The Project Gutenberg EBook of Cathedral Cities of England, by George Gilbert This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: Cathedral Cities of England Author: George Gilbert Illustrator: William Wiehe Collins Release Date: November 5, 2010 [EBook #34210] Language: English Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK CATHEDRAL CITIES OF ENGLAND *** Produced by Chuck Greif and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images available at The Internet Archive) CATHEDRAL CITIES OF ENGLAND image of book's cover CANTERBURY THE BAPTISTERY AND CHAPTER HOUSE CATHEDRAL CITIES OF ENGLAND BY GEORGE GILBERT ILLUSTRATED BY W. W. COLLINS, R.I. colophon NEW YORK DODD, MEAD AND COMPANY 1908 Copyright, 1905 BY DODD, MEAD AND COMPANY Published October, 1905 THE UNIVERSITY PRESS, CAMBRIDGE, U. S. A. CONTENTS INTRODUCTORY Page 3 CANTERBURY " 17 DURHAM " 37 LICHFIELD " 58 OXFORD " 65 PETERBOROUGH " 80 ST. ALBANS " 91 WELLS " 102 WORCESTER " 118 CHICHESTER " 129 CHESTER " 139 ROCHESTER " 162 RIPON " 174 ELY " 183 GLOUCESTER " 202 HEREFORD " 224 LINCOLN " 235 BATH " 259 SALISBURY " 270 EXETER " 292 NORWICH " 315 LONDON " 337 YORK " 371 WINCHESTER " 397 WESTMINSTER " 414 ILLUSTRATIONS [Click directly on any of the images to see them enlarged. (note of etext transcriber)] Canterbury, The Baptistery and Chapter House Frontispiece " from the Meadows Page 19 " Christchurch Gateway " 23 " Cathedral, Interior of the Nave " 27 " The Norman Stairway " 33 Durham, Framwellgate Bridge " 39 " from the Railway " 43 " Interior of Cathedral, looking across the Nave " into South Transept " 47 " Elvet Bridge " 51 " Cathedral, the Western Towers " 55 Lichfield Cathedral. The West Front " 61 Oxford. Christ Church, Interior of Nave " 69 " " Gateway " 75 Peterborough Cathedral. The West Front " 83 " The Market Place " 87 St. Albans. The Cathedral from the Walls of Old Verulam " 95 Wells Cathedral and the Pools " 103 " The Cathedral from the Fields " 107 " The Ruins of the Banqueting Hall " 113 Worcester. The Cathedral " 123 Chichester Cathedral from the North-East " 133 Chester. East Gate Street " 141 " The Rows " 145 " St. Werburgh Street " 151 " Bishop Lloyd's Palace and Watergate Street " 157 Rochester. The Cathedral and Castle " 167 Ripon. The Cathedral " 177 Ely Cathedral. The West Front " 185 " The Market Place " 189 " Cathedral, Interior of Nave " 193 " from the Fens " 197 Gloucester Cathedral. Interior of the Nave " 205 " The Old Parliament House and Cathedral " 211 " Cathedral from the Paddock " 217 Hereford Cathedral. The North Transept " 229 Lincoln Cathedral by Moonlight " 239 " The Steep Hill " 245 " Cathedral. The West Towers " 251 Bath. Pulteney Bridge " 263 Salisbury. High Street Gateway into the Close " 273 " The Market Cross " 277 " The Cloisters " 281 " The Cathedral " 287 Exeter Cathedral from the Palace Gardens " 295 " Mol's Coffee Tavern " 301 " Cathedral. Interior of the Nave " 309 Norwich. The Market Place " 319 " The Æthelbert Gate " 325 " The Cathedral from the North-East " 331 St. Paul's and Ludgate Hill " 353 York. Stonegate " 373 " The Shambles " 377 " Bootham Bar " 383 " Monk Bar " 387 " Micklegate Bar " 391 Winchester Cathedral. The North Aisle " 399 " from St. Catherine's Hill " 403 " The Cathedral from the Deanery Garden " 407 " St. Cross " 411 Westminster Abbey. The North Transept " 419 CATHEDRAL CITIES OF ENGLAND Introductory I N the following accounts of the Cathedral Cities of England, technical architectural terms will necessarily appear, and to the end that they should be comprehensive, I give here a slight sketch of the origin of the various forms, and the reasons for their naming, together with dates; and to the end that I may supply a glossary of easy reference, I place as side headings in this introduction the various expressions which will be met with throughout the book. This, I hope, may relieve the reader of the tedium of having to turn to books of reference at each moment, and being subjected to a constant reiteration of the terms, which must necessarily be frequently employed. The Cathedrals of England may be said to comprise illustrations of Anglo-Saxon, Gothic, and Norman, with their variations and combinations. Constantine, A.D. 306-337.—Romanesque.—With the establishment of Christianity, more especially when recognised in Rome during the time of Constantine, arose the marvellous development of architecture, founded upon the basis of classical remains. This "Romanesque," as this period of architecture came to be called, permeated later the whole of Western Europe. Basilica.—Relieved from immediate fear of persecution, the Christian architects straightway commenced to convert the "basilica" remains to suit the requirements of the "New Faith." The Basilica, as its derivation from the Greek Βασιλικἡ ("the royal house") implies, "was the King's Bench" of the Romans. It was a long rectangular building, with sometimes rows of columns introduced to divide the space into a nave and aisles. One end terminated in an "apse," of semi-circular formation, where the judge and his assessors were accustomed to sit. This apse the Christians utilised as a chancel. The approach to the building was the "atrium," or forecourt, somewhat similar to the English Cathedral cloister, but differently situated. A chief characteristic of the Roman buildings was the "round arch," mainly composed of brick or stone work. This the Romans for many years had used more in a decorative way than for utility, but which became of more structural significance in the hands of the Christians. Romanesque.—Sixth to Twelfth Century.—In this wise, from the remains of the Basilica, with the further development of the "round arch" to the "semi-circular arch," the Christian Romans gradually evolved the style of architecture called "Romanesque," i.e., in the Roman Style. This style became prevalent throughout Western Europe from the beginning of the sixth to the close of the twelfth century. In process of time transepts were added and the choir prolonged, giving the outline, as it were, of a cross, the Holy Symbol of Christianity. Anglo-Saxon.—500-1066.—Thus Romanesque may be said to be the fountain-head of Anglo-Saxon, Norman Proper, Anglo-Norman, and Gothic Architecture. During the Roman occupation of England, missionaries came to her from Rome, the metropolis, and made converts, as they did in other countries, and as missionaries do nowadays in China and elsewhere. They and travelling merchants insensibly introduced the style of architecture then prevalent in Italy, namely, the Romanesque. Owing to the untutored nature of the Anglo-Saxons, their first attempts at imitating what would appear to them entirely new, together with the difficulty of procuring skilled labour, were necessarily crude. These first attempts may justly come under the heading of "Anglo-Saxon." When the Campanile or tall bell-towers came into existence in Italy, England imitated. Anglo-Norman.—1066.—The Normans, at the Conquest, introduced their rendering of architecture, which they had borrowed from the Romanesque, with a suspicion of Lombardic, and even Byzantine styles intermingled. As they could not entirely at first uproot the local peculiarities of the Anglo-Saxon treatment of style which they found in the country, they in a way grafted the Norman architecture on to the existing style. Thus it came to be called "Anglo-Norman." At first the work was heavier in character than the Norman proper, but it became lighter towards the close of the twelfth century. Norman Peculiarities.—The Norman peculiarities were the building of the church on a cruciform plan, with a square tower placed over the transepts where they cross the nave; the massive cylindrical nave piers. To relieve the heaviness of these massive nave piers and doorways, the chevron, or zigzag pattern, spiral and other groovings were cut. The mouldings were of the same character as in France, but towards the close of the twelfth century they were by degrees disused. In the transition period, 1154-1189, the dog-tooth ornament appears, and occurs in combination with the "billet," a circular roll with spaces cut away at intervals, as at Canterbury. The Normans also greatly employed arcades, both blank and open. The interlacing of arcades was frequently used by them. They were formed by semi-circular arches, intersecting each other regularly. This interlacing is supposed by many authorities to have been the origin of the "pointed lancet arch." The Norman arcades form a prominent feature in the internal and external decoration of their buildings. The internal arrangement of the larger churches consisted of three stages or tiers. The ground stage carried semi-circular arches, above that came the triforium, or second stage of two smaller arches supported by a column, and within a larger arch. Above this again, came the third stage or clerestory, with two or more semi-circular arches, one of which was pierced to admit the light. The nave was usually covered by a flat ceiling, and not vaulted. The crypts and aisles were vaulted. The doorways appear to have been a special feature with the Normans, for they were generally very richly ornamented, and were greatly recessed. The windows were narrow and small in proportion to the rest of the building. At a late period of the style the small circular windows became greatly enlarged, and it became necessary to divide up the space by the introduction of slender columns radiating from the centre. In England the semi-circular apse, towards the close of the style, gradually gave place to the square apse, which was more generally adopted. Gothic.—Fourth to Twelfth Century.—Another great and early factor in ecclesiastical architecture is the Gothic. In the early stages of Christianity, the Goths, a Teutonic race, dwelt between the Elbe and the Vistula. They subverted the Rome Empire. They, like other countries, received the Christian religion from Rome. Each country after its own fashion endeavoured to imitate the architecture of Rome. As these countries were semi-barbarous and unpolished, their work was necessarily rude. This, in conjunction with the invasions of Italy by the Goths, led to the term "Gothic." This period commenced in the fourth century, and was entirely changed in the twelfth, by the introduction of the pointed arch. Gothic.—1145-1550.—This marked a new era, and established a new style of architecture, the transition from the Norman, or Romanesque, to the Mediæval Gothic. Several attempts were made to introduce new names in lieu of Gothic, for to name anything Gothic was looked upon with askance. Romanesque Early Gothic IVth century to XIIth century. Anglo-Saxon 500-1066 A.D. ANGLO-NORMAN William I 1066. William II 1087. Henry I. 1100. Stephen 1135. Henry II. 1154-1189. Transition. Mediæval Gothic EARLY ENGLISH (FIRST POINTED, OR LANCET) Richard I. 1189. John. 1199. COMPLETE, OR GEOMETRICAL POINTED Edward I. 1272-1307. Transition. DECORATED MIDDLE POINTED, OR CURVILINEAR Edward II. 1307. Edward III. 1327-1377. PERPENDICULAR THIRD POINTED, OR RECTILINEAR Richard II 1377. Transition. Henry IV. 1399. Henry V. 1413. Henry VI. 1422. Edward IV.1461. Edward V. 1483. Richard III. 1483. Henry VII. 1485 }Tudor Period. Henry VIII.1509-1547 A With the close of the Tudor Period, Mediæval Gothic practically died out. There crept in then the English Renaissance, followed after by what is called "The Revival of Gothic Architecture." ENGLISH RENAISSANCE about The Elizabethan, or First Period 1547-1620. The Anglo-Classic, or Second Period 1620-1702. The Anglo-Classic, or Third Period 1702-1800. The Revival of Gothic Architecture in England. 1800. Characteristics NGLO-SAXON.—Anglo-Saxon may be briefly summed up as an inferior style of Romanesque, more especially the latter part, when it was considered necessary to build in imitation of the Roman way. In the early years of this period the advantages of stone, due to inconvenience of its carriage or lack of skill, were not widely known in England. For the most part the buildings were composed of wood with a thatched roof. Though it is true several buildings were also constructed of stone, and glass was used, yet it was only with advanced knowledge, introduced by Continental workmen, who came over in the seventh century, that architecture approached anything like a definite style. It reached this stage just a few years before the Norman Conquest. The arches were usually plain, and always semi- circular. The columns were cylindrical, hexagonal, or octagonal, and thick in proportion to their height. The towers, as a rule, were square, and not very lofty. They were strongly but crudely worked, strip pilasters, i. e., slender columns, being introduced. Circular-headed openings served as upper windows of these towers. They were divided into two lights by rounded balusters, sometimes with caps heavily projected. Norman.—The Norman churches were mostly cruciform in plan, with a central tower. The east end was frequently terminated by an apse. Vast columns, either circular, octagonal, or simply clustered, separated the aisles from the naves. The arches were chiefly semi-circular, the round arch being used everywhere for ornament. The Norman towers are also generally square, with a somewhat stunted appearance. Many have no buttresses whatever, whilst others are served with broad, flat, shallow projections, which assert themselves more for show than for utility. The reason for this is that the Normans built their buildings with walls immensely thick with an eye to stability. The heavy appearance of their towers is cleverly relieved by the introduction of arcades around them, as at St. Albans, and occasionally richly ornamented, as shown at Norwich and Winchester. At one of the angles there is frequently a stone staircase. The upper windows of these towers differ little from the Anglo-Saxon, except in that the two lights are separated by a shaft or short column in place of the rounded baluster. The Norman doorways are a great feature. They are generally adorned with a series of columns with enriched arch mouldings spanning from capital to capital. Their vaults were heavily constructed at no great height from the ground, and generally applied to the aisles of churches. They exerted a greater thrust on the walls than the later Gothic vaults. Norman.—These churches are generally to be found perched on commanding sites, chosen as natural places of defence. Often a river wound round the base, and where it led short, a moat was constructed on the landward side, and borrowed its water from the river. The activity of the Norman builders is astounding, and forms a great contrast to the few years before their advent. For a short time architecture suffered a paralysis. Not till the much-dreaded Millennium (1000 A.D.), when it was thought the world would certainly come to an end, had passed did people take heart again, and architects make up for lost time. Early English.—In this period the massive Norman walls gave way to walls reduced in thickness. The buttresses became of more structural significance. Also, flying-buttresses gradually came into use to strengthen the weakness of the upper works, caused by the reduction of the walls in thickness. The pillars were elongated, and of slight construction. The doorways, windows and arcades were built with polished marble obtained from the Isle of Purbeck. The science of vaulting became more advanced. The towers were taller and more elegant, with plain parapets. They were generally furnished with windows. The lower ones resembled much the arrow-slit formation of the Norman style. The upper windows were grouped in twos and threes. O The broach-spire now came into notice. It was added on to the square tower, and at the early part of this style was low in height, but gradually became taller. The circular-headed windows of the Normans gave place to the narrow-pointed lancets of the Early English. These admitted little light, and necessitated a greater number of windows, which were grouped into couplets or triplets. Geometrical.—The window, by the gradual process of piercing the vacant spaces in the window-head, carrying mouldings around the tracery (or ornamental filling-in), and adding cusps (the point where foliations of tracery intersect), gave rise to Geometrical work. The earliest work of this kind is found in Westminster Abbey. Decorated.—The towers are made to appear lighter by the parapets being either embattled or pierced with elegant designs, and pinnacles placed on them. The broach-spires gave place to spires springing at once from the octagon. The buttresses are set angularly. In this period the architects failed to maintain the vigour of the Geometrical period. The Decorated windows are formed of portions of circles, with their centres falling on the intersection of certain geometrical figures. There is a glorious example afforded by the west window at York. Perpendicular.—The towers are generally richly panelled throughout; the buttresses project boldly—sometimes square, or sometimes set at an angle, but not close to each other. The pinnacles are often richly canopied. The battlements panelled, and frequently pierced. In the middle of the parapet now and then is placed a pinnacle or a canopied niche. Canterbury Cantuaria. ("Doomsday Book.") F all Cathedral cities, Canterbury, or, as it is also called, Christ Church, may possibly be considered the most interesting. Though not the first to spread Christianity in Britain, it nevertheless firmly established it in the end. The earliest authentic evidence of Christians in England is mentioned by Tertullian, in 208. And again, in 304, St. Alban had been martyred during Diocletian's persecution at Verulam, now known as St. Alban's. Then, in 314, Christianity had attained such a position in Britain that it had been considered necessary for the Bishops of York and London to attend at the Council of Arles, in France. So that by the end of the third century to the beginning of the fourth, it is known that there existed bishops, though not till the close of the fourth century was there a "settled Church" in Britain, with churches, altars, Scriptures, and discipline. These expounded the Catholic Faith, and were in touch with Rome and Palestine. But the arrival of Augustine, in 600, decidedly gave an impetus to the lasting establishment of Christianity in England, and the whole island quickly became converted. Though Christianity had long flourished in Rome, it could hardly, in its early stages, be expected to make itself greatly felt in Britain, owing to the continual troublous times caused by the invasions first by the Roman soldiery, then by the Scots and Picts from Caledonia (now called Scotland), and the Saxons, who came from the river Elbe, and the Angles, who dwelt to the north of the Saxons, in the districts now called Schleswig and Holstein. Then the Danes and Northmen landed in England in 787, and practically overran the whole kingdom. All these tribes, each in its turn, devastated the country, pillaging and destroying everything, so that there is little to marvel at the slow growth of Christianity in the island, seeing that the clergy were the first to suffer. Augustine may be said to have certainly revived Christianity and rescued the Church from utter oblivion, but it was left till the Norman Conquest to erect the wonderful architectural structures, many of which exist till this day. CANTERBURY FROM THE MEADOWS CANTERBURY FROM THE MEADOWS The early history of Canterbury is shrouded in mystery. The discovery of Druidical remains clearly points to the practice of religious rites of the Britons prior to the Christian era. It appears also that the Romans found it as a British town of some importance. This theory, laying aside minor considerations, is strengthened by the fact that the Romans called it Durovernum, the derivation of which they borrowed from the British words "dwr" a stream, and "whern" swift, the latter of which was most appropriate to the Stour, on whose banks the city was founded. The Saxons on their arrival called the place "Cantwarabyrig." From this, no doubt, Canterbury owes the origin of its present name. Contrary to the ordinary laws of foundation, there appears to have been no one (locally) covetous of the honour of martyrdom, or possibly worthy, if martyred, of recognition by the Church. During the Roman occupation of the city, Christianity struggled, probably kept alive by such of the soldiers who had been previously converted in Rome. Two churches were built in the second century. One of these, in 600, was consecrated by the Bishop of Soissons, and dedicated to St. Martin, for Bertha, a daughter of Charibert, a Christian king of Paris. On her marriage with Ethelbert of Kent, the foremost king of the English, it was stipulated that her religious inclinations should be protected. Through her influence the king became converted. To encourage Christianity, and to set a good example to his subjects, Ethelbert welcomed Augustine and his forty monks, in 597, gave him his palace, which was speedily converted into a priory, and helped him to found an abbey without the city walls, and intended as a sepulture for the Archbishops. This abbey was dedicated to St. Peter and St. Paul. As Canterbury was already recognised as the metropolis, or head of the State of Kent, in that their kings had their royal residence there, it was no difficulty for Augustine, as spiritual head, to make it also a Metropolitan See, the more so as, by the investiture of the Pope, he became the first Archbishop. CANTERBURY CHRISTCHURCH GATEWAY CANTERBURY CHRISTCHURCH GATEWAY Pope Gregory's (the Great) scheme in sending Augustine was to divide England into two Provinces, with Metropolitans of equal dignity at London and York, and twelve Suffragans to each. But all that his emissary could effect was to consecrate two bishops, one at Rochester (Kent) and one at Essex. As Christianity took a firmer hold in England, it was generally to Canterbury that the different portions of England applied for missionaries. In this foundation Augustine has been followed by a succession of prelates, who distinguished themselves equally in spiritual and temporal affairs of the State—men, each of whom made a great stir during his life, and whose names even now are enshrined, as it were, in a halo of romance. They represent the intellect of their times; their lives show us the difficulties they encountered in overcoming the crass ignorance of the people on whose behalf they worked, and the risks and dangers and petty tyranny they suffered at the hands of kings, whose chief amusements were disturbing the peace and licentious living. Those who have played the most prominent part in ecclesiastical as well as in lay history are: Dunstan, who governed with a tight hand the kingdom during the reigns of Edred and Edwy; Stigand, who, for his opposition to William the Conqueror, was deposed from the See to make room for Lanfranc; Lanfranc, whose memory is perpetuated not only through his abilities as scholar, statesman and administrator, but more especially as one who rebuilt the Cathedral and as founder of several religious establishments; the celebrated Thomas à Becket, who, until he became Archbishop, was the great friend of Henry II., and was Chancellor of England. On the acceptance of the Archbishopric, Becket constituted himself as a champion of the rights and claims of the Church, and would brook no interference from Henry in ecclesiastical matters. This naturally created a coolness between the two, which ended in Becket's retiring to France for six years. On Henry's promise to annul the Constitution of Clarendon, in 1170, Becket returned, only a few days after to be murdered in the Cathedral. Stephen Langton, who was raised to the See by Pope Innocent III., in defiance of King John, during a quarrel he had with the Church; Cranmer, who, for promoting the Reformation, was burnt at the stake in Mary's reign; and Laud, who was beheaded during the Commonwealth of Cromwell for supporting the measures of his sovereign, Charles I. Augustine did not live to see the completion of his Cathedral. It was dedicated to Our Saviour, and it is even now usually called Christ Church. During the ravages of the Danes the city suffered greatly, and the Archbishopric became vacant in 1011, through the violent death dealt out to Archbishop Alphage by the Danes. Canute, after his usurpation of the throne, rebuilt a great part of the city and restored the Cathedral; and the monks were not forgotten, in that the revenue of the port of Sandwich was made over to them for their support. These benefits greatly helped the city to attain great importance, and in Doomsday Book it is entered under the title of "Civitas Cantuariae." CANTERBURY INTERIOR OF THE NAVE In 1080 the Cathedral was burnt down, only to be restored with greater splendour, and dedicated to the Holy Trinity, by Archbishop Lanfranc, who rebuilt the monastic edifice, erected the Archbishop's palace, founded and endowed a priory dedicated to St. Gregory, and built the hospitals of St. John and St. Nicholas. In 1161 the city became almost extinct through fire, and at several subsequent periods it suffered severely from the same cause. In 1170 the great event which stirred the kingdom, and which conveniently marks the starting-point of the disastrous half of Henry II.'s reign, was the great means of replenishing the treasury of the Cathedral. In that year Becket was murdered as he was ascending the steps leading from the nave into the choir. His name was subsequently canonised. His shrine was visited from far and near by every rank of pilgrim, who seldom left without depositing first some substantial token of their reverence for the saint. Four years after the murder popular feeling was as great as ever, so that it was probably to propitiate the people, as much as to ask for Divine intercession in his troublous affairs, that Henry II. performed a pilgrimage to the shrine and submitted himself to be scourged by the monks. Another source of great importance to the Cathedral was the institution of the Jubilee by the Pope. It commemorated every fifty years the death of Becket, and till the last one, celebrated in 1520, attracted an immense number of pilgrims, who gave a great impetus to trade in the city. The number and richness of their offerings were incredible. The dissolution of the priory of Christ Church was gradually effected; the festivals in honour of the martyr were one by one abolished; his shrine was stripped of its gorgeous ornaments, and the bones of the saint were burnt to ashes and scattered to the winds. A part of the monastery of St. Augustine was converted into a royal palace by Henry VIII. In this palace Queen Elizabeth held her court for a short time. During her reign there was an influx of Walloons, who, persecuted for their religious tenets, had fled from the Netherlands and settled in Canterbury. They introduced the weaving of silk and stuffs. To them Queen Elizabeth allotted the crypt under the Cathedral as their place of worship, where the service is still performed in French to their descendants. In this Cathedral was solemnised the marriage of Charles I. with Henrietta Maria of France, in 1625. During the war between Charles I. and Cromwell the Cathedral was wantonly mutilated and defaced by the followers of Cromwell, who converted the sacred edifice into stables for his horses. At the Restoration, Charles II., on his return from France, held his court in the royal palace at Canterbury for three days. This monarch, in 1676, granted a charter of incorporation to the refugee silk-weavers settled in the city. These refugees, a few years after, were considerably increased by French artisans, who came over consequent on the revocation of the Edict of Nantes in 1685. To those admirers of form and beauty the wonderful architecture of the present Cathedral must satisfy their every craving. To students the study of this colossal building must be a work of love, encouragement, and continued interest. Rebuilt soon after the Conquest by Archbishop Lanfranc, and worthily enlarged and enriched by his several successors, the Cathedral is a crowning work of grandeur and magnificence, exhibiting, in its highest perfection, every specimen of architecture, from the earliest Norman to the latest English. In form it is that of a double cross. Where the nave and the western transepts intersect, there springs up a lofty and elegant tower in the Later English style, with a spired parapet and pinnacles, with octagonal turrets at the angles, terminating in minarets. In the west end are two massive towers, of which the north-west is Norman, and the south-west is similar in character, though embattled, and little inferior to the central tower. Perhaps the most noteworthy portions of this Cathedral, though it is hardly possible to make a distinction, are the Chapel of Henry IV., with its beautiful fan tracery depending from the roof; the small but beautiful Lady Chapel, which is separated from the eastern side of the transept by the interposition of a finely carved stone screen; and in that part of the Cathedral, called Becket's Crown, is the Chapel of the Holy Trinity, famous as the site of the gorgeous Shrine of St. Thomas à Becket. In "Becket's Crown" a softened light steals through the painted window. The interest in this window lies in the fact that most of the glass shown is ancient, and it is the fifth of the twelve windows in the Trinity Chapel which suffered severely at the hands of the Puritans in 1642. CANTERBURY THE NORMAN STAIRWAY CANTERBURY THE NORMAN STAIRWAY What remained of the ancient glass was replaced, as far as possible in the original position, by the late Mr. George Austen, subsequently to 1853. These windows represent the miracles of St. Thomas à Becket between the years 1220 and 1240. Between the western towers there is a narrow entrance spanned over by a sharply pointed arch, enriched with deeply recessed mouldings. Above this are canopied niches, over which is a lofty window of six lights with richly stained glass. The south-west porch constitutes the principal entrance, and is highly enriched with niches of elegant design. It belongs to a late period of English architecture. The roof is most elaborately groined, and shields are attached at the intersections of the ribs. In the same period of Late English must be included the fine nave and the western transepts. A gorgeous effect is given by the richly groined roof supported by eight lofty piers, which divide it off on each side from the aisles. From the eastern part numerous avenues lead to the many chapels in different parts of the interior, and give a truly magnificent effect. All these chapels deserve the closest study, like the rest of the building, to thoroughly appreciate the subtlety of design, and the marvellous skill of the architect. T Durham Dunholme. ("Doomsday Book.") Hac sunt in fossa Bedae Venerabilis ossa. HOUGH Durham dates from the tenth century, yet it is necessary, to understand the growth of its power, to go back to the seventh century. The exact date of the birth of St. Cuthbert is unknown. As a youth he was admitted into Melrose Abbey, where in the course of fourteen years he became monk and prior. From there he passed another fourteen years in the Convent of Lindisfarne, after which he retired to Farne for nine years. At the end of this period he was persuaded, most unwillingly, by Egrid, King of Northumbria, to become Bishop of Lindisfarne, a See in Bernicia, as Durham County was then called. But after two years' office he retired to Farne. There died St. Cuthbert on March 20, A.D. 687, in the thirty-ninth year of his monastic life, still undecided as to where he should be buried. However, the remains were reverently preserved in the Church of Lindisfarne, till the monks were compelled to flee, owing to the invasion of the Danes, towards the end of the ninth century. Though in dire dread and confusion, the monks forgot not their sacred trust, but carried the holy remains of St. Cuthbert with them. They wandered many a weary day throughout the North of England in search of "Dunholme," which Eadner, a monk of their order, declared to them had been divinely revealed to him as the lasting place of rest for the holy and incorruptible body of St. Cuthbert. They seemed to have had great difficulty in locating the whereabouts of Dunholme, for according to tradition they were miraculously delivered from their nomadic life. As they proceeded they heard a woman inquire of another if she had seen her cow, which had gone astray. Much to their joy and relief they heard the reply, "In Dunholme." Thereupon they climbed to the summit of the "Hill Island," at the base of which they had arrived, as they wished to deposit their corruptible burden on a spot so close to Heaven that it should remain incorruptible, and by its incorruptibility be a fitting foundation on which to build a shrine worthy of their Saint and the God who honoured him. DURHAM FRAMWELL GATE BRIDGE DURHAM FRAMWELL GATE BRIDGE About 995 their idea was realised by Bishop Ealdhune. He founded a church, built in the style usual then in Italy, of brick or stone with round arches. This style, based directly on Italian models, became prevalent throughout all Western Europe till the eleventh century, and in England was known as Anglo-Saxon. This church was erected over the Saint's resting-place, upon the rock eminence called Dunholme (Hill Island). Later on the Normans changed this into "Duresne," whence Durham. And a representation of a dun cow and two female attendants was placed upon the building. At the same period the See was transferred from Lindisfarne, and, together with the growing fame of the presence of the "incorruptible body" of the Saint, attracted pilgrims, who settled there with their industries. Thus were laid the foundations of the great city. In this wise St. Cuthbert became the patron Saint of Durham, as well as of the North of England and of Southern Scotland. In 1072 William the Conqueror found it necessary to erect, across the neck of the rock-eminence, the castle, to guard the church and its monastery. In 1093 Bishop Carileph built a church of Norman structure in place of Ealdhune's Anglo-Saxon church, and changed the Anglo-Saxon establishment of married priests into a Benedictine abbey. After the Norman Conquest the county became Palatinate, and acquired the independence peculiar to Counties Palatine. The bishops of Durham were invested with temporal and spiritual powers, exercising the royal prerogatives, such as paramount property in lands, and supreme jurisdiction, both civil and military, waging war, right of forfeiture, and levying taxes. These privileges were granted, owing to the remoteness of Durham from the metropolis and its proximity to the warlike kingdom of Scotland, and allowed of justice being administered at home, thereby doing away with the obligation of the inhabitants quitting their county, and leaving it exposed to hostile invasions. They were also excused from military service across the Tees or Tayne, on the plea that they were specially charged to keep and defend the sacred body of St. Cuthbert. Those engaged on this service were called "Haliwer folc" (Holy War folk). But in the twenty-seventh year of the reign of Henry VIII. the power of the See was much curtailed; and eventually, on the death of Bishop Van Milvert in 1836, it was deprived of all temporal jurisdictions and privileges. DURHAM FROM THE RAILWAY DURHAM FROM THE RAILWAY Around Carileph's fine Norman church numerous additions were made from time to time, namely: The Galilee or Western Chapel, of the Transitional Period. The gradual change from the Norman to the Pointed style, which took place between 1154 and 1189, during Henry II.'s reign. The Eastern Transept, or "Nine Altars." The Western Towers, built in "The Early English Style," which was a further development of "The Transitional." It was carried out in the reigns of Richard I. to Henry III., 1189 to 1272. It is also known as "First Pointed" or "Lancet." The Central Tower (Perpendicular). The Windows (Decorated and Perpendicular). From 1154, the commencement of Henry II.'s reign, architecture acquired new characteristics in each reign, or rather the architects of each reign attempted to improve on the style of their predecessors. It began with the "Transition from Norman to Pointed." From that it passed to "First Pointed or Early English." Then to "Complete or Geometrical Pointed." This was succeeded, in Edward III.'s time, by a more flowing style called "Middle Pointed," "Curvilinear," or "Decorated." The graceful flowing lines of this period culminated in what is known as "The Third Pointed," "Rectilinear," or "Perpendicular Style." This period existed from 1399 to 1546, that is to say, from the beginning of the reign of Henry IV. to the end of the reign of Henry VIII. The Galilee or Western Chapel was built and dedicated as an offering to "The Blessed Virgin," by Bishop Pudsey, between 1153 and 1195; and served as the allotted place of worship for women, who were strictly forbidden to approach the sacred shrine of St. Cuthbert. In the south-west corner of this chapel there is an altar-tomb of blue marble. This is revered as the abiding-place of the earthly remains of the great monk and historian, the Venerable Bede. Concerning him, tradition relates how Elfred, "The Sacrist" of Durham, in 1022, stole these remains from Jarrow and preserved them in St. Cuthbert's coffin till 1104. They were afterwards placed in a gold and silver shrine by Bishop Pudsey, which was left in the refectory till 1370, when Richard of Barnard Castle, a monk afterwards buried under the blue stone on the west of the present tomb, influenced its removal to the Galilee Chapel. DURHAM INTERIOR OF CATHEDRAL LOOKING ACROSS THE NAVE INTO SOUTH TRANSEPT There upon the altar-tomb, mentioned before, the casket was placed, and was covered by a gilt cover of wainscot, which was drawn up by a pulley when the shrine was visited by pilgrims. Upon this altar-tomb there is an inscription in Latin, in current use of the period, which runs thus: "Hac sunt in fossa Bedae Venerabilis ossa." ("In this tomb are the bones of the Venerable Bede.") In connection with this inscription there is a legend that the sixth word, "Venerabilis," was miraculously supplied by divine intervention to the tired and till then uninspired monk who was penning it. Hence Bede is known generally as "The Venerable Bede." Close by there was an altar to the Venerable Bede. The Reformation swept away the original tomb, leaving only a few traces behind, and the bones were buried under its site; and an altar-tomb, which still exists, was erected over them. Every Sunday and holiday at noon a monk was accustomed to ascend the iron pulpit beneath the great west window, and from it to preach. Though this pulpit is gone, there still exists in close proximity a small chamber of the time of Bishop Langley, which was obviously the robing-room of the preacher. From 1775 to 1795 this magnificent pile was given over to the tender mercies of one James Wyatt, architect, who,