Sams Teach Yourself HTML, CSS, and JavaScript

All in One Julie C. Meloni download

https://textbookfull.com/product/sams-teach-yourself-html-css-
and-javascript-all-in-one-julie-c-meloni/

Download more ebook from https://textbookfull.com

We believe these products will be a great fit for you. Click
the link to download now, or visit textbookfull.com
to discover even more!

Sams Teach Yourself HTML CSS and JavaScript All in One

1st Edition Meloni Julie C

https://textbookfull.com/product/sams-teach-yourself-html-css-
and-javascript-all-in-one-1st-edition-meloni-julie-c/

Biota Grow 2C gather 2C cook Loucas

https://textbookfull.com/product/biota-grow-2c-gather-2c-cook-
loucas/

Sams Teach Yourself C in 24 Hours 6th Ed 6th Edition

Rogers Cadenhead

https://textbookfull.com/product/sams-teach-yourself-c-
in-24-hours-6th-ed-6th-edition-rogers-cadenhead/

Programming Windows Store Apps with HTML CSS and

JavaScript Kraig Brockschmidt

https://textbookfull.com/product/programming-windows-store-apps-
with-html-css-and-javascript-kraig-brockschmidt/
Sams Teach yourself Java in 24 Hours [8th Ed] 8th
Edition Rogers Cadenhead

https://textbookfull.com/product/sams-teach-yourself-java-
in-24-hours-8th-ed-8th-edition-rogers-cadenhead/

SQL in 10 Minutes a Day, Sams Teach Yourself 5th

Edition Ben Forta

https://textbookfull.com/product/sql-in-10-minutes-a-day-sams-
teach-yourself-5th-edition-ben-forta/

Sams Teach Yourself Unity 2018 Game Development in 24

Hours 3rd Edition Mike Geig

https://textbookfull.com/product/sams-teach-yourself-
unity-2018-game-development-in-24-hours-3rd-edition-mike-geig/

Sams Teach Yourself: Unity 2018 Game Development in 24

Hours Third Edition Mike Geig

https://textbookfull.com/product/sams-teach-yourself-
unity-2018-game-development-in-24-hours-third-edition-mike-geig/

Programming Windows Store Apps with HTML CSS and

JavaScript Second Edition Kraig Brockschmidt

https://textbookfull.com/product/programming-windows-store-apps-
with-html-css-and-javascript-second-edition-kraig-brockschmidt/
 Sams Teach Yourself HTML,
CSS and JavaScript All in One

Julie C. Meloni

800 East 96th Street, Indianapolis, Indiana, 46240 USA

Sams Teach Yourself HTML, CSS, and JavaScript All in One
Copyright © 2012 by Pearson Education, Inc.
All rights reserved. No part of this book shall be reproduced, stored
in a retrieval system, or transmitted by any means, electronic,
mechanical, photocopying, recording, or otherwise, without written
permission from the publisher. No patent liability is assumed with
respect to the use of the information contained herein. Although
every precaution has been taken in the preparation of this book, the
publisher and author assume no responsibility for errors or
omissions. Nor is any liability assumed for damages resulting from
the use of the information contained herein.
ISBN-13: 978-0-672-33332-3
ISBN-10: 0-672-33332-5
Acquisitions Editor
Mark Taber
Development Editor
Songlin Qiu
Managing Editor
Sandra Schroeder
Project Editor
Seth Kerney
Copy Editor
Mike Henry
Indexer
Ken Johnson
Proofreader
Jovana San Nicolas-Shirley
Technical Editor
Phil Ballard
Publishing Coordinator
Cindy Teeters
Book Designer
Gary Adair
Compositor
Trina Wurst
Library of Congress Cataloging-in-Publication data is on file.
First Printing November 2011
Trademarks
All terms mentioned in this book that are known to be trademarks or
service marks have been appropriately capitalized. Sams Publishing
cannot attest to the accuracy of this information. Use of a term in
this book should not be regarded as affecting the validity of any
trademark or service mark.
Warning and Disclaimer
Every effort has been made to make this book as complete and as
accurate as possible, but no warranty or fitness is implied. The
information provided is on an “as is” basis. The author and the
publisher shall have neither liability nor responsibility to any person
or entity with respect to any loss or damages arising from the
information contained in this book or programs accompanying it.
Bulk Sales
Sams Publishing offers excellent discounts on this book when
ordered in quantity for bulk purchases or special sales. For more
information, please contact
U.S. Corporate and Government Sales
1-800-382-3419
[email protected]
For sales outside of the U.S., please contact
International Sales
[email protected]
Contents at a Glance
PART I: Getting Started on the Web
CHAPTER 1: Publishing Web Content
CHAPTER 2: Understanding HTML and XHTML Connections
CHAPTER 3: Understanding Cascading Style Sheets
CHAPTER 4: Understanding JavaScript
PART II: Building Blocks of Practical Web Design
CHAPTER 5: Working with Fonts, Text Blocks, and Lists
CHAPTER 6: Using Tables to Display Information
CHAPTER 7: Using External and Internal Links
CHAPTER 8: Working with Colors, Images, and Multimedia
PART III: Advanced Web Page Design with CSS
CHAPTER 9: Working with Margins, Padding, Alignment, and Floating
CHAPTER 10: Understanding the CSS Box Model and Positioning
CHAPTER 11: Using CSS to Do More with Lists, Text, and Navigation
CHAPTER 12: Creating Fixed or Liquid Layouts
PART IV: Getting Started with Dynamic Web Sites
CHAPTER 13: Understanding Dynamic Websites
CHAPTER 14: Getting Started with JavaScript Programming
CHAPTER 15: Working with the Document Object Model (DOM)
CHAPTER 16: Using JavaScript Variables, Strings, and Arrays
CHAPTER 17: Using JavaScript Functions and Objects
CHAPTER 18: Controlling Flow with Conditions and Loops
CHAPTER 19: Responding to Events
CHAPTER 20: Using Windows and Frames
PART V: Advanced JavaScript Programming
CHAPTER 21: Using Unobtrusive JavaScript
CHAPTER 22: Using Third-Party Libraries
CHAPTER 23: Greasemonkey: Enhancing the Web with JavaScript
CHAPTER 24: AJAX: Remote Scripting
PART VI: Advanced Website Functionality and Management
CHAPTER 25: Creating Print-Friendly Web Pages
CHAPTER 26: Working with Web-Based Forms
CHAPTER 27: Organizing and Managing a Website
CHAPTER 28: Helping People Find Your Web Pages
Index
Table of Contents
CHAPTER 1: Publishing Web Content
A Brief History of HTML and the World Wide Web
Creating Web Content
Understanding Web Content Delivery
Selecting a Web Hosting Provider
Testing with Multiple Web Browsers
Creating a Sample File
Using FTP to Transfer Files
Distributing Content Without a Web Server
Tips for Testing Web Content
CHAPTER 2: Understanding HTML and XHTML Connections
Getting Prepared
Getting Started with a Simple Web Page
HTML Tags Every XHTML Web Page Must Have
Organizing a Page with Paragraphs and Line Breaks
Organizing Your Content with Headings
Validating Your Web Content
The Scoop on HTML, XML, XHTML, and HTML5
CHAPTER 3: Understanding Cascading Style Sheets
How CSS Works
A Basic Style Sheet
A CSS Style Primer
Using Style Classes
Using Style IDs
Internal Style Sheets and Inline Styles
CHAPTER 4: Understanding JavaScript
Learning Web Scripting Basics
How JavaScript Fits into a Web Page
Exploring JavaScript’s Capabilities
Displaying Time with JavaScript
Beginning the Script
Adding JavaScript Statements
Creating Output
Adding the Script to a Web Page
Testing the Script
CHAPTER 5: Working with Fonts, Text Blocks, and Lists
Boldface, Italics, and Special Text Formatting
Tweaking the Font
Working with Special Characters
Aligning Text on a Page
The Three Types of HTML Lists
Placing Lists Within Lists
CHAPTER 6: Using Tables to Display Information
Creating a Simple Table
Controlling Table Sizes
Alignment and Spanning Within Tables
Page Layout with Tables
CHAPTER 7: Using External and Internal Links
Using Web Addresses
Linking Within a Page Using Anchors
Linking Between Your Own Web Content
Linking to External Web Content
Linking to an Email Address
Opening a Link in a New Browser Window
Using CSS to Style Hyperlinks
CHAPTER 8: Working with Colors, Images, and Multimedia
Best Practices for Choosing Colors
Understanding Web Colors
Using Hexadecimal Values for Colors
Using CSS to Set Background, Text, and Border Colors
Choosing Graphics Software
The Least You Need to Know About Graphics
Preparing Photographic Images
Creating Banners and Buttons
Reducing the Number of Colors in an Image
Working with Transparent Images
Creating Tiled Backgrounds
Creating Animated Web Graphics
Placing Images on a Web Page
Describing Images with Text
Specifying Image Height and Width
Aligning Images
Turning Images into Links
Using Background Images
Using Imagemaps
Integrating Multimedia into Your Website
CHAPTER 9: Working with Margins, Padding, Alignment, and
Floating
Using Margins
Padding Elements
Keeping Everything Aligned
Understanding the Float Property
CHAPTER 10: Understanding the CSS Box Model and
Positioning
The CSS Box Model
The Whole Scoop on Positioning
Controlling the Way Things Stack Up
Managing the Flow of Text
CHAPTER 11: Using CSS to Do More with Lists, Text, and
Navigation
HTML List Refresher
How the CSS Box Model Affects Lists
Placing List Item Indicators
Creating Image Maps with List Items and CSS
How Navigation Lists Differ from Regular Lists
Creating Vertical Navigation with CSS
Creating Horizontal Navigation with CSS
CHAPTER 12: Creating Fixed or Liquid Layouts
Understanding Fixed Layouts
Understanding Liquid Layouts
Creating a Fixed/Liquid Hybrid Layout
CHAPTER 13: Understanding Dynamic Websites
Understanding the Different Types of Scripting
Including JavaScript in HTML
Displaying Random Content
Understanding the Document Object Model
Changing Images Based on User Interaction
CHAPTER 14: Getting Started with JavaScript Programming
Basic Concepts
JavaScript Syntax Rules
Using Comments
Best Practices for JavaScript
CHAPTER 15: Working with the Document Object Model
(DOM)
Understanding the Document Object Model (DOM)
Using window Objects
Working with the document Object
Accessing Browser History
Working with the location Object
More About the DOM Structure
Working with DOM Nodes
Creating Positionable Elements (Layers)
Hiding and Showing Objects
Modifying Text Within a Page
Adding Text to a Page
CHAPTER 16: Using JavaScript Variables, Strings, and Arrays
Using Variables
Understanding Expressions and Operators
Data Types in JavaScript
Converting Between Data Types
Using String Objects
Working with Substrings
Using Numeric Arrays
Using String Arrays
Sorting a Numeric Array
CHAPTER 17: Using JavaScript Functions and Objects
Using Functions
Introducing Objects
Using Objects to Simplify Scripting
Extending Built-in Objects
Using the Math Object
Working with Math Functions
Using the with Keyword
Working with Dates
CHAPTER 18: Controlling Flow with Conditions and Loops
The if Statement
Using Shorthand Conditional Expressions
Testing Multiple Conditions with if and else
Using Multiple Conditions with switch
Using for Loops
Using while Loops
Using do...while Loops
Working with Loops
Looping Through Object Properties
CHAPTER 19: Responding to Events
Understanding Event Handlers
Using Mouse Events
Using Keyboard Events
Using the onLoad and onUnload Events
Using onclick to Change <div> Appearance
CHAPTER 20: Using Windows and Frames
Controlling Windows with Objects
Moving and Resizing Windows
Using Timeouts
Displaying Dialog Boxes
Working with Frames
Building a Frameset
Linking Between Frames and Windows
Using Inline Frames
CHAPTER 21: Using Unobtrusive JavaScript
Scripting Best Practices
Reading Browser Information
Cross-Browser Scripting
Supporting Non-JavaScript Browsers
CHAPTER 22: Using Third-Party Libraries
Using Third-Party Libraries
Other Libraries
CHAPTER 23: Greasemonkey: Enhancing the Web with
JavaScript
Introducing Greasemonkey
Working with User Scripts
Creating Your Own User Scripts
CHAPTER 24: AJAX: Remote Scripting
Introducing AJAX
Using XMLHttpRequest
Creating a Simple AJAX Library
Creating an AJAX Quiz Using the Library
Debugging AJAX Applications
CHAPTER 25: Creating Print-Friendly Web Pages
What Makes a Page Print-Friendly?
Applying a Media-Specific Style Sheet
Designing a Style Sheet for Print Pages
Viewing a Web Page in Print Preview
CHAPTER 26: Working with Web-Based Forms
How HTML Forms Work
Creating a Form
Accepting Text Input
Naming Each Piece of Form Data
Exploring Form Input Controls
Submitting Form Data
Accessing Form Elements with JavaScript
Displaying Data from a Form
Sending Form Results by Email
CHAPTER 27: Organizing and Managing a Website
When One Page Is Enough
Organizing a Simple Site
Organizing a Larger Site
Writing Maintainable Code
Thinking About Version Control
CHAPTER 28: Helping People Find Your Web Pages
Publicizing Your Website
Listing Your Pages with the Major Search Sites
Providing Hints for Search Engines
Additional Tips for Search Engine Optimization
INDEX
About the Author
Julie C. Meloni is the Lead Technologist and Architect in the Online
Library Environment at the University of Virginia. Before coming to
the library, she worked for more than 15 years in web application
development for various corporations large and small in Silicon
Valley. She has written several books and articles on Web-based
programming languages and database topics, including the
bestselling Sams Teach Yourself PHP, MySQL, and Apache All in One.
We Want to Hear from You!
As the reader of this book, you are our most important critic and
commentator. We value your opinion and want to know what we’re
doing right, what we could do better, what areas you’d like to see us
publish in, and any other words of wisdom you’re willing to pass our
way.
You can email or write directly to let us know what you did or didn’t
like about this book—as well as what we can do to make our books
stronger.
Please note that we cannot help you with technical problems related
to the topic of this book, and that due to the high volume of mail we
receive, we might not be able to reply to every message.
When you write, please be sure to include this book’s title and
author as well as your name and email address. We will carefully
review your comments and share them with the author and editors
who worked on the book.
Email:
feedback@samspublishing
Mail:
Sams Publishing
800 East 96th Street
Indianapolis, IN 46240 USA
Reader Services
Visit our website and register this book at informit.com/register for
convenient access to any updates, downloads, or errata that might
be available for this book.
Part I. Getting Started on the
Web
Chapter 1. Publishing Web Content

WHAT YOU’LL LEARN IN THIS CHAPTER:

• A very brief history of the World Wide Web
• What is meant by the term web page, and why that term doesn’t always reflect all
the content involved
• How content gets from your personal computer to someone else’s web browser
• How to select a web hosting provider
• How different web browsers and device types can affect your content
• How to transfer files to your web server using FTP
• Where files should be placed on a web server
• How to distribute web content without a web server
• How to use other publishing methods such as blogs
• Tips for testing the appearance and functionality of web content.

Before learning the intricacies of HTML (Hypertext Markup

Language), CSS (Cascading Style Sheets), and JavaScript, it is
important that you gain a solid understanding of the technologies
that help transform these plain-text files to the rich multimedia
displays you see on your computer or handheld device when
browsing the World Wide Web. For example, a file containing
markup and client-side code HTML and CSS is useless without a web
browser to view it, and no one besides yourself will see your content
unless a web server is involved. Web servers make your content
available to others who, in turn, use their web browsers to navigate
to an address and wait for the server to send information to them.
You will be intimately involved in this publishing process because you
must create files and then put them on a server to make them
available in the first place, and you must ensure that your content
will appear to the end user as you intended.

A Brief History of HTML and the World Wide

Web
Once upon a time, back when there weren’t any footprints on the
moon, some farsighted folks decided to see whether they could
connect several major computer networks together. I’ll spare you the
names and stories (there are plenty of both), but the eventual result
was the “mother of all networks,” which we call the Internet.
Until 1990, accessing information through the Internet was a rather
technical affair. It was so hard, in fact, that even Ph.D.-holding
physicists were often frustrated when trying to swap data. One such
physicist, the now-famous (and knighted) Sir Tim Berners-Lee,
cooked up a way to easily cross-reference text on the Internet
through hypertext links.
This wasn’t a new idea, but his simple HTML managed to thrive
while more ambitious hypertext projects floundered. Hypertext
originally meant text stored in electronic form with cross-reference
links between pages. It is now a broader term that refers to just
about any object (text, images, files, and so on) that can be linked
to other objects. Hypertext Markup Language is a language for
describing how text, graphics, and files containing other information
are organized and linked together.

Note
For more information about the history of the World Wide
Web, see the Wikipedia article on this topic:
http://en.wikipedia.org/wiki/History_of_the_Web.

By 1993, only 100 or so computers throughout the world were

equipped to serve up HTML pages. Those interlinked pages were
dubbed the World Wide Web (WWW), and several web browser
programs had been written to allow people to view web pages.
Because of the growing popularity of the Web, a few programmers
soon wrote web browsers that could view graphical images along
with text. From that point forward, the continued development of
web browser software and the standardization of the HTML—and
XHTML—languages has lead us to the world we live in today, one in
which more than 110 million web servers answer requests for more
than 25 billion text and multimedia files.
These few paragraphs really are a brief history of what has been a
remarkable period. Today’s college freshmen have never known a
time in which the Web didn’t exist, and the idea of always-on
information and ubiquitous computing will shape all aspects of our
lives moving forward. Instead of seeing web content creation and
management as a set of skills possessed only by a few technically
oriented folks (okay, call them geeks if you will), by the end of this
book, you will see that these are skills that anyone can master,
regardless of inherent geekiness.

Creating Web Content

You might have noticed the use of the term web content rather than
web pages—that was intentional. Although we talk of “visiting a web
page,” what we really mean is something like “looking at all the text
and the images at one address on our computer.” The text that we
read, and the images that we see, are rendered by our web
browsers, which are given certain instructions found in individual
files.
Those files contain text that is marked up, or surrounded by, HTML
codes that tell the browser how to display the text—as a heading, as
a paragraph, in a red font, and so on. Some HTML markup tells the
browser to display an image or video file rather than plain text,
which brings me back to the point: Different types of content are
sent to your web browser, so simply saying web page doesn’t begin
to cover it. Here we use the term web content instead, to cover the
full range of text, image, audio, video, and other media found online.
In later chapters, you will learn the basics of linking to or creating
the various types of multimedia web content found in websites. All
you need to remember at this point is that you are in control of the
content a user sees when visiting your website. Beginning with the
file that contains text to display or codes that tell the server to send
a graphic along to the user’s web browser, you have to plan, design,
and implement all the pieces that will eventually make up your web
presence. As you will learn throughout this book, it is not a difficult
process as long as you understand all the little steps along the way.
In its most fundamental form, web content begins with a simple text
file containing HTML or XHTML markup. XHTML is another flavor of
HTML; the “X” stands for eXtensible, and you will learn more about it
as you continue through the chapters. The most important thing to
know from the outset is that all the examples in this book are HTML
4 and XHTML compatible, meaning that they will be rendered
similarly both now and in the future by any newer generations of
web browsers. That is one of the benefits of writing standards-
compliant code: You do not have to worry about going back to your
code sometime in the future and changing it because it doesn’t
work. Your code will likely always work for as long as web browsers
adhere to standards (hopefully a long time).

Understanding Web Content Delivery

Several processes occur, in many different locations, to eventually
produce web content that you can see. These processes occur very
quickly—on the order of milliseconds—and occur behind the scenes.
In other words, although we might think all we are doing is opening
a web browser, typing in a web address, and instantaneously seeing
the content we requested, technology in the background is working
hard on our behalf. Figure 1.1 shows the basic interaction between a
browser and a server.
Figure 1.1 A browser request and a server response.
However, there are several steps in the process—and potentially
several trips between the browser and server—before you see the
entire content of the site you requested.
Suppose you want to do a Google search, so you dutifully type
http://www.google.com in the address bar or select the Google
bookmark from your bookmarks list. Almost immediately, your
browser will show you something like what’s shown in Figure 1.2.
Figure 1.2 Visiting www.google.com.

Figure 1.2 shows a website that contains text plus one image (the
Google logo). A simple version of the processes that occurred to
retrieve that text and image from a web server and display it on
your screen is as follows:
1. Your web browser sends a request for the index.html file located
at the http://www.google.com/ address. The index.html file does
not have to be part of the address that you type in the address
bar; you’ll learn more about the index.html file further along in
this chapter.
 2. After receiving the request for a specific file, the web server
process looks in its directory contents for the specific file, opens
it, and sends the content of that file back to your web browser.
3. The web browser receives the content of the index.html file,
which is text marked up with HTML codes, and renders the
content based on these HTML codes. While rendering the
content, the browser happens upon the HTML code for the
Google logo, which you can see in Figure 1.2. The HTML code
looks like this:
<img src="/logos/logo.gif" width="384" height="121" border="0"
alt="Google"/>

The tag provides attributes that tell the browser the file source
location (src), width (width), height (height), border type (border), and
alternative text (alt) necessary to display the logo. You will learn
more about attributes throughout later chapters.
4. The browser looks at the src attribute in the <img/> tag to find the
source location. In this case, the image logo.gif can be found in
the logos directory at the same web address (www.google.com)
from which the browser retrieved the HTML file.
5. The browser requests the file at the
http://www.google.com/logos/logo.gif web address.
6. The web server interprets that request, finds the file, and sends
the contents of that file to the web browser that requested it.
7. The web browser displays the image on your monitor.
As you can see in the description of the web content delivery
process, web browsers do more than simply act as picture frames
through which you can view content. Browsers assemble the web
content components and arrange those parts according to the HTML
commands in the file.
You can also view web content locally, or on your own hard drive,
without the need for a web server. The process of content retrieval
and display is the same as the process listed in the previous steps in
that a browser looks for and interprets the codes and content of an
HTML file, but the trip is shorter; the browser looks for files on your
own computer’s hard drive rather than on a remote machine. A web
server is needed to interpret any server-based programming
language embedded in the files, but that is outside the scope of this
book. In fact, you could work through all the chapters in this book
without having a web server to call your own, but then nobody but
you could view your masterpieces.

Selecting a Web Hosting Provider

Despite just telling you that you can work through all the chapters in
this book without having a web server, having a web server is the
recommended method for continuing on. Don’t worry—obtaining a
hosting provider is usually a quick, painless, and relatively
inexpensive process. In fact, you can get your own domain name
and a year of web hosting for just slightly more than the cost of the
book you are reading now.
If you type web hosting provider in your search engine of choice,
you will get millions of hits and an endless list of sponsored search
results (also known as ads). There are not this many web hosting
providers in the world, although it might seem like there are. Even if
you are looking at a managed list of hosting providers, it can be
overwhelming—especially if all you are looking for is a place to host
a simple website for yourself or your company or organization.
You’ll want to narrow your search when looking for a provider and
choose one that best meets your needs. Some selection criteria for a
web hosting provider include the following”
• Reliability/server “uptime”—If you have an online presence,
you want to make sure people can actually get there consistently.
• Customer service—Look for multiple methods for contacting
customer service (phone, email, and chat) as well as online
documentation for common issues.
• Server space—Does the hosting package include enough server
space to hold all the multimedia files (images, audio, and video)
you plan to include in your website (if any)?
 • Bandwidth—Does the hosting package include enough
bandwidth so that all the people visiting your site and
downloading files can do so without you having to pay extra?
• Domain name purchase and management—Does the
package include a custom domain name, or must you purchase
and maintain your domain name separately from your hosting
account?
• Price—Do not overpay for hosting. You will see a wide range of
prices offered and should immediately wonder “what’s the
difference?” Often the difference has little to do with the quality of
the service and everything to do with company overhead and
what the company thinks they can get away with charging people.
A good rule of thumb is that if you are paying more than $75 per
year for a basic hosting package and domain name, you are
probably paying too much.
Here are three reliable web hosting providers whose basic packages
contain plenty of server space and bandwidth (as well as domain
names and extra benefits) at a relatively low cost. If you don’t go
with any of these web hosting providers, you can at least use their
basic package descriptions as a guideline as you shop around.
• A Small Orange (http://www.asmallorange.com)—The
“Tiny” and “Small” hosting packages are perfect starting places for
the new web content publisher.
• DailyRazor (http://www.dailyrazor.com)—Even its Rookie
hosting package is full featured and reliable.
• LunarPages (http://www.lunarpages.com)—The Basic
hosting package is suitable for many personal and small business
websites.

Note
I have used all these providers (and then some) over the years
and have no problem recommending any of them;
predominantly, I use DailyRazor as a web hosting provider,
especially for advanced development environments.
One feature of a good hosting provider is that it provides a “control
panel” for you to manage aspects of your account. Figure 1.3 shows
the control panel for my own hosting account at Daily Razor. Many
web hosting providers offer this particular control panel software, or
some control panel that is similar in design—clearly labeled icons
leading to tasks you can perform to configure and manage your
account.
Figure 1.3 A sample control panel.

You might never need to use your control panel, but having it
available to you simplifies the installation of databases and other
software, the viewing of web statistics, and the addition of email
addresses (among many other features). If you can follow
instructions, you can manage your own web server—no special
training required.

Testing with Multiple Web Browsers

Having just discussed the process of web content delivery and the
acquisition of a web server, it might seem a little strange to step
back and talk about testing your websites with multiple web
browsers. However, before you go off and learn all about creating
websites with HTML and CSS, do so with this very important
statement in mind: Every visitor to your website will potentially use
hardware and software configurations that are different than your
own. Their device types (desktop, laptop, netbook, smartphone, or
iPhone), their screen resolutions, their browser types, their browser
window sizes, and their speed of connections will be different—
remember that you cannot control any aspect of what your visitors
use when they view your site. So, just as you’re setting up your web
hosting environment and getting ready to work, think about
downloading several different web browsers so that you have a local
test suite of tools available to you. Let me explain why this is
important.
Although all web browsers process and handle information in the
same general way, there are some specific differences among them
that result in things not always looking the same in different
browsers. Even users of the same version of the same web browser
can alter how a page appears by choosing different display options
or changing the size of their viewing windows. All the major web
browsers allow users to override the background and fonts specified
by the web page author with those of their own choosing. Screen
resolution, window size, and optional toolbars can also change how
much of a page someone sees when it first appears on their screens.
You can ensure only that you write standards-compliant HTML and
CSS.
Do not, under any circumstances, spend hours on end designing
something that looks perfect on your own computer—unless you are
Other documents randomly have
different content
style of this transept resembles that of the nave. The two-light
windows, which take the place of the triforium on the north side,
and the beautiful clerestory windows, with their slender pilasters,
should be noticed. There is an eastern aisle, divided into chapels,
which Wyatt robbed of their screens. The monuments here are:—
Brass to John Britton, the eminent antiquary; James Harris, author
of Hermes, by Bacon; Earl of Malmesbury, by Chantrey; W.B. Earle,
by Flaxman; Bishop John Blythe (?) (1499); Sir R. Hoare, the Wilts
historian, by Lucas; Richard Jefferies, the charming modern writer
on country life; Walter and William Long, by Flaxman; Bishop
Woodville (1484).
The South Transept resembles the north. Here are monuments of:
—Bishop Mitford (1407), a fine tomb of white marble; Bishop Fisher
(1825); Edward Poore (1780).
The Choir-Screen is good modern work, and replaced a patchwork
structure of Wyatt's handiwork, made up of spoil taken from his
destroyed chantries. The organ is modern.
The Choir and Presbytery differ in no way from the architecture of
the nave. The east end is beautifully designed. At the base of the
reredos are three arches, and above five arches, with cinquefoil
headings, and above these a triplet window. The roof is painted with
an interesting series of designs, which are modern reproductions of
thirteenth-century work. First there are series of Old Testament
saints, the Forerunner of our Lord being ranked with the prophets.
Then come the Apostles, with the figures of our Lord and the
Evangelists; and further east are representations of the months,
which are curious and interesting. January is represented by a man
warming his hands; February, a man drinking wine; March, digging;
April, sowing; May, hawking; June, flowers; July, reaping; August,
threshing; September, gathering fruit; October, brewing; November,
timber-felling; December, killing a pig.
The Choir Stalls are a patchwork composition. There is some old
Perpendicular work; some of the work is by Wren. Happily Wyatt's
productions have been removed. The reredos is modern, is a very
elaborate piece of work. All the other fittings of the choir are new. In
the choir are the chantries of Bishop Audley (1524), a fine piece of
Late Perpendicular work, which has a fan-vault and some traces of
colour, and of Walter, Lord Hungerford (1429), removed here from
the nave, and made into a family pew by Lord Radnor. The iron-work
is good, and such chapels are rare, the Chantry of Edward IV. at
Windsor being the finest of its kind.
In the North Choir Aisle and Transept there are two monuments of
the memento mori type, the large tomb of a thirteenth-century
bishop, either Bingham or Scammel, Bishop Wyvill (1375), Gheast
(1576), and Jewell (1571), and the curious brass of Bishop Wyvill,
who recovered for the see Sherborne Castle and the Bere Chase,
seized by Stephen, and granted by Edward III. to the Earl of
Salisbury. To decide the right the wager of battle was resorted to,
and both bishop and earl chose a champion. The king, however,
caused the matter to be settled amicably. The bishop is here shown
in his castle, praying for his champion, and below are the hares and
rabbits representing the chase. In this north-east transept is a fine
Early Perpendicular lavatory, which is evidently not in its original
position, part of an Early English screen, removed by Wyatt, and a
curious aumbrey. In the aisle toward the east we see an effigy, said
to be that of Bishop Poore, the founder of the Cathedral, and at the
east end is the monument of Sir Thomas Gorges and his lady, who
was a maid of honour to Queen Elizabeth. It is a cumbrous piece of
work.
The Retro-Choir or processional path has beautiful clustered shafts
and fine vault, and forms a graceful entrance to the Lady Chapel, a
most perfect piece of Early English building, and the oldest part of
the church. At the east end is a triple lancet, with another lancet on
each side, filled with modern glass. There is a new altar here, and
modern colouring adorns the walls and ceiling. The canopies of the
niches under the windows on the north and south were brought here
from the Beauchamp Chapel destroyed by Wyatt. Here in former
days stood the shrine of St. Osmund, the second Norman bishop,
the saintly man to whom the diocese and the English Church owe
much. His tomb remains here, but his shrine was plundered and
destroyed at the Reformation. At the east end of the south choir
aisle is the stately tomb of the unhappy Earl of Hertford (1621), who
married Catherine, the sister of Lady Jane Grey, and thus incurred
Queen Elizabeth's resentment, and was imprisoned. The poor lady,
when released from the Tower, was separated from her husband,
and died of grief. He survived her sixty years. Near here are the
modern tombs of Bishops Moberly and Hamilton, and the
Perpendicular tomb of William Wilton, Chancellor of Sarum (1506-
1523). The old sacristy, now the vestry, is on the south of this
transept; above this is the muniment room, the ancient treasury. In
the transept is the remarkable monument of Bishop Giles de Bridport
(1262), under whose rule the church was finished. It is the most
interesting tomb in the church. The carvings in the spandrels record
the chief events in the bishop's life—his birth, confirmation,
education, and possibly his first preferment, his homage, a
procession (probably referring to the dedication of this church), his
death, and the presentation of his soul for judgment. Here are
monuments also of Canon Bowles (1850); Bishop Burgess (1837);
Bishop Seth Ward (1689), Hooker, the famous divine; Young, the
father of the poet; Isaak Walton, the son of the angler; Bishop
Davenant (1641); Mrs. Wordsworth, the wife of the bishop; and a
brass to Canon Liddon's memory. Further on are the monuments of
Bishop Salcot (1557), and Sir Richard Mompesson and his wife
(1627). Notice the inverted strengthening arches in both choir
transepts.
Passing through the south transept we enter the Cloisters, which
are considered to be "among the finest in England," and without
doubt they can lay claim to be a great and beautiful architectural
triumph. They are a little later than the Cathedral, having been
begun directly after its completion, and finished during the rule of
Bishop Wyvill, about 1340. The windows are finely constructed, and
consist of double-arched openings, each arch having two sub-arches,
while in the head is a large six-foiled opening. On the wall side is a
blind arcade of graceful arches. An unfortunate restoration in 1854
did not improve the appearance of the cloisters. On the north side,
between the cloister and the church, is the plumbery. The
monuments here do not possess much interest. The Library, over
part of the east walk, was built by Bishop Jewell, and contains about
5000 volumes, and a valuable collection of MSS. One of the most
interesting is a Gallican version of the Psalter (969 A.D.), Geoffrey of
Monmouth's Chronicles (twelfth century), a copy of Magna Charter
(now in muniment room), and many others of much value and
importance. The Chapter-House was built early in the reign of
Edward I. It is a noble octagonal building, and can scarcely be
surpassed by any other. The roof is modern. There is a central pillar,
from which the vaulting springs. On each side there is a large
window, resembling in tracery those in the cloisters. Below the
windows is an arcade, and beneath this a stone bench, and at the
east end a raised seat for the bishop and his officials. There is a
remarkable series of sculptures above the arcade, which are
extremely interesting and merit close study. The following are the
subjects represented:—
The Angel touching
West Bay 33.
Jacob's Thigh.
Meeting of Jacob and
1. Description of Chaos. 34.
Esau.
Creation of the
2.
Firmament.
South-East Bay
North-West Bay
35. Joseph's Dream.
Joseph relating his
3. Creation of the Earth. 36.
Dream.
Creation of the Sun Joseph being placed in
4. 37.
and Moon. a Well.
 Creation of the Birds
5. 38. Joseph sold into Egypt.
and Fishes.
Creation of Adam and Joseph's Coat brought
6. 39.
Eve. to Jacob.
Joseph brought to
7. The Sabbath. 40.
Potiphar.
The Institution of Joseph tempted by
8. 41.
Marriage. Potiphar's Wife.
Joseph accused before
9. The Temptation. 42.
Potiphar.
The Hiding in the
10.
Garden.
North Bay South Bay
11.The Expulsion. 43. Joseph placed in Prison.
Adam tilling the The fate of Pharaoh's
12. 44.
Ground. Baker and
Cain and Abel's
13. Butler.
Offering.
14. Murder of Abel. 45. Pharaoh's Dream.
15.God sentencing Cain. 46. Pharaoh's Perplexity.
God commanding Noah Joseph taken from
16. 47.
to build Prison, and
the Ark. interpreting the Dream.
17. The Ark. 48. Joseph ruling in Egypt.
The Brethren
18.Noah's Vineyard. 49.
journeying into
Egypt.
The Cup placed in
North-East Bay 50.
Benjamin's
Sack.
The Drunkenness of
19.
Noah.
Building of the Tower
20.
of Babel.
 The Angels appearing
21. South-West Bay
to Abraham.
Abraham entertaining
22.
Angels.
Destruction of Sodom The Discovery of the
23. 51.
and Cup.
The Brethren pleading
Gomorrah. 52.
before Joseph.
Jacob and Family
24. The Escape of Lot. 53.
journeying to
Abraham and Isaac
25. Egypt.
journeying to
The Brethren pleading
the Mount. 54.
before
Joseph after the Death
26.The Sacrifice of Isaac.
of Jacob.
Joseph assuring his
East Bay 55.
Brethren of
his Protection.
Moses in the Presence
27. Isaac blessing Jacob. 56.
of God.
The Passage of the Red
28.Blessing of Esau. 57.
Sea.
Rebecca sending Jacob Destruction of the
29. 58.
to Egyptians.
Padanaram.
Meeting of Jacob and
30.
Rachel.
Rachel introducing
31. West Bay
Jacob to Laban.
Jacob wrestling with
32. 59. Moses striking the Rock.
the Angel,
The Declaring of the
and Jacob's Dream. 60.
Law.
 In the vestibule the doorway is remarkable for its great beauty. In
the voussoirs of the arch is another series of sculptures representing
moralities, the triumph of virtue over vice. We see Concordia
trampling on Discordia, Temperantia pouring liquor down the throat
of Drunkenness, Bravery trampling on Cowardice, Faith on Infidelity,
Virtue covering Vice with a cloak, while Vice embraces her knee with
one hand and stabs her with the other. Truth pulls out the tongue of
Falsehood, Modesty scourges Lust, and Charity pours coin into the
throat of Avarice. These sculptures are of the very highest class of
art, and are among the most interesting remains of Early Gothic
carving in the world. All the glass in the chapter-house is modern,
and also the tiling. A fine old specimen of fourteenth-century
furniture is seen in the ancient table preserved here.
Dimensions
Total length 473 ft.
Length of nave 229 ft.
Width 82 ft.
Height 84 ft.
Height of spire 404 ft.
Principal Building Dates

Early English (1220-1260)—The main buildings of the church

were completed at this time.
1262-1270)—Monastic buildings.
Decorated (1330-1350)—Two upper storeys of tower and spire.
Perpendicular (1460)—Arches supporting tower in north and
south transepts. Flying buttresses on south side of choir.

Other buildings of interest in Salisbury—

The Guild Hall.
Market Cross, called the Poultry.
Churches of St. Martin, St. Edmund, St. Thomas à Becket.
In the neighbourhood are—
Old Sarum.
Stonehenge.
PLAN OF SALISBURY CATHEDRAL
 OXFORD CATHEDRAL

O xford is so full of varied interest that we must leave our readers

to gain knowledge of its history from other sources, and confine
ourselves to its Cathedral records. This see was one of those
founded by Henry VIII. out of the proceeds of his spoliation of the
monasteries. The Cathedral was originally the Church of the Priory of
St. Frideswide. This lady was the daughter of Didan, the chief man
of the town. At an early age she took the veil, and her father built
for her a convent; but Algar, King of Mercia, wished to marry her,
and swore that he would carry her off. She fled for refuge, and on
her return to Oxford was gallantly defended by the men of her city
against Algar, who was struck blind. She was buried in her convent,
and many miracles were wrought at her shrine. Such was the
beginning of what ultimately became the Cathedral of Oxford.
Terrible was the scene which took place in this little church. The
Danes were in Oxford. There was peace between the Saxon king,
Ethelred, and their foes; but on St. Brice's Day, 1002, the folk of
Wessex were excited to slaughter the Danes, who fled for sanctuary
to the little church. The Saxons respected no more the sacredness of
the building than the laws of hospitality, and set fire to the place and
massacred the helpless Danes. The remains of this Early Saxon
church are said to have been discovered, which we shall examine
later.[8]
Ethelred, repenting of his crime, determined to rebuild the church,
which he accomplished, and recent authorities assure us that the
present church is in plan and main substance the Saxon church of
Ethelred, erected in 1004, and not the later Norman church about
which the older writers tell us. He seems to have established a
community of secular canons. The work was interrupted by the later
Danish invasions, and perhaps never finished. At any rate it was
ruinous in the time of the Early Normans kings.
In 1111 A.D., it was granted by either Roger, Bishop of Salisbury,
or by Henry I., to Prior Guimond and his fellow canons. This prior
began to restore the ruined church and monastery, but his successor,
Robert de Cricklade (1141-1180), did most of the work, and restored
the nave, choir, central tower and transepts. All the later Norman
work is due to him. In 1180, in the presence of Henry II., his nobles
and a goodly company of bishops, the relics of St. Frideswide were
translated to a place of honour in the restored building on the north
side of the choir, to which there was great resort of pilgrims on
account of the miraculous healings which took place there. Fire
played havoc with the city of Oxford in 1190, but the church escaped
without much injury. The monastic buildings suffered, and the traces
of fire can still be seen on the old Norman doorway in the cloisters.
In the thirteenth century the Lady Chapel was built adjoining the
north side of the choir, some of the old walls being used, the spire
raised above the tower, the chapter-house and part of the Latin
Chapel added, which was completed in the fourteenth century. A few
Decorated details were added at this period, and windows in this
style inserted. The fifteenth century witnessed sundry alterations in
the cloisters, the building of St. Frideswide's latest shrine, the
insertion of some Perpendicular windows, and the erection of the
fine vaulting of the choir.
Then a mighty change dawned on the old monastery. Cardinal
Wolsey obtained a bull from Pope Clement VII. for its suppression
and determined to convert it into a college, which was designed to
be the largest in Oxford. He played sad havoc with the fabric of the
church. A great part of the nave he destroyed altogether in order to
make room for his great "Tom Quad," so named after the famous
bell which still rings each night at five minutes past nine, and is the
signal for the closing of the gates of all Oxford colleges. Part of the
old cloisters disappeared also. Wolsey contemplated the building of
another church for his college, and indeed began its construction;
but his fall in 1529 put an end to the carrying out of his great
conception, and the college fell into the hands of King Henry VIII.
Here the monarch established one of his newly-formed sees (the
bishop's seat was first fixed at Oseney Abbey, just outside Oxford),
and with characteristic parsimony applied the revenues of the
college to the support of the see. The dean of the Cathedral is still
the head of the college, and the canons are university professors. As
was usual at this time, the Cathedral was shorn of all its costly
ornaments, vestments, plate and other treasures, but the fabric
remained intact.
Dean Brian Duppa in 1630 wrought much evil in the way of
restoring his Cathedral, destroying the old glass and woodwork,
tearing up the brasses, and "improving" the windows by cutting
away the old tracery. He was rewarded for his zeal by being made
Bishop of Salisbury. His loyalty to the fallen fortunes of his sovereign,
Charles I., somewhat atones for his wanton destruction of much that
was beautiful in Christ Church Cathedral. In the Civil War, Oxford
was the great centre of the Royalists. Here King Charles held his
court. Students flocked to his standard, and the Cathedral was the
scene of several thanksgiving services on the occasion of victories.
Cromwell's soldiers at length captured Oxford, and did some damage
in the Cathedral, breaking much of the glass. Bishop Fell (1676-
1686) was a munificent benefactor of the college. His father when
dean had built the fine staircase to the hall with its fan-tracery vault,
and commenced the buildings on north and west of the quadrangle.
This Bishop Fell finished the buildings of the college together with
the west belfry, designed by Sir C. Wren, but he does not appear to
have done much for the Cathedral. Neglect and the hard hand of
time wrought much mischief, and it seems to have been in a
deplorable state when the restorations of the last half of the
nineteenth century were inaugurated. To rescue it from its wretched
condition Dean Liddell, whose name is familiar to every student of
Greek, set himself with much energy, and the work was entrusted to
Sir G. Scott. His restoration was carried out with much wisdom and
careful regard for antiquity. The author of Alice in Wonderland, a
fellow of the college, published a satirical pamphlet on The Three
T's, the tunnel, the tower (the third we forget), and compared the
new entrance with a railway tunnel, representing a railway train
emerging from the portal, and scoffing at the new tower, which
arose above the grand staircase to the hall. But it is easy to criticise,
and Sir G. Scott's work at Oxford compares favourably with most
restorations, and for this posterity will thank him.
The Exterior
Oxford Cathedral is so hidden away behind the obtrusive walls of
Wolsey's college that it is difficult to obtain any good exterior views.
The best is that seen from the garden of one of the canons, to enter
which permission may be obtained. The view from the cloister is also
satisfactory. The principal entrance is from "Tom Quad" by the
"tunnel," as Lewis Carroll termed the passage or porch situated a
little to the north of the entrance to the hall. As we have said, the
west front and the greater part of the nave were destroyed by
Wolsey when he erected the college buildings. He also destroyed the
west walk of the cloister, which we enter by a passage leading from
the entrance to the hall. The cloisters are Perpendicular work of the
latter part of the fifteenth century. The north walk was at one time
converted into a muniment room, but has recently been restored to
its original form, and has a modern imitation of the old vaulting. The
old refectory stood on the south side, but has been converted into
college rooms. Its large Perpendicular windows still remain looking
on to the cloister. The entrance to the chapter-house is in the east
walk, and a fine Norman doorway it is. It belongs to the later
Norman period. It has four orders, richly ornamented with zigzag. A
round-headed window is on each side of the door. The chapter-
house is one of the best examples of the Early English style in the
kingdom, and may be compared with those of Lincoln, Salisbury and
Chester. The east end is very fine, and consists of an arcade of five
arches which are double. Slender clustered shafts with capitals
adorned with foliage support the inner arches. The three central
arches are pierced for windows. Similar arcades are at the east end
of north and south sides. The sculpture in this chamber is extremely
fine. Grotesque corbels, carved capitals and the bosses in the vault,
are all beautiful and interesting. One of the bosses represents the
Virgin giving an apple to the infant Christ. There is also some old
glass and interesting mural paintings. Diocesan meetings are held in
this delightful room. The foundation stone of Wolsey's college at
Ipswich is preserved here. In the room on the south are some fine
paintings, an Elizabethan table and an old chest. Another door in this
cloister leads to the old slype, a passage to the monastic burial-
ground. On the left is St. Lucy's Chapel, mainly of Norman
construction, the east window being much later. It is of Decorated
character, and the tracery is flamboyant and of very beautiful design.
The south choir aisle adjoins, and is part of the original church. The
windows are modern imitations of Norman work. The windows in the
clerestory of the choir are Perpendicular. The east end is modern,
having been reconstructed by Scott. On the north side of the
Cathedral, viewed from the canon's garden, we see the north
transept with its large Perpendicular window, erected at the
beginning of the sixteenth century, flanked by two turrets crowned
with pinnacles; the Latin Chapel of beautiful Decorated design,
erected in the fourteenth century, and the Lady Chapel, the east wall
of which is part of the old Saxon church, and Mr. Park Harrison has
discovered the remains of three Saxon apses which are perhaps the
remains of the earliest Saxon church, the Church of St. Frideswide,
built by Didan early in the eighth century.[9] A Decorated window
has been inserted here. We must now notice the Tower and Spire, a
beautiful feature of the Cathedral. The lower storey is Late Norman,
similar to the style of the nave; the belfry and the spire are Early
English. This spire ranks with that of Barnock, Northants, and New
Romsey, Surrey, as being one of the earliest in the kingdom. It was
restored by Scott. The pinnacles at the angles of the tower are
modern but accurate copies of the ancient ones. The spire is
octagonal, and is what is termed a broach spire, i.e., it rises from
the exterior of the tower walls and not from the interior of a parapet
as in the later spires.
 Oxford Cathedral

The Interior
Entering by the new porch from the quadrangle and passing under
the organ-screen we see a Cathedral, small, indeed, but possessing
features of peculiar interest. In its main plan it is possibly the church
of Ethelred begun in 1004, but finished in Late Norman times when
Robert de Cricklade or Canutus was prior (1141-1180).[10] The piers
of the Nave are alternatively circular and octagonal. There is a very
unusual triforium. Arches spring from the capitals of the piers, and in
the tympana are set the triforium arcade. From half capitals set
against the piers spring another series of arches at a lower level
than the others we have mentioned, and above the curve of these is
the triforium arcade. Very few examples of this curious construction
are found in this country. The carving of the capitals is graceful, and
though it differs somewhat from the stiff-leaved foliage of Early
English style, it somewhat resembles that character. The clerestory
belongs to the period of transition between Norman and Early
English. The central arch of the triple windows is pointed, and the
others, which are blocked up, round. The corbels and shafts which
support the roof are Norman, but the brackets are Perpendicular,
erected by Wolsey, who intended to build a stone vault. The present
fine timber roof belongs to his time, or a little later. The stalls and
seats are modern. The screen is Jacobean, above which is the
organ, a fine instrument enclosed in a Jacobean case. The pulpit
belongs to the same period and is very interesting, especially its
grotesque carving. The central tower has fine and lofty arches, and
its appearance has been improved by the removal of the ceiling
which formerly existed here. A curious subterranean chamber was
discovered here in 1856. It contained two aumbries, and was
evidently intended for the keeping of some treasure, possibly of the
monastery, or of the university. It is known that the university chest
during the thirteenth century was deposited in a secret place within
the Church of St. Frideswide, and this, doubtless, was the spot. The
Choir is of the same character as the nave. The piers are more
massive, and the style of the carving of the capitals differs. We are
told that we have distinct evidence here that this is part of Ethelred's
church, that the sculpture is Saxon, copied from Saxon MSS., that it
has been worn by weather which could only have been done during
the ruinous condition of the church prior to its Late Norman
restoration. Possibly this may be true, and the carving is certainly
peculiar, but at present we cannot quite agree to accept this view.
The triforium is Late Norman, and the roof is a fine example of fan-
tracery begun in the fifteenth century. Wolsey changed the
appearance of the clerestory, and introduced Perpendicular details.
 Oxford Cathedral
(Herbert Railton)

The East End is modern, and is a fine conception of Sir G. Scott

based upon early models. The Reredos is a fine modern work, and
the altar, lectern and throne are also new. Turning to the north we
enter the North Choir Aisle, where we stand upon debatable ground.
Perhaps we are in the Early Saxon church built for St. Frideswide, or
the later Saxon church of Ethelred. Authorities differ, and it is
impossible to decide. At any rate, there in the east wall are the
remains of the three Saxon arches which lead to the apses
discovered on the outside. And here, too, is the noted Shrine of St.
Frideswide, of which Mr. Ruskin said that every stone was worth its
weight in silver, if not in gold. It has been gradually collected from
odd corners of the precincts, as the shrine was destroyed by Henry
VIII. The carved foliage is very beautiful, and when this base of the
shrine was complete and crowned with the jewelled cover, beneath
which reposed the relics of the saints, it must have been very
imposing. There is a curious story in connection with these relics.
When the tomb was destroyed these were carefully preserved in
secret by "the faithful," and in the meantime the body of the wife of
Peter Martyr, a Protestant professor, was laid near the saint's shrine.
As this poor lady was an ex-nun, in the time of Mary and Cardinal
Pole her body was cast out into a cesspool, and the relics of the
saint restored to their place of honour. In Elizabeth's time the saint's
bones were again removed. The queen ordered the decent re-burial
of the remains of Peter Martyr's wife, and while this was being done
the sacred box containing the relics was produced, and "the married
nun and the virgin saint were buried together, and the dust of the
two still remains under the pavement beneath our feet inextricably
blended."[11] The exact spot is conjecturable, but a brass has been
placed where the mingled remains are supposed to lie.
The Lady Chapel is on the west of the choir aisle, and is of Early
English construction. It was added about 1250, when the present
piers and vault were built. The east wall, as we have said, is
manifestly earlier, and is part of one of the earlier Saxon churches.
The east window is restored Decorated. The west arch is round-
headed, and shows that this part of the chapel was the east aisle of
the north transept. There are extensive remains of colouring. Here is
the remarkable "Watching Chamber," supposed by some to be a later
shrine of St. Frideswide, and by Professor Willis and others to be the
chamber where watch was kept for guarding the gold and jewels
which adorned the actual shrine. It has three stages, and is very
beautiful Perpendicular work. In this chapel there are some
interesting monuments—Sir George Nowers (1425) (with good
example of armour); Prior Guymond (?) (1149), or Prior Alexander
de Sutton (1316), with Decorated canopy and effigy; Lady
Montacute (1353), the supposed founder of the Latin Chapel; Robert
Burton, author of Anatomy of Melancholy (1639). Some "Morris"
windows have been inserted here designed by Burne-Jones, very
beautiful in themselves, but perhaps scarcely in keeping with their
surroundings. The St. Cecilia window is extremely fine. The Latin
Chapel is mainly Decorated work of the time of Edward III., the
western parts being earlier. The vault has some richly-foliated
bosses, on which appear the waterlily and the roses, and heads
surmounted with crown and mitre. The east window has strange
Venetian tracery, but some excellent modern glass designed by
Burne-Jones and representing incidents in the life of St. Frideswide.
The other windows have some fine old fourteenth-century glass; the
north-east window is modern. The woodwork is very fine; it is later
than the chapel, and was not designed for it. The cardinal's hat,
supported by angels on one of the carved poppy-heads, shows that
this was prepared for Wolsey's choir. Some of the work is much
older. In this chapel the writer used to listen to the lectures of the
divinity professor, and was often distracted from the discourse by the
architectural beauties around him. Beautiful vistas may be obtained
here of "long-drawn aisles and fretted vault," and he became very
conversant with the history of St. Frideswide as depicted in the fine
east window.
 The North Transept is similar to the nave in style. The north
window is a modern restoration, and the glass is not very pleasing
modern work. Here is the Perpendicular tomb of a monk, Zouch
(1503), and some good brasses in the aisle. The north aisle has
Norman vaulting. The windows are restored Perpendicular, and the
glass is modern. The window at the west end of the aisle was
refashioned by Dean Brian Duppa in his usual barbarous manner, but
it has some good Flemish glass by Van Ling representing Jonah and
the Gourd, with Nineveh in the background.
Crossing to the south side of the church we pass several
monuments in the vestibule at the west end and reach the South
Aisle, which is later in style than the north. At the west end is a
Burne-Jones window, representing "Faith, Hope and Charity." The
south transept preserves its Late Norman character, but has been
shorn of its length. On the east side is the Chapel of St. Lucy. At the
back of the wall on the south is the slype, and above this the vestry.
One of the windows here is said to be Saxon. St. Lucy's Chapel is
Norman, and is now used as a baptistry. The east window has
flamboyant tracery and some fine old glass. Several monuments of
distinguished Cavaliers who died for the Royal cause in the Civil War
are in this part of the church. The South Choir Aisle resembles that
on the north. The south windows are in the Norman style, but are
modern imitations. The glass of the east window was designed by
Burne-Jones and portrays St. Catherine. It was erected in memory of
a daughter of Dean Liddell. The monument of Prince Leopold,
brother of the king, formerly a student of Christ Church, has a
pathetic interest, and the tomb of Bishop King, Oxford's first bishop
(1557), is a fine piece of Perpendicular work. The window to his
memory is on the south and shows a representation of the Abbey of
Oseney, where his episcopal throne was first established, before it
migrated to the Church of St. Frideswide.
Dimensions
Extreme length 175 ft.
 Length from screen to reredos 132 ft.
Extreme breadth 108 ft.
Height of spire 144 ft.
Dates of Building

Saxon—East wall of Lady Chapel and north choir aisle, and

possibly window in south transept
Norman—Nave, choir, transept, aisles, door of chapter-house
St. Lucy's Chapel.
Early English—Lady Chapel.
Decorated—Latin Chapel and several windows.
Perpendicular—Cloisters, windows and vault of choir.
 BRISTOL CATHEDRAL

B ristol, the great western port of England, has a history which

tells of the ancient glories of English seamanship. From this port
sailed the first Englishman who landed in America, Sebastian Cabot,
who was born in Bristol, and was the first to discover that which is
now known as the United States. A Bristol chronicle states, "this year
1497, on St. John the Baptist's day, the land of America was found
by the merchants of Bristowe, in a ship of Bristol, called The
Matthew, the which said ship departed from the port of Bristowe the
2nd of May, and came home again 6th August following." It was a
Bristol ship which brought home the real Robinson Crusoe (Juan
Fernandez) from his island home. Very famous were the great
merchants of Bristol, such as William Cannynge, who founded the
noble Church of St. Mary Redcliffe, whom his king, Henry VI.,
delighted to honour, and styled "his beloved and honourable
merchant." Vast was his fleet—his shipping, amounting to 2470 tons,
was seized by the victorious Yorkist monarch—and vast were his
commercial enterprises, whereby he made Bristol a large and
flourishing port.
But we must go back to earlier days. In Saxon times the port was
famous, or infamous, for its slave-dealing, which the coming of the
Conqueror scarcely suppressed. Here Harold's three sons made a
vain attempt to rescue the kingdom from his iron grasp. A famous
Norman castle destroyed in the Civil War was built here, where
Stephen was kept a prisoner. Pleasanter visits were frequently paid
by other monarchs. The city was besieged and taken by Henry
Bolingbroke, and Shakespeare in Richard II. tells of the beheading of
four supporters of the luckless king in the city market-place. Here,
too, five martyrs were burnt, and in the first year of Elizabeth's reign
a mass of roods and images shared the same fate. The imposition of
the ship-money tax was so distasteful that the Royal cause was not
very popular at Bristol. The citizens opened their gates to the
troopers of Cromwell, who held it from 1642 to the following year.
Prince Rupert stormed the place, and held it till it was wrested from
him in 1645. The "Bloody Assize" of Judge Jefferies left its mark on
this western port; six prisoners were executed, and hundreds sent
across the sea to serve in the plantations. The darkest spot in the
history of Bristol is the story of the Reform riots of 1831, sometimes
called "the Bristol Revolution," when the dregs of the population
pillaged and plundered, burnt the bishop's palace, and were guilty of
much vandalism. Of the old churches we shall write subsequently.
The old quaint houses are very attractive, especially the old Norman
hall and Tudor windows of the house of Edward Colston, one of
Bristol's merchant princes, Cannynge's house, with its fine
Perpendicular roof, and the old Hospital of St. Peter.
The History of the See
Bristol was one of the sees founded by Henry VIII. in 1542, after
the destruction of the monasteries. There is, however, in the British
Museum, a MS. copy of a Papal Bull of 1551, for the refounding of
the see, directed by Pope Paul IV. to Cardinal Pole. In 1836 the Sees
of Bristol and Gloucester were united, and remained so until 1897,
when they were again separated.
The church has a history long before it became a Cathedral. It was
the church of the monastery of Augustinian canons, founded in 1142
by Robert Fitzhardinge, afterwards Lord of Berkeley, on the site of
Augustine's oak (so tradition says), where Augustine met the British
bishops in conference and offended them by his haughty demeanour.
The consecration of probably the chancel took place six years later.
In 1155 Fitzhardinge received from the king the forfeited estates of
Roger de Berkeley, and was thus enabled to extend his building
operations, which were continued until the time of his death in 1170.
The church consisted of a nave with north and south aisles, a central
tower with north and south transepts, a presbytery with north and
south aisles, and a processional path. The choir had a square
ending, and consisted of three bays, the altar being at the east of
the second bay, the last bay forming a via processionum. The
chapter-house and vestibule are also Norman. The Early English
builders erected the Elder Lady Chapel, Bristol Cathedral being rich
in Lady Chapels, and possessing two. Abbot John (1196-1215) or his
successor, David, was doubtless the builder. Later Early English work
is evident in portions of the north and south transepts and in the
Berkeley Chapel, but much of the work of this period has been
destroyed. Serious complaints were made at this time concerning
the conduct of the monks, and sundry visitations were made and
orders issued for the reform of the monastery. During the Early
Decorated period the roof and east window of the Elder Lady Chapel
were added, and a little later (1306-1332) Abbot Knowle
reconstructed the choir and choir aisles. With his work came the
beginning of Perpendicular aspiration, and it is an earnest of the
course of the later English Gothic which first manifested itself in the
choir of Gloucester. Bristol nearly had the lucrative honour of
receiving the body of the murdered King Edward II., slain at
Berkeley Castle. But for fear of offending his patrons Abbot Knowle
declined to have the burial here; hence the corpse was taken to
Gloucester, where it caused a great concourse of pilgrims, and
brought many offerings. Knowle's successor, Abbot Snow (1332-
1341), was made a mitred abbot, and had a seat in Parliament. He
continued the work of his predecessor, erected a chantry, and built
the Newton Chapel. Soon after his death terrible misfortunes
happened to the city and monastery. The Black Death invaded the
land, and so great were its ravages that in Bristol the living were
hardly able to bury the dead, and few monks survived the awful
malady. The effects were disastrous. For over a hundred years no
building was attempted, and the monastery was in a deplorable
condition. In the time of Abbot Newbury (1428-1473) the great
tower was begun, and finished by his successor, Hunt (1473-1481),
who re-roofed the church. Abbot Newland (1481-1515) rebuilt the
upper part of the abbey gateway in Perpendicular style, and began
to rebuild the ruinous nave. As the power of the town increased the
citizens often had disputes with the monks over rights of fairs and
markets and other matters, and the burghers of Bristol were not
more submissive than those of other places. Hence the usual
quarrels arose and disturbed the peace of the city. Some of the
succeeding abbots wrought some minor improvements, but in 1543
a most drastic remedy was applied to the ruinous nave. It was
entirely pulled down, and not rebuilt until recent times. The
monastery was dissolved like other similar institutions, and Paul
Bush became the first bishop of the new see founded by Henry VIII.
For a brief space during Mary's reign the old worship was restored,
and Her Majesty and Philip bestowed costly gifts of copes and altar
frontals and vestments. But in Elizabeth's reign all "relics of Popery"
were ordered to be destroyed, such as the rood-lofts, tabernacles for
images, and scripture texts and the table of the commandments to
be painted in large characters on the wall. Beyond purloining the
lead from the roof neither the besiegers nor the besieged did much
damage to the church during the Civil War.
On the site of the destroyed nave some houses were erected, but
after the great riots these were taken down. The building seems to
have been kept in fairly good order. Edward Colston, the benefactor
of Bristol, repaired the pavement. Sundry restorations were taken in
hand during the last century, and finally in 1865 it was decided to
undertake the stupendous task of rebuilding the nave. The work was
begun in 1868 and finished in 1888. Since then the Elder Lady
Chapel and the tower have been restored, and the church is now
complete. It contains much of unusual value and interest, and the
completion of the nave is a triumph of nineteenth-century
achievement.
The Exterior
As we have said, the whole nave is new work, and therefore need
not be examined very closely. The West Front is flanked by two
towers, which bear the honoured names of Bishop Butler and
Edward Colston. The style is an imitation of fourteenth-century work.
There is a crocketed gable above the door, a rose window of good
design, and some delicately-carved work surmounted by a cross.
The face of the towers has three storeys; on the first a large
window; on the second some lancets; and above two windows with
louvres, the heads of which have crockets and finials. There are
pinnacles at the four corners.
On the South Side we see the remains of the monastic buildings.
The north and east walks of the cloisters alone remain, except a few
traces of the western walk, and the north is a restoration. We will
visit the east walk from the Cathedral. Passing round to the North
Side we notice the North Porch built in 1873. We have often noticed
the figures of the four great doctors of the church—SS. Gregory,
Ambrose, Jerome and Augustine. They appear in the sculptures of
many of our cathedrals. A great storm of indignation arose at Bristol
when it was proposed to place these figures here, and the four
Evangelists were substituted. We can pass over the modern work,
which is not wholly satisfactory, and notice the interesting character
of the eastern portion. The north transept has some remains of
Norman work in the north wall. The north window is modern in
memory of Colston, and replaces an Early English window. The
building adjoining is the Elder Lady Chapel, which is Early English
work of the early thirteenth century. The east window is Decorated
and is rather earlier than the choir built by Abbot Knowle (1306-
1332). The battlemented parapet is, of course, a later addition. The
buttresses of the chapel are Decorated, and there are curious little
flying buttresses connecting the two pinnacles. The Lady Chapel at
the east end of the Cathedral is of the same date as the choir, and
has a large, noble and graceful window. Passing round to the south
we see the outside of the Berkeley Chapel, of Decorated design, and
adjoining it the sacristy and external walls of the Newton Chapel,
chapter-house and modern vestry. Here, too, is the old churchyard.
The Central Tower is Perpendicular and was constructed by Abbot
Newland (1481-1515) or his successor, Abbot Elliot (1515-1526).
The Interior
Retracing our steps, we enter the Cathedral by the north porch
and view the new Nave from the west end. The slender piers and
fine vaulting are striking, and the work is in many ways very
beautiful. The surface of the walls in the aisles is broken by canopied
recesses for tombs, one only being occupied by a marble figure of
Dean Elliot. The baptistry is in the south-west or Colston Tower, and
is decorated in memory of Bishop Monk. Already there are many
memorial windows of good modern glass.
The North Transept has some original Norman work in the core of
the buttresses and in the wall below the north window. Some
alterations were made during the Decorated period, probably by
Abbot Snow (1332-1341), and the arch leading to north choir aisle is
Perpendicular work constructed by Abbot Newland (1481-1515),
called "the good abbot." Either he or his successor, Elliot,
constructed the groined roof, which has on the bosses sculptured
representations of the instruments of the Passion. The north window
is modern, in memory of Colston. The well-known writer, "Hugh
Conway" (F. Fargus), has a memorial here, and also Jane Porter of
literary fame, Sterne's "Maria" (Mrs. Draper), and the parents of
Macready, the actor.
The South Transept has much Norman work in the lower part of
the walls. Part was rebuilt in Early English times. Abbot Snow (1332-
1341) continued the work and constructed the arch leading to the
south choir aisle. The vault is Perpendicular work by Abbot Elliot
(1515-1526).
 Bristol
The Central Tower from S E

On the south is a staircase now leading to the consistory court,

but which formerly echoed with the tread of the monks as they
came here to their midnight services from the dormitory. In this
transept there are monuments to Lady Hesketh (1807), the friend of
Cowper; William Phillips, the sub-sacrist or verger who prevented
the rioters from profaning the Cathedral in 1831; Chantrey's
monument of Mrs. Crawford; and most famous of all, Bishop Butler
(1752), one of the most honoured of English divines, the author of
The Analogy of Religion. The inscription was written by Southey.
It is deplorable that a beautiful stone screen of Tudor architecture,
which separated the choir from the transept, was ruthlessly
destroyed in 1860, and another one erected. This also has been
removed, and the view of the east end, with its Decorated piers and
arches and the rich glass of the windows, is extremely fine. All the
work before us was constructed by Abbot Knowle (1306-1332) and
is Decorated. The Norman choir had two bays with a third for a
processional path. Knowle added two bays to the choir and built the
Lady Chapel. The clustered piers have triple shafts which support the
vaulting. The capitals on these shafts have very graceful foliage. The
piers have no capitals, but the mouldings run round the arches
continuously, as is not unusual in Decorated work. The vaulting is
what is known as lierne. Iron screen work divides the aisles from the
choir. The reredos is modern, erected in 1899, and has some fine
carving. The Stalls were originally Decorated, but "restoration" has
destroyed much, and little of the old work remains. There are some
curious Misereres: a fox preaching to geese, a tilting with brooms
between a man and a woman, one mounted on a pig, the other on a
turkey-cock, the story of Reynard the Fox. The pavement is new,
and not altogether successful. The organ is a noble instrument
placed on the west side, and has been often reconstructed. The
Throne is modern and has some fine carving. Passing into the north
aisle we notice the peculiar vaulting. It will be seen that the roof of
the choir and aisles is the same height, and in order to support the
weight of the choir-vault transoms are thrown across the aisles
supported on arches, and above a vaulting shaft springs from the
centre of the transom. This ingenious plan produces the same effect
as a flying buttress and is most ingeniously arranged. The windows
have beautiful Decorated tracery and the ball-flower is extensively
used in the string-course beneath them. The east window has
seventeenth-century glass, said to have been given by Nell Gwynne,
more probably by Dean Glemham (1661-1667). It treats of the
Resurrection, with Jonah and Abraham's sacrifice as types of the
same, the Ascension with Elijah as a type. There are monuments
here of Robert Codrington (1618); Harriet Middleton (1826); Paul
Bush (1558), the first bishop; Robert Southey, the poet; Bishop
Westfield (1644); Bishop Howell (1649); and Mary Mason, wife of
the poet, with some touching lines (1767).
Between the aisle and the Elder Lady Chapel are the effigies of
Maurice, Lord Berkeley (1368), and his wife, Elizabeth. There is a
tablet to the memory of Robert Fitzhardinge, the founder of the
Cathedral and also of the house of Berkeley. Some Norman corbels
will be noticed in the door leading to a staircase in the third bay.
The Elder Lady Chapel is Early English and therefore earlier than
the choir, and was probably built by Abbot John (1196-1215); it is
therefore, as the architectural details testify, very early work. The
east window is Decorated. There are some curious grotesques in the
spandrels of the arcade—a hunter-goat blowing a horn and carrying
a hare on his back, a ram and an ape playing musical instruments,
St. Michael with the dragon, and a fox carrying off a goose. The
foliage is what is known as stiff leaved, and opposed to the more
natural foliage of the Decorated period. The roof is Early Decorated.
The eastern Lady Chapel, formerly the chancel of the choir, was built
by Abbot Knowle and is Decorated like the rest of the eastern part of
the Cathedral. It has a magnificent east window with beautiful
tracery. This is a Jesse window, showing the descent of our Lord
from Jesse, the father of David, and the glass is in the upper parts of
the same date as the stone-work. Above we see the arms of many
distinguished families—the Berkeleys, Mowbrays, Beauchamps and
others. The glass in the other windows is also of the same period
and is of much interest. The parapet under the windows is modern.
The reredos is ancient, of the same date as the chapel, and
designed by Knowle, but it has been much altered in Perpendicular
times. The Sedilia have been much restored. A characteristic feature
of this Cathedral is the star-shaped recesses designed by Knowle,
which are very beautiful. In one of these is Abbot Newbury's tomb
with ball-flower ornament; in another Abbot Hunt (1473). Here, too,
is Abbot Newland's tomb, and a modern brass to the memory of
Bishop Butler, and at the back of the reredos a brass to Bishop
Ellicott.
The South Choir Aisle resembles the north. It has a very similar
east window, and the same curious vaulting. Two very interesting
chapels adjoin this aisle. The Berkeley Chapel is entered by a richly-
ornamented doorway which leads into the old sacristy, with its
chests for relics and plate, and a hearth for baking sacramental
bread. Abbot Knowle was a student of nature and loved to
reproduce in stone the fruits and flowers which he saw growing
around him. In the ornaments of the doorway we see the ammonite
and medlar. The chapel had two altars, as we see the remains of two
piscinæ, beneath the two east windows, separated by a screen.
There is an altar tomb of Thomas, Lord Berkeley (1321). The lower
part of the tomb is Early English. The other chapel is the Newton
Chapel, which is Late Decorated and almost Perpendicular in some
of its details. The ball-flower has ceased to be used as an ornament.
There are many memorials of the Newton family here, and one to
Bishop Gray (1834). Returning to the south choir aisle we notice
another of the curious recesses adorned with oak leaves, acorns and
mistletoe. There are some more Berkeley tombs which furnish
interesting studies of the armour of the period.
We now enter the Cloisters. As we have said, only the north and
east walks remain; the north is entirely new, and the east has been
much restored. The vestibule and chapter-house are, however, part
of the original Norman building, and the work is of Transitional
character. It is oblong in shape. The east wall is modern and has
three windows. The north and south walls have beautiful arcades,
and above lattice work and zigzag mouldings. The west wall has
three rows of arcading. Twelve stone coffins were found here and a
curious piece of ancient sculpture representing our Lord wounding
the head of Satan and rescuing a child by means of the Cross.
Adjoining the chapter-house was the dormitory. The refectory was
on the south side of the cloister garth. It still exists after many
transformations and is the house of the master of the Cathedral
School.
The Great Gateway should be visited. The lower part is of Norman
character, and was part of the founder's work; the upper is
Perpendicular and was the work of Abbot Elliot. He probably
renewed the rich Norman ornamentation, so much so that in the
opinion of Mr. Godwin, the great authority on Bristol architecture,
"the so-called Norman gateway of College Green is no Norman
gateway, but a Perpendicular restoration of the old work."
Another gateway, which formerly led to the palace destroyed in
1831, exists, which is part of the original Norman work of the
Cathedral. At the south-west corner of the cloister is an Early English
doorway, which formerly led to the refectory. It is a sad pity that so
much of the old monastery has been destroyed.
Dimensions

Total length 300 ft.

Length of nave 125 ft.
Width of nave 69 ft.
Height 52 ft.
Area 22,500 sq. ft.
Principal Building Dates

Norman (1142-1170)—Part of transepts, chapter-house, lower

part of gateway.
Early English (1196-1215)—Elder Lady Chapel, parts of
transepts and Berkeley Chapel.
Decorated (1306-1332)—Choir, Lady Chapel and stalls. (1332-
1341)—Newton Chapel.
Perpendicular (1428-1481)—Great Tower, upper part of
gateway, roof.
 Modern—The nave.

The city has a large number of interesting churches. The noble

Church of St. Mary, Redcliffe, one of the finest in England, chiefly
fourteenth century; All Hallows' (Norman and Perpendicular); Temple
Church (Decorated and Perpendicular); St. Philip's, St. Stephen's, St.
John's, are the most important.
Welcome to our website – the ideal destination for book lovers and
knowledge seekers. With a mission to inspire endlessly, we offer a
vast collection of books, ranging from classic literary works to
specialized publications, self-development books, and children's
literature. Each book is a new journey of discovery, expanding
knowledge and enriching the soul of the reade

Our website is not just a platform for buying books, but a bridge
connecting readers to the timeless values of culture and wisdom. With
an elegant, user-friendly interface and an intelligent search system,
we are committed to providing a quick and convenient shopping
experience. Additionally, our special promotions and home delivery
services ensure that you save time and fully enjoy the joy of reading.

Let us accompany you on the journey of exploring knowledge and

personal growth!

textbookfull.com