The Musicians of the Lady Chapel of Winchester Cathedral Priory, 1402–1539

Abstract

In any evaluation of the character and accomplishments of the English Reformation, an essential ingredient must be a sympathetic but, so far as possible, objective assessment of the nature – in all its strengths and weaknesses – of the unreformed Church and religion upon which the Reformation was wrought. Among the multifarious operations of the pre-Reformation Church, perhaps the most central to its fundamental purposes was the conduct by its clergy of the worship of God and the celebration of the sacrifice of the mass, as effected on the small scale by the parish clergy and on the grand scale by the priests and clerks of the greater collegiate churches and the religious of the monasteries. As acts of worship, commemoration and intercession, the efficacy of these rituals lay in the simple fact of their enactment by those to whom their conduct was committed, irrespective of the grandeur of the setting or the presence or absence of any congregation or other attendance. Nevertheless, credit both terrestrial and celestial was perceived to redound upon those institutions which endeavoured to clothe their acts of devotion and worship with the finest products that the artisans of the day could create, within the grandest achievements of their contemporary architects. In respect of the conduct of the liturgy, it was, in the event, those institutions which had carried these arts to their highest levels that eventually proved to be the principal casualties of the Reformation process; a period of less than fifteen years (1535–49) sufficed to effect the extinction of all the monastic churches, and of all the collegiate churches except for some thirty which enjoyed cathedral status, academic function or extremely close royal connection.