The original building is now entirely altered, though there remains beneath it a very early crypt, with plain, short square piers, and a simple quadripart.i.te 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 again entirely 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 the _South_ Alley of the Cloysters," says our authority, "is a large Hall, called the Frater-house, finely wainscotted on the _North_ and _South_ sides; and in the _West_ and 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 Virgin _Mary_, and _S. 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 Prior _Castell_ wainscotted 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 G.o.dly 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 the _South_ End of the High Table, within a beautiful Gla.s.s Window, encompa.s.s'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 till _Dr Sudbury_, Dean of the Cathedral, generously erected a beautiful 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."

[Ill.u.s.tration: S. Cuthbert's Chest.]

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.

[Ill.u.s.tration: The Chapter-House.]

The #Chapter-House# opens 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 and allowing 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 gla.s.s, ill.u.s.trating 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.

The #Northern Alley# of 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 gla.s.s, the oak roof with its heraldry and colour, and the lavatory in the centre of the garth, must have been exceptionally fine.

[Ill.u.s.tration: The Exterior, from the South-east.]

A sculptured panel on the north-west turret of the Nine Altar Chapel is now known as the #Dun 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, pa.s.sed, 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 grateful commemoration of the incident Flambard erected this monument of a milkmaid and her cow. (See p. 9.)

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 sc.r.a.ping 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 ma.s.ses of masonry, towers, and turrets stand against the sky, the result is magnificent, giving an impression of grandeur and dignity unsurpa.s.sed by any other English cathedral.

[Ill.u.s.tration: The Nave, looking West.]

CHAPTER III

DESCRIPTION OF THE INTERIOR

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 ma.s.siveness 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 G.o.d. 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.

[Ill.u.s.tration: One Bay Of The Nave (Measured Drawing).]

Each bay of the #Nave# is divided into two sub-bays. The main bays have ma.s.sive 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 ma.s.sive 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-bays are 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.

[Ill.u.s.tration: Triforium and Clerestory.]

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 ma.s.siveness of the structures may be gathered when it is known that each group of the cl.u.s.tered 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 circ.u.mference 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 ma.s.ses 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 ma.s.ses, and of tenderness and loving care in the detail.

The #Choir# is 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, quadripart.i.te, 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.

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 rec.u.mbent 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 n.o.ble 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 bra.s.s. The whole is surmounted by a rec.u.mbent 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 the #Neville 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 must have 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 remain _in situ_.

Immediately in front of the steps of the high altar will be seen the matrix of a large bra.s.s. 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 bra.s.s to have been an elaborate and sumptuous composition. Unfortunately all the metal work has disappeared.

The #Stalls,# 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 new #Choir Screen# is 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.

[Ill.u.s.tration: The Choir, looking West.]

The #North 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 bra.s.s, 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. Bened.i.c.k'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."

The #South Aisle Of the Choir# is 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 gla.s.s, representing various saints, and scenes in the life of S.

Cuthbert.

The #Transepts.#--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 gla.s.s containing large figures, among others of S.

Augustine, S. Ambrose, S. Gregory, and S. Jerome. From this circ.u.mstance 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 gla.s.s it contained, the _Te Deum_ window, 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.