RIPON, FOUNTAINS AND DURHAM. 229 
then joined them, and, being rich, they devoted all their 
wealth to the erection of the building constituting this 
Abbey, and applied to St. Bernard to instruct them in the 
rules of the Cistercian Brotherhood. In 1204-47 the more 
elaborate portions of the Abbey were built, and the choir 
was rebuilt in the Early English style. It is remarkable 
that the architectural feature of the north wall of St. Mary’s 
at York is reproduced in the north wall of the choir of 
St. Mary Fountains, but more elaborately treated, by reason 
no doubt, of its later date. This consists in the formation 
of blank windows on either side of the pierced windows 
of the aisles and an arcading below the cills. Neither 
of these may be particularly singular in its way, but the 
sinilarity of the lines and general details would tend to 
prove that the old monks of York had brought away 
ideas from their former residence, or at the later date some 
communication existed between the two Abbeys, although 
the brotherhoods were, to some extent, antagonistic. 
The tower, originally built at the intersection of the nave 
with the transept, showed signs of weakness, and was 
removed. A new tower, a fine example of the Perpen- 
dicular period, was erected over the north transept during 
the 15th century. 
Perhaps the most unique portion of the church is the 
Chapel of the Nine Altars, built at the east end of the 
choir, magnificent in conception and execution, and sur- 
passing all else. The group of two arches each on the 
north and south sides, dividing the chapel (or, more cor- 
rectly, eastern transept) into three parts were supported in 
the centre by a clustered column of marble shafts. Of 
these nothing remains but the bases and caps and the 
octagonal core, which is about 2 feet in diameter and 50 feet 
high, reaching well up into the clerestory before the arches 
commence. All authorities are unanimous as to the grace- 
ful and splendid treatment of this chapel. 
