CHAPTER 45 A TALE OF TWO CATHEDRALS
The house of de Dampierre had been rocked to its foundations by the events of 1414, but the year at least had a more positive end, as Yves and Margit had their first child, yet another female de Dampierre, and another Sophie, and in the same month of November, a bitter-sweet moment as Phillippa, Alderic’s widow, gave birth to a baby boy, Randolph (Randolph??? you’re having a larf).
Christmas came and went, hardly the most joyous festive season that Pierre had ever spent. 1415 was ticking by and preparations were well underway for Easter. Maundy Thursday was 24 March and for whatever reason – maybe it was to do with the loss of Alderic, or maybe it was a more cynical attempt to improve his piety – Pierre instigated a tradition that has persisted until modern times. The king was in Durham, visiting his northern defences, and he summoned forty poor peasants (one for each year of his life) to the impressive Norman cathedral where he presented each of them with thirteen silver pennies (one for each year of his reign). The ceremony took place within the Romanesque splendour of the massive fortress-cathedral that had been built by the prince bishops of Durham in the 11th century. It was one of those sights that simply took the breath away from ordinary mortals, and even kings panted slightly. It stood on a promontory high above a loop in the river Wear. The heavily wooded escarpment sloped precipitously down towards the gentle flowing river; in autumn the rich multicoloured mantle that the hillside wore was nothing short of spectacular. The cloisters, for the cathedral was also an abbey, occupied the southern side of the site, lying between the south transept and the edge of the ridge, whilst a wide open space known as the cathedral green lay on the north side of the great cathedral. Across the green from the cathedral lay the castle – another Norman creation, a classic motte and bailey affair, topped with a crenellated keep built in beautiful mellow sandstone that contrasted with the darker stonework of the cathedral. The whole site, cathedral and castle, dominated the small town of Durham that lay clustered below the ridge as it sloped gently downwards on the landward side of the promontory, down towards the river as it completed its loop of the town where it was crossed by old Elvet bridge.
The cathedral was said to be one of the architectural wonders of its age. Massive yet graceful, ornate yet simple, it stood as a symbol of man’s devotion to God and to the wealth of bishops and kings past and present. It was also a place of pilgrimage, and if it was not quite in the same league as Canterbury in the far away south of England, the monks still made a pretty penny from the cult of St Cuthbert whom they venerated. His bones lay under the high altar having been robbed from nearby Lindisfarne by the entrepreneurial monks of the time and installed at Durham under the pretext that the saint himself willed it so (by refusing to allow his coffin to be lifted any further once it had lain at Durham). A stone rood screen divided the choir, wherein worshipped and sang the monks, near to their sainted hero, from the nave of the cathedral, where the lay brethren and townsfolk worshipped. They had by no means the worse of the deal, for the nave was famous for its huge stone pillars, each pair on north and south side carved with matching chevrons or waves or diamonds, and each pillar as broad in circumference as it was tall (although it never looked it). At the western end of the nave stood the newest addition to the cathedral, a so-called Galilee chapel. It was here, where the famous Venerable Bede lay entombed, that King Pierre presided over the distribution of what was to become known as Maundy Money on Maundy Thursday, 1415. How the people marvelled at the king’s piety.
The king’s prestige also improved later that year when he appointed his youngest son, Yves, count of Laigin and duke of Leinster. How Ireland continued to interact with the house of de Dampierre since that long ago foray into its rocky north by the king’s great-grandfather, duke Louis II. In the north, the king’s grandson Fedelmid was now duke of Ulster, although a regency council ruled in his name after his father’s untimely murder. Away to the west, a lawless, wild country, lay the duchy of Connaught. An approach from Pierre to its duke, Colman, to become his vassal was rejected, belying Pierre’s claim to be king of ALL Ireland in practice as well as in name.
Another Beck, Adémar, was appointed to high office, king’s chaplain in this case. It was he in fact who brought the sad news of the death of baby Randolph to the king’s attention in October 1415. What had he done to deserve all this, pondered Pierre. A murdered son, a dead grandchild, his first wife dead in childbirth, his second ugly and incapable of providing him with a male heir to Schleswig. Adémar did not judge it the right time to suggest that the king should look inside his own heart for the answers that he sought.
By January 1416, Queen Kunigunde had descended into a deep depression. Doctors said this had been caused by her repeated inability to deliver Pierre with a male heir for Schleswig, coupled by her grief at the loss of her younger brother, and the inevitable barrier that had grown up between her and the king ever since.
In May 1416 Pierre was once again in the north, this time in the small town of Gateshead to witness the first steps in the building of a new grand shipyard. The king himself, symbolically, presented the keys to the dockyard to the architect and the master shipwright, Messrs Swann and Hunter.
Bishop Adémar had not been idle. He had bided his time and had broached the subject of the king’s misfortunes with him on more than one occasion. He raised it again on the long journey back south. The more Pierre thought about it the more the bishop might be right, he thought. At any rate, he knew he had nothing to lose an possibly much to gain by a public show of atonement and penance for his past sins. The royal party’s route took them south through Durham and Boroughbridge and onto York, the ancient capital of the north. The city was proud of its ancient traditions and of its status as the second city in the kingdom. Its inhabitants were proud folk, fiercely independent in many ways, no doubt in part due to the fact that many citizens could trace their ancestry back to the city’s Viking past when it had briefly been an independent Norse kingdom in the 10th century. Like most of England’s cities, it was walled, and the many houses crowded on top of one another in higgledy-piggledy fashion. The merchants’ fine houses on Stonegate and Petergate were in stark contrast to the hovels of the poorer townsfolk down towards the river front. The River Ouse was a great highway for international trade of all sorts, and each day vessels from throughout Europe docked to unload their precious cargoes of wine, spices, silks, jewels, pottery etc. and to take away with them wool and cloths, the principal products of the region. Ouse bridge was like a smaller version of London bridge, lined on either side with tall shops and tenements that had been forced upwards due to the obvious lack of space laterally. Across the southern side of the bridge lay the city’s notorious rough quarter where whores and pickpockets and cut-throats had their dens, nestled under the town walls as they swept round westwards towards Micklegate Bar.
But the jewel in York’s crown was its glorious Minster. This was a far more modern affair than its counterpart in Durham, having been rebuilt in the flamboyant Decorated style throughout the 14th century. Newly completed, its nave soared high above, decorated with richly painted roof bosses adorning the intersections of its beautiful stone vaulting. The central tower stood at over 200 feet and afforded a view over the Plain of York and away to the North Yorkshire Moors – a more than adequate compensation for the unfortunate guards and lookouts whose duty it was daily to mount the 275 steps to the top. As implied by its name, the Minster was originally a Saxon foundation, and although little trace of this old building remained, elements of it had been incorporated into the foundations of the Norman foundation which succeeded it. This had been built by the new Norman lord towards the end of the 11th century and was intended to stand as a symbol of the power of the city’s new Norman masters. This was a classic Norman simple, solid design with small rounded windows that admitted precious little light to the body of the building, of cruciform design, with a squat central tower with pointed apex at the junction of nave, chancel and transepts. Never as spectacular as its Norman cousin up Watling Street at Durham, it eventually suffered the same fate as its Saxon predecessor being dismantled and having its foundations in turn reused to support the nave pillars of the new Gothic Minster that was to replace it. Only completed in the 1390s, it was the largest cathedral in England and the widest in western Europe, a feat made possible by the new building techniques that allowed the masons and builders to span huge widths with their elegant stone vaulting. The whole building was light and graceful. If Durham was masculine in its brooding magnificence, York was feminine – delicate, graceful, beautiful. The weight of its high walls was borne by the new nave pillars, slimmer, colonnaded, and far more decorative than their functional Norman forerunners, and by a series of spectacular flying buttresses that helped to spread the weight of the upper walls around the clerestory outwards and downwards, over the aisles and onto the outside walls of the complex.
The whole interior was light and airy, and when the sun shone, it was illuminated in a riot of rich colour as light poured in through the Minster’s spectacular stained glass. The magnificent east window showed Christ’s genealogy and ancestry back to Jesse and David. The superb Rose window high above the Minster’s south transept was a glorious fusion of vivid reds and blues set in graceful symmetrical stone tracery. The window of the north transept by contrast was a series of five narrow pointed gothic arches, containing grey-green glass depicting simple geometric designs only detectable upon close scrutiny of the window. The locals referred to it as the Five Sisters, emphasising the feminine quality of the Minster. And finally, high above the great west door was the Heart of Yorkshire. So-called because the tracery depicted a large heart shape in the upper centre of the window, and in the setting sun, the golden light shone through the window, its colours and the shifting angles seeming to make it beat with some form of mysterious life-force that sustained England’s largest and greatest county.
Thus it was that on 22 June 1416, dressed in a hair shirt, bereft of all signs of the royal dignity, walked barefoot down the nave of the cathedral, through the rood screen and up towards the high altar where bishop Adémar and the Archbishop of York stood to receive him. The rood screen was not yet complete; it contained statues depicting the kings of England since the Conquest, starting on the left with the Conqueror himself, then the rest of the Norman kings followed by the Plantagenets, the last statue in place being the king’s grandfather and predecessor, Edward IV. There were yet 3 niches left, the first of which would eventually contain an image of Pierre himself, looking westwards down the nave for all eternity. There was a more poignant reminder of the king’s ancestry in the small tomb of his grandfather’s younger brother, Prince William of Hatfield who had died in childhood and was buried in the church in which his parents, Edward III and Phillippa of Hainault had been married.
The king prostrated himself face down on the floor, his arms spread-eagled in submission, and he prayed for forgiveness for all his sins. He remained in this most unregal of postures for over two hours whilst the bishops read psalm 119 antiphonally and heard the king’s confession of his many misdeeds.
From that day onward, those closest to the king detected a new zeal about his religious observance.