The Church was the dominant factor in the social life of mediaeval England. Bishops vied with each other in making their cathedrals more and more beautiful. Each person was anxious to do his share in helping on the great work of the Church. Kings used their influence to further building operations, nobles gave materials and money, whilst ecclesiastics worked diligently in the cause and set a good example to the faithful. Funds for the fabric were augmented by the granting of indulgences, penances, and briefs, and by offerings and bequests. A noble would remember his friends by erecting some part of the structure or by gifts of painted windows; a merchant endowed a chantry chapel, the tradesman set up an altar; whilst the less wealthy left a sum of money for a priest to say mass at an already existing altar. Each citizen was personally interested in the edifice.

The first minster at York was built nearly thirteen centuries ago for the baptism of Edwin, King of Northumbria. It was of wood and dedicated to St. Peter, and therein the King was baptized by Bishop Paulinus. Edwin selected his political capital of York to be also the ecclesiastical capital, and

induced Pope Honorius to confirm his selection of Paulinus as Archbishop, and he began the erection of a stone cathedral around the wooden edifice. But before the scheme could be carried out, the King fell in battle, and Paulinus fled for safety to Kent, and it was not until after a century that York became an archbishopric. During the time of Alcuin, schoolmaster at York and the greatest scholar of his age, a new minster was erected, which was destroyed by fire in the revolt of northern England against the Normans.

Thomas, the first Norman Archbishop, set about the erection of a new cathedral. He formed out of the ruins of the old one a choir, and, in front, built a wide tower with transepts and an aisled nave. He introduced the apse to terminate the eastern end of the choir and the transept chapels. Owing to the rebellious tendencies of the men of York, the new tower may have been planned with an idea of defence and as a place of refuge.

In the next century, Roger, who had been Archdeacon of Canterbury and had seen the building of the choir there, was appointed to the See of York. As the small aisleless choir at York did not appeal to him, he replaced it with a large crypt and aisled choir, which would present less contrast with the glorious choir he had left. The crypt consists of five aisles, separated by columns and short massive diapered piers, which are surrounded by small shafts. The doorways were richly sculptured. Part of the exterior northern wall is now enclosed within the present crypt. On the stonework of the Norman crypt are some well-preserved masons’ marks.

The cathedral at York was never attached to a monastery, but was occupied by a body of secular canons, who in the early days led a kind of communal life. It is probably from this circumstance that the cathedral has been generally referred to as the Minster (monasterium).

Pilgrimages to shrines of saints became very popular; the Minster, however, was at a great disadvantage in comparison with the other great minsters and cathedrals, for it had no illustrious saint buried within its walls. In Beverley Minster the famed archbishop of York—St. John of Beverley—was buried. Durham Cathedral contained the remains of Cuthbert, the most famous of the saints of northern England. Canterbury possessed the tomb of the most popular of English saints, Thomas À Becket. Westminster Abbey enclosed the remains of the saintly Edward the Confessor. St. Albans prided itself on the relics of the early Saint Alban.

The Archbishop of York and the Chapter of the Cathedral agreed to urge the Pope to place Archbishop William, who was buried in the Minster, on the calendar. William’s career as Archbishop had been a chequered one. He was the son of Count Herbert and a nephew of King Stephen. On the death of Thurstan, the King was anxious that his nephew, who at the time was Treasurer to the Minster, should become Archbishop. The election was forced in such an aggressive manner that the clergy resented such an exercise of Court influence, and against William FitzHerbert were also arrayed the Abbots of Rievaulx and Fountains, the Priors of Guisborough and Kirkham, and the Master of St. Peter’s Hospital at York. Both parties went to Rome to lay their case before Pope Innocent, with the result that William, returning successful to England, was consecrated at Winchester. Two years later a cardinal brought the pallium for William, but before it was delivered, the Pope died, and the cardinal returned to Rome, carrying the insignia back with him. William hurried to Rome, and when he got there the quarrel was reopened, and he now found a bitter opponent in the great St. Bernard. The treatment which Archbishop William received was resented by his friends in York, and they resolved to march to Ripon and attack Murdac, Abbot of Fountains. The attack was so serious that William was deposed, and Murdac made Archbishop. On his death, William was recalled, and he set out for the city of York, but was met on the way by the Dean and the Archdeacon, who had opposed him and now announced their intention of appealing against his election. William, however, reached York and was met by such a large crowd that the timber bridge over the Ouse collapsed. Many were thrown into the river. The Archbishop, who had crossed safely before the accident, heard their screams. He turned round and began to pray that all might be saved. His prayer was granted, and a miracle considered to have been worked. On Trinity Sunday, the Archbishop, officiating in the Minster, was taken suddenly ill and returned to the palace. Within thirty days of his triumphal entry into York, he died of fever. His friends said he had been poisoned. He was buried in the Minster, his sudden death calling forth the sympathy of the populace. Miracles were wrought at his tomb, from which flowed oil. Sick people anointed with the oil became well. A man named Ralph, who had lost the sight of both eyes, after praying and fasting, came to the tomb and recovered his sight. William was placed on the calendar in the year 1227. Indulgences were granted by the Archbishop of Canterbury and the Bishops of London and Lincoln to those who visited the tomb. Pilgrims came from all parts to the tomb of the saint bringing

offerings, with the result that the Minster authorities were encouraged to begin the erection of a new cathedral. They began with the renewal of the transepts and then proceeded with the erection of the nave and chapter house, and of the Lady Chapel and choir.

York Minster impresses the beholder by its massiveness, and although it consists of buildings of various dates, it gives an impression of unity of design. The earliest portions are the transepts, and there is a great contrast in the composition of the two gable ends. That of the northern from its simplicity seems the earlier. The central part consists of an arcade, above which are five long lancets known as “the Five Sisters”; over are a stringcourse and seven lancets rising to the slope of the gable. The southern transept has a portal set between arcading and lancets, above which is a central window of two lights with a lancet on either side, whilst the gable is filled with a large and beautiful rose window.

The western front is a charming architectural composition. The nave gable-end, with entrance and eight-light window with its flowing tracery, is set between two buttressed and uniformly pinnacled towers, which terminate the aisle ends. The entrance has a moulded arch enriched with delicate sculpture in which the history of Adam and Eve and their sons Cain and Abel is traced. Above the entrance is the figure of an archbishop seated, holding a model of the western front in his hands, and on either side are mailed figures with shields of a Percy and a Vavasour, having blocks of wood and stone which signify the nature of their gifts to the building. The aisles are divided into seven bays by buttresses which have a canopied niche with figure and lofty pinnacles and which support the flying buttresses to the nave roof, giving an effect to the whole composition of great stability and endurance. The choir and Lady Chapel are a continuation of the nave design. They differ only in detail and lack the flying buttresses. The clerestory passage along the Lady Chapel is outside the windows. The walk is enclosed by an open screen, and is separated from the choir clerestory by a small transept with a lofty window. The eastern end contains in the centre a window of nine lights and above a figure of Archbishop Thoresby, holding a model of the Minster. Below the sill are represented busts of Christ and the Apostles, a king, an archbishop, and two princes.

On the northern side is the octagonal chapter house with its five-light windows between angle buttresses. A parapet surrounds the pyramidical roof; a gargoyle depicts a bishop, in a boat, giving his benediction. The vestibule was built after the chapter house, to connect it with the church. The whole of the northern elevation is well seen from the Deanery Gardens. It is difficult to realize that the whole was in ruins in the first half of the last century. The choir was fired by a lunatic in 1829, and the nave was destroyed by fire in 1840 owing to the carelessness of a workman. The central tower, fortunately, proved a barrier to the flames on both occasions by preventing their spreading to the other part of the building.

The Minster is generally entered by the south transept. Spaciousness is the leading feature within. The great dimensions of the transepts with the lofty lantern in the centre and the “Five Sisters” at the northern end, filled in with ancient brownish-green glass, combine to make this the finest internal view. The resemblance of the glass to tapestry has given rise to a tradition that five maiden sisters worked the design in tapestry. This pretty legend forms the subject of a story related by Dickens in Nicholas Nickleby.

The view westward along the nave is a fine one. The eight bays are emphasized by the vaulting shafts which rise directly from the floor, whilst the end is filled with arcading in which is set the entrance and thereover an eight-light window with beautiful flowing tracery. The beauty of the nave owes much to the fourteenth-century glass which fills the aisle and clerestory windows. A most brilliant scene is produced when the sun shines through these windows. The view from the western end embraces the whole length of the Minster: in the centre the tower arches support the lantern and beyond stretches the long vaulted roof over the organ and altar-screen to the east end with its large magnificent window. The view in the choir looking eastward with the canopied stalls, the open traceried altar-screen, backed by the great window, which rises to the lofty vaulting, is one of striking beauty.

The chapter house is octagonal and without a single column to support the vaulting. Each bay, excepting the entrance, consists of six canopied stalls under a lofty window. The glass in the tracery is adorned with shields bearing the arms of King Edward I and of members of his Court. The windows have alternately diapered and subject panels. The subjects are taken from the Bible or from the lives of saints. The carving on the stalls is exquisite and consists of figures, heads, and foliage. The latter is treated “naturally”, as is the diaper on the glass. The ironwork on the doors consists of scrolls cut into leafage and flowers and finished at the top in zoomorphic figures. A Latin verse painted on the wall testifies “As the rose is the flower of flowers, so is this the house of houses”.

There are thirty canons, each having a seat in the choir and chapter house. The dignitaries are the dean, precentor, sub-dean, chancellor, succentor, and the four residentiary canons. Collectively they are known as “The Dean and Chapter of York”. Formerly each canon was provided with an assistant priest, termed a vicar-choral. The original number of thirty-six vicars-choral has been reduced to five. There was also a large number of chantry priests.

The choir entrance is set in the screen, amidst figures of the kings of England from William I to Henry VI. The western end of the choir is occupied by canopied stalls, terminated on the north side by the pulpit, and on the south side by the cathedra of the Archbishop. The high altar formerly stood a bay westward from the glazed screen, being set between the choir transept windows, which depict events in the lives of the two great northern saints, Cuthbert and William. Behind the high altar was a large painted and gilded reredos, with a door at each side, opening to the sacristy, where the bones of St. William were preserved in a portable shrine. The head of the saint was kept in a reliquary of silver gilt covered with jewels.

The Lady Chapel consists of the four eastern bays. Over the altar is the great window—the largest one in the world containing its original glazing. The contract for the glazing is dated 10 December, 1405, and is made between the Dean and Chapter and John Thornton of Coventry, who undertook to portray with his own hand the histories, images, and other things to be painted on it, and to provide glass, lead, and workmen at the expense of the Chapter and to finish it within three years. Thornton was to receive for every week wherein he should work in his art four shillings and each year five pounds, and after the work was completed ten pounds as a reward. The window depicts scenes from the Creation to the death of Absalom and from the Revelation of St. John.

The tomb of Archbishop Scrope is on the north side of the altar in the Lady Chapel. This Archbishop joined the insurrection against Henry IV, and was beheaded in a field on Bishopthorpe Road. Four of the vicars-choral conveyed the body to the Minster and buried it in the chapel of St. Stephen. Scrope was generally regarded as a martyr.

In the vestry is the Horn of Ulphus, formed from an elephant’s tusk, the mouth of which is encircled by a carved band of oriental design. Shortly before the Norman Conquest, Ulph, son of Thorold, lord of a great part of eastern Yorkshire, laid this horn on the altar in token that he bestowed certain lands on the Minster. There are also an ancient coronation chair, the mazer bowl of Archbishop Scrope inscribed: “+Recharde arche beschope Scrope grantis on to alle that drinkis of this cope XLti dayis to pardune”, a silver pastoral staff bearing the arms of Catherine of Braganza, taken by the Earl of Danby from James Smith, Bishop of Callipolis, whilst walking in procession to the Minster to assume the office of vicar-apostolic of the Northern District, to which he had been appointed by the Pope. Adjoining the vestry is the chapel of Archbishop Zouche, which contains a picturesque mediaeval well. Near the entrance to the crypt are two fine quadrant cope chests covered with gracefully curved ironwork.

Amongst the monuments in the Minster is an effigy of Prince William of Hatfield, the second son of Edward III. The others are principally of archbishops. The tomb of Walter de Gray consists of a bearded effigy on a slab under a solid canopy supported by shafts. That of William Greenfield is a table tomb bearing a brass on which he is depicted. Above is a roofed canopy surmounted by a figure of the archbishop. On a table tomb is a recumbent effigy of Archbishop Savage under a panelled, arched canopy. Henry Bowet was buried in a tomb surmounted by a lofty canopy. That of John Dolben, who bore the Royalist standard at Marston Moor, is figured in white marble. The effigy reclines on a high base. Treasurer Haxey’s memorial represents a wasted corpse in a winding sheet, worked in stone; an iron trellis surrounds it, supporting a black marble slab on which minster dues used to be paid. In the north transept is a memorial window to Sir Frank Lockwood, M.P. for York. The inscription below is by Lord Rosebery. In the south transept is a beautiful monument to the late Dean Duncombe. The monument to the wife of Archbishop Matthews records she was first married to a son of Matthew Parker, Archbishop of Canterbury.

She was the daughter of a bishop, and one of four sisters all of whom married bishops.

The Minster Close is bounded on two sides by the city walls. At Westminster on 18 May, 1285, Edward I granted a

These walls and three gateways have been destroyed. On the northern side of the close stood the Archbishop’s palace, of which a portion of the fine late Norman arcade exists. The Archbishop’s chapel was built in the early part of the thirteenth century, and has examples both of the round and pointed arch. The chapel and its undercroft are now used as the Minster Library. The prebendal house of Stillington occupied the site of the present Deanery. Eastward is the Treasurer’s house, which Mr. Frank Green has restored for use as his residence. The Prince and Princess of Wales (King Edward VII and Queen Alexandra) and Princess Victoria occupied the Treasurer’s house during their visit to York in 1897. Southwards stood other prebendal houses and the old Deanery. The house which the Prior of Hexham held in virtue of his prebend of Salton afterwards became the home of the chantry priests and was known as St. William’s College. The buildings surround a courtyard, the lower story is of stone, and the upper a projecting half-timbered one. When King Charles fled from London to his beloved city of York, he stayed in Sir Arthur Ingram’s house, formerly the palace, and the King’s son on his arrival was created Duke of York as a compliment to the city. On St. George’s Day, 1642, a meeting of the Knights of the Garter was held in the chapter house. The royal press was established in St. William’s College. The college has been restored, and is now used for the meetings of the Houses of Convocation of the Northern Province.

Plan of York Cathedral 1. South Transept. 2. North Transept. 3. Nave. 4. Chapter House. 5. Abp. Zouche’s Chapel. 6. Lady Chapel. 7. Choir.