Then comes the Dissolution; a long list of Tudor monarchs reign and pass away; Stuarts take their place; Civil War follows; at length at the Restoration of 1660 the Church comes to her own again, and John Cosin ascends the episcopal throne of Durham. True to the Church of England and loyal to Gothic Architecture, he reverts to the consecrated form, and tabernacled stalls are reared once more--one of his many contributions to the cathedral and diocese of Durham (22). Nor is the design an unworthy one; nay, rather it is a distinct improvement on that of Carlisle, Ripon, Manchester and Beverley; for by abolishing the string-course, he reduces the design to the unity with which it started at Lincoln. Moreover, tall pinnacles had flanked the spirelets of Ely, Lincoln, Chester, Carlisle, Ripon and Beverley, so that really one could not see the wood for the trees; these pinnacles are now omitted, and the spirelets get their full value. Altogether a very fine design; and the little bits of Renaissance detail which here and there creep in, as in the bishop's {67} magnificent font cover,[30] only add to its charm (66). Other examples of John Cosin's time are to be seen at Brancepeth where he was formerly rector from 1626 to 1633; the stalls, screens and pulpit of that church are simply delightful (93). More of this work is to be seen in the chapel of the Bishop's palace at Bishop's Auckland; in the church of his son-in-law at Sedgefield and at Sherburn hospital. So Gothic in spirit is this work that it has been again and again ascribed to Elizabethan times, _e.g._, by Billings in his _County of Durham_. In spite of the coarseness of some of the detail and that here and there a bit of Classical detail creeps in, it is most interesting and enjoyable; would that we had more of these delightful admixtures of Classic and Gothic forms; plentiful in Spain and France, they are rare with us. [Illustration: Dunblane] The stalls in Dunblane cathedral are thought by Messrs Macgibbon and Ross[31] to have been put up in the time of Bishop James Chisholm (1486-1534). In that case they would be _c._ 1520. "The work is rather rough in execution, not to be {68} compared with the more characteristic woodwork of King's College, Aberdeen"; nevertheless it is very picturesque and interesting. The introduction of the centaurs indicates Renaissance influence; the foliage carving is a rather curious mixture of late Gothic and Classic forms, such as we find elsewhere in Scottish carved work of this period. The Scottish thistle is one of the chief motifs (67).