The Cathedral Church of York Part 8

Bra.s.ses were placed over the burial-places of these archbishops, and were mostly destroyed in the Civil War.

The great east window, like the windows of the transepts, has a double plane of tracery reaching to about half the height of the whole. Between the two planes a pa.s.sage runs at the base of the window, between two doors which lead to staircases in the turrets on each side of the windows. These staircases, in their turn, lead to a gallery across the window on the top of the inner plane of tracery. The view from this gallery is very fine. The window itself contains nine lights, and these are divided by two mullions, thicker than the rest, into sub-divisions of three lights each, each sub-division terminating in an arch formed by the curving of the mullions. From the top of each of these arches rises another mullion, the two outer being soon cut short by the arch of the window, the central one curiously splitting into two thick branches to right and left in straight lines until they also are cut short by the window arch. The rest of the upper lights are filled with an infinite number of small divisions, in which the occasional presence of curved lines shows the transitional character of the design. The window is crossed by three transoms, the two lower at equal distances, the upper close to the one below it. The gallery across the window is formed by these two upper transoms. The gla.s.s in the choir, as in all the rest of the church, is described in a separate chapter.

The entrance to the crypt is from the north aisle of the choir as it was in ancient days. There are still remains of the original vestibule to the crypt, and also the bases and one of the jambs of the Norman door leading to it.

#The Crypt# itself is very interesting, not only for its own sake, but for the light it throws on the history of the building of the minster.

The fire of 1829 gave Professor Willis and Mr Browne the opportunity to make elaborate and prolonged investigations, to which we owe much of the light which has been thrown upon problems connected with the choirs of Thomas and Roger.

Before this fire, the only crypt whose existence was known of, was a small chamber under the platform of the high altar, no wider than the central aisle of the choir, and only equal to a bay and a half of that aisle in length. The greater part of this crypt was Norman in character.

The vault was supported by six Norman pillars, and the ribs of the vault were apparently Norman. But the side piers were Perpendicular, and the transverse arches of the ribs four-centred, as in late Perpendicular work. There can be little doubt, Professor Willis says, that this crypt was a mere piece of patchwork put together, when the present choir was built, out of old materials which came readily to hand, with the object of giving support to the platform of the altar, and to provide chapels and altar room beneath it.

[Ill.u.s.tration: The Crypt.]

After the fire of 1829, the existence was discovered of a large crypt, stretching westward of the altar platform, and extending under the whole of the rest of the choir and its aisles. Of this crypt, only the pillars and the lower part of the walls remained.

At the west end of this crypt a portion had been enclosed in walls and filled up with earth. The eastern part was vaulted, and had stout Norman pillars at the side, while in the middle were two rows of smaller single pillars. The earth has since been removed, and the building laid open, repaired, and vaulted.

The thicker pillars are of elaborate late Norman work, diapered in a manner recalling the piers of the nave at Durham. The vault was ribbed.

These pillars were, no doubt, erected by Roger Pont l'Eveque, and enable us to understand what the character of his choir must have been.

The walls enclosing the western part of the crypt are of peculiar interest. They are made up of three part.i.tions. The outer wall, 3 feet 6 inches thick, is, no doubt, the work of Roger. The middle wall, 4 feet 8 inches thick, is faced with herring-bone work, and this, and the coa.r.s.eness of its workmans.h.i.+p, prove it to be of great antiquity. It is almost undoubtedly Saxon, and has been supposed, though on slender evidence, to be part of the original church begun by Edwin in the seventh century. A bit of this wall is now bare, and may be seen.

[Ill.u.s.tration: Capitals in Crypt.]

The third wall is only 2 feet thick. It probably was also erected by Roger, but it is composed of older materials of an early Norman character. It may be from Thomas's choir, if, as is probable, the earlier choir which Roger pulled down had been built by Thomas. The stone of this wall is of the same coa.r.s.e sandstone as the remains of Thomas's apse under the north transept, and there are traces of plaster on the stones showing that they had been used for the interior of a building.

No doubt the outer wall was erected by Roger as a support for his ma.s.sive piers, for which purpose the middle wall alone would have been insufficient. Roger also probably added the thin inner wall, and filled the whole with earth, for the same purpose.

Close to the remains of the Norman doorway before mentioned, is a low arch, and the portion of an apse, no doubt the work of Thomas, the apse being the eastern termination of his transept.

[Ill.u.s.tration: Capitals in Crypt.]

It was from his examination of the side walls of this crypt that Professor Willis was able to support his conjectures as to the dimensions and character of Roger's choir. Thus he traced it to the eastern transept of that choir, in the same place as the present eastern transepts, and deduced from the extra thickness of the wall in that part that those transepts had been capped by towers. Beyond this the crypt was filled up with graves, and there is now no access, but during the repairs he was able to trace so much of the walls as to make it plain that Roger's choir had a square ending, and also to mark the situation of the east end of that choir.

#The Record Room.#--A chantry founded by Archbishop Zouch, but rebuilt in 1396, during the erection of the present choir, is now utilised as the record room, and contains the fabric rolls, and other doc.u.ments concerning the building and const.i.tution of the minster.

The vestry and treasury date from the middle of the fourteenth century; like the record room they lie to the south of the choir.

In the vestry is the famous horn of Alphus. It was given by Alph, or Alphus, son of Thorald, a little while before the Conquest. Alphus laid it on the altar of the minster, as a sign that he gave certain lands to the church. The horn is made out of an elephant's tusk. The wide end of the horn is ornamented with carvings of griffin dogs, a unicorn, and a lion eating a doe. This carving shows a strong Eastern or Byzantine influence, and may well have been of Byzantine workmans.h.i.+p. The horn was lost during the Civil War, but found by Lord Fairfax, who gave it back to the minster. The silver gilt chain now attached to it was added in 1675. The vestry also contains an oak chest finely carved with the stag of St. George, and dating from the early part of the fifteenth century, and the fine pastoral staff plundered from James Smyth, the Roman Bishop of Callipolis, in the streets of York at the time of the deposition of James II.

Here also is the Mazer Bowl or Indulgence Cup of Archbishop Scrope. It is of wood, with a silver rim, and three cherubs' heads for feet. Round the rim is the following inscription:--

"Recharde, Arche Beschope Scrope grantis on to alle tho that drinkis of this cope x dayis to pardune, Robart Gubsone, Beschope Musm grantis in same forme aforesaide x dayis to pardune, Robart Strensalle."

The cup was originally given to the Corpus Christi Guild, and afterwards pa.s.sed to the Cordwainers Company. When the latter were dissolved (in 1808), the bowl was presented to the minster.

The vestry also contains three silver chalices and patens taken from the tombs of archbishops; the rings of Archbishops Greenfield, Sewall, and Bowet, also taken from their tombs; and an ancient chain, probably dating from the fifteenth century.

The minster, for all its size, age, and importance, contains curiously few tombs of interest. Though most of the earlier bishops were buried within its walls, not more than three of their monuments are really remarkable. Only one member of the royal family, William of Hatfield, the infant son of Edward III., lies there, and very few persons of distinction. It is not proposed therefore to give a description of any tombs, except such as are notable for beauty or interest.

#Monuments In The Nave.#--In the north aisle, three bays from the west end, is a monument of late Perpendicular work, said to be the tomb of Archbishop Roger, who died in 1181. It is possible that his bones were transferred here from the choir, though there is no record of such transference. This tomb was opened and restored in 1862, when some bones and remains of ecclesiastical vestments were found in it. The restoration appears to have been arbitrary and inaccurate.

[Ill.u.s.tration: Effigy of Manley.]

The tomb is recessed in the wall of the aisle, and consists of a lower storey for the coffin with a flat top, with a front of open stone work in eight divisions, each containing a quatrefoil. Above is a very obtuse arch with plain mouldings, with a row of "Tudor flower" ornaments on the top, and a figure of the Virgin in the middle. There are two birds holding scrolls in their beaks on either side of her. These have been changed by the ingenious restorers into eagles bearing ears of wheat.

All other monuments of importance in the nave were destroyed by the Puritans, or at the Reformation.

A word must be said, however, as to the tomb and shrine of St. William, the patron saint of the minster.

William Fitzherbert was a great-grandson of the Conqueror, and an opponent of the monks. He was expelled from his episcopacy in 1147, but returned to it in 1153. He is stated to have performed a miracle immediately on his return, and died about immediately afterwards in 1154. He is said to have been poisoned, whilst celebrating ma.s.s, out of the holy chalice itself. It was perhaps the peculiar atrocity of his end which gave him so great a reputation for sanct.i.ty. During his life he does not seem to have been distinguished above other archbishops for learning, piety, or good deeds. He was not canonised until 1284. It is difficult to understand either why the minster had not obtained a patron saint before this time, or why the choice eventually fell upon St.

William. No doubt the authorities felt the want of a shrine fit to be enriched by the visitations of pilgrims, and were encouraged by the example of the shrine of St. Thomas of Canterbury to obtain one as soon as possible. We can only suppose that they chose St. William for want of a more distinguished patron. At all events, his shrine never obtained the celebrity of that of St. Thomas of Canterbury, and in after years was probably regarded as inferior in sanct.i.ty and interest even to that of Archbishop Scrope in the minster.

He had originally been buried in the nave, where, exactly, is not known, but it is said that even before his canonisation his tomb was visited by pilgrims, and was the occasion of miracles. When he was canonised, the 8th of June, the day of his death, was appointed for his festival.

The visit of Edward I. to York in 1283-4 was chosen by Archbishop Wickwaine as the occasion for the translation of St. William's relics from his old tomb in the nave to his shrine in the choir. The ceremony was performed with great pomp in the presence of the King and of his wife Eleanor. William became one of the King's patron saints, and Edward gave various gifts of jewels to his shrine.

In the Acta Sanctorum for June 8th, St. William's day, it is recorded that "Corpus ab imo in altum, a communi loco in chorum Venerabiliter est translatum."

"His body was translated with all reverence from the lowest to the highest place, from a common position to the choir."

The shrine was probably placed behind the high altar, and afterwards between the reredos and the eastern screen, as at Durham and St. Albans.

The bones themselves were deposited in a portable _feretrum_, so that they might be easily carried in procession.

As in the case of Thomas a Becket, the original place of William's burial still remained an object of veneration.

It was at the eastern end of the nave, and was covered with a great superstructure, so large that processions, it is said, were obliged to divide and march to each side of it.

The head appears to have been kept in a silver jewelled chest separate from the rest of the body. It was exhibited to wors.h.i.+ppers who gave offerings to it. At the Reformation the head was seized by one Layton, afterwards Dean, and a follower of Thomas Cromwell; its seizure was one of the chief causes of the Pilgrimage of Grace.

At this time, also, the shrine was demolished, and also the superstructure over the saint's original place of burial in the nave. It is said that no remembrance was left of the spot except a tradition that the saint had lain under a long marble slab in the nave of the church.

In 1732, during the repairing of the nave of the minster, Drake, the historian of York, obtained leave to search under the said slab, and there found a coffin of stone, containing a leaden box, in which were bones wrapped in sarcenet. There was no inscription by which the remains could be identified, and they were again buried.

Archbishop Melton was buried near the font, as it then stood, at the west end of the minster. In 1736, when the new pavement was laid, the stone covering his grave was taken up, and a lead coffin was discovered, containing the bones of the archbishop. On the top of the coffin was a chalice and paten of silver-gilt. Inside the coffin was the pastoral staff, but no ring or vestments. The archbishop was re-buried in the same place.

#Monuments In The South Transept.#--In the eastern aisle is the tomb of Archbishop de Grey, who died in 1255. This, one of the two or three really fine monuments in the church, is Early English in style, and has been very little damaged. It consists of an effigy, with a canopy supported by nine pillars above it. The figure of the archbishop is clothed in full canonicals. In his left hand is a crozier, and his right is raised to bless. The feet trample on a dragon, into the mouth of which enters the b.u.t.t end of the crozier. On each side of the figure is a shaft ornamented with bunches of leaf.a.ge at regular intervals. Round the head of the archbishop is a gable cusped with censing angels on each side of it.

The pillars supporting the canopy have fine capitals, and above them are cusped arches, with richly-carved scroll work in their spandrels. Above is a further tier of arches, supported by short shafts, also having beautiful capitals. Above these arches are gables covered with crockets, and on the gables are elaborate finials. These finials are an addition of the beginning of the century, and are of plaster. They are the work of an Italian sculptor, Bernasconi by name, and, considering the circ.u.mstances, are unusually good. Round the tomb is a railing, presented by Archbishop Markham, also of the beginning of the century, and of very poor design.

[Ill.u.s.tration: Effigy of Archbishop de Grey.]

To the south of this tomb is the large and elaborate modern monument to Archdeacon Duncombe, which has nothing, either in workmans.h.i.+p or design, to recommend.

To the north is the tomb of Archbishop Sewall de Bovill, who succeeded Archbishop de Grey. His sepulchre, says Drake, was much frequented after his death by the common people, who reported many miracles to be done at it. The tomb consists of a plain slab of marble, with a cross upon it, supported by twelve low pillars, with plain capitals, and trefoiled arches.

#Monuments In The North Transept.#--In the eastern aisle of the north transept is the beautiful tomb of Archbishop Greenfield, who died in 1315. This tomb belongs to the most fully-developed period of the Decorated style. It is ornamented with arcading in front, with gables, each part.i.tion divided by b.u.t.tresses with pinnacles. Above it is a canopy with a richly-foliated arch, and a gable with crockets, terminating in an elaborately-carved finial, with a statue of the archbishop in the act of benediction on the top. On each side are b.u.t.tresses, with elaborate pinnacles. The statue of the archbishop is a modern addition. On the tomb itself are the remains of a bra.s.s. In 1735 this tomb was opened, and a ring discovered in it. Close to the tomb was the altar of St. Nicholas; and the archbishop was buried in this position because he died on the festival-day of that saint. This tomb is also remarkable for the fact that the lunatic Martin hid himself behind it, in 1829, before setting the minster on fire.