(rebuilt 1685); St. Mary the Less (Norman, but much "restored"); St.
Oswald (1190, with many subsequent rebuildings); St. Margaret (1154);
St. Giles (1112).
About four miles from Durham are the beautiful ruins of Finchale
Priory, which was commenced in 1240 and finished about a century
later. The Priory was suppressed at the Reformation.
DIMENSIONS OF THE CATHEDRAL
Total length, 470 ft.; length of nave, 201 ft.; width of nave with
aisles, 60 ft.; height of nave, 72 ft.; length of choir, 133 ft.;
length of Nine Altars Chapel, 131 ft.; height of west towers, 144 ft.;
height of central tower, 218 ft.; area, 44,400 sq. ft.
PRINCIPAL BUILDING DATES
Norman (1093-1140)--nave, choir, aisles, west towers, doorways,
chapter-house; (1153-1195)--Galilee Chapel. Early English
(1238-1275)--Nine Altars Chapel, choir vault. Decorated
(1342-1346)--window in north transept and west windows of nave.
Perpendicular (1386-1500)--cloisters, dormitory, central tower;
(1661-1684)--library.
[Illustration PLAN OF DURHAM CATHEDRAL]
RIPON CATHEDRAL
The historical associations of Ripon carry us back to very early
times. Alcfrid, Prince of Deira, was lord of the soil in the seventh
century, and in 660 bestowed on Eata, Abbot of Melrose, a portion of
the ground at Ripon whereon to erect a monastic foundation. After the
expulsion of the Scottish monks the same prince gave the monastery to
St. Wilfrid, who, after he became archbishop, erected a church. This
was of the basilican type, with which St. Wilfrid had made himself
familiar during his sojourn in Italy. With the earlier monastery was
associated the holy Cuthbert, who was the Hostillar. Wilfrid was
ordained at Ripon, and here he resided when his episcopal seat was
usurped by Ceadda (or Chad). The site of the old monastery was on the
north-east side of the present Cathedral, bounded by Stammer Gate and
Priest Lane. Wilfrid built his new monastery about 200 yards west of
the old buildings. There is some doubt about the position of his
church. It is the pronounced opinion of the learned that the famous
Saxon crypt under the present church is really his work. Did he build
an earlier church, and that which stood over this crypt later?
Possibly so--but, in all probability, we may conclude that the
monastic buildings only occupied the site on the west of Stammer Lane,
and that his church stood over his crypt. This church was a very
famous one. It is recorded that he brought workmen from Italy, who
wrought in the Roman manner. It was fashioned after the model of a
basilica, and constructed with wrought stones from the foundation, and
had divers pillars and porticoes. It was dedicated to St. Peter, and
splendid was the feast of the dedication. Here St. Wilfrid, after all
the trials of his wandering life, was buried. For a brief space Ripon
enjoyed the rank of an episcopal city, being so raised by Archbishop
Theodore, and then for a thousand years the see was in abeyance, until
in 1836 another Bishop of Ripon was appointed.
But much happened during this long interval. When the Danes terrified
the land, in 995, came Bishop Aldune, bearing the body of St.
Cuthbert, and stayed here three months until they set out and found
peace at Durham. Before this Odo of Canterbury, coming into these
northern parts, had pity on the desolation of Ripon Church, wrought by
the "harrying" of Eadred of Northumbria in 948, and caused a new work
to be edified where the minster now is. After the Conquest hard was
the hand of William pressed upon his northern subjects, who liked not
his yoke, and all this land was devastated by the Norman conquerors.
But with the Conquest came peace, and soon some building was evidently
set on foot here, though the chroniclers are silent. In later Norman
times Archbishop Roger de Pont l'Evêque (1154-1181) began the building
of the existing church, incorporating some portion of the older
structure. His work is Transitional, and furnishes a good example of
the gradual development of Early English style. Archbishop Walter de
Grey (1216-1255) carried on the good work and built the west front
with its flanking towers, adorned with lofty spires of timber and
lead. The next alteration was carried out at the end of the thirteenth
century, when Archbishop John Romanus determined to rebuild the
eastern part of the choir, and for this purpose granted an indulgence
of forty days to those who should help forward the work. This work was
in all the glory of the Decorated style. The Scots made a ferocious
raid in 1319, when the people of Ripon took refuge in the church,
which suffered much from the attacks of the enemy. Archbishop de
Melton repaired some of this damage, which was chiefly confined to the
roofs, screens, stalls, and other woodwork, and Archbishop Thoresby
(1352-1373) was very eager to continue this restoration and beautify
the minster. He probably built the Lady Chapel. A century elapsed,
during which the clergy do not seem to have been remarkable for zeal
or earnestness, and then the lantern tower was so much shaken and
broken that the greatest part thereof had already fallen, and the rest
expected to follow, and speedy remedy was found immediately necessary.
Archbishop Booth in 1459 adopted the usual and efficacious plan of
granting an indulgence of forty days to all who should assist in
re-edifying the steeple. The work was immediately begun, and a great
era of church building was inaugurated. The canons awoke from their
lethargy and worked vigorously. They rebuilt much of the tower, and
then set themselves to entirely rebuild the Norman nave, which was in
great decay and ruin. It was a great work, and nobly done. The fall of
the tower had broken much of the woodwork of the stalls; so these
indefatigable canons made new ones. It was only the dissolution of
the Establishment which checked their progress, and prevented them
from finishing their work. The church was despoiled of all its wealth,
and in Elizabeth's time, when Archbishop Sandys applied for an
endowment, he could obtain "nothing but fair and unperformed
promises." Elizabeth loved not this northern town, the people of which
clung to the "old Religion," and took an active part in the rising of
1569. Many of them were hung for their pains. James I., however,
restored the constitution of the collegiate chapter, and granted to it
many of its old privileges and an assured income. During the Civil War
Ripon escaped fairly well, save that the Puritan soldiers broke much
of the beautiful glass in the east window, and perhaps were guilty of
causing other damage, of which history telleth not. In 1660 the wooden
spire, which had suffered by lightning in 1593, fell, and damaged the
roof of the choir. This was repaired, and the other wooden spires on
the west towers removed lest they, too, should fall. Since then there
have been several restorations. In 1861 the church was placed in the
hands of Mr. Scott, afterwards Sir Gilbert, who made a very complete
renovation of the building, the details of which we will examine when
we inspect the Cathedral.
[Illustration Ripon Cathedral from North Evening]
In 1836 an episcopal see was erected at Ripon, and Charles Langley,
afterwards Archbishop of Canterbury, became its first bishop.
THE EXTERIOR
Although Ripon is not a Cathedral of the first magnitude or splendour,
yet it is a stately structure, and greatly superior to many of our
ecclesiastical buildings. It possesses also some features of profound
interest, and the story of its building is attractive. Approaching the
church from the market-place by Kirkgate we see the beautiful _West
Front_, which compares favourably with most others, except perhaps
York, Lincoln, Peterborough and Wells. It has much dignity and beauty.
It consists of a gable between two square towers. The nave, built by
Archbishop Roger, was Late Norman or Transitional, and to this
Archbishop Grey added this façade in the best and purest period of the
Early English style. In the lowest storey are three deeply-recessed
doorways, with detached shafts. Round and hollow mouldings are used,
and the dog-tooth ornament, the hall-mark of the Early English style,
is plentiful. The doors are old. Above are five-lancet windows, and
above them another row of five lancets of unequal height. The
dog-tooth is used in the mouldings. The towers have four stages. In
the lowest is an arcade of trefoiled arches, and above lancets.
Nail-head moulding is used in the string-courses. When the spires were
pulled down in 1660, battlemented parapets were added, and later the
pinnacles. The whole front has been much restored. There is a fine
peal of ten bells in the south tower. There were formerly some old
bells, one of which is said to have been brought from Fountains Abbey,
but these have all been recast, and their interest has vanished. The
nave has six bays, and was built in Perpendicular style in 1503. The
south side is earlier than and superior to the north. The arches of
the windows are less acutely pointed, and the buttresses have three
stages, are crocketed, and have large finials. The pitch of the roof
has been lowered since the nave was built.
[Illustration The Great Buttresses Ripon]
The _Central Tower_ was rebuilt on the south and east sides in
Perpendicular times, while the north and west retain Roger's work. It
was formerly capped by a spire. Returning to the north side we see the
north side of the nave, which is later than the south. There are six
buttresses, which project widely and have two stages with crockets and
finials, and grotesques. The arches of the windows both in the aisles
and clerestory are very acute, and those of the latter have five
lights. From this point we see the original faces of the central
tower, built by Roger (1154-1181), which has round-headed windows. The
presence of dog-tooth shows the approach of the Early English style.
The _North Transept_ is also part of Roger's church and the best
example of his work; it has round-headed windows. The parapet is
later. We notice two sculptured stones in the north-west buttress,
with rich scroll-work, evidently Saxon, and probably taken from
Wilfrid's church. The doorway in the north side is remarkable, having
a plain trefoil head rising from a corbel-like projection, and is
flanked by three receding detached shafts with foliated capitals. The
_Choir_ has three bays of Transitional Norman work, but the windows
are Decorated. The remainder of this side was built late in the
thirteenth century and is Decorated. The east end, with its grand
window, is very fine. Massive buttresses stand on each side of the
front with octagonal turrets. In the north turret there is a small
chamber which was probably a reclusorium. The east window is flanked
by heavy buttresses. The gable was rebuilt by Scott. The window (51
feet by 25 feet) is a magnificent specimen of Early Decorated work,
one of the finest in England. On the south side we see the three
eastern windows are Decorated as on the north, but the rest are
Perpendicular. On this side is a building which retains some of the
earliest Norman work in the Cathedral, probably built by Thomas of
Bayeaux, archbishop (1069-1100). This building has three storeys--a
crypt, the chapter-house and the Lady Chapel (erected in the
fourteenth century), which we shall examine later. The _South
Transept_ retains much of Roger's Transitional work, but the east side
was altered and rebuilt in Perpendicular times. On the south side is a
fine doorway contemporary with the transept and resembling somewhat
that on the north.
[Illustration The Apse Ripon Cathedral]
THE INTERIOR
Entering by the west door we see a fine and imposing _Nave_, with tall
and graceful piers that support without any intermediate triforium a
range of lofty windows of elaborate tracery. This nave was constructed
in the Perpendicular period, as we have said, and the main arcades
stand on the foundation of Roger's earlier church. The latter had no
aisles. These the sixteenth-century builders added, taking as their
western starting-point the northern and southern extremities of the
west tower. Hence the nave is unusually wide (87 feet), and exceeds
all other cathedrals except York, Chichester, Winchester and St.
Paul's. There are many points of architectural interest. The west bays
opening into the tower are Early English. On either side is a lofty
thirteenth-century arch, with plain mouldings, and capitals deeply
undercut. Above is a blind arcade of four arches enclosed in a
circular arch--this occupies the triforium stage; and the clerestory
has a triple window, the centre round-headed, the side ones pointed.
The west end, with its ranges of lancets, is most effective. The glass
is modern. The next bay shows us clearly the character of Roger's
church, and eastward we come to the Perpendicular work of the early
sixteenth century, which appears to be earlier than it really is. The
traditions of the earlier style lingered on amid the hills and dales
of Yorkshire, while the architects and townsfolk of less remote places
had developed the more familiar details of the Perpendicular period.
The roof is modern. The arch of the tower facing us is part of Roger's
church, but there is a curious mass of masonry on the south pier which
was erected by the Perpendicular builders, when want of funds or the
dissolution of the chapter prevented the completion of the design. The
contrast between the materials of the old building and the new in the
nave will be noticed. The former is fashioned of yellow gritstone, the
latter of white limestone. The aisles are Perpendicular work erected
about 1503. The vaulting is modern. In the south aisle is the font, or
rather there are two fonts. The earlier one reposes in the corner, and
is Roger's work; the later is Perpendicular. Ripon is not very rich in
monuments. In this same aisle there is a curious altar tomb with a
slab of grey marble, upon which is carved the figure of a lion and
near it that of a man kneeling. Tradition states that it covered the
body of an Irish prince, who died here on his return from Palestine,
whence he had brought a lion that followed him like a dog. There is
some old glass, fragments of which have been collected in the window
near the font. In the _North Aisle_ at the west end is the consistory
court. The old _Saxon Crypt_ deserves close attention and has
occasioned many conjectures and much antiquarian disputing. It is
undoubtedly very early, and may with safety be assumed to have been
part of St. Wilfrid's church. After descending several steps and
passing along passages, which have two niches in the wall, we arrive
at a cylindrically vaulted chamber (7 feet by 11 feet), and on the
north side is the famous "St. Wilfrid's Needle." Formerly the
superstition attached to it was that no unchaste woman could with
safety pass through it; now we are told that if a virgin "threads the
needle" she will be married within a year. This needle is only an
enlargement of one of the niches which were doubtless used for lights.
Recent excavations have been made here, which revealed the remains of
an altar, a passage round the chamber, and a quantity of bones which
were probably relics. It is conjectured that this was a relic chamber,
and was built under the church of Wilfrid. It is impossible to touch
upon all the interesting problems which this curious chamber suggests,
especially as affecting the position and form of Wilfrid's early Saxon
church.
The _Transepts_ retain, with the exception of the east wall of the
southern member, Archbishop Roger's Transitional work, when Norman
architecture was slowly developing into Early English. There is a
niche on the east side of each transept. A Perpendicular arch forms an
entrance to the _North Transept_ from the north aisle, and on the
north of this is a round-headed window. The triforium has two broad
arches in each bay with a central detached shaft, while the clerestory
has three arches, the centre round, the others pointed. In the north
wall there are three round-headed windows in the highest stage. The
mullions in the windows in the second stage are later insertions. On
the east is the Chantry of St. Andrew, the Markenfields' Chapel.
Outside the aisle is the effigy of Sir Thomas (1497), with that of his
lady, and another Sir Thomas lies in the chapel (notice the armour and
collar). This family lost its estates in the rising in the time of
Elizabeth. Also there is the monument of Sir Edward Blackett of Newby
(1718). The _South Transept_ resembles the north, except that its east
side is Perpendicular. The aisle is called the Mallorie Chapel, and
there is a tablet to the memory of Sir John Mallorie of Studley, who
defended Skipton Castle for Charles I. There are some ancient mural
paintings, which may be seen when going to the library.
The _Choir-Screen_ is Perpendicular, and has beautiful enriched
tabernacle work. Above the door is a representation of God the Father
with angels. Above the screen is the organ. The _Choir_ is a
delightful architectural study, as the work of three periods are
blended here--Transition Norman, Decorated and Perpendicular. The
three western bays on the north are Roger's work, Transitional Norman.
The three bays opposite were injured by the fall of the tower and
renewed in Perpendicular style. The rest of the choir was renewed in
the Decorated style of the fourteenth century. The three bays on the
north resemble the work in the transept. The group of vaulting shafts
is very fine. The triforium openings are glazed like the clerestory. A
change was made in Perpendicular times. Before the triforium arches
opened into the aisles, but the roof of these was lowered in 1459, and
the openings filled with glass.
There is some of Roger's work in the other bays, the earlier work
being altered and converted into that of the Decorated style. In the
clerestory there is tracery on the inner side of the opening as well
as the outer. The foliage of the carving is very beautiful. The roof
is modern, but some very interesting ancient bosses have been
re-inserted. Some of the subjects are:--the Good Samaritan, the
expulsion from Paradise, the Virgin with lilies, the crucifixion
(modern), a bishop, a king, an angel. The east window is remarkably
fine, one of the best Decorated windows in England. All the old glass
was destroyed by Cromwell's soldiers, and the modern glass is but a
sorry substitute.
The woodwork of the _Stalls_ is for the most part of excellent
fifteenth-century execution. Rich tabernacle work rises at the back of
the stalls. Several of the eastern canopies are modern. The finials
are curious; some represent an elephant and castle with figures of men
fighting, and a monkey. The _misereres_ are interesting; the carvings
represent many curious grotesques, fables and Scripture subjects. We
notice Samson carrying the gates, Jonah and the whale, fox and geese,
lion and dogs, griffins and rabbits, etc. The _sedilia_ should be
noticed. They have been restored, but much old work remains of Late
Decorated style. A close examination of the grotesques should not be
omitted. The pulpit and lectern are modern.
The _North Choir Aisle_ follows the architecture of the choir. Here
once stood the famous shrine of St. Wilfrid. The _South Choir Aisle_
is very similar to the opposite one. Here is a lavatory, and a piscina
at the east end marks the site of a former altar. Above the west bay
was a chantry chapel, now used for part of the organ. There is a
monument in this aisle to Dean Fowler (1608). On the south is the
_Chapter-House_ and _Vestry_. The _Crypt_ below formed part of the
Early Norman church existing here before the rebuilding by Archbishop
Roger. It is generally attributed to Thomas of Bayeaux (1070-1100).
The vault is supported by square pillars with plain capitals. The
windows have a double splay, which is a sign of almost Saxon work. The
east end is apsidal. This crypt was formerly filled with bones. There
are some interesting stone coffins preserved here.
Returning to the _Chapter-House_ we notice the stone benches where the
canons once sat in conclave. The vaulting is very fine, of Late
Transitional work, almost Early English. This chamber was built by
Roger. An arcade runs along the north wall. The windows are circular,
the piers round, and have circular bosses and capitals. Some curious
fifteenth-century alabaster carvings are preserved here, the subjects
being St. Wilfrid, the Coronation of the Virgin and the Resurrection.
The _Vestry_ is evidently of the same date as the chapter-house, and
once formed part of the same building, the partition wall being much
later. It has an apse with the remains of an altar and the treasury
occupied the apse on the south. Above these chambers is the _Lady
Loft_, the date of which is uncertain; it was probably built about
1330, and is Decorated in style. It is strange to find a Lady Chapel
in this position. The room is now the library. It possesses some
interesting incunabula and a few MSS.
Dimensions
Total length 270 ft.
Length of nave 133 ft.
Breadth of nave 87 ft.
Height of nave 88 ft.
Length of choir 95 ft.
Height of tower 110 ft.
Length of transept 130 ft.
Area 25,280 sq. ft.
PRINCIPAL BUILDING DATES
Saxon--Wilfrid's crypt.
Norman (1070-1100)--Portions of chapter-house, vestry and
crypt below.
Transition (1154-1181)--Three bays of north side of choir,
portions of nave, piers adjoining west and central towers,
transepts.
Early English (1215-1255)--West front and west tower, vaulting
of chapter-house and windows.
Early Decorated--Two eastern bays of choir and east window.
Perpendicular--South and east sides of central tower, east side
of wall of south transept, two bays south side of choir, nave.
Ripon has some other important and interesting ancient buildings.
There is the _Hospital of St. Mary Magdalene_, rebuilt in 1674, with
an old chapel of the twelfth century. The Hospital of St. Anne,
founded in the fifteenth century, though rebuilt in 1869, has its old
chapel, with piscina and altar stone, and there are many other old
houses in this city. Near here is the famous Fountains Abbey.
YORK CATHEDRAL
Few cities can rival York in interest, dignity and importance. The
ancient city of Roman Cæsars, the centre of Saxon Christianity, of
Danish supremacy, of mercantile enterprise, the abode of kings, the
seat of an archbishopric that long contended for supremacy with
Canterbury, York may well claim a foremost place in English history,
and possesses features of peculiar interest. Professor Freeman stated
that "Eboracum (York) holds a place which is unique in the history of
Britain, which is shared only by one other city in the lands north of
the Alps (Treves)." Here the Emperor Constantius died, here
Constantine the Great was crowned. Bishops of York were present at the
Councils of Arles (314), Nicæa and Sardica, and when the Christian
faith died out, killed by Pagan Saxons, Paulinus taught again the
lessons of the holy Cross, and baptised Edwin, the king, in a little
wooden church which stood on the site of the present Cathedral. Then
Christianity died down, killed by the onslaughts of fierce Paganism,
until at length, under the influence of Oswald and the monks of Iona
and Lindisfarne, the Cross again triumphed. There was much contention
between the Roman faction, led by Wilfrid, and the upholders of the
native church, as regards customs and observances, and the influence
of Wilfrid predominated. Wilfrid was a great builder, restored the
Cathedral at York and erected large churches at Ripon and Hexham. The
Danes overran Northumbria, and under their rule York increased its
importance and became a large and flourishing city.