The Project Gutenberg EBook of York, by George Benson This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org/license Title: York Author: George Benson Illustrator: E. W. Haslehust Release Date: July 14, 2015 [EBook #49440] Language: English Character set encoding: UTF-8 *** START OF THIS PROJECT GUTENBERG EBOOK YORK *** Produced by Shaun Pinder, Chuck Greif and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images generously made available by The Internet Archive) cover The City The Minster The Abbey Grounds List of Illustrations (In certain versions of this etext [in certain browsers] clicking on this symbol , or directly on the image, will bring up a larger version of the illustration.) (etext transcriber's note) THE WATER-GATES, LENDAL BRIDGE THE WATER-GATES, LENDAL BRIDGE Blackie & Son Limited 16/18 William IV Street, Charing Cross, London, W.C.2 17 Stanhope Street, Glasgow Blackie & Son (India) Limited 103/5 Fort Street, Bombay Blackie & Son (Canada) Limited Toronto BEAUTIFUL ENGLAND Each book contains Twelve Reproductions of Watercolour Paintings by E. W. Haslehust, R.B.A. Heart of London. Cornish Riviera. Dartmoor. Canterbury. Shakespeare-land. Windsor Castle. Dickens-land. The New Forest. Hampton Court. Oxford. Cambridge. York. English Lakes. The Thames. Bath and Wells. Peak District. Winchester. In London’s Byways. Rambles in Greater London. Through London’s Highways. Warwick and Leamington. Norwich and the Broads. BEAUTIFUL SCOTLAND Loch Lomond. Edinburgh. The Scott Country. Shores of Fife. Printed in Great Britain by Blackie & Son, Ltd., Glasgow LIST OF ILLUSTRATIONS Facing Page The Water-Gates, Lendal Bridge Frontispiece Micklegate Bar 5 Bootham Bar 12 Fishergate Postern from the Walls 16 The Shambles 21 Norman Porch, St. Lawrence’s Tower 28 York Minster 33 York from the City Walls 37 Entrance to the Banqueting Hall, King’s Manor 44 York from the Ouse 48 College Street, St. William’s College and Chapter House 53 Ruins of St. Mary’s Abbey 60 ——— Plan of York Cathedral 46 MICKLEGATE BAR MICKLEGATE BAR YORK THE CITY As each town has its characteristic features and peculiar advantages, we may ask what it is that constitutes the special attraction exerted by the city of York, not only upon those, who with more or less of appreciation dwell within its limits but upon its visitors. It would seem that if there is one thing which can be done at York better almost than anywhere else in the kingdom, that thing is the realisation of history. It is in this, above all, that the charm lies. A walled-in city offers great attractions to the student of history, who is desirous of understanding mediaeval ways and methods, for although documents and quaint pictures may give a fair idea, it is the walls, gates, churches, and houses that lend the necessary vividness and reality. Other once-fortified cities have destroyed their walls as being useless, and those at York have from time to time barely escaped destruction. The stranger, as he walks out of the railway station, is agreeably surprised to find these ancient fortifications immediately presented to his gaze. This surprise view enchants the lover of the picturesque, he is captivated by the beauty of the scene; and York adds another to her numerous admirers. The creamy-grey embattled walls, set on a grassy mound, command attention. The imagination is aroused, the spectator pictures the moat filled with water and mentally recalls the archers, clad in armour and leather jerkins, passing behind the parapet of the elevated walls. Within the walls, and well seen from the rampart walk, are red-tiled roofs intermingled with more modern slated buildings. Amidst these rise prominently, here and there, the spires and towers of the churches, notably the broad pre-Conquest tower of St. Mary, Bishophill Junior; the tower of St. Michael’s, Ousegate, from which the Curfew is rung nightly, and the graceful octagonal tower of All Saints, Pavement, which, in the days when York was surrounded by forests, held a lamp to direct pilgrims through the pathways to the city. York is a city of churches. In the mediaeval days there were forty-one parish churches, of which thirty were within the walls and eleven without. There were also seventeen chapels, sixteen hospitals, and nine monasteries. Twenty-two of the ancient churches exist. We may well imagine that the Castle Keep, known as Clifford’s Tower, still keeps watch and ward over the city: opposite stands the mound of the other castle—the old Baile—which the Conqueror built in order to terrify the men of York. The triple-towered minster of St. Peter rises high above all else, and is best seen from the stretch of walls from Bootham to Monk Bar. The walk along the walls is one of the great attractions of York. The old entrance to York from the south was Micklegate Bar. It has suffered much mutilation, for formerly it had a fore-court or barbican, which was removed in spite of protests. Sir Walter Scott, it is said, declared he would gladly walk from Edinburgh to York, if that would induce the Corporation to preserve the barbican. Under the Bar arch most of the English sovereigns and many a noble procession have passed. Formerly, the archbishops made their progresses barefooted through it from St. James’ Chapel, the Mount, on their way to be installed in the Minster. The clergy and religious bodies led the way, followed by mitred bishops, abbots, the nobility, and civic authorities; whilst torch-, censer-, banner-, and cross-bearers preceded the prelate, over whose head was held a canopy. The Bar was rebuilt during the reign of Edward III, the Norman arch being incorporated in the new structure. The side piers rise into circular turrets, and the whole is surmounted by an embattled parapet with a stone warrior over the centre of the Bar and over each turret. The Bar is adorned with shields which bear the arms of the King and of the City of York. Edward III, in the year 1338, claimed the crown of France and quartered the French lilies with the Plantagenet lions of England. The shield of York is covered with silver, and bears a red cross on which are displayed five golden lions alert and walking. The city was Edward’s base for conducting the war with Scotland. At this period the King and Queen were frequently in York, where from 1328-37 Parliament met seven times. Whilst King Edward III and the Black Prince were engaged in the war with France, the Scots took advantage of their absence and invaded England. The martial Archbishop Zouche collected an army and marched northwards. He met and defeated the Scots at Neville’s Cross near Durham. The captured Scottish King was brought to York and passed through Micklegate Bar on his way southwards. York became a royal duchy in 1385 when Richard II created his uncle, Edmund Langley, Duke of York. Shortly afterwards Henry of Lancaster (Henry IV) seized the throne, deposed Richard II, and imprisoned him in Pontefract Castle, where Richard was afterwards murdered. Plots were hatched against Henry, for example in 1403 the Percies rebelled but were defeated at Shrewsbury. Hotspur was slain, and his head sent to York and placed on Micklegate Bar. The Earl of Northumberland was summoned to meet Henry IV at York, and as he came in sight of the Bar underwent the terrible ordeal of seeing his son’s head which had been exposed thereon. The Earl was arrested but was subsequently pardoned. Hotspur’s widow besought the king for the head and body of her husband. The king granted her request, and issued a writ as follows:— “The King to the mayor and sheriffs of the City of York, greeting. Whereas, of our special grace, we have granted to our cousin Elizabeth, who was the wife of Henry de Percy, chevalier, the head and quarters of the same Henry to be buried, we command you that the head aforesaid you deliver to the same Elizabeth to be buried according to our grant aforesaid. Witness the King at Cirencester the third day of November.” The bereaved lady collected the remains from Shrewsbury, London, Chester, Newcastle, and York and had them interred in York Minster. Lord Scrope being detected with others in a plot against Henry V, was arrested and condemned. His head was placed on Micklegate Bar. Richard, third Duke of York, was, through his mother, the representative of Lionel, Duke of Clarence, third son of Edward III, whilst King Henry V was descended from the fourth son. In the next reign Richard, Duke of York, claimed the throne. At the beginning of the Wars of the Roses, the citizens of York favoured the House of Lancaster. The Duke of York was slain at the battle of Wakefield in 1460. His head, which his enemies had in mockery covered with a paper crown, was brought to York and stuck on a pole over Micklegate Bar, his face looking towards the city. In the play of Henry VI, Queen Margaret exclaims:— “Off with his head and set it on York gates; So York may overlook the town of York”. The Earl of Salisbury and other notable prisoners were put to death and their heads fixed on poles near that of their leader. Edward succeeded his father as fourth Duke of York, and the year following, after the second battle of St. Albans, was, through the instrumentality of the King-maker, proclaimed King. On Palm Sunday as he was coming to York, he met at Towton the forces of Henry VI and Margaret of Anjou, and defeated them. Next day, Edward IV set out for York and, nearing the city, he was confronted with the ghastly sight of his father’s head on Micklegate Bar. “And, after many scorns, many foul taunts, They took his head, and on the gates of York They set the same; and where it doth remain, The saddest spectacle that e’er I view’d.” In his indignation, the King ordered the Earls of Devon and Wiltshire and three other prisoners to immediate execution, in order that their heads might replace his father’s. “From off the gates of York fetch down the head, Your father’s head, which Clifford placed there; Instead thereof, let this supply the room; Measure for measure must be answered.” During the great Civil War, the city was besieged by the Parliamentarian forces, and after a blockade of six weeks the Royalists attempted two sorties, both of which were failures. The besieged waited patiently for relief from the bold but erratic Prince Rupert, on whose approach the Parliamentarians retired towards Marston Moor. The Royalist troops passed through Micklegate Bar to meet their foes. In the ensuing battle the Royal forces were completely routed and retreated to York, followed by the Parliamentarians, who, however, were compelled to stay outside Micklegate Bar. The siege was renewed. Subsequently, Sir Thomas Glenham, governor of York, having made good terms, surrendered the city to Lord Fairfax, and the Royalist garrison passed out through Micklegate Bar with colours flying. The last occasion on which Micklegate Bar was used for the exhibition of rebel heads was during the Jacobite rising of 1745. After the battle of Culloden there were set on this “Traitor’s Gate” two heads which remained for about seven years, when the heads were surreptitiously removed. The culprit was found, and at the Assizes sentenced to two years’ imprisonment, ordered to pay five pounds and to find sureties for his good behaviour for two years. Bootham Bar protected the road from the north, and owing to continual disputes between Scotland and England, it was always strongly guarded. Whilst King Stephen was engaged in the south of England, the Scots thought it a favourable opportunity to invade England, not taking into account the generalship of the Archbishop. The prelate summoned the barons to York. An army was mustered and after passing through Bootham Bar, met and completely routed the Scots at the battle of the Standard, near Northallerton. In a raid, however, about two centuries later, the BOOTHAM BAR BOOTHAM BAR position was reversed: the Scots had penetrated into England as far as York, and after gaining much booty retreated. The Archbishop and the Mayor hastily gathered an undisciplined army, which passed through the Bar and overtook the Scots at Myton. This time the city forces were completely routed, the Mayor and many of the clergy who had joined were slain. In later times a Scot was obliged to announce his arrival at the Bar by using the rapper, and if he entered the city without the permission of the warder or Lord Mayor, he was liable to arrest and imprisonment. This Bar retains its portcullis or drop-gate in its entirety, the pointed ends of which and the wicket are seen within the archway. The upper part of the portcullis is to be seen in the chamber above. Monk Bar, the entrance to the city from Scarborough, was built in the reign of Edward III. It is the most complete and imposing of the Bars, and, although shorn of its barbican, it remains the finest example of an English city gatehouse. Over the archway are crosslets to two stories which are enclosed by a pointed arch springing from the base of the turrets and supporting an embattled balcony, access to which is obtained from either turret. The balcony is adorned with the shield of Edward III, and on each spandril is a shield bearing the arms of the city of York. The gateway is vaulted and above are two stories of vaulted chambers, in the upper of which is the horizontal windlass for raising or lowering the portcullis. This is the only bar that retains its original city front, which has, however, been slightly modified by the insertion of mullioned windows. The first floor over the gateway is contained within an arched recess. A doorway leads to a narrow platform, from which the constable could announce to the citizens important news from the northern world outside or the herald could thence read proclamations. Through this Bar passed King Charles I attended by his knights and soldiers and a great concourse to a meeting on Heworth Moor. The meeting was called by the King, whose disputes with his Parliament had reached a crisis. The King, in his overconfidence, rejected the petition presented to him by Parliament and the Civil War broke out. Walmgate Bar is the entrance to the city from Hull. It retains its barbican, portcullis, and its inner oak gates including the wicket. Henry V with Queen Katherine passed through this Bar on their way to visit the shrine of St. John of Beverley, and in honour of the event the arms of the King are emblazoned on the Bar. Later, when Edward IV had been temporarily deposed in favour of Henry VI, he, after a sojourn on the Continent, returned to England and landed at Ravenspurn, a site now submerged, and, gathering a force around him, marched to York, only to find the gates of Walmgate Bar closed against him. “What then remains, we being thus arrived From Ravenspurn haven before the gates of York But that we enter, as into our dukedom.” He demanded to be admitted as Duke of York, and on acknowledging Henry of Lancaster as king, he and his followers were permitted to enter. This scene is described in the play of Henry VI, Part III, Act IV, Scene VII. Henry VIII with Queen Catherine Howard on their visit to York entered the city by this Bar. The city front is in striking contrast to the exterior elevation and consists of a timber and plaster dwelling built in front of the Bar on columns, and apparently erected in the time of Queen Elizabeth. The Bar suffered severely during the siege of York, owing to its proximity to Garrow Hill, which was secured by the Parliamentarians during the great Civil War for their batteries, which kept up a destructive fire on the Bar. The barbican was repaired four years after the surrender of the city, for over the arch is a shield with the city arms and the date 1648. Fishergate Bar was the entrance to the city from Selby, and the walls from this Bar to Fishergate Tower commanded the narrow approach to the castle. The Bar consists of a round arch between two wide buttresses, each with passage through. Adjoining the eastern buttress was a rectangular guardroom. The arch is of two orders, continued to the ground with rounded groove for a portcullis. Over the arch is a panel containing the city arms and an inscription. An insurrection broke out in 1489 amongst the peasantry in Yorkshire. At Topcliffe the rebels murdered the Earl of Northumberland and then invested York, burning the gates of Fishergate Bar. The rebels were eventually defeated and one of the leaders beheaded at York. Fishergate Tower is provided with a garderobe, and when built adjoined a wide water area. Adjoining, on the land side, was a postern under a pointed archway, which has the jambs grooved evidently to accommodate a portcullis. York Castle was constructed originally by William the Conqueror, who built between the two rivers a mound, and set on it a wooden watch-tower, surrounded with a bailey-court. In order to keep the castle and other ditches full of water, the Normans placed a dam across the River Foss, which was thus considerably widened, and formed into an efficient defence where it adjoined the city. In the rising against the Jews at the coronation FISHERGATE POSTERN FROM THE WALLS of Richard I, Benedict of York was fatally injured. The anti-Semitic feeling spread to York, the house of Benedict was plundered and his widow and family murdered. This atrocious act naturally alarmed the Jews in York, who gathered their treasures and rushed to the castle for safety. The governor had to leave them for a while, and when he wished to reenter, the panic-stricken Jews refused him admission. An assault on the fortress was ordered. The Jews, finding themselves unable to hold the citadel, set fire to the wooden erections, and killed themselves. The tower was rebuilt, and in the middle of the thirteenth century the mound was enlarged and the wooden watch-tower gave place to the stone keep. The castle area was walled in during the Edwardian period, the principal entrance with its flanking towers—now removed—faced Castle Mills Bridge. The keep has a quatrefoil plan. Corbelled-out turrets fill three angles, whilst the fourth is occupied by a rectangular gateway with the chapel above. The royal arms and those of Clifford were placed above the entrance during the seventeenth century; and the keep became known as Clifford’s Tower. The keep owes the ruined condition of its interior to a fire which broke out while it was used as a powder magazine. The military architecture of York, whilst giving an idea of strength and power to the city, adds greatly to its picturesqueness. The line of embattled walls is agreeably broken by buttresses and mural towers, whilst the stately gatehouses set along the line of fortification give a sense of dignity, at the same time reflecting the sturdy independence of the men of York. The streets are generally termed “gates”, the gatehouses “bars”, and the city walls “bar walls”. Such names as Blossom Street, Nunnery Lane, and Bridge Street are only modern substitutes for Ploxamgate, Baggergate, and Briggate. The “gates” of York often confuse visitors. A revising barrister once excused himself for being late in court by saying that he had lost his way and at last found himself in “Bootham-gate- street!” The street referred to is simply named Bootham. The streets are narrow and wind in all directions. “What narrow streets!” exclaimed Sidney Smith to one of the city tradesmen. “There is scarcely room for two carriages to pass.” “Not room!” was the indignant reply. “There’s plenty of room, sir, and two inches to spare.” The city is pleasantly situated on slightly elevated ground in the midst of a plain. Through it flows the Ouse, which is crossed by three bridges. The central one—Ouse Bridge—is of stone and consists of three elliptical arches. The other two are of iron and have quatrefoil parapets. A view of Lendal Bridge shows the old water towers. The bridge is of a single span, and on the apex of the arch the Queen-mother, Alexandra, is depicted as an angel, holding the shield of St. George. Other shields, on the parapet, bear the arms of Plantagenet England, the See of York, and the White Rose. On either side charming views present themselves. On the left by the side of the river is the Esplanade, backed by St. Mary’s Abbey Close, in which are the ruins of the Abbey Church. Towards the right is a beautiful view of the city. Rising from the riverside are the stone buildings of the Post Office, Council Chamber, and the ancient Guildhall, while beyond are seen the towers and spires of the city churches. Skeldergate Bridge consists of central and side arches, and has its parapet adorned with the Lily of France and the Sun of York. In the streets old timber and plaster dwellings, with their overhanging stories and high-peaked red-tiled gables, are here and there hemmed in by modern buildings. Timber houses, however, are becoming scarcer, and quite recently a number of such dwellings have been demolished. A few carved brackets which carry overhanging stories remain in Stonegate and Fossgate, and two from Davygate have been re-erected in Trinity Lane. The Shambles, of which a view is given, is the only street that preserves its narrow mediaeval character. From the uppermost of its overhanging stories you might shake hands with your neighbour across the street. This and Little Shambles are the delight of artists. The end of one house has been shorn of the lath and plaster work and shows how such timber houses were constructed. The antiquity of the houses in High Petergate, and the mediaeval narrowness of the street, enable one looking towards Bootham Bar to realize the former appearance of the approach to a gatehouse from within the city. The approaches to the other Bars have been widened and their aspect changed. A characteristic of York is the frequent occurrence at street corners of an ancient church surrounded by its burial-ground. “Each in its little plot of holy ground, How beautiful they stand, These old grey churches of our native land.” The business of the city was in the hands of its freemen. Their privileges were great. Only a freeman could trade in the city, and his sons might become free on attaining their majority. He had also the right of voting for the city’s representatives in Parliament. The freedom of the city was granted to outsiders who served an apprenticeship of seven years to a freeman, or by purchase or gift. No one was admitted to the freedom without taking an oath THE SHAMBLES THE SHAMBLES before the Lord Mayor, and the freeman was sworn to present to the Lord Mayor any unfranchised man who attempted to trade within the city and to take charge of his goods. Each trade had its own guild ruled by the Master, Wardens, and Searchers. Two of these trading companies are still in existence, the Merchant Adventurers and the Merchant Taylors. The hall of the former guild is in Fossgate. Over the entrance is their arms and motto Dieu nous donne bonne adventure. Steps lead from the courtyard to the hall with its three gables, the barge boards of which are carved with the leaves and fruit of the vine. The hall is a timber and plaster building and consists of two rooms which have panelled dados and open roofs. Each room is 60 feet long and 25 feet wide. The walls of the courtroom are adorned with paintings of past governors as well as a full-length portrait of George the First. The chapel stairs are approached by a large trapdoor in the floor. Service is held there on Charter Day (26 March). Of the old standards for weights and measures, there is left a brass yard measure. The scales are of the date 1790. An oval tobacco-or snuffbox belonged to the ancient company of “Linnen Weavers”. On the anniversary of the execution of Charles I, the Merchant Adventurers in compliance with the will of Jane Stainton attend service in All Saints’ Church. Pavement, to be reminded of their latter end. The Merchant Taylors’ Hall, a brick building, is in Aldwark. In the smaller room is an inscription setting forth that:—“This Company has beene dignified in the yeare 1679, by haveing on their Fraternity eight kings, eleven dukes, thirty earles, and forty-four lords.” On St. John the Baptist’s Day the Merchant Taylors attend service at All Saints’ Church, Pavement, in accordance with the will of John Straker, who died in 1667. St. Anthony’s Hall, on Peaseholme Green, accommodated those of the city guilds which had no hall of their own. The hall, on the upper floor, 81 feet long and 58 feet wide, was divided into a nave (28 feet wide) and aisles, and was 40 feet high. It possesses a fine timber roof with embattled wall plate. The arched principals spring from corbels depicting angels with shields. Two oak tables remain. One carved “This table done at the cost of the sadlers”. The other “This done at the charges of the joyners and carpenters and masons”. In 1705 St. Anthony’s Hall was converted into the Blue Coat School. On the opposite side of the street, a gabled house, now the Black Swan, was occupied by the family of Bowes, a member of which, William, was twice Lord Mayor of York. His descendant, Sir Martin Bowes, born in the house, became Lord Mayor of London. Sir Martin presented a sword four feet long with a hilt of silver gilt to his native city. The blade is engraved “for a remembrance to the Mayor and Communaltie of this said honorable Citie”. The sheath was originally covered with crimson velvet garnished with stones and pearls. The various craft guilds took part in the Mysteries and Miracles, which were rudimentary dramas, founded on Bible history or on the stories of the lives of the saints. Each of the fifty-four crafts produced a separate pageant. The plays took place on Corpus Christi Day, which fell the Thursday after Trinity Sunday, and were enacted on movable stages which could be wheeled from place to place. The performances, which were carried on simultaneously in a dozen different stations in the city, enjoyed a great popularity, and this was one of the reasons for building the Guildhall, that a commodious theatre was needed for these productions. During the sixteenth century plays were performed in the Guildhall by itinerant companies of players, who attached themselves either to the sovereign or to some prominent nobleman. The stately hall is divided into nave and aisles by two rows of octagonal oak pillars which support timber arches carrying a low-pitched roof. The windows are filled with modern painted glass depicting events in the history of York. The room behind, with its panelling concealing staircases, is that in which two hundred thousand pounds were paid to the Scottish army for handing over Charles I to the English Parliament. The towers and spires of the churches add much to the charm of the city. Though the churches are small, they are full of interesting objects. The earliest work is the tower of St. Mary, Bishophill Junior, which exhibits all the features of pre-Conquest architecture. St. Mary’s, Castlegate, possesses an extremely interesting stone of the eleventh century, recording that, “This Minster was set up by Eferaud and Grim and Æse in the name of the Lord Jesus Christ and St. Mary and St. Martin and St. Cuthbert and All Saints and was consecrated in the year——” The old church of St. Lawrence, with the exception of the tower, has been taken down and a new church erected on an adjoining site. Sir John Vanbrugh, the dramatist and architect of Blenheim and Castle Howard, was married in the old church. The doorway to the nave has been preserved and rebuilt as the tower doorway. This beautiful example of Norman work forms the subject of one of the pictures. The tower is now the only relic of the eight churches which formerly stood within the area of the present parish. During the siege of York in the seventeenth century, this churchyard formed the base of the Parliamentarian attack on Walmgate Bar, three thousand men being engaged. As a consequence, the church was demolished, but subsequently rebuilt. The quaint parish stocks are within the churchyard gates. The three Norman doorways of York are all curiously enough in the Walmgate district. The nave of St. Denis was taken down in 1798; the aisled choir and a modern tower now form the church. The old Norman doorway to the nave was rebuilt with square pilasters instead of shafts and forms the new entrance. In the north aisle was buried Henry, Earl of Northumberland, who fell at Towton. Percy’s Inn, an old palace of the Earls of Northumberland, stood opposite the church. The finest Norman doorway is that at St. Margaret’s Church. The arch is of four orders, adorned with the signs of the Zodiac. The piers have a double chevron and carved imposts, whilst the shafts have carved caps. The gable is surmounted with a crucifix. Most of the churches were rebuilt or extended during the fifteenth century. Many are famous for mediaeval painted glass. All Saints, North Street, has some early fourteenth-century glass. Amongst later work is a window illustrating the poem The Prick of Conscience by Richard Rolle of Hampole. It depicts the last fifteen days of the world, and under each panel are two lines of the poem. Another window depicts the “Corporal Acts of Mercy”. At St. John’s are portrayed events in the life of the Baptist, while at St. Michael’s, Spurriergate, the “Nine Choirs of Angels” are represented. In St. Martin’s, Coney Street, the west window, painted in 1447, illustrates the life of St. Martin. The clerestory contains fine figures of the four Doctors of the church, the four Evangelists, and Saints Barbara, Catherine, Wilfrid, and Denis. The east window at Holy Trinity, Goodramgate, is dated 1470. The five lights contain figures of St. George, the Baptist, the Holy Trinity which is represented as Our Father in Pity, St. John the Evangelist, and St. Christopher, with subject panels below. In another window is depicted St. Olaf. Of the monastic churches, the nave of the alien Benedictine Priory of the Holy Trinity in Micklegate is still in use, it having been converted into a parish church. Adjoining the Rectory is a half-timbered house, still bearing the inn sign “Jacob’s Well”; it is now the Parish Room. It was in the year 1472 the residence of two of the chantry priests of the Priory Church. After the Dissolution it was purchased by Isabel Ward, the last prioress of the Benedictine Nunnery of Clementhorpe, who lived in it until her death in 1569. York from the beginning of the fourteenth century to the end of the eighteenth was famous for its church-bell founding. The later founders were Oldfield, Smith, Seller, and Dalton, and many of their bells hang in the turrets and towers throughout the northern counties. St. Mary, Bishophill Junior, possesses two fourteenth-century bells, one is inscribed in Gothic capitals and bears a stamp with a figure of the Baptist. The other inscription is in bold black letter and bears a beautiful stamp of the Annunciation. York was also renowned for the work of its gold-and silver-smiths. Much of the church plate is York made, and is principally of the sixteenth and seventeenth centuries. It bears the York mark—half fleur de lys and half leopard head. Amongst the makers of church plate were George Mangy, William Busfield, and Marmaduke Best who made the gold loving-cup which belongs to the Corporation. Scattered over the city are mansions of the Georgian period. These houses are built of red brick in Flemish bond and have stone quoins and doorways. The cellar areas were protected from the rough pavements by beautiful wrought-iron railings, whilst hammered scroll-work brackets supported torch extinguishers and the circle for the oil lamp. The rain-water conductors were of lead of rectangular shape, with spout- heads of elaborate workmanship, which bore heraldic devices, monograms, or dates. The leaden cisterns were similarly treated. The interiors of these houses have panelled walls with dentilled cornices and carved plaster ceilings, pedimented doorways, and chimney-pieces with oil paintings framed in the overmantel. As the city was lighted by a few oil lamps, and watchmen were scarce, it was necessary for ladies in their sedans to be attended by torch- bearers. In Petergate, Gillygate, and Duncombe Street extinguishers still hang by the side of doors. A residence for the Lord Mayor was built from the design of the Earl of Burlington, who was also the architect for the Assembly Rooms. The assemblies were originally held in the King’s Manor, but larger premises being required, Sir William Wentworth promoted a company and raised five thousand pounds to build the Assembly Rooms. Lady Wentworth was so proficient at shuttlecock that she broke one of the high windows. During a race week in 1735 there was paid for candles used at the assemblies the sum of thirty-six pounds five shillings. The Theatre Royal was built by Joseph Baker on the remains of St. Peter’s Hospital. It became famous under the management of Tate Wilkinson, who was patentee of the theatres at York and Hull, NORMAN PORCH, ST. LAWRENCE’S TOWER and manager of those at Leeds, Bradford, Doncaster, Wakefield, and Pontefract. These theatres comprised the York circuit. He was a painstaking manager, and was in the habit, when a new piece was being introduced, of viewing it from the gallery. On one occasion, noticing some slovenly acting, he began to hiss vigorously. The “gods”, not being so hypercritical, and not recognizing him, cried, “Turn him out”, and turned out he was from his own theatre. During the Assizes, Races, and the winter, York was the favourite resort of the nobility and gentry of the north; concerts, dances, and card parties at the Assembly Rooms, and plays at the Theatre being the fashionable amusements. John Coleman, a later lessee, is said to have prepared his own playbills, which were couched in grandiose language. In this connection, a story is told to the effect that one morning at rehearsal, he exclaimed to the property man: “Have you all ready for to-night?” “Yes, all except the pedestal.” “The what?” thundered Coleman. “The pedestal,” was repeated. “What is that for?” roared the lessee. The property man took down the playbill and pointed out the words: “On this occasion Mr. Coleman will descend from his pedestal and enact the part of Bob Hawkins.” The introduction of railways was welcomed by George Hudson, a draper in College Street. He took the foremost position in promoting the construction of a line to York. His name became one of the most prominent in the railway world and he was spoken of as the Railway King. He was thrice Lord Mayor of York and represented Sunderland in Parliament for fourteen years. The railway crisis ended his public career. York is a garrison town with cavalry and infantry barracks on Fulford Road, and there is a summer camp of 1600 acres at Strensall. Around the city are considerable tracts of land known as strays and belonging to the freemen of the city. The strays contain altogether 743 acres. The Micklegate Strays of Knavesmire, Hob Moor, and Scarcroft have been recently acquired by the Corporation. York is the assize town for the North and East Ridings. The city itself has been a county from early times, and has a sheriff and an assize of its own. The judges’ lodging is a large brick house in Lendal. The courts are within the castle yard, and the approach of His Majesty’s judges is announced by a fanfare from the high sheriff’s trumpeters. The city is in the midst of an agricultural district, and on market days one hundred and fifty carriers’ wagons come heavily laden with passengers and produce for the open-air market held in Parliament Street. For the accommodation of the public there are above two hundred inns and taverns. In the “Black Swan”, Coney Street, is preserved a coaching-bill, of which the following is a copy:— “YORK FOUR DAYS STAGE COACH Begins on Friday the 12th of April 1706. All that are desirous to pass from London to York, or from York to London, or any other Place on the Road, Let them Repair to the Black Swan in Holbourn in London, and to the Black Swan in Coney Street in York. At both which Places, they may be received in a Stage Coach every Monday, Wednesday and Friday, which performs the whole Journey in Four Days (if God Permits). And sets forth at Five in the Morning. And returns from York to Stamford in two days, and from Stamford by Huntington to London in two days more. And the like stages on their return. Allowing each Passenger 14lb. weight, and all above 3d. a pound. Performed By— BENJAMIN KINGMAN. HENRY HARRISON. WALTER BAYNES. Also this gives Notice that Newcastle Stage Coach sets out from York, every Monday and Friday and from Newcastle every Monday and Friday.” THE MINSTER 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 YORK MINSTER YORK MINSTER 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 YORK FROM THE CITY WALLS YORK FROM THE CITY WALLS 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....