The Cathedral Church of York Part 6

Below the windows there is an arcade of ten ogee arches on each side of the lantern, with pinnacles between. Above this arcade is a row of quatrefoils.

Below each division of the arcade are figures alternating with bosses of foliage.

In the spandrels of the main arches are coats of arms with angels above them.

#The Chapter-House# and #Vestibule.#--The vestibule leading to the chapter-house is entered at the north-east end of the north transept by a doorway of very curious design. It consists of two arched openings separated by a pier. Above the two arches is an acutely-pointed gable, within which, supported by the arches, is a circle with cinquefoil tracery. Above the gable is a further arch, the ribs of which join the gable at its exterior angles. This arch is further connected with the gable by a rib running horizontally through the crown of the gable, and below this rib, on each side of the gable, are circles quatrefoiled.

From the finial at the top of the gable rise three ribs running to the top of the arch above.

It is impossible to understand the intention of this strange design, unless we suppose that the architect was determined to cover a certain blank s.p.a.ce of wall at any cost. It is certainly an original effort, but it cannot be called either beautiful or logical.

The dates of the chapter-house and the vestibule are very doubtful. The question is discussed in the account of the building of the minster. It may be mentioned here, however, that the vestibule is later in date than the chapter-house itself.

The vestibule is a lofty and narrow pa.s.sage running three bays north from the end of the transept, and then turning at right angles and running two bays east until it reaches the chapter-house itself. Just inside the vestibule will be seen the point at which the Early English work of the transept is interrupted by the Decorated work of the vestibule. There is no attempt at continuity. The Early English arcading breaks off just below the first Decorated window; the Early English shafts above it run close to the Decorated shafts of that window; while the Early English vaulting rib is cut off near its crown. It would appear from this that a pa.s.sage to the chapter-house was begun and discontinued before the building of the chapter-house itself. The present vestibule was certainly built after the chapter-house, and the exterior parapet mouldings of the chapter-house may be seen within the vestibule, showing that it was almost an afterthought. Over the doorway leading into the vestibule is a pattern of blind tracery. Here, and on many portions of the roof and walls of the vestibule, are traces of old paintings. The windows are still filled with their magnificent original gla.s.s. The three bays running north are of unequal size, that nearest to the transept being the smallest, and that farthest away the largest.

The tracery of the two smaller windows is most curious and unusual. The smallest is also of a very odd shape, being almost as narrow as a lancet window, with, however, a rather obtuse arch. It is divided into two lights, which rise without further tracery to about three-quarters of the height of the whole window. Into the upper part are crowded five trefoils of different shapes, and piled one on the top of the other. The mouldings of the shafts have a slenderness and delicacy characteristic of the whole of the choir and the vestibule. The slenderness is one of the chief arguments for the later date a.s.signed to them. All the shafts have rich capitals. The next window is filled with even more curious tracery. It is divided into four lights, rising only to almost half the height of the whole window. The central mullion is thicker than the other two. Above these lights are two gables, to the crown of which the two side mullions run, through an arch below them. Above the gables are two more arches with trefoils in their heads, and in the crown of the window a circle cinquefoiled. The unusual feature of the design is the gables with the lights running through them. They were probably inserted to strengthen the wall. The next three windows are of splendid design, resembling that of the clerestory of the nave, but richer. All the mouldings are of the same character. Under the windows runs an arcade of blind tracery, two lights to each division, with a cinquefoil ornamented with a sculptured boss above. These bosses contain alternately foliage and human heads wreathed in foliage. The capitals are also ornamented with leaves and curious animals. The vault is of richly-moulded ribs, and on each side of these is a pattern of white lozenges on a red ground. The vestibule, as a whole, is one of the most beautiful parts of the minster, not less for its fine proportions and detail than for its magnificent stained gla.s.s.

#The Chapter-House# is entered by a doorway of most beautiful design, planned in the same manner as the western entrance of the cathedral, but plainer in decoration. It consists of a large arch divided into two smaller arches, each of which contains a door. In the head of the larger arch is a quatrefoil, at the bottom of which are two carved brackets for sculpture. Between the two smaller arches is a niche, with a canopy decorated with a double row of gables and finials. The niche contains a statue of the Virgin Mary and Infant Christ, so mutilated that little of their ancient beauty is left. Below this niche are four narrow shafts with capitals. On each side of the doors is a rich cl.u.s.ter of shafts, boldly cut and varied, with finely-carved capitals. The mouldings of the main arch and of the two subordinate arches are plain, but much thicker and bolder than those of the western doorway. On each side of the main arch are plain niches with small carved brackets. This doorway on the inner side is divided by a cl.u.s.ter of shafts, and above it is an oblong piece of masonry ornamented with arcading enclosed in an obtuse arch.

Above the outer arches of the arcading, on each side, is a niche with sculpture.

The chapter-house itself is octagonal in form, being divided into eight bays. Seven of these are filled with windows, the eighth, that over the entrance, being ornamented with blank tracery of the same design as that of the windows. These windows are very acutely arched, and their tracery is of the geometrical Decorated style. They contain five lights, each light terminating in a trefoiled arch. The central light has further a very acute arch above it, also filled with a trefoil. The two outer lights on each side are joined together by an arch above them, in which is a cinquefoiled circle. Above are three circles arranged pyramidally, each containing nine cusps. The mullions enclosing the central light are thicker than the others. All the mullions are broken up into very slender shafts with capitals. It may be safely said that for elegance, symmetry, and the ingenious filling of a given s.p.a.ce, the tracery of these windows is not surpa.s.sed in Europe.

Between the windows are cl.u.s.ters of shafts which support the ribs of the vault. These shafts have fine capitals, and are separated from the windows by blank s.p.a.ces of wall set at an obtuse angle to the windows, so that the shafts are pushed forward. Below is an arcade, famous both for its richness and curiously beautiful design. It consists of a series of canopies, six to each bay, under each of which is a seat forming the half of an octagon. At each angle of these seats is a shaft of Purbeck marble. The seats, or niches, are divided from each other also by shafts of Purbeck marble. The use of Purbeck marble, both here and in the doorway of the chapter-house, is worthy of note. It is unusual after the Early English period, and might be advanced as an argument of the early date of the chapter-house. In the bay which contains the entrance, there is a seat on each side of the doorway. The capitals of the Purbeck marble shafts are carved with unusual richness; but it is the canopies which demand most attention. They are flat at the top, and each is divided into three bays in front, the central bay being divided from the other two by pendants richly carved with foliage of the same character as the capitals of the shafts. Between the shafts and the pendants are trefoil arches, one to each bay, and above the arches and pendants are gables crossing each other and ending in finials of carved oak leaves.

Where the gables cross each other are carved heads and figures. The sculpture of the arcade as a whole is the finest in the cathedral, and some of the finest in England; but the art of the Gothic sculptor reaches its culmination in these heads. In grotesqueness, fertility of invention, and perfect fitness as decoration they could hardly be surpa.s.sed. The canopies are decorated at the top with a cornice of carved grapes and vine leaves. Above them is a pa.s.sage running round the whole chapter-house and pa.s.sing behind the vaulting shafts and through the ma.s.ses of masonry between the windows. The vault is of wood, though ribbed and painted to give it the appearance of stone. This vault is arranged so that the ribs diverge from the vaulting shafts until they reach the central octagon of the roof. At this point they converge to the boss in the middle of the central octagon. This boss is modern. The roof was restored in 1845. Before this time it was painted with figures of kings and bishops, and the bosses were covered with silver. The modern decoration of the roof is dull and trivial in design and offensive in colour. During the same restoration many of the marble shafts were replaced and the floor was paved with tiles, with a most unfortunate effect. The east window has also been filled with very bad modern gla.s.s. In fact, restorers have done their worst to the chapter-house; but, luckily, their work is not irreparable. We may hope that some day the gla.s.s, the tiles, and the paint on the roof will all be removed. This chapter-house marks the farthest point reached in the development of such buildings. It differs from the chapter-houses at Lincoln, Salisbury, Westminster, and Wells in that it has no central pillar, and this absence of a central pillar is supposed to be its special glory. No doubt the pillar was an inconvenience when the chapter met, and the architect was given a fine opportunity for the display of his mechanical ingenuity when he decided to do without it. But there can be no doubt that a central pillar or cl.u.s.ter of shafts such as is found at Wells, would be more beautiful. And as the architect at York was afraid to vault his chapter-house with stone, his mechanical ingenuity was not put to so severe a test after all. And yet, though we may regret the beautiful central pillar as we find it at Wells or Lincoln, there are other respects in which this chapter-house surpa.s.ses all its rivals.

In size, in richness of decoration, in boldness of outline, and in aerial lightness it is unequalled. Above all, it still contains six windows of magnificent stained gla.s.s. Even now it seems to justify its boastful inscription:

Ut Rosa flos florum, sic est Domus ista Domorum.

[Ill.u.s.tration: Chapter-House--Entrance and Sedilia.]

#The Choir# is separated from the rest of the church by a very elaborate rood screen, which was built _circa_ 1475-1505, and is therefore the latest part of the original building. It is a fine example of Gothic work of the latest period, and though, the details are of course inferior to those of thirteenth century work, and the parts are small and rather crowded, the whole effect is one of great richness and magnificence. This screen consists of a central doorway into the choir, and of fifteen niches with rich canopies and bases, seven to the north, and eight to the south, of the central doorway. The niches are filled with statues of the Kings of England from William the Conqueror to Henry VI. The statue of Henry VI. alone is modern. It has been said that the original statue of this king was regarded with so much reverence as to have aroused the anger of the iconoclasts of the Reformation. At any rate, it was destroyed, and an image of James I. set in its place. This has been happily removed in the present century, and a statue of Henry VI., a fair work, by the hand of Michael Taylor, a local sculptor, has been inserted. The original statues are unusually good for their period, and it has been suggested that the details of their dress show some consideration for historical correctness. The same consideration was not given to the hair, for it has been pointed out that the Normans were clean-shaven and wore short hair, whereas the statues of the Norman kings have beards, moustaches, and long hair. The kings are dressed in robes of state. The legs of Stephen alone are exposed. The hands of the Conqueror are broken off. On the pedestals are the names of the kings, with the length of their reigns. They begin on the north side. The figures of angels above the canopies of the niches are made of plaster designed by Bernasconi, who also restored other parts of the screen.

The central archway is unusually rich and delicate for the period in which it was built. It is somewhat obtuse in form, and is surmounted by an ogee pediment or outer moulding. On each side are four narrow shafts with carved capitals, an unusual enrichment in this period. Between those shafts are rosettes and rows of foliage. The bases, both of the shafts, the pedestals, and the b.u.t.tresses, are very long, as is usual in late Perpendicular work. The arch itself has four divisions of ornamented mouldings, with plain mouldings between them. The ogee moulding is richly decorated with foliage, and terminates in a lofty finial reaching to the top of the screen. Below this finial is an empty niche with a kind of ball-flower ornament at the base. On each side of this niche is an angel with a censer, with rich foliage below. The interior of the screen under the central arch is vaulted with carved bosses. The niches are divided from each other by b.u.t.tresses decorated at intervals with pinnacles. The pedestals are long, and richly ornamented with tabernacle work. The greater part of the ornament of the screen is ma.s.sed in the canopies. These canopies are made up of three inner arches, cusped, immediately above the heads of the kings, and five outer arches, cusped and gabled, round them. Round these outer arches is a ma.s.s of pinnacles, with three larger, richly-ornamented pinnacles, and two smaller, above them. Above these are three small figures, apparently playing on musical instruments, with other figures of the same size, one on each side of the b.u.t.tresses. These figures, in their turn, have above them canopies of much the same character as those below. Above these canopies is a row of panelling with the plaster angels of Bernasconi above it, at the beginning of the cornice. The rest of the cornice is made up of a row of sculptured ornament and a row of cusped arches terminating in the "Tudor flower" ornament, alternating with rows of plain moulding.

[Ill.u.s.tration: The Choir Screen.]

The chief fault of this screen is its heaviness, which the ma.s.s of ornament is not bold enough in its parts to lighten. The central entrance is not cleverly managed, and seems cut out of the screen, as if to make a way into the choir at all costs. This screen should be compared to the beautiful rood screen at Exeter, with its three bold arches and its simple yet delicate decoration. After the fire in 1829 it was proposed to remove it, and one is almost tempted to regret that it was not removed. The nave at York would be enormously improved by a closer connection with the choir. Under any circ.u.mstances the nave must be somewhat cold and ineffective; it would be far less so if the eye could pa.s.s with scarcely a break into the sumptuous choir. The naves of English cathedrals are too apt to look like splendid museums rather than places of worship, and this is peculiarly the case with the nave at York. Doctor Milner has stated, though apparently without authority, that this screen was taken from the Abbey Church of St. Mary, close to the cathedral. It is difficult to understand how it could have fitted so much narrower a building.

[Ill.u.s.tration: The Choir, looking East.]

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

The choir itself, with the retro-choir or Lady Chapel, is divided into nine bays. It is considerably the largest and loftiest in England, being over 100 feet high and 99 wide. The altar is three bays from the east end, and one bay west of the altar are the eastern transepts. The choir was begun at the east end in 1361, and finished in 1405. There are differences between the earlier work east and the later work west of the transepts, which will be pointed out, though the plan of both is the same.

The plan, allowing for differences in detail caused by the change of style, is very like that of the nave. It is, therefore, an interesting example of a Perpendicular building carried out on the lines of an earlier Decorated design. When the east end of the choir was begun (1361) the Gothic style was fast reaching its fullest development in England. The nave of Winchester, a contemporary building, is the finest example of that development. There, as has been pointed out, the vertical division made by the vaulting shafts and the mouldings on each side of them becomes the most important feature in the design. The window tracery is planned merely as a frame for gla.s.s, and not as a design interesting in itself. Decoration supplied in earlier work by carved foliage, deep and various mouldings, and elaborate tracery, gives way to a system of lines emphasising construction as completely as possible. The contrasts between ma.s.ses of ornament and blank walls, which play so great a part in earlier Gothic, disappear; and the only contrast is between the orderly lines of the stone and the kaleidoscopic decoration of the windows. Architecture loses much of its fancy and its delicacy, but becomes more logical, more reasonable, and more organic.

In the choir of the minster this change is only half carried out. There is a much greater emphasis of line than in the nave, and there is less delicacy of detail; but the vaulting shafts are no more important, and the window tracery still plays a considerable part in the design. Hence the choir lacks that air of decision, that extreme lucidity, to be found in the design of the nave at Winchester. If it were not for the choir furniture, the stalls, the throne and pulpit, and the altar, this want of decision in the design would be much more evident than it is. But the builders of this choir are not therefore to be blamed. They designed it as a choir, counting, no doubt, on the effect of the furniture, and as a choir it must be judged. It might have been expected, perhaps, that a building designed on the lines of the nave, but without the beauty of detail of an earlier age, would show all the faults of that nave and few of its beauties. But this is not the case. The architects were certainly most skilful; they had the immense advantage of seeing the design of the nave actually carried out, they understood its faults, and by a few dexterous alterations they produced a "fair copy" of it, avoiding most of those faults, and keeping all its structural merits.

As in the nave, the triforium is merely the continuation of the clerestory, the proportions, of the western bays at least, are almost the same as those of the nave, and the whole is covered again with a wooden vault, plastered and ribbed to look like stone; and yet that air of leanness, flatness, and emptiness, the chief fault of the nave, is almost entirely avoided.

A comparison of the differences in the two designs, and a demonstration of the small means by which the success of the later one is produced, must be both interesting and instructive, but, to be fully carried out, it would require more s.p.a.ce than can be given in this book. We must confine ourselves, therefore, to pointing out some of the more obvious changes.

The most curious and important, perhaps, is to be found in the treatment of the triforium. In the earlier bays east of the eastern transept this treatment is the same in essentials as on the nave. That is to say, the triforium is on the same plane as the clerestory, and the triforium pa.s.sage runs outside the building. But when the choir proper was begun, after an interval of some years, the architects, seeing, no doubt, that the older design was flat and somewhat wanting in relief, were seized by a happy idea. They set the clerestory windows some inches back, so that they were no longer level with the interior wall and with the triforium, and placed the triforium pa.s.sage in its customary place. The difference in the design may be easily observed both inside and outside the building.

By this simple change, a greater relief and depth, a greater contrast of light and shade, was given to the whole design; and this without breaking its continuity or harmony in any degree.

The following differences in plan and detail between nave and choir may also be remarked:--

Besides the transom dividing clerestory from triforium to be found in the nave, there is a second transom in the choir crossing the openings of the triforium. This gives a greater fulness and complexity to the design.

In the eastern bays, below the openings of the triforium, the bases of the mullions are elongated to about two feet in length, and between them are cusped arches. These arches and the mullions themselves are set on a slanting ridge, like the mullions of the triforium in the transepts.

The vaulting shafts also do not terminate altogether at the point at which the ribs of the vault converge, but the outer ones rise some ten feet higher than the central one, until they are cut short by the spreading ribs of the vault. This is a difference characteristic of the Perpendicular style, which tends to an interweaving of lines, and an abolition of capitals, where possible.

The mouldings of the main arches also are broader than on the nave, and the cl.u.s.ters of the piers bolder.

It must also be remembered that, as the floor of the choir rises gradually to the east, the proportions of the eastward bays are materially altered, and the main arches are smaller relatively to the clerestory than in the nave. There is no doubt that this change is a fortunate one. It is also lucky that it occurs in that part of the building which otherwise differs least from the design of the nave.

Finally, it must be remembered, in accounting for the greater effectiveness of the later work, that a choir design is made for different conditions, and has different objects in view, from that of a nave.

It has often been remarked that the nave of York, examined bay by bay, is logical and satisfactory enough. It is only when it is regarded as a whole, and judged as an avenue of stone, that its faults are evident.

But the choir is not to be judged as an avenue of stone at all.

It is cut in half by the altar. Its lower storey is concealed by the stalls, and its continuity broken by the eastern transepts.

In the nave, the lowest storey is the weakest. The thin pillars and the broad arches make too little division between the nave and the aisle.

The whole is seen at a glance, and there is little of the mystery and shadow generally to be found in a large Gothic interior. Also the actual design of the pillars is poor. They do not fit well on to the arches above them. They seem almost insecure.

If these faults exist in the choir, they are concealed by the stalls, and east of the altar by the change in proportions. The choir itself is like an enormous college chapel. The aisles exist, but play no part in the design, which still culminates in the splendid blaze of gla.s.s from the eastern transepts and the great east window, and once culminated on the still more splendid blaze of the altar.

[Ill.u.s.tration: The Choir, looking West.]

The retro-choir, far too short and wide to be judged as an avenue of stone, is still more dependent for its effect on its gla.s.s. As most of that gla.s.s luckily remains, it is a miracle of airy splendour; one may see from it what were the objects, and how great the success of the much-maligned Perpendicular architects at their best.

It is still the custom to regard Perpendicular architects as altogether inferior to their predecessors; an opinion partly arising, no doubt, from Mr Ruskin's eloquent exposition of the principle that beauty of detail is the most vital and important part of architecture; and partly from the general idea that older work is always better than later. But Perpendicular artists were not altogether retrogressive. In some respects they adapted their design more completely to their material than the older men. Their woodwork, for instance, completely shook off the forms of stone. Their gla.s.s, in spite of all that has been said, is better decoration of a given s.p.a.ce than the patterns of the Decorated period. This is particularly evident in the nave and choir of the minster, for the original gla.s.s remains on many of the windows practically undisturbed. The earlier gla.s.s is more delicate, and purer in colour. Its designs are often more interesting pictorially. Look at the window simply as an isolated example of stained gla.s.s, and you will certainly prefer the earlier work. Look at it as a patch in a whole system of decoration, and you will be inclined to prefer the later. The wonderful success, as decoration of fragments of ancient stained gla.s.s pieced together almost at random, goes to prove, almost as clearly as the pictorial errors of modern designers, that a stained gla.s.s window should be conceived, not as a picture, hardly even as a pattern, but as a simple arrangement of broken patches of colour. This is what the designers of the windows in the choir have done, for they have seen that by that means, and not by the representation of architectural forms, they obtain the best contrast with the real architectural forms of the building. At their best, the windows of the choir remind one of patches of coloured sunlight on running water. It is true that these windows are really filled with pictures, but these pictures are only an excuse and a stimulus for the inventions in pure colour of the designer. Without them his work might seem merely kaleidoscopic. It is his great merit that he has never allowed his representation of actual things to interfere with his decorative purpose.

[Ill.u.s.tration: Compartment of Ancient Choir Stalls.]

To sum up, then, this choir has not the delicate and spiritual beauty of the choirs of Lincoln or Ely. That is never found even in the finest work of Perpendicular architects; but for stateliness and magnificence it has not a rival in England. These qualities may be best appreciated standing midway between the two transepts and in front of the altar.

From that point glittering screens of gla.s.s and soaring shafts of stone are to be seen on all sides; the whole effect is one of triumphant light and s.p.a.ce and colour, not to be surpa.s.sed by the splendours even of Moorish or Italian architecture.

To pa.s.s to a more detailed description: the original stalls were irretrievably ruined by the fire of 1829. An ill.u.s.tration of one of these stalls from Britton is here given. They appear to have been magnificent examples of Perpendicular woodwork, and their destruction is an irreparable loss. There were twenty of them on each side of the choir and twelve at the west end. The modern stalls erected in the thirties are a simple imitation, better perhaps than original work of the period would have been--better, certainly, than might have been expected--but spirit-less in execution. The modern bishop's throne and pulpit are not even tolerable. They replaced a throne and pulpit erected in 1740, and, like the stalls, destroyed in the fire.

[Ill.u.s.tration: Compartment of Altar Screen.]

The fine Perpendicular altar screen was also destroyed by the fire. The present screen is a careful and very successful reproduction of it. It has been glazed with very good effect.

The reredos, designed by Street, with reliefs by Tinworth, is made of terra-cotta and wood, and is not successful either in colour or pattern.

The carvings represent the first hour of the Crucifixion.