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THE CATHEDRAL CHURCH OF CHICHESTER

A SHORT HISTORY & DESCRIPTION OF ITS FABRIC WITH AN ACCOUNT OF THE DIOCESE AND SEE

HUBERT C. CORLETTE

LONDON GEORGE BELL & SONS 1901

PREFACE

All the facts of the following history were supplied to me by many authorities. To a number of these, references are given in the text. But I wish to acknowledge how much I owe to the very careful and original research provided by Professor Willis, in his "Architectural History of the Cathedral"; by Precentor Walcott, in his "Early Statutes" of Chichester; and Dean Stephen, in his "Diocesan History." The footnotes, which refer to the latter work, indicate the pages in the smaller edition. But the volume could never have been completed without the great help given to me on many occassions by Prebendary Bennett. His deep and intimate knowledge of the cathedral structure and its history was always at my disposal. It is to him, as well as to Dr. Codrington and Mr. Gordon P.G. Hills, I am still further indebted for much help in correcting the proofs and for many valuable suggestions.

H.C.C.

C O N T E N T S.

CHAP. PAGE

CHICHESTER CATHEDRAL.

THE HISTORY OF THE CATHEDRAL.

Any attempt to write the history of a cathedral requires that the subject shall be approached with two leading ideas in view. One of these has reference to the history of a Church; the other to the story of a building. The two aspects are clearly to be distinguished, but their mutual relation may be better appreciated when we realise how intimately they are bound together.

Ecclesiastical history, or "ecclesiology," and architectural history, or "archaeology," do not exist apart; for the needs of Christian liturgy indicated what arrangement was required in those buildings that were peculiarly dedicated to the use of the Church; hence we have, in the mere building itself, to consider the condition of ecclesiastical and architectural growth displayed by its character during each stage of its development, and this development, this character, is to be discovered as well in the plan and structure of the fabric, with its decorative details, as in the record that documents and traditions have preserved. But we need to remember that one see, one building, represents a link in one long continuing chain, and in doing this we naturally look back as well as forward to observe the relation of either to the past and to the present. Such an attitude as this requires that we refer to that period when the subject of this chapter was not yet part of the native soil of Sussex, and in doing this we find that so early as the eighth century the town of Chichester was even then a known centre of civil, though apparently not ecclesiastical, activity; for it is not until about the middle of the tenth century that some uncertain documentary evidence refers to "Bishop Brethelm and the brethren dwelling at Chichester." It may be that Brethelm was a bishop in, though not of, Chichester, who dwelt and worked among the south Saxons living in and about the city, for the history of the diocese and see will show that probably there was no episcopate established under that name until a little more than one hundred years later.

Walcott, "Early Statutes," p. 12.

Ceadwalla's foundation of the see at Selsea dated from about the end of the seventh century; but we know nothing about any cathedral church at that place during the following three hundred and fifty years. If, however, there was a bishop in charge of the missionary priests, deacons, and laymen who lived there together, there must necessarily have been a "cathedra" in the church they used.

When Stigand came from Selsea to establish his see in Chichester he found the city already furnished with a minster dedicated to S. Peter. He had effected this transfer because the Council of London had decided in 1075 that all the then village sees should be removed to towns; and as there is no evidence of any attempt to provide a new cathedral until about the year 1088, the existing minster must have been appropriated for the see. It has been supposed that Stigand may have devised some scheme for building a new church, and even that he saw it carried out so far as to provide the foundations on which to execute this idea. But there appears to be no authority which warrants the assumption that he did even so much as this, for history says nothing about such an early beginning of the new operations, tradition asserts no more, and speculation suggests probabilities merely. We are obliged, therefore, to be satisfied with the fact that the work begun about 1088 was consecrated by Bishop Ralph de Luffa, in 1108, and it is possible even now to see the stone which commemorates that ceremony embedded in the walling of the present church. Unfortunately no more than about six years had passed since this, the first, dedication, when a fire occurred which burnt part of the fabric. Ralph was still living, and began at once to repair the damage that had been done; and the king gave him much help by encouraging his endeavour. What, then, had been accomplished during the twenty years between 1088 and 1108?

In 1075 Stigand transferred the see. About thirteen years later the new cathedral building appears to have been begun under Ralph, and in another twenty years so much had been finished as would allow him to see it dedicated. It is probable that before this ceremony was performed a considerable portion of the eastern section of the work was finished; for in accordance with a general custom with the mediaeval church builders, this part would have been that first begun. But how much of it was ready for use? The sanctuary and presbytery, or choir, with its necessary structural appendages, no doubt first appeared. It may be that no more than this was ready when the dedication took place. But it is not possible to say with any authority what actually was finished. Nevertheless, the character of the building itself explains the course in which the structure was developed. After the first fire, in 1114, the work steadily continued, and it is possible that before that mishap occurred, certain other parts had been begun, if not finished. The remains of the original nave still present distinct evidence to show that it was, with the aisles, built in two sections; and these, although they appear at first to be alike, prove upon closer examination that the four bays towards the west are of a later date than those other four eastward. Now it is not essential that we should know exactly how much of the building was finished by a certain year, or what stage towards completion had been reached at any particular time; it is sufficient at present that we should be able to indicate the general trend of the operations,--and this would suggest the conclusion that, having prepared so much as was necessary about the chancel, the builders went on busily, after the dedication, to deal with the transept and the nave. Then followed those four early bays of the nave which are nearest to the east.

It is quite safe to assume upon various grounds that the work had been carried on successfully up to this stage early in the twelfth century; but neither the documentary evidence available, nor the condition of the fabric, enables us to venture more than this surmise concerning its condition at that time.

Between 1114 and the time of the second and serious fire in 1187, the remainder of the whole scheme planned a hundred years before was apparently finished.

The first fire had excited some public interest in the great enterprise at Chichester, and from this an impetus was derived which helped towards its execution, after the small damage caused by the fire had been quickly repaired, for by about the year 1150 the four western bays of the nave, with its aisles, must have been complete. It should be understood that the fire in 1114 did not lead to any change in the character of the church such as was occasioned by that other fire which shall be considered presently; but the work had quietly continued, so that the aisles of the nave were vaulted by about 1170-1180, the lady-chapel was completed, and in 1184 all was ready for the second ceremony of consecration which then took place. It has been assumed that this act implies that the whole of the original scheme had been executed. Nevertheless, it must be acknowledged that again there are but few authentic records to show in what manner the work had been carried on, nor are there many indications of the way in which the necessary materials and money were provided to help it forward. But it is interesting to notice that in 1147 William, Earl of Arundel, gave to the see that quarter of the city in which stood the palace of the bishops, the residences of the canons, and the cathedral church. This grant of land confirmed the see in its possession of all that part of the city now within the bounds of the close.

What, then, was the plan of that church which was designed to suit the requirements set down by Bishop Ralph Luffa? The ground-plan at the end of the volume shows the building as it now remains, after many alterations have been made in the original scheme; but the arrangement is still, in its main features, much the same as was at first devised. The usual plan was adopted, and this was the provision of a nave and chancel having a transept between them so as to make the form of a cross. The nave had aisles along its whole length. These were extended on both sides eastward of the transept, and continued as an ambulatory round a semicircular apse. The transept also had a small apsidal chapel on the east side of both its north and south arms. At the point of intersection between the transept and the nave the supports of the central tower rose. Between this and the west end there were eight arches in each of the arcades opening north and south from the nave into the aisles. Beyond the crossing towards the east there were three similar arches in the arcades which connected the apse with the large piers of the central tower. These three bays, together with the apse, enclosed the chancel; and this comprised the sanctuary, which was that part within the apse itself, and also the presbytery, or choir of the priests, which occupied the remaining space between the apse and the arch into the transept beneath the tower. At a later date the accommodation of the choir was increased by making it occupy part of the space farther to the west. Possibly it projected into the nave. At the west end of each of the aisles of the nave a tower was placed, and between these two towers was the chief public entrance to the church. From the subsequent history of the structure it would appear that the two western towers had been built up and finished, so far, at least, as was necessary to allow of the completion of the nave with its aisles and roofs. The same may be concluded of the central tower.

This latter probably rose only just above the ridge of the roofs. To carry it up so far would have been dictated to the builders by structural reasons; for such a height would be required to help the stability of the piers and arches below, since they had to resist a variety of opposed thrusts. But even this tower, low as it no doubt was, like others of the same date, did not survive the dedication more than about twenty-six years. The whole building was covered with a high-pitched wooden roof over the nave, transept, and chancel; and beneath the outer roof there was a flat inner ceiling of wood formed between the tie beams, similar to those now to be seen at Peterborough and S. Albans. The north and south aisles of the nave were protected by roofs which sloped up from their eaves against the wall that rose above the nave arcades. Internally the ceiling to these was a simple groined vault supported by transverse arches.

Immediately above the vault of the aisles was the gallery of the triforium. This was lighted throughout by small external round-headed windows, some of which may still be seen embedded in the walls. The aisles and ambulatory of the chancel were treated by the same methods. In the triforium gallery, above the transverse arches of the aisles, were other semicircular arches. These served a double purpose: they acted as supports to the timber framework of the aisle roofs, and also as a means of buttressing the upper part of the nave walling in which the clerestory windows were placed. Such other buttresses as there had been were broad and flat, with but little projection from the surface of the wall. The windows throughout the building up to about the end of the twelfth century were small in comparison with some of those which were inserted at various times afterwards.

It has been remarked that the termination of the early chancel towards the east was an apse, and that round this was carried the north and south choir aisles in the form of a continuous ambulatory. From this enclosing aisle--a semi-circle itself in form--three chapels were projected, each with a semicircular apsidal termination. The central one of the three was the lady-chapel. This consisted then of the three western bays only of the present chapel. The lady-chapel was added about eighty years after the early part of the nave had been built, and has since been much altered.

The presence of this grouping of features is indicative of that influence which Continental architecture had exercised upon English art, and now that Norman government had been established that influence became more directly French. But though so strongly affected by this means, Anglo-Saxon character was always evident in work which was a native expression of the thought and personality of those by whom it was executed.

Thus we see that the plan which Ralph approved for the new church that was to be built for him at Chichester was devised according to accepted traditional arrangement. He adopted no new idea when he decided what general form the cathedral should follow. The disposition of the several parts differed in no wise from that which had been followed during centuries before. The requirements of ritual had decided long since what were those essential features of planning to be insisted upon, for the pattern in germ was shown in the arrangement of the Mosaic Tabernacle. In the earliest plans the same distribution of parts was observed, though at a later date the transept was introduced--an idea which no doubt had its origin in some practical necessity, and was afterwards retained as being representative of an ecclesiastical symbol.

Of the practical and artistic character of the architectural details we shall see more in examining the exterior and the interior of the church. These will lead us, of necessity, to deal more with archaeology in its relation to the history of architecture rather than of this particular church as a building used for ecclesiastical purposes.

After the ceremony of 1184 building operations were continued, but the records available do not tell about anything of much interest for the next two or three years. Then in 1186-1187 a catastrophe occurred--the cathedral was again burnt. But this time the effects of the fire were much more disastrous than had been the case in 1114. So extensive was the destruction that the entire roofing, as well as the internal flat ceiling, was gone; and though we can glean no certain knowledge from documentary evidence, it appears probable that the eastern section of the building suffered more than any other, for whatever other causes may have aided in the wreck of this part--a weakness in the masonry, an insufficiency in the supports or abutments--the fall of such heavy timbers as those which must have formed the outer roof and inner ceiling of the chancel would in itself be sufficient to wreck the remainder.

Whether the change in plan that now followed was really necessary because of the damage that had been done, or whether the fire provided a welcome opportunity by which new features might be introduced, we are not able to discover. It is sufficient that the chance was not lost, for in the eastern ambulatory of the cathedral church at Chichester is to be seen, as a result, one of the most truly beautiful examples of mediaeval design that English architecture now possesses.

In the nave some parts of the old limestone walls had been injured by the fall of the roofs; they were also seriously damaged by the beams that had been laid upon them, for these, after their fall, would continue to burn as they rested against those portions of walling which remained standing. It was no doubt by some such cause as this that the early clerestory was disfigured and partly destroyed. In either case, the old clerestory arcade of the twelfth century no longer remained as it was before; and though there were already stone vaults to the aisles of the nave before the fire occurred, yet they also disappeared and made way for newer ones. The outer roof over the triforium evidently shared the fate of the other coverings; and the arched abutment in the triforium, which acted as a support to this roof and the walling below the clerestory, now disappeared. It may be that this arching was not completely destroyed by the fire alone; no doubt some that remained was intentionally removed to prepare the way for the new work.

The same bishop who had witnessed the completion of the earlier operations began with much enterprise to see about the reconstruction, but not the restoration, of what had been destroyed. Some portions were repaired, others rebuilt; but the greater part of the work now undertaken involved an entire change in the character of some of the principal features of the earlier scheme. In fact, this incident in the history of our subject gave "occasion to one of the most curious and interesting examples of the methods employed by the mediaeval architects in the repairs of their buildings."

Willis, "Chichester Cathedral," p. 6.

Having decided that they would, if possible, avoid all future risk of a similar catastrophe, a system of vaulting was adopted as the best solution of the problem,--this involved necessarily a remodelling of the interior; and so, neglecting the Isle of Wight limestone and the Sussex sandstone, which at first had been the material used for the walling, the masons were directed to use stone of finer texture and smaller grain. It has been thought by some that this material was brought from Caen in Normandy. The same stone was used to re-face parts of the nave piers. And in addition Purbeck marble was selected instead of that which was to be found in Sussex.

It is interesting to remember that the new choir of Canterbury had only been finished about three years before the fire occurred at Chichester. This work had been begun by William of Sens and finished by William the Englishman; and though it was so large an undertaking, it appears to have been commenced and completed between the years 1174 and 1184. This would very naturally exert some influence upon the building projects of a neighbouring see. Whether any of the actual craftsmen from Canterbury worked again at Chichester or not we cannot tell, but it is evident that the Kentish experience was of great help to Sussex in the new venture. When it had been decided how they should operate, it was natural that the covering of the building must be the first provision. This involved the repair of the shattered clerestory, and then they were free to proceed in other directions. Further than this we have no means of learning what method was followed in carrying on the new work; but it continued, so that in about twelve years the building was dedicated again.

There is nothing now to indicate that the provision of a vault had been intended by the original builders of these walls. This deficiency was met by the insertion of vaulting shafts and the addition of external buttressing; for as the pressure of the flat wooden roof was exerted for the most part vertically upon its supports, that of the vault would be a strong lateral thrust as well as vertical pressure, and these were to be provided for. We shall see presently that all the real beauties of this most interesting work were the outcome both of the needs of practical structure and the requirements of ritual and a ceremonial expression of the liturgy.

Some flying-buttresses were built now in order to meet the thrust exerted by the new arched vault of the nave. These were constructed in two series, one being concealed under the sloping roof over the triforium and acting in place of the earlier round-arched abutment. Its supports were provided at the points where the transverse and diagonal arches of the nave vault began to spring away from the vertical plane of the walls. The other series was the immediate counter-poise to any direct thrust exerted by the arching of the vault against the upper section of the same walls. There was, in fact, a large buttress added to support these nave walls at that point from which each set of vault-carrying ribs began to rise. This buttress, though apparently sub-divided, was one thing, but of composite structure. It was pierced first by the aisle, next by the triforium, and then again above the roof of the triforium. It will be seen that most of these alterations were the direct result of the introduction of a stone vault. But the almost entire renewal of the eastern part of the cathedral was made possible by the destruction and total removal of the apsidal terminations of the earlier work. It has been suggested that the fire may have so badly damaged this portion as to allow no alternative but rebuilding. What may have been the actual cause of its removal it is impossible for us now to know; but the substitute is quite a perfect piece of work of its kind. This ambulatory, or presbytery, as it is commonly misnamed, was nearly all newly built from the foundations during the first half of the thirteenth century. The continuation of the arcade, the triforium, the clerestory, and the vault, the vaulting of the aisles and the chapels forming their terminations eastwards,--all this, with the new arch at the entrance to the earlier lady-chapel, was work of the same date.

Some new buttressing had been added to the south-west tower when the upper part of the tower itself was rebuilt; but the larger works were the addition of a vaulted sacristy in the corner between the west side of the south end of the transept and the nave. On the opposite side of the same part of the transept a square-ended chapel with a vestry attached was added in place of the original shallow apsidal chapel. The original chapel on the east side of the north end of the transept was also removed to make way for another and much larger one. This is now used as the cathedral library.

The scheme planned after the second fire having been completed by about the middle of the thirteenth century, little further work was undertaken in comparison with that then finished; but before 1250 the wall of the south aisle of the nave was pierced in four bays, and two more chapels were added. Then, on the north of the nave, the outer wall of the aisle was cut through in the second bay, going west from the transept, and a small chapel was built. The other chapels west of this one were added during the latter half of the century. In each case the deeply projecting buttresses which had been introduced against the earlier walls after the second fire were used, where they were available, to form parts of the masonry of these new chapels, and were therefore not disturbed unnecessarily. The old walls having been altered, and the earlier buttresses being changed in their nature, it became necessary to carry the original thrust from the nave still farther out from its source in order to find for it some satisfactory abutment, and in doing this there was that new force, introduced by the vaulting of these added chapels, to be reckoned with in addition. Consequently, to the earlier buttressing more was added. The exact nature and the approximate date of this work are shown by Professor Willis in the sections and plan given in his monograph on the cathedral. The addition to each buttress amounted to an elongation of it as a pierced wing wall which provided lateral support. Upon the end of it a greater mass of masonry was introduced to serve as a weight for steadying the structural device; and this necessary structural idea was the means of introducing another architectural feature--the pinnacle. Between the pinnacles of these buttresses rose the gabled ends of each of the chapels. Professor Willis suggests that a great part of the work done after the fire of 1186-1187 was completed by the time of the dedication ceremony in 1199, and he is no doubt a safe authority to follow. But the nature of many architectural features tends very strongly to confirm the idea that much of the work in the ambulatory eastward of the sanctuary had been delayed. It may have been that the activity which prevailed during the early half of the thirteenth century was caused by the desire to see this portion of the church completed; and the energy with which the plea for new interest and further funds was urged at this time would no doubt be indicative of a supervening lethargy following on the great effort necessary for the completion of so much in these few years. But it should be remembered that these great works of mediaeval art were none of them built in a day; they represented the accumulation of even centuries of developing thought and continually improving skill. Therefore must we realise that after this fire had occurred in 1186-1187 not more than eleven or twelve years elapsed before the building was again in use after the consecration in 1199.

This process of reconstruction shows that the mediaeval builders did not restore in duplication of what had been lost. Where their work was destroyed they built anew and improved upon what had gone.

Walcott, "Early Statutes," p. 15. Walcott, p. 15.

But apart from these many indications of activity, the fabric as it stands to-day speaks very clearly of the amount of building that went on between 1200 and 1300. But it was not till 1288-1305 that Bishop Gilbert de S. Leophardo had added the two new bays of the lady-chapel eastward.

Evidently, if the upper part of the tower did not fall, it is apparently certain that it was reconstructed, in order to carry the additional weight of the larger tower. But in examining the documentary evidence offered us, we find some further help. The teaching of archaeology shows that the portion of this tower above the main supporting arches and up to the bottom of the parapet was executed between 1225 and 1325--that is, it was finished not very long after the new part of the south-west tower was completed.

The cathedral statutes show that between the years 1244-1247 Bishop Ralph Neville was much concerned about a "stone tower" which he wished to see completed. They tell us, too, that the same bishop had himself expended one hundred and thirty marks upon the fabric, and that his executors, besides releasing a debt of ?60 due to him and spent on the bell-tower, gave ?140 to the fabric of the church. Ralph died in 1244, so it is concluded that the work in which he was so interested was none other than the central or bell-tower of the cathedral, and that the earlier tower, with its supporting arches, must have fallen, else it is not likely that the work would have been rebuilt from below the spring of these arches before the new superstructure could be added; for we are obliged to take the customs of mediaeval builders into consideration in any attempt to sift the evidence concerning their work--and they were before all things practical. The claims of structure, the motives of common-sense, rather than abstract and aesthetic ideals of beauty, were the prime causes at work in the evolution of their great art. Here they found themselves faced by a practical need--the rebuilding of a fallen tower. Its reconstruction was necessary to the completeness and stability of the building; so they put it up, applying new and increasing knowledge and skill in the execution of the work. They did their best, and the result was something not only strong and structural, but beautiful. But, as time has shown, it would have been better had they been less respectful of the valueless legacy bequeathed to them in the piers, though in defence of their sagacity it must be admitted that what they deemed sufficient for the purpose then in view was able to carry their own tower for five hundred years in safety, and not only this, but, in addition, a spire, the erection of which they may not have thought of when the restoration was begun.

Walcott, p. 15.

There is another interesting fact which may be mentioned before quitting this part of our inquiry. Professor Willis found that there still existed in 1861 one of the old wooden trusses of the roof over the west bay of the chancel. It was a specimen of mediaeval carpentry six hundred and fifty years old, and it had not, as he showed, been unframed since the fire of 1186-1187. The timbers composing it had been slightly charred by the flames, and some of the lead which covered the burning roof had run in its melted condition into the mortices of the framing.

See Willis, p. x.: Introduction.

In the admirable plan and sections which Professor Willis prepared to illustrate his work upon the history of the fabric it is possible to see at once what work had been done during the different stages of development. The work finished by the end of the thirteenth century changed the earlier church of the eleventh and twelfth centuries in its essential arrangements into the church we see to-day.

We have now briefly to review the changes produced in the plan of the cathedral. There were those effected as an immediate consequence of the fire, and others which were more the result of the continued energy of the thirteenth-century builders. The most remarkable one was that which converted the French chevet, or group of apses, into the more familiar square, and characteristically English, eastern termination. The apsidal chapels on the east side of each arm of the transept had disappeared to make room for others of a different shape and size. The other chapels at the east remained the same in number; but towards the close of the thirteenth century the lady-chapel had been lengthened, and the aisles of the choir, being continued eastward, ended in small chapels to the north and south of the central one. The other changes were those caused by the addition of chapels off the south and north aisles of the nave. The addition of the south and north porches, and the sacristy next to the south arm of the transept, were the only other alterations, if we except the addition of buttresses, which had been made in the original arrangement up to the beginning of the fourteenth century.

Though the quest may not be followed here, it would be interesting to try and trace the cause of this desire to add chapels to mediaeval buildings. It had during the thirteenth century already become a clear indication of that gradual movement affecting the arrangement of churches which originated in the introduction of new doctrinal ideas. The particular set of ideas which caused such additions as these had now become a part of the common property of popular thought, imagination, and reverent superstition. The earlier designers and builders had not been taught to consider these features essential to the complete equipment of a church planned in accordance with primitive usages; they were a simple example of the influence which doctrine exercised upon the history of art and the scope of archaeological inquiry.

Bishop Reade's Register.

Walcott shows by his study of the early statutes of the cathedral that "in 1359 the first fruits of the prebendal stalls were granted to the fabric; and in 1391, one-twentieth of all their rents was allotted by the dean and chapter to the works, which embraced works round the high altar, for, in 1402, materials 'ad opus summi altaris,' were stored in S. Faith's Chapel. A 'novum opus,' a term applied to some special building, was also in progress." These remarks are of interest, since about the end of the fourteenth century a beautiful wooden reredos was built across the east end of the sanctuary. It was placed just west of the feretory of S. Richard. In many old prints its character is represented, and Dallaway gives some dimensions of it in the long section he shows of the church as it was before the reredos was removed . The feretory no doubt had a reredos at this point, but what the type of this earlier arrangement may have been it is impossible exactly to tell. But the work which took its place was evidently beautiful, as the many remains still in existence prove to those who may examine them. Walcott gives some interesting details concerning this work. From the representations, descriptions, and remains of it, it may be gathered that the whole was much carved, niched, and canopied, and decorated in colour; and there is a note extant showing that Lambert Bernardi in the sixteenth century repaired "the painted cloth of the crucifix over the high altar." This reredos had a gallery across the top of it, from which the candles on a beam over the altar could be lighted and a watch kept over the precious jewels in S. Richard's shrine. The whole screen was made of oak, and those old sketches and drawings, or prints, of it still preserved, help dimly to show what had been its character. An old letter in the British Museum refers to it as having the finest "glory" above the high altar "we have ever seen." But this so-called "glory" was an eighteenth-century production. Much of the reredos is still hidden away unused in the chamber over the present library of the church, and since its first removal it has travelled as far as London in search of a friendly purchaser. In the chapter on Chichester in Winkles's "Cathedrals" a view in the "presbytery," dated 1836, shows the reredos still in its place where it remained till after the fall of the spire. There are in existence two drawings of considerable interest. One of these shows the east end and the other the west end of the choir as it was about the beginning of the last century ; the other indicates what were the changes made after 1829, when the altar was set back six feet farther eastward. The latter was taken from a water-colour drawing supposed to have been made by Carter, an architect of Winchester.

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