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Brief History of Great Screen

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Brief History of Great Screen A Brief History of The Great Screen of Winchester Cathedral by Jeannie Berridge Jeannie Berridge is a voluntary guide in Winchester Cathedral. Early in 2018, the Great Screen in Winchester Cathedral was thoroughly cleaned. The work was carried out by McNeilage Conservation, a husband and wife team based near Exeter; the effect has been dramatic as the screen had not been cleaned since the restoration of the late 19th century, and in places it was covered with a layer of dust half an inch thick. Before and after pictures are shown for the statue of William Waynflete in Figure 1. Fig 1.1 William Waynflete before cleaning Fig 1.2 William Waynflete after cleaning Photos: Simon Newman The Great Screen was probably planned during the episcopate of Cardinal Beaufort (1405-1447) but completed during the time Bishop William Waynflete was Bishop of Winchester (1447-1486). In many respects, the story of the Great Screen is mirrored in the wider history of Winchester Cathedral, starting with the great wealth and power of the medieval bishops, through to the destruction inflicted during the Reformation, and followed by years of neglect. Once religious images became widely accepted in the Church of England in the Victorian period, the screen was restored to something approaching its original form with new statues being commissioned to fill the empty niches. The Reverend David Warner, a former Winchester Cathedral guide wrote: “The wealth of Beaufort contributed to its splendour and the influence of Bishop Waynflete is evident in the moulding and decoration”. [1] This ambitious reredos was part of a wider design for the east end incorporating two further inter-related projects: a new shrine for St Swithun, and Cardinal Beaufort’s chantry chapel. [2] St Swithun’s Shrine was 1 completed by 1476. The relics had been in storage for 20 years, most probably because because the reliquary given by King Edgar had been melted down to provide materials for the new ‘frontall’ that was to be the centrepiece of the great screen. [2] It is possible therefore that the Great Screen was also complete, at least structurally, by 1476; the statues may have been added at a later date. The screen is built mainly of Caen stone and stands 44 feet high (13.5m) and 39 feet wide (12m). Fig 2 The Great Screen freshly cleaned Photo: Simon Newman An undated inventory of the Cathedral [3], given by the Prior to Thomas Cromwell, gives us an indication of the screen’s original splendour and decoration: “The nether part of the high altar, being of plate of gold garnished with stones. The front above being brodering work and pearls and above the Table images of silver and gilt garnished with stones. Above that Altar a great cross, and an image of plate of gold, garnished with stones.” The surviving pieces of the original statues (until recently on display in the Triforium Gallery) suggest that the original design could have consisted of a central tableau with eighteen full size statues and thirty eight smaller ones. There is still evidence of coloured pigments on the statues. In his book ‘The Great Screen of Winchester Cathedral’ [4] written in 1891 Dean George William Kitchin puts forward the following suggestions for why the Great Screen was built: 1. Stability Dean Kitchin claimed that this was the foremost reason the Great Screen was added, but David Warner has since maintained that there is no evidence at all that it serves this purpose. 2. To “enable with all the splendour the High Altar of the mother Church” 3. To provide privacy and seclusion for the monks “. the tall Screen would be very welcome as an additional barrier against the unwashed and suffering crowd of common humanity” 2 David Warner suggested that the hollow octagonal ‘spire’ or corona (Fig 3) in the centre of the screen, once used to lower a pyx containing consecrated host for celebrating the Eucharist, is predominant to the screen’s original purpose [1] and could be a vital clue as to why the screen was built. Dean Kitchin may have been alluding to this in the second of his suggestions. Fig 3.1 Top of the Screen showing the central spire or corona Fig 3.2 The underside of the corona Photos: JulieAdams Time Line for the Great Screen Circa 1476: Screen completed Circa 1538: Screen desecrated On the 21st September 1538 Thomas Wriothesley, chief clerk and personal secretary to Thomas Cromwell, entered Winchester Cathedral at 3 a.m. and ordered the destruction of St Swithun’s shrine. The altar was stripped of everything of value, and it is possible that the statues of the Great Screen were destroyed shortly afterwards. When they were removed the statues were cut into three sections. [6] Some of the torsos were used for filling in walls in the Cathedral Close; a large collection of heads were found centuries later under the Feretory floor. 3 The only medieval figures that survived in situ are two pairs of spandrel reliefs showing the Visitation and the Annunciation flanking the north and south doors of the western face. (Fig 4) These carvings are difficult to see from outside the sanctuary, but traces of the original colouring are still present. 4.1 Elizabeth from the Visitation, left, over north door 4.2 Mary from the Visitation, right, over north door 4.3 Mary from the Annunciation, left, over south door 4.4 Gabriel from the Annunciation, right, over south door Fig 4 Medieval carved reliefs in the spandrels above the sanctuary doors Photos: Jeannie Berridge 1561-1580: Episcopate of Robert Horne Soon after the extreme protestant Bishop Horne’s arrival in Winchester in 1561, boards with the Ten Commandments were erected to cover damage to the altar area thereby emphasising the importance of the written word of the bible over visual images, painted or sculpted. The exact timing of the removal of the statues is unclear but in 1571 injunctions were issued by Bishop Robert Horne ordering the demolition of all “superstitious images”. The statues certainly would have been removed at this juncture if they had survived previously. 1632-1647: Episcopate of Bishop Walter Curle A wooden baldacchino (ornamental canopy) was erected over most of the lower third of the screen. Stonework was painted brown and additional wooden swags and ornaments were added. 4 The illustration (Fig 5) from the following century (circa 1733), shows the commandment boards at the centre and Jacobean panelling which was added over the vacant niches. Fig 5 Great Screen taken from an engraving by Claude du Bosc after Hubert-Francois Gravelot circa 1733 (published in Paul de Rapin-Thoyras’ and Nicolas Tindall’s History of England. Both engravers are named on the plate) Circa 1700: Dr William Harris Cathedral Prebendary and Headmaster of Winchester College, Dr William Harris, whose memorial is on the western end of Wykeham’s chantry chapel, died in 1700 and bequeathed money to the Cathedral: “I give and bequeath unto the Deane [sic] and Chapter of Winchester the sume [sic] of eight hundred pounds in order to beautify the alter [sic], to pave it with black and white marble, to repair the rails before to [sic] communion table and to carry down the steps with a more easier descent at the discretion of the said Deane [sic} and Chapter soe [sic] far forth as the said sume [sic} of eight hundred pounds will goe [sic] towards the doeing [sic] the same item.” [5] The money was spent on wooden doors to the feretory and marble paving for the sanctuary. At some stage, twelve classical urns were purchased to fill the niches. The coat of arms of Dr Harris (sable three crescents argent) is shown above the two doors which lead from the sanctuary to the feretory area. (Fig 6) Fig 6 South door in the Great Screen, showing the Annunciation and William Harris’s coat of arms Photo: Jeannie Berridge 5 1782: The addition of Benjamin West’s Raising of Lazarus When Dean Newton Ogle was in post, The Dean and Chapter purchased a large painting ‘Raising of Lazarus’ by Benjamin West (1738-1820). This was placed in the centre of the screen above the altar in place of the commandment boards. A frieze of Caen stone was inserted above the altar and beneath the painting; this frieze is now partially assembled in the area of the crypt under the Lady Chapel. Fig 7 Main: The Great Screen showing baldacchino, urns and Benjamin West painting Engraving; James Basire the Younger used in the 1809 edition of John Milner ‘The Survey and History of the Antiquities of Winchester” Insert: Detail from James Cave’s watercolour, 1808 © John Crook, Winchester Cathedral Figure 7 shows the various features added to the Great Screen at different times; the baldacchino, the twelve urns and the Benjamin West painting can be clearly seen. 6 1810-1820: Prebendary Dr George Frederick Nott Prebendary Nott removed the baldacchino and the urns. Repairs were carried out to make good where features had been eliminated but these were done in plaster of Paris and cement, not in stone. [6] For much of the 19th century the Great Screen must have been a bare and forlorn sight, in need of restoration. (Fig 8) Fig 8 Engraving of The Quire looking towards the Great Screen taken from The Illustrated London News, 13th April 1854 7 1884-1899 Restoration Fig 9 Diagram showing the arrangement of figures on the Great Screen (redrawn by Julie Adams) The suggestion of a complete restoration of the Great Screen was first made by Dean Bramston in 1878, starting with the insertion of eight statues in the central niches and covering the plain stone of the central cross with enamel.
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