Selby Abbey - The Interior

A distorted Norman arch in the north arcade of Selby Abbey

When analysing the various architectural styles on the exterior of Selby Abbey, I was very dependent on my old copy of the Buildings of England – Yorkshire West Riding, by Nikolaus Pevsner and, for the interior, it is also essential.

A view of the south arcade from the west door

During my visit, I just photographed the principal structural elements, or features that caught my eye, and did not systematically record the complex details, which I have since discovered are a lot more varied than I noticed at the time. 

A view of the  north arcade from the west door

Although my investigation of mediaeval churches to date has provided me with a good introduction to various architectural styles - from the Romanesque to the English Perpendicular Gothic – when reading Pevsner’s description, as well as the very detailed account of Selby Abbey by the Corpus of Romanesque Sculpture , I have to admit feeling a little bit out of my depth. 

A view of the south arcade from the crossing

Entering by the west door, both of the 8 bay arcades to the nave are seen to be round arched but, looking at the columns and their details, their form changes from what the official guide describes as 13th century to an obviously Norman style, with simple circular columns, chevrons and a single incised diamond design that is named after Abbot Hugh – based on those used at Durham Cathedral, which was built c.1110. 

Norman arches with chevron detail in the north arcade

At another time, I will come back to take a much closer look at the various architectural elements and sculptural details but, being more comfortable as a geologist and building stone specialist than an archaeologist, the highlight for me was to see the distorted arches to the arcades and the triforiums above them. 

Distorted arches in the north arcade and triforium

A consequence of the abbey being built on unconsolidated Quaternary sand and clay, is that the foundations of the crossing tower have proved to be completely inadequate – with the tower partially collapsing in 1690 and further concerns raised about its stability in the late 19th century. 

A distorted arch to the south arcade

Wandering around the rest of the interior, I didn’t take much note of the architectural features of the transepts and, after having a long conversation with one of the guides, I only had enough time to look very quickly at the stonework of the choir, the chancel and its aisles. 

A detail of stonework in the choir

Before John Oldrid Scott restored substantial parts of its exterior, his better known father – Sir George Gilbert Scott – had been responsible for restoring the choir and, probably, the various statues/figurative sculptures seen here are his work. 

A carved detail in the choir

Interesting for me is that some of the ‘primitive’ stone carvings, which they stand above, are to me noticeably slightly red in colour. As, in my examination of the photographs that I have taken of the masonry to the C13 gable on the west front, I assumed that this would be due to the great fire of 1906 – with my thoughts confirmed when I saw the stonework in the east end of the chancel.

Ornate stonework in the chancel reddened by the great fire of 1906