Authorities.—Frances, De ecclesiis cathredralibus (Venice, 1698); Bordenave, L’Estat des églises cathédrales (Paris, 1643); Van Espen, Supplement III., cap. 5; Hericourt, Les Loix ecclésiastiques de France (Paris, 1756); La France ecclésiastique (Paris, 1790); Daugaard, Om de Danske Klostre i Middelalderen (Copenhagen, 1830); Hinschius, Das Kirchenrecht der Katholiken u. Protestanten in Deutschland, ii. (Berlin, 1878); Walcott, Cathedralia (London, 1865); Freeman, Cathedral Church of Wells (London, 1870); Benson, The Cathedral (London, 1878); Bradshaw and Wordsworth, Lincoln Cathedral Statutes (Camb., 1894). (T. M. F.)
Architecture.—From the architectural point of view there is no special treatment as regards dimensions or style for a cathedral other than that required for a church or abbey, as there are cases when the former are comparatively small buildings (like the old cathedral at Athens), and some parish churches and abbeys are larger than many cathedrals. In recent times, indeed, some English abbeys or minsters, such as those of Ripon, Manchester, St Albans and Southwell, partly on account of their dimensions, have been raised to the rank of cathedrals, in consequence of the demand for additional sees; others, such as those of Bristol, Gloucester, Oxford, Chester and Peterborough, became cathedrals only on the dissolution of the monasteries by Henry VIII.
Under the headings Nave, Aisle, Choir, Apse, Chevet, and Lady-Chapel, the principal arrangements of the plan of a cathedral are dealt with, and its architectural features, such as Tower and Spire, Porch, Triforium, Clerestory and Vault, are separately defined; while in the article Architecture the evolution of the various styles in England, France, Germany, Italy and Spain, is set forth. It is only necessary here to deal with the development of the eastern end of English and foreign cathedrals, as it was in those that the greatest changes from the middle of the 11th century to the close of the 16th century took place.
Fig. 1.—Plan of Canterbury Cathedral.
Fig. 2.—Plan of Salisbury Cathedral.
The earliest extended development of the eastern end of the cathedral is that which was first set out in Edward the Confessor’s church at Westminster, probably borrowed from the ancient church of St Martin at Tours; in this church, dating probably from the 10th century, two new elements are found, (1) the carrying of the choir aisle round a circular apse so as to provide a processional aisle round the eastern end of the church, and (2) five apsidal chapels, constituting the germ of the chevet, which transformed the eastern terminations of the French cathedrals in the 12th and 13th centuries. It is only within recent times that the foundations of the early church at Tours with its choir aisle and chapels have been traced under the existing church. In Edward the Confessor’s church (1050) there were probably only three chapels and a processional aisle; in the next example at Gloucester (1089) were also three chapels, two of which, on the north and south sides of the aisle, still remain; the same is found in Canterbury (1096–1107) and Norwich (1089–1119), the eastern chapel in all three cases having been taken down to make way for the Lady-chapel in Gloucester and Norwich, and for the Trinity chapel in Canterbury cathedral (fig. 1). The semicircular aisle is said to have existed in the Anglo-Norman cathedral of Winchester, but the eastern end being square, two chapels were arranged filling the north and south ends, and an apsidal chapel projecting beyond the east wall. This semicircular processional aisle with chevet chapels was the favourite type of plan in the Anglo-Norman cathedrals, and was followed up to about the middle of the 12th century, when the English builders in some cases returned to the square east end instead of the semicircular apsidal termination. The earliest example of this exists in Romsey Abbey (c. 1130), where the processional path crosses behind the presbytery, there being eastern apsidal chapels in the axis of the presbytery aisle and a central rectangular chapel beyond. A similar arrangement is found in Hereford cathedral, and exists in Winchester, Salisbury (fig. 2), Durham, St Albans, Exeter, Ely, Wells and Peterborough, except that in all those cases (except Wells) the eastern chapels are square ended; in Wells cathedral the most eastern chapel (the Lady-chapel) has a polygonal termination; in Durham (fig. 3), the eastern chapels are all in one line, constituting the chapel of the nine altars, which was probably borrowed from the eastern end of Fountains Abbey. It should be noted that in some of the above the original design has been transformed in rebuilding; thus in St Albans, Durham, York and Exeter cathedrals, there was no eastern ambulatory but three parallel apses, in some cases rectangular externally. In Southwell, Rochester, Ely and Chester, there was no processional path or ambulatory round the east end; in Carlisle no eastern chapels; and in Oxford only one central apse. In Ely cathedral (fig. 4) the great central tower built by the first Norman abbot (1082–1094) fell down in 1321, carrying with it portions of the adjoining bays of the nave, transept and choir; instead of attempting to rebuild the tower,
