[71] The origin of this screen is thus gravely recorded: During the Abbot Richard’s visit at Tinmouth, he received a wonderful cure of a withered arm, with which he had been afflicted many years. It is related, that being present at Durham, when the monks were removing the corpse of St. Cuthbert, the founder of Durham Cathedral and the Apostle of the North, he assisted to lift and support the shrine, and received from that instant a cure of his malady, and found his arm restored to health. And accordingly, on his return, he built a wall, or screen, across the nave of the church, about 50 feet below the choir; and, adjoining to the wall, a chapel, dedicated to St. Cuthbert. This chapel stood on the west side of the said screen, and had service performed in it, and an altar; but has been long since pulled down, though the screen remains to this day.--_Lives of the Abbots._ [72] “It is to be understood, that in those days,” says the historian of the abbey, “there was no screen at the top of the choir, that the great altar stood where the rails and table now stand, and the shrine was placed in what is now the consistory; so that it was all open, even from Cuthbert’s screen, to the view of the whole choir and congregation. “Abbot Symond caused the shrine to be a little elevated, for a better view, and to appear directly before the eye of the priest who was celebrating mass; whose place it was to stand and kneel with his back to the people, and on the west side of the altar. This position of the shrine was not only the most splendid to the eye of the beholder, but was intended to raise and elevate the devotion of the priest; and to this purpose, also, was intended the Decollation of St. Alban, which was painted on the wall opposite. “THE SHRINE was in form somewhat resembling an altar-tomb, but rising with a lofty canopy over it supported on pillars, and was intended to represent the saint lying in great state. The inside contained a coffin, wherein had been deposited the bones of Alban by Abbot Geoffrey. This was enclosed in another case, which, on the two sides, was overlaid with figures cast in gold and silver, showing the chief acts of Alban’s life, in work that was highly raised and embossed. At the head, which was toward the east, was placed a large “Crucifixion,” with a figure of the Virgin Mary on one side and of St. John on the other, ornamented with a row of very splendid jewels. At the feet, which were towards the east and in front of the choir, was placed an image of the Virgin, holding her son in her bosom, seated on a throne; the work seemingly of cast gold highly embossed, and enriched with precious stones and very costly bracelets. “The four pillars which supported the canopy, and stood one at each corner, were shaped in resemblance like towers, with apertures to represent windows, and all of plate gold, supporting the roof or canopy, whose inside was covered with crystal stones.”--_Newcome, ed. 1793, p. 76._