Walter, a Norman priest, as governor. He began to build a church and
priory, but died in the meantime and Henry I. continued the work. The
church was dedicated in 1101; the monastery of Augustinians was founded
in 1121; and the Cathedral established in 1133. It was built in the
Norman style, a nave with aisles, transepts and a tower at the
intersection of the latter. The architect was Hugh, once abbot of
Beaulieu. The Norman choir was taken down early in the Thirteenth
Century and rebuilt in the Early English style. Two fires--especially
the one in 1292--wrought much damage. About the middle of the Fourteenth
Century the choir was completed in the Decorated style, and the
magnificent East window was also inserted at this time. Robert Bruce
took up his quarters in the Cathedral after the Battle of Bannockburn
(1314). In 1392 the north transept suffered from fire. Bishop Strickland
(1400-1419) restored it and rebuilt the central tower, adding to it a
wooden spire. Henry VIII. disestablished the monastery and formed a
Cathedral.
During the Civil War the Puritan soldiers were quartered in the
Cathedral and did much damage.
They pulled down two-thirds of the Norman nave in order to get stones
with which to repair the fortifications. At the rising of Charles
Edward, “Bonnie Prince Charlie,” in 1745, his soldiers captured Carlisle
and used the Cathedral for their headquarters; and when the Duke of
Cumberland arrived, the church was again used as barracks and many of
the Jacobites were confined in its walls.
Carlisle is a fine place to study all the styles of Early English in
simple, pointed, geometric and flowing. It is famed for its wonderful
East Window and the superb Choir, one of the finest in England.
“A good view is obtained from the castle. The usual approach is
from the east end, whence we observe the grand east window with its
beautiful Late Decorated tracery. It is flanked by buttresses, with
niches and crocketed pinnacles. In the niches are statues of SS.
Peter, Paul, James and John. A foliated cross crowns the gable and
on each side are four similar crosses. In the gable is a triangular
window, having three trefoils, and below is a niche with a figure
of the Virgin. The Central Tower, built by Bishop Strickland
(1400-1419) on the old Norman piers, is too small for the huge
choir and lacks dignity. Formerly it was crowned with a wooden
spire, but this has been removed. There is a turret set at the
north-east angle, and in the north side is a niche with the figure
of an angel. The lower part of the choir is Early English, with the
exception of a Perpendicular window at the west, and a Decorated
one in the east bay. The clerestory is Late Decorated, and the
windows have flowing tracery. The ball-flower ornament is
extensively used in the cornice. The sculpture at Carlisle is
worthy of notice. Carved heads and curious gargoyles abound. The
North Transept is
[Illustration: CARLISLE: SOUTH-WEST]
[Illustration: CARLISLE: CHOIR]
nearly all modern. It was rebuilt by Strickland in the Fifteenth
Century, and again rebuilt when the church was restored. There is,
however, an Early English window in the west wall. On the east side
there was formerly a chapel, which has not survived the repeated
alterations. The greater part of the Nave was taken down by
Cromwell’s soldiers. What is left is of unmistakable Norman
character. There is some modern imitation work, and late
architectural detail. Most of the windows are modern, and also the
doorway. The south side is similar to the north. The South Transept
preserves the old Norman walls. On the south is a modern doorway
with a window over it. On the east is St. Catherine’s Chapel, a
Late Early English or Early Decorated building. The south side of
the choir is similar to the north, and presents Early English
details of construction. The monastic buildings once stood on the
south side of the church but they have been pulled down with the
exception of the fratry and gatehouse, the stone being used for
repairing the fortifications of the city by Puritan soldiery. The
refectory, or fratry, was rebuilt in the Fifteenth Century, and is
now used as a chapter-house. There is a fine reader’s pulpit here.
The gateway was erected by Prior Slee in 1527. The Deanery is a
fine old house, and was formerly the prior’s lodging. It was
rebuilt in 1507.”--(P. H. D.)
The =Nave= is Norman, but of the eight bays only two now remain. The piers
are low, the arches semicircular, and it appears that later hands carved
the Early English foliage on the capitals. The triforium shows plain
round-headed arches. The clerestory has three arches in each bay,
resting on shafts with carved capitals. The west end is modern. Sir
Walter Scott was married here in 1797.
The =North Transept= was rebuilt in the Fifteenth Century and the north
end again in modern times. The large window is modern and Decorated in
style. An Early English window in the west end is a good example of
plate-tracery. The roof is modern; the arch of the choir aisle,
Decorated. Norman piers support the =Tower=, to which Bishop Strickland
added additional columns, Perpendicular with foliated capitals. The
crescent and fetterlock on the capital of the eastern arch are emblems
of the Percy family; the rose and scallop shell on the western side, of
the Dacres and Nevilles.
The =South Transept= is only one bay: The arch into the choir-aisle is
Norman with zigzag ornaments and cushion capitals. Another Norman arch
opens into =St. Catherine’s Chapel=, now a vestry. It was founded by John
de Capella, a wealthy citizen. The beautiful screen is Late Decorated.
The =Choir= consists of eight pointed arches: it is 138 feet long and 72
feet high.
“We now enter the choir by the door in the organ-screen. This is
one of the finest in England--spacious, lofty, well-proportioned
and rich in all its details. The arches of the main arcade are
Early English, as the mouldings and dog-tooth ornament testify.
These remained after the fire of 1292 and were retained. The piers
are Early Decorated and were evidently built to support the arches
after the fire. The capitals were carved later in the Late
Decorated period, when the upper parts of the choir, triforium,
clerestory, roof and east end were rebuilt. The builders were
probably Bishops Welton and Appleby (1353-1395). When the choir was
rebuilt in Early English times, the architect determined to enlarge
it, and as the monastic buildings on the south prevented any
expansion in that direction, the south piers of the choir retained
their old position, while the north were moved further northward,
and a new north aisle added. Thus the choir and the tower and nave
are not quite symmetrical, and there is a blank wall at the
north-west end of the choir which is thus accounted for. The
details of the architecture of the choir merit close attention,
especially the sculpture. Small figures of men, animals and
monsters are mingled with the foliage. There are some admirable
representations of the seasons, beginning with the second capital
on the south, counting from the east end. There is a very fine
timber roof, constructed about the middle of the Fourteenth
Century. The scheme of colour decoration is, unfortunately, not
original.”--(P. H. D.)
The =East Window= is one of the finest Decorated windows in existence. The
stone-work is not new, but it is believed to be an exact reproduction of
the original. It is composed of 86 distinct pieces of stone and is
struck from 263 centres. There are nine lights. The glass of the upper
portion is ancient, dating from the reign of Richard II. The pictures
are the Resurrection, the Final Judgment and the New Jerusalem. Hell is
shown with all the terrors familiar to the Mediæval mind. The modern
glass below represents scenes from the life of Christ.
The =Stalls= are Late Perpendicular and are beautifully carved. The fine
tabernacle-work is dated about 1433. The _misereres_ represent the usual
grotesque monsters, such as dragons, griffins and fables in which the
crafty fox is prominent. A Fifteenth Century brass to Bishop Bell (1495)
on the floor of the choir deserves notice.
A Renaissance screen partitions off the north-choir-aisle. Here we
notice the Early English arcade and the windows with two lights,
dog-tooth ornament and deep mouldings. The last bay eastward is Late
Decorated; the last bay westward contains a Perpendicular window.
In the north wall two Early English sepulchral recesses are unique
because of their chevron moulding. The effigy lying in one of them is
supposed to be Silvester of Everdon (1254). The stalls in the
=North-choir-aisle= are ornamented with very strange paintings of the
Fifteenth Century illustrating the lives of St. Anthony and St.
Cuthbert, with descriptive verses.
The =South-choir-aisle=, with a similar screen to the opposite one, also
contains painted stalls representing the life of St. Augustine. It
resembles the north-choir-aisle.
The narrow =Retro-choir= is of the same date as the big window.
The lower part of the Choir is Early English with the exception of the
Perpendicular window in the west bay and a Decorated one in the east
bay. The clerestory is Late Decorated, the windows noticeable for their
flowing tracery. Everywhere the ball-flower ornament abounds, and carved
heads and weird gargoyles are omnipresent.
The south side resembles the north with the exception of St. Catherine’s
Chapel, a Late Early English, or Early Decorated construction. The
monastic buildings have disappeared with the exception of the =Refectory=,
rebuilt in the Fifteenth Century, now used as the =Chapter-House=, and the
gateway built in 1527. The fine old =Deanery=, formerly the prior’s house,
was rebuilt in 1507.
[Illustration: CARLISLE: EAST END]
[Illustration: DURHAM: WEST FRONT]
DURHAM
DEDICATION: ST. CUTHBERT. FORMERLY THE CHURCH OF A BENEDICTINE
MONASTERY.
SPECIAL FEATURES: GALILEE CHAPEL; CHAPEL OF THE NINE ALTARS;
NEVILLE SCREEN; JOSEPH’S WINDOW.
Durham is the most beautifully situated of all English cathedrals. It is
perched upon a rocky and wooded eminence above the Wear River, and with
the castle by its side makes a noble picture. When seen from the
opposite side of the river the west end of the Cathedral is very
charming; for the Galilee Chapel, the western towers and gable, the tall
central tower and the roof of the nave show variety of line and mass.
The Galilee Chapel completely hides the western doorway; but above it
rises the big window of 1346, the semicircular arch and the small gable
between the twin towers.
Durham Cathedral owed its existence to St. Cuthbert (one of the three
great English saints), and was fortunate enough to possess his shrine.
Therefore, it is well to recall his life before visiting the church. St.
Cuthbert was born about 635, and in Ireland, according to tradition. He
is first heard of as a shepherd-boy in Northumbria, where, in 651, while
watching his flocks by night, he had a vision of the heavens opening and
angels carrying thither the soul of St. Aidan, the pious bishop of
Lindisfarne. He decided to become a monk and entered the monastery of
Melrose, where he became prior. After a few years he went to
Lindisfarne, and also became prior there. In 676 he became an anchorite
on Farne Island, where he died, March 20, 687. The fame of St. Cuthbert
increased after his death and his anniversary was a great festival in
the English Church. Many churches in the north were dedicated to him.
His body rested quietly in Lindisfarne for two hundred years, but in
875, when the Danes were ravaging Northumbria, the pious monks of Holy
Island, bearing the body on their shoulders, fled inland and found a
temporary resting-place in Chester-le-Street, half-way between Newcastle
and Durham. In 995 they transferred the body of St. Cuthbert to Ripon;
but in the same year removed it to Durham.
Legend says that after the monks left Chester-le-Street, St. Cuthbert
appeared and announced that he desired to rest at Dun-holm. The monks
wandered about in search of this place. Finally they heard a woman
asking another if she had seen her lost cow. The other answered: “It’s
down in Dun-holm.” The monks remembering that Dun-holm meant
hill-meadow, carried the body of St. Cuthbert into the lonely field.
Here they built a stone chapel to protect the body; and Bishop Aldhun
soon began a great church. This “White Church” was consecrated in 999.
Aldhun died in 1018. The next important bishop was William of Saint
Carileph (1080-1096), appointed by William the Conqueror. He turned the
place into a Benedictine monastery. Then he determined to build a better
Cathedral, and laid the foundation-stone in 1093. When he died, three
years later, the walls of the choir, the eastern walls of the transepts,
the arches of the tower and a part of the first bay of the nave were
finished. A temporary shrine was also made for St. Cuthbert’s body.
Ranulph Flambard (1099-1128) was the next great builder. The nave, the
aisles, the west doorway, the lower part of the western towers and the
vaulting of the aisles are his. In 1104 he removed the body of St.
Cuthbert from the cloister-garth to the splendid shrine behind the high
altar. Here the sacred relics were supposed to work miracles, and
pilgrims flocked in great numbers to this holy place. William the
Conqueror, Henry III., Edward II., and Henry VI. were among the royal
personages who did homage to the saint.
When Henry VIII. suppressed the monasteries in 1540, the shrine was
destroyed; but the monks secured St. Cuthbert’s body and buried it
beneath the platform on which the shrine had stood. In 1827 the grave
was opened. A coffin was found that had been made in 1541; this enclosed
another, supposed to date from 1104; and this, a third, that agreed with
the description of the one made in 698. In the latter was found St.
Cuthbert’s body, wrapped in five robes of embroidered silk. Thus it
almost seemed as if there were some reason for the legend that his body
was supposed to be incorrupt.
William the Conqueror, anxious to see this incorrupt body, ordered the
shrine to be opened; but, at the first stroke, such sickness and terror
fell upon him that he rushed from the Cathedral; and, mounting his
horse, he never drew bridle until he had crossed the Tees.
Until the Reformation the banner of St. Cuthbert hung over his shrine.
It was made from a cloth used by St. Cuthbert in celebrating mass and it
was believed to insure victory to the army in whose ranks it was
carried. Flodden was one of the many fields in which the defeat of the
Scots was ascribed to the Standard of St. Cuthbert. Another was
Neville’s Cross, near Durham, when 15,000 Scots perished. A thanksgiving
hymn was ordered to be sung on top of the Cathedral tower on each
anniversary of the battle. This custom is still observed.
Returning now to the architectural history of the Cathedral, the next
great builder was Hugh Pudsey (1153-1195), in whose time the Norman
style was passing out of fashion. Pudsey began to build a Lady-Chapel at
the east end; but when he saw great cracks appearing in the walls, he
thought that St. Cuthbert was manifesting his displeasure. Consequently
he removed all his building materials, including the Purbeck marble
columns, and began and finished the wonderful Galilee Chapel at the west
end, about 1175.
Pudsey was a great prince as well as a fine builder. He was only
twenty-five when he became Bishop of Durham. He bought the earldom of
Northumberland and also a manor. When King Henry decided to go to
Jerusalem after his capture by the Saracens, Pudsey fitted out ships and
had a seat of silver for himself in one of them. The King died, and
Pudsey remained at home; and while King Richard went on the trip Pudsey
and the Bishop of Ely quarrelled. Pudsey was decoyed to London and
thrown into the Tower. He was released. He died on another journey from
Durham to London in 1195.
Bishop Poore (1229-1237), arriving from Salisbury Cathedral (see page
77), planned the Chapel of the Nine Altars, another special feature of
Durham and one of the best examples of Early English in existence. As
soon as he arrived in Durham, Bishop Poore began to plan the eastern
transept, for the apse of Carileph’s choir had been deemed unsafe.
Building, however, was not undertaken until after his death.
In the Fourteenth Century the large window in the north transept and the
west windows of the nave were added. Then the cloisters were built and
several halls. The refectory was turned into a library in 1661-1684.
The central tower was repaired and rebuilt in the Fifteenth Century.
Wyatt, who had charge of the restorations in 1796, destroyed the fine
Norman Chapter-House (built in 1133-1140), rebuilt the turrets on the
Chapel of the Nine Altars and placed a window of his own design in the
east end, removing for the purpose the great Early English window. The
original glass was also taken out and piled up in baskets. After much
had been stolen the remainder was locked up in the Galilee. Some of it
was inserted in the great round window.
Wyatt came very near destroying the Galilee Chapel so that he could open
the west doorway; but he was fortunately stopped.
The chief restorations of late years have been those of 1870-1876, when
the new choir-screen and pulpit were erected, the choir-stalls replaced
and the floor of the choir paved with marble mosaic.
From the large open space between the Cathedral and Castle, known as the
Palace Green, we gain a fine view of the northern side of the building;
the tall central tower and transept with its splendid window (1362) (The
Four Doctors of the Church); and the north aisle to the Chapel of the
Nine Altars that completes the eastern end.
From this side we can study the towers to advantage. The two square,
solid western towers date from Norman time; but the Norman work ends at
the roof of the nave; then begins what is probably work of the
Thirteenth Century. Here we have four stories ornamented with arcading,
blind and open. The first and third have pointed arches, and the second
and fourth round arches. The open parapets and pinnacles were added at
the end of the Eighteenth Century.
The =Central Tower= dates from about 1474, replacing an older tower that
had been condemned. The belfry had been struck by lightning in 1429. The
tower consists of two stories separated by a narrow gallery with a
pierced and embattled parapet. This is called the Bell Ringers’ Gallery.
The windows are arranged in pairs surmounted by ogee label moldings,
crocketed and ornamented with finials. The tower is finished with an
open-worked parapet, and at each corner are buttresses with canopied
niches containing figures.
We walk eastward to gain a nearer view of the Chapel of the Nine Altars
with the Early Decorated window and turrets crowned with pyramids. We
particularly want to see on the north-west turret the panel of the =Dun
Cow=, a modern reproduction of an ancient work, commemorating the legend.
We now turn and walk westwards. Then we enter the =North Door=, the
principal entrance to the Cathedral. The exterior is the work of Wyatt;
and though we take some pleasure in the carvings of foliage, figures,
chevrons and lozenges that ornament the capitals and arch-moulds, it is
the doorway, with its sanctuary knocker, that attracts our attention.
Criminals were wont to claim sanctuary at Durham from 740 to 1524. As
soon as the fugitive grasped the ring he was safe. This knocker is a
grotesque head of bronze with a ring hanging from the grinning mouth.
“The north entrance door tells an interesting tale. The present
door is a modern restoration, and some of the original features of
the famous entrance have been obliterated. Towards this door many a
poor wretch hastening to escape the hands of the avenger has sped
his fearful steps in days gone by. Attached to the door still
glares a fearful-looking metallic head holding a ring in its mouth.
In its now eyeless sockets were once in all probability balls of
crystal, or enamel. When once the ring was grasped by the hand of
the fugitive he was safe. He had claimed the ‘peace’ of St.
Cuthbert, and the sanctity of the neighbouring shrine shielded him.
Above the door by day and night watched relays of monks to admit
those who claimed sanctuary. So soon as ever a fugitive had reached
the door he was admitted. This done he had to confess the crime of
which he was guilty, and his statement was taken down in writing.
All the while a bell was tolling to give notice that some one had
taken refuge in the church. Then the culprit was arrayed in a black
gown with a yellow cross on his left shoulder, and remained within
the precincts for thirty-seven days. If, at the end of that time,
he could not obtain a pardon of the civil authorities, he was
conveyed across the seas to begin life elsewhere.”--(T.)
The exterior has not prepared us for the great impression that we
experience on entering the =Nave= with its enormous columns and noble
arches. These columns are deeply cut, some with spirals, some with
zigzags, some with reeds, etc. The whole effect is solemn. Fortunately
the modern screen allows the gaze to traverse the entire length of the
nave and choir until it is checked by the famous =Neville Screen=.
“The triforium is almost uniform throughout the whole church. In
each sub-bay it consists of two small arches under one large one,
with the tympanum solid. Here also the capitals are cushions and
perfectly plain.
“Above the triforium is the clerestory, which contains one light to
each sub-bay, and surmounting all is the vaulting, which springs
from the piers and from grotesquely carved corbels between the
triforium arches. The vaulting ribs are ornamented with chevrons on
either side of a bold semicircular moulding. So much for the
general arrangement of the bays. Some idea of the massiveness of
the structures may be gathered when it is known that each group of
the clustered pillars separating the bays covers an area of two
hundred and twenty-five square feet at its base, while those of the
cylindrical columns of the sub-bays are twelve feet square, and the
columns themselves have a circumference of over twenty-three feet.
There is little room to doubt that the effect obtained by the old
builders of Durham was intentional. The masterly way in which great
masses of solid masonry, greater than was constructively necessary,
are handled, and the reticence and delicacy of the ornament combine
to prove this. There is in the whole scheme a delightful union of
great power and vigour in the masses, and of tenderness and loving
care in the detail.”--(J. E. B.)
At the west end of the nave stands the =Font=, a modern work in the Norman
style carved with medallions depicting scenes from the life of St.
Cuthbert. It is covered by a large wooden canopy, dating from 1663 and
curiously carved with a mixture of Classic and Gothic ornamentation.
Durham is built in the form of a Latin cross, with transept, and in the
centre of the arms rises the tower. At the east end another transept
runs--the Chapel of the Nine Altars. At the west end we have the =Galilee
Chapel=.
[Illustration: DURHAM: NAVE, EAST]
[Illustration: DURHAM: GALILEE CHAPEL]
No one seems to know the origin of the word Galilee. According to Canon
Talbot:
“Its name of Galilee has probably some reference to Galilee of the
Gentiles, and implies that it was considered less sacred than the
rest of the Cathedral. St. Cuthbert had a more than monkish fear of
women, and they were not allowed to approach the shrine. A cross
let into the pavement of the nave at the far west end curiously
marks the far-removed spot nearer than which women might not
approach. The prejudices of the good saint were thus perpetuated
long after his death. The whole effect is light and graceful, and
if the women were not allowed to enter farther than the western
extremity of the church, they certainly had a most beautiful place
of worship.”
The Galilee Chapel is the most beautiful example of Transitional Norman.