Since then it has been at different times repaired or restored in parts, but it still bears strong evidence of the terrible treatment it received. The cathedral consists of a nave and aisles, a transept, a choir, a chancel with aisles continued round the semicircular east end, and four chapels. From the intersection of the choir and nave springs the tower and spire. On the south side is a nearly perfect cloister. The entire length of the church is 411 feet, of the transepts 178 feet; the breadth of the nave and aisles is 72 feet. The height to the top of the tower is 140 feet, to the top of the spire 315 feet. These proportions, with the help of our engravings, may assist the reader in forming an idea of the size and general appearance of the building. As a whole the cathedral is best seen from the river side, near Sandling Ferry, on the lower slope of Mousehold-hill. (Engraving.) So seen, the circular east end with its flying buttresses, the noble tower and lofty spire, and the long transepts, form a striking and majestic composition. Incongruities, that somewhat mar the general effect when seen from a nearer point of view, do not then catch the eye. But, indeed, it cannot be seen, as a whole, from any nearer position, owing to the lowness of its site and the various buildings that surround it. The eastern end, too, which is that turned to the river, is by far the grandest. The western end, in spite of its noble window, has but a meagre appearance. The embellishments' added to this end some years back, have been recently removed, an alteration which has much improved its character. When examined closely there is found much to admire in the several features of the exterior, but little that is of that surpassing grandeur which is seen in some other of our cathedrals. The choir has a fine appearance; the light clerestory, with its rich perpendicular windows and bold flying buttresses, and semicircular termination, rising out of the massive Norman base has a very picturesque effect, though it is not in accordance with architectural style. The Norman transepts with their arcades have also a fine effect. But it is the tower and spire that is the most important feature of the exterior. The tower is the loftiest and most elaborate of the Norman period remaining in England, and has an appearance of richness and solidity that is very admirable. The spire is the loftiest in the kingdom with the exception of that of Salisbury cathedral, to which it must also yield in grace of proportions. This, however, is a very handsome one. It is encircled with several horizontal bands, and the angles are richly crocketed. A remarkable instance of hardihood is mentioned in connection with this spire. On a Sunday in July, 1798, a sailor boy, thirteen years old, obtained permission of the sacrist to go up into the tower during the performance of the service. From the tower he ascended the interior of the spire, till he reached the highest window, through which he made his way to the exterior, and then, assisted only by the crockets, which are above a yard apart, climbed to the finial that crowns the summit of the spire. On this "In service high and anthems clear," reverberating along the lofty vaults, while the pealing "Storied windows richly dight Casting a dim religious light," A few fragments are all that have escaped these ruthless iconoclasts. The coloured windows in the apse are recent, and alone are too small to produce any very decided impression; but they are well as a beginning. At the time the windows were destroyed, the cathedral was stript of nearly all its monuments also. Sir Thomas Browne says, in his 'Repertorium,' that narrow footing, at a height of above three hundred feet, he walked twice round, and then in presence of the vast crowd who had assembled, and were watching him with breathless anxiety, he amused himself for some time in twirling round the weathercock. He at length descended in safety in the same way that he had ascended. A somewhat similar though less perilous feat is related, it will be remembered, of Lord Clive. The interior is far more imposing than the exterior and it suffers in consequence. The painted windows of the cathedral. As you enter it the enormous Nor-it once had were destroyed by the puritanic mallet. man piers and columns in the nave, supporting the heavy circular arches and the two tiers of lighter arches above them, and the splendid stone roof, spanning all and in a long vista stretching before you, produce a feeling of awe in the mind that is not lost while you remain within the sacred walls. You feel subdued in the presence of the magnificent work which has here been devoted by man to the service of his Maker."about a hundred brass inscriptions were stolen and When you can examine the building in detail the impression is little diminished. The roof of this nave is wonderfully fine. It is highly elaborate in design, and is ornamented with a series of above three hundred figures from Scripture history, reaching from the Creation of the world to the Day of Judgment. In its carvings this roof is probably unique. The roofs of the transepts, of a later date and inferior in execution, are decorated with between eighty and ninety similar figures. The choir has perhaps, a still more striking effect than the nave, to which the semicircular apse at the end largely contributes. In general character the choir resembles the nave; but it is more florid in its details, and is still loftier, the roof being eightythree feet above the floor. The clerestory, or upper story, is of exceeding beauty, and adds an airy gracefulness to the solider parts beneath. The screen and stalls are elaborately and richly carved. Many improvements have been made in the interior of the cathedral, and especially in the choir, within the last few years; but one remains to be accomplished that would greatly add to the majesty of the general effect —we mean the removal of the organ from its present unfortunate position on the rood-loft, where it entirely destroys the long vista, which, from the noble series of triple arches and splendid dome roofs of the lofty choir and nave, would be of uncommon magnificence. The organ is considered by musicians to be a good instrument, and the choristers are of acknowledged excellence. The position of the choristers is very unusual. Instead of being placed in the centre of the choir, they are ranged along the front of the organgallery—a deviation from the ordinary practice which we are unable to account for, but we suppose has been adopted for some sufficient reason. The stranger who is fortunate enough to be present at the performance of the cathedral service, will not fail to acknowledge the impressive manner in which it is conducted. And very cold must his heart be, and feeble his imagination, if his whole soul be not stirred and elevated as he listens to the sublime though simple words of Scripture taken away from the tombs." No brasses remain now, It is in The cathedral aisles, the chapels, and much more, will repay examination. Here they must be passed over. But the visitor should not leave the cathedral without strolling through the cloisters, which are gene. rally considered to be the largest and finest in England. They form a square of about 174 feet, and are 12 feet wide. They are of the most elaborate construction, and remain in excellent preservation, giving one, in fact, a very tolerable conception of what those places were like when the old monks used to assemble in 2FVOL. I. them for exercise or study. These cloisters, although at first sight they appear to bear a strong resemblance throughout, do in fact differ considerably, and form, on that account, a valuable study for an architectural antiquary, and a not unamusing object of examination for one who is not at all an antiquary. They were begun by Bishop Walpole in 1297; but though proceeded with by several of the bishops, they were not completed till the prelacy of Bishop Alnwyck, about 1430. The beautiful tracery of the arches, and other characteristic parts, exhibit all the progressive variations of the style known as the Decorated, and show in the portions of latest construction the early forms of the Florid or perpendicular tracery; and yet, although thus differing in the style of the several parts, the whole, as is so often the case in the better examples of Gothic architecture, appear quite in keeping. The stone vaulting of the roof is much admired; the groins are, as it were, fastened at the points of intersection by massive bosses, on which are carved scriptural figures, ranging with those on the roofs of the nave and transepts of the cathedral. A door at the south-west corner deserves notice. It was just within the doorway, or under the porch, that in olden times parties were accustomed to take their stand when about to be married. Here the priest used to join their hands, and perform the greater part of the marriage ceremony. This door was the one employed for the purpose here, and this use of it is indicated by a sculptured representation of the espousals of our first parents on the tympanum, or space within the arch above the door. Near the door are the lavatories, wherein the old monks used to wash their hands previous to entering the refectory at dinner time. Above the lavatories are niches, but the figures that once stood within them are wanting. The canopies over the niches have some rather curious carving. ance. Adjoining the cathedral is the Bishop's palace, a building that we leave undescribed. The gardens are very beautiful, and from them parts of the cathedral, which cannot be elsewhere seen, have a striking appearIn the garden is a fine ruin of the ancient hall of the palace, which the puritans, after using for awhile as a sermon-room, destroyed. The only relic of the old priory that Herbert founded in conjunction with his cathedral, stands near the Dean's house; but this fragment is believed not to be of so early a date as the primal bishop. It consists of three massive clustered columns, which at the time they were brought to light, on pulling down the old dormitory in 1803, are said by Mr. Repton (Archæologia, v. xii.) to have retained traces of the colours, yellow, crimson, black, and green, with which they were originally adorned. Not the least curious or picturesque of the old architectural appurtenances of the magnificent establishment are the gateways which lead to the cathedral precincts. The oldest and finest of these is that dedicated to St. Ethelbert, of which we give an engraving. (Cut, No. 4.) It was constructed by the citizens as part of their atonement for the mischief they did in the great riot of 1272, when among other things they destroyed the church of St. Ethelbert, which stood on the spot now occupied by the gateway. Over the arch is a chapel, but it has not been used as a place of worship since the Reformation. The lower part, which is the original building, is of stone; the upper part is comparatively recent, and is constructed of black flint, inlaid rather curiously with stone-work. In the spandrels of the arch is sculptured a representation of St. George attacking the dragon. Above this is a series of niches with crocketed canopies. The central niche is occu pied by a defaced statue; the others are blank. The gateway has been greatly injured; it has been recently repaired-but no care is taken to preserve the rich carved work, which the boys of the neigbouring school daily spend a part of their play-hours in pelting with large stones, to the exceeding amusement of the passers-by. Erpingham Gate is much inferior as a work of art, but is in far better preservation than St. Ethelbert's Gate. It consists of a very lofty arch, round the mouldings of which are thirty-eight small statues within canopied niches. A statue of the builder, in a kneeling position, is placed over the centre of the gate. Other statues, with animals, flowers, and different figures, are spread over the surface. The gate was erected by Sir Thomas Erpingham in 1428, as part of the penance enjoined on him for having adopted the principles of Wickliffe. The Erpingham gateway stands before the west front of the cathedral, to which it serves as the principal entrance; the Ethelbert Gate is the chief, and at night the only entrance to the precincts. On St. Martin's Plain is St. Martin's, or the Bishop's Gate, which is used as the state entrance to the palace. It is of later erection than either of the others, but is in keeping with them in its architecture. By the riverside at Sandling Ferry is an old gate-house, which served as the water-gate to the precincts, and is now attached to the ferry. It is a plain rude structure, formed of black flints,—a crazy-looking pile, as seen from the river, the roughest bit of 'picturesque' now visible in Norwich, and as such it finds a place in the sketch-book of every artistical visitor to the old city. It consists of a low and singularly flat principal arch, alongside which is a small postern. Over the arch is a room in which the keeper lives. The whole seems fast going to ruin. The only object that could enter into competition with Sandling Ferry in that variety of picturesqueness which we have mentioned, is the bridge, about a hundred yards above it, which we have inserted in our sketch-book. (Engraving.) Bishop's Bridge is the oldest bridge remaining, and is one of the most curious remains in the city. It was built in 1295, and belonged to the see of Norwich till 1393, when it was transferred to the citizens. It is a strange patched-up structure of stone and flint and brick. It has three odd-looking arches: over the central arch is a rude representation of the city arms, and inside the arch are some grotesque heads. Fairs used to be held on the bridge at Easter and Whitsuntide; the former is now kept in the Castle - meadow, but a stall is always erected on the bridge: | in the ecclesiastical buildings of a particular neighbourthe latter has fallen into abeyance. On the city side hood, and which has obtained the name of provincialof the bridge stood one of the city gates, called Bishop's ism. Not one of these six and thirty churches, for Gate. Just by the bridge are the remains of one of the example, has a spire or steeple. Most of them have towers that formed part of the city fortifications. None square towers formed of black flints; but a few have of the other bridges there are ten of them alto- round towers, a form that is also found in one or two gether has anything to attract the notice of a of the village churches in the neighbourhood. These stranger. Fye Bridge was-" in the golden days of round towers are very curious; like most of the others good queen Bess," and for a century or so later-the they are formed of black flints, in some instances very place nicely squared and fitted. They are of ancient date; ut the notion of their being of Danish erection, which is repeated in many of the local histories, is a pure absurdity. One church we must speak of a little more particularly, -St. Peter's Mancroft, which is very much superior to any other in the city, and is, indeed, of unusual merit. It is of very large size, being 212 66 "where the high stool On the high plank hung o'er the muddy pool; and thither, as the Court Book testifies, used the common scold," or other lady of blemished reputation, to be carried "in a cart with a paper in her hand, and a bason tinkling before her, and so had to the cucking-feet long, 70 broad, and 60 high, and consists of a stool and ducked three times in the water." The nave, chancel, transepts, and tower; and, from its naughty dames have no longer the fear of the cucking- position by the market-place, is one of the most prostool before their eyes: the machine is gone, but the minent objects in the city. It was begun in 1430, memory of it is preserved in a rough way in the adjoin- and finished in 1455. The style is the perpendicular, ing row of houses, which still bears the name of Coke- of which it is a fine example. The noble tower is row, a plain corruption of Cokyng, which was the old the most striking feature of the exterior. It is way of spelling the word. A worthy inhabitant, zealous nearly a hundred feet high, and is richly pannelled for the fame of his locality, told us that the name of over almost the whole of its surface. In it is a the bridge is also commemorative of the old custom,- peal of twelve bells, of which "the fame rings all the 'Fye!' being the natural exclamation at every such country round." There is a magnificent series of large exhibition. The etymology will match that of the windows ranging along the sides of the building, and landlady of the inn at Greta, who, as Sir Walter Scott some very good ones in the clerestory above: their used to tell, was wont to assure her guests that Greta effect internally is very fine. The great east window bridge was so called from its resemblance to a is of exceeding beauty. The interior of the church great A. has suffered a great deal of improvement at different times; but the tasteless additions are being gradually removed, and the church restored to somewhat of its primary condition under the judicious care of the present incumbent One of the greatest improvements is the replacing of the old pews by open seats. removal of the picture from over the communiontable, and the manner in which its place has been supplied, has greatly improved the general appearance of the chancel. In the church are some curious and interesting monuments; it contains one remarkably fine brass. In the vestry many antiquarian relics are preserved: among other things which it contains is a portrait of Sir Thomas Browne, who was buried in the church. Norwich has many churches, more it is said than any other town of the size in the kingdom; and yet it is confidently affirmed that it once contained twice as many as it now does. Whether the ancient citizens were a more church-going race than their descendants, or whether, as some maintain, Norwich really had a much larger population, we know not, and do not attempt to guess, though we certainly doubt the fact' of its ever holding as many people as in these later days. But if Norwich be now deficient in churches, there is a goodly number of chapels to help to supply the deficiency. In many a back street is seen a gloomy ' Ebenezer,' or lowly 'Jireh ;' while in the main thoroughfares grim imitations of heathen temples, with composition porticos, and unnameable styled round buildings of red brick, greet the eye, and clean prim 'Friends' meeting-houses' are not lacking to make up the number. All of them we leave unvisited. They are such as a benevolent man may find much in to regard with interest; but they belong not to the pages of a literary or pictorial sketch-book. The churches, if we had time, might well exact a share of attention; but we can only look hurriedly at one or two of them. They are of various ages and sizes; they are also, as will be supposed, considerably different in style and architectural merit; and yet there runs through the greater part of them that general, vague amount of resemblance that is often noticed by antiquaries to exist The Having mentioned Sir Thomas Browne, we cannot pass him by without dwelling for a moment on a name so eminent in our literature, and which has conferred so much honour on the city we are treating of. Sir Thomas Browne is, indeed, the most eminent of the citizens, though not a native of Norwich. In some respects he stands alone in the literature of our country. Other men have soared higher, and dived deeper, have solved more of the mysteries of nature, and cast a brighter and steadier light over the moral faculties of man; he in no branch of mental science takes the first place, or one anyway near it; but perhaps there are few authors in whose works more suggestive matter may be found. His very faults are suggestive. The |