Here are the four remaining quire aisle windows. From left we see: • an abstract patterned window made up of fragments of glass from previously destroyed windows; • a Crucifixion scene with Mary and John linking hands beneath the Cross; • St Michael and St George with a blue devil and a green dragon at their feet; • a modern wartime Crucifixion scene with a depiction of the Minster. PLAN
62. CHRIST THE LIGHT OF THE WORLD CHAPEL
This is an ancient chantry chapel which offers a space for prayer and reflection before Christ the Light of the World. The chapel has windows on three sides, but only those on the East and West walls have stained glass. There is a simple statue by the East wall.
63. CHAPEL WINDOWS
The windows depict, from left: • a Crucifixion scene, while below a ram is caught in a thorn bush (a reference to the sacricific of Isaac by Abraham); • an angel speaks to an unknown supplicant, while below is a depiction of the Lamb with banner (reference to the Lamb of God); • the eleven disciples contemplate the Ascension of Jesus.
64. CHRIST FIGURE
This figure of Christ is also by Peter Ball. The figure behind the candlestand invites the intercessions of all who would come. The Cathedral provides prayer cards for those who wish to leave a written petition.
65. ST OSWALD CHAPEL
Lying adjacent to the Christ the Light of the World Chapel is St Oswald’s Chapel. This is a simple chapel with four colourful stained glass windows, and an altar with a reredos behind portraying a simple crucifixion scene in gold. Oswald became Bishop of Worcester in 939, and retained the See when appointed Archbishop of York in 972. The distinguished 20th century artitst John Piper placed a raven in the design of the red altar frontal, perhaps believing that this was St Oswald’s symbol.
66. ST OSWALD CHAPEL WINDOWS
There are two chapel windows on the East wall, and two on the South wall. From left these show: • St Oswald at prayer (?); • the Nativity; • the coming of the Wise Men; • Jesus teaching in the Temple.
67. SANCTUARY
Leaving St Oswald’s Chapel we turn next to the sanctuary. I notice that in the Cathedral literature, this space is simply included as part of the quire. However, it does contain the attractive East window, the high altar and the cathedra. Unfortunately it is not accessible to the public, making good photography difficult.
68. SANCTUARY WINDOWS
The East window contains eight lancets, four above and four below. The four upper lancets depict the Four Evangelists, Matthew, Mark, Luke and John with their emblems below. They were made by Clayton and Bell in 1876. The four lower lancets are the work of the Parisian glass painter Kean Chastellain and made in 1528. They show scenes from the life of Christ: his baptism, the raising of Lazarus, the entry into Jerusalem, and the mockery of Jesus.
69. HIGH ALTAR AND TILING
The high altar stands without a reredos, but with the Great East Window as a backdrop. The grand altar cloth is in gold with seven Diocesan shields across the top. There is also Latin text for the first lines of Mary’s song, the Magnificat: ‘Magnificat anima mea Dominum; Et exsultavit spiritus meus in Deo salutari meo.’ (My soul doth magnify the Lord. And my spirit hath rejoiced in God my Saviour.) The tiling has the Lamb with Banner at the centre and the emblems of the Four Evangelists surrounding it.
70. CATHEDRA
To the left is a modest cathedra (Latin for seat or throne) – the symbol that this is the seat of the bishop. The presence of this seat gives this church the name ‘cathedral’. The logo is the crest for the Diocese of Southwell and Nottingham. The window beyond bears four crests.
71. VIEW ACROSS SANCTUARY
This view across the sanctuary shows us the Paschal candle, and as well, the configuration of the Southern windows. There are three clear windows above, and three stained glass windows below.
72. SOUTH SANCTUARY WINDOWS
The window at left is a pair for the window on the North side, with four crests. The people depicted in the two windows at right are unidentified, except for St Peter, pictured with his Keys of the Kingdom.
73. CROSS AISLE
We now stand in the centre of the cross aisle mentioned earlier. To our left (North) is the Airmen’s Chapel. To our right (South) is a statue of George Ridding in prayer. George Ridding was Southwell’s first Bishop and Dean. The memorial was designed by W.D. Caröe, and the kneeling figure by F. W. Pomeroy.
74. AIRMEN’S CHAPEL
The Airmen’s Chapel with the flags of the RAF and Polish nation is at the end of the North quire aisle. Since the end of WWI there has been a chapel in the Minster commemorating those who have lost their lives in conflict. The triptych above the altar was painted in 1958 by Hamish Moyle, and was inspired by the poem ‘Still falls the rain’ by Dame Edith Sitwell, which speaks of the sacrifice and tragedy of war.
75. CHAPEL WINDOWS
These lovely windows occur as two pairs of lancets. The North facing pair (left) depicts the Nativity, and the East facing pair (right) the Annunciation. We noted earlier that the Minster is the Cathedral and Parish Church of the Blessed Virgin Mary: you may have noticed constant references to Mary in our exploration.
76. PRIVATE ST THOMAS’ CHAPEL
This small adjoining chapel is currently being used as a clergy vestry and is closed off by a curtain. The stained glass is by the notable Victorian glass maker C. E. Kemp. Apparently permission can be obtained from the vergers to photograph the windows – a fact discovered too late for me!
77. AIRMEN’S CHAPEL DETAILS
Standing back we view the Airmen’s Chapel from a distance. At right is another sculpture, ‘Ecce Homo’, by Peter Ball, which encourages reflection on the human face of God and the cost of suffering and violence. On the wall near the flags at left is the blue Katyn Memorial, commemorating the Katyn Forest Massacre in which 14,500 Polish prisoners of war were killed.
78. TO THE CHAPTER HOUSE
We now conclude our visit to Southwell Minster by looking at the chapter house. This is approached by a long corridor off the North quire aisle. Along this corridor are a series of very old books containing an alphabetical topical listing of a great many poetical quotations.
79. ENTRY TO THE CHAPTER HOUSE
We enter the chapter house through a finely carved portal. The stone foliage of this archway and the carvings of the column capitals in the chapter house are regarded as some of the finest examples of medieval craftsmanship existing today.
80. CHAPTER HOUSE
The chapter house is octagonal in shape with windows on six of the sides. There is the traditional seating arrangement around the walls.