The Cathedral Church of York Part 3

THE EXTERIOR

York Minster consists of a nave of eight bays and a choir of nine. It has a large central tower and two western towers. The main transepts project three bays from the nave and choir. There are also two eastern transepts four bays west of the east end, which do not project beyond the aisles of the choir. The chapter-house lies to the east of the northern transept, and is connected with it by a lofty pa.s.sage projecting three bays from the transept. The east end of the cathedral is square, as in most English Gothic churches. The best views are to be obtained from the north, especially from the walls, which will be most conveniently ascended at Bootham Bar, or from the extreme northern corner of the close. From the walls the whole of the vast bulk of the minster may be seen, broken by the great central tower and the lofty cap of the chapter-house. Other English cathedrals are more finely placed, several are richer in ornament, one or two have a more delicately varied outline. None are so stately and so magnificent; and there is hardly a church in Europe that appears so vast as the minster viewed from the north. Compared with it the great French cathedrals, with their stilted roofs so often unbroken, except by a small fleche and with their outlines concealed in a crowd of flying b.u.t.tresses, are apt to look short and huddled when seen from a distance.

The low-pitched roof of the minster, the absence of flying b.u.t.tresses, and the simple and tranquil front of the north transept, give the building an air of masculine and stately repose, and of perfect finish seldom to be found in foreign churches; while the apparent uniformity of style, though the architecture is of three different periods, frees it from the picturesque inconsequence of many English cathedrals. Yet neither inside nor outside does the minster appear to be the expression of the spiritual aspirations of a people. It represents rather the secular magnificence, the temporal power of a Church, that has played a great part in the history of the nation. The archbishops of York have been forced by circ.u.mstances to be militant prelates, contending with Canterbury for precedence, leading armies against the Scotch, sometimes even heading rebellions against the king; and in their cathedral they have expressed their ambition and their pride.

#The West Front.#--The west front of York Minster is free from the two faults most common to the facades of most English cathedrals. It is not a mere undistinguished ending to the church, like those at Norwich and Winchester, and it is not a magnificent misrepresentation of the height or width of the building itself, like the west fronts at Peterborough and Lincoln. Most of the English cathedrals are not lofty or wide enough to give opportunities for an impressive facade, unless they are fronted with a mere screen of masonry; but this is not the case at York. No other Gothic church in England is so wide, and only Westminster Abbey is as lofty. The builder, therefore, was not tempted to any expedient to conceal the dimensions of his church, and so the front consists of the natural end of the nave, of which a great part is filled by the west window, with a gable above it representing the s.p.a.ce between the vault and the roof, and with the porch below it. It is flanked by two towers built in front of the aisles, with two smaller porches at the base of each. The three divisions of the west front are marked by b.u.t.tresses, prominent and richly ornamented, one on each side of the west window and two at the external corners of the towers. The b.u.t.tresses, covered with niches and panelling, grow narrower and less prominent as they rise, until they are cut short with three cornered caps some feet below the battlements of the towers. The central window and the princ.i.p.al entrance are surrounded with niches, and there is an elaborate gable above each of them. The west front exhibits three different styles; the lowest part, containing the porches and the west windows of the aisle, being of the geometrical Decorated style; the middle portion, including the great west window, the gables above it, and the middle windows of the towers of the later or curvilinear Decorated; and the towers above the roof, Perpendicular of the fifteenth century. The central gable and the great west window are almost flamboyant in their decoration. A battlement immediately above the central window runs right across the front. The niches on the b.u.t.tresses are in four storeys, and those on the central part of the front in six, of varying heights. There is also a row of niches on the towers immediately above the ornamental gable of the aisle windows, and the upper part of each tower is covered with niches. The greater part of these niches above the two lowest rows do not appear to have ever contained sculpture. The bases of the lowest row of niches are richly ornamented with foliage. The main entrance, though small, is extraordinarily beautiful. It consists of a single arch, divided into two smaller cusped arches by a central pillar with a circular opening above it, glazed and filled with six divisions of cusped tracery. Above the main arch is a gable, in which are five niches, the central one containing the figure of an archbishop. It is uncertain whether this is Archbishop John Romeyn, who began the nave, or Archbishop Melton, who finished the west front and glazed the central window. On either side of the gable are statues of the Percy and Vavasour, who gave the wood and stone necessary for the building of the nave. These statues, and the greater, part of the porch, have been restored. But even after restoration the fine proportions and delicate workmanship of the porch are evident. The slender shafts supporting the arches are well grouped and contrasted. The capitals, though characteristically small, are most delicate, and the mouldings are admirably varied with foliage, figures, canopies, and brackets for statues, formal decoration, and courses of plain stone. These mouldings contain the history of Adam and Eve. Even the porches at Sienna and Orvieto, though made of far more costly materials, can hardly be more beautiful than was this porch at the time of its completion. There is but little other statuary remaining on the west front. A few figures of saints remain in the upper niches of the b.u.t.tresses, and there are fragments of sculpture on some of the lowest.

The towers are 201 feet high, and are uniform in design. The front of each contains three large windows; the highest, Perpendicular in style, containing three lights; the middle, curvilinear Decorated, containing four; and the lowest, the west windows of the aisle, being geometrical Decorated, and containing three lights. The middle windows to the north and south are of very curious half geometrical, half curvilinear tracery. The highest and lowest windows of the towers have ornamented gables above them, the lowest being triangular, the upper ogee-shaped.

The towers are topped with large battlements and pinnacles.

[Ill.u.s.tration: The West Front--Main Entrance.]

It will be seen, therefore, that this west front is planned on the most regular lines and the most ambitious scale. True, some French facades are loftier, as at Amiens for instance, but, as Professor Freeman has pointed out, the effect aimed at at York is one of breadth rather than of height, and it is an advantage that the front is not too high for the towers to rise some way above it. It is also richly decorated and well proportioned in the ma.s.s, and yet nearly every one, on first seeing it, must be struck by its curious ineffectiveness when its height and breadth, its regular outline, and profusion of ornament are considered.

To tell the truth, the English architects have here endeavoured to rival the French on their own ground, and have not succeeded. The English cathedral, as has been said, was not usually planned on such lines as to make a sumptuous facade possible. Throughout the whole course of English Gothic architecture, the treatment of the west end is curiously hesitating and arbitrary. Sometimes it is altogether unambitious, as at Winchester and Norwich; sometimes boldly illogical, as at Lincoln or Peterborough; and at Salisbury, where everything else is beautiful, it is altogether unsatisfactory. In all these cases circ.u.mstances were against the architect, but at York there was every opportunity for a great architectural triumph. Yet the designer was not able to throw off his English timidity, to forget the small English features to which he was used, and to conceive his front as a gigantic whole.

To begin with, he made his west window so large that every other important feature of the central division of the front had to be sacrificed to make room for it. In the great French facades the customary circular window leaves ample s.p.a.ce for vast porches below it.

These are pushed forward to a level with the great flanking b.u.t.tresses, so that the actual wall of the church above it appears to be recessed.

As the side porches fronting the aisles are on the same level with the main porch, the bottom part of the front is bound together, and the divisions of nave and aisle, emphasised above by the prominent b.u.t.tresses, are minimised below. This arrangement gives at once unity and variety to the whole design. The towers do not appear to be external additions rising from the ground, but an integral part, the very crown and flower, in fact, of the whole design.

At York the central window is so large that it leaves but little room below it for the porch. This porch, though exquisite in itself, is not pushed forward, but flat with the wall, and appears a mere hole cut in the surface. It has necessarily no connection with the entrances to the aisles; and the finest feature of the great French facades is wanting.

But the size of the west window has other disastrous effects. It would have been difficult, almost impossible, to a.s.similate an opening so large, and of such an elaborate pattern, to the rest of the design, and hardly an effort even has been made to do so. It appears, therefore, like the porches, to have been cut bodily out of the front without regard for the rest of the plan, and its acute arch harmonises badly with the gable above it. No doubt the designer saw the fault; he placed an acute ornamental gable above the window, rising to the top of the front, and he covered the actual gable of the roof with flamboyant tracery of the same character as that on the window; but, by so doing, he merely weakened the contrast between tracery and bare s.p.a.ces of masonry so necessary to every great design.

The weakness of the central division is not made up for by any excellence in the towers. These, though fine on their lower storeys, are strangely feeble above. They are, in fact, the worst part of the minster, and have been condemned by all critics, from Mr Ruskin downwards. In most towers of this kind there are two windows above and a single one below. At York the three storeys of single windows give the design an air of monotony and weakness. Further, the highest window is not only far too large, but is placed too low. Like the great west window, it appears to have been cut out of the wall. It is also peculiarly unfortunate that the b.u.t.tresses should die into the wall below the pinnacles. Where a tower is b.u.t.tressed, it is a natural and logical device to make the pinnacles a continuation of the b.u.t.tresses.

Here both pinnacles and b.u.t.tresses, unusually prominent and elaborate, do not seem to be an integral part of the design. They have been called a kind of architectural confectionery, and the criticism is just. The fact that the battlements and pinnacles project a few inches over the walls of the towers, only adds to the air of weakness and instability of the whole. Nowhere else surely has a Gothic architect approached so closely to the ideals of his "churchwarden" imitators of the beginning of this century.

But these faults, though serious enough, do not include everything that can be said against the west front of the minster. Gothic churches have often been n.o.ble and triumphant works of art in spite of errors almost as grave. Unfortunately the west front suffers from a tendency first beginning to show itself in the middle of the fourteenth century, which afterwards became the most serious drawback of the whole Perpendicular style. It is not only because the porches do not project that it appears flat and thin. The west front of Notre Dame at Paris has no projecting porches, yet the alternations of bare s.p.a.ces of wall and of rich and deep ma.s.ses of carving, the strong horizontal lines, and the deep-set windows, give it a boldness and strength altogether wanting at York.

Like all Norman and earlier Gothic work, it has this great merit, often most strongly felt by people who are quite unable to explain it, that the design seems to emphasise, and to be dictated by, the materials in which it is carried out. The Norman architect never forgot for a moment--he was not skilful enough to forget--that he was building with stone. So he did not conceive of his west front as a flat s.p.a.ce to be ornamented, but as a wall to be built, and naturally his ornament followed and emphasised the main lines of his building. His single pillars, with their heavy capitals, bore witness that they were made of great stones piled one on the top of the other; his simple windows were merely openings in the wall to let in light.

[Ill.u.s.tration: The Exterior, from the South-East.]

But as masons grew more skilful, and designers more sophisticated, they found it pleasant to play with their material; to turn their single pillars into bundles of cl.u.s.tered shafts; to fill their windows with tracery, structural at first, but afterwards as free and fantastic as lacework. The result is often beautiful. The method gave the freest play to the artist's invention, but it had its dangers, and they are exemplified at York. There the designer has evidently regarded his west front as a large s.p.a.ce of wall to be played with, to be decorated much as if it were a piece of embroidery, and, in his anxiety to decorate it richly, he has lost his sense of unity and proportion. He has forgotten to use his ornament merely to emphasise the main lines of the structure.

Where this is done, where the ornament is ma.s.sed on the porches, on the windows, and on the lines dividing the storeys, the rest of the facade may be left alone. The bare s.p.a.ces of masonry only serve to give relief to the decoration. But at York the main lines are so neglected, they offer so little opportunity for decoration, that the designer was afraid to leave his walls plain, lest the whole should appear lean and cold. He has, therefore, spun his tracery and panelling over the whole surface.

Nowhere can the eye rest on a plain piece of wall; everywhere it is fidgeted by monotonous rows of niches and mouldings. In fact, it may be compared to an etching so full of unnecessary details that composition, balance of ma.s.s, and beauty of line are all smothered in them. And yet there is much to be said on the other side. The mere size--the height and width--go far to make the front impressive; and the detail, even now when so much of it has been restored, is usually beautiful. If it is not great architecture, it is at least living architecture, and as such infinitely superior to the most scholarly works of the Gothic revival.

It is only when we compare it to the magnificent west fronts of France that we are inclined to regret that it has not rivalled them.

#The North Side# of the exterior of the nave differs from the south in several particulars. Thus, on the south the aisle b.u.t.tresses are crowned by lofty pinnacles having at their bases niches, in some of which statues still remain. These pinnacles appear to have been originally connected with the wall of the nave by flying b.u.t.tresses, traces of which still exist, both on the walls and the pinnacles. In Hollar's engraving, in a later print in Dugdale's "Monasticon" (1817), and in Willis's "Cathedrals" (1742), these b.u.t.tresses are represented as existing, but the accuracy of the pictures in these books cannot be trusted. It is possible that a beginning only was made of these flying b.u.t.tresses, and that when it was decided to place a wooden vault on the cathedral, they were discontinued as being unnecessary. At any rate, there are no pinnacles to the aisle b.u.t.tresses on the north side, and, consequently, no flying b.u.t.tresses. The plainer style of the north side was perhaps owing to the fact that a great part of it was concealed by the archbishop's palace, yet at the present day it is certainly more beautiful than the south. It closely resembles the exterior of the beautiful nave of Beverley Minster, and for simplicity and delicacy of design could hardly be surpa.s.sed. The bays are marked by plain aisle b.u.t.tresses, terminating in three-cornered caps, with a battlement of cusped stonework ornamented with finials behind them. The b.u.t.tresses of the nave are plain narrow bands of stone topped with small pinnacles.

The roof is low pitched; the only other decoration is given by the uniform tracery of the windows and by a crocketed gable above each of the windows of the aisle.

#North Transept.#--The walls of the north transept are lower than those of the nave, and its roof, covered with a particularly ugly coating of zinc, is much more highly pitched. Thus the ridges of the two roofs are practically level, while the battlement of the transept is only on a level with the point at which the arches of the clerestory in the nave spring. The union of the two and the contrast between the low-pitched roof of the nave and the stilted roofs of the transept are rather awkward. It should be said that the zinc roof of the north transept was a necessity, as the old roof of stone tiles proved to be too heavy. But for these inevitable differences the exterior of the north transept blends most successfully with that of the nave, though, of course, its details are altogether different. As an example of the great effect to be attained by the lancet windows, delicate proportions, and restrained ornament of the Early English style, it has never been surpa.s.sed. It extends three bays from the nave. The aisle b.u.t.tresses end some little way below the battlements of the aisle. There are no b.u.t.tresses against the main wall of the transept; but it is ornamented with a row of arches, some blank, and some pierced with the clerestory windows. These windows are in groups of three separated by two blank arches. The blank arches are wider than the windows. All the arches are decorated with dog-tooth mouldings. The absence of b.u.t.tresses and the continuous row of arches cause a remarkable freedom from vertical lines in the exterior of the transepts, which is also characteristic of the interior. The battlements, both of the aisles and of the transept itself, are quite plain. The most admirable portion of this transept is its north front, which contains the famous group of lancet windows known as the "five sisters." These are five very narrow and long windows separated only by slender shafts. Below them is a blind arcade almost entirely without ornament, and above them another group of five lancet windows of different sizes, gradually diminishing from the central window to follow the outline of the gable. The details of these upper windows closely resemble those of the "five sisters," and they are flanked by two blind arches. The b.u.t.tresses are also ornamented with blind arches, and appear never to have been finished, as they are truncated in an unusual way where one would expect pinnacles. The exterior of the western aisle of this transept is very curious in arrangement. There is an almost complete absence of division into bays. There are two lancet windows to each bay, and b.u.t.tresses rise between them as well as between the bays.

Thus there is nothing to mark the interior division of the main arches, clerestory, and triforium. All of these b.u.t.tresses are cut short by caps a little way below the tops of the windows. Between the groups of aisle windows are blind arches narrower than the windows themselves. There is a blind arch of the same width at the southern extremity, and a wider one at the northern. The aisles, like the rest of the transept, are almost perfectly plain.

[Ill.u.s.tration: The Exterior, from the North.]

The #Chapter-house# is connected with the eastern aisle of the transept by a vestibule projecting three bays beyond the north front. This vestibule then turns eastward for two bays, at which point it joins the chapter-house. Both vestibule and chapter-house are magnificent examples of Decorated work. Their date is doubtful, and is discussed in the history of the building. They are certainly among the finest works of Gothic architecture in Europe. The chapter-house is octagonal in shape, and is crowned by a lofty pyramidal roof. Its chief, almost its only decoration, is provided by the b.u.t.tresses and the beautiful tracery of the acutely-pointed windows. The b.u.t.tresses are of very curious design.

They are joined to the wall of the chapter-house for nearly half their height, and up to this point are quite plain. They are then narrowed into lofty pinnacles, and these pinnacles are connected with the wall by two small flying b.u.t.tresses, the lower one plainly moulded and sloping upwards to the wall, the upper one being horizontal and richly decorated with arcading, two arcades to each side of every b.u.t.tress. At the point at which the b.u.t.tress narrows into the pinnacle there are cusped gables with gargoyles on the outer side of the b.u.t.tresses. The pinnacles are decorated with slender shafts and richly ornamented gables. The windows of the chapter-house contain five lights. They will be further described in the account of the interior of the building. Above them is a plain battlement, with two rows of ornament below it, and three figures in each bay above it. There is a very curious b.u.t.tress at the point of junction of the vestibule and the chapter-house. It is joined to the wall of the chapter-house up to the battlement, and consists of an irregular ma.s.s of masonry ornamented as far as possible in the same manner as the other b.u.t.tresses with gables and panelling. The two bays of the vestibule nearest to the chapter-house have nothing unusual about them except their b.u.t.tresses. One of these is set close to the wall up to the spire of the pinnacle. All the other b.u.t.tresses of the vestibule, except the one built against the b.u.t.tress of the transept end, have pinnacles joined to the wall by a pierced arch of curious and ingenious design. The vestibule is crowned by plain battlements like that of the chapter-house, with small square-headed windows of two lights each. The windows of the two bays nearest the transept end are of most unusual design, which will be explained in the account of the interior; these bays are narrower than the others, that nearest to the transept being the narrowest of all.

#The Choir.#--The exterior of the north side of the choir is almost identical with that of the south; but there are some points of difference between the four earlier bays east of the transept and the four later ones west of it. In particular, in the four eastern bays the triforium pa.s.sage runs outside instead of inside the building. The clerestory windows are recessed, and in front of them, running flush with the b.u.t.tresses, is a screen of three divisions to each bay (see ill.u.s.tration, p. 62). The triforium pa.s.sage, hidden by the roof of the aisle, runs below the screen and the windows, and between the two. The mullions dividing the screen run straight up to the battlement. The tops of the divisions are ornamented with cusped arches of open stonework.

There is a transom crossing the mullions of the screen about one-third of the way up. It is difficult to say what was the object of this screen. It must have been included in the original design, and so cannot have been added afterwards to strengthen the walls. Whether it was a merely decorative experiment or an architectural device for the purpose of allowing the walls to be pierced with very large windows for the display of gla.s.s cannot now be decided. The effect from the outside is not good. The mullions break the surface into too many vertical lines, and, with the transom, take away from the dignity and purity of outline of the exterior. Inside, whether by a lucky chance or not, this screen, by darkening the clerestory windows, has greatly added to the effect of the wall of gla.s.s at the east end. There are also slight points of difference in the clerestory windows, showing the transitional character of those in the four eastern bays. The windows of the aisle are delicately moulded with capitals to their shafts, and are ornamented with a crocketed gable, ogee-shaped and topped with a prominent finial rising just above the battlements of the aisle. These battlements are pierced with cusped circles, below them is a cornice ornamented with foliage. The b.u.t.tresses of the aisles are decorated with gargoyles and crowned with pinnacles of a considerable size with crocketed spires and finials. The front of these pinnacles is ornamented with characteristic Perpendicular panelling. The b.u.t.tresses of the main wall are thin and plain, and, with the pinnacles, much resemble those of the nave. The battlements are of pierced stonework of a common Perpendicular pattern.

The eastern transepts do not project beyond the aisles. Their fronts contain very long windows of five lights, each with three transoms. The southern one has strong b.u.t.tresses ornamented with panelling, and gargoyles at the corners. The northern is much plainer. Their side windows are like those of the clerestory. Britton conjectures that the unfinished state of the stonework on the north side of the choir beneath the window shows that a cloister or other low building was intended in this part, which was never executed. The cornice, he says, under the battlements is more perfect towards the western part and shows beautiful foliage. The spouts are sculptured with bold projecting figures through which the water is conveyed from the roofs.

[Ill.u.s.tration: Bay of Choir--Exterior.]

The east end of the cathedral is square. The great east window of nine lights fills almost the whole of the central division. The b.u.t.tresses separating it from the aisle are decorated with six storeys of niches, two to each storey, except the lowest, which contains only one. The east window has an ogee gable above it, topped by a curious pierced pinnacle at present in process of restoration. The ends, both of the aisles and of the choir itself, are square, and do not reveal the roof behind them.

The arch of the great east window is surrounded with panelling, each panel curiously broken at different heights by cusped arches. The aisle windows have ogee gables above them with finials, and immediately above them a band of panelling running right across the exterior b.u.t.tresses.

These b.u.t.tresses are large, and capped with lofty spires. The niches on them contained statues of Vavasour and Percy. Below the east window are the remains of sculpture representing Christ and His Apostles, Edward III. (on the north), and Archbishop Th.o.r.esby (on the south). These have suffered much in the frosts of recent winters. The square ends of both choir and aisles are decorated with arches with crocketed gables above them. Those of the south aisle differ from those of the north, being fewer in number and wider. All the niches on the east front except those mentioned have lost their statues.

There was certainly not very much opportunity for a fine architectural design in this east end with its great wall of gla.s.s, but, allowing for all disadvantages, it cannot be considered successful. There is no justification for the square ends concealing the roof. They are misrepresentations, and they are not beautiful. The decoration, with its monotonous rows of panelling and niches, shows the poverty of invention often characteristic of Perpendicular architects, and is sometimes positively ugly. The whole east front must surprise most people by its apparent smallness. It seems merely the end of an overgrown parish church, and not of a great cathedral, and though that apparent smallness is partly owing to the enormous size of the windows, which prevent any structural division of parts, it is increased by the monotony and shallowness of the decoration. It is almost impossible, in fact, to believe that this is the east end of the loftiest and widest choir in England. The buildings on the south side of the choir are the vestry, the treasury, and the record room.

#The South Transept# has a front entirely different from that of the north, though the sides are much the same. This front has three storeys of windows. Below, on each side of the porch, are two lancet windows.

Above these are three more lancet windows, the central one of which, wider than the others, is divided by a mullion, probably a later insertion. These windows alternate with blind arches. On each side of the windows are slender shafts with capitals, and dog-tooth moulding runs round them and round the blank arches. Above these windows is a large rose window of "plate tracery"--tracery, that is to say, in its earlier form, in which the openings for the gla.s.s appear to have been cut out of the stone rather than the stone to have been added as a frame for the gla.s.s. This window is of a very elaborate design, and consists of three circles, the outer being the circ.u.mference of the window; the middle about equi-distant from the circ.u.mference and the centre, and connected with the circ.u.mference by pillars, twenty-four in all, and cusped arches; and the inner connected with the centre in the same way and ornamented with cusps. The s.p.a.ces between the arches of the middle circle are pierced with trefoil holes, those between the outer arches are pierced and filled with gla.s.s. The outer circle is ornamented with three rows of dog-tooth moulding. Above this window, in the crown of the gable, is a small three-cornered window ornamented also with dog-tooth moulding. On either side of the rose window are small lancet windows with smaller blind arches on each side of them. Both windows and arches are surrounded also with dog-tooth moulding. An arcading with shafts and cusped arches runs along the base of the front, not quite reaching the exterior b.u.t.tresses. In the centre is the porch by which entrance to the minster is generally obtained. It is reached by an ascent of two flights of steps. The porch is rather small, and not particularly remarkable architecturally. It consists of a single arch supported by an outer and inner group of cl.u.s.tered shafts. On each side of it is a small blind arch. All three of these arches are decorated with dog-tooth moulding.

The interior of the porch is vaulted and decorated with blind arches.

Above this porch are three blind arches surrounded with heavy gables, the middle and largest of which runs up to the lancet windows above it.

It is difficult to believe that these arches and gables are not an addition later in date than the transept itself; they are so ugly and so meaningless, but they appear in the old prints of the minster, and the ancient clock, with two wooden statues in armour of the date of Henry VII., seems to have stood there from time immemorial. This clock was removed, with the statues, to make room for another at the beginning of this century, and it appears that the arches and gables were also altered, which may perhaps account for their present ugly appearance.

The clock is now in the north transept. It should be stated that the whole of this front has been rather badly restored, and nearly all of its beauty of detail is gone. The aisle fronts have upper storeys ornamented with blind arches and an upper row of small lancet windows.

These upper storeys do not correspond with the roof of the aisle behind them. The aisle windows are lancet, two to each aisle. The external b.u.t.tresses are large, ornamented with gables and blind arches, and the other b.u.t.tresses are of the same character.

[Ill.u.s.tration: South Transept--Porch.]

On the whole, the front of the north transept, though very rich in ornament, is distinctly inferior to the front of the south. The rose window is too large for its lofty position, and its elaborate tracery and rich mouldings make it seem heavy. The lancet windows below it, being too long and badly s.p.a.ced, have rather a bald look, increased by the richness of the rose window above them, and the porch is altogether too insignificant and plain for its prominent position. But, as has been stated, the front has suffered much from restoration and later additions, and must not be too severely judged. When it was restored by Mr Street, pinnacles, which were late additions, were removed, and the present ones, more in keeping with the rest of the front, were put in their place.

#The South Side Of The Nave# resembles the north in most respects, but the b.u.t.tresses and pinnacles of the aisles are altogether different. The b.u.t.tresses rise some way above the battlements of the aisles. They are plain to the level of these battlements, and above them are ornamented with niches containing figures, with blind arches above the niches. They are cut short by three gables, on the top of which are set lofty pinnacles. The niches vary in detail, some of them having more elaborate canopies than others. On these b.u.t.tresses and on the wall of the nave are the marks of flying b.u.t.tresses which have been removed, as has been stated in the account of the north side of the nave.

Three gargoyles spring from each b.u.t.tress at the level of the battlement of the aisle. This side of the nave is only less beautiful than the other. The pinnacles, if they add to the richness of its decoration, break the simplicity of outline so admirable in the northern exterior of the nave. The stonework of the pinnacles and b.u.t.tresses is much decayed, and constantly requires renewal.

#The Central Tower# rises a single storey above the ridge of the roof and is open inside to the top. But for small gables on the b.u.t.tresses, it is quite plain up to the level of the roof ridge. Above this it contains two long and narrow Perpendicular windows on each side, of three lights each, with a transom. These windows are ornamented with ogee gables, and between them are three niches, one above the other, with canopies. The external b.u.t.tresses are split up with vertical mouldings and ornamented with niches and panelling. The tower is crowned with a battlement. Horizontal string courses with gargoyles divide the b.u.t.tresses at intervals. There are no pinnacles on these b.u.t.tresses, and they appear never to have been finished. It is possible that it was intended to set another storey on the top of the present one, but this is merely conjecture.

This tower, or rather its Perpendicular casing, for it was originally an Early English tower, is, with the western the latest part of the minster, but it is by no means the least beautiful. The English architects of the sixteenth century, if they were inferior to earlier builders in invention and vigour, were at any rate supreme in the management of towers. Their wonderful sense of proportion, their habitual use of vertical lines, and the character of their windows helped them to build what are perhaps the finest towers in Europe, and the central tower of York Minster is one of the finest of all. Even the absence of pinnacles, if it is an accident, seems to be a lucky accident, and gives this tower an unrivalled dignity and air of restraint suitable to the character of the whole cathedral. For whatever may be said against certain parts of the exterior, as a whole it is one of the most magnificent in the world. It shows best from certain points of view--from the north, for instance, or from the network of narrow streets to the south. It may be contended that the central tower is not quite lofty enough compared with the two western towers for perfect symmetry of outline; that, seen from certain aspects, it is rather square and box-like in appearance; that from no point of view are the western towers satisfactory. But the minster produces its great effect by its enormous bulk and dignity, its vast length, the variety and yet unity of its outlines, the severity and restraint of its form.

[Ill.u.s.tration: Seal of St Mary's Abbey.]

CHAPTER IV

THE INTERIOR

#The Nave.#--The most casual observer will have noticed that churches of the Gothic style are divided vertically into bays, and that in cathedrals and large churches these bays are usually further divided horizontally into three compartments, the lowest consisting of the main arch and piers, the highest of a window or windows, known as the clerestory, and the middle, called the triforium, consisting usually of an arcade, sometimes blind, sometimes pierced, and occasionally even glazed. This triforium fills up the s.p.a.ce between the top of the main arches and the bottom of the clerestory window which is covered on the outside by the roof of the aisle. As a distinct division or architectural feature, the triforium arcade is not a necessary part of the structure. In smaller churches it seldom exists. But in most cathedrals, as at York, a pa.s.sage runs behind it, and is generally lit by the holes in the arcading. As has been stated, however, the arcading is often blank, and in such cases there might be nothing but a bare s.p.a.ce of wall in its place, for all the practical purpose it serves.

Since, therefore, its form is not dictated by considerations of utility, there is far more variety in its treatment than in that of the other two divisions, the main lines of which are formed by structural necessities; and yet the success or failure of an interior often depend upon the arrangement and proportion of the triforium; and the arrangement of the triforium, its emphasis or subordination, was one of the chief problems with which the builders of Gothic churches had to deal. Since such a church is generally divided into three storeys, the main lines of the interior would naturally be expected to be horizontal, and in many interiors of the Norman and Early English periods they are so, as, for instance, in the nave of Wells Cathedral. But the stone vault, which played so important a part in the development of Gothic style naturally emphasised, with its ribs converging at regular intervals, the vertical division into bays as opposed to the horizontal division into storeys.

The supports of the outside wall were gradually concentrated by the use of pinnacles and flying b.u.t.tresses placed between the windows; the windows themselves grew in size with the introduction and development of tracery and the increasing taste for the decoration of stained gla.s.s; until the final organism of Gothic architecture was attained, and the typical Gothic Church, from being a building of three storeys, pierced by windows, became a structure made up of vertical supports, with the intervening s.p.a.ces filled with gla.s.s. When this phase of development was reached, the building became as organic in all its parts as the human body. Structure was ornament, and ornament structure, and the two were fused as they have never been in any other style of architecture.

Decoration and variety of outline were supplied by the mere disposition of the supporting ma.s.ses, the arrangement of structural lines; to the exterior, by the flying b.u.t.tresses, the pinnacles, and the window tracery; to the interior, by the banded shafts, the capitals, the groined ribs of the vaults, and the openings of the triforium. Outside the church became a framework of glorified stone scaffolding; inside, an avenue of columns rising from the ground to the vaults, with intermediate s.p.a.ces of tracery and coloured gla.s.s. But before this stage was reached there were many compromises and pa.s.sing phases, and every considerable church in England, until the end of the fourteenth century, may be cla.s.sified and criticised, not only for its beauty, but as a link in the development of Gothic architecture. The builders were grappling with both tendencies, the vertical and the horizontal; they were not consciously working on a theory of complete vertical development; they made progress by structural experiment, and a sensitive eye for possibilities of beauty; and in the meantime their problem, both structural and artistic, was to make a happy compromise between vertical and horizontal lines. It was a problem which probably presented itself to them in the question how they were to treat the different storeys of the building. Structural difficulties would be continually at war with their aesthetic ambitions, and the heavy stone vault made structural difficulties a serious matter. There was a growing desire for s.p.a.ce, for height and width, for light and colour. With every increase of height and width the burden of the vault became more oppressive; with every enlargement of windows its supports were weakened. As a rule, the English builders were far less ambitious in their treatment of these problems than the French. Amiens Cathedral, begun at the beginning of the thirteenth century, is structurally as daring as can be. Salisbury, but for its spire, a later addition, is comparatively modest and timid.

The French builders quickly reached the limits of structural possibilities, and their type became fixed. The English, with less economy of support, and a lower organisation of structure, were better able to play with their forms. So their churches present a series of continual and often inconsequent experiments in the treatment and proportion of every storey, particularly of the triforium, and in compromise between vertical and horizontal tendencies. Thus at Beverley, Salisbury, and particularly in the nave of Wells, the horizontal tendency is predominant, and the triforium is both important and continuous, without regard for the vertical division of the bays. In the Early English transept of the minster itself the triforium is the most prominent feature of the design. These are all examples of Early English work, but in the nave of Lichfield, which is Decorated, the triforium is still far more prominent than the clerestory. In the same way a various and experimental use may be noticed of the shafts dropping from the point at which the ribs converge. At Wells and Salisbury these shafts reach only to the top of the triforium. They are so insignificant as hardly even to suggest a vertical division. At Beverley they cease a little way above the capitals of the main piers, and are still very slender. At Exeter they are much more prominent, and terminate in rich corbels reaching to the capitals of the main piers; while in the later naves of Canterbury and Winchester, not only do they reach to the ground, but they are forced so far forward, and rendered so prominent by continuous mouldings on each side of them, that they become the most significant part of the whole structure. They seem to be the columns on which the vault is supported; and we have at last the avenue of stone.

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

The nave of York Minster was built at an intermediate stage, in which neither the vertical nor the horizontal tendency predominated. We might have expected, therefore, a design something like that in the naves of Exeter or Worcester; but the York builders were ambitious. They were determined to build a nave both lofty and wide, and with a great s.p.a.ce for the display of stained gla.s.s. It seems likely, though we have no evidence to support the theory, that they were influenced by French example. There can be no doubt, as Professor Freeman has pointed out, that the design is more French than that of any other large English church, hitherto built, except Westminster Abbey. The most casual observer will be struck at once by the large s.p.a.ce occupied by the gla.s.s. The clerestory is unusually large; the main arches unusually high, and thus far the greater part of each bay is filled with the clerestory and the aisle windows. With so much s.p.a.ce given to the highest and lowest storeys, it naturally follows that the triforium is almost squeezed out of existence. Indeed, out of a total height of 99 feet, there are only about 13 between the top of the main arches and the bottom of the clerestory. It would have been almost impossible to give so narrow a triforium a separate and independent design; and, therefore, by a device often found in French cathedrals, the triforium is merely a continuation of the mullions of the clerestory windows. Behind these mullions is the customary triforium pa.s.sage; but the design really consists only of two parts, the clerestory and the main arches. It is as if the lower part of the light of the clerestory windows were divided from the rest by a transom, and pierced, but not glazed, so as to let in light to the pa.s.sage behind them. This is the first example of this treatment, which was so happily followed in the naves of Winchester and Canterbury, in an English cathedral. In earlier examples, even where the triforium was decisively divided into bays and had ceased to be a continuous arcading, it was absolutely independent of the clerestory, as in the transepts of the minster. There can be no doubt that the plan adopted in the nave was a convenient and logical one. It is impossible to have every advantage; and where the designer has set his heart on a wall of gla.s.s, he cannot combine it with a rich and prominent triforium.

Unfortunately, the architect of the nave, though ambitious and logical up to a certain point, did not carry his pursuit of the vertical tendency far enough. He aimed at unity and coherence in the design of each bay, and for the sake of that unity and coherence he was forced to sacrifice the richness and fulness of pattern given by a prominent and independent triforium. The later builders at Winchester and Canterbury made up for this, as has been said, by the emphasis they gave to their vertical lines. But at York, while the insignificance of the triforium deprives the design of all horizontal continuity, there is little attempt at vertical emphasis. True, large shafts rise from the floor to the converging point of the ribs of the vault; but these shafts are not forced forwards as at Winchester, but lie flat against the wall. They are prominent enough when each individual bay is examined, but they do not catch the eye when the nave is looked at as a whole. In the naves of Salisbury or Beverley the eye is led on from west to east by the circling band of the rich triforium; in the naves of Winchester and Canterbury it is attracted from floor to roof by the upspringing cl.u.s.ters of shafts; at York it wanders from point to point without any prominent feature to catch it. The blank s.p.a.ce in each bay between the windows of the clerestory and the vaulting shafts ought to be a welcome contrast to the curves of tracery, the cl.u.s.ters of pillars and mouldings in a strong and forcible design. At York it appears to be simply a piece of wall which requires decoration.