bury. 7.—St. Paulinus, Pope Eleutherius, and St. Wilfrid. 8.—St. John of Beverley; St. Calixtus Bishop of Rome, and St. Egbert, King Ebianos between two Flamines or Heathen priests; one of these high priests being dignified with the title of Proto-flam or first flam, the other with Arch-flam only. The windows of the little transepts in the choir, which are remarkably high and elegant, are divided into 108 compartments, filled with extremely fine paintings, illustrative of some passage of Holy Writ, or of ceremonies connected with the church. The great window over the west entrance to the church, though of considerable size, is inferior to the eastern light. The tracery of the upper part of the window is rich and intricate, and the mellowed rays of light, as they come upon the eye through the stained glass of the lower divisions, is peculiarly fine. The figures in the upper row represent the Religious at their devotions. Those in the middle row are the Apostles, &c., as St. Peter, St. Paul, St. John, &c. Then follow the largest effigies, which are the eight Saints of the See, viz., Paulinus, Bosa, John of Beverley, Wilfrid I., Egbertus, Oswaldus, Gulielmus, and Servallus. The west window of the north aisle of the nave has representations of St. Catherine, St. Peter, St. Paul, and Christ in Judgment. The first window from the west is plain; the second contains the Annunciation, the Wise Men's Offering, the Salutation of St. Elizabeth, and the Arms of the Ingrams and Grevilles; the third has the Crucifixion of St. Peter, and Confession, Penance, and Absolution; the fourth, the Crucifixion of our Lord, Christ before Pilate, and the Arms of the Strongbows per paled with the Mowbrays; the fifth, the Crucifixion, and other subjects; the sixth is very curious, and is supposed to have been given to the Cathedral by the bell founders; and the seventh, and last in this aisle, represents St. Catherine, St. Alban, and several curious legends. In the lower part of the window are the Royal Arms of England, and those of the Queens Eleanor of Castile, Eleanor of Provence, and Isabella of France. The window at the west end of the south aisle contains the Crucifixion, with the Blessed Virgin and St. John the Evangelist on either side. The first window from the west is plain; the second has St. Peter, St. Christopher, and St. Lawrence; and the remaining windows of this aisle have been made up of various subjects, principally saints and legends. The third has the date 1789, and the sixth and seventh that of 1782. In the latter window is a very old representation of the Crucifixion. The beautiful lancet window of five lights, in the north front of the north transept, is one of the chief ornaments of the church. The chaste but severe simplicity of these lights strike the eye of the beholder immediately on en tering the Cathedral. No finer examples of Early English windows can be found in this country. The lights, which are each 54 feet in height and 54 feet in breadth, are filled with mosaic work, of an extremely rich and varied pattern, and their effect is beautiful. This is sometimes called the Jewish Window, probably from the resemblance it bears to the embroidery or needlework which was used in adorning the ancient Jewish tabernacles. As has already been observed, this window has been traditionally named the Five Sisters, from its having been presented to the Cathedral by five sisters (nuns), who wrought with their own hands the patterns for the stained glass devices. The small rim of clear glass round the edges is a modern addition, and gives it a very pleasing effect. In the south transept the upper or marigold window has a fine effect from the brilliancy of its coloured glass resembling that flower. The first window in the second tier of this front of the transept has a full-length figure of St. William; the second, which is of two lights, has effigies of St. Peter and St. Paul, each with his proper insignia beneath him; and in the next window is the effigy of St. Wilfrid. The windows of the lowermost tier are of modern workmanship, having been executed by Mr. William Peckitt, of York, a self-taught artist, who died in 1795. They contain very elegant full-length figures of Abram, representing Faith; Solomon, representing Truth; Moses, Righteousness; and St. Peter. The window representing St. Peter was set up in 1768, and the others in 1796. The former was presented to the Cathedral by the artist in his lifetime, and the others were bequeathed at his death. In the east aisle of this transept is some of the oldest glass in the church, representing full-lengths of St. Michael, St. George, the Blessed Virgin, and Archbishop St. William. The glass in the choir is very fine and curious. In the first window from the west in the north aisle are representations of St. Peter and St. Paul, the Blessed Virgin, and Archbishop Bowett, at an altar. The second has full-length figures of St. John of Beverley, Archbishop Scrope, and St. William, with several curious legends; the third contains several full-length effigies of Bishops with legends; the fourth is the small transept window; the fifth has figures of the Blessed Virgin and Infant Saviour, St. Anne and St. Elizabeth, with the infant Baptist; and round the window are the Arms of Archbishop Scrope; the sixth exhibits St. Thomas, St. John, St. Edward the Confessor, and St. John the Baptist; the seventh window is blank; and the end window of the aisle has the Crucifixion, St. James, the Blessed Virgin, &c. In the first window from the west, in the south aisle of the choir, are fulllength figures of David and the Prophets Nehemiah and Malachy, with legends; the second is filled with legends, principally from the life of Christ; the third has several saints within borders of pomegranate branches and leaves; the fourth is the little transept window; the fifth is filled with legends, much confused; the sixth has King Edwin, St. John, St. James, &c.; and the seventh, in the upper portion, has full-lengths of Joseph of Arimathea and the Saxon King, Ina, the founder of Glastonbury Monastery. The lower part of this window, conspicuous for its vivid colours, was presented by the Earl of Carlisle, in 1804. It is supposed to have been copied from a design of Sebastian del Piombo, the great favorite of Pope Clement VIII., and was brought from the church of St. Nicholas, in Rouen, in Normandy. The figures, which are as large as life, represent the meeting of the Blessed Virgin and St. Elizabeth; and the armorial bearings of the family of the noble donor occupy the compartments. The interior dimensions of the Cathedral are as follows:- * Table of comparative dimensions of the principal Cathedrals in England, in feet. Breadth of the organ screen 50 MONUMENTS. The mortal remains of a very considerable number of persons of rank and distinction are deposited in this ancient temple. The head of Edwin, the first Christian King of Northumberland, who died in 663, was interred here, and his body in the Abbey of Whitby. History also records, amongst the distinguished persons buried here, the names of Eadbert and Eanbald, Kings of Northumberland; Sweyne, King of Denmark; Tosti, Earl of Northumberland, brother of Harold; William de Hatfield, second son of Edward III.; and a very large proportion of the Archbishops who have presided over the See, from the introduction of Christianity into this province to the present day. The principal tombs and monuments occupy the aisles on each side of the choir, and the Lady Chapel behind the altar screen; but there are a few tombs and inscriptions in the other parts of the Cathedral. On entering the church at the usual door in the south front, the first monument that attracts the stranger's attention is situated in the eastern aisle of the south transept, and is the tomb of Archbishop Walter de Grey, the founder of this part of the Cathedral, who died in 1255; the founders of Cathedrals being usually buried in the portion in which they themselves built. The design of this monument, which is one of the most interesting in the church, is particularly elegant. It is a beautiful relic of the 13th century, consisting of two stories, or tiers of trefoil arches, supported by eight slender columns, with capitals of luxuriant foliage, sustaining a canopy divided into eight niches, with angular pediments, decorated with elaborate finials. These are enriched with figures of birds, foliage, &c.; and the sweep of the pediment has several crockets running up its exterior moulding. On a flat tomb, under the canopy, is an effigy of the Archbishop in his pontifical robes. This monument is inclosed by a bronzed iron railing, of rich and elaborate workmanship, erected by the late Archbishop Markham. The pillars supporting the canopy are of black marble, eight feet in height. This is one of the earliest examples of canopied tombs remaining in this country. By the side of this monument is another of a flat tabular form, supposed to contain the remains of Archbishop Godfrey de Ludham, otherwise Kineton, who died in 1264. In the western side of the north transept is a flat tomb of black marble, supported by iron trellis, 2 feet high, to the memory of John Haxby, treasurer of the Cathedral, who died in 1424. Within the grating is a dilapidated stone figure, representing a wasted corpse in a winding sheet. According to stipulations in certain ancient deeds, payments of the Cathedral revenues should be, and, we believe, sometimes are made on this tomb. In the eastern aisle of the north transept is a very beautiful monument erected over the grave of Archbishop Grenfeld, who died in 1815. It consists of an altar tomb, the dado enriched with panelling of pointed arches. From the ends rise four dwarf columns, supporting a pedimental canopy, ornamented with crockets, which terminate in a superb finial, behind which, on a column, is a small statue of the Archbishop, in the act of giving the benediction. On the tomb is the full-length effigy of the prelate engraved in brass, habited in pontificalibis. The whole is an interesting specimen of the time of Henry VI. It was behind this monument that the incendiary Martin concealed himself, after attending service in the choir, before setting the Minster on fire in 1829; and it was through the window in the end of the west aisle in this transept that he made his escape after the building was in flames. Opposite to the entrance to the Chapter House is a fine altar tomb, to the memory of Stephen Beckwith, M. D., who died December 23rd, 1843. On the top is a beautiful marble effigy of the deceased, while in niches on the sides of the tomb are recorded his munificent bequests to the different charities in this city, which are as follows: The Museum of the Yorkshire Philosophical Society.. The Minster Bells and Chapter House... Wilberforce School for the Blind The Female Penitentiary... Blue Coat Boys' School Grey Coat Girls' School The Dispensary. The Church of England School The Infant School, Skeldergate St. Thomas' Hospital Lady Middleton's Hospital The Poor of St. Martin's Parish and two Parishes of Bishophill.. £. 10,000 5,000 5,000 5,000 3,500 3,500 3,500 2,500 2,500 3,500 2,000 500 On a pillar in the south aisle of the nave is a brass plate, with the half length effigy of a woman in the costume of the period, with an inscription showing that there lies buried the body of Elizabeth Eymes, one of the gentlewomen of Queen Elizabeth, and daughter of Sir Edward Neville, who died in 1583. On the opposite side in the same aisle, on a brass plate, is a Latin inscription, with a half length effigy, in a fur gown, of James Cotrel, Esq., a native of Dublin, who resided some time at York, and died in 1595. In the wall of the north aisle of the nave is a low altar tomb, the dado ornamented with pierced quatrefoils, through which the coffin within it may be seen, and covered with a low pointed arch. This tomb is supposed to enclose the remains of Archbishop Roger, who filled the See of York, from 1154 to 1181. These are all the monuments or inscriptions now remaining in the body of the church, though there were formerly many more. |