The internal elevation, however, is unsurpassed by that of any Romanesque church in Europe. At Winchester, Norwich, Peterborough, Ely, Malvern, Leominster, Chepstow, the three stories—pier-arcade, triforium, and clerestory—are about equal in height: a very unsatisfactory proportion. The architects of Gloucester and Tewkesbury saw this: unfortunately they rushed into the opposite extreme, and carried up their piers to such a vast height that the triforium and clerestory were dwarfed out of all proportion. But at Durham the proportions are absolutely right. The vault, too, is not so much later in date as to interrupt the solid monumental effect of the interior. It is as much preferable to the florid vaults of Gloucester, Tewkesbury, and Oxford as it is to the unworthy wooden ceilings of Peterborough, Selby, Waltham, and Ely. Durham gives one still the impression which it gave Dr. Johnson—one of “rocky solidity and indeterminate duration”: the very reverse of the unsubstantial tenuity of Salisbury and Beauvais. The doorway of the Chapter-house is recorded to have been built by Bishop Galfrid Rufus (1133-1140). The north and south doorways of the nave (facing one another) are so similar to that of the Chapter-house that they must also be his work. To Bishop Pudsey, to whom we have attributed the high vaults, belongs also the Galilee, _c._ 1175. He commenced to erect a Lady chapel in the usual position to the east of the choir. But St. Cuthbert, who had an ultra-monastic hatred of womankind, and would not brook to have the chapel even of Our Lady in the neighbourhood of his shrine, showed his displeasure openly by the fissures and cracks and settlements which kept constantly occurring. In despair the bishop had to build in the cramped space between the west end and the precipice, thus blocking up the west end of the church. From the first this Lady chapel seems to have been called the Galilee; nobody knows why. In details it is not unlike the chapel in the keep of Newcastle. Built in the last years of the TRANSITIONAL period (1145-1190), it is remarkable for the paucity of Gothic detail: the arches are all semicircular; they are not moulded, but ornamented with bands of the old-fashioned zigzag. The bases, indeed, are Transitional in character; and so is the flat voluted leaf of the capitals. But, spite of semicircular arch and Norman ornament, the spirit of the whole—its lightness, grace, and elegance—is Gothic. A building may have every arch pointed and moulded, and yet in its heaviness be Romanesque at heart: _e.g._, the Cistercian churches of Fountains and Kirkstall, the Augustinian church of Llanthony. In Durham Galilee, on the other hand, one feels that one is in a Gothic building, as truly as one does in presence of the semicircular arcades of Pisa or Lucca. Still more Gothic must have been the effect of the coupled shafts of Purbeck marble before Cardinal Langley added two more shafts of stone. The