  Dedication: The Holy Trinity. Formerly served by Augustinian Canons. Special features: Choir and East Window. In the ancient town of North Cumberland—the famous border town appearing so frequently in ballads as “Merry Carlisle”—the Cathedral shares the honours with the Castle. Both date from about 1092. When William Rufus II. rebuilt and fortified Carlisle, he left one Walter, a Norman priest, as governor. He began to build a church and priory, but died in the meantime and Henry I. continued the work. The church was dedicated in 1101; the monastery of Augustinians was founded in 1121; and the Cathedral established in 1133. It was built in the Norman style, a nave with aisles, transepts and a tower at the intersection of the latter. The architect was Hugh, once abbot of Beaulieu. The Norman choir was taken down early in the Thirteenth Century and rebuilt in the Early English style. Two fires—especially the one in 1292—wrought much damage. About the middle of the Fourteenth Century the choir was completed in the Decorated style, and the magnificent East window was also inserted at this time. Robert Bruce took up his quarters in the Cathedral after the Battle of Bannockburn (1314). In 1392 the north transept suffered from fire. Bishop Strickland (1400-1419) restored it and rebuilt the central tower, add During the Civil War the Puritan soldiers were quartered in the Cathedral and did much damage. They pulled down two-thirds of the Norman nave in order to get stones with which to repair the fortifications. At the rising of Charles Edward, “Bonnie Prince Charlie,” in 1745, his soldiers captured Carlisle and used the Cathedral for their headquarters; and when the Duke of Cumberland arrived, the church was again used as barracks and many of the Jacobites were confined in its walls. Carlisle is a fine place to study all the styles of Early English in simple, pointed, geometric and flowing. It is famed for its wonderful East Window and the superb Choir, one of the finest in England. “A good view is obtained from the castle. The usual approach is from the east end, whence we observe the grand east window with its beautiful Late Decorated tracery. It is flanked by buttresses, with niches and crocketed pinnacles. In the niches are statues of SS. Peter, Paul, James and John. A foliated cross crowns the gable and on each side are four similar crosses. In the gable is a triangular window, having three trefoils, and below is a niche with a figure of the Virgin. The Central Tower, built by Bishop Strickland (1400-1419) on the old Norman piers, is too small for the huge choir and lacks dignity. Formerly it was crowned with a wooden spire, but this has been removed. There is a turret set at the north-east angle, and in the north side is a niche with the figure of an angel. The lower part of the choir is Early English, with the exception of a Perpendicular window at the west, and a Decorated one in the east bay. The clerestory is Late Decorated, and the windows have flowing tracery. The ball-flower ornament is extensively used in the cornice. The sculpture at Carlisle is worthy of notice. Carved heads and curious gargoyles abound. The North Transept is nearly all modern. It was rebuilt by Strickland in the Fifteenth Century, and again rebuilt when the church was restored. There is, however, an Early English window in the west wall. On the east side there was formerly a chapel, which has not survived the repeated alterations. The greater part of the Nave was taken down by Cromwell’s soldiers. What is left is of unmistakable Norman character. There is some modern imitation work, and late architectural detail. Most of the windows are modern, and also the doorway. The south side is similar to the north. The South Transept preserves the old Norman walls. On the south is a modern doorway with a window over it. On the east is St. Catherine’s Chapel, a Late Early English or Early Decorated building. The south side of the choir is similar to the north, and presents Early English details of construction. The monastic buildings once stood on the south side of the church but they have been pulled down with the exception of the fratry and gatehouse, the stone being used for repairing the fortifications of the city by Puritan soldiery. The refectory, or fratry, was rebuilt in the Fifteenth Century, and is now used as a chapter-house. There is a fine reader’s pulpit here. The gateway was erected by Prior Slee in 1527. The Deanery is a fine old house, and was formerly the prior’s lodging. It was rebuilt in 1507.”—(P. H. D.) The Nave is Norman, but of the eight bays only two now remain. The piers are low, the arches semicircular, and it appears that later hands carved the Early English foliage on the capitals. The triforium shows plain round-headed arches. The clerestory has three arches in each bay, resting on shafts with carved capitals. The west end is modern. Sir Walter Scott was married here in 1797. The North Transept was rebuilt in the Fifteenth Century and the north end again in modern times. The large window is modern and Decorated in style. An Early English window in the west end is a good example of plate-tracery. The roof is mod The South Transept is only one bay: The arch into the choir-aisle is Norman with zigzag ornaments and cushion capitals. Another Norman arch opens into St. Catherine’s Chapel, now a vestry. It was founded by John de Capella, a wealthy citizen. The beautiful screen is Late Decorated. The Choir consists of eight pointed arches: it is 138 feet long and 72 feet high. “We now enter the choir by the door in the organ-screen. This is one of the finest in England—spacious, lofty, well-proportioned and rich in all its details. The arches of the main arcade are Early English, as the mouldings and dog-tooth ornament testify. These remained after the fire of 1292 and were retained. The piers are Early Decorated and were evidently built to support the arches after the fire. The capitals were carved later in the Late Decorated period, when the upper parts of the choir, triforium, clerestory, roof and east end were rebuilt. The builders were probably Bishops Welton and Appleby (1353-1395). When the choir was rebuilt in Early English times, the architect determined to enlarge it, and as the monastic buildings on the south prevented any expansion in that direction, the south piers of the choir retained their old position, while the north were moved further northward, and a new north aisle added. Thus the choir and the tower and nave are not quite symmetrical, and there is a blank wall at the north-west end of the choir which is thus accounted for. The details of the architecture of the choir merit close attention, especially the sculpture. Small figures of men, animals and monsters are mingled with the foliage. There are some admirable representations of the The East Window is one of the finest Decorated windows in existence. The stone-work is not new, but it is believed to be an exact reproduction of the original. It is composed of 86 distinct pieces of stone and is struck from 263 centres. There are nine lights. The glass of the upper portion is ancient, dating from the reign of Richard II. The pictures are the Resurrection, the Final Judgment and the New Jerusalem. Hell is shown with all the terrors familiar to the MediÆval mind. The modern glass below represents scenes from the life of Christ. The Stalls are Late Perpendicular and are beautifully carved. The fine tabernacle-work is dated about 1433. The misereres represent the usual grotesque monsters, such as dragons, griffins and fables in which the crafty fox is prominent. A Fifteenth Century brass to Bishop Bell (1495) on the floor of the choir deserves notice. A Renaissance screen partitions off the north-choir-aisle. Here we notice the Early English arcade and the windows with two lights, dog-tooth ornament and deep mouldings. The last bay eastward is Late Decorated; the last bay westward contains a Perpendicular window. In the north wall two Early English sepulchral recesses are unique because of their chevron moulding. The effigy lying in one of them is supposed to be Silvester of Everdon (1254). The stalls in the North-choir-aisle are ornamented with very The South-choir-aisle, with a similar screen to the opposite one, also contains painted stalls representing the life of St. Augustine. It resembles the north-choir-aisle. The narrow Retro-choir is of the same date as the big window. The lower part of the Choir is Early English with the exception of the Perpendicular window in the west bay and a Decorated one in the east bay. The clerestory is Late Decorated, the windows noticeable for their flowing tracery. Everywhere the ball-flower ornament abounds, and carved heads and weird gargoyles are omnipresent. The south side resembles the north with the exception of St. Catherine’s Chapel, a Late Early English, or Early Decorated construction. The monastic buildings have disappeared with the exception of the Refectory, rebuilt in the Fifteenth Century, now used as the Chapter-House, and the gateway built in 1527. The fine old Deanery, formerly the prior’s house, was rebuilt in 1507. |
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