, increased the fury of the fire ; and the flames begin- 
 ning to shew themselves, a cry arose in the church-yard: "See! 
 see ! the church is on fire." 
 
 Then the people and the monks assemble in haste, they 
 draw water, they brandish their hatchets, they run up the 
 stairs, full of eagerness to save the church, already, alas ! 
 beyond their help. But when they reach the roof and per- 
 ceive the black smoke and scorching flames that pervade it 
 throughout, they abandon the attempt in despair, and thinking 
 only of their own safety, make all haste to descend. 
 
 And now that the fire had loosened the beams from the 
 pegs that bound them together, the half-burnt timbers fell 
 into the choir below upon the seats of the monks ; the seats, 
 consisting of a great mass of wood-work, caught fire, and 
 thus the mischief grew worse and worse. And it was mar- 
 vellous, though sad, to behold how that glorious choir itself 
 fed and assisted the fire that w r as destroying it. For the 
 flames multiplied by this mass of timber, and extending 
 upwards full fifteen cubits 0 , scorched and burnt the walls, 
 and more especially injured the columns of the church. 
 
 And now the people ran to the ornaments of the church, and 
 began to tear down the pallia and curtains, some that they 
 might save, but some to steal them. The reliquary chests 
 were thrown down from the high beam and thus broken, and 
 
 «= About 25 feet. 
 F 
 
34 
 
 GERVASE ON THE BURNING 
 
 their contents scattered ; but the monks collected them and 
 carefully preserved them from the fire. Some there were, who, 
 inflamed with a wicked and diabolical cupidity, feared not to 
 appropriate to themselves the things of the church, which they 
 had saved from the fire. 
 
 In this maimer the house of God, hitherto delightful as a 
 paradise of pleasures, was now made a despicable heap of 
 ashes, reduced to a dreary wilderness, and laid open to all the 
 injuries of the weather. 
 
 The people were astonished that the Almighty should suffer 
 such things, and maddened with excess of grief and perplexity, 
 they tore their hair and beat the walls and pavement of the 
 church with their heads and hands, blaspheming the Lord and 
 His saints, the patrons of the church ; and many, both of laity 
 and monks, would rather have laid down their lives than that 
 the church should have so miserably perished. 
 
 For not only was the choir consumed in the fire, but also 
 the infirmary, with the chapel of St. Mary, and several other 
 offices in the court ; moreover many ornaments and goods of 
 the church were reduced to ashes. 
 
 2. The Operations of the first year. 
 
 Bethink thee now what mighty grief oppressed the hearts 
 of the sons of the Church under this great tribulation ; I verily 
 believe the afflictions of Canterbury were no less than those of 
 Jerusalem of old, and their waitings were as the lamentations 
 of J eremiah ; neither can mind conceive, or words express, or 
 writing teach, their grief and anguish. Truly that they might 
 alleviate their miseries with a little consolation, they put to- 
 gether as well as they could, an altar and station in the nave 
 of the church, where they might wail and howl, rather than 
 sing, the diurnal and nocturnal services. Meanwhile the patron 
 saints of the church, St. Dunstan and St. Elfege, had their 
 resting-place in that wilderness. Lest, therefore, they should 
 suffer even the slightest injury from the rains and storms, the 
 monks, weeping and lamenting with incredible grief and 
 
AND REPAIR OF CHRIST CHURCH. 
 
 35 
 
 anguish, opened the tombs of the saints and extricated them 
 in their coffins from the choir, but with the greatest difficulty 
 and labour, as if the saints themselves resisted the change. 
 
 They disposed them as decently as they could at the altar 
 of the Holy Cross in the nave. Thus, like as the children of 
 Israel were ejected from the land of promise, yea, even from a 
 paradise of delight, that it might be like people, like priest, 
 and that the stones of the sanctuary might be poured out at 
 the corners of the streets d ; so the brethren remained in grief 
 and sorrow for five years in the nave of the church, separated 
 from the people only by a low wall. 
 
 Meantime the brotherhood sought counsel as to how and in 
 what manner the burnt church might be repaired, but without 
 success ; for the columns of the church, commonly termed the 
 pillars, were exceedingly weakened by the heat of the fire, and 
 were scaling in pieces and hardly able to stand, so that they 
 frightened even the wisest out of their wits. 
 
 French and English artificers were therefore summoned, but 
 even these differed in opinion. On the one hand, some under- 
 took to repair the aforesaid columns without mischief to the 
 walls above. On the other hand, there were some who asserted 
 that the whole church must be pulled down if the monks 
 wished to exist in safety. This opinion, true as it was, ex- 
 cruciated the monks with grief, and no wonder, for how could 
 they hope that so great a work should be completed in their 
 days by any human ingenuity. 
 
 However, amongst the other workmen there had come a cer- 
 tain William of Sens 6 , a man active and ready, and as a work- 
 man most skilful both in wood and stone. Him, therefore, they 
 retained, on account of his lively genius and good reputation, 
 and dismissed the others. And to him, and to the providence 
 of God was the execution of the work committed. 
 
 And he, residing many days with the monks and carefully 
 surveying the burnt walls in their upper and lower parts, 
 
 d Hos. iv. 9 ; Lam. iv. 1 . nave of its cathedral, which was com- 
 
 9 Sens is a considerable town of pleted about 1168, has several pecu- 
 
 France, 84 miles S.E. of Paris, in the liarities in common with the work of 
 
 ancient province of Champagne. The Canterbury, of which more below, 
 
36 
 
 GERVASE ON THE BURNING 
 
 within and without, did yet for some time conceal what he 
 found necessary to be done, lest the truth should kill them in 
 their present state of pusillanimity. 
 
 But he went on preparing all things that were needful for 
 the work, either of himself or by the agency of others. And 
 when he found that the monks began to be somewhat com- 
 forted, he ventured to confess that the pillars rent with the 
 fire and all that they supported must be destroyed if the 
 monks wished to have a safe and excellent building. At 
 length they agreed, being convinced by reason and wishing 
 to have the work as good as he promised, and above all 
 things to live in security; thus they consented patiently, if 
 not willingly, to the destruction of the choir. 
 
 And now he addressed himself to the procuring of stone 
 from beyond sea. He constructed ingenious machines for 
 loading and unloading ships, and for drawing cement and 
 stones. He delivered molds for shaping the stones to the 
 sculptors who were assembled, and diligently prepared other 
 things of the same kind. The choir thus condemned to destruc- 
 tion was pulled down, and nothing else was done in this year. 
 
 As the new work is of a different fashion from the old, it 
 may be well to describe the old work first and then the new. 
 Edmer, the venerable singer, in his Opuscula, describes the 
 ancient church built in the Roman manner, which Archbishop 
 Lanfranc, when he came to the see, utterly destroyed, finding 
 it in ashes. For Christ Church is recorded to have suffered 
 thrice from fire; first, when the blessed martyr Elfege was 
 captured by the Danes and received the crown of martyr- 
 dom ; secondly, when Lanfranc, abbot of Caen, took the rule 
 of the church of Canterbury; thirdly, in the days of Arch- 
 bishop Richard and Prior Odo. Of this last conflagration, un- 
 happily, we have not read, but have seen it with our own eyes f . 
 
 f Here Gervase inserts Edmer's de- dantly described in our first chapter, 
 
 scription of the old church, which I (Articles 12 and 14.) but this distinct 
 
 have already given in its proper place, enumeration of them from the pen of 
 
 and need not therefore repeat. (See a local historian is valuable because it 
 
 Art. 15, chap. i. above.) The two pre- shews that there were three and no 
 
 vious conflagrations have been abun- more. 
 
AND REPAIR OF CHRIST CHURCH. 
 
 37 
 
 3. Of the Church of Lanfranc. 
 
 I will first describe the work of Lanfranc ; beginning from 
 the great tower, not because the whole of this church has been 
 destroyed, but because part of it has been altered. The tower, 
 raised upon great pillars {AAAA, fig. 3, next page), is placed 
 in the midst of the church, like the centre in the middle of a 
 circle. It had on its apex {pinna) a gilt cherub «. On the west of 
 the tower is the nave or aula of the church, supported on either 
 side upon eight pillars h . Two lofty towers iBC) with gilded 
 pinnacles terminate this nave or aula. A gilded corona 1 hangs 
 in the midst of the church. A screen with a loft (pulpitum) (DD), 
 separated in a manner the aforesaid tower from the nave, and 
 had in the middle, and on the side towards the nave, the altar 
 of the holy cross (B). Above the pulpitum, and placed across 
 the church, was the beam, which sustained a great cross, two 
 cherubim, and the images of St. Mary, and St. John the 
 Apostle. In the north aisle {aid) was the oratory and altar of 
 St. Maryj (F). In this nave, as above related, we for five 
 years endured banishment. The aforesaid great tower had a 
 cross k from each side, to wit, a south cross and a north cross, 
 each of which had in the midst a strong pillar ; this (pillar) 
 sustained a vault which proceeded from the walls on three of 
 its sides 1 ; the plan of the one cross is exactly the same as 
 
 ts This central tower retained the 
 name of Angel steeple to the last. 
 
 h I have numbered the pillars in the 
 plan. Our author's description is so 
 precise, and so consistent, that the mere 
 addition of a plan, and of the letters of 
 reference in parentheses, is sufficient to 
 make it intelligible. 
 
 1 Probably a " corona lucis," or chan- 
 delier, as in the choir. 
 
 j The position of this Lady chapel 
 is determined by a fact mentioned by 
 Somner. He says, " Archbishop Richard, 
 Becket's immediate successor, was buried 
 there. I have it from the church re- 
 cords, verified by the leaden inscription 
 and pontifical relicks, to wit, his cope, 
 crosier, and chalice, lately found in dig- 
 ging Dr. Anian's grave by Sir John 
 Boys his monument on the north side 
 of the body toward the upper end." (p. 
 92.) By the church records he pro- 
 
 bably means Gervase his Acts of the 
 Archbishops, where we find (p. 1675) 
 that Archbishop Richard was buried 
 "in ecclesia Christi in oratorio beatae 
 Maria?." Archbishop Theodbald was 
 translated thither when the Trinity 
 chapel was taken down, (Gervase, be- 
 low.) Sir John Boys was buried in 
 the last severey but one, at 25 in the 
 plan. 
 
 k Transept. 
 
 1 In Norman cathedrals this pillar 
 in the transept sustaining a kind of 
 gallery is not unusual. It occurs in 
 St. Stephen's at Caen, the abbey at 
 Cerisy, the abbey at Fecamp, the 
 cathedral at Seez, and S. George de 
 Bocherville. At Fecamp and Seez the 
 arches are pointed. Cotman has a good 
 view of the example at S. George de 
 Bocherville, in his Normandy, which 
 must have been very similar to the 
 
Fig, 3, Plan of 
 Canterbury Ca- 
 thedral in 1174. 
 
 N.B The por- 
 tion in lighter 
 tint marked V, 
 is the conjectu- 
 ral termination 
 of Lanfranc's 
 Church. 
 Chap. IV 
 
GEUVASE ON THE BURNING AND REPAIR, &C. 
 
 39 
 
 that of the other. The south cross was employed to carry the 
 organ upon the vault. Above and beneath the vault was an 
 apse m (II) , extended towards the east. In the lower part was the 
 altar of St. Michael, in the upper part the altar of All Saints. 
 Before the altar of St. Michael to the south was buried Arch- 
 bishop Feologild n (1). On the north the holy virgin Si- 
 
 arrangement described in the text. In 
 our own country good specimens re- 
 main in the transepts of Winchester, 
 and in those of Ely. The latter is 
 erected upon more pillars and set 
 closer to the wall than usual. (Vide 
 Cotman's Normandy, p. 5 ; Britton 
 and Winkles' Winchester, &c. . . . ). 
 The place of these columns is marked G 
 in the plan. 
 
 The position I have given them cor- 
 responds to that of the similar columns 
 in St. Stephen's at Caen ; a church 
 which, as I shall presently shew, is the 
 same as the present in its plan and di- 
 mensions. 
 
 m The Latin word which I have con- 
 stantly rendered apse is portions. This 
 word has various meanings, and has 
 thus given rise to much confusion in 
 the translation of architectural de- 
 scriptions. In its classical sense it is a 
 covered walk with an open colonnade at 
 the side, whence it passed to the aisles 
 of a church, and to the porch of en- 
 trance. In the present description, 
 wherever Gervase inserts a portions I 
 find an apse in the building, and as the 
 latter was one of the senses in which 
 the word in question was employed, I 
 have uniformly so translated it. In the 
 glossary of Elfric (p. 78) we find Ab- 
 SIDA, pnebealt cleojra vel popcic, that is, 
 a round chapel or portions. And Somner 
 renders the Saxon word Popticeby" por- 
 ticus, absis, a porch, the circling or em- 
 bowing of an arch or vault." 
 
 LIST OF THE ALTARS IN FIG. 3. 
 
 NAVE AND TRANSEPTS. CRYPT. 
 
 E Holy Cross. 
 
 F S. Mary the Virgin. 
 
 H S. Michael, below. 
 
 All Saints, above. 
 M S. Blaise, above 
 
 S. Benedict, below. 
 
 EAST OF GREAT TOWER. 
 
 X High Altar The Virgin Mary. 
 
 Y S. Dunstan. 
 
 Z S. Elfege. 
 
 f S. Stephen S. Nicholas. 
 
 g S. Martin S. Mary Magdalen. 
 
 i S. Andrew Innocents. 
 
 m S. Gregory S. Audoen. 
 
 n S. John Evangelist .... S. Paulinus. 
 
 o S. Katherine. 
 
 q SS. Peter and Paul (S. Gabriel.) 
 
 t Holy Trinity. 
 
 v S. Augustine (Archbp.) 
 
 w S. John Baptist. 
 
 S. Gabriel's altar is not mentioned 
 by Gervase, but is known by the ancient 
 painting and inscription which still re- 
 mains. 
 
 n The monuments are numbered with 
 Arabic numerals, as in the following list. 
 
 Burial places of Archbishops of Canter- 
 bury in Plan, fig. 3, in the order of their 
 
 succession to the see. 
 
 11 Cuthbert 12 
 
 12 Bre^win , 13 
 
 14 Athelard 11 
 
 15 Vulfred 9 
 
 16 Feologild 1 
 
 17 Chelnoth 8 
 
 18 Athelred 22 
 
 19 Plegemund 14 
 
 20 Adhelm 7 
 
 21 Vulfelm 6 
 
 22 Odo 18 
 
 24 Dunstan Y 
 
 25 Ethelgar 15 
 
 26 Siric crypt. 
 
 27 Elfric 16 
 
 28 Elfege Z 
 
 29 Living 10 
 
 30 Egelnoth 5 
 
 31 Eadsin 23 
 
 34 L an franc 20 
 
 35 Anselm 17 
 
 36 Radulph 4 
 
 37 William Corboil 3 
 
 38 Theobald 24 
 
 39 Thomas a Becket 24 
 
 40 Richard 25 
 
 This list shews that Gervase has ac- 
 counted for the places of all those arch- 
 bishops which were buried in Christ 
 Church, for the only missirig numbers 
 in the order of succession are (13) 
 Jambert, who was buried at St. Augus- 
 tine's, (23) Elsin, who died abroad, and 
 (32, 33) Robert and Stigand, who were 
 both ejected from their offices. The 
 following numbers refer to the burial- 
 places of other persons. Siburgis, at 2 ; S. 
 Wilfrid of York, at 19 ; andQueenEdiva, 
 at or near o, in the south transept. 
 
40 
 
 GERVASE ON THE BURNING 
 
 burgis (2), who for her sanctity was buried in the church by 
 St. Dunstan. 
 
 Between this apse and the choir the space is divided into 
 two, that is, for the few steps (K) by which the crypt is 
 gained, and for the many steps (Z) by which the upper parts 
 of the church are reached. The north cross similarly had 
 two apses (31). In the upper one is the altar of St. Blasius, 
 in the lower that of St. Benedict. In this lower one, to the 
 right of the entrance, was buried Archbishop William (3), who 
 with great glory dedicated the church of Christ which I am 
 describing. He also founded the church of St. Martin for 
 monks of Dover. To the left lies the predecessor of William, 
 Archbishop Radulf (4), who, although discreet in wisdom and 
 of renowned eloquence, yet did Pope Calixtus prefer before him 
 Thurstan, archbishop of York, and Hugo, abbot of St. Augus- 
 tine. In the same apse, before the altar on the right, lies Arch- 
 bishop Egelnoth (5), and to the left Yulfelm (6). Behind the 
 altar to the right Adelm (7), to the left Chelnoth (8). And 
 thus is the aforesaid apse graced. Between this apse and the 
 choir the space is divided into two, that is, for the steps (N) 
 which descend to the crypt, and for the steps (0) which serve 
 those who ascend to the eastern parts of the church. 
 
 Between this space and the aforesaid apse is a solid wall (_P), 
 before which that glorious companion of martyrs, and guest of 
 the Apostles, the holy Thomas, fell in the body by the swords of 
 raging men, but transmitted his unconquered soul to heaven 
 to be straightway crowned with the glory and honour of the 
 eternal kingdom 0 . This place of martyrdom is opposite to the 
 
 ° This account of the locality of steps which he had ascended, confronted 
 
 Becket's fall agrees perfectly with the his enemies, and after exchanging words 
 
 particulars furnished by other authori- of defiance with them, most minutely 
 
 ties. Thus Gervase in his Chronicle re- recorded by the historian, was struck 
 
 lates that the monks were at vespers, and fell, exclaiming, " To God and S. 
 
 and that the archbishop entered the Mary, to S. Denys and the patron saints 
 
 church (of course through his cloister of the church, I commend myself and the 
 
 door Q), for the purpose of attending cause of the church*." Diceto adds that 
 
 the service ; that he had ascended a few his body lay on the pavement to the 
 
 steps (probably those at 0) when his four right of the altar of St. Benedict (J/), 
 
 assailants entered from the cloister and which is also quite consistent with the 
 
 enquired for him. He coming down the statement in our text, that he fell in 
 
 * Gcrv. Chron. p. 1416. Diceto, p. 556. 
 
AND REPAIR OF CHRIST CHURCH, 
 
 41 
 
 door of the cloister (Q) by which those four notaries of the 
 devil entered that they might stamp the seal of the genuine 
 prerogative of the martyr between the anvil and hammer, that 
 is, that they might adorn the head of St. Thomas, prostrate 
 between the pavement and their swords, with the stamp of 
 the Most High, the chaplet of martyrdom p . 
 
 The pillar (67) which stood in the midst of this cross, as 
 well as the vault which rested on it, were taken down in pro- 
 cess of time out of respect for the martyr, that the altar, ele- 
 vated on the place of the martyrdom, might be seen from a 
 greater distance. Around and at the height of the aforesaid 
 vault a passage was constructed from which pallia and cur- 
 tains might be suspended q . From the cross to the tower, and 
 from the tower to the choir many steps (R S) ascended. There 
 was a descent (T) from the tower into the south cross by a 
 new entrance (U). Also a descent from the tower to the nave 
 through two doors (DD.) Thus much for the church of Lan- 
 franc. Now let us describe the choir, lest the memory thereof 
 be utterly lost. 
 
 4. Of the Choir of Conrad. 
 I have described, as shortly as I might, the church con- 
 structed by Archbishop Lanfranc ; that is, the nave, crosses, 
 towers, and their appurtenances. Still the actual sight of 
 them will explain them as much more rapidly as it will 
 effectually. 
 
 front of the wall (P). Matthew Paris, 
 and others, in more general terms relate 
 that he was slain before the altar of 
 St. Benedict. Our text goes on to men- 
 tion an altar raised on the " locus mar- 
 tyrii," that is, against the wall P, and 
 the demolition of the pillar G, and the 
 vault above it. And the flat wall is to 
 this day preserved, for the masonry of the 
 fifteenth century, which clothes every 
 other part of the transept, does not in- 
 trude itself here, but is cut off many 
 feet above. Erasmus was shewn in this 
 transept, " an altar of wood, consecrated 
 to the Virgin, small and only worth 
 seeing as a monument of antiquity, re- 
 proving by its simplicity the luxury of 
 
 his time. There the pious man was 
 said to have bad farewell to the Virgin 
 when at the point of death, and there 
 they kept as a relic the point of the 
 sword with which he was struck." Ger- 
 vase says it broke upon the pavement. 
 This therefore was the altar at P. 
 
 p I have translated this characteristic 
 rhapsody as closely as I was able. 
 
 q When this vault was destroyed the 
 chapel of St. Blaise must have lost its 
 convenient access. Accordingly the body 
 of the Saint was removed, for in a list of 
 relics in Prior Henry de Estrias's regis- 
 ter (MSS. Cott. Galba E. iv. f. 122) we 
 find, "Corpus S. Blasii in feretro retro 
 magnum altare." See chap. vi. below. 
 
 G 
 
42 
 
 GERVASE ON THE BURNING 
 
 You must know however, good reader, that I never saw 
 the choir of Lanfranc, neither have I been able to meet with 
 any description of it 1 '. Edmer, indeed, describes the old 
 church, which before the time of Lanfranc was constructed 
 after the Roman manner. Also he mentions, but does not 
 describe, the work of Lanfranc which succeeded this old 
 church, and the choir of Conrad constructed in the time of 
 St. Anselm. Now, therefore, that this choir of Conrad, so 
 gloriously completed, has been in our own clays miserably con- 
 sumed by fire ; my poor and simple pen shall attempt its 
 description, lest the memory of so great a man and so noble 
 a work be utterly lost. And although my purpose is not to 
 describe the mere arrangement of stones, yet it is impossible 
 clearly to shew the places of the Saints and of their repose, 
 which are in various parts of the church, without first de- 
 scribing the building itself in which they were arranged, 
 under the inspection and with the assistance of their historian 
 Edmer. Let us begin therefore with the aforesaid great tower, 
 which, as already explained, is placed in the midst of the 
 whole church, and proceed eastward. The eastern pillars of 
 the tower projected as a solid wall, and were formed each 
 into a round semi-pillar [W). Hence in line and order were 
 nine pillars 8 on each side of the choir, nearly equidistant from 
 each other; after these six* in a circuit were arranged cir- 
 cularly, that is, from the ninth on the south side to the ninth 
 on the north, of which the two extreme ones were united by 
 the same one arch. Upon these pillars, as well those in 
 the straight line as those in the circuit, arches were turned 
 from pillar to pillar; above these the solid wall was set 
 with small blank windows. This wall, (on either side,) 
 bounding the choir, met the corresponding one at the head 
 of the church in that circuit of pillars u . Above the wall 
 
 r Gervase was at Canterbury in 1170, with Roman numerals, 
 
 the year of Becket's murder, and the 1 Also numbered in the plan. The ar- 
 
 choir of Lanfranc was pulled down chitectural arrangements of the arches, 
 
 about seventy years before. In this galleries, and windows, will be fully 
 
 time it seems that all tradition of its discussed in the next chapter, 
 
 arrangement had vanished. u The end of the church where the 
 
 s Numbered in the plan in order, high Altar stood, was commonly termed 
 
AND REPAIR OF CHRIST CHURCH. 
 
 43 
 
 was the passage which is called triforium", and the upper 
 windows. This was the termination upwards of the interior 
 wall. Upon it rested the roof and a ceiling decorated with 
 excellent painting. At the bases of the pillars there was a 
 wall built of marble slabs, which, surrounding the choir and 
 presbytery, divided the body of the church from its sides, 
 which are called aisles (ala). 
 
 This wall inclosed the choir of the monks, the presbytery, 
 the great Altar (X) dedicated in the name of Jesus Christ, the 
 altar of St. Dunstan (7), and the altar of St. Elfege (Z), with 
 their holy bodies. 
 
 Above the wall x , in the circuit behind and opposite to the 
 altar, was the patriarchal seat (a) formed out of a single 
 stone, in which, according to the custom of the Church on 
 high festivals, the archbishops were wont to sit during the 
 solemnities of the mass, until the consecration of the Sacra- 
 ment ; they then descended to the Altar of Christ by eight 
 steps (a b). 
 
 From the choir to the presbytery there were three steps {Z Y) ; 
 from the pavement of the presbytery to the altar three steps 
 (d) ; but to the patriarchal seat eight steps {b a). At the eastern 
 
 the Caput Ecclesice, or Capitium, and 
 sometimes the Capitulum, although the 
 latter word was more commonly ap- 
 propriated to the Chapter House. (Vide 
 Du Cange, under the above words.) 
 
 v Our author is the only ancient au- 
 thority for the use of the word " tri- 
 forium ;" and it is clear that he em- 
 ploys it in a different sense from that 
 which is now given to it, and which 
 has been derived from the hasty inter- 
 pretation of G-ervase by some modern 
 writers. The universal sense in which 
 the triforium is now taken, is for the 
 compartment that in many churches 
 exists between the pier-arches and the 
 clerestory windows, whether that com- 
 partment have a passage or no. But 
 it will appear from our author's use of 
 the word, that it has no especial re- 
 ference to this compartment, but is 
 employed solely in the sense of an up- 
 per passage or thoroughfare, perhaps 
 confined to a covered passage, in oppo- 
 
 sition to alura, which meant any kind 
 of passage ; but it was certainly not 
 confined to passages in the thickness of 
 the wall, because the lower triforium 
 of Canterbury passes over the side-aisle 
 vaults ; while the upper one, which would 
 now be called the clerestory gallery, is 
 formed in the thickness of the wall, as 
 will be shewn in the next chapter. 
 Somner imagines the word to be a cor- 
 ruption or Latinization of " thorough- 
 fare," which doubtless exactly expresses 
 its meaning. But the modern sense has 
 now received the sanction of such ex- 
 cellent writers, and is in itself so use- 
 ful and expressive, that I have no wish 
 to disturb it, and when I use it myself, 
 in the following pages, shall follow 
 their example, although in translating 
 I must use it as my author does. 
 
 x The wall was evidently low, from 
 its construction of marble slabs, and 
 the chair, elevated upon eight steps, 
 would rise above it. 
 
44 
 
 GERVASE ON THE BURNING 
 
 horns of the altar were two wooden columns, gracefully orna- 
 mented with gold and silver, and sustaining a great beam, the 
 extremities of which rested upon the capitals of two of the 
 pillars (ix. ix.) y This beam, carried across the church above 
 the altar, and decorated with gold, sustained the representa- 
 tion of the Lord (majestatem Domini), the images of St. Dun- 
 stan and of St. Elfege, together with seven chests (scrmia), 
 covered with gold and silver, and filled with the relics of 
 divers saints. Between the columns there stood a gilded 
 cross, of which the cross itself was surrounded by a row of 
 sixty transparent crystals. In the crypt, under this altar of 
 Christ, stood the altar of the holy Virgin Mary, to whose 
 honor the entire crypt was dedicated. Which crypt occu- 
 pied precisely the same space and compass in length and 
 breadth as did the choir above it. In the midst of the choir 
 hung a gilded corona carrying four and twenty Avax lights. 
 This was the fashion of the choir and presbytery. But the 
 exterior wall of the aisles was as follows. Beginning from 
 the martyrium of St. Thomas, that is to say from the cross of 
 Lanfranc, and proceeding towards the east as far as the upper 
 cross, the wall contained three windows (c c c), and no 
 more. Opposite to the fifth pillar of the choir, the wall 
 received an arch (d) from it, and turning towards the north 
 (e e) it formed the north cross. The breadth of this cross ex- 
 tended from the fifth to the seventh pillar. For the wall pro- 
 ceeding northwards from the seventh pillar as from the fifth, 
 and making two apses {fg)> completed the cross of the 
 eastern part. In its southern apse (/) was the altar of 
 St. Stephen, under which, in the crypt, was the altar of 
 St. Nicholas. In the northern apse (g) was the altar of 
 St. Martin ; and under it, in the crypt, the altar of St. Mary 
 Magdalene. At the altar of St. Martin two archbishops 
 were laid, to the right Vulfred (9), to the left Living (10) ; and 
 similarly at the altar of St. Stephen, to the left Athelard (11), 
 and to the right the venerable Cuthbert (12). 
 
 J In the plan the altar is inadvert- pillars ix. ix. and the columns behind 
 ently set a little too far westward. The the altar should be in one straight line. 
 
AND REPAIR OF CHRIST CHURCH. 
 
 45 
 
 zHe it was who, being endowed with great wisdom, pro- 
 cured for Christ Church the right of free sepulture. For 
 the bodies not only of the archbishops, but of all who died in 
 the city, were wont, from the time of St. Augustine, to be 
 carried to the church of the Apostles Peter and Paul, without 
 the city, and there buried. For in those days it was said 
 that the city was for the living and not for the dead. But the 
 blessed Cuthbert was grieved to think that after death he 
 must be separated from his church and his children, that in 
 life were the delights of his affection. Wherefore he sought 
 and obtained from Rome the right of free burial for Christ 
 Church. He was the first who, by the will of God, the 
 authority of the high pontiff, and the permission of the king 
 of England, was buried in Christ Church, and so also were all 
 his successors, save one alone named Jambert. 
 
 Prom this apse of St. Stephen, the aforesaid wall proceeding 
 eastward had a window (h) opposite to the side of the great 
 Altar (X). Next after came a lofty tower, placed as it were 
 outside the said wall, which was called the tower of St. Andrew 
 because of the altar of St. Andrew (i) which was therein, below 
 which, in the crypt, was the altar of the Innocents. Prom 
 this tower the wall proceeding, slightly curved and opening 
 into a window (k) reached a chapel, which was extended to- 
 wards the east at the front a of the church, and opposite to 
 the high seat of the archbishop. But as there are many 
 things to be said of the interior of this chapel, it will be 
 better to pause before its entrance until the south wall with 
 its appurtenances has been traced up to the same point. This 
 
 z See Chap. i. Art. 3, where a similar 
 passage is translated from this author's 
 Acts of the Archbishops. 
 
 a We have seen above that Caput, 
 the " head" of the church, was exclu- 
 sively applied to the altar end thereof. 
 Frons, the "front," however, can be 
 shewn by many examples to have been 
 employed for either end of the building. 
 In the present case the east end is 
 clearly meant, and in the Registrum 
 Roffense there occurs a gift of four 
 windows "in fronte versus niajus al- 
 
 tare" (p. 124), and other examples 
 might be quoted. Mr. Denne was, I 
 believe, the first to point out this ap- 
 plication of the word, (Thorpe's Custu- 
 male, p. 171.) On the other hand, the 
 following examples selected out of many 
 will shew that it was also employed for 
 other extremities of the building, " edi- 
 ficavit navem ecclesise ... a turre chori 
 usque ad frontem," (Swapham 99.) 
 " Opus frontale nostras ecclesise," namely, 
 (from the context,) the west end of the 
 nave of St. Alban's. (Matt. Par. 1054.) 
 
46 
 
 GERVASE ON THE BURNING 
 
 south wall, beginning from the apse of St. Michael (II) in 
 the cross of Lanfranc, reaches the upper cross after three 
 windows (7 / /.) This cross at its eastern side, like the other, 
 had two apses. In the southern apse (m) was the altar of 
 St. Gregory, where two holy archbishops were deposited ; to 
 the south St. Bregwin (13), to the north St. Plegemund (14), 
 underneath in the crypt was the altar of St. Audoen, arch- 
 bishop of Rouen. In the other apse (n) was the altar of St. 
 John the Evangelist, where two archbishops reposed ; to the 
 right Ethelgar (15); to the left Elfric (16); underneath in 
 the crypt was the altar of St. Paulinas, where Archbishop 
 Siric was buried. Before the altar of St. Audoen and nearly 
 in the middle of the floor was the altar of St. Katherine (o). 
 The wall proceeding from the above cross had a window (p) 
 opposite to the great Altar, and next a lofty tower, in which 
 was the altar of the Apostles Peter and Paul (q). 
 
 But St. Anselm (17) having been translated there and 
 placed behind the altar gave his name to the altar and to the 
 tower. Erom this tower the wall proceeding for a short space 
 and opening into a window (r) in its curve, arrived at the 
 aforesaid chapel of the Holy Trinity, which was placed at the 
 front of the church. An arch (s) springing from each wall, 
 that is, from the south and from the north, completed the 
 circuit. 
 
 The chapel b placed outside the wall but joined to it and 
 extended towards the east, had the altar of the Holy 
 Trinity (/), where the blessed martyr Thomas celebrated his 
 first mass on the day of his consecration. In this chapel, 
 before and after his exile, he was wont to celebrate mass, to 
 hear service, and frequently to pray. Behind the altar there 
 lay two archbishops, to the right St. Odo (18), to the left 
 St. Wilfrid (19), archbishop of York; to the south, close to 
 the wall, the venerable Archbishop Lanfranc (20,) and to the 
 
 b In the ancient drawing of the carefully put in in many other parts 
 
 monastery of Christ Church by Edwyn of this drawing, I have followed this 
 
 the Scribe, this chapel is shewn and authority, and laid down the chapel 
 
 without an apse. As the apses are square in fig. 3. 
 
AND REPAIR OF CHRIST CHURCH. 
 
 47 
 
 north Theodbald (21). In the crypt (see fig. 4.) beneath, there 
 were two altars, on the south (v) that of St. Augustine, the 
 apostle of the English, and on the north (w) that of St. John 
 Baptist. Close to the south wall Archbishop Ethelred (22) was 
 deposited, and Eadsin (23) against the north wall. 
 
 In the middle of this chapel there stood a column (w) which 
 sustained arches and a vault, that came from all sides. At 
 the base of this column, on the eastern side, .... was the 
 place (24) where the blessed martyr Thomas was buried, on 
 the clay after his martyrdom 0 
 
 And now the description, as concise as I could make it, 
 of the church which we are going to pull down, has brought 
 us to the tomb of the martyr, which was at the end of the 
 church ; let therefore the church and the description come to 
 an end together; for although this description has already 
 extended itself to a greater length than was proposed, yet 
 many things have been carefully omitted for the sake of 
 brevity. Who could write all the turnings, and windings, 
 and appendages of such and so great a church as this was ? 
 Leaving out, therefore, all that is not absolutely necessary, let 
 us boldly prepare for the destruction of this old work and the 
 marvellous building of the new, and let us see what our 
 master William has been doing in the meanwhile. 
 
 c Here our author indulges in a long 
 digression concerning the merits and 
 miracles of Thomas a Becket, which 
 contains no information, direct or in- 
 direct, about the building, and I there- 
 fore pass it over. To make amends for 
 this omission we may take the follow- 
 ing particulars of his costume from 
 our circumstantial author's Acts of the 
 Archbishops. " The blessed martyr suf- 
 fered in the ninth year of his patri- 
 archate, on the 4th kalend of January 
 3rd feria (Tuesday Dec. 29.) while the 
 monks were singing vespers, and in 
 the year of our Lord, 1170. His 
 body was placed in a feretrum, and 
 
 laid before the Altar of Christ. On the 
 morrow the brethren carried him into 
 the cript, and placed him in a marble 
 sarcophagus ; and that I may truly 
 relate what I saw with my eyes and 
 handled with my hands, he wore next 
 to his skin a hair shirt (cilicium), then 
 a linen one (staminiam), over these the 
 black cowl (cucullam nigram), then 
 the alb in which he was consecrated ; 
 the tunic also and dalmatic, the chasu- 
 ble, pall, and mitre. Below he had 
 hair drawers (femoralia cilicina) with 
 linen ones over, woollen hose and san- 
 dals." Gerv. Act. Pont. Cant., p. 1673. 
 
48 
 
 GERVASE ON THE BURNING 
 
 5. Operations of the first five years. 
 
 d Tlie Master began, as I stated long ago, to prepare all 
 Sep. 6, 1174, things necessary for the new work, and to destroy 
 
 to Sep. 5, ° J . in 
 
 ins. the old. In this way the first year was taken up. 
 In the following year, that is, after the feast of St. Bertin, 
 (Sep. 5, 1175,) before the winter, he erected four pillars, that 
 
 d This account of the progress of the the section fig. 6, assisted by the folio w- 
 works will be rendered more intelligible ing summary. 
 
 by a reference to the plan, fig. 5, and 
 
 SUMMARY OF THE WORKS IN EACH YEAR. 
 
 Architects. Years. 
 
 William 
 of 
 Sens. 
 
 1175 
 1176 
 1177 
 1178 
 
 English 
 William. 
 
 1179 
 
 1180 
 
 1181 
 
 1182 
 
 1184 
 
 CHOIR AND TRINITY CHAPEL. 
 
 II . Ill 
 
 IV 
 V VI 
 VII. .XI 
 
 I.. ..IV 
 
 IV... VI 
 VII. .XI 
 
 XII.. XV 
 
 XI... XV 
 
 Triforia and 
 
 Pillars " 1UC U PP er 
 vaults, clerestories, vaults. 
 
 Side 
 
 I VI 
 
 VII. .XI 
 
 XI. .XV 
 
 I VI 
 
 VI. .VII 
 
 and tran- 
 septs. 
 
 VII. .IX 
 
 IX.. XV 
 
 Crypt of 
 Trinity 
 chapel. 
 
 outer wall 
 to window 
 sills 
 
 outer wall 
 to vault 
 spring 
 pillars XII 
 ... XV 
 
 crypt 
 finished 
 
 Corona. 
 
 crypt and 
 its vault. 
 
 to base of 
 clerestory 
 
 cler. win- 
 dows and 
 vault. 
 
 Other 
 works. 
 
 transept 
 fiuished. 
 
 choir fitted 
 up. 
 
 old Trinity 
 chapel de- 
 molished. 
 
 outer walls 
 of Trinity 
 chapel to 
 the capital 
 
 outer win- 
 dows of 
 Trinity 
 chapel fin- 
 ished. 
 
 All roofed 
 
 The Roman numerals refer to the 
 pillars in plan, fig. 5. When employed 
 for the vaults they will be readily un- 
 derstood to mean those vaults which 
 extend from pillar to pillar. The lon- 
 gitudinal section (fig. 6.) which accom- 
 panies this plan is drawn in block only, 
 that is, omitting all small details, and 
 even the arches of the triforium and 
 
 clerestory. The numbers upon this 
 section are either dates at length, or the 
 two last figures of the date, thus 75 for 
 1175, and so on. Also the pillars and 
 side walls are dated separately, and for 
 the side vaults, triforia and cleresto- 
 ries, and upper vaults, the date figure 
 is placed at each end of the work of 
 each year. 
 
Fig. 7- TRIFORIUM OF THE CHOIR FROM WITHIN. 
 
AND REPAIR OF CHRIST CHURCH. 
 
 49 
 
 is, two on each side, and after the winter two more were 
 placed, so that on each side were three in order, upon 
 
 which and upon the exterior wall of the aisles he 
 
 framed seemly arches and a vault, that is, three claves e on 
 each side. I put cicwis for the whole cihorium because the 
 clavis placed in the middle locks up and binds together the 
 parts which converge to it from every side. With these 
 works the second year was occupied. 
 
 In the third year he placed two pillars on each side, the 
 two extreme ones of which he decorated with marble 
 
 AD 117- 
 
 7 * columns placed around them, and because at that 
 place the choir and crosses were to meet, he constituted these 
 principal pillars. To which, having added the key-stones and 
 vault, he intermingled the lower triforium from the great tower 
 to the aforesaid pillars, that is, as far as the cross, with many 
 marble columns. Over which he adjusted another triforium f of 
 other materials, and also the upper windows. And in the next 
 place, three claves of the great vault, from the tower, namely, as 
 far as the crosses. All which things appeared to us and to 
 all who saw them, incomparable and most worthy of praise. 
 And at so glorious a beginning we rejoiced and conceived 
 good hopes of the end, and provided for the acceleration of 
 the work with diligence and spirit. Thus was the third year 
 occupied and the beginning of the fourths 
 
 e Each compartment of a vault was 
 frequently termed, in later times, a 
 " severy." As for example, in the con- 
 tracts for King's College chapel, and 
 in William of Worcester (p. 244), and 
 sometimes spelt "civery," (Will, of 
 Wore, p. 302.) But Gervase, in the 
 above passage uses "ciborium" in this 
 sense. Now the ciborium is properly 
 the canopy of the high Altar, which is 
 supported upon four pillars, and which 
 is usually vaulted in one compartment. 
 Thus each compartment of a vault 
 resembles a ciborium, and a vaulted 
 aisle may be compared to a series of 
 ciboria. Du Cange informs us that in 
 Auvergne, cibory is used for a vaulted 
 tomb. Apparently, therefore, severey 
 is a corruption of cihorium, and is 
 
 not derived from the verb " to sever," 
 as might at first sight be supposed. 
 
 Clavis and Key are, in medieval 
 architecture, the bosses of a ribbed 
 vault ; (vide Architectural Nomencla- 
 ture of the Middle Ages, p. 43.) 
 
 f In modern language " the cleres- 
 tory gallery." See note at p. 43 above. 
 
 g In the annals of these operations, 
 it is clear that the years of which Ger- 
 vase speaks are made to begin on the 
 6th of September, namely, the morrow 
 of St. Bertin, for the fire happened on 
 St. Bertin's day, the 5th of September, 
 1174. At the end of the first year's 
 operations he goes on to say as above. 
 " In the following year, that is, after 
 the feast of St. Bertin, such and such 
 works were done before the winter, and 
 
50 
 
 GERVASE ON THE BURNING 
 
 In the summer of which, commencing from the cross, he 
 erected ten pillars, that is, on each side five. Of 
 which the two first were ornamented with marble 
 columns to correspond with the other two principal ones. 
 Upon these ten he placed the arches and vaults. And having, 
 in the next place, completed on both sides the triforia and 
 upper windows, he was, at the beginning of the fifth year, in 
 the act of preparing with machines for the turning of the 
 great vault, when suddenly the beams broke under his feet, 
 and he fell to the ground, stones and timbers accompanying 
 his fall, from the height of the capitals of the upper vault, 
 that is to say, of fifty feet. Thus sorely bruised by the blows 
 from the beams and stones, he was rendered helpless alike to 
 
 such and such works after the winter." 
 But in winding up his enumeration of 
 the works of the third year, he employs 
 the phrase, " In istis igitur annus ter- 
 cius completus est, et quartus sumpsit 
 initiumr " The third year was thus 
 filled up and the fourth had also be- 
 gun ;" by which he means to include 
 the small remaining time between 
 Sep. 5, (1177) of the third year of 
 operation, and the period when the 
 winter of 1177 put a stop to the works. 
 This appears from the absence of any 
 mention of works before the winter, and 
 from his beginning his account of the 
 fourth year's operations with the sum- 
 mer. It is necessary clearly to under- 
 stand this in order to make the time of 
 the master's accident and the remain- 
 ing works intelligible, for the same 
 phrase is used in winding up the 
 fourth year's accounts, and for all the 
 subsequent ones, so that, in truth, after 
 the three first years the works are 
 really enumerated from their begin- 
 ning in each summer to the time 
 when the following winter suspends 
 them, and I have therefore inserted 
 in the margin the date of one year 
 only to each after the third. The mas- 
 ter's fall must have happened shortly 
 after the 13th of September, 1178, to 
 have allowed time for the works that 
 were done between his fall and the 
 winter. The eclipse is described in his 
 peculiar manner by Gervase in his 
 Chronicle : I subjoin the passage. He 
 
 seems to insinuate above that the 
 eclipse was the forerunner of the mis- 
 chief, but is ashamed to confess that 
 he thought so. " In the 
 1178, month of September, on the 
 Sept. 13, yigil 0 f t h e n 0 iy Cross, on 
 
 XtZT* the fourth da y of the week > 
 
 o'clock, and on the 27th day of the 
 moon, at about the sixth 
 hour, there was an eclipse of the sun 
 in Kent, not total, but partial. For the 
 body of the sun appeared horned, with 
 the horns turned westward, like the 
 moon when she is twenty days old. 
 The remainder of the sun's circum- 
 ference was not to be seen. For a cer- 
 tain black sphere covered the splendour 
 of the sun, and gradually descending, 
 caused the horned brightness to revolve 
 around its upper part, until its points 
 hung down and looked towards the 
 earth. But as that black thing slowly 
 pursued its course, these horns, which 
 were first turned to the west, now 
 pointed to the east, as in the new 
 moon. And then the black sphere 
 passed away, and the sun resumed his 
 brightness. The sky being for a little 
 while covered with mist assisted the 
 sight in observing these things. Mean- 
 while the air was in many places 
 tinted with various hues, of red, yel- 
 low, green, and paleness. All which 
 was seen by me, and by most of the 
 dwellers in Kent." (Chron. Gerv. p. 
 1445.) 
 
AND REPAIR OF CHRIST CHURCH. 
 
 5.1 
 
 himself and for the work, but no other person than himself 
 was in the least injured. Against the master only was this 
 vengeance of God or spite of the devil directed. 
 
 The master, thus hurt, remained in his bed for some time 
 under medical care in expectation of recovering, but was 
 deceived in this hope, for his health amended not. Never- 
 theless, as the winter approached, and it was necessary 
 to finish the upper vault, he gave charge of the work to a 
 certain ingenious and industrious monk, who was the over- 
 seer of the masons ; an appointment whence much envy and 
 malice arose, because it made this young man appear more 
 skilful than richer and more powerful ones. But the master 
 reclining in bed commanded all things that should be done in 
 order. And thus was completed the ciborium between the 
 four principal pillars. In the key-stone of this ciborium the 
 choir and crosses seem as it were to meet. Two ciboria on 
 each side h were formed before the winter ; when heavy rains 
 beginning stopped the work. In these operations the fourth 
 year was occupied and the beginning of the fifth. But on the 
 eighth day from the said fourth year, on the idus of Septem- 
 ber, there happened an eclipse of the sun at about the sixth 
 hour, and before the master's accident 1 . 
 
 And the master, perceiving that he derived no benefit from 
 the physicians, gave up the work, and crossing the sea, 
 returned to his home in France. And another succeeded him 
 in the charge of the works ; William by name, English by 
 nation, small in body, but in workmanship of many kinds 
 acute and honest. He in the summer of the fifth year 
 finished the cross on each side, that is, the south and 
 the north, and turned the ciborium which is above 
 the great Altar, which the rains of the previous year had 
 hindered, although all was prepared. Moreover, he laid the 
 foundation for the enlargement of the church at the eastern 
 part, because a chapel of St. Thomas was to be built there. 
 
 h Namely, the vaults of the eastern rupted ; but the true sense of the pas- 
 transepts, sage must be as I have given it. 
 1 The text here appears to be cor- 
 
52 
 
 GERVASE ON THE BURNING 
 
 For this was the place assigned to him ; namely, the chapel 
 of the Holy Trinity, where he celebrated his first mass, where 
 he was wont to prostrate himself with tears and prayers, 
 under whose crypt for so many years he was buried, where 
 God for his merits had performed so many miracles, where 
 poor and rich, kings and princes, had worshipped him, and 
 whence the sound of his praises had gone forth into all lands. 
 
 The master William began, on account of these foundations, 
 to dig in the cemetery of the monks, from whence he was 
 compelled to disturb the bones of many holy monks. These 
 were carefully collected and deposited in a large trench, in 
 that corner which is between the chapel and the south side of 
 the infirmary house. Having, therefore, formed a most sub- 
 stantial foundation for the exterior wall with stone and 
 cement, he erected the wall of the crypt as high as the bases 
 of the windows. 
 
 Thus was the fifth year employed and the beginning of the 
 sixth. 
 
 6. The entry into the new Choir. 
 
 In the beginning of the sixth year from the fire, and at the 
 time when the works were resumed, the monks were 
 
 A.D. 1180. . . 
 
 seized with a violent longing to prepare the choir, so 
 that they might enter it at the coming Easter. And the 
 master, perceiving their desires, set himself manfully to work, 
 to satisfy the wishes of the convent. He constructed, with all 
 diligence, the wall which encloses the choir and presbytery. 
 He erected the three altars of the presbytery. He carefully 
 prepared a resting-place for St. Dunstan and St. Elfege. A 
 wooden wall to keep out the weather was set up transversely 
 between the penultimate pillars J at the eastern part, and had 
 three glass windows in it. 
 
 The choir, thus hardly completed even with the greatest 
 labour and diligence, the monks were resolved to enter on 
 
 j Between the pillars IX. These are vault (P), which are in connection 
 
 the last but two. But the penultimate with the vault of the Trinity chapel, 
 
 vault over IX. . . XI. was not yet and probably were not built until that 
 
 erected ; and this position of the wooden was finished, 
 wall left room to erect the steps and 
 
AND REPAIR OF CHRIST CHURCH. 
 
 53 
 
 Easter Eve with the new fire k . As all that was required 
 could not be fully performed on the Saturday because of the 
 solemnities of that sacred day, it became necessary that our 
 holy fathers and patrons, St. Dunstan and St. Elfege, the co- 
 exiles of the monks, should be transferred to the new choir 
 beforehand. Prior Alan, therefore, taking with him nine of 
 the brethren of the church in whom he could trust, went 
 by night to the tombs of the saints, that he might not be 
 incommoded by a crowd, and having locked the doors of the 
 church, he commanded the stone-work that enclosed them to 
 be taken down. 
 
 The monks and servants of the church therefore, in obe- 
 dience to the Prior's commands, took the structure to pieces, 
 opened the stone coffins of the saints, and bore their relics to 
 the vestiariam. Then, having removed the cloths in which 
 they had been wrapped, and which were half consumed from 
 age and rottenness, they covered them with other and more 
 handsome palls, and bound them with linen bands. They 
 bore the saints, thus prepared, to their altars, and deposited 
 them in wooden chests, covered within and without with lead ; 
 which chests, thus leacl-covered, and strongly bound with iron, 
 were enclosed in stone-work that was consolidated with 
 melted lead 1 . Queen Ediva also, who had been placed under 
 
 k Cum novo igne, that is, with the 
 lighting of the pascal candle, which 
 was solemnly lighted on Easter Eve, 
 and allowed to burn till Ascension 
 Day. See the note in the next page. 
 
 1 We owe many curious particulars 
 respecting this shrine of St. Dunstan, 
 to a correspondence printed in the 
 Anglia Sacra. The monks of Glas- 
 tonbury had long asserted that the 
 body of Dunstan, after the sack of Can- 
 terbury by the Danes, was taken up 
 and carried to Glastonbury, where ac- 
 cordingly they always exhibited a coffin 
 which they asserted to contain his 
 relics. But at the beginning of the 
 fourteenth century they constructed a 
 new and magnificent shrine in their 
 church, and solemnly translated the 
 said relics thither, to the great wrath 
 of the monks of Canterbury. The 
 
 archbishop and prior, W. Warham and 
 Th. Goldston, immediately caused their 
 own shrine of Dunstan to be opened, in 
 which they found the remains of a 
 human body, in the costume of an 
 archbishop, with a plate of lead on his 
 breast, inscribed with the name of 
 Sanctus Dunstanus ; and a most cha- 
 racteristic correspondence ensued, in 
 which the abbot of Glaston endeavours 
 to explain, that perhaps part only of 
 the relics of the saint were conveyed 
 thither ; and that at all events the 
 people had believed in the genuine- 
 ness of their saint so long that he i& 
 afraid to tell them the truth. How- 
 ever, these documents supply many 
 curious particulars of the arrangement 
 of the shrine at Canterbury, from which 
 I select the following. (Ang. Sac, t. ii 
 p. 227.) 
 
54 
 
 GERVASE ON THE BURNING 
 
 the altar of the holy cross after the fire, was similarly con- 
 veyed to the vestiarium. These things were done on the night 
 Wednesday preceding the fifth feria before the holy Easter ; that 
 night, a p . i6. on ^| ie sixteenth calencl of May. On the morrow, 
 however, when this translation of the saints became known to 
 the whole convent, they were exceedingly astonished and in- 
 dignant that it should have been done without their consent, 
 for they had intended that the translation of the fathers should 
 have been performed with great and devout solemnity. 
 
 They cited the prior and those who were with him, before 
 the venerable Archbishop Richard, to answer for the slight 
 thus presumptuously cast upon themselves and the holy 
 patrons of the church, and endeavoured to compel the prior 
 and his assistants to renounce their offices. But by the 
 intervention of the archbishop and other men of authority, 
 and after due apology and repentance, the convent was ap- 
 peased; and harmony being thus restored, the service of 
 Holy Saturday was performed in the chapter-house, because 
 the station of the monks and the altar which had been in 
 the nave of the church, were removed to prepare for the 
 solemnities of the following Easter Sunday. About the sixth 
 hour the archbishop in cope and mitre, and the convent in 
 albs, according to the custom of the church, went in pro- 
 cession to the new fire, and having consecrated it, proceeded 
 towards the new choir with the appointed hymn m . At the 
 
 The shrine (feretrum) was on the 
 20 sout,n °^ tne n ^ n Altar, and 
 1508.' erecte d in the fashion of a tomb. 
 When it was opened, they found 
 a chest (area) of wood covered and lined 
 with lead throughout, and nailed with 
 the nails so close together, that there 
 was not a handbreadth between them. 
 And the length of the chest was as the 
 length of the stone-work in which it 
 was deposited and immersed, namely, 
 seven feet ; and it was about a foot 
 and a half in breadth, and bound round 
 with iron bands in every part. Within 
 this chest was a second one (cista) of 
 lead, not plain, but of beautiful plaited 
 work (" Qua? quidem cista facta est 
 non ex piano plumbo sed arte quadam 
 
 pulcherrime est plicata"). This con- 
 tained a third leaden chest somewhat 
 decayed, and in which the body was 
 enclosed. 
 
 m These ceremonies for Easter Eve are 
 detailed at length in the statutes of 
 Lanfranc. The fire from whence the 
 pascal candle in the choir was to be 
 lighted, was made in the cloister, and 
 the monks went in procession from the 
 choir thither, and having consecrated 
 the fire, they lighted a taper from it, 
 which was ready prepared at the end 
 of a long stick (hasta), and carried this 
 back to the choir with psalms and 
 hymns and incense to light the pascal 
 candle. (Vide Statuta Lanfranci, § 4. 
 They arc printed in Reyner's "Apos- 
 
AND REPAIR OF CHRIST CHURCH. 
 
 55 
 
 door of the church (Q, fig. 3.) which opens to the martyrium 
 of St. Thomas, the archbishop reverently received from a 
 monk the pix, with the Eucharist, which was usually sus- 
 pended over the great Altar. This he carried to the great 
 Altar of the new choir. Thus our Lord went before us into 
 Galilee, that is, in our transmigration to the new church. 
 The remainder of the offices that appertain to the day were 
 devoutly celebrated. And then the pontiff, standing at the 
 Altar and vested with the infula, began the Te Deum lauda- 
 mus ; and the bells ringing, the convent took up the song 
 with great joy, and shedding sweet tears, they praised God 
 with voice and heart for all His benefits n . 
 
 The convent was ejected by the fire from the choir, even as 
 Adam from paradise, in the year of the Word 1174, in the 
 month of September, on the fifth day of the month, and about 
 the ninth hour. They remained in the nave of the church 
 five years, seven months, and thirteen days. And returned 
 into the new choir in the year of grace 1180, in the month of 
 April, on the nineteenth day of the month, at about the ninth 
 hour of Easter Eve. 
 
 7. Remaining operations of the sixth year. 
 
 Our craftsman had erected outside the choir four altars, 
 where the bodies of the holy archbishops were de- 
 posited, as they were of old, and as we have above 
 described 0 . At the altar of St. Martin ; Living, and Wilfrid. 
 At the altar of St. Stephen ; Athelard, and Cuthbert. In the 
 south cross at the altar of St. John ; Elfric, and Ethelgar. At 
 the altar of St. Gregory; Bregwin, and Plegemund. But 
 
 tolatus Benedictinorum in Anglia," Canterbury was wasted by fire, many 
 
 p. 223, and in Wilkins' Concilia. The houses were already consumed, and 
 
 Inventor rutili of the Latin text of the peril was menacing the church 
 
 Gervase is the beginning of the ap- of the Holy Trinity, but the monks 
 
 pointed hymn.) " Cereus Paschalis con- bore the shrine (feretrum) of St. Au- 
 
 tinere debet ccc. libras. cerae." Claud, doen to oppose the fire, when sud- 
 
 c. 6. Battely, App. 45. denly the roaring flames fled back- 
 
 n In this year, on the 22nd of May, wards from the Divine virtue as from 
 
 the church was again in peril of fire : before a wind, and -presumed not to ad- 
 
 Gervase gives this account; "On the vance further." Chron. Gervasii, p. 1457. 
 
 eleventh kalend of June the city of 0 Page 44 above. 
 
56 
 
 GERVASE ON THE BURNING 
 
 Queen Ediva, who before the fire reposed under a gilded fere- 
 trum in nearly the middle of the south cross, was now deposited 
 at the altar of St. Martin, under the feretrum of Living. 
 
 Moreover, in the same summer, that is of the sixth year, the 
 outer wall round the chapel of St. Thomas, begun before the 
 winter, was elevated as far as the turning of the vault. But 
 the master had begun a tower at the eastern part outside the 
 circuit of the wall as it were, the lower vault of which was 
 completed before the winter. 
 
 The chapel of the Holy Trinity above mentioned was then 
 levelled to the ground ; this had hitherto remained untouched 
 out of reverence to St. Thomas, who was buried in the crypt. 
 But the saints who reposed in the upper part of the chapel 
 were translated elsewhere, and lest the memory of what was 
 then done should be lost, I will record somewhat thereof. 
 On the eighth idus of July the altar of the Holy Trinity was 
 broken up, and from its materials the altar of St. John the 
 Apostle was made ; I mention this lest the history of the holy 
 stone should be lost upon which St. Thomas celebrated his 
 first mass, and many times after performed the divine offices. 
 The stone structure which was behind this altar was taken to 
 pieces. Here, as before said, St. Odo and St. Wilfrid reposed 
 for a long period 1 '. These saints were raised in their leaden 
 coffins (capsis plumb eis) and carried into the choir. St. Odo, 
 in his coffin, was placed under the feretrum of St. Dunstan, 
 and St. Wilfrid under the feretrum of St. Elphege q . 
 
 p See p. 16 above. 
 
 q As a temporary resting-place only, 
 for in the list of relics (Cott. MSS. 
 Galba E. IV. fol. 122) we find "Cor- 
 pus S. Odonis in feretro, ad coronam 
 versus austruni. Corpus S. Wilfridi in 
 feretro ad coronam versus aquilionem." 
 The tower mentioned above, which ter- 
 minates the eastern part, was termed 
 " Corona S. Thomee," and here these 
 two ancient relics were finally depo- 
 sited. The name appears in Hollar's 
 plan, and the tower is still called 
 " Becket's Crown." In Ducange we 
 find, "Corona Ecclesije. Pars Tem- 
 
 pli choro postica, quod ea pars fere 
 desinat in circulum. Charta anni 
 1170 in Tabulario B. Marise de Chari- 
 tate : Duo altaria in Corona Ecclesiw." • 
 Ducange (or rather his Editor) thus 
 takes the word to mean the principal 
 apse of a church. At all events it was 
 a general term, and not peculiar to 
 Christ Church, Canterbury. The notion 
 that this round chapel was called Beck- 
 et's Crown, because part of his skull 
 was preserved here as a relic, (Somner, 
 94 ; Gostling, 124 ; Dart, 19,) appears 
 wholly untenable. 
 
AND REPAIR OF CHRIST CHURCH. 
 
 57 
 
 Archbishop Lanfranc was found enclosed in a very heavy 
 sheet of lead, in which, from the day of his first burial up to 
 that day, he had rested untouched, in mitre and pall, for sixty- 
 nine years and some months. He was carried to the ves- 
 tiarium in his leaden covering, and there deposited until the 
 community should decide what should be done with so great 
 a Father. When they opened the tomb of Archbishop Theod- 
 bald, which was built of marble slabs, and came to his sar- 
 cophagus, the monks who were present expecting to find his 
 body reduced to dust, brought wine and water to wash his 
 bones. But when the lid of the sarcophagus was raised, he 
 was found entire and rigid, and still subsisting in bones and 
 nerves, skin and flesh, but somewhat attenuated. The by- 
 standers marvelled at this sight, and placing him upon a bier 
 {tabulam gestatoriani), they carried him as they had clone 
 Lanfranc, to the vestiarium, to await the decision of the con- 
 vent. But the rumour began to spread among the people, 
 and already, for this unwonted incorruption, many called him 
 St. Theoclbald. He was exhibited to some who desired to see 
 him, and they helped to spread the tale among the rest. 
 
 He was thus raised from his sepulchre in the nineteenth year 
 from his death, his body being incorruptecl, and his silk vest- 
 ments entire. And by the decision of the convent was buried 
 in a leaden coffin {in area plumbed) before the altar of St. 
 Mary, in the nave of the church, which place he had wished 
 for while living. The marble tomb was put together over him, as 
 it was before. But Lanfranc having remained, as before said, 
 untouched for sixty-nine years, his very bones were consumed 
 with rottenness, and nearly all reduced to powder. The 
 length of time, the damp vestments, the natural frigidity of 
 the lead, and above all, the frailty of the human structure, had 
 conspired to produce this corruption. But the larger bones, 
 with the remaining dust, were collected in a leaden coffer, {in 
 capsa plumbea,) and deposited at the altar of St. Martin. The 
 two archbishops who lay to the right and left of St. Thomas in 
 the crypt were taken up, and placed for the time in their leaden 
 coffins {capsis) under the altar of St. Mary, in the crypt. 
 
 i 
 
58 
 
 GERVASE ON THE BURNING 
 
 The translation of these Fathers having been thus effected, 
 the chapel, together with its crypt, was destroyed to the very 
 ground ; only that the translation of St. Thomas was reserved 
 until the completion of his chapel. For it was fitting and 
 manifest that such a translation should be most solemn and 
 public. In the mean time, therefore, a wooden chapel, suf- 
 ficiently decent for the place and occasion, was prepared 
 around and above his tomb. Outside of this a foundation 
 was laid of stones and cement, upon which eight pillars of the 
 new crypt, with their capitals, were completed. The master 
 also carefully opened an entrance from the old to the new 
 crypt. And thus the sixth year was employed, and part of the 
 seventh. But before I follow the works of this seventh year, 
 it may not be amiss to recapitulate some of the previous ones 
 which have either been omitted from negligence or purposely 
 for the sake of brevity. 
 
 8. Explanations*. 
 
 It has been above stated, that after the fire nearly all the 
 old portions of the choir 
 were destroyed and 
 changed into somewhat 
 new and of a more noble 
 fashion. The differences 
 between the two works 
 may now be enumerated. 
 The pillars of the old and 
 new work are alike in 
 form and thickness but 
 different in length. For 
 the new pillars were 
 elongated by almost 
 twelve feet. In the old 
 capitals the work was 
 plain, in the new ones 
 
 Aicbes in South Aisle 
 
 r This section will be fully discussed in the next chapter. 
 
AND REPAIR OF 
 
 exquisite in sculpture. There 
 twenty -two pillars 8 , here 
 are twenty-eight. There 
 the arches and every thing 
 else was plain, or sculp- 
 tured with an axe and not 
 with a chisel 4 . But here 
 almost throughout is ap- 
 propriate sculpture. No 
 marble columns were there, 
 but here are innumerable 
 ones. There, in the cir- 
 cuit around the choir, the 
 vaults were plain, but here 
 
 Fig. 10, Capital of Choir, North side 
 
 s This number of twenty-two pillars 
 appears to be in direct contradiction to 
 the plan and to his own previous enu- 
 meration of nine on each side in a 
 straight line, and six in a circuit (p. 
 42), which amount to twenty-four. 
 In this passage, however, he has evi- 
 dently omitted the two intermediate 
 pillars (marked VI. fig. 3.), which were 
 removed in the reconstruction of the 
 church. 
 
 * The arches represented in figure 8 
 
 CHRIST CHURCH . 59 
 
 the circuit of the choir had 
 
 Fig. C Capital of Choir, South side 
 
 Fig 11. Capital of Semi-pillar (W. fig, 3.) 
 
 (above) occur in the south aisle, and 
 furnish an excellent commentary to the 
 above passage. The left hand one is 
 similar to all the remaining arches of 
 Ernulf's work, and its ornament has 
 manifestly been wrought with an axe. 
 The right hand arch, which resembles 
 those of the eastern transepts, the work 
 of William of Sens, has deep moldings 
 and the Early English dog-tooth, which 
 could only have been cut with a chisel. 
 
60 
 
 GERVASE ON THE BURNING 
 
 they are arch-ribbed and have keystones. There a wall set upon 
 pillars divided the crosses from the choir, but here the crosses 
 are separated from the choir by no such partition, and con- 
 verge together in one keystone, which is placed in the middle 
 of the great vault which rests on the four principal pillars. 
 There, there was a ceiling of wood decorated with excellent 
 painting, but here is a vault beautifully constructed of stone 
 and light tufa. There, was a single triforium, but here are 
 two in the choir and a third in the aisle of the church. All 
 which will be better understood from inspection than by any 
 description. 
 
 This must be made known, however, that the new work is 
 higher than the old by so much as the upper windows of the 
 body of the choir, as well as of its aisles, are raised above the 
 marble tabling. 
 
 And as in future ages it may be doubtful why the breadth 
 which was given to the choir next the tower should be so much 
 contracted at the head of the church, it may not be useless 
 to explain the causes thereof. u One reason is, that the two 
 towers of St.Anselm and of St. Andrew, placed in the circuit 
 on each side of the old church, would not allow the breadth 
 of the choir to proceed in the direct line. Another reason is, 
 that it was agreed upon and necessary that the chapel of 
 St. Thomas should be erected at the head of the church, where 
 the chapel of the Holy Trinity stood, and this was much 
 narrower than the choir. 
 
 The master, therefore, not choosing to pull down the said 
 towers, and being unable to move them entire, set out the 
 breadth of the choir in a straight line, as far as the beginning 
 of the towers (I . . . IX.) Then, receding slightly on either 
 
 u The plan fig. 5. will make this ex- new choirs. The walls of St. Thomas's 
 planation clear, for which purpose I chapel are not parallel, but diverge 
 have inserted the Roman numerals slightly, as shewn by the dotted line 
 into the text which refer to the which exactly represents the plan of 
 pillars in this plan. As the upper the upper wall. This is parallel to the 
 half of this plan contains, in a lighter corresponding one from XI to XII, di- 
 tint, the plan of the crypt also, which vergent from XII to XIII, and then 
 is the same as that of the old choir of passes round rather more than a semi- 
 Conrad, the differences will be more circle, 
 easily understood between the old and 
 
AND REPAIR OF CHRIST CHURCH. 
 
 61 
 
 side from the towers, and preserving as much as he could the 
 breadth of the passage outside the choir on account of the 
 processions which were there frequently passing, he gradually 
 and obliquely drew in his work, so that from opposite the 
 altar (IX), it might begin to contract, and from thence, at 
 the third pillar (XI), might be so narrowed as to coincide 
 with the breadth of the chapel, which was named of the 
 Holy Trinity. Beyond these, four pillars (XII. XIII.) were 
 set on the sides at the same distance as the last, but of a 
 different form ; and beyond these other four (XIV. XV.) 
 were arranged in a circle, and upon these the superposed work 
 (of each side) was brought together and terminated. This is 
 the arrangement of the pillars. 
 
 The outer wall, which extends from the aforesaid towers, 
 first proceeds in a straight line, is then bent into a curve, and 
 thus in the round tower the wall on each side comes toge- 
 ther in one, and is there ended. All which may be more 
 clearly and pleasantly seen by the eyes than taught in writ- 
 ins:. But this much was said that the differences between 
 the old and new work might be made manifest. 
 
 9. Operations of the seventh, eighth, and tenth years. 
 
 Now let us carefully examine what were the works of our 
 mason in this seventh year from the fire, which, in 
 short, included the completion of the new and hand- 
 some crypt x , and above the crypt the exterior walls of the 
 aisles up to their marble capitals. The windows, however, the 
 master was neither willing nor able to turn, on account of the 
 approaching rains. Neither did he erect the interior pillars. 
 Thus was the seventh year finished, and the eighth begun. 
 In this eighth year the master erected eight interior pillars, 
 (XII . . .XV), and turned the arches and the vault with 
 the windows in the circuit. He also raised the tower 
 
 x Namely, the crypt of St. Thomas's chapel, now called by its old name of 
 Trinity chapel. 
 
62 
 
 GERVASE ON THE BURNING, &C. 
 
 ad ii83 U P ^° ^ e ^ases °f the highest windows under the 
 vault. In the ninth year no work was done for want 
 ad ii84 °^ f™^- ^ n ^ ne tenth year the upper windows of 
 the tower, together with the vault, were finished. 
 Upon the pillars was placed a lower and an upper triforium, 
 with windows and the great vault. Also was made the upper 
 roof where the cross stands aloft, and the roof of the aisles as 
 far as the laying of the lead. The tower was covered in, and 
 many other things done this year. In which year Baldwin 
 bishop of Worcester was elected to the rule of the church of 
 Canterbury on the eighteenth kalend of January, and was 
 enthroned there on the feast of St. Dunstan next after 
 
 HERE ENDETH GERVASE HIS HISTORY OF THE BURNING AND 
 REPAIR OF THE CHURCH OF CANTERBURY. 
 
 Gervase concludes his narrative of the rebuilding somewhat abruptly ; and to 
 complete this period of the history a few remarks may be necessary. The ex- 
 penses of this magnificent work seem to have been partly supplied from the ob- 
 lations at the tomb of St. Thomas. Battely states that three bulls still remain in 
 the archives, concerning the oblations made at the great Altar, at the altar of St. 
 Thomas, and the other altars, by which the convent had leave to expend all the 
 oblations in lights and vestments for the service of the church, and in the repair 
 of the fabric, &c ; and all historians record the visits of royal and noble personages 
 to this saint, and their liberal offerings. The translation of the body of St. 
 Thomas from the tomb beneath to the shrine in the chapel took place on the 7th 
 of July, A.D. 1220, with the greatest solemnity and rejoicing, the king himself 
 being present. No dedication of the new choir is recorded. Battely seems to 
 imagine that it was dedicated at the time of the translation to St. Thomas the 
 Martyr, but with no sufficient authority. Dart, indeed, contradicting Battely, 
 says that there was merely an altar dedicated to St. Thomas in the chapel of 
 the Holy Trinity, but that the church, in all the donatives afterwards, even to 
 the time of Henry IV., is called by the name of Christ Church, and no other. 
 (See Battely, p. 18 ; and Dart, p. 12 ; and note x, p. 19 above.) There is some 
 ground for supposing that the chapel, which, as we have seen was erected 
 on the site of that of the Holy Trinity, was dedicated to St. Thomas, for it 
 is alwajs called the Chapel of St. Thomas. Gervase so designates it, and it is 
 even so described in Hollar's plan. Now, however, it has resumed its ancient 
 title of the Trinity Chapel, under which I shall generally mention it. 
 
CHAPTER IV. 
 
 ON THE CHURCH OF LANFRANC. 
 
 The history of the church of Lanfranc has been given at 
 length in the latter part of the first chapter, from which it ap- 
 pears that that archbishop erected it complete and new from 
 the foundations in seven years (Art. 17), and furnished it with 
 the necessary ornaments. And for no reason recorded, it 
 appears that at the suggestion and with the assistance of his 
 successor Anselm, the priors and monks of the monastery 
 took down the east end or choir within the twenty years after 
 its completion, and erected it on an increased scale (Art. 22.) 
 Now although Prior Ernulf appears to have had the greatest 
 share in the masonry of the building, yet his successor Conrad 
 completed the decoration of this choir so admirably that Ger- 
 vase calls it by his name. As no ruin, fire, or other casualty 
 has been recorded, it must be assumed that the sole reason 
 for this change was that the monks did not think their 
 church large enough for the importance of their monastery ; 
 and above all, that they wanted shrine room for the display 
 of the relics which our first chapter has shewn them so assi- 
 duously collecting and so devoutly venerating, according to 
 the fashion of their times ; and also for the proper disposition 
 of their ancient archbishops, most of whom appear to have 
 been canonized. 
 
 And as it will presently appear that the area of this church 
 was nearly doubled by the alteration, the necessity of enlarge- 
 ment must have been sufficiently predominant in their minds 
 to account for the taking down of the old choir, without its 
 being necessary to seek for additional reasons by supposing 
 that fires or failures of the structure compelled the change. 
 
 Gervase has given us a complete and detailed account of 
 the parts of Lanfranc' s church that remained in his time 
 (Chap. III. Art. 3.), that is, the nave, central tower, western 
 towers, transepts and their eastern chapels ; the choir or east- 
 
64 
 
 THE ARCHITECTURAL HISTORY 
 
 ern arm of its cruciform plan only being deficient. And of 
 this and of the arrangement of the choir in that state of the 
 building, he confesses himself to be wholly ignorant. In the 
 existing building it happens that the nave and transepts have 
 been transformed into the Perpendicular style of the fourteenth 
 century, and the central tower carried up to about double its 
 original altitude in the same style. Nevertheless several indi- 
 cations may be detected, which shew that these changed parts 
 stand upon the old foundations of Lanfranc. The north-west- 
 ern tower of the nave indeed (Z?, fig. 3.) was only taken down 
 in 1834, and drawings of it are preserved in some of the 
 modern descriptions of the cathedral. It was 113 feet high, 
 and divided by tablets into five stories, of which the lower 
 was plain and 50 feet in height, the next 23 feet with a 
 single window, and the remaining three still less and less, and 
 decorated with arcade-work, which is well represented in Mr. 
 Britton's engravings y. The Norman plinth still remains within 
 the nave on each side of the side aisles, from which we learn 
 that the total breadth of Lanfranc' s nave was 72 feet. Por- 
 tions of Norman ashlaring about the transepts (as, for exam- 
 ple, at their extreme eastern angles at(J and P, fig. 5. and 
 elsewhere, as shewn by the different tints) shew that the tran- 
 septs also are on the original foundations. The outside of 
 the west wall over the cloister door^ also retains Norman 
 ashlaring and the trace of the original clerestory windows 2 . 
 The eastern piers of the great tower still shew Norman ashlaring 
 on their eastern faces, and there can be little doubt that 
 the Norman nucleus still remains within the western piers 
 also of the same tower. 
 
 Now Lanfranc, before he was made archbishop of Canter- 
 bury, was the first abbot of the monastery of St. Stephen at 
 Caen, the church of which was built under his direction, 
 begun in 1064, and dedicated in 1077, after his appointment 
 to Canterbury. The two churches were therefore in building 
 at the same time. The church at Caen, like that of Canter- 
 
 y Elevation. Britton, pi. 3. View, z This is shewn in pi. 4. Britton, 
 pi. 6. Britton. 
 
OF CANTERBURY CATHEDRAL. 
 
 65 
 
 bury, has had its original choir replaced by one in the style of 
 the thirteenth century, probably for a similar reason, enlarge- 
 ment. The portions which it retains are alike in plan and 
 arrangement to the corresponding parts of Canterbury ; alike 
 in the number of piers, in having western towers, transepts 
 without aisles, a central tower, eastern chapels to the tran- 
 septs, and the pillar and vault at the end of each transept. 
 Nay, even in dimensions, they are, with slight differences, the 
 same. The breadth between the walls of the nave of St. Ste- 
 phen's a is 73 feet, which is one foot greater than at Canter- 
 bury. The length from the west end to the tower space is 
 187 feet, the same as at Canterbury. The extreme length of 
 the transept is 127 feet ; also that of Canterbury, as nearly as 
 it can now be ascertained. The width of the central alleys 
 was apparently less at Canterbury than at Caen, and so also 
 were the altitudes. It will presently appear that the ceiling of 
 Canterbury was about 63 feet from the pavement, whilst that 
 of Caen was about 7 0 feet. This can be ascertained in the 
 former case from the heads of the original clerestory windows 
 that remain. We cannot now tell whether this singular, 
 and I believe hitherto unnoticed, resemblance between the 
 two churches extended also to the elevations, for no frag- 
 ment remains of Canterbury from which to judge, ex- 
 cept the western tower, which is not the same in decora- 
 tion. But as western towers were the last things finished, 
 deviation might have occurred here, although the rest was 
 the same. 
 
 In St. Stephen's there is a range of arches above the pier- 
 arches of the nave, which occupy the triforium space, but were 
 originally open to the side-aisles, the present vault being a 
 manifest insertion of a later period. Now this peculiarity 
 also occurs in the nave of Rochester, which perhaps derived 
 it from its neighbour Canterbury. 
 
 The extent of Lanfranc's choir can only be surmised from 
 
 a The dimensions and plan of St. Mr. Pugin's Normandy. 
 Stephen's, at Caen, are derived from 
 
 K 
 
66 
 
 THE ARCHITECTURAL HISTORY 
 
 other examples and analogies. The plan, fig. 3. (p. 38) sheAVs 
 the church immediately before the fire, in accordance with Ger- 
 vase's descriptions and existing remains, as will be presently 
 explained. In this plan I have distinguished the parts 
 which I conceive to be Anselm's work by a different tint of 
 shading. 
 
 The mid alley of this choir is eight feet wider than the nave, 
 and between the extreme walls there is a difference of thirteen 
 feet in the average. But we may be sure that the original 
 choir of Lanfranc was, in accordance with all examples, either 
 of the same width as the nave or rather less, and it follows 
 therefore that Ernulf must have taken down the old choir as 
 far as the tower piers. Indeed the peculiar form of these 
 eastern piers shews that they were appendages. In the ori- 
 ginal work as I suppose it to have existed, the arches and 
 wall of the choir, following the line of the nave and tower- 
 arches, would serve as a direct eastern abutment to them ; but 
 as the new wall of the choir was thrown four feet on one side 
 of the line of abutment, it became necessary to give greater 
 strength, and thus, as I suppose, the projecting wall with its 
 semi-pillar W was introduced and made to slope, as shewn in 
 the plan, so as to lay as much hold as possible upon the tower 
 pier. The form of this pier is shewn in detail in fig. 13. b 
 (See opposite page.) 
 
 The breadth of Lanfranc's choir being thus supposed to be 
 the same as that of the nave, the length and number of its pier- 
 arches may be surmised from cotemporary examples. St. Ste- 
 phen's at Caen has lost its old choir, but its enlarged choir has 
 four pier-arches on each side. Its cotemporary church of the 
 i loly Trinity at Caen has two pier-arches. So also St. George 
 de Eocherville. In our English examples the number of pier- 
 
 b In this plan the pier of Lanfranc parated by seams from the masonry- 
 is of course inserted from conjecture, both of Ernulf and from that of the 
 The moldings of the fourteenth century, fourteenth century, is probably part of 
 which clothe its northern and western the original pier. D G is the face of 
 parts, will be referred to in a subse- the original pier-arches of Lanfranc, 
 quent chapter. The small portion of A B that of the present ones ; a b c is 
 ashlaring which still remains at i>. se- the plan of the pier in the crypt below. 
 
OF CANTERBURY CATHEDRAL 
 
 07 
 
 arches is generally four, but several cases occur of two and of 
 three. Bury had five, but this was very unusual 0 . 
 
 Mi ? 
 
 Fig 13. Plan of the South-F.ascem Her of the lower 
 
 We can only account for the impatient destruction of Lan- 
 franc's choir by supposing that it had the smallest number, 
 namely two, for if it had had four they would scarcely have 
 been pulled clown, but would have remained, and had the 
 increased length and eastern transepts added to them. And 
 as the object of this archbishop was to complete his monas- 
 
 
 No. 
 
 Date of 
 
 Extremr 
 
 
 of 
 
 founda- 
 
 width 
 
 
 arches 
 
 tion. 
 
 interior. 
 
 c Gloucester 
 
 3 
 
 1079 
 
 84 
 
 Winchester 
 
 4 
 
 1079 
 
 83 
 
 Hereford ... 
 
 3 
 
 
 73 
 
 St. Alban's 
 
 2' 
 
 
 76 
 
 Rochester 
 
 4 
 
 
 65 
 
 
 5 
 
 
 68 
 
 Ely 
 
 4 
 
 
 71 
 
 Worcester 
 
 2 
 
 1084 
 
 72 
 
 Evesham ... 
 
 4 
 
 
 70 
 
 Durham . . . 
 
 4 
 
 1093 
 
 78 
 
 Norwich . . . 
 
 4 
 
 1096 
 
 72 
 
 Tewkesbury 
 
 2 
 
 
 71 
 
 Chichester 
 
 3 
 
 
 60 
 
 Peterborough 
 
 4 
 
 1118 
 
 80 
 
 These are the only examples I can 
 find in which the date remains, and in 
 which the original number of pier- 
 arches of the choir can be ascertained. 
 The dates are only added when that of 
 the foundation is known. The others 
 are inserted in their probable order, it 
 only being recorded of them that they 
 were built in the life of a given man. 
 Out of the fourteen examples 
 
 seven have four pier-arches. 
 
 three ... three 
 
 three two 
 
 one ... five 
 
68 
 
 THE ARCHITECTURAL HISTORY 
 
 tery, and introduce a new and more rigid discipline therein, it 
 may easily be supposed that he would erect his church on a 
 moderate scale. Indeed he seems to have copied his own 
 church of Caen with even slightly reduced dimensions, and as 
 the other churches of Normandy were provided with short 
 choirs of two pier-arches, he only thus followed the ordinary 
 examples of his period and country. 
 
 But when the spirit of emulation in England led the church 
 builders to increase the number of the pier-arches in their 
 choirs, it may well be imagined that the same spirit would 
 induce the monks of the metropolitan church to contemn 
 their own small eastern work, and to commence another with 
 abundance of altar room and chapels, and altogether on an 
 enlarged scale of dimensions. The transverse dimensions 
 given in the note will confirm the same view, for while the 
 original width of the church fell considerably below the ave- 
 rage, the new width of the eastern end was equalled only by 
 Gloucester. 
 
 The shaded parts in a light tint marked Vm fig. 3. are the 
 conjectural outline of Lanfranc's eastern end in accordance with 
 the above views, and it will be conceded that men who were 
 about to erect so magnificent an addition to the old church 
 would scarcely hesitate about taking down so small a portion 
 of it. 
 
 If this be a correct plan, however, it will follow that no 
 part of the present crypt can belong to Lanfranc's church, 
 unless, indeed, some of its columns may have been used. But 
 in that case they do not stand in their old positions. 
 
 In the crypt of the Trinity church at Caen, the shafts 
 stand much nearer together than in that of Canterbury. The 
 former is considerably narrower than the latter, yet the shafts 
 stand in four ranks in the first and in two only in the bolder 
 structure of the second ; thus the first, notwithstanding that it 
 occupies only one compartment of the choir, together with 
 the apse, has sixteen shafts ; while the crypt of Canterbury, 
 which extends under choir and presbytery, through a length 
 of an hundred and sixty-three feet, has only twenty-two 
 
OF CANTERBURY CATHEDRAL. 
 
 69 
 
 shafts. It is not impossible, therefore, that the whole of 
 these shafts may have been taken from the older crypt. 
 However, I have not been able to discover any difference in 
 style or workmanship between these shafts and capitals or 
 their moldings, and the work of Ernulf above. But as the 
 interval of time between the two works was small, and they 
 are both of the same school, perhaps no great difference was 
 to be expected. 
 
 The capitals of the columns of the crypt are either plain 
 blocks or sculptured with Norman enrichments. Some of 
 them, however, are in an unfinished state. These figures re- 
 present one of the columns with the different sides of its 
 capital. 
 
 B 
 
 Of the four sides of the block two are quite plain, as at A. 
 One (as B) has the ornament roughed out, or "bosted" as 
 the workmen call it, that is, the pattern has been traced upon 
 the block, and the spaces between the figures roughly sunk 
 
70 
 
 THE ARCHITECTURAL HISTORY 
 
 clown with square edges preparatory to the completion. On 
 the fourth side, as at C, the pattern is quite finished. This 
 proves that the carving was executed after the stones were set 
 in their places, and probably the whole of these capitals would 
 eventually have been so ornamented had not the fire and its 
 results brought in a new school of carving in the rich foliated 
 capitals, which caused this merely superficial method of deco- 
 ration to be neglected and abandoned. In the same way 
 some of the shafts are roughly fluted in various fashions. 
 The figure shews one of them, and the plain ones would pro- 
 bably have all gradually had the same ornament given to 
 them, had not the same reasons interfered. 
 
 The word choir is liable to ambiguity, for it is employed in 
 two senses. The primary and proper sense is for the place 
 appropriated to the singers, and hence it is called the " choir of 
 the singers," or the " choir of the monks d ." But on the other 
 hand, the word is also employed for the eastern arm of the 
 cross in a church ; although the choir of the singers is by no 
 means confined to this part, but often extends into the space 
 under the tower, and even occupies some part of the nave, 
 as we have already seen in the Saxon church. Gervase uses 
 the word in both these senses. In his description of the choir 
 of Conrad it is employed in the first sense, and contrasted 
 with the presbytery. But in the latter part of his work he 
 clearly uses it in the second sense, for in enumerating the 
 number of pillars in the choir, he includes those that belong 
 not merely to the presbytery, but even those of the Trinity 
 chapel. 
 
 In attempting to discover the extent of Lanfranc's choir 
 above, I have employed the word in its second sense. But 
 his proper choir " of the monks," with so short an eastern 
 portion, probably extended not only under the tower as at 
 Hereford, and of old at Rochester, but even into one or more 
 compartments of the nave, as now at Norwich, Gloucester, 
 Winchester, Chichester, and St.AlbanV, and formerly at Ely, 
 
 d " Chorus cantorum," Edmer, p. 10 e The plans in the Monasticon and 
 above ; " Chorus monachoruni," Ger- in Willis's Cathedrals preserve the 
 vase, p. 43 above. original arrangements. 
 
Or CANTERBURY CATHEDRAL. 
 
 71 
 
 Worcester, and Peterborough, while the crypt was confined to 
 the presbytery, for the crypts never extended under the cen- 
 tral towers f . 
 
 The statutes of Lanfranc were addressed to the entire 
 Benedictine order in England, but he evidently had the ar- 
 rangements of his own church and monastery in view through- 
 out as a model. Amongst the duties of the " circa" or 
 monastic watchman, he is directed to go round to all the 
 altars in the crypts, and also to those which are beneath on 
 either side of the choir, lest any brother might be sleeping 
 there or otherwise reposing himself unduly g . Here not only 
 the crypt and its altars are mentioned, but also the altars at 
 M and II, (fig. 3.) which Gervase has explained to have other 
 altars in an upper floor above them. And as I have just 
 shewn that the choir occupied the tower space, these altars 
 are well described in the statute as being on each side of 
 the choir. 
 
 Edmer has told us (Chap. I. Art. 20.) that Lanfranc placed the 
 coffins of Bregwin and the other Saxon archbishops upon a 
 vault in the north part of the church, where there was also an 
 altar. This was plainly the vault in the north transept, which 
 was afterwards removed to clear the altar of the martyrdom. 
 This also was the chapel that formed the favourite resort of the 
 Teutonic monk Lambert. (Art. 25.) Also the " lofty place 
 outside the choir" where the relics of St. Wilfrid reposed 
 behind an altar, and whence the interior of the choir and 
 
 1 The English, eastern crypts are 
 Canterbury, Winchester, Gloucester, 
 Rochester, Worcester, all founded be- 
 fore 1085. After this they were dis- 
 continued except as a continuation of 
 former ones, as in Canterbury and 
 Rochester. The early English crypt of 
 the Lady chapel at Hereford is an 
 exception. 
 
 e " Circumitores monasterii, quos alio 
 nomine Circas vocant, juxta Sancti 
 Benedicti prseceptum certis horis cir- 
 cumire debent monasterii officinas, ob- 
 servantes incurias, et negligentias fra- 
 
 trum Completis tribus orati- 
 
 ernibus quas conventus facit ante Psal- 
 
 mos, quos ante nocturna dicere solet ? 
 tunc enim, accensa candela in abscon- 
 sa, unus eorum in dormitorio debet cir- 
 cumire lectos omnium, et omnia sedilia 
 in necessariis sollicite considerans, ne 
 forte aliquis frater dormiens ibi reman- 
 serit, dehinc revertatur in monasterium 
 et circumeat omnia altaria in criptis, et 
 quae ex utraque parte chori subtus sunt, 
 ceeteraque monasterii loca, ubi suspicio 
 poterit esse diligenter observans, ne 
 aliquis frater ibi dormiat, vel jaceat, 
 vel inordinate sedeat." Statuta Lan- 
 franci, cap. 4 ; Reyner, p. 235, or Wil- 
 kins' Concilia, torn. i. 
 
72 
 
 THE ARCHITECTURAL HISTORY 
 
 persons officiating therein could be seen, (Art. 21,) was either 
 this north vault or the south vault opposite. This throws 
 some light upon the use of these vaults, namely, for the con- 
 struction of chapels of peculiar sanctity and privacy, as well as 
 to increase the accommodation for shrines and altars. But 
 after the enlargement of the church, it was thought necessary 
 to adopt a more secure method of depositing these relics, (Art. 
 19. 25,) and they were entombed in the places indicated by 
 the figures in plan No. 3. And our author's history of this 
 removal is confirmed by the fact, that all the Saxon arch- 
 bishops are buried in Ernulf s part of the church, with the 
 exception of Eleolgild, Chelnoth, Adhelm, Wolfelm, and Eg- 
 elnoth. As the pavement of the upper part of the church 
 where these bodies were deposited rests upon the vault of the 
 crypt, and not on the ground, interment was impossible ; 
 coffins could only be sunk very slightly at least, if at all, into 
 the spandrels of the vaults. Each must have had a raised 
 tomb sufficiently high to cover them, and this seems to have 
 been of stone, at least in the cases of Dunstan, Odo, Wil- 
 frid, and Theobald. All these tombs have unfortunately dis- 
 appeared. 
 
 CHAPTER V. 
 
 ON THE WORKS OF ERNULF AND THE TWO WILLIAMS. 
 
 It must be remembered, that we have the somewhat intri- 
 cate task before us of developing three states of the eastern 
 portion of our building. The first as it was left complete 
 by Lanfranc ; the second as it was altered and enlarged by 
 Anselm and his priors, in which second state it was attacked 
 by the fire of 1174 ; the third, as it came out of the hands 
 of the two Williams, after the repairs consequent on the 
 said fire, and in which it remains substantially to this day. 
 In the last chapter I have endeavoured to explain its first 
 state, and now I shall proceed to separate the third state from 
 the second. 
 
Jc 
 
 Fig. 15. Internal Elevation- Fig. 16 Extcvior Elevation. 
 
 COMPARTMENT OF CHO*l. 
 
OF CANTERBURY CATHEDRAL. 
 
 73 
 
 Much of the preceding chapter has necessarily been founded 
 upon conjecture and analogy, but the history has now come 
 down to a period of greater certainty. And we may examine 
 the existing building to the east of the great tower in order 
 to discover, by the help of Gervase, which part of it belongs 
 to the period before the fire, and which to the subsequent 
 period. 
 
 The western crypt can present no difficulty, even if the 
 style of architecture did not decide the question, for the total 
 absence of any allusion to the rebuilding or repair of this 
 essential part of the structure, must convince us that it was 
 undamaged by the fire and left undisturbed in the subsequent 
 operations, with the sole exception that openings (at i, fig. 5.) 
 were carefully made to communicate, as Gervase says, between 
 the new crypt and the old one, the latter phrase shewing plainly 
 that the old one remained entire. In the plan, fig. 5, I have 
 inserted in the upper half the plan of the crypt in a lighter 
 tint by way of illustrating the changes that were made. For 
 the plan of the crypt is very nearly the plan of Ernulf's choir 
 with the exception of the pier at g and 17, and the small in- 
 termediate columns in the central aisles and transepts 11 . 
 
 The crypt of the western end of the choir being thus cer- 
 tainly an untouched part of Ernulf's work, it is equally certain 
 that the pillars of the choir, with their pier-arches and the 
 clerestory wall above are as wholly the work of William of 
 Sens. But with respect to the walls of the side aisles and 
 eastern transepts Gervase is not so explicit, and requires ex- 
 planation. It must be remembered that I am confining 
 myself now to the parts that lie between the great tower 
 and the Trinity chapel, for the history of every part of the 
 latter is clear from the foundations upwards. 
 
 h The present pier j, k, I, m, which describes (page 46.) The other at I is 
 
 separates the old crypt from the new, one of a pair of pointed arches which 
 
 exhibits undisturbed Norman ashlar- rest upon the double shaft marked in 
 
 ing on its south side from j to m, the plan, in the middle. The opening 
 
 and inserted ashlaring on its north side, i which the "master 1 ' so carefully 
 
 as shewn by the different tints in the made has its piers on each side clothed 
 
 plan. The south face h I receives two with the new masonry. A window 
 
 arches, one (k) is semicircular and is the probably was originally placed here as 
 
 original arch (s, fig. 3.) which Gervase it was in the church above. 
 
 L 
 
74 
 
 THE ARCHITECTURAL HISTORY 
 
 To explain the changes which were made in the building 
 by the works of William, I have drawn, from an accurate ex- 
 amination of it in its present state, a transverse section (fig. jl t 
 14.) and three elevations of compartments (figs. 15,16 and 21.); ' 
 each of these drawings is separated in the middle by a vertical 
 line, on one side of which the compartment or section appears 
 in its present state, and on the other in the state before the 
 fire, as far as I have been able to develope it. 
 
 " The pillars of the new work were of the same form and 
 diameter as the old, but were about twelve feet higher." Now 
 in the north and south side-aisles at T W\ (plan, fig. 5,) which 
 we are told had a plain vault, that is, a waggon vault, a string- 
 course may be observed still remaining upon the face of the 
 wall, from which a waggon vault once sprang, and this string- 
 course is as nearly as possible twelve feet below the abacus 
 of the opposite columns. With this confirmation of Gervase, 
 the column A B (fig. 14.) is drawn twelve feet lower than the 
 opposite one a b, and of the same diameter. The capital, 
 of course, is sketched in conjecturally. We know that the 
 capitals were "plain in the old work and sculptured in 
 the new 1 ." 
 
 The clerestory windows of the old work still remain in the 
 walls of the eastern transept, although the changes of position 
 from the increased height of the new work have given them 
 the subordinate office of triforium windows. These clerestory 
 
 i These comparative elevations ex- 
 plain the words of Gervase, when he 
 tells us that the " new work is higher 
 than the old by so much as the upper 
 windows of the body of the choir as well 
 as of its side-aisles are raised above 
 the marble tabling." From fig. 16, it 
 appears that the additional altitude 
 given to the walls both of the clere- 
 story and of the side-aisles is as nearly 
 as possible the same as that of each wall 
 above the respective tablings. That 
 is to say, the tabling d e, upon which 
 the upper side-windows G rest, is nearly 
 at the same altitude as the top of the 
 old wall e f under the eaves, and the 
 tabling h i under the new clerestory 
 windows M is at the same level as the 
 
 top of the old wall i h. 
 
 Most of the crypt windows have been 
 enlarged and provided with late per- 
 pendicular tracery, but one or two are 
 left, from which I have inserted the 
 window E in these figures. They were 
 4 ft. wide, 6 ft. 6 in. high, and their 
 sills were level with the top of the 
 abacus and coincident with the earth- 
 table of the wall. They had merely 
 a narrow chamfer on their outer edge. 
 The lights of the old clerestory win- 
 dows, as preserved in the west wall 
 of the transepts were 4 ft. 10 in. wide, 
 and 7 ft. 9 in. high, and their sills 41 
 feet from the present pavement of the 
 transept. 
 
OF CANTERBURY CATHEDRAL. 
 
 windows were of course of the same altitude, and probably of 
 the same form as those of the body of the choir, and I have 
 accordingly inserted them at their proper altitude in fig. 14, 
 and in half elevation at Z, figs. 15 and 16. These two data, 
 namely, the height of the columns and the height and form 
 of the clerestory windows, will enable us to fill up the interior 
 compartment by help of Gervase's description of the choir of 
 "Conrad." (Page 42.) 
 
 For "upon the pillars (A B, fig. 15.) arches (i? D) were 
 turned from pillar to pillar." " Above these the solid wall 
 (T C) was set with small and blank windows k ." This, in 
 modern nomenclature, was the triforium space, and it thus 
 clearly appears that there was no gallery in this case, but 
 merely a panelled or arcaded wall, as in the church of the Holy 
 Trinity at Caen. " Above this wall was the passage which is 
 called triforium (C), and the upper windows (Z)," that is, in 
 modern nomenclature, the clerestory gallery and its clerestory 
 windows. " Upon it rested the roof and a ceiling, (IF, fig. 14.) 
 decorated with excellent painting." The proportions of the 
 section, fig. 14, cannot be essentially wrong, and comparing it 
 with the section of the existing building on its left side, it 
 will appear that the walls and windows of the present side- 
 aisles are of much greater height than the old ones, and that 
 therefore they must have been either raised or entirely re- 
 built by William. 
 
 A close examination to determine this point furnished me 
 with two tests by which to separate the work of Ernulf from 
 that of William ; one in the bases, the other in the masonry. 
 
 The bases of the piers and of the vaulting-shafts against 
 the wall of the side-aisles are represented in fig. 17, in which 
 A is the base of the semi-pillar of Ernulf s addition to 
 the tower-pier, B is the base which is employed for the whole 
 
 k I have rendered here the u parvulis are of course sketched in without autho- 
 
 et obscuris fenestris" small blank win- rity "pour fixer les idees," my purpose 
 
 dows or panels, for in later times such being solely to shew the relative eleva- 
 
 panels were called orbs, blind windows, tion of their principal members to those 
 
 See " Nomenclature of the Middle Ages." of the present, i. e. of William of Sens' 
 
 The interior elevation of the clerestory work, respectively, 
 and triforium of the old choir in fig. 15. 
 
THE ARCHITECTURAL HISTORY 
 
 of the remaining pillars of the new choir, 
 bases of the shafts of 
 the side-aisle walls. 
 
 In these profiles 
 A I) E F have rude 
 moldings, which are 
 little better than 
 scratches upon the sur- 
 face, and B C have well 
 cut moldings with a 
 deep undercut hollow, 
 
 J and well-finished fillets. 
 
 C D E F are the 
 
 As A belongs to the 
 known work of Ernulf, B E F may be safely assigned to 
 him, and C as securely given to William from its resem- 
 blance to the base, B, of William's pillars. In the plan, fig. 5, 
 I have distinguished those portions that have the first bases 
 with a different tint from those that have the second. 
 
 The masonry of the vaulting-shafts is also of two kinds, as 
 shewn in fig. 18. One kind, B, which always 
 starts from the Ernulf base, is built of small 
 stones, two or three in each course of the 
 cylinder. The other kind, A, is generally of 
 higher stones than the former, and always has 
 one stone only in each course of the cylinder. 
 Moreover, this latter kind, when it starts from 
 a base, has always the William base, but is also 
 found at the upper part of all the vaulting- 
 shafts of the side-aisles. Thus in fig. 14. the 
 vaulting-shaft h, k, I, will either have the Ernulf 
 base and small masonry (as in fig. 19.) up to /;, 
 with large masonry from k to /, or else it will have the William 
 base combined with the large masonry (as in fig. 20.) throughout 1 . 
 
 1 The masonry of the main piers is of 
 the most solid description ; the courses 
 of a h, fig. 14, are carefully laid down 
 to scale. The shaft of this column is 
 built of seven stones only, 3 ft. 8 in. in 
 
 diameter, the lowest 4 ft. 2 in. high, 
 and the remainder diminishing ; and 
 this is the way in which they are all 
 constructed. 
 
BEFORE THE FiRE. ; AFTER TUB FIRE. 
 
 Fig. 21. ELEVATION OF ONE COMPARTMENT, NORTH AISLE. 
 
OF CANTERBURY CATHEDRAL. 
 
 77 
 
 The figure (18.) was sketched from a shaft of the first kind at 
 the junction k of the two. These facts, I think, can leave no 
 doubt that the original vaulting-shafts of the side-aisles were 
 allowed to remain, and were merely lengthened to suit the in- 
 creased height which the section shews was required, and that 
 in one or two cases, for obvious reasons, the shafts requiring 
 to be shifted in position were rebuilt from the ground, in 
 which case William gave them his own base. 
 
 But there is another proof that the present vaulting-shafts 
 are merely adapted from the old ones. Pig. 19. shews the base 
 
 Fig. 19. Fig. 20. 
 
 of one of those vaulting-shafts that has the Ernulf base and 
 masonry. It consists of a half cylindrical shaft in the centre, 
 which rises, lengthened, as already described, to carry the 
 transverse rib, but at the sides are two bases, which evidently 
 once had small lateral shafts upon them, but which now are 
 left vacant in every instance. 
 
 This will be best explained by fig. 2 1 , which is an elevation 
 of one compartment of the side-aisle wall, divided as before to 
 shew the Ernulf design in immediate comparison with that of 
 William m . An adjacent compartment (TL 8 in the plan, fig. 5.) 
 is added in explanation. Now in the original design these 
 lateral shafts find their office in carrying the groins of the 
 vault, and in fact their disposition is exactly that of the side- 
 aisles of Ely nave, a cotemporary work. But in William's 
 design the central shaft {It I) carries the transverse rib, and 
 
 m This elevation is drawn from the north aisle, at Q R 8 on the plan, fig. 5, 
 
78 
 
 THE ARCHITECTURAL HISTORY 
 
 the diagonal ribs are made to spring from the square edges of 
 the pier behind the shaft, by which greater lightness is given, 
 but at the same time the old lateral shafts lose their office, and in 
 fact are removed from the base upwards. In this elevation the 
 masonry is indicated : h k is Ernulf 's work, and k I William's 
 addition. But the angle pier (if) has been wholly rebuilt ; its 
 base and its masonry are the work of William (fig. 20.) ; and 
 in this instance he has oddly enough introduced a small lateral 
 shaft (N) in the very position from which he had removed 
 all the older ones. The forms of the capitals, as at /, in all 
 these examples, shew that the removal was coeval with the 
 original alteration, for they contain no provision for receiving 
 these lateral shafts. 
 
 The same test of the bases, combined with the style of deco- 
 ration, proves that the arcade at the base of this wall, and the 
 piers of the windows, are also the work of Ernulf. Now it will 
 be remembered that twelve feet were added to the height of this 
 wall. Several indications shew that the windows, although 
 retaining their piers, and even their arch heads, have yet been 
 raised about three feet eight inches, by the addition of that 
 quantity to their piers, and the resetting of their arch heads. 
 One of these indications is preserved in the compartment h N. 
 (fig. 21.) This is the side of a staircase-tower, as shewn in the 
 plan (B 8, fig. 5.) ; and accordingly, instead of a window, we 
 find here only a blank panel, bounded by an arch of a similar 
 form. But the original imposts of this arch remain at Q, and 
 its jambs have been raised from Q to ll n . 
 
 The windows being raised so much less than the wall, a 
 space above them still remained to be decorated, and this 
 is occupied by a gallery, or " triforium," (i J , fig. 14,) with an 
 arcade and window, which is clearly shewn in these drawings • 
 
 n Whether the whole of the windows 8 in. high, and 4 ft. 4i in. broad. But 
 
 were raised by exactly the same amount there are unequivocal remains of the 
 
 may fairly be doubted. For example, original springing of the arch from 
 
 in Anselm's chapel the west window the jambs, which shew that its height 
 
 (r in the plan, fig. 5.) is a lofty and was at first only 9 ft. 9 in., so that this 
 
 narrow Norman window, with shafts window has been raised about seven 
 
 and moldings like those described in feet, unless indeed, this arch was a 
 
 the text. Its inner opening is 16 ft. kind of transom. 
 
OF CANTERBURY CATHEDRAL. 
 
 79 
 
 and the reason for its introduction as clearly explained by 
 comparing the old disposition with the new. The section fig. 
 14. also shews the difference of the triforia in the two states 
 of the building as contrasted by Gervase. " There (in the old 
 work) was a single triforium, (JV,) but here (in the new work) 
 are two in the choir (Q and B) and a third (P) in the aisle 
 of the church." (Page 60.) 
 
 But to return to the plan, fig. 5. 
 
 By comparing the position of the pillars in this plan (and in 
 the section fig. 6.) with the piers of the crypt below, it will be 
 remarked that they do not all stand one over the other. Taking 
 them in order from the tower, I. is the original semi-cylinder 
 with the Ernulf base; the remainder have William's base, and II. 
 stands upon the crypt wall ; III. and IV. near the western 
 edges of the respective piers below; V. hangs half over it, and 
 VI. has its centre beyond the edge. This pier of the crypt 
 has been fortified to bear this unequal pressure, by the addi- 
 tion of a half octagon pier, having William's moldings, and 
 represented in the next figure 0 . 
 
 ° The places of these piers in the which I took myself, with the express 
 plan, as well as of the side aisle vault- view of determining their relative posi- 
 ing-shafts, are laid down from measures tions. 
 
80 
 
 THE ARCHITECTURAL HISTORY 
 
 The next pier of the crypt has no corresponding pillar above 
 it, although in the original choir of Ernulf there was one, for 
 the series of pier-arches was in that building carried uninter- 
 ruptedly across the transepts, as at Strasburg, Pisa, and seve- 
 ral other foreign cathedrals p . VII. stands a little to the east 
 of the centre of its crypt pier, but does not hang over it. 
 VIII. would have hung over had it not been that the cor- 
 responding pier of the crypt is here considerably broader 
 than the rest, from which it may be inferred that in Ernulf s 
 choir the pillar in this place was larger than the others, and 
 probably of a compound form, by way of separating the 
 pillars of the eastern circuit from those of the straight rank. 
 
 Fig. 23 
 
 IX. stands also near the edge of its crypt pier. But now the 
 difference of plan in the two churches begins to shew itself, 
 for the crypt piers follow the circuit of the apse, but the line 
 of pillars above is only slightly deflected to avoid the towers, 
 as Gervase has so minutely explained. X. is thus thrown far 
 from any of the crypt piers below, and accordingly we here 
 
 p See p. 44 and 60 above. " There a from the choir," &c. 
 wall set upon pillars divided the crosses 
 
OF CANTERBURY CATHEDRAL. 
 
 SI 
 
 find a pillar erected in the aisle of the crypt immediately 
 below it, as shewn in the above figure. 
 
 XL stands on the east wall of Ernulfs crypt, and the re- 
 maining pillars were erected by the same architect as the 
 piers of the crypt below them, and consequently the one 
 stands immediately over the other throughout. 
 
 The reasons for this variation in the spacing of the piers are to 
 be found in the crypt. The arches of the crypt and the vaults of 
 its side aisle are arranged in an equally spaced series across the 
 entrance of the transept. But the transept of the crypt is wider 
 than the two severeys of the side-aisle that are in contact with 
 it, and thus its west wall ef is set a little farther westward 
 than the face of the arch of the crypt that springs from # to VI., 
 and the wall above the eastern arches of the apse a little farther 
 eastward than the arch that springs from T to VII. 
 
 In the choir of Ernulf the transepts were cut off from the 
 body by the continuity of the pier-arches and the wall above, 
 and each transept was therefore a separate room with a flat 
 ceiling. The wall that came off northward from the piers VL 
 and VII. respectively must have fallen back after passing the 
 single piers S and T, so that each transept was about two feet 
 narrower in the compartment next to the body of the choir than 
 it was at its extreme gables (plan fig. 3). But in the new design 
 of William the transepts were opened to the central portion, 
 and the triforium and clerestory of the choir were turned at 
 right angles to their courses at the piers VI. and VII. and thus 
 formed the side-walls of the transepts. Therefore these piers 
 (the principal piers, as Gervase calls them) were set farther 
 asunder, the one to the west, the other to the east, so that 
 the transept might have the same breadth next to the pier- 
 arches as at its farthest extremity. And thus the piers of 
 the choir were thrown out of coincidence with those of the 
 crypt below. 
 
 The angle piers at S and T above have been rebuilt from 
 the base upwards, and have William's base and large stone- 
 masonry throughout. This seems to confirm the above ex- 
 planation, by shewing that the form and projection of the 
 original pier made it necessary to take it entirely down. 
 
 m 
 
82 
 
 THE ARCHITECTURAL HISTORY 
 
 But the entire interior of the eastern transept has been most 
 skilfully converted from Ernulfian architecture to Willelmian q , 
 (if I may be allowed the phrase for the nonce). The contrast 
 between them is shewn by the sketch fig. 24, taken in the 
 side-aisles of the choir from the pier VII. and shewing the 
 pier 8 in the middle, having the wall on one side running 
 down the sicle-aisle, with Ernulf's arcade below, and on the 
 other side (in the transept) having the pointed arcade with 
 William's base and moldings, and the characteristic Early 
 English dog-tooth 1 '. There are several reasons which made it 
 
 if 
 
 am 
 
 Fig 25 Dog-tooth Moldings. 
 
 necessary thus completely to transform the transepts, although 
 the side-aisle walls were merely raised. First, the side-aisles 
 were completely protected by their vaults from the burning 
 and falling timbers of the roof, and thus their stone -work and 
 
 q In the south aisle of the choir it 
 happens that one of Ernulf's arches 
 has been taken out, and one of Wil- 
 liam's substituted, exactly like those in 
 the transepts, whether as the beginning 
 of a plan for an entire change, or whe- 
 ther as a repair I know not ; but the 
 juxtaposition of the two affords an excel- 
 lent comparison. Vide fig. 8. p. 58 above. 
 
 r Although the ornament known 
 by the name of the dog-tooth was re- 
 tained as a characteristic and most 
 usual embellishment of the Early Eng- 
 lish style, yet it was adopted some time 
 previous to the complete formation of 
 that style. In Canterbury I found the 
 specimen represented in fig. 25. in the 
 arches of the small circular building 
 commonly termed the Baptistery, and 
 which now contains the modern font in 
 its upper story. But I have ascertained 
 that this building forms part of the 
 curious hydraulic system by which the 
 monastery was anciently supplied with 
 
 water. The whole was the, work of Prior 
 Wibertus, who died in 1167; he suc- 
 ceeded Prior Walter, who took office in 
 1153, but the time of whose death is 
 uncertain. Wibert however was pre- 
 viously sub-prior. In a long list of his 
 works the following occurs. "Aque- 
 ductum cum stagnis et lavatoriis et pis- 
 cinis suis ; quam aquam fere milliario 
 ab urbe intra Curiam et sic per omnes 
 ipsius Curie officinas mirabiliter trans- 
 duxit." Cott. MS. Claud., c. 6. fol. 166. 
 Ang. Sac, torn. i. p. 138. This system I 
 hope to explain at length in another 
 place, but from the date which it 
 assigns to this early specimen of the 
 dog-tooth, I have departed in this in- 
 stance from the rule which I have laid 
 down of confining myself in this work 
 to the Cathedral, without attempting 
 to describe the buildings about it, 
 which are of sufficient number and im- 
 portance to be reserved for a separate 
 investigation. 
 
OF CANTERBURY CATHEDRAL. 
 
 83 
 
 ornaments would escape the scathing and bruises which would 
 necessarily attack the walls of the transepts. Thus the Ernul- 
 fian arcades of the latter probably suffered so much as not to 
 be worth preserving. 
 
 Again, it was necessary that the triforium and clerestory of 
 the new design should be carried along the walls of these 
 transepts, which were before the fire probably ornamented by 
 a continuation of those of Ernulf. But figs. 14 and 15 will 
 shew that the respective levels of these essential members 
 were so different in the old and new works that the onlv 
 parts of them that could be retained were the windows of 
 the old clerestory, which falls just above the new triforium 
 tablet, and accordingly these old windows may still be seen 
 in the triforia of the transepts, surmounted by the new 
 pointed clerestory windows. But the whole of the arcade- 
 work and moldings in the interior of these transepts belongs 
 to William of Sens, with the sole exception of the lower win- 
 dows, which have been adapted 
 and treated as those of the 
 side-aisles already described 8 . 
 Even the arches which open 
 from the east wall of these 
 transepts to the apses have 
 been changed for pointed 
 arches, the piers of which have 
 the singularly elegant base 
 here represented. 
 
 And as these arches were 
 originally of the same height 
 as the pier-arches, and on ac- 
 count of the apse behind them 
 
 s Britton's plate v. is a good section of the transept exhibits the interior 
 
 and elevation of the eastern transepts ; lining, wholly of William's architecture 
 
 the elevation shews the exterior wall, as above explained, and the round- 
 
 with the Ernnlfian arcade, lower win- headed windows of Ernulf are seen be- 
 
 dow and clerestory window (now the hind. The pointed arches inserted in 
 
 triforium window), all round-headed, front of the apses are also shewn on a 
 
 The pointed clerestory window of larger scale in Britton's plate xix., and 
 
 William surmounts the whole. The in fig. 12. pi. xviii. of the Companion to 
 
 section which shews the eastern wall the Glossary. 
 
84 
 
 THE ARCHITECTURAL HISTORY 
 
 did not admit of being raised twelve feet like those pier-arches, 
 the space thus left between them and the new triforium tablet 
 is occupied by a blank arcade of pointed arches, which seems 
 to have been suggested by the similar blank arcade of the 
 Ernulfian triforium, the level of which it very nearly occupies. 
 This blank arcade is also continued on the other walls of 
 the transept over the lower windows. 
 
 Leaving the transepts we come to the eastern side-aisles, and 
 here we find the Ernulfian arcade remaining below, but all the 
 vaulting-shafts 7) U 7 V, (plan, fig. 5,) inserted with William's 
 base. It is probable, that as according to Gervase, p. 59, a wag- 
 gon vault was originally employed in this place, the vaulting- 
 shafts were either entirely omitted or merely carried transverse 
 ribs 1 . It will be seen that the places of the new ones do not 
 coincide with the shafts in the crypt below, and yet are 
 strangely placed out of agreement with the opposite piers VII, 
 VIII, IX ; in fact, four vaulting-shafts stand opposite to three 
 piers, and the vaulting-ribs are carried awkwardly across in 
 the manner shewn by the dotted lines on the lower half of 
 the plan. This number of vaulting- 
 shafts is intended to accommodate 
 the ancient window $, which, as Ger- 
 vase has recorded, stood opposite to 
 the high Altar. The base represented 
 in the annexed figure occurs in this 
 aisle on the north side. 
 
 We have now arrived at the towers 
 of St. Andrew and St. Anselm. The 
 projecting angle o, from which the cur- 
 vature of the apse wall originally 
 sprang, is ingeniously rounded off and Fig ^ ^ 
 
 ornamented by three shafts and some arcade-work. But in 
 Anselm's tower the arch of communication 28, is a round 
 arch u , at first sight plainly of the Ernulfian period, having 
 plaited-work capitals and moldings with shallow hollows. 
 
 t A vaulting cell must have been from the window s and the arch 28 
 introduced transversely to this waggon respectively, 
 vault from each pier-arch, and also u Britton, pi. ix, 
 
OF CANTERBURY CATHEDRAL. 85 
 
 A similar arch opens at p q on the eastern side of the tower 
 into its apse. 
 
 But a closer examination will shew that both these arches 
 have undergone alteration. Fig. 28. is the profile of the first 
 on the side next to the choir. The molding on the edge A is 
 the same as that of the pier-arches of William's choir 
 throughout, and has the billet like them, as well as a more 
 deeply sunk hollow, and more members than the edge-mold 
 at B, which is the usual Norman one. On the chapel side of 
 this arch the moldings are like these from C to Z>, but instead 
 of the greatly projecting arch A, there are three broad fasciae 
 of small projection, the uppermost of which has Ernulf's 
 notched ornament shewn in fig. 31. (p. 88.) 
 
 I am inclined to believe that both these arches were reset 
 and reduced in span after the fire, probably to increase their 
 strength and that of their piers, on account of the loss of 
 abutment at o, when the circular wall of the choir-apse was 
 removed. This operation has evidently been performed upon 
 the apsiclal arch p q, the moldings of which are the same as 
 those on the chapel side of the other arch. But in the apsidal 
 arch, the original capital for the fasciae above described is 
 now to be seen half buried in the wall, and has another in- 
 serted in front of it in such a manner as plainly to shew 
 
86 
 
 THE ARCHITECTURAL HISTORY 
 
 that the whole pier is in advance of its original position 
 and that the arch above has consequently been reduced 
 in span, although the original voussoirs and capitals have 
 been reset. There are also indications of change in the abacus 
 molds. 
 
 The apse piers retain their original bases, but the bases of 
 the arch 28 have been cut away to make room for Archbishop 
 Mepham's monumental screen which now occupies this place. 
 The opposite or north tower of St. Andrew is now closed up 
 and occupied by a floor and other insertions that prevented 
 me from examining the state of its arches. 
 
 I shall now make a few remarks upon the comparative 
 styles of architecture of the building in its two states. 
 
 Gervase points out the following differences between the 
 works before and after the fire. The elongation of the pillars 
 by twelve feet, retaining the same diameter, from which it fol- 
 lows that they were converted from a height of four diameters 
 to one of seven. The old capitals were plain, the new ones most 
 artistically sculptured. The old arches and every thing else 
 either plain, or sculptured with an axe and not with a chisel, 
 but in the new work first-rate sculpture abounded every where. 
 In the old work no marble shafts, in the new innumerable 
 ones. Plain vaults instead of ribbed behind the choir. 
 
 In the few portions that remain of the works of Ernulf the 
 moldings are simple and shallow, as already shewn in the 
 bases (fig. 17, page 76), and the decoration consists of a 
 peculiar and shallow class of notched ornament, of which many 
 examples exist in other buildings of the period. One case 
 has already been figured in page 58, where an arch of the 
 interior arcade of the side-aisle walls is shewn in contrast with 
 an arch of William's work. In the decoration of these arches 
 of Ernulf no moldings are employed, but a kind of double 
 zigzag is used, which is repeated on a smaller scale upon the 
 face of the tablet above, and these zigzags are brought out by 
 simply cutting two very slightly inclined facets between the 
 points, in a manner that is very clearly shewn in the figure. 
 The staircase towers at the western side of the transepts 
 
OP CANTERBURY CATHEDRAL. 
 
 87 
 
 Norman Arches. North side. Exterior 
 
 contain very beautiful specimens of this decoration of 
 Ernulf x . 
 
 The annexed figure is a 
 portion of an arcade, which 
 is continued as a belt of 
 decoration on the outside of 
 all that portion of Ernulf's 
 wall which remains. It cor- 
 responds in position to the 
 arcade already described 
 within, and may be consi- 
 dered a very fair specimen 
 of the style of decoration of 
 our architect. And it is 
 remarkably identified with 
 him by the occurrence of 
 an arcade almost the same y 
 as this against the interior 
 wall of the east end of the chapter-house at Rochester, which 
 is the recorded work of this 
 Ernulf, after he became 
 bishop of Rochester (Art. 
 23. Ch. I. above.) Another 
 similar coincidence of orna- 
 ment is to be found in a 
 very singular diaper repre- 
 sented in the figure. This 
 decorates the walls on the 
 south side of the passage 
 to the crypt from the mar- 
 tyrdom transept ; and also 
 the front of the chapter- 
 house of Rochester. 
 
 In figure 29 the small 
 
 x Britton, pi. v. and xxii. (miscalled house at Rochester, which occupies the 
 
 Anselm's tower.) site of the east end of the chapter- 
 
 y This arcade is now to be seen at house, 
 the foot of the staircase of the Dean's 
 
 Fig. 30. Diaper Work in 
 
 %a to Crypt. 
 
88 
 
 THE ARCHITECTURAL HISTORY 
 
 arches have the usual Norman edge-mold, a shallow hollow 
 and round ; and the intersecting arches have a billeted round 
 and the same shallow notched double zigzag as the interior 
 arcade of fig. 11. The abacus-mold is the same as that 
 within (see fig. 41, p. 93), and the capitals are some of them 
 left plain (as all the interior arcade capitals that remain are) ; 
 but others have the characteristic grotesque and plaited 
 decoration of the time, very different from the rich foliated 
 and artistic capital of the French architect. Specimens of the 
 same kind of Norman capital occur in the crypt (fig. 12, 
 p. 69), and may also be seen in the entrance and apsidal 
 arch of Anselm's chapel. 
 
 The following figures are well adapted to place in contrast 
 the two styles of workmanship of the artists in question, 
 Ernulf and William, for they are found in juxtaposition, and 
 the second seems designed to imitate the first, or at least to 
 harmonize with it. 
 
 Fig. 31. Norman Window-Heads. m 32. Arches in side Aisle of Choir. 
 
 These occur in the walls of the side-aisles of the interior. 
 Fig. 31. is the ornament of all the window-heads, and be- 
 longs to Ernulf. Eig. 32. is the ornament of the arch 
 against the wall of the additional work above, which was 
 raised by William of Sens (for example, it occurs behind the 
 spandrel F, fig. 21, although concealed by it in the figure). 
 
 Now each of these figures consists of a bold round or bow- 
 tell, having above it a broad face, which is ornamented by 
 sculpture. But the sculpture in the first is worked out by 
 
OF CANTERBURY CATHEDRAL. 
 
 89 
 
 shallow notches as already explained, while in the second it is 
 deeply cnt into a graceful series of leaves. Also the edge 
 below the bowtell is left square in the first example, but in the 
 second has a small well-wrought hollow. And in all respects 
 the second example shews the employment of more effective 
 tools, as well as an improved taste. It is, to borrow the 
 words of our author, wrought with a chisel instead of being- 
 hewed out with an axe. It must be observed, however, that 
 the axe is not quite so rude a weapon in the hands of a mason 
 as it might appear at first sight. The French masons use it 
 to the present day with great dexterity in carving. 
 
 The moldings of William of Sens exhibit much variety, but 
 are most remarkable for the profusion of billet-work, zigzag 
 and clog-tooth, that are lavished upon them. The richest 
 mold is perhaps 
 
 that of the trans- 
 verse ribs of the 
 side-aisle vaults, of 
 which a fragment 
 is shewn in figure 
 33. This is em- 
 ployed throughout 
 the side-aisles not 
 only of the choir, 
 but also of Trinity chapel as well as in the pier-arches of 
 the corona. 
 
 The moldings of the other vault-ribs will be sufficiently 
 understood by the sections in the following page. 
 
 A is the diagonal rib of the side-aisles of the choir ; B the 
 diagonal rib of the central vaults, which differs from the latter 
 only in its greater breadth, and in the introduction of a fillet 
 below, by which that increased breadth is obtained without 
 altering the profile at the sides ; C is the transverse rib of the 
 central vaults. And it will be seen that the diagonal ribs have 
 the dog-tooth ornament, while the billet is given to the trans- 
 verse ribs. The rib A is also employed for the low vault (_P, fig. 
 6.) under the patriarchal chair. This vault, therefore, is shewn 
 
 N 
 
 Fig. 33 
 
90 
 
 THE ARCHITECTURAL HISTORY 
 
 to be the work of one of the Williams, and not to be part of 
 the ancient arrangements of Ernulf. The pier-arch mold is 
 shewn in fig. 37, and that of the triforium in fig. 38. These 
 
 Fig. 38. Triforium Arches. Fig. 39. Lower Arcade, Eastern Transepts. 
 
 are continued all round Trinity chapel. The pier-arch has the 
 billet mold in its upper order of voussoirs D, and the dog- 
 tooth in the sub-order U. This mixture of two ornaments, one 
 
0E CANTERBURY CATHEDRAL. 
 
 91 
 
 of which is characteristic of the Norman and the other of the 
 Early English, is worth comparing with the mixture of round 
 and pointed arches throughout. The molding F is merely 
 half the diagonal rib (fig. A above), and is thus employed 
 singly in several other parts of William of Sens' work, as for 
 example, in the upper arcade of fig. 21, at S, and for all 
 the small arcades in the transepts, excepting those on the 
 ground, of which one arch has been figured in page 58, and 
 the moldings of it are exhibited in fig. 39. 
 
 The general arrangement of the architecture may be seen 
 from the elevations (figs. 15. and 16), or in the numerous 
 views that have been published. One of its most curious 
 features is the indiscriminate employment of round or pointed 
 arches, as the case may be. This may have arisen either from 
 the indifference of the architect to this mixture of forms, or 
 else from deliberate contrivance ; for as he was compelled, 
 from the nature of his work, to retain round-headed arcades, 
 windows, and arches, in the side-aisles, and yet was accustomed 
 to and desirous of employing pointed arches in his new build- 
 ing, he might discreetly mix some round-headed arches with 
 them, in order to make the contrast less offensive by causing 
 the mixture of forms to pervade the whole composition, as if 
 an intentional principle. In the triforium there are two orders 
 of arches, as shewn in fig. 15. above. The outer arch is a semi- 
 circle ; the two inner which it circumscribes are pointed. The 
 clerestory arch is pointed. The transverse ribs of the great 
 vault are some pointed and some round ; the diagonal ribs all 
 round. The pier-arches all pointed, excepting two in Trinity 
 chapel (see fig. 6). The side-aisle vaults have semicircular 
 ribs. In the triforium of the transepts pointed arches and 
 semicircular are placed side by side 2 . 
 
 It is a very difficult task to separate the original work of 
 William the Englishman from that of his predecessor. Ger- 
 vase, indeed, has told us pretty exactly all that was erected 
 during his superintendence, but much of this must have 
 formed part of the original design of William of Sens. The 
 
 z Britton, pi. xix. 
 
92 
 
 THE ARCHITECTURAL HISTORY 
 
 erection of the new Trinity chapel, or chapel of Becket, which 
 took place wholly under the direction of the Englishman, 
 must have been intended from the beginning ; for the con- 
 trivance of narrowing the central alley of the choir, for the 
 double purpose of avoiding the old towers and of adjusting 
 the width to agree with that of the ancient chapel of the Tri- 
 nity, was due to the French artist, seeing that the inclined 
 part of the choir (namely, the piers IX. X. XL) was carried 
 up to the clerestory before his fall. Whether we are to attri- 
 bute to him the lofty elevation of the pavement of the new 
 chapel, by which also so handsome a crypt is obtained be- 
 low, must remain doubtful. The bases of his columns, as well 
 as those of the shafts against the wall (at o fig. 5,) are hidden 
 and smothered by the platform at the top of these steps and 
 by the side steps that lead to Becket' s chapel. This looks 
 like an evidence of a change of plan, and induces me to be- 
 lieve that the lofty crypt below may be considered as the un- 
 fettered composition of the English architect a . Its style and 
 its details are wholly different from those of William of Sens. 
 The work, from its position and office, is of a massive and 
 bold character, but its unusual loftiness prevents it from 
 assuming the character of a crypt, and it is to be regretted 
 that the windows are not opened and glazed, by which its 
 beauties would become more apparent 15 . Two of the pier-arches 
 are semicircular and the others pointed; the only molding 
 on their lower edges is a plain narrow 
 chamfer, and a slight square edge serves 
 to separate the two courses of voussoirs. 
 Fig. 40. is the rib-mold, the capital is shewn 
 at A, in fig. 41, and the impost-molds that 
 accompany the latter will serve still further 
 
 to contrast the different styles. Fig. 40. Crypt of Trin. Chapel. 
 
 a It is probable that in the original might have been raised without raising 
 
 plan of the French architect the pave- that of the side-aisles, as in Edward the 
 
 ment of the chapel of St. Thomas and Confessor's chapel at Westminster, 
 the side-aisles were on the same level b For views and details of this crypt 
 
 as those of the choir. This is the most see Britton, pi. xii. ; Parker's Glossary, 
 
 usual disposition of a presbytery of this vol. iii. plates 5, 28, 29. 
 kind ; or the pavement of his chapel 
 
OF CANTERBURY CATHEDRAL. 
 
 93 
 
 There is one part of the detail of this crypt which differs 
 especially from the work above. The abacus of each of the 
 piers, as well as that of each central shaft, is round ; but in 
 
 Fig. 41. Abacas Molds. 
 
 the whole of the choir the abacuses are 
 either square, or square with the corners 
 cut off, and for the diagonal ribs these 
 square abacuses are set angularly. 
 
 Now the only exception to this rule 
 is, that the round abacus occurs in the 
 piers of the apsiclal chapels (12 . . 16, and 
 35 7. 38 fig. 5.) of the east wall of the 
 transepts, the corresponding cylindrical 
 plinths of which have been figured in 
 page 83. It is true that the Englishman finished the tran- 
 septs in 1179, immediately after the Frenchman's departure ; 
 but the question is, of course, whether this part remained 
 for him to do. 
 
 The work of these transepts consisted (1.) of re-ashlaring 
 and repairing the walls below ; (2.) adding the arcades and 
 the triforium; (3.) raising the arches of the Norman windows 
 below; (4.) inserting the pointed arches of these apses, and 
 giving them a pointed character throughout ; (5.) erecting 
 the new clerestory, and adding the vault. In a new building 
 the lower part is necessarily erected first, and the works pro- 
 ceed regularly upwards, but in a case of this kind there can be 
 little doubt that the essential part, namely, the raising of the 
 
 c B Trinity chapel ; C lower arcade, 
 north-east transept ; £) William's upper 
 
 arcade (S, fig. 21.) ; E Ernulf 's lower 
 arcade (fig. 21.) 
 
94 
 
 THE ARCHITECTURAL HISTORY 
 
 clerestory walls and the erection of the vault would be first 
 clone, and then the decoration of the lower part, which con- 
 sisted merely of a new lining to the old walls, would be pro- 
 ceeded with. But as Gervase has distinctly recorded the vaults 
 of these transepts as the last works of the Frenchman, and 
 the finishings of the transepts as the first works of the 
 Englishman, a very probable case is made out in favour of 
 the introduction of the round abacus by him a, inasmuch as 
 this is a new feature in the work, and as such, very likely to 
 have been introduced by a new architect ; every where else, 
 however, he has adhered to the square abacus of his pre- 
 decessor, excepting, as before said, in the crypt, where he had 
 none of the previous work to constrain him. 
 
 However, it must be very difficult to judge of the unfettered 
 style even of William of Sens, because in every part of his 
 work the retention of the old Norman portions evidently 
 cramps and governs his composition. In the same way, the 
 Trinity chapel of the Englishman is under the influence of the 
 French work of which it is a continuation, and accordingly the 
 same moldings are employed throughout, and the triforium 
 and clerestory are continued at the same level ; but the greater 
 elevation of the pavement wholly alters the proportion of the 
 piers to their arches, and gives a new and original, and at the 
 same time a very elegant character to this part of the church 
 compared with the work of the Frenchman, of which, at first 
 sight, it seems to be a mere continuation. 
 
 The triforium also of this Trinity chapel differs from that of 
 the choir, in that its four pointed arches instead of being, like 
 them, included under two circular ones (as in fig. 15.), are 
 set in the form of an arcade of four arches, of two orders of 
 moldings each. The moldings are the same as in the choir, 
 but the effect of their arrangement is richer. Also in the 
 clerestory, two windows are placed over each pier-arch, instead 
 of the single window of the choir. The mixture of the two 
 forms of arches is still carried on, for although the semi- 
 
 ,l I am not attributing the invention to him, but merely the introduction of 
 it into this building. 
 
¥i S . 42. COMPARTMENT OF THE CORON A. 
 
OF CANTERBURY CATHEDRAL. 
 
 95 
 
 circular arch is banished from the triforium, it is adopted for 
 the pier-arches, as shewn in the section (fig. 6.) 
 
 However, in the side-aisles of the Trinity chapel, and in the 
 corona, our English William appears to have freed himself 
 almost as completely from the shackles of imitation, as was 
 possible. In the side-aisles the moldings of the ribs still remain 
 the same, but their management in connection with the side 
 walls, and the combination of their slender shafts with those of 
 the twin lancet windows, here for the first time introduced into 
 the building, is very happy 6 . Slender shafts of marble are 
 employed in profusion by William of Sens, and Gervase ex- 
 pressly includes them in his list of characteristic novelties. 
 But we here find them either detached from the piers, or 
 combined with them in such a manner as to give a much 
 greater lightness and elegance of effect than in the work 
 of the previous architect. This lightness of style is carried 
 still farther in the corona, where the slender shafts are carried 
 round the walls, and made principal supports to the pier- 
 arches, over which is placed a light triforium and a clere- 
 story ; and it must be remarked that all the arches in this 
 part of the building are of a single order of moldings, instead 
 of two orders as in the pier-arches and triforium of the choir. 
 The square abacus, however, is used throughout. Kg. 42. 
 represents one compartment of the corona in which these 
 peculiar arrangements are shewn. 
 
 The piers of Trinity chapel are composed each of two 
 columns, set one behind the other. This form is also used in 
 one pair of William of Sens' piers (X, fig. 5.), but with the 
 addition in the latter of two marble shafts at the sides. 
 
 The cathedral of Sens, which dates from 1143 to 1168 f , has 
 several peculiarities in common with the work of Canterbury ; 
 for example, the double piers in question, the foliated capitals, 
 the square abacus, and that set diagonally when appertaining 
 to the diagonal rib-shafts. Also the rings upon some of the 
 slender shafts, and the same system of vaulting the great vault 
 
 e Well represented in Winkles, pi. vii. but in the side-aisles of the choir 
 f SeeChapuy, "Cathedrales Franqais." there are some round arches, probably 
 The arche3 in the nave are all pointed, the remains of an earlier edifice. 
 
96 
 
 THE ARCHITECTURAL HISTORY 
 
 in " sexpartite ciboria," that is, in square compartments, each 
 corresponding to two pier-arches on each side, and each having 
 besides the diagonal ribs, and the transverse ribs that bound 
 it, another intermediate transverse rib, so that six vaulting- 
 cells thus meet in the keystone g . 
 
 The mechanical construction of the clerestory in William of 
 Sens 5 choir is somewhat singular, and is shewn in the trans- 
 verse section (fig. 14.) The floor of the clerestory gallery B 
 is carried by the triforium arches, but the thin wall of the 
 clerestory windows rests upon a segmental arch 8, which 
 springs from the buttresses, and the crown of this arch is 
 so high, that it rises even above the pavement of the clere- 
 story gallery, leaving a small opening by which persons in 
 the latter gallery can see into the triforium below at Q, and 
 hold communication with persons therein. 
 
 I shall conclude this chapter by mentioning two long stair- 
 cases, one of which is shewn at the w r est end of the south aisle 
 at 0, fig. 5, and there is another in the north aisle corres- 
 ponding to it. These staircases evidently belonged to Ernulf s 
 building, although the eastern pier that bounds them has Wil- 
 liam's base, and was erected by him. The southern one now 
 turns to the south, and gives access to a room over the chapel 
 of St. Michael (44). They seem to have been originally open 
 to the side-aisles, and they are constructed upon the founda- 
 tions of the side walls of Lanfranc's original choir. Perhaps 
 the north one was originally built to give access to the 
 passage constructed round the north transept by which 
 the " pallia" were to be suspended, as Gervase relates, after 
 the destruction of Lanfranc's vault ; and the southern one in 
 imitation of it. 
 
 s Hence the term " sexpartite," given tectural Notes on German Churches, 
 to this class of vaults in the Archi- p. 72. 
 
OF CANTERBURY CATHEDRAL. 
 
 CHAPTER VI. 
 
 THE HISTORY OF THE CHOIR FROM THE TWELFTH CENTURY. 
 
 Prior Henry de Estria h was elected in 1285, and died in 
 1331, and according to the obituary adorned the church and 
 monastery with various works ; amongst which, " he decorated 
 the choir of the church with most beautiful stone-work deli- 
 cately carved 1 ." In his Register, however, there is an inven- 
 tory of the works that were executed under this prior, in 
 which the same is more specifically described thus : 
 
 "Anno 1304 and 5. Reparation of the whole choir with 
 three new doors, a new screen or rood-loft, (pulpitum,) and 
 the reparation of the chapter-house with two new gables .... 
 839/. Is. Mr 
 
 These entries must refer to the beautiful stone enclosure of 
 the choir, the greatest part of which still remains. The three 
 doors are the central or western one, and the north and south 
 doors. The present elaborate western screen, or organ-screen 
 as it is now called, is of a much later period, and a little 
 examination of its central archway will detect the junction 
 of this new work with that under consideration. In fact 
 this archway is considerably higher than that of De Estria, 
 which still remains behind it. The apex of his arch reaches 
 but a little above the capitals of the new arch, and the flat 
 space or tympanum thus left between the two is filled up 
 with perpendicular tracery. As this latter screen, elaborate 
 and beautiful as it is, has no recorded date, I shall content 
 myself with referring to engravings k which sufficiently explain 
 it, and return to the work of De Estria. 
 
 The lateral portions of this wall of enclosure are in excellent 
 order. In the western part of the choir, namely, between the 
 
 h Namely, Eastry, in Kent. Cott. Galba, E. IV. fol. 103. The entire 
 
 ' " Chorum vero Ecclesise pulcherrimo document is printed with some inaccu- 
 
 opere lapideo subtiliter inciso decenter racies by Dart. App., p. iii. 
 
 adornavit." (Obit. Cant, in Ang. Sac., k Britton, in pi. xx., has an elevation 
 
 torn. i. p. 141.) of the central archway, in which the 
 
 j " Anno M°ccc°. quarto et quinto. old arch may be seen under the new 
 
 Reparatio totius chori cum tribus novis one, as above described ; also details, in 
 
 ostiis et novo pulpito et reparatio capi- pi. xxi. Wild has a general view in 
 
 tuli cum duobus novis gabulis." MS. pi. 3. 
 
 O 
 
98 
 
 THE ARCHITECTURAL HISTORY 
 
 eastern transepts and the organ-screen, this wall is bnilt so 
 that its inner face nearly ranges with the inner faces of the 
 pillars ; but eastward of the transepts it is built between the 
 pillars. The north doorway remains perfect. The present south 
 doorway, which is in a much later style, is manifestly a subse- 
 quent insertion. The construction of this wall of enclosure will 
 
 M£. 44 Enlarged Section of upper part Fig 43. Section of Screen. 
 
 be seen from the section (tig. 43.), which is drawn from the 
 north-western part of it 1 . It consists of a solid wall, seven 
 feet nine inches in height from the pavement of the side-aisles. 
 It has a stone bench towards the side-aisles, and above that a 
 
 1 In the plinth of the base of the band of iron, which encircled the entire 
 
 pier, immediately above the chamfered plinth, and the ends of which may still 
 
 "ground table," a square sinking (A, fig. be seen projecting from the masonry 
 
 43.) will be seen. This is found in all of the screen wall, 
 the piers, and has once received a stout 
 
NORTH DOORWAY AND PART OF SCREEN (Inside face.) 
 
OF CANTERBURY CATHEDRAL. 
 
 99 
 
 base, B, of the age of William of Sens (<7, fig. 17. p. 76.) ; 
 so that it is clear that the work of De Estria belongs to the 
 upper part only of the enclosure, which consists of delicate 
 and elaborately worked tracery, surmounted by an embattled 
 crest. The moldings of the crest and of the tracery are shewn 
 more at large in fig. 44. The entire altitude is fourteen feet. 
 
 The two annexed views (figs. 44 and 45.) represent the inner 
 and outer faces of the north 
 doorway, and shew also a 
 part of the tracery. The 
 moldings of this doorway 
 are given in fig. 46. The 
 singular coincidence of its 
 base-mold with Ernulf's 
 rude base (i), fig. 17. p. 76.) 
 is worth observing. The 
 entire work is particularly 
 valuable on account of its 
 well-established date, com- 
 bined with its great beauty 
 and singularity" 1 . 
 
 The shrine of St. Thomas 
 was placed in the centre of 
 
 the chapel within the enclosure, dotted at 27 in the plan 11 , and 
 had in front of it at Z a curious mosaic pavement, which still 
 remains, executed in the manner termed " Opus Alexandri- 
 num°," in which the pavements of most of the Roman basilicas 
 "are wrought, and of which there are also specimens at West- 
 minster abbey in the pavements of the presbytery, of the 
 chapel of Edward the Confessor, and also about his shrine 
 and the tomb of Henry III. 
 Stow has preserved a description of the shrine of Becket which 
 
 m A plate, containing an elevation of 
 the tracery of this wall, occurs in Cave- 
 ler's Gothic Architecture. See also 
 Britton, pi. xvii. xxiii. The inserted 
 south door is seen in Wild, pi. 7 and 8. 
 
 n The site of this shrine is marked in 
 
 Hollar's plan, and moreover the stain 
 of the iron railing which enclosed it, 
 may still be seen in the pavement. 
 
 0 So called from Alexander Severus ; 
 see Nibby Antichita di Roma 1830, p. 
 67. 
 
100 
 
 THE ARCHITECTURAL HISTORY 
 
 was demolished in the year 1538 p . It was built about a 
 man's height all of stone, then upwards of timber plain, within 
 which was a chest of iron containing the bones of Thomas a 
 Becket. The timber- work of this shrine was covered with 
 plates of gold, damasked and embossed with wires of gold, 
 garnished with brooches, images, chains, precious stones, and 
 great orient pearls, the spoils of which shrine filled two great 
 chests, one of which six or eight strong men could do no 
 more than convey out of the church ; all which was taken to 
 the king's use, and the bones of St. Thomas, by the com- 
 mandment of the Lord Cromwell, then and there burned to 
 ashes, which was in September in the year 1538, (30 H. VIII. q ) 
 Erasmus supplies the additional information that the golden 
 shrine had a wooden cover suspended by ropes, so that it could 
 be raised easily when the shrine was exhibited. The bones of the 
 saint were not visible, they were deposited in the upper part of 
 the structure. I may add that there was an altar at the west 
 end of this shrine within the iron rails that surrounded it, for in 
 the Statutes of Archbishop Winchelsey r there are express direc- 
 tions for the careful closing of the iron doors before the altar 
 at the head of the feretrum of St. Thomas, namely, the one 
 opposite to the altar as well as that on the north side 8 . It does 
 
 p A figure of this shrine, given by 
 Dugdale from one of the Cotton manu- 
 scripts, has been copied by Battely and 
 others. 
 
 ( i The king's mandate is printed in 
 Wilkins' Concilia, vol. iii. p. 836. "Man- 
 damus ejus ossa ex sepulchro erui et 
 publice comburi," &c. Dated June 11, 
 1538. It was carried into effect on 
 Aug. 19. 
 
 r He held the see from AD. 1294 to 
 1313. His statutes are in Wilkins' Con- 
 cilia, vol. ii. p. 244. 
 
 s " Ostia ferrea ante altare ad capud 
 feretri Sci. Thome vid. tarn ex altaris op- 
 posito, quam etiam a latere boreali," &c. 
 The shrine of Edward the Confessor, 
 which still remains, although in a sadly 
 mutilated and neglected state in West- 
 minster abbey, will serve to illustrate 
 the arrangement of Becket's shrine, and 
 probably those of the other principal 
 saints. It stands like Becket's in a cha- 
 
 pel separated from the choir and high Al- 
 tar by a reredos, but yet not a detached 
 building, as the Lady chapels so com- 
 monly were. Architecturally speaking, 
 the chapels of Becket and Edward are 
 within the choir at its east end ; the 
 pavement in both cases is raised above 
 the level of the choir : and each 
 shrine is a parallelogram on the plan, 
 and stands east and west. The Altar 
 is at its west end, and in contact with 
 it, so that the saint is placed behind 
 the altar " retro altare," and recipro- 
 cally the Altar is at " the head of the 
 saint," since the head of a corpse was 
 always laid to the west. These phrases 
 have already occurred in our quotations 
 from the monkish chroniclers ; for ex- 
 ample, in the Saxon cathedral the ma- 
 tutinal altar was placed at the head 
 of Dunstan, (p. 6,) and Anselm, Odo, 
 Wilfrid, and others, were deposited be- 
 hind altars. On the other hand, in 
 
OF CANTERBURY CATHEDRAL. 
 
 101 
 
 not appear how far the other shrines and relics were destroyed 
 at the same time with Becket's, although it can hardly be sup- 
 posed that Dunstan and Elphege could escape. But in 1541, 
 Archbishop Cranmer seems to have complained to the king how 
 little effect former orders from His Majesty had taken, (parti- 
 cularly in his own church,) for the images and bones of sup- 
 posed saints to be taken away and defaced ; which procured 
 a royal letter, enjoining him to cause " due search to be made 
 in his cathedral churches, and if any shrine, covering of shrine, 
 table, monument of miracles, or other pilgrimage, do there 
 continue, to cause it to be taken away, so as there remain no 
 memory of it*." And to these orders I suppose we must 
 attribute the destruction of all those early monuments of the 
 archbishops, of which we only know their ancient position ; 
 for unfortunately for the antiquarian, most of the early arch- 
 bishops were either canonized or reputed saints. Even the 
 tomb of Winchelsey was demolished about this time, because 
 the people adored him as a reputed saint u . 
 
 The patriarchal chair which, until the last few years, stood 
 
 chantry chapels the tomb of the un- 
 canonizecl founder is commonly at the 
 west of the Altar, so that the priest 
 stands at the foot of the tomb. The 
 description of the shrine of St. Cuthbert 
 at Durham will also serve to illustrate 
 the two already mentioned. This too 
 was placed behind the great reredos of 
 the high Altar upon a raised platform 
 inclosed, and forming what was called 
 a " feretory," or chapel for the reception 
 of a feretrum. This platform may still 
 be seen extending partly into the great 
 eastern transept, or "Mne Altars," as 
 it is called. In the midst of it "his 
 sacred shrine was exalted with most 
 curious workmanship of fine and costly 
 green marble, all lined and gilt with 
 gold, having four seats or places con- 
 venient underneath the shrine for the 
 pilgrims or lame men setting on their 
 knees to lean and rest on in the time 
 of their devout offerings and fervent 
 prayers to God, and holy S. Cuthbert 
 for his miraculous relief and succour." 
 (Under the shrine of Edward the Con- 
 fessor there are arches, three on each 
 side, which probably served for a simi- 
 
 lar purpose.) " At the west end of the 
 shrine of S. Cuthbert was a little Altar 
 adjoyned to it, for mass to be said only 
 on the great and holy feast of S. Cuth- 
 
 bert's day in Lent And at this 
 
 Feast, and certain other festival dayes, 
 in time of Divine Service, they were 
 accustomed to draw up the cover of 
 S. Cuthbert's shrine, being of wains- 
 cot, and a strong rope was 
 
 fastened thereto, and did run up and 
 down in a pulley under the vault for the 
 drawing up of the cover : fine sounding 
 silver Bells were fastened to the said 
 rope, which at the drawing up of the 
 cover made such a goodly sound, that 
 it stirred all the peoples hearts within 
 the church," &c. This cover was painted 
 and varnished within and without, and 
 within the feretory on both north and 
 south sides there were ambries of fine 
 wainscot for relics. (Rites of Durham.) 
 
 * Strype's Memorials of Cranmer, 
 p. 92 ; Wilkins' Concilia, vol. iii. p. 858. 
 
 u This fact is recorded by Archbishop 
 Parker, and therefore the tomb must 
 have been demolished before the Re- 
 bellion. (De Antiq. Brit. Eccl., p. 317.) 
 
102 
 
 THE ARCHITECTURAL HISTORY 
 
 upon the top of the steps at Y (fig. 5.), and is there placed in 
 Hollar's plan, was probably so fixed by English William upon 
 the completion of Becket's chapel. 
 
 Behind the patriarchal chair the choir was parted from the 
 chapel by a screen, which in Hollar's plan is extended between 
 the pillars XL, and which Gostling describes as a " fence of 
 iron-work finished at the top with a rail or cornice of wood, 
 painted with some of those ridiculous and trifling fancies 
 with which the monks were every where fond of making the 
 preaching orders of friars appear as contemptible as they 
 could*." 
 
 We now come to the disposition of the High Altar. In the 
 old time there were three altars at the east part of the pres- 
 bytery, namely, the high Altar in the middle, that of St. Elphege 
 on the north, and of St. Dunstan on the south, with their 
 respective shrines. The position of these altars may be 
 pretty nearly determined, for the place of sepulture formally 
 granted to Archbishop Bourchier y , is described as being 
 between the two columns which are nearest to the altar of 
 St. Elphege, (that is, columns VIII. IX. on the north, for be- 
 tween these his monument stands.) Also Archbishop Parker 
 describes the monument of Stratford, (33, fig. 5,) as being 
 near the high Altar on the south 2 , by the steps of St. Dunstan s 
 altar, and that of Sudbury, (31,) as being on the south side 
 of the altar of St. Dunstan ' d . The altars of Elphege and 
 Dunstan were therefore placed at 19 and 32 respectively. 
 There still remains between the monuments of Stratford and 
 Sudbury some elegant diaper-work, which appears to have 
 been part of the decoration of Dunstan's shrine. 
 
 The high Altar stood in Conrad's choir, nearly opposite to 
 the window s, (fig. 5,) as Gervase tells us. It was also 
 isolated, and behind it stood the patriarchal chair. In 
 
 x Gostling, p. 261. tumba alabastri honorifice sepultum 
 
 y "In spatio quod est inBoreali parte est." (Parker, de Antiq., p. 351.) 
 
 chori Ecclesise nostras inter duas colum- a " Ex parte australi altaris Dunstani 
 
 nas proximas altari S. Elphegi." (Bat- sepultum est." (D°. p. 397.) When 
 
 tely. App., p. iv.) Parker wrote, the position of these 
 
 z " Ad summum altare in australi altars had not been forgotten, 
 parte ad gradus altaris S. Dunstani in 
 
OF CANTERBURY CATHEDRAL. 
 
 103 
 
 William's building, the piers VIII. IX. were moved further 
 eastward, and probably the Altar also. In the grant of a place 
 of sepulture to Archbishop Bourchier, (whose tomb stands at 
 18, fig. 5,) it is especially required that no superfluous appen- 
 dages shall be added to the monument, that may screen the 
 light of the north windows from the altars. 
 
 In a sentence quoted below there occurs " a screen of 
 tabernacle-work richly overlaid with gold behind the commu- 
 nion table." It appears from this that the high Altar did not 
 remain isolated, but that a reredos had been placed behind it. 
 The erection of this is not recorded in the manuscripts of this 
 church b . But many similar examples might be cited to shew 
 that in the fourteenth and following centuries the high Altars 
 of the ancient churches were no longer allowed to remain 
 isolated, but that walls with rich tabernacle-work were erected 
 in contact with their eastern faces, as, for example, at Peter- 
 borough, St. Alban's, Winchester, Durham, Westminster, &c. 
 These walls had usually a door on each side of the high Altar, 
 which led to the chapel or "feretory" behind, as in the pre- 
 sent instance. The reredos or " Altar wall" in question ex- 
 
 b In the list of Prior de Estria's works 
 already quoted, there is an entry of 
 payments, "in various years for new 
 vestments, and other ecclesiastical or- 
 naments, and also a new 'tabula' for 
 the high Altar, 147Z. 145." (Galba E. 
 IV. in Dart. App., p. iii.) But this was 
 probably a frontal. Again, Prior Chil- 
 lenden ornamented the high Altar, and 
 the two altars of St. Dunstan and St. El- 
 phege with work of silver and gold, 
 and wood curiously carved. (" Majus 
 vero altare cum duobus altaribus sanc- 
 torum Dunstani et Elfegi opere argen- 
 teo aureo ac ligneo subtiliter inciso 
 decenter ornavit." Ang. Sac. 143.) But 
 this again may have only been frontal 
 work, upon which great sums were often 
 expended ; for it is added that he also 
 decorated three other altars with paint- 
 ing and wood-work, namely, the two 
 on the north, of St. Stephen and St. Mar- 
 tin, and the one on the south, of St. John 
 the Evangelist. But John Bokingham 
 bishop of Lincoln, who died at Canter- 
 bury in 1397, in the days of this prior, 
 
 gave twenty pounds towards building 
 the high Altar, (Dart, p. 90,) which 
 induces me to believe that the above 
 entry refers to the erection of the rere- 
 dos in question, since it shews that 
 some considerable work was going on 
 about the Altar. In the sixth volume 
 of Leland's Itinerary are some notes 
 concerning the monuments at Canter- 
 bury, which would have afforded some 
 valuable information had they not un- 
 fortunately been contained in a portion 
 of manuscript which has suffered so 
 much from damp as to be nearly ille- 
 gible, and the fragmentary sentences 
 printed are in several cases so plainly 
 wrong, that no dependance can be 
 placed on them. However he distinctly 
 mentions the " waul of the High Al- 
 tare." This was the English name for 
 the "Reredos." Heylyn, for example, 
 gives the history of the removal of the 
 " altar wall " of St. Paul's in London by 
 Bishop Ridley in 1550. (Heylyn's Re- 
 formation, p. 97.) 
 
104 
 
 THE ARCHITECTURAL HISTORY 
 
 tended between the pillars IX., and it is thus laid down in 
 Hollar's plan, which was taken before the Rebellion. We 
 have no record of the arrangements of the Altar after the 
 Reformation until the time of Archbishop Laud. The removal 
 of the shrines and altars of Dunstan and Elphege must have 
 somewhat defaced this portion of the church. However, at 
 the instigation of this Archbishop, considerable expense was 
 bestowed upon ornaments and upon other matters in the 
 neighbourhood of the Altar. The exact nature of the changes 
 that were now introduced it is not easy to determine, for the 
 only authorities on this point are the Puritan writers, who are 
 not much to be depended upon. Prynne thus quotes a letter 
 from the Dean to Archbishop Laud : " We have obeyed your 
 Graces directions in pulling down the exorbitant seates within 
 our Quire whereby the church is very much beautified. Lastly 
 wee most humbly beseech your Grace to take notice that many 
 and most necessary have beene the occasions of extraordinary 
 expences this yeare for ornaments of the Altar," &c. (Dated 
 July 8, 10 34°.) But whether the Altar rails were now for the 
 first time introduced d , as some of these writers say, may be 
 
 c Prynne, Canterburie's Doome, p. 78. 
 
 d Prynne begins thus, (p. 78.) " No 
 sooner was this active prelate (Laud) 
 promoted to the Archbishopricke of Can- 
 terburie, but presently he began to 
 pollute the Cathedrall of Canterbury 
 with his popish innovations. First, hee 
 caused an Altar to be there erected by 
 the Deane and Chapter, and much 
 monies to bee expended by them upon 
 Basons, Candlesticks, Altar cloaths, and 
 other furniture to adorne it, as ap- 
 peares by a letter written to him from 
 the Deane and Chapter, (found in his 
 study by Master Prynne,)" &c. (quoting 
 as above.) Heylyn merely says in his 
 Life of Laud, (p. 291,) "At Canterbury 
 Archbishop Laud found the table placed 
 at the east end of the choire by the 
 Dean and Chapter." Neal in his His- 
 tory of the Puritans, boldly asserts that 
 " the Cathedral of Canterbury was fur- 
 nished (A.D. 1633), according to Bishop 
 Andrews's model, with two candle- 
 sticks, . . ." (and other things enumerated 
 in order, and concluding with) "... the 
 footpace with three ascents covered with 
 
 a Turkey carpet ; three chairs used at 
 ordination, and the septum or rail, with 
 two ascents." (Hist, of the Puritans, ch. 
 5. vol. ii.) But he is manifestly quoting 
 merely the description of Laud's chapel 
 at Aberguilly, given by Prynne in Can- 
 terburie's Doome, (p. 121.) Wren, bi- 
 shop of Norwich, in his Answer to his 
 Impeachment (1641) says, " that rails 
 and inclosures before the Communion 
 table were not a thing newly or of late 
 taken up ; for in the great churches of 
 S. Paul, and of Westminster, of York, 
 Norwich, and of divers other Cathedral 
 churches ; also in S. Gregory's, S. Ed- 
 mund's, S. Margaret's, and S. Michael's, 
 and other parish churches in Norwich, 
 and in S. Margaret's at Westminster, 
 S. Martin's in Campis, S. Michael's in 
 Crooked Lane, S. Saviour's, S. Giles' at 
 Cripplegate, and sundry more in Lon- 
 don ; these have been rails at the Com- 
 munion table time out of mind : at 
 Hadley also, and Boxford, and Wilby, 
 and many other churches of Norwich 
 Diocese." (Parentalia, p. 77.) 
 
OF CANTERBURY CATHEDRAL. 
 
 105 
 
 doubted. Culmer says that at " the east end of the cathedral 
 they (the Dean and Chapter) have placed an Altar as they call 
 it dressed after the Romish fashion, for which Altar they have 
 lately provided a most idolatrous costly glory cloth or back 
 cloth 6 ." These hangings were probably intended to cover 
 the defacement of some imagery in the centre of the ancient 
 reredos. However the Puritan troopers hewed the Altar rails 
 in pieces in 1642, and "threw the Altar over and over down 
 the three Altar steps, and left it lying with the heels upwards*," 
 The church suffered exceedingly in the disorders that followed. 
 " The newly erected font was pulled down, the inscriptions, 
 figures, and coats of arms, engraven upon brass, were torn off 
 from the ancient monuments, and whatsoever there was of 
 beauty or decency in the holy place, was despoilecK" 
 
 These dilapidations are more particularly described in a 
 manuscript drawn up in 1662, and preserved in the cathedral 
 library 11 . " The windows were generally battered and broken 
 down; the whole roof, with that of the steeples, the chapter-house 
 and cloister, extremely impaired and ruined both in timber- 
 work and lead ; water-tables, pipes, and much other lead cut 
 off; the choir stripped and robbed of her fair and goodly 
 hangings ; the organ and organ-loft, communion-table, and 
 the best and chiefest of her furniture, with the rail before it, 
 and the screen of tabernacle- work richly overlaid with gold 
 behind it 1 ; goodly monuments shamefully abused, defaced, 
 and rifled of brasses, iron grates, and bars, &c." 
 
 After the Restoration a screen of the style then in use was 
 erected in the same position as the old one, and the commu- 
 nion-table placed in front. The choir in this state is repre- 
 sented in Dart's view. But in 1729, the "Altar-piece," as it 
 was called, had become old fashioned, and a bequest of £500 
 
 e Culmer's Cathedral News. painted and gilt, which rose up as high 
 
 f Culmer's Cathedral News. almost as the roof of the church 
 
 s Battely's Preface to Somner. This now had no imagery work upon it, 
 
 h I quote this document from Brit- or any thing else that might justly give 
 
 ton, p. 39. offence, and yet because it bore the 
 
 5 The Puritans similarly destroyed name of the high Altar, was pulled all 
 
 the reredos of Peterborough in 1643, down with ropes, lay'd low and level 
 
 " a stately skreen it was, well wrought, with the ground." Gunton, p. 334. 
 
 P 
 
106 
 
 THE ARCHITECTURAL HISTORY 
 
 from one of the prebendaries was expended upon a Corinthian 
 screen, designed by Mr. Burrough, of Cams college, Cam- 
 bridge, afterwards Master of that college ; and at the same 
 time wainscoting was carried from the Altar-piece to the two 
 side doors of the choir. The choir in this state is represented 
 in Wild's view k . 
 
 The original wooden stalls remained in the time of Somner, 
 and he records that there were two rows on each side, an 
 upper and a lower, and that above the stalls on the south side 
 stood the archbishop's wooden seat or chair 1 , "sometime richly 
 guilt, and otherwise well set forth, but now nothing specious 
 through age and late neglect. It is a close seat, made after 
 the old fashion of such stalls, called thence faldistoria ; only 
 in this they differ, that they were moveable, this is flxt m ." 
 But Somner wrote before the Rebellion, his book being 
 published in 1640. However the stalls were not destroyed 
 in the disorders, for they remained until 1704 when the pre- 
 sent seats were substituted, and Archbishop Tenison gave a 
 throne of wainscot with a lofty canopy of the Corinthian order 
 and carved by Gibbons". Queen Mary II. provided the altar, 
 
 k In these screens there were lateral 
 doors leading to the chapel of the 
 Trinity, and as this was the usual 
 arrangement of a reredos they were pro- 
 bably imitated from the original one. 
 
 1 The wooden seat of the archbishop 
 in the choir " sedem suam ligneam in 
 choro," is mentioned in the form of the 
 inthronization (see the next note) in 
 1294. In the form of installing the 
 prior, in the same MSS. however, the 
 archbishop's place is termed the first 
 stall of the quire on the south, " in 
 primo stallo chori ex parte australi." 
 
 The prior's stall in the quire was on 
 the north side, and in the chapter- 
 house the prior's place was close to the 
 seat of the archbishop on the north. 
 (Form of electing and installing the 
 Prior. Somner, App., p. 64.) 
 
 The form of the inthronization of 
 Archbishop Winchelsey, A.D. 1294. 
 (Somner, App. 57.) contains some curi- 
 ous information respecting the arrange- 
 ments of the choir, which I have ex- 
 tracted in the following abridgment : — 
 
 The archbishop and prior, together 
 with the convent, solemnly convey 
 the pallium to the high Altar, and 
 deposit it thereon. The convent 
 remain in the choir, and the arch- 
 bishop first remains prostrate in prayer 
 before the high Altar, then proceeds 
 to his wooden seat in the choir. After 
 some other ceremonies, the archbishop 
 wearing the pallium, the prior and six 
 other ecclesiastics take their station, 
 with their faces to the east, behind the 
 high Altar, under the feretrum of St. 
 Blaise, and in front of the marble chair. 
 The king in the meantime stands near 
 the said chair, with many of his nobles. 
 Then the prior, leading the archbishop 
 to the chair, inthrones him therein. 
 And eight monks, under the shrine of 
 St. Blaise, sing the Benedictus before 
 the archbishop, seated in his throne. 
 Lastly, he descends from his seat, and 
 comes before the high Altar. 
 
 m Somner, p. 93. 
 
 n Gostling, p. 300. 
 
OF CANTERBURY CATHEDRAL. 
 
 107 
 
 archbishop's throne, stalls of the dean and vice-dean, and 
 the pulpit, with new and rich furniture 0 . Now, however, all 
 is again changed. The old Altar- table and screen are entirely 
 taken away. A new reredos, imitated from the screen-work of 
 the Lady Chapel in the crypt, has been erected in the place of 
 the old screen of separation between the pillars XL (fig. 5), 
 and the table set against it, near the old site of the patri- 
 archal chair which is removed into the corona. Also the 
 wainscoting which concealed the stone tracery of De Estria, 
 has been removed from the sides of the choir, and Archbishop 
 Tenison's throne replaced by a lofty canopy of tabernacle- 
 work in stone ; the pews still remain. 
 
 The organ has also had its changes of position. In the choir 
 of Conrad it stood upon the vault of the south transept ; 
 afterwards it appears to have rested upon a large corbel of 
 stone, over the arch of St. Michael's chapel, in the same tran- 
 sept. This corbel is represented in Britton's elevation, but 
 has been since removed. In Dart's view, the organ is placed 
 on the north side of the choir between the pillars III. and IV. 
 It was afterwards removed to the more common position over 
 the west door of the choir p . Lastly, it has been ingeniously 
 deposited out of sight in the triforium of the south aisle of the 
 choir ; a low pedestal with its keys stands in the choir itself, so 
 as to place the organist close to the singers, as he ought to be, 
 and the communication between the keys and the organ is 
 effected by trackers passing under the pavement of the side 
 aisles, and conducted up to the triforium, through a trunk let 
 into the south wall. 
 
 The pavements and steps of the east end of the presbytery 
 have undergone so many changes, that it is no easy task to 
 discover the original arrangement, and yet the changes them- 
 selves are so curious as to deserve notice. The steps of 
 Conrad's choir have been exactly described by help of Gervase, 
 but he says nothing about the steps of William's choir, and it 
 
 0 Battely, p. 94. above mentioned, and also the organ 
 
 p Britton, pi. iv., shews the corbel as it then stood over the screen. 
 
108 
 
 THE ARCHITECTURAL HISTORY 
 
 is evident that the change of elevation of the pavement of 
 Trinity chapel must have affected them. 
 
 In Hollar's plan, proceeding from the western door of the 
 choir eastward, we first arrive at two steps extending between 
 the two principal pillars (VI). The middle stone of the lower 
 step has a semicircular projection, with a square hole in it now 
 filled up. West of these steps, the pavement is of grey marble 
 in small squares, but eastward is of large slabs of a peculiar 
 stone, or veined marble, of a delicate brown colours When 
 parts of this are taken up for repair or alteration, it is usual to 
 find lead which has run between the joints of the slabs, and 
 spread on each side below, and which is with great reason 
 supposed to be the effect of the fire of 1174, which melted the 
 lead of the roof, and caused it to run down between the 
 paving stones in this manner 1 '. This part of the pavement is 
 consequently the undisturbed pavement of Conrad's choir, 
 and probably the only part left 8 . 
 
 The two steps at VI. were removed three or four feet to the 
 east of their original position in 1706, but the circular pro- 
 jection seems to have been intended for the reception of a 
 crucifix, or a lectern, and therefore must have been part of the 
 arrangement before the Reformation. The level of the marble 
 pavement in squares may, or may not, be the same as that of 
 the original. 
 
 But the principal changes have been made in the pavement 
 
 <i Gostling, p. 302, 
 
 r Gostling says that when the choir 
 was pewed in 1706 some alterations 
 were made in the pavement, and as 
 much of that lead was picked up by 
 some of the workmen as made two 
 large glue-pots (p. 246). And speci- 
 mens of the same lead were obligingly 
 placed on the table, by Mr. Austin, at 
 the evening meeting of the Archaeolo- 
 gical Association at Canterbury in 1844. 
 
 s The exact boundary line between 
 the presbyterium and choir of the monks 
 may be doubtful. Gervase merely says 
 that three steps divided them. I have 
 laid down these steps at the pilhirs 
 VIII., in fig. 3. Supposing the ancient 
 
 pavement above described to be that of 
 Conrad's choir, the steps at VI. may be 
 the site of the three steps in question, 
 in which case they will be the boundary 
 of the monk's choir. For although 
 there are only two steps at present, the 
 pavement of the choir has probably 
 been raised ; still Gervase may have 
 omitted to mention these two steps. 
 But I am inclined to think the pres- 
 bytery extended to this point, by ob- 
 serving that Archbishop Parker, in 
 describing the sites of monuments, calls 
 the doors of entrance at this part the 
 doors of the presbytery, and also says 
 that Archbishop Chichely was buried on 
 the north side of the presbytery. 
 
OF CANTERBURY CATHEDRAL. 
 
 109 
 
 to the east of that just mentioned as being part of the original 
 work of Conrad. In the first place, the removal of the two 
 lateral altars of Dunstan and Elphege, with their platforms, 
 must have made it necessary to relay and repair the pavement 
 near them, and probably the upper steps were then carried 
 across as they appear in Hollar's plan. This was drawn just 
 before the Rebellion, and it contains three lines between VII. 
 and VIII., which either represent three steps, or more likely 
 two steps and the altar-rails, which are known to have stood 
 there. East of them is a narrow landing, and then four steps 
 which lead to the platform of the communion-table 1 . 
 
 This arrangement was disturbed in 1732, when a new 
 pavement of black and white marble was laid down, from the 
 altar-rails to the Corinthian altar-piece then newly set up, as 
 above described, and a single flight of six steps of white 
 veined marble were introduced between VII. and VIII., with 
 an inscription to the donor, Mrs. Dorothy Nixon, and the 
 date, 1732 u . 
 
 The disposition of the screens and steps of the tower, which 
 are so minutely described by Gervase, although they occupy 
 part of the space of Lanfranc's building, yet must be held to 
 belong to the works of Ernulf and Conrad, for the increased 
 space eastward must have affected all the arrangement of the 
 " choir of the monks." And there is good reason to suppose 
 that the rood-screen with its lateral doors and the altar of the 
 Holy Cross in the middle of its western face x may have 
 remained, although probably in an altered form, even to the 
 Reformation, as well as the Lady Chapel in the nave. In the 
 account of the rebuilding of the nave by Prior Chillenden, to 
 be examined in the next chapter, this Lady Chapel is expressly 
 
 1 This is nearly consistent with occurs in the list of relics in Prior de 
 
 Archbishop Laud's favourite arrange- Estria's register. (Galba, E. 4. f. 122.) 
 
 ment, namely, the septum or rail, with This shews that it was not removed by 
 
 two ascents, and then after a space a the changes that took place after the 
 
 foot pace with three ascents to the fire of 1174. But there is no evidence 
 
 table, which latter, however, had two to shew whether it was replaced after 
 
 steps only in his own chapel, and here the rebuilding of the nave. Indeed 
 
 appears to have had four steps. Battely says that the registers mention 
 
 u Gostling, p. 303. an altar of the holy cross in the south 
 
 x "Altare S. Crucis in navi Ecclesie" part of the church, (p. 27.) 
 
110 
 
 THE ARCHITECTURAL HISTORY 
 
 included. Erasmus, however, makes no mention of it, and it 
 may have been removed when the Lady Chapel in the north 
 transept was erected. One of Winchelsey's Statutes (A.D. 
 1298.) expressly commands that the two small doors under 
 the great loft, between the body of the church and the choir, 
 which are near the altar under the great cross, shall remain 
 closed, excepting it be necessary to open them for the service 
 or for the egress and ingress of the ministers, or on occasion 
 of the solemn processions y . 
 
 The same statute shews that the western entrance of the 
 choir had remained up to this time open, for a strong injunc- 
 tion is given to the prior that he should immediately provide 
 a handsome and strong wooden door for this entrance, with a 
 good lock to it, so that it may be kept shut and locked at the 
 proper times to prevent free access to the choir and upper 
 parts of the church 2 . In fact the nave was completely shut 
 off and the public excluded from those parts of the church 
 that lay to the east of it by the doors and screens at B, JE, 
 and D (fig. 5). The account given by Erasmus shews that 
 the mode by which strangers were conducted to these eastern 
 parts was from the nave to the south transept, through the 
 arch D (fig. 5), and thence under the steps of the choir to 
 the north transept : the Lady Chapel (as in fig. 3.) probably 
 cutting off the direct communication B (fig. 5.) between the 
 nave and the north transept. Gostling records that the strong 
 iron grates and doors which parted the east end of the body 
 and its side-aisles from the rest of the church, were removed 
 
 y "Ostia ferrea ante altare ad caput 
 feretri sancti Thomee, videlicet tarn 
 ex altaris opposite, quam etiam a latere 
 boreali, una cum cluobus ostiis mi- 
 nutis sub majori pulpito inter corpus 
 ecclesia? et chorum per duo latera, juxta 
 altare sub magna cruce ecclesise consti- 
 tutis, clausa remaneant ; nisi ratione 
 divini officii vel ministerii egressus vel 
 ingressus immineat necessarius, aut 
 tempore peregrinationum solennium, de 
 quibus superius tangitur, de permis- 
 sione pnesidentis expressa, hujusmodi 
 ostia quandoque dimittantur apcrta." 
 
 1 " Item prsecipimus et priori injungi- 
 nius, ut statim, quam citius fieri poterit, 
 opportune, ostium pulchrum et forte lig- 
 neum cum forti et decente serura ad 
 ingressum chori versus occidentem cum 
 serura congrua construatur, ita quod 
 claudi possit ; et clausum ac servatum 
 temporibus opportunis remaneat, ne per 
 chorum liber ingressus pateat cuilibet 
 transeunti, et ut superiori parti ecclesise, 
 ubi magnum posset ssepius imminere 
 periculum, major per hoc securitas 
 pra!paretur." (Wilkins' Concilia, t. ii. 
 p. 249.) 
 
OF CANTERBURY CATHEDRAL. 
 
 Ill 
 
 about the middle of the eighteenth century 8 . The monks had 
 their access to the church by means of the cloister door at G. 
 But the martyrdom transept was separated from this entrance 
 by a low Avail (removed only in 1734 b , and inserted in the 
 plan fig. 5. on the authority of Hollar.) A door at II gave 
 access to this place from the cloister passage. 
 
 Durham cathedral resembles Canterbury in this respect, 
 that the choir terminates at the eastern pillars of the central 
 tower. From the description of its arrangements in the 
 " Rites and Monuments" immediately before the Reformation, 
 we learn that the western screen of the choir, between the 
 eastern pillars of the tower, had the choir door in the middle 
 as usual ; an organ over it, and " a lantern of wood, like 
 unto a pulpit, standing and adjoyning to the wood organs 
 over the quire door, where they had wont to sing the nine 
 lessons in the old time on principal days, standing with their 
 faces towards the high Altar." But between the loestem pillars 
 of the tower, " over against the quire door, there was an altar 
 called Jesus-altar, and on the back (eastern) side of that said 
 altar was a fair high stone wall, and at either end of the wall a 
 door; these were called the rood-doors for the procession. Over 
 the wall was fixed the rood, and on the back side of it, before the 
 quire door, a loft, and underneath the loft a long form, which did 
 reach from one rood door to another, where men might sit to rest 
 themselves, and say their prayers, and hear divine service 0 ." 
 
 Also two compartments of the south aisle of the nave of 
 Durham, next to the cloister, were enclosed for the Neville 
 Chapel. The most easterly was left for the passage for the 
 cloister, and these were the next adjoining. The east end of 
 the chapel, where the altar stood, was formed by a little stone 
 wall somewhat higher than the altar, and wainscoted above 
 the wall ; the west end by a little stone wall, and the north 
 side, towards the body of the church, environed with iron. The 
 old Lady Chapel of Canterbury seems to have been very like 
 this. The north aisle of Durham nave was separated from 
 
 a Gostling, p. 206. 
 b Ibid., p. 207. 
 
 c Abridged from the Rites of Dur- 
 ham, pp. 27, 54. 
 
112 
 
 THE ARCHITECTURAL HISTORY 
 
 the transept by a trellasdome, or screen from pillar to pillar, 
 with a door locked evermore, except for processions, as was 
 the north rood door on the hither side of the pillar. 
 
 Comparing this with the ancient arrangement of Canterbury 
 (fig. 3.), we find that each had the choir wall with its door in 
 the midst between the eastern tower piers, and also a second 
 screen between the western tower piers, having a door at 
 each end, an altar next to the nave in the middle, and the 
 rood over it. The difference is, that in Canterbury, on account 
 of the great crypt, there are steps between the two screens. 
 
 The visit of Erasmus to Canterbury cathedral is alluded to 
 by all its historians, and is unfortunately too long and digres- 
 sive to be given at length. I have already quoted it upon 
 several occasions, and will conclude this section by endeavour- 
 ing to abstract from it the order in which strangers were con- 
 ducted over the cathedral at that time. He entered by the 
 south porch, over which he observed the statues of the three 
 knights who slew Thomas a Becket. In the nave he noted 
 certain books fixed to the pillars, and amongst them the 
 gospel of Nicoclemus. Iron railing separated the nave from 
 the space which was between that and the choir. Many steps 
 ascended to this space, and under them a vaulted passage led 
 to the north part (or transept) where he was shewn the small 
 ancient wooden altar of the Virgin (p. 41. above). From this 
 place he was conducted down to the crypt, and shewn the 
 skull of St. Thomas and his ordinary garments. Then he 
 returned and went to the choir, where on the north side he 
 was shewn a multitude of relics, and examined the " Tabula" 
 and ornaments of the altar, and the riches beneath the altar, 
 in the presence of which Midas and Croesus would have 
 seemed beggars. He was then led to the Sacrarium d , and the 
 vestments, candlestick, &c. were shewn to him together with 
 the staff of St. Thomas, his pallium and sudarium, which were 
 only exhibited by special favour. After this he was taken to 
 the upper part of the church, behind the high altar, where in a 
 
 (1 This was probably the chapel of marked as the vestiarium. 
 St. Andrew, which in Hollar's plan is 
 
OF CANTERBURY CATHEDRAL. 
 
 113 
 
 chapel (probably the corona) was the image of St. Thomas gilt 
 and decorated with precious gems. In the next place the 
 shrine was opened for his inspection, the prior pointing out 
 with a white wand each jewel in succession, and mentioning 
 its name, value, and the donor. Then he returned to the crypt, 
 and was shewn the chapel of the Virgin and its riches ; and 
 lastly, was again brought to the sacrarium to see an old black 
 chest filled with rags which had once belonged to Becket : he 
 then took his leave. It is scarcely necessary to add, that the 
 objects of his description were to expose the disgusting absur- 
 dities and evils of the system of relics, and to shew what vast 
 riches were offered at their shrines 6 . His details therefore are 
 confined to these matters, and other things neglected. 
 
 e The register of Prior Henry (Galba, by enumerating the entire bodies of 
 
 E. IV. f. 122.) contains a complete list saints, then proceeds to detached heads 
 
 of the relics preserved in the cathedral, and arms, and then to smaller bones, 
 
 and from the incidental mention of the and such curiosities as pieces of Aaron's 
 
 places where they were deposited and rod, and of the clay out of which Adam 
 
 the manner of their disposition, some was made, also vestments, and frag- 
 
 information may be extracted concern- ments of vestments of divers saints, and 
 
 ing the arrangements at that period, portions of various objects of venera- 
 
 Dart has printed the entire list, (occu- tion from the Holy Land. I extract the 
 
 pying nine pages,) with some inaccura- list of the entire bodies and heads from 
 
 cies. (Dart, App. No. XIII.) It begins the original. 
 
 " Reliquie 
 
 Corpus S ci Thome martiris — In feretro suo (27. fig. 5) 
 
 Corpus S C1 Aelphegi In feretro suo juxta magnum altare (19) 
 
 Corpus S C1 Dunstani In feretro suo juxta magnum altarn versus austrum (32) 
 
 Corpus S ci Odonis In feretro ad coronam versus austrum (23) 
 
 Corpus Sci Wilfridi In feretro ad eoronam versus aquilonem (22) 
 
 Corpus S ci Anselmi In feretro ad altare Sancti Petri (29) 
 
 Corpus S« Aelfrici Ad altare S ci Johannis Evangelists? (35) 
 
 Corpus S ci Blasii In feretro retro magnum altare (4 7) 
 
 Corpus S ci Audoeni In novo feretro in magno armariolo reliquarum 
 
 Corpus S C1 Salvij In primo feretro super trabem ultra magnum altare 
 
 Corpus S ci Wlgani In cista super trabem ultra altare S ci Stephani (48; 
 
 Corpus S C1 Swithuni In cista super trabem ultra altare S ci Martini (49) 
 
 In magno armariolo reliquarum juxta magnum altare continentur 
 Caput S C1 Blasii — in capite argenteo et deaurato 
 Caput S CI Fursei — in capite argenteo et deaurato et amaliato 
 Caput S ci Austroberte — in capite argenteo amaliato et deaurato." 
 &c. &c. Arc. 
 
 Then follow twelve detached arms of neo ad altare sanctae crucis in navi Ec- 
 divers saints " in brachiis argenteis et clesie, in parte cooperta argento deau- 
 deauratis" and so on. The list con- rato, cvim gemmis, cum cruce in me- 
 cludes with the enumeration of certain dio," &c. &c. 
 
 miscellaneous relics contained " in pri- Most of the saints in the above list 
 mo, secundo et tertio feretro, super tra- have occurred in the course of the his- 
 bem ultra magnum altare" — "in arma- tory, and I have accordingly added re- 
 riolo retro magnum altare " — "inmajori ferences to the plan fig. 5. St. Audoen 
 cornu eburneo* pendente sub trabe ultra (pp. 4, 46.) was deposited in the time of 
 magnum altare" — "in lectrino lig- Gervase in the crypt, under the altar of 
 
 * " Cornu. Vas Eeclesiasticum. . . .Cornua 2 ebvrnea reliqitis conferla" &c. (Ducange.) 
 
 0 
 
114 
 
 THE ARCHITECTURAL HISTORY 
 
 The Crypt. 
 
 Gervase says that the whole crypt of Ernulf was dedicated 
 Mary. There were two chapels in the crypt 
 
 to the Virgin 
 
 St. Gregory, whence he appears by this 
 list to have been removed to the great 
 relic cupboard at the high Altar. Prior 
 Goldston (c. 1500) made a new fere- 
 trum for him. " Feretrum etiam sanc- 
 tissimi Audoeni in quo ejusdem reli- 
 quiae reverenter sunt reconditse de opere 
 ligneo decenter inciso ac deaurato fieri 
 fecit." (Obit, in Aug. Sac, torn. i. p. 
 147.) He also gave a brazen eagle to 
 the church. " Analogium quoque sive 
 Aquilam aeneam propriis expensis pro- 
 curari fecit," and three pieces of hang- 
 ings of " Arysse," embroidered with the 
 history of the Virgin, which were sus- 
 pended on the south side of the choir 
 at certain times of the year. " Tres 
 etiam pannos pulcherrimos opere de 
 Arysse subtiliter intextos, ortum Vir- 
 ginis cum vita et obitu ejusdem clare 
 et splendide configurantes, in parte 
 chori australi certis temporibus anni 
 fecit appendi." We need not be sur- 
 prised to find in the above list the body 
 of St. Blaise in one place and his head 
 in another. When the coffin of Dunstan 
 was opened (p. 53. above) a piece of his 
 skull was taken out as a memorial and 
 put into the hands of the prior (the 
 same Goldston), who enclosed it in a 
 receptacle of silver (massa argentea) 
 made in the shape of a head, which was 
 preserved amongst the relics of the 
 church. This was commonly denomi- 
 nated St. Dunstan's head, " massam 
 argenteam in formam capitis dictus 
 Prior decenter ac satis artificiose fabri- 
 cari fecit ; in quo eandem portiunculam 
 capitis satis honorifice ac reverenter 
 fecit collocari ; ipsumque inter Reli- 
 quias Ecclesie, ut decuit voluit conser- 
 vari. Quod quidem ab omnibus caput 
 S. Dunstani vulgariter nuncupatur." 
 (Ang. Sac, p. 147.) The heads of 
 St. Furseus and St. Austroberta were 
 anciently enclosed in the altars of the 
 Saxon cathedral (pp. 11, 12 above), and 
 so also was the head of St. Swithun, but 
 this list claims the hody of that saint, 
 which was also said to be preserved at 
 Winchester. No record tells us how 
 St. Salvius and St. Wlganus were ac- 
 quired ; the first was a bishop of Albi, 
 
 and died A J). 584. In a list of "Saints, 
 Martyrs, Confessors, and Virgins, whose 
 bodies rest in the metropolitan church," 
 (Claud. B. ix. f. 265. Dart, xxvi.,) I 
 find "Sanctus Vulganius Sacerdos et 
 Confessor," which is all that appears to 
 be known of him. The great relic cup- 
 board was on the north side, as Erasmus 
 tells us. It was probably in the fere- 
 tory behind the reredos. In St. Paul's, 
 London, the feretrum of St. Erkenwald 
 was placed in the middle of the east side 
 of the altar wall, exactly behind the 
 high Altar (see Dugdale's Plan, and 
 pp. 24, 114), in a position exactly cor- 
 responding to that of St. Blaise at Can- 
 terbury. However a priest officiating at 
 the altar of St. Erkenwald would have 
 faced the west. In the chartulary 
 of St. Augustine's preserved in the li- 
 brary of Trinity Hall, Cambridge, there 
 is a very curious drawing representing 
 the arrangement of the high Altar of 
 that church, which from its neighbour- 
 hood to the cathedral was probably 
 somewhat similar to it in many respects. 
 This drawing has been engraved by 
 Somner and Dugdale. There is some 
 difficulty in properly translating its 
 meaning on account of the part plan, 
 part rude perspective, manner in which 
 it is drawn. As I understand it, it re- 
 presents the reredos of the high Altar 
 with the feretory behind it. The three 
 semicircles are the pier-arches of the 
 apse, in each of which an altar is placed 
 against the end of a shrine. The lateral 
 shrines, however, are not placed in the 
 east and west direction, but lie either 
 north and south, or, as I rather believe, 
 are intended to radiate with the apse, 
 so as to lie north-east and south-east re- 
 spectively ; ten other smaller shrines or 
 monuments without altars are distri- 
 buted between the three principal ones. 
 The reredos (apparently in the Deco- 
 rated style or later) has a battlemented 
 crest, a niche or door on each side, 
 close to the altar, (perhaps of an 
 ambrey,) and at each extremity a door 
 inscribed as leading to the bodies of the 
 saints behind. The shrine of St. Ethel- 
 bert rests on the crest of the reredos in 
 
Scale of feet for the elevation. 
 
 Fig.4S WINDOW IN ANSELM'S CHAPEL. 
 
 Scale of inches for Moldings. 
 
 SECTION OF MOLDINGS OF Do. 
 
OF CANTERBURY CATHEDRAL. 115 
 
 especially dedicated to her, namely, the central one under the 
 high Altar, and the south transept which was fitted up for a 
 chantry founded by the Black Prince in A.D. 1363, and endowed 
 for the maintenance of two priests. The original Norman 
 vault of this transept has been replaced by a lierne e vault and 
 the walls clothed with masonry, so as to transform the whole 
 into the style of the period at which the chantry was founded. 
 This chapel is now appropriated to the use of a congregation 
 of French refugees, who first came to Canterbury in the time 
 of Edward VI. The crypt was granted to them by Queen 
 Elizabeths The chapel of the Virgin in the middle of the 
 crypt is enclosed with screen-work, the date of which is lost. 
 The vault of the crypt of the corona retains the initials J and 
 M, so that on the whole it seems that the crypt was to the 
 last dedicated to the Virgin Mary. 
 
 The Window of Anselms Chapel. 
 In Anselm's chapel, the original window of the south wall 
 has been taken out and replaced by a very large and elaborate 
 Decorated window of five lights, which is remarkable for its 
 well-preserved history ; this is contained in the following 
 document, printed by Battely, from the Archives £ : — " Memo- 
 
 the centre, thus being placed "retro of the cathedral. (See Hickes' Thesaurus, 
 magnum altare," like St. Blaise and St. ii. 172.) 
 
 Erkenwald; and some other relics ap- e Namely, a vault in which short 
 pear at the sides, amongst which are the transverse ribs or " Hemes" are mixed 
 books sent by Pope Gregory to Augus- with the ribs that branch from the 
 tine, and two arms, probably " brachia vaulting capitals. — (See Trans, of Insti- 
 argentea," containing bones. Two short tute of Brit. Arch., vol. i. p. 2.) 
 columns also stand on the battlemented f See Somner, p. 97, and App. 31 ; 
 crest, and help to support the "beam" Gostling, p. 216. 
 
 above. In the midst of this is the « " Memorand. Qu©d anno 1336 facta 
 "majestatem Domini," with an angel fuit una fenestra nova in Ecclesia 
 on each side, and two reliquary chests. Christi Cant. viz. in capella S. S. Petri et 
 This evidently resembles in many par- Pauli Apostolorum, pro quo expensse 
 ticulars the disposition of the high Altar fuerant ministratae. 
 
 I. s. d. 
 
 Impr. pro solo Artificio seu labore Cementariorum . xxi xvii ix 
 Item pro muri fractione ubi est fenestra . . xvi ix 
 
 pro sabulo et calce .... xx 
 
 pro M. M. ferri empti ad dictam fenestram . lxxxiv 
 
 pro artificio Fabrorum . . . . lxv iv 
 
 pro lapidibus Cani emptis ad eandem . . c 
 
 pro vitro et labore vitraii . . vi xiii iv 
 
 xlii xvii ii 
 
 Summa viii^. xiiis. ivd. data fuit a quibusdam amicis ad dictam Fenestram. Reliqua 
 pecunia ministrata fuit a Priorc." Ex Archivis Ecclcs. Cant. (Battely, App. 1.) 
 
116 
 
 THE ARCHITECTURAL HISTORY 
 
 randum, that in the year 1336, there was made a new window 
 in Christ Church, Canterbury, that is to say, in the chapel of 
 the Apostles, Sts. Peter and Paul, upon which there were 
 expended the sums following : — 
 
 £. s. d. 
 
 Imprimis, for the workmanship only, or labour of the masons . 2117 9 
 Item, for the taking down of the wall where the window was placed 0 16 9 
 for lime and gravel 
 
 for 20 cwt. of iron bought for the said window 
 
 for the labour of the smith, 
 
 for Caen stone bought for the same 
 
 for glass, and the labour of the glaziers . 
 
 1 0 0 
 
 4 4 0 
 3 5 4 
 
 5 0 0 
 
 6 13 4 
 
 Total . . . . 42 17 2 
 
 The sum of £8. 13s. 4d. was given by certain friends for the 
 said window, and the remainder of the money was furnished 
 by the prior." 
 
 This prior was Henry de E stria, and the peculiar manage- 
 ment of the heads of the lights, with their pendent bosses, 
 may be compared with the similar bosses of his choir door 
 (figs. 44, 45, above). 
 
 The interior^ of this tracery is in very good preservation, 
 with the exception of the pendent bosses, and the stones 
 whence they were suspended, which have totally disappeared. 
 The outside of the window is, however, in a very bad con- 
 dition for the purpose of the antiquarian ; for, apparently on 
 account of the decayed state of its surface, the tracery has 
 undergone the process of splitting, namely, the whole of the 
 outer part has been pared down to the glass, and fresh worked 
 in Portland stone ; Portland stone mullions, or monials as 
 they are more properly called, have also been supplied. And 
 as this repair was executed at a period when this class of 
 architecture was ill understood, the moldings were very 
 badly wrought, which, in conjunction with the unfortunate 
 colour and surface of the Portland stone, has given the 
 window a most ungenuine air. However, the interior is as 
 good as ever it was, and it is on account of its date, as well as 
 for its beauty, a most valuable example. 
 
 There are some peculiarities in the manner of distributing 
 
OF CANTERBURY CATHEDRAL. 
 
 117 
 
 the moldings of this window which are shewn in the figures. 
 The heads of the lights are worked with different moldings 
 from those of the tracery above, and the increased size and 
 importance of the two central monials are given, not by an 
 additional layer or order of moldings, as usual, but by sepa- 
 rating the other moldings. 
 
 CHAPTER VII. 
 
 HISTORY OF THE NAVE, TOWER, AND WESTERN TRANSEPTS, 
 FROM THE END OF THE TWELFTH CENTURY. 
 
 The conclusion of Ger vase's history leaves the original 
 nave and transepts of Lanfranc untouched, and thus they 
 appear to have remained until the end of the fourteenth cen- 
 tury, when they were taken down and replaced as we now see 
 them. The history of this change, and of the subsequent 
 works, must be gathered from various detached documents, 
 for we have no longer a continuous narrative to depend upon 
 like that of Gervase ; I shall therefore proceed to extract 
 from these documents as much as is necessary for the history 
 of the building, adding also a concise description of the parts 
 of the building in question. 
 
 1. The Nave. 
 
 In December of the year 1378, Archbishop Sudbury issued 
 a mandate addressed to all ecclesiastical persons in his diocese 
 enjoining them to solicit subscriptions for rebuilding the nave 
 of the church, and granting forty days' indulgence to all 
 contributors. The preamble states that the nave, on account 
 of its notorious and evident state of ruin, must necessa- 
 rily be totally rebuilt, that the work was already begun, 
 and that funds were wanting to complete it\ In the year 
 
 h "Sane cum navis dicta? ecclesise consummationem ipsius ecclesia? sine 
 
 nostra? Cant, metropolitica?, propter Christi fidelium subventione et auxilio 
 
 ipsius notoriam et evidentem ruinam, propria? non suppetunt facultates," &c. 
 
 de novo oporteat totaliter construi, et (Ex Reg. Sudbury, fol. 52. a, Wilkins' 
 
 etiam reparari ; sitque jam notorie ipsa Concilia, t. iii. p. 136.) 
 navis in construendo, ad cujus operis 
 
118 
 
 THE ARCHITECTURAL HISTORY 
 
 1397, Archbishop Amndell appropriated to the convent 
 the parsonages of Godmersham and Westwell, in Kent, 
 at their petition. The preface to the instrument of appro- 
 priation (dated in the above year) expressly states the 
 reasons for this grant to be that " Simon of Sudbury, for- 
 merly archbishop of Canterbury, and our predecessor, had 
 caused the nave of our church to be taken down to the foun- 
 dation and demolished at his own expense, for the purpose of 
 re-erecting the same, as he intended, and fervently desired, to 
 do, but was prevented by his violent death (on June 15, 1381); 
 and that the prior and convent had laudably expended upwards 
 of five thousand marks out of their common property, upon 
 the construction of the said nave and other necessary works 
 about the church. Also, that six thousand marks would be 
 too little to finish the work as begun, and others that must be 
 done about the prostrate cloister and the chapter-house, which 
 is thought to be in a dangerous state and he also states as a 
 reason for thus augmenting their funds, his wish that so laud- 
 able and necessary a work should be carried on, lest its final 
 completion might be retarded " by the loss of the present 
 prior," or by other adverse circumstances \ 
 
 A D In the Obituary it is recorded that Archbishop 
 i38i-96. Courtney* gave more than a thousand marks to the 
 fabric of the nave of the church, the cloister, &c. ; and 
 A * Hi3. 96 that Archbishop Amndell 1 gave five sweet sounding 
 
 1 "... cum bona? memories Bominus 
 Simon de Sudburia quondam Arch. 
 Cant, predecessor noster navem prtefatse 
 nostra? ecclesiee prosterni fecerat fundi- 
 tus, et suis sumptibus demoliri, causa 
 ipsam erigendi de novo prout proposuit 
 et ferventer optavit, si non per Bei 
 emulos fuisset inaudita per prius populi 
 furoris audacia decollatus. Vosque 
 Prior et Capitulum circa constructio- 
 nem navis preedictae, et alia necessaria 
 opera ejusdem ecclesise nostra? de com- 
 munibus bonis vestris ultra quinque 
 millia marcarum laudabiliter expende- 
 ritis .... quodque incepta opera et alia 
 inibi de necessitate fienda prostrati 
 claustri vestri et capitularis Bomus 
 vcstree pensata imminente ruina cum 
 
 sex millibus marcarum perfici nequeant 
 et reparari decenter, attenta hospitali- 
 tate Bominorum et aliorum diver sorum 
 Regnorum apud vos indies confluen- 
 tium quam declinare non poteritis cum 
 honore," &c Somner, p. 89, and App. 
 p. 24. 
 
 k W. Courtney, Archbishop. "Ad 
 fabricam navis Ecclesise, claustri et 
 murorum clausuram circa gardinum 
 Celerarii mille marcas et ultra sua 
 gratia contulit." Obit. Ang. Sac, p. 61. 
 
 1 T. Amndell, Archbishop. " Con- 
 tulit huic Ecclesise .... quinque cam- 
 panas in sonitu dulcissimas Amndell 
 ryng vulgariter nuncupatas .... Con- 
 tulit etiam ad fabricam navis Ecclesiae 
 mille marcas." Obit. Ang. Sac, p. 62. 
 
OF CANTERBURY CATHEDRAL. 
 
 119 
 
 bells, commonly called " Arundel! ryng," as well as a thou- 
 sand marks to the fabric of the nave m . 
 
 a.d. i39o- Of Prior Chill en den 11 , the same document states that 
 nil. (( j ie ^ ^ ^.j ie j ie jp anc | ass i s tance of the Rev. Father 
 
 Thomas Arundell, did entirely rebuild the nave of the church, 
 together with the chapel of the Blessed Virgin Mary, therein 
 situated, and handsomely constructed." Also the cloister, 
 chapter-house, and other buildings enumerated. 
 
 The epitaph of this prior, preserved by Somner, confirms 
 this statement, by saying, " Here lieth Thomas Chyllindenne, 
 formerly Prior of this Church . . . who reconstructed the nave 
 of the Church and divers other buildings . . . and who, after 
 holding the priorate twenty years, twenty-five weeks, and five 
 days, completed his last day on the assumption of the Blessed 
 Virgin, (Aug. 25) A.D. 1411°/' 
 
 The history of the nave resembles that of the choir of 
 Ernulf, in this respect, that the archbishops assisted the work 
 with funds and influence, but that it was really carried on by 
 the convent under the immediate direction of the prior. It is 
 not even certain that the prior was the actual architect in 
 either of these instances ; for in those times, as in our own, 
 men in high official situations were to be found, who took the 
 greatest pleasure in promoting the erection of buildings, and 
 assisted in the carrying on of the works in various ways, by 
 advising, criticising, furnishing funds, and cheering on the 
 proceedings by continual countenance and sanction. And to 
 
 m Leland says " King Henry the 4th 
 and he (namely Arundel) helpid to 
 build up a good part of the Body of 
 the Chirch." Itin., vol. vi. fol. 3. 
 
 n T. Chillenclen, Prior. " Qui ope et 
 auxilio Rev 1 . Patri T. Arundell .... 
 navem istius Ecclesise cum Capella 
 B. Marioe Virginis in eadem sita opere- 
 que clecenti fabricata totaliter renovavit. 
 Claustrum quoque,Domum Capitularem, 
 magnum Dormitorium cum nova via 
 versus Ecclesiam, et subtus domum ras- 
 turae, de novo fieri fecit . . . ." 
 Various other works and buildings are 
 also enumerated. Obit. Ang. Sac, p. 
 
 0 The entire epitaph is as follows : — 
 " Hie jacet Dominus Thomas Chyl- 
 lindenne quondam Prior hujus Ecclesise, 
 Decretorum Doctor egregius, qui navem 
 istius Ecclesiae cseteraque diversa aedi- 
 ficia, quamplurima quoque opera lauda- 
 bilia de novo fieri fecit. Pretiosa insuper 
 — ecclesiastica, multaque privilegia in- 
 signia huic Ecclesie acquisivit, qui 
 postquam Prioratum hujus Ecclesiae 
 annis viginti. 25. septimanis, et quin- 
 que diebus nobiliter rexisset, tandem in 
 die assumptionis beata? Marias Virginis 
 diem suum clausit extremum. Anno 
 Domini 1411. Cujus animas propitietur 
 Deus. Amen." Somner, App. p. 62. 
 
120 
 
 THE ARCHITECTURAL HISTORY 
 
 such men, the credit of the enterprize may very justly be 
 attributed, but not the credit of the design artistically speaking. 
 This was often due to some obscure monk, or workman, whose 
 name has been lost. For example, Matthew Paris records 
 that a new roof was formed of oak for the aisles of the church 
 of St. Alban's, as well as for the tower, and substantially 
 covered with lead, all which was done at the instigation, and 
 by the labour of, Michael of Thydenhanger, monk and 
 camerarius. Nevertheless, he adds : these works must be as- 
 cribed to the abbot, out of respect to his office, for he who sanc- 
 tions the performance of a thing by his authority, is really the 
 person who does the thing p . This doctrine, however true it 
 may be in the sense in which the author intends it to be taken, 
 is fatal to the history of art ; for it has been largely acted 
 upon by the monkish chroniclers, who attribute architectural 
 works, without reserve, to the bishop or prior whose biography 
 they are writing, when in reality these labours were carried 
 on by the monks, and directed by artists whose names, with 
 few exceptions, are lost. 
 
 The nave, transepts, and pillars of the central tower of 
 Canterbury, all evidently belong to the same period, and con- 
 stitute one work, for they are all in the same style and of the 
 same design (except of course the buttressing arches and 
 additions to the tower piers, of which more below). The 
 work of the nave, therefore, above mentioned, must be held 
 to include these transepts. The documents just quoted, which 
 in fact contain all that is known upon the subject, have told 
 us that Archbishop Sudbury pulled down the nave about 
 1378 on account of its ruinous condition, intending to rebuild 
 it, but was prevented by his death in 1381 q , and that the 
 
 p M. Paris, Vit. S. Alb. Abb. p. 1054. posteriori ejusdem Ecclesige necnon 
 
 fi In the life of Simon Sudbury, which Portarn Occidentalem Civitatis a funda- 
 
 Wharton has extracted from the Spe- mentis et muros ejusdem tunc quasi 
 
 culum Parvulorum, and which he tells prsecipites erexit, et fieri fecit sumpti- 
 
 us is the work of William Chartham, a bus propriis et expensis." These must 
 
 monk of Canterbury in 1448, (Ang. be the aisles of the nave which were 
 
 Sac, torn. i. pp. xx. and 49,) it is related probably begun before the death of Sud- 
 
 that Sudbury built " two aisles in the bury, and perhaps carried on afterwards 
 
 posterior" (i.e. western) "part of the from his funds. However the Obituary, 
 
 church," " duas alas enim in parte which minutely records the works of 
 
J-'i». 50, COMPARTMENT OF NAVE. 
 
OF CANTERBURY CATHEDRAL. 
 
 121 
 
 succeeding archbishops, Courtney and Arundell, contributed 
 largely to the funds. Prior Chillenden, who held that office 
 from 1390 to 1411, seems to have been the most active person 
 in conducting these and other buildings, and is thus alluded 
 to in the Arundell grant. 
 
 This grant is dated in the second year of Arundell' s arch- 
 bishopric, and the seventh of Chillenden' s priorate, and the 
 works seem then to have been in a great state of forwardness, 
 but our information fails to give us the real architect, or the 
 exact year at which they were commenced, and from which 
 the design must be elated. Nine years intervened between 
 the death of Sudbury and the beginning of Chillenden's 
 priorate ; but he may have conducted the works in the mean- 
 time in some other monastic office. 
 
 When the rebuilding of the nave and transepts was under- 
 taken, the portion they were designed to replace was the 
 original nave and transepts of Lanfranc ; this was considerably 
 lower than the eastern church. In the section fig. 6. BC is the 
 level of Lanfranc's ceiling, and the dotted semicircle D shews 
 the position of his tower-arch. Now in the nave, the whole 
 of Lanfranc's piers, and all that rested on them, appear to have 
 been utterly demolished, nothing remaining but the plinth of 
 the side aisle walls. In the transepts more parts of the Norman 
 wall were allowed to remain, especially on the eastern side, and 
 at the angles ; and of the tower piers the western are probably 
 mere casings of the original, and the eastern certainly appen- 
 dages to the original as already shewn at F, fig. 13. p. 67. 
 But of course it must be understood that I have no evidence 
 to shew how much of Lanfranc's pier was allowed to remain 
 in the heart of the work. The interior faces of the tower 
 walls appear to have been brought forward by a lining so as to 
 increase their thickness and the strength of the piers, with a 
 view to the erection of a lofty tower, which however was not 
 carried above the roof until another century had nearly elapsed. 
 One compartment of the nave is shewn in fig. 50. Fig. 51. is 
 
 other archbishops, is silent with re- take these aisles to be the transepts, 
 spect to Sudbury's. Battely and others 
 
 R 
 
122 
 
 THE ARCHITECTURAL HISTORY 
 
 a plan of the pier, and fig. 52. r the section of the jamb. The 
 style is a light Perpendicular, and the arrangement of the 
 
 Will 
 
 Fig. 51. Plan of a pier of the nave. A. the additional portions next to the tower. B the arch-mold. 
 
 parts has considerable resemblance to that of the nave of 
 Winchester, although the lat- 
 ter is of a much bolder cha- 
 racter. Winchester nave was 
 going on at the same time 
 with Canterbury nave, and a 
 similar uncertainty exists about 
 the exact commencement. In 
 both a Norman nave was to 
 be transformed, but at Win- 
 chester the original piers were 
 either clothed with new ashlar- 
 ing, or the old ashlaring was 
 wrought into new forms and 
 moldings where possible ; ^ 
 
 52, Section of the window jamb of the side-aisles. 
 
 r In fig. 51. the plan line of the distant from the body of the pier than 
 
 plinth was laid down from the half it ought to be to represent the plinths 
 
 pier of the tower, in which the plinths of the other piers of the nave, which 
 
 are double ; this line is therefore more are all single. 
 
OF CANTERBURY CATHEDRAL. 
 
 123 
 
 while in Canterbury the piers were altogether rebuilt. Hence 
 the piers of Winchester are much more massive. The side-aisles 
 of Canterbury are higher in proportion, the tracery of the 
 side-windows different, but those of the clerestory are almost 
 identical in pattern, although they differ in the management 
 of the moldings. Both have "lierne" vaults 8 , and in both the 
 triforium is obtained by prolonging the clerestory windows 
 downward and making panels of the lower lights, which 
 panels have a plain opening cut through them, by which the 
 triforium space communicates with the passage over the roof 
 of the side-aisles. 
 
 2. The Lady Chapel, south-west Tower, and Chapel of 
 St. Michael. 
 
 The Obituary records of Prior Goldston, that " he built on 
 A D the north side of the church a chapel in honour of the 
 1449—68. J3j essec [ Virgin Mary, in which he was buried \ He 
 completely finished this chapel, with a stone vault of most 
 artificial construction, a leaden roof, glass windows, and all 
 other things belonging to it. He also constructed the walls 
 of the court-yard, ' atrium,' of the said chapel, with a lead 
 roof but no vault." — "Moreover, he finished with beautiful 
 workmanship the tower or campanile which was on the south 
 part of the nave; from the height of the side-aisle of the church 
 upward." 
 
 This chapel (marked Lady Chapel in fig. 5.) occupies the 
 site of the apsidal chapel of St. Benedict, but extends con- 
 siderably farther to the east; it is now called the Dean's chapel. 
 The vault is a fan vault, and differs in that respect from the 
 other vaults of the western portion, which are of the class 
 
 s See note e, p. 115. plumbo absque testudine construxit." 
 
 * T. Goldston, Prior. " iEdificavit " Turrem quoque sive campanile in 
 
 in Boreali parte hnjus Ecclesiae Capel- australi parte navis Ecclesie ab alti- 
 
 lam in honorem B. V. Maria?, in qua et tudine porticus Ecclesie supra pul- 
 
 sepultus est. Quam videlicet Capellam chro artificio consummari fecit." (MS. 
 
 cum testudine lapidea valde artificiosa, Arundel. 68. Plut. clxiii. F.)^Wharton 
 
 coopertura et plumbo, fenestris vitreatis has obscured this passage by printing 
 
 et aliis omnibus ad eum pertinentibus ad altitudinem instead of the ab altitu- 
 
 complevit. Atrii quoque ejusdem Ca- dine of the original. (Ang. Sac. i. 145.) 
 pellae parietes cum coopertura de 
 
124 
 
 THE ARCHITECTURAL HISTORY 
 
 which I have denominated lierne vaults. This was the first 
 large fan vault that had been executed in this cathedral, and 
 is therefore distinguished in the above narrative 11 . A similar 
 vault is introduced in the south-west campanile above men- 
 tioned. 
 
 What is said of the " atrium" of the chapel is not very 
 intelligible, but I presume it refers to the passage on the north 
 which lies between the chapter-house and the said chapel. An 
 elegant screen separates the chapel from the " Martyrdom" 
 or north transept, and is well represented in the engravings 
 referred to in the note x . 
 
 In the south transept the old chapel of St. Michael has been 
 replaced by one which corresponds in position and nearly in 
 dimensions with that of our Lady just described. The builder 
 of it is not recorded. The style of it is Perpendicular, and 
 with no greater differences from the former than might be 
 expected from the works of two artists. But the vault is quite 
 different, and is a complex lierne vault of an unusual pattern y , 
 but resembling that of the north transept of Gloucester cathe- 
 dral, which dates from 1367 to 1372. Lcland styles the 
 chapel in question "St. Amies Chapelle." 
 
 In the middle of the chapel is a monument which was 
 erected by Margaret Holland to the memory of her two 
 husbands, John Beaufort earl of Somerset, who died in 
 1410, and Thomas duke of Clarence, who died in 1420. 
 As she died in 1437 the monument was erected between 
 1420 and 1437, and we may presume that the present chapel 
 was then in existence. Leland indeed says, " This chapel be 
 likelihod was made new for the Honor of Erie John of 
 Somerset. In the south Wyndowes of the same goodly chapel 
 be written yn the Glasse Wyndowes these 3 Name, John 
 
 u The small chantry chapel (n, fig. 5.) fan vault. But the Lady chapel is 
 
 on the north of Trinity chapel, is much larger, namely, 39 ft. by 21ft. 
 
 usually attributed to Henry IV., whose x For engravings of this chapel, see 
 
 tomb it is close to. He in his will Wild, pi. 4 ; Britton, pi. 8, 26. For the 
 
 founds a " chauntre perpetuall of twey western tower, see Wild, pi. 1 ; Britton, 
 
 preestis for to sing and pray for my pi. 3, 6. 
 
 soul," and died 1412. This chapel is y The plan of one compartment of 
 
 14 ft. by 8 ft., and it has a rich little this vault is drawn in fig. 5. 
 
OF CANTERBURY CATHEDRAL. 
 
 125 
 
 Counte of Somerset, The Lorde Percy, The Lord Mortaine, 
 and every one with the Kings Armes 2 ." 
 
 There is a plain vaulted apartment above this chapel which 
 is reached by the long staircase already mentioned (p. 96). 
 Three inscriptions appear at the keystones of the vault ; " the 
 
 eastern one has remaining Tho prior, the middle one 
 
 seems to have been Johns Wodnesbergh, the western one 
 Willms Molasch discipulus a ." Now Prior Thomas Chillenden 
 was succeeded by John Wodnesburgh in 1411, and he by 
 William Molasch in 1427, so that as the inscriptions indicate 
 that neither of the latter were priors when they were written, 
 we may venture with Gostling to fill up the first blank with 
 Chillenden, and thus assign the entire chapel to his time. In 
 all probability it formed part of the general scheme for the 
 transformation of the western part of the church, for it was 
 obviously impossible that the Norman apses should not have 
 been included in the proposed changes, although, as in the 
 case of the northern one, the rebuilding of them might have 
 been postponed for a few years to make way for more essential 
 portions of the building, or (as is sometimes the case even 
 now) they might have been reserved as likely works to tempt 
 the generosity of individual benefactors. 
 
 3. The central Tower, or Angel Steeple. 
 In the year 1495 Prior Sellyng was succeeded by a second 
 a.d. 1495 Thomas Goldston, who like his namesake was a great 
 — 1517 * builder, and the obituary records many works of his. 
 But that which he added to the church will be best stated in 
 the exact words of the original 15 . 
 
 z Lei. Itin., vol. vi. fol. 3. He says of tis satis amplis et ferramentis, ope et 
 
 Cardinal Langton that he " made, as I auxilio . . . Rev 1 . Patris J. Morton Car- 
 
 harde, the stately Horologe in the dinalis necnon et Dom*. W. Sellyng 
 
 South crossid Isle of the Chirche." Prioris, in medio Ecclesise vid*. inter 
 
 a I quote them from Gostling, p. chorum et navem Ecciesise, egregie 
 
 251, as they were then rather more erexit et magnifice consummavit. Duos 
 
 legible ; however they still remain as etiam arcus sive fornices opere lapideo 
 
 he records them. subtiliter incisos cum quatuor aliis mi- 
 
 b « Turrim satis excelsam Angyll noribus ad sustentationem dictse Turris 
 
 Stepyll vulgariter nuncupatam, testu- columnis eandem Turrim supportanti- 
 
 dine pulcherrima concameratam ac bus satis industrie et prudenter an- 
 
 opere decent! artificiose undique sculp- nexit " Ang. Sac, t. i. p. 147. 
 
 tarn et deauratam, cum fenestris vitrea- 
 
126 
 
 THE ARCHITECTURAL HISTORY 
 
 "He by the influence and help of those honourable men, 
 Cardinal J ohn Morton and Prior William Sellyng, erected and 
 magnificently completed that lofty tower commonly called 
 Angyll Stepyll in the midst of the church, between the choir 
 and the nave, — vaulted with a most beautiful vault, and with 
 excellent and artistic workmanship in every part sculptured 
 and gilt, with ample windows glazed and ironed. He also 
 with great care and industry annexed to the columns which 
 support the same tower, two arches or vaults of stone work, 
 curiously carved, and four smaller ones, to assist in sustaining 
 the said tower." 
 
 And of Cardinal Morton the same obituary states, that 
 a.d. use " w ith his help and at his expense great part of the 
 — 1501 - tower in the middle of the church was erected 0 ." 
 
 As Goldston is said to have been assisted by Prior Sellyng 
 in the work, he must have undertaken it before he obtained 
 the prior ate. 
 
 By erecting the tower is plainly meant only that part which 
 rises above the roof, for the fact that he added the buttressing 
 arches to the piers, shews that the piers were there before. 
 And the masonry of these arches indicates very plainly that they 
 are insertions, and that the piers had been transformed into the 
 Perpendicular style long before. It is probable that the piers 
 shewed some signs of weakness, which induced this somewhat 
 disfiguring addition, and indeed the north-west pier which is 
 not so completely fortified as the rest is now considerably 
 bowed in the middle towards the east. For the two great 
 arches above mentioned are inserted under the western and 
 southern tower-arches respectively (_Z?and F 9 fig. 5). The eastern 
 arch having stronger piers did not require this precaution, and 
 the northern, which opened upon the " Martyrium," seems to 
 have been left free out of reverence to the altar of the martyr- 
 dom, and accordingly to have suffered the dislocation just 
 mentioned. In the section I have inserted the arch [A, fig. 6), 
 which really belongs to the opposite arch {F } fig. 5), having no 
 
 c " Sui denique ope sumptibusque constructa est." Ang. Sac, t. i. p. 63. 
 magna pars Tunis in Ecclesise medio 
 
OF CANTERBURY CATHEDRAL. 
 
 127 
 
 other way of shewing the extent and manner of this buttressing. 
 The four smaller arches marked A, B } C, J), in the plan, are 
 employed to connect the two great western tower-piers with 
 the wall of the transept and with the nearest nave-pier respec- 
 tively. The nature of their insertion is shewn in the section, 
 {abed, fig. 5,) and it appears that not only is this flying arch 
 introduced at mid-height of the pier, but that the piers them- 
 selves are strengthened by an addition, which contracts the 
 span of the arch to a 5, and that the pier-arch over head 
 is also contracted in dimensions and in altitude by the substi- 
 tution of a smaller and lower arch for the original, the extent 
 and manner of which change is shewn by the dotted outlines 
 at c d. The plan of the nave-pier, fig. 51. p. 122, shews at 
 A the comparative magnitude of this addition as well as the 
 moldings by which it is ornamented ; the vertical joint of 
 separation between the two works is too plain to be mistaken 
 in all the piers in which this addition occurs. 
 
 The buttressing arches consist of a strong and singular 
 reticulated masonry, admirably adapted for the purpose, and 
 have the rebus of Thomas Goldston, namely, a shield with 
 three gold stones. The central western buttressing arch (E, 
 fig. 5.) occupies the place of the ancient rood-loft, and probably 
 the great rood was placed over it until the Reformation, so 
 that the intrusive effect which it now produces would not 
 have been felt when it was erected, because the great arch 
 had never been left open d . 
 
 d These buttressing arches are repre- cellent elevation in Britton, pi. 14, 
 
 sented in most of the modern works which is well calculated to shew these 
 
 relating to this cathedral (as in Britton, arches and their relative position and 
 
 pi. 16 ; Wild, pi. 1 ; Woolnoth, pi. 12 ; magnitude to the choir-screen, and 
 
 and Winkles, pi. 9). There is an ex- tower-arch above. 
 
128 
 
 THE ARCHITECTURAL HISTORY 
 
 CHAPTER VIII. 
 
 THE MONUMENTS. 
 
 Properly speaking the monuments form no part of my 
 plan, for to describe them would require a great number of 
 drawings, and extend this work greatly beyond its proposed 
 limits. But few cathedrals possess so interesting a series, and 
 as Gervase has so minutely described the burial-places of 
 all the archbishops up to his period, I shall give a list of 
 the archbishops, shewing their known resting-places in the 
 church, and mention the monuments that remain. 
 
 Unfortunately, out of fifty archbishops and distinguished 
 personages before the Reformation, the locality of whose tombs 
 or shrines have been recorded, only about eighteen monu- 
 ments are left, many of which are in a greater or less state of 
 dilapidation. With one exception, however, they are all 
 securely appropriated to their respective owners, and thus 
 dated, which greatly increases their value and use for the 
 history of art. Their positions were so minutely described by 
 Archbishop Parker at a period when all the inscriptions re- 
 mained, that there can be no mistake in this respect. 
 
 The exception just mentioned is a tomb which now stands 
 on the south side of the Trinity chapel, (24, fig. 5) ; its sides 
 are decorated with an arcade of trefoil arches, resting on 
 shafts which have round abacuses and bases, and the style 
 seems a little later than the completion of the Trinity chapel. 
 No record of a monument on this spot is preserved, and if, as 
 is probable, it has been removed from its original site, all clue 
 to its history is gone. It may have been constructed after the 
 completion of the church, to receive the bones of some of the 
 archbishops who had been removed. It is usually attributed 
 to Archbishop Theobald, (3, fig. 5,) but without reason, and is 
 too late in style. 
 
 The panelling below the effigy of Hubert Walter (40.) is 
 
OF CANTERBURY CATHEDRAL 
 
 12 9 
 
 manifestly a much later construction, and the stone coffin (42) 
 attributed to Stephen Langton, which is now built into the 
 wall of the chapel of St. Michael, seems to have been originally 
 outside the wall, in the church-yard ; and thus the new wall, 
 when the chapel was rebuilt and enlarged in the fourteenth 
 century, was made to stride over the coffin by means of an 
 arch. The earliest complete monument in the cathedral is 
 that of John Peckham, who died A.D. 1292, (4). e For Walter 
 Reynolds (40) there only remains some insignificant panelling 
 below the effigy, which is probably, like that of Hubert 
 Waiter, which is close to it, part of the fitting up of a chantry 
 chapel. 
 
 The memorial of Archbishop Mepham, who died in 1333, 
 is a beautiful and singular work, consisting of an altar-tomb, 
 placed between a double arcade, which forms the screen of 
 Anselm's chapel, at 28 in the plan. 
 
 Archbishop Stratford (died 134S) has his monument be- 
 tween the south pillars of the choir, " near the steps of 
 St. Dunstan's altar." (Parker, 354; 33 in plan.) The rich and 
 light canopy work above is sadly mutilated. 
 
 Archbishop Bradwardin was buried (at 30) under the new 
 window of St. Anselm's chapel ; and his so-called monument 
 consists of some panelling, which lines the wall under the sill 
 of that window. 
 
 Archbishop Sudbury has a fine canopied monument next to 
 Stratford (31) " on the south side of the altar of S. Dunstan," 
 (Parker, 397) ; and Archbishop Courtney an altar-tomb (25) 
 at the feet of the Black Prince. 
 
 Archbishop Chichely, to use the words of Archbishop 
 Parker, lies "on the north side of the presbytery, (17,) in a 
 tomb which he constructed while living." (Parker, p. 42 7.) f 
 He was the founder of All Souls College, Oxford, and his 
 monument has been put into beautiful order at the expense of 
 
 e Engraved in Blore's Monumental character, are yet most useful in restor- 
 
 Remains. All the monuments are en- ing the deficient parts, 
 
 graved in Dart's History, and these f Engraved in Skelton's Pietas Oxo- 
 
 representations, although wanting in niensis, 
 
 S 
 
130 
 
 THE ARCHITECTURAL HISTORY 
 
 that college, and by the skill of Mr. Austin, the architect of 
 the cathedral. 
 
 Archbishop Kemp's (34) tomb, which is described by Parker 
 (p. 437) as standing " between the archiepiscopal throne and the 
 tomb of John Stratford, at the south door of the presbytery," 
 is surmounted by a most curious double canopy or tester of 
 wood- work ; and it is greatly to be regretted that so valuable 
 a specimen of this class of decoration should be allowed to 
 remain in its present state of dilapidation and neglect. 
 
 Archbishop Bourchier has a place of sepulture (19) which was 
 formally granted to him, " in the space which is in the north 
 part of the choir of our church, between two columns next to 
 the altar of St. Elphege, where now there are closets (armaria) 
 for keeping the things of the altar. And the said monument 
 shall be constructed at the expense of the archbishop, of 
 handsome workmanship, and ornamental to the church, but 
 with no superfluous appendages that may sensibly screen the 
 light of the north windows from the altars. Also, in the 
 same space, between the two columns, a new armarium shall 
 be made, in which the things belonging to the altar may be 
 kept as usual. Dated Ap. vi. 1480 g ." 
 
 The altar of this tomb is remarkable for its resemblance to 
 those of Edward III. and Richard II. in Westminster abbey, 
 the latter of which is copied from the former. The dates of 
 these altar-tombs are 1377, 1399, and 1480 respectively, so 
 that a century intervened between the first and last. 
 
 Of Archbishop Morton, the Obituary says h , " that he was 
 
 s " The place of sepulture granted 
 to Thomas Bourchier — In spatio quod 
 est in Boreali parte chori Ecclesiae no- 
 stra? inter duas columnas proximas 
 altari S. Elphegi, ubi nunc armaria 
 sunt ad res altaris reponendas : but 
 with this proviso, Quod sumptibus 
 Archiepiscopi dicta sepultura deccnti 
 artificio ad honorem Ecclesige constru- 
 atur, non adeo tamen superfluo ut no- 
 tabiliter impediat lumen ab ea parte 
 Ecclesiaj a fenestris Borealibus ad Al- 
 taria porrigi, ac etiam quod in eodem 
 Fpacio ac inter duas columnas saltern 
 unum armarium novum ordinetur, in 
 
 quo res altari pertinentes juxta con- 
 suetudinem idonee conservari possunt. 
 Dat. Apr. 16. 1480." (Ex Archivis Ecc. 
 Cant. Battely, App. p. 4.) 
 
 h " Et ubi a nonnullis saepissime 
 persuasus erat ; ut sibi sepulchrum 
 satis amplum, dignum, honorificumve 
 construeret ; non in publico, non in tu- 
 multu, sed in secreto subterraneoque loco 
 in criptis nuncupato, lapide duntaxat 
 coopertus marmoreo, coram Imagine 
 Beatisshnse Virginis Marise, quam ex 
 intimo diligebat, sepulture locum ele- 
 git. Ubi ipsius corpus fcelicissimum 
 jam quiescit," Obit, in Ang. Sac, t. i, 
 
OF CANTERBURY CATHEDRAL 
 
 131 
 
 persuaded by some of his friends that he ought to erect a 
 worthy, ample, and handsome monument for himself, where- 
 fore he chose his burial-place ; yet not in public, but in that 
 secret subterraneous retirement termed the crypts, near 
 the image of the Blessed Virgin Mary whom he particularly 
 respected. And there his body lies, covered with marble." It 
 is a plain altar-tomb, under an arch of the crypt, the sides 
 and soffit of which have been clothed with moldings and 
 tabernacles of the style of his time, of which it furnishes an 
 excellent dated example. 
 
 The monument of William Warhain, including also a small 
 chantry chapel, is constructed in the north wall of the north 
 transept or martyrdom, and is a very handsome specimen of 
 a very common design. 
 
 Lastly, the tomb of Reginald Pole, although beyond the 
 period to which I have limited this enquiry, is yet worth 
 notice, because he was the last Archbishop that Avas buried in 
 Christ Church. "Their burials there," says Somner 1 , " have 
 been ever since discontinued, a thing, the whilst to some 
 seeming very strange, that of all the archbishops since the 
 Reformation, not one hath chosen to be buried there, but all, 
 as it were, with one consent, declined their own cathedral, (the 
 ancient and accustomed place of archiepiscopal sepulture,) 
 affecting rather an obscure burial in some one private parish 
 church or other." 
 
 The remarkable remaining monuments of the laity are those 
 of the Black Prince, of Lady Mohun, of Henry IV. and his 
 queen, and of Margaret Holland and her two husbands. 
 
 The will of the Black Prince, dated June 7, 1376, about 
 a month before his death, (as printed by Nichols, p, 66. Royal 
 Wills,) contains minute directions for the construction of his 
 tomb, which proves that it was not made in his lifetime 1 ". He 
 
 p. 64. He founded a chantry here for Lady of Undercroft, et quod cooperia- 
 
 two priests to say daily mass for his tur cum uno piano lapide marmoreo 
 
 soul. In his wiil he says, " Volo et basso absque aliis voluptuosis expen- 
 
 dispono quod corpus meum sepeliatur sis." Battely, App. 35. 
 
 in Ecclesia mea Cathedrali Cantuar. * Somner, p. 138. 
 
 viz. coram Imagine Beatissimse Virginis k Nous devisons . . . n're corps d'estre 
 
 Mariae, vulgariter nuncupate, Our enseveliz en l'eglise cathedrale, de la 
 
132 
 
 THE AIICHITECTURAL HISTORY, &C. 
 
 had previously (in 1363) founded a chantry in the crypt 
 (p. 115). The will of Henry IV., dated Jan. 21, 1408, four 
 years before his death, contains no other direction for his 
 funeral than that " the body be beryed in the Chirch at 
 Caunterbury aftyr the descrecion of my cousin the Arch- 
 by shcopp of Caunterbury (namely Thomas Arundel) .... Also 
 y devys and orcleyn that ther be a chauntre perpetuall of twey 
 preestis for to sing and prey for my soul in the aforseyd Chirch 
 of Caunterbury, in soch a plase and aftyr soch ordinaunce as 
 it seemeth best to my aforseyd cousin of Canterbury." (Nichols, 
 Royal Wills, p. 203.) The monument bears the effigies of 
 the king and of his second queen, Joan of Navarre. Two 
 exquisite engravings of it are in Blore's Monumental Remains, 
 and the same work contains engravings of the monument of 
 Edward the Black Prince. 
 
 Lady Mohun of Dunstar founded a perpetual chantry in 
 1395, and is buried in the crypt near the altar of the Virgin 
 Mary, under a canopy of clumsy workmanship, which is made 
 to form part of the screen of the lady-chapel. The monu- 
 ment of Margaret Holland and her two husbands has been 
 already mentioned, (in p. 124). The following list will supply 
 dates and other particulars. 
 
 Trinite de Canterbire, ou le corps du 
 veray martir mons'r Seint Thomas re- 
 pose en mylieu de la chapelle de n're 
 dame Undercrofte droitement devant 
 Fautier, siq' le bout de n're tombe 
 devers les pees soit dix peez loinz de 
 l'autier et qe mesme la tombe soit de 
 marbre de bone masonerie faite." The 
 chapel of our Lady Undercroft is the 
 chapel in the centre of the crypt. But 
 as both the archbishop and the prince 
 were deposited in the Trinity chapel 
 above, in the exact relative positions 
 described, there can be no doubt that 
 some ambiguity or error has crept into 
 the will. " Et volons qe entour la ditte 
 tombe soient dusze escuchons de laton, 
 chacun de la largesse d'un pie, dont les 
 syx scron t de noz arinez entiers, et les 
 autres six des plumez d'ostruce, et qe 
 sur chacun escuchon soit escript, c'est 
 assavoir' sur cellez de noz armez et sur 
 les autres des plumes d'ostruce, hou- 
 mont. Et paramont la tombe soit fait 
 
 un tablement de laton suzorrez de lar- 
 gesse a longure de meisme la tombe, 
 sur quel nouz voloms q'un ymage 
 d'ov'eigne leve de latoun suzorrez soit 
 mys en memorial de nous, tout armez 
 de fier de guerre de nous armes quar- 
 tillez et le visage mie, ove notre heaume 
 de leopard mys dessous la teste de 
 Fymage, et volons qe sur n're tombe en 
 lieu ou leu le purra plus clerement lire 
 et veoir soit escript ce qe ensuit en la 
 maner qe sera mielx aviz a noz execu- 
 tours." Then follows a long inscription 
 and minute directions for the funeral 
 ceremonies, and a bequest of various 
 jewellery, and especially of drapery to 
 the high altar, to the altar of our Lady in 
 the said chapel (in the crypt), to the altar 
 where " Monseigneur Saint Thomas" lies 
 (at the head of his shrine, p. 100. above), 
 to the altar where his head is kept, (in 
 the crypt, see p. 112. above,) and to the 
 altar where the point of the sword was, 
 (in the Martyrium, p. 41. abov^O 
 
List of the Burial Places of the Archbishops of Canterbury, from Cuthbert to 
 Warham, and of some other personages whose shrines or monuments were 
 placed in the Cathedral. 
 
 The names of persons whose monuments are still in existence are printed in italics. 
 
 ARCHBISHOPS. BURIAL PLACES. 
 
 Year of Plan, 
 death. Fig. 5. 
 
 758 Cuthbert 16 At the altar of S. Stephen to the right (pp. 44. 55.) 
 
 762 Bree-wm 38 \ Behiml the altar of S - Gregory to the south (pp, 
 
 6 ( 10.46.55.) 
 
 790 Jambert — In the monastery of S. Augustine. 
 
 803 Athelard 15 At the altar of S. Stephen to the left (pp. 44. 55.) 
 
 829 Vulfred 14 At the altar of S. Martin to the right (pp. 44. 55.) 
 
 830 Feologild 43 Before the altar of S. Michael to the south (p. 39.) 
 
 870 Chelnoth 8 Behind the altar of S. Benedict to the left (p. 40.) 
 
 , , , , f Close to the south wall of the crypt of Trinity cha- 
 
 888 Athelred — .„ .„ . JL J 
 
 { pel (pp. 47. 57.) 
 
 923 ^eo-emund 37 I Bellind the altar of S - Gregory to the north (pp. 19. 
 
 & ( 46. 55.) 
 
 936 Adhelm 11 Behind the altar of S. Benedict to the right (p. 40.) 
 
 941 Vulfelm 7 Before the altar of S. Benedict to the left (p. 40.) 
 
 961 Odo 23 1 Be *" ud tne °^ a * tar 0I * tne H°ry Trinity, after- 
 
 ( wards removed to the corona (pp. 46. 50. 113.) 
 
 988 Dunstan 32 On the south side of the presbytery (pp. 102. 113.) 
 
 ■ , f At the altar of S. John the Evangelist to the right 
 
 989 Ethelgar 36 J , AO cc . & 6 
 
 ( (PP* 
 
 994 Siric — At the altar of S. Paulinus in the crypt (p. 46.) 
 
 At the altar of S.John the Evangelist to the left 
 pp. 46. 55.) 
 
 1012 Elfege 19 On the north side of the presbytery (pp. 102. 113.) 
 
 1020 Living 12 At the altar of S. Martin to the left (pp. 44. 55.) 
 
 1038 Egelnoth 10 Before the altar of S. Benedict to the right (p. 40.) 
 
 , A _ A „ . , f Close to the north wall of the crypt of Trinity cha- 
 
 1050 Eadsm — . , .„ _ N Ji J 
 
 { pel (pp. 47. 57.) 
 
 1005 Elfric 35 | 
 
 1052 Robert 
 
 1070 Stigand - 
 
 [Ejected from the see. 
 
 /Close to the south wall of Trinity chapel, after- 
 
 1089 Lanfranc 13 j wards removed to the altar of S. Martin (pp. 
 
 ( 46. 57.) 
 
 1109 Anselm 29 Behind the altar of SS. Peter and Paul (p. 46.) 
 
 ( Chapel of S. Benedict to the left of the entrance 
 1 (p. 40.) 
 
 1122 Radulph 6 
 
134 
 
 LIST OF THE BURIAL PLACES 
 
 , „ T .„. ~ , ., f Chapel of S. Benedict to the right of the entrance 
 
 113(3 William Corboil... 9 \ , 
 
 I (p. 40.) 
 
 /Close to the north wall of Trinity chapel, after- 
 
 1161 Theobald 3 J wards removed to the Lady chapel in the nave 
 
 1 (pp. 47. 57.) 
 
 „ M „, v _ _ ( In the crypt; afterwards translated to the great 
 
 1170 Thomas a Becket 27] ... / L ' & 
 
 ( shrine (pp. 47. 52.) 
 
 1184 Richard 2 In the Lady chapel of the nave (p. 37.) 
 
 t, fin the Holy Land at Accon. (Gervasii. Act. Pont. 
 
 1190 Baldewyn — J _ ^ . v 
 
 \ Cant. p. 678.) 
 
 1205 Hubert Walter 40 { S ° Uth wal L of choir ^ ***** aU " 
 
 ( strum." Parker. 233.) 
 
 1228 Stephen Langton... 42 In the chapel of S. Michael (Parker. 245.) 
 
 1231 Richard Wethershed— At S. Gemma. 
 
 1240 Edmund — At Pontiniac. 
 
 1270 Boniface — In Savoy. 
 
 1278 Robert Kilwardby — At Viterbo. 
 
 / At the north part of the church, near the place of 
 
 1292 John Pechham ... 4 j martyrdom of S. Thomas (Regist. Ecc. Cant. 
 
 ( Aug. Sac. i. 117.) 
 
 Near the altar of S. Gregory against the south 
 
 wall (Parker. 317). " In a right goodly tumbe of 
 
 1313 Robert Winchelsey 39 i marble at the very but ende yn the waulle side." 
 
 Lei. Itin., vol. vi. fol. 3. This was destroyed 
 
 for his reputed sanctity (Parker. 317.) 
 
 ttt" t 77 ( South wall of quire (" in australi chori muro" 
 
 1327 Walter Reynolds... 41 j Parker> 324 j b 
 
 /"In quadam capella s ci Petri nuncupata ex parte 
 1333 Simon M&pham ... 28 J australi summi altaris." Regist. Ecc. Cant. 
 
 ( Ang. Sac. 118. 
 
 1348 John Stratford ... 33 By the steps of S. Dunstan's altar. (Parker. 354.) 
 
 1349 Thomas Bradivar- i In the chapel of Anselm at the south wall (Parker. 
 
 din 30 ( 364.) 
 
 0 . y i . , (North side of nave in marble altar-tomb with a 
 
 1366 Simon Islip 1 , , w . . ^ * 
 
 { brass, now destroyed (engraved by Dart. 151.) 
 
 1376 Simon Langham... — Westminster. 
 
 wit 1X7-4.41 An { South side of nave in a marble tomb with a brass, 
 1374 William W lttlesey 46 J . . . , , ^ ' 
 
 ( now destroyed (engraved by Dart. 155.) 
 
 »qoi ct- cy j, 01 (On the south side of the altar of S. Dunstan (Par- 
 
 1381 Simon Sudbury ... 31 J v 
 J \ ker. 397.) 
 
 1396 William Courtney 25 j Near the shrine of Thomas 4 Becket to tlie south 
 J \ (Parker. 405.) 
 
 /-In his chapel on the north of the nave (Parker, 
 
 1414 Thomas Arundel —\ 413 ; Somner ' 136 ') " Under a P iller on the 
 
 north side." Lei. It., vol. vi. fol. 3. Entirely 
 
 destroyed, and the exact position unrecorded. 
 
 1443 Henry Chicheley,.. 17 j North side of P resb y ter y in a tomb which he con- 
 
 ( structed while living (Parker. 427.) 
 
OF THE ARCHBISHOPS OF CANTERBURY. 
 
 135 
 
 _ t t a r.. i (Martynum, before the new chapel of the Virgin 
 
 1452 John Stafford — 1 ' . ' . 1 fe 
 
 I (Parker. 432.) 
 
 / Between the archiepiscopal throne and the tomb of 
 1454 John Kemp 34 J John Stratford at the south door of the presby- 
 
 l tery (Parker. 437.) 
 1486 Thomas Bourchier 19 At the north side of the high Altar (Parker. 443.) 
 
 /In the crypt, under Archbishop Stratford. " In a 
 1500 John Morton 33 J sumptuous chapel constructed by himself " (Par- 
 
 ( ker. 449.) 
 
 ,r^« tt (Near the place of Becket's martyrdom (Parker. 
 
 1503 Henry Deane — \ „ n , 1 J 
 
 { 453.) 
 
 In a small chapel which he constructed while liv- 
 1532 William Warham 5 \ iug, near the place of Becket's martyrdom (Par- 
 ker. 488.) 
 
 EELICS. 
 
 316 S. Blaise 47 Behind the high Altar (pp. 41. 113.) 
 
 585 S. Salvius — Over the high Altar (p. 113.) 
 
 S. Vulganius 48 Over the altar of S. Stephen (p. 113.) 
 
 862 St. Swithin 49 Over the altar of S. Martin (p. 113.) 
 
 [ In the crypt ; afterwards removed to the relic cup- 
 ~~ { board (pp. 46. 113.) 
 
 /Behind the high Altar of the Holy Trinity ; after- 
 709 S. Wilfrid of York 22 J wards removed to the north side of the corona 
 
 ( (pp. 46. 56. 113.) 
 Siburgis 45 Before the altar of S. Michael to the north (p. 39.) 
 
 866 S. Audoen 
 
 EOYAL AND NOBLE PEESONS. 
 
 c. 962 Ediva Queen (of 
 
 Edw. the Elder?) 12 
 
 1376 Edward the Black 
 
 Prince 26 
 
 c. 1395 Lady Mohun of 
 
 Dunstar — 
 
 1410 John Earl of So- 
 merset 
 
 1420 Thomas Duke of V 
 Clarence 
 
 1440 Margaret Holland j 
 
 1413 Henry IV. \ 
 
 1437 Joan of Navarre, [20 
 his second Queen ) 
 
 Isabel Countess of 
 
 Athol 28 
 
 At the altar of S. Martin under the feretrum of 
 Living (pp. 53. 56.) 
 
 On the south side of Trinity chapel. 
 
 In the south screen of the Lady chapel of the 
 crypt. 
 
 In S. Michael's chapel. Erected by the widow, in 
 her lifetime. 
 
 In Trinity chapel on the north side. Probably 
 erected by Queen Joan. (Sandford,pp.263.268.) 
 
 | In the crypt under Archbishop Mepham. 
 
Explanation of the Plan and Section. 
 
 The Plan (which is referred to throughout as fig. 5.) is intended to illustrate the 
 changes that have taken place in the building from the period of Gervase to the 
 present time. Various tints of shading are employed to distinguish the works of 
 different periods. Thus Lanfranc's work is full black ; vertical strokes are assigned 
 to Ernulf ; diagonal (sloping forward) to William of Sens ; horizontal to English 
 William. Subsequent works are dotted, and some uncertain parts are distin- 
 guished by a diagonal shading sloping backwards. And in order to compare the 
 plan of the crypt with that of the superstructure, which in this building is neces- 
 sary, the crypt is introduced into the upper half of the plan in a lighter tint, 
 shaded as for the superstructure, that is, with vertical strokes for Ernulf, and with 
 horizontal for English William. To avoid confusion, the windows are wholly 
 omitted in this upper half of the plan ; they are however inserted in the lower 
 half. In this lower half, dates are inserted which refer solely to the vaults. For 
 want of room I have written in many of these cases merely the two last figures of 
 the date, thus, 76 for 1 176, but only in that part of the building which belongs to 
 the twelfth century. The other figures of reference apply to monuments and 
 shrines, and are written respectively as near to the site of each as the size of the 
 plan would allow. As these figures extend only from 1 to 49, there can be no 
 ambiguity between them and the date figures, which are all greater than 75. 
 Letters of reference are reserved for the other purposes of the plan, and Roman 
 numerals are applied to distinguish the piers. An accidental coincidence between 
 pier a?, and the site of the high Altar marked X, might have led to confusion, but 
 with this notice they can easily be distinguished from each other. To have intro- 
 duced the vault-ribs throughout this plan would have made it too intricate ; a few 
 only are inserted here and there, where particular explanations required them. 
 Thus in the lower half of the plan the compartments or " ciboria" of the choir and 
 side-aisles are separated by a line which marks the transverse rib of the vault, but 
 in the side-aisle of the presbytery I have found it necessary to lay down also the 
 other ribs, which present a singular irregularity (see p. 84). One compartment 
 of the nave and its side- aisle vault are inserted, also one compartment of the 
 Lady chapel, and one of St. Michael's chapel. 
 
 The Section, fig. 6, which stands immediately over the Plan, and is drawn to the 
 same scale, is a mere diagram, drawn in block as it is called, in which all the parts 
 introduced are of the proper magnitude, and the pier-arches of the proper form, 
 but all lesser portions are omitted, even to the arches of the triforium, and the 
 windows of the clerestory. Its principal object is to note the progress of the work 
 as described by Gervase. The figures upon it all indicate dates, and the two first 
 figures are omitted in most of those that belong to the twelfth century. Each 
 pier has its date, but in the upper works the date figure is placed at the beginning 
 
 and end of each year's work; thus 78 78, 84 84, shews the extent of 
 
 the works of 1178 and 1184 respectively, and the place where they join. The 
 full average date is written upon the nave and tower works, and upon the but- 
 tressing arches. It was thought unnecessary to extend the plan to the whole 
 length of the nave. 
 
THE PLAN Fife s » 
 
A List of the Dated Examples of Architectural Works in Canterbury 
 
 Cathedral. 
 
 1. Nave, choir, crypt, transepts, and western towers of Lan- ) 
 franc, the only remains of which are a few patches off 
 
 masonry. The north-western tower taken down in 1834 k 1 070 to 1077. 
 is preserved by drawings ) 
 
 2. Enlarged choir, eastern transepts, crypt and chapels oP) 
 St. Andrew, St. Anselm, and Trinity, the works of Anselm, I 
 
 Ernulf, and Conrad, of which there remain the crypt, the t0 Ct l* 10 - 
 
 external walls of the other portions, and the chapels of j 
 St. Anselm and St. Andrew 
 
 3. Present choir, by William of Sens 1175 to 1178 
 
 4. Trinity chapel, its crypt and corona 1179 to 1184 
 
 5. Monument, in the martyrdom, of Archbishop Peckham, who died in 1292 
 
 6. Choir wall of enclosure, &c. by Prior Henry de Estria 1304 and 1305 
 
 7. Screen and monument in Anselm's chapel, of Archbishop Mepham, who 
 died in 1333 
 
 8. Window of Anselm's chapel by prior Henry de Estria 1336 
 
 9. Monument of Archbishop Stratford, who died in 1348 
 
 10. Remains of Archbishop Bradwardin's monument in Anselm's chapel, he 
 died in 1349 
 
 11. Chantry of the Black Prince in the south transept of the crypt, soon after 1363 
 
 12. Monument of the Black Prince, who died in 1376 
 
 13. Nave, western transepts, and chapel of St. Michael, by Prior Chil- 
 lenden (to c. 1410) c. 1378 
 
 14. Monument of Archbishop Sudbury, who died in 1381 
 
 15. Monument of Lady Mohun of Dunstar in the crypt c. 1395 
 
 16. Monument of Archbishop Courtney, who died in 1396 
 
 17. Chantry chapel and monument of Henry IV., who died in 1412 
 
 18. Monument of Margaret Holland and her two husbands ... c. 1420 to c. 1437 
 
 19. Monument of Archbishop Chichely erected by himself, he died in 1443 
 
 20. The New Lady chapel and the south-west campanile by Prior Goldston 
 
 I., who held that office from 1449 to 1468 
 
 21. Monument of Archbishop Kemp, who died in 1454 
 
 22. Monument of Cardinal Bourchier, erected between 1480 and 1486 
 
 23. The central tower and buttressing arches, by Prior Goldston II c. 1495 
 
 24. Monument of Cardinal Morton, erected by himself, he died in 1500 
 
 25. Monument of Archbishop Warham, erected by himself, he died in 1532 
 
List of the Principal Works and Editions referred to. 
 
 Anglia Sacra, 1691. 
 
 Historic Anglicanse Scriptores X. 1652, contains the following works of Gervase, 
 Chronica Gervasii : — 
 
 Tractatus de combustione et reparatione Doroborniensis Ecclesia?. 
 Chronica de tempore Regum Anglise, Stephani, Hen. II. and Kic. I. 
 Actus Pontificum Cantuariensis Ecclesiae. 
 Edmeri Opuscula. I have employed the MS. which is preserved in the library 
 of Corpus Christi College, Cambridge, but I have also referred to the printed 
 copies of those parts which I have employed, and which have been published 
 as follows, — 
 
 Vita S. Wilfridi. Mabillon Saec. Benedict, iii. p. 196. He omits some 
 
 pages at the end, (p. 16 above.) 
 Vita S. Odonis. Mabillon Sasc. Benedict, v. p. 283. Ang. Sac, t.ii. p. 78. 
 Vita S. Dunstani, with some omissions in Ang. Sac, t. ii. p. 211. 
 Liber de Miraculis S. Dunstani. Mabillon has published a fragment of 
 
 this, t. vii. p. 709. (See pages 13 and 15 above.) 
 Vita S. Bregwini. Ang. Sac, t. ii. p. 184. 
 Epistola de Corpore S. Dunstani, &c, Ang. Sac, p. 222. 
 De reliquiis S. Audoeni. (This has never been published entire. See 
 
 pp. 5, 9. above.) 
 Edmeri Historia Novorum. Lond. 1623. 
 
 Matth. Parkeri Cant s . Arch', de Antiquitate Britannicse Ecclesise. Lond. 1729. 
 In Wilkins' Concilia are the following articles relating to the Architectural His- 
 tory of Canterbury Cathedral : — 
 
 Constitutions Lanfranci, vol. i. p. 328. 
 
 Vol. ii. p. 244. Statuta domini R. de Winchelsey archiepiscopi in prima 
 
 visitatione sua in capitulo Cantuar. Ex MS. Cott. Galba, E. 4. 
 Mandatum archiepiscopi Cant, de charitativa subventione pro fabrica 
 
 ecclesiae. Ex reg. Sudbury, fol. 52, a, (vol. iii. p. 136.) 
 Process against Thomas Becket, and order for demolishing his shrine at 
 
 Canterbury, (vol. iii. p. 835.) 
 The king's letter for taking away shrines and images. Ex reg. Cranmer. 
 fol. 18, a, (vol. iii. p. 857.) 
 D. Erasmi Rote rod. Colloquia, 1524. The " peregrinatio religionis ergo" con- 
 tains a very curious visit to the relics of Canterbury, which has been quoted by 
 all writers on this subject. 
 The principal works that especially relate to the Cathedral are as follows : — 
 
 The Antiquities of Canterbury, by William Somner, first published in 1640. 
 I have referred to the second edition by Nicholas Battely, 1703, to which 
 was added, as a second part, 
 Cantuaria Sacra, by Nic. Battely, 1703. 
 
 A Walk in and about the City of Canterbury, by W. Gostling. 2 Ed. 1777. 
 
 The History and Antiquities of the Cathedral Church of Canterbury, by 
 the Rev. J. Dart, 1727. 
 
 Twelve Perspective Views of . . . the Metiopolitical Church of Canter- 
 bury, &c.,by Charles Wild, 1807. 
 
LIST OF THE PRINCIPAL WORKS AND EDITIONS REFERRED TO. 139 
 
 A Graphical Illustration of . . . the Cathedral Church of Canterbury, by 
 
 W. Woolnoth, 1816. 
 History and Antiquities of the Metropolitical Church of Canterbury, by 
 
 J. Britton, 1821. 
 
 Winkle's Architectural and Picturesque Illustration of the Cathedral 
 
 Churches, Canterbury, in vol. i. 
 Storer's Cathedral Churches, 1814. 
 The Archaeologia contains several papers on this subject, by Mr. Ledwich, Mr. 
 Denne, and Mr. Saunders. See vol. viii. p. 174 ; vol. x. p. 37; vol. xi. 375 ; 
 and vol. xvii. p. 17. 
 Carter's Ancient Architecture and Sculpture has several engravings. 
 I have also had occasion to quote the two following tracts of my own, viz. : 
 
 On the Construction of the Vaults of the Middle Ages. Transactions of 
 
 the Royal Institute of British Architects, vol. i. pt. 2, 1842. 
 Architectural Nomenclature of the Middle Ages. No. IX. of the publica- 
 tions of the Cambridge Antiquarian Society. Cambridge, 1844. 
 
Additional Notes, and Corrections. 
 
 P. 16, note m. I might have added, that the eastern and western parts of the 
 church were also termed the prior and posterior parts respectively, as in p. 17, 
 note o. 
 
 P. 20, 1. 16. For expression, read expressions ; and in 1. 17, for operation, read 
 operations. 
 
 P. 25, 1. 12 from bottom. For V read W, the tomb of Pope Vigilius. V,V. 
 in the plan are doors of entrance. It may be necessary to add that the present 
 crypt and confessionary of St. Peter's are totally different in plan and extent from 
 the ancient one, and apparently on a higher level. 
 
 P. 37, note j. The position of the Lady chapel was similarly confirmed in 1787, 
 when "the workmen began to take up the old pavement in the body of Canterbury 
 cathedral, and in levelling the ground for the new pavement at the east end of 
 the north aisle, a leaden coffin was found a little below the surface, containing 
 the remains of a body that had been wrapped in a robe of velvet or rich silk 
 fringed with gold ; these remains were much decayed. In the coffin was likewise 
 enclosed an inscription on a plate of lead in capital letters, engraved in double 
 strokes with a sharp-pointed instrument." Archreol., vol. xv. p. 294. An engraving 
 of the inscription is added, and shews that the personage so interred was Arch- 
 bishop Theobald ; it runs thus, " Hie requiescit venerabilis memorie Theobaldus 
 Cantuarie archiepiscopus Britanie" &c: and as Gervase relates (p. 57) that this 
 archbishop was buried in a leaden coffin before the altar of St. Mary in the nave, 
 this discovery at once confirms his accuracy, and assists us in determining the 
 exact position of the altar in question. 
 
 P. 40. A stone is still pointed out on the pavement in front of P, which tradi- 
 tion assigns as the exact spot on which Becket fell ; a small piece has been cut 
 out of it, which is said to be still preserved at Rome. In some of the monastic 
 representations of Becket's fall he is slain at the very foot of an altar, but this is only 
 introduced to heighten the sacrilege. The altar at P was erected afterwards, and 
 the nearest altar was that of St. Benedict at M. Thus comparing representations 
 of this murder on the seals of the archbishops, that of Boniface 1259 has no altar; 
 on the seal of Robert 1273 the altar is in the background, and Becket has his 
 back to it; on the seal of John Peckham 1278 the altar again disappears, but in 
 the seal of John Stratford the victim kneels at the altar with his back to his 
 assailants, and this position is retained in the seals of Islip, Langham, and 
 Arundel. 
 
 P. 43, 1. 20. See note s, p. 108. 
 
 P. 46, 1. 5. SS. Bregwin and Plegemund were removed hither and placed 
 behind this altar, in consequence of the attempt of the monk Lambert to carry off 
 the relics of St. Bregwin (see p. 18). Osbern says the bodies were placed in two 
 " scrinia," " supra altare." The figures of reference in the plans are for want of 
 room before the altar instead of behind it, as they ought to be. 
 
 P. 46, 1. 15. The tower of St. Anselm, and the opposite one of St. Andrew, 
 are at present only of the same height as the clerestory of the Norman church, to 
 which they formed appendages, and consequently they rose above the side-aisles 
 of that church as much as the clerestory did. The external faces of the inward 
 
ADDITIONAL NOTES, AND CORRECTIONS. 
 
 141 
 
 walls of these towers are now enclosed under the roof of William's triforium, and 
 it may be seen that they were once exposed to the weather. It is difficult to 
 understand why they were termed lofty, or even towers, unless we suppose that 
 they once rose much higher. The small staircase-turrets on the western sides of 
 the transepts deserve the epithets much better. 
 
 P. 56, note q. The corona may also mean the aisle which often circumscribes 
 the east end of an apsidal church, and which with its radiating chapels may be 
 said to crown its eastern extremity. 
 
 P. 57, 1. 24. See note above to p. 37. 
 
 P. 48. From the account which follows it may be gathered that the two sides 
 of the work, the north and south, were carried on symmetrically, exactly as much 
 being always done on one side as on the other. 
 
 P. 62. Archbishop Sudbury, in the preamble to his indulgence for rebuilding 
 the nave, describes the church as dedicated to the Holy Trinity by the blood of 
 the martyr Thomas. " Quam digne, quamque meritorie laudandus est locus ille 
 celeberrimus ecclesiae nostrae, viz. Cant, metropolitica, omnium ecclesiarum regni 
 Anglioe caput, et praecipua, ad ipsius veri Dei, aeterni, incomprehensibilis, omni- 
 potentis trinitatis, Patris soil. Filii et Spiritus Sancti gloriam et honorem con- 
 structus, et sanguine sanctissimi Thomae martyris, dudum Cantuar. archiepiscopi 
 patroni nostri in co nuper martyrizati, dedicatus." (Wilkins' Concilia, vol. iii. 
 p. 136.) 
 
 P. 65. In the plan of Lanfranc's nave, fig. 3, I have represented it as having 
 three western doors in imitation of its original at Caen, but I have no other 
 authority for so doing. The present entrance is by a porch on the south side of 
 the southern campanile at X. 
 
 P. 73, 1. 25. That these pillars are wholly the work of William is shewn by 
 their solid masonry, (described in note 1, p. 76,) and their bases, and also by the 
 fact recorded by Gervase, that the weakening of the old pillars by the fire was the 
 cause that compelled the entire destruction of these " pillars and all that they 
 supported." 
 
 P. 81, 1. 1. The fact of the pillar in fig. 23 being placed immediately under 
 the pier X in the choir above, was verified by measurements taken for that express 
 purpose. 
 
 P. 94, 1. 9 from below. This mode of constructing the triforium arches was 
 tried and abandoned in the subsequent work by the Frenchman, on the south side 
 of the choir between the pillars V. VI., fig. 5. The view of the opposite triforium 
 through the arches in fig. 7, p. 49, shews these two kinds of triforial arcades. 
 
 P. 96. 1. 6. The mechanical construction of the triforium and clerestory and 
 the opening here mentioned, is shewn in fig. 7, p. 49. 
 
 P. 103, note b. Somner, p. 99, is the authority whence Dart copied the be- 
 quest of £20 by John Bokingham to the high Altar. 
 
Central Committee, May 1, 1845. 
 
 THE VISCOUNT ADARE, M.P. 
 
 SIR CHARLES LEMON, Bart., M.P., F.R.S. 
 
 SIR PHILIP DE MALPAS GREY EGERTON, Bart., M.P., F.R.S. 
 THE VERY REV. S. WILBERFORCE, D.D., Dean of Westminster. 
 Charles Frederick Barnwell, Esq., M.A., F.R.S., F.S.A., late Assistant 
 
 Keeper of the Antiquities, British Museum. 
 Samuel Birch, Esq., F.S.A., Assistant Keeper of the Antiquities, British Museum. 
 Edward Blore, Esq., D.C.L., F.R.S., F.S.A. 
 George Bowyer, Esq., D.C.L., F.S.A., Barrister at Law. 
 
 William Bromet, Esq., M.D., F.S.A., Corresponding Member of the " Societe 
 
 Francaise pour la Conservation des Monuments Historiques." 
 Rev. John Bathurst Deane, M.A., F.S.A. 
 
 Benjamin Ferrey, Esq., Fellow of the Institute of British Architects. 
 The Ven. W. H. Hale, B.D., Archdeacon of London; Master of the Charter 
 House. 
 
 Thomas Duffus Hardy, Esq., one of the Assistant Keepers of the Records. 
 Philip Hardwick, Esq., R.A., F.R.S., F.S.A. 
 
 Edward Hawkins, Esq., F.R.S., F.S.A., Keeper of the Antiquities, British Museum. 
 
 Thomas William King, Esq., F.S.A., Rouge Dragon Pursuivant. 
 
 Sir F. Madden, K.H., F.R.S., F.S.A., Keeper of the MSS., British Museum. 
 
 Rev. Samuel Roffey Maitland, F.R.S., F.S.A., Librarian to the Archbishop of 
 Canterbury, and Keeper of the MSS. at Lambeth. 
 
 Charles Manby, Esq., Secretary of the Institution of Civil Engineers. 
 
 Charles Newton, Esq., M.A., Student of Christ Church; Department of Antiqui- 
 ties, British Museum. 
 
 Ambrose Poynter, Esq., Honorary Secretary of the Royal Institute of British 
 Architects ; Member of Council of the Government School of Design. 
 
 Evelyn Philip Shirley, Esq., M.P. 
 
 Thomas Stapleton, Esq., F.S.A. 
 
 William John Thoms, Esq., F.S.A., Corresponding Member of the Society of 
 
 Antiquaries of Scotland. 
 Patrick Fraser Tytler, Esq., F.S.A.E. 
 
 William S. W. Vaux, Esq., M.A., Department of Antiquities, British Museum. 
 Albert Way, Esq., M.A., Director of the Society of Antiquaries ; Corresponding 
 
 Member of the Society of Antiquaries of Scotland. Honorary Secretary. 
 Sir Richard Westmacott, R.A., F.S.A., Professor of Sculpture, Royal Academy. 
 
 HONORARY MEMBERS OF THE CENTRAL COMMITTEE. 
 
 Not resident usually in London. 
 
 Rev. Philip Bliss, D.C.L., F.S.A., Registrar of the University of Oxford. 
 Sir John P. Boileau, Bart., Ketteringham, Norfolk. 
 
 The Ven. Charles Parr Burney, D.D., F.R.S., F.S.A., Archdeacon of St. 
 Alban's. 
 
 The Very Rev. George Butler, D.D., F.R.S., F.S.A., Dean of Peterborough. 
 
 The Very Rev. Thomas Garnier, D.C.L., Dean of Winchester. 
 
 Sir Stephen R. Glynne, Bart., M.P., F.S.A., Hawarden Castle, Flintshire. 
 
 The Very Rev. Thomas Hill Lowe, D.D., Dean of Exeter. 
 
 The Very Rev. Charles Scott Luxmoore, M.A., Dean of St. Asaph. 
 
 James Heywood Markland, Esq., F.R.S., F.S.A., Bath. 
 
 The Very Rev. John Merewether, D.D., F.R.S., F.S.A., Dean of Hereford. 
 
 George Ormerod, Esq., D.C.L., F.R.S., F.S.A., Sedbury Park, Chepstow. 
 
 The Very Rev. George Peacock, D.D., Dean of Ely. 
 
 Rev. Frederick C. Plumptre, D.D., Master of University College, Oxford. 
 Rev. J. L. Richards, D.D., Rector of Exeter College, Oxford. 
 
2 
 
 Rev. William Whewell, D.D., V.P.R.S., F.S.A., Master of Trinity College, 
 Cambridge. 
 
 Rev. Robert Willis, M.A., F.R.S., Jacksonian Professor, Cambridge. 
 
 Editor of the Publications of the Association, and Assistant Secretary. 
 T. Hudson Turner, Esq., Hon. Member Ant. Soc. of Newcastle." 
 
 LOCAL SECRETARIES. 
 
 Bedfordshire. John Martin, Esq., Librarian to the Duke of Bedford ; Woburn 
 Abbey. 
 
 Cambridgeshire. Rev. John James Smith, Fellow and Tutor of Caius College. 
 
 Rev. D. J. Stewart, The College, Ely. 
 Cheshire. Rev. W. A. Osborne, Master of the Grammar School, Macclesfield. 
 Devonshire. William Miles, Esq., Treasurer of the Exeter Diocesan Architectural 
 
 Society. Charles Tucker, Esq., F.S.A., Harpford, Sidmouth. 
 Dorsetshire. Rev. R. F. Meredith, M.A., Vicar of Halstock near Dorchester. 
 Gloucestershire. Rev. J. R. Wreford, F.S. A., Bristol. 
 Herefordshire. Rev. Richard Lane Freer, B.D., Rector of Bishopstone. 
 Lancashire. Rev. Abraham Hume, F.S. A., Principal of the Department of English 
 
 Literature, Collegiate Institution, Liverpool. Rev. F. R. Raines, F.S. A., Miln- 
 
 row, Rochdale. Thomas A. Beck, Esq., Esthwaite Lodge, Ambleside. John 
 
 Robson, Esq., Warrington. 
 Lincolnshire. Rev. J. Morton, B.D., Vicar of Holbeach, Preb. of Lincoln. 
 Norfolk. Rev. E. E. Blencowe, Rector of West Walton, Wisbeach, Sec. of the W. 
 
 Norfolk Archit. Society. Rev. John Gunn, Rural Dean, Rector of Irstead. 
 
 Charles John Palmer, Esq., F.S. A., Great Yarmouth. 
 Northamptonshire. Rev. Charles H. Hartshorne, M.A., F.S. A., Cogenhoe. 
 Northumberland. William Hutton, Esq., F.R.S., Newcastle. The Rev. John 
 
 Hodgson, Vicar of Hartburn. 
 Nottinghamshire. Rev. William Fletcher, M.A., Head Master of the Grammar 
 
 School, Southwell. 
 
 Oxfordshire. Rev. John Wilson, B.D., F.S. A.., Fellow of Trinity College. Rev. 
 
 Henry O. Coxe, Under Librarian of the Bodleian Library. 
 Rutlandshire. Rev. H. De Foe Baker, Warden of Browne's Hosp., Stamford. 
 Shropshire. Rev. J. L. Petit, the Uplands, Shiffnall. 
 
 Somersetshire. Rev. Gilbert Henry West, Perp. Curate of Corfe, Taunton. 
 Staffordshire. Richard Greene, Esq., F.S. A., Secretary of the Lichfield Architec- 
 tural Society. 
 
 Suffolk. Rev. Samuel Blois Turner, M.A., F.S. A., Halesworth. Samuel Tymms, 
 
 Esq., Bury St. Edmund's. 
 Sussex. Rev. Arthur Hussey, Rottingdean. 
 
 Warwickshire. Rev. William Staunton, Warwick. Matthew H. Bloxam, 
 Esq., Rugby. Rev. George Y. Osborne, Coleshill. Richard C. Hussey, 
 Esq., Birmingham. 
 
 Yorkshire. Edward Hailstone, Esq., F.S. A., Horton Hall, Bradford. John 
 B. Langhorne, Esq., Registrar of the Consistory Court of Richmond. 
 
 North Wales. Rev. William Hicks Owen, Rlmddlan, St. Asaph. 
 
 South Wales. George Grant Francis, Esq., F.S.A., Honorary Librarian of the 
 Royal Institution of South Wales ; Swansea. 
 
 Scotland. W. B. D. D. Turnbull, Esq., Advocate, Secretary of the Society of Anti- 
 quaries of Scotland, Edinburgh. 
 
 Ireland. Rev. J. Graves, Borris in Ossory. Thomas Oldham, Esq., M.R.I.A., 
 7, Suffolk-street, Dublin. George V. Du Noyer, Esq., College of St. Columba, 
 Stackallan, Navan. 
 
 The Central Committee request the Local Secretaries to attend, whenever it may 
 suit their convenience, the Ordinary Meetings, which take place once in every 
 fortnight, for the discussion of Archaeological communications, and exhibition of any 
 objects of interest. 
 
-"■HP" 
 
 3 3125 01043 283t>