Romsey
Abbey, Hampshire
12-13th century
Interior
Continued from exterior
Click on photos to enlarge.
Notes in italics from Hampshire and the Isle of Wight by Nikolaus Pevsner
and David Lloyd (1967)
Yale University Press, New Haven and London. |
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We start again in the
retrochoir or ambulatory. Here it is at once evident that the Norman
building went on E two bays wide. Tripartite responds. Capitals some with
primitive leaves but others livelier, with trails, animals, and faces at
corners. To the W, i.e. the E arcades of the chancel, they have plain big
scallop capitals instead. The ambulatory is rib-vaulted, but the ribs lack
supports in the form of shafts; so groin vaults were probably intended at
first. The rib profile is a half-roll and two half-hollows (cf. Winchester
Cathedral transepts, after 1107). ... Wall painting, S side of N arch ... |
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The chancel aisles have four
bays, the fourth also belonging to the retrochoir. These fourth bays are
extended by apses in the thickness of the wall, i.e. not visible from
outside. The apses have broad unmoulded ribs, which is surprising. The
walls have tall blank arcading. Chip-carved arches. ...
A piece of a Perp screen is used as the reredos of the SE apse. In it a
small, very valuable piece of Anglo-Saxon C10-11 sculpture. Christ
crucified with two Angels on the arms of the cross, the Virgin and St John
below and Longinus and the Soldier with the sponge yet lower. The
composition is typically Saxon in that it is loose and lively, not
hieratic like Romanesque pieces. ... |
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The chancel aisles are
essentially the same, but in the W bays the ribs do not stand on shafts.
Most capitals are of the big-scalloped kind, but one on the N and the
corresponding one on the S tell stories. They are of two crowned men and
an angel (signed Robertus me fecit), of two seated men with a monster-head
between (signed Robert tute consule qs.), and of a battle, with a King
helped by an angel in a fight with a bearded man. The style is very close
to that of the Canterbury crypt. In the S aisle also some decorated
capitals. ... |
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The chancel itself is of three
bays with a straight two-bay end. Arcade, gallery, clerestory, no vault,
but the main beams supported on mighty mast-like shafts which separate the
bays. The arches have big scalloped capitals and zigzag in the arch
itself. Above, a billet frieze runs round the masts too. The gallery
arcade is very strange. A twin opening per bay; decorated sub-arches, the
super-arch with two rolls. The hood-mould again runs round the masts. But
the odd thing is that the tympanum of the super-arch is left open, and
that here a colonnette stands on the shaft between the two sub-arches.
There is no parallel to this. ... The clerestory is in stepped tripartite
groups, but above the low side-pieces are blank arches to the height of
the middle arch, and they have pairs of small colonnettes on their side
towards the middle arch. The upper E wall is, as we have already seen, of
c.1270-80. The windows have ample Purbeck-marble shafting, and the arches
have big (renewed) stiff-leaf sprays. |
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The crossing piers have
tripartite responds to the N and S arches, to the W all shafts are shaved
off, to the E the shafts start high up on brackets with heads etc. These
anomalies are probably connected with screen and pulpitum. The crossing
arches are in three steps. Inside the tower are shafts up the angles and
on each side three twins. The columns between the twins stand on brackets. |
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Chancel and
south transept from within crossing pier |
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Transepts: South transept above,
north transept below. East walls first column, end walls middle column,
west walls last column.
The transepts continue the system of the chancel, though of course varied
by the fact that the end walls and the W walls have different elevations.
... The gallery N bay on the E side of the S transept has big zigzag - the
only one so far, but cf. the gallery windows of the S transept externally.
Also the same bay has its tympanum solid, which has not occurred before.
... Of the end walls little need be said. The clerestory is tripartite,
though externally it does not appear so. The W walls differ, as we have
seen, by the placing of the big stepped tripartite window groups. Below
the higher one in the S transept is some blank intersecting
arcading. |
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In South transept: Purbeck
marble effigy of a slender lady wearing a wimple. Her head under a
three-dimensional pointed-trefoil arch. The effigy is C13, as is obvious
from the stiff-leaf border. - The Canopy with its ogee top can therefore
not belong to her. Big cusps with leaf motifs and sub-cusps. Crockets on
the arch. Early C14.
In North transept: Painting. This large board is that uncommon
survival, a complete reredos, bad but rare. Nine upright saints in the top
row. Below Christ rising from his coffin, the soldiers, two censing
angels, and the donor, an abbess. |
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The Romsey nave continues the
system on the E parts. Altogether, with the exception of the Gothic W bay,
the building is impressively uniform. Even the motif of the column
standing in the gallery tympanum is carried on with. ... But at this
moment a change of plan occurred in the elevation. The first two bays of
the nave are separated by a giant round pier the height of nave and
gallery together. ... When at Romsey the change of plan had been decided
on, the S side was evidently done first; for here alone the arch of the
arcade bay still has zigzag. After that it is given up .... On the N side the arch
is caught up by a fragmentary multi-scalloped capital that runs round the
arcade and aisle sides. The gallery continues the billet frieze at sill
level. The sub-arches have zigzag in the first bay, but are plain in the
second bay. Also the sill course stops going round the masts. In the
clerestory only the very E responds and first piers are still Norman
(round S, polygonal N - last picture), and the high middle arch is still Norman. Then at
once the clerestory turns Gothic. ...
The second nave pier is not a giant column but a compound pier, and no
more giant columns follow after that. So the new plan was given up. ... |
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The next bays of the nave, i.e. Nos 3 and 4, show development of a very
telling kind on gallery level. Capitals appear with trumpet-scallop and
decorated trumpets, which came in only about 1170 or so, and the arches,
though still round, are finely moulded; transition to the E.E. (Early
English). |
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The fourth bay on the N side is a problem. It is different from all
others. The ribs of the bay have decoration with a kind of crenellation
motif. The pier at its W end, i.e. between bays four and five, has double
shafts to all sides. The capitals are decorated. The arch has zigzag at r.
angles to the wall, a Late Norman motif, as we have seen. The wall frieze
runs round the exceptional pier. The pier ends at the level of the
springing of the gallery arches with capitals with trumpets and a square
abacus. Why all this display in this one place? |
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The Nave continues Norman only to here. The last three bays are entirely
E.E. But we must remember that at clerestory level the E.E. starts already
at half a bay from the crossing, and in the gallery at least with the
arches of bays three and four. This is again the way medieval buildings
proceeded. The last three bays have piers with a triple shaft and two
subsidiary shafts to each side. The bases, curiously enough, are of
Purbeck marble. The capitals are moulded, except for some stiff-leaf on
the N side. The arches are pointed, with a big chamfer and fine mouldings
starting vertically. Hood-moulds with stiff-leaf stops. No more billet
frieze at gallery sill level. The gallery now has trefoiled sub-arches and
a quatrefoil pierced through the tympanum. The blank arches above the low
parts of the clerestory triplets change from round to pointed. ... All of
these things take one to about 1230, and that was the end of the building.
A consecration date is not known. |
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To
Exterior |
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Abbey website
Map
Town Buildings |
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