  Dedication: St. Peter and St. Paul. A Church served by Secular Canons. Special feature: West Front. Standing before the West Front, we notice, first of all, that upon the angles of the nave on either side of the great window are two turrets, on the face of each of which is carved a ladder with angels ascending or descending. The space above the window is also carved with angels; and, under a canopy above the group, stands a figure of God the Father. Of this strange decoration the following story is told: Oliver King, Bishop of Exeter, was translated to the See of Bath and Wells in 1495. He went at once to Bath, and found the church in a dilapidated condition. While there, he had a repetition of Jacob’s famous dream of a ladder reaching from heaven to earth with angels ascending and descending. Above them stood the Lord, who said: “Let an Olive establish the crown and a King restore the church.” Taking the hint, Bishop Oliver King immediately set to work to rebuild the church and had his dream recorded upon the west front. He also had an olive-tree and crown carved on each of the corner buttresses. Bishop King’s new church was smaller than the old one. It only occupied the site of the former nave. He died before it was finished. Prior William Birde continued the work, not forgetting a chantry for himself, which is regarded as the best At the beginning of the Nineteenth Century, many mean houses that had clustered around Bath Abbey were removed, and buttresses and pinnacles were added to strengthen the walls. Repeated restorations have made it exceedingly trim in appearance. About 775, Offa, the Mercian king, founded here a college of secular canons, who were expelled by Dunstan in the Tenth Century and superseded by monks. One great event in the abbey church was the coronation of King Edgar on the Feast of Pentecost, 973; and for centuries afterwards it was the custom to select on Whitsunday a “King of Bath” from among its citizens, in honour of this circumstance. John de Villula, a Frenchman from Tours, who was Bishop of Somerset in the reign of William Rufus, greatly preferred Bath to Wells. He was able to merge Bath Abbey into the bishopric; and then he began to rebuild the church dedicated to St. Peter. When it was finished, he transferred the bishop’s seat from Wells to Bath. This did not satisfy Wells, however, and when Robert of Lewes became bishop of Bath and Wells, he seems to have arranged matters by allowing the Bishop of Somerset to have a throne at St. Andrew’s in Wells and at The church built by John of Tours having suffered from fire, Robert was compelled to rebuild it; but subsequent bishops neglected Bath; and at the end of the Fifteenth Century, when Oliver King was removed here from Exeter, he found the church was in a ruinous condition and began to rebuild it, as we have seen. Bath Abbey is a very interesting example of late Perpendicular. It was nearing completion when it surrendered to Henry VIII. in 1539, and is, therefore, the last expression of Gothic Art. The most interesting part of the church is the West Front, with its large window flanked by the turrets with the ladders, already described. Each turret contains a staircase; rises far above the parapet of the nave; and terminates in an embattled parapet surmounted by an eight-sided and crocketed pyramid. “The great west window is one of seven lights, divided horizontally into four parts. Below it is a battlemented parapet with a niche in the centre, in which, no doubt, a statue formerly stood, and in which a new statue has recently been placed. At the base of it are the arms and supporters of Henry VII. Below it is the west door, beneath a rectangular label. The spandrels contain emblems of the Passion. On either side stand statues of St. Peter and St. Paul, to whom the church was jointly dedicated; these seem to be of Elizabethan date. The doors themselves were the gift to the church of the Lord Chief Justice, Sir Henry Montague, brother of the bishop who completed the church. On them may be seen shields bearing the arms of the Montagues and of the Bishop of Bath and Wells.”—(T. P.) The Central Tower is oblong and rises two stages above the roof. It contains two pairs of windows with rectangular heads and each corner is ornamented by a heavy octagonal turret also terminating in octagonal pyramids decorated with crockets. Similar pyramids terminate the turrets that flank the sides of the east window of the choir. There is no Lady-Chapel. Let us survey the exterior: “The nave consists of five bays. The clerestory windows are unusually lofty, and are divided by transoms; they are of five lights. Along the top of the clerestory wall is a battlemented, pierced parapet; but the pattern of the pierced openings differs from that of the parapet which runs along the top of the aisle walls. The aisles have five light windows without transoms; their heads are four centred arches; between each bay are projecting buttresses of three stages with gabled offsets, finished with crocketed pinnacles; against them rest flying-buttresses formed of a lower semi-arch, with a straight rectilinear truss. From the points where the arched flying-buttresses abut against the clerestory walls, vertical, slightly projecting buttresses are built upwards against the wall and rising above the parapet, are finished by crocketed pinnacles. The same design is carried right round the church. The clerestory of the transepts resembles those of the nave and the choir.”—(T. P.) Entering, our first and general view is impressive, because of the fan-vaulting and height of the Nave. Owing to the absence of horizontal lines, the vault seems higher than it really is. There is no triforium. A string-course runs above the arches of the main arcade beneath the clerestory windows, which are unusually tall. On account of the enormous windows and the absence of painted glass, Bath Abbey received the name of the “Lantern of the West”; but now that the windows of the nave and choir-aisles have been supplied with painted lights, the name is less appropriate. The “There is little variety in the arches and shafts throughout the church. This repetition is a well-known feature in Perpendicular work. The piers have no general capital. The shaft which carries the inner order of the arch has a capital, and so, at the same level, have the vaulting-shafts of the high vault and that of the aisles. These shafts spring from the bases of the main pillars. The capitals at this level are plain, and so are the capitals of the vaulting-shafts of the nave from which the vaulting-ribs spring. But in the choir the place of these plain bands is taken by carved angels. Carved angels also form the termination of the hood-moulding of the lower windows of the south transept, and probably those of the north transept also, though these windows are hidden by the wooden pipes of the organ. “Over the heads of the clerestory windows of the nave are small shields, and shields may also be seen in the centre of the fan-tracery in the nave, choir and transept. In the aisles the fan-tracery is somewhat different, as in the centre of each bay there is a pendant. The vaulting of the nave and its aisles and that of the south transept are modern, put up, under the direction of Sir Gilbert Scott, to match the roof of the choir and its aisles and north transept respectively. The reredos was designed by the same architect. The oak screen across the eastern part of the south choir aisle is due to his son. The font is also modern. In fact, beyond the walls and the roofing of the eastern part of the church, there is little old about Although Bath Abbey is full of monuments (there are over six hundred memorial tablets besides statues), the only tombs that deserve attention are those of Bishop Montague, in the fourth arch of the nave on the north side, and Lady Waller’s Monument under the southern window of the transept. The figure of her husband, Sir William Waller, who commanded the Parliamentary army in the Battle of Landsdown, near Bath, clad in mail, gazes down upon his dead wife. Two weeping children kneel at her feet. Between the choir and the south-aisle Prior Birde’s Chantry occupies two bays. It is a most elaborate piece of carving. The rebus of the founder (a bird and a W) appears frequently. Fan-tracery decorates the vault. The very fine organ is placed in the transept. The bells of Bath are famous. |
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