Rahere can have lost but little time in hastening home and obtaining from the King a grant of the prescribed land, for we find that within three years of his visit to Rome the church of his new convent was sufficiently advanced for consecration, and presumably the convent itself was ready for occupation. The new priory was designed for the reception of Canons Regular of the Order of St. Augustine, and the reason for the founder"s adoption of this Order, apart from the fact that it was somewhat fashionable at this period, may have been partly because his former occupation had particularly fitted him for public speaking, and partly because two, at least, of the men with whom he had been closely a.s.sociated at Henry"s court were themselves members of this order. And it is necessary to bear these facts in mind in considering the never-to-be-determined question of whether the apse of St.
Bartholomew"s was ever completed by Rahere.
These two friends of the founder"s were Richard de Belmeis, Bishop of London, and William de Corbeil, or Corboyle, Archbishop of Canterbury, and they were not only themselves Austin Canons, but were actively engaged in spreading the influence of that order. The Bishop had then recently built the Priory of St. Osyth, in Ess.e.x, of which the Archbishop, who had previously been connected with the Priory of Merton, had been the first prior. Moreover, Corbeil, soon after he had received the pallium, obtained permission to suppress the monastery of St.
Martin-le-Grand--for monasteries were suppressed in the reign of the first Henry, as well as in the reign of the last--and devote its revenues to building a new priory for Austin Canons, outside the walls of Dover. This priory, known as St. Martin New-work, of which considerable portions remain to this day, presents what may be regarded as a model plan of a church of this order, and consisted of a small square-ended choir, shallow transepts, and a large nave with aisles.
From this it is evident that Rahere"s building differed most essentially from the recognized type, and the question is, did his friends point out to him his deviation from the almost invariable rule of the Austin Canons to give their churches a square east end in time to enable him to modify his design, or were they able to induce him, after he had completed his apse, to remove the two easternmost piers, and to insert in place of them a square-ended chapel? But to this question no answer has ever been discovered.
[Ill.u.s.tration: FIG. 1--NORMAN CAPITAL.
_Discovered in 1863._]
[Ill.u.s.tration: FIG. 2--PRIORY GATE AND CHURCH TOWER IN 1863.]
[Ill.u.s.tration: FIG. 3--TRANSITIONAL CAPITAL.
_Discovered in 1863._]
At the death of Rahere, in 1143, but a small part of his great scheme had been achieved, of the existing church perhaps no more than the choir to the top of the triforium and the choir aisles; but judging from fragments discovered from time to time, such as the capital to a nook shaft shown in fig. 1, which clearly belong to this period, he had completed other works which have now been destroyed. Perhaps during his life-time the conventual buildings, as was the case at Merton, were mainly of wood, and of a merely temporary character; but it may be a.s.sumed that these, together with the cloisters, had been built when the great arch, which formed the entrance to the priory (shown in fig. 2), was completed about the middle of the thirteenth century. The work to the choir and transepts went on gradually, no doubt, without any alteration of design, or only such modifications in the details as resulted from the changes in progress in the style, until their completion, and it is likely that the end of the twelfth century saw the conclusion of that section of the work. The fragment given in fig. 3 is a fair example of this transitional style. In the building of the nave, which was a very important part of the church with the Austin Canons, who sought by their preaching to attract large congregations, some fresh departure in the design was made. Evidence of this can be seen in the east bay of the south side (fig. 4), where an Early English cl.u.s.tered-shaft, with the springing of some groining, standing clear of the older Norman pier, gives an idea of the character of the work of the now destroyed nave. With this building, which was apparently achieved before the close of the thirteenth century, we may regard the priory as finished, having taken over a hundred and fifty years to accomplish.
After a lapse of two hundred years, it is not unlikely that the building had fallen somewhat into a state of dilapidation and for that reason, as well, perhaps, from a desire for improvement and display, large works of alteration and rebuilding were undertaken at the beginning of the fifteenth century. Prior John Walford, of whom little is known, except that he was summoned to a convocation at Oxford in 1407, is credited with the work, which embraced the new east wall to the choir, and perhaps a reredos, the Lady Chapel and chapels, on the north side of the north ambulatory, and the rebuilding of the east walk of the cloisters with rooms above. But although Prior John may have been the agent for carrying out all these works, the initiative was probably due to Roger de Walden, afterwards Bishop of London. This man, who had a most remarkable career, was in some way closely a.s.sociated with St.
Bartholomew"s, for his stepmother resided in its vicinity, and he had a brother John, a man of considerable wealth, who is described as an esquire of St. Bartholomew, Smithfield. During the reign of Richard II., Roger de Walden held high and lucrative ecclesiastical appointments, and in 1395 became Dean of York and Treasurer of England, and when Archbishop Arundel was banished from the realm in 1397 for his share in the conspiracy of his brother, Roger was advanced to the See of Canterbury. After the downfall of Richard, Arundel returned to England, and Roger was ousted from his seat; but strange though it may appear, the Archbishop bore him so little ill-will for his usurpation that he induced Henry IV., though with some difficulty, to agree to his nomination to the Bishopric of London at the next voidance of the See.
As Bishop of London, he died in 1406, and though he lay in state in his chantry chapel at St. Bartholomew"s, it is believed that he was actually buried in St. Paul"s Cathedral.
[Ill.u.s.tration: FIG. 4--EAST BAY OF SOUTH AISLE OF NAVE.]
It was during his years of prosperity, and before he had antic.i.p.ated the honours to which he afterwards succeeded, that he built his chantry chapel in the church with which his early youth was doubtless a.s.sociated, and tradition, to some extent supported by both architectural and heraldic evidence, has identified the screen in which Rahere"s monument is encased as a portion of that chapel. The beautiful canopies and tracery, the character of the carving of the effigy and its attendant figures, and the arms of England emblazoned on one of the shields, all point to a date supporting the tradition, whilst the arms, which seem undoubtedly to be Walden"s, displayed on the fourth shield make it improbable that the work can be a.s.signed to any other person.
Of the building carried out at this time, except the screen of the chantry chapel and some portions of the restored cloister, but little remains, and all the evidences which might have enabled us to determine how far the east wall was a restoration, or an entirely new work, were swept away when the apse was rebuilt. That this east wall was not merely a reredos is shown by the fact that the upper part rose clear of the aisles, and was pierced by two large traceried windows in the same position as the Georgian windows which lighted the church in the last century, and it is quite possible that it was only a restoration of an earlier wall, which had been built across the apse so as to make it conform to the Austin Canon rule. The screen of the chantry chapel, the two eastern bays of which have been destroyed, but which is shown complete in our ill.u.s.tration (fig. 5), may have been continued across the east wall, and formed the reredos itself, but all traces of this were effaced in subsequent alterations.
[Ill.u.s.tration: FIG. 5--SCREEN OF ROGER DE WALDEN"S CHANTRY, AND RAHERE"S MONUMENT.]
One alteration was made in the choir which very much affected the proportions of the building between the date of its first building and the erection of Rahere"s monument. Perhaps because the ground outside the church had become raised by the building operations, which had gone on around it, and the drainage of the interior had become defective, or for some other reason, the floor over all the eastern part was filled in for a depth of nearly three feet, dwarfing considerably the Norman arcades, and burying the bases of the columns; and it was upon this altered level the screen of Bishop Roger de Walden"s chantry was built.
Having undergone such extensive repairs the priory received no further alterations until, after another hundred years, William Bolton became prior in 1506. It has been a.s.serted, on what seem very insufficient grounds, that Bolton was the architect of Henry VII."s Chapel at Westminster; but although this is very improbable, he was a.s.sociated with those who were engaged on the work, and seems himself to have been disposed to architectural display. He has been credited with very large alterations to the conventual buildings, and the erection of a tower over the crossing; but nearly all traces of his work have disappeared, except a doorway in the south aisle, and the beautiful window in the triforium, overlooking the choir, which is always, known as "Prior Bolton"s window," and is distinguished by his rebus, a bolt in a tun, in the centre lower panel, as is shown in the ill.u.s.tration (fig. 6).
Bolton"s successor, Robert Fuller, was the last of the priors, and with him is ushered in the era of dissolution and decay, when--
"The ire of a despotic King Rides forth upon destruction"s wing."
The priory was suppressed, and the great nave was deliberately pulled down. But, except that so much of the cloister as adjoined the nave was destroyed with it, no further demolitions took place at that time, and it was only gradually that the conventual buildings, some of which lasted to our own day, were removed. The choir and transepts were preserved to form a parish church, and the area of the destroyed nave became the churchyard. The rest of the buildings were sold by the King to Sir Richard Rich, for the sum of 1,064 11s. 3d., not a large sum considering the area of the site and the extent of the buildings, which included, among others, the prior"s lodgings, styled "the Mansion,"
which had housed so great a man as Prior Bolton.
[Ill.u.s.tration: FIG. 6--PRIOR BOLTON"S WINDOW.]
In Queen Mary"s reign the Church resumed possession of the conventual buildings, and they were occupied by the Black Friars, who, it is said, made some attempt to rebuild the nave; but beyond some slight works to be seen in the east cloister, they left no traces of their occupation behind, the sole relic remaining of them being the seal of their head, Father Perryn, the matrix of which has already come into the possession of the church authorities.
With the death of Mary the friars retired, and the choir became, once more, the parish church, and for the next century neglect and decay continued the ruin of the fabric. But with the advent of Laud to the See of London, some attempts were made at reparation. It is said that the steeple had become so ruinous that it had to be taken down, and in 1628 the present brick tower, which stands over what was the easternmost bay of the south aisle of the nave, was erected. Where the ruined steeple stood is not clear, but most probably over the crossing, and as towers were unimportant features in the churches of the Austin Canons, it is likely that it rose but little above the roofs. Another and remarkable erection of this period was the charnel-house at the east end, known as "Purgatory," which was constructed with some attempt to give it a Gothic appearance, and was attached to the reredos wall. This is shown in fig.
7, which ill.u.s.trates the eastern ambulatory, as it existed before the restoration.
[Ill.u.s.tration: FIG. 7--EASTERN AMBULATORY AND PURGATORY BEFORE RESTORATION.]
During the great Georgian period considerable work was done to the church, not without some attempt at architectural improvements, unappreciated, however, at a later date. The choir appears to have been re-roofed, the old timbers being partly re-used, but shortened by cutting off the rotten ends, with the result that the pitch of the roof was considerably lowered. To this or to their own decay may be due the destruction of the two great traceried windows at the east end, which were replaced by two wide semi-circular headed windows, which their designers, perhaps, fondly imagined to accord better with the Norman arcades below. Whether the reredos screen had already been destroyed or defaced is uncertain, or whether, as at Southwark, they were content with hacking off the projecting canopies cannot now be determined, but in place of it was erected a vast wooden structure, picturesque from its very ugliness, more suited to the cla.s.sic taste of the Georgian era. At this time, no doubt, the church was re-pewed, and the great pulpit, with its sounding-board, set up on the north side of the choir.
Among the conventual buildings which had survived to this time, and remained in occupation, was the chapter house, which, with nearly all traces of its antiquity destroyed, and with a gallery erected across its west end, had been converted into a meeting-house for dissenters, the old slype having been made into a vestry. The access to it appears to have been the ancient one through the east cloister, which was also standing perfect at that time. It does not appear to have belonged to any particular sect, but was always known as St. Bartholomew"s Chapel, and among those who preached in it was John Wesley, who also occasionally preached and celebrated weddings in the church itself.
In 1830 occurred a great fire, which destroyed this chapel, together with all the upper part of the east cloister, and the greater part of the south transept. Whether the great dormitory, which extended southwards from the transepts, or any part of it, had been left standing seems uncertain, but if so, this fire must have destroyed it.
The fine undercroft of the dormitory, which consisted of two vaulted aisles of the Transitional period, remained perfect, and was standing as recently as 1870, when it was ruthlessly, and, apparently, unnecessarily, destroyed to make room for some parochial offices.
Shortly before this fire happened, some small, and not very fortunate, attempt at a restoration was made within the church, which resulted in more loss than gain, as it entailed the complete destruction of any remains of the ancient altar-screen which might have survived the previous alterations. The Georgian reredos which had taken its place was removed, and the east wall was plastered over and ornamented with a blank arcade in cement, which its architect doubtless thought agreed with the Norman features of the church. The Georgian pulpit was removed, and a symmetrical arrangement of two was subst.i.tuted, recalling the Gospel and Epistle ambones of an ancient Italian church, but lacking their beauty.
Thus, after the vicissitudes of over seven hundred years, the church was reduced to the appearance shown in our ill.u.s.tration (fig. 8), when its restoration was seriously taken in hand in 1863.
[Ill.u.s.tration: FIG. 8--INTERIOR OF CHURCH IN 1863.]
The task which the restorers then set themselves to accomplish, and in which they have been eminently successful, seemed at the time well-nigh hopeless. All the conventual buildings, and everything outside the actual walls of the church had been alienated, and, to a great extent, destroyed, and of the church itself but a battered torso remained. The nave had been destroyed at the Dissolution, and its site had become the parish churchyard; the south transept had perished in the fire of 1830, and its unroofed area had also become a burying-ground; whilst the north transept had been gradually encroached upon, no one knew how, and a large part of it was then used as a forge. The desecration of the east end was almost worse. The great Lady Chapel, which had been rebuilt in the fourteenth century, and which had formed part of the a.s.signment to Sir Richard Rich, had been for long employed for trade purposes, being at one time the printing shop in which Benjamin Franklin had worked, and was, in 1863, a factory for fringe. This factory had gradually extended, on the upper floor, over the eastern ambulatory, up to the back of the reredos wall and over the south aisle, so that it was lighted, in part, through Prior Bolton"s window from the church itself. This encroachment over the ambulatory shows well in the ill.u.s.tration (fig. 7). The north triforium was the parish school, which, with its noises, interfered with the services of the church, and, with the roughness of its occupants, endangered the safety of the groining below, and of the north wall which then leaned dangerously from the upright. The whole area of the church, which had been raised in the fifteenth century, was filled with graves, many of which were dug below the very foundations of the piers; moisture oozed over the grave-stones and darkness overspread the walls, so that it struck a chill into all who entered it. It was a by-word and a desolation.
In draining the area of the church, in rebuilding the decayed piers, and in bringing up the north wall to the perpendicular, the restorers effected great and substantial improvements, but in lowering the floor to its original Norman level, and in rebuilding the apse as they believed it was first planned, they embarked on extensive operations which were by some regarded not only as unessential, but as going beyond legitimate restoration; in fact, as was pointed out by more than one, it was not unlike an attempt to restore the nave of Winchester Cathedral by clearing out first all the work of William of Wykeham. There was much to be said in favour of lowering the floor, but the building of the apse was open to considerable question, and there is but little doubt that had the restorers commenced the destruction of the east wall at the top, instead of at the bottom, and so discovered the ruins of the great traceried windows, they would have paused in their scheme; but the position of the fringe factory prevented this, and it was only many years after the ambulatory arcade of the apse had been completed that this discovery was made. The question of whether there ought to have been an apse according to Austin Canon rule was not properly considered, but when it was found, after the walls of Purgatory had been removed, that there were no traces of any foundations to the missing central piers, some doubt as to the correctness of the course they were following was necessarily suggested. It was then, however, thought to be too late to alter the plans, the most important part of the east wall having then been destroyed, and the result is that we now have a Norman apse of uncertain authority, crowned with a lofty traceried clerestory, which, though a clever architectural composition, is only a modern makeshift. In place of this, had the fifteenth century east wall been preserved, we should have had in the upper part the two great windows, much of the tracery of which still remains, and beneath them the reredos might have been renewed. In this case the eastern portion of Roger de Walden"s screen, with its doorway, would have been saved, and Sir Walter Mildmay"s picturesque monument been left intact, making altogether a more beautiful sacrarium, and a much more truthful representation of what had once been, than the doubtful restoration of the rude Norman apse.
In succeeding years the work of restoration went on slowly, but much was achieved. The great schemes of the earlier restorers were wisely reviewed, and reasonable limitations acknowledged. All idea of rebuilding the nave was abandoned, and the rude brick wall which had been built to the west end of the choir was refaced in a seemly but permanent manner. The south transept was rebuilt over a portion only of its former area, and, with the north transept, finished in an appropriate manner which does not pretend to be a literal restoration.
In the Lady Chapel, when it was rescued from the fringe factory, much of the old work in the windows was found intact, and a complete restoration had been possible. The continuous work of the last forty years has been crowned with success, and, although portions are evidently modern in design and execution, the choir of St. Bartholomew"s Priory Church has been preserved for future generations as an example of the earliest and most important ecclesiastical buildings of London.
THE LONDON CHARTERHOUSE
BY THE REV. A. G. B. ATKINSON, M.A.
Of the religious houses of which remains may be found in London, none perhaps is of greater interest than the Charterhouse. Here More and Colet kept retreat, and as a peaceful haven for pensioned age the place still retains something of its old monastic calm. Lying behind the markets of Smithfield, its secluded courts and gardens are barely penetrated by the roar of the great city. The history of Bruno, the original founder of the Carthusian order, and his six companions has often been told. It is related by Prior Guigo that the University of Paris, professors as well as scholars, were a.s.sembled at the funeral obsequies of one of the most learned and pious of their number. To the amazement of all, the dead man raised his head, and as he sank back again on the bier called out with a loud voice, "I have been accused at the just tribunal of G.o.d." Three times on three successive days this terrible occurrence took place. Amongst those present on this occasion who were struck with horror at the unexpected sentence of d.a.m.nation was Bruno, a native of Cologne. He was a Canon of Rheims and professor of divinity. Five others with him, seized with a holy fear, consulted a hermit how they might escape the judgment of G.o.d. To them he gave the answer of the Psalmist, "Lo, I have prolonged my flight and remained in solitude." They, too, were fired with the love of solitude, and begged of Hugh Bishop of Gren.o.ble that he would a.s.sign them a place suitable for a retreat. This the bishop did, and the order was established at La Chartreuse in the mountains of Savoy in the year 1084.[60]
[Ill.u.s.tration: THE CHARTERHOUSE HOSPITAL.
_From an old print by Toms._]
The first Carthusian house in England was founded by Henry II. at Witham, in Somersetshire, about the year 1178, in fulfilment of his penitential vow taken at the tomb of Thomas Becket. Another house was founded at Hinton, also in Somersetshire, in 1227. An attempt to found a house in Ireland did not succeed, the inst.i.tution only lasting forty years. A third house was founded at Beauvale, in Nottinghamshire, in 1343. The London Charterhouse, with which we are immediately concerned, was the fourth house of the order established in England. Before entering upon the details of its history it will be well to sketch the main features of the Carthusian order, since Carthusian houses in all their chief characteristics closely resemble one another. Its distinguishing marks are extreme severity and entire seclusion from the world. The fathers live alone, each in his cell built around the great cloister. The cell is, however, in reality a small house, and contains four rooms, two on each floor; adjoining these apartments is a small garden. From the great cloister strangers are entirely excluded, and the cell is never entered except by the father himself, the prior, or his deputy.
A walk, the "spatiamentum," taken once a week together, is the only occasion upon which the fathers leave the house; conversation is then enjoined. Upon Sundays and Chapter feasts the monks dine together, when some instructive book is read aloud by one of the fathers.
The Franciscans and Dominicans are preachers, the Benedictines maintain educational inst.i.tutions, Trappists and Cistercians cultivate the soil; but the isolation of the Carthusian fathers is complete. They may not even leave the monastery to administer the Sacrament to the dying, unless a.s.sured that no other priest can be secured.
Their food is thrust into their cells through a small hatchway. They eat no meat, but fish, eggs, milk, cheese, b.u.t.ter, bread, pastry, fruit, and vegetables. The brethren or "conversi," who are laymen, occupy themselves with the manual labour of the monastery, but all that is necessary in the cell is done by the father himself. When death ends the solitary"s life he is buried uncoffined in the cloister garth, "O beata solitudo! O sola beat.i.tudo!"[61]
The history of the London Charterhouse may conveniently be divided into three periods--I., the Monastery; II., the Palace; III., the Hospital.
I.--THE MONASTERY, 1371-1537
The exact circ.u.mstances under which the house was founded are involved in some obscurity, for it would appear that at least three men were concerned at different times in the work. The share of the first of these, Ralph Stratford, Bishop of London, being but a slight one, may be briefly dismissed. In 1348-49 a terrible visitation of the black death devastated the country. The bishop, being concerned that many were being interred in unconsecrated ground, purchased three acres of land in West Smithfield outside the city boundaries, known as "no man"s land," and consecrated it for purposes of burial, and erected also a mortuary chapel. The whole he called Pardon Churchyard and Chapel. It was situated adjoining the north wall of the garden of the monastery, and extended from St. John Street to Goswell Street. In 1349 additional ground was required, and Sir Walter de Manny bought thirteen acres and a rood from St. Bartholomew"s Hospital, called the Spittle Croft, adjoining the land purchased by the bishop. Here he also built a chapel, from which building the Spittle Croft became known as New Church Haw.