Bells Cathedrals: The Cathedral Church of Carlisle | Page 3

and south aisles covered with
high-pitched wooden roofs, while the north and south transepts were
also roofed in a similar manner, and a small apsidal chapel projected
from the eastern face of each. The archway of the south transept apse is
now the entrance to St. Catherine's Chapel. With the exception of the
present elaborate entrance to the south transept and the window above

it, the transept is identical with that of the Norman minster.
The choir was only 80 feet long, reaching to the end of the present
stalls. Eastward it terminated in an apse. Its width can be judged from
traces of the original roof, still perceptible in the west wall of the
present choir. In accordance with a frequent arrangement, the ritual
choir extended westward of the crossing, and included the two eastern
bays of the nave.
In the centre was a low square typical Norman tower, 35 feet square, of
which the lower parts of the piers remain. To allow for the extension of
the ritual choir the eastern and western arches of the crossing were
carried on corbels.
White or grey sandstone from quarries in the district was used in the
construction of the minster, perhaps supplemented by stones from the
Roman wall. Stucco was applied to the exterior, red lines marking the
joints. There is no doubt that this stucco has materially helped to keep
the Norman stone-work in a good state of preservation.
It will be seen then that the original church was a Norman minster, of
moderate size, consisting of a nave, with north and south aisles, a small
choir, a low square tower, and north and south transepts.
Thus it remained till about 1250, when, as usually happened, the clergy
became dissatisfied with the smallness of their choir, and a new one
was projected on a much larger scale. Its length was to be equal to the
nave, while in height and breadth it was to be greater. The increased
length allowed room for the ritual choir on the east side of the
crossing.
Any extension of the cathedral on the south was prevented by the
presence of the conventual buildings: therefore the north choir-aisle
was thrown into the choir, and a new one added northward of the
former. One consequence of this alteration is seen by comparing the
entrance to each aisle. That of the south choir aisle is the original
Norman arch, while the entrance to the north aisle is a beautiful late
thirteenth-century arch (Decorated). The corresponding Norman arch

of the north aisle has been blocked up, but is still easily traced.
Another consequence is, that the extension having taken place on one
side only, the eastern arch of the tower fills but a part of the west end
of the choir. The choir arch consequently is symmetrically placed with
regard to the roof of the nave, but not with the choir roof; and the
central line of the choir does not coincide with that of the nave; for,
though the south wall of the choir is in a line with the south wall of the
nave, the choir being 12 feet broader than the nave, the axis of the
former is to the north of the axis of the nave. The view from the east
end looking towards the nave is quite spoiled by this want of symmetry.
Not very much remains to-day of this thirteenth-century Early English
choir. In 1292, just as it had been roofed in, a terrible fire, the most
disastrous the cathedral has ever experienced, destroyed everything
except the outer walls of the aisles, the graceful lancet windows, and
the beautiful cinque-foiled arcading beneath them. Belfry and bells, too,
shared in the destruction.
One hundred years passed away while a new choir was being built.
Bishop Halton (1292-1325), a very energetic prelate, and a great
favourite of Edward I., began the work, and laboured at it for quite
thirty years, and was followed by Bishops Kirkby, Welton, and Appleby.
It was arranged to rebuild the choir on a still larger scale, a bay being
added, and the east end rebuilt from the foundation. The general plan
of the earlier work of the aisles was followed in the new bay. The glory
of the cathedral--the great east window, which marks a distinct
transition in art--was also projected, but at this time only carried up as
high as the top of the choir arches.
The wall arcade and the lancet windows above were repaired, and
later work of a more elaborate character added. The great arches, and
the groin ribs of the aisle ceilings were underset with new pillars; so
that we get Early English arches of the thirteenth century on Decorated
pillars of the fourteenth century.
After some years interval, building was resumed about 1350. The