Durham Cathedral is one of the grandest buildings in the world. Standing upon the summit of a lofty hill, which rises abruptly from the River Wear, its position is one of surpassing beauty, and the dignity of the building, its massive walls and towers, and the interesting associations which cluster round the venerable pile, make it one of the most superb edifices in this or any other country.

The story of Durham carries us back to the very early days of Christianity. In spite of the efforts of Paulinus the Saxons of Northumbria were still heathen until Oswald became king in 634, who was converted to Christianity by the monks of Iona, where a monastery had been founded by Columba, an Irish saint. Desiring to benefit his people, Oswald sent to Iona, and under St. Aidan a colony of monks was founded at Lindisfarne, or Holy Island. St. Cuthbert, the Patron Saint of Durham, succeeded, who died in 687. After the lapse of nearly two centuries the coast was harassed by the attacks of the Danes, and the monks fled from Lindisfarne, bearing with them their most precious relics and with these the body of St. Cuthbert. They wandered far and wide with their holy burden; a hundred years elapsed; generations of monks passed away; but the bones of the saint knew no rest. For a long time they tarried at Chester-le-Street, which became the seat of the Northumbrian bishopric; but still the savage Northmen threatened them with danger, and at last in 995 the wearied monks found a shelter on the lofty and impregnable rock where the Cathedral now stands, the abiding resting-place of St. Cuthbert's bones. On the outside of the church there is the figure of the Dun Cow, which is associated with their wanderings. It was revealed to one of the monks that Dunholme was to be their final home; but not knowing where this place was, they were in much distress. However, they heard a woman inquiring about her lost cow, to whom her companion replied that it was at Dunholme. "That was a happy and heavenly sound to the distressed monks," says the chronicler, "and thereupon with great joy they arrived with the saint's body at Dunholme in the year 997." Here they raised a church of boughs to cover their precious treasure and then a stone building, and then Bishop Aldwin "raised no small building of stone-work for his Cathedral church, when all the people between the Coquet and Tees three years were at work, and were paid for their pains with treasure in heaven, than which there was never a dearer or cheaper way to build churches." Around this holy house the city began to grow, which owes its importance and very existence to the monastery.

Troublous times followed the advent of the Conqueror. Exasperated by the tyranny of the favourites of Walcher, the first Norman prelate, the people set fire to the church and slew the bishop. Then followed William de St. Carileph, who founded the present church. He expelled the secular clergy, and introduced the Benedictine rule. For the part he took in the rebellion against William Rufus he was exiled for three years, and lived in Normandy. Animated by the sight of the beautiful churches which there abounded he resolved to erect a more glorious edifice on the rugged hill of Durham, and on his return commenced the work. The foundation stone was laid in 1093. He began to build the east end of the choir, and continued the walls as far as the first arch of the nave. After his death in 1096, the prior and convent continued the building until the advent of Bishop Flambard (1099-1128), who carried on the work and nearly finished the nave, aisles, western towers and doorway. The chapter-house was erected by the next bishop, Galfrid Rufus (1133-1140). Bishop Hugh Pudsey (1153-1195) built the Galilee Chapel. In 1229 Bishop Poore, the builder of Salisbury, was translated to Durham; he discovered the unsafe condition of the eastern apsidal walls of his church, and determined to erect the beautiful Chapel of the Nine Altars, which is such a charming specimen of Early English architecture. He did not live to carry out his design, which was continued after his death under the rule of Prior Melsanby. The priors of Durham rivalled the bishops in their zeal for perfecting their noble Cathedral. Prior Darlington erected a belfry, and Prior Fossor part of the monastic buildings and the west windows of the nave in 1342. Bishop Skirlaw (1388-1405) was the chief builder of the present cloisters. In 1429 the tower was struck by lightning, and was rebuilt under the direction of Prior Bell.

The church was now complete, but like most of our cathedrals it has suffered from the evils of "restoration," and Wyatt, the destructive architect of the eighteenth century, was allowed to do much damage. We shall notice his handiwork as we examine the details of the building. There seem to have been great disputes between the bishop and the monks, and the peace of this solemn sanctuary was often disturbed by angry quarrels and open violence. Sometimes the Scots made incursions, and on one occasion William Cumin seized the castle and committed great ravages. In the time of Bishop Hatfield was fought the great battle of Neville's Cross, when, by the aid of St. Cuthbert and his banner, the English won the day, and a hymn of thanksgiving is still sung every year on the top of the tower. The choir used to sing on all the four sides, but on one occasion a choir-boy fell, and ever since they only chant the hymn from three sides.

The Bishops of Durham were great men, holding the rank of temporal princes or Counts Palatine. Their courts were independent of the king, and they could coin money and live as they listed. Moreover, many of them were mighty warriors. Bishop Anthony Bek took part in the Scottish wars, and had a vast army of knights and men-at-arms. It was not until the year 1836 that the dignity of Count Palatine was removed from the holders of the Durham See. Cardinal Wolsey was bishop here for six years, but never set foot in his diocese. The monastery was suppressed by Henry VIII., and a dean and chapter appointed. Many learned and good men have held the See of Durham, and the names of the last two bishops—Lightfoot and Westcott—will always be held in esteem.

The Exterior

As we approach the church from the Palace Green we notice the grand Norman building, which is much the same as when Bishop Carileph left it. At the east end there is the Early English Nine Altar Chapel, at the west the Galilee; the upper portions of the towers, the north porch and a few windows are the only additions, and the whole appearance of the church is at once bold, stern and commanding.

The Central Tower, the work of Prior Bell, was built in 1471. The Bell Ringer's Gallery divides it into two portions, with two windows in each, the lower ones being glazed and the upper louvred. The panelled work, the ogee-shaped labels and the surmounting parapet proclaim their Perpendicular style.

Two Octagonal Towers of Norman character rise at the north corners of the north transept. The Western Towers are Norman as far as the level of the nave roof, the upper portion being added in the thirteenth century, and the pinnacles and parapets at the end of the eighteenth. We have already alluded to the construction of the east end, which replaced the apsidal termination of the original building. The famous rose window is in the gable of the east end, and beneath are nine lofty lancet windows. Notice the sculpture of the Dun Cow in the north angle of the Nine Altars, placed there in 1775.

The Porch was built by Wyatt, and we can endorse the decision of Canon Greenwell, Durham's great historian, that "in its present condition it is a most unworthy and discreditable portal for so magnificent a temple as that into which it ushers the worshipper." The woodwork is ancient, and here we see the famous sanctuary knocker, which criminals used when they wished to gain an entrance and secure the rights of sanctuary from mob violence or secular law. Two porters were employed in watching for fugitives, and directly the refugee knocked he was admitted, clad in a black cloth gown, with a yellow cross on his left shoulder, conducted to a chamber near the south door of the Galilee Chapel, and given shelter for thirty-seven days.

At the west end there is the Galilee Chapel, of Late Norman work, which covers the west door, over the main entrance. This door, walled up by Cardinal Langley in the fifteenth century, and re-opened in 1845, was made by Flambard (1099-1128). It has thirteen detached cartouches, each having an animal or flower within it, and is adorned with chevron ornament. The window was inserted by Prior Fossor (1342-1374), and contained coloured glass, represented "the Stem of Jesse," which was destroyed at the Reformation. In 1867 Dean Waddington restored the glass, reproducing the old design. The arch-destroyer, Wyatt, actually proposed to remove the Galilee Chapel, and make a carriage drive to the west door; but happily his nefarious design was frustrated.

There are two south doorways; the one opposite the north door, known as the Monks' Door, was erected by Bishop Pudsey, and has fine carvings of floral and other designs upon the arches and columns. The mouldings and sculptures are most profuse, the zigzag and double chevron and diaper being extensively employed. The leaf pattern is observed on the arch, and the iron-work of the door is a fine specimen of Norman workmanship. The other doorway, known as the Prior's Door, is of the same date, but the carving is much decayed.

We will now examine the Cloisters, enclosed on the north by the walls of the Cathedral, on the south by the refectory, on the east by the chapter-house, deanery and south transept, and on the west by the dormitory, now, together with the refectory, used as the library, and beneath it the so-called crypt, which was the common hall of the monks. The present buildings were erected by Bishop Skirlaw in the early years of the fifteenth century, the refectory being restored at the Restoration. A stone laver or conduit stood in the centre of the cloister erected in 1432, the basin only remaining.

The Chapter-House was a victim to Wyatt's misdoings, and the greater part was pulled down by him. It has, however, been recently restored in memory of Bishop Lightfoot, and is a noble chamber, having an apsidal termination at the east end, an arcade of interlacing arches running round the wall, and round-headed windows.

The library and museum contains many objects of great interest, including a number of Roman altars and tablets, Saxon crosses and carved stones, remarkable for their beautiful scroll-work. There is the famous Ruthwell cross, memorial crosses of the four last Saxon bishops, Hadrian stone from the Roman wall, the monastic dining-table, a remarkable treasure-chest, with five different locks and keys, and—most interesting of all—the remains of St. Cuthbert's coffin, his robes, and other relics taken from his tomb. Amongst these we notice his stole and maniple and pectoral cross. In another case we see three rings of the first Norman bishops, and the crozier of Bishop Flambard. Durham has many interesting MSS., amongst others the Book of the Landisfarne Gospels, brought away by the monks when they fled from Holy Island, which fell into the waves and still retains the stains of sea water; a MS. of the seventh century, which once belonged to the Venerable Bede, and the Bede Roll (1456 and 1468), containing a list of all the religious houses in England and abroad which were asked for prayers for the souls of Priors Ebchester and Burnaby. The roof is remarkably fine.

The Interior

As we stand at the west door we get a magnificent view of this noble edifice, with its grand Norman cylindrical pillars, 23 feet in circumference, some adorned with zigzag furrows, others lozenge-shaped, with narrow ribs, or spiral, and arches round and carved, with rolls and chevron moulding. The capitals are cushioned, and cut octagonally. Above is the triforium, composed of large arches, enclosing two smaller ones, with cushioned capitals; and higher still the clerestory, composed of single round-headed windows, surmounted by the vaulting ribs, adorned with chevrons. This nave and aisles were built by Bishop Flambard (1099-1128). The roof of stone vaulting was finished in 1133, and Durham is said to be the only Cathedral in England which retains the original stone Norman vaulting over the nave.

The Sanctuary Chamber, wherein the hunted fugitives from justice found a shelter, formerly stood near the south door of the Galilee Chapel, but all traces have been removed. The font is modern, the subjects carved on it representing scenes from the life of St. Cuthbert. The canopy was erected by Bishop Cosin in 1663.

The internal north doorway should be examined, especially the beautiful foliage-work. In the lozenges and mouldings there are some strange creatures represented—a centaur shooting with bow and arrow, a boy being whipped, a man riding a lion, and other curious subjects.

Before proceeding eastward we will see the Galilee Chapel, which was the Lady Chapel, a beautiful specimen of Late Norman work, erected by Bishop Pudsey in 1175. Lady chapels usually stand at the east end, but no women were allowed to enter churches dedicated to St. Cuthbert, who has been accused of misogyny. We notice in the nave a boundary stone, beyond which no female foot might go in the direction of the high altar. We mark a change in the style of architecture from that used in the nave. The arches and columns are lighter, with graceful capitals, on which the volute appears. The style is approaching that of the graceful period of Early English. Cardinal Langley (1406-1437) made extensive alterations in this chapel, heightening the walls, erecting a new roof, inserting Perpendicular windows, closing the west door of the church, and making two other entrances. All visitors will approach with reverence and interest the tomb of the Venerable Bede, the great Anglo-Saxon scholar, and the father of English history. His bones were once covered with a splendid shrine, which the iniquitous commissioners of Henry VIII. destroyed. Now a plain marble slab, with the inscription:

alone marks the grave of this illustrious man. The altar of the Virgin stood in the great western doorway, which was then walled up, of which the stone slab carved with the five crosses, the aumbrey and some colouring alone remain. The builder of this chapel, Cardinal Langley, lies buried here, and his monument remains. Some much-damaged mural paintings mark the site of the Altar of Our Lady of Pity. The paintings are supposed to represent St. Oswald and St. Cuthbert. There is some uncertainty about the origin of the name "Galilee." Most probably it arose from the custom of the monks to go in procession at certain times around the church, and to halt at certain stations in memory of our Lord's appearance after His Resurrection. His last appearance was on a mountain in Galilee; it is therefore not improbable that the place where the procession made its final halt should receive that name. Here in ancient times the consistory court held its sittings, and here the commissioners of Henry VIII. met and destroyed, or appropriated, the rich store of treasures, the vestments, plate and ornaments which had been given to the Cathedral by countless generations of pious benefactors. Again entering the nave in the south aisle, we see the Neville monuments, which have been much mutilated by the Scottish prisoners, or during the Reformation period. Between the fifth and sixth pillars is an altar tomb to the memory of Lord John Neville and his wife Matilda (1386), daughter of Hotspur. The matrix of the brass of Bishop Robert Neville (1438-1457) is in front of this. In the next bay is the altar tomb of Lord Ralph Neville and his wife, Lady Alice (1374), who founded the Neville Chapel. Holes in the pillar show where the iron grating stood which divided the chapel from the rest of the church, and in this enclosure there was "an altar with a fair alabaster table above it, where Mass was daily celebrated." Traces of the colouring which once adorned this beautiful chapel can still be seen.

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.