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Matthew Grayson in 2005,
painted this impression of the west façade of Wells Cathedral, as it
may have appeared in the first quarter of the fifteenth century.
The painting was on a four-year tour returned to the
Bishops Palace at Wells in 2010.
The majority of lower tier figures are now missing (having been
removed or damaged in the Monmouth rebellion).
The statues stand in priority, commencing from the lower tier are
medics, clergy and civic dignitaries. The central level figures are
comprised of bishops, kings, queens and hermits.
Above the main statues, the resurrection scenes are depicted.
The twelve apostles stand above them with the nine orders of angels and
finally Christ sat in majesty with two flanking angels.
Saint Andrew (being the patron saint of Scotland and the cathedral)
stands in the centre of the order of apostles.
By drawing a cross line from either top outer corner of each tower and
continuing the line to the base of each buttress outer corner it will
show that where both lines cross, St Andrew's feet stand.
The colours were calculated by discovering tiny fragments of
paint on the west front.
By using the geometric construction of the façade and the law of
averages, a distinct pattern can be shown, thus enabling the artist to
apply colour to the designated areas.
The main walls were whitewashed with a red ground applied to the
recesses behind the figures.
All the west front figures were also painted white with drapery and
folds painted in blue, yellow, green and gold.
A central path ran from the main doors through the centre of
the west front green, with trees (probably ash) either side of
the walkway.
The west front green was originally on an incline, which was levelled
off a few hundred years ago, with the excess earth being used to develop
the Bishop's palace kitchen garden where vegetables were grown for the
palace staff and the Bishop.
To the far left of the green is the chain gate. Recent research has
revealed one peg hole on either side of the gate walls,
which would originally have held a single chain, centrally supported by
a pole.
Slightly to the right of the old chain gate stood an outbuilding, which
may have been used as an office a few hundred years ago.
This was demolished approximately 250 years ago.
By looking very closely at the central main door a small red inscription
will be observed on the left buttress.
This was carried out in the early part of the fourteenth century.
Having been carved in the stone it is one of the earliest forms of
graffiti known to exist and refers to a "John of' Putney."
The central doors were originally painted (probably red) with
intricately designed door hinges to resemble branches of trees.
The hinges were painted a brown ochre colour to signify wood and green
leaves would have been painted at the tips with birds pecking at
berries.
One of the most significant changes in the appearance of the west front
is the loss of its spire on the central tower.
The spire was constructed of wood and probably lead tiles, which
caught fire in 1439.
Irreparable damage was also caused to the original tower, which stood slightly taller than it does today.
Although no paint traces remain on both the west front towers, by taking
the 'meaning' of the architecture and following the geometric lines
which make up the façade,
it can be estimated that only the
buttress pinnacles and bellmouths would have been painted to compliment
the rest of the polychromed façade.
The
painting is full of symbolism, typical of the period to which the
picture is themed.
The west
front green is covered in a shower of flowers,
which is
associated with the classical goddess Flora.
The red
flowers symbolise Christ's
blood, whilst
the white are associated with the virgin's purity.
The
goldfinch to the far right of the facade refers to the Passion of Christ
and is typically shown in old masters' paintings being held by the
Christ Child.
Above the goldfinch some crows fly,
signifying
bad luck. Working
towards the left of the sky, swallows fly, symbolising good luck and
salvation.
The atmospheric patterns
in the sky’s cloud formation are read from
right to left.
To the far right, a storm is
approaching referring to the revelation, working through to clear,
brighter skies to the left, signifying a symbol of reconciliation.
The rainbow plays an important part in the composition,
being associated with the goddess Iris,
who descended from the skies on a rainbow bringing messages from
the gods to mortals.
In the bible, God following the
flood, as a sign of reconciliation, sent a rainbow.
(c) Matthew Grayson 2005
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