The ancient and interesting Church of St. Mary, Southwell, became a Cathedral in 1884, when the bishopric was founded, and the building is worthy of its high honour. In the time of Henry VIII. it nearly attained that rank, Southwell being one of the sees which that monarch proposed to found out of the spoils of the monasteries, but his good intentions were not fulfilled. For centuries it was in the large Diocese of York, and was esteemed as the Mother Church of the district, and enjoyed many rights and privileges.

With the exception of a few fragments, no part of the present church dates further back than the twelfth century. There was an early Saxon church here, which was probably founded by Paulinus when he converted the wild folk of Nottinghamshire and Lincolnshire to the Christian faith. Then came the savage Danes, who swept away all traces of Christianity. The next church is said to have been built by the Saxon King Edgar, in 960 A.D., which was one of much importance before the Conquest; and in 1061 Aldred, Archbishop of York, founded prebends here, and built refectories for the canons. In the time of Henry I. it was raised to the dignity of Mother Church of the district, and the church was entirely rebuilt in the Norman style. When Walter de Grey was Archbishop of York (1216-1255), he was very energetic in improving the condition of his diocese and in erecting churches. He rebuilt the nave of Southwell, granting an indulgence of thirty days' pardon to all who should assist the work. John de Romeyn, sub-dean, whose son was afterwards Archbishop of York, assisted him in the work. There is a close resemblance between the nave of York Cathedral and the earlier choir of Southwell, and it is not improbable that the latter served as a model for the former. There is also a very close resemblance between the chapter-house of the two Cathedrals, which are evidences of the same designer and workmanship. Archbishop John de Romeyn was doubtless the architect of both buildings.

The community of clergy at Southwell consisted of the prebendaries, who formed the chapter, the vicars-choral and chantry priests and choristers. The prebendaries had much power and many privileges. They held property, and each had a large house, hunted in neighbouring forests, and lived as country gentlemen as well as canons of Southwell. At the Reformation they surrendered their goods to Henry VIII., who contemplated making Southwell a Cathedral. He despoiled the church of vast quantities of plate and other valuables. In 1574, however, the college, like other similar institutions, was seized by the unscrupulous advisers of Edward VI. In Mary's reign it reverted to the Crown, and she restored the college to its former owners and uses, and this arrangement was happily left undisturbed by her successors. During the Civil War Cromwell's soldiers stabled their horses in the nave of the church. Charles I. stayed in the town at the "Saracen's Head," and here he delivered himself up to the Scotch commissioners, who stayed at the Palace. Cromwell wished to destroy the nave, but was stayed in his fanatical design by the intercession of one of his officers. The story is told of the wife of a hunted Royalist, named William Clay, registrar of the minster, hiding herself in the parvise, or room over the porch, and there giving birth to a child, while the soldiers lived in the church. A general pillage took place in the church at this time; the font was destroyed, lead torn from the roofs, brasses from the tombs, and every vestige of an image swept away.

The College of Southwell has suffered in many other ways, sometimes from the carelessness of the prebendaries and their lack of zeal, sometimes from the effects of unwise and revolutionary legislation. In 1846 its position as a peculiar ceased to exist. Southwell is now a Cathedral with a diocese of its own, and if the ecclesiastical commissioners and the friends of the Church could see their way to granting an adequate endowment and means for carrying on its great work, Southwell would be able to maintain the dignity of an important see, and fulfil its mission to the Church and nation.

Exterior

The finest view of this noble minster is obtained from the north-west corner of the churchyard. We notice the general Norman character of the building. The massive western towers, capped with spires, the lantern tower, the north transept and beautiful chapter-house, the noble roof, all combine to form a magnificent example of dignified and noble building.

The West Front has been altered in character from its original Norman work. We see a huge Perpendicular window with an embattled parapet over it, an alteration made in the fifteenth century. The windows in the lower stages of the towers are modern imitation of Norman work. The towers have seven stages, and the sixth is enriched with fine arcading composed of intersecting arches. The present spires are modern imitations of the originals destroyed by fire in 1711. These were immediately restored, but removed in 1802, and have now again been replaced. The old Norman doorway is remarkably fine. It has five orders, the zigzag and filleted edge roll being the chief mouldings.

Passing to the south side we see the wall of the nave pierced by apparent Norman windows, but these are modern imitations. The most western window in the north side is the only original Norman window; the rest are copied from it, and were erected in 1847.

Four Perpendicular windows were inserted in the fifteenth century. There is a row of small square windows above which light the triforium, and the clerestory has a curious series of circular windows which are unique in this country. The roof is high pitched, having been erected in modern times by the architect Christian, and the parapets are Perpendicular in style.

The south doorway should be noticed, of Norman workmanship with zigzag string-course over it. Near here are the remains of the old Palace. The banqueting hall has been recently restored. The kitchens belong to the time of Henry VI. On the east of the transepts there were formerly apsidal chapels, which were removed when the present choir was built in the Early English period.

The Choir is a noble specimen of Early English work and "seems to be an emanation from Lincoln," wrote Sir Gilbert Scott, which it much resembles. We notice the extensive use of the dog-tooth ornament. Lancet windows give light to the interior. Two flying buttresses support the walls on the south side, and were added subsequently in the Decorated period to help them to bear the weight of the vaulted roof.

The Chapter-House is on the north side, and was built in the Decorated period during the reign of Edward I., when York was extremely prosperous and profited by the presence of the court. The resemblance between the chapter-houses of York and Southwell is very striking, and both were evidently designed by the same architect. This one is octagonal, and has windows of three lights with trefoil and circular ones in the heads. The roof is modern. A vestibule connects it with the church. An Early English wall with an arcade of lancets connects the vestibule with the north transept. The North Porch is good Norman work, and has a parvise which is very unusual in a porch of this date. This parvise was the scene of the story of the hiding of Mistress Clay in the troublous times of the Civil War. The inner doorway is very fine with its zigzag and beak-head moulding.

The Interior

We now enter the church by the west door, and looking down the nave (1110-1150) we are impressed by the massive appearance of the interior. The piers are rather short, only 19 feet high, six on each side, with square bases and round capitals. The triforium is large, and above is the clerestory with its unique plain circular windows. The Norman mouldings, zigzag, billet, hatchet, etc., are easily recognised. The present roof was erected in 1881.

The Font, erected in 1661, is a poor substitute for the one destroyed by the soldiers of Cromwell. The Pulpit is modern; the figures represent the Virgin and Child, King Edwin and his queen, Augustine and Paulinus. The second pillar from the east on the south side is called Pike's Pillar, and retains faint traces of a mural painting of the Annunciation; the nave aisles have some good vaulting. A plain stone bench runs along the walls. This was common in old churches, and was the origin of the saying, "let the weakest go to the wall," where they could sit and rest, as the days of pews were not yet. The only original Norman window which remains is at the west end of the north aisle. Formerly there were several chantry chapels in the aisles, but all have been destroyed. The marble slab in the north aisle marks the site of one.

The Tower is a lantern, and also has a peal of bells. The chimes were given by Wymondesole in 1693. This tower is part of the original Norman church, and was built in 1150. The cable moulding round the four large arches should be noticed. It is composed of a series of double cones.

The Transepts are beautiful specimens of the work of Norman builders, and are full of interest. Originally there were apsidal chapels on the east side of both transepts. One has been destroyed, but the arch which connected it with the church can be seen in the wall, with its zigzag and cable mouldings. The Norman chapel on the east of the north transept has been replaced by a Late Early English building which will repay careful study. There were formerly two altars here, as the piscinÆ and aumbreys show. The old Norman arch is replaced by two pointed arches of unequal width. The windows are later insertions, and belong to the Decorated period. There is an upper storey, formerly the treasury, now the library. The chapel has been recently restored, and is a most interesting architectural study. Returning to the north transept we see a curious tympanum over the belfry doorway, with strange carving representing the teaching of Psalm xci. 13: "The lion and the dragon shalt Thou tread under Thy feet." Other interpretations are given of this subject, but this is the one usually accepted by scholars. It is also said by some to be Saxon, but this is incorrect. There is a very similar sculpture in the church of Charney Bassett, Berks. Here is the fine alabaster tomb of Archbishop Sandys (d. 1588). He is represented in his episcopal robes, and the details of his dress are important, as they show what the vestments of a bishop really were in the time of Elizabeth, a point often disputed by English Churchmen of to-day. The east arch of the central tower has some curious sculptured capitals hidden by the organ which belong to the twelfth century. Beginning on the south side, the subjects are lamb and dove, Triumphal Entry into Jerusalem, Nativity or Resurrection, Last Supper, bishop saying Mass, the Blessed Trinity, and the Virgin and Child.

A stone Screen of rich Decorated work separates the transept from the choir, over which is now the organ (a modern instrument). The screen is richly ornamented, and a noble specimen of the work of the period. There are three arches opening to the space beneath the tower, separated by slight piers of clustered shafts, the capitals carved with foliage of a Late Decorated character. The walls of the screen support the old rood-loft, access to which is gained by two staircases.

Entering the Choir we see on each side of the doorway three prebendal stalls with misereres, on which are carved some foliage. The bishop's stall was once occupied by Cardinal Wolsey. The choir, as we have said, was built by Archbishop Grey in Early English style (1230-1250). There are six arches, with piers of eight clustered shafts. The dog-tooth moulding is conspicuous in the arches, and on the vaulting of the roof. It will be noticed that the triforium and clerestory are blended together. The east window consists of two rows of lancets, the lower ones containing old glass brought from Paris in 1815, where it was formerly in the Chapel of the Knights Templar. The Baptism of our Lord; Raising of Lazarus (Francis I. is to be seen in a crimson cap); Christ entering Jerusalem (Luther is near our Lord, Louis XI. and the Duke of Orleans); the Mocking of our Lord (the figure of Dante appears).

The Sedilia were erected in 1350, and are good Decorated work. They have the unusual number of five seats on the same level. The arches are ogee-shaped, and are richly carved. The sculptured figures are remarkable, and represent the Creation and the Redemption. Beginning at the east we see the Father holding the world (two groups uncertain), Joseph's Dream, the Nativity and Flight into Egypt.

The Lectern belonged to the monks of Newstead Abbey, who threw it into the lake to hide it from the commissioners of Henry VIII. Its date is about 1500. The choir aisles had several altars, as we see from the piscinÆ and aumbreys which are left. We will now visit the Chapter-House, and pass through the vestibule which leads to it, entering by a beautiful doorway in the north aisle. The transition between the Early English work of the choir and the Decorated style of the chapter-house is very gradual. The doorway, with its two arches and shafts of Purbeck marble, is remarkably fine. There is a small cloister court, with a stone-covered well. In the vestibule we see the walls covered with beautiful arcading of lancet arches of an Early English character. The capitals are beautifully carved with foliage. There is a curious boss of sculpture representing a secular priest shaking the regular monk by his hair, which figuratively depicts the supremacy of the former in the church of Southwell.

The Chapter-House (1285-1300) is described by Ruskin as "the gem of English architecture," and all architects agree in singing the praises of this noble building. It much resembles that of York, but is smaller and perhaps more beautiful. It is octagonal, has no central pillar, and is remarkable for its fine sculpture. The historian of Southwell says: "The foliage everywhere is most beautiful: the oak, the vine, the maple, the white-thorn, the rose, with a vast variety of other plants, are sculptured with exquisite freedom and delicacy; and no two capitals or bosses or spandrels are found alike. Everywhere we meet, in ever-changing and ever-charming variety, with some fresh object of interest and admiration. Figures are introduced amid the foliage, heads with branches issuing out of their mouths, birds and lizard-like monsters. In the capitals a man reclines beneath a tree, puffing lustily at a horn, or a goat is gnawing the leaves, or a bird pecking the berries, or a pair of pigs are grunting up the acorns, or a brace of hounds just grabbing a hare. All this is the work of no mere chiseller of stone, but of a consummate artist; than whom it may be doubted whether any sculptor, of any age or country, ever produced anything more life-like and exquisitely graceful." The entrance doorway is remarkably fine and is worthy of close study. The main arch is divided into two by a slender shaft, and over them is a quatrefoiled circle, of beautiful design. The leaf ornament is largely used, both in the smaller arches and in the main arch. Filleted rounds and hollows are the other mouldings used.

Southwell once contained the shrine of a Saxon saint—St. Eadburgh, Abbess of Repton (d. 714). "The Pilgrim's guide to the Saints of England" (a MS. in the British Museum, written in 1013) states that "the shrine of St. Eadburgh is still at Southwell," but no trace of it can now be found. There are several incised monumental slabs in the minster which have been cut and set in the floor. There is a Latin inscription to the memory of William Thorton, a chorister of the church, and the humble epitaph of William Talbot, who was a shining light in his day and died 1497, is of pathetic interest:—

[My thanks are due to the kindness of Archdeacon Richardson, Rector of Southwell Minster, for his kindness in explaining to me the interesting features of his church. I am also indebted to the works of Mr. Dimock, Mr. Livett and Mrs. Trebeck for much valuable information.]

Dimensions

Length, 306 ft.; breadth, 61 ft.; length of transept, 123 ft.; height of central tower, 105 ft.; height of west towers and spires, 150 ft.