three pointed arched windows on each side. The Altar is approached by a short flight of steps. The Altar Screen, or, as it is more commonly denominated, Wallingford's Screen, which separates the Choir from the Presbytery, is one of the most beautiful pieces of stone-work in England, and very highly illustrative of the improved taste in architectural sculpture which distinguished the age of Edward the Fourth. Its proportions are extremely elegant; and though the masonry, that now forms the middle part of the west side, is of a more recent date, and of inappropriate execution, yet the whole appearance is graceful and interesting. This front may be more clearly described as consisting of three divisions; a centre, and two wings; the latter being perfectly symmetrical. The lower part of the centre displays a double series of small niches, with rich canopies; above these are several stages of square compartments, the upper ones terminating in trefoil heads, with finials and pinnacles above, and a cherub on each rib.* Over this are five elegant canopies, ranging under the rich cornice and open-work which forms the entire summit of the Screen. Adjoining the centre on each side, and forming a division of each wing, are three large and finely ornamented niches, with tower pedestals, and canopies; the uppermost embellished with sculptures of lambs between pelicans. The central divisions of the wings have a pointed door-way below, and two large canopied niches above. At the sides of the door-way, are ranges of quatrefoils in circles; and above are oak leaves, and shields of arms: that to the south contains England and France quarterly; the other the arms of Whethamsted. The extreme division of each wing is similar to those adjoining the centre; the angles be tween the divisions are each adorned with six small niches, reaching to the summit. Almost all the niches are beautifully sculp tured, with ornamental trefoil arches; some pierced, others in re lief, **This is the more recent and încongruous part, and appears to have been inserted in the room of a representation of the Crucifixion, or of some other subject, which the zealots of the Reformation deemed profane or irreligious. lief. The space between the Screen and the arch against which it abuts, on each side, is ornamented with canopied niches, and pinnacles to correspond. The east front of the Screen is much plainer than that to the west. The centre is a flat blank arch, ornamented with circles of quatrefoils, and smaller trefoil arches within; over it is the Abbey arms, supported by angels, with a canopied niche above: over the door-ways are the arms of Whethamsted, with similar niches. Higher up, are plain, narrow, trefoil-headed arches, with small buttresses and pinnacles; and above the whole is a very rich cornice of vine leaves, fruit, and tendrils, crested by ornamental open-work. The Presbytery includes the space between the Screen, and what is now the east end of the Church; but this was formerly open to the Chapel of the Virgin, by three high, pointed, and well proportioned arches, springing from clustered columns. On each side, beyond the large pointed arches against which the Screen stands, is another high pointed arch, also springing from clustered pillars, and similarly ornamented with round and fluted mouldings: under that on the north side is the monument of Duke Humphrey; and beneath that on the south, an ancient Watch-tower, or gallery, of wood, in which the Monks were stationed to keep watch over the shrine of St. Alban. On the frieze of this gallery is a series of carvings in high relief, representing the most memorable events of St. Alban's history; and other singular subjects. In the pavement in the middle of the Presbytery, is a stone thus inscribed: S: ALBANUS ANGLORUM PROTO-MARTYR XVII JUNIJ CCXCVII.* This * It should be remarked, that this date must be erroneous, if the Martyrdom of Albanus actually occurred during the Dioclesian Persecution, as recorded in his history. See before, p. 24—27. This is surrounded by smaller stones, in which are six hollow places, said to have been formed to receive the feet of the shrine. The windows above the large arches are pointed, with trefoil heads, similar to those of the chancel. The great cast window has a double pointed arch below, with trefoils; and a larger pointed arch above, with a catherine-wheel in the centre: on each side is a narrow pointed arched window. Returning through the Choir to the Transept, the simplicity of the Norman part of the Church again displays itself; though the large windows at each end are of a different style and age. That to the south was constructed about the year 1703, when the former window was blown down by the fury of the wind during the great storm, and has little claim to beauty: the north window is more highly embellished, and divided into numerous compartments by mullions and transoms. On each side of the transept is a series of squat semi-circular arches, supported by short heavy columns, and half columns, with very large capitals; the upper part of each of which is commonly a single Roman tile: the columns are of stone. These arches are ranged in fours, and over every two of them is a semi-circular indent, rising from the middle of the capitals: not any of the columns are similar; some of them are quite plain; others have single or double bands. The general form of these arches bears a striking similitude to that of the arches in the inside of the tower; and like those, they open into the passage which runs through the wall of the whole Church. In this south part of the transept have been several Chapels; and in a recess of the wall, was a seat for the watch Monk, who had the care of the respective altars: the door-way, which led from the upper part of the cloisters, has been walled up. Beyond the south end of the transept, but opening into it by a flight of several steps, and running parallel with it, is a short covered passage, which probably communicated also with the Abbot's chambers, and with the cloisters. Against the wall, on each side, is a range of elegant intersecting semi-circular arches, ornamented with beaded mouldings, springing from slender columns, with well sculptured, and singularly curious capitals. All the sculptures are different, and and in tolerably good preservation; though the humidity of the place has destroyed their original sharpness. Some of them represent wreaths of foliage; others display the heads of entwined snakes: on one is a human mask, with the stems of leaves issuing from his mouth on each side;* and on another three very singular grotesque figures, a kind of trio of Bacchants. Those at the sides are in sitting positions, but leaning backwards, as if to make room for the centre figure, which is formed by the head of a zany, apparently gorging a considerable quantity of fruits: one of the side figures is sustaining a sort of club, in a threatening attitude, as if to compel him to the performance of his task; the other is holding what appears to be a leathern bottle. These sculptures, as well, indeed, as all the columns and arches, are of Tottenhoe stone.† The Aisles are of the same length as the present Church: the west end of each appears to have been once inclosed to the first large column, and to have been ornamented with slender, clustered, and single, Purbeck pillars, sustaining pointed arches, with plain mouldings. Some parts of the roof of the aisles are vaulted with stone, having groined ribs, intersecting, and resting on the great columns on one side, and on pilasters of clustered columns on the other. In the south aisle, between the west end and the transept, are several pointed arched windows; mostly divided by mullions into two lights, with a trefoil above each; and in the point above a quatrefoil. In one of these windows was a representation of the martyrdom of St. Alban, in painted glass; only a few fragments of which remain in the crockets. On the wall below was the following inscription, now almost defaced.‡ This On the south-west capital of the arch at the entrance of the chancel, in Hemel-Hampstead Church, is a sculpture very similar to this. At what period this passage was constructed, is very difficult to determine. It must have been subsequent to the erection of the transept; and yet the Saxon intersecting arches, and grotesque carvings, would seem to mark a prior era. Chauncy's Herts. p. 472. This image of our frailty, painted glass, In zeal to Heav'n, where holy Alban's bones By James the First, of England,* to become Adjoining to the door-way, that originally formed the principal entrance on the south, but is now closed, is an ancient Piscina, beneath a recessed arch, in the pointed style, ornamented with various plain mouldings, and springing from three short and slender pillars, clustered on each side. The piscina itself is also sustained on three slender clustered pillars, and has a canopy above it, with a cinquefoil arch; over which is a triangular compartment, containing the remains of a mask of a Bacchus encircled by vine leaves, now much mutilated, and additionally obscured by white wash. The screen-work before the door-way just mentioned, is very beautifully sculptured in the pointed style, and consists of three divisions. The arch of entrance springs from slender pillars on each side, from the most central of which rises a range of trefoil indentations, with half circles above: in the spandrils are the Abbey arms, and the old arms of England and France quarterly. This forms the middle division; the others are uniform, each con sisting This alludes to some repairs which the Church underwent in the time of James, and which, by the most gross flattery, were thus attri buted to that King. |