H.E.C.S. discusses three books in the Chapter Library collection that open windows into life at the Cathedral in the 19th century. Extract from The Friends of Rochester Cathedral for 1984.

The student of the architectural history of a Cathedral is confronted with an almost embarrassing amount of material.

There is the building itself; Chapter and other records. There are also a number of volumes which, while reflecting overmuch in some cases the philosophy of the author, often record in descriptions and engravings features no longer visible today.

Three such books are - James Storer's History and Antiquities of the Cathedral Churches of Great Britain, 1819; H. and B. Winkles' Architectural and Picturesque Illustrations of the Cathedral Churches of England and Wells, 1836; and Mackenzie E. C. Walcott's Memorials of Rochester, 1866.

Storer was a Protestant of the old school and his language is reminiscent of an atheistic radical. He dislikes Gundulph - “a prelate of little learning" and upbraids him for "the bigotry of a monk" in disinheriting the married clergy to make room for Benedictine monks. While recognising the bishop's architectural genius, Storer relishes the quotation of "the happy remark of Lambard that this prelate never rests from building and begging, tricking and garnishing, until he had erected his idol building to the wealth, beauty and estimation of a popish priory'? Naively he suggests that the fire of 1177 was the result of the "Romish" partiality to burn lamps, torches and candles in churches": He is equally unsympathetic towards John Fisher, 'a lettered bigot and all this in contrast to the paean of praise for the 18th century bishops "But all the black crimes of a Gryffyth, or demerits of an Attenbury are lost in the never ending splendour of a Sprat, a Pearce, a Dampier and a Horsley".

Yet from his account of the Cathedral we learn for example that the sedilia is known as "the Confessional"? Historians today pay more attention to oral sources - might there not be some reminiscence that in this position perhaps lie the relics of the Rochester saints? One of his engravings reveals the simple panelled doorway to the Chapter Room, the top filled in with stone and with the two additional steps which still bedevil the doorway's proportions. The view from the Slype entrance displays the curved face of the Canon's house obtruding into the Garth and a well treed garden, fork and spade propped up against a wheelbarrow as the gardener has his tea break. But of special note is the view of the North Quire Transept. Five ranks of box pews rise from the central gangway and over the Bishop's throne is the classical pediment, perhaps all part of the restoration of 1743 when the "quire received new wainscot, stalls, pews, etc., and was handsomely paved with Bremen and Portland stone'!

The more sophisticated Mr. Winkles relates that this throne was made at the expense of Bishop Wilcocks, who was also Dean of Westminster "and in his time the western front of the Abbey Church of Westminster was restored and the towers completed from designs by Christopher Wren*. Could the throne have been Wren's also? Among Winkles' illustrations is one that shows a screen continuing across the south aisle from the organ screen He applauds Cottingham's repairs,Walcott, on the other hand, no doubt an ardent admirer of the Cambridge Movement, denigrated the architect's work "His mutilations, excrescences, the miserable windows! He records that in the North Transept are the windows by Clayton and Bell "for Archdeacon King" the father of the famous Bishop Edward King of Lincoln. These windows are probably the best Victorian glass in the Cathedral.

Daily services we learn take place at "10½ and 3¼". And like the other authors he perpetuates the nomenclature of what is now the "shop area" as St. Edmund chapel.

Perhaps the uncovering of the western wall may reveal painting portraying the history of the Cathedral: a figure of St. Andrew is quite clearly visible. Little is known of the Crypt wall paintings. Tantalisingly, Winkles writes this brief description "Within a circle is a representation of a vessel sailing and a large fish in the water below. On one side is a monk, with uplifted hands as if in prayer: under the whole is a shield of gold charged with an eagle displayed, sable'? The organ screen was designed by "Revd. - Ollive"? To celebrate the centenary of this instrument on the 28th November 1891, a recently discovered music list records a special programme of music. In Winkles drawing there is a coat of arms over the entrance to the Quire.

These are some of the minor details from the printed word. Of considerable interest now, and of even greater interest in the future, will be the Cathedral's liturgical records. Not only among the Precentorial files are the orders for the Ordination in 1889 (34 priests and 24 deacons); but from more recent years the actual ceremonial for this service according to the Book of Common Prayer rite. From the 1899 notes is evidence of the ancient Rochester tradition of "seniores priores"; at an Ordination it is the Bishop and at the Eucharist it is the President who leads out first after the service is over. And as regards fabric there is the tomb of Walter de Merton, re-erected and restored in 1662. The latin inscription in the passageway by the Choir vestry records its destruction during the Civil War "Fanaticorum rabie'? It was restored again in 1911 when the windows were in-serted. Although Sir Ninian Comper's strawberry leaf colophon is not to be seen - yet the style and figure of John the Baptist is almost identical to his signed design in the author's former church of Hoveton St. John, Norfolk,and dated 1914.

These glimpses come from but a small selection of printed material and other examples. There is a great deal more besides, neither ought one to overlook the literary descriptions - either in Charles Dickens' The Mystery of Edwin Drood, nor of more recent years, Russell Thorndyke's, The Slype.

H.E.C.S.

Extract from The Friends of Rochester Cathedral for 1984