ave
some solace from the contemplation of them" (Geoffrey de Coldingham).
Pudsey caused to be moved here the marble shafts and bases he had
previously brought from "beyond the sea," and intended to be used in the
construction of his chapel at the east end. Entering the chapel by the
steps leading from the Norman nave, the visitor is at once impressed
with the lightness and delicacy of the work before him, as compared with
the massive grandeur of the Norman cathedral behind. Here we have, in
fact, one of the latest uses of the round arch influenced by the rapidly
developing Early English Gothic. In plan the chapel consists of a nave
with double aisles, which perhaps might be more properly called five
aisles. These are divided by arcades, each of which is of four bays.
These arches and the columns which support them are the chief beauty and
characteristic of the chapel. The arches are semi-circular, of one
order, with three lines of chevron, one on each face, and one on the
soffit between two roll mouldings. The capitals are light and graceful
and carved with a volute, and the columns clusters of marble and
freestone shafts. The arches, however, rest on the marble columns, which
are, no doubt, those previously alluded to. The whole seems to have been
coloured in fresco, and remains of this are still to be seen. The stone
shafts, which alternate with those of marble, do not carry any of the
weight of the arch, and are, undoubtedly, an addition, probably in the
time of Cardinal Langley, when they must have been added, with a view
to improving the appearance. The dimensions of the chapel are
forty-seven feet from east to west, and seventy-six feet from north to
south. The existing roof and the three perpendicular windows on the west
end are also additions by Cardinal Langley. On the walls above what were
once the altars of the Virgin and Our Lady of Pity, remains of fresco
painting may be noticed, all that remains of what has evidently been
beautiful work. These were only brought to light by the removal of
successive coats of whitewash with which they had been covered.

[5] Geoffrey de Coldingham.

[Illustration: Detail of the Galilee Chapel.]

When the Galilee was erected, access from the church was by the great
west door of the cathedral. This was, however, closed up by Cardinal
Langley, who constructed the two doorways at the end of the aisles by
which the chapel is now entered. Those portions of the Norman wall
arca