There were also found in the grave bones of infants, supposed to be relics of the Holy Innocents, and a skull, most probably that of S. Oswald, which was known to have been placed in the coffin of S. Cuthbert.
Two smooth grooves may be observed on the platform, which are said to have been worn into the stone by the knees or feet of generations of pilgrims visiting the shrine.
There are several other tombs and monuments in this chapel, chiefly wall tablets of not exceptional interest. At the north end, however, is a colossal statue of the last of the prince bishops, Bishop van Mildert, who died in 1836. The monument is of white marble, the figure seated on a throne and holding a book. It was erected by public subscription, the sculptor being John Gibson, R.A. Near this monument is a blue slab covering the remains of Bishop Anthony Bek, patriarch of Jerusalem, who died in 1310. It was to bring in the body of this bishop that some writers have thought the north doorway of the Nine Altars Chapel was constructed. This is, as we have seen already, extremely improbable.
The student of architecture will find very much to interest. him in this Chapel of the Nine Altars. The beautiful sculpture and variety in the capitals of the shafts of wall arcading, not to mention the rich carving of the vaulting bosses and capitals of the vaulting shafts, will well repay his earnest study.
The Galilee or Lady Chapel is situated at the west end of the nave. It is well known that for some reason women were not allowed to enter any church where S. Cuthbert's shrine stood, nor even any church dedicated to him. At Lindisfarne a separate church was provided for them, and at Durham the Galilee Chapel was added for the same purpose. It was alleged that S. Cuthbert himself had made this rule, but there is no proof that he ever issued such a command. The Venerable Bede makes no mention of any special feeling of antipathy to women on the part of the saint. Bede was contemporary with, and survived S. Cuthbert forty-eight years. Whatever may have been the origin of the practice, it is certain that in later times women were jealously excluded from the churches of S. Cuthbert, and to this circumstance we owe, in the chapel under our consideration, the most beautiful and perfect example of Transitional Norman architecture existing in England.
Let us recall briefly the circumstances attending its erection. Hugh Pudsey, who occupied the episcopal throne, 1153 to 1195, commenced to build a Lady Chapel at the east end of the church. The work had not gone far before accidents happened, and cracks and fissures appeared in the walls, which the builder thought "gave manifest indication that it was not acceptable to God and His servant S. Cuthbert."[5] The work was therefore abandoned, and another chapel was commenced at the west end of the church, "into which women might lawfully enter, so that they who had not bodily access to the secret things of the holy place, might have some solace from the contemplation of them" (Geoffrey de Coldingham). Pudsey caused to be moved here the marble shafts and bases he had previously brought from "beyond the sea," and intended to be used in the construction of his chapel at the east end. Entering the chapel by the steps leading from the Norman nave, the visitor is at once impressed with the lightness and delicacy of the work before him, as compared with the massive grandeur of the Norman cathedral behind. Here we have, in fact, one of the latest uses of the round arch influenced by the rapidly developing Early English Gothic. In plan the chapel consists of a nave with double aisles, which perhaps might be more properly called five aisles. These are divided by arcades, each of which is of four bays. These arches and the columns which support them are the chief beauty and characteristic of the chapel. The arches are semi-circular, of one order, with three lines of chevron, one on each face, and one on the soffit between two roll mouldings. The capitals are light and graceful and carved with a volute, and the columns clusters of marble and freestone shafts. The arches, however, rest on the marble columns, which are, no doubt, those previously alluded to. The whole seems to have been coloured in fresco, and remains of this are still to be seen. The stone shafts, which alternate with those of marble, do not carry any of the weight of the arch, and are, undoubtedly, an addition, probably in the time of Cardinal Langley, when they must have been added, with a view to improving the appearance. The dimensions of the chapel are forty-seven feet from east to west, and seventy-six feet from north to south. The existing roof and the three perpendicular windows on the west end are also additions by Cardinal Langley. On the walls above what were once the altars of the Virgin and Our Lady of Pity, remains of fresco painting may be noticed, all that remains of what has evidently been beautiful work. These were only brought to light by the removal of successive coats of whitewash with which they had been covered.