but were re-sculptured a few years ago, and their original forms. somewhat altered.

The east front has been repaired and modernized: the windows, forming a double range, are all of the lancet shape, excepting the centre window of the upper tier, which is circular, and radiated with stone-work. These windows were originally ornamented with a profusion of painted glass, which, from various accidents, became so defaced and mutilated, that the subjects. could not be traced; it is now entirely removed. The south front preserves much of its ancient character, though some parts have been chisseled over to make way for the new facings. Only a partial view can be obtained of this side of the Cathedral, as the cloisters, dormitory, and other buildings, conceal nearly the whole of the lower part. The west front, consisting of two highly ornamented square Towers, with the Galilee between, appears to great advantage from the opposite side of the river. "The basement line of the elevation," observes Mr. Carter, presents the projecting Chapel of the Galilee, flanked by huge buttresses and arches, springing out of the rock, to contribute due support to its walls, which form one vast combination of security to the main edifice itself." Above the Galilee is the great west window, with various enriched compartments springing up to the roof. The architectural adornments of the towers are modern; and the attempt to make them accord with the original forms, has, in many instances, proved unsuccessful: their summits are bounded by pinnacles and open worked battlements. The great centre tower rises from the intersection of the nave and transept, and is singularly rich and elegant. Round it is a profusion of fine tracery, pointed arches, and other ornaments; and its buttresses are graced with niches, canopied, and decorated with tracery, within which various statues are placed, representing the original founders and patrons of the See. The height of this tower is 214 feet.

The interior of this august building is highly interesting to those who wish to trace the connection between Saxon and Norman architecture, or to observe the latter in, perhaps, its highest stage

of

of perfection. The comparison of these orders with the English, or pointed styles, may also be made; as the Chapel of the Nine Altars partakes, in its general enrichments and proportion, of the architectural character of Salisbury Cathedral; and, from its singularly light appearance, forms a striking constrast with the massive Norman work prevalent in the other parts of the fabric.

"In the inside of this structure," observes Mr. Pennant, " is preserved much of the ponderous, yet venerable, magnificence of the early Norman style: the pillars are vast cylinders, twentythree feet in circumference; some adorned with zigzag furrows; others, lozenge-shaped, with narrow ribs, or with spiral; the arches round, carved with zigzags; above are two rows of galle ries, each with round arches or openings: a row of small pilasters runs round the sides of the church, with rounded arches intersecting each other." A more particular description has been given by Mr. Hutchinson, in the following words.

"The two extreme columns to the west, rise from bases of the form of a complicated cross, having pointed projections from the interior angles: the dimensions of each base are fifteen feet every way, being exactly similar to those which support the columns of the tower and dome, vulgarly called the lantern: the pillars are clustered, having three semicircular pilasters in each front, divided by an angular projection. The next column, eastward, rises from a base of the form of a cross, twelve feet every way, supporting a clustered pillar, the pilasters of which towards the nave, run up to the roof through the facia, between the upper windows. The next rises from a square base of eight feet, and is richly fluted, terminating with a plain capital, which supports the gallery above the side aisle. Each intermediate pillar is clustered like those described in the second place, stretching up to the roof; those in the intervals are circular, making the succession consist of a clustered pillar and a round one alternately. The first round pillar is fluted, as before described; the second covered with the zig-zag figure; and the third grooved with the figure of a net. The pillars opposite to each other are exactly similar in ornaments and dimensions; and it is also to be observed, that the bases of the clustered,

2

clustered, and of the round pillars, through the whole building, have the same dimensions as those above described. All the side walls are decorated with pilasters opposite to the columns; and the interior spaces under the windows, are filled with double pilasters, and intersecting round arches, throughout the whole building, excepting only in the east transept. In the Chapel of the Nine Altars the arches between the great columns are all semicircular; the outward members dentelled; the interior, zig-zagged. The under gallery opens to the middle aisle, with one round arch, divided within into two arches, supported on a centre pillar: the upper gallery opens with single arches. At the west end of the nave is a short cross aisle, over the ends of which rise the west towers. The vaultings of the side aisles are semicircular, and crossed with groined arches in plain rolls, intersecting each other in the centre. In the vaulting of the nave, the ribs intersect each other in pointed arches, and are ornamented with zigzag work in the fillets.”*

In the middle of the nave, between the four western pillars, is the Baptisterium, or font. This is a rich piece of tabernacle work, of red oak, in an octangular form, terminating in a pinnacle, ornamented by a dove with expanded wings. The upper part is supported on columns: the whole is about thirty feet high. At a small distance further to the east, and forming part of the pavement, is a long cross, of blue marble, marking the boundary beyond which females were not allowed to pass, even many years after they had been permitted to enter the Cathedral from the Galilee.

The Galilee, or St. Mary's Chapel, is divided by clustered columns, and simicircular arches, into five aisles; the most northern of which is now inclosed as the Registrar's Office. The singular combination of the Norman and Pointed styles displayed in this building, arose from the repairs directed by Bishop, afterwards Cardinal Langley, about the year 1406. Here were formerly three altars, now wholly removed: that in the centre was dedicated

History of Durham. Vol. II. p. 238.

dedicated to the Holy Virgin. Before the steps, which approached it, is the tomb of the Cardinal, who died in 1438; and near it, to the south, a large marble stone, covering the remains of the VENERABLE BEDE, the most learned man of his time, and of whom it might truly be said, that 'he was a light shining in darkness.' A few other memorials of persons buried here occur, and among them the following inscription.

John Brimleis body here doth ly,

Who praysed God with hand and voice;

By musickes heavenlie harmonie

Dull myndes he made in God rejoice:

His soul into the Heavenes is lyft,

To prayse HIM still that gave the gyft.

The breadth of the Galilee, from east to west, is fifty feet; its length, eighty feet. The original entrance was on the north, from a small yard, adjoining the church-yard; but it is now entered from the side aisles of the Cathedral.

On the south side of the nave are deposited the remains of the great RALPH, LORD NEVILLE, who was chiefly instrumental in obtaining the battle of Red Hills, from him denominated Netille's Cross, in which David Bruce, King of Scotland, was taken prisoner in 1346. The tomb of his son, Lord John, is placed near. Ralph, Lord Neville was the first layman who was permitted to be interred within the Cathedral. These monuments were formerly ornamented with recumbent figures of the great personages inclosed within them, and surrounded by smaller carved figures in alabaster, finely cut; but are now mutilated, and nearly defaced. This outrage is to be attributed to the general disrespect paid to religious edifices during the Civil Wars In those lamentable times, the Cathedral was converted into a place of confinement for the Scottish prisoners after the battle of Dunbar; and they destroyed or mutilated whatever came within their reach.

The great Tower, or lantern, which rises at the intersection of the nave and middle transept, " is supported by clusters of columns, rising to the springing of the groins; the great arch springing from them is crowned by an open gallery of communication

round

round the inside of the lantern: the space from the gallery to the window is filled with rich compartments, which, with the window itself, are well imagined: groined arches form the termination of the lantern; and when viewed from below, the magnitude and grandeur of its several parts are extremely striking."*

At each end of the middle transept, on the east side, is an aisle separated from the body of the transept, by one clustered and two round pillars; one of the latter is grooved in the spiral form; the other, in the zig-zag manner: in each aisle was formerly three altars. The windows of this transept were once richly ornamented with painted glass, of which little remains, but a figure of St. Bede in a blue habit, and some imperfect memorials of the crucifixion. At the south end of the transept is a curious clock, erected by the Dean and Chapter in the year 1632.

The Choir is divided from the transept by an oak screen, decorated with festoons of fruit and flowers, carved in a very bold style, and having an entablature of a rich foliage pattern. Above the screen is a large and fine toned organ. The length of the Choir is 120 feet: the floor is paved with black and white marble. The prebendal stalls are finished with tabernacle work, in which the ancient style is but indifferently imitated, but their general effect is not unpleasing. On the south side is the episcopal Throne,† an elegant structure, erected about the year 1730, by Bishop Hatfield, over the vault wherein he lies interred. The throne is considerably elevated; in the centre is a chair of state, having a canopy of ornamental tabernacle work: it was repaired by Bishop Crewe in the year 1700, and new-painted and gilt by Bishop Egerton in 1772. The pulpit which is on the north side, is adorned with figures of some of the Apostles, neatly inlaid on the pannels, and nearly as large as life. "The Choir comprehends four pillars on each side; two of them clustered, and two round; the latter are cut in the spiral figure. The roof was repaired, or rather

Account of the Cathedral of Durham, published by the Society of Antiquaries.

+ When the Bishop goes to the throne, he is always preceeded by a person bearing a massy gilded mace, in distinction of his secular power. Hutchinson.