Notre Dame de Rouen. The façade of the Gothic Church in France. Photographer: Hippo1947. Licence: SHUTTERSTOCK.

Saturday 6 August 2022

The Transfiguration Of Our Lord Jesus Christ. Feast Day 6 August.


Text from The Saint Andrew Daily Missal,
unless otherwise stated.

The Transfiguration of Our Lord Jesus Christ.
   Feast Day 6 August.

Double of The Second-Class.

White Vestments.



"This is My Beloved Son, in Whom I am well pleased:
Hear ye Him."
Artist: René de Cramer.
"Copyright Brunelmar/Ghent/Belgium".
Used with Permission.


The Transfiguration of Our Lord Jesus Christ.
Available on YouTube at


To Commemorate the Victory which arrested, near Belgrade, in 1456, the invading tide of Islam, and which was announced at Rome on 6 August, Pope Callistus III extended The Feast to the whole Church.

It is The Feast of many Churches under The Title of Saint Saviour. This is why Pope Saint Pius X raised it to the Rank of Double of The Second-Class, for it is the old Title of the Cathedral of Rome, Saint John Lateran, formerly called the Basilica of Saint Saviour (Feast Day 9 November).

Mass: Illuxérunt.
Commemoration: (In Low Masses). The Holy Martyrs, Pope Saint Sixtus II, Saint Felicissimus, and Saint Agapitus.
Creed: Is said.
Preface: Of The Nativity.





THE SAINT ANDREW DAILY MISSAL





THE SAINT ANDREW DAILY MISSAL

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SILVERSTREAM PRIORY




The Transfiguration Of Jesus. The Terrible Beauty Of God.



The Transfiguration Of Jesus.
Artist: Carl Bloch (1834–1890).
Date: 1800s.
(Wikimedia Commons)


This Article is taken from, and can be read in full at,
RORATE CÆLI

Sermon for the Second Sunday in Lent: The Terrible Beauty of God.

“Jesus took Peter, James, and his brother, John, and led them up on a high mountain by themselves. He was Transfigured before their eyes. His face became as dazzling as the Sun and his clothes radiant as The light”. (Matthew 17: 1-3).

From an ancient Letter, dated 90 A.D., from Saint John the Evangelist, to Lydia.


Dear Lydia,

You ask me in your letter to tell you what we saw that day on the mountain, what the experience was like. I am old now and near death. Much has happened to me, and for all that I have been given, and it is so much, I thank the Lord Jesus Christ. But even in death I shall never forget what happened on that mountain.

We climbed in silence, for we were in a state of gloom. The Lord had told us three times that he had to suffer and die and then rise again. Peter became almost violent, and told Jesus that this talk must be stopped. And Jesus rebuked him with anger, one of the few times I saw him truly angry. And so we retreated into silence, a silence of fear and despair, unrelieved by the harsh landscape of that mountain.


When we reached the summit, it was deathly quiet. There was no wind, no sound. We knelt down to pray, for we said to ourselves, that is why he brought us up here, to pray. But when we looked up—I cannot adequately describe what I saw, but the Lord seemed to radiate an intense light, it was as if he was bathed in the sparkle of a diamond, a light that was as bright as the sun but which at which we could look directly.

And within this light which came from him were Moses and Elijah. The three were talking to each other, but the talking did not break the silence. The talk came out of the silence and was silence. I said I could not describe to you in words what happened on that mountain, and as I write this down, I see that I cannot.

Fear seized us all. We trembled as we gazed on this sight. Our hearts seemed to be trying to leap out of our bodies as we heard the voice, the voice again from and in the silence: “This is my beloved Son.” And then it was over. The Lord came to us to help us up off the ground and told us: “Do not be afraid.”


What did we see on that mountain ? When we talked about it later, for we did, we talked perhaps too much about it, we spoke of it in different ways. But we agreed on one thing: that the experience on that mountain somehow prepared us for the rest, that the fear we felt—and it was fear—had somehow been transformed into an inner peace, a peace that did at times seem to retreat but always finally came back.

Whatever we saw there, the Lord allowed us to see it to strengthen us for what he had to endure and what most of us had to endure. But what did I see on that mountain ? What I told Peter, what I tell you now is this: we saw the beauty of God. Yes, that is the term that I used then, and it is even more true to me today: what we saw on that mountain was the terrible beauty of God.


Why do I call it terrible? Because it filled us with terror when we were in its presence, but it was not the terror of battle or of illness, or anything like that, but the—what shall I call it ?—the holy terror of knowing that one is in the presence of God.

To behold the beauty of God as we did changes one’s life forever, for after one has seen that beauty, everything else has little appeal. We walk through life looking and hearing and using all of our sense. 

We see the beautiful sunsets, we look at the perfection of a rose and smell its perfume, we see the beauty of a lovely woman or a handsome man, we hear the beauty of music: but they mean nothing to us, nothing not because they are not beautiful and to enjoyed and marvelled at: but nothing because we have seen the beauty of God and nothing else will every satisfy us again.


But I have to write you this as well. I experienced that beauty again, this time not on a mountain but on a hill. You know the hill I am talking about. I need not say more. It was where I least expected to be once again confronted with the beauty of God, for it was a time of the deepest sorrow.

My heart was wrenched and drained of its lifeblood, it seemed to me. The stench of death, the dirt, the blood, the jeering crowd, the gathering storm, the darkness, all spoke of the darkness that I felt. Oh, God, forgive that darkness that I felt, for I forgot the light !


But standing there after he had died, standing there with Mary, I look up at the Lord hanging from that cross, the blood still flowing down in a trickle from his hands and his feet and his side. And what I saw-and Mary saw this too as she told me when we spoke later—was the beauty of God.

There was no intense light, no Moses and Elijah, but what I saw, what I saw, as I looked on Jesus hanging dead on that cross, I saw in my deepest being, in my very soul, I saw there what I saw on the mountain, I saw the terrible beauty of God.

But this time there was no terror, there was no fear. There was an emptiness, a calm, a feeling of knowing. Am I explaining this in a sensible way at all to you, dear Lydia? Does it make sense to you that the cross of Christ, even more than what we experienced on the mountain, is where the terrible beauty of God is seen, where I saw it ?


You know, when I first saw the Lord after his resurrection, I laughed. I laughed because I knew what I would see, and I was not wrong. I laughed with the laughter of a man who is so happy that if he did not laugh, he would cry and die of happiness.

For when the Lord came into that room through the locked doors where we were all assembled, the mountain and the hill came together, and I saw there what I knew I would see, but this time in a way that was total, that was real, was forever, never to be taken away again, for when he came into that room, I knew I was in the presence of the beauty of God. 

Father Richard Gennaro Cipolla.

Friday 5 August 2022

Westminster Abbey (Part Four).



Tympanum at Westminster Abbey.
Photo: 24 April 2017.
Source: Own work.
Author: Cmao20
(Wikimedia Commons)


Text from Wikipedia - the free encyclopædia,
unless stated otherwise.

Since the Coronation in 1066 of William the Conqueror, every English and British Monarch (except Edward V and Edward VIII, who were never Crowned) has been Crowned in Westminster Abbey.[4][5]

In 1216, Henry III could not be Crowned in London, when he came to the Throne, because the French Prince, Louis, had taken control of the City, and so the King was Crowned in the Church of Saint Peter in Gloucester (which is now Gloucester Cathedral).

This Coronation was deemed by Pope Honorius III to be improper, and a further Coronation was held in Westminster Abbey on 17 May 1220.[56]


13th-Century Wall Paintings,
The Chapter House, Westminster Abbey.
Depicting scenes from The Book of Revelation.
Photo: 29 May 2021.
Source: Own work.
Author: JRennocks
(Wikimedia Commons)


King Edward’s Chair (or Saint Edward’s Chair), the Throne on which English and British Sovereigns have been seated at the moment of Crowning, is now housed within the Abbey in Saint George’s Chapel, near The Great West Door, and has been used at every Coronation since 1308.

From 1301 to 1996 (except for a short time in 1950 when the stone was temporarily stolen by Scottish nationalists), the Chair also housed The Stone of Scone, upon which the Kings of Scots are Crowned.

Although the Stone is now kept in Scotland, in Edinburgh Castle, it is intended that the Stone will be returned to Saint Edward's Chair for use during future Coronation ceremonies.[57]


Construction of The Metropolitan District Railway, circa 1866.
View from Tothill Street, towards Westminster Abbey,
with Lord Raglan’s memorial on a Column.
Date: 1866.
Author: Henry Flather, 1839–7 September 1901
(Wikimedia Commons)


Westminster Abbey is a Collegiate Church, governed by The Dean and Chapter of Westminster, as established by Royal Charter of Queen Elizabeth I, dated 21 May 1560,[60] which created it as The Collegiate Church of Saint Peter Westminster, a Royal Peculiar, under the personal jurisdiction of The Sovereign.[30]

The members of The Chapter are The Dean and four Canons Residentiary;[61] they are assisted by The Receiver General and Chapter Clerk.[62]


English: Westminster Abbey.
Note the lack of traffic.
Svenska: Westminster Abbey. London, England.
Fotografierna LXVI:K.D.01.-40. är inköpta av Johanna Kempe, f. Wallis, i London, Bournemouth och på Isle of Wight vid hennes vistelse på nämnda orter tillsammans med fröken Caroline Pflaum under deras resa till England,
9 mars-10 maj 1886.
Photo: 1886.
Collection: Hallwyl Museum
Source: LSH 105871 (hm_dig18345)
Photographer: Jenny Bergensten
(Wikimedia Commons)


One of the Canons is also Rector of Saint Margaret’s Church, Westminster, and often also holds the Post of Chaplain to The Speaker of The House of Commons.[63]

In addition to The Dean and Canons, there are, at present, three full-time Minor Canons:
The Sacrist;

A series of Priests Vicar assist The Minor Canons.[64]

The Web-Site of Westminster Abbey can be accessed HERE

PART FIVE FOLLOWS.

Our Lady Of The Snows.



Jesus Crowns His Beloved Mother.
Mosaic in the Apse, Our Lady of The Snows
(Basilica of Saint Mary Major,
“Basilica Sanctæ Mariæ Maioris”).
Illustration: FSSPX NEWS

This Article is taken from FSSPX NEWS

“Our Lady of The Snows” is an old name for Saint Mary Major, a Church that is a Major Papal Basilica in Rome and the biggest Marian Shrine of ancient Christianity, being originally constructed by Pope Liberius around 360 A.D.

It was embellished with beautiful mosaics of Mary and Christ in commemoration of The Council of Ephesus in 431 A.D. There, in the presence of The Papal Legate, Catholic Orthodoxy triumphed over heresy in the great cry of dogmatic Faith, “Holy Mary Mother of God” – Theotokos.

Thus, the second part of The Hail Mary, wherein we say: “Holy Mary Mother of God, Pray for us sinners”, is a sign of universal Catholic Unity of The East and The West, sanctioned and affirmed by Papal authority. The Vicar of Christ is truly Mary’s son.


But, in The Liturgical Rite of a Marian Feast that celebrates the building of a great Church in Mary’s honour, we are also given a sign of Catholic Orthodoxy and authenticity.

Firstly, the whole meaning of Mary is to bring mankind, Soul and body to Christ, and to mould mankind anew in Christ’s image. This continuation and repetition of The Incarnation has its place, its instruments, and its doctrine, in every Catholic Church.

Secondly, nearly every Marian Apparition is culminated by a Church, so that, under the impulse of Marian Devotion, the work of The Incarnation may continue in the most perfect Catholic Sacramental and Doctrinal Orthodoxy. Thus, Guadalupe, Lourdes, La Salette, Pontmain, and Fatima, have Marian Churches explicitly requested by Our Lady to continue Her vital function of bringing mankind, Soul and body to Christ. Wherever Mary appears, there appears Christ in all His Glory, Sacramental Presence and Teaching.


Thus, we see two important qualities of Marian Devotion: It is Doctrinal, and it is Priestly.

Doctrinal, because to know Mary is to know Christ; but, to know Christ, is to acknowledge and affirm His Divinity.

Priestly, because to know and love Christ is to join oneself whole and entire to His Sacrifice, continued and applied in The Seven Sacraments. Thus, The Catholic Church, in Priest and people, Worship The Triune God in a Divine Liturgy which takes place in the Sacred space of a Consecrated Church under the guidance and patronage of The Mother of God.

This ethos of a Consecrated Church requires the concourse of The Catholic Hierarchy through the Bishop as the head of The Catholic Clergy. And, with this concourse of Clergy, the Teaching of authentic Catholic Doctrine, in solid Orthodoxy and Unity in time and space with Rome and the Tradition of The Apostles, is guaranteed. This Theology is most clear in Saint Mary Major.


It is impossible to restore all things in Christ without recourse to Mary. And this recourse to Mary, in the latter times, will have its power by the Marian movement nourished by the Marian Shrines.

Doesn't the special promise of Our Blessed Mother concerning Portugal, and assuring that “the Dogma of The Faith will be preserved there”, mean that Marian Devotion, which introduces to the perfect knowledge of Christ, will survive all storms ?

It is a sign of hope that one day God will restore through it the glory of His Son and His Mother, especially in Russia, and to Saint Mary Major in Rome.

The Dedication Of The Basilica Of Our Lady Of The Snow. Feast Day 5 August.


Text from The Saint Andrew Daily Missal,
unless otherwise stated.

The Dedication of The Church of Our Lady of The Snow.
   Feast Day 5 August.

Greater-Double.

White Vestments.



The Papal Basilica of Saint Mary Major
(The Basilica of Our Lady of The Snow).
Photo: March 2006.
Source: Own work.
Author: Sixtus
(Wikimedia Commons)


This Church was built at Rome, on Mount Esquiline, in the 4th-Century A.D., during the Pontificate of Pope Liberius. In The Middle Ages, a graceful and popular Tradition ascribed its Foundation to a noble Patrician, who, having been favoured with a vision of Our Lady, caused the Church to be built on a spot covered by a miraculous fall of snow.

This Sanctuary was rebuilt in the following Century and Dedicated, by Pope Sixtus III, in 432 A.D., to Mary, whom The Council of Ephesus (431 A.D.), had just proclaimed The Mother of God. The mosaics of The Triumphal Arch glorify this Divine Maternity, and the representations of the two Cities, of Bethlehem and Jerusalem, recall The Birth of Christ in The City of David, and that of The Church in The Cenacle of The Last Supper. These mosaics were restored in 1931-1934. The Basilica is also called Saint Mary of The Crib, because portions of The Crib are preserved here.

Saint Mary's, called "Major" because it is the largest and most important of the Churches Dedicated to The Blessed Virgin, is a Patriarchal Basilica. The great Nave is formed by two rows of forty-four Columns of White Marble and the Ceiling is covered with the first Gold brought from America.

In this Church, whose Dedication is Solemnised on this day, takes place many Celebrations, including: The inauguration of The Liturgical Year on The First Sunday in Advent; the Stations at Christmas; the Feast of Saint John; at Easter; on Rogation Monday; and on all Wednesdays in Ember Weeks.

Mass: Salve Sancta Parens.
The Creed: Is said.
Preface: Of The Blessed Virgin: “Et te in Festivitáte”.



"The Miracle of The Snow",
by Masolino da Panicale.
Christ and The Blessed Virgin Mary observe
Pope Liberius, who marks in the legendary snowfall the outline of the Basilica.
Artist: Masolino da Panicale (1383-1440).
Date: 15th-Century.
Current location: Galleria Nazionale d9i Capodimonte,
Naples, Italy.
Source: The Yorck Project:
10.000 Meisterwerke der Malerei.
DVD-ROM, 2002.
ISBN 3936122202.
Distributed by DIRECTMEDIA Publishing GmbH.
(Wikimedia Commons)



The Dedication Of The Basilica Of Our Lady Of The Snow.
Available on YouTube at

The following Text is from Wikipedia - the free encyclopædia.

The Dedication of the Basilica of Saint Mary Major, previously known as Dedicatio Sanctae Mariae ad Nives (Dedication of The Church of Our Lady of The Snow) is a Liturgical Feast Celebrated on 5 August in The Latin Form of The Catholic Church.

In The Roman Catholic Calendar of Saints, it has the Rank of Optional Memorial, and, in The General Roman Calendar of 1962, it is a Third-Class Feast. It Commemorates the Dedication of the restored Basilica of Santa Maria Maggiore, by Pope Sixtus III, just after The First Council of Ephesus.

This Major Basilica, located on the summit of The Esquiline Hill, in Rome, Italy, is called the Basilica of Saint Mary Major (Latin: Sancta Mariae Majoris) because it is the largest Church in Rome that is Dedicated to The Blessed Virgin Mary.


Basilica of Saint Mary Major, Rome.
Photo Credit: Fr Kevin Estabrook


The Church was built during the Pontificate of Pope Liberius and is sometimes known as the "Basilica Liberii" or "Liberian Basilica".

Pope Pius V inserted this Feast into The General Roman Calendar in 1568, when, in response to the request of The Council of Trent, he reformed The Roman Breviary. Before that, it had been Celebrated at first only in the Church, itself, and, beginning in the 14th-Century, in all the Churches of the City of Rome.

Thus, it appears in The Tridentine Calendar for Celebration as a Double. In Pope Clement VIII's Missal of 1604, it was given the newly-invented Rank of Greater-Double. In Pope Saint John XXIII's Classification, it became a Third-Class Feast. This 1960 Calendar, included in the 1962 Edition of The Roman Missal, is the Calendar whose private and continued use, under certain conditions publicly, is authorised by the Motu Proprio "Summorum Pontificum". Nine years later, The Celebration became an Optional Memorial.


Saint Mary Major, Rome.
Photo: 15 February 2013.
Source: Own work.
(Wikimedia Commons)


Until 1969, The Feast was known as Dedicatio Sanctae Mariae ad Nives (Dedication of The Church of Our Lady of The Snow), a name that had become popular for the Basilica in the 14th-Century, in connection with a legend about its origin. That The Catholic Encyclopedia summarises: "During the Pontificate of Liberius, the Roman Patrician, John, and his wife, who were without heirs, made a vow to donate their possessions to The Virgin Mary.

They Prayed that she might make known to them how they were to dispose of their property in her honour. On 5 August, at the height of the Roman Summer, snow fell during the night on the summit of The Esquiline Hill.

In obedience to a vision of The Virgin Mary, which they had the same night, the couple built a Basilica in honour of Mary, on the very spot which was covered by snow.


English: Basilica of Saint Mary Major, Rome.
Deutsch: Rom. Basilika Santa Mario Maggiore, Innenansicht.
Photo: 13 May 2003.
Source: Own work.
Author: Dnalor 01
(Wikimedia Commons)


No Catholic Church can be honoured with the Title of Basilica unless by Apostolic Grant, or from Immemorial Custom. Saint Mary Major is one of only four Basilicas that, today, hold the Title of Major Basilica.

The other three Basilicas are Saint John Lateran, Saint Peter's and Saint Paul-outside-the-Walls. All other Catholic Churches that, either by Grant of the Pope or by Immemorial Custom, hold the Title of Basilica, are Minor Basilicas.


Saint Mary Major, Rome.
Photo: 15 February 2013.
Source: Own work.
(Wikimedia Commons)


Until 2006, the four Major Basilicas, together with the Basilica of Saint Lawrence-outside-the-Walls, were referred to as the five "Patriarchal Basilicas" of Rome, associated with the five ancient Patriarchal Sees of Christendom (see Pentarchy). Saint Mary Major was associated with the Patriarchate of Antioch. In the same year (2006), the Title of "Patriarchal" was also removed from the Basilica of Saint Francis in Assisi.

The former five Patriarchal Basilicas, with the Basilica of The Holy Cross in Jerusalem and San Sebastian-outside-the-Walls, formed the Traditional Seven Pilgrim Churches of Rome, which are visited by Pilgrims to Rome and who are following the twenty kilometres (twelve miles) itinerary, established by Saint Philip Blacks on 25 February 1552, especially when seeking The Plenary Indulgence in Holy Years. For The Great Jubilee of 2000, Pope Saint John Paul II replaced Saint Sebastian's Church with The Shrine of Our Lady of Divine Love.

Thursday 4 August 2022

Winchester Cathedral. Dedicated To The Holy Trinity, Saint Peter, Saint Paul, And, Before The Reformation, Saint Swithun.



The Nave and Ceiling.
Winchester Cathedral.
Photo: 27 May 2018.
Source: Own work.
Author: Cc364
(Wikimedia Commons)


Text is from Wikimedia - the free encyclopædia,
unless stated otherwise.

Winchester Cathedral is a Cathedral of The Church of England, in Winchester, Hampshire, England. It is one of the largest Cathedrals in Europe, with the greatest overall length of any Gothic Cathedral.[2]

Dedicated to The Holy Trinity,[3] Saint Peter, Saint Paul and, before The Reformation, Saint Swithun,[4] it is the Seat of The Bishop of Winchester and centre of The Diocese of Winchester. The Cathedral is a Grade I Listed Building.[3]

The Cathedral was founded in 642 A.D. on a site immediately to the North of the present site. This building became known as The Old Minster. It became part of a Monastic Settlement in 971 A.D.


Winchester Cathedral Choir Stalls.
Photo: 8 July 2014.
Source: Own work.
Attribution: "Photo by DAVID ILIFF.
License: CC BY-SA 3.0"
Author: Diliff
(Wikimedia Commons)

Saint Swithun was buried near The Old Minster, and then in it, before being moved to the new Norman Cathedral. So-called[5] Mortuary Chests, said to contain the remains of Saxon Kings, such as King Eadwig of England and his wife Ælfgifu, first buried in The Old Minster, are in the present Cathedral.

The Old Minster was demolished in 1093, immediately after the Consecration of its successor.[6] In 1079, Walkelin, Bishop of Winchester, began work on a completely new Cathedral.[6] Much of the Limestone used to build the structure was brought across from quarries around Binstead, Isle of Wight. Nearby Quarr Abbey [Editor: On The Isle of Wight] draws its name from these workings, as do several nearby places such as Stonelands and Stonepitts.

The remains of the Roman trackway, used to transport the blocks of Limestone, are still evident across the fairways of The Ryde Golf Club, where the Stone was hauled from the quarries to the Hythe at the mouth of Binstead Creek, and thence by barge across The Solent and up to Winchester.


Winchester Cathedral
showing The UK’s second-longest Cathedral Nave
(after Saint Alban's Cathedral).
Date: 2006.
Attribution: This file is licensed under the Creative Commons
WyrdLight.com
Author: Antony McCallum.
(Wikimedia Commons)

The building was Consecrated in 1093. On 8 April of that year, according to the Annals of Winchester, “in the presence of almost all the Bishops and Abbots of England, the Monks came with the highest exultation and glory from The Old Minster to The New Minster: On The Feast of Saint Swithun, they went in Procession from The New Minster to The Old Minster and brought thence Saint Swithun’s Shrine and placed it with honour in the new buildings, and, on the following day, Bishop Walkelin’s men began to pull down The Old Minster.”[6]

A substantial amount of the fabric of Bishop Walkelin’s building, including Crypt, Transepts and the basic structure of The Nave, survives.[7] The original Crossing Tower, however, collapsed in 1107, an accident blamed by the Cathedral's Mediæval Chroniclers on the burial of the dissolute William Rufus [Editor: King William II] beneath it in 1100.[6]

Its replacement, which survives today, is still in The Norman Style, with Round-Headed Windows. It is a squat, square structure, 50 feet (15 m) wide, but rising only 35 feet (11 m) above the ridge of The Transept Roof.[8] The Tower is 150 feet (46 m) tall.[9]


Winchester Cathedral Nave.
Photo: 8 July 2014.
Source: Own work.
Attribution: "Photo by DAVID ILIFF.
License: CC BY-SA 3.0"
Author: Diliff
(Wikimedia Commons)

After the Consecration of Godfrey de Luci as Bishop in 1189, a Retro-Choir was added in the The Early-English Style. The next major phase of rebuilding was not until The Mid-14th-Century, under Bishop Edington and Bishop Wykeham [Editor: The name for former pupils of Winchester School is Old Wykehamists].[10] Bishop Edington (1346–1366)[11] removed the two Western Bays of The Nave, built a new West Front and began the remodelling of The Nave.[12]

Under William of Wykeham (1367–1404), the Romanesque Nave was transformed, re-cased in Caen Stone and remodelled in the The Perpendicular Style,[13] with its Internal Elevation divided into two, rather than the previous three, Storeys.[14] The Wooden Ceilings were replaced with Stone Vaults.[13]

Wykeham's successor, Henry of Beaufort (1405–1447) carried out fewer alterations, adding only a Chantry on The South Side of The Retro-Choir, although work on The Nave may have continued through his Episcopy.[15]


His successor, William of Waynflete (1447–1486), built another Chantry in a corresponding position on The North Side. Under Peter Courtenay (Bishop 1486–1492) and Thomas Langton (1493–1500), there was more work. De Luci's Lady Chapel was lengthened, and The Norman Side Aisles of The Presbytery replaced.

In 1525, Richard Foxe (Bishop 1500–1528) added The Side Screens of The Presbytery, which he also gave a Wooden Vault.[10] With its progressive extensions, The East End is now about 110 feet (34 m) beyond that of Bishop Walkelin's building.[16]

King Henry VIII seized control of The Catholic Church in England and declared himself Head of the new Church of England. The Benedictine Foundation, The Priory of Saint Swithun, was Dissolved. The Priory surrendered to the King in 1539. The next year, a new Chapter was formed, and the last Prior, William Basyng, was appointed Dean.[17] The Monastic buildings, including the Cloister and Chapter House, were later demolished, mostly during the 1560–1580 tenure of the reformist Bishop, Robert Horne.[18][19]


Winchester Cathedral.
Available on YouTube at

The Norman Choir Screen, having fallen into a state of decay, was replaced in 1637 – 1640 by a new one designed by Inigo Jones. It was in a Classical Style, with Bronze figures by Hubert le Sueur of King James I and King Charles I in Niches.

It was removed in the 1820s, by when its style was felt inappropriate in an otherwise Mediæval building. The Central Bay, with its Archway, is now in the Museum of Archaeology and Anthropology at Cambridge;[20] it was replaced by a Gothic Screen by William Garbett, the Surveyor to the Dean and Chapter of the Cathedral, along with other repairs conducted by him, its design based on The Great West Doorway of The Nave.[21]

This Stone Structure was removed in the 1870s to make way for a Wooden one, designed by George Gilbert Scott,[22] who modelled it on the Canopies of the Choir Stalls of the Monks (dating from around 1308).[23]


Scott's West-facing Screen has been much criticised, although the carving is of superlative workmanship and virtually replicates the earlier, albeit finer, carving of the Early-14th-Century East-facing Return Stalls on to which it backs. The displaced Bronze Statues of the Stuart Kings were moved to the West End of the Cathedral, standing in Niches on each side of the Central Door.

Scott's work was otherwise conservative. He moved the Lectern to the North Side of the Quire, beside the Pulpit, facing West, where it remained for a Century before returning to its present central position, now facing East.

Restoration work was carried out by T. G. Jackson in 1905 – 1912. Waterlogged Foundations on the South and East Walls were reinforced by the Diver, William Walker, packing the Foundations with more than 25,000 bags of concrete, 115,000 concrete blocks, and 900,000 bricks. Walker worked six hours a day from 1906 to 1912 in total darkness at depths up to 20 feet (6 m), and is credited with saving the Cathedral from total collapse.[24] For this he was awarded the MVO.[25]


Breast Star of Knights/Dames Grand Cross of The Royal Victorian Order. Awarded by The Monarch of The United Kingdom and The Dominions (1896–1952), Commonwealth Realms (since 1952). This Decoration was awarded
to the Diver, William Walker (see, above), who was credited with saving Winchester Cathedral from collapse
in the years 1906 - 1912.
Date: 31 January 2007.
Source: Own work.
Author: Robert Prummel.
(Wikimedia Commons)

In 1931, the new Dean, E. Gordon Selwyn, Founded The Friends of Winchester Cathedral. A key element of The Friends’ policy was to “undertake schemes of repair which the Dean and Chapter consider necessary.” Dean Selwyn identified the need to install Electric Light and improve the Cathedral’s Heating and Sound System.

The total estimated cost of Heating and Lighting was £10,000, and the works programme ran until 1938. A local firm, Dicks and Sons, was appointed to undertake the work. It was headed by Miss Jeanie Dicks, the first female member of The Electrical Contractors Association.[26] It was discovered that replacing the Gas Lights in the Choir-Stalls with Electrical Lights involved running cables through the Crypt. Some Coffins had to be removed and were reverently reburied. Jane Austen’s Coffin was moved gently to one side.[27]


1869 Engraving showing an idealised, young, Jane Austen,
based on a sketch by Cassandra Austen.
Jane Austen's Coffin, located in Winchester Cathedral, had to be moved to one side when Electrical Cables were laid in the 1930s (see, above).
Date: 1870.
Author: James Andrews.
(Wikimedia Commons)

In July 1934, a "Festival of Music and Drama" was held, supported by the new Friends Organisation, with the aim of “helping the effort which the Dean and Chapter are making to raise £6,000 this year for the purpose of lighting and heating the Cathedral.”

The Festival included a Play, “The Marriage of King Henry IV”, written for the occasion, musical programmes, an exhibition “The Work of The Broderers”, and viewings of the Cathedral Library treasures. Dean Selwyn’s book, “The Story of Winchester Cathedral”, was published in the same year.[27]

Funerals, Coronations, and Marriages, that took place in Winchester Cathedral.

The Funeral of King Harthacanute (1042);
The Funeral of King William II of England (1100);
The Coronation of Henry the Young King and his Queen, Marguerite (1172);
The Second Coronation of King Richard I of England (1194);
The Marriage of King Henry IV of England and Joanna of Navarre (1403);
The Marriage of Queen Mary I of England and King Philip II of Spain (1554).

Memorials and Artworks in Winchester Cathedral.

In The South Transept, there is a “Fishermen's Chapel”, which is the burial place of Izaak Walton. Walton, who died in 1683, was the author of The Compleat Angler and a friend of John Donne. In The Nave Sanctuary, is the Ship's Bell from HMS Iron Duke, which was The Flagship of Admiral John Jellicoe at The Battle of Jutland in 1916.[28]


“HMS Iron Duke”.
The Flagship of Admiral John Jellicoe at The Battle of Jutland (1916). The Ship’s Bell is in The Nave Sanctuary of
Winchester Cathedral (see, above).
This File: 22 March 2012.
User: Parsecboy
Source: “Journal of The United States Artillery”, 
Volume 41 (1914).
(Wikipedia)

A statue of Joan of Arc was erected when she was Canonised as a Saint by Pope Pius XI in 1923. The statue diagonally faces the Chancery Chapel of Cardinal Beaufort, who was an influential figure in English Politics at the time of her trial and execution in Rouen in 1431. He is sometimes incorrectly represented as presiding over her trial, but she was actually interrogated by Pierre Cauchon. [29]

The Crypt, which frequently floods, houses a statue by Antony Gormley, called Sound II, installed in 1986, and a modern Shrine to Saint Swithun. There is also a statue in the Retro-Choir of William Walker, the Deep-Sea Diver (see, above) who worked under water in the Crypt between 1906 and 1912 underpinning The Nave and shoring up the walls, along with a bust of him in the Cathedral Grounds near the Refectory.[25]

A series of nine Icons were installed between 1992 and 1996 in the Retro-Choir Screen, which, for a short time, protected the Relics of Saint Swithun that were destroyed by King Henry VIII in 1538. These Icons, influenced by The Russian Orthodox Tradition, were created by Sergei Fyodorov and Dedicated in 1997. They include the local Religious figures Saint Swithun and Saint Birinus.


The Stained-Glass Windows in Winchester Cathedral.

The Cathedral's huge Mediæval Stained-Glass Great West Window was deliberately smashed by Cromwell's Forces after the outbreak of The Civil War in 1642.[30][31] After The Restoration of The Monarchy in 1660, the Broken Glass was gathered up and assembled randomly, in a manner something like Pique Assiette Mosaic Work.

There was little attempt to reconstruct the original pictures, although some small sections do have less abstract images. Some surviving fragments are on display at The Abbey Museum of Art and Archaeology in Australia,[32] including examples of the signature Blue Colour found only in Winchester Stained-Glass.

The Epiphany Chapel has a series of Pre-Raphaelite Stained-Glass Windows designed by Edward Burne-Jones and made in William Morris's workshop. The foliage decoration above and below each pictorial panel is unmistakably by William Morris, and at least one of the figures bears a striking resemblance to Morris's wife Jane, who frequently posed for Dante Gabriel Rossetti and other members of the Pre-Raphaelite Brotherhood.


Ceiling Fan-Vaulting,
Winchester Cathedral.
Source: Own work.
Author: Josep Renalias
This file is licensed under the
This File: 8 February 2008.
User: Lohen11
(Wikimedia Commons)

The Knowles’ Cross in Winchester Cathedral.

The Guardian Angels' Chapel had a new Cross Dedicated during a Service of Sung Eucharist at 11:00 hrs on 13 July 2001. The Cross, by Justin Knowles, sits in a Sandstone Niche. The Cross was made from Cerulean Blue Glass (Cerulean meaning "Sky-Blue") by the Czech Glass Artist, Jan Frydrych. It sits on a Plinth of Black Granite, with White Flecks.

The Bells in Winchester Cathedral.

The Cathedral possesses the only Diatonic Ring of fourteen Church Bells in the World, with a Tenor Bell (the heaviest Bell) weighing thirty-six long hundredweight (4,000 lb; 1,800 kg).[33] The Back Twelve Bells were all cast by John Taylor and Company in 1937. They were augmented to fourteen Bells when two new Trebles and a 4♯ (Sharp 4th) were added in 1992 by The Whitechapel Bell Foundry.[34] Also, there is an 8♭ (Flat 8th) which was Cast by Anthony Bond in 1621.

Cultural Connections in Winchester Cathedral.

Nowadays, the Cathedral draws many tourists as a result of its association with Jane Austen, who died in Winchester on 18 July 1817. Her funeral was held in the Cathedral, and she was buried in The North Aisle. The inscription on her Tombstone makes no mention of her novels, but a later Brass Tablet, paid for from the proceeds of her first biography, describes her as "known to many by her writings".[35] There is also a Memorial Window in her honour by C. E. Kempe.[36]
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