Bell's Cathedrals: The Cathedral Church of Wells Part 6

179. Turketul. Short figure, trampling, in very pointed cloak, big head in cap.

180. John Scotus.* A beautiful figure, with exquisitively fine drapery that looks as thin as gauze.

_Missing._

181. _North Side of Tower.--b.u.t.tress._ Robert, Archbishop of Canterbury, standing, holding book in right hand, left hand gone; no mitre.

182. Q. Elgiva, drapery falls from left shoulder, is folded over right arm; book in left hand.

183. Q. Edgitha. Tall, gaunt figure; veil falls in long folds to knee, right arm close to side, left hand holds cord.

184. Q. Edburga, circlet round head, brooch on her breast, holds drapery in right hand.

_Missing._

_Missing._

185. Christina, Abbess of Romsey.* Beautiful female figure, holding box in left hand: "her dress is peculiar": one end of veil is caught over right shoulder, the other falls down in front on right side (p.

31).

186. Wulston of Winchester, bearded, "with distended ears"; right hand gone.

187. _b.u.t.tress._ Archb. Aldred of York, sitting; "mitre modern," it is conical in shape.

188. Edgar Atheling. Knight, spurred, in surcoat only, with sword girded outside, no mail, but close-fitting cap and fillet on head: the fillet was used for the large cylindrical helmet to rest on. He carries what may be a palmer's hat (c.o.c.kerell points out that Edgar went on a pilgrimage); but Planche says it must be a small Saxon buckler, as pilgrims did not carry swords. It certainly looks like a hat.

189. Robert the Saxon. Knight in hauberk, without mail, but feet spurred, cap on head, s.h.i.+eld and sword.

190. Falk of Anjou. Knight in hauberk and chausses of mail, hood of hauberk enclosing whole head except a portion of the face: on head is the thick fillet. He covers his body with a s.h.i.+eld. His surcoat is deeply jagged.

191. Robert of Normandy. Knight, in hauberk and complete suit of mail, in good preservation, s.h.i.+eld with boss on it held down: he wears cyclindrical helmet, his eyes and nose being visible through the slit.

192. _b.u.t.tress._ B. Roger of Salisbury, sitting, without mitre.

_Missing._

_Missing._

193. Female figure, holding drapery with right arm, left hand on side.

194. St. Nicholas, the patron saint of baptism, stands in water up to knees, holding a child in each arm. This ascription is approved by Planche. (He is commonly called by children "the pancake man," the conventional water suggesting round cakes).

195. Female figure, in good preservation, but clamped in a sloping position, drapery good.

THE RESURRECTION TIER.--The sixth tier (195-283) consists of a series of small canopies which run continuously under the cornice that finishes the main division of the front. Above and around, the spandrels are filled with beautiful foliage most boldly undercut. Each of the eighty-eight canopies (of which thirty are on the north side) contains a figure, or group of figures, representing the Resurrection of the dead. In spite of a rather defective anatomy, these figures are singularly impressive, "startling in significance, pathos, and expression," are c.o.c.kerell's words. They are naked--crowns, mitres, and tonsures alone remaining to distinguish their office. They awaken by degrees, heave up the lids of their tombs, and draw themselves up slowly, as if scarcely yet awake. Some sit in a strange dreamy posture with folded arms, some seem expectant, others are in att.i.tudes of fear, hope, defiance, and despair. There are none of the grotesque accessories which are too common in ancient representations of this subject, but the awful feeling of a great awakening s.h.i.+vers along this range of naked, grey, stone figures. It is probably the earliest representation of the subject in art; it is certainly the most profound and spiritual.

THE ANGELS' TIER.--This is immediately above the Resurrection Tier, and occupies the lower part of the gable only. The angelic figures stand in nine low niches with well-moulded trefoil heads that rested on blue lias shafts; the two niches on the returns of the b.u.t.tresses also contain angels, which are represented as blowing trumpets. In all probability the nine figures symbolise the nine orders of the heavenly hierarchy, and I have ventured to give the names which the attributes and position suggest to my mind as the most likely. Mr Ferrey's account is quoted in inverted commas: it must be remembered that he had the advantage of a close inspection from the scaffolding.

284. Thrones. "Angel holding an open book," two wings, long robe, facing to his right.

285. Cherubim. "Seraph," with four wings, "apparently holding a banner," decayed.

286. Seraphim. "Seraph," with four wings, "entirely feathered, with bare legs and feet," face gone.

287. Dominations. "Angel wearing a helmet," in vigorous att.i.tude, two wings, "too dilapidated to make out what its attributes are."

288. (_Central Figure_). Powers. "Beautifully robed, holding a sceptre," two wings: the dress is very ample and majestic.

289. Virtues. "Robed in a short tunic, with an ornamental border, the legs are encased in armour," wears "a jewelled cap," two wings.

290. Princ.i.p.alities. "A Seraph, entirely feathered, holding a vessel shaped like a bowl," with flames issuing out of it, the legs and feet being also enveloped in "wavy lines of flames: probably the avenging angel"; four wings.

291. Archangels. "Apparently holding a crown in the right and left hands, close to his breast," long robe covering the feet; two wings.

292. Angels. "Carrying a regal or small hand organ," in left hand, four wings, decayed; apparently bearing a wand in right hand.

THE APOSTLES' TIER.--The next tier, that of the Apostles, who are thus raised above the angels, contains twelve figures of imposing design, later in style than the rest of the statuary. The figures are hollowed out at the back so as to press less heavily on the tier beneath. The arrangement of these niches is very happily managed, so as to avoid any monotony in the range of twelve similar niches; for, besides the natural division formed by the small attached shafts between the figures, an additional projecting shaft in every third division forms the tier into four large bays with three figures in each. The capitals of these niches are remarkable, the graceful foliage being disposed in a very free manner, in some cases growing upwards, in others bent down, but always true to the outline of the capital. Of the figures themselves the central one, in the place of honour, and taller than the rest, is St. Andrew. The others are not all so easy to name, the attributes of some having disappeared; and, although c.o.c.kerell gave names to them all (some of which were certainly wrong), we may content ourselves with the following list, which at least is accurate so far as it goes:--

293. No symbol in hand, which is covered with drapery. (Carter's drawing represents a staff or spear, but he is quite unreliable, though it is occasionally possible that the attributes he draws did exist when he saw the figures a century ago.)

294. Book (?) in right hand, a vessel or bag of cylindrical form is apparently suspended from the left arm. Perhaps St. Matthew with his purse.

295. Holds something, which may be the fuller's club, in which case the figure is that of St. James the Less; forked beard.

296. Club (?) in hand, long curly hair and beard. There is something near the knee, which may be a palmer's hat. (Carter drew this figure as St. Bartholomew with knife and skin.)

297. Carter drew this figure as St. Peter with the keys.

298. St. Andrew with his cross; he is so tall that his head fills the upper portion of the canopy.

299. St. John holding the chalice, which has large bowl and short stem; wavy hair. This is the only figure not bearded.

300. St. James the Greater. Staff in right hand, large satchel on left side hung from hand over right shoulder, book in left hand (the book of the Gospels with which St. James is always represented, in addition to the pilgrim's stiff and scrip). He wears a high cap.

301. Perhaps St. Paul (who is often represented among the Twelve), with sword and book.

302. St. Philip holds drapery in right hand. Ferrey says the five loaves can be distinguished.

303. Long hair and head-dress like a veil bound by a fillet round the brows, forked beard, book in left hand, girdle.

304. This figure occasioned much controversy, owing to Carter having drawn it with a crown. c.o.c.kerell therefore attributed it to St. Peter, and said that the crown showed Bishop Jocelin's papistical tendencies!

Planche scoffed at this, remarking with truth that none of the Apostles are ever represented with crowns, but he caused even greater confusion by suggesting that the figure stood for a Saxon king, and that the tier, in spite of the Apostolic number, did not represent the twelve Apostles. If he had looked at the actual figures instead of Carter's drawings he would have seen that there is no crown at all. In the photographs this is still clearer, the Apostle's head being evidently covered by nothing more imposing than his own long hair or a veil like that of the preceding figure.

THE UPPERMOST TIER.--The whole magnificent series was fitly crowned by this group (305), of which only the lower part of the central figure remains. That, however, sufficiently attests the n.o.ble character of the rest: it represents our Lord seated in glory within a vesica-shaped niche. The feet are pierced. It seems to have been mutilated by Monmouth's followers, for it still bears the marks of their bullets. The two figures in the niches on either side must also have been destroyed at this time, for they are shown in a print in Dugdale's _Monasticon_. Ferrey cannot have seen this print when he suggested that the figures were of angels censing, for they are there given as representing Our Lady (new covenant) and John Baptist (old covenant).

THE WESTERN TOWERS.--The projection of these towers beyond the aisles of the nave gives its great breadth to the west front, which is 147 feet across, as against the 116 feet of the almost contemporary cathedral of Amiens, which is twice its height. It is an unusual arrangement, of which there is no exactly similar example except at Rouen. Above the screen the towers are Perpendicular, the southern tower having been completed towards the end of the fourteenth, and the northern at the beginning of the fifteenth century. They are thus later additions to the original design of the front, and make it more difficult for us to realise the effect that was first intended.

These two towers are very nearly alike, but the southern, or Harewell, tower is some forty years the earlier of the two, and belongs to the earliest days of the Perpendicular style, Bishop Harewell having died in 1386. The northern tower was built with a sum of money left for the purpose by Bishop Bubwith, who died in 1424, and his arms are carved high up on a b.u.t.tress upon the north side, those on the west being a modern copy. In one of its two western niches is a figure of the bishop in prayer. Both the towers have two belfry windows on each side, tiny battlements, and a stair-turret on the outer western angle; in both the b.u.t.tresses are carried up, with but slight reduction in bulk, two-thirds of their height and then finished with small pinnacles. There are, however, certain slight differences between the two towers; their height is not exactly equal, and there are no niches on the earlier one. The south tower contains a peal of eight bells; that on the north is traditionally considered "rotten," but to all appearance it is sound enough.