Part 2

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,

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:--

CENTER “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 3_d._ a pound.

{ BENJAMIN KINGMAN. Performed By { 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

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

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

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

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

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

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

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

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

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