Memorials of old Durham

by Unknown

St. Cuthbert is said to have had a more than usual monastic dislike to women—though some of his most intimate friends were women—and therefore to have built the Lady Chapel at the east end of the choir, the ordinary position, which was close to his shrine, would have been most distasteful to him. No woman, indeed, was allowed to approach farther eastward in the church than as far as a line of dark-coloured Frosterley marble, forming a cross with two short limbs at the centre, which stretches across the nave between the piers, just west of the north and south doors. The Chapel of the Blessed Virgin,[9] commonly called the Galilee, was therefore placed where we now see it. It rises almost directly from the edge of the river-bank, and is built against the west front of the church. It is of an oblong form, of five aisles divided by four arcades, each of four bays, the aisles being all of the same width. The middle aisle is higher than those adjoining, and these again are higher than the extreme north and south ones. The arches, richly decorated with zigzag, are supported upon columns, originally composed of two slender shafts of Purbeck marble, but now of four shafts, alternately of marble and sandstone, the latter, added by Cardinal Langley when he repaired the Galilee in which he placed his tomb in front of the altar, having capitals of plain volutes, which are very characteristic of the Transitional period. The chapel was entered from without through a doorway on the north side, which has been restored, the old one, however, having been exactly copied to the minutest parts. The doorway is deeply recessed, the wall being increased in thickness on both sides in the manner usual at that time, and is a fine example of the style in use when it was erected. Access to the church from the Galilee was also obtained through the great west door, which was probably not blocked up until Bishop Langley placed the altar of the Blessed Virgin there, and made two doors, one at the north and the other at the south end of the west wall. The chapel was at first lighted by eight round-headed windows, placed high in the wall above the arches of the outer arcade on the north and south sides, and no doubt had other windows at the west end. The three windows in the north wall and the four in the south, originally inserted about the close of the thirteenth century, when the walls were raised in height, have all been renewed, so far as the mullions and tracery are concerned. It is probable that at the same time five similar windows were placed in the west wall, of which only two are now left, the others having given place to three fifteenth-century windows. At the time when these important alterations were made, the original windows in the wall above the arches were probably blocked up. Their outline, however, is still to be traced quite distinctly.

It must not be overlooked that the shrine containing the bones of the Venerable Bede were ultimately placed in the Galilee in 1370, in front of his altar. The bones are now placed in a plain tomb, having upon it the well-known inscription, which, however, was only engraved on the covering slab in 1830:

Hac sunt in fossa Bedæ venerabilis ossa.

There are some beautiful and well-preserved fresco paintings on the east wall at its north end. They are contemporary with the building, and comprise a King and Bishop, probably St. Oswald and St. Cuthbert, and some tasteful decoration of conventional leaf forms, very characteristic of the art of the period. The lower part of the back of the recess, on the sides of which the figures occur, is filled with a representation of hangings, the middle of which is now defaced, but where, before the Dissolution, was a picture of our Lady with the dead Christ. It is not impossible that the principal altar of the Blessed Virgin originally stood there, and was transferred by Cardinal Langley to the position it afterwards occupied when he probably built up the great western doorway of the church. The site in question was, up to the time of the Reformation, devoted to the altar of Our Lady of Pity, or Piety, which may have been removed thither by Langley from the recess to the north of it, which is surmounted by an arch with the dentel moulding of a date apparently not later than the commencement of the thirteenth century—a removal necessitated by his making there one of the two new doorways into the Galilee. These paintings are not only of great interest in themselves, but they possess a further one of being the only specimens of fresco decoration in the cathedral which are now anything more than mere fragments. The arches and capitals in the Galilee have also been enriched by colour, among the designs being a zigzag and spiral pattern. It does not appear that this kind of decoration had ever been used to any great extent throughout the church, for very few remains of it were discovered when the modern whitewash was lately removed.

In the aisle, however, of the north transept, where the altars of St. Benedict and St. Gregory and that of St. Nicholas and St. Giles once stood, there are some portions of the pictures which adorned the wall behind them, including, in connection with St. Gregory’s altar, the upper part of a figure vested with the pallium. There are also some scanty remnants of colour left behind the altars of Our Lady of Houghall and Our Lady of Bolton in the aisle of the south transept. The site of the Neville Chantry in the south aisle of the nave still contains sufficient remains of the delicate and tasteful pattern to enable one to judge what the design has been, and slight traces of colour are to be found upon the arches of the arcade behind the altars in the Chapel of the Nine Altars. It is probable, indeed, that the walls behind all the altars in the church have been more or less decorated with painting, though certainly it had not been used generally on the church itself.

The point of junction between the Norman choir and the thirteenth-century work which connects it with the eastern transept may be placed at the fourth pier from the eastern tower arch on each side. The arch of the triforium next these piers comes close up to them, whereas in the corresponding piers to the west there is a space between the arch and the pier. The same feature is to be seen in the triforium arch, which is next to the piers of the tower arch, which have five shafts, the others having only three. It is very probable that the piers at the entrance of the apse supported a larger transverse arch than the others, corresponding in this to the great tower arch, and that the supporting piers had, like those at the entrance of the choir, five shafts. These piers, the body of which forms a part of Carileph’s Norman work, untouched where they face into the aisles, have been encased on the choir face with very rich and tasteful decoration of about the middle of the thirteenth century. Above, upon each side of the choir, is a figure of an angel under a canopy, that on the south side holding a crown in the left hand, the other having lost the uplifted hand and what it once held. They are the only two left out of a numerous host of statues once decorating the church, and their beauty makes the destruction which has befallen the others the more to be regretted.

After the Nine Altars was finished and the connecting part between it and the choir completed, a new vault was put on to the choir, and the whole of the original Norman vault was taken down. The reason for this was almost certainly an artistic one: the sumptuously decorated vault of the Nine Altars being of a pointed form, while the original plain vault of the choir was semicircular, it would have been very difficult, if not impossible, when the great transverse arch was taken down, to bring these two forms into harmonious combination. It was replaced by one which to a great extent in its mouldings and decoration corresponds with that of the Nine Altars. This vault is in five compartments, and has four richly moulded transverse arches in addition to the eastern arch of the crossing. These arches are supported alternately on the main vaulting-shafts, which rise from the floor, and on triple shafts, which rise from the level of the triforium floor, and originally received the diagonal ribs of the Norman vault. The diagonal ribs spring from the outer shafts of the three semi-shafts and from the corresponding outer shafts next to the main vaulting-shafts. The vault is quadripartite, but in the eastern bay is an additional rib on each side—a quasi ridge-rib, which runs north and south from the spandrils between the clerestory arches, and unites at the intersection of the diagonal ribs. The additional rib on the north side springs from a draped male seated figure, on each side of which is a lacertine creature with its back to the figure, and its head turned so that the mouth touches the hair, while the tail curves towards the feet; that on the south side springs from an angel. The wall ribs spring from shafts of Frosterley marble, resting on inserted corbels or on the capitals of the Norman vaulting-shafts. In the eastern angle of the eastern bay the wall rib on each side springs from the head of a small canopy, which contains a sculptured figure; that on the north side a demibishop blessing; that on the south the upper half of a male figure.

Whatever difficulty, however, there may have been in collecting the necessary funds for the erection of this noble addition to the church of Bishop William of St. Carileph, first projected by Bishop Poore, no expense or pains has been spared in its being carried out to perfection, and the vault of the Nine Altars and choir, the last part of this great work, with its enrichment of dog-tooth ornament of various and graceful forms, and bosses of foliage and figure subjects, fitly completes the building in a style no less beautiful and effective than the walls which support it. It may be asserted without fear of contradiction that no more effective or majestic vault crowns any church in our country.

The cloister occupies a considerable space of ground left open at the centre, where the lavatory was placed, and was enclosed on the north side by the church, and on the other sides by those various structures which had relation to the household economy of the monastery and to its domestic and political life. Around it, in the dormitory and refectory, the monks slept, lived, and ate. They studied in the library and in the small wooden chambers—carells, as they were called—one of which was placed in front of each compartment of the windows of the north alley, which, like the east one, was glazed, the latter containing in its windows the history of St. Cuthbert. In the west alley the novices had their school, where they were taught by the master of the novices, "one of the oldest monks that was learned," who had opposite to them "a pretty seat of wainscot, adjoining to the south side of the treasury door."

In the treasury, situated at the north end of the crypt under the dormitory, and which is still divided by its ancient iron grating, were kept the title-deeds and other muniments of the church, in themselves no small treasure. At the other end of the same crypt was the common house, the only place where there was a fire for ordinary use, and which was frequented by the monks as their room for converse and recreation, and which had in connection with it a garden and a bowling alley.