1. After
the Civil War bombardment,1646, the cathedral was wrecked. Only the frame with
some roofing was left. Cromwell passed an Order for the cathedral to be
demolished and, fortunately, it was not enacted, though much was taken away. Not much of the original cathedral
now remains. See the post, ‘Civil War damage and restoration.’
2. The external library, a brick building north of the nave, containing the records and muniments of the cathedral was destroyed.[1] Most likely the lost records included fabric accounts for when and how the current cathedral was constructed. The only written record concerns licenses to obtain timber and stone. See the posts, ‘Dating the cathedral’ and ‘Old Library.’
3. Building
the cathedral lasted around 110–140 years. At least 3 kings,[2] 12 bishops, several
master-masons, many skilled masons and numerous stone workers were involved and
each one would have had some influence on the way the cathedral was built. See
the posts, ‘South transept’ and ‘North transept’ for a great mixture of styles
and multiple phases of construction. See the post, 'Building the cathedral'.
4. There
were three major occasions of great alteration to the cathedral. Post-Civil War
rebuilding, James Wyatt’s idiosyncratic restoration (see the post, ‘James
Wyatt's restoration, 1787-92’) and G. Gilbert Scott’s Victorian Gothic revival
(see the post, Victorian Recovery’). In between there were smaller re-orderings
and repairs of parts of the cathedral. So much re-building has occurred essentially
the standing cathedral is now Victorian Gothic. See the post, ‘Gothic cathedral.’
5. There
never was an initial grand plan. The master mason and his patron built with
ideas arising as they constructed the building. As with all Gothic cathedrals the
process was incremental or piecemeal construction, with the building being
strung out over a long period in which there were fluctuating resources[3]. This did not necessarily
inhibit invention, for there were times when master masons seemed to enjoy
subverting the designs of their predecessors, sacrificing consistency for variety.
Consequently, master masons, presumably with the support of their patrons, were
prepared to take bold and imaginative decisions and sometimes this led to dramatic
failures. The addition of a heavy roof on the nave and its subsequent replacement
in 1788 must be a failure. Why has the cathedral a crook in alignment of 2o?
Why the north presbytery aisle has a deviating wall and why at the west end is
a double-chevron decoration unlike anywhere else? Why are there two small
passages in the west front? Why are the two transepts different in width? Why
are the north and south nave aisles so different? More examples could be cited.
See the posts, 'Eight Myths with linked posts', ‘East-west alignment,’ ‘Nave part 1’ and Nave part 2 arcades.’
Odd double chevron ornamentation in the north choir aisle archway.
6. Those who have boldly interpreted the architectural styles have sometimes over-concluded from flimsy evidence. For example, the discovery of a socketed stone near the grave of Chad does not indicate a four-posted canopy over the grave. See the post, ‘Making sense of Chad's grave, St Peter's cathedral, St Mary's church and a shrine tower.’ A foundation wall across the inside of the west nave wall from column to column does not constitute an early front to the cathedral. See the post, ‘King Richard II of Bordeaux and Lichfield.’ A shaft capital in the northeast corner of the south transept showing an Early English abacus below a Perpendicular abacus either suggests a change in style from wall to roof or perhaps a change of roof from timber to stone or simply repair in a later time. See the post, ‘South transept.’ Early moulding profiles and mason’s marks in the lower west front are not convincing for an earlier Romanesque west front. See the post, ‘West front of the cathedral’.
Double abacus in south transept
Style |
Date |
Kings |
Early English |
1189–1272 |
Richard I, John,
Henry III |
Decorated |
1272–1377 |
Edward I, II and III |
Perpendicular |
1377–1547 |
Richard II to Henry
VIII |
Architectural
periods from J. H. Parker, ABC of Gothic Architecture, (Oxford and
London: 1881)
8. Again, those who have interpreted the
architectural style have placed emphasis on comparisons with other cathedrals.
Indeed, the second cathedral has been seen to be Norman, because of the
extensive cathedral building undertaken early in the Norman era. See the posts,
‘There is no historical evidence for a Norman second cathedral.’ and 'The incomparable apse of the second cathedral.' The author
believes the second cathedral is Anglo-Saxon and has a resemblance to Brixworth
church. See the post, ‘Comparison shows an Anglo-Saxon second cathedral.’ Other
authors have drawn inspiration from the east ends of Peterborough, Norwich,
Gloucester and JumiƩges. The east end chapel has been likened to
Sainte-Chapelle in Paris, see the post, ‘Lady Chapel and Sainte-Chapelle.’ The
west front has a resemblance to Wells and Salisbury cathedrals, see the post,
‘West front of the cathedral.’ There are many more examples, all interesting
but ignore the independent thinking of those who built the cathedral.
Resemblance does not mean homology.
9. Knowing
the history of a building is not the same as knowing how the building was used.
The cathedral is a sacred site and worship, pilgrimage, foibles of bishops and
deans and vagaries of church fashion have all influenced its shape. Visitors
ask questions like how old is it, who are those statues on the front, where
does the organist sit, but rarely ask why did Chad come to Lichfield, what
started pilgrimage how did the medieval resident use the church? See the series
of posts on the Pre-Reformation church: Mass, Baptism, Penitence, Death and Burial. Also, the posts on, ‘Pilgrimage defines the cathedral’ and ‘Washing feet.’ Indeed, the author believes Bishop Wilfrid of
Ripon was instrumental in building the first cathedral and shrine tower and he
is rarely mentioned. See the posts, ‘Wilfrid founder of church of Mercia,’ and
‘Wilfrid, context and date of the Great Gold Cross.’
10. The cathedral has yet to employ innovative technological advances which can open an entirely new understanding of the cathedral. A carbon-dating of the heavily mortared foundation to the second cathedral would have many implications. A deep-penetrating radar scan of the transepts and nave would possibly reveal more of the early churches as well as how the current cathedral was built. Archaeology on the south side of the cathedral should reveal much more of the early settlement the bishops came to administer. Similarly the mounds in the garden of the cathedral school would with excavation reveal more of the first bishop’s palace. See the post, ‘Bishop Langton’s Palace.’ A database of the mason’s marks is incomplete and would show affinities with other Mercian cathedrals. The Chad’s gospels are still waiting for a full analysis like that given to the Lindisfarne Gospels, see the post, ‘St Chad’s Gospels.’ The frescoes can now be carbon dated using their lead white ingredient. See the post, Two frescoes in the south aisle.’ A mineral examination of some of the stonework will point to its origin and perhaps date of quarrying. This would illuminate the three storeys in the central tower and could explain the difference between the two front towers. See the post, ‘Crossing tower.’
[1]
W. Dugdale, A short view of the late troubles in England. (Oxford:
1681), 559. The Chapter Act books do not begin until the early 14th century and
contain little information concerning the fabric.
[2]
Henry III, Edward I through Bishop Langton is treasurer and Richard II.
[3]
R. Stalley, ‘Innovation in English Gothic Architecture: Risks, Impediments, and
Opportunities.’ In British Art Studies Issue 6, Invention and
Imagination in British Art and Architecture, 600–1500. Eds. J. Berenbeim
and S. Heslop. (London: 2017)
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