being 29 feet. Boston alone exceeds it by about 3 feet. While the ordinary aisle width ranges from 10 to 14 feet, the north aisle here is 23 feet, the outer north and the south being each 17 feet. The total internal length is 265 feet, exclusive of the sacristy; Boston, the only larger one, being 284 feet, while very few exceed 200 feet, and most are far smaller. The greatest internal width is 120 feet; Manchester, a double-aisled collegiate church, is about the same, and York Minster is 106 feet. Finally, the area is about 22,800 square feet, probably greater than that of any other English parish church, indeed, St. Nicholas, Yarmouth, is the only one which pretends to rivalry in this respect. Size is, of course, only one element in the impressiveness of a building, and may even be neutralized by the treatment (as, for instance, in the Duomo of Florence and St. Peter"s, Rome, by increasing the size of its parts rather than multiplying them), but these few comparisons will help the visitor to judge how far this element colours his appreciation of the whole. As an ill.u.s.tration of mediaeval methods of church building, it is interesting to trace the growth of the structure with the help of the few historical notices already given and the evidence of the building itself. The subject is full of difficulties, and the writer does not hope to solve them conclusively, but to put before the reader the main points which have to be considered before forming a judgement.
[Ill.u.s.tration: TOWER ARCH.]
Both historic and structural evidence agree that there was an existing smaller church when the tower was built in the last quarter of the fourteenth century, that the choir and apse were either contemporary, or begun a few years earlier, and that the nave was built between 1434 and 1450. The south porch and the west crypt (beneath the original Lady Chapel) are almost contemporary (p. 34), belonging to the beginning of the fourteenth century. Now the axis of the tower is parallel to the axis and walls of the nave, while the centre line of the choir is deflected towards the north about 7. Notwithstanding this, however, owing to the tower not being central with the nave, the axis of the choir, if prolonged, runs directly to the centre of the tower arch, as may easily be seen by anyone who stands there and looks along the ridge of the choir roof. (_See_ dotted line on Plan.)
[Ill.u.s.tration: BAY OF NAVE, NORTH SIDE.]
Next we see above the =tower arch= the mark of the old nave roof and the old north wall of the nave. These show that the south wall stood where the present one does, and the low-pitched fourteenth century roof-line suggests incidentally this alternative: _either_ a clearstory had been added to the nave before the building of the new chancel or tower was in contemplation, _or_, when the huge tower was built it was felt necessary to raise the nave roof so as to lessen the disproportion. But, if we adopt the latter alternative we must accept too the improbability that this expense should have been incurred when the inadequacy of the old narrow nave of 15 feet compared with a chancel of 33 feet must have been so obvious. This is one of the difficult questions.
Then it is held by some that the axis of the old nave and chancel was in line with that of the present choir; but the south porch, built more than one hundred years before the new nave, is at right angles with it which would hardly have been the case had the two naves not been on the same lines.
Needless to say the old east end could scarcely have extended beyond the present nave, so that the new chancel was probably built without disturbing the old church. The position of the older Lady Chapel supports this view, while its bearing towards the north, as already pointed out, indicates that the deflection of the new chancel is simply copied from the older one.
The position of the south porch proves also that the south aisle was as wide as the present one, while the fact that it was wider than the nave shows that it was almost certainly not designed at the same time.
The nave is of six bays and is 54 feet high at the centre, while each arch is 20 feet wide in the clear. The piers are slender, but, owing to the depth of the panelling above the arches and the large size of the windows, the weight upon them is reduced to a minimum. Shafts carried up from the ground support the roof brackets, and there are intermediate ones over the centre of each arch. The clearstory windows of four lights each are in pairs, and the mullions are carried down to form panelling and finish on the backs of the arches, which recede in two sloping faces and form a somewhat unusual feature in the treatment of the wall surface. The detail of the piers and arches is rather weak, even for Perpendicular work.
[Ill.u.s.tration: INTERIOR FROM THE SOUTH DOOR.]
The =chancel= is about 93 feet long, and in height and width is 4 or 5 feet less than the corresponding nave measurements. Its width further diminishes by about 3 feet in the length of the three bays. The omission of a chancel arch is a step towards the ideal simplicity of the late Perpendicular churches (_e.g._, St. Peter Mancroft, Norwich), running from east to west without break, but the large rood piers and reduced width and height of chancel make the pause demanded in so long a church. The step at this point is of oak, and is probably the original sill of the rood screen. The large figures of SS. Peter and Paul were placed on the piers in 1861. Of the three arches which open on either hand the centre one is widest, having four-light windows, instead of three-light, over it. The panelling beneath the clearstory is richer than that in the nave. The five four-light windows of the apse are lofty and divided by two transoms, but the design is somewhat commonplace. The gla.s.s of the middle three is a memorial to Queen Adelaide, dated 1853. The other two are filled with fragments of the ancient stained gla.s.s of the church (p. 56).
[Ill.u.s.tration: THE CHOIR FROM ST. LAWRENCE"S CHAPEL.]
The roof is very similar to that of the nave. Both are of very low pitch, with tie-beams supported by curved brackets. There are two longitudinal beams (purlins) on each side, and each division of the roof made by these main timbers is sub-divided by mouldings into panels, all the intersections and angles being decorated by carved bosses or paterae, with angels upon the tie-beams. Where the roofs of nave and chancel join there is a cove to connect the two levels; and on the tie-beam above this was found a Latin inscription, giving the attributes and powers of the nine choirs of angels forming the hierarchy of Heaven. Translated it is as follows:
SERAPHIMS burn in love of G.o.d.
CHERUBIMS possess all knowledge.
THRONES, of them is judgement.
DOMINIONS preside over angelic spirits.
VIRTUES effect miracles.
POWERS have rule over demons.
PRINc.i.p.aLITIES protect good men.
ARCHANGELS are set over states.
ANGELS are the messengers of the Lord.
Bare and shorn as it is of its ancient magnificence, St. Michael"s is in its structure a monument of the importance and wealth of the Gilds.
Many of them built or maintained chapels and altars, adding largely to the already s.p.a.cious proportions given to the main structure by the munificence of a few rich citizens. That in 1491 there were eleven altars we know from the will of Thomas Bradmedow, directing that eleven torches, price _2s. 4d._, be given every Good Friday, one to every altar. Besides the High Altar there were those of Our Lady, Jesus, Holy Trinity, St. John, St. Anne, St. Katherine, St. Thomas, St. Andrew, St. Lawrence, All Saints.
The application to the =Lady Chapel= of the present name, the "Drapers" Chapel," is probably subsequent to 1518, when John Haddon, a draper, provided by will for the support of a priest, "to singe in the Chapell of our Ladye in the Church of Saint Mych.e.l.l." But long ere this, by an instrument dated from St. John Lateran, A.D. 1300, eighth year of Pope Boniface, Indulgences for forty days were granted for all persons coming to confess before her altar in St. Michael"s Church on the Nativity, Conception, Annunciation and a.s.sumption of the glorious Virgin Mary. Also 700 Indulgences for 720 days were granted for building "the Chapple and Charnell house of St. Michaell, Coventry."
The Drapers" Company was responsible for other things than the priest"s stipend as this extract from their Rules shows: "1534. Ev"y mastur shall pay toward ye makyng clene of oure Lady Chapell in saynt Mych.e.l.l"s churche and strawyng ye setus [seats] wt rusches in somer and pease strawe in wyntur, everyone yerely _2d._"
[Ill.u.s.tration: POPPY HEAD, LADY CHAPEL.]
The piers at the chancel entrance contain the staircases leading to the roofs and formerly to the rood loft. The screen on the west side of the chapel was put together from fragments brought together from various parts of the church. Against it, and on the south side, are fifteen of the ancient stalls. Several admirable ends and elbows remain, and some of the twelve ancient Misereres are of special interest. Three represent scenes from the popular mediaeval allegory of "the Dance of Death."
The centre groups are: (1) a death bed, (2) a kneeling man being deprived of his shirt and a cripple waiting to receive it (?), and (3) a very well-expressed burial scene. The side groups in each show Death leading by the hand personages of various ranks, including a pope. Of the others, Satan in chains, the General Resurrection, and a delicately executed Tree of Jesse are the best.
[Ill.u.s.tration: A MISERERE, LADY CHAPEL.]
Several monuments formerly in this chapel are now elsewhere in the church. A memorial to the Hon. F.W. Hood, killed in battle in 1814, is by Chantrey. On the north wall is a bra.s.s plate bearing the following inscription:
Here lyeth Mr Thomas Bond, Draper, sometime Mayor of this Cittie and founder of the Hospitall of Bablake, who gave divers lands and tenements for the maintenance of ten poore men so long as the world shall endure and a woman to looke to them with many other good guifts; and died the XVIII day of March in the yeare of our Lord G.o.d MDVI.
The =Communion Table= is a fine example of early seventeenth century work, and outside the screen is a very beautiful oak chest, believed to date from the time of Henry VII. From the Lady Chapel we pa.s.s into that of St. Laurence. Its two windows are filled with gla.s.s to the memory of past mayors. The dates, 1860 and 1862, sufficiently suggest their artistic merit. Several old monuments are upon the north wall, one of 1648 with an extravagant inscription to Thomas Purefoy, a boy of nine; another to Mrs. Bathona Frodsham, a daughter of the John Hales who bought so much monastic property, and founded the Grammar School. The tomb of his first wife, Frideswede, near which he was buried, may be seen in the Dugdale view near the north porch.
The outer north aisle contained the Girdlers" Chapel. The arcade which divides the aisles shows the consummation of the process which converted columns into piers by the omission of capitals and bases and the continuation of the mouldings from pier into arch.
The altar was below the eastern window, the piscina (restored) stands on the south side.
The Company has been long extinct and no doc.u.ments exist. We know, however, that Haye"s Chantry was founded by a Girdler in 1390, for a Ma.s.s to be sung daily at All Saints" altar, and may therefore conclude that it was in this chapel.
In the two western bays of the same aisle was St. Andrew"s Chapel, supported and probably founded by the Smiths" Company. The first notice of its existence occurs in 1449, but as this part was not built until 1500 it was perhaps originally in the adjoining aisle. The window tracery is modern. The panelling within the internal arches and between the windows should be noted. The floor near the wall is partly paved with much worn ancient tiles.
Several large monuments have been brought hither from the Drapers"
Chapel. An altar tomb of black marble is to the memory of Sir Thomas Berkeley, only son of Henry, Lord Berkeley, who died in 1611; another of 1640, to William Stanley, Master of the Merchant Taylors" Company of London and a benefactor of St. Bartholomew"s Hospital and of his native city, Coventry. While these are ponderous and unlovely that of Julian Nethermyl, at the west end of the princ.i.p.al north aisle, is a work of interest and much beauty. It is an altar tomb with a sculptured panel on one end and one side, the other end and side having been next to walls. It is of interest as an early example of the Italian style then finding its way into England, and an example so free from Gothic influence that there can be little doubt that a foreign craftsman was employed upon it. On the centre of the long panel is a mutilated crucifix, and a brief inscription with a shield of arms beneath. On either hand kneel Julian Nethermyl and his wife, with five sons behind him and five daughters behind her. A cherub at each end pushes aside a curtain. The group of sons is well treated, the variations in pose and dress show the hand of one who was accustomed to study composition, and the result is very different from the formal repet.i.tion of equal or lessening figures usual on mediaeval bra.s.ses and Elizabethan tombs. The Latin inscription is partly illegible, translated it runs:
Here lies Julian Nethermyl, Draper, formerly Mayor of this City, who died the 11th day of the month of April in the year of our Lord 1539 and also Joan his wife, to whose souls G.o.d be propitious. Amen.
[Ill.u.s.tration: CHEST IN NORTH AISLE.]
A small bra.s.s on the wall to the memory of Mary Hinton, wife of a vicar, who died in 1594, represents her kneeling at a faldstool, and facing a row of four swaddled infants laid upon the floor.
Near by is the old Purbeck marble font, said to have been given by John Cross, Mayor, in 1394.
As, however, the form, material, and shallow decoration are all quite consistent with a thirteenth-century date there can be little doubt that this one is the predecessor of that given by John Cross, which was condemned and removed by the Puritans as superst.i.tious. A small bra.s.s, bearing a shield with four crosses, the ancient merchant mark, is fixed upon it.
[Ill.u.s.tration: THE NETHERMYL TOMB.]
Beyond the west door is the north-east b.u.t.tress of the tower, strengthened by a ma.s.s of masonry, part of which formed part of the old nave wall. The tower arch is high and very narrow, owing to the narrowness of the old nave. The interior of the tower is very effective, both from the height, which is almost 100 feet to the crown of the vault, and the beautiful lighting of the upper stages. Each of the large windows of the ground story is set in a recessed arch, and between the two lantern stages is a range of panelling. The vertical lines of the various stages are not continuous, a want of regularity, which would probably not have occurred had it been built a century later. Upon the floor of the tower are two small bra.s.ses, which mark respectively the centre of the tower and the point below the apex of the spire, showing that the spire has an inclination of 3 feet 6 inches towards the north-west. On the walls of the tower two very large bra.s.ses record the names of the Vicars of the church since 1242, and of the Bishops in whose Dioceses Coventry has been included from the earliest times. Of the latter, four were Bishops of Mercia, twenty-seven of Lichfield, six of Coventry, thirty-three of Coventry and Lichfield, thirteen of Lichfield and Coventry, four of Worcester, and two Bishops-Suffragan of Coventry.
The south aisle is 6 feet narrower than the north at the west end, but its want of parallelism adds 7 feet to its width at its far eastern end.
The south-west doorway has its original doors, though these have been subjected to restoration. The first chapel on the south side belonged to the Dyers" Company. When the princ.i.p.al trade of Coventry was the manufacture of woollen and worsted stuffs and the production of a special blue thread, so excellent that it gave rise to a proverbial expression, "he is true Coventry Blue", the Dyers were an important Company.[6] A chantry known as Tale"s was probably attached to this chapel, as the salary of the priest, _5 6s. 8d._, was paid by the Dyers" Company of London. An upper chamber for the priest existed as late as 1607; the floor corbels still remain. A large marble monument (removed hither from the chancel) has medallion portraits of two ladies--Dame Mary Bridgeman and Mrs. Eliza Samwell. The former with her husband, Sir Orlando (Lord Keeper of the Great Seal under Charles II), both died in 1701. The latter, dying in 1724, "ordered this monument to be erected as a remembrance of their great and loving friendship."
The Chapel is now the =Baptistery=. A large eighteenth-century marble font was removed to the Lady Chapel and a new Gothic one put in its place, so that there are now three in the church.
The south porch (1300) is the earliest part of the existing church.
The inner doors appear to be of the early sixteenth century, the outer, though old, are of much later date and are not part of the original scheme. On the wall on each side of the inner doors are bra.s.ses of some interest. That on the right hand has a curious epitaph which runs thus:
Here lies the body of Captn Gervase Scrope, of the family of Scropes, of Bolton in the County of York, who departed this life the 26 of August, Anno Dni 1705, aged 66.
An Epitaph, written by himself, in the agony and dolorous paines of the gout and dyed soon after.
Here lyes an old toss"d Tennis Ball Was racketted, from spring to fall, With so much heat and so much hast, Time"s arm for shame grew tyred at last.
Four kings in camps he truly served.
And from his loyalty ne"er swerved, Father ruin"d and son slighted, And from the Crown ne"er requited.
Loss of estate, relations, blood, Was too well known, but did no good; With long Campaigns and paines oth" gout He cou"d no longer hold it out.
Always a restless life he led, Never at quiet till quite dead.
He marry"d in his later days, One who exceeds the common praise But wanting breath still to make known Her true affection and his own, Death kindly came, all wants supplied By giving rest--which life deny"d.