The cathedral now consists of part of the original nave (the two eastern bays only) with aisles; and north and south transepts without aisles, but with a chapel on the east side of the south transept; the central tower; and the choir with north and south aisles and ambulatory or retro-choir.The Nave.—Entering by the modern doorway on the north, we are at once in the fragmentary nave, of Early Norman work. Its present length is about 38 feet and width about 60 feet. In 1645 the Scots destroyed about 100 feet of the nave, and it has never been rebuilt. This mutilation has had a serious effect upon the proportions of the building, and induces a feeling of want of balance. The open timber roof, raised to the original height, was substituted at the restoration for a flat ceiling which had been put up at a previous "embellishment" of the cathedral. Bishop Walkelin made use of similar roofs in Winchester Cathedral (1070-1097).

The triforium (1140-50) has in each compartment a semi-circular arch entirely without ornament.

The clerestory consists of three arches supported by columns with carved capitals; the centre arch, which is larger than the other, is lighted at the back by a round-headed window.

We may say that the nave is

"propped

With pillars of prodigious girth."

They are massive circular columns nearly six feet in diameter, and support semi-circular arches. The capitals of those on the south side are carved with leaf ornament; the rest are plain. Against the wall between each arch is a semi-circular engaged shaft reaching to the base of the triforium. The arches near the tower have been partly crushed owing to the shifting of the tower piers caused by faulty foundations. About 1870 the west end of the nave was restored by Mr. Christian. The window is filled with glass, in memory of the Rev. C. Vernon Harcourt, canon and prebendary of Carlisle (d. 1870).

One of the south aisle windows—the "Soldiers'" window—is in memory of men and officers of the 34th (or Cumberland) [**Transcriber's note: corrected typo, close parentheses] Regiment, who fell in the Crimea, and in India during the mutiny. Three Old Testament warriors appear in stained glass—Joshua, Jerubbaal ("who is Gideon"), and Judas Maccabeus. The battle-torn fragmentary regimental colours hang from the arch opposite. Just beneath this window a doorway (now blocked up) formerly led from the cloisters into the nave.

Up to the year 1870 the nave was used as a parish church. The cathedral from its beginning as the priory church, in accordance with a very common practice of the Augustinian body, contained two churches belonging to two separate bodies quite independent of each other.

The choir and transepts formed the priory church, in the possession of the prior and canons until the dissolution of the monastery, when it passed to the dean and chapter. The nave formed the parish church of St. Mary, and belonged to the parishioners. After the civil wars it was cut off from the transepts by a stone wall, and furnished with galleries and a pulpit. A new church to accommodate the parishioners having been built in the abbey grounds in 1870, all these additions were removed, and the nave was restored to the cathedral, adding greatly to the general effect. An interesting event in the history of the parish church was the marriage of Sir Walter Scott to Miss Carpenter on the 24th December 1797.

He had made the acquaintance of Miss Carpenter at Gilsland in July while touring in the Lake district. She had "a form that was fashioned as light as a fay's, a complexion of the clearest and lightest olive; eyes large, deep-set, and dazzling, of the finest Italian brown; and a profusion of silken tresses black as the raven's wing." Scott was strongly attracted to her, and within six months she became his wife.

A tombstone under the west window shows the matrix of what was once a magnificent brass.The Font, standing on a fine marble flooring close to the west window, has bronze figures of St. John Baptist, the Virgin and Child, and St. Philip. It was designed by Sir A. Blomfield, and presented by Archdeacon Prescott 1891.

The Organ.—The former organ built by Avery, London, has been given to Hexham Abbey Church. The present one extends from one side of the eastern tower arch to the other. It was built by Willis (1856), and the diaper work was executed by Hardman. About the year 1877 it was enlarged at a cost of nearly £1000.

North Transept.—The transept is very lofty and very dark. It is about 22 feet wide, and its length from north to south is nearly 114 feet.

Standing near the entrance to the north choir aisle, looking southwards and across the nave, a capital general view of the remains of the Norman portion of the cathedral can be obtained.

This end of the transept was rebuilt after the fire of 1292. Having been greatly injured by another fire that broke out about a hundred years later, Bishop Strickland rebuilt it (1400-19.) During the restoration of the cathedral it was once again rebuilt.

On the west side is a Norman arch, the entrance to the north aisle of the nave. The sinking of the tower piers has partly crushed it out of shape. The portion of an arch visible above, acts as a buttress to the tower arches. To the right is a late thirteenth-century window filled with glass in memory of the Rev. Walter Fletcher, Chancellor of Carlisle (died 1846). This window exhibits plate tracery—tracery cut, as it were, out of a flat plate of stone, without mouldings, not built up in sections. It is the transitional link between the lancet and tracery systems.

The doorway in the corner communicates with the transept roof.

The north window is very large, and is filled with stained glass in memory of five children of A.C. Tait, Dean of Carlisle, afterwards Archbishop of Canterbury. They all died of scarlet fever in the short space of five weeks, 6th March to 9th April 1858.

This end of the transept was till quite recently railed off, and used as the consistory court of the Chancellor of Carlisle.

Originally the transept had a chapel on the eastern side opening with a single arch, similar to St. Catherine's Chapel in the south transept.

The opening to the north choir aisle is Decorated in style; above this is a portion of an arch for buttressing the tower-arches.

To the right is the blocked-up entrance of the old Norman choir aisle, an exact counterpart of the present south choir aisle entrance.

The roof is now an open timber one of the original pitch.

Near the north-east pier of the tower is a well, completely covered over. This, it is said, was done by a former dean, on the supposition that the well, or the water, in some occult fashion, affected the music in the cathedral.The Tower was rebuilt by Bishop Strickland (1400-19), who used the Norman piers, and placed upon them other columns of about the same length. The Early Norman piers have square-fluted capitals and are a little higher than the arches of the nave. The added columns have capitals carved with birds and foliage, and are carried up to the arches of the tower. This rebuilding was rendered necessary by the shifting of its foundations. The piers sank nearly one foot, and the arches near them have been to some extent distorted. Springs of water are said to run across the transept from north to south, and this may explain the sinking, which probably happened before the erection of the present choir.

Clustered columns uphold the transept arches, but the western and eastern arches are supported on each side by a single column terminating in a bracket at about the level of the base of the triforium. This was arranged so as to increase the width of the passage between the piers from the choir to the nave.

The decoration of the eastern arch capitals consists of the badges of the Percy family—the crescent and fetterlock. Hotspur was Governor of the town and Warden of the Marches under Henry IV., and it is probable that he aided in the work of the bishop. The western arch capitals have, as decoration, the rose and escallop shell alternately—badges of the Dacres and Nevilles, who also may have been benefactors to the cathedral.

Across the north transept from the upper capitals is a depressed arch of stone with Perpendicular tracery.

South Transept.—With the exception of the wall itself, the south arm of the transept is modern. The ancient wall, eight feet thick, is quite suitable for a fortress. A richly-decorated modern doorway has been made, and above it is a window by Powell, representing the "Days of Creation."

The west wall is out of the perpendicular through the shifting of the tower piers, and the Norman arch, opening to the south aisle of the nave has also been distorted. To the left is a round-headed window, filled with glass in memory of the Rev. W. Vansittart, canon and prebendary of Carlisle 1824.

The triforium has a plain rounded opening.

The clerestory is very much like that of the nave, but is not so regular in construction, the architecture being merely massive and destitute of ornament, except in the case of the capitals, which are very sparingly decorated.

On the east side of the transept, the second arch from the doorway, is the entrance to the south choir aisle. It is Norman, ornamented with a simply executed but very pleasing zigzag: the capitals of the piers are cushioned. On the whole, it is much the same as the arch immediately opposite, opening on the south aisle of the nave.

All this side of the transept, with the exception of the small doorway (which was built a few years later), dates from about 1101.

St Catharine's Chapel.—Between the choir aisle entrance and the modern doorway is another Norman arch, which is the entrance to St. Catherine's Chapel—a chantry of Early Decorated style erected on the walls of a former Norman building.

Jefferson says: "In most large churches, altars, distinct from that in the chancel, were founded by wealthy and influential individuals, at which masses might be sung for the repose of the dead; the portion thus set apart, which was generally the east end of one of the aisles, was then denominated a chantry: in it the tomb of the founder was generally placed, and it was separated from the rest of the church by a screen. In the fourteenth century this custom greatly increased, and small additional side aisles and transepts were often annexed to churches and called mortuary chapels; these were used indeed as chantries, but they were more independent in their constitution, and in general more ample in their endowments. The dissolution of all these foundations followed soon after that of the monasteries.

"In the year 1422 Bishop Whelpdale at his death left the sum of £200, for the purpose of founding and endowing a chantry for the performance of religious offices for the souls of Sir Thomas Skelton, knight, and Mr. John Glaston, two gentlemen with whom he had been on terms of intimate friendship, and who were buried in the cathedral. Nicholson thinks it probable this was the chantry of St. Roch; its revenues were valued at £2, 14s. per annum.

"There was another chantry dedicated to St. Cross; but the period at which, and the person by whom it was founded are not known. It was granted by Edward VI. 'with all messuages, lands, tenements, profits, and hereditaments belonging thereto,' valued at £3, 19s. per annum, to Henry Tanner and Thomas Bucher.

"The chapel of St. Catherine in the Cathedral of Carlisle was founded at an early period by John de Capella, a wealthy citizen, and endowed by him with certain rents, lands, and burgage houses. In the year 1366 a portion of its revenues being fraudulently detained, Bishop Appleby commanded the chaplains of St. Mary's and St. Cuthbert's to give public notice that the offenders were required to make restitution within ten days on pain of excommunication with bell, book, and candle. Its revenues, according to the rotuli, called the king's books, which were made up in the reign of Henry VIII., were valued at £3, 2s. 8d. per annum."^[3]

Some very fine foliated brackets can be seen in the arch between this chapel and the choir aisle.

Dividing the chapel from the transept and aisle is some exquisite carved screen-work (Late Decorated) dating from the latter part of the fifteenth century, and attributed to Prior Gondibour. Its great beauty, and the skilful variations of the designs, will repay careful inspection. The chapel now serves as a vestry for the clergy: but it is to be regretted that it cannot add to the beauty of the cathedral by being utilised for its proper purpose.

The pointed doorway on the left, originally opened on to a well which was closed in the course of the restoration of the building. The position of Carlisle on the border making it liable to sudden attacks in early times, it is probable that the inhabitants may have taken sanctuary in the cathedral many a time, when a well of water would be of great advantage to the refugees.

Monuments in the Transepts.—North Transept. Near the entrance to the north choir aisle stands the altar-tomb of Prior Senhouse. It is covered with a slab of dark blue marble. An inscription runs thus: "The tomb of Simon Senhouse, Prior of Carlisle in the reign of Henry VII. The original inscription being lost, the present plate was substituted by the senior male branch of the Senhouse family, A.D. 1850. Motto, 'Lothe to offend.'"

It was on this tomb that the tenants of the priory were accustomed to pay their rents.

South Transept.—On a stone in the west wall (now covered with a pane of glass) is an inscription which was discovered in 1853. It is written in Norse runes, and is as follows:—

"Tolfihn yraita thasi rynr a thisi stain."
"Tolfihn wrote these runes on this stone."

The runes are Norse, not Anglo-Saxon. The latter are not often found, but the former are scarcer still. The runes, perhaps, date from the eleventh century.

There is also a marble tablet containing a medallion likeness of George Moore.

"A man of rare strength and simplicity of character,
of active benevolence and wide influence.
A yeoman's son
he was not born to wealth
but by ability and industry he gained it,
and he ever used it
as a steward of God and a disciple of the Lord Jesus Christ
for the furtherance of all good works."

George Moore was born at Mealsgate, Cumberland, the 9th April 1806. He went to London in 1825. Two years later he was working for Fisher, Stroud & Robinson, lace merchants, as town traveller, and, soon after, as traveller in the north of England. He was so successful that he was nicknamed "The Napoleon of Watling Street." When he was twenty-three he accepted an offer from a firm of lace merchants, Groucock & Copestake, to become a partner. He gave up travelling for orders in 1841, but soon suffered in health. As a remedy he took to following the hounds, and later (in 1844) went on a three months' trip to America. On his return he started on his career of philanthropy which has made him famous. A few of the institutions for which he worked, and to which he contributed largely, may be mentioned; the Cumberland Benevolent Society, the Commercial Travellers' Schools, the British Home for Incurables, the Warehousemen and Clerks' Schools, the Royal Free Hospital, and the London City Mission. Various Cumberland charities found in him a generous supporter. He met with his death in Carlisle. Knocked down by a runaway horse, 20th November 1876, while on his way to attend a meeting of the Nurses' Institution, he died the next day from his injuries. The following was a favourite motto with him:—

"What I spent, I had, What I saved, I lost, What I gave, I have."

There is a memorial tablet to Robert Anderson, "the Cumberland Bard," 1770-1833. Born in Carlisle, he had but little schooling, and at ten years of age he was earning wages as assistant to a calico printer; later, he was bound apprentice to a pattern-drawer in his native city. He went to London to pursue his calling, and he seems to have been led to attempt to write poetry through hearing some imitation Scottish songs sung at Vauxhall. He published his first volume in 1798, and his Cumberland Ballads in 1805. His verses, not altogether destitute of real poetry, are valuable for the pictures they give of obsolete manners and customs of the district.The Choir.—A low doorway in the eastern arch of the tower gives entrance to the choir. Some of the woodwork of the stalls fills the lower part of this arch, and the entrance has been placed towards the north, so as to open exactly on the centre of the choir. In point of beauty the choir compares favourably with any we possess in England, and the eye can rest upon it again and again with renewed satisfaction and delight. Its superb main arcade, with the boldly-designed and finely-carved capitals representing the twelve months of the year—unrivalled in this country; its handsome clerestory windows; its great east window (the pride of the cathedral); and, overhead, its richly-coloured roof, unique in shape, afford a combination not easily to be surpassed.

The choir is about 134 feet long, 34 feet 6 inches wide between the columns, and 72 feet 6 inches between the aisle walls.

The nave is not so wide by about 12 feet, and as the columns of both nave and choir on the south side are on the same line, the extra width is all on the north.

Looking westward, the view is marred by the tower arch not being in the centre of the west wall, in consequence of which there is an ugly space of blank wall between the arch and the north choir aisle.

There are eight bays, averaging about 18 feet in width. Those at the end, however, east and west, are not so wide. At the east they probably suffer from the intrusion of the east wall, which is about six feet thick. The western bays may have lost the space taken for the choir entrance. They have very acute arches, and at the west end rest on responds or half-piers against the tower walls. Those at the east end rest on brackets, and their mouldings lose themselves in the wall on each side of the great window.

The presbytery is reached by two steps from the choir, and the last bay but one (in which the altar stands) is raised three steps above the presbytery.

The main arcade practically dates from after the terrible fire in 1292. The arches escaped, and are splendid specimens of Early English, "of the Pointed style in all the purity of its first period." They were underbuilt with Early Decorated piers, while the capitals were finished at the same time as the triforium and clerestory (Late Decorated) 1350-1400.

The piers are not equal in diameter to those of the nave; they measure but five feet and a quarter. Each consists of eight clustered pillars of red sandstone. The four facing the cardinal points of the compass are larger than the intermediate ones, which are filleted. The base moulding is very deep and hollow. These piers support the Early English arches, with dog-tooth ornament large in the interior, small in the exterior. Altogether, these fine arches give a very pleasing impression of lightness and grace, and make us feel "the fascination of the Pointed style."

At the junctions of the arches are small grotesque heads very well executed. On the north side, where the presbytery begins, is a queen's head, and on the opposite side a figure with a dog's head.

There are altogether fourteen complete, and two half piers, the capitals of which are carved with foliage alone, or with the addition of winged monsters, birds, beasts, and human figures. Twelve of them represent the domestic and agricultural occupations of the months. The first capital on the south side (east end) shows a creature with a man's head, wings, and a tail terminating in the head of a serpent, which bites the monster on the temple. January is symbolised on the next one, and the series continues westward, then crosses over, and proceeds from west to east on the north side, finishing at the last pier but one.

January.—A figure in a loose-fitting tunic, sitting down. He has three faces—two in profile—and is drinking with the right and left mouths. At his feet is a third vessel.

February.—A man in a loose tunic, and head closely wrapped up. He appears to suffer from cold, for his face is woe-begone, and he is sitting over a fire, holding out one boot upside down as if to drain water from it, while he lifts up one foot to catch the heat. The fireplace is very skilfully carved.

March.—A man, hood on head, digging with a spade at the foot of a leafless tree. Other decorations are, a squirrel, a bear with hands, birds, and a beast's body with a mitred head.

April.—A bare-legged man with his head tied up, pruning a tree. On this capital are also two figures half-human, half-bestial, clasping each other round the neck.

May.—A woman in a long gown holding in each hand a bunch of foliage, which she offers to a young man clad in a tunic, with his hood thrown back. In addition there are three winged beasts with human heads, one mitred.

June.—A horseman, bareheaded, holding on his right hand a hawk, and bearing a branch of roses in his left hand. There are also some half-human figures, and men playing musical instruments. This capital is more elaborately carved than any of the others.

July.—A man mowing. In addition there are owls carrying mice in their mouths.

August.—A man working in a wheat-field. He wears a conical hat, and grasps a crutch with one hand while he holds a pruning hook in the other.

September.—A man reaping with a sickle.

October.—A man whose head is tied with a handkerchief; he is engaged in cutting grapes. A fox carrying off a goose is also vigorously carved on this capital.

November.—A man sowing grain from a basket. There is a stag on his right and a horse on his left hand.

December.—A man wearing a loose tunic, who is about to fell an ox which another man holds by the horns. In addition there is a man tending swine.

The last capital shows several heads, and a man sitting on a tree stump.

In each bay of the Triforium there are three arches with curvilinear tracery. The principal mullions have octagonal bases. On account of their reduced width, the extreme eastern and western bays have only two arches.

The courses of stone above the base of the triforium are not by any means so smooth and well-proportioned as those beneath. The workmen do not seem to have been actuated by the spirit of those builders "in the elder days of Art" who

"... wrought with greatest care Each minute and unseen part, For the gods see everywhere."

The Clerestory consists of two planes. Each compartment on the face of the choir wall has three high-pitched arches, the middle one being higher than those at the side, and more than twice as wide in the opening. The eastern bay has only the central arch, while the western bay is blank.

The base is decorated with a low parapet pierced with quatrefoils, four in the centre, and two in each side opening. On the south, however, the quatrefoil decoration is slightly different. There are only three quatrefoils in the centre and two smaller ones on each side. This parapet is in great part a restoration, the original having been almost entirely removed, in the vain hope of admitting more light to the lower part of the choir.

In the other plane the windows are in triplets, three lights in the central and single lights on either side, decorated with flamboyant tracery.

The eastern bay has no side lights.

Although the windows seem to be all different, there are but six varieties, distributed as follows:

On the north side beginning at the east the design of the first window is not repeated. That of the next window occurs in the second window on the south side. The third and fifth are alike. The sixth and the last are like the fourth. The design of the seventh window does not occur again.

On the south side one new pattern appears in three windows—the first, fourth, and sixth from the east. The second is like the window opposite, and the third, fifth, and seventh are like the third on the north side.

Of all the windows the second from the east is the most beautiful.

Before 1764 they were filled with stained glass of which some remains are still to be seen. The trefoil heads above the mullions have a brown border with the insertion in some cases of a yellow diamond ornament, and in others of a crown.The Roof—This unique specimen of a waggon-headed ceiling, semi-circular in all its parts, is of oak. Bishop Welton began its construction about 1350. A plaster ceiling, put up in the year 1764, hid this fine timber roof until its removal in 1856. It was then found that enough remained of the original to allow a faithful restoration to be made. But the scheme of colouring—red and green upon white—was not copied. In its stead Owen Jones suggested another—a background of blue plentifully ornamented with golden stars.

The Saturday Review is responsible for the statement—for the truth of which, however, it does not vouch—"that on the first occasion when Dean Close found himself beneath the roof, then glowing in all the brilliancy of modern painting and gilding, in semblance of 'the spangled firmament on high,' he solemnly ejaculated, 'Oh my stars!'"

At the triforium base foliated brackets support vaulting shafts of three clustered columns. At the point of contact with the base of the quatrefoil parapet they are ornamented with rings, and their capitals are foliated, but not so naturally as the capitals below. Great semi-circular rafters spring from the capitals and cross the choir. Smaller rafters start from the cornice of the clerestory. These are intersected in the centre of the ceiling by a longitudinal beam. Small moulded ribs divide the space between each great rafter and the longitudinal beam into sixteen panels. The intersections are decorated with carved bosses.Hammer-beams.—From the foot of three of the principal ribs hammer-beams project. They seem to indicate an intention on the part of the builders to cover the choir with an open-timber roof like that of the Great Hall at Westminster. But having decided on the waggon-headed roof, they did not trouble to remove these beams. Wall pieces and curved struts now connect them with the vaulting shafts, and they have been decorated with "carvÈd angels ever eager-eyed, with hair blown back and wings put cross-wise on their breasts."

More than one hundred carved figures ornament the cornice, and the following texts in black-letter appear above them:—

North Side.—Keep thy foot when thou goest to the house of the Lord. (Eccles. v. 1.)

Lift up your hands in the sanctuary and bless the Lord. (Ps. cxxxiv. 2.)

Praise ye the name of the Lord. (Ps. cxxxv. 1.)

Praise God in His sanctuary, (Ps. cl. 1.) Exalt ye the Lord our God and worship at His footstool. (Ps. xcix. 5.)

South Side.—How amiable are Thy tabernacles, O Lord of Hosts! (Ps. lxxxiv. 1.)

My praise shall be of Thee in the great congregation. (Ps. xxii. 25.)

O magnify the Lord with me and let us exalt His name together. (Ps. xxxiv. 3.)

Holiness becometh Thine house for ever. (Ps. xciii. 5.)The great East Window is the crowning ornament and special glory of the cathedral. It is unsurpassed by any other in the kingdom; perhaps there is not a window equal to it in the whole world.

Rickman says: "It is one of the finest if not the finest Decorated window in the kingdom. Its elegance of composition and the easy flow of its lines rank it even higher than the celebrated west window of York, which it also excels in the number of divisions. The window is by far the most free and brilliant example of Decorated tracery in the kingdom."

Fergusson, in his "History of Architecture," also praises it: "Its upper part exhibits the most beautiful and perfect design for window tracery in the world. All the parts are in such just harmony the one to the other—the whole is so constructively appropriate and at the same time so artistically elegant—that it stands quite alone, even among windows of its own age."

"The stone-work of all this part (the east window) is entirely new, although it reproduces most minutely the original design" (King, 202-3).

"The whole of the mouldings, both of the mullions and tracery, externally are nearly destroyed, owing to the perishable nature of the stone with which it is constructed" (Billing, p. 60 (1840)).

This great window almost entirely fills the east end of the choir, being 51 feet high from the sill to the top of the tracery and about 26 feet wide in the clear.

Immediately after the fire in 1292, the work was started, and the jambs with their slender shafts and foliated capitals were erected. Nothing more was done till about the middle of the fourteenth century, when the arch mullions were added; and the tracery dates from about the end of the same century. The mouldings were left unfinished until the restoration of the cathedral, 1856. The tracery (Decorated) is composed of eighty-six pieces struck from 263 centres. Some of the pieces forming the chief divisions are nearly five feet in length. Although the stone-work is modern, the design has been most faithfully copied from the original. In the lower part there are nine lights, no other Decorated window in existence having so many. The west window of Durham Cathedral (partly copied from, but inferior to, the west window of York) and the Rose window in the south transept at Lincoln are of the same character; but that of York ranks next in importance, and is the only window able to compete with the east window of Carlisle.

The design consists of two complete compositions united under one head by interposing a third. The York window, on the contrary, is altogether one complete design, from which no part can be separated without breaking the integrity of the composition.

The width of the opening is the same in both windows, but while the actual tracery of the York window is more than two feet higher, the Carlisle window is greatly superior in the beautiful arch mouldings above its tracery, and also in the side shafts and mouldings.

Again some stiffness is imparted to the design of the York window by the central mullion which reaches from the basement to the top of the arch. The tracery branches outwards from this on each side, and depends upon the arch for support; while the tracery in the Carlisle window is not so dependent. Neither in skilful workmanship nor in variety of ornament is the York window equal to that at Carlisle. With the exception of four quatrefoils (placed above each alternate mullion) it is composed of trefoils. Carlisle, on the contrary, possesses nine quatrefoils, in addition to four placed like those at York. Nearly all the small spandrels formed by the various ornaments are perforated, and this imparts a remarkable air of lightness to the window.

The beautiful stained glass in the tracery is all that remains of the ancient glass. It is of the time of Richard II., and was no doubt preserved because of the expense that reglazing its small intricate forms would have involved. The subject is a Doom—the Resurrection, the Last Judgment, and the New Jerusalem.

"We have our Lord sitting in judgment; the Procession of the Blessed to the Palace of Heaven; the Place of punishment for the wicked; and the general Resurrection.

"The figure of our Saviour is in the uppermost quatrefoil of the central compartment; His countenance will bear the closest inspection; it exhibits evident traces of suffering, but is calm, severe, and dignified. His head is surrounded by a cruciform nimbus. Below this are two quatrefoils, easily distinguished by their silvery appearance. These represent the Procession of the Redeemed to the heavenly Jerusalem, whose towers and pavilions are shown in the quatrefoil to the right. St. Peter stands in the gateway in an attitude of welcome; at his feet flows the River of Life, which some of the Redeemed have reached. The red glare of the Place of punishment makes it easy to be distinguished; the tortures represented are of the most realistic character, and the devils are very material beings, with tails, hoofs, and horns.

"The rest of the picture is occupied with the representation of the general Resurrection:—the dead rising from their graves—ecclesiastics are vested, but laity rise naked, though kings wear their crowns: several bishops are among the crowd, and a pope wearing the triple tiara. Some of the ecclesiastics are bearded, and probably are intended for canons of the cathedral, who, being Austin or Black canons, would wear their beards.

"In one of the quatrefoils, just above the mullions, is a figure surrounded by a heraldic border; this represents John of Gaunt, who was Governor of Carlisle from 1380 to 1384. It is said that he supported the prior, William de Dalston, who refused obedience to the bishop, and had been excommunicated; and that, out of gratitude, he was thus represented in the east window."^[4]

A "Jesse," which originally filled the lower part of the window, was destroyed at the Reformation. The present glass was inserted in 1861, in memory of Bishop Percy (d. 1856). It represents events in the history of our Lord. Although the colours do not harmonise well with the old glass, they are in accord with the gorgeous colouring of the ceiling. Like most of the stained glass in the cathedral, this is by Hardman of Birmingham.

Bishop Strickland (1399-1413) erected the Stalls, which are of black oak, and occupy the three western bays of the choir. Our English cathedrals are far ahead of foreign cathedrals in the beauty and richness of the tabernacle work of their stalls, which in many instances are "like a whole wood, say a thicket of old hawthorn, with its topmost branches spared, slowly transformed into stalls." These in Carlisle, if not among the finest specimens in England, certainly take very high rank.

There are forty-six compartments, divided by fifty columns, upon which the tabernacle work rests. Each compartment consists of a large canopy decorated with quatrefoils, and battlemented. This is surmounted by three smaller canopies and pedestals which were originally occupied by small carved figures. A large pinnacle, richly decorated, like the others, with crockets and finials, finishes the compartment.

Between each stall is a small buttress beginning at the capital and finishing somewhat beneath the top of the large pinnacle. These buttresses have, alternately, a pedestal with a canopy above; and a pedestal supporting a small flying-buttress terminating in a pinnacle enriched with small crockets.

Prior Haithwaite is said to have added the tabernacle-work after the year 1430.

The division between each stall shows either a well-executed foliated ornament, or an angel. In the north-west and south-west angles the elbows of the seats are carved with the head of a king supposed to represent Henry IV. The panels of the desks are elaborately worked, and the stone plinth which supports them is decorated with quatrefoils.

The stalls at the west end of the choir are wider than the others, and are used by the higher dignitaries of the cathedral.

The Dean's stall is on the left of the choir entrance, and the Bishop's on the right. This arrangement is said to have existed since the time of Æthelwulf. He was the first prior, and upon his elevation to the bishopric he still kept the prior's seat.

The hinged seats, known as misereres or misericordes, were constructed to keep the monks from falling asleep while at prayers. The carvings beneath these seats are of different designs, generally grotesque.

The following is a list of the subjects found carved thereon:—

NORTH SIDE

SOUTH SIDE

A dragon swallowing a man. Bird and young. Dragon and lions. Three dragons, one with a human face. Winged figure with a tabour. Dragon devouring a bird. Coronation of the Virgin. Three griffins. Pelican in its act of piety. Dragon and lion fighting. Griffin and two young ones. Two dragons joined together. Two storks eating out of a sack. Figure with wings, claws, and human face. Angelic musician. Two eagles. Double-headed eagle. Fox and goose. Two dragon bodies with a human head. Angel playing an instrument. A man with two eagles plucking his beard. Dragon, and two lions with human faces.

Two angels. Dragon. Bird and beast fighting. Human head on two animal bodies. Winged dragon. Winged serpent. Two beasts with one head. Two men fighting. Griffin with human head. Dragon and foliage. Two eagles holding the head of a beast. Fox and goose. Human figure with four wings. Man and dragon fighting. Angel bearing a shield. Angel and dragons. Pelican in its act of piety. Boar killing a man. Man holding two dragons. Dragon killing a beast. Mermaid. Dragon and lion in combat.

The Salkeld Screen.—On the north side of the choir, the westernmost bay of the presbytery is filled by a fine wooden screen of Renaissance work, erected about 1542 by Lancelot Salkeld, last prior and first dean of Carlisle. It is divided into three compartments; through the central one entrance could be gained to the choir formerly by an ascent of three steps from the north choir aisle.

It is very elaborate, and some portions are very beautiful. The lower part is panelled, each panel having two heads carved in bas-relief. The upper part is of well-executed tracery work.

Over each compartment is a pediment decorated in the centre with shields. The western one has been restored. The initials L.S. and D.K. (Lancelot Salkeld, Decanus Karliolensis) occur on the screen. The other bays were originally filled with screen-work similar to that in St. Catherine's Chapel. In 1764 these screens were removed and stored in the Fratry crypt as lumber. In the end they were used as firewood; only a few pieces preserved by the neighbouring gentry escaping destruction. A stone screen now surrounds the sacrarium on three sides. The reredos is higher than this screen. It is arcaded, and its compartments have triangular-headed canopies and some well-executed figures. The late Mr. Street designed it, and its cost was £1790. The Bishop's Throne, of English and foreign oak, was also designed by the late Mr. Street. The canopy of the throne is nearly thirty feet high.

The Pulpit is a memorial of Archdeacon Paley, who is buried close at hand in the north choir aisle. It is of richly-carved Caen stone, on a plinth of black Manx marble, and ornamented with carvings in white alabaster, of scenes from the New Testament. In shape it is hexagonal, with shafts at the angles rising into an enriched cornice. The lectern—a brass eagle—was given in memory of the late G.C. Mounsey, sometime diocesan registrar.

In the middle of the choir is a monument to Bishop Bell. On a blue slab under a triple canopy, the centre pediment of which has I.H.S., and its point the Deity and Christ, is a brass figure of a bishop in pontificalibus, mitre and gloves; his right hand holds on his breast an open book inscribed—

Hec mea
Spes in sinu meo

His left hand, over which hangs the maniple, has a rich crosier. On a semi-circular scroll over his head—

Credo q^d redemptor meus vivit et novissio die de terra surrectur
su et in Carne mea videbo deu salvatore275; meu.

Under his feet—

Hac marmor fossa Bell presulis en tenet ossa
Duresme dudu prior his post pontificatu
Gessit atq' renuit primum super omia querit
Dispiciens mudu poscendo pramia fratru

On the ledge round the slab—

Hic jacet Reverendus Pater Ricardus Bell quondam Episcopus Karleolensis qui ab hac luce migravit videlicet vicesimo Quarto die ... Anno Domini.... Et omnium fidelium defunctorum. per misericordiam dei requiescant in perpetua pace. Amen." The ancient high altar probably stood one bay nearer to the west than the present altar. There, in the presence of Bishop Halton, Robert Bruce took an oath of fidelity to Edward I. Ten years later he proved false to this oath, and the Papal Legate solemnly excommunicated him with bell, book, and candle.

Very shortly after this, Edward I. dedicated the litter in which he had journeyed thus far, and mounting his horse at the cathedral door rode through the priory gateway bent on the conquest of Scotland. He never lived to reach that country, for he died in sight of the Scottish coast at Burgh-on-Sands.North Choir Aisle.—This aisle is entered by a handsome Decorated arch, a very good example of thirteenth-century work.

The north wall, with the exquisite two-light lancet windows, is Early English, and dates from the period immediately after the demolition of the Norman choir about 1260.

Each compartment of the cinquefoil wall-arcade is separated by triple columns, and the space divided into four parts by shafts, barely detached from the wall, supporting foliated arches. This is the general description for both north and south choir aisles.

The eastern bay belongs to the retro-choir, and is of later date.

Above the wall-arcade are the graceful two-light lancet windows, with their slender columns, deep mouldings, and rich dog-tooth decoration.

In each bay there are four divisions; the two outer ones blank, and the two others forming the window. The shafts are detached from the wall; the central one is higher than the rest, and its capital is foliated. From the outer columns in the blank divisions, the shoulder, or hipped rib, after rising a short distance, sinks to the level of the capitals of the vaulting columns. At the side of the window columns two small circular mouldings, decorated with small dog-tooth ornament, continue without a break round the head of each window. A large blank quatrefoil is inserted in the space between the lights and the outer arch moulding.

The corner column (north side of entrance) has been inserted by cutting away part of the east wall of the north transept. Like the aisle it dates from about the last half of the thirteenth century. On its capital there is the spring of a pointed arch, enriched with dog-tooth ornament similar to the entrance arch.

Probably it was intended to pull the north transept down, and rebuild it with the addition of an eastern aisle. This column would then have been part of it. The existence of an offset on the north face of the aisle wall, with the return of the base-course and string-course upon it, seems to add weight to this theory.

The nearest clustered column to it has also been altered, and consists of five shafts instead of three. A rib springs from the additional shafts to the centre of the corner column. There are also remains of groining like that of the aisle.

The bay near the entrance has a window (Perpendicular) dating from after the Civil Wars. Beneath this there was formerly an entrance to the cathedral. This has now been walled up.

The groined stone roof dates from after 1292, although, perhaps, it is composed of materials of an earlier date.

On the south side of the entrance is a very beautiful foliated bracket; the foliated boss at its base was at one time ornamented with a very fine knot.Monuments in North Choir Aisles.—In the third bay from the east are two low-arched recesses. Being of the same date as the aisle, they may have been intended to receive the statues of the bishops who did their best to repair the ravages of the fire in 1292. The arches are almost flat, and decorated with a kind of chevron moulding very rarely met with. In Burpham Church, Sussex, there is another example of this moulding applied to the decoration of the south side of the south transept arch.

A bishop's effigy is in the eastern recess. It is of Early English date; and before 1292 was situated within the choir. Afterwards a niche was cut in the fourth bay from the east for its reception. It was eventually placed in its present position at the time of the restoration of the cathedral, and the other niche filled up. It may possibly represent Bishop Silvester of Everdon. It has suffered damage during its migrations in the cathedral; and the feet are broken. This was probably done when it was removed from the choir to the aisle (1856). Jewels which originally enriched the mitre and the cross on the breast have disappeared.

In the next bay to the east is a small mural brass plate finely engraved in memory of Bishop Robinson (1598-1616.) He was a native of Carlisle, and, entering Queen's College, Oxford, as a "poor serving child," eventually became provost, and proved a great benefactor to that foundation.

"The bishop is represented in pontificalibus, kneeling, with one hand supporting a crosier; the other is sustaining a lighted candle, and holding a cord to which three dogs are attached, who appear guarding an equal number of sheepfolds from the attack of wolves. Below the candle is a group of figures bearing implements of agriculture and peaceful industry; near their feet is a wolf playing with a lamb; and various warlike instruments scattered and broken. Each part is illustrated with appropriate Greek and Latin sentences chiefly selected from the Scriptures. Behind the bishop is a quadrangular building, enclosing an open court, and apparently intended to represent the college which he had so much benefited.

"Over the gateway is a shield charged with three spread eagles, being the arms of Robert Eglesfield, the founder of that college; on the college are the words, Invenit destructum; reliquit extructum et instructum (he found it destroyed; he left it built and furnished). Above this building is the delineation of a cathedral; over the entrance is inscribed—Intravit per ostium (he entered by the door); on a label across the entrance is Permansit fidelis (he endured faithful to the end), and below, on the steps, under a group of figures, one of whom is kneeling and receiving a benediction, are the words, Recessit beatus (he departed blessed). Near the top of the plate is the angel of the Lord bearing a label inscribed in Greek characters, Tois Episcopois (Unto the Bishops).

"Above are the words, Erant pastores in eadem regione excubantes et agentes vigilias noctis super gregem suum (there were in the same country shepherds abiding in the field and keeping watch over their flocks by night). At the bottom of the plate in the cathedral is a Latin inscription to this effect: 'To Henry Robinson of Carlisle, D.D., a most careful provost of Queen's College, Oxon, and afterwards a most watchful bishop of this church for eighteen years, who on the 13th Calend of July in the year from the delivery of the Virgin, 1616, and of his age 64, devoutly resigned his spirit unto the Lord. Bernard Robinson, his brother and heir, set up this memorial as a testimony of his love.'"^[5]

About halfway up the aisle Archdeacon Paley lies buried between his two wives, Jane (d. 1791), and Catherine (d. 1819). On a brass plate in the centre of the stone is the following inscription:—

Here lie
interred the remains
of
William Paley, D.D.
who died May 25th
1805
Aged 62 years.

Archdeacon Paley wrote both of his well-known works, "HorÆ PaulinÆ" and "Evidences of Christianity," at Carlisle.Legendary Paintings.—Between the bays east and west of the Salkeld screen there is a broad stone plinth panelled in front. The stalls stand on the plinth west of the screen, and the backs are painted with scenes from the monkish legends of St. Anthony the Hermit, St. Cuthbert, and, in the south choir aisle, St. Augustine. A rhymed couplet explains each picture; and the paintings, though rudely executed, give good examples of late fifteenth-century dress and ornament. Prior Gondibour caused the work to be done, and as Richard Bell was bishop at the time he may have suggested illustrating the life of St. Cuthbert, who was really the first bishop of Carlisle, and whose body was enshrined at Durham, where Bell had been prior before his elevation to the bishopric.

The following is a detailed account of the Legendary Paintings, with short note of the principal persons therein represented:—

St. Cuthbert was born in the Lothians; at eight years he was living under the care of a widow in the village of Wrangholm.

In 651 while keeping watch over his master's flocks near the Lauder, which flows into the Tweed, he had a vision of the soul of Bishop Aidan being carried up to heaven by angels. A few days after, he heard of the death of the good bishop, and straightway journeyed to the monastery of Melrose. Here he was accepted, and in a short time received the tonsure. The Northumbrian peasants at this time were, mostly, only Christians in name. Cuthbert wandered among them, choosing the most out-of-the-way villages, where other teachers would not go. "He needed no interpreter as he passed from village to village; the frugal long-headed Northumbrians listened willingly to one who was himself a peasant of the Lowlands and who had caught the rough Northumbrian burr. His patience, his humorous good sense, the sweetness of his look, told for him, and not less the vigorous frame which fitted the peasant-preacher for the hard life he had chosen.

"Never did man die of hunger who served God faithfully," he would say, when nightfall found them supperless in the waste. "Look at the eagle overhead! God can feed us through him if he will"—and once at least he owed his meal to a fish that the scared bird let fall.

In 664 he was made prior of Lindisfarne. "Gentle with others, he was severe with himself, and was unsparing in his acts of mortification and devotion."

In 676 he retired, first to a cave near Howburn, and later to Fame Island, where he remained in strict seclusion for nine years.

He was elected bishop of Hexham in 684, and with much difficulty was persuaded to undertake the duties. He soon exchanged Hexham for Lindisfarne.

As bishop, Cuthbert was diligent in preaching, protected the poor from their oppressors, lived on very little, and fed and clothed the poor.

Towards the end of 686 he gave up his bishopric and returned to his beloved Fame Island, where he died in March 687.

ST. CUTHBERT
1.	Her Cuthbert was forbid layks and plays As S. Bede i' hys story says.
2.	Her the angel did hym eale And made hys grievous sore to hele.
3.	Her saw he Aydan's sawl up go to hevyn bliss wth angels two.
4.	Her to hym and hys palfray God send hem fude in hys jornay.
5.	Her on Melross for to converse With hy Bosle and laws reherse.
6.	The angel he did as gest refreshe With met and drynk and hys fete weshe
7.	Her Basel told hy yt he must de And after yt bysshop should be
8.	Her to hys breder and pepyl eke He preched godys word myld and mek
9.	Her stude he naked in ye see till all David psalms sayd had he.
10.	He was gydyd by ye egle fre And fed wth ye delfyne as ye see
11.	Fresh water god sent owt of ye ston to hym in Farn and befor was noon
12.	Consecrate byshop yai made hy her off Lyndisfarne both far and nere.
13.	Her by prayers fendys out Farne glad and wth angel hads hys hous made
14.	To thys child god grace (here gave) he Thro hys prayers as ye may se.
15.	Byshop two yerys when he had beyn In Farne he died both holy and clene
16.	The crowys yt did his hous unthek This for full low fell at hys fete
17.	xi yere after yt beryd was he Yai fand hym hole as red may ye.

St. Anthony, one of the primitive hermits, and the founder of monasticism, was born at Coma, in Upper Egypt, in A.D. 251. Before he was twenty years old he lost his parents, and inherited great riches from them, but within a year he sold all that he had and gave the money to the poor. He then retired into solitude near Coma, passing his time in manual labour, prayer, and study. Later, he went farther into the wilderness, and lived in a cave. Satan is said to have tempted him by sending spirits to him, disguised as beautiful women. Finding this ineffectual, it is related that the Evil One made a violent attack on him, and beat him so severely that he left him for dead. At the age of ninety he heard of another hermit (St. Paul the Hermit), and made a journey to visit him. St. Paul died soon after this meeting, and St. Anthony, aided by two lions, buried him. In his 105th year he told some of his disciples that he was going to die; then, accompanied by a few monks, he retired deeper into the wilderness, where he died, having first obtained a promise that they would keep the place of his burial secret.

(In the time of Innocent IV. all hermits who lived under no recognised discipline were incorporated and reduced under the rule of St. Augustine.)

THE LEGEND OF ST. ANTHONY
1.	Of Anton story who lyste to here In Egypt was he bornt as doyth aper.
2.	Her is he babtyd, Anton they hym call Gret landes and renttes to hym doeth fawl.
3.	As scoler to the kyrk here is he gayn To here the sermontt and aftyr itt he's tayn.
4.	Here geyffith he to the kyrk boith land and rent To leve in povert is hys intent.
5.	Here in Agello to oon oulde man he wentt To lerne perfeccion is hys intent.
6.	Here makyth he breder as men of relig', And techyth them vertu to leve in perfecco.
7.	Here to the wyldernes as armet geon he And thus temptyth hym covytice with oon gold dyshie.
8.	The sprytt of fornycacon to hy her doth apper And thus he chastith his body with thorne and brer.
9.	The devill thus hat hy wounded wt lance and staf And levyth hy for deyd lyying at his cayf
10.	Here Crist haith hym helyd the devill he doth away And comfortyd his confessor deyd as he lay
11.	Here comands he yis bests and ffast away tha flie Ye bor hy obbays and wth hy bydeds he.
12.	Here makyth he a well and water hath uptayne And comforted hys breder thyrst was nere slayn.
13.	Here commandith he best to make hy a cayf And thus he berys Paulyn and lay hy in graf
14.	Thus walkÈd he over the flode water doth hy no der Theodor hy se and dare nou cu hy nere
15.	Here departith Anton, to hevyn his saul is gone Betwixt his two breder in wilder's the alone.
16.	Here in wilderns they bery hym that no man shud him knaw For soo he comanded syne hom first tha draw.
17.	Thus levyth he i wildern's xxii yere and more Without any company bot the wylde boore.

St. Augustine, the first great saint of the Order, and patron of the canons of the cathedral. He was born at Tagaste, in Numidia, A.D. 354. His father, Patricius, was a Pagan, while his mother, Monica, was a Christian. Patricius, perceiving the ability of his son, "spared nothing to breed him up a scholar." When quite young he had a severe illness, and expressed a wish to be baptized, but on his recovery the wish vanished. Later, his morals grew corrupt, and he lived a profligate life until he became a convert of the Manicheans at the age of nineteen. After teaching grammar at Tagaste, and rhetoric at Carthage, he proceeded to Rome, against the wish of Monica. He next became professor of rhetoric at Milan. Ambrose was then archbishop, and through listening to his preaching, St. Augustine abandoned the Manichean doctrines, and was baptized at Easter the following year, A.D. 387. Monica, who had prayed unceasingly for his conversion, now visited him at Milan, and was greatly rejoiced at the answer to her prayers. His mother started to return to Africa with her son, but died at Ostia. At a villa outside Hippo, St. Augustine passed three years in the company of eleven pious men. "They had all things in common as in the early Church; and fasting and prayer, Scripture-reading and almsgiving, formed their regular occupations. Their mode of life was not formally monastic according to any special rule, but the experience of this time of seclusion was, no doubt, the basis of that monastic system which St. Augustine afterwards sketched, and which derived from him its name." He then entered the priesthood, A.D. 390, and five years afterward was made coadjutor in the bishopric of Hippo, and eventually became bishop. The rest of his life he devoted to defending the Christian religion, both by preaching and by writing. He died in Hippo, A.D. 430, while the Vandals were besieging it. St. Augustine is called "the greatest of the Fathers." His great work "De Civitate Dei," "the highest expression of his thought," engaged him for seventeen years. In his well-known "Confessions" is given an account of his spiritual progress, and of his state before he was converted.

ST. AUGUSTINE
1.	Her fader and modr of sanct Austyne Fyrst put hym her to lerne doctryne
2.	Her taught he gramor and rethorike Emongys all doctors non was hy lyke
3.	Her promysed he wth hys moder to abide Bot he left her wepyng and stal ye tyde grace de diu (on the ship's sail)
4.	There taught he at rome the sevyn science Yt was gret prece tyll hys presence
5.	Her prechyd Ambrose and oft tymys previd Qd lettera occidt wych Austin mevid
6.	Her Poinciane hym tald ye lyffe of Sanct Anton And to Elipius he stonyshed said thus anone Qd patimr surgut indocti et Coelum rapiu't Et nos cu doctrinis i inferr demergimur
7.	Her sore wepying for hys gret syn He went to morne a garth wythin
8.	Her wepyng and walyng as he lay Sodenly a voice thus herd he say Tolle lege Tolle lege
9.	No word for tothewarke here myght he say But wrote to the pepil for him to pray
10.	Her of Sainct Ambrose chrysteyned was
11.	The gret doctor Austyne throgh Godes grace Te Deum laudamus Te Domm confitemur
12.	Her deyd his moder called Monica As thai were returning in to Affrica
13.	Her was he sacred prest and usyd Of Valery the Bishop thoffe he refusyt
14.	Her after (Godes word mylde and mek taught he) Hys (men of) religion as ye may see
15.	Her fortunate the heretyk concludit he Informyng the laws of Maneche
16.	Consecrate Byshop was this doctour By all the cuntre with gret honour
17.	As ys woman come to hy for consolacion She saw hym wth the Trinite in meditacion
18.	When he Complyn had said and come to luke He was full cleyn owt of ys knafys buke (Penitet me tibi ostendisse librum)
19.	They beried hys body wyth deligence her in hys aun kirk of Yponese.
20.	Her Lied-brand the kyng of Luberdy Hym translate frō Sardyne to Pavye
21.	Thei shrynyd hys banes solemnly In sanct Peter kyrk thus at Pavye
22.	Thys prior he bad soon do evynsang her And helyd hym that was sek thre yer
23.	Her he apperyd unto these men thre And bad yam go to ...... yt hale

Between the compartments devoted to the lives and deeds of St. Anthony and St. Cuthbert are pictures of the twelve Apostles with the words which, according to tradition, each one contributed to the Creed.

APOSTLES AND CREED
ST. PETER	I believe in God the Father Almighty, Maker of heaven and earth
ST. ANDREW	And in Jesus Christ His only Son our Lord
ST. JAMES	Who was conceived by the Holy Ghost, born of the Virgin Mary
ST. JOHN	He suffered under Pontius Pilate, was crucified, dead, and buried
ST. THOMAS	He descended into Hell: rose again the third day from the dead
ST. JAMES	And sitteth on the right hand of God the Father Almighty
ST. PHILIP	From whence He shall come to judge the quick and the dead.
ST. BARTHOLOMEW	I believe in the Holy Ghost
ST. MATTHEW	The Communion of Saints
ST. SIMON	The Forgiveness of Sins
ST. THADDEUS	The Resurrection of the Body
ST. MATTHIAS	And the Life Everlasting.

At the time of the Reformation these paintings were all whitewashed. Dean Percy (1778) removed the whitewash from some of them, and they are now all restored to their original condition as far as possible.

Retro-choir.—The extreme eastern bay of each aisle, and the passage behind the altar, form the retro-choir, which is Late Decorated.

Its acutely-pointed windows are practically of identical pattern, the mullions and side-mouldings having richly floriated capitals.

The last arch of the main arcade is supported by a bracket of foliage. A fragment of rib still remaining was for the cross-groining of the aisle; but as this would have interfered with the arch mouldings, the rib was terminated higher up the wall upon a bracket in the form of a crouching figure.

The wall-arcade has three divisions, the capitals of the columns are foliated, and the point where the hood mouldings meet is ornamented with the carving of a human head.

The low doorway forms the entrance to a staircase leading to the upper part of the cathedral, and the belfry. Beneath the great east window there is a plain tablet in memory of Archdeacon Paley, and another in memory of his two wives and infant son.

Another tablet is in memory of Dean Cramer: "Apud Oxonienses HistoriÆ Profr. Regius," died 1848.

Opposite is a monument to Bishop Law, the work of T. Banks, R.A. A figure of Religion leaning on a cross is above the tablet. This monument was originally fixed on the pillar behind the pulpit ("ColumnÆ hujus sepultus est ad pedem"). It was removed to the north aisle because of the weakening of the pillar through having been cut to receive the memorial; and in 1894 was again removed and fixed here, about as far away from the bishop's grave as it could possibly be placed.

Under the great window, a little to the south, is a tombstone, similar to that of Bishop Bell in the choir, but the brass is missing.

On the south side the last arch of the main arcade is supported by a bracket representing a human figure sustaining mouldings, resembling the one at the end of the north aisle.

The small east window is in memory of John Heysham, M.D. (1753-1834). He graduated at Edinburgh in 1777, and settled in Carlisle where he practised till his death. He is famous for his statistical observations; a record of the annual births, marriages, diseases, and deaths in Carlisle (ten years to 1788); a census of the inhabitants in 1780 and 1788. The actuary of the Sun Life Assurance Office used these statistics as the basis of the well-known "Carlisle Table of Mortality." Aided by the dean and chapter he established the first dispensary for the poor at Carlisle. He died in 1834, and was buried in St. Mary's Church.

One of the heads ornamenting the wall-arcade is said to represent Edward I.

The South Choir Aisle is in most particulars the same as the corresponding aisle on the north. The windows of its two bays next to St. Catherine's Chapel are Early English of a later period than the others, but the effect they produce is not by any means so pleasing. The decorations of the capitals of the Early English columns are not so elaborate as those in the north choir aisle.

In the third bay east of St. Catherine's Chapel, two arches of the wall-arcade have been thrown into one, forming a doorway. The arch is formed by seven segments, and its hood-moulding terminates in the cornice immediately above the arcade.Monuments in South Choir Aisle.—At the east end is an altar tomb with recumbent effigy in white marble, of Bishop Waldegrave, by H.H. Armstead, R.A.

The words "vÆ mihi si non evangelizavero" (i Cor. ix. 16) are on the edge of the upper part of the tomb. Below this is the following inscription:—

A recess with low pointed arch beneath the third window from the east formerly contained a monument to Sir John Skelton, Knt. (1413-22).

Outside St. Catherine's Chapel is an altar tomb with a damaged effigy in red sandstone of Bishop Barrow (1423-29). Originally it was painted and gilt, and, although greatly injured, the remains show that the statue was well executed.

Opposite, under a carved oak canopy, is a bronze recumbent figure by Hamo Thornycroft, R.A., of Harvey Goodwin. The following is inscribed on a bronze tablet:

Next to this, under a richly-carved canopy, is a recumbent figure in white marble, by H.H. Armstead, R.A., of Dean Close. The monument bears the following inscription:—

The canopy, given by his son, bears the words following: "This canopy was erected by Admiral Close in memory of his father."

Francis Close was born in 1797, and was educated at St. John's, Cambridge. From 1826 till 1856 he held the living of Cheltenham. He was a liberal subscriber to societies for various philanthropic purposes whether in connection with the Established Church or not. In 1856 he was nominated Dean of Carlisle. Although a very popular preacher his theological views were far from broad. He was, also, a strenuous opponent of betting, theatre-going, indulgence in alcoholic liquors, and smoking. The poor people of Carlisle lost a good friend when he passed away. His failing health obliged him to give up the deanery in 1881, and at the end of the following year he died at Penzance, where he was wintering.

The fourth window is filled with glass in memory of members of the Mounsey family, and Captain John Oswald Lambert.

The following subjects are represented:—

Our Lord rebuking the Sea.	The Transfiguration.	Pilate writing the title for the Cross.
The Adoration of the Magi.	The entry into Jerusalem.	Our Lord before Pilate.
St. Paul before the Chief Priests.	St. Paul before King Agrippa.	St. Paul on board ship.

At the back of the bishop's throne are some shelves containing a few standard devotional books for the use of the congregation before and after divine service. It would be a good thing if this custom could be generally adopted, and every church in the land furnished with a small library of the works of such men as Thomas a Kempis, St. Augustine, Taylor, Law, and Keble.

The low doorway in the north-eastern angle of the retro-choir opens on a staircase leading to the upper part of the cathedral, and the tower. If we ascend to the clerestory we may pass along the ambulatory, and obtain a nearer view of the great east window (especially the old glass in the tracery), the choir roof, and the clerestory windows. At the end of the ambulatory we come to the belfry.

There are six Bells, one of which, bearing the date 1396, was furnished by Bishop Strickland. It is inscribed as follows:—

In: voce: sum: munda: maria;
sonando: secunda.

Another bell bears the following sentence:—

"Jesus be our speed." Date 1608.

A third has on the rim—"This ringe was made six tuneable bells at the charge of the Lord Howard and other gentree of the country and citie, and officers of the garrisson, by the advice of Majer Jeremiah Tolhurst, governor of the garrisson 1658." This bell was cracked while ringing during the rejoicings held in honour of the peace after Waterloo.

On a bell dated 1657 can be read, "I warne you how your time doth pass away, Serve God therefore while life doth last, and say Glorie in excelsis Deo."

Of the remaining bells, one is dated 1659, and the other 1728.

In war time the tower was useful as a watch-tower, especially when the enemy was approaching from Scotland. The small turret was used for fire signals.

There is an interesting record in connection with the tower which is found in an account of the trial of the Governor of Carlisle in 1745. It is as follows:—

"I desired that two men might be posted upon the high Tower of the Cathedral with a very large spying glass I had brought with me, and to send me a report of what they observed in the country. The Chancellor proposed to the clergy to take this duty, which they readily did, and were very exact and vigilant, and when the Rebells came before Carlisle they took up arms as Volunteers most of whom served under me as aides-de-camp."^[6]

The Monastic Buildings

The Monastic Buildings were erected on the land south of the cathedral. The cloisters, enclosing a large open court, stood west of the south transept, communicating with the two doors—one in the north-east angle, the other in the north-west.

The dormitory, built upon an arcade, was joined to the south transept, and had a door opening into it above the present modern doorway.

West of the dormitory, and parallel with the nave, was the fratry; adjoining the east end of which, and stretching to the south-east, were the domestic offices.

West of the fratry was the prior's lodging (now the deanery).

The chapter-house, which was built somewhere in the angle formed by the choir and the dormitory, has disappeared entirely. It was octagonal in shape, about 28 feet across, and had a conical roof.

The great fire in 1292 caused great destruction to the priory buildings. They were put up again about 1350, and Prior Gondibur almost entirely rebuilt them towards the end of the fifteenth century.

There is no reason for doubting that the various buildings were handed over in good order at the dissolution of the priory. The destruction which has left standing only the fratry, the prior's lodging, and the gate tower (1528), was the act of the Parliamentary troops and their Scottish allies in 1645, when, in addition to pulling down part of the nave, they destroyed most of the monastic buildings, in order to use the materials for the erection of guard-houses, and to strengthen the fortifications.

Dr. Todd says: "The Abbey Clois^rs, part of ye Deanery, and Chapter-House.... they pulled down, and employed ye stone to build a maine guard, and a guard-house at every gate; to repair y^e walls, and other secular uses as they thought fit."The Fratry still remains. It was built about the middle of the fourteenth century, and rebuilt by Prior Gondibour (1484-1511) towards the close of the fifteenth century. It contains the canons' dining-hall, a fine hall, 79 feet by 27. At the upper end is a beautiful little reader's pulpit, and in the north wall there are two handsome canopied niches. The Perpendicular windows on the south side are very fine specimens; the tracery, however, is modern, but that of the west windows is very old. The late Mr. Street very carefully restored the fratry in 1880, and it is now used as a chapter-house, library, and choir-school. Beneath the fratry is a very fine Decorated crypt, with a groined roof. The boss of one of the pillars bears the initials of Prior Gondibour.

Near the fratry, to the south-west, is the prior's lodging, which, having been enlarged, is now the Deanery. It has an embattled tower, and was a refuge for the abbey inmates when danger was near; in fact, to all intents and purposes it was a "peel tower." Formerly there was a covered passage leading from the first floor, over the cloisters, into the cathedral. There is a remarkable room in the deanery, the priors' dining-hall, with a very fine ceiling, put up by Prior Senhouse (1507-1520). It is of oak, richly carved and painted; and covered profusely with verses, armorial bearings, and devices. In every third compartment are two birds holding a scroll between them, on which, and on the cross beams, the following rude verses are written in old English characters:—

Remember man ye gret pre-emynence, Geven unto ye by God omnipotente; Between ye and angels is lytill difference, And all thinge erthly to the obediente. By the byrde and beist under ye fyrmament, Say what excuse mayste thou lay or finde; Thus you are made by God so excellente But that you aughteste again to hy' be kinde,

Sonus sette yis Roofe and Scalope here, To the intent wythin thys place they shall have prayers every day in the yere. Lofe God and thy prynce and you neydis not dreid thy enimys.

The abbey gateway is to the north-west of the nave. It is a plain, round-headed archway, built by Prior Christopher Slee, and bears the following inscription:—"Ora te p^r anima Christofori Slee Prioris qui primus hoc opus fieri incipit A.D. MDXXVII." Formerly, it was provided with battlements, which have now been removed.

Near the south transept, two arches of the vestibule of the chapter-house are still visible.

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