GUIDELINES
The Newsletter of St Albans Cathedral Guides
Issue 65
February 2013
INSIDE THIS ISSUE:
EDITOR’S NOTES
Minton & Hollins
tiles
2013 sees the opening up of the area under the Organ Loft, and you’ll find
included some guidance on how to incorporate this area in your tours.
p2
I hope you find the articles informative, and we’d welcome responses to the
queries raised by Anthony and Michael – we can then share thoughts and
Conundrums in the Nave wisdom in the next issue for all our Guide colleagues to read.
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14thc Grand Designs p3
A Guide Dog
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Vaulting in the
Cathedral
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Special points of interest:
Pulpitum Crossing
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Paper on the Presbytery
Vault
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Julie Cirillo
MESSAGE FROM THE CHAIRMAN
For the first time in my memory, snow prevented the Training Morning
from going ahead last month. This has now been re-arranged for 20th April.
However it will not be at the Cathedral. We will be using St Saviours
Church Hall in Sandpit Lane for the morning. Fortunately this particular
planned morning does not require use of the Cathedral itself and has
allowed us to use a new venue. Details and a reminder will be sent nearer
the date.
It is always nice to receive praise for our guiding activities and there have
been a number recently. TripAdvisor reviews, letters to the Herts
Our Mercian Coat of Advertiser, Radio and personal thank you letters have all featured. Some
Arms
p8 relate to our sell out Abbey by Night tour but many are a result of our day
to day guiding. One was from an outside agency who made a “secret
shopper” visit in January. This organisation has given a feedback report to
the Cathedral about a range of items, commenting on all aspects of the
Cathedral and its facilities. The Guide on duty that day was given high
marks for being engaging and informative. Well done to everyone. We can
be proud that any random visit to the Cathedral will find Guides of high
quality on duty every day.
Stephen Potter
The Pulpitum Crossing
A note from our Chairman, Stephen Potter, on how we should alter our tour routes to
incorporate this new area.
As you will know, the project to create a new store area "under
the organ loft" has been completed, with beautiful painted
panels specially created by John Maddison along with the
cleverly designed cupboards and concealed lighting. This area
should now be known as the Pulpitum Crossing.
From now on, the crossing and quire via the Pulpitum Crossing
should become the "norm" for tours, and the south quire route
becomes the alternative, not the default - assuming no
wheelchairs are in the group. As ever, Guides are their own
bosses and may guide as they see fit. This is not prescriptive
but an opportunity open to them. The merits of this new route
are self evident.
The Cathedral Chapter have confirmed that the quire area will no longer be routinely roped off
by the Cathedra and between the Dean/Sub Dean stalls, although from time to time the
Pulpitum Crossing may need to be roped off (e.g. before services begin, choir practice etc.) so
the current south quire aisle route then becomes the alternative.
Anyone in a wheelchair may still need to go via the south quire aisle with the placing of a
temporary ramp to gain them access to the crossing. Trying to take wheelchairs via the
Pulpitum Crossing into the main crossing would involve having to move the ramp twice (step
up from Pulpitum Crossing to quire; step up from quire by the Cathedra). It would also mean
manoeuvring the portable ramp in relatively tight spaces with more possibility of knocking into
and damaging woodwork etc. Any wheelchair users accessing the Exhibition Area will need to
return to the south quire aisle to continue their journey eastward.
********
The Minton & Hollins tiles in the Abbey
Jane Kelsall on the makers of our Abbey tiles
The nineteenth century history of the production of the
Minton tiles shows the passion of men determined to
produce encaustic tiles which replicated, as closely as
possible, the tiles used in medieval churches.
Throughout the century hundreds of churches were built
in the Gothic Revival style and patrons and architects
demanded stained glass, medieval-style metal work and
two-coloured patterned tiles to furnish them. The older churches saw the tiles, and wanted to
use them, too. Herbert Minton (1783-1858) had experimented for years trying to perfect the
production of encaustic tiles in his bone china factory. He infuriated his business partner
John Boyle, who complained about wasted time and money, but Minton was a visionary who
worked long hours every day for years to achieve his aim. He was encouraged by his lifelong friend Pugin, and finally Minton had huge success with his easy-to-clean two-coloured
tiles, most often in terracotta and buff, and they became the essence of Victorian decoration.
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In 1845 Herbert was joined by two partners: Michael Minton and Colin Campbell, both
nephews. By the time he died in 1858 the tiles had gained an international reputation. Ten
years later the nephews fell out and the partnership was dissolved. Campbell expanded his
part of the business into cheap and cheerful mass-produced decorative tiles and household
wares, many block printed. Hollins continued from 1869 as Minton & Hollins, making high
quality tiles for architectural settings, like the relief-decorated and encaustic tiles for
St Albans Abbey, which were laid in 1874 on the instruction of Sir George Gilbert Scott.
The relief tiles, copies of those laid on the floors by Robert de Gorham in the twelfth century,
were set in the floor of the presbytery. Some of the
original tiles are set in the floor in the north transept in
front of Bishop Blomfield's monument. The encaustic
tiles, mainly terracotta and buff but some with a dark
green glaze, were used to cover the floor in the
crossing and the side aisles. In some places the dark
green glaze has worn away now, where the footfall is
heavy. The designs were copied from the originals,
now set in the south presbytery aisle by the steps
leading to the Saint's chapel.
When Guides talk about the tiles, please remember to say that they were made by Minton &
Hollins, not just Minton. I may be accused of nit-picking here, but visitors from the potteries
and any ceramic buffs will know that, if you say "Minton & Hollins" that you really know
your stuff.
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Fourteenth Century Grand Designs: The Historical Context and Timeline
Stephen Potter gives an historical insight into his argument on the royal heads in the nave
In two Link articles I have put forward cogent arguments that the royal heads in the south
nave are Edward III and his Queen Philippa. This a companion piece for Guides to expand on
the theme and to understand the background to the new theory. Central to the argument is
the historical context. Although the articles briefly highlighted the key differences between
the end of the reign of Edward II and the subsequent reign of Edward III, it is only an
examination of the historical detail of that era that truly confirms the proposition.
One only has to read through the following historical timeline and ask oneself one question to
realise that the Edward II proposition has always been fatally flawed:
At what time following the nave fall would anyone, let alone the Abbey, think it was a
good idea to install portraits to honour Edward II and Queen Isabella?
1318
1 April:
October:
Berwick captured by the Scots.
Hugh Despenser jr. becomes Chamberlain of the Royal Household, his
unpopularity grows.
York Parliament. Lancaster is marginalised by the Ordainers (Earl of
Pembroke) and Edward II.
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1320
January:
York Parliament. Lancaster absents himself.
1321
War breaks out on the Welsh marches, Despenser lands ravaged.
1322
January:
11 March:
16 March:
22 March:
2 May:
September:
Edward marches north against Lancaster. The Mortimers submit.
Edward II declared that everyone who opposed him was a traitor.
Boroughbridge - Lancaster defeated and captured, Hereford slain.
Lancaster executed at his own castle of Pontefract.
Parliament at York, Ordinances repealed & King’s enemies forfeited.
Scottish campaign Isabella nearly killed.
1323
Edward and Isabella estranged.
Bishop of Hereford arrested.
3 January:
Andrew Harcla, Earl of Carlisle, conspires with Robert Bruce.
August:
Mortimer escapes and flees to France (possibly with Isabella’s help).
10 October: FALL OF THE NAVE
1324
Summer:
September:
Edward II quarrels with King Charles over French lands.
Isabella’s children John and Eleanor taken and put in the charge of Despensers
Edward confiscates Isabella’s income (left with 8 marks a day)
Isabella’s French household arrested.
1325
January:
King Charles suggests Isabella be sent to negotiate on behalf of the English.
May:
Charles suggests terms requiring King or eldest son to pay homage.
12 September: Young Edward sails for France. And stays.
December:
Mortimer re-enters France from Germany.
December:
Edward II pleads with King Charles for the return of his son.
1326
January:
Edward II learns that son is betrothed to daughter of Count of Hainault.
26 January: Edward wrote to all sheriffs saying they should be ready to take up arms
against the Queen.
18 March:
Edward orders son home and accuses Isabella of adultery and treason in letter
to son.
19 June:
Last letter to his “disobedient son”.
July:
Isabella, Mortimer and young Edward leave France for Hainault.
22 September: Isabella and her allies sail to England, landing in Suffolk.
September: Edward and Hugh Despenser set out for Wales.
27 October: Execution of elder Despenser.
24 November: Execution of younger Despenser.
16 December: Edward II arrested
1327
15 January: Announcement of Edward’s deposition in Parliament.
27 January: Edward II abdicates. Commencement of the reign of Edward III
16 March:
Uprising by St Albans townsmen demanding rights.
Isabella visits St Albans and confronted by bare bosomed protestors.
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Isabella mocked by the monks for her lack of English.
7 September: Hugh Eversden dies.
September: Edward II supposedly killed? But most likely not. The murder story useful
later to discredit Mortimer.
Edward II is nevertheless officially dead and only later scholarship suggests
otherwise.
Richard de Wallingford created Abbott.
Hugh left debts of 5000 marks with repairs to nave hardly begun.
November: Wallingford leaves for Avignon.
1328
1 February:
April:
1329
Pope officially appoints Wallingford.
Wallingford returns.
Charles IV of France dies.
Edward III claim to succeed proclaimed by Isabella but denied by Salic law
Wallingford starts rebuild of cloister. Very slow progress. Not completed
until 7 years after his death (by Mentmore).
Edward III sends an order to the Mayor of London and leading citizens to
meet with him at St Albans on 23 January. There for three days, they were
locked in talks led by Isabella to sort out what to do about the recent civil
uprising by Lancaster.
1332
21 February: Probable date when Edward III visits St Albans and remarks that nave is still
unrepaired after the fall.
Tiles of cloister identified as coming from Penn which operated in the 1330’s.
1333
1336
23 May:
1337
6 October:
19 October:
Wallingford’s health (leprosy) and eyesight failing, appoints Nicholas of
Flamstead as co-adjutor.
Richard De Wallingford dies. Michael Mentmore appointed.
Edward III styles himself “King of France”.
Changes strategy and objects to Philip claiming throne and tones down own
claim.
1337 – 1340 Installation of Heads and Shields.
1338
1339
16 July:
1340
26 January:
Edward moves court to France. Two seals in use. Fleur de lis in France and
three leopards in England.
Writes to Cardinals to demonstrate his superior claim over Philip de Valois.
Edward III officially claims Sovereignty over France sitting on makeshift
throne in Ghent market place.
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8 February: New 3rd seal produced quartering arms of France and England.
The motto read “Edward, by the grace of God, King of France and
England”.
April:
Edward returns to England.
July:
Edward returns to France. Siege of Tournai. Phillipa in Ghent.
September: Edward in Ghent.
1341
5 June:
July:
Edmund of Langley born at Langley.
Edward III attends the churching of Philippa at St Albans Abbey.
1343
Nave roofing finally completed.
1349
Michael Mentmore dies of the plague.
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Conundrums in the Nave
Anthony Oliver invites fellow Guides to help answer some queries
One of the advantages of being mentor to two trainees is the opportunity to walk round with
six eyes. Four of these are fresher and more perceptive than those of this oldie. Recently,
when standing in the nave towards the west end, they produced the conundrums listed below.
I wonder whether any Guide, more knowledgeable and experienced than this mentor, can
shed more light.
1.
At the clerestory level the stonework on the north and south sides is different.
Between the windows on the north side the piece of stone walling has scalloped indentations
and there are three pillars each side of the wall, one of which is free standing. On the south
side the pieces of wall are plain and there are only two pillars each side, one of which is free
standing. See the pictures below:
North Side
South Side
Does this mean that John de Cella’s intricate design was implemented on the north side while
it was the more “cut price” version of William de Trumpington which was put up later on the
south side? Alternatively, did the south wall get so damaged in the straightening project that
Lord Grimthorpe had to rebuild the south clerestory, and did it as only a near match?
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2.
Incidentally, the two easternmost windows on the north side are the only ones having
“dog tooth” ornamentation in the middle “slot” of the arch above the glass. Is this another
example of economy setting in after the work had started? However, I thought John de Cella
started at the west end and worked east, in which case these would have been the last to be
done... a “final extravagant fling” perhaps?
3.
Looking at the brackets which hold up the nave/choir ceiling, what I had not noticed
before is that they vary in size and height quite considerably. Assuming they are all originals
from the late 14th century Abbey make-over, the irregularity is surprising.
4.
The nave aisle windows are, I believe, all Victorian mock gothic. There could not
have been any medieval aisle windows at all because there were monastery buildings to the
south and St Andrew’s Chapel to the north. If the windows on both sides are “modern”
inserts, why were the bottoms on the two sides at different heights? My answer is to let in as
much light as possible to the north aisle, and to make all the windows along the south side
look level from the outside with those at the east end which have to be above the cloister
wall.
Let Anthony know of any responses to these queries - we will publish these in the next issue.
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A GUIDE DOG
Neville Scott on his companion for a recent duty
When the training morning was postponed I rang Laurie to offer my
services for either of the Saturday morning guiding slots. He asked
how I’d get to the Abbey and I said I’d walk (it’s just over a couple
of miles) or I’d jump on a bus if they were running. I added,
somewhat tongue in cheek, that I might take my dog with me for a
bit of company as I didn’t expect to see many visitors; also it seemed a shame to waste a walk
of about 5 miles, taking into account walking around the Abbey.
I arrived just before 10.30am and it was very quiet for the first hour, in fact I spoke to no-one.
However, from 11.30am people started to arrive despite the snow and Brecqhou, (named after
an island just off Sark in the Channel Islands) my 7 years old GSD (German Shepherd Dog –
Alsatian to some) bitch, was a major hit.
It was role reversal – instead of me approaching the visitor, they came and spoke to me.
Generally asking her name, age, breed and commenting on her huge ears and wonderful
temperament. One visitor said that she'd heard of a Cathedral cat but never a Cathedral dog
before! I explained that it was not the norm for a Guide to wander around with a dog, pointing
out, as mentioned above, I didn’t expect too many people and we’d both benefit from a long
walk. We then, of course, spoke about aspect(s) of the Abbey as is usual.
Brecqhou was as good as gold, sitting or lying down when I was engaged in conversation,
getting up and walking sedately to heel when we moved on. Even though I heard no dissenting
voices it’s not something I expect to do again, but I was oh so pleased how well it went.
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A paper on our Presbytery Vault
Jane Kelsall on a recent addition to the Cathedral archives
A recent fall from the back of a lorry has resulted in the acquisition of a copy of the
Antiquaries Journal, Vol 92, 2012 which now belongs to the Muniments Room. Inside, pages
245-72, is a very good paper ‘The Presbytery Vault at St Albans’ by Hugh Harrison, John
McNeill, Pauline Plummer and Gavin Simpson. It is the result of the conservation work on the
vault in the years 1997 to 2002. Due to herculean work by John McNeill, the article has been
composed by him from various reports into readable form and relates how the vault was made,
when it was restored and renovated over the centuries, and an account of the decorative
schemes. There are eight black and white diagrams and nine excellent colour photographs.
The primary build was c.1285 and only one other such vault over a main span has survived
from this period, that over the nave of St Mary Warmington in Northamptonshire. There is a
picture of this unpainted wooden vault. In the Northamptonshire Pevsner, he says that "the
vault is alas of timber, an acute disappointment." I don’t think that anyone would say that
about our presbytery vault, although Pevsner refers to ours "Here...a stone vault was planned,
but only a wooden vault carried out." I love Pevsner, but he could be a miserable toad
sometimes.
The paper is not a quick easy read but it is interesting and the pictures are very good. If you
would like to see it, then come to the Muniments Room for a quiet read on a Monday.
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Our Mercian Coat of Arms?
Michael Rose poses a query for fellow Guides
I have never been happy saying – at the Abbots door – that there
may be a link between the Abbey/City coat of arms and that of
St Andrew and the chapel on the north side of the nave. Now, for
the first time in 20 years of guiding, I happily tell a different story
thanks to a local heraldic expert, Fay Robson.
Fay was known to some of our older guides but I never had the opportunity to meet her. She
wrote an article on the choir ceiling in which she attributes our coat of arms to the Saxon
kingdom of Mercia. The Abbey was founded by an Offa and at the time it lay in the
jurisdiction of Mercia. So do we have a Mercian link? If you Google ‘Wikipedia’ they think so.
The Alban/Mercian flag flies today from the tower of Tamworth castle and Tamworth was at
one time the capital of Mercia. Our arms are also incorporated in those of Leek (Staffs) and
Blaby (Leicester).
I realise that this story needs more work but why has it been hidden from view for so long?
There is even supporting evidence in the Archives from another heraldic writer. It doesn’t yet
rule out the St Andrew’s link but it does require somebody younger than me to follow up. In
the meantime I would welcome feedback from Guide colleagues.
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Vaulting in the Cathedral
The first of a two-part article on examples of vaulting throughout the Cathedral, by Richard
Ridlington
Much of the vaulting in our Cathedral will be well known to Guides, but hopefully this article
will encourage colleagues to look up and around, and see more vaults; some very easily missed
because of their position and small size – a torch
would be useful.
The illustration in Eileen Roberts’ book ‘The Hill of
the Martyr’ (page 63) shows the barrel vault that
used to cover the slype, demolished in the late 19th
century. Our earliest remaining vaults are the groin
vaults in the western bays of the north and south
presbytery aisles, and the vaulting to the triforium
passages in the transepts (see left).
Groin vaults are where the structural panels of the
vault meet each other without ribs between them.
The rib vault has panels which fit into spaces
between the structural ribs. These are therefore
much lighter in weight than the groin or barrel
vaults, and can be built at much greater heights, the
whole structure having to support less weight.
Westminster Abbey vaulting reaches to about 102
feet, Cologne 150! Our own vaults reach 60 plus
feet high.
Our earliest rib vaults are in the north and
south presbytery aisles (see right), all part
of the modernisation of the abbey church
from the 1260s, in which most of the
Norman vaulting east of the crossing was
replaced by the gothic pointed arch system
(except for the western-most bays).
It was intended to continue the vaulting of
the north and south aisles into the
ambulatory – the pier foundations still exist
under the floor – but this was never
completed. To see the full effect of this
vaulted area as originally intended you need to look at the equivalent spaces at Southwark or
Salisbury Cathedrals.
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The original, Norman, eastern chapels of our
transepts were replaced in the 13th century.
A remnant of one of these replacement chapels
can be seen in the Flower Arrangers Room,
adjacent to the first bay of the south presbytery
aisle – you can see a shaft in the north west
corner of this room, supporting what must be
the curving rib of the now demolished vault
(see right). Inside the west wall of the nave,
north and south, are what presumably would
have been springers for vaulting, never carried
out in medieval times, but used by George
Gilbert Scott for his south nave aisle vaulting.
We still have our glorious timber vault of
c.1290, spanning about 30 feet over the
presbytery. There are masonry springers up to
the ring of shields for each vault. Being stone,
these have survived well over the centuries,
while the woodwork of the vaults above the
springers has suffered over the years. Remains
of masonry for what would have been flying
buttresses are still visible on the outside of the
walls between the clerestory windows.
Southwark has flying buttresses in similar
positions.
The presbytery vault is the largest – in the next issue of Guidelines we’ll look at some of the
smaller, and not always obvious, examples.
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Guidelines articles: Whilst we check for any obvious inaccuracies in the articles we receive for
Guidelines, we, as Editors, cannot take responsibility for their authors’ errors or omissions.
Guidelines editor contact details: Julie Cirillo - email: [email protected]
St Albans Cathedral Guides:
Chairman: Stephen Potter,
4 Blenheim Road, St Albans AL1 4NR
Secretary: Hazel Gowland, 23 Charmouth Road, St Albans AL1 4RS
Tel: 01727 844672
Tel: 01727 855294
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