The Central Tower.The Central Tower, From Palace Green.
TheEast Front.—The circumstances which led to the removal of Carileph's apses and the erection of the easterntransept have already been referred to. The present east end is divided into three bays by massive buttresses, each of which contains three lofty lancet windows separated by smaller buttresses. Over all, and in the gable, is the famous large rose window. The north and south ends of the transept are finished with the tall pyramidal pinnacles erected by Wyatt.
Detail Of Ironwork.Detail Of Ironwork on South Door.
TheWest Frontof Durham has, curiously enough, also lost its original character. The western doorway of the cathedral is hidden on the exterior by the Galilee or Lady Chapel, which was added by Pudsey in 1175. Above the Galilee roof is the large window inserted about the year 1346, while John Fossor was prior. The pointed arch of this window has over it, on the exterior, the original great semi-circular arch. Above this again, and between the two flanking western towers, is a small gable. The west end of the cathedral, when seen from the opposite side of the river, is extremely picturesque. The projecting mass of the Galilee, the western towers, the foreshortened nave roof, and the majestic central tower behind and above, form a group of high and rare excellence.
The Sanctuary Knocker.The Sanctuary Knocker.
TheNorth Dooris now the principal entrance to the cathedral. Externally the present porch is the work of Wyatt. The first porch was Norman, of four orders depth, with detached shafts in the recesses. Above this was a high-pitched gable and roof, the front being ornamented with a semi-circular-headed wall arcading. The inner side of the doorway is of two orders only, and is probably the only remaining portion of the original. The outer shaft is left plain, while the inner one, in each case, is most elaborately carved. The capitals are all carved, and the arch moulds richly ornamented with chevrons, foliage, and lozenges, as well as many curious figure subjects. While examining this doorway, notice should be taken of the ironwork of the door itself, and particularly of the sanctuary knocker. In mediæval times all churches afforded sanctuary to wrong-doers, but at places where the shrines of saints existed the sanctuary privileges were much greater. Durham being one of these, there are many curious cases on record of persons claiming the privilege, and protection from the secular law. The earliest instance, of which any record has been kept, of sanctuary being claimed at the shrine of S. Cuthbert is during the episcopate of Cynewulf, who was bishop from 740 to 748, and the last recorded was in 1524. Criminals claimingsanctuary were admitted by two janitors, who occupied two small chambers over the doorway, traces of which may still be observed. The knocker itself, as may be seen from the illustration, is a great grotesque head, made of bronze, and hanging from its grinning mouth is a ring. Originally, there is no doubt, the eyes were filled with crystals or enamel, as small claw-like pieces of bronze remain by which the filling was attached. The age of this piece of work is probably the same as that of the doorway itself.
Ironwork On Doors of Cloisters.Ironwork On Doors of Cloisters.
TheSouth Doorways.—There are two doorways into the south aisle, one, known as the Monks' Door, opening from the western portion of the cloisters and immediately opposite the north porch just described. On the cloister side this shows a Norman arch resting on double shafts, which are enriched with a lozenge pattern.On the inner or aisle side there are two orders, with shafts in the recesses, which are also decorated with the lozenge. The inner arch is carved with chevrons, and the outer with conventional foliage and medallions. The capitals are richly carved with foliage and grotesques. On the abacus and arch of this doorway occurs a leaf pattern strongly suggesting the Byzantine influence which at one time was found in Norman decoration. Here again, on the door itself, we have a fine specimen of very elaborate and characteristic Norman iron-work. The second, known as the Priors' Door, opens into the south aisle from the eastern alley of the cloister, is also Norman. The outer or cloister side is of the time of Bishop Pudsey, and has an arch of four orders, with three shafts in the recesses on either side. Its once elaborate sculpture is now much decayed, not enough remaining to suggest that in its original state this doorway must have been a noble specimen of the architectural design of its period. On the inner side it exhibits work of Carileph's time, with an early arch, cushion capitals, and shafts.
Ornament On South Doorway.Ornament On South Doorway.
TheWestern Doorway.—The exterior of this great doorway is now within the Galilee chapel. It was built by Flambard (1099-1128), and is comparatively plain. On the Galilee side it consists of an arch of four orders ornamented with chevrons. The inner face is very similar to the outer, but is shallower, having only two orders. The shafts and capitals are without decoration, and the arch ornamented with chevron and a leaf pattern with medallions carved with grotesque animals. Inorder to reopen this doorway and make a carriage road up to it, Wyatt proposed pulling down the Galilee chapel.
The Cloister.The Cloister.
TheCloisteroccupies a large open space, bounded on the south, east, and west by the various monastic buildings, and on the north by the cathedral itself. The existing cloister was commenced during the time of Bishop Skirlaw (1388 to 1406), and was completed by Cardinal Langley (who held the see from 1406 till 1438), probably in the earlier part of his episcopate. The contracts (the first dated 1398) for building the cloister are still preserved in the treasury. We are indebted to Bishop Skirlaw for their very existence, as it is recorded that he contributed sums of money for this purpose, both during his life and by his will. The cloister, as seen to-day, has been very much altered and restored, and probably the only originalfeature remaining is the fine oaken ceiling. This is panelled, and moulded, and decorated with shields, upon which are painted and gilded various coats of arms. In the centre of the cloister garth are the remains of what was the monks' lavatory. It was erected in the years 1432 and 1433, and was of octagonal shape. Some of the stone for its construction was brought from Egglestone-on-Tees, on payment of rent to the abbot of that place to quarry it. It is said to have had twenty-four brass spouts, seven windows, and in its upper storey a dovecote, the roof of which was covered with lead.
There is no doubt that there was a cloister attached to the monastery in its early days, but of this no trace remains. It is also probable that one was erected by Bishop Pudsey, though this also has entirely vanished, unless (as suggested by Canon Greenwell) some marks of a lean-to roof on the north and east walls may be traces of its presence. In the western alley of the cloister is the old treasury, rich in records, and the vestries for canons, king's scholars, and choristers. The alley opens at the end into what is now called the crypt(see p. 85). This was undoubtedly the common hall of the monks. It is a spacious stone-vaulted chamber. The columns are low and massive, with simple moulded caps, from which the chamfered vaulting ribs diverge. Over the hall or crypt is the dormitory, which for a long time formed part of a residence attached to one of the stalls. It is now, however, used as a library. It occupies the whole of the western side of the cloister, and is 194 feet long. It was originally subdivided, by wooden partitions, into separate sleeping-rooms for each monk. Its massive roof of oak is worthy of attention, the tree trunks being merely roughly squared with an axe(see p. 99).
In the south alley was the refectory and the monks' common dining-hall. The original building is now entirely altered, though there remains beneath it a very early crypt, with plain, short square piers, and a simple quadripartite vault without ribs. Another portion is covered by a wagon-head vault. Whether the original refectory was of similar architectural character it is now impossible to say, as, whatever it may have been, it was removed early in the sixteenth century and rebuilt, and after the dissolution of the monastery was used by the Minor Canons of the church as a common hall. It seems to have fallen into a bad state of repair, and was againentirely reconstructed by Dean Sudbury (1661-1684), who was elected to that office immediately after the Restoration. He converted it into a library, to which use it is still put. The account of this building, given in the "Antiquities of Durham," is of sufficient interest to bear quotation.
"In theSouthAlley of the Cloysters," says our authority, "is a large Hall, called the Frater-house, finely wainscotted on theNorthandSouthsides; and in theWestand nether Part thereof, is a long Bench of Stone in Mason-work, from the Cellar Door to the Pantry or Cove Door: Above the Bench is Wainscot Work two Yards and a Half high, finely carved, and set with imboss'd Work in Wainscot, and gilded under the carved Work. Above the Wainscot was a large Picture of our Saviour Christ, the blessed VirginMary, andS. John, in fine gilt Work, and most excellent Colours; which Pictures having been washed over with Lime did long appear through it. This Wainscot had engraven on the Top of it,Thomas Castell, Prior, Anno Domini, 1518 Mensis Julij. Whence it is manifest that PriorCastellwainscotted the Frater-house round about."Within the Frater-house Door, on the Left Hand at entering, is a strong Almery in the Wall, wherein a great Mazer, called the Grace Cup, stood, which every day served the Monks after Grace, to drink out of round the Table; which cup was finely edged about with Silver, and double Gilt. In the same place were kept many large and great Mazers of the same sort.... Every Monk had his Mazer severally by himself to drink in, and had all other Things that served the whole Convent, and the Frater-house in their daily Service, at their Diet, and at their Table.... At these Times (at meals) the Master observed these wholesom and godly Orders, for the continual instruction of their Youth in Virtue and Learning; that is, one of the Novices appointed by the Master, read some Part of the Old and New Testament in Latin, during Dinner, having a convenient place at theSouthEnd of the High Table, within a beautiful Glass Window, encompass'd with Iron, and certain Stone Steps, with Iron Rails to go up to an Iron Desk, whereon lay the Holy Bible...."This Fabrick retained the Name of the Petty Canons' Hall tillDr Sudbury, Dean of the Cathedral, generously erected abeautiful Library in its Place; but he not living to finish it compleatly, did by (a clause) in his Last Will, bind his Heir,Sir John Sudbury, to the due Execution thereof."
"In theSouthAlley of the Cloysters," says our authority, "is a large Hall, called the Frater-house, finely wainscotted on theNorthandSouthsides; and in theWestand nether Part thereof, is a long Bench of Stone in Mason-work, from the Cellar Door to the Pantry or Cove Door: Above the Bench is Wainscot Work two Yards and a Half high, finely carved, and set with imboss'd Work in Wainscot, and gilded under the carved Work. Above the Wainscot was a large Picture of our Saviour Christ, the blessed VirginMary, andS. John, in fine gilt Work, and most excellent Colours; which Pictures having been washed over with Lime did long appear through it. This Wainscot had engraven on the Top of it,Thomas Castell, Prior, Anno Domini, 1518 Mensis Julij. Whence it is manifest that PriorCastellwainscotted the Frater-house round about.
"Within the Frater-house Door, on the Left Hand at entering, is a strong Almery in the Wall, wherein a great Mazer, called the Grace Cup, stood, which every day served the Monks after Grace, to drink out of round the Table; which cup was finely edged about with Silver, and double Gilt. In the same place were kept many large and great Mazers of the same sort.... Every Monk had his Mazer severally by himself to drink in, and had all other Things that served the whole Convent, and the Frater-house in their daily Service, at their Diet, and at their Table.... At these Times (at meals) the Master observed these wholesom and godly Orders, for the continual instruction of their Youth in Virtue and Learning; that is, one of the Novices appointed by the Master, read some Part of the Old and New Testament in Latin, during Dinner, having a convenient place at theSouthEnd of the High Table, within a beautiful Glass Window, encompass'd with Iron, and certain Stone Steps, with Iron Rails to go up to an Iron Desk, whereon lay the Holy Bible....
"This Fabrick retained the Name of the Petty Canons' Hall tillDr Sudbury, Dean of the Cathedral, generously erected abeautiful Library in its Place; but he not living to finish it compleatly, did by (a clause) in his Last Will, bind his Heir,Sir John Sudbury, to the due Execution thereof."
S. Cuthbert's Chest.S. Cuthbert's Chest in the Castle.
The contents of the library are both numerous and interesting. There are several thousands of volumes, many of them being rare and valuable. Numerous ancient illuminated MSS., among which is a copy of the Gospels of S. Mark, S. Luke, and S. John, written before the year 700; and several books given by Bishops Carileph and Pudsey. Among the latter is a Bible, in four volumes, in its original stamped leather binding. A collection of ancient copes belonging to the cathedral, and the remains of the robes of S. Cuthbert, and other relics taken from his coffin when it was exhumed, in 1827, may also be seen here. Numerous specimens of Roman altars, tablets, and sculptured stones, from various Roman stations in Durham and Northumberland, notably from Hexham, are preserved in this library, which is open to the public on Tuesday and Friday in each week from eleven to one. The room is finely proportioned, and has a magnificent open timber roof.
The Chapter-House.The Chapter-House.
TheChapter-Houseopens upon the eastern alley of the cloister. The present building is a very recent restoration of the original, which is acknowledged to have been the finest existing Norman chapter-house remaining in England. It was erected, or more probably completed, during the time of Bishop Galfrid Rufus (1133-1140), and was in existence until 1796, during the episcopate of Bishop Barrington. At that time it was almost totally destroyed, on the advice of Wyatt, who reported to the chapter that it was in a ruinous state. The truth of this report is doubtful, but the partial demolition of the building was ordered in November 1795, and also the construction of a new room on the site. The work of destruction was begun by knocking out the keystones of the vaulting andallowing the roof to fall in. The eastern half of the building was then altogether removed, and the remaining portion enclosed by a wall. Its interior was faced with lath and plaster, a plaster ceiling and a boarded floor being added. Fortunately authentic records of its original appearance, both exterior and interior, are in existence. They are the drawings made for the Society of Antiquaries by John Carter in 1795. Its dimensions were 78 by 35 feet; the east end being apsidal and the roof a vault of one span. Round the wall of the interior ran a stone bench raised on two steps, which was surmounted, except at the west end, by a wall arcade, of round-headed intersecting arches, similar to that in the aisles of the cathedral, but with single instead of double shafts. Above the arcade was a string course carved with zig-zag ornament. The entrance was from the west end, and the east end was occupied by two seats, one for the bishop and one for the prior. In the apse were five three-light windows of the Decorated period, and above the western door a five-light Perpendicular window, which contained coloured glass, illustrating the "Root of Jesse." On either side of this was a window of two lights, divided by a shaft and enclosed under one arch, carved with chevron ornament. There was also a round-headed Norman window in each of the north and south walls. A doorway in the south wall led to three chambers, one larger, and two smaller, which are stated in the "Rites of Durham" to have been used as a prison for the monks. The chapter-house was used in early times as a burial-place for the bishops, and many of their graves with inscriptions were in existence previous to the demolition of 1796. During excavations in 1874, the graves of Bishops Flambard, Galfrid Rufus, S. Barbara, de Insula, and Kellaw were opened, when various rings and the head of a crozier were discovered and removed to the dean and chapter library.
The chapter-house has now been entirely restored as a memorial to the late Bishop Lightfoot.
TheNorthern Alleyof the Cloister, running along the south wall of the church, contains little of interest, except the two doorways previously described.
The effect of the cloister as a whole, in its original condition, with the windows glazed, many containing fine stained glass,the oak roof with its heraldry and colour, and the lavatory in the centre of the garth, must have been exceptionally fine.
A sculptured panel on the north-west turret of the Nine Altar Chapel is now known as theDun Cow. The original sculpture was replaced in the last century by the existing panel, but the legend connected with it is interesting. After their flight from Chester-le-Street, the monks, bearing the body of S. Cuthbert, remained some time at Ripon. While trying to return to Chester-le-Street, at a place called Wardlaw, the coffin stuck fast, and remained absolutely fixed. A fast of three days was proclaimed and kept, when it was revealed to them that they were to carry their saint to Dunholme. Still they were in difficulties, not knowing where Dunholme was, but fortune, or Providence, again favoured them. A woman, who had lost a cow, passed, calling to a companion to inquire if she had seen the animal. The reply was that her cow was in Dunholme; and, to the relief of the monks, they and their precious charge soon safely arrived there. In gratefulcommemoration of the incident Flambard erected this monument of a milkmaid and her cow. (See p. 9.)
The Exterior, from the South-east.The Exterior, from the South-east.
The exterior of Durham Cathedral as a whole may at first sight be disappointing to the visitor. Seen from a near view there is a certain flatness of effect and want of light and shade which is, perhaps, slightly unpleasant. This is, however, largely attributable to the scaling and scraping process to which the building was subjected during the last century, when some inches of the outer surface of the stone, and with it much architectural detail, were removed. The result is the flatness previously alluded to, and a general newness of appearance pervades the structure. Seen, however, from a distance, where only the finely-grouped and proportioned masses of masonry, towers, and turrets stand against the sky, the result is magnificent, giving an impression of grandeur and dignity unsurpassed by any other English cathedral.
The Nave, looking West.The Nave, looking West.
If the exterior of Durham is in any way disappointing, the interior more than compensates for its shortcomings. The general impression on entering the church is one of simple dignity and solemnity. The great massiveness of the structure and absence of elaborate ornament no doubt contribute to this feeling. The pious builders of old have certainly contrived to stamp on their work their own feeling of awe in the presence of the All-Powerful and Eternal God. Whatever has been lost through vandalism and the restorer, this remains unaltered. The general design of the church, exclusive of detail, which, of course, changed and developed with the progress of Gothic art, has undoubtedly been carried out on the plan intended by Bishop Carileph, the only important variation being the addition of the transept at the east end, known as the Nine Altars Chapel. The original plan consists of a nave and aisles, transepts with aisles on their eastern side, a choir also with aisles, and the three apses of the east end, with a central tower over the junction of transepts, nave, and choir, and towers flanking the west end.
Each bay of theNaveis divided into two sub-bays. The main bays have massive piers with engaged shafts on the recessed faces. The bases of these are cruciform in plan, though the arms of the cross are very short. At the height of the springing of the arch the shafts are surmounted by plain cushion capitals. The division into sub-bays is effected by the introduction midway of a massive round column on a square base. These columns are ornamented in various ways, by channels cut on the face. Some take the form of a zig-zag, some a spiral, others a spiral in two directions, forming a trellis-like pattern, and others again are reeded vertically. Their capitals are octagonal cushions. The arches of the sub-baysare recessed square, with the usual Norman roll moulding, decorated with chevrons, and on the wall face a square billet. The chevron ornament is absent in the earlier work in the choir and transepts. The triforium is almost uniform throughout the whole church. In each sub-bay it consists of two small arches under one larger 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 semi-circular 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.
TheChoiris the earliest part of the church. Its two western bays show Carileph's work, but the eastern piers have been considerably altered owing to the addition at a later period of the eastern transept, when Carileph's apses were taken down. This bay contains some very rich and beautiful detail. The piers on either side of the choir are decorated with arcades, the lower stage having six arches, and the upper three, all richly carved with foliage in the caps and hood moulds, and with heads and half figures. There is also a square aumbry on each pier. Above the upper arcade, which breaks through the level of the triforium string course, which is also carried round it, there is on each pier a figure of an angel beneath a canopy. These are the only two figures remaining of many which formerly added to the beauty of the interior of the church. The vaulting of the choir is thirteenth-century work, quadripartite, the ribs decorated with dog-tooth ornament and square leaves, and has fine bosses at the intersections of the diagonal ribs. The choir of Durham is especially interesting to the student of architecture, showing as it does the Early Norman work of Carileph, combined with the Early English and Early Decorated work of the newer eastern portion.
One Bay Of The Nave (Measured Drawing).One Bay Of The Nave (Measured Drawing).
On the south side of the choir stands the monument of Bishop Hatfield, who directed the see of Durham from 1345 until 1381. This monument is beneath the Episcopal Throne, which was erected by Bishop Hatfield himself. It consists of an altar tomb surmounted by a recumbent effigy of the bishop, in richly-worked robes, beneath a canopy, richly groined, with foliated bosses at the intersections of the ribs. On the walls at the east and west ends may still be seen the remains of fresco painting, representing in each case two angels. Beneath the staircase leading up to the throne is a very fine decorated arcade, containing several shields bearing the bishop's and other arms. The whole structure was originally richly coloured and gilded, and remains of this work can still be made out. It is a noble specimen of the work of its date.
Immediately opposite the tomb of Bishop Hatfield, on the north side of the choir, the visitor will notice the recently-erected memorial to the late Bishop Lightfoot. This is an altar tomb of black and coloured marble. The sides are ornamented with panels of Perpendicular tracery containing shields. Round the upper mouldings runs a Latin inscription in brass. The whole is surmounted by a recumbent figure of the bishop in white marble, his hands on his breast, and his feet resting against three books. Originally designed by Sir Edgar Boehm, R.A., at his death the monument was completed by Alfred Gilbert, R.A.
The beautiful altar screen is usually known as theNeville Screen,and was erected about the year 1380, mainly from moneys supplied by John, Lord Neville of Raby. It spans the whole of the choir, and is continued along the sides of the sacrarium, forming sedilia of four seats on either side. It is pierced by two doors, which lead to the shrine of S. Cuthbert, immediately behind the screen. Though very light and graceful in appearance, the screen, as it is at present, can give the beholder little idea of what its appearance musthave been when each of its canopied niches contained a figure aglow with gold and colour. There were originally 107 of these statues, the centre one representing Our Lady, supported on either side by S. Cuthbert and S. Oswald. Unfortunately none of the figures remainin situ.
Immediately in front of the steps of the high altar will be seen the matrix of a large brass. It covers the grave of Ludovick de Bellomonte, Bishop of Durham from 1318 to 1333. The slab, which is in two pieces, measures fifteen feet ten inches by nine feet seven inches, and an examination will show the brass to have been an elaborate and sumptuous composition. Unfortunately all the metal work has disappeared.
TheStalls,as they originally existed, were destroyed in 1650 by the Scottish prisoners, who were kept in the cathedral after the battle of Dunbar. The present stalls we owe to Bishop Cosin (1660 to 1672), and they are remarkable pieces of carving for that date. In general character they imitate Perpendicular work, though the details do not adhere altogether to that style.
Before leaving this part of the church a note may be devoted to the alterations and additions made during the years 1870 to 1876. A new screen between the nave and choir was then erected; the choir floor relaid with marble mosaic; the stalls replaced in their old positions, and new portions made to replace those destroyed in 1846. A new organ, pulpit, and lectern were also added.
The newChoir Screenis very much open to criticism. Though no doubt beautiful in detail, and of excellent workmanship, its effect, as a whole, is not pleasant, when seen from the west end silhouetted against the light of the choir. A screen previously existed in this position erected by Bishop Cosin. This was removed in 1846, with the idea of improving the appearance of the church from the west end by obtaining a "vista" through to the Neville screen and rose window of the eastern transept. The effect seems, however, to have been disappointing, hence the erection of the present screen, which may or may not have improved matters. In the two western piers of the choir holes may be seen cut in the stonework. These received the rood-beam from which, during Lent, the Lenten curtain was suspended.
Triforium and Clerestory.Triforium and Clerestory.
The Choir, looking West.The Choir, looking West.
TheNorth Aisle of the Choir,again, shows the joining and harmonising of the "new work" of the eastern transept with the earlier Norman work. Inside the church the most easterly bay appears to be altogether of Early English date; but on the exterior it will be seen that the Norman wall runs right up to the western wall of the eastern transept. The interior of the bay, however, is enriched with a wall arcade similar to that in the Nine Altars Chapel, and the arch and vault are decorated with foliage and dog-tooth ornament.
Along the side wall of this aisle runs a stone bench bearing the arms of Bishop Walter de Skirlaw (1388 to 1405), near which he was buried, but his monument and brass, erected by himself, have disappeared.
Slightly westward of the bench is a doorway which at one time opened into the Sacrist's Exchequer, erected by Prior Wessington, but it has long ago been destroyed.
The piers of the west end of this aisle bear marks which were originally holes cut in the stone. These served to support a porch, having a rood and altar, which is thus described in the "Rites of Durham":
"Right over the Entrance of this North Alleye, going to the Songe Scoole (the Exchequer mentioned above) there was a porch adjoyninge to the quire on the South, and S. Benedick's altar on the North, the porch having in it an altar, and the roode or picture of our Saviour, which altar and roode was much frequented in devotion by Docteur Swalwell, sometime monk of Durham, the said roode havinge marveilous sumptuous furniture for festivall dayes belonginge to it."
"Right over the Entrance of this North Alleye, going to the Songe Scoole (the Exchequer mentioned above) there was a porch adjoyninge to the quire on the South, and S. Benedick's altar on the North, the porch having in it an altar, and the roode or picture of our Saviour, which altar and roode was much frequented in devotion by Docteur Swalwell, sometime monk of Durham, the said roode havinge marveilous sumptuous furniture for festivall dayes belonginge to it."
TheSouth Aisle Of the Choiris similar architecturally to the north aisle. Here may be seen a doorway, of late thirteenth-century work, which originally led to the revestry, now destroyed.
Here again the eastern piers bear marks left by holes in the stonework, which originally earned the supports of a screen, in front of which the Black Rood of Scotland, which was taken from King David at the battle of Neville's Cross (1346), was placed. The rood is described as having been brought from Holyrood by David Bruce, and was made of silver, with effigies of our Saviour, S. John, and Our Lady, having crowns of gold on their heads. The Black Rood was restored to its original possessors at the close of the war.
The windows of both the choir aisles originally contained very fine old stained glass, representing various saints, and scenes in the life of S. Cuthbert.
TheTransepts.—Leaving the choir by its western end the visitor at once enters the transepts. A large portion of these, including the great piers and arches which carry the central tower, are, without doubt, of the time of Carileph. The eastern side of both is certainly his work, while the western is probably the building which was carried on by the monks in the interval between Carileph's death, in 1096, and the appointment of Flambard to the see in 1099. The work on the eastern sides differs little from that of the choir, while that of the western sides, being plainer, has been thought by some to indicate a want of means on the part of the monks, while carrying on the work in the interval just alluded to. Each transept consists of two bays, with an aisle on the eastern side, access to which is gained by the ascent of three steps.
Each of the three sub-bays nearest the north and south extremities originally contained an altar, those in the north transept being dedicated to S. Nicholas and S. Giles, S. Gregory and S. Benedict. Over the site of the latter may still be seen remains of fresco painting. The altars in the south transept were dedicated—one to S. Faith and S. Thomas the Apostle, one to our Lady of Bolton and the other to our Lady of Houghall. The north transept is closed by a large window, which is the work of Prior Fossor, probably about the year 1362. The window is of six lights, and the head contains late geometrical tracery. The architectural feature of this window, especially for its date, is the transom which crosses the mullions, and which is not visible from the exterior. Below the transom is a second inner set of mullions supporting a small gallery, by means of which access may be had to the triforium. In the year 1512 the window was repaired by Prior Castell, who filled it with stained glass containing large figures, among others of S. Augustine, S. Ambrose, S. Gregory, and S. Jerome. From this circumstance the window became known as the window of the Four Doctors of the Church. Prior Castell also contrived to introduce a figure of himself kneeling at the feet of the Virgin. The large window at the end of the south transept, also named from the glass it contained, theTe Deumwindow, is in the Perpendicular style, and is of six lights. It may possibly have been the work of Prior Wessington, 1416 to 1446. Along the sill of this window also access may be had to the triforium.
The Transepts, looking North.The Transepts, looking North.
Both the north-west and south-west corners of the transepts contain stairways, opening at their various levels on to the triforium, clerestory, and the space between the vaulting and the roof. That in the south transept also gives access to the central tower and belfry, an ascent of which, if the day be clear, will repay the visitor for his fatiguing climb of three hundred and forty steps by the magnificent view spread at his feet. The transepts were no doubt the earliest part of the building to be vaulted; that of the northern arm being plain is probably the earlier, while that of the south arm, though of similar character, has zig-zag ornaments. Several of the priors of Durham were buried in the transepts, the first, Prior Fossor, 1364, and the last, Robert Ebchester, who died in 1484.
On the piers of the transepts projecting brackets may be noticed. These are of Perpendicular date, and originally carried statues.
The crossing, or space between the four piers supporting the central tower, gives us a fine view of the interior of the lantern.
TheToweris carried on four large clustered Norman piers with semi-circular arches. Over the arches, and seventy-seven feet above the floor of the church, is the lower stage of the lantern, round which is a gallery with an open pierced parapet. It rests on corbels, each alternate one being carved with a grotesque head. The walls are panelled up to the base of the great windows,—each panel having two cinquefoiled arches under a crocketed canopy and final; while between them are small buttresses, also panelled, and ending in a finial which reaches the same height as the canopy. Over the panelling is a string course ornamented with that characteristic ornament of the Perpendicular period, the Tudor flower, and above this on each face two tall windows near together. Each window has two lights, and is divided by a transom. The roof of the lantern is groined, with fine bosses at the intersections of the ribs. The whole seen from below has a very fine effect, and must be very different in appearance from the original Norman structure. The whole of thelantern was refaced, and the statues which had been removed from their niches were replaced, some thirty years ago, by the Dean and Chapter of Durham.
Corbel in Choir.Corbel in Choir at Junction of Old and New Work.
TheNorman East End.—The original form of the Norman east end has long been the subject of discussion and conjecture. It was practically safe to assume that the choir ended in an apse, though whether the aisles were also apsidal, or continued round a great apse as an ambulatory, was a debatable point. This question has now been finally settled.
The Choir, looking East.The Choir, looking East.
During some operations necessitating the opening of the floor, in January 1895, certain indications were found which led the diocesan architect, Mr C.H. Fowler, and Canon Greenwell to continue the excavation. The result was the discovery that Carileph's church certainly possessed three apses—a large one terminating the choir, and smaller ones the aisles. The apses of the aisles were square externally, and apsidal internally. The great apse consisted of five bays, one on either side next to the choir, forming an oblong between the choir and the springing line of the curve of the apse, over which would be the great sanctuary arch. The remainder, or apse proper, was divided into three bays by engaged clustered shafts, similar to those of the choir and nave. It was surrounded by a wall arcade of the same character as that of the rest of the church. The base of one of the shafts of the arcade was found in position. An extremely interesting point in this discovery is the fact that the levels are the same as those of the nave and choir. The foundations are on the rock at the same depth, and the aisle walls and apse walls are in the same line. The external square line of the aisle apses is in line with the springing of the choir apse. The foundations of the apse to the north aisle have been thoroughly excavated, and there is every reason to believe that that on the south side of the church entirely corresponds. The width of the north aisle apse from north to south is nine feet eight inches. There can be little doubt, judging from the remainder of Carileph's work, that all three apses were covered with stone vaults, though of precisely what character can only be a matter of conjecture. The cracking, previously spoken of, which led to this part of the church being taken down and the new eastern transept being erected, cannot have arisen from any subsidence of the foundations. It, in all probability, was the result of the thrust of the apse vaults on to walls which were insufficiently buttressed. The marks on some of the stones found during this excavation, and the shape of others, seem to point to the conclusion that here we have the earliest part of the church, and that Carileph used up in his foundations much of the stone of Aldhun's White Church.
Of the two usual eastern endings to Norman churches—viz. those with three apses, and those having the aisle carried round as an ambulatory—the latter is far more common inEngland, and the former on the Continent. There are two other notable instances of the three apsidal arrangement in England: S. Albans, 1077, which is earlier than Durham; and Peterboro', 1117, which is later than, and was probably modelled on, Durham. There are many examples of ambulatories—the White Tower Church (London), Winchester, Gloucester, Worcester, and Norwich being among them.
Corbel in Choir.
The apses of Durham are of considerable depth from east to west, the oblong bay previously mentioned, which is fourteen feet wide in that direction, adding greatly to this effect. The width of the foundations is fourteen feet, and the width of the wall has been seven feet. The diameter of the choir apse from north to south was about thirty-two feet.
These discoveries are specially interesting, completing as they do the whole chain, and leading us with very little imagination to see in its original condition what must have been, and may even now claim to be, the most noble example of Norman architecture in our country.
Triforium of Nave and Choir.Triforium of Nave and Choir, Showing Junction of Old and New Work.
Plan of Norman East End.Plan of Norman East End, With Tomb and Shrine of St. Cuthbert at A.
Sections of Hood and Arch Mouldings.
TheNine Altars Chapel.—Leaving the consideration of what once occupied the site of the east end of Durham, we will turn our attention to the beautiful erection which now stands there, the eastern transept, or, as it is named from the altars of the saints it once contained beneath its windows, the Chapel of the Nine Altars. It is approached from the aisles by steps, the floor level being lower than that of the church proper. It is altogether a remarkable and interesting structure. With its lightness and loftiness contrasting grandly with the massive Norman nave and choir, its clustered columns of polished marble alternating with stone, its fine bold sculpture, its splendid vaulted roof and rich arcading, it forms a perfect example of the Early English style. Though regular and symmetrical in general design, the detail shows great variety, and even irregularity, a quality so often present in old work, and so much to its advantage. Ingeneral character it may be compared with that at Fountains Abbey, which was built during the same time.
The circumstances leading to its erection have been already referred to. The Norman apses having been partly removed, owing to their dangerous condition, the "New Work," as it was always called, was commenced in the year 1242. The eastern wall, with its rose and nine lancet windows, is the earliest part of the chapel, the north and south walls being later. The joining and blending of the work with the Norman of Carileph's choir had evidently been accomplished when the chapel was almost completed. The eastern wall is of three bays, each bay having three lofty lancet windows. The bays are not of equal width, the centre one being regulated by the width of the nave of the church, and narrower than the north and south bays.
Capital in the Nine Altars Chapel.Capital: Chapel of the Nine Altars.
Capital in the Nine Altars Chapel.Capital: Chapel of the Nine Altars.
A very beautiful arcade runs completely round the walls. It is of trefoil arches, deeply and richly moulded, supported on marble columns carved with foliage. Over the arches is a hood mould terminating with heads. In the spandrels are a series of deeply-sunk and moulded quatrefoils, two of which contain sculpture. The bases of the columns rest on a plinth. Surmounting this arcade is a moulded string, from the level of which rise the windows, and above the windows another string course and a second range of windows. In the centre bay, however, is the large rose window, which is over thirty feet in diameter.