Durham Cathedral in the context of "Medieval architecture"

The term Norman architecture is used to categorise styles of Romanesque architecture developed by the Normans in the various lands under their dominion or influence in the 11th and 12th centuries. In particular the term is traditionally used for English Romanesque architecture. The Normans introduced large numbers of castles and fortifications including Norman keeps, and at the same time monasteries, abbeys, churches and cathedrals, in a style characterised by the usual Romanesque rounded arches (particularly over windows and doorways) and especially massive proportions compared to other regional variations of the style.

English Gothic is an architectural style that flourished from the late 12th until the mid-17th century. The style was most prominently used in the construction of cathedrals and churches. Gothic architecture's defining features are pointed arches, rib vaults, buttresses, and extensive use of stained glass. Combined, these features allowed the creation of buildings of unprecedented height and grandeur, filled with light from large stained glass windows. Important examples include Westminster Abbey, Canterbury Cathedral and Salisbury Cathedral. The Gothic style endured in England much longer than in Continental Europe.

The Gothic style was introduced from France, where the various elements had first been used together within a single building at the choir of the Abbey of Saint-Denis north of Paris, completed in 1144. The earliest large-scale applications of Gothic architecture in England were Canterbury Cathedral and Westminster Abbey. Many features of Gothic architecture had evolved naturally from Romanesque architecture (often known in England as Norman architecture). The first cathedral in England to be both planned and built entirely in the Gothic style was Wells Cathedral, begun in 1175. Other features were imported from the Ile-de-France, where the first French Gothic cathedral, Sens Cathedral, had been built (1135–64). After a fire destroyed the choir of Canterbury Cathedral in 1174, the French architect William of Sens rebuilt the choir in the new Gothic style between 1175 and 1180. The transition can also be seen at Durham Cathedral, a Norman building which was remodelled with the earliest surviving rib vault. Besides cathedrals, monasteries, and parish churches, the style was used for many secular buildings, including university buildings, palaces, great houses, and almshouses and guildhalls.

The St Cuthbert Gospel, also known as the Stonyhurst Gospel or the St Cuthbert Gospel of St John, is an early 8th-century pocket gospel book, written in Latin. Its finely decorated leather binding is the earliest known Western bookbinding to survive, and both the 94 vellum folios and the binding are in outstanding condition for a book of this age. With a page size of only 138 by 92 millimetres (5.4 in × 3.6 in), the St Cuthbert Gospel is one of the smallest surviving Anglo-Saxon manuscripts. The essentially undecorated text is the Gospel of John in Latin, written in a script that has been regarded as a model of elegant simplicity.

The book takes its name from Saint Cuthbert of Lindisfarne, North East England, in whose tomb it was placed, probably a few years after his death in 687. Although it was long regarded as Cuthbert's personal copy of the Gospel, to which there are early references, and so a relic of the saint, the book is now thought to date from shortly after Cuthbert's death. It was probably a gift from Monkwearmouth–Jarrow Abbey, where it was written, intended to be placed in St Cuthbert's coffin in the few decades after this was placed behind the altar at Lindisfarne in 698. It presumably remained in the coffin through its long travels after 875, forced by Viking invasions, ending at Durham Cathedral. The book was found inside the coffin and removed in 1104 when the burial was once again moved within the cathedral. It was kept there with other relics, and important visitors were able to wear the book in a leather bag around their necks. It is thought that after the Dissolution of the Monasteries in England by Henry VIII between 1536 and 1541, the book passed to collectors. It was eventually given to Stonyhurst College, the Jesuit school in Lancashire.

Cuthbert of Lindisfarne (/ˈkʌθ.bɜːrt/) (c. 634 – 20 March 687) was a saint of the early Northumbrian church in the Celtic tradition. He was a monk, bishop and hermit, associated with the monasteries of Melrose and Lindisfarne in the Kingdom of Northumbria, today in north-eastern England and south-eastern Scotland. Both during his life and after his death, he became a popular medieval saint of Northern England, with a cult centred on his tomb at Durham Cathedral. Cuthbert is regarded as the patron saint of Northumbria. His feast days are 20 March (Catholic Church, Church of England, Eastern Orthodox Church, Episcopal Church) and 4 September (Church in Wales, Catholic Church).

Cuthbert grew up in or around Lauderdale, near Old Melrose Abbey, a daughter-house of Lindisfarne, today in Scotland. He decided to become a monk after seeing a vision on the night in 651 that Aidan, the founder of Lindisfarne, died, but he seems to have experienced some period of military service beforehand. He was made guest-master at the new monastery at Ripon, soon after 655, but had to return with Eata of Hexham to Melrose when Wilfrid was given the monastery instead. About 662 he was made prior at Melrose, and around 665 went as prior to Lindisfarne. In 684 he was made bishop of Lindisfarne, but by late 686 he resigned and returned to his hermitage as he felt he was about to die. He was probably in his early 50s.

The Brut or Roman de Brut (completed 1155) by the poet Wace is a loose and expanded translation in almost 15,000 lines of Norman-French verse of Geoffrey of Monmouth's Latin History of the Kings of Britain. It was formerly known as the Brut d'Engleterre or Roman des Rois d'Angleterre, though Wace's own name for it was the Geste des Bretons, or Deeds of the Britons. Its genre is equivocal, being more than a chronicle but not quite a fully-fledged romance.

It narrates a largely fictional version of Britain's story from its settlement by Brutus, a refugee from Troy, who gives the poem its name, through a thousand years of pseudohistory, including the story of king Leir, up to the Roman conquest, the introduction of Christianity, and the legends of sub-Roman Britain, ending with the reign of the 7th-century king Cadwallader. Especially prominent is its account of the life of King Arthur, the first in any vernacular language, which instigated and influenced a whole school of French Arthurian romances dealing with the Round Table – here making its first appearance in literature – and with the adventures of its various knights.

The Great Seal of Scotland (Scottish Gaelic: Seala Mòr na h-Alba; also the Scottish Seal; formally the Seal appointed by the Treaty of Union to be kept and made use of in place of the Great Seal of Scotland) is a seal used by the first minister of Scotland to seal letters patent signed by the monarch giving royal assent to bills passed by the Scottish Parliament.

The Great Seal of Scotland is the principal national symbol of Scotland that allows the monarch to authorise official documents without having to sign each document individually. Wax is melted in a metal mould or matrix and impressed into a wax figure that is attached by cord or ribbon to documents that the monarch wishes to make official. The earliest seal impression, in the Treasury of Durham Cathedral, is believed to be the Great Seal of Duncan II and dates to 1094. During the reign of Mary I, the thistle was incorporated into the design of the Great Seal, segmenting the thistle's status as a national Scottish symbol.