Part 23

Leaving the nave, we enter the _Transepts_, which were part of Carileph's work. The large window in the north transept was inserted by Prior Fossor (1341-1374), and is in the Decorated style. Prior Castell in 1512 restored the window, and filled it with coloured glass representing the four doctors--SS. Augustine, Ambrose, Gregory and Jerome. Hence it is known as the Window of the Four Doctors. In the south transept is the large Perpendicular _Te Deum_ window, erected about 1450. Some of the glass is ancient, but the greater part was inserted in 1869 in memory of Archdeacon Thorp. Altars stood formerly in the aisles at the north and south extremities of the transepts. Traces of colour may still be seen, and the remains of some brackets which contained sculptured figures. Chantrey's fine monument of Bishop Barrington (1791-1826) stands in the south transept.

The whole of the lantern _Tower_ is of the Perpendicular style, and was probably built by Prior Bell (1464-1478). A gallery surrounds the lower stage, supported by grotesque heads. The Tudor flower ornament may be observed on the string-course over the panelling. The screen is modern, and was designed by Sir Gilbert Scott. Passing into the choir, the earliest part of the building, we see the Norman work of Carileph blended with the later Early English style. As we have already noticed, the east end of the Norman church terminated with apses. These were subsequently removed. The whole choir comprehends four pillars on each side, two of them clustered and two round, the latter of which are cut in a spiral form. The roof was new vaulted by Prior Horton, who succeeded in 1289, the ribs of the vaulting being decorated with the dog-tooth mouldings. The work around the altar is all Early English. Clustered pillars divide the nine altars from the choir, decorated with foliage.

In the year 1650 a large number of Scottish prisoners were confined in the Cathedral, who did much damage to the internal fittings. In order to gain fresh air, or for love of mischief, they broke most of the windows, and the holes in the floor in the south transept show where they made their fires for cooking their meals. Another mark of their presence was the destruction of the woodwork of the choir, which they doubtless used for firewood. At the Restoration Bishop Cosin erected the present stalls. The _misereres_ are worthy of remark--lions, mermaids, monsters, apes, peacocks and dolphins being the most striking subjects. The modern lectern and pulpit are both very beautiful, the former being designed after the ancient lectern described in the _Rites of Durham_.

The altar-screen is very graceful and beautiful, and was originally erected by Lord Neville of Raby in 1380, and much restored in 1876. It was originally painted, and the 107 niches were filled with images. The matrix of an immense brass to the memory of Bishop Beaumont (1318-1333) is seen near the altar steps. It must have been one of the largest brasses in England, and resembles the immense one at Lynn, Norfolk. The choir is paved with mosaics similar to those of the Confessor's Chapel at Westminster.

The magnificent tomb of Bishop Hatfield (d. 1381) is on the south side of the choir. He is habited in his episcopal dress. The outer garment is the chasuble, and beneath it the linen alb or surplice. His hands are covered with episcopal gloves, embroidered on the back; on his left arm is the maniple. The tomb was originally gilded and coloured. Above is the throne erected by him, the highest in England. The monument of Bishop Lightfoot stands opposite.

The _North and South Aisles of the Choir_ are similar in their architectural features to the choir itself, showing the blending of the stately Norman with the graceful Early English work. The monks used frequently to resort to the north aisle, where was a porch having an altar, with a rood and pictures of St. Mary and St. John, where they sang Mass daily. Certain holes in the stone mark the place of the porch, sometimes called the anchorage. Bishop Skirlaw's tomb stood between the third and fourth piers, before the old altar of St. Blaze. His monument has disappeared, but the stone bench remains, erected by him for his almsmen to sit upon. In the _South Aisle_ the doorway of the great vestry remains, though the building was destroyed in 1802. The grave cover of the Prior of Lytham, a cell belonging to Durham, is preserved here. Here also stood the famous Black Rood of Scotland, captured from King David Bruce of Scotland at Neville's Cross (1346).

And now we will enter the _Chapel of the Nine Altars_, at the extreme east of the building. It was commenced in 1242, and the architect was Richard de Farnham, probably a relation of Nicholas de Farnham, then bishop. Prior Melsanby (1233-1244) presided over the erection of the building, and the name of the master-mason is preserved on an inscription: _Thomas Moises_. We notice the nine-lancet windows (under each of which stood an altar separated from its neighbour by screens and partitions of wainscot); the large rose window, "restored" by Wyatt; the beautiful arcade, with its trefoiled arches and deeply-cut mouldings, raised on slender shafts of marble, and surmounted by capitals. The altars were dedicated (beginning on the south side) to St. Andrew and St. Mary Magdalene; St. John the Baptist and St. Margaret; St. Thomas à Becket and St. Catherine; St. Oswald and St. Lawrence; St. Cuthbert and St. Bede; St. Martin and St. Edmund; St. Peter and St. Paul; St. Aidan and St. Helen; St. Michael, the Archangel.

Forty years were consumed in building this chapel, and the style developed as the work progressed. The north end was finished last, as we see from the noble double-traceried window, one of the finest in existence. The south windows are Perpendicular. Among the monuments are those of Bishop Bury, tutor of Edward III. (1345), and Bishop Bek (1310), and Bishop Van Mildert (1836), the last of the prince bishops.

Behind the high altar is all that remains of the famous shrine of St. Cuthbert, once the glory of Durham, where countless pilgrims came to pay their devotions and offerings, and seek the protection of the saint. The cavities in the floor are said to have been worn by their feet. The grave of the saint was opened in 1827, and the vestments and other relics taken from it are kept in the library, and have already been described.

On the south of the church is _the College_, containing the Deanery and prebendal houses. The gate is an interesting structure, built by Prior Castell in 1515.

THE CASTLE

William the Conqueror in 1072, when Walcher was bishop, on his return from Scotland, ordered the castle to be built, which was continued by Carileph and Flambard. Bishop Pudsey erected a new wall and a hall which bears his name, and Bishop Bek built the hall on the west of the courtyard. Bishop Hatfield rebuilt the keep. Tunstall's Gallery (1530-1558) connects the great hall and clock tower, and his chapel is remarkable for its beautifully-carved stalls. At the Restoration the castle was in a ruinous condition. It had been sold to the Lord Mayor of London. The Scots had plundered it; and Bishop Cosin set to work to rebuild and repair the home of his predecessors. In 1840 the keep was rebuilt, and the castle is now the seat of the University of Durham.

The most interesting _Churches_ in the city are St. Mary le Bow (rebuilt 1685); St. Mary the Less (Norman, but much "restored"); St. Oswald (1190, with many subsequent rebuildings); St. Margaret (1154); St. Giles (1112).

About four miles from Durham are the beautiful ruins of Finchale Priory, which was commenced in 1240 and finished about a century later. The Priory was suppressed at the Reformation.

DIMENSIONS OF THE CATHEDRAL

Total length, 470 ft.; length of nave, 201 ft.; width of nave with aisles, 60 ft.; height of nave, 72 ft.; length of choir, 133 ft.; length of Nine Altars Chapel, 131 ft.; height of west towers, 144 ft.; height of central tower, 218 ft.; area, 44,400 sq. ft.

PRINCIPAL BUILDING DATES

Norman (1093-1140)--nave, choir, aisles, west towers, doorways, chapter-house; (1153-1195)--Galilee Chapel. Early English (1238-1275)--Nine Altars Chapel, choir vault. Decorated (1342-1346)--window in north transept and west windows of nave. Perpendicular (1386-1500)--cloisters, dormitory, central tower; (1661-1684)--library.

RIPON CATHEDRAL

The historical associations of Ripon carry us back to very early times. Alcfrid, Prince of Deira, was lord of the soil in the seventh century, and in 660 bestowed on Eata, Abbot of Melrose, a portion of the ground at Ripon whereon to erect a monastic foundation. After the expulsion of the Scottish monks the same prince gave the monastery to St. Wilfrid, who, after he became archbishop, erected a church. This was of the basilican type, with which St. Wilfrid had made himself familiar during his sojourn in Italy. With the earlier monastery was associated the holy Cuthbert, who was the Hostillar. Wilfrid was ordained at Ripon, and here he resided when his episcopal seat was usurped by Ceadda (or Chad). The site of the old monastery was on the north-east side of the present Cathedral, bounded by Stammer Gate and Priest Lane. Wilfrid built his new monastery about 200 yards west of the old buildings. There is some doubt about the position of his church. It is the pronounced opinion of the learned that the famous Saxon crypt under the present church is really his work. Did he build an earlier church, and that which stood over this crypt later? Possibly so--but, in all probability, we may conclude that the monastic buildings only occupied the site on the west of Stammer Lane, and that his church stood over his crypt. This church was a very famous one. It is recorded that he brought workmen from Italy, who wrought in the Roman manner. It was fashioned after the model of a basilica, and constructed with wrought stones from the foundation, and had divers pillars and porticoes. It was dedicated to St. Peter, and splendid was the feast of the dedication. Here St. Wilfrid, after all the trials of his wandering life, was buried. For a brief space Ripon enjoyed the rank of an episcopal city, being so raised by Archbishop Theodore, and then for a thousand years the see was in abeyance, until in 1836 another Bishop of Ripon was appointed.

But much happened during this long interval. When the Danes terrified the land, in 995, came Bishop Aldune, bearing the body of St. Cuthbert, and stayed here three months until they set out and found peace at Durham. Before this Odo of Canterbury, coming into these northern parts, had pity on the desolation of Ripon Church, wrought by the "harrying" of Eadred of Northumbria in 948, and caused a new work to be edified where the minster now is. After the Conquest hard was the hand of William pressed upon his northern subjects, who liked not his yoke, and all this land was devastated by the Norman conquerors. But with the Conquest came peace, and soon some building was evidently set on foot here, though the chroniclers are silent. In later Norman times Archbishop Roger de Pont l'Evêque (1154-1181) began the building of the existing church, incorporating some portion of the older structure. His work is Transitional, and furnishes a good example of the gradual development of Early English style. Archbishop Walter de Grey (1216-1255) carried on the good work and built the west front with its flanking towers, adorned with lofty spires of timber and lead. The next alteration was carried out at the end of the thirteenth century, when Archbishop John Romanus determined to rebuild the eastern part of the choir, and for this purpose granted an indulgence of forty days to those who should help forward the work. This work was in all the glory of the Decorated style. The Scots made a ferocious raid in 1319, when the people of Ripon took refuge in the church, which suffered much from the attacks of the enemy. Archbishop de Melton repaired some of this damage, which was chiefly confined to the roofs, screens, stalls, and other woodwork, and Archbishop Thoresby (1352-1373) was very eager to continue this restoration and beautify the minster. He probably built the Lady Chapel. A century elapsed, during which the clergy do not seem to have been remarkable for zeal or earnestness, and then the lantern tower was so much shaken and broken that the greatest part thereof had already fallen, and the rest expected to follow, and speedy remedy was found immediately necessary. Archbishop Booth in 1459 adopted the usual and efficacious plan of granting an indulgence of forty days to all who should assist in re-edifying the steeple. The work was immediately begun, and a great era of church building was inaugurated. The canons awoke from their lethargy and worked vigorously. They rebuilt much of the tower, and then set themselves to entirely rebuild the Norman nave, which was in great decay and ruin. It was a great work, and nobly done. The fall of the tower had broken much of the woodwork of the stalls; so these indefatigable canons made new ones. It was only the dissolution of the Establishment which checked their progress, and prevented them from finishing their work. The church was despoiled of all its wealth, and in Elizabeth's time, when Archbishop Sandys applied for an endowment, he could obtain "nothing but fair and unperformed promises." Elizabeth loved not this northern town, the people of which clung to the "old Religion," and took an active part in the rising of 1569. Many of them were hung for their pains. James I., however, restored the constitution of the collegiate chapter, and granted to it many of its old privileges and an assured income. During the Civil War Ripon escaped fairly well, save that the Puritan soldiers broke much of the beautiful glass in the east window, and perhaps were guilty of causing other damage, of which history telleth not. In 1660 the wooden spire, which had suffered by lightning in 1593, fell, and damaged the roof of the choir. This was repaired, and the other wooden spires on the west towers removed lest they, too, should fall. Since then there have been several restorations. In 1861 the church was placed in the hands of Mr. Scott, afterwards Sir Gilbert, who made a very complete renovation of the building, the details of which we will examine when we inspect the Cathedral.

In 1836 an episcopal see was erected at Ripon, and Charles Langley, afterwards Archbishop of Canterbury, became its first bishop.

THE EXTERIOR

Although Ripon is not a Cathedral of the first magnitude or splendour, yet it is a stately structure, and greatly superior to many of our ecclesiastical buildings. It possesses also some features of profound interest, and the story of its building is attractive. Approaching the church from the market-place by Kirkgate we see the beautiful _West Front_, which compares favourably with most others, except perhaps York, Lincoln, Peterborough and Wells. It has much dignity and beauty. It consists of a gable between two square towers. The nave, built by Archbishop Roger, was Late Norman or Transitional, and to this Archbishop Grey added this façade in the best and purest period of the Early English style. In the lowest storey are three deeply-recessed doorways, with detached shafts. Round and hollow mouldings are used, and the dog-tooth ornament, the hall-mark of the Early English style, is plentiful. The doors are old. Above are five-lancet windows, and above them another row of five lancets of unequal height. The dog-tooth is used in the mouldings. The towers have four stages. In the lowest is an arcade of trefoiled arches, and above lancets. Nail-head moulding is used in the string-courses. When the spires were pulled down in 1660, battlemented parapets were added, and later the pinnacles. The whole front has been much restored. There is a fine peal of ten bells in the south tower. There were formerly some old bells, one of which is said to have been brought from Fountains Abbey, but these have all been recast, and their interest has vanished. The nave has six bays, and was built in Perpendicular style in 1503. The south side is earlier than and superior to the north. The arches of the windows are less acutely pointed, and the buttresses have three stages, are crocketed, and have large finials. The pitch of the roof has been lowered since the nave was built.

The _Central Tower_ was rebuilt on the south and east sides in Perpendicular times, while the north and west retain Roger's work. It was formerly capped by a spire. Returning to the north side we see the north side of the nave, which is later than the south. There are six buttresses, which project widely and have two stages with crockets and finials, and grotesques. The arches of the windows both in the aisles and clerestory are very acute, and those of the latter have five lights. From this point we see the original faces of the central tower, built by Roger (1154-1181), which has round-headed windows. The presence of dog-tooth shows the approach of the Early English style. The _North Transept_ is also part of Roger's church and the best example of his work; it has round-headed windows. The parapet is later. We notice two sculptured stones in the north-west buttress, with rich scroll-work, evidently Saxon, and probably taken from Wilfrid's church. The doorway in the north side is remarkable, having a plain trefoil head rising from a corbel-like projection, and is flanked by three receding detached shafts with foliated capitals. The _Choir_ has three bays of Transitional Norman work, but the windows are Decorated. The remainder of this side was built late in the thirteenth century and is Decorated. The east end, with its grand window, is very fine. Massive buttresses stand on each side of the front with octagonal turrets. In the north turret there is a small chamber which was probably a reclusorium. The east window is flanked by heavy buttresses. The gable was rebuilt by Scott. The window (51 feet by 25 feet) is a magnificent specimen of Early Decorated work, one of the finest in England. On the south side we see the three eastern windows are Decorated as on the north, but the rest are Perpendicular. On this side is a building which retains some of the earliest Norman work in the Cathedral, probably built by Thomas of Bayeaux, archbishop (1069-1100). This building has three storeys--a crypt, the chapter-house and the Lady Chapel (erected in the fourteenth century), which we shall examine later. The _South Transept_ retains much of Roger's Transitional work, but the east side was altered and rebuilt in Perpendicular times. On the south side is a fine doorway contemporary with the transept and resembling somewhat that on the north.

THE INTERIOR

Entering by the west door we see a fine and imposing _Nave_, with tall and graceful piers that support without any intermediate triforium a range of lofty windows of elaborate tracery. This nave was constructed in the Perpendicular period, as we have said, and the main arcades stand on the foundation of Roger's earlier church. The latter had no aisles. These the sixteenth-century builders added, taking as their western starting-point the northern and southern extremities of the west tower. Hence the nave is unusually wide (87 feet), and exceeds all other cathedrals except York, Chichester, Winchester and St. Paul's. There are many points of architectural interest. The west bays opening into the tower are Early English. On either side is a lofty thirteenth-century arch, with plain mouldings, and capitals deeply undercut. Above is a blind arcade of four arches enclosed in a circular arch--this occupies the triforium stage; and the clerestory has a triple window, the centre round-headed, the side ones pointed. The west end, with its ranges of lancets, is most effective. The glass is modern. The next bay shows us clearly the character of Roger's church, and eastward we come to the Perpendicular work of the early sixteenth century, which appears to be earlier than it really is. The traditions of the earlier style lingered on amid the hills and dales of Yorkshire, while the architects and townsfolk of less remote places had developed the more familiar details of the Perpendicular period. The roof is modern. The arch of the tower facing us is part of Roger's church, but there is a curious mass of masonry on the south pier which was erected by the Perpendicular builders, when want of funds or the dissolution of the chapter prevented the completion of the design. The contrast between the materials of the old building and the new in the nave will be noticed. The former is fashioned of yellow gritstone, the latter of white limestone. The aisles are Perpendicular work erected about 1503. The vaulting is modern. In the south aisle is the font, or rather there are two fonts. The earlier one reposes in the corner, and is Roger's work; the later is Perpendicular. Ripon is not very rich in monuments. In this same aisle there is a curious altar tomb with a slab of grey marble, upon which is carved the figure of a lion and near it that of a man kneeling. Tradition states that it covered the body of an Irish prince, who died here on his return from Palestine, whence he had brought a lion that followed him like a dog. There is some old glass, fragments of which have been collected in the window near the font. In the _North Aisle_ at the west end is the consistory court. The old _Saxon Crypt_ deserves close attention and has occasioned many conjectures and much antiquarian disputing. It is undoubtedly very early, and may with safety be assumed to have been part of St. Wilfrid's church. After descending several steps and passing along passages, which have two niches in the wall, we arrive at a cylindrically vaulted chamber (7 feet by 11 feet), and on the north side is the famous "St. Wilfrid's Needle." Formerly the superstition attached to it was that no unchaste woman could with safety pass through it; now we are told that if a virgin "threads the needle" she will be married within a year. This needle is only an enlargement of one of the niches which were doubtless used for lights. Recent excavations have been made here, which revealed the remains of an altar, a passage round the chamber, and a quantity of bones which were probably relics. It is conjectured that this was a relic chamber, and was built under the church of Wilfrid. It is impossible to touch upon all the interesting problems which this curious chamber suggests, especially as affecting the position and form of Wilfrid's early Saxon church.