The Minster—the Cathedral Church of St. Peter, to call it by its proper title—is the fifth building on this site. First of all in the series was the wooden chapel erected for the baptism of Edwin, the Saxon king, in A.D. 627, followed by a stone church, begun by him in 628 and completed eight years later by King Oswald, who placed the head of Edwin, slain in battle by the heathen at Hatfield near Doncaster, here in the chapel of St. Gregory. Thirty-five years later this second church was found by Wilfrid the Archbishop to be in a state of decay, and he accordingly repaired the roofs and the walls, which he rendered “whiter than snow by means of white lime,” as we are told by contemporary chroniclers. In point of fact, he whitewashed the cathedral, just as the churchwardens of a hundred years ago used to treat our village churches, for which conduct we have been reviling them for many years past, not knowing that as whitewashers they could claim such distinguished kinship. About the year 741 this second building was destroyed by fire and was replaced by another, completed in 780, itself burnt in 1069. The fourth was then begun by Thomas of Bayeux, the first Norman archbishop, and completed about 1080; to be in its turn partly demolished by Roger Pont l’Évêque, who about 1170 rebuilt the choir on a larger scale. Following him came Archbishop Gray, who rebuilt the south transept in its present form between 1230 and 1241; the north transept and the central tower in its original form being the work of John Romanus, sub-dean and treasurer from 1228 to 1256. To the son of the sub-dean, Archbishop Romanus, fell the beginning of a new nave, which was commenced by him in 1291, but was not completed until 1345, and is the existing one. All these rebuildings were on a progressive scale of size and magnificence, and so by the time they had been completed it happened that Archbishop Roger’s Late Norman choir, which had replaced the smaller Early Norman one by Thomas of Bayeux, was itself regarded as too small and mean, and so was pulled down to make room for the existing choir, completed about 1400. Thus the earliest architectural features of the existing Minster above ground are the Early English transepts, and nothing remains of those vanished early buildings save some dubious Saxon masonry and Norman walling in the crypt.
The first impression gained of the exterior of York Minster—an impression which becomes only slightly modified on further acquaintance—is that of a vast, rambling, illogical mass of overdone ornament very much out of repair and very disappointing to the high expectations formed. Nor is the great central tower greatly calculated to arouse enthusiasm among those who know that of Lincoln. An immense mass, whose comparative scale is best seen from a distance, its severity of outline borders closely upon clumsiness, a defect which is heightened by its obviously unfinished condition and the clearly makeshift battlements that outrage the skyline with an effect as of an armoured champion wearing feminine headgear. It seems clear that the intention, either of the original architect of the tower, in the Early English period, or of those who re-cased it, some two hundred years later, was to carry it up another storey. The two western towers belong to much the same period, the years from 1433 to 1474, and have more than the usual commonplace appearance of the Perpendicular style. They form part of the most completely logical west front in England and almost the least inspired, excepting always that early Perpendicular fiasco, the west front of Winchester Cathedral. But the redeeming feature of York’s west front is the beautiful window which, whether regarded from without or within, is one of the finest details of the building, its tracery of the flowing Decorated period narrowly approaching to the French Flamboyant style and resembling in its delicacy and complicated parts the weblike design seen on the skeleton of a leaf.
A great portion of the Minster is in the Decorated style; not, however, conceived in the inspired vein of the west window. The nave and chapter-house cover the period of the sixty years during which Decorated Gothic flourished, and making the round of the exterior we find its characteristic mouldings and traceries repeated in a long range of seven bays, interrupted by the beautiful compositions of north and south transepts, entirely dissimilar from one another, but individually perfect, and the most entirely satisfactory features of the exterior. The architects of that period were more fully endowed with the artistic sense than those who went before, or those who succeeded them, and their works, and the more daring and ambitious, but something braggart, designs of their successors, remain to prove the contention. Eastward, beyond the transepts, extends the long, nine-bayed choir, the view of it obscured from the north by the protruding octagonal chapter-house, but well seen on the south, where the soaring ambition of its designers may advantageously be compared with the more modest but better ordered art of the unknown architect who built the south transept. The architects of the choir would seem to have dared their utmost to produce the largest windows with the smallest proportion of wall-space, and to have at the same time been emulative of height. With these obvious ambitions, they have succeeded to wonderment in rearing a building that is nearly all windows, with an apparently dangerously small proportion of walling to hold them together, but a building which has already survived the storms of five hundred years structurally and essentially sturdy and unimpaired. A great engineering feat for that time, rather than a masterpiece of artistry, as those who stand by and compare south transept and choir, visible in one glance, can see. That the perceptions of those who built the choir were blunted is proved by the almost flat roof their ambition for lofty walling has necessitated. With their side walls carried up to such a height, abutting against the central tower, they could not obtain the steep pitch of roof which is seen on the transepts, for a higher pitch would have committed the architectural solecism of cutting above the sills of the great tower windows, into the windows themselves. Thus their lofty choir is robbed of half its effect and looks square-shouldered and ungraceful by comparison.
An odd and entirely inexplicable device is found outside the four eastern windows of the choir clerestory, north and south, in the placing of the triforium passage outside the building, and the screening of it and the windows with a great skeleton framework of stone. The reason of this—whether it was a mistaken idea of decoration, or for some structural strengthening purpose—is still to be sought. But the east end is an equally crude and artless piece of work, almost wholly given up to the east window; the small flanking windows looking mean and pinched by comparison, and the abundant decoration characterised by stupid repetition and want of invention. Here we see the Perpendicular style at a very low ebb, and thus it is not altogether a disadvantage that the road is so narrow at this point that a full view of the east end is difficult to obtain.
Criticism is at once disarmed on entering. One enters, not by the great portals in the west front, but by the south porch, the most impressive entrance, as it happens. For this is at once the noblest and the earliest portion of the great church, and here, in one magnificent view from south to north we obtain one of the finest architectural vistas in England. Majesty personified, these Early English transepts are in themselves broad and long and lofty enough to furnish a nave for many another cathedral. Spaciousness and nobility of proportion are the notes of them, and even the beautiful nave, with its aisles, light and graceful, loftier and broader than almost any other in the land, dwindles by comparison. They produce in the surprised traveller who first beholds them the rare sensation of satisfaction, of expectations more than realised, and give an uplifting of spirit as thrilling as that caused by some inspiring passage of minstrelsy. To stand at the crossing and gaze upwards into that vast tower which looks so clumsy to the outward view, is to receive an impression of beauty, of combined strength and lightness, which is not to be acquired elsewhere, for it is the finest of lantern towers, and, open to the vaulting of its roof, a hundred and eighty feet above the pavement, its great windows on all sides entrap the sunbeams and shed a diffused glory on arcade and pier. Perhaps one of the most daring attempts at effect is that which confronts the visitor as he enters by the south porch. Daring, not from the constructional, but from the decorative point of view, the five equal-sized lancet windows, the “Five Sisters” that occupy three parts of the space in the wall of the north transept, might so easily have been as glaring a failure as they are a conspicuous success. Their very prominence has doubtless given them their name, and caused the legend to be invented of their having been the gift of five maiden sisters. The beauty of the original Early English glass which still remains in these lancets has a considerable share in producing this successful effect. That the unearthly beauty of that pale green glass is preserved to us, together with much more in the Minster, is due to Sir Thomas Fairfax, the Parliamentary general, himself a Yorkshireman, who kept the pious but narrow-minded and mischievous soldiery in order, who otherwise would have delighted in flinging prayer-books and missals through every window in this House of God, and have accounted it an act of religious fervour.
We cannot explore the Minster in greater detail, for the road yet lies in many a league before us; nor recount how York, city and shire, broke into rebellion when the old religion was suppressed by Henry the Eighth, and the Minster’s treasures, particularly the head of St. William, stolen. The Pilgrimage of Grace was the result, in which the Yorkshire gentlemen and others assembled, with Robert Aske at their head, and taking as their badge the Five Wounds of Christ, prepared to do battle for their Faith. Aske ended on a gallows from the height of Micklegate Bar. The same troubles recurred in the time of Elizabeth, and Yorkshire, the last resort of Roman Catholicism, was again in arms, with the Earls of Northumberland and Westmoreland conspiring with the Duke of Norfolk to release the captive Queen of Scots and restore the old religion. The movement failed, and Northumberland was executed on the Pavement, others being put to death or deprived of their estates. That was the last popular movement in favour of the old faith, and although the city had been prelatical and Royalist during the first years of Charles the First’s reign, public opinion at last veered completely round, so that shortly after the Parliamentary victory of Marston Moor in 1644, and the consequent surrender of the Royalist garrison of York, the city became as Puritan and republican as it had been the opposite. Gifts made by Charles to the Minster were torn down and dispersed, the very font was thrown out, and dean and chapter were replaced by four divines elected by an assembly. Many of the York parish churches were wrecked by fanatics carrying out an order to destroy “superstitious pictures and images,” and nearly all were without incumbents. When the restoration of the monarchy and the church was effected together in 1661, York became “one of the most factious and malignant towns in the kingdom,” and two years later broke into a revolt for which twenty-one rebels were executed. The final outburst occurred in 1688, when James the Second was suspected of an intention to appoint the Roman Catholic Bishop of Callipolis to the vacant see of York. The bishop was taking part in a religious procession through the streets when an infuriated mob set upon him and seized his silver-gilt crozier, which was taken as a trophy to the vestry, where it may yet be seen. The bishop fled. A few days later James the Second ceased to reign, and with that event ended these religious contentions.
IX
But the stirring history of the Minster itself was not yet completed, for the final chapter in a long record of events was not enacted until the early years of the nineteenth century.
The roads in the neighbourhood of York on February 2, 1829, were thronged with excited crowds hurrying to the city. Dashing through them came the fire-engines of Leeds, and others from Escrick Park. Far ahead, a great column of smoke hovered in the cold February sky. York Minster was on fire.