Outstanding Features

Only medieval cathedral still with three spires. Was a fortress cathedral with a moat. Is a Victorian Gothic Revival building. A significant pilgrimage centre. Has the best-kept Early Medieval stonework sculpture in Europe. Has an early Gospels; oldest book in UK still in use. Lady Chapel might have cells for anchorites. Has 16th-century hand-painted Flemish glasswork. Has an extraordinary foundation to the second cathedral; built by King Offa? Once had a sumptuous shrine. Suffered three Civil War sieges. Has associations with Henry III and Richard II. Only one of two 'Old Foundation' cathedrals on the same site as the original church. First Bishop of Mercia in 656. First Bishop of Lichfield in 669. Pilgrimage began 672, 1353 years ago. 8th century shrine tower. Second cathedral, possibly 8th century. Gothic Cathedral built c. 1210 to c.1340. Civil War destruction, 1643-6. Extensive rebuild and repair, 1854-1908. Chad was buried on 2 March 672, 1354 years ago. Bede wrote Chad administered the diocese in great holiness of life.

Wednesday, 1 July 2026

King Richard II liked Lichfield

Summary.   King Richard visited the secure, fortified cathedral many times in the last years of his reign. He was imprisoned in a tower after capture by Henry Bolingbroke. His chaplain became the bishop.  

     Richard was born 6 January 1367, in the archbishop’s palace of Bordeaux in Aquitaine. At 4 years of age, he was brought to England and never wanted to return to France. He was made king at the age of 10 upon the death of Edward III, and crowned at Westminster Abbey on 16 July 1377. He was bilingual and, perhaps the first king to speak fluent English. During his 22-year reign, 1377 to 1399, he was a frequent visitor to Lichfield and the diocese in the last years of his life.



AI Richard II aged 10 at his coronation adapted from a portrait at Westminster Abbey, painted mid-1390s.

Richard married Anne of Bohemia, the daughter of the Holy Roman Emperor Charles IV in 1382. The marriage was diplomatically significant. 

Marriage of Richard and Anne in the Liber Regalis of Westminster Abbey, MS 38, f.20. Both were aged 15. Strangely, Richard did not receive a dowry and he paid much for the marriage.

In 1385, Richard le Scrope[i] was elected by the pope to be Bishop of Chichester, but this was rejected by Richard II. Instead, on 18 August 1386 the pope, Urban VI, made him the 54th Bishop of Lichfield and Coventry[ii] and consecrated him on the following day. Richard must have agreed.[iii] Scrope, aged 47, was installed in Lichfield on 29 June 1387 and Richard with Queen Anne of Bohemia, both aged 21, the Archbishops of York and Dublin and various earls and knights attended. The ceremony was followed by a huge feast in the bishop's palace,[iv] to which all the clergy and the leading citizens of Lichfield were invited, which must have stretched the resources of the Close.




AI rendition of the installation of Bishop Richard Scrope in 1387. He is holding Chad’s Gospels and sits alongside Richard and Anne. Standing are the Archbishop of York and various earls.



After many mishaps and mistakes Richard lost the trust of his nobles and the Commons. His dependence on a small number of favourite courtiers caused discontent.  Richard saw this as an affront to his royal prerogative, so from February to November 1387, he toured the country to muster support, but only managed to find it in Cheshire, an area in the diocese of Lichfield. He then had to reconcile with his adversaries and this led to peace for the next eight years. Anne died in 1394, aged 28, of the plague and Richard mourned her death. He then had a close relationship with Robert de Vere, the Earl of Oxford, which resumed resentment within his court. In 1396, a truce with France was agreed which lasted 28 years, and as part of the truce Richard agreed to marry Isabella, daughter of Charles VI of France when she came of age. The diplomacy was possibly Richard’s greatest achievements.


AI Richard agreeing to marry Isabella aged 6 when she came of age. He was 29. From an anonymous painting c. 1450.

           Richard by now was displaying odd behaviour; he was exhibiting anxiety and paranoia, and was prone to stammering. He saw himself as divine and absolutist, and not to be questioned. He had no immediate heir and this was adding to the growing tension in his court. Between 1397 and 99, Richard had many of his old adversaries executed and, in their place, promoted nobles that supported him. In 1398 Richard summoned the Parliament to meet in Shrewsbury Abbey and announced that no restraint could legally be put on the King. This ‘Revenge Parliament’ met at the centre of the diocese. He now decreed to be addressed as ‘royal majesty’ or ‘high majesty’. Furthermore, he began to spend extravagantly on clothes, jewellery, rich textiles and completing Westminster Hall. He became interested in the occult, and had an obsession with Richard I and his grandfather Edward II. He was showing clear signs of narcissism.

Richard spent Christmas at Lichfield in 1397, staying until mid-January, including a celebration of his birthday on 6 January. At this festival two hundred tons of wine, and two thousand oxen, were consumed. He visited Lichfield at least six times in 1398. He is recorded as being at Lichfield on 8, 17–20 January; 24–27 May; 22–26 June; 8 September, 25 December to 6 January 1399. This is over 30 days accommodation, and it is most likely the visits were longer than recorded.

AI rendition of Richard arriving with his Cheshire bowmen bodyguard. 


AI King Richard II entering the west door of the cathedral in 1397.  Ahead is Dean Thomas de Stretton. 



Lichfield bishop’s palace would have been a good residence for Richard. The partly moated and fortified cathedral would have appealed to this insecure king. The ornate cathedral with its sumptuous Chad’s shrine would have satisfied Richard’s taste.   

          In 1397, Bishop Richard Scrope visited the pope and was appointed Archbishop of York, probably on the recommendation of Richard. The king then forwarded his chaplain and confessor John Burghill, to be bishop of Lichfield.[v] He was installed at Lichfield on 8 September 1398, and the enthronement was attended by three archbishops, Canterbury, York, and Dublin, five bishops, four dukes, and four earls. The fully robed clergy met the new bishop at the west end of the Close and were surprised to find him bare-footed. Burghill was a Dominican or Black Friar, and this was a demonstration of his belief in asceticism, though some detractors described it as miserliness.


AI gen. King Richard II greeting Dominican John Burghill to be Bishop of Lichfield. Behind are three archbishops, five bishops, four dukes, and four earls.

They processed to an atrium at the west end door,[vi] which was possibly built with an extension inwards and outwards of the central doorway.[vii] Oaths were said in the atrium before the party filed to the high altar for the commission. 

AI rendition of King Richard and Bishop Burghill entering the west doorway with an added atrium. The archbishops in the atrium were ready to announce oaths of allegiance.

West front drawing from ‘The Builder’, (1891), February 7, 108–9. It shows a pair of buttress foundations discovered under the paving outside the west front, probably during Scott's work in 1850s.[viii] The rubble foundation between the end pillars was revealed in 2000.[ix] Was this part of an outward and inward projecting atrium or narthex?

A feast followed in the bishop’s palace to which all the cathedral clergy were invited. . A monk of Evesham listed the feast needed twenty cattle, three hundred sheep, and a daily large quantity of poultry.

AI Richard II in 1398 being toasted by Bishop Burghill in the feast following the installation of the bishop.

             In 1398, Archbishop Roger Walden ordered celebrations on the feast of St Chad.[x] This could have been at the behest of Richard and supported by the new Bishop of Lichfield. It shows Richard’s strong interest in the power of saints and their miraculous intercessory power.[xi]  Richard returned to Lichfield for Christmas 1398, lodged in the bishop’s palace and received a papal nuncio and numerous foreign guests. A banqueting hall was built next to the great hall of the palace. The feast was magnificent and acquired almost legendary status. This time his Queen Isabelle was with him. Tournaments with jousting were held daily  probably up to his 32nd birthday on January 6 1398. In 1208 Lichfield had a public duelling ground east of Upper St John Street. He had a bodyguard of 311 Cheshire bowmen,[xii] which must have stretched the residency in the Close. Parliaments were held around the Midlands, but never in London or inexplicably at Lichfield. There was a parliament in Coventry in January 1399 with letters patent issued from 11th to 18th. The same occurred at Heywood, Shropshire, and Newcastle-under-Lyme in February.To invite his adversaries to the confines of The Close must have been too risky.



AI rendition of King Richard taking interest in the jousting. 
The jousting field is thought to have been outside the town defences, just beyond St. John's Hospital where an area was known as 'the duelling ground'.    

On 1 June 1399, Richard journeyed to Ireland with a large army to restore his dwindling authority. This gave an opportunity for his exiled and dispossessed enemy, Henry Bolingbroke, to return from France and land on the Yorkshire coast. He invaded with a small force that quickly grew in numbers. Richard hurriedly returned landing at Conway, but could not raise any support; his army was still in Ireland. On 19 August, Richard surrendered to Henry Bolingbroke, later Henry IV, at Flint Castle, promising to abdicate if his life was spared. Both men then made their way to London, broken by a short stay at Chester and then Lichfield. On the evening of 23 August, the party arrived at Lichfield and Richard was imprisoned in one of the towers, most likely the north-east tower and part of the Bishop’s Palace. Harwood thought the larger southwest tower was used. [xiii]  That night Richard escaped through a window of the tower, but then was recaptured in an adjoining garden. He was removed from the Close and transferred to the house of the Archdeacon of Chester, on the corner of Beacon Street and Shaw Lane. Ten to twelve armed men kept close guard over and Richard complained that he was not even allowed a change of clothes.



AI rendition of Richard escaping from the tower at night with the help of two residents. There is a version he jumped into the moat, but he is caught in a garden. The story was told by a Frenchman who accompanied the king.

North-east tower remains. Was this the tower used to imprison Richard II, or was it the southwest tower known to have a dungeon?


On arrival in London, 1 September, he was imprisoned in the Tower of London. A commission, including Archbishop Scrope,[xiv] a past friend of Richard, visited the king and agreed, perhaps reluctantly, on his imprisonment. Richard was later moved to Pontefract Castle and died, some say starved to death, on or around 14 February 1400, aged 33. His interment at the Dominican friary church at Kings Langley in Hertfordshire was conducted by his friend, Bishop John Burghill.[xv] His body was later removed by order of Henry V to Westminster Abbey. Afterwards, Burghill became a great benefactor leaving much to the cathedral, and this was warmly commemorated after his death in 1414.

           

When the Lady Chapel was built a screen was erected across the cathedral behind the high altar and east of Chad’s shrine. Wyatt found part of the screen when he was joining the choir to the Lady Chapel in 1788.[xvi]  During the Victorian renovation 'a rayed rose and hart' was found on one piece of the old screen and could have been the emblem of Richard and Anne.[xvii] An inn in Sadler Street was named the White Hart.


Is this the hart emblem remarked upon by Robert Bridgeman? The canopy also has several sculpted roses. [xviii]

There are a number of 14-century chapter houses, York, Lincoln, Westminster and Salisbury that have dedications to the Virgin Mary. At Lichfield, above the door is a triangular painting of ‘The Assumption of Mary’. In the bottom right corner stand several ‘Black Friars’, clearly showing their black cappa or cloak above their white habit. This suggests Bishop John Burghill commissioned this painting and thus a date around 1398–1414 is likely. St Mary is surrounded by angels and the two at knee height have an outline of adult faces. The one on the left of the painting appears to be wearing a crown. The one on the right appears to be a woman. It would be plausible to assume they are Richard and Anne. Perhaps, then the figure to the bottom left is the dean, Thomas de Stretton. If this could be verified, it is a remarkable painting.


Assumption of Mary painting. Revealed after removal of limewash in the 19th-century Gothic Revival. 






Figures left and right of Mary. Superimposed is the head of Richard II from The Wilton Diptych.

 

Richard is positioned on the right hand of Chad on the west front, which reflects his love for Lichfield. Since his appearance at Lichfield is well after the completion of the cathedral it suggests his exalted position was favoured by the Victorian sculptors. He is sculped as an older man.

AI rendition of Richard from a description before his death at the age of 33.

Later examination of his tomb show a man 6 feet 2 inches tall with a round, feminine face. He could quickly fly into a rage, and he stammered. Dressing extravagantly, devotion to his wife, favouring certain nobility and preferring diplomacy over war has led to the notion he was unmanly and weak. Recent analysis shows this to be false.

[i] He was also a friend, with family connections, with the Earls of Northumberland, the Percy family.

[ii] H.E. Savage, The Church Heritage of Lichfield, Unpub. St Chad’s Day Address (1914) claimed the title from 1386 was transposed to Bishop of Lichfield and Coventry. He also stated the electing body at Coventry no longer existed. The addition of Chester to the title had ceased in 1350. H. Wharton, Anglia Sacra Volume 1.,(London: 1691), 450, has ‘Ricardus Scrope. Episcopus Lichfeldensis & Coventrensis. His predecessor Walterus Skirlaw also has this order, but his predecessor Robertus Stretton (449) gives priority to Coventry. Richard II must have agreed with this new order of title.

[iii] J. Gould, ‘Lichfield and Richard II’, Staffordshire Archaeological and Historical Society Transactions, (2001), 39, 16–21, from which much of this post has been constructed. See also J. Tait, 'Scrope, Richard', Dictionary of National Biography, li (1897), 144-47. The burgesses of Lichfield appear not to have accepted Scrope’s elevation especially if decided by the King.

[iv] Lichfield Dean and Chapter Acts Book, i, f. 15v.

[v] H. Wharton, Anglia Sacra. Volume 1. (London: 1691), 451.

[vi] This description of the ceremony comes from H. E. Savage, Bishop John Burghull, (note the misspelling), an A. C. Lomax publication (Lichfield: 1924), 1–24. It was taken from the Chapter Acts Book, 52–3.

[vii] Beneath the flagstones outside the west end large door has been found a stone buttress foundation. It is not known when this atrium (narthex?) was built and demolished. This is referred to by W. Rodwell, Lichfield Cathedral: Conservation Plan. Unpub. report in Cathedral library (2006), 5. Rodwell believed there was a previous large, lower, west front.

[viii] The buttresses are mentioned by W. Rodwell, Notes on the 'gallery' and other features at the west end of the nave. Unpub. assessment in Cathedral Library, (1989). Rodwell’s view was they would fit perfectly an early 13th-century west front; and at the same time invite closer comparisons between Lichfield and Wells.

[ix] W. Rodwell, Revealing the history of the Cathedral: 3. Archaeology in the nave. Unpub. paper in the Cathedral Library, (2000).

[x] D. Wikins, Concilia magnae Britanniae et Hiberniae a Synodo Verolamensi. (1737) Volume 3, 235. See also H. E. Savage, (1924), 5.

[xi] N. Saul, Richard II (New Haven and London: 1997), 142–3.

[xii] Ibid, 393. Richard employed a bodyguard of yeoman archers who came from the area around Macclesfield and were known as the Cheshire Archers. They were elite soldiers. 

[xiii] There are some accounts that have Richard escaping from the Archdeacon’s House. H. E. Savage (1924), see note 10, had Richard imprisoned in the fabled town Castle in Castle Dyke Street and Frog Lane. T. Harwood, The history and antiquities of the church and city of Lichfield. (London: 1806), 292, has him in the south-west tower which had a dungeon, and where there is now Newton’s building. It is possible there were members of the Close who helped him to escape.

[xiv] Some years later, Scrope opposed Bolingbroke and was beheaded at York.

[xv] Thomae Walsingham Historia Anglicana, ed. H. T. Riley (Rolls Series, 1846), 246.

[xvi] J. Britton, The history and antiquities of the See and cathedral church of Lichfield, (London: 1820) 32. In The carvings of Lichfield Cathedral. (2010), Cathedral booklet, 11, it is suggested the sedilia either side of the altar contains part (the canopy) of the 15th-century screen. It is made of Bath limestone and invites the question of where was it sculpted? Its rich detail would have been appropriate for being near to Langton’s Lady Chapel.

[xvii] See note 3, J. Gould, (2001), 18.

[xviii] J. Gould (2001), 22. A White Hart is depicted on the timber ceiling of St Mary’s Hall, Coventry.










Monday, 1 June 2026

Choir screens

Summary.  Various screens have separated the choir from the nave. A metal screen, installed in 1861, is one of the most outstanding works in metal in the UK.

           From early times a choir was separated by some kind of screen from the worshippers. The choir was integral to the worship and close to the priests at the east end of the church, whereas the worshippers were mere spectators. The earliest screen was a triple arch.


7th- century church at Reculver showing a triple arch separating the choir or cantor and priests from the nave. Bassa built such a church in 669.

 




AI rendition of inside an early church with a triple arch.

 


Possible layout of the second cathedral, conjectured to be by King Offa in 770s, with a triple arch. The nave is conjectured. Offa would be sitting close to his archbishop. 





Possible layout of Brixworth Church late 8th-century. It has a strong resemblance to the Lichfield second cathedral. 


  

 It is unknown what sort of screen separated the choir when the third, current cathedral was built in the 13th-century. It is recorded in 1492, a new pair of organs were placed in the loft over the choir screen.[1]  It is also unknown what happened during the iconoclasm of Reformation and also what was present after the 1646 Civil War destruction. It could have been two smaller outside arches with gates and a middle doorway through a large arch as drawn early in the 18th-century. The screen appeared to have steps to the organ on the south side of the central arch.



AI rendition based on a drawing by Gale, 1720, and published by Browne Willis in 1727.

 

In 1789, James Wyatt removed the stone screen between the choir and the Lady Chapel and used the stone to build a new screen between the crossing and the choir.[2] A new organ was placed on top of the stone wall in 1790; Wyatt designed its case. It occupied the first choir bay, an estimated area of 9 m x 6 m (30 feet wide and 20 feet long). Britton called it an organ screen.[3] In the Gentleman’s Magazine, 1795, lxv, 998-9, it was described as a beautiful screen. A glass screen over the organ and reaching to the roof was put up in 1801. All together the stone screen, organ and an added window stretched upwards to the roof now totally separated the nave from the choir so that visitors to the nave could not see or hear much from the clergy behind the monumental wall.  Within the wall were two rooms, presumably vestries, though the northern room had steps to the organ loft.



AI enhanced drawing from Britton 1820 showing the two large vestries. One was for the choristers and the other for priests and assistants.

 






AI enhanced drawings of the Wyatt choir screen from the nave (on the left) and choir (on the right). Britton 1820[4].  It completely separates the nave from the choir. Which means some worshippers would be allowed through the screen into the choir area, but some would have to stay in the nave.







AI enhanced drawing by John Buckler 1822 showing the imposing choir screen at the end of the nave.  On the right is Wyatt's original drawing of the new screen with a small organ on top. The finished screen appears to have been higher and later a glass screen was added to reach the ceiling. It was described as giving comfort to the choir in winter, which means draught-proof.

 In 1856, the organ was removed and placed in the north choir aisle. In 1857, the stone screen was dismantled. In 1859, as part of the complete restoration of the choir and presbytery by George Gilbert Scott, 1811–1878.[5] Drawings were prepared for an innovative open metal screen to separate the nave from the choir which would allow sight of the high altar.[6] The screen was designed by Scott, manufactured by Francis Alfred Skidmore,[7] 1817–1896, at his works in Alma Street, Hillfields, Coventry, and installed in 1861. The estimated cost was £800 with another £132 paid for gates across the adjacent aisles. Drawings were submitted for a new pulpit in 1864 and installed a year later. Skidmore almost certainly went on to make the lectern in brass.[8]

 

Original drawing of a screen. It is less ornate than the final screen.

 

‘The chancel screen at Lichfield is as original in its conception as in its execution; it is absolutely unsurpassed, (Arts Journal, London, 1862)

 

          The screen is a highly-ornamented structure in wrought-iron, copper and brass with polychrome in red, green, gilt and other oxide colours. The capitals are hammered copper and there are imitations of various fruits (blackberry, red currants, strawberries, rose hips and grapes) in ivory, onyx, and red and white cornelian. On each side at the top of the screen are eight bronze angels playing ancient musical instruments representing the heavens singing as Bede described when Chad died.[9] There is much representation of plants and it has been suggested the screen harks to a hedge.

Scott had previously designed a wooden screen at Ely and had it installed in 1851; it was his first open screen in a cathedral. Making a screen in metal at Lichfield was new to the UK and others followed at Hereford, Worcester (1873) and Salisbury. Durham rejected a metal screen and instead installed one in marble and alabaster. The Hereford screen was first displayed at the London International Exhibition in 1862 at which it was said to be ‘the finest piece of modern metalwork in existence’.[10]  It consisted of eight tons of iron, copper and brass with 50,000 pieces of mosaic, enamels and stones. Others thought it added gloom to the cathedral after its installation in 1863. In 1967, after fierce argument for and against the merit of the screen, it was taken out of the cathedral and first stored in Coventry and then the V & A Museum in London. Its restoration began in 1999 and by 2001 was on display in the metalwork section of the museum.

 

Drawing of the Hereford screen at the 1862 Exhibition. From Illustrated London News, 30 August 1962. It took over 70 men and 5 months to make. Below is the screen in the cathedral.

The screen at Salisbury, erected 1869–72, was removed in 1959 and sold as scrap metal.[11]

 

Screen in Salisbury Cathedral

 

Lichfield’s metal screen remains the only one left in place in a cathedral. It has been little altered; there was some restoration in the 1970s. It harks to the new gates of Jerusalem in the Book of Revelation. Like the stalls, reredos, statues, presbytery tiled floor and cathedra it shows off Midland’s craftsmanship.



[1] J. C. Cox, ‘XVIII Benefactions of Thomas Heywood, Dean (1457-1492) to the cathedral church of Lichfield,’ Archaeologia, (1890). 52, 02, 617-46.

[2] Stukeley described the screen as a “fine piece of architecture although the figures are destroyed and every cherub defaced. It is uniform from top to bottom and yet every capital and pedestal are different works of art.” Pennant said it was the most elegant which can be imagined.

[3] J. Britton, The history and antiquities of the See and cathedral church of Lichfield. (London: 1820), 42.

[4]  Ibid, J. Britton (1820), Plates 7 and 10.

[5] Best remembered for his design of the Midland Hotel at St Pancras and the Albert Memorial. Scott also designed the Workhouse on Trent Valley Road, now part of Samuel Johnson hospital. When appointed he had a staff of 27. After his death his work at Lichfield was continued by his son, John Oldrid Scott, 1841–1913.

[6] There are records of much discussion on the location or not of a screen, its form and material and what it should represent. Opening up the visual aspect of the cathedral was deemed to be paramount. The general view is George Scott more-or-less had his ideas executed. The screen reflects the growing use of ironwork due to its lowered cost of production and manufacture.

[7] He was recognised as a premier metalworker of the 19th-century, yet sadly died in poverty. His silver-gilt and enamel chalice exhibited in the Great Exhibition, 1851, launched his career. It is now in the V & A.. !n 1867, Coventry held its own International Exhibition, and Skidmore had a large section for his exhibits.

[8] D. Wallington, Scott and Skidmore. The Lichfield legacy. Unpub. article in the Cathedral Library. 44–60.

[9] Angels playing musical instruments is a motif for Chad around the cathedral and particularly in St Chad’s Head Chapel. J. McClure and R. Collins, Bede; The ecclesiastical history of the English people. (Oxford: 2008), 176. “If you heard the sound of singing and saw a heavenly company come down, I command you in the name of the Lord to tell no one before my death.”

[10] Quoted from I. Brown, ‘The Hereford Screen’, Ecclesiology Today. (2014), Issues 47 & 48, 3–44.

[11] R. Mount, ‘Screens and vistas in Cathedral. An old controversy revived’, Country Life, (September, 1960).