Latin Chapel, by virtue of that window designed by Sir E. Burne-Jones, one of the earliest and one of the most beautiful of the artist’s designs, so lovely in its conception that, if you take each picture separately, it seems like some perfect poem by Rossetti translated into colour by a mediæval craftsman. But take it as a whole and the effect is quite other than this. It is so full of subjects and dabs of bright colour that it is dazzling and almost unintelligible.
Burne-Jones had not grasped, even if he had studied the glazier’s art. Apart from the fact that the great predominance of fiery reds offends the eye, the design is essentially one that has been made on paper and not in glass, drawn with pencil and brush and not in lead. Worked out on a flat, opaque surface the fussy effect of the window would not be foreseen; but the overcrowded and broken character of the design is painfully obvious when set up as a window. The scenes here depicted form an illustrated history of the story of S. Frideswide.
The splendid fourteenth-century glass of the Latin Chapel contains also, besides figures of S. Catherine, the patroness of students in divinity, two representations of S. Frideswide. This chapel was built on to the rest at two periods; the first bay from
the west is part of the transept aisle, the second bay belongs to the thirteenth century, the third and fourth were added in the fourteenth, from which period the decorated vaulting, with its bosses of roses and water-lilies, dates. The chapel was used till recently as a lecture-room by the Regius Professor of Divinity. The carved wood-work of the stalls and desks should be noticed.
Didan’s or S. Frideswide’s Church was burnt on S. Brice’s Day, 1002, when the general massacre of Danes, which Æthelred the Unready, in a fit of misguided energy, had ordered to take place on that day throughout the country, was carried out at Oxford. The Danes in their extremity rushed to S. Frideswide’s Church, burst open the doors, and held the tower as a fortress against their assailants. The citizens failed to drive them out. As a last resource they set fire to the wooden roof and burned the church, “together with the ornaments and books thereof.” The Danes perished in the burning.
Nothing now remains, save the parts that I have mentioned, of the church which was then gutted. But after the massacre the King made a vow that he would rebuild S. Frideswide’s, and the church he then began to erect forms the main part of the Cathedral as we see it to-day.
Those arches, so plain and massive, over the western bays of the north choir aisle and Lady Chapel, were part of Æthelred’s transept aisle; the south transept aisle, now S. Lucy’s Chapel; the walls of the south choir aisle; the pillars of the choir and the open triforium of the south transept—these are the chief portions of the Cathedral which are thought to be unrestored parts of Æthelred’s work.
It is now generally admitted that the Saxons, at the date of the Conquest, were more advanced than the Normans in the fine arts. Their sculpture was more highly finished and their masonry more finely jointed. We need not therefore be surprised at the excellence and ornamentation of the work in Oxford Cathedral, which is attributed to this date, nor, when we remember that Æthelred was the brother-in-law of Richard-le-bon, the great church-builder of Normandy, need we wonder at the unwonted magnificence of Æthelred’s plans for this church.
The Danes soon took ample revenge for that treacherous massacre. They ravaged Berkshire and burned Oxford (1009). The climax came when Sweyn arrived. The town immediately submitted to him, and “he compelled the men of Oxford and Winchester to obey his laws” (Saxon Chronicle).
Æthelred’s work was interrupted by the coming of Sweyn, and the King’s flight to Richard’s court in Normandy. In the south-east pier of the Cathedral tower there is a noticeable break in the masonry, which marks, it is supposed, the cessation of building that coincided with the close of Anglo-Saxon rule.
When Sweyn died Æthelred returned, and for three years held Cnut in check. The work at S. Frideswide’s was probably resumed then. The richly carved, weather-beaten capitals of the choir, with their thick abaci and remarkable ornamentation, partly Saxon and partly Oriental in character, are eloquent of the exile of Æthelred and of the influence of the Eastern monks whom he met at the court of his brother in Normandy. And they speak not only of Byzantine influence, passing through Normandy into England, but also, through the existing traces of exposure to rain and wind, of the ruinous state into which the church had fallen when
“whether by the negligence of the Seculars or the continuall disturbance of the expelled Regulars, it was almost utterly forsaken and relinqueshed, and the more especially because of that troublesome warre betweene King Harold and William the Conqueror.”
For the nunnery which S. Frideswide founded had soon ceased to be a nunnery. By the irony of fate, soon after her death, the nuns were removed, and the priory was handed over to a chapter of married men, the Secular Canons, whom S. Dunstan, in his turn, succeeded in suppressing. But the nuns never came back, for, after many vicissitudes, the priory was finally restored, under Henry I. (1111), as a house of the Canons Regular of S. Augustine. Some have thought that Guimond, the first prior (1122), was responsible for the building of the whole church, but he more probably found enough to do in re-establishing order and restoring the monastic buildings. His successor, Robert of Cricklade, perhaps it was who restored Æthelred’s church on the old plan and inserted most of the later Norman work, especially the clerestory and presbytery.
The triforium and clerestory in the nave (roofed in with sixteenth-century wood-work) give us an interesting example of the latest Norman or Transitional style. The clerestory consists of a pointed arch enriched with shafts at the angles, and supported on either side by low circular arches which form the openings of a wall passage. The arrangement of the triforium is remarkable. The massive pillars of the nave are alternately circular and octagonal. From their capitals, which are large, with square abaci, spring circular arches with well-defined mouldings. These are, in fact, the arches of the triforium, which is here represented by a blind arcade of two arches set in the tympanum of the main arch. The true arches of the nave spring from half capitals, set against the pillars, and are plain, with a circular moulding towards the nave. The crown of these arches is considerably below the main capitals of the pillars, from which the upper or triforium arches spring. The half capitals assist in carrying the vaulting of the aisles.
The whole arrangement, rare on the Continent, is extremely unusual in England, but occurs, for instance, in the transept of Romsey Abbey. The pillars of the choir date, as has been said, from Æthelred’s day; the rest is twelfth-century restoration, save the rich and graceful pendent roof, which accords so strangely well with the robust Norman work it crowns. The clerestory was converted into Perpendicular, and remodelled to carry this elaborate vaulting, which should be compared with that of the old Divinity School, or Henry VII.’s Chapel at Westminster, and attributed, not in accordance with tradition to the time of Wolsey, but to the close of the fifteenth century.
The very effective east end is a conjectural restoration of the old Norman design, and was the work of Sir Gilbert Scott, who also opened the lantern-story and made many other sweeping changes and restorations, necessitated by the previous restorations of seventeenth-century Dean Duppa, and the neglect of his successors.
When Cricklade’s restoration was finished, or nearly so, it was decided, in order to revive the once so famous memory of S. Frideswide, to translate her relics from their obscure resting-place (probably the southernmost of the three Saxon apses) to some notable place in the church. The King, the Archbishop, many bishops, and many of the nobility and clergy gathered together to take part in this great ceremony. The bones of the Saint were taken up, set in a rich gilt coffin and placed on the north side of the choir. Miracles were wrought at the new shrine, and pilgrims crowded thither.
The money brought in by these means was badly needed, both for the purpose of the restoration which had been in process, and which was further necessitated by the great fire which destroyed a large part of Oxford in 1190, and, whilst damaging the church, much injured the monastic