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+The Project Gutenberg eBook, Bell's Cathedrals: The Cathedral Church of
+Ripon, by Cecil Walter Charles Hallett
+
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+
+
+
+Title: Bell's Cathedrals: The Cathedral Church of Ripon
+       A Short History of the Church and a Description of Its Fabric
+
+
+Author: Cecil Walter Charles Hallett
+
+
+
+Release Date: June 16, 2008  [eBook #25800]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+
+***START OF THE PROJECT GUTENBERG EBOOK BELL'S CATHEDRALS: THE CATHEDRAL
+CHURCH OF RIPON***
+
+
+E-text prepared by Jonathan Ingram, Julia Miller, and the Project
+Gutenberg Online Distributed Proofreading Team (https://www.pgdp.net)
+
+
+
+Note: Project Gutenberg also has an HTML version of this
+      file which includes the original illustrations.
+      See 25800-h.htm or 25800-h.zip:
+      (https://www.gutenberg.org/dirs/2/5/8/0/25800/25800-h/25800-h.htm)
+      or
+      (https://www.gutenberg.org/dirs/2/5/8/0/25800/25800-h.zip)
+
+
+Transcriber's note
+
+      Obvious typographical errors have been corrected. A list of
+      changes is found at the end of the book. Inconsistencies in
+      spelling and hyphenation have been retained. A list of
+      inconsistently spelled words is found at the end of the book.
+
+      Text enclosed by equal signs was in bold face in the original
+      (=bold text=).
+
+
+
+
+
+THE CATHEDRAL CHURCH OF RIPON
+
+A Short History of the
+Church & a Description
+of Its Fabric
+
+by
+
+CECIL HALLETT, B.A.
+Magdalen Coll., Oxford
+
+With 53 Illustrations
+
+
+
+
+
+
+
+[Illustration: RIPON CATHEDRAL FROM THE FOOTBRIDGE OVER THE SKELL.]
+
+
+
+[Illustration]
+
+London George Bell & Sons 1901
+
+
+
+
+PREFACE.
+
+
+The original authorities for the history (both constitutional and
+architectural) of the Church of Ripon have been most ably edited for the
+Surtees Society by the Rev. Canon J. T. Fowler, F.S.A., in his
+_Memorials of Ripon_ and _The Ripon Chapter Acts_ (_Surtees Soc._, vols.
+74, 78, 81, 64). These authorities range from the Saxon period to the
+times following the Reformation, but in the Introductions to vol. 81,
+and in the Rev. J. Ward's _Fasti Riponienses_, included in vol. 78, the
+story is virtually continued to our own day; while the aforesaid
+Introductions epitomise, in its constitutional and architectural
+aspects, the whole history of the church.
+
+To these volumes and to their Editor, who most kindly consented to
+revise the proofs of this book, the present writer is very deeply
+indebted. He has also had recourse to an article by Sir G. Gilbert
+Scott, R.A., in vol. xxxi. of the _Archæological Journal_; to the same
+Author's _Recollections_; to several articles on the Saxon Crypt, duly
+specified on pp. 76, 77; to the Guides, by J. R. Walbran, F.S.A.,
+published by Mr. Harrison of Ripon; to Mr. Murray's _Cathedrals_; to the
+volume by the Ven. Archdeacon Danks in Messrs. Isbister's Cathedral
+Series; to _A Day in the City of Ripon_, by Mr. George Parker of Ripon;
+to the old Guides by Farrer and Gent respectively; and to other works of
+a more general character.
+
+His sincere thanks are also due to the Right Rev. the Bishop of Ripon
+for permission to consult the library at the Palace; to the Very Rev.
+the Dean for privileges granted in connection with the library in the
+Cathedral and with the Cathedral itself; to the Ven. the Archdeacon of
+Ripon and the Ven. the Archdeacon of Richmond for their courteous
+assistance on several occasions; to Mr. J. T. Micklethwaite, V.P.S.A.,
+Mr. W. H. St. John Hope, Mrs. Swire, the Rev. H. A. Wilson, Fellow of
+Magdalen College, the Rev. G. W. Garrod, and Mr. John Whitham for
+valuable information on various points, historical and architectural; to
+Mr. Ronald P. Jones for his excellent photographs, to the Archæological
+Institute and other learned Societies for various other illustrations,
+and to the Rev. E. H. Swann, the Rev. J. Beanland, Capt. E. J. Warre
+Slade, R.N., Mr. F. Forbes Glennie, Mr. T. Wall, Mr. Watson, and others
+for similar assistance.
+
+He desires also to express his thanks to Mr. E. W. Winser, Dean's
+Verger, for much valuable local information; to Mr. Henry Williams,
+Canons' Verger, for expert advice on points of masonry; and to both, as
+well as to the Sexton, for that general assistance which they so
+willingly rendered him throughout his investigation of the Fabric.
+
+
+
+
+CONTENTS.
+
+
+                                                                  PAGE
+  CHAPTER I.--HISTORY OF THE CHURCH                                  3
+
+  CHAPTER II.--THE EXTERIOR                                         39
+
+  CHAPTER III.--THE INTERIOR                                        65
+
+  CHAPTER IV.--OTHER OLD BUILDINGS IN RIPON                        133
+
+  APPENDIX--
+    Abbots of the Monastery of Ripon                               142
+    Canons of Stanwick                                             142
+    Deans of King James I. Foundation                              143
+    Deans of the Cathedral Foundation                              143
+    Bishops of Ripon                                               143
+
+  INDEX                                                            145
+
+
+
+
+LIST OF ILLUSTRATIONS.
+
+
+                                                                  PAGE
+  Ripon Cathedral from the Footbridge over the Skel  _Frontispiece_
+  Arms of the See                                      _Title Page_
+  The Nave, South Side                                               2
+  View from the South-West                                           3
+  Early Apsidal Chapel with Later Chapel superimposed               13
+  The West Front before Restoration                                 17
+  Mediæval Seals (3)                                                20
+  Ripon Minster Anterior to 1660 (from an old Engraving)            32
+  The Cathedral from the South-East                                 38
+  The West Doorways                                                 39
+  View from the North-West                                          42
+  Doorway, North Transept                                           47
+  Doorway, South Transept                                           52
+  Reconstructed Angle of the Great Tower                            57
+  Flying Buttresses, South Side of Choir                            59
+  The East End                                                      61
+  The North-Western Portion of the Nave                             64
+  Conjectural View of the Interior of Archbishop Roger's
+    Nave (by Sir G. G. Scott)                                       65
+  Conjectural Plan of Archbishop Roger's Church
+    (by Sir G. G. Scott)                                            67
+  The Nave, looking Westward                                        70
+  Plan of Saxon Crypt                                               72
+  The Saxon Crypt                                                   73
+  Conjectural Plan of St. Wilfrid's Crypt and Presbytery
+    (by Mr. J. T. Micklethwaite)                                    77
+  The Two Fonts                                                     79
+  Bas-Relief in the South Aisle of the Nave                         80
+  The Western Arch of the Central Tower                             83
+  The North Transept                                                87
+  Vault of North Transept Aisle                                     91
+  The Rood Screen                                                   95
+  The Great East Window                                             97
+  Bay of Archbishop Roger's Choir (by Sir G. G. Scott)              98
+  Decorated Capital in the Choir                                    99
+  The North Side of the Choir                                      100
+  Bosses from the Choir-Vault (2)                                  103
+  The Sedilia                                                      105
+  Choir Stalls                                                     107
+  Misereres                                                        108
+  Desk-End of Mayor's Stall                                        109
+  Finial in front of the Bishop's Throne                           110
+  The West End of the Choir                                        112
+  The North Choir Aisle                                            113
+  Transitional Vaulting Corbel                                     114
+  The Norman Crypt                                                 118
+  The Chapter-House                                                122
+  Ancient Sculptures in the Chapter-House                          124
+  The Library                                                      130
+  The Old Chapel, St. Mary Magdalene's Hospital                    132
+  Chapel of St. Anne's Hospital                                    135
+  Seal of St. Mary Magdalene's Hospital                            138
+
+  PLAN OF THE CATHEDRAL                                        _at end_
+
+
+  [Illustration: THE NAVE--SOUTH SIDE.
+   (Showing junction of Transitional and Perpendicular work in the
+   Tower.)]
+
+
+
+
+
+  [Illustration: VIEW FROM THE SOUTH-WEST.]
+
+
+RIPON CATHEDRAL.
+
+
+CHAPTER I.
+
+HISTORY OF THE CHURCH.
+
+
+There is evidence that the neighbourhood of Ripon was inhabited during,
+and perhaps before, the Roman occupation of Britain. Whether the place
+was a settlement of the Romans is uncertain; but it was assuredly in
+touch with their civilization, for several of their roads passed near
+it--notably Watling Street, on which, six miles to the east, was
+Isurium, the modern Aldborough; while imperial coins and other Roman
+objects have been dug up in Ripon itself. It is not known whether the
+Romans imparted to the local tribes of the Brigantes their own
+Christianity; but two centuries after the withdrawal of the legions the
+greater part of what is now Yorkshire was absorbed by the invading
+Angles into their kingdom of Deira, which had itself been united with
+the more northern kingdom of Bernicia to form the single realm of
+Northumbria. Deira, however, seems to have retained its own
+individuality. About the year 627 King Eadwine of Northumbria was
+converted to Christianity by Paulinus, and the majority of his Deiran
+subjects followed his example.
+
+=The Scottish Monastery.=--It is in the middle of the seventh century that
+the recorded history of Ripon begins. Deira was then ruled by Prince
+Alchfrith of Northumbria under his father, King Oswiu, nephew of
+Eadwine, and Bede, writing not eighty years after the event, relates
+that the prince chose Ripon for the site of a monastery. The date may be
+fixed in or just before the year 657. This monastery was one of those
+numerous religious colonies which were the result not only of the new
+Christian fervour, but also of a reaction from war toward social life
+and industry. It did not represent the Roman Christianity of Augustine
+which Paulinus had introduced into Deira from Canterbury, but the
+Christianity which had come from Ireland through St. Columba's
+missionary college at Iona, and which was now predominant throughout the
+north. The monks of Ripon were brought from Melrose Abbey on the Tweed.
+Like most monks of that early period, they probably followed no definite
+Rule. Their abbot was Eata, a pupil of St. Aidan, and previously Abbot
+of Melrose and Lindisfarne, while the guest-master was no less a person
+than Cuthbert, the legend of whose having entertained an angel unawares
+at Ripon added, no doubt, to the growing reputation of the house.
+
+Its tranquillity, however, was not to last. The Roman party in the
+Northumbrian Church, though inconsiderable, was gaining force, and
+Alchfrith, deserting his former convictions, gave the new monastery,
+with an endowment of thirty or forty hides of land, as Bede relates, to
+one who had visited Rome, and who regarded the Irish (or, as it was
+called by that time, the Scottish) Church as schismatical.
+
+The life of =St. Wilfrid of Ripon=--so full of adventure, misfortune, and
+lasting achievement--can only be related here in so far as it bears upon
+the story of this, his favourite monastery. It was in 661 that the
+transference from Eata to Wilfrid took place, and at once the Scottish
+monks, refusing to conform to Roman usages, left Ripon in a body. It is
+probable that Wilfrid imposed upon their successors the Benedictine
+Rule, which he had studied at Rome. The new Abbot was not yet in
+priest's orders, but was presently ordained at Ripon by Agilbert, the
+Frankish Bishop of Wessex. In 664 he took the action for which he is
+especially remembered in English history. Appearing at the Synod of
+Whitby, he prevailed upon King Oswiu to throw in his lot with the Roman
+party, and was thus the means indirectly of preventing the isolation of
+the England of that time from the Church and civilization of the
+Continent. Almost immediately afterwards Abbot Wilfrid became Bishop of
+Northumbria, and this tenure of the two offices by the same person was
+perhaps the origin of the subsequent connection of Ripon with the
+Archbishops of York.[1] Wilfrid insisted on going to be consecrated by
+Agilbert, who was now Bishop of Paris, and so long did he remain abroad
+that on his return in 666 he found another bishop, Chad (afterwards St.
+Chad of Lichfield), in possession of the see. He therefore retired to
+Ripon for three years, during which, however, he visited Mercia and also
+Kent, where he met Aedde, or Eddius, who became his chaplain and
+biographer.
+
+=The Saxon Monastery.=--In 669 Wilfrid was restored to his see by
+Theodore, Archbishop of Canterbury, and soon afterwards began to build
+at Ripon. The Scottish monastery, which was probably of wood, is thought
+to have occupied a site between Priest Lane, Stonebridgegate,[2] and a
+nameless road which connects them. Wilfrid now abandoned it, and erected
+upon a new site a more imposing monastery of stone.[3] The practice of
+building in stone seems to have become uncommon in Britain after the
+departure of the Romans, and Wilfrid is thought to have employed foreign
+workmen, perhaps Italians.[4] His church is described by Eddius,
+himself now a Ripon monk, as "of smoothed stone from base to summit, and
+supported on various columns and (?) arcades (_porticibus_)," and was
+doubtless of that Italian type which had become identified in Britain
+with the Roman party in the Church, as opposed to the Scottish mission.
+The Scottish type of church consisted of a small aisle-less nave and
+square chancel: the Italian type generally had aisles, and the altar was
+usually raised upon a platform, beneath which was a crypt called
+_confessio_. A little later than 670 A.D. Wilfrid's new minster was
+solemnly dedicated by him in honour of St. Peter, in the presence of a
+great concourse of clergy and nobles, headed by the King of Northumbria,
+Ecgfrith, the successor of Oswiu. The endowments seem to have included
+at this time certain lands round Ripon which had belonged to the British
+Church before the coming of the Angles, and to have been now increased
+by grants--some as far distant as Lancashire--made by the great men
+present at the ceremony. Wilfrid himself gave a splendid copy of the
+Gospels, written in gold upon purple vellum, the beginning perhaps of a
+library.[5] The feasting was kept up for three days--indeed, no
+monastery could have had for its church a more striking dedication. And
+for the next seven years Ripon must have shared the importance of the
+Abbot-Bishop, whose state rivalled that of the king. By persuading the
+queen to become a nun, however, he presently lost the royal favour;
+while the great size of the diocese, which extended at last from the
+Forth to the Wash, prevented the achievement of complete success in his
+episcopal work.
+
+As yet the see of Canterbury was the sole archbishopric, and in 678
+Archbishop Theodore--already known as an organizer of the
+episcopate--was invited to the court of Northumbria. With Ecgfrith's
+approval, but without consulting Wilfrid, he divided the diocese into
+the three sees of Hexham, York, and Lindsey, answering respectively to
+the tribal divisions Bernicia, Deira, and the land of the Lindiswaras
+(Lincolnshire). Wise though this action was, it was naturally resented
+by Wilfrid, who appealed to the Pope--the first appeal of the kind ever
+made by an Englishman--and set out himself for Rome. He was destined not
+to return till 680, and even then to be kept out of his bishopric till
+686. Ripon was now in the new diocese of York, but in 681 Theodore
+constituted yet another diocese, of which he made Ripon the cathedral
+town.
+
+Of =Eadhead, First Bishop of Ripon= (681-686), little is known. Originally
+a priest at the court of Oswiu, he had accompanied the intruded bishop,
+Chad, when the latter sought consecration at Canterbury during Wilfrid's
+absence for consecration in Gaul. Eadhead had afterwards been appointed
+by Theodore to the see of Lindsey, and was translated thence to Ripon
+when Lindsey was recovered by the Mercians.
+
+His tenure of his new office lasted for five years only, for in 686
+Aldfrith, the successor of Ecgfrith, restored Wilfrid--not indeed to his
+original bishopric of Northumbria, but to a see which combined the
+lately-formed dioceses of Ripon and York[6]. Eadhead accordingly
+retired, and there were no more Bishops of Ripon for twelve centuries.
+
+To Wilfrid was restored not only his bishopric, but also his monastery
+of Ripon, which he retained in peace for the next five years. At the end
+of that time a long dispute arose with Aldfrith, who was veering back to
+the diocesan partition of Theodore, and Wilfrid, deprived of his see for
+the third time, crossed over into Mercia. In 703 a synod was held at
+Austerfield, the King and Berhtwald, Archbishop of Canterbury, being
+present, when Wilfrid was actually asked to promise that he would cease
+to act as bishop, that he would accept the partition of Theodore, and
+that he would retire to Ripon and not leave the monastery without the
+king's permission.
+
+Though he was now a man of seventy, he set out once more for Rome, and
+this time as before the Pope decided in his favour. Returning to Ripon
+in 705, he attempted to conciliate Aldfrith's successor Eadwulf, but in
+vain. In the same year, however, Eadwulf was succeeded by Osred, and
+presently another synod was held, this time at Nidd, seven miles south
+of Ripon, when it was decided, in the presence of Osred and the now
+relenting Berhtwald, that Wilfrid should have the monastery and see of
+Hexham (resigning York) and the monastery of Ripon, thus restored to him
+for the second time.
+
+In 709 he received a call to Mercia, which had already twice received
+him in his adversity, and in which he had accepted the bishopric of
+Leicester. Immediately before his departure he was at Ripon, where he
+kept his treasure, and having a presentiment that he would never return,
+he bequeathed a portion of his wealth to the monastery, appointed
+Tatberht to succeed him as Abbot, and took an affecting farewell of the
+whole community. Arriving at his monastery of Oundle, in
+Northamptonshire, he was seized with illness, and died there on October
+12 in the seventy-sixth year of his age. The body was placed on a car
+and carried in solemn procession to Ripon, where it was buried on the
+south side of the high altar in his own minster.
+
+In 710 the anniversary of his death was kept at Ripon with great
+solemnity, and out of such commemorations, probably, arose the feast of
+his _Depositio_,[7] which was afterwards kept on every 12th of October.
+According to Eddius a remarkable phenomenon occurred on this occasion.
+In the evening the monastery was suddenly encircled with brilliant
+light, as of day, and whether this was a display of Northern Lights or
+not, it was regarded as a Divine testimony to the sanctity of Wilfrid.
+The story shows, at any rate, that he was already beginning to be
+regarded as a saint, and it was probably about this time that his name
+was coupled with St. Peter's in the dedication of the Church. Miracles
+were worked at his tomb, and it became an object of pilgrimage; but
+little is known of the period immediately succeeding his death, save
+that the dwellers around Ripon (as a twelfth century writer, Eadmer,
+represents) first encouraged the cult of the saint, then became
+disgusted at the crowds it drew, and finally endeavoured to check it
+altogether. Wilfrid was succeeded in the abbacy by Tatberht, and history
+has recorded the names of three more abbots who followed each other
+toward the end of the eighth century, Botwine, Alberht, Sigred; and of
+one of uncertain date, Uilden or Wildeng.[8] In 791 a noble named
+Eardwulf, who had plotted against Ethelred, then King of Northumbria,
+was put to death (as it was thought) at the monastery gate by the king's
+orders. The monks carried him 'with Gregorian chantings' to the
+precincts of the church, where they laid him out, but after midnight he
+was found within the building--a recovery which was regarded as
+miraculous.
+
+Ripon did not escape the violence of the Danes. It is thought that about
+the year 860 they burned the town and did some damage to the church, and
+the remarkable mound known as =Ailcy Hill=,[9] near the Canons' Residence,
+and due east of the Cathedral, is probably a relic of some battle of
+this period. In the street-names too, all ending in 'gate' (which in the
+sense of 'way' is a Danish word), another trace may perhaps be found of
+their presence, as well as of the existence of a town at this early
+period. The town probably grew up around the monastery. It has been
+believed that a civic charter was granted by King Alfred in 886; but
+this is impossible, even if such charters were ever granted at this
+time, for Alfred had resigned all this part of England (which since
+about 839 had owned the overlordship of Wessex) to the Danes in 878.
+
+One of the great events in Ripon history is the visit of Alfred's
+grandson =King Athelstan=. Yorkshire had lately been a separate Danish
+kingdom, but it passed under the direct rule of Wessex in 926, and it
+was either in that year that Athelstan came, or in 937, when he defeated
+the Scots and other northern rebels at Brunanburh. It was to this king
+that the church afterwards referred the grant of its most important
+privileges. Among these was that of =sanctuary=, by which homicides,
+thieves, debtors, etc., could flee to Ripon and live there under the
+protection of St. Wilfrid for a specified time. The area within which
+they were protected extended one mile from the church in every
+direction, and the limit was marked by eight crosses, the base of one of
+which is still to be seen on the Sharow Road. The penalties for
+molesting refugees were afterwards graduated as follows:--between the
+limit and the graveyard wall, £18; within the graveyard, £36; within the
+choir (where the pursued sought the last possible refuge at the
+'grythstool,' or chair of sanctuary), confiscation of goods and possible
+death. Those who took sanctuary were called 'gyrthmen' or 'grythmen'
+(from the Anglo-Saxon 'gryth' 'peace'), and undertook, among other
+things, to carry the banners before the relics of St. Wilfrid in certain
+processions. They were under the spiritual charge of a 'gryth-priest.'
+The protection of the outer sanctuary can hardly have been extended to
+Ripon men, as theoretically the whole town could then have committed
+crimes with impunity, and practically the criminals would not have been
+safe from their fellow-townsmen. Ripon debtors did indeed enjoy
+protection here at Rogation-tide, but as a rule men of Ripon would seek
+sanctuary at Durham or Beverley. Athelstan is also said to have granted
+to the church a jurisdiction over its lands independent alike of the
+northern archbishop and of the king, with the right to inflict the
+ordeals of fire and water, and with exemption from taking oaths, from
+taxation, and from military service.[10] Of the two charters in which
+these grants are set forth, one is, indeed of the eleventh or twelfth,
+and the other of the thirteenth century, but Athelstan may at any rate
+have done something to give rise to the tradition, though it is
+impossible to tell exactly what. The story of his having given the manor
+to the see of York is doubtless misleading. The territorial sway of the
+Archbishop at Ripon must be of earlier origin, and it may even have
+arisen out of the grant of the monastery with its thirty or forty hides
+of land to Wilfrid and his retention of them after his elevation to the
+see of Northumbria.
+
+The connection of the monastery with the Archbishop is illustrated in
+the reign of Athelstan's brother Eadred, when Archbishop Wulfstan, by
+aiding a rebellion for the purpose of again setting up a Danish king at
+York, drew down the royal anger upon Ripon. In 948 (or 950, according to
+one authority) Eadred harried Northumbria, and then, says the Worcester
+Chronicle, "was that famed minster burned at Ripon, which St. Wilfrid
+built." Wulfstan himself was deprived and imprisoned.
+
+About two years later the half-ruined and deserted church was visited
+(the see of York being vacant) by Oda, Archbishop of Canterbury. There
+was a tradition in the sixteenth century that he rebuilt it, but his
+visit is also memorable for another tradition, namely, that he
+translated the bones of St. Wilfrid to Canterbury. Hence arose a fierce
+dispute between Canterbury and Ripon, each claiming that it possessed
+the body of the Saint. The claim of Canterbury, which is accepted to
+this day by the Church of Rome, is supported by the assertion of Oda
+himself, and by several subsequent chroniclers, one of whom, however,
+attributes the translation to St. Dunstan, while another goes so far as
+to concede that Oda left a portion of the bones behind. But Ripon always
+maintained that it possessed the whole, and that the relics removed had
+been those of Wilfrid II. (Archbishop of York, 718-732). According to
+the contemporary biographer of Oswald (Archbishop of York, 972-992) the
+bones of the Saint were at Ripon in the tenth century, and Oswald
+solemnly enshrined them--whence that feast of St. Wilfrid's translation
+which was afterwards kept on the 24th of April; and a later chronicler
+speaks of "the body of the blessed Wilfrid" as being at Ripon in the
+reign of Stephen. The claim of Canterbury was forgotten for a time in
+the glories of St. Thomas à Becket, while that of Ripon became more or
+less established in the north. In 1224 Archbishop de Gray, who
+translated the alleged relics at Ripon to a more splendid shrine,
+declared that he had found the skeleton complete. In the fifteenth
+century Henry V. himself writes to Ripon of his reverence for "St.
+Wilfrid, buried in the said church." In the sixteenth, Leland, while
+recording a common opinion that Oda rebuilt the minster, makes no
+mention of any removal of the relics. The controversy will perhaps never
+be decided definitely, but it is interesting in view of the cult of St.
+Wilfrid at Ripon in the middle ages.
+
+The account of the enshrinement of the relics by Oswald has been thought
+to imply that it was he who rebuilt the monastery, and that he filled it
+again with monks. Whether it was rebuilt by Oda or Oswald, the body of
+St. Cuthbert rested here in 995 on its way from Chester-le-Street to
+Durham. From this point onwards, however, no more is heard of monks at
+Ripon, and it may be interesting to recall here the part which this
+monastery had played in the history of the Church. Its first abbot,
+Eata, had become Bishop of Hexham and of Lindisfarne. It had been for a
+time the home of St. Cuthbert. Under Wilfrid, Ceolfrith, one of its
+monks, had become Abbot of Wearmouth, and another, Æthelwald, had
+carried on Cuthbert's work in the Farne Islands. In accepting and
+treasuring the staff of St. Columba, the Ripon of Wilfrid had forgotten
+something of its hostility to the Scottish mission. Through Wilfrid,
+Ripon had been connected with the founding of other monasteries, Hexham,
+Selsey, Lichfield, Oundle. Through his labours, again, and those of St.
+Willibrord, another of its monks, it had become known as a great centre
+of missionary work. Wilfrid had strengthened Christianity in Mercia and
+Kent, and may claim to have introduced it into Sussex and the Isle of
+Wight. Abroad he had carried the Gospel to the Frisians, and his work
+among them was splendidly completed by Willibrord, who became Archbishop
+of Utrecht.[11]
+
+=The College of Secular Canons.=--From 995 to the Conquest, the history of
+Ripon is almost a blank. During that time the monastery, by a reversal
+of the more usual process, became converted into a college of secular
+canons, but nothing is known of the manner in which the change was
+effected. The last Saxon Archbishop of York, Ealdred, who crowned both
+Harold and the Conqueror, is said to have founded prebends--perhaps
+giving lands out of his manor, and the Canons of Ripon duly appear in
+Domesday Book (1085-6). In 1070 the Conqueror, to whom the north had
+given much difficulty, ordered the Vale of York to be harried. Ripon
+suffered severely, and in Domesday Book the surrounding lands are
+recorded as "waste." The minster probably shared in the general wreck.
+
+What happened to it in the succeeding period is not definitely known. It
+may have been entirely rebuilt, as most great Saxon churches were after
+the Conquest, or it may have been rebuilt partially, or merely enlarged.
+That something was done is proved by the existence south of the choir
+of some Norman work which has been attributed to the first Norman
+Archbishop, Thomas of Bayeux (1070-1100), or to Archbishop Thurstan
+(1114-1141).
+
+  [Illustration: EARLY APSIDAL CHAPEL WITH LATER CHAPEL SUPERIMPOSED.]
+
+The former died at Ripon. Indeed, the Archbishops had been in the habit
+of residing here since the end of the tenth century, and they duly
+appear in Domesday Book as lords of the manor, of which the canons' land
+is apparently treated as a part. It is worthy of note that Domesday Book
+records also the 'soc' jurisdiction and freedom from taxation which are
+mentioned in the 'Athelstan' charters. The exemption also from the
+king's officers which is set forth in the same charters, was proved in
+1106, when an attempted invasion of the liberties of the Church by the
+Sheriff of York was successfully resisted by Archbishop Gerard before
+arbitrators appointed by Henry I. This king also exempted the lands of
+Ripon from castle-building, and granted to the Canons and the Archbishop
+a fair at the feast of St. Wilfrid's translation (April 24th). In the
+next century fairs were also claimed for the feast of his _Depositio_
+(October 12th), and for the feasts of St. Michael and of the Finding of
+the Holy Cross.
+
+=Archbishop Thomas II.= (1109-1114) founded the =Hospital of St. John the
+Baptist=, and another Hospital, that =of St. Mary Magdalen=, of which the
+chapel remains, was founded by his successor, =Archbishop Thurstan=
+(1114-1141). Both these Hospitals were affiliated to the Church, and the
+masterships were in the gift of the Archbishop. St. John's afforded
+shelter to poor travellers who came in through the forest which then
+adjoined the town. When the forest was cleared, the endowment provided
+exhibitions for a few poor boys, who lived here while they pursued their
+studies in "grammar" (perhaps at the Grammar School), with a view to
+becoming clerks. The two hospitals, and a third which was founded later,
+were placed at three of the principal entrances to the town, with the
+express intention, perhaps, of assisting the pilgrims who resorted to
+the shrine of St. Wilfrid.
+
+Thurstan added one more canon to the staff by founding the prebend of
+Sharow. He may also be called the founder of Fountains Abbey, which was
+built on land assigned by him out of his domain of Ripon.
+
+In the troubles of the reign of Stephen, Ripon took no small share. When
+the Scots descended into Yorkshire, nominally to aid the Empress Maud,
+Thurstan sent against them all the levies which an archbishop, as a
+feudal baron, could muster, including doubtless the men of his manor of
+Ripon, and the victory which they won near Northallerton in 1138 is
+known as the Battle of the Standard, from the banners of the three
+mother-churches--Ripon, York, and Beverley--which waved over the English
+army. Ripon was soon to experience the anarchy which prevailed toward
+the end of the war. In 1140 Alan, Earl of Richmond, entrenched himself
+on a neighbouring hill and grievously oppressed the town and its
+inhabitants. Led by him, the large landholders in the neighbourhood
+broke open the storehouses and granaries of the archbishop, and in 1143
+Earl Alan himself burst into the church with an armed band and attacked
+Archbishop William Fitzherbert (afterwards St. William of York), who was
+standing by St. Wilfrid's shrine. The Archbishop's offence may have been
+that he was the king's nephew. At any rate he was detested by the
+Cistercians, who were strongly represented here by Fountains Abbey, and
+Ripon seems to have sided with them, for in 1148, when Archbishop
+William was temporarily deprived of his office, it was to Ripon that his
+supplanter, Archbishop Murdac, retired when he durst not enter York.
+Stephen confirmed to the College all the privileges granted by his
+predecessors.
+
+=Building of the Present Church.=--The reign of Henry II. is marked by
+another rebuilding of the church. William was succeeded in 1154 (the
+year of the king's accession) by =Archbishop Roger de Pont l'Evêque=
+(1154-1181). This prelate is known in politics for his opposition to
+Thomas à Becket, and in art for his prominent share in the development
+of our national architecture. There is perhaps no more important example
+of the transition from the Norman to the Early English style than his
+work at Ripon. With the exception of the crypt under the present
+crossing, and of some Norman work south of the present choir, he rebuilt
+the whole church, and history has recorded the wording of a deed in
+which he gives "£1000 of the old coinage for the building of the
+basilica ... which we have begun afresh."[12] Roger's church was a
+cruciform building, and its nave had no aisles. A great portion of his
+work remains--the two transepts, half of the central tower, and
+portions of the nave and choir. The plan (see below, p. 67) was typical
+of the early history of the place and of its subsequent conversion from
+a monastery into a college of secular canons; for the aisleless
+cruciform arrangement in churches was developed from a combination of
+the Scottish type with the Roman or basilican, and the absence of aisles
+was, or rather had been at a slightly earlier period, the recognized
+mark of a secular as opposed to a monastic church. In giving aisles to
+the choir Roger's plan was singular, for it was not usual for a choir to
+have aisles when the nave had none. Except by the addition of
+nave-aisles, the dimensions of his plan (as Walbran remarked) have not
+been materially exceeded; and Ripon is an example of the size to which
+churches of canons often attained, in spite of the fact that their plan
+was generally that of a mere parish church.
+
+The next archbishop, Geoffrey Plantagenet, was often in disagreement
+with his brothers, Richard I. and John, but the manor of Ripon is said
+to have been the only portion of his temporalities of which the latter
+king did not deprive him.
+
+After Geoffrey's death the see was vacant for nine years until 1216, the
+year of the accession of Henry III., when it was given to =Archbishop
+Walter de Gray= (1216-1255). In the same year 'spiritual fraternity' was
+formally concluded between Ripon and Fountains; and a somewhat similar
+arrangement was made a little later with Southwell, which since Henry I.
+had shared with Ripon and Beverley the dignity of a mother-church or
+pro-cathedral in the diocese of York. In 1224, at the request of the
+Canons, Archbishop de Gray translated the relics of St. Wilfrid (if such
+they were) to a new shrine, enshrining the head separately in such a way
+that it was exposed to view. He also granted an indulgence of thirty
+days to all who should make pilgrimage to the saint's new resting-place.
+This second translation never became a feast, but it doubtless
+stimulated the cult of St. Wilfrid afresh, and probably brought
+considerable profit to the Church.
+
+A few years later, at any rate, an important alteration was made in the
+fabric, by the building of the present west front with its two flanking
+towers, and the tall wooden and lead-covered spires which once crowned
+the latter and the central tower were probably erected at this period.
+
+In 1230, the Archbishop founded a seventh prebend--that of Stanwick;
+and in 1241 sanctioned the addition of the parish of Nidd to the common
+property of the College.
+
+  [Illustration: THE WEST FRONT BEFORE SIR G. G. SCOTT'S RESTORATION.
+   (From an old print, by the kind permission of the Ripon Museum.)]
+
+As yet, most of the prebends were distinguished by the names of the
+Canons who held them, or of Saints; and it was not till 1301 that they
+were named after the principal hamlet or township in each--Stanwick,
+Monkton, Givendale, Sharow, Nunwick, Studley, Thorp. They were all in
+the neighbourhood except Stanwick, which was in the North Riding, near
+Richmond. The Church was (as it still is) parochial as well as
+collegiate. Each prebend carried with it a cure of souls, yet all
+(except Stanwick) were included in the huge parish of Ripon, which
+extended to Pateley Bridge, and in 1300 had a radius of nine or ten
+miles. Thus the collegiate establishment differed from the usual type in
+which each prebend was a separate parish with a church of its own.
+Moreover, there was neither Dean nor Chancellor. The Canons may at first
+have lived in common, but as early as 1301, and probably earlier, they
+were dwelling in separate prebendal houses round the Church. There is no
+evidence that they ever resided on their prebends, except in the case of
+the Canon of Sharow, whose residence was at that place. The canonries,
+having been founded by Archbishops of York, were in the gift of the see,
+or of the Crown when the see was vacant. The Canon of Stanwick was _ex
+officio_ Ruler of the Choir, whence his obligation to reside in Ripon in
+spite of the remoteness of his prebend, which was served by a vicar.
+Similarly the Canon of Monkton was always Treasurer, and had charge of
+the Chapter-house, the ornaments and plate, and the High Altar.
+
+The revenues of the church may be divided as usual under three heads.
+There was a Common Fund, arising from certain rents, tithes, fees, and
+oblations; a survival perhaps of a time when the Canons lived in common.
+Secondly, there were the revenues drawn by the Canons from their
+respective prebends, and consisting partly of rents, but chiefly of
+tithes. The prebend of Stanwick was worth about twice as much as any
+other. Thirdly, there was the Fabric Fund, arising from certain rents,
+oblations,[13] and licences, from the profits of St. Wilfrid's
+burning-iron (with which cattle were branded to keep off murrain),[14]
+and, in later days, of the pok-stone (which was probably regarded as in
+some way a preventive against the 'pokkes' of sheep and cattle); but
+especially from the farm of indulgences. When much building was in
+progress the Canons' incomes were afterwards specially taxed, and once
+or twice Peter's-pence were actually withheld from the Pope and devoted
+to architectural purposes.
+
+At the time of Archbishop de Gray, the old and somewhat vague
+jurisdictions in and about Ripon had become more distinct. The parish
+was a Peculiar,[15] and as such was exempt from the authority of the
+Archdeacon of Richmond, either by tradition from the days when the
+church was a monastery, or because of the presence here of the
+Archbishops. Over this Peculiar (the laity included) the Chapter
+exercised the spiritual jurisdiction of an archdeacon's court, assisted
+by the Rural Dean of Ripon, who sat as 'Dean of Christianity.' This
+'Court Christian' dealt with testamentary and matrimonial cases, cases
+of defamation, immorality, neglect of religious duties, etc. Accused
+persons cleared themselves by compurgation, or underwent penalties
+(commutable, however), such as being beaten, walking barefoot in the
+processions, suspension _ab ingressu ecclesiæ_, or excommunication.[16]
+Lesser offences were dealt with by an archbishop's officer called
+_penitentiarius_, who heard confessions and enjoined penances. The
+Archbishop was Ordinary of the Peculiar. He held visitations in the
+Chapter-house, and could order repairs of buildings, make statutes (in
+consultation with the Chapter) for the College, and sequestrate its
+revenues. He also exercised authority over offending Canons and over the
+inferior clergy of the staff, though the correction of these belonged
+primarily to the Chapter and especially to the Canon of Stanwick.
+
+  [Illustration: MEDIÆVAL SEALS.
+   1. Seal of the Mediæval Chapter.
+   2. Capitular Seal "ad causas."
+   3. Common Seal of the Vicars.]
+
+For purposes of secular jurisdiction Ripon, with the lands round it, was
+a Liberty, exempt, that is, from the authority of the Sheriff. The
+Liberty was almost co-extensive with the Peculiar. Within it were two
+secular jurisdictions, that of the Archbishop as lord of the manor, and
+that of the Chapter, which embraced the southern half of the town and
+many country districts, and which may have originated either with
+Ealdred's presumable gifts of land out of the manor to form prebends, or
+(as the charters pretend) from a grant of Athelstan, or perhaps from an
+original independence enjoyed by the church as a monastery. The Chapter
+claimed within their sphere the rights attributed to Athelstan's grant,
+and also assize of bread, ale, weights and measures; dues of fairs and
+markets; certain feudal dues; power over masterless goods, and to deal
+with cases of rent, wrongful detention of land, and theft; _cognitio de
+falso judicio_; execution of royal writs; 'sheriff-tourn'; coroners of
+their own; in fact the powers of a sheriff and of the justices-in-eyre,
+with a prison and the right of gaol-delivery, and even of inflicting
+capital punishment. In cases of homicide, however, a king's justice must
+sit as assessor. For civil suits there was a provision against 'wager of
+battle,' and the accused again cleared themselves by compurgation.
+Archbishop de Gray claimed similar privileges, but wished to exercise
+them over the whole Liberty, on the ground that the church and its
+appurtenances were part of his manor (as indeed they very possibly were,
+originally). Unlike Archbishop Gerard, who had supported the church's
+privilege against the sheriff, de Gray actually joined the sheriff in
+invading it. In 1228 the case came before the king's justices in the
+Chapter-house at Ripon, and the decision was for the Chapter. Thus the
+division of jurisdictions received from the State an undoubted sanction.
+Within his sphere the Archbishop appointed his own justices, but on
+arriving at the limits of that sphere, the king's justices sat with them
+there on the first day, and were afterwards admitted to sit with them in
+the town. The Archbishops claimed also that their commissioners should
+administer the oath of obedience at the mile-limit to those who sought
+sanctuary. The Archbishops are also said to have had a 'military court,'
+probably a feudal institution.
+
+The memory of de Gray was perhaps held in scant respect at Ripon. He is
+accused by Matthew Paris of having refused to distribute his corn during
+a famine, and it was through the erection of Bishopthorpe Palace by him
+that Ripon ceased to be a favourite provincial residence of the
+Archbishops. Nevertheless they still frequently visited the town, both
+for sport and duty. They had a park "six miles in compass," and the
+fishing in the Ure. The existence, moreover, of a prison here for
+criminous clerks made the minster a convenient place for the public
+degradations which the Archbishop was obliged to hold from time to time.
+On these occasions the offending clerks were brought across to the
+church, where the Archbishop in full pontificals would hear their avowal
+of guilt in the nave, and then solemnly divest them of their robes and
+of their office at the west door.
+
+In 1270 came the first echo from the outside world since the reign of
+Stephen. Prince Edward was setting out on a crusade, and Archbishop
+Giffard was compelled to exact from the Chapter a twentieth of their
+temporalities. The town had now attained to some importance, and sent
+two members to the Model Parliament of 1295.
+
+As yet the minster of Archbishop Roger had suffered no change in its
+main fabric save the rebuilding of the west front, but an alteration was
+now to be made at the other extremity also, and the eastern portion of
+the choir was rebuilt with all the elaboration of the Decorated style.
+Of this work the greater part was probably effected under =Archbishop
+John Romanus= (1286-1296).
+
+In 1293 the almost cathedral rank of the church was marked by the
+consecration within its walls of a bishop (of Galloway). It was, as has
+been said, the parish church of the huge parish of Ripon. Yet the town
+itself possessed at an early period a separate parish church of
+Allhallows, a memory of which survives in 'Allhallowgate.'[17] There was
+also an old chapel of the Virgin called the 'Lady-kirk,' in
+'Stammergate,' and there were chapels at the two hospitals and the
+palace. But there were at first few if any places of worship in the
+surrounding country, and the most remote of the parishioners had been
+obliged to repair Ripon. This state of things led to the erection of
+district chapels by the larger landholders under the sanction of the
+Chapter, as early as the twelfth century, and of these chapels there
+were eventually at least sixteen.
+
+The parishioners, however, still assembled at Ripon on certain feasts,
+notably Christmas, Good Friday, Easter, Ascension, Whitsuntide, and the
+feasts of St. Wilfrid's death (October 12th) and translation (April
+24th), to which was added later a feast of his nativity, observed on the
+Sunday after Lammas Day, and in the parish of Ripon only.[18] On St.
+Wilfrid's feasts the privilege of sanctuary was extended beyond the
+mile-limit to all who visited the mother-church, and the penalty for
+molestation without the limit was £6. On Easter Day all the parishioners
+received the Communion in the minster,[19] and on that day, on Christmas
+Day, and on the feast of St. Wilfrid's nativity, the district chaplains
+attended in their copes. Very picturesque, too, must have been the
+miracle-plays at Easter, Christmas, and Epiphany; the great fairs; the
+solemn processions, especially at Rogation-tide, when the relics of the
+Saint were borne in state by representatives of the greater tenants of
+the church, and attended by the sanctuary-men carrying staves with
+banners. It is probable that once a year (perhaps at Whitsuntide) the
+church was visited by clergy and laity from the whole of that division
+of the diocese to which Ripon was the mother-church. Such annual
+visitations were the especial privilege of mother-churches, and were a
+great source of profit.
+
+Underneath all this pageantry, however, there was much that was
+unsatisfactory in the internal affairs of the college. In the thirteenth
+century even more than afterwards, the great difficulty in the working
+of secular colleges was non-residence. The Canons were often pluralists,
+or foreigners appointed under pressure from the Pope or the king, who
+provided in this way for prominent civil servants. A canon would often
+leave his prebend in the spiritual charge of a vicar engaged by the
+year, or under the administration of a proctor, or would even farm it
+out--sometimes to a layman. Sometimes a canon was suspected of being a
+layman himself, or a married man. The proctors or lessees dismissed or
+appointed vicars at their pleasure. The prebendal houses fell into
+disrepair, and in some cases a plot had been assigned, but no house had
+been built. Some canons at this period resigned their stalls after an
+extremely short tenure, or changed from one stall to another.
+
+=Archbishop Thomas de Corbridge= (1299-1303) addressed himself to the
+reform of these evils. He ordered the Canons to look to their prebendal
+houses. He tried to control their acceptance of benefices in plurality.
+He forbade them to farm their prebends to any but brother-canons except
+with his licence. It was he who gave the prebends their territorial
+names. Most important of all, he decreed in 1303 that the cure of souls
+in each prebend was to be entrusted to a vicar-perpetual. The collegiate
+system was indeed breaking down, and the Vicars henceforth were almost
+as important a body as the Canons, whom they relieved of all
+responsibility for the parochial work and the performance of the
+services. Except the Vicar of Stanwick, they all lived at Ripon, and in
+1304 one Nicholas de Bondgate provided them with a common residence,
+which became known as the Bedern[20] (whence 'Bedern Bank'). The office
+of _penitentiarius_ or of rural dean was often held by one of them.
+Besides the seven Canons and the six Vicars in Ripon, there were three
+deacons, three sub-deacons, six thuriblers, and six choristers, and the
+full officiating staff thus amounted to thirty-one, exclusive of the
+chantry priests, of whom, however, there were as yet but few.
+
+The successor of Archbishop de Corbridge was an ex-Canon of Ripon,
+=William Greenfield= (=Archbishop= 1304-1315). He rebuilt the chapel of the
+Palace and founded a chantry in it. It was at Ripon that he put forth,
+with additions of his own, certain rules against clerical abuses which
+he had borrowed from the diocese of Chichester. He found indeed much to
+reform. Already the vicariate was becoming demoralized. Vicars and
+inferior clergy were addicted to shows and sports, to dances and
+stage-plays. A chaplain invented a gambling game called "ding-thrifts."
+What wonder that the laity, then, begged at the altars under pretence of
+being proctors of absent canons, or intruded into the choir during
+service--a privilege reserved for the great? And another privilege of
+rank had been invaded also, for the Archbishop had to direct that only
+great persons and benefactors were to be buried within the minster. In
+1310 two women fought in the graveyard so savagely that it had to be
+reconsecrated. In his last year the Archbishop had to restrain the
+proctors of absent canons from acting independently in the
+administration of the prebends, and from exercising capitular authority.
+
+These internal difficulties, however, were presently forgotten in a new
+danger from without. Already, in 1298, Archbishop de Newark had called
+upon the Chapter to assist in providing cavalry for Edward I.'s campaign
+against John Balliol, King of Scots. The King himself is said to have
+visited the town in 1300. In 1315 the Chapter had sent a representative
+to a council held by Archbishop Greenfield at Doncaster to consider the
+defence of the realm. Since Bannockburn the Scots had been raiding the
+northern counties, and in 1316 Edward II. ordered Ripon to provide
+maintenance for Aymer de Valence, Earl of Pembroke, who was to pass
+through on his way to check the raids. In March 1318 the town sent a
+contingent to the King's forces, and the money, together with a banner
+of St. Wilfrid, was provided by =Archbishop William de Melton=
+(1317-1340). In May of the same year the Scots descended upon Ripon
+itself. They might have spared the place, for in 1297 it had been the
+temporary home of the mother of Robert Bruce, now King of Scotland, but
+no consideration was shown. As there were no town walls, the inhabitants
+fled to the minster and fortified it. For three days their homes were
+given over to plunder, and the enemy demanded one thousand marks as the
+price of a promise not to burn the town altogether. Even the Archbishop
+urged the townsmen to pay this blackmail lest further damage should be
+done, but such a sum could not be raised in a moment, and during either
+this or a subsequent visit the Scots did much damage to the church. The
+prebends suffered to the extent of over 150 marks, and the hospitals
+were much crippled. Nor was any satisfaction to be had, save by solemnly
+excommunicating the enemy on Sundays and festivals. It was probably in
+consequence of the havoc wrought that in 1322 Parliament, which had been
+summoned to meet at Ripon, met at York instead.
+
+Thrice again after 1318 were forces levied in the Liberty against the
+Scots--in 1327, in 1333, and in 1342, when Edward III. even offered
+pardon to the sanctuary-men if they would serve.
+
+Meanwhile Archbishop de Melton had been promoting the repair of the
+minster, a task which included probably the renewal of the spires, the
+roof, the stained glass, and the woodwork. In 1331-2 he issued some
+important statutes for the College. Hitherto each Canon (except the
+Canon of Stanwick) had received an annual dividend out of the Common
+Fund. Of this fund, a large portion which had always gone to furnish
+these dividends (or a part of them) was now appropriated exclusively to
+canons willing to reside. Thus a premium was put upon residence, which
+was fixed at twelve weeks in the year (not necessarily continuous), and
+a distinction was admitted between resident and non-resident canons.
+Again, the Common Fund was now to be charged with the salaries of the
+Vicars, who had hitherto been precariously paid by the Canons their
+masters.
+
+=Archbishop John de Thoresby= (1352-1373) added to the prebend of Studley
+the two districts of Dacre and Bewerley, and it was probably about this
+time that the Lady-chapel (now the Library) was built. In 1375 some part
+of the church was burnt, and in 1396-7 the central spire seems to have
+been rebuilt. The town had now recovered its prosperity, for in 1405 it
+became the residence of the Court, when King Henry IV. was driven from
+Westminster by a plague. The next reign is marked by an improvement in
+the status of the Vicars. They had been living dispersed over the
+town,--indeed, their common residence or Bedern is said to have been
+destroyed by the Scots.
+
+In 1415, therefore, =Archbishop Henry Bowet= (1407-1423), having obtained
+from Henry V. a charter with a dispensation of the Statute of Mortmain,
+gave a site out of his manor for a new Bedern; and the vicars
+themselves, who at this period are commended by both the Archbishop and
+the King, were at the same time formed into a corporate body having a
+common seal, and were allowed to elect from their number a Provost.
+Under this Archbishop there were several instances of canons exchanging
+their stalls for other benefices. The discipline of the staff seems to
+have become exceedingly lax by 1439. The church music was neglected.
+The Mass of Our Lady was not said regularly in the Lady-chapel. The
+inferior clergy did not study for their examinations, and wore daggers
+in the Choir. They and the vicars frequented taverns, walked about the
+nave during service, and absented themselves without leave. The Canons
+did not attend church in their habits, and the clergy generally indulged
+in field sports.
+
+=Archbishop John Kemp= (1426-1452) did what he could to reform these
+abuses, and effected some improvement (the nature of which is not clear)
+in the status of the Vicars, who had been badly treated by the Chapter
+in financial matters. Later in this century a chantry chaplain is found
+engaging in dishonest trade; priests fight; laymen assault one another
+in the minster during service. But mediæval morality in general must not
+be condemned, of course, for a few recorded crimes.
+
+About 1450 the south-east corner of the central tower gave way, and so
+unsafe was the church that service had to be held in the Lady-kirk. In
+consequence of this disaster the Canons were obliged to rebuild not only
+the south and east sides of the tower, but also the east side of the
+south transept, and eventually part of the south side of the Choir; and
+it is evident that they would have rebuilt the two remaining sides of
+the tower, had they not been prevented by the Dissolution. The present
+rood screen and canopied stalls were put in toward the close of the
+fifteenth century. In 1502 the Lady-kirk (in which a chantry had been
+founded in 1392) was handed over by the Chapter to Archbishop Savage,
+who in turn transferred it to Fountains Abbey. Abbot Huby, intending to
+make it a colony of Cistercians, rebuilt the east end of it, and
+enclosed part of its graveyard with a fine stone wall having a
+strongly-marked base. Of this wall a great part remains in St.
+Mary-gate. A large doorway in it has been built up. The Lady-kirk itself
+has vanished long ago.
+
+At this time was begun the greatest architectural enterprise that had
+been undertaken at Ripon since the twelfth century, namely, the
+rebuilding of the nave of the minster. The Transitional nave, it was
+said, had become ruinous through age and storms, but the real motive for
+its destruction was probably an ambition to enlarge the building. The
+enlargement of aisleless churches was usually begun by the addition of a
+single aisle, and that on the north side (since the south was usually
+the side of the graveyard); but at Ripon the south aisle was built
+first, perhaps because it was always intended that there should be two
+aisles--an arrangement which there were no cloisters here to prevent.
+The work was begun in 1502 or 1503. Delayed by a plague in 1506, it was
+almost complete, as Leland's _Itinerary_ shows,[21] when he visited the
+town about 1538, but the aisles had not yet been vaulted when the
+Dissolution came, and had wooden roofs until our own time. Irreparable
+as is the loss of Archbishop Roger's nave, its successor must surely be
+placed among the great naves of the Perpendicular period--and it is the
+latest of them. The work was furthered by =Archbishop Savage= (1501-1507)
+and by =Cardinal Archbishop Bainbridge= (1508-1514), and two canons must
+especially be mentioned in connection with it, Andrew Newman, appointed
+Master of the Fabric in 1502, and =Marmaduke Bradley=, who was paymaster,
+and who was connected with the repairs after the failure of the central
+tower, and gave up to the fabric a large portion of his fees for
+residence. The last work done before the Reformation was probably the
+rebuilding of the three westernmost bays on the south side of the choir,
+which had been weakened doubtless by the accident to the central tower.
+
+By this time the church contained nine chantries, namely, those of St.
+Andrew (founded 1234); of the Holy Trinity _supra summum altare_ (1345);
+of St. John the Evangelist and St. John the Baptist (1364); of St. James
+(1407-8); of Our Lady 'in the Church' (1408); of St. Thomas of
+Canterbury (1418); of the Holy Trinity _subtus altare_ (1466); of Our
+Lady 'in the Lady-loft'; and of St. Wilfrid (? 1420). In some of these,
+other chantries had been merged. There were also four or five chantries
+in various chapels in the parish. The chantry-chaplains were not
+strictly on the staff, but helped on Sundays and festivals. As their
+chantries did not give them sufficient occupation, they sometimes held
+in addition such offices as that of Proctor of an absent canon, Curator
+of the Fabric, Sub-Precentor, Sub-Treasurer, or Chamberlain, the holder
+of this post being the chief financial officer of the community.
+
+On the eve of the Reformation the discipline of the staff was again very
+unsatisfactory, chiefly through the influence of the Treasurer, Canon
+Christopher Dragley, who employed the vestry clerks on his private
+business, disposed of chantries prematurely, and encouraged the Vicars,
+who were now living dispersed, to be insubordinate. It was the custom
+for choir and clergy to adjourn after Prime to the Chapter-house, where
+the martyrology for the day was read and notices were given out. Here,
+too, once a week sat the Chapter Court. But Dragley was able to hinder
+all this by keeping the door locked. From 1533 to 1539 he was Treasurer,
+Canon Residentiary, and President of the Chapter, and the general laxity
+was largely due to this concentration of authority in the hands of one
+bad man through non-residence. The case of Dragley drew several decrees
+from =Archbishop Edward Lee= (1531-1544):--that no vicar should be
+appointed without the consent of a majority in Chapter; that the Chapter
+seal must be kept by three people; that one canon must no longer form a
+quorum (as hitherto) in the Chapter Court, and as a question had arisen
+whether the powers of the Chapter were not entirely vested in the
+canons-resident,[22] it was laid down that the latter were indeed
+competent to dispose of certain chantries and other offices, and to
+exercise the Chapter's spiritual jurisdiction, but that in most other
+matters the whole body must be consulted. As most of them were always
+absent, this means, perhaps, that they were represented in Chapter by
+their proctors. There is an instance in 1546 of the Vicars, chantry
+priests, and deacons being allowed to take part in a Chapter meeting.
+
+An attack on relics was begun in 1538, and it was probably about this
+date that the shrine of St. Wilfrid was destroyed. In 1539 came the
+suppression of Fountains Abbey, the abbot who surrendered it being no
+other than Marmaduke Bradley. He had been Abbot since 1536, holding his
+canonry at Ripon at the same time, and after the suppression of the
+Abbey, he became once more a power at Ripon. As sole residentiary in
+1544, 1545, and 1546, he appears to have used his influence well, and
+played a prominent part in the last architectural operations before the
+Dissolution. The old system of sanctuary, suited only to times when the
+State was weak, seems to have died out about this period. In 1545 came
+an Act for the dissolution of chantries and hospitals. As 'Supreme Head
+of the Church' Henry VIII. renewed the visitatorial authority of the
+Archbishops, and both he and Edward VI. confirmed the ecclesiastical
+jurisdiction of the Chapter. But the end was imminent. In 1547 the
+College was dissolved,[23] and its revenues were annexed to the Duchy of
+Lancaster. There had been attached to the church for centuries a =Grammar
+School=, for which the Chapter had claimed a monopoly of education within
+the Parish and Liberty, forbidding in 1468 the establishment of any
+other school without their special licence. This ancient seminary was
+apparently dissolved, and a new grammar school independent of the church
+was founded by Edward VI., whose benefaction was completed by Mary, the
+endowment being provided from the revenues of four of the late
+chantries. There had also been a Song-school, but it was perhaps merely
+a room in which boys of the Grammar School were trained to be
+choristers. Out of the confiscated revenues one or more clergy were paid
+to minister to the parish, but under Mary the old state of things was in
+some measure brought back. There was once more a Chamberlain, whose
+accounts show much the same items as do those of his mediæval
+predecessors, and the old religion was restored; indeed, there were six
+altars in the church.
+
+Under Elizabeth there was a return to the arrangement of Edward, the
+clergy (now as many as five in number) being denominated vicars.
+Archbishop Sandys (1577-1588), Lord Burleigh, Richard Hooker, Moses
+Fowler (afterwards the first Dean), and others tried to bring about the
+establishment of a theological college in the Bedern, and an increase of
+the endowments of the church, but in vain. The town must have lost all
+favour in 1569, by taking part in the Rising in the North. It was
+visited by the rebel earls of Northumberland and Westmorland, many of
+the townsmen and local gentry joining them, and for the last time the
+minster witnessed the celebration of the Mass. On the collapse of the
+rebellion, a number of those who had taken up arms were hanged at Ripon
+in sight of their homes, and the church suffered much damage from the
+Queen's soldiery, who stripped the lead from the roof. Like the
+Pilgrimage of Grace in 1536, this Rising was a protest against the
+Reformation, and the records of Archbishop Young (1561-1568), and of the
+Court of High Commission (1580), show that the people of Ripon still
+clung to the old religion. The pillage of Henry and Edward had no doubt
+destroyed most of the ornaments of the church, but some still remained
+or had been renewed under Mary, and the clergy displayed a marked
+reluctance in removing them; 'Images,' even when removed, were concealed
+in private houses. One vicar named Thomas Blackburne had continued the
+old practice of holding churchings in the Lady-chapel, and was ordered
+publicly to renounce this error, as well as that of having left "that
+olde, abhominable, and supersticious vawte called the Wilfride's
+nedle[24] and the alter therein" undefaced. One townsman is punished for
+having taken part in the Mass during the late Rising. The clergy
+generally were unclerical in dress and lax in their performance of the
+reformed services, which the parishioners showed a corresponding
+unwillingness to attend, while the old fasts and festivals were not
+wholly given up.
+
+[Illustration: RIPON MINSTER ANTERIOR TO 1660.
+
+_Note_.--This representation much resembles that engraved on the old
+communion plate. As a view of Ripon Minster, it affords an instance of
+the inaccuracy of old architectural drawings; but it shows, at any rate,
+the effect of the spires.]
+
+=The Chapter revived.=--On the accession of =James I.= a second futile
+attempt was made to obtain for Ripon a theological college.[25] The
+influence, however, of the queen, =Anne of Denmark=, gained from the king
+a greater boon, and in 1604 he re-established the Chapter. Under the new
+constitution there were six prebendaries, and for the first time a Dean.
+Much of the old endowments was restored, but the new stalls could not be
+identified with the old territorial prebends, and were therefore
+distinguished as 'the first stall,' 'the second stall,' and so on. After
+1607 the Prebendaries were empowered to elect a Sub-Dean. The cure of
+souls was discharged by two vicars, and the choir was composed of six
+lay-clerks and six choristers. The parish remained a Peculiar. The
+spiritual jurisdiction of the Chapter and the Archbishop had been
+somewhat restricted by the Reformation, and the secular jurisdiction of
+the Liberty--especially in criminal cases--had been partly transferred
+to the king's itinerant justices. The Archbishop, however, still
+retained some criminal jurisdiction and also his 'Court Military,'
+which, strange to say, came to hear civil cases. During the latter half
+of the fifteenth century the secular cases heard by the Chapter had been
+chiefly cases of debt, and under the new constitution they were
+authorized to hold a court, which was called the Canon Fee Court, for
+cases of debt and other civil cases. Some obscurity exists as to the
+mediæval relation of the Archbishop to the town. There was, of course, a
+town council, and its president the Wakeman[26] (an official peculiar to
+Ripon) had charge of what would now be called the town police. The
+ancient town bridges (of which only one remains) were under the charge
+of the Archbishop. During the sixteenth century the borough constitution
+had been the subject of disputes, in which Cardinal Wolsey had been
+concerned in 1517 and Archbishop Hutton in 1598. James I. therefore now
+granted a new Charter, under which the Wakeman became a Mayor; and
+henceforth the borough had also an independent court of its own. The
+dissolution of the Chapter in 1547, coming as it did upon the decay of
+the manufacture of woollen cloth, had been a great blow to the
+prosperity of the inhabitants,[27] and it was no wonder that when James
+visited the town in 1617 he received an ovation.
+
+In 1625 a plague, such as had not occurred here since 1546, prevented
+the country folk from approaching the minster, and obliged them to have
+their children baptized in the fields. Several changes in the
+surroundings of the church took place at this time. The Bedern, with its
+quadrangle, hall, and chapel, had been demolished by 1625, in which year
+the Deanery was erected, perhaps upon its site. Of the old prebendal
+houses some had been sold, or let; others, perhaps, were occupied by the
+Prebendaries of the new foundation. In 1629 the ancient Palace, which
+stood to the north of the minster and west of the Deanery, was turned
+into a poor-house. The town (and doubtless the minster) was visited in
+1633 by Charles I. on his way to his coronation at Edinburgh.[28] A few
+years later he was to pass through again, a captive on his way to Holmby
+House.
+
+Ripon had escaped the Wars of the Roses, but it was not unscathed by the
+Great Rebellion, for in 1643 it was occupied by Sir Thomas Mauleverer, a
+Parliamentary officer, whose soldiery broke into the minster and
+shattered the magnificent glass in the great east window, and doubtless
+much other glass besides. At the end of the war the manorial rights were
+sold to Lord Fairfax, and the Chapter was again dissolved, "one who
+called himself Dr. Richardson" being "appointed to preach in the minster
+by the Parliament, tho' in all probability he was never in any Orders,
+Presbyterian or Episcopal."[29] The Chapter was revived at the
+Restoration, but all its members were new save one.
+
+In the same year (1660) the central spire, which had been injured by
+lightning in 1593, fell through the roof, wrecking many of the beautiful
+canopies of the stalls. The damage to the choir and other parts of the
+church, estimated at £6000, was repaired with money raised under a brief
+from Charles II., but the spire was never rebuilt, and in 1664, to avoid
+any further catastrophe, the western spires, though sound, were
+deliberately removed.[30] The place of the spires was ill supplied by
+the erection of battlements and pinnacles, which were renewed in 1797.
+
+It was perhaps at this period that the west gate of the precincts was
+pulled down--a mediæval structure which contained at least seven rooms,
+and which stood at the bottom of Kirkgate. The graveyard in the middle
+ages contained a cross, at which a service was held on Palm Sunday;
+also, possibly, a mortuary chapel and a well associated with St.
+Wilfrid--(not, of course, the St. Wilfrid's well which now fills the
+public baths). Of these things there is now not a trace, save, perhaps,
+the stump of the cross, near the south wall of the nave. Nor are there
+any undoubted remains of the mediæval wall which enclosed the precincts,
+except the fragment with an archway in it, which still forms the
+southern entrance. The mediæval prisons, which belonged respectively to
+the Archbishop and the Chapter, have long vanished, as has also that
+which appertained to the Court of Canon Fee, but there is a Liberty
+prison of some age in 'Stammergate.' Most of the archiepiscopal palace
+had disappeared by 1830, but there was still a portion which was used as
+the court-house of the Liberty. In that year this was pulled down, and
+the present court-house was built upon the site. A memory of the Palace
+survives in 'Hall Yard,' and there still remains what is, perhaps, a
+remnant of the actual fabric, in the shape of an old cottage with an
+external staircase, which stands behind the wall to the west of the
+public garden that fronts the north side of the church. In the
+above-mentioned wall is an Early English doorway, with a dripstone
+adorned with the nailhead moulding. The door has a flat-arched wooden
+frame, the spandrels of which are carved with _fleurs-de-lys_, while the
+wooden tympanum above has Perpendicular panelling. This doorway is not,
+perhaps, a relic of the Palace. It is not in its original position, and
+indeed is said to have come originally from St. Mary Magdalene's
+Hospital. Several of the old houses adjoining the Cathedral on the south
+side, and along St. Agnes-gate, may possibly have been inhabited by the
+Prebendaries of the Second Collegiate foundation, but the stone-roofed
+house adjoining Bondgate Green Bridge is the only one in Ripon which can
+be identified with a mediæval prebend--that of Thorp, and even here the
+existing fabric can scarcely be pre-Reformation. St. John's
+Hospital,[31] whose inmates for several centuries have been women, was
+unfortunately rebuilt in 1869, but the modern chapel (served by one of
+the cathedral clergy) retains a bell of 1663. The old Grammar
+School,[32] which stood at the foot of the steps from St. Agnes-gate to
+the Minster, has been pulled down since 1872.
+
+Meanwhile the Minster itself had been undergoing restoration--in 1829
+and the following years at the hands of Blore, when upwards of £3000
+were spent, and from 1862 to 1870 at the hands of Sir G. Gilbert Scott,
+and at a cost of about £30,000.
+
+From the eighth century up to 1836 Ripon had been in the diocese of
+York. In that year was created the modern diocese of Ripon, and the
+church thus attained to cathedral rank. It had, however, always had some
+pretension to that rank, not merely as a mother-church but because (up
+to 1836) the Archbishops had their throne in the choir; indeed, it is
+styled a cathedral in documents of 1537 and 1546. The diocese is
+composed of parts of Yorkshire taken from the sees of York and Chester,
+and included Wakefield, Leeds, Bradford, Halifax and Huddersfield, until
+in 1888 a portion including Halifax and Huddersfield was taken away to
+form part of a new diocese of Wakefield. There are three archdeaconries:
+those of Richmond, Ripon, and Craven. The first is a survival, in a
+diminished form, of the ancient archdeaconry of the same name; the
+others are modern; the last is the only one which is held without a
+canonry. In accordance with the Act of 1840, the Sub-Deanery has been
+suppressed, the Prebendaries have been reduced to four, and their style
+has been changed to that of Canons. In 1841, provision was made for the
+appointment of Canons honorary. There is also a precentor, and three
+other clergy who act as minor canons, and assist him in discharging the
+cure of souls--for though the huge mediæval parish has been gradually
+divided into many, the greater portion of the city itself is still
+served from the cathedral church. The choir is composed of six
+lay-clerks and twelve choristers. There was as late as 1890 a
+Choir-school, but most of the present choristers come from Jepson's
+Hospital--a charity which was founded in 1672, in Water Skellgate, and
+the old buildings of which were pulled down in 1878.
+
+There are still some relics of the ancient jurisdictions of the Chapter
+and the Archbishop. Though the secular jurisdiction has been gradually
+reduced by legislation to the scope of Quarter and Petty Sessions, the
+Liberty has Quarter Sessions of its own, and its justices are still
+nominated by the Archbishop, while his Court Military survived at any
+rate into the nineteenth century. A copyhold court, called the Canon Fee
+Court, is also still held by the Chapter. As regards ecclesiastical
+jurisdiction, the mediæval right of the Chapter to hear testamentary and
+matrimonial cases (which were not taken away from the ecclesiastical
+courts till 1857) probably survived at least until the abolition of the
+Peculiar. Peculiars, with but one or two exceptions, had ceased to exist
+by 1850, and Ripon, once exempt from archidiaconal authority, is now
+itself an archdeaconry. The Bishop of Ripon has, of course, his
+Consistory court, which is held at the Cathedral.
+
+In ending this account of one of the most venerable of English churches,
+it is worth while to remark that, of the four mother-churches of the old
+diocese of York, Ripon is the only one besides York Cathedral itself
+which still has a collegiate foundation.
+
+  [Illustration: THE CATHEDRAL FROM THE SOUTH-EAST.]
+
+
+FOOTNOTES:
+
+[1] The archbishopric of York arose out of the bishopric of Northumbria
+in the eighth century.
+
+[2] The name in this form is modern. In common speech the street is
+always 'Stammergate,' which is probably a corruption of 'Stanbriggate.'
+The latter is the original name of the street, and appears frequently in
+mediæval records. It has reference to a stone bridge over a brook where
+the gas-works now are. The continuation of this street toward the
+Cathedral is called St. Mary-gate, but this name again seems to be
+modern, and to have arisen from a notion that 'St. Mary-gate' is the
+origin of the word 'Stammergate'--a notion which would be rendered more
+plausible by the fact that this was the situation of the Lady-kirk.
+
+[3] The question whether his monastery church stood over the Saxon crypt
+which exists below the present Cathedral is reserved for Chap. III.
+
+[4] For the place of Ripon in the theory of the direct connection of
+Saxon architecture with the Comacine Guild of Italy, see _The Cathedral
+Builders_, by Leader Scott, p. 139 _sqq._
+
+[5] An MS. which has been thought to be identical with Wilfrid's gift
+came into the market recently, and has passed to America.
+
+[6] The Saint's return after his long exile is still commemorated at
+Ripon, early in August, on the first Saturday after Lammas Day, when a
+man dressed as a Saxon bishop and riding a grey horse is escorted
+through the streets.
+
+[7] This liturgical term sometimes refers to the _burial_ of a saint,
+sometimes, as here, to the _death_.
+
+[8] There is also mention of an Abbot Tylberht, but he may be the same
+as Tatberht.
+
+[9] _I.e._, 'Elves-how'--'the hill of fairies.' Coins of Aella and other
+early kings have been found in the hill.
+
+[10] At a later period the Chapter claimed also that 'St. Wilfrid's men'
+need not pay tolls when travelling on business through the realm, and on
+one occasion they issued to a Ripon clerk a kind of passport.
+
+[11] Frisia's debt was remembered in the seventeenth century, when one
+of the Canons of Antwerp wrote an account of Ripon monastery for his
+countrymen.
+
+[12] Until Walbran drew attention to this passage, the rebuilding was
+attributed to Thurstan.
+
+[13] Especially at St. Wilfrid's shrine.
+
+[14] It has been suggested that this was the iron which in Saxon times
+had been used for the ordeal of fire.
+
+[15] A Peculiar is a district taken out of its geographical surroundings
+for purposes of ecclesiastical jurisdiction (_Sir W. Anson_).
+
+[16] In later times (at any rate) the Archbishop apparently had a
+spiritual court of his own. A Chapter minute of 1467 declares a certain
+person accused of a spiritual offence to be "non de foro Capituli sed de
+foro Archiepiscopi, unde litteræ correctionis emanârunt."
+
+[17] This church had disappeared, as Leland tells us, long before his
+visit to Ripon, which took place about 1538. The dates of its erection
+and demolition are both unknown. In the Chapter-house is preserved a key
+which has been assigned to the fifteenth century, and which has been
+thought to have belonged to Allhallows, but it is thought that the
+church disappeared at an early date.
+
+[18] This Sunday is still called Wilfrid Sunday at Ripon. The Saturday
+preceding it is the day on which the town commemorates the Saint's
+return from his first appeal to Rome. The season is regarded as a
+holiday, and another relic of the nativity festival survives in the fair
+held on the Thursday after August 2nd.
+
+[19] The Easter Communion has survived till our own day. Within living
+memory, and at a period when Early Celebrations were not usual, it was
+celebrated at 7 A.M., and people drove in from the outlying places.
+
+[20] This word is probably connected with the Anglo-Saxon 'béd,' a
+prayer (whence 'bedesmen'), and means a 'house of prayer.' In one
+passage of the records it is rendered in Latin by _proseucha_.
+
+[21] It was Walbran, again, who drew attention to Leland's phraseology
+here.
+
+[22] The Canon of Stanwick was always in Ripon, but was not considered
+technically a canon-resident. Perhaps he was not entitled to the special
+fees for residence. He had, however, full capitular rights. These had
+been denied to him by Dragley, but were now restored by the Archbishop.
+
+[23] If the Ripon hospitals were dissolved they were re-established, for
+they are still fulfilling their purpose.
+
+[24] _I.e._, the Saxon crypt.
+
+[25] The project is being realized in our own day.
+
+[26] _I.e._, the watchman, or setter of the watch. The town motto is,
+"Except the Lord keep the city, the _Wakeman_ waketh in vain." After
+1598 a horn was blown every evening to denote the setting of the watch.
+If any house was robbed between horn-blowing and sunrise, compensation
+could be claimed from the town. To support this system a small tax was
+levied on each house-door, and if a house had two doors it paid more, as
+being more liable to be robbed. A relic of the system still survives.
+Every night a horn is blown thrice before the Mayor's door at 9 P.M. and
+thrice at the Market Cross afterwards. The ancient horn of the Wakeman
+(which appears on the city arms) is still worn by the Sergeant-at-mace
+in civic processions.
+
+[27] Since then, however, another industry had arisen--the manufacture
+of spurs, for which Ripon became famous, and James was presented with a
+pair. This industry did not die out till the end of the last century,
+and a spur is still the crest of the city. The manufacture of
+saddle-trees, which flourished here in the sixteenth century, is still
+carried on.
+
+[28] In 1640 he was at war with the Scots for their opposition to
+episcopacy, and it was at Ripon that the disgraceful negotiations were
+begun, by which a sum of £850 a day was to be paid to maintain their
+invading army, pending a more permanent settlement. The house in which
+the 'Treaty of Ripon' was negotiated stood near Ailcy Hill, and
+disappeared about the beginning of the century. Charles is said to have
+visited the town four times altogether.
+
+[29] Walker's "Sufferings of the Clergy," quoted in _Surtees Soc._, Vol.
+78. There is a tablet to Richardson's wife in the south Choir-aisle.
+
+[30] The following is probably the true version of a story that is told
+in connection with their demolition. One of the workmen had been hoisted
+by means of a pulley, and was being held aloft by his comrades below,
+when he spied some coursing in progress on Bondgate Green. Seeing the
+hare well away and the dogs straining in the leash, he shouted "Let go!"
+And his comrades below did.
+
+[31] For the other hospitals, the 'Thorp' house, and other old buildings
+still standing, see Chap. IV.
+
+[32] Ripon Grammar School has produced an Archbishop of York, Matthew
+Hutton (one of the two of that name who held the office from 1595 to
+1606 and from 1749 to 1757 respectively: the latter Hutton became
+Archbishop of Canterbury); also Beilby Porteous, Bishop of London
+(1776-1787), and Dr. William Stubbs, late Bishop of Oxford.
+
+
+
+
+  [Illustration: THE WEST DOORWAYS.]
+
+
+CHAPTER II.
+
+THE EXTERIOR.
+
+
+Built upon the verge of a slope, along whose base the Skell hurries
+eastwards under many bridges to join the Ure among the meadows a
+half-mile below the town, Ripon Cathedral stands unusually well.[33] Of
+general views the two best, perhaps, are to be had from the wooden
+bridge by Bondgate Green, and from the south-east gate of the graveyard.
+Unfortunately lack of funds prevented Sir Gilbert Scott from raising the
+roofs of nave and transept to their original pitch; but what most
+injures the general effect is the lowness of the central tower, which is
+no higher than those at the west end. This fault, however, must have
+been far less noticeable when all three towers were crowned with lofty
+spires. And, even as it stands, the exterior of Ripon is dignified and
+not unworthy of its commanding site. The size of the clearstorey
+windows, the severity of the transept, the obvious variety of style and
+date throughout the building--these are the features that strike the
+observer most forcibly.
+
+Several kinds of material have been employed. Up to almost the end of
+the thirteenth century the builders used a coarse gritstone such as is
+found five miles to the south-west at Brimham Rocks, and also a finer
+gritstone or sandstone that may have come from Hackfall. After that date
+they built with magnesian limestone, brought partly, perhaps, from near
+York, but chiefly, it would seem, from Quarry Moor, a mile south of the
+city. At the last restoration the older parts were repaired with
+Hackfall stone, and the later parts with limestone from Quarry Moor and
+Monkton Moor, and so extensive were the repairs needed on the exterior,
+that the church somewhat belies, by its appearance, its real antiquity.
+
+The most picturesque approach is from High St. Agnes-gate by a flight of
+steps, which ascend through an old arch to an avenue of limes that leads
+up to the south door; but it is better, perhaps, that the survey should
+begin at the west end.
+
+=The West Front= was doubtless the object of two indulgences, issued
+respectively by Archbishop de Gray in 1233 and by Pope Alexander IV. in
+1258, and was therefore erected just before or during the struggle
+between Henry III. and Simon de Montfort, in the best period of the
+Early English style.
+
+The height of the gable is said to be 103 feet, and that of the towers
+110 feet, and the front is divided by the string-courses into four
+stages. In the central compartment the lowest stage is approached by
+three steps, and is filled by three doorways, set in a thickening of the
+wall, and surmounted by gables finished with crosses. The central
+entrance, higher, more widely splayed, and more deeply recessed than the
+others, has five orders and five triple shafts in the jamb, while they
+have three orders and three shafts, the innermost of which is triple and
+the others single. As usual in this style, the shafts are detached and
+not worked on the stones of the jamb. The mouldings of the capitals are
+carried through the jamb from end to end, and on the front of the piers
+between the archways is a curious moulding which resembles an undercut
+roll set up on end, and which has a capital as if it were a shaft. In
+the arches the mouldings are chiefly rounds and hollows: many of the
+former are filleted, and some of the latter are filled with the
+dog-tooth (an ornament peculiar to this style), which is more profusely
+employed in the central arch than in the others. The terminations of the
+dripstones are foliated and stand out detached. The central gable is
+adorned with a square panel of foliage, and either of the others with a
+sunk foliated quatrefoil, and between the gables are spouts issuing from
+the heads of animals. It is worthy of remark that all three doors open
+into the nave; for as a rule when a church has three west doors, two of
+them open into the aisles.[34] The wooden doors in these and all the
+doorways of the church are of considerable age, and those in the central
+archway here bear the date 1673 in nails.
+
+Above the doors is a tier of five lancet windows, and above these
+another tier, also of five, which diminish in height toward the sides,
+the last window at either end being, however, as high as the tier below.
+These tiers occupy the whole width of the compartment. Above them,
+again, is a group of three small lancets graduated to the gable and
+placed very high, with a string-course below them. These serve to light
+the space between the internal and external roofs. In all this work the
+detail is of the very best: the various arches are richly moulded and
+supported by clusters of engaged shafts, which in the two great tiers
+are banded at about half their height, and the dog-tooth ornament is
+everywhere employed profusely. The lower tier is the more elaborate--its
+mouldings more numerous, its shafts more richly clustered, its capitals
+covered with foliage; and between the second and third lancets from the
+right there is a small niche with a toothed edge and the remains of a
+figure. At either end of the two tiers an ornament not unlike the
+ball-flower of the Decorated style is carried up the jamb, and a bold
+corbel-table runs up the sides of the gable, under the apex of which
+there is a trefoil panel, while the whole is crowned by an elaborate
+cross.
+
+  [Illustration: VIEW FROM THE NORTH-WEST.]
+
+In the towers the lowest of the four stages is relieved by a little
+arcade of six trefoiled arches, with detached shafts, fluted capitals,
+and dripstones not trefoiled and terminating in heads. Each of the three
+upper stages is occupied by three tall lancets, of which that in the
+centre, higher and broader than the others, is pierced and (except in
+the belfry) glazed. In their enrichment these arcades resemble the
+windows of the central compartment. The second stage is not quite so
+high here in the towers as it is there, and the level of the
+string-course above is consequently broken. The third stage, taller than
+the second, reaches to the springing of the gable. The fourth, taller
+than the third, rises somewhat above the gable cross, and the shafts of
+the lancets are twice banded, while above are two circular panels, which
+on the north tower are raised and contain quatrefoils, but on the south
+tower are sunk and contain trefoils. On the other faces of these towers
+the arches are not so richly moulded, and the shafts are single and also
+detached, except in the uppermost stage of the north tower, where they
+are engaged and filleted. As the second stage does not descend so low
+upon the western face as upon the other faces, the string-course below
+it, after passing round the corners of the façade, is stopped, and when
+it is resumed it passes above the sill of the arcade, being carried
+round the little plinths of the shafts. All the string-courses, it will
+be noticed, are enriched with the nailhead moulding. The buttresses rise
+to the parapets without diminishing in breadth or projection--an early
+feature, and three large rolls or beads are worked upon their edge.
+Those that flank the portal have each a large niche at the bottom, with
+engaged shafts, and the head and dripstone trefoiled. At the corners of
+the façade, where the staircases are, the buttresses are triple. The
+original corbel-table, surmounted by a row of dog-tooth ornament,
+remains at the top of the towers, but the battlements and pinnacles have
+been put up since the removal of the spires in 1664, and were renewed in
+1797.
+
+The bells, ten in number, are in the south tower. Of the mediæval peal,
+which consisted of six bells, the largest, known as the _Klank Knoll_,
+was made in 1379 at York, and perhaps hung in the north tower; while
+some of the others seem to have been made in Ripon in 1391. They were
+all recast in 1761 by Lester & Pack of London, after which there were
+eight. Two of these (Nos. 4 and 7) were recast in 1866 by Warner of
+London, and two new bells (Nos. 1 and 2), by Shaw of Bradford, have been
+added since 1890. The ninth bell is rung every evening at nine for the
+curfew. The mediæval clock, mentioned in 1379, has long vanished;
+another was put up in 1723; the present clock (by Thwaites of
+Clerkenwell) dates from 1808.
+
+The whole front has been much restored by Sir Gilbert Scott, especially
+the doorways and the towers. The latter were badly cracked through
+settlement (due partly to the fact that in either tower one of the sides
+is older than the rest),[35] but, as Sir Gilbert himself declared, they
+are once more strong enough to bear spires, and it is to be hoped that
+the hint will some day be taken. The more the west front of Ripon is
+studied, the more it becomes apparent how much thought has been expended
+upon it. Yet as a work of art it is perplexing. To some it will appear
+beautiful as a design; to others its excellence of detail will be its
+only commendation, and they will complain that the tiers of windows are
+wider than the gable, that there is a disproportion between the little
+arcade in the lowest stage of the towers and the great lancets in the
+upper stages, that the height of the latter makes the towers appear
+top-heavy, that the whole façade lacks projection and depth of shade,
+and that there is too much glass. Some dissatisfaction was felt, as the
+Fabric Rolls indicate, in 1379, when masons were employed to divide each
+of the large windows into two lights with a quatrefoil above.[36] The
+mullions and quatrefoils remained till our own day, when they were
+removed by Sir Gilbert Scott, whose action the present state of expert
+opinion on restoration would severely condemn.
+
+=The Nave. North Side.=--By being rebuilt with the addition of aisles, the
+nave became as wide as the west front. Its width is 87 feet internally
+and nearly 100 feet externally, and it is the widest nave in England
+after York, Winchester, Chichester, and St. Paul's. The date of the
+rebuilding is indicated by a Chapter minute of 1502, which alludes to
+the _onus canonicis modo impositum super reædificationem navis_. The
+Fabric Rolls mention the purchase of stone in 1503, and the roofing of
+some "new work" in 1505, while a will of 1508 requires the testator's
+body to be buried in "the new work of the College Church." These are
+doubtless references to the south side, which is evidently the older and
+bears internally the arms of Archbishop Savage (1501-1507). Again, an
+indulgence of 1512, by Archbishop Bainbridge (1508-1514), alluding to
+the demolition of the old nave as then complete, suggests that the north
+wall had been left standing till then, and the laying of the foundation
+of the north aisle, which bears his arms, is mentioned in the Roll for
+1512-13. It appears from the Rolls that the main roof was up by 1520-21.
+Lastly, Leland's allusion to "the body of the Chirch of late dayes made
+of a great Widnesse" shows that the main part of the work was finished
+at any rate by about 1538.[37]
+
+The nave is divided--east of the towers--into six bays, of which the
+easternmost is narrower than the rest, to answer to a fragment of the
+old nave preserved within. The plinth is considerably higher than that
+of the west front.
+
+On the north side, the six buttresses project 5 feet at the base and
+rise to the parapet in two stages, which are crowned by gables. These
+gables have their sides curved inwards and are adorned with crockets and
+finials, the latter being attached to the front of the gable, while
+grotesques project from the angles. The windows are of three lights, and
+are rather acutely jointed and deeply set for such late work, and their
+arches are well moulded, a broad hollow running up the sides. As is
+often the case in late work, there are no sub-arches in the tracery, and
+the mullions are carried up through the head. The easternmost of these
+windows is of two lights, and has a transom in the tracery, and the
+westernmost is shortened to allow of a doorway of four-centred form
+beneath. Below the sills runs a string-course, which rises to pass over
+the door. The parapet is battlemented, not for military purposes but for
+ornament, and at intervals are the beginnings of panelled pinnacles, set
+diagonally and partially embedded in the battlements. The clearstorey
+has no pilasters or buttresses, but where it joins the west tower a
+projecting strip of masonry may be seen half imbedded in the Early
+English work and half in the Perpendicular. This is, without doubt, the
+upper part of one of the buttresses of the old nave.
+
+The clearstorey windows are actually larger than those of the aisle
+below, and are again rather acutely pointed for late work. They are of
+five lights, and the two mullions in the middle are carried up through
+the head, but a sub-arch comprises the two outer lights on either side.
+The last window eastwards is of three lights, is shorter than the rest,
+and has several transoms in the tracery. In the parapet, the coping is
+not carried down the sides of the battlements as it is on the aisles,
+and the rudimentary pinnacles spring from grotesque corbels at the
+string-course, with a plain corbel at the side of each to carry the
+water-spout.
+
+=The Central Tower. North and West Sides.=--The central tower of Ripon is
+probably unique among towers in being divided vertically between two
+different styles of architecture. Its north and west sides are
+Archbishop Roger's work,[38] but the other sides are Perpendicular,
+having been rebuilt after the collapse of the south-east angle. Seen
+from the north-west, however, it presents much the same appearance now
+as in the twelfth century, and either side displays a pair of
+round-headed windows, with the weathering of the original roof rising
+high between them and (on the west face) cutting off their corners. The
+windows have a shaft in the jamb, and the abacus of the capitals is
+continued round the tower as a string, but interrupted by the
+buttresses and weatherings, as is also another string below the sills.
+In the windows of the north side there is a space or tympanum over the
+inner arch. Each corner of the tower was strengthened by a pair of flat
+buttresses, with one shaft at the corner itself and another at the inner
+side of either buttress, and with the shafts banded half way up and
+again near the top. These buttresses are received in an overhanging
+corbel-table, above which runs a hollow moulding, filled with dog-tooth
+ornament of a large size and continued round the projections that serve
+for gargoyles. The use of this Early English ornament in a scheme which
+might otherwise be pure Norman affords a good instance of the
+Transitional character of the work. The battlements are later.
+
+=The North Transept=, with the three adjacent bays of the choir, gives
+some idea of the external appearance of Archbishop Roger's church.[39]
+The date of the beginning of the work ascribed to him is placed within
+his lifetime (1154-1181) by his own words quoted in Chapter I. The
+transept is divided by the string-courses into four stages, and has a
+very massive plinth which is lower than that of the nave, thus
+expressing the slope of the ground. The west wall is shorter than the
+east and has two bays only, but south of the second bay, and separated
+from it by a flat pilaster, is a narrow space, along the top of which
+are the remains of a cornice: the two bays proper are separated by a
+recessed buttress of some projection. One round-headed window, divided
+by a mullion, appears in the second stage; and in the fourth stage are
+two plain, round-headed windows, not subdivided. The original
+corbel-table remains above, but it is surmounted by a (probably)
+fourteenth century battlemented parapet, which is returned over the
+central buttress, forming a square turret, which has a (renewed)
+gargoyle below it, and is pierced with a cross. The buttresses at the
+north-west corner of the transept, where is a staircase, are clustered
+and rise to the top of the wall, and like most Norman buttresses, and
+some of Early English date (as in the west front), they do not diminish
+as they ascend. The large buttress on the west side of this corner has
+two carved stones built into it at the height of about eighteen feet
+from the ground. They are covered with patterns resembling the knots so
+often found on ancient crosses, and are of especial interest as being
+possibly survivals of the church built by St. Wilfrid.[40] It is
+noticeable that the first string-course is the only one which is not
+carried round the buttresses at this corner. A recessed buttress of the
+same type separates the end of the transept from that of an aisle which
+is thrown out from its eastern side.
+
+  [Illustration: DOORWAY, NORTH TRANSEPT.]
+
+The lowest stage of this north elevation is blank save for a rather
+interesting doorway set in a thickening of the wall near the western
+corner. In this doorway the innermost arch is of unusual form--a trefoil
+resting on corbels--and its edges are left square and plain. Over it is
+a semicircular arch of three orders with three detached shafts in either
+jamb, and as usual throughout almost all Archbishop Roger's work, the
+arch has the edge-roll between hollows (here on every order), the shafts
+are detached, their bases round upon square, and their capitals
+square-topped, with the edge of the abacus hollowed. The capitals here
+are enriched with good foliage of a rather classical type.
+
+In the stage above are three round-headed windows with a shaft in either
+jamb and foliage on the capitals. Each of these windows, like that on
+the west side, and several in the other transept, has been divided by a
+mullion into two lights, presumably in the fourteenth century.[41] The
+third stage, which corresponds to the triforium within, is blank here as
+on the west side, and in the fourth stage are three round-headed
+windows, plainly recessed and chamfered. The gable, on which stands a
+plain cross, has been lowered, as is shown by the weathering on the
+tower, and its sides, after descending, take an upward turn to meet the
+corners. It is flanked by two lofty square turrets, which have been
+compared with those on the west front of Tewkesbury. They have a shaft
+at each angle, are pierced on each face with two round-headed openings
+under a round arch, with a string below running round the turret, and
+are surmounted by pyramidal stone caps ending in pommels and having a
+rude pinnacle at each corner. The end of the aisle is set back, and
+displays a window like the three above the door, but without the
+dividing mullion; and above this a round-headed niche, doubtless once a
+window that lighted the space over the aisle-vault; while a round arch
+over this niche, and a little pointed arch on the buttress adjacent
+westwards, carry a curious thickening of the masonry above. The
+arrangement of the windows here breaks the continuity of the first
+string-course, which, after crossing the main elevation, has to be
+stopped and resumed at a lower level in order to pass beneath the
+windows of the aisle. At the corner of the latter are more clustered
+buttresses, terminating below the parapet, and above them rises a plain
+gabled pinnacle (an addition, probably, of the fourteenth century),
+while another buttress, rising from the inclined coping of the
+aisle-wall, runs up the clearstorey.
+
+The east side of the aisle has two more buttresses like those at the
+corner, and consists of two bays, each containing a window like that at
+the end. It is hard to say whether the moulded string or cornice below
+the parapet is original, but the gargoyle which juts from it and the
+parapet itself, with its cruciform piercings, are not earlier than the
+fourteenth century. The roofs of the aisles in both transepts and in the
+choir have been lowered, and it has been suggested that this was done at
+the time when the Minster was fortified against the Scots, in order to
+afford better standing-room for armed men,[42] and the various
+battlements on choir and transepts were probably erected for the same
+occasion. Here the round arches of the triforium have been built up, and
+the clearstorey harmonizes with the more elaborate scheme of the choir.
+The wall is divided into three bays by flat pilasters received in the
+cornice, and each bay contains a round arch, pierced and glazed, between
+two lower and narrower pointed arches, all resting on single detached
+shafts. Between the buttresses runs a corbel-table, supporting a
+battlemented parapet of Decorated character, in which the merlons are of
+great width in proportion to the embrasures--an early feature--and have
+the usual cruciform piercings, so splayed at the back as to leave no
+doubt that they were really intended for the use of archers. The three
+gargoyles below have been renewed, and none of the gargoyles on choir or
+transepts are earlier, perhaps, than the Decorated period.
+
+=The Choir. North Side.=--Here the three westernmost bays of the aisle and
+clearstorey respectively are Archbishop Roger's work. Two flat
+pilaster-buttresses rise out of the slope of the plinth and run up the
+aisle-wall, each terminating short of the parapet in two sets-off close
+together. The level of the window-sills was the same here as in the
+transept, but the string-course has been broken in the Decorated period
+by the insertion of three slender windows, each having two lights with a
+quatrefoil above. Above the windows comes the moulded string or cornice
+continued from the transept, and above this the pierced merlons of the
+Decorated battlement are again very broad in proportion to the
+embrasures. Instead of being built up, the exposed arches of the
+triforium have here been glazed. The clearstorey resembles that of the
+transept, but the corbel table is surmounted here by a slope, on which
+rest two large gargoyles (renewed), and instead of a Decorated
+battlement there is a plain coping.
+
+The last three bays of the clearstorey and the last two of the aisle are
+Decorated work, probably of the end of the thirteenth century, and here
+the level of the plinth is again lowered to suit the slope of the
+ground. In the aisle the two bays are separated from the rest and from
+each other by buttresses having a projection of 8 feet. Either of these
+buttresses is crowned by a gable having a finial, and is surmounted by a
+tall square pinnacle to receive the thrust of a flying buttress that
+spans the aisle; and either pinnacle has its sides panelled and gabled,
+a head at each corner, and five finials. The two last aisle-windows are
+larger than those in the western bays, but have much the same tracery.
+They have, however, a thick shaft worked on the stones of the jamb, and
+a large keeled round on the edge of the arch, and there is no dripstone.
+Below them is a small string-course, which is carried round the east
+end. The string or cornice above them is made to match that on the
+western portion of the aisle, but in the battlement the merlons are of
+merely ordinary width. In the clearstorey the wall is considerably set
+back from the Transitional bays, and the three windows are very
+elaborate. Their arches are richly moulded and acutely pointed, the
+springing-line being rather low down. Each window is divided into four
+lights, comprised under two sub-arches, either of which contains a
+circle enclosing a trefoil, while above, in the head of the window, is a
+large circle with five trefoils radiating from its centre. The
+dripstones end in heads. A moulded string-course, with gargoyles, runs
+below the parapet, which is a continuation of the plain coping on the
+western bays.
+
+From this point it will be best to return to the west front, and proceed
+along the south side of the Cathedral.
+
+=The Nave. South Side.=--This side is architecturally superior to the
+other, and differs from it greatly in detail. The plinth, which is very
+massive, rises even higher above that of the west front here than it
+does there, and the buttresses project over 8 feet at the base and are
+of three stages, and the gables on these have their sides straight,
+their eaves everywhere continued to the wall, and their corners enriched
+with heads, but on the second stage only. In the two easternmost
+buttresses the lowest stage has heads also, and in the last buttress
+eastwards this stage, for some unexplained reason, is twice as broad as
+the others, and has an ogee gable. On all gables the crockets are large,
+and the finials, which here stand upon the apex, are huge and very
+boldly executed; while the rudimentary pinnacles are thicker here than
+on the north side and more detached from the parapet. The wall is
+thickened up to the windows, below which there is a set-off, and the
+windows themselves are so moulded as to seem set in heavy frames, and
+are much less acutely pointed than in the other aisle, their arches
+approaching the 'drop' form. The rather clumsy mullions are carried up
+through the head, but branch out to form arches over the side lights,
+and are reduced in thickness above the branching point; and in the head
+there is a transom, except in the narrow easternmost window. Though the
+aisles differ so much, the clearstorey is much the same on this side as
+on the other, and again one of Archbishop Roger's buttresses is visible,
+imbedded between the Perpendicular walling and the west tower. The
+height of his roof is indicated by the weathering on the central tower
+and by the west gable, and the sixteenth century roof was probably not
+lower, for the central tower shows high weatherings of the latter period
+also; but the pitch had been lowered before the last restoration, and
+Sir Gilbert Scott was unable to raise it to the full height. It is to be
+hoped that the raising may yet be accomplished, and that lead may be
+substituted for slate.
+
+=The South Transept=, all but its eastern side, is mainly Archbishop
+Roger's work. The plinth is altogether lower not only than that of the
+nave, and even of the west front, but also than that of the other
+transept, and the architecture thus expresses the downward slope of the
+ground from north to south as well as from west to east. Here, as in the
+nave, the buttresses have a greater projection than on the north side of
+the church, as if the ground here were more liable to settle. As this
+transept bears a general resemblance to the other, it will be best to
+note only the points in which they differ. In the west wall the window
+in the second stage has no mullion, the innermost buttress is of the
+same type as its next neighbour, and the parapet is returned over all
+the buttresses, thus forming three 'turrets,' of which that nearest to
+the nave rests partially on a large corbel. The staircase at the
+south-west corner terminates at the top in a square turret with a
+pyramidal stone cap.
+
+In the south elevation the doorway is very elaborate. The opening is of
+the form sometimes called the shouldered arch, a square lintel (which,
+curiously enough, is not one stone) resting on corbels; and the
+semicircular arch over this is of four orders, the uppermost of which
+projects considerably from the wall. On either side there are five
+shafts, the outermost order having two, which are placed on the front of
+the jamb and share one abacus. These two shafts are worked on the stones
+of the jamb--a mode of construction not very common in such early
+doorways. The details resemble those of the less elaborate doorway in
+the other transept, but some of the foliage on the capitals here is
+almost Early English. This doorway is approached by five steps, and was
+once covered by a Renaissance porch.
+
+  [Illustration: DOORWAY, SOUTH TRANSEPT.]
+
+In the windows of the second stage the abacus of the capitals is
+continued as a string from window to window. The two flanking buttresses
+have been crowned at some later period with gables ending in finials,
+and the great gable is pierced with a Perpendicular window of three
+lights, which has three transoms in the head, the mullions carried up to
+the archivolt, and a dripstone ending in foliage. The sides of the gable
+here do not take an upward turn to meet the corners, and there are no
+flanking turrets. In the end of the aisle the blocked upper window is
+pointed, and has a little trefoiled niche above and to the left of it,
+and there is no thickening of the masonry above to necessitate
+carrying-arches. The buttresses at the corner reach to the top of the
+parapet and have no surmounting pinnacle. The small portion of the east
+side of the aisle which is not concealed by the Chapter-house and
+Lady-loft displays in the lower stage a somewhat inexplicable blind
+arch, carrying an inclined thickening of the masonry that has been
+afterwards built up to a level, and below the parapet a moulded cornice
+like that on the north side of the church. This cornice is continued
+within the Lady-loft, and reappears over the last bay of the
+choir-aisle.
+
+=The Chapter-House.=--The south aisle of the choir is concealed by a wing
+of three storeys, of which the lowest, though exposed to view by the
+conditions of the site, is of the nature of a crypt, while the second
+comprises the Chapter-house and vestry, and the third, known as the
+Lady-loft, is an addition, probably of the fourteenth century. The first
+two storeys seem to have formed part of a church earlier than Archbishop
+Roger's,[43] and have been variously ascribed to Archbishops Thurstan
+(1114-1141)[44] and Thomas of Bayeux (1069-1100).[45] From the east wall
+of these two storeys an apse is thrown out, upon which rests a square
+projection from the Lady-loft, too short to be called a chancel. The two
+westernmost buttresses, up to the string above the crypt, are evidently
+additions by Archbishop Roger, while the third, which completely encases
+a three-sided apsidal projection at the corner of the vestry, is of much
+later date and will be examined presently. Adjoining it is a flat
+pilaster buttress, apparently original. The crypt has five unglazed
+windows along the south side, all round-headed and plainly splayed, and,
+where it joins the transept, there is a large rectangular squint which
+gives light to a staircase that leads up to the Chapter-house. A pointed
+doorway, made in later times, cuts into the fourth window from the west.
+In the second storey there are on this side only four windows, which are
+spaced without any regard to the position of those below. The two
+westernmost, which are circular and without tracery--a type of window
+that is somewhat rare--can hardly be later than the time of Archbishop
+Roger, and may be earlier: the next two are square and of much later
+date. Above the windows the eaves of the original roofs remain,
+supported on a corbel-table which is carried round the apsidal chamber
+at the corner and round the eastern apse. At the south side of the
+latter the builders have left a narrow recess which extends from the
+ground nearly to the top of the crypt.
+
+The apse displays in the lower storey a round-headed unglazed window
+like those along the south wall, and in the upper storey a small
+round-headed light at the south side and a larger window in the middle,
+of the same size as that below, but not so deeply splayed, and with the
+head rudely trefoiled. On either side of these central windows, a shaft,
+made in short joints, runs up the apse from base to eaves. The string
+between the two storeys is carried round these shafts, and their
+circular bases overhang the plinth and rest on small blocks, while the
+capitals are square-topped, as in Archbishop Roger's work. From the roof
+of this apse and of the apsidal chamber at the corner, and from the
+eaves that project along the south wall, it would seem that the whole
+structure was roofed with stone at a steep inclination. Where its wall
+joins the transept the stone-work seems to be of the same date on both
+sides of the corner, so that there may have been an original buttress or
+wall extending southwards from this point.
+
+The third storey is now the Cathedral library, but was originally the
+=Lady-chapel=, and was commonly called the Lady-loft. Such a position for
+a Lady-chapel--at the south side of the choir, and in an upper
+storey--is extremely unusual.[46] Authorities have differed widely as to
+its date. Some have assigned it to about 1482; but the Lady-loft is
+clearly mentioned in the Treasurers' Rolls in 1470, and its
+architecture, which is Decorated rather than Perpendicular, would be in
+favour of ascribing it to the middle of the previous century, were it
+not for a certain coarseness of execution which makes a suspension of
+judgment advisable.[47] To support this additional storey, the two
+western buttresses were carried up, diminishing both in projection and
+in width, to within a few feet of the upper string-course. The huge
+buttress at the corner was very possibly added later, to counteract a
+settlement which is evident to anyone so standing as to bring the shafts
+on the apse in line with the corner of the choir, and which was
+doubtless due to the weight of the Lady-loft. This buttress is of the
+same height as the others, but is broader, and has as many as seven
+stages, the fourth of which is crowned by a truncated hip roof and
+pierced with a slit to light the apsidal chamber within, from whose
+sloping top the upper stages spring. Traces of some external means of
+access to this apsidal chamber from below may be seen at the west side.
+Except one small lancet adjoining this buttress, the windows of the
+Lady-loft are square-headed, with mullions branching out into
+intersecting arches whose cusps spring from the soffit independently of
+the mouldings--an early feature; and the dripstones are square labels
+terminating in foliage, but with the ends not returned. Altogether these
+are more like the windows of a castle or manor-house than of a church.
+The four towards the south are of three lights, but the east window has
+five lights and is set higher in the wall, while its dripstone
+terminates at one end in a grotesque sitting figure. Various gargoyles
+project from the string-course, which rises to pass over the east
+window. The angles of the east end seem to rest upon the very edge of
+the cornice of the apse, and one wonders how the wall is supported along
+the chord of the curve. In reality, however, the apse is not so sharply
+curved internally as externally, and its walls are very thick, so that
+the square form could be imposed upon the round without much
+overlapping. The parapet shows the same wide merlons and cruciform
+piercings which characterize the other Decorated parapets of the church,
+and it may have been brought forward from the choir-aisle.
+
+The last bay of the latter displays a window like those on the north
+side, but having foliage on the capitals of the shafts; and below the
+parapet runs the cornice continued from the transept, with a curious
+gargoyle upon it. Part of the base of Archbishop Roger's choir-aisle is
+visible imbedded between this wall and the apse.
+
+Those parts of the church which were rebuilt after the collapse of the
+south-east corner of the tower can be best examined from the roof of the
+Lady-loft, which forms with the roofs of the aisles a level surface of
+considerable extent.
+
+=The East Side of the South Transept= has three buttresses, crowned by
+pinnacles of which the two nearest to the tower are modern. The central
+buttress is much shallower than the others and has a different
+termination. The clearstorey displays three well-arched windows of three
+lights (the innermost window a little smaller than the others) with
+tracery not unlike that in the south aisle of the nave. The parapet is
+probably old Decorated work that has been used again, for it has the
+wide merlons and cruciform piercings characteristic of early
+battlements, and the Perpendicular pinnacles, it will be noticed, are
+not in the middle of the merlons. The manner in which the corner of the
+tower has been reconstructed is extremely interesting. Up the angle
+formed by choir and transept runs a sort of excrescence of masonry that
+blossoms out, so to speak, into an extraordinary complication of
+corbelling near the top, and is itself corbelled away at the bottom. In
+this excrescence, as elsewhere, old materials have been used again, and
+in the projecting mass, at the level of both triforium and clearstorey,
+are the springings of arches curving eastwards and southwards, which
+suggest that the adjoining walls had at first been intended to be on a
+more advanced plane, and that the arches of the triforium were to have
+been round in the transept (where, by the way, they are recessed) as
+they are in the choir. This angle contains the tower staircase, which is
+lighted by a little window in the upper corbelling and is reached from
+the clearstorey gallery of the transept. On this side of the church the
+parapet walk has to be carried round the corners of the tower on
+squinches.
+
+  [Illustration: RECONSTRUCTED ANGLE OF THE GREAT TOWER, (SOUTH TRANSEPT
+   AND CHOIR.)]
+
+=The Central Tower. South and East Sides.=--The south and east faces are
+each divided by a central pilaster running up to the top of the parapet,
+but otherwise the general scheme is not unlike that of the older sides,
+save that the windows here are set higher in the wall. Each window has
+two lights, wide and low, with much tracery above them, in which the
+mullion branches into two sub-arches; and there are dripstones ending in
+heads. The high weathering on these sides indicates that it was not in
+the Perpendicular period that the roofs of the church were so
+unfortunately lowered. At either end of each of these sides a buttress
+rises to the base of the parapet in three stages, the second of which
+has on the front a panel with an ogee crocketed hood and is crowned by a
+gable with a grotesque at each corner, while the third is narrower,
+but is also panelled. Various gargoyles project from the uppermost
+string, which on the east side is not broken by the central pilaster. As
+this string is higher than the corbel-table of the older sides, the
+tower presents a very curious appearance when seen from the south-west
+or north-east.[48] The battlements and pinnacles were perhaps first
+added when the south and east sides were rebuilt, but in places they
+have been much renewed. The stair-turret is surmounted by a hexagonal
+stone cap, which is pierced with a spire-light and crowned by a finial;
+and there is also a wooden polygonal bell-cote at the north-west corner
+of the tower. At the north-east angle the Perpendicular masonry turns
+the corner and enfolds the Transitional buttresses, where it stops with
+a jagged edge. This unfinished work has a considerable projection from
+the Transitional walling, the intention having been, perhaps, to correct
+externally the obliquity in the ground plan of Roger's tower;[49] it is
+also corbelled away at the bottom, probably to afford freer passage
+along the parapet walk and to avoid the necessity of a squinch.
+Originally the tower had perhaps a low pyramidal roof without a parapet,
+and then came several successive spires. The last of these, which fell
+in 1660, is said to have been 120 feet high from the top of the tower,
+and its disappearance has surely done more than anything else to spoil
+the external effect of the building.[50]
+
+=The South Side of the Choir.=--Here the three westernmost bays are
+Perpendicular and the others Decorated. The westernmost window is
+smaller than the rest, and is of three lights, with the mullions carried
+up through the head. The next two windows imitate in curvature their
+Decorated neighbours, and are of four lights, with the central mullion
+branching out to form two sub-arches, between which a foliated circle, a
+feature not common in Perpendicular windows, is introduced into the
+head. In the fourth bay the Decorated arch has been filled with
+Perpendicular tracery, but the fifth and sixth windows remain in their
+original beauty as on the north side, save that in the easternmost the
+small circles have been mutilated and have lost their foliation. The two
+flying buttresses resemble those on the north side, but from the points
+where they meet the wall two pilasters run up into the parapet, which is
+flush with them and is crowned by a plain coping, while beneath it is a
+string, with gargoyles. Except at this end the wall, as in the
+clearstorey of the nave, is not buttressed, notwithstanding the size of
+the windows and their nearness together.
+
+  [Illustration: FLYING BUTTRESSES, SOUTH SIDE OF CHOIR.]
+
+=The East End.=--The rebuilding of the east end of Archbishop Roger's
+choir was probably the object of an indulgence of 1284 by Archbishop
+Wickwaine, a brief of 1285 by Pope Celestine V., two indulgences issued
+in 1288 and 1300 respectively by Archbishops Romanus and Corbridge, and
+some credentials issued by the latter in 1302 for a collector of funds.
+And yet it is hard to fix the date of the work with any exactness. It
+had apparently not begun in 1286, for a mandate of Archbishop Romanus in
+that year begins _Cancellus Rypon' ruinosus reparetur_; but it may have
+been completed before the irruption of the Scots in 1318. Two
+indulgences of Archbishop Melton, one of which is dated 1328, do indeed
+allude to some "new work" as still unfinished, but this "new work" may
+have been the repairs necessitated by the violence of the Scots.[51] The
+east end of the Cathedral, then, recalls that period in our history when
+Edward I. was wrestling with the Scottish problem, and was also carrying
+into effect those lessons in representative government which he had
+learnt from Simon de Montfort.
+
+  [Illustration: THE EAST END.]
+
+The well-marked plinth of this east end has been already noticed. Either
+corner of the choir contains a staircase, and is strengthened by a pair
+of massive buttresses and crowned by an octagonal turret with a conical
+stone cap and a finial. These buttresses have a projection of 8 feet,
+rise to the top of the aisles, and are surmounted by gables with
+finials, and at the north corner the gables and the coping of the aisle
+are crocketed. At the south corner the upper part of the turret has
+been used as a cell. It is lighted by a small slit and has a wooden
+floor with a trap in it, from which a ladder once descended to the head
+of the staircase; and at the west side, in the parapet of the aisle,
+there is a garderobe seat. It would be interesting to know whether this
+turret was a prison, or a place of penance, or whether it was occupied
+by a watchman or sentinel, or, as is not improbable, by one of those
+recluses who were so often attached to religious communities in the
+middle ages. The central compartment is flanked by two huge buttresses,
+which have a projection of 10 feet at the bottom and rise to the base of
+the gable, or rather a little above it, in two stages only, the lower
+stage reaching a little above the coping of the aisles, and both stages
+are crowned by gables with finials.[52] The three compartments of the
+front are on the same plane. Each aisle shows at the end a window of the
+same pattern with these in the sides, and that in the south aisle has
+foliage on the capitals of its shafts and is surmounted by a little
+window of trefoil form which lights a staircase within, for staircases
+ascend over these windows in the thickness of the wall and run up the
+angles of the clearstorey.
+
+The great window in the central compartment is one of the finest
+examples of Geometrical tracery, if not one of the largest windows, in
+England. It is over 50 feet high, is 25 feet wide, and has seven lights.
+Of these the three at either end are comprised under a sub-arch, in the
+head of which are three cinquefoiled circles, while the central light of
+the seven is surmounted by an arch, not so high as its neighbours, but
+impaling upon its acute point a huge circle which fills the head of the
+window and contains six trefoils radiating from its centre. The arch of
+this superb window is rather acutely pointed and richly moulded, and has
+two very slender shafts worked on the stones of either jamb, with
+foliage on their capitals. Just above the ground below this window there
+may be observed in the wall one of the many architectural puzzles in
+which the Cathedral abounds, a half-arch, rising toward the right and
+filled in with masonry, except at the right side, where is a narrow
+opening that runs in for a few feet.[53] A string-course continued from
+the sides of the aisles passes below the three windows and round the
+buttresses, which are further relieved at a little height above it by a
+set-off. The gable has been entirely rebuilt by Sir Gilbert Scott. It is
+slightly set back, and displays a lofty window of four lights with
+geometrical tracery not unlike that in the great window below. On either
+side of this window there is panelling graduated to suit the triangular
+space, and the gable is crowned by an elaborate cross and flanked by two
+pinnacles which resemble those of the flying buttresses but are larger
+and have foliage at the corners instead of heads. The original Decorated
+gable was probably very much of this pattern. Its height was indicated
+by the weathering on the tower, and it seems to have had flanking
+pinnacles and graduated panelling. It had, however, been lowered in
+pitch and had been altered also by the insertion of a rather debased
+Perpendicular window.[54] Whatever may be thought, therefore, of Sir
+Gilbert Scott's action in rebuilding it, he has surely improved the
+general effect of the front, and it is well that one of the roofs, at
+any rate, should have been raised to the original pitch. What is most to
+be regretted, perhaps, is the removal of all traces, if any there were,
+of the chantry of the Holy Trinity _supra summum altare_, which was
+situated, as its name implies, in the roof, behind the old gable.
+
+In Archbishop Roger's day the choir was probably as long as it is now,
+and Walbran (followed by Sir Gilbert Scott) believed that the aisles at
+that period were returned across the east end. If so, the clearstorey
+must have been a bay shorter than at present, with a pent roof
+projecting from below it on the east side to cover the returned portion
+of the aisle. The rebuilding of the east end in the Decorated period was
+the first operation in which limestone was employed, but much of the old
+gritstone has been used again.
+
+  [Illustration: THE NORTH-WESTERN PORTION OF THE NAVE.
+   (Junction of XIIth and XVIth Century work.)]
+
+
+FOOTNOTES:
+
+[33] The name Ripon comes probably from the Latin _ripa_, "a river's
+bank." Bede uses a form "Inrhypum," which arose perhaps out of _in
+ripis_. The derivation _Uri pons_ has been generally abandoned.
+
+[34] The reason of the peculiarity here is the unusual width of the
+nave. (_See below_, p. 44.)
+
+[35] This will be explained in Chapter III.
+
+[36] See illustration, p. 17.
+
+[37] This was pointed out by Walbran.
+
+[38] The Transitional or Transition-Norman work at Ripon probably was
+not all erected during Roger's lifetime, but all of it will, in these
+pages, be associated with his name.
+
+[39] Upon a modern Chapter seal there is what is possibly meant for a
+representation of Roger's church, with western towers, three spires, and
+no aisles. The seal is a reproduction of another of the time of James
+I., which may have been reproduced from a third of earlier date.
+
+[40] For the origin and meaning of this knotwork, so often found in
+these islands on ancient crosses, and for its value as an illustration
+of the possible connection of Saxon architecture with the Comacine Guild
+of Italy, see _The Cathedral Builders_, by Leader Scott, pp. 82-99, and
+p. 145.
+
+[41] This was the case with all the windows of both transepts--in the
+lower tier at any rate--until the last restoration. The reason why Sir
+Gilbert Scott has left or renewed the mullions in some of the windows is
+probably that he did not wish to disturb the memorial glass.
+
+[42] The suggestion was made by Mr. Francis Bond.
+
+[43] _I.e._, they were probably a Southern Chapel of the choir (_vid.
+inf._, Ch. III.). It is doubtful whether this earlier choir itself can
+have had a crypt.
+
+[44] By Sir Gilbert Scott.
+
+[45] By Walbran.
+
+[46] Lady-chapels are usually found at the extreme east end of the
+choir, unless that position was wanted for the resting-place of a local
+saint.
+
+[47] Walbran favoured 1482; Sir Gilbert Scott the middle of the
+fourteenth century.
+
+[48] See the illustration, p. 2.
+
+[49] _The Builder_, February 4th, 1893.
+
+[50] This last spire must have been erected after all intention of
+rebuilding the north and west sides of the tower had been given up, and
+therefore (perhaps) after the dissolution. The three spires are shown
+upon the seventeenth century communion plate and in several old prints
+(see the illustration, p. 32). They were wooden and covered with lead,
+and are represented as octagonal. The two at the west end are shown
+without parapets at the base, and all three are without those sloping
+spurs which so often connect an octagonal spire with the corners of the
+tower.
+
+[51] Dean Waddilove, in his monograph on the Cathedral, mentions that
+the date 1330 is to be found upon the choir, but he does not say where.
+Walbran believed the work to have been executed between 1280 and 1297,
+and is followed by Sir Gilbert Scott.
+
+[52] The buttresses of this east wall were formerly connected at the
+bottom by a debased battlemented wall, and the space within was used for
+sheds, the grooves for whose pent roofs can be seen on the sides of the
+buttresses.
+
+[53] The arch springs from the buttress (as an excavation in 1900
+showed), and may perhaps be a relieving-arch, to take the weight off a
+weak place in the foundations. Yet it was not intended, apparently, to
+be filled up. The stones forming the right edge of the hole are coigns,
+and have mason-marks on their sides. At the back of the hole the masonry
+appears to be of some antiquity: may it be part of the foundation of the
+east end of Archbishop Roger's choir?
+
+[54] There are several prints of the Cathedral, as it was before
+restoration, in the Ripon Museum.
+
+
+
+
+  [Illustration: CONJECTURAL VIEW OF INTERIOR OF ARCHBISHOP ROGER'S NAVE
+   BY SIR G. G. SCOTT.
+   (By the kind permission of the Archæological Institute.)]
+
+
+CHAPTER III.
+
+THE INTERIOR.
+
+
+=The Nave.=--On entering through the west doors a perspective is disclosed
+of 133 feet to the end of the Nave, 170 feet to the Rood Screen, and 270
+feet to the end of the Choir. The Early English builders have preserved
+two bays of Archbishop Roger's nave and have incorporated them into the
+west towers,[55] and the two great tower-arches which they have cut
+through the Transitional walling are very fine specimens of the Early
+English style. Each of the half-pillars that support them is a cluster
+of five large engaged shafts separated by very deep hollows, and upon
+every shaft there is a large fillet, which is carried up into the
+capital and down over the base. The base consists of two round mouldings
+separated by a hollow and fillets, and overhangs the plinth so much as
+to suggest that the floor just here has been lowered. The capitals and
+the arches themselves (which are of three orders) are moulded with
+rounds and hollows very strongly marked, and the hood of the southern
+arch terminates eastwards in a bunch of foliage.
+
+The interior of the towers is more richly treated than is usual. Over
+the tower-arch is a small arcade of four members with clustered shafts,
+and with a string below, while the other three walls are plain up to the
+windows, each of which is flanked, as on the exterior, by two blind
+lancets. The arcading thus formed has clustered and banded shafts (not
+detached), behind which ran a passage, now blocked, and below the sill,
+and a little distance apart, are two strings, to the lower of which the
+sills of all the windows save two descend in steps. The windows are not
+splayed, and those which now look into the aisles are unglazed, and
+their flanking lancets are of unequal width. All the arches are much
+moulded and ornamented with the dog-tooth, and the central shaft of each
+cluster has a fillet. In each corner a detached shaft springs from a
+round corbel above the lowest string and rises to the impost of the
+arches, being banded twice on the way; and from its capital another
+shaft runs up to the ceiling. The doors to the spiral staircases open
+into little square lobbies which have vaults with groin-ribs springing
+from corbels.[56] In the north tower is a modern stained window of some
+merit.
+
+The two bays of Archbishop Roger's work incorporated in the towers,
+taken together with another Transitional bay at the east end, make it
+possible to imagine the whole interior of what must have been the most
+remarkable nave in England. It was unusually broad. From the ground to
+the first string (about 16 feet) there was plain wall. Above this was a
+triforium (if it can be so called[57]) of the unusual height of about 28
+feet, and there were thus no windows except in the clearstorey, and
+there only in alternate bays. According to Sir Gilbert Scott the
+triforium and clearstorey were probably continued across the west wall.
+The bays were alternately broad and narrow, and there is room for five
+of each sort. The westernmost bay shows in the triforium stage a round
+arch comprising four pointed arches. Of these the two in the middle are
+raised above the others on shafts of two stages, in the upper of which
+the capital is circular and its moulding is continued along the tympanum
+to the _apices_ of the two lower arches. The tympanum is relieved by a
+sunk quatrefoil in a serrated circle, and so is the space under either
+of the two central sub-arches. The passage in this bay has been built
+up, and the bay itself shortened, probably when the tower arches were
+made.
+
+  [Illustration: CONJECTURAL PLAN OF ARCHBISHOP ROGER'S CHURCH BY SIR G.
+   G. SCOTT. See _p._ 16.
+   (By permission of the Archæological Institute.)]
+
+In the adjoining narrow bay, the comprising arch is pointed, there are
+only two sub-arches, and there are no quatrefoils, except in the
+tympanum on the north side. Doors have also been inserted in this bay to
+communicate with the passages behind the arcades in the towers.
+
+The shafts throughout are single, and (in the sub-arches) detached, and
+the details generally are the same as in all Archbishop Roger's work. It
+is worthy of remark that the tympanum over the sub-arches is flush with
+the lower part of the wall, and that the comprising arches, with all the
+walling above them, are a plane in advance. The more natural plan would
+have been to make the comprising arch flush with the wall below, and to
+have set back the sub-arches and tympanum. In consequence of Archbishop
+Roger's arrangement the shafts of the comprising arch stand, not upon
+the sill of the triforium, but upon corbels, each of which carries two
+of them and also a roof-shaft[58] which forms with them a cluster.
+
+The clearstorey shows in the broad bay a stilted round arch, pierced,
+between two small blind lancets, and in the narrow bay three small blind
+lancets. These arches are not recessed or moulded, and are without
+hoods, as usual. Their piers, behind which is a passage, are square, and
+the impost moulding is continued as a string.
+
+The roof-shafts have a curious break in them at the impost-level of the
+triforium, where a face is carved upon them with a band above it. They
+are banded also by the impost-moulding of either storey, and by the
+upper string-course, and end in square-topped capitals a little short of
+the present roof. Throughout Archbishop Roger's church the roof was
+probably flat, or slightly coved as at Peterborough. The corbels from
+which the roof-shafts spring are moulded and finished off with scrolls,
+and are placed at the level of the string-course, which is undercut; but
+on either side of the tower-arches the shafts have been shortened to a
+point above the string, which has been made continuous beneath them, and
+instead of corbels they have grotesque heads carved upon their ends.
+Beyond the westernmost roof-shaft there is a further shaft, which at
+first sight seems to have been the beginning of another bay, but the
+round moulding which rises from it runs up vertically instead of curving
+over to form an arch.
+
+The western wall is far more impressive from within the church than from
+without, and shows the Early English style at its best. The three
+doorways have stilted segmental arches moulded with rounds, and their
+hood-moulds are continuous. Their shafts are single and engaged, and in
+the jambs are holes for the great bars which no doubt held the doors
+against the Scots in 1318. But if the doorways are plainer, the great
+lancets above are much richer, on this side than on the other. Their
+arches have more mouldings, their hood-moulds as well as the
+string-courses are enriched with the nailhead, the dog-tooth is used
+more profusely, and the piers are clusters of seven engaged shafts
+instead of five, banded at half their height and having behind them in
+both tiers passages which formerly communicated with the towers. The
+glass, by Burlison and Grylls, is worthy of its framing. It was put up
+to the memory of the late Bishop in 1886. In the lower tier "the earthly
+type" is represented by the Parable of the Ten Virgins. In the upper
+tier, in which the various designs represent "the Heavenly type," the
+Bride is the Church, and Our Lord is seen enthroned and surrounded by
+choirs of angels.
+
+The yellow gritstone of the older work is contrasted curiously with the
+white limestone of the Perpendicular nave, and at the junction the later
+builders have left a jagged edge. Among very late Gothic buildings there
+are few indeed which are of so good a quality as this nave of Ripon,
+which, like the late church towers of Somerset, shows that mediæval art
+took long to die out in regions remote from London. It is, indeed, the
+architecture of the days of Agincourt rather than of the eve of the
+English Renaissance. The pillars are characteristic of the Perpendicular
+style, their section being a square with a semi-circle projecting from
+each side, and the corners hollowed. Their bases have complex plinths of
+considerable height and are polygonal, but follow roughly the form of
+the pillar, and the mouldings, as usual in this style, overhang the
+plinth. The capitals, with small mouldings and many angles, are of
+somewhat the same form as the bases. On the westernmost complete pillar
+of the north arcade are two shields, charged respectively with the arms
+of Ripon (a horn) and of Pigott of Clotherholme. The arches, instead of
+being of that depressed form which is so common in late work, are very
+beautifully proportioned, and their mouldings are bold, numerous and
+well-cut. There is no triforium; but a passage, at a slightly lower
+level than in Archbishop Roger's bays, runs below the great clearstorey
+windows, which were once, no doubt, gorgeous with stained glass. Their
+arches are moulded, but the splay is left plain. The roof-shafts, which
+are in clusters of three and have fillets upon them, spring from
+semi-octagonal corbels, and where each cluster passes the string-course
+there is an angel holding a shield. A sign of decadence may be found,
+perhaps, in the way in which the hood-moulds of the windows intersect
+with these shafts. Though the two sides of the nave are not quite of the
+same date, they are almost alike, but for some slight differences in the
+capitals, the arch-mouldings, and the hollows on the pillars; the
+builders feeling doubtless that any marked variation would mar the
+general perspective--a consideration which, of course, could not bind
+them in designing the north aisle. The original Perpendicular roof may
+have resembled that which now covers the transepts. About 1829 Blore put
+up an almost flat ceiling of deal. The present oaken vault, by Sir
+Gilbert Scott, was copied from that of the transepts of York Minster,
+and is adapted to the old roof-shafts, between which have been added
+angel corbels of wood. As the ribs intersect near their springing, they
+weave a network over the whole vault, and the carved bosses at the
+intersections amount to 107. A passing notice is merited by the pulpit,
+which is Jacobean.
+
+  [Illustration: THE NAVE, LOOKING WESTWARDS.]
+
+East of the five Perpendicular bays remains the second fragment of the
+old nave, namely, a portion of a broad bay, partly encased by the later
+masonry, and one complete narrow bay. In the latter the tympanum on both
+sides is relieved by a quatrefoil, which here is pierced and not
+enclosed in a circle, and the last shaft eastwards (one of those of the
+comprising arch) runs to the ground. Affixed to the north wall is an
+eighteenth century monument to Hugh Ripley, last Wakeman and first Mayor
+of Ripon (d. 1637). The original monument was destroyed during the Civil
+War, but the altar-like erection below the present structure was
+probably part of it. The roof-shaft west of this bay, for some unknown
+reason, ends considerably short of the roof in a kind of corbel with
+rude foliage upon it. In the south wall is a triangular piscina, which,
+if it is of Roger's date, is among the oldest piscinæ in the country.
+
+  [Illustration: PLAN OF THE SAXON CRYPT.
+   (From drawings by Mr. W. H. St. John Hope and Mr. T. Wall.)]
+
+=The Saxon Crypt=, sometimes called =St. Wilfrid's Needle=.--From a
+trap-door in the pavement below the piscina a flight of twelve steps
+winds down into a flat-roofed and descending passage, 2-1/2 feet wide
+and slightly over 6 feet high, which, running a few feet northwards and
+bending at right angles round the south-west tower pier, extends
+eastward for about 10 yards, with a descent of one step near the end,
+and terminates in a blank wall. There is a square-headed niche at the
+turn and a round-headed niche at the end, both meant, doubtless, to hold
+lights. Three feet from the end a round-headed doorway, 2 feet wide and
+over 6 feet high, opens northwards, with a descent of two more steps,
+into a barrel-vaulted chamber, 11 feet 5 inches long from east to west,
+7 feet 7 inches wide, and 9 feet 10 inches high. In the north wall of
+this chamber, and approached by three rude steps, is the celebrated St.
+Wilfrid's Needle, a round-headed aperture pierced through into a passage
+that runs behind. This aperture was connected with one of those
+superstitions that so often flourished before the Reformation in notable
+centres of religion, and ability to pass through it or 'thread the
+needle' was regarded as a test of female chastity; but it was, of
+course, in the later middle ages that this superstition arose, and the
+'needle' (or rather needle's eye) is evidently only one of the original
+niches with the back knocked out. Of these niches (which again were
+doubtless for lights) there are four in the chamber besides the
+'needle,'--one in each wall,--and, like the niche, at the end of the
+passage of entrance, they all have semicircular heads each cut in a
+single stone. That in the west wall has a hole or cup at the bottom,
+probably to hold oil in which a wick might float, while the others
+(except the 'needle') have a sort of funnel at the top, doubtless to
+catch the soot from lamps. In the east wall there is also a round-headed
+recess of larger size, the meaning of which will be discussed later. An
+excavation made in 1900 has lowered the earthen floor and revealed a
+set-off running round the chamber,[59] and upon the ground at the east
+end are traces of a later mediæval altar, namely, a long stone parallel
+with the east wall and having behind it a small rectangular enclosure
+bounded by other wrought stones. Some of the latter were only laid bare
+at the above-mentioned excavation, when, moreover, the enclosure was
+found to be a pit containing bones, some of which had belonged to a man,
+others to an ox, others to a bird. These were probably regarded as
+relics, and may have been buried here at the Reformation for safety,[60]
+but it is possible that they were placed here at an earlier period, and
+that this is an instance of a relic-pit. Two other deposits have been
+found in the crypt in modern times, one behind the niche in the south
+wall of this chamber, the other behind the niche at the end of the
+passage of entrance. Most of the bones in these deposits were human, but
+one had belonged to an ox, another to a bird, another to a sheep, while
+others could not be identified. These bones again were probably
+'relics,' and had almost certainly been built up behind the niches at
+the Reformation[61] for concealment. From the west end of the chamber
+another doorway similar to the last opens, with an ascent of one step,
+into a second chamber, 12 feet long from north to south, 4 feet wide, 9
+feet high, and roofed with a semi-vault rising eastwards, in which there
+has been a square opening, probably for ventilation. At the north end a
+flight of four steps, lighted doubtless from the square niche in the
+west wall, ascends eastwards to the passage behind the 'needle.' Of
+these steps the lowest occupies the whole width of the chamber, while
+the second, on being cleaned at the time of the excavation
+above-mentioned, was found to have its upper and western surfaces sunk
+in the middle and traversed at one end by two parallel raised bands, and
+to show traces of that yellow enamel-like substance with which, indeed,
+the whole crypt seems to have been originally overlaid. In roof, width
+and height the passage at the top of these steps resembles that by which
+the crypt was approached, but it is spanned at the entrance by a round
+arch, and gradually ascends, terminating in a staircase now blocked at
+the fourth step (or perhaps the fifth, since one seems to have been
+removed at the bottom), while in the roof may be traced the shape of the
+long opening (rounded at the western end) through which these stairs
+once led up into the church. From the point at which they are blocked
+the distance to the arch that spans the passage is about 18 feet. It
+will be noticed that the floor of this passage is level with the
+'needle,' which on this side, moreover, has been broken through so as to
+open out like a funnel.
+
+  [Illustration: THE SAXON CRYPT, EAST END OF THE CENTRAL CHAMBER.
+   (St. Wilfrid's needle on the left.)]
+
+There is little doubt that this crypt is the work of Wilfrid. It
+strongly resembles another at Hexham in Northumberland, which is almost
+certainly his since it agrees with a description given by his
+contemporary Eddius, and (more fully) by Richard, Prior of Hexham in the
+twelfth century. As, therefore, Wilfrid is known to have built a church
+in either of these places, and as the crypts remaining resemble each
+other, and as that at Hexham is almost certainly his, it is natural to
+conclude that this at Ripon is his also.[62] And the subject has had
+fresh light thrown upon it as archæology has progressed. It is thought
+that the Romanizing party which prevailed at the Synod of Whitby
+affected for its churches the Italian type,[63] one of the
+characteristics of which was the _Confessio_, an underground chamber for
+relics[64] situated under the high altar, and surrounded, except toward
+the church, by a passage reached by steps from the body of the building,
+whence, moreover, there were generally steps leading up to the floor of
+the presbytery, and sometimes an incline stretching down to a window
+that looked into the chamber below. Now the present entrance to this
+crypt at Ripon is not original. To mention some of the evidences of
+this, there are in the roof of the passage several tombstones (one at
+the entrance and two beyond the bend) bearing incised crosses of the
+thirteenth century, and 15 feet west of the doorway into the central
+chamber there are signs that a cross-wall has been cut through. The only
+part of the work, then, which is original is that which extends
+eastwards of this point, and in Saxon times there was probably only one
+entrance to the crypt, namely by the north passage; indeed, it seems
+likely that the formation of an approach from the nave was
+contemporaneous with the blocking of that passage, and that both
+alterations were due to the incompatibility of the original disposition
+of the crypt with the subsequent arrangements of the church above. Now
+if that original disposition has been indicated correctly, the crypt
+presented all the more important characteristics of a _confessio_. There
+is the central chamber with a window looking into it (for this is the
+probable explanation of the arched recess in the east wall),[65] and
+there is the surrounding passage, which, however, is interrupted at the
+south-west corner of the crypt in such a way that it is necessary to
+pass through the chamber itself.[66] An excavation made in 1891[67]
+failed to reveal any traces of a staircase at the east end of the south
+passage, but as there are many instances in Italy of a _confessio_
+without a second stair, this failure is of little importance. If, then,
+this crypt may be assumed to be a _confessio_, there follows a very
+interesting consequence. The fact that the surrounding passage was
+entered from the east, that it runs round the west and not the east end
+of the central chamber, and that the blocked window (if such it be) is
+in the east wall of the latter, indicates that the nave lay to the
+east,[68] in other words, that the presbytery was at the west end of the
+church. Such a position for the high altar is ultra-Roman, was already
+being discontinued in Wilfrid's day, and had probably never been seen in
+the north, unless here and at Hexham; all of which considerations, in
+the light of the known bias and character of Wilfrid, are in favour of
+the theory above propounded.[69] It is impossible to say with certainty
+whether Wilfrid's presbytery was apsidal or square; and whether his
+church had aisles or not.[70]
+
+  [Illustration: CONJECTURAL PLAN OF THE CRYPT AND PRESBYTERY IN THE
+   TIME OF WILFRID, BY MR. J. T. MICKLETHWAITE, V.P.S.A.
+   (By permission of the Archæological Institute.)]
+
+There remains the question whether this crypt was or was not under the
+church of the monastery. In Leland's description of Ripon,[71] "the Old
+Abbay of Ripon" is certainly represented as having stood on the site
+which in Leland's time was occupied by the Lady-kirk, adjacent, that is,
+to the west side of the street now called St. Mary-gate;[72] and it has
+been argued with great ability[73] (on the supposition that "the Old
+Abbay" means the Saxon Monastery) that this crypt, though almost
+certainly Wilfrid's, was under a second church outside the monastery
+wall.[74] It is, however, still possible to suppose that the site in St.
+Mary-gate may have been that of the domestic buildings only, and that
+the monastery church stood over this crypt; or that "the Old Abbay"
+means the Scottish Monastery, the site of which was also probably not
+far from St. Mary-gate and may have been confused by Leland with that
+afterwards occupied by the Lady-kirk. Nor in any case, perhaps, are the
+mere statements of Leland a sufficient foundation for the argument that
+has been constructed upon them. Indeed, an elaborate _confessio_ like
+this would hardly have been made for any church other than that of the
+monastery.
+
+And if, after all, Wilfrid's monastery church stood above this crypt,
+there arises a very interesting probability in connection with that part
+of the south passage which extends 15 feet westward from the doorway
+opening into the central chamber, namely that it was the original
+burial-place of Wilfrid himself, whom Bede declares to have been laid
+_juxta altare ad austrum_.[75]
+
+The position of the crypt suggests the history of the ground plan of the
+Cathedral. After the destruction of Wilfrid's Church, the site of his
+nave became that of the choir, and a nave was added westwards. Thus it
+came about that the crypt is now in the centre of the building. The
+central line or axis of the church in all stages of its history has
+probably always passed over this crypt.
+
+=The Aisles of the Nave.=--As no aisles were contemplated when the west
+towers were built, the east side of the latter shows, of course, the
+same external decoration as the other sides. At the back of the
+surviving portions of the old nave there may be seen at the western end
+of either aisle one of Archbishop Roger's buttresses, and at the eastern
+end a roughened surface where another buttress has been removed. The two
+buttresses that remain have a large set-off near the bottom, and they do
+not diminish as they ascend; while from their upper portions, which are
+visible outside the church, it would seem that they rose to the very top
+of the walls. At a little over 16 feet from the ground there remains
+upon them a portion of an external string-course, which is not on a
+level with any of those on the exterior of the transepts. Either aisle
+opens into the transept with a massive arch resembling those of the
+north main arcade, and has along the foot of its wall a bench table,
+from which rise the vaulting-shafts. But though preparation had been
+made for stone vaulting, the roofs were of wood until the last
+restoration, when Sir Gilbert Scott put up the present stone groining.
+The effect is good, but would have been better had there been ridge-ribs
+and bosses.
+
+  [Illustration: THE TWO FONTS, TWELFTH AND SIXTEENTH CENTURIES.]
+
+=The South Aisle= contains the font, which was probably among the latest
+additions to the church before the dissolution, and formerly stood at
+the west end of the nave. This font is raised upon two circular steps,
+and is octagonal and of blue marble, with the various surfaces of base,
+stem, and bowl slightly hollowed. The sides of the bowl and also of the
+base bear shields and lozenges alternately, and upon the base the
+lozenges are richly carved. In a corner hard by stands another and much
+older font--probably that of Archbishop Roger's church. It is a
+circular basin, adorned with an arcade of trefoil arches.[76]
+
+  [Illustration: BAS-RELIEF IN THE SOUTH AISLE OF THE NAVE.
+   (Reduced from a rubbing.)]
+
+Against the wall a little further eastwards is an altar-tomb of great
+interest. The marble slab at the top has at one end a bas-relief
+representing a grove, and in it a lion walking away from a man, who
+kneels in an attitude of supplication with his back to the lion, while
+between the two figures is a bird flying toward the man. Tradition says
+that this is the tomb of an Irish prince who brought back from Palestine
+a lion that had there become attached to him, but a story of this kind
+was popular in mediæval romances,[77] and the tradition, though of some
+age, is not, perhaps, very probable. It has been well suggested that the
+sculpture represents deliverance from a lion in answer to prayer; but as
+it is possibly only part of a larger composition, its full meaning must
+still be doubtful.[78] The work is rather Flemish in character, and may
+be assigned to the fourteenth century, with which date the costume of
+the man agrees. Thus the slab is considerably older than the wall to
+which it is now affixed, and it is doubtless older than the lower part
+of the tomb itself, which may be of the same date as the aisle. There
+is a black-letter inscription upon the front of the structure, but it is
+unfortunately quite illegible. An entry in the Chapter Acts[79]
+indicates that this tomb was used as a money-table in business
+transactions between the mediæval townsmen.
+
+The windows have their sides moulded, but somewhat clumsily. That above
+the font contains the only mediæval glass in the Cathedral, a collection
+of fragments chiefly of the fourteenth century. Most of these were
+originally in the great window of the choir, where, being in the upper
+tracery, they had escaped the violence of Sir Thomas Mauleverer's
+troopers. Among the figures in the medallions are St. Peter, St. Paul,
+and St. Andrew, and there is a fine shield of the arms of England, with
+a border or mantling of France, and surmounted by a label of three
+points azure.[80] The quality of the glass is exceedingly good, and the
+window, when the sun shines through it, resembles a screen of gems, and
+puts its neighbours to shame. The fourth window from the west, however,
+by Clayton & Bell, is of considerable merit. The vaulting-shafts are in
+clusters of three, and have overhanging bell-shaped bases with polygonal
+plinths, while upon the capitals are angels bearing shields, one angel
+to each cluster. The last two shields eastwards are charged respectively
+with the arms of Archbishop Savage (1501-1507), and with the three stars
+of St. Wilfrid. Where these shafts break the string-course under the
+windows they are encircled by a thin band. Upon the eastern fragment of
+the old nave there remains in this aisle another portion of Archbishop
+Roger's external string-course, and also (near the last capital of the
+arcade) some trace of a band of ornament.
+
+The western end of the =North Aisle= is the Consistory Court, and has been
+used as an ecclesiastical court since 1722, when Ripon was still in the
+diocese of York. Over the Chancellor's seat is a modern canopy of
+stained deal, which formerly surmounted the throne in the choir. The
+stone base of the railings, with its many projecting angles and its band
+of delicate quatrefoils, is thought to have formed part of the shrine of
+St. Wilfrid, and, having been found in fragments, was placed here by
+Sir Gilbert Scott. In this aisle the sides of the windows are partially
+panelled. The glass is of little interest, save that in the third window
+from the west, by Burlison & Grylls, and a few seventeenth century
+fragments. The vaulting-shafts here are single, and are half-octagons
+with their sides slightly hollowed, and they again break the
+string-course, which rises to pass over the doorway. Of the shields on
+their angel capitals the three easternmost are charged respectively with
+the arms of Fountains Abbey[81] (three horse-shoes), with those of
+Cardinal Archbishop Bainbridge (1508-1514) (supported by _two_ angels),
+and with the stars of St. Wilfrid. The arch opening into the transept is
+not so high as in the other aisle, and upon the space above it are
+portions of a once external string-course and buttress.
+
+=The Central Tower.=--It is from the interior of the church that the
+extent of the repairs necessitated by the partial fall of the tower can
+best be realized, and it is here that the documentary evidence for their
+dates may best be summed up. The catastrophe itself is described in an
+indulgence of 1450 by Archbishop Kemp, but the repairs had not advanced
+much by 1459, for in that year a testator bequeaths money to this
+object, "_cum fuerit in operando_." It would seem, however, from an
+indulgence of Archbishop George Neville that the tower had been
+partially repaired by 1465. After a bequest in 1466 (the last of a
+series beginning in 1454), it seems to be next mentioned in the Fabric
+Roll for 1541-2, and the Chapter Acts speak of the work that remained to
+be done as late as 1545. The order, therefore, of the larger operations
+in the Perpendicular period was probably as follows:--First the Canons
+remodelled the two ruinous sides of the tower and the east side of the
+south transept (where the work much resembles that in the tower), then
+they rebuilt the nave,[82] then the western bays on the south side of
+the choir (as the late character of the work itself would indicate),[83]
+and lastly they were about to remodel the two remaining sides of the
+tower when they were checked by the dissolution.
+
+  [Illustration: THE WESTERN ARCH OF THE CENTRAL TOWER.]
+
+The planning of the Cathedral is remarkably irregular. Not only is the
+axis of the choir, as in so many churches, inclined (here toward the
+north) but the centre of the Rood Screen is south of the axis of the
+nave, and the north side of the tower is not parallel to the south side,
+the north-west angle being less than a right angle. This is the only
+angle which remains in its original condition, and here the responds of
+the two adjacent arches stand upon one circular plinth, their own bases
+being, however, rectangular, though following in the upper mouldings the
+forms of the shafts. The capitals of the latter are, as usual,
+square-topped. The respond of the western arch has a semicircular shaft
+upon the front, and a smaller shaft at the west side, where the pier is
+twice recessed. The arch itself springs from the level of the top of
+Archbishop Roger's triforium, is semicircular, and has more orders
+toward the west than toward the east, but the mouldings (chiefly rounds)
+are lacking in boldness, and the absence of a hood-mould (both in this
+arch and the other) is a disadvantage. The other respond is concealed by
+a huge Perpendicular casing, which, obtruding as it does into the arch,
+is a very conspicuous object in the view from the west doors. Upon the
+piers of this arch toward the nave are some curious brackets, which
+probably supported the original rood-beam.[84]
+
+The northern arch springs from a higher level, and is less richly
+decorated than the other, and its form is almost segmental. It has more
+orders toward the south than toward the north, and again the mouldings
+are chiefly rounds. Its western respond has a shaft on the front, and at
+the south side another, which is banded at the springing-level of the
+western arch and carried up to that of the northern arch, where it ends
+in a three-sided capital, upon which stands another and very short
+shaft, complete with base and capital, that carries the rim of the arch
+and an angle of masonry that projects from the corner. The lower portion
+of this respond is cased by a rectangular addition (almost as old as the
+pier itself), which has upon the front a massive detached shaft with a
+circular capital, on which stands a quaint figure of King James I.,
+brought from the screen of York Minster. To support an image of some
+kind may, perhaps, have always been the purpose of this pillar. It has
+been suggested that there is a similar projection concealed behind the
+casing of the south-western pier.
+
+Over these two arches is a bold cornice, which possibly once supported a
+ceiling, and the blind storey above shows in each wall two pairs of
+plain lancets with the impost-moulding continued as a string, and with a
+passage behind. In the third storey, where again there is a passage, the
+two windows in each wall have a third arch (also round) between them,
+and alternating with these three arches are little lancets which have
+been blocked as far up as the imposts, their shafts having been first
+removed. A cornice supports the ceiling, and on the west side there are
+also some rather inexplicable corbels.
+
+The builders of this tower were certainly misguided in employing round
+arches to support it, at a time when (as the choir shows) pointed arches
+of considerable size were in common use, and it would seem that the
+superior strength of the latter form was not yet fully realized. No
+stronger specimens of that form are to be found, perhaps, than the
+arches that support the two remaining sides. Their giant piers are
+clusters of engaged cylindrical shafts with rounded hollows between, and
+at each remodelled angle of the tower the two adjacent responds are
+treated as one whole, presenting seven shafts almost on the same plane.
+The bases, with their complex plinths and overhanging upper mouldings,
+are over five feet high, and the capitals are polygonal, with small and
+shallow mouldings, of which the lowest follows the form of the pier.
+Slightly stilted, richly moulded, and of many orders, these arches are
+so lofty as to leave no room for a blind storey above. Though the
+windows here are set higher in the wall, their rear-arches reach down
+nearly to the Transitional sill-level. Between the two windows in either
+wall a shaft springs from an angel corbel at the string-course below the
+sills, and runs up in a kind of groove, and these two shafts, with
+another which springs from the junction of the two great arches, end
+short of the present ceiling in semi-octagonal capitals, while on the
+east wall, and at a lower level, there are more corbels. Indeed, from
+the various corbels and shafts in this storey it would seem that the
+level of the ceiling had been altered, possibly more than once, and
+perhaps that it was destined to be altered again when the remodelling
+should be complete. The present ceiling, flat and painted with good
+effect, was put up by Sir Gilbert Scott.
+
+=The Transepts.=--The length of either transept is 43 feet, and that of
+both together (including the crossing) is 134 feet, or about the same
+as the length of the nave. In the transepts and choir the relative
+proportion of the three storeys or stages to one another, which in the
+nave was so remarkable, becomes more ordinary, and the change in the
+level of the triforium passage--due to the heightening of the lowest
+stage to meet the exigencies of aisles--necessitates long staircases
+(now blocked) behind the western piers of the tower: and the same is the
+case (though in a less degree) with the clearstorey, which in this part
+of the church is loftier, instead of being shorter, than the triforium.
+In either transept a bench-table runs along the west wall, and the large
+lower windows are plainly splayed, but have their sills stepped. The
+glass in them is bad, except some seventeenth century pieces in the
+window over the north door. The roof, which is of oak, and
+Perpendicular, had been concealed in the time of Blore by sham Norman
+vaulting constructed of _papier maché_. Sir Gilbert Scott removed this
+abomination and exposed the old ceiling, which he repaired and partially
+renewed. It is almost flat, is raised on wooden figure-corbels, which
+prevent it from intersecting with the tower arches, and is adorned with
+judicious colour.
+
+=The North Transept=, which is 34 feet wide, or 52 feet if the 'aisle' be
+included, is almost as its builders left it, and is among the most
+famous examples of the architecture of the age of Henry II. and Thomas à
+Becket, when the early English style was being developed from the
+Norman. As the details are the same here as in all Archbishop Roger's
+work, they need no further description. To take the west and north walls
+first, the Perpendicular arch opening into the aisle of the nave cuts
+into two blocked round arches, of which that on the right was a window,
+while that on the left is backed by the old nave wall; and in this first
+bay (which is narrower than the others in both this and the opposite
+wall) the triforium arches are blocked up, as well as the first lancet
+in the clearstorey, where there is moreover no window. Each bay shows in
+the triforium two pointed arches with a pierced quatrefoil between them,
+and in the clearstorey a stilted round arch, pierced and glazed, between
+two smaller arches of lancet form, which on the north wall are very
+curiously barred across at the impost level, the _abaci_ of two shafts
+being formed by one slab.
+
+  [Illustration: THE NORTH TRANSEPT.]
+
+The east wall is much more richly treated, and harmonizes in design with
+the choir. It might perhaps be more proper to describe the aisles of
+these transepts as a series of eastern chapels. Their floor is raised
+two steps above the body of the transept, from which they were evidently
+once railed off, and in either transept the two outer bays are walled
+off from that nearest to the tower. At any rate the arches here have the
+appearance of independent units rather than of a continuous arcade.
+Separated by roof-shafts of unusual bulk, their responds consist each of
+three engaged shafts with a fourth to carry the aisle-vault; and the
+bases, rectangular but with the upper mouldings following the pillar,
+are united with those of the roof-shafts, while the capitals as usual
+are square-topped. The actual arches are of two orders, each of which
+has the edge-roll, while under the soffit, which is flat, is another
+roll between two mouldings that are hook-shaped in section. The arch
+nearest to the tower has given way slightly and has been blocked up,
+apparently not very long after it was built, for in the blocking wall is
+an acutely-pointed and thrice-recessed doorway of decidedly early
+character, and the material throughout is gritstone. The wooden doors
+are probably Perpendicular work.
+
+Adjoining this doorway is a Perpendicular stone pulpit, which has a base
+but no stem, and is ascended by means of three steps only. It has five
+sides, and is covered with rich panelling, but the top has apparently
+been taken off. This may not indeed be its original position,[85] yet it
+was a mediæval custom to deliver the sermon just as the procession was
+about to enter the choir, and this pulpit is most conveniently placed
+for such a purpose. If this is not its original position, it may perhaps
+be identified with a nave pulpit mentioned in the Chapter Acts.
+
+On this east side the triforium shows in each bay a semicircular arch
+comprising two pierced lancets and flanked by two blind lancets, with a
+quatrefoil pierced through the tympanum under the comprising arch, an
+arrangement that is the germ of tracery. Here there is no passage in the
+thickness of the wall, as there was an open gallery over the aisle until
+the external roof was lowered and the back of the arches blocked.
+
+In the clearstorey the shafts of the round arch in each bay are doubled,
+each couple sharing a common plinth and capital, from which latter
+springs a tiny shaft that carries the edge-roll of the arch; and the
+lancet arches also, where they adjoin the solid piers between the bays,
+have a shaft in the jamb. On all three walls the shafts in this storey
+stand on a kind of kerb or parapet, which is interrupted in the middle
+of each bay, and the stilt of the round arch is treated almost like a
+classical entablature, and has a moulding or cornice above it, while the
+uppermost part of the wall is thickened, thereby necessitating over each
+bay a comprising arch, which on the north wall is round, but on the
+other walls follows the shape of the three sub-arches, and forms a kind
+of upper order to them.
+
+The roof-shafts, which do not break the string-courses, spring from very
+various levels: on the east side from the ground, and on the north side
+from the unusually high level of the second string, while on the west
+side one cluster rises from the first string and the other from above
+the second string (having perhaps been shortened in the last case to
+make way for the Perpendicular arch beneath). On the east and west walls
+these shafts are of a thickness which, besides being out of proportion
+to the other parts of the architecture, is structurally unnecessary, for
+they do not directly support the roof at all, but end at the top of the
+triforium in triple capitals, of which the central member is square and
+the others round. Upon each of these capitals, stand three detached and
+much thinner shafts--namely, that which really carried the roof-beams,
+and those (adjacent to it) of the arches that carry the above-mentioned
+thickening of the wall. Thus is afforded a striking instance of the
+tendency, so often exemplified in Archbishop Roger's work, to use two
+shafts, one on the top of the other, instead of prolonging one--a
+tendency which marks the organic development of the style as still
+incomplete. On the north wall the three shafts in each cluster are
+carried up from their corbel to the top in one piece, unbroken save by a
+band at the impost level of the triforium and another at the third
+string, and they seem detached throughout their height both from the
+wall and from each other. At each corner of the transept the thickening
+of the wall over the clearstorey arcade is carried by a shaft which
+rises from the bench-table or the ground.
+
+The roof is entirely modern, and the shields on its corbels bear the
+arms of the chief promoters of the last restoration.
+
+Against the north wall is a fifteenth century altar-tomb, covered with
+inferior panelling and shields of arms, and surmounted by the figures of
+Sir Thomas and Lady (Eleanor) Markenfield; and adjoining this tomb
+(which formerly stood within the aisle) is the lid of a thirteenth
+century stone coffin on the floor. In the aisle stands another
+altar-tomb, which has the sides panelled and adorned with shields of
+arms and bears the figure of an earlier Sir Thomas Markenfield, clad in
+armour of the period between Poitiers and Agincourt, and wearing a very
+curious collar of park palings with a stag couchant in front, possibly
+(as has been suggested) a badge of adherence to the party of Lancaster.
+The figure of Lady Markenfield has, unfortunately, been destroyed.[86]
+
+The aisle is often called the Markenfield Chapel, and doubtless
+contained the Markenfield family chantry, which seems to have become
+afterwards merged in another foundation.[87] The two bays were
+apparently once walled off from each other, the dividing wall having
+perhaps been removed to make way for this Markenfield tomb. At any rate,
+between the bays of the vaulting there is a plain cross-arch of
+remarkable thickness, whose eastern respond is cut off above the tomb,
+as are also the two adjacent vaulting-shafts, which have had heads
+carved upon their ends. The south wall is probably original, since (to
+mention one reason) part of the string-course upon it is worked on the
+same stone with the vaulting-shaft. The lower parts of the walls display
+traces of a design in red representing round arches interlaced. In the
+north wall there is a square aumbry, and in the south wall a large
+piscina, with trefoil head and projecting basin. If this piscina is
+original, it is a very fine specimen for so early a date. A huge
+eighteenth century monument to Sir Edward Blacket of Newby almost covers
+the southernmost window, but the remaining two contain glass of some
+merit, which in that facing east commemorates the recovery from fever of
+King Edward VII., then Prince of Wales. The vaulting springs from single
+cylindrical shafts, which rise from the ground and do not interrupt the
+string-course. Their bases have three-sided plinths, and their capitals
+are enriched with stiff foliage and are three-sided above.
+
+The vaulting, which is apparently original, deserves especial notice.
+Its bays are square, and the groin ribs consist each of three round
+mouldings, of which the most prominent is 'keeled';[88] but what is most
+remarkable is that there are also ridge-ribs, which are not usually
+found before the thirteenth century, and it has been suggested[89] that
+this is the earliest instance of their employment. There are also
+wall-ribs, and these and the ridge-ribs are much thinner than the
+groin-ribs, and consist of a single roll only.
+
+  [Illustration: VAULT OF THE NORTH TRANSEPT AISLE, TWELFTH CENTURY.]
+
+=The South Transept= is narrower than the other by a yard, its width being
+49 feet to the aisle wall (which, it should be noticed, has not been
+rebuilt). Without the aisle the width is only 30 feet, but this is
+partly due to the Perpendicular alterations. The end and west side of
+this transept, which remain more or less as they were in Archbishop
+Roger's day, resemble the corresponding walls of the other, yet with the
+following differences. The roof-shafts on the west side are thinner here
+than there, and are carried up to the required height in one piece,
+unbroken save by the string-courses.
+
+In connection with the attachment of shafts of any considerable height
+to wall-surfaces in Archbishop Roger's work, it will be observed that
+though the shafts (according to the general practice of masonry) are
+usually made in short joints built in at the back, yet (as here) their
+jointing sometimes does not harmonize with the coursing of the wall;
+again (as in the old nave and north transept) the shafts of a cluster
+are sometimes not worked all on the same stones.
+
+To return to the differences of this transept from the other, the
+roof-shafts over the inserted Perpendicular arch (which here obtrudes
+into the triforium) descend no lower than the sill of the clearstorey.
+Again, the thickening of the walls at the top is supported in the
+south-west angle not by one shaft but by two, one of which stands on a
+projecting strip of masonry that runs up the angle to the triforium. The
+design of the eighteenth century monument against the south wall, to Mr.
+Weddell of Newby, is taken from that of the choragic monument of
+Lysicrates at Athens.
+
+On the east side, which has been entirely remodelled in the
+Perpendicular period, the bay next to the tower displays from the ground
+to the triforium a plain surface broken only by a pointed doorway
+surmounted by three cinquefoiled niches with ogee crocketed hoods. The
+doorway retains its original doors with an ornamental iron scutcheon
+over the keyhole. In their great strength, and in their treatment
+generally, the two arches opening into the aisle resemble the
+Perpendicular arches of the central tower. The triforium stage is
+exceedingly poor, and shows traces of more or less modern disfigurement.
+Each bay contains a single arch which does not occupy the whole space,
+and which is surmounted by a hood-mould and divided into two sub-arches,
+but without cusps. Here again the arches were once pierced through to a
+gallery over the aisle, as the exterior of the wall plainly shows; and
+this seems to indicate either that the external roof had not been
+lowered when these Perpendicular repairs took place, or that possibly
+the two lower storeys of Archbishop Roger's wall were left standing, and
+have been, not rebuilt, but cased. The appearance of the wall externally
+suggests that these arches may have once been round, and the unusual
+bulk of the two aisle-arches seems further to support the theory of a
+'casing.' In the clearstorey the windows have hood-moulds, but otherwise
+are treated much as in the nave. The southernmost contains a fragment of
+old glass, bearing the words 'Jhesu mercy.' Along the sill of the
+passage may be seen the stumps of uprights which may perhaps have
+supported a rail. The roof-shafts are clustered and extremely thick, and
+appear the more awkward in that the wall and the shafts with it are set
+back at the base of the triforium. In this transept the ceiling is old,
+and among the heraldic devices carved upon it are those of the church
+itself, St. Wilfrid, the See of York, the Pigotts, the Nortons, and
+Fountains Abbey.
+
+The aisle, the walls of which have not been rebuilt, and which has a
+chequered pavement of uncertain date, was for some centuries the
+burial-place of the owners of Studley Royal, and is often called the
+Mallory Chapel. A curious recess in the south wall is concealed by the
+monument of John Aislabie of Studley, Chancellor of the Exchequer at the
+time of the South Sea Bubble, and against the north wall is a monument
+to that Sir John Mallory of Studley who defended Skipton Castle for
+Charles I., and delivered Ripon from Sir Thomas Mauleverer. There is a
+square aumbry to the right of this monument, and in the next bay
+another, divided by a stone shelf and having modern doors with
+ornamental iron-work. The northern bay is almost wholly occupied by a
+stone staircase leading up to two doors, one of which opens on the left
+into a chamber now containing the bellows of the organ, while the other
+opens into the Lady-loft or Library. Over the latter door and over the
+Mallory monument will be observed traces of two original windows, which,
+before the erection of the Lady-loft, admitted doubtless whatever light
+was not blocked out by the old roof of the Chapter-house. On this wall
+hangs a royal escutcheon bearing the motto of James I. The vaulting is
+Perpendicular, but two of the original supports remain on the east side.
+The shaft in the south-east corner resembles those in the Markenfield
+Chapel, save that its capital has no foliage; but between the two bays,
+instead of two shafts flanking the respond of a thick cross-arch, there
+is a cluster of three detached shafts, banded at the string-course, and
+sharing a common capital with a semi-octagonal top. It would seem,
+therefore, that the two bays here were never walled off from one
+another.[90] At the north-east corner the vaulting springs from a
+Perpendicular corbel. Its moulded ribs are exceedingly ponderous, and
+one of them, not having room to descend upon the pillar, is finished off
+with a head. The present Library staircase was put up by Sir Gilbert
+Scott in place of an older flight attached to the north wall, and upon
+the latter may be seen (behind the stairs) traces of mural paintings in
+red and green, representing the Adoration of the Magi and other
+subjects. The archaic character of these paintings indicates the age of
+the wall, which, nevertheless (unlike the corresponding wall in the
+Markenfield Chapel), seems to have been an afterthought, since it
+differs from the other walls in the coursing of the stone and in the
+pattern of the string-course, and, moreover, at its northern end there
+is a 'straight joint,' visible in the choir-aisle.
+
+=The Rood Screen=, according to Sir Gilbert Scott, is of a date a few
+years earlier than 1494, but, if so, it has taken the place of another,
+which is mentioned in the Fabric Rolls as early as 1408.[91] The general
+design is that of an arched doorway with four large niches on either
+side, and a tier of twenty-four small niches over all. The doorway,
+which retains its original panelled doors, has three shafts in either
+jamb, and is surmounted by a crocketed ogee hood, under which is a
+sculpture representing the First Person of the Trinity with attendant
+angels. A figure of the Saviour evidently once rested, as Walbran
+noticed, upon the knees of the central Figure; above whose head or
+shoulder, moreover, there was doubtless once a representation of the
+Holy Dove. The niches again have crocketed ogee hoods, and in the lower
+tier contain pedestals bearing shields charged with the arms of the
+Pigotts and other benefactors, while the sill of the last at either end
+of this tier is considerably raised, and the space below panelled. The
+niches contain ribbed vaults, and are cinquefoil, with feathered
+cusping, and their hoods are prolonged so as to divide the members of
+the upper tier into pairs; while from the sides of these hoods, from the
+buttresses, and from the curve of the doorway, thin strips of stone,
+adorned with knobs that distinctly add to the effect, are carried up to
+the cornice, along which runs a row of shields bearing traces of colour.
+In the lower part of the screen the spaces between the strips and under
+the hoods are filled with tracery. The screen is 12 feet thick, and in
+the passage through it are two doors, that on the right opening into a
+winding staircase to the loft above, and that on the left into a deep
+pit, which once communicated, it is thought, with the north passage of
+the Saxon crypt.
+
+  [Illustration: THE ROOD SCREEN.]
+
+=The Choir.=--The choir extends 92 feet eastward from the screen. Its
+width is 33 feet between the columns, or 68 feet if the aisles be
+included. A notable peculiarity in it is, that after the lowering of the
+aisle-roofs externally, the triforium was glazed, so that there are two
+tiers of windows above the main arches.[92] Many styles meet here. The
+first three bays on the north side are Archbishop Roger's work, while
+the three opposite are Perpendicular, and lastly, the three easternmost
+bays on either side are chiefly Decorated.
+
+To begin with the north side. The arch in the first bay has been built
+up, probably to strengthen the tower, and by the twelfth-century
+builders themselves, for the abacus-moulding of the capital is continued
+across the blocking wall. In the latter the fifteenth-century builders
+have made a small pointed doorway, which is now blocked but apparently
+once gave access from the top of the screen to a staircase in the north
+aisle. This and the two next bays bear in all three stages a general
+resemblance to the east side of the north transept. The columns,
+however, are clusters of eight cylindrical shafts, and stand upon
+circular plinths, the base proper following, of course, the form of the
+pillar. The capitals, as usual, are compound and composed of plain
+inverted bells, and have square tops with the abacus hollowed and
+grooved. The arches differ from those in the transept only in that the
+large moulding under the soffit is 'keeled,' and that the mouldings
+which flank it are simple ridges. In the triforium the cusps visible in
+the glazed sub-arches belong to some tracery which has been applied to
+the back at a later period.
+
+  [Illustration: THE GREAT EAST WINDOW.]
+
+The treatment of the vaulting-shafts is very remarkable; indeed, nothing
+is more instructive than the variety shown in the treatment of this
+feature throughout Archbishop Roger's church, the different parts of
+which are suggestive of nothing so much as of a series of architectural
+experiments. Here, upon the capital of each column, rests a sort of
+compound rectangular plinth, from which project three corbels, hollowed
+underneath and having little blocks beneath their overhanging edge. From
+this plinth and corbels springs a cluster of no less than five shafts,
+which, by their united width, conceal the springing of the upper order
+of the main arches. They are banded at the string-course below the
+triforium, and end at the sill of the clearstorey in a compound capital,
+of which the three central members are square, and the others round.
+Upon this capital, apparently, stand the two adjoining shafts that carry
+the thickening of the wall above the clearstorey, and here (but hidden
+by the vaulting) stands also the original roof-shaft, and these three
+are 'detached.' Thus the arrangement is in principle similar to that
+adopted in the north transept, while at the same time the clustered
+shafts are even more disproportionate here than there to the slight
+burden they have to carry; indeed the effect is that of five shafts
+diminishing to one. The vaulting hides a feature which is not found in
+the transept, namely, a little lancet arch whose apex comes exactly
+behind the roof-shaft in each bay.
+
+  [Illustration: BAY OF ARCHBISHOP ROGER'S CHOIR (WITHOUT THE VAULTING).
+   (From a drawing by Sir G. G. Scott, by permission of the Archæological
+   Institute.)]
+
+  [Illustration: DECORATED CAPITAL IN CHOIR.]
+
+Though the three eastern bays (still on the north side) are chiefly
+Decorated, portions of Archbishop Roger's work have been retained or
+used again. Thus the fourth column from the west is his, and perhaps the
+fifth up to the abacus, which is convex and of limestone. The respond
+against the east wall is of his pattern, but it has not the circular
+plinth, and the capital is of limestone, has the abacus moulded with
+rounds upon the edge, and is covered with delicate foliage in the
+Decorated manner. In these arches the lower order has exactly the same
+mouldings as in the western bays, and is of gritstone, while the upper
+order is of limestone, and has fillets upon the larger mouldings. It
+would seem, therefore, that the later builders have used the original
+archivolts again, and have merely added another order or orders over it.
+The plane of the wall above, indeed, is brought forward to the face of
+Archbishop Roger's vaulting-shafts: yet without being really thickened,
+since it is set back from his wall on the exterior. At the junction of
+the old vaulting-shafts with the additional order of the first Decorated
+arch the later builders have carved a group of grotesque faces. In each
+bay of the Decorated triforium there is a round arch filled with tracery
+consisting of three round-headed and trefoil lights with two circles
+enclosing trefoils above them; and on either side of this arch (but on
+one three only, in the first of the side bays) is a sunk lancet panel
+enclosing a pointed arch impaling a trefoil. The clearstorey has a
+second plane of tracery, a feature not very common in England. The
+vaulting-shafts are in clusters of three and are filleted, and the
+string-course below the triforium is not carried round them. Each
+cluster springs from a semicircular corbel resting on a head, and has
+its capitals enriched with foliage. The last pendentive of the vaulting
+rests on a single shaft springing directly from a head-corbel. The
+string-courses are not of the same pattern with those on the older bays.
+
+  [Illustration: THE NORTH SIDE OF THE CHOIR.
+   (Junction of Transitional and Decorated work.)]
+
+On the south side the westernmost Perpendicular bay, up to the
+triforium, is solid and covered with cinquefoil panelling. In the next
+two bays the mouldings of the arch, among which a broad hollow is
+conspicuous, are continued down the column, and there is no capital--a
+sign of decadence more common in the Flamboyant work of the Continent
+than here. There is, however, a debased half-capital on the east side of
+the last Perpendicular column, and on the west side of it are three
+small heads at the impost-level. These columns are lozenge-shaped in
+section, wider from north to south than from east to west, and though
+the mouldings end before they reach the bottom of the column, there is
+no proper base. Each column has a shaft at the front and another at the
+back, the former carrying the rim of the arch and having a stilted
+polygonal base but no capital, while the latter has capital as well as
+base (both polygonal), and helps to carry the aisle-vault. The spandrels
+of these arches are filled with panelling, in which are several shields
+(one bearing the arms of Pigott). The triforium again shows in each bay
+a round arch; indeed, no better example than this choir could be found
+of the truth that the form of the arch is not a safe guide to the date
+of a building, but was often dictated by convenience; for here in the
+triforium are round arches, of which some belong to the twelfth, others
+to the thirteenth, and others to the sixteenth century. The fact that
+the distance between the string-courses was already settled by the
+Transitional bays, compelled the later builders to make their arches
+round, as a pointed arch of the requisite width would have been too
+tall. Here the round arch, which is again flanked by two panels,
+comprises three cinquefoil lights, and the mullions are carried up
+through the head. The panels are pointed and divided each into two
+cinquefoil divisions. The Perpendicular clearstorey windows have their
+rims moulded, but are not splayed. The vaulting-shafts resemble those in
+the Decorated bays, but their corbels are polygonal and have the sides
+slightly hollowed, and the abacus of the capital is a half-lozenge. The
+string-courses have not been made to match either the Transitional or
+the Decorated. The whole of this Perpendicular work is of very late
+character, and justifies the belief that it was the last important
+alteration in the fabric before the dissolution. Moreover, where it
+meets the tower there seems to be a 'straight joint,' which indicates
+that these bays are at any rate later than the tower piers.
+
+East of the Perpendicular pillars the next column is Archbishop
+Roger's, and perhaps the next also, with the exception of its capital,
+which has two rings upon the necking, with the rectangular top imposed
+directly upon them and chamfered beneath, while the abacus (which is of
+limestone) is convex.[93] The respond against the east wall is again of
+the old pattern, but without the circular plinth, and its capital
+resembles that just described. In the westernmost of these southern
+Decorated bays three styles meet. The lower order of the arch seems
+again to be Transitional work, while in the triforium and clearstorey
+Decorated arches have been filled with Perpendicular tracery. In the two
+remaining bays the main arches are entirely Decorated, the lower order
+being of limestone and the large moulding under the soffit having a
+fillet. Over the last two complete columns there is a little foliage,
+and of the corbels of the vaulting-shafts one is enriched with foliage
+while the other consists of a head between two embracing figures. There
+is foliage upon the capitals of these vaulting-shafts, and upon the
+capital and base of that which supports the last pendentive of the
+vaulting. With the exceptions mentioned, these bays resemble those
+opposite.
+
+It has been remarked that the choir was probably as long in the twelfth
+century as it is now. The point is indeed proved if (as there seems no
+reason to doubt) the last complete column on either side is original and
+occupies its original position; but a further indication is to be found
+in the fact that the fragment of the original south wall, the end of
+which is visible on the exterior between the south aisle and the apse,
+extends well into the last bay of the present choir.[94]
+
+The huge east window, which is not splayed, has a deep rear-vault
+bounded by a massive rib, whose outer edge rests on slender engaged
+shafts with foliage on their capitals, while the inner edge ends in
+bunches of foliage. Between this rib and the tracery is another rib
+springing on the north side from a bunch of foliage and on the south
+from a grotesque corbel. The inner arch has slender shafts, and so has
+the moulding next to the tracery, but in the latter case the capitals
+are plain.[95] Few acts of vandalism are more to be regretted,
+probably, than the destruction in 1643 of the magnificent fourteenth
+century glass which once occupied this window. The present very poor
+glass, by Wailes of Newcastle, commemorates the revival of the see of
+Ripon in 1863.
+
+  [Illustration: A Bishop and a King.]
+
+  [Illustration: The Expulsion from Paradise.
+   BOSSES FROM THE CHOIR-VAULT.]
+
+Over the window may be seen the mark of one of the earlier roofs. The
+choir is thought to have received a groined vault of oak after the
+rebuilding of the east end, but this vault was probably renewed more
+than once, especially after the accident to the tower about 1450, and
+the fall of the spire in 1660. Sir Gilbert Scott found a vault of lath
+and plaster (probably the work of Blore) for which he substituted the
+present roof, a groined wooden vault, admirable in its lofty pitch and
+judicious colouring. Its chief feature, however, is the splendid bosses
+along the ridge, which are survivals from either the Decorated or a
+subsequent Perpendicular vault. In some of these bosses the figures are
+five feet long.
+
+     From west to east the subjects are as follows: (1) A head; (2) an
+     angel, with foliage; (3) a head; (4) a man conducting a woman to a
+     church door; (5) a bishop in benediction; (6) a king enthroned; (7)
+     a bishop enthroned; (8) a king and a bishop enthroned together; (9)
+     the Crucifixion (modern); (10) the Annunciation; (11) the expulsion
+     from Paradise; (12)? the good Samaritan; (13) a head.
+
+There are also good foliage bosses against the walls between the
+pendentives. The westernmost pendentive on either side rests on a
+Perpendicular corbel carved with delicate foliage.
+
+The general arrangements of the presbytery have been much changed since
+the middle ages. The altar then stood against a screen one bay in
+advance of its present position, and the iron hooks upon the second
+complete column from the east end on either side held, it is supposed,
+the Lenten Veil. Before the last restoration the altar stood, as now,
+against the east wall (on a single step, however), but the Sanctuary
+still extended two bays westward and was three steps above the rest of
+the choir, which was all on one level. Since then the floor has been
+raised one step at the east end of the stalls, and the steps to the
+Sanctuary have been diminished by one, while there are now two steps to
+the altar, and the Sanctuary and the raised portion of the choir have
+received an inlaid marble pavement. The reredos, an arcading of slender
+arches each enclosing a trefoiled arch impaling a trefoil, is a
+restoration of the original Decorated work. The latter had been covered
+by a painted screen of wood--possibly of late mediæval workmanship--and
+this again by a huge oil-painting of the time of Charles II. Both were
+removed to make way for a high reredos by Blore, which in its turn was
+taken down by Sir Gilbert Scott.[96] On the pavement south of the altar
+is a piscina, which (if this be its original position) must have
+belonged to a chapel or chantry behind the high altar--possibly the
+chantry of the Holy Trinity _subtus altare_.[97] From its position it
+would seem that in those days the floor here was considerably lower than
+it is now.
+
+  [Illustration: THE SEDILIA.]
+
+=The Sedilia.=--The last bay on the south side is now occupied by three
+sedilia and a piscina, which form one block. As might be expected from
+the mediæval position of the altar, they once stood in the second bay
+from the east, and they were not removed to their present position until
+the last restoration. Sir Gilbert Scott considered them late Decorated
+work, but they have rather the appearance of late Perpendicular. Over
+each seat is an ogee canopy, cinquefoil, crocketed, and surmounted by
+a huge finial. These canopies rest on square pillars, the sides of which
+are adorned with a sort of 'four-leaved flowers,' while the capitals are
+encircled with foliage in which are animals and monsters. Each pillar is
+surmounted by a pinnacle, and behind each canopy rises a crocketed
+gable, again crowned by a huge finial. The gables, the pinnacles, and
+the tops of the canopies are the work of Sir Gilbert Scott, who found
+the sedilia in a mutilated condition. Below the seats and the piscina
+runs a chamfer with 'four-leaved flowers' along it, and below this are
+panels enclosing trefoils containing faces. But the most curious feature
+of these sedilia is not perceived until a glance is given beneath the
+canopies. The carved ends of the cusps are in reality the heads of
+extraordinary grotesques whose bodies are curled up against the under
+surface of the arch. Some of these figures, in addition to their proper
+physiognomy, have faces carved on the crowns of their heads. The
+piscina, which has been converted into a credence table, has another
+ogee canopy, and is backed by a wall, along the top of which runs a band
+of foliage that is continued round the top of a square pillar at the end
+of the block.
+
+The fine oak chairs in the Sanctuary are of modern construction but of
+old material, while the rails, lectern and pulpit are all modern.[98]
+
+In the four easternmost bays the choir is separated from its aisles
+(except where the sedilia already block one arch) by elaborate oak
+screens of various designs, in the upper part of which the tracery is
+largely pendant--an arrangement characteristic of Yorkshire. These
+screens have been restored, but contain much of the old work, most of
+which is probably of the same date with the stalls.[99] Until the last
+restoration they were surmounted by seventeenth century galleries in the
+so-called Jacobean style.
+
+  [Illustration: CHOIR STALLS, FIFTEENTH CENTURY.]
+
+=The Stalls=--thirteen on either side and eight returned against the Rood
+Screen--are exquisite specimens of fifteenth century woodwork. They are
+surmounted by lofty canopies of elaborate tabernacle-work supported on
+slender shafts and rising into a forest of crocketed spirelets and
+pinnacles. There are ribbed vaults under the canopies, and upon the
+pendants in front are hovering angels. The canopies on the south side
+were wrecked by the fall of the spire in 1660, and those over the eight
+easternmost stalls were then reconstructed in the 'Jacobean' style with
+a gallery above, while of the canopies now over the other nine, eight
+are said to have been brought across from the eastern end of the north
+range, where more Jacobean canopies were erected in their place. Sir
+Gilbert Scott removed all this seventeenth century work and set up
+reproductions of the fifteenth century design. Thus the eight
+easternmost canopies on either side are modern. The misereres and arms
+of the stalls are exquisitely carved.
+
+  [Illustration: Jonah emerging from the whale.
+   Pelican feeding her young.
+   MISERERES, FIFTEENTH CENTURY.]
+
+     The subjects upon the former are as follows, beginning from the
+     archway in the screen:--
+
+     _North side_:--(1) (CANON IN RESIDENCE) lion attacked by dogs; (2)
+     dragon attacked by dogs; (3) angel with shield; (4) dragon and
+     birds; (5) hart's-tongue ferns; (6) conventional flowers; (7) ape
+     attacked by lion; (8) vine; (9) birds pecking fruit; (10)
+     antelopes; (11) fox preaching to goose and cock; (12) fox running
+     off with geese; (13) fox caught by dogs; (14) dragons fighting;
+     (15) fruit and flowers issuing from inverted head; (16) man holding
+     club with oak leaves and acorns; (17) (MAYOR'S STALL) griffin
+     catching rabbit.
+
+     _South side_:--(1) (DEAN) angel with book; (2) angel with shield
+     bearing date 1489; (3) lion _versus_ griffin; (4) griffin devouring
+     human leg; (5) owl; (6) mermaid with mirror and hair-brush; (7) two
+     pigs dancing to bagpipe played by a third; (8) Jonah thrown to the
+     whale; (9) man wheeling another who holds a reed and a bag; (10)
+     fox caught carrying off goose by dog and by woman with distaff;
+     (11) winged animal; (12) hart, gorged and chained; (13) pelican
+     feeding young; (14) Jonah emerging from the whale; (15) Samson
+     carrying the gates; (16) head (modern)[100]; (17) (BISHOP'S THRONE)
+     Caleb and Joshua carrying the grapes and watched by Anakim.
+
+  [Illustration: DESK-END OF MAYOR'S STALL.]
+
+Most of these misereres have exquisite conventional flowers (especially
+roses) cut upon them in addition to the figure-subjects. The desks in
+front of the stalls have rich finials, and their panelled fronts form
+the backs of a lower tier of seats, the arms of which are supported each
+on a square shaft set diamondwise. In front of these lower seats the
+desks again have carved finials and panelled fronts, and on those
+parallel with the Rood Screen the tracery is distinctly Flamboyant. The
+finial before the stall of the Canon in Residence has a griffin attached
+to it, and that in front of the Dean's stall a lion. Before both these
+stalls the ends of the two tiers of desks are richly carved. The
+Bishop's throne and Mayor's stall have each a canopied niche on the
+exterior toward the east,[101] and two small apertures in the east side
+to enable the occupant to see the altar, and in front of these two
+stalls the ends of the two tiers of desks are again richly carved. The
+Mayor's stall, which is wider than the others, was probably that of the
+Wakeman, and attached to the finial in front is a grotesque ape, beneath
+which the supporting shaft is of open work. The end of this desk
+displays a shield charged with two keys in saltire, for the see of York.
+
+  [Illustration: FINIAL IN FRONT OF THE BISHOP'S THRONE.]
+
+The Bishop's throne was originally occupied by the Archbishops of York.
+The Jacobean canopy, which succeeded that of the fifteenth century,
+comprised the space of two stalls, as did also the modern structure by
+which it was itself succeeded and which is now in the Consistory Court.
+The present canopy resembles those of the other stalls but is higher and
+more elaborate. Upon the back of the throne inside is a small mitre. The
+finial in front consists of an elephant carrying a man in his trunk, and
+bearing on his back a castle filled with armed soldiery, and in front of
+the elephant is a centaur (renewed), the shaft under which is again of
+open-work. The end of this desk displays a large mitre above a shield
+charged with the three stars of St. Wilfrid and supported by two angels,
+between whom is a scroll with the date 1494.
+
+  [Illustration: THE WEST END OF THE CHOIR.]
+
+=The Organ= occupied the top of the Rood Screen as early as 1408; but
+doubtless all traces of the mediæval instrument disappeared at the
+Reformation or in the Civil War. During the ascendancy of the Puritans
+organ-building became a lost art, and at the Restoration it had to be
+revived by foreigners, one of whom, Gerard Schmidt, nephew of 'Father
+Schmidt,' built an organ for Ripon. This instrument was remodelled in
+1833 by Booth of Leeds, and about 1878 the organ was rebuilt by T. C.
+Lewis of Brixton, so that very little of Schmidt's work now remains. The
+present case was designed by Sir Gilbert Scott. Over the doorway in the
+screen is a projecting wooden gallery, in good imitation of the
+Perpendicular manner. This gallery, which dates probably from the time
+of Schmidt, was occupied until comparatively recently by the organist.
+From the front of it projects a well-carved hand, which, worked by a
+pedal, could be made to beat time--a very interesting piece of
+mechanism, which again probably dates from the time of Schmidt.
+
+  [Illustration: THE NORTH CHOIR AISLE.]
+
+=The North Choir Aisle.=--The floor of the choir is now a step above that
+of the aisles, and it may be further remarked that in both of them the
+first bay is somewhat dark, being walled up on three sides; that in the
+second bay the archway toward the choir is occupied by organ-pipes; that
+a bench table runs along the side wall and the east end, and that the
+latter portion is adorned with panelling of the same design with the
+reredos.
+
+In the north aisle the first three bays and a portion of the fourth are
+Archbishop Roger's work, with the exception of the windows. The most
+notable feature, as usual, is the vaulting-shafts, which spring from
+above the string-course, and are in clusters of three. In each cluster
+the central shaft is even thicker than the others, and the capitals,
+which are carved with foliage of Norman character, share a common
+five-sided abacus, while the bases are circular and rest on radiating
+brackets smaller than themselves. These brackets, which are said to be
+unique, have square corners and are moulded, but only on the front, and
+their receding portion consists of a concave moulding containing a
+convex block. In the north-west corner there is but a single shaft,
+which rises from the bench-table, is banded at the string-course, and
+has a square-topped capital. The vaulting has wall-ribs,
+cross-springers, and groin-ribs, and is rather high-pitched. Upon the
+cross-springers the mouldings are a large keeled round having on either
+side a hollow between fillets, while the groin-ribs are moulded as in
+the Markenfield Chapel. In the westernmost bay the vault has shown signs
+of weakness (like so many other parts of the building adjacent to the
+ill-fated tower) and has been strengthened by a cross-arch with a
+half-arch abutting against it on the west side, both springing from
+corbels. The corbels are quite in Archbishop Roger's manner, and
+indicate that these strengthening arches, and therefore the blocking
+walls from which they spring, are of his period. Moreover, the abacus
+moulding of the first choir capital is continued as a string to the
+shaft (which it encircles) in the north-west corner. This string is
+interrupted by a rather inexplicable round arch in the west wall, and
+has also been broken by the obtrusion of the Perpendicular tower-pier,
+and by the blocked doorway which once opened from the Rood Screen. Below
+this doorway (adjoining which there is a recess in the obtruding masonry
+of the tower-pier) the wall shows traces of a gallery or staircase. On
+the north wall the string-course, which is rather undercut, is original
+as far as the end of the fourth bay, and marks the level to which the
+sills of the original windows descended in steps.[102] In the present
+windows, which descend to the old level, the mouldings of the arch are
+stopped upon a set-off and the jamb is left plain.
+
+  [Illustration: TRANSITIONAL VAULTING CORBEL. CHOIR AISLE.]
+
+In the two easternmost bays the Decorated string-course is of a
+different pattern and at a slightly higher level; and here the jambs of
+the windows are moulded with a hollow continued from the arch; while the
+rim of the latter has upon it a large filleted round flanked by hollows
+and supported on shafts with polygonal plinths and circular bases and
+capitals, the latter enriched with foliage. The east window, however, is
+not splayed, and has a deep rear-vault and a flat sill, while its rim is
+more elaborately moulded and there are shafts to the inner as well as to
+the outer arch. Except in the two easternmost windows on the north side,
+the glass is very poor. The Decorated vaulting-shafts are again in
+clusters of three, but rise from the bench-table and break the
+string-course. They have polygonal plinths, and their capitals are
+adorned with rather ill-cut foliage. In the north-east corner there is a
+single shaft having a fillet, and adjoining it is a round-headed
+doorway, which once opened into the angle staircase. In this aisle the
+panelling is carried two bays westwards.
+
+It should be noticed that toward the aisle the choir arches have one
+more order in the three Decorated bays than they have in the rest. In
+the Decorated vaulting several chamfers are introduced among the
+mouldings of the cross-springers, and both in these and in the
+groin-ribs the most prominent moulding has a fillet. Otherwise the roof
+roughly matches that of the older bays. The older and the later period
+meet in the fourth bay from the west, where two of the groin-ribs have
+the fillet, while the other two are without it. In the two easternmost
+bays there are fine bosses at the crown of the vault.
+
+It is thought that the Shrine of St. Wilfrid was in the east end of this
+aisle.[103] Unfortunately Leland's words _S. Wilfridi reliquiae sub arcu
+prope magnum altare sepultae_ are too vague to decide its exact
+position.
+
+=The South Choir Aisle.=--This aisle, in some respects, has been altered
+more than the other, but the south wall is Archbishop Roger's work as
+far as the end of the fourth bay, if not farther. About 14 feet from the
+west end occurs that 'straight joint' in the masonry which shows the
+separation of this aisle from the Mallory Chapel to have been an
+afterthought; and a little further east a round-headed doorway, moulded
+with the edge-roll and retaining a panelled door of some age, opens into
+the Chapter-house. There was evidently a second and similar doorway a
+few yards further on, but it has been blocked (doubtless when the
+cross-wall was built at the back of it between the Chapter-house and
+vestry), and a square-headed doorway has been made to open into the
+latter. To the right of this entrance is a square-headed lavatory with a
+projecting rectangular basin and a hole knocked through into the lobby
+behind. This lavatory is of course an insertion, probably of the
+fifteenth century; indeed the whole of this part of the wall has been
+much repaired with limestone. The aisle is somewhat darkened by the fact
+that its first four windows look into the Lady-loft. Fortunately the
+three westernmost are original. They are as usual round-headed and
+plainly splayed, and their sills descend to the string-course in steps.
+Archbishop Roger's vaulting-shafts here are in better preservation than
+in the other aisle. The original vaulting itself must of course have
+been taken down when the three westernmost columns of the choir-arcade
+were rebuilt, but in the reconstruction the old ribs seem to have been
+used again. The groin-ribs have no room to descend upon the
+Perpendicular choir-capitals, and end prematurely upon corbels carved
+into faces.
+
+The westernmost bay of the aisle has been divided into two storeys, the
+upper of which now contains part of the mechanism of the organ, but is
+thought to have been once a chantry chapel. This curious chamber is
+reached through a pointed doorway at the top of the Library staircase in
+the south transept. Its roof is of course formed by the aisle-vault,
+which originally extended, doubtless, as far westwards in this aisle as
+in the other. The space, however, has been shortened by the great
+thickness of a Perpendicular cross-arch, which, though its southern
+respond obtrudes into the aisle below, is itself only visible from this
+chamber. When, therefore, the vaulting here was rebuilt, it had to be
+adapted to the shortened space, and the groin-ribs, which are very much
+of Archbishop Roger's pattern, spring from Perpendicular corbels carved
+into faces. The wall which separates this bay of the aisle from the
+choir was said above, quite truly, to be Perpendicular, but on this its
+southern face the masonry is apparently Archbishop Roger's. It is of
+gritstone, and behind the organ-bellows there remains a corbel like
+those of the cross-arch that props the vaulting in the corresponding bay
+of the north aisle. The presumption therefore is that the original
+vaulting was similarly propped here, and that the wall on which this
+corbel remains was built to block or strengthen the first choir-arch,
+and has survived the arch itself. To the west of the door a small square
+window looks into the Mallory Chapel.
+
+In its eastern portion this aisle resembles the other, but the
+bench-table here is only carried two bays westward, and the panelling
+only one bay. In the fifth bay from the west the window is shortened to
+about half the length of the others, and the string-course (which is of
+Archbishop Roger's pattern) is correspondingly raised, possibly because
+a longer window would have come below the springing of the vestry roof
+(in the period when there was no Lady-loft), or possibly (though this is
+less likely) to make room for the monument underneath, which, though
+placed here by Sir Gilbert Scott, who found it in pieces, may have
+occupied this position before. The monument is that of Moses Fowler,
+first Dean of Ripon (d. 1608), and the effigy is not a favourable
+example of English sculpture in the seventeenth century. Of the stained
+glass, that in the last window on the south side is of some merit. The
+capitals of the Decorated vaulting-shafts are better executed in this
+aisle than in the other. Here, as there, the Decorated vaulting begins
+in the middle of the fourth bay, where the fillet is again found upon
+the two eastern groins only. At the south-east corner of this aisle are
+the remains of a piscina--a fragment of a basin resting on a
+shaft--which probably belonged to one of the many chantries. The
+staircase at this corner affords the best access to the turret cell
+described in the last chapter, and to the attic over the choir, where
+the framing of the roof is a very remarkable specimen of modern joinery.
+
+On account of the alterations that have taken place at different periods
+in the part of the Cathedral south of the choir, it will be well to
+examine the crypt under the Chapter-house before examining either the
+latter itself or the Library.
+
+=The Norman Crypt.=--A round-headed doorway in the west wall of the
+Chapter-house admits to a staircase which, roofed with a sloping
+barrel-vault and descending southwards, turns eastwards, under another
+round arch, into the crypt. The age of this staircase is uncertain, but
+its west wall is of course the east wall of Archbishop Roger's transept,
+and its barrel-vault is under his buttresses which will be seen in the
+Library. The crypt is divided by a cross-wall with a round arch in it
+into two portions, each having the vaulting supported on pillars along
+the middle; but half of the first and third bays of the western portion
+has been walled up in modern times for burial-vaults. The width of the
+crypt is about 18 feet and the total length about 68 feet.
+
+  [Illustration: THE NORMAN CRYPT.]
+
+This part of the church was assigned by Walbran to Thomas of Bayeux
+(1070-1100), and by Sir Gilbert Scott to Thurstan (1114-1141); but it is
+quite possible that both these Archbishops, if not Oda or Oswald before
+them, may have had a share in its construction. Much of the work at any
+rate belongs to a Norman church which preceded that of Archbishop Roger.
+
+In the vaulting (which by-the-way has had to be propped at some period
+by two rude pointed limestone arches at the west end) the chamfered
+groin-ribs seem to have been added later for strength, probably when the
+storey above was remodelled; but the vaulting itself, with its square
+pillars, its plain round arches from pillar to pillar and from pillar to
+walls, and without ribs upon the groins (such having been its original
+condition, apparently), seems pure Norman work.[104] The traces of
+painted decoration remaining upon both pillars and vaulting are probably
+original. Along the walls the arches spring, not from corbels, but from
+short strings of the same pattern with the impost-moulding on the
+pillars--a pattern not of very early character. The north and south
+walls must, perhaps, be as old at least as the vaulting which rests
+against them; nor does the former wall seem quite on the same plane with
+the portion of Archbishop Roger's choir foundations visible outside
+(between the present choir and the apse), he having perhaps built his
+wall against this one. The large limestone buttress against this wall,
+and another buttress which rises from the east wall but is hidden by the
+vaulting, were added in the Decorated period, and can be followed up
+through the two storeys above. They terminate in the pinnacles of the
+flying buttresses that span the choir-aisle. The south wall may perhaps
+be definitely placed somewhat early in the Norman period, since the
+windows are splayed both internally and externally.[105] Of equal age,
+probably, is the cross-wall (which, to judge from the mass of masonry
+that spans the present passage of communication between the two parts of
+the crypt, is very thick) since allowance is made for its thickness in
+the spacing of the windows.[106] It is at least as old as the vaulting,
+whose bays are arranged to suit it; and moreover the half-pillar against
+its eastern side has never been a whole pillar, as the capital plainly
+shows. This last remark applies also to the half-pillar against the
+extreme west wall, which therefore may perhaps be taken as marking the
+westward limit of the crypt at the time when the vaulting was
+constructed; while the east wall (excluding the apse) probably marks
+the contemporary eastward limit--if, that is to say, the eastern portion
+of the vaulting has not undergone alteration. That eastern portion is
+clearly planned for an apse or chancel of some kind. The arch that rises
+eastward from the last pillar is stopped half-way in its course by a
+cross-arch opening into the apse, and the two last groin-ribs are
+carried from the pillar to the abutments of the cross-arch, being
+obliged by this contraction of span to form the only pointed arches in
+the whole vaulting. Such an arrangement--a 'nave' terminating in an
+apse, and at the same time divided by a row of pillars along the
+middle--is somewhat unusual. The present apse is of uncertain date. Part
+of it may be Norman. Its window indeed is of early Norman type: yet its
+wall seems of softer stone than the rest of the crypt,[107] and the
+string which runs along the east wall of the latter and round the
+responds of the cross-arch is there broken off: moreover, the cross-arch
+itself is clearly not of the same date or construction with the two ribs
+of the apse-roof, which ribs may possibly be of the same date as the
+groin-ribs; and lastly, it will be remembered that the shafts on the
+exterior had something of the appearance of Archbishop Roger's work. The
+floor of the apse is raised on two steps, but there is no trace of an
+altar.
+
+It will be noticed that at the south-east corner there is no apsidal
+chamber to correspond to that in the storey above. There is, however, an
+unsavoury hole from which have been extracted a number of skulls.
+Indeed, this crypt formerly contained huge piles of bones, which had
+probably been brought here by the sixteenth century builders from the
+foundations of their new nave-aisles,[108] and which were removed in
+1865 to a pit in the graveyard. Among the stone relics which have found
+a resting-place here, the most interesting are a sarcophagus, the head
+of a cross of Saxon character, and a group of coffin-lids near the north
+wall. Most of these last are perhaps of the thirteenth century.[109] At
+the west end of the crypt is preserved Blore's reredos.
+
+=The Chapter-house= is 22 feet wide from wall to wall and 35 feet long,
+but it was evidently once open to the vestry, and the dividing wall,
+which with its bench-table is of limestone, was erected in the Decorated
+or in the Perpendicular period. In both rooms, as also in the storey
+above, the original floor was perhaps of stone or tiles, but if so, it
+has been covered or superseded by wooden planking.
+
+The Chapter-house is marked as such by the stone benches which are
+carried in two tiers along the north and south walls. On the north side
+the upper tier is interrupted by the piers of an arcading of plainly
+chamfered round arches, the central bay of which contains a fine
+mediæval cupboard with iron scroll-work. The doorway into the choir is
+very curiously treated on this side. It is surmounted first by a lintel,
+the stones above which are wedges forming a 'flat arch,' and then by a
+round arch so high as to run up behind the westernmost arch of the
+arcading. The very fine vaulting, although some have ascribed it to the
+Early English period, belongs more probably to the time of Archbishop
+Roger. Unlike that over the choir-aisles and the Markenfield chapel,
+however, it has all its arches rounded, and is without wall-ribs. It
+springs from five-sided corbels which, like the corbels of the old nave,
+are finished off with scrolls, and which on the north side are placed
+against the piers of the arcading; and in the middle of the room it is
+supported on two cylindrical and monolithic pillars. The bases and
+capitals of these are circular, and the former are almost pure Early
+English, the plinth having a round moulding at the bottom, and the base
+proper consisting of two round mouldings separated by a hollow, with one
+or two beads or fillets. The capitals are less advanced in style, as the
+part just above the bell is not moulded and the abacus retains the
+square edge. All the eight ribs that rise from each pillar resemble the
+groin-ribs in the crypt.
+
+  [Illustration: THE CHAPTER-HOUSE.]
+
+The arcade against the north wall is continued in the vestry, and it has
+been thought that it is Norman, and that its arches were once open.[110]
+But had this ever been the case the piers would surely have been
+narrower, and would have had capitals. Indeed, it is doubtful whether
+the arcade is Norman at all: for if it were, its bays might be expected
+to agree in span and number with the (presumably Norman) bays of the
+crypt, whereas there are five bays there and only four here occupying
+the same total length. Secondly, the set-off on which its piers stand is
+probably Archbishop Roger's work, as will appear later; and the piers
+themselves seem to be of the same construction with the wall behind
+them, which again is almost certainly his. Moreover, it is significant
+that the arches agree in span with those of his choir, and that their
+piers are back to back with his vaulting-shafts in the choir-aisle.
+Lastly, these piers correspond in width with his buttresses on the north
+side of the choir. In fact it is difficult to resist the conclusion that
+they are Archbishop Roger's south choir buttresses in disguise,[111] and
+that the arches between them were thrown across merely to form a
+straight boundary for the vaulting, and to carry a ledge which (when
+there was no storey above) might support the external roof. The piers
+indeed are carried up, with a 'straight joint' on either side, above the
+springing of the arches, and the latter are constructed as if they had
+been let into the piers as an after-thought.[112]
+
+As the bays of this arcade, to which the vaulting is adapted, do not
+agree with those of the crypt, it follows that the two cylindrical
+pillars here do not stand exactly over the pillars below--which
+strengthens the presumption that the vaulting there is of earlier date,
+and that its groin-ribs were added later for strength: nor does the
+dividing wall here stand exactly over the cross-wall below, so that the
+strain on the crypt roof must be considerable.
+
+The two round windows are very widely splayed, and the uppermost part of
+their rim has a different curvature from the rest, as if they had once
+been straight-sided and round-headed. In their present form they are of
+uncertain date. The most conspicuous instance of the employment of this
+rare type of window--viz., the nave of Southwell Cathedral--is pure
+Norman, but the received opinion ascribes these Ripon examples to the
+time of Archbishop Roger, and it will be observed that their position
+harmonizes with the bays of the vaulting, which is presumably his, but
+has no relation externally to the spacing of the windows of the crypt,
+which, moreover, have an external splay. The third window was once
+circular like the rest, for a portion of the rim may still be traced;
+but as it would otherwise have been bisected by the cross-wall, the
+later builders have blocked half of it and squared the rest, splaying it
+at the same time like a squint. The date of the south wall itself is
+doubtful. It is thinner here than in either the vestry or the crypt.
+
+  [Illustration: The Resurrection.
+   St. Wilfrid.
+   The Coronation of the Virgin.
+   ANCIENT SCULPTURES PRESERVED IN THE CHAPTER-HOUSE.]
+
+Near the modern hearth is a case of curiosities found about the church,
+among them several fourteenth or fifteenth century reliefs in alabaster,
+representing the Resurrection, the Coronation of the Virgin, the story
+of Herodias, and the figure of a bishop, probably St. Wilfrid, with a
+curious P-shaped implement on his arm.
+
+At the north end of the cross-wall it will be observed that the blocked
+doorway noticed in the choir-aisle was not round-headed on this side,
+but segmental. The square-headed doorway in the cross-wall itself is
+modern, and opens into a lobby, the opposite side of which is formed by
+the Decorated buttress whose lower portion was noticed in the crypt,
+while on the left is the doorway into the choir, and on the right
+another square-headed doorway, opening into the vestry.
+
+=The Vestry.=--Before the erection of the cross-wall the vaulting
+evidently extended eastward continuously to the apse, which still
+contains a fragment of it with two corbels, while further traces,
+including another corbel, may be seen upon the south wall. Its removal
+may have taken place either when the two Decorated buttresses were
+introduced, or at the erection of the Lady-loft, or possibly much later;
+but was doubtless contemporaneous with the building of the cross-wall,
+which was evidently intended not only as a partition, but as a 'stop'
+for the portion of the vaulting that was retained. The present ceiling
+was put up by Sir Gilbert Scott, who, it is said, would have restored
+the vaulting had funds allowed. Of the buttresses, that adjoining the
+doorway has in its front, as well as in the side toward the lobby, a
+small trefoiled and moulded recess. These two buttresses are built
+against the piers of the arcading, part of the last arch of which is
+visible behind the cupboard.
+
+In the same cupboard may be observed, scarcely above the floor, a wide
+stone ledge with a bold moulding worked along the front. If the floor
+can ever have been lower than it is now, this ledge may have been used
+as a bench. In itself, it is of course the set-off on which the piers of
+the arcading stand. Now it will be remembered that the portion of
+Archbishop Roger's wall-base visible from the graveyard (between the
+choir and the apse) has at the top a wide set-off or slope. This ledge
+in the vestry, then, seems to be level with the base of that slope,
+where moreover there is a moulding similar to that found here; also the
+front of the ledge here seems to be flush with Archbishop Roger's
+masonry there.
+
+If, then, the work there is his,[113] the above considerations afford
+some reason surely for the belief that this set-off on which the piers
+of the arcading stand, and perhaps also the uppermost courses of the
+wall beneath it, are Archbishop Roger's work. Nor is it improbable that
+this set-off once had a slope, of which that above-mentioned was the
+continuation, and out of which the buttresses (_i.e._, the arcade piers)
+rose after the manner of those on the other side of the choir--in fact,
+that Archbishop Roger intended to make this wall the exterior of his
+church by demolishing the crypt, vestry, and Chapter-house; and that it
+was only after some such idea had been conceived and abandoned, that the
+arches were thrown across from buttress to buttress, the vaulting
+constructed against them, this ledge formed (by cutting away the slope
+of the set-off), and the stone benches carried along the wall of the
+Chapter-house.
+
+The arch above the ledge has been mutilated to make way for a modern
+spiral staircase of wood leading to the Library. Half-way up this
+staircase there remain upon the wall and upon the buttress (if it may
+now be so called) portions of a string-course which may be taken perhaps
+as additional evidence for the theory that Archbishop Roger at first
+intended to demolish the vestry and Chapter-house.[114] It does not,
+however, match the external string on the other side of the choir, but
+resembles the internal string in the choir-aisles.
+
+The single window in the south wall is round-headed internally, and is
+partially splayed on one side and not at all on the other: indeed the
+wall here appears to have undergone some alteration. In this room this
+wall is of the same thickness with the corresponding wall of the crypt,
+which is not the case in the Chapter-house.
+
+East of the above window a square-headed doorway opens into the apsidal
+chamber enclosed by the corner buttress. This curious little chamber was
+probably a sacristy or treasury. It has a recess in the west side, and
+seems to have communicated directly with the graveyard. In the roof is a
+slab which has a small cross graven upon it, and which may have formed
+part of an altar.
+
+The projection at the south side of the apse was probably one of the
+responds of an arch against which the vaulting abutted, as in the crypt.
+Under the east window the curve of the wall has been flattened, probably
+to afford a better back for the altar, of which the step remains. On the
+north side is an aumbry, with a recess adjoining it in the side of the
+buttress; and on the south side is a smaller aumbry, and a piscina with
+a projecting basin and a semicircular head, the latter cut apparently in
+one stone. This again is probably one of the earliest piscinæ in
+existence. The curve of the apse is wider in this storey than below,
+which partly accounts for the fact that the adjoining Decorated buttress
+protrudes here into the room. There is also a difference in the stone
+used, and in several other particulars, _e.g._, the two windows here
+have very little external splay--all of which may or may not indicate a
+difference in date between the apse in this storey and in the crypt. The
+hand of Archbishop Roger seems traceable here not only in the external
+shafts and corbel-table, but also in the trefoiling (externally) of the
+east window. The two vaulting-corbels at any rate seem to be his, as
+well as the piscina. The upper part of the apse has lost its
+semicircular shape and been squared, and some masonry has been thrown
+across from its wall to the Decorated buttress, the motive having been
+perhaps to make a better support for the rectangular east end of the
+Lady-loft. The oak table in this room was probably the Communion-table
+of the church during the period following the Reformation.
+
+The question now arises how long the vestry and Chapter-house have
+served their present purpose. Of the arrangements in this storey before
+the time of Archbishop Roger nothing can be recovered with certainty,
+but the (presumably Norman) wall between the two parts of the crypt
+suggests by its thickness that it was intended to support a division of
+some kind above. After being remodelled in the time of Archbishop Roger,
+however, this upper storey was evidently open from end to end, and its
+apsidal termination, containing both piscina and altar-step, indicates
+that it was a chapel: indeed, as has been well suggested, it was
+probably the original Lady Chapel. Nevertheless, in an age when every
+action of life was invested with a religious character, the western part
+may have been used for capitular purposes even without a dividing wall,
+and the gritstone benches, so significant of those purposes, are
+doubtless of considerable age. The statement in the old Records that the
+trial of 1228[115] was held _apud Rypon in Aulâ Capituli_ is definite
+enough to show that there was a recognised place for Chapter meetings;
+nor is it improbable that the reference may be to the present building.
+Some doubt is thrown upon this conclusion by a proclamation of
+Archbishop Lee in 1537 sequestrating the Common Fund on the ground that
+"the Chapter-house is ruinous in walls, roof, and stonework generally,
+so that it is likely to fall." These words, it has been thought, can
+never have been applicable to the present Chapter-house, and it has been
+suggested therefore that there may have been another which has
+disappeared. Archbishop Lee's words, however, are perhaps not
+irreconcilable with the present building. They may refer to the serious
+settlement which necessitated the huge Perpendicular buttress at the
+corner of what is now the vestry. There is, it is true, some difficulty
+in the fact that it is not the vestry but the Chapter-house which is
+mentioned, and in the allusion to a dilapidated roof (_tectura_); but it
+is conceivable that there was as yet no dividing wall, that the vaulting
+of what is now the vestry was still standing, that it had been injured
+by the settlement above-mentioned--in fact that its removal and the
+erection of the dividing wall took place in the time of Archbishop Lee.
+His direction for repairs may also account for the presence of limestone
+in the north wall of the Chapter-house, and for the propping of the
+vault at the west end of the crypt.[116] As has already been shown, the
+history of the vestry is bound up with that of the Chapter-house. At
+what period services ceased to be held at the altar in the apse, it is
+difficult to say; perhaps on the completion of a Lady Chapel above,
+perhaps on the erection of the dividing wall,[117] perhaps through the
+advent of the Reformation. At any rate, it was probably not before this
+part of the church had ceased to be used for services that it began to
+be recognised as a robing-room. There is an allusion to a recognised
+vestry in Leland, and very possibly the present room is meant; if so, it
+would seem from his account to have been used also as a library. But the
+fact remains that the church possesses no vestry except what is
+obviously a disused chapel.
+
+=The Lady-chapel= or Lady-loft is 23 feet 3 inches wide, and 68 feet
+long.[118] Its west and north sides, being formed by what was once the
+exterior of the church, display not only windows and buttresses, but
+also a string-course with gargoyles. From the west wall projects one of
+Archbishop Roger's buttresses, terminating in a slope, between the two
+blocked windows of the Mallory Chapel, which resemble the aisle windows
+of the other transept. The window on the right, mutilated by the
+insertion of the doorway, has lost its shafts, and retains only their
+capitals. The other window is partly cut off by the south wall, and is
+now a cupboard.
+
+In the north wall, the first three bays are Archbishop Roger's, and the
+windows resemble in their treatment the two just described, and are
+separated from each other by two buttresses which terminate, like those
+on the opposite side of the choir, in two slopes one close below the
+other. There is a third buttress, terminating in a single slope, at the
+angle formed with the transept. The Decorated window in the fourth bay
+is treated in the same manner as the rest of those in the eastern
+portion of the choir-aisles, and the Decorated buttresses which flank it
+are those which have been followed up from the crypt. The rich
+string-course or cornice along the top of this and the west wall
+corresponds with that on the other side of the church. The gargoyles are
+of course Decorated, and so is the string-course itself, eastwards at
+any rate of the second gargoyle on the north wall, for here one of the
+mouldings has a fillet upon it. Whether the rest of the string is
+Archbishop Roger's work or not, it is difficult to decide.
+
+The large windows in the south and east walls are surmounted by square
+labels ending in heads. Above the modern fireplace is the defaced
+monument of Anthony Higgin, second Dean (d. 1624), the founder of the
+present library; and further east, under the small lancet window (which
+is filled with fragments of stained glass), is an arched recess of
+considerable size, and a trefoiled piscina, each surmounted by a gable
+moulding with a finial. The piscina probably belonged to the chantry of
+Our-Lady-in-the-Lady-loft. A large stone bracket, supported by a
+grotesque figure, projects from the east wall, and the east window is
+bright with armorial bearings of benefactors of the church. This glass,
+which is mostly of the eighteenth century, was once in the great window
+of the choir. The north side of the recess in which the east window is
+set, is partially splayed outwards to join the last Decorated buttress,
+which with its neighbour have been cut back in this storey to the plane
+of the pinnacles above--doubtless when this Lady-loft was added.
+
+The present pinewood ceiling was put up by Sir Gilbert Scott, but most
+of the carved angle-pieces in the panels came from an older roof of oak.
+
+  [Illustration: THE LIBRARY.]
+
+The history of the library begins with the MS. of the Gospels given by
+St. Wilfrid; and the ascription to him of various other gifts, which
+occurs in the writings of Peter of Blois (a Canon of Ripon in the
+twelfth century), implies at any rate that there was a library when
+Peter wrote. In 1466 money was bequeathed by William Rodes, a chaplain,
+_ad fabricam cujusdam librarii in ecclesiâ construendi_, words which may
+refer to the screening off for books of a portion of this chapel; but
+in Leland's time books were apparently kept in the vestry, though it is
+not certain that the present vestry is meant.[119] Except a few MSS. of
+Chapter Acts, Fabric Rolls, etc., none of the books now here are known
+for certain to have belonged to the church before the Reformation;[120]
+indeed the present collection began with the bequest of his books by
+Dean Higgin in 1624. The books were in this chapel in 1817, but in 1859
+they were at the Deanery. There are now over 5000 volumes, including
+seven MSS., of which one of the most notable is the Ripon Psalter
+(1418), containing the special offices for St. Wilfrid, and many printed
+books of the fifteenth and sixteenth centuries, among them two fine
+Caxtons. Many of the books have beautiful old bindings in stamped
+leather. The most interesting items in the collection are exposed in a
+glass case at the east end of the room.[121] Near the opposite end is
+another case containing the bones recently dug up under the site of the
+mediæval altar in the Saxon crypt.
+
+  [Illustration: THE OLD CHAPEL OF ST. MARY MAGDALENE'S HOSPITAL.
+   (From a pen-drawing by the author.)]
+
+
+FOOTNOTES:
+
+[55] This is what was meant by saying in Chapter II. that in each tower
+one side is older than the others.
+
+[56] In the interior of these towers the courses run level with those of
+Archbishop Roger's work--a fact which has been taken as indicating that
+the lowest portion of the towers internally (but not, of course, the
+tower arches) may be actually his work. The theory that his west front
+was flanked by towers or chambers of some kind is not improbable.
+
+[57] A triforium is properly a gallery, open to the church, between the
+internal and external roofs of the aisles, but here there were no
+aisles, and the gallery or passage is in the thickness of the wall.
+
+[58] This term will be used wherever the usual term 'vaulting-shaft' is
+inapplicable.
+
+[59] The earth here has apparently been brought in from outside. Can it
+have come from some sacred spot abroad? The original floor, if not
+earthen, may possibly have rested on the set-off.
+
+[60] It has been suggested, however, that they may be relics of a feast
+buried here to defile the site of the altar. The bones in question are
+now in the Lady-loft.
+
+[61] With one of the deposits was found a brass bodkin of the type used
+in the sixteenth century.
+
+[62] It was Walbran, again, who gave these reasons for assigning the
+crypt to Wilfrid. Before his time it was thought to have been built
+during the Roman Occupation.
+
+[63] See article by Mr. J. T. Micklethwaite, V.P.S.A., in _Archæol.
+Journ._, vol. xxxvii. p. 364.
+
+[64] A _confessio_, it need hardly be said, has nothing to do with a
+confessional. The word is probably to be explained as meaning the tomb
+of one who had been a witness or _confessor_ of the Faith.
+
+[65] In making excavations for laying the wind-trunk of the organ the
+exterior of this wall was laid bare and appeared extremely rough. This,
+however, does not prove that it had never been meant to be seen. It may
+have been faced with smooth stones, which, just because they were
+exposed, attracted attention, and were removed by later masons for use
+elsewhere.--_Mr. Micklethwaite._
+
+[66] Among the five known Saxon crypts (all of the _confessio_ type)
+Ripon and Hexham alone show this peculiarity.
+
+[67] See _Proceedings Soc. Antiq._, 16th June 1892.
+
+[68] In making the above-mentioned excavation in 1891, Mr. Micklethwaite
+found what was presumably the floor of the body of Wilfrid's church. It
+was of plaster 3 inches thick, and was 1 foot 7 inches below the floor
+of the present Cathedral.
+
+[69] The explanation of the crypt as a _confessio_ is due to Mr.
+Micklethwaite, and is ably set forth, with its consequences, in
+_Archæol. Journ._, vol. xxxix. p. 347.
+
+[70] The square termination of the crypt is in favour of a square
+presbytery; while his Roman proclivities are perhaps slightly in favour
+of an apse, and of aisles.
+
+[71] _Surtees Soc._, vol. lxxiv. p. 83.
+
+[72] It is certainly true that numerous white _tesseræ_ of Italian
+character, such as Wilfrid might have used, have been dug up on this
+site (_Murray's Cathedrals_, Pt. 1, p. 172, n. 1). They may, however,
+mark the site of the domestic buildings and not of the church. Or they
+may be relics of the Roman Occupation.
+
+[73] By Walbran in _Proceedings Archæol. Inst._, York Vol. 1846 (pub.
+1848).
+
+[74] There is an interesting suggestion in _Murray's Cathedrals_, Pt. 1,
+p. 172, n. 2, that the church of which the crypt formed a part was built
+not by Wilfrid but by Eadhead, who, as the supplanter of Wilfrid, would
+probably be excluded from Wilfrid's monastery, but who may,
+nevertheless, have employed his workmen. The western position of the
+altar, however, is against placing the work as late as the episcopate of
+Eadhead.
+
+[75] The suggestion is Mr. Micklethwaite's. _Altare_ would, of course,
+mean the high altar in the presbytery above.
+
+[76] A third font (modern) formerly stood in the north-west tower.
+
+[77] It is curious that the same story should be told of Roger de
+Mowbray, founder of Byland Abbey in this same county. (_Murray's
+Cathedrals._)
+
+[78] Another suggestion is that the subject has some connection with the
+history of the Disobedient Prophet.
+
+[79] _Surtees Soc._, vol. lxiv. p. 92.
+
+[80] But for the label, these arms resemble those of John of Eltham
+(brother of Edward III.), who died without issue in 1334.
+
+[81] It is pleasant to find in the church several indications of aid
+received from the other great ecclesiastical foundation in the
+neighbourhood.
+
+[82] Taken by itself, the coarseness of the work in the tower and
+transept would suggest that these parts were later, and not earlier,
+than the nave. But (not to mention documentary evidence), if they were
+later, then the Rood Screen must be later also, which can hardly be the
+case, the stalls against it being dated 1489.
+
+[83] Probably (as Walbran suggested) with money subscribed for the
+tower, the completion of which was perhaps the less pressing necessity.
+
+[84] In the large mediæval churches there was usually an altar at the
+east end of the nave.
+
+[85] It may have been put here at the time of the building of the
+present nave, than which it is perhaps slightly earlier.
+
+[86] The Markenfields were one of the principal families in the
+neighbourhood from the fourteenth century onwards, until in the reign of
+Elizabeth they ruined themselves by taking part in the Rising in the
+North. Their ancient moated Manor-house, in which both the knights
+sculptured on these altar tombs must have lived, is still standing,
+about three miles from Ripon, towards Harrogate.
+
+[87] This aisle was also the site of the chantry of St. Andrew.
+
+[88] In these pages this term is used to describe round mouldings which
+are brought to an edge without actually having a fillet upon them.
+
+[89] By Mr. Francis Bond.
+
+[90] In spite of Sir G. Scott's conjectural plan. (See p. 67.)
+
+[91] It is possible that the screen there mentioned may be the present
+structure, or may have been incorporated into it. In 1408 the accident
+to the tower had not yet occurred, and the piers that now flank the
+screen had therefore not yet been built. There is a not very credible
+story that the present screen came from Fountains Abbey.
+
+[92] This peculiarity is found at some other places--_e.g._, St. Cross,
+Winchester.
+
+[93] This column and that opposite to it on the north side have been
+regarded as entirely Decorated imitations of Archbishop Roger's columns,
+but surely without sufficient reason.
+
+[94] See also the account of the East End in Chapter II., pp. 60-63.
+
+[95] Two holes have been drilled through the rear-vault from the attic
+above, but for what purpose it is hard to say.
+
+[96] It appears from the Fabric Rolls that a new high altar was begun in
+1522. The work seems to have lasted four years, and apparently included
+a carved wooden reredos.
+
+[97] _Subtus altare_ suggests a crypt, but there seems to have been no
+crypt under the choir. Perhaps the _altare_ meant may have stood over
+the Saxon or the Norman crypt.
+
+[98] Mention may be here made of the Communion plate, some of which is
+as old as 1676 and has upon it representations of the church, very
+incorrect but showing the spires; also of the mace which is now borne
+before the Dean, and which has been assigned to the fifteenth century
+and may possibly have been once borne before the Wakeman. Upon the top
+has been engraved an _Agnus Dei_, the cognizance of the church.
+
+[99] A piece of woodwork, however, which was in the north aisle at the
+time of the last restoration, is said to have borne the date 1397.
+
+[100] The old miserere was probably removed when the Throne was made to
+comprise two stalls. (_See_ p. 111.)
+
+[101] It has been supposed that these niches were for figures of St.
+Peter and St. Wilfrid, and that the same was the case with the two
+niches which form the ends of the lower tier in the Rood Screen, and
+also with those which flank the west doors. It may also have been the
+case with the two eastward projections (if there were two) from the
+western piers of the Central Tower.
+
+[102] Below the string-course there is a certain amount of limestone in
+the wall, but this hardly accounts for the language of a Chapter minute
+which records a meeting in 1546 to consider the repair of certain
+_defectus et ruinositates apertae tam campanilis quam muri lapidei
+insulae borealis_.
+
+[103] Above the shrine there hung, apparently, a gilded crescent like
+that above the site of St. Thomas's shrine at Canterbury. The bones were
+enclosed in a splendid coffer with poles attached, and on solemn
+occasions this 'feretory,' besides being carried in procession, was
+sometimes placed under a tent in the fields. It was also very
+elaborately renewed in 1520 (_Surtees Soc._, vol. lxxxi. p. 204, n.,
+etc.). Portions of the shrine exist, perhaps, in the alabaster
+bas-reliefs in the Chapter-house, as well as in the base of the railing
+in the north aisle of the nave.
+
+[104] It may, however, be later than the main walls.
+
+[105] The lower portion of this wall seems to be of an even earlier type
+of masonry than the upper. A somewhat similar difference between the
+upper and lower portions may be observed in the east and north walls
+also.
+
+[106] The late doorway approached by four steps, east of the cross-wall,
+occupies the place of one of the windows.
+
+[107] Three kinds of stone occur in this crypt: a sandstone, a fine
+gritstone, and a coarser and harder gritstone.
+
+[108] There are numerous entries in the Fabric Rolls, from 1512 onwards,
+relating to expenses 'for the carriage of the bones.'
+
+[109] One has a sword graven upon it, another a pair of shears (closed),
+another a book and a chalice, the latter slightly tipped, while a
+gravestone lying in the apse has upon it a dagger, and a pair of shears
+open.
+
+[110] Since it is probable that the axis of the church has always, at
+all periods, passed over the Saxon crypt, the Chapter-house and vestry
+can hardly have been the south aisle of the choir before the time of
+Archbishop Roger (as Walbran supposed), for they are too far south;
+indeed, they would seem rather to have been a chapel thrown out from
+such an aisle.
+
+[111] In the storey above will be found certain buttresses which are
+clearly his, which stand exactly over these piers, and of which the
+latter are probably merely the lower portions.
+
+[112] The supposition that the arches were added afterwards would
+explain why the westernmost of them cuts off the top of the arch over
+the door.
+
+[113] That it is his can hardly be doubted. The moulding and slope at
+the top resemble those which characterize the wall-base throughout his
+work.
+
+[114] _Murray's Cathedrals_, Pt. 1, p. 180.
+
+[115] See Chapter I.
+
+[116] A view of the crypt as it was before the removal of the bones
+represents the vaulting as propped also by certain pillars of
+Perpendicular character. These may have been removed by Sir Gilbert
+Scott.
+
+[117] _I.e._, if that wall was not erected contemporaneously with the
+said Lady Chapel.
+
+[118] For its date see Chapters I. and II.
+
+[119] Can Leland mean that the books, then as now, were in the
+Lady-loft, and that part of it was used as a vestry?
+
+[120] In 1567 a number of books were found in 'a vawte' of the church,
+where they had been concealed for safety (_Surtees Soc._, vol. lxxxi. p.
+344).
+
+[121] For a full account of this interesting library, see the monograph
+by the Rev. Canon Fowler, F.S.A., of Durham, by whom the books were
+arranged in 1872. A copy is kept in the room.
+
+
+
+
+CHAPTER IV.
+
+OTHER OLD BUILDINGS IN RIPON.
+
+
+=The Deanery=, a stone house with two gabled wings, stands opposite to the
+north transept. It was built in or about 1625. The front bears the royal
+arms, and the hall contains some paintings of the kings and queens of
+England, which are more curious than valuable, and are probably of no
+very great age. Before the house is an ancient stone wall with
+strongly-marked base, gable coping, and a doorway whose trefoil head was
+apparently not made for its present position. This may perhaps be part
+of Abbot Huby's wall, or of the boundary-wall of either the Palace or
+the Bedern.
+
+Near the south-west tower is a fine red-brick house which doubtless
+remembers the Georges, or even Queen Anne. It has all the air of a
+prebendal residence, but if it was ever connected with the church, that
+connection has long ceased.
+
+Another red-brick house of some age, adjoining the picturesque ascent
+from High St. Agnesgate to the south transept, was the Canons' Residence
+up to 1859, when was bought the present Residence near the north-east
+corner of the graveyard.
+
+High St. Agnesgate contains several interesting buildings, foremost
+among which is =St. Anne's Hospital=,[122] formerly called 'The Maidens'
+Due' (Maison de Dieu), with its interesting ruined chapel. This is the
+only one of the three hospitals which was never affiliated to the
+Collegiate Church. The date of its origin has been placed shortly before
+1438, in which year a chantry was founded in its chapel. The hospital
+foundation was for four poor men and four poor women, and there were
+also two beds for 'casuals'; and the little community was under the
+charge of a priest. There was apparently no endowment. The domestic
+portion of the building was pulled down in 1869. Though it had been
+divided into cottages some time before that date, the original
+arrangements have been recovered from an old document and from certain
+indications that had survived in the fabric itself. Joined to the west
+end of the chapel was a sort of nave, divided down the middle by a
+partition, on one side of which were the beds for the men, on the other
+those for the women, while at the west end were two rooms for the
+priest. This 'nave' was probably open to the chapel, as the large size
+of the western arch of the latter seems to indicate, and possibly the
+infirmer inmates could attend the service without leaving their
+beds.[123]
+
+To pass to the chapel itself--a window in the north wall has been
+blocked with masonry, upon which is a shield of arms, thought to be
+those of Sir Solomon Swale of South Stainley, and surmounted by a
+Maltese cross with the letters S.S. and the date 1654 upon it. The west
+gable has once been crowned by a bell-cote, and attached to the
+south-west corner of the chapel are the remains of an arched doorway.
+The western arch of the building, curiously enough, is not in the middle
+of the wall. It is recessed and chamfered, and rests upon two
+semi-cylindrical responds, whose rather curious capitals do not follow
+the form of the shaft, but are triple and rectangular. The chapel
+internally is 20 feet 10 inches long and 11 feet 6 inches wide, and is
+not at right angles to its western wall, but inclines considerably
+toward the south. In the middle of the entrance is an octagonal basin,
+supported on a pedestal and having a shield on each of its sides. This
+is thought to have been a stoup for holy water. It is not, perhaps, in
+its original position, and the pedestal does not seem to belong to it.
+Opposite to the blocked window already mentioned, which has an aumbry
+east of it, there is a late square-headed window of two lights, whose
+arches do not reach quite up to the lintel, but are connected with it by
+short perpendiculars. East of this is a piscina with projecting
+semi-octagonal basin, trefoil head, and ogee hood, and with a small
+square window above and to the left of it. The stone slab on two stone
+supports against the east wall is probably the original altar, and
+tradition says that the ransom of a Scottish prince was paid down upon
+it. On either side of the altar is a stone bracket, that on the north
+side bearing a shield of arms.[124] The east window, which is blocked,
+is divided into two lights, and the head is almost filled by a large
+quatrefoil, of which the uppermost and lowermost foils are ogees. This
+window, and the piers and capitals of the western arch, give the
+impression that the chapel is of a date earlier than that usually
+assigned for the foundation of the hospital. The modern cottages are
+inhabited by eight women.
+
+  [Illustration: THE CHAPEL OF ST. ANNE'S HOSPITAL.
+   (From a pen-drawing by the author.)]
+
+Between St. Anne's Hospital and Bondgate Green Bridge stands the =Thorp
+Prebendal House=, now divided into several dwellings. Whether its
+existing fabric is as old as the Reformation or not, this was the site
+upon which dwelt the Canons of the mediæval prebend of Thorp. In 1391
+the hall of the then existing house was used for casting several bells
+for the Minster, and here, in later days, as Canon of Thorp, lived
+Marmaduke Bradley. The house is said to have been sold by Edward VI. to
+the Earl of Cumberland, and to have subsequently sheltered Mary Queen of
+Scots, James I, and Charles I. It is best seen from the adjoining
+bridge, whence its plastered walls, irregular gables, and stone roof
+form a picturesque foreground to the Cathedral. Of the dwellings into
+which it is now divided, the third from the bridge contains the grand
+staircase, which has twisted skeleton balusters.
+
+East of St. Anne's Hospital, there are two more old houses, one of
+which, known as =St. Agnes' Lodge=,[125] is of considerable interest. The
+body of it, long and low, with a high-pitched roof and with a massive
+chimney-stack buttressing one end, is said to be of the time of Henry
+VII., but derives much of its 'character' from the comparatively modern
+windows, which resemble the portholes of a ship. A wing added in the
+seventeenth century, with quaint curvilinear gable, projects into the
+garden behind. Within the house is a square hall, having above the
+fireplace some carving and a painted panel of the burning of London in
+1666. There is also a good oak staircase, and in the upper storey are
+several quaint features, including a cupboard that may have served for a
+hiding-place, and two 'powdering-closets' in which ladies' hair, or
+men's wigs, could be powdered in the eighteenth century. But the part of
+the house most interesting architecturally is the attics, where the
+framing of the king-post roof is extremely massive, while the floor is
+of _concrete_.[126] One of the roof-beams in the wing bears the date
+1693. This house disputes with the Thorp Prebendal House the honour of
+having sheltered Mary Queen of Scots on her way from Bolton Castle to
+Tutbury, and it is said that it was during her sojourn at Ripon that she
+addressed an appeal to Queen Elizabeth and received an offer of marriage
+from the Duke of Norfolk. St. Agnes' Lodge claims also to have been a
+temporary home of Turner, at the time when he was illustrating
+Whitaker's _History of Craven_ and _History of Richmondshire_. Whether
+this house or its immediately western neighbour were ever prebendal
+residences it is now difficult to say.
+
+Two old gabled houses remain in the Market-place, and one of them, now a
+basket-shop, is said to have been the residence of Hugh Ripley, last
+Wakeman and first Mayor of Ripon.
+
+At the north end of Stonebridgegate, and not far from the Ure, stands
+the =Hospital of St. Mary Magdalene=, sometimes called 'The Maudlins.' It
+was founded by Archbishop Thurstan (1114-1141) for secular brethren and
+sisters, and one chaplain. The brethren and sisters were not merely to
+benefit by the charity themselves, but were to minister to lepers and
+blind priests born within the Liberty of Ripon, a certain number of whom
+were received into the Hospital. Lepers from outside the Liberty were
+entitled to a night's lodging: so also apparently were any other
+strangers or mendicant clergy who might be passing through the town. On
+St. Mary Magdalene's day there was a dole of food to the poor. A second
+chaplain was subsequently added by the benefaction of one William de
+Homelyn. At some period, apparently after 1241, the character of the
+foundation was changed by another Archbishop, whose name is not known.
+The brethren and sisters disappeared, and the staff consisted henceforth
+of a Master and one chaplain, or sometimes two. The Master was appointed
+by the Archbishop, and was generally a clerk, though sometimes only in
+acolyte's Orders. In 1334 one John Warrener, of Studley Roger, founded
+here a chantry of two if not three priests. Thus there may have been no
+less than six clergy attached to this small chapel; but the number was
+not kept up, and at the Reformation there were, besides the Master, only
+the two priests of Warrener's foundation. The Hospital continued to
+minister to blind priests, and also to lepers until leprosy died out.
+The lepers' portion of the building was demolished about 1350. In
+1546-7 the inmates were 'five poor people.' All traces of the Master's
+house, the hall, the brewery, and the original dwellings have vanished.
+The dwellings were rebuilt in 1674, and again in 1875, since which date
+more cottages have been added, and a new chapel; and the hospital now
+accommodates twelve poor women. The Mastership, still in the gift of the
+Archbishop, is at present held with one of the canonries, and the cure
+of souls is discharged by a non-resident chaplain.
+
+  [Illustration: SEAL OF ST. MARY MAGDALENE'S HOSPITAL]
+
+Fortunately the old chapel remains. The main fabric is apparently
+Thurstan's. It is of gritstone, but has been much altered and repaired
+at later periods, when limestone has been used. To the later work belong
+the set-off of the base, the coigns, the parapet, the east part of the
+south wall, the framing of most of the windows and doors, and the
+buttress and bell-cote at the west end.
+
+The west front is now divided by a large buttress of many stages
+terminating in a slope, but the plinth of this buttress is apparently
+original. To the right of the buttress is a long two-cusped lancet
+light; to the left may be traced, perhaps, the outline of an original
+round-arched window; while on both sides there are sloping lines in the
+masonry, as if there had been an acutely-pointed gable here.
+
+The north side of the chapel has been propped at a late period by three
+sloping buttresses. At its western end is a doorway, the jambs of which
+seem original, while the pointed head is later. About half-way along
+this side is one of those 'low side windows' through which, it is
+supposed, the Sacrament was administered to lepers--indeed, the
+leper-house stood on this side of the chapel.[127] Though of limestone,
+this small lancet window, with its arch and dripstone trefoiled, is
+apparently of the thirteenth century, and an early example of its
+class. East of it are, first a Perpendicular window of two lights--late
+in character, and second a partially-blocked and possibly original
+doorway, perhaps for the priest, (though priests' doors are usually on
+the south side). Its outer arch is rounded, while the inner is pointed
+and has perhaps been altered.
+
+The east window is broad, finely arched, and surmounted by a bold
+dripstone terminating in heads. Its four lights, partially blocked, are
+round-headed, with rather large cusps, and in the upper part of the
+window there is much tracery, in which perpendicular lines lead up to
+arches that intersect. Indeed it is difficult to say whether this fine
+window is an example of late Perpendicular, or of the transition to that
+style from the Decorated.
+
+It is on the south side that the irregularity in the size, spacing, and
+level of the windows in this chapel is most marked. Here toward the
+eastern end is a square-headed Perpendicular window of two lights, much
+resembling the south window at St. Anne's Hospital, and surmounted by a
+square label. Next comes a small lancet, probably Early English, with no
+limestone about it. The next window is tall, rectangular, and without
+tracery, but the stump of a mullion remains on the sill, which is of
+gritstone. West of this is the principal entrance, a Norman arch,
+beneath which a pointed arch has been inserted, the original imposts,
+however, remaining. The upper arch is enriched with the chevron, and its
+dripstone with two rows of the round billet arranged chequerwise and
+with a moulding composed of a series of little crosses, rather
+suggestive of the dog-tooth.
+
+The interior has up to this time escaped 'restoration.' There have been
+repairs, but enough only to arrest decay, and the plaster has not been
+removed from the walls.[128] The length internally is about 49 feet and
+the breadth just over 16 feet. The floor is of brick, and the roof,
+which is almost flat, has been much renovated, but retains its original
+massive cross beams and wooden corbels. Internally the two western
+doorways are rounded, and just east of them the chapel is crossed by a
+late Perpendicular screen, which retains its folding doors, and has an
+uncommon effect due to the great length of the mullions in the upper
+part. The lower portion was once closed. It is perhaps more probable
+that this is the original position of the screen than that it ever
+stretched across the Sanctuary. Against the north wall is a fine old
+chest raised on feet and bound with many iron clamps ending in scrolls.
+It has a double lock and a ring at either end, and inside it is kept a
+curious bell of wood painted to resemble metal, and said to have been
+hung in the bell-cote by an unscrupulous official who had caused the
+real bell to be sold.
+
+The 'low side window' internally has a depressed pointed arch, and is
+widely splayed, as are also the tall and the short window opposite. It
+is remarkable that although the windows differ so much externally, yet
+internally all except the 'low side window' and the east window are of
+the form known as the 'shouldered arch,' a form which, by-the-way, is
+more usually employed in doorways.
+
+In front of the Sanctuary are preserved two old Perpendicular pews or
+stalls, with carved finials. The Sanctuary itself is raised on two
+steps, and extends eight feet from the east wall. The blocked door
+noticed on the exterior would open into the chapel immediately west of
+the line of the lower step.
+
+This is among the very few churches in the country which retain the
+pre-Reformation stone altar, and if the instance at St. Anne's Hospital
+is genuine, Ripon thus possesses two examples of this rare feature. The
+altar here is 7 feet 7 inches long, 3 feet 5 inches wide, 2 feet 11
+inches high, and has no step. Two of the usual five incised crosses (the
+larger cross near the middle is probably spurious) may still be traced
+upon the slab, the lower edge of which is chamfered off. In the front of
+the substructure are two deep recesses. The altar is flanked by two
+stone brackets. On the north wall is a third, and in the south wall a
+piscina with two-cusped arch and projecting basin.
+
+In front of the altar is a tessellated pavement 11 feet long and nearly
+4 feet wide. It is chiefly composed of red and blackish _tesseræ_; but
+in the centre is a circular medallion containing a large four-petalled
+white flower with a red centre and small red flowers between the petals,
+all upon a ground of black. It has been supposed that this pavement was
+taken from the neighbouring remains of some Roman building. As regards
+the central medallion this is probably the case, but the rest of the
+pavement seems to be later work, perhaps of the thirteenth century.[129]
+At the south end of the pavement is the slab of another and smaller
+altar, retaining three of its incised crosses.
+
+It appears from a document of 1306 that the chapel at that date
+contained certain 'relics' of St. Mary Magdalene.
+
+Of the mediæval bridges of Ripon =The North Bridge= alone survives.[130]
+It crosses the Ure on nine arches with bold buttresses, triangular in
+plan, between them, and is prolonged, with three smaller arches, over
+the low meadow which forms the southern shore. It is from this shore
+that the best view of it is to be obtained, a few yards down stream. The
+arches, some of them recessed, vary in height and span, but all are
+round save two, over one of which there is a corbel-table below the
+parapet. The other side of the bridge was remodelled some twenty years
+ago.
+
+
+FOOTNOTES:
+
+[122] In the mediæval records the street is almost invariably called
+Annesgate, and indeed was probably named after the hospital. The form
+'Agnesgate' is, however, not modern, for it occurs in 1462. It may have
+arisen from a trisyllabic pronunciation of 'Annesgate.'
+
+[123] Thus far I am largely indebted to a paper on this hospital by the
+Rev. W. C. Lukis, F.S.A. in the twelfth edition of Walbran's _Ripon_.
+
+[124] Possibly those of Boynton or Plumpton (_Parker_).
+
+[125] The house is not shown.
+
+[126] This latter peculiarity is found also in a house at Bishopton, a
+mile off.
+
+[127] Some archæologists, however, hold that the purpose of low side
+windows was to display a light to scare away demons.
+
+[128] It is probable that in the interior of many of our old churches
+the surface of the stone was never meant to be seen, and was covered
+with plaster at the time of building. The plaster was doubtless often
+adorned with designs in colour.
+
+[129] This view is held by Mr. Micklethwaite. The white _tesseræ_ in the
+medallion resemble some which were dug up in 1837 on the site assigned
+by Leland to the 'Old Abbay of Ripon' and which have been adduced to
+support the view that Wilfrid's Abbey Church stood on that site and not
+on the site of the present Cathedral (see p. 77 and n. 4 there).
+
+[130] The others were Bondgate Bridge (over the Skell), Bishopton Bridge
+(over the Laver), Hewick Bridge (over the Ure below the town), the
+Archer-bridge, and the 'Esgel-bridge.' The position of the two last is
+uncertain, and the rest have long been rebuilt. Bishopton Bridge had a
+chapel upon it with which was connected a hermit. In the middle ages the
+bridges were under the charge of the Archbishop. They were often the
+recipients of bequests, but were themselves made to contribute to the
+Common Fund of the Collegiate Church, by means of money-boxes which were
+placed upon them.
+
+
+
+
+APPENDIX.
+
+
+ABBOTS OF THE SAXON MONASTERY.
+
+  ST. EATA                                    _c._ 657-661.
+  ST. WILFRID                                      661-709.
+  TATBERHT                                             709.
+  BOTWINE                                         died 786.
+  ALBERHT                                          786-787.
+  SIGRED                                               787.
+  UILDEN OR WILDENG                                       ?
+
+
+CANONS OF STANWICK IN THE MEDIÆVAL COLLEGIATE CHURCH.[131]
+
+  Geoffrey de Bockland                        _circa_ 1226.
+  Laurence de Topcliffe                       _circa_ 1230.
+  Eadmund de Maundevill                      resigned 1279.
+  Anthony Beck[132]                                   1279.
+  Roger Swayne                         _c._ 1285-_c._ 1311.
+  Richard de Henney                         1311-_c._ 1315.
+  William de Seton                          1316-_c._ 1320.
+  Thomas de Cave                            1320-_c._ 1322.
+  Robert de Rypon                           1322-_c._ 1333.
+  Peter de Wetwang                                    1333.
+  John de Crakhall                     _c._ 1344-_c._ 1378.
+  John de Seggefield                             1378-1384.
+  John de Middleton                              1384-1397.
+  John de Dene[133]                         1397-_c._ 1435.
+  Simon Alcock                              1435-_c._ 1436.
+  Richard Morton                               1436-? 1447.
+  John Clere                                   ? 1447-1478.
+  Robert Symson                                  1479-1481.
+  Thomas Bakehouse                          1481-_c._ 1521.
+  Richard Dean                         _c._ 1535-_c._ 1545.
+  Christopher Seale                       _c._ 1545-? 1547.
+
+
+DEANS OF KING JAMES I.'S FOUNDATION.
+
+  Moses Fowler, B.D.                             1604-1608.
+  Anthony Higgin, B.D.                           1608-1624.
+  John Wilson, D.D.                              1624-1634.
+  Thomas Dod, D.D.[134]                     1635-_c._ 1645.
+  John Wilkins, D.D., F.R.S.[135]                1660-1668.
+  John Neile, D.D.[136]                          1674-1675.
+  Thomas Tullie, D.D.                                 1675.
+  Thomas Cartwright, D.D.[137]                   1675-1686.
+  Christopher Wyvill, D.D.[138]                  1686-1710.
+  Heneage Dering, LL.D.[139]                     1710-1750.
+  Francis Wanley, D.D.[140]                      1750-1791.
+  Robert Darley Waddilove, LL.D., F.S.A.[141]    1792-1828.
+  James Webber, D.D.                             1828-
+
+
+DEANS OF THE CATHEDRAL FOUNDATION.
+
+  James Webber, D.D.[142]                            -1847.
+  The Hon. Henry David Erskine, D.D.[143]        1847-1859.
+  Thomas Garnier, B.C.L.                         1859-1860.
+  William Goode, D.D., F.S.A.                    1860-1868.
+  Hugh M'Neile, D.D.                             1868-1876.
+  Sydney Turner, B.A.                                 1876.
+  William Robert Fremantle, D.D.                 1876-1895.
+  The Hon. William Henry Fremantle, D.D.              1895.
+
+
+BISHOPS OF RIPON.
+
+  EADHEAD                                          681-686.
+  CHARLES THOMAS LONGLEY, D.D., F.S.A.[144]      1836-1856.
+  ROBERT BICKERSTETH, D.D., F.R.S.[145]          1857-1884.
+  WILLIAM BOYD-CARPENTER, D.D.                        1884.
+
+
+FOOTNOTES:
+
+[131] The mediæval College of Canons had no official head, but the
+Prebendary of Stanwick, as Ruler of the Choir, was generally in
+residence, and was in some sense the most important of the Canons. He
+did not, however, preside, at least not if any other Canon was in
+residence. Thus Christopher Dragley (Prebendary of Monkton) was often
+_Praesidens Capituli_ from 1533 to 1539, and Marmaduke Bradley
+(Prebendary of Thorp) from 1544 to 1546.
+
+[132] Afterwards the celebrated Bishop of Durham, one of the most
+prominent personages at the court of Edward I.
+
+[133] A brass to him is preserved in the Cathedral. The inscription was
+probably cut in his lifetime, for the space for the date of his death is
+left blank. He helped to found the chantry of St. Wilfrid, and is buried
+in the Choir.
+
+[134] Deprived by the Parliament when they suppressed the Chapter.
+
+[135] One of the founders of the Royal Society: married Oliver
+Cromwell's sister: became Bishop of Chester.
+
+[136] Buried near the vestry door.
+
+[137] Became Bishop of Chester, and was a strong supporter of James II.
+
+[138] Buried within the Altar-rails (brass).
+
+[139] Buried in the north choir-aisle (tablet).
+
+[140] Buried in the Cathedral (formerly there was a tablet in the south
+aisle of the nave).
+
+[141] Tablet in the Chapter-house.
+
+[142] Buried within the Altar-rails.
+
+[143] Buried in the graveyard near the north-east corner of the choir
+(tomb by Sir Gilbert Scott).
+
+[144] Afterwards Bishop of Durham, then Archbishop of York, and finally
+Archbishop of Canterbury. The modern diocese of Ripon does not
+correspond in area with that over which Eadhead presided (_see Chap.
+I._)
+
+[145] Buried in the graveyard near the south-east corner of the choir.
+
+
+
+
+INDEX.
+
+
+  ABBOTS, list of, 142.
+
+  Ailcy Hill, 9.
+
+  Aisles of the nave, 78;
+    south aisle, 79;
+    north aisle, 81;
+    of the choir, (north) 113;
+      (south) 115.
+
+  Archbishops of York, 13 _et seq._
+
+  Athelstan, King, 9.
+
+
+  BAS-RELIEF of lion, 80.
+
+  Bedern, the, 24, 26, 34.
+
+  Bells, the, 43.
+
+  Bishops of Ripon, 143.
+
+  Bridge, the North, 141.
+
+
+  CANONS, irregularities of the, 23.
+
+  Canons of Stanwick, list of, 142.
+
+  Chantries, 28.
+
+  Chapter, the, 29, 30;
+    re-established, 31, 33, 34, 37.
+
+  Chapter-house, the, 53, 122-125.
+
+  Charles I., 34.
+
+  Choir, the, 49, 58;
+    interior, 96-117.
+
+  College of Canons, the, 12, 17, 22, 30.
+
+  Courts, ecclesiastical and secular, 19, 31, 37.
+
+  Crypt, the Saxon, 71-78;
+    the Norman, 117-120.
+
+  Cuthbert, St., 4, 11, 12.
+
+
+  DEANERY, the, 133.
+
+  Deans, list of, 143.
+
+  Dedication by Wilfrid, 6.
+
+  Diocese of Ripon, 36.
+
+
+  EADHEAD, Bishop of Ripon, 7.
+
+  East End, the, 60.
+
+  Eata, first Abbot, 4, 12.
+
+  Edward I., 25.
+
+
+  FONTS, the, 79.
+
+  Grammar-School, Ripon, 14, 30-36.
+
+  Gray, Archbishop Walter de, 11, 16, 21.
+
+
+  HENRY IV., 26.
+
+  Henry V., 11.
+
+
+  JAMES I., 31, 33.
+
+
+  LADY-KIRK, the, 22, 27.
+
+  Lady-loft, the, 54, 129.
+
+  Liberty of Ripon, 19-37.
+
+  Library, the, 130.
+
+
+  MALLORY Chapel, 93.
+
+  Markenfield Chapel and tombs, 90.
+
+  Monastery of Ripon, the (Scottish), 4;
+    (Saxon), 5;
+    end of, 12.
+
+
+  NAVE, rebuilding of, 27, 69;
+    north side, exterior, 44;
+    south side, 50;
+    interior, 65.
+
+
+  ODA, Archbishop of Canterbury, 11.
+
+  Organ, the, 111.
+
+  Oswald, Archbishop, 11.
+
+
+  PALACE, Archiepiscopal, 24, 35.
+
+  Peculiar, the parish a, 19, 31, 37.
+
+  Prebends, 12, 14, 17, 18, 23, 26.
+
+  Presbytery, arrangement of the, 104.
+
+  Pulpit (Old) in north transept, 88.
+
+
+  Ripon Minster, foundation of the Scottish monastery, 4;
+    original site of, 5;
+    dedication of new church, 6;
+    end of monastery, 12;
+    as a collegiate church, 12, 22;
+    as a parochial church, 18, 22;
+    present church built, 15;
+    central tower reconstructed, 27;
+    nave rebuilt, 27.
+
+  Rising in the North, the, 30.
+
+  Roger de Pont l'Evêque, Archbishop, 15;
+    his plan, 16, 67.
+
+  Rood Screen, the, 94.
+
+
+  ST. AGNES' Lodge, 136.
+
+  St. Anne's Hospital, 133.
+
+  St. John's Hospital, 36.
+
+  St. Mary Magdalene's Hospital, 35, 137.
+
+  Sanctuary, right of, 9, 23, 30.
+
+  Saxon monastery, the, 5.
+
+  Scots, incursion of, 25.
+
+  Scottish monastery, the, 4.
+
+  Sedilia, the, 104.
+
+  Site, original, 5.
+
+  Spires, fall and removal of the, 34.
+
+  Stalls, the choir, 106.
+
+  Stammergate, 5, 22, 35.
+
+  Stanwick, Prebend, 17, 18, 29, 142.
+
+
+  THEODORE, Archbishop of Canterbury, 6.
+
+  Thomas of Bayeux, Archbishop, 13.
+
+  Thorp, prebendal house, 36, 136.
+
+  Throne, the Bishop's, 111;
+    the Archbishop's, 36.
+
+  Thurstan, Archbishop, 73, 14.
+
+  Tower, the central, 45, 56;
+    interior, 82.
+
+  Towers, western, 41.
+
+  Transept, north, 46;
+    south, 51, 56;
+    interior, 85;
+      north, 86;
+      south, 91.
+
+
+  VAULT-BOSSES in choir, 103.
+
+  Vaulting, north transept, 91.
+
+  Vestry, the, 125.
+
+
+  WAKEMAN, the, 33.
+
+  West front, the, 16, 40, 43;
+    interior, 68.
+
+  West Gate, the, demolished, 35.
+
+  Wilfrid, St., 4, 6, 7, 8, 12, 75;
+    relics of, 11, 16;
+    translation of, 14;
+    shrine of, 14, 29, 81;
+    crypt of, 31, 71.
+
+  William, St., of York (Archbishop Fitzherbert), 15.
+
+  Window, east, 34, 62, 102.
+
+  Wolsey, Archbishop, 33.
+
+  Wulfstan, Archbishop, 10.
+
+
+[Illustration: GROUND PLAN OF RIPON CATHEDRAL.]
+
+
+
+
+DIMENSIONS (internal).
+
+  Total Length,             270 feet
+  Length of Nave,           133   "
+  Width of Nave,             87   "
+  Width of Transept,         52   "
+  Height of Vault (Nave),    88   "
+  Height of Towers,         110   "
+  Area,                  25,280 square feet.
+
+
+PRINTED BY NEILL AND CO., LTD., EDINBURGH.
+
+
+
+      *      *      *      *      *      *
+
+
+
+Transcriber's Note
+
+   The following obvious typographical errors were corrected:
+
+     Page  Error
+     2     the Tower. changed to the Tower.)
+     10, fn. 10    St Wilfrid's changed to St. Wilfrid's
+     111   ascendency changed to ascendancy
+     115, fn. 103  Surtee's changed to Surtees
+     118   anyrate changed to any rate
+     136   acolyte's Orders changed to acolyte's Orders.
+
+
+   The following words were inconsistently spelled:
+
+     afterthought / after-thought
+     Agnesgate / Agnes-gate
+     aisleless / aisle-less
+     stonework / stone-work
+
+
+
+***END OF THE PROJECT GUTENBERG EBOOK BELL'S CATHEDRALS: THE CATHEDRAL
+CHURCH OF RIPON***
+
+
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+<h1>The Project Gutenberg eBook, Bell's Cathedrals: The Cathedral Church of
+Ripon, by Cecil Walter Charles Hallett</h1>
+<pre>
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at <a href = "http://www.gutenberg.org">www.gutenberg.org</a></pre>
+<p>Title: Bell's Cathedrals: The Cathedral Church of Ripon</p>
+<p>       A Short History of the Church and a Description of Its Fabric</p>
+<p>Author: Cecil Walter Charles Hallett</p>
+<p>Release Date: June 16, 2008  [eBook #25800]</p>
+<p>Language: English</p>
+<p>Character set encoding: ISO-8859-1</p>
+<p>***START OF THE PROJECT GUTENBERG EBOOK BELL'S CATHEDRALS: THE CATHEDRAL CHURCH OF RIPON***</p>
+<p>&nbsp;</p>
+<h3>E-text prepared by Jonathan Ingram, Julia Miller,<br />
+    and the Project Gutenberg Online Distributed Proofreading Team<br />
+    (http://www.pgdp.net)</h3>
+<p>&nbsp;</p>
+<div style="background-color: #EEE; padding: 0.5em 1em 0.5em 1em;">
+<p class="titlepage"><b>Transcriber&#8217;s Note</b></p>
+
+<p class="noindent">Obvious typographical errors have been corrected.
+A <a href="#trans_note">list</a> of changes is found
+at the end of the book. Inconsistencies in spelling and hyphenation have
+been retained. A  <a href="#trans_note">list</a> of inconsistently
+spelled words is found at the end of the book.</p>
+</div>
+<p>&nbsp;</p>
+<hr class="full" />
+<p>&nbsp;</p>
+<p><span class='pagenum'><a name="Page_ii" id="Page_ii">[ii]</a></span></p>
+
+<div class="figcenter" style="width: 532px;">
+<a name="image01" id="image01"></a><a href="images/image01-full.jpg"><img src="images/image01.jpg" width="532" height="361" alt="Photo of the the cathedral" title="Ripon Cathedral from the footbridge over the Skell." /></a>
+<p class="captionl"><i>Ronald P. Jones, Photo.</i>]</p>
+<p class="caption smcap">Ripon Cathedral from the footbridge over the Skell.</p>
+</div>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_iii" id="Page_iii">[iii]</a></span></p>
+
+
+
+<h1 style="font-weight: normal;"><span style="font-size: 60%;">THE CATHEDRAL CHURCH OF</span><br />
+RIPON</h1>
+
+<p class="titlepage" style="font-size: 120%;">A SHORT HISTORY OF THE<br />
+CHURCH &amp; A DESCRIPTION<br />
+OF ITS FABRIC</p>
+
+<p class="titlepage" style="font-size: 90%; margin-top: 2em;">BY</p>
+
+<p class="titlepage"><span style="font-size: 120%;">CECIL HALLETT, B.A.</span><br />
+MAGDALEN COLL., OXFORD</p>
+
+<p class="titlepage"><span style="padding-left: 2em; padding-right: 2em;">WITH 53</span> <a name="image02" id="image02"></a><img src="images/image02.jpg" width="156" height="166" style="vertical-align: middle;" alt="colophon" title="" /> ILLUSTRATIONS</p>
+
+<p class="titlepage" style="font-size: 120%; margin-top: 2em;">LONDON GEORGE BELL &amp; SONS 1901</p>
+
+
+<p><span class='pagenum'><a name="Page_iv" id="Page_iv">[iv]</a></span></p>
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_v" id="Page_v">[v]</a></span></p>
+
+<h2 class="chapterhead"><a name="PREFACE" id="PREFACE"></a>PREFACE.</h2>
+
+
+<p>The original authorities for the history (both constitutional and
+architectural) of the Church of Ripon have been most ably edited for the
+Surtees Society by the Rev. Canon J. T. Fowler, F.S.A., in his
+<i>Memorials of Ripon</i> and <i>The Ripon Chapter Acts</i> (<i>Surtees Soc.</i>, vols.
+74, 78, 81, 64). These authorities range from the Saxon period to the
+times following the Reformation, but in the Introductions to vol. 81,
+and in the Rev. J. Ward&#8217;s <i>Fasti Riponienses</i>, included in vol. 78, the
+story is virtually continued to our own day; while the aforesaid
+Introductions epitomise, in its constitutional and architectural
+aspects, the whole history of the church.</p>
+
+<p>To these volumes and to their Editor, who most kindly consented to
+revise the proofs of this book, the present writer is very deeply
+indebted. He has also had recourse to an article by Sir G. Gilbert
+Scott, R.A., in vol. xxxi. of the <i>Arch&aelig;ological Journal</i>; to the same
+Author&#8217;s <i>Recollections</i>; to several articles on the Saxon Crypt, duly
+specified on pp. 76, 77; to the Guides, by J. R. Walbran, F.S.A.,
+published by Mr. Harrison of Ripon; to Mr. Murray&#8217;s <i>Cathedrals</i>; to the
+volume by the Ven. Archdeacon Danks in Messrs. Isbister&#8217;s Cathedral
+Series; to <i>A Day in the City of Ripon</i>, by Mr. George Parker of Ripon;
+to the old Guides by Farrer and Gent respectively; and to other works of
+a more general character.</p>
+
+<p>His sincere thanks are also due to the Right Rev. the Bishop of Ripon
+for permission to consult the library at the Palace; to the Very Rev.
+the Dean for privileges granted in connection with the library in the
+Cathedral and with the Cathedral itself; to the Ven. the Archdeacon of
+Ripon and the Ven. the Archdeacon of Richmond for their courteous
+assistance on several occasions; to Mr. J. T. Micklethwaite, V.P.S.A.,
+Mr. W. H. St. John Hope, Mrs. Swire, the Rev. H. A. Wilson, Fellow of
+Magdalen College, the Rev. G. W. Garrod, and Mr. John Whitham for
+valuable information on various points, historical and architectural; to
+Mr. Ronald P. Jones for his excellent photographs, to the Arch&aelig;ological
+<span class='pagenum'><a name="Page_vi" id="Page_vi">[vi]</a></span>Institute and other learned Societies for various other illustrations,
+and to the Rev. E. H. Swann, the Rev. J. Beanland, Capt. E. J. Warre
+Slade, R.N., Mr. F. Forbes Glennie, Mr. T. Wall, Mr. Watson, and others
+for similar assistance.</p>
+
+<p>He desires also to express his thanks to Mr. E. W. Winser, Dean&#8217;s
+Verger, for much valuable local information; to Mr. Henry Williams,
+Canons&#8217; Verger, for expert advice on points of masonry; and to both, as
+well as to the Sexton, for that general assistance which they so
+<span class='pagenum'><a name="Page_vii" id="Page_vii">[vii]</a></span>willingly rendered him throughout his investigation of the Fabric.</p>
+
+
+
+<hr style="width: 65%;" />
+<h2 class="chapterhead"><a name="CONTENTS" id="CONTENTS"></a>CONTENTS.</h2>
+
+
+<table border="0" cellpadding="0" cellspacing="0" summary="Table of Contents">
+<tr>
+  <td></td>
+  <td style="font-size: smaller;">PAGE</td>
+</tr>
+<tr>
+  <td class="smcap"><a href="#CHAPTER_I">Chapter I.&mdash;History of the Church</a></td>
+  <td class="tdr"><a href="#CHAPTER_I">3</a></td>
+</tr>
+<tr>
+  <td class="smcap"><a href="#CHAPTER_II">Chapter II.&mdash;The Exterior</a></td>
+  <td class="tdr"><a href="#CHAPTER_II">39</a></td>
+</tr>
+<tr>
+  <td class="smcap"><a href="#CHAPTER_III">Chapter III.&mdash;The Interior</a></td>
+  <td class="tdr"><a href="#CHAPTER_III">65</a></td>
+</tr>
+<tr>
+  <td class="smcap"><a href="#CHAPTER_IV">Chapter IV.&mdash;Other Old Buildings in Ripon</a></td>
+  <td class="tdr"><a href="#CHAPTER_IV">133</a></td>
+</tr>
+<tr>
+  <td colspan="2"><hr style="width: 3em; border: solid black 1px; margin-top: 1em; margin-bottom: 0.5em;" /></td>
+</tr>
+<tr>
+  <td class="smcap">Appendix&mdash;</td>
+</tr>
+<tr>
+  <td class="padded2"><a href="#ABBOTS">Abbots of the Monastery of Ripon</a></td>
+  <td class="tdr"><a href="#ABBOTS">142</a></td>
+</tr>
+<tr>
+  <td class="padded2"><a href="#Canons">Canons of Stanwick</a></td>
+  <td class="tdr"><a href="#Canons">142</a></td>
+</tr>
+<tr>
+  <td class="padded2"><a href="#Deans_of_King_James_Is">Deans of King James I. Foundation</a></td>
+  <td class="tdr"><a href="#Deans_of_King_James_Is">143</a></td>
+</tr>
+<tr>
+  <td class="padded2"><a href="#Deans_of_the_Cathedral">Deans of the Cathedral Foundation</a></td>
+  <td class="tdr"><a href="#Deans_of_the_Cathedral">143</a></td>
+</tr>
+<tr>
+  <td class="padded2"><a href="#BISHOPS">Bishops of Ripon</a></td>
+  <td class="tdr"><a href="#BISHOPS">143</a></td>
+</tr>
+<tr>
+  <td class="smcap"><a href="#INDEX">Index</a></td>
+  <td class="tdr"><a href="#INDEX">145</a></td>
+</tr>
+</table>
+
+
+<p><span class='pagenum'><a name="Page_viii" id="Page_viii">[viii]</a></span></p>
+
+<hr style="width: 65%;" />
+
+<p><span class='pagenum'><a name="Page_ix" id="Page_ix">[ix]</a></span></p>
+
+<h2 class="chapterhead"><a name="LIST_OF_ILLUSTRATIONS" id="LIST_OF_ILLUSTRATIONS"></a>LIST OF ILLUSTRATIONS.</h2>
+
+
+<table border="0" cellpadding="0" cellspacing="0" summary="List of Illustrations">
+<tr>
+  <td></td>
+  <td class="tdr" style="font-size: smaller;">PAGE</td>
+</tr>
+<tr>
+  <td>Ripon Cathedral from the Footbridge over the Skell</td>
+  <td style="padding-right: 2em;"><a href="#image01"><i>Frontispiece</i></a></td>
+</tr>
+<tr>
+  <td>Arms of the See</td>
+  <td style="padding-right: 3em;"><a href="#image02"><i>Title Page</i></a></td>
+</tr>
+<tr>
+  <td>The Nave, South Side</td>
+  <td class="tdr"><a href="#image03">2</a></td>
+</tr>
+<tr>
+  <td>View from the South-West</td>
+  <td class="tdr"><a href="#image04">3</a></td>
+</tr>
+<tr>
+  <td>Early Apsidal Chapel with Later Chapel superimposed</td>
+  <td class="tdr"><a href="#image05">13</a></td>
+</tr>
+<tr>
+  <td>The West Front before Restoration</td>
+  <td class="tdr"><a href="#image06">17</a></td>
+</tr>
+<tr>
+  <td>Medi&aelig;val Seals (3)</td>
+  <td class="tdr"><a href="#image07">20</a></td>
+</tr>
+<tr>
+  <td>Ripon Minster Anterior to 1660 (from an old Engraving)</td>
+  <td class="tdr"><a href="#image08">32</a></td>
+</tr>
+<tr>
+  <td>The Cathedral from the South-East</td>
+  <td class="tdr"><a href="#image09">38</a></td>
+</tr>
+<tr>
+  <td>The West Doorways</td>
+  <td class="tdr"><a href="#image10">39</a></td>
+</tr>
+<tr>
+  <td>View from the North-West</td>
+  <td class="tdr"><a href="#image11">42</a></td>
+</tr>
+<tr>
+  <td>Doorway, North Transept</td>
+  <td class="tdr"><a href="#image12">47</a></td>
+</tr>
+<tr>
+  <td>Doorway, South Transept</td>
+  <td class="tdr"><a href="#image13">52</a></td>
+</tr>
+<tr>
+  <td>Reconstructed Angle of the Great Tower</td>
+  <td class="tdr"><a href="#image14">57</a></td>
+</tr>
+<tr>
+  <td>Flying Buttresses, South Side of Choir</td>
+  <td class="tdr"><a href="#image15">59</a></td>
+</tr>
+<tr>
+  <td>The East End</td>
+  <td class="tdr"><a href="#image16">61</a></td>
+</tr>
+<tr>
+  <td>The North-Western Portion of the Nave</td>
+  <td class="tdr"><a href="#image17">64</a></td>
+</tr>
+<tr>
+  <td>Conjectural View of the Interior of Archbishop Roger&#8217;s Nave (by Sir G. G. Scott)</td>
+  <td class="tdr"><a href="#image18">65</a></td>
+</tr>
+<tr>
+  <td>Conjectural Plan of Archbishop Roger&#8217;s Church (by Sir G. G. Scott)</td>
+  <td class="tdr"><a href="#image19">67</a></td>
+</tr>
+<tr>
+  <td>The Nave, looking Westward</td>
+  <td class="tdr"><a href="#image20">70</a></td>
+</tr>
+<tr>
+  <td>Plan of Saxon Crypt</td>
+  <td class="tdr"><a href="#image21">72</a></td>
+</tr>
+<tr>
+  <td>The Saxon Crypt</td>
+  <td class="tdr"><a href="#image22">73</a></td>
+</tr>
+<tr>
+  <td>Conjectural Plan of St. Wilfrid&#8217;s Crypt and Presbytery (by Mr. J. T. Micklethwaite)</td>
+  <td class="tdr"><a href="#image23">77</a></td>
+</tr>
+<tr>
+  <td>The Two Fonts</td>
+  <td class="tdr"><a href="#image24">79</a></td>
+</tr>
+<tr>
+  <td>Bas-Relief in the South Aisle of the Nave</td>
+  <td class="tdr"><a href="#image25">80</a></td>
+</tr>
+<tr>
+  <td>The Western Arch of the Central Tower</td>
+  <td class="tdr"><a href="#image26">83</a></td>
+</tr>
+<tr>
+  <td>The North Transept</td>
+  <td class="tdr"><a href="#image27">87</a></td>
+</tr>
+<tr>
+  <td>Vault of North Transept Aisle</td>
+  <td class="tdr"><a href="#image28">91</a></td>
+</tr>
+<tr>
+  <td>The Rood Screen</td>
+  <td class="tdr"><a href="#image29">95</a></td>
+</tr>
+<tr>
+  <td><span class='pagenum'><a name="Page_x" id="Page_x">[x]</a></span>The Great East Window</td>
+  <td class="tdr"><a href="#image30">97</a></td>
+</tr>
+<tr>
+  <td>Bay of Archbishop Roger&#8217;s Choir (by Sir G. G. Scott)</td>
+  <td class="tdr"><a href="#image31">98</a></td>
+</tr>
+<tr>
+  <td>Decorated Capital in the Choir</td>
+  <td class="tdr"><a href="#image32">99</a></td>
+</tr>
+<tr>
+  <td>The North Side of the Choir</td>
+  <td class="tdr"><a href="#image33">100</a></td>
+</tr>
+<tr>
+  <td>Bosses from the Choir-Vault (2)</td>
+  <td class="tdr"><a href="#image34">103</a></td>
+</tr>
+<tr>
+  <td>The Sedilia</td>
+  <td class="tdr"><a href="#image36">105</a></td>
+</tr>
+<tr>
+  <td>Choir Stalls</td>
+  <td class="tdr"><a href="#image37">107</a></td>
+</tr>
+<tr>
+  <td>Misereres</td>
+  <td class="tdr"><a href="#image38">108</a></td>
+</tr>
+<tr>
+  <td>Desk-End of Mayor&#8217;s Stall</td>
+  <td class="tdr"><a href="#image39">109</a></td>
+</tr>
+<tr>
+  <td>Finial in front of the Bishop&#8217;s Throne</td>
+  <td class="tdr"><a href="#image40">110</a></td>
+</tr>
+<tr>
+  <td>The West End of the Choir</td>
+  <td class="tdr"><a href="#image41">112</a></td>
+</tr>
+<tr>
+  <td>The North Choir Aisle</td>
+  <td class="tdr"><a href="#image42">113</a></td>
+</tr>
+<tr>
+  <td>Transitional Vaulting Corbel</td>
+  <td class="tdr"><a href="#image43">114</a></td>
+</tr>
+<tr>
+  <td>The Norman Crypt</td>
+  <td class="tdr"><a href="#image44">118</a></td>
+</tr>
+<tr>
+  <td>The Chapter-House</td>
+  <td class="tdr"><a href="#image45">122</a></td>
+</tr>
+<tr>
+  <td>Ancient Sculptures in the Chapter-House</td>
+  <td class="tdr"><a href="#image46">124</a></td>
+</tr>
+<tr>
+  <td>The Library</td>
+  <td class="tdr"><a href="#image47">130</a></td>
+</tr>
+<tr>
+  <td>The Old Chapel, St. Mary Magdalene&#8217;s Hospital</td>
+  <td class="tdr"><a href="#image48">132</a></td>
+</tr>
+<tr>
+  <td>Chapel of St. Anne&#8217;s Hospital</td>
+  <td class="tdr"><a href="#image49">135</a></td>
+</tr>
+<tr>
+  <td>Seal of St. Mary Magdalene&#8217;s Hospital</td>
+  <td class="tdr"><a href="#image50">138</a></td>
+</tr>
+<tr>
+  <td class="smcap" style="padding-top: 1em;">Plan of the Cathedral</td>
+  <td class="tdr" style="padding-top: 1em;"><a href="#image51"><i>at end</i></a></td>
+</tr>
+</table>
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_1" id="Page_1">[1]</a></span></p>
+<p><span class='pagenum'><a name="Page_2" id="Page_2"><br />[2]</a></span></p>
+
+
+<div class="figcenter" style="width: 354px;">
+<a name="image03" id="image03"></a><a href="images/image03-full.jpg"><img src="images/image03.jpg" width="354" height="511" alt="Photo of the the cathedral, showing junction of Transitional and Perpendicular work in the
+Tower." title="THE NAVE&mdash;SOUTH SIDE." /></a>
+<p class="captionl"><i>Ronald P. Jones, Photo.</i>]</p>
+
+<p class="caption">THE NAVE&mdash;SOUTH SIDE.</p>
+
+<p class="caption">(Showing junction of Transitional and Perpendicular work in the
+<a name="corr1" id="corr1"></a>Tower.)</p>
+</div>
+
+
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_3" id="Page_3">[3]</a></span></p>
+
+<div class="figcenter" style="width: 360px;">
+<a name="image04" id="image04"></a><a href="images/image04-full.jpg"><img src="images/image04.jpg" width="360" height="250" alt="Photo of the the cathedral" title="VIEW FROM THE SOUTH-WEST." /></a>
+<p class="captionl"><i>Ronald P. Jones, Photo.</i>]</p>
+
+<p class="caption">VIEW FROM THE SOUTH-WEST.</p>
+</div>
+
+
+<p class="titlepage" style="font-size: 150%; margin-top: 2em;">RIPON CATHEDRAL.</p>
+
+
+<h2 class="sectionhead"><a name="CHAPTER_I" id="CHAPTER_I"></a>CHAPTER I.<br />
+
+<span class="chaptitle">HISTORY OF THE CHURCH.</span></h2>
+
+
+<p>There is evidence that the neighbourhood of Ripon was inhabited during,
+and perhaps before, the Roman occupation of Britain. Whether the place
+was a settlement of the Romans is uncertain; but it was assuredly in
+touch with their civilization, for several of their roads passed near
+it&mdash;notably Watling Street, on which, six miles to the east, was
+Isurium, the modern Aldborough; while imperial coins and other Roman
+objects have been dug up in Ripon itself. It is not known whether the
+Romans imparted to the local tribes of the Brigantes their own
+Christianity; but two centuries after the withdrawal of the legions the
+greater part of what is now Yorkshire was absorbed by the invading
+Angles into their kingdom of Deira, which had itself been united with
+the more northern kingdom of Bernicia <span class='pagenum'><a name="Page_4" id="Page_4">[4]</a></span>to form the single realm of
+Northumbria. Deira, however, seems to have retained its own
+individuality. About the year 627 King Eadwine of Northumbria was
+converted to Christianity by Paulinus, and the majority of his Deiran
+subjects followed his example.</p>
+
+<p><b>The Scottish Monastery.</b>&mdash;It is in the middle of the seventh century that
+the recorded history of Ripon begins. Deira was then ruled by Prince
+Alchfrith of Northumbria under his father, King Oswiu, nephew of
+Eadwine, and Bede, writing not eighty years after the event, relates
+that the prince chose Ripon for the site of a monastery. The date may be
+fixed in or just before the year 657. This monastery was one of those
+numerous religious colonies which were the result not only of the new
+Christian fervour, but also of a reaction from war toward social life
+and industry. It did not represent the Roman Christianity of Augustine
+which Paulinus had introduced into Deira from Canterbury, but the
+Christianity which had come from Ireland through St. Columba&#8217;s
+missionary college at Iona, and which was now predominant throughout the
+north. The monks of Ripon were brought from Melrose Abbey on the Tweed.
+Like most monks of that early period, they probably followed no definite
+Rule. Their abbot was Eata, a pupil of St. Aidan, and previously Abbot
+of Melrose and Lindisfarne, while the guest-master was no less a person
+than Cuthbert, the legend of whose having entertained an angel unawares
+at Ripon added, no doubt, to the growing reputation of the house.</p>
+
+<p>Its tranquillity, however, was not to last. The Roman party in the
+Northumbrian Church, though inconsiderable, was gaining force, and
+Alchfrith, deserting his former convictions, gave the new monastery,
+with an endowment of thirty or forty hides of land, as Bede relates, to
+one who had visited Rome, and who regarded the Irish (or, as it was
+called by that time, the Scottish) Church as schismatical.</p>
+
+<p>The life of <b>St. Wilfrid of Ripon</b>&mdash;so full of adventure, misfortune, and
+lasting achievement&mdash;can only be related here in so far as it bears upon
+the story of this, his favourite monastery. It was in 661 that the
+transference from Eata to Wilfrid took place, and at once the Scottish
+monks, refusing to conform to Roman usages, left Ripon in a body. It is
+probable that Wilfrid imposed upon their successors the Benedictine
+Rule, <span class='pagenum'><a name="Page_5" id="Page_5">[5]</a></span>which he had studied at Rome. The new Abbot was not yet in
+priest&#8217;s orders, but was presently ordained at Ripon by Agilbert, the
+Frankish Bishop of Wessex. In 664 he took the action for which he is
+especially remembered in English history. Appearing at the Synod of
+Whitby, he prevailed upon King Oswiu to throw in his lot with the Roman
+party, and was thus the means indirectly of preventing the isolation of
+the England of that time from the Church and civilization of the
+Continent. Almost immediately afterwards Abbot Wilfrid became Bishop of
+Northumbria, and this tenure of the two offices by the same person was
+perhaps the origin of the subsequent connection of Ripon with the
+Archbishops of York.<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a> Wilfrid insisted on going to be consecrated by
+Agilbert, who was now Bishop of Paris, and so long did he remain abroad
+that on his return in 666 he found another bishop, Chad (afterwards St.
+Chad of Lichfield), in possession of the see. He therefore retired to
+Ripon for three years, during which, however, he visited Mercia and also
+Kent, where he met Aedde, or Eddius, who became his chaplain and
+biographer.</p>
+
+<p><b>The Saxon Monastery.</b>&mdash;In 669 Wilfrid was restored to his see by
+Theodore, Archbishop of Canterbury, and soon afterwards began to build
+at Ripon. The Scottish monastery, which was probably of wood, is thought
+to have occupied a site between Priest Lane, Stonebridgegate,<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a> and a
+nameless road which connects them. Wilfrid now abandoned it, and erected
+upon a new site a more imposing monastery of stone.<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a> The practice of
+building in stone seems to have become uncommon in Britain after the
+departure of the Romans, and Wilfrid is thought to have employed foreign
+<span class='pagenum'><a name="Page_6" id="Page_6">[6]</a></span>workmen, perhaps Italians.<a name="FNanchor_4_4" id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a> His church is described by Eddius,
+himself now a Ripon monk, as &#8220;of smoothed stone from base to summit, and
+supported on various columns and (?) arcades (<i>porticibus</i>),&#8221; and was
+doubtless of that Italian type which had become identified in Britain
+with the Roman party in the Church, as opposed to the Scottish mission.
+The Scottish type of church consisted of a small aisle-less nave and
+square chancel: the Italian type generally had aisles, and the altar was
+usually raised upon a platform, beneath which was a crypt called
+<i>confessio</i>. A little later than 670 <span class="smcap">A.D.</span> Wilfrid&#8217;s new minster was
+solemnly dedicated by him in honour of St. Peter, in the presence of a
+great concourse of clergy and nobles, headed by the King of Northumbria,
+Ecgfrith, the successor of Oswiu. The endowments seem to have included
+at this time certain lands round Ripon which had belonged to the British
+Church before the coming of the Angles, and to have been now increased
+by grants&mdash;some as far distant as Lancashire&mdash;made by the great men
+present at the ceremony. Wilfrid himself gave a splendid copy of the
+Gospels, written in gold upon purple vellum, the beginning perhaps of a
+library.<a name="FNanchor_5_5" id="FNanchor_5_5"></a><a href="#Footnote_5_5" class="fnanchor">[5]</a> The feasting was kept up for three days&mdash;indeed, no
+monastery could have had for its church a more striking dedication. And
+for the next seven years Ripon must have shared the importance of the
+Abbot-Bishop, whose state rivalled that of the king. By persuading the
+queen to become a nun, however, he presently lost the royal favour;
+while the great size of the diocese, which extended at last from the
+Forth to the Wash, prevented the achievement of complete success in his
+episcopal work.</p>
+
+<p>As yet the see of Canterbury was the sole archbishopric, and in 678
+Archbishop Theodore&mdash;already known as an organizer of the
+episcopate&mdash;was invited to the court of Northumbria. With Ecgfrith&#8217;s
+approval, but without consulting Wilfrid, he divided the diocese into
+the three sees of Hexham, York, and Lindsey, answering respectively to
+the tribal divisions Bernicia, Deira, and the land of the Lindiswaras
+(Lincoln<span class='pagenum'><a name="Page_7" id="Page_7">[7]</a></span>shire). Wise though this action was, it was naturally resented
+by Wilfrid, who appealed to the Pope&mdash;the first appeal of the kind ever
+made by an Englishman&mdash;and set out himself for Rome. He was destined not
+to return till 680, and even then to be kept out of his bishopric till
+686. Ripon was now in the new diocese of York, but in 681 Theodore
+constituted yet another diocese, of which he made Ripon the cathedral
+town.</p>
+
+<p>Of <b>Eadhead, First Bishop of Ripon</b> (681-686), little is known. Originally
+a priest at the court of Oswiu, he had accompanied the intruded bishop,
+Chad, when the latter sought consecration at Canterbury during Wilfrid&#8217;s
+absence for consecration in Gaul. Eadhead had afterwards been appointed
+by Theodore to the see of Lindsey, and was translated thence to Ripon
+when Lindsey was recovered by the Mercians.</p>
+
+<p>His tenure of his new office lasted for five years only, for in 686
+Aldfrith, the successor of Ecgfrith, restored Wilfrid&mdash;not indeed to his
+original bishopric of Northumbria, but to a see which combined the
+lately-formed dioceses of Ripon and York<a name="FNanchor_6_6" id="FNanchor_6_6"></a><a href="#Footnote_6_6" class="fnanchor">[6]</a>. Eadhead accordingly
+retired, and there were no more Bishops of Ripon for twelve centuries.</p>
+
+<p>To Wilfrid was restored not only his bishopric, but also his monastery
+of Ripon, which he retained in peace for the next five years. At the end
+of that time a long dispute arose with Aldfrith, who was veering back to
+the diocesan partition of Theodore, and Wilfrid, deprived of his see for
+the third time, crossed over into Mercia. In 703 a synod was held at
+Austerfield, the King and Berhtwald, Archbishop of Canterbury, being
+present, when Wilfrid was actually asked to promise that he would cease
+to act as bishop, that he would accept the partition of Theodore, and
+that he would retire to Ripon and not leave the monastery without the
+king&#8217;s permission.</p>
+
+<p>Though he was now a man of seventy, he set out once more for Rome, and
+this time as before the Pope decided in his favour. Returning to Ripon
+in 705, he attempted to conciliate Aldfrith&#8217;s successor Eadwulf, but in
+vain. In the same <span class='pagenum'><a name="Page_8" id="Page_8">[8]</a></span>year, however, Eadwulf was succeeded by Osred, and
+presently another synod was held, this time at Nidd, seven miles south
+of Ripon, when it was decided, in the presence of Osred and the now
+relenting Berhtwald, that Wilfrid should have the monastery and see of
+Hexham (resigning York) and the monastery of Ripon, thus restored to him
+for the second time.</p>
+
+<p>In 709 he received a call to Mercia, which had already twice received
+him in his adversity, and in which he had accepted the bishopric of
+Leicester. Immediately before his departure he was at Ripon, where he
+kept his treasure, and having a presentiment that he would never return,
+he bequeathed a portion of his wealth to the monastery, appointed
+Tatberht to succeed him as Abbot, and took an affecting farewell of the
+whole community. Arriving at his monastery of Oundle, in
+Northamptonshire, he was seized with illness, and died there on October
+12 in the seventy-sixth year of his age. The body was placed on a car
+and carried in solemn procession to Ripon, where it was buried on the
+south side of the high altar in his own minster.</p>
+
+<p>In 710 the anniversary of his death was kept at Ripon with great
+solemnity, and out of such commemorations, probably, arose the feast of
+his <i>Depositio</i>,<a name="FNanchor_7_7" id="FNanchor_7_7"></a><a href="#Footnote_7_7" class="fnanchor">[7]</a> which was afterwards kept on every 12th of October.
+According to Eddius a remarkable phenomenon occurred on this occasion.
+In the evening the monastery was suddenly encircled with brilliant
+light, as of day, and whether this was a display of Northern Lights or
+not, it was regarded as a Divine testimony to the sanctity of Wilfrid.
+The story shows, at any rate, that he was already beginning to be
+regarded as a saint, and it was probably about this time that his name
+was coupled with St. Peter&#8217;s in the dedication of the Church. Miracles
+were worked at his tomb, and it became an object of pilgrimage; but
+little is known of the period immediately succeeding his death, save
+that the dwellers around Ripon (as a twelfth century writer, Eadmer,
+represents) first encouraged the cult of the saint, then became
+disgusted at the crowds it drew, and finally endeavoured to check it
+altogether. Wilfrid was succeeded in the abbacy by Tatberht, and history
+has recorded the names of <span class='pagenum'><a name="Page_9" id="Page_9">[9]</a></span>three more abbots who followed each other
+toward the end of the eighth century, Botwine, Alberht, Sigred; and of
+one of uncertain date, Uilden or Wildeng.<a name="FNanchor_8_8" id="FNanchor_8_8"></a><a href="#Footnote_8_8" class="fnanchor">[8]</a> In 791 a noble named
+Eardwulf, who had plotted against Ethelred, then King of Northumbria,
+was put to death (as it was thought) at the monastery gate by the king&#8217;s
+orders. The monks carried him &#8216;with Gregorian chantings&#8217; to the
+precincts of the church, where they laid him out, but after midnight he
+was found within the building&mdash;a recovery which was regarded as
+miraculous.</p>
+
+<p>Ripon did not escape the violence of the Danes. It is thought that about
+the year 860 they burned the town and did some damage to the church, and
+the remarkable mound known as <b>Ailcy Hill</b>,<a name="FNanchor_9_9" id="FNanchor_9_9"></a><a href="#Footnote_9_9" class="fnanchor">[9]</a> near the Canons&#8217; Residence,
+and due east of the Cathedral, is probably a relic of some battle of
+this period. In the street-names too, all ending in &#8216;gate&#8217; (which in the
+sense of &#8216;way&#8217; is a Danish word), another trace may perhaps be found of
+their presence, as well as of the existence of a town at this early
+period. The town probably grew up around the monastery. It has been
+believed that a civic charter was granted by King Alfred in 886; but
+this is impossible, even if such charters were ever granted at this
+time, for Alfred had resigned all this part of England (which since
+about 839 had owned the overlordship of Wessex) to the Danes in 878.</p>
+
+<p>One of the great events in Ripon history is the visit of Alfred&#8217;s
+grandson <b>King Athelstan</b>. Yorkshire had lately been a separate Danish
+kingdom, but it passed under the direct rule of Wessex in 926, and it
+was either in that year that Athelstan came, or in 937, when he defeated
+the Scots and other northern rebels at Brunanburh. It was to this king
+that the church afterwards referred the grant of its most important
+privileges. Among these was that of <b>sanctuary</b>, by which homicides,
+thieves, debtors, etc., could flee to Ripon and live there under the
+protection of St. Wilfrid for a specified time. The area within which
+they were protected extended one mile from the church in every
+direction, and the limit was marked by eight crosses, the base of one of
+which is still to be seen on <span class='pagenum'><a name="Page_10" id="Page_10">[10]</a></span>the Sharow Road. The penalties for
+molesting refugees were afterwards graduated as follows:&mdash;between the
+limit and the graveyard wall, &pound;18; within the graveyard, &pound;36; within the
+choir (where the pursued sought the last possible refuge at the
+&#8216;grythstool,&#8217; or chair of sanctuary), confiscation of goods and possible
+death. Those who took sanctuary were called &#8216;gyrthmen&#8217; or &#8216;grythmen&#8217;
+(from the Anglo-Saxon &#8216;gryth&#8217; &#8216;peace&#8217;), and undertook, among other
+things, to carry the banners before the relics of St. Wilfrid in certain
+processions. They were under the spiritual charge of a &#8216;gryth-priest.&#8217;
+The protection of the outer sanctuary can hardly have been extended to
+Ripon men, as theoretically the whole town could then have committed
+crimes with impunity, and practically the criminals would not have been
+safe from their fellow-townsmen. Ripon debtors did indeed enjoy
+protection here at Rogation-tide, but as a rule men of Ripon would seek
+sanctuary at Durham or Beverley. Athelstan is also said to have granted
+to the church a jurisdiction over its lands independent alike of the
+northern archbishop and of the king, with the right to inflict the
+ordeals of fire and water, and with exemption from taking oaths, from
+taxation, and from military service.<a name="FNanchor_10_10" id="FNanchor_10_10"></a><a href="#Footnote_10_10" class="fnanchor">[10]</a> Of the two charters in which
+these grants are set forth, one is, indeed of the eleventh or twelfth,
+and the other of the thirteenth century, but Athelstan may at any rate
+have done something to give rise to the tradition, though it is
+impossible to tell exactly what. The story of his having given the manor
+to the see of York is doubtless misleading. The territorial sway of the
+Archbishop at Ripon must be of earlier origin, and it may even have
+arisen out of the grant of the monastery with its thirty or forty hides
+of land to Wilfrid and his retention of them after his elevation to the
+see of Northumbria.</p>
+
+<p>The connection of the monastery with the Archbishop is illustrated in
+the reign of Athelstan&#8217;s brother Eadred, when Archbishop Wulfstan, by
+aiding a rebellion for the purpose of again setting up a Danish king at
+York, drew down the royal anger upon Ripon. In 948 (or 950, according to
+one authority) Eadred harried Northumbria, and then, says the Worcester<span class='pagenum'><a name="Page_11" id="Page_11">[11]</a></span>
+Chronicle, &#8220;was that famed minster burned at Ripon, which St. Wilfrid
+built.&#8221; Wulfstan himself was deprived and imprisoned.</p>
+
+<p>About two years later the half-ruined and deserted church was visited
+(the see of York being vacant) by Oda, Archbishop of Canterbury. There
+was a tradition in the sixteenth century that he rebuilt it, but his
+visit is also memorable for another tradition, namely, that he
+translated the bones of St. Wilfrid to Canterbury. Hence arose a fierce
+dispute between Canterbury and Ripon, each claiming that it possessed
+the body of the Saint. The claim of Canterbury, which is accepted to
+this day by the Church of Rome, is supported by the assertion of Oda
+himself, and by several subsequent chroniclers, one of whom, however,
+attributes the translation to St. Dunstan, while another goes so far as
+to concede that Oda left a portion of the bones behind. But Ripon always
+maintained that it possessed the whole, and that the relics removed had
+been those of Wilfrid II. (Archbishop of York, 718-732). According to
+the contemporary biographer of Oswald (Archbishop of York, 972-992) the
+bones of the Saint were at Ripon in the tenth century, and Oswald
+solemnly enshrined them&mdash;whence that feast of St. Wilfrid&#8217;s translation
+which was afterwards kept on the 24th of April; and a later chronicler
+speaks of &#8220;the body of the blessed Wilfrid&#8221; as being at Ripon in the
+reign of Stephen. The claim of Canterbury was forgotten for a time in
+the glories of St. Thomas &agrave; Becket, while that of Ripon became more or
+less established in the north. In 1224 Archbishop de Gray, who
+translated the alleged relics at Ripon to a more splendid shrine,
+declared that he had found the skeleton complete. In the fifteenth
+century Henry V. himself writes to Ripon of his reverence for &#8220;St.
+Wilfrid, buried in the said church.&#8221; In the sixteenth, Leland, while
+recording a common opinion that Oda rebuilt the minster, makes no
+mention of any removal of the relics. The controversy will perhaps never
+be decided definitely, but it is interesting in view of the cult of St.
+Wilfrid at Ripon in the middle ages.</p>
+
+<p>The account of the enshrinement of the relics by Oswald has been thought
+to imply that it was he who rebuilt the monastery, and that he filled it
+again with monks. Whether it was rebuilt by Oda or Oswald, the body of
+St. Cuthbert rested here in 995 on its way from Chester-le-Street to
+Dur<span class='pagenum'><a name="Page_12" id="Page_12">[12]</a></span>ham. From this point onwards, however, no more is heard of monks at
+Ripon, and it may be interesting to recall here the part which this
+monastery had played in the history of the Church. Its first abbot,
+Eata, had become Bishop of Hexham and of Lindisfarne. It had been for a
+time the home of St. Cuthbert. Under Wilfrid, Ceolfrith, one of its
+monks, had become Abbot of Wearmouth, and another, &AElig;thelwald, had
+carried on Cuthbert&#8217;s work in the Farne Islands. In accepting and
+treasuring the staff of St. Columba, the Ripon of Wilfrid had forgotten
+something of its hostility to the Scottish mission. Through Wilfrid,
+Ripon had been connected with the founding of other monasteries, Hexham,
+Selsey, Lichfield, Oundle. Through his labours, again, and those of St.
+Willibrord, another of its monks, it had become known as a great centre
+of missionary work. Wilfrid had strengthened Christianity in Mercia and
+Kent, and may claim to have introduced it into Sussex and the Isle of
+Wight. Abroad he had carried the Gospel to the Frisians, and his work
+among them was splendidly completed by Willibrord, who became Archbishop
+of Utrecht.<a name="FNanchor_11_11" id="FNanchor_11_11"></a><a href="#Footnote_11_11" class="fnanchor">[11]</a></p>
+
+<p><b>The College of Secular Canons.</b>&mdash;From 995 to the Conquest, the history of
+Ripon is almost a blank. During that time the monastery, by a reversal
+of the more usual process, became converted into a college of secular
+canons, but nothing is known of the manner in which the change was
+effected. The last Saxon Archbishop of York, Ealdred, who crowned both
+Harold and the Conqueror, is said to have founded prebends&mdash;perhaps
+giving lands out of his manor, and the Canons of Ripon duly appear in
+Domesday Book (1085-6). In 1070 the Conqueror, to whom the north had
+given much difficulty, ordered the Vale of York to be harried. Ripon
+suffered severely, and in Domesday Book the surrounding lands are
+recorded as &#8220;waste.&#8221; The minster probably shared in the general wreck.</p>
+
+<p>What happened to it in the succeeding period is not definitely known. It
+may have been entirely rebuilt, as most great Saxon churches were after
+the Conquest, or it may have been rebuilt partially, or merely enlarged.
+That <span class='pagenum'><a name="Page_13" id="Page_13">[13]</a></span>something was done is proved by the existence south of the choir
+of some Norman work which has been attributed to the first Norman
+Archbishop, Thomas of Bayeux (1070-1100), or to Archbishop Thurstan
+(1114-1141).</p>
+
+<div class="figcenter" style="width: 366px;">
+<a name="image05" id="image05"></a><a href="images/image05-full.jpg"><img src="images/image05.jpg" width="366" height="458" alt="Photo of the the cathedral" title="EARLY APSIDAL CHAPEL WITH LATER CHAPEL SUPERIMPOSED." /></a>
+<p class="captionl"><i>Rev. J. Beanland, Photo.</i>]</p>
+
+<p class="caption">EARLY APSIDAL CHAPEL WITH LATER CHAPEL SUPERIMPOSED.</p>
+</div>
+
+
+<p><span class='pagenum'><a name="Page_14" id="Page_14">[14]</a></span></p>
+
+<p>The former died at Ripon. Indeed, the Archbishops had been in the habit
+of residing here since the end of the tenth century, and they duly
+appear in Domesday Book as lords of the manor, of which the canons&#8217; land
+is apparently treated as a part. It is worthy of note that Domesday Book
+records also the &#8216;soc&#8217; jurisdiction and freedom from taxation which are
+mentioned in the &#8216;Athelstan&#8217; charters. The exemption also from the
+king&#8217;s officers which is set forth in the same charters, was proved in
+1106, when an attempted invasion of the liberties of the Church by the
+Sheriff of York was successfully resisted by Archbishop Gerard before
+arbitrators appointed by Henry I. This king also exempted the lands of
+Ripon from castle-building, and granted to the Canons and the Archbishop
+a fair at the feast of St. Wilfrid&#8217;s translation (April 24th). In the
+next century fairs were also claimed for the feast of his <i>Depositio</i>
+(October 12th), and for the feasts of St. Michael and of the Finding of
+the Holy Cross.</p>
+
+<p><b>Archbishop Thomas II.</b> (1109-1114) founded the <b>Hospital of St. John the
+Baptist</b>, and another Hospital, that <b>of St. Mary Magdalen</b>, of which the
+chapel remains, was founded by his successor, <b>Archbishop Thurstan</b>
+(1114-1141). Both these Hospitals were affiliated to the Church, and the
+masterships were in the gift of the Archbishop. St. John&#8217;s afforded
+shelter to poor travellers who came in through the forest which then
+adjoined the town. When the forest was cleared, the endowment provided
+exhibitions for a few poor boys, who lived here while they pursued their
+studies in &#8220;grammar&#8221; (perhaps at the Grammar School), with a view to
+becoming clerks. The two hospitals, and a third which was founded later,
+were placed at three of the principal entrances to the town, with the
+express intention, perhaps, of assisting the pilgrims who resorted to
+the shrine of St. Wilfrid.</p>
+
+<p>Thurstan added one more canon to the staff by founding the prebend of
+Sharow. He may also be called the founder of Fountains Abbey, which was
+built on land assigned by him out of his domain of Ripon.</p>
+
+<p>In the troubles of the reign of Stephen, Ripon took no small share. When
+the Scots descended into Yorkshire, nominally to aid the Empress Maud,
+Thurstan sent against them all the levies which an archbishop, as a
+feudal baron, <span class='pagenum'><a name="Page_15" id="Page_15">[15]</a></span>could muster, including doubtless the men of his manor of
+Ripon, and the victory which they won near Northallerton in 1138 is
+known as the Battle of the Standard, from the banners of the three
+mother-churches&mdash;Ripon, York, and Beverley&mdash;which waved over the English
+army. Ripon was soon to experience the anarchy which prevailed toward
+the end of the war. In 1140 Alan, Earl of Richmond, entrenched himself
+on a neighbouring hill and grievously oppressed the town and its
+inhabitants. Led by him, the large landholders in the neighbourhood
+broke open the storehouses and granaries of the archbishop, and in 1143
+Earl Alan himself burst into the church with an armed band and attacked
+Archbishop William Fitzherbert (afterwards St. William of York), who was
+standing by St. Wilfrid&#8217;s shrine. The Archbishop&#8217;s offence may have been
+that he was the king&#8217;s nephew. At any rate he was detested by the
+Cistercians, who were strongly represented here by Fountains Abbey, and
+Ripon seems to have sided with them, for in 1148, when Archbishop
+William was temporarily deprived of his office, it was to Ripon that his
+supplanter, Archbishop Murdac, retired when he durst not enter York.
+Stephen confirmed to the College all the privileges granted by his
+predecessors.</p>
+
+<p><b>Building of the Present Church.</b>&mdash;The reign of Henry II. is marked by
+another rebuilding of the church. William was succeeded in 1154 (the
+year of the king&#8217;s accession) by <b>Archbishop Roger de Pont l&#8217;Ev&ecirc;que</b>
+(1154-1181). This prelate is known in politics for his opposition to
+Thomas &agrave; Becket, and in art for his prominent share in the development
+of our national architecture. There is perhaps no more important example
+of the transition from the Norman to the Early English style than his
+work at Ripon. With the exception of the crypt under the present
+crossing, and of some Norman work south of the present choir, he rebuilt
+the whole church, and history has recorded the wording of a deed in
+which he gives &#8220;&pound;1000 of the old coinage for the building of the
+basilica ... which we have begun afresh.&#8221;<a name="FNanchor_12_12" id="FNanchor_12_12"></a><a href="#Footnote_12_12" class="fnanchor">[12]</a> Roger&#8217;s church was a
+cruciform building, and its nave had no aisles. A great portion of his
+work remains&mdash;the two transepts, half of the central tower, and
+<span class='pagenum'><a name="Page_16" id="Page_16">[16]</a></span>portions of the nave and choir. The plan (see below, <a href="#Page_67">p. 67</a>) was typical
+of the early history of the place and of its subsequent conversion from
+a monastery into a college of secular canons; for the aisleless
+cruciform arrangement in churches was developed from a combination of
+the Scottish type with the Roman or basilican, and the absence of aisles
+was, or rather had been at a slightly earlier period, the recognized
+mark of a secular as opposed to a monastic church. In giving aisles to
+the choir Roger&#8217;s plan was singular, for it was not usual for a choir to
+have aisles when the nave had none. Except by the addition of
+nave-aisles, the dimensions of his plan (as Walbran remarked) have not
+been materially exceeded; and Ripon is an example of the size to which
+churches of canons often attained, in spite of the fact that their plan
+was generally that of a mere parish church.</p>
+
+<p>The next archbishop, Geoffrey Plantagenet, was often in disagreement
+with his brothers, Richard I. and John, but the manor of Ripon is said
+to have been the only portion of his temporalities of which the latter
+king did not deprive him.</p>
+
+<p>After Geoffrey&#8217;s death the see was vacant for nine years until 1216, the
+year of the accession of Henry III., when it was given to <b>Archbishop
+Walter de Gray</b> (1216-1255). In the same year &#8216;spiritual fraternity&#8217; was
+formally concluded between Ripon and Fountains; and a somewhat similar
+arrangement was made a little later with Southwell, which since Henry I.
+had shared with Ripon and Beverley the dignity of a mother-church or
+pro-cathedral in the diocese of York. In 1224, at the request of the
+Canons, Archbishop de Gray translated the relics of St. Wilfrid (if such
+they were) to a new shrine, enshrining the head separately in such a way
+that it was exposed to view. He also granted an indulgence of thirty
+days to all who should make pilgrimage to the saint&#8217;s new resting-place.
+This second translation never became a feast, but it doubtless
+stimulated the cult of St. Wilfrid afresh, and probably brought
+considerable profit to the Church.</p>
+
+<p>A few years later, at any rate, an important alteration was made in the
+fabric, by the building of the present west front with its two flanking
+towers, and the tall wooden and lead-covered spires which once crowned
+the latter and the central tower were probably erected at this period.</p>
+
+<p>In 1230, the Archbishop founded a seventh prebend<span class='pagenum'><a name="Page_17" id="Page_17">[17]</a></span>&mdash;that of Stanwick;
+and in 1241 sanctioned the addition of the parish of Nidd to the common
+property of the College.</p>
+
+<div class="figcenter" style="width: 371px;">
+<a name="image06" id="image06"></a><a href="images/image06-full.jpg"><img src="images/image06.jpg" width="371" height="448" alt="Photo of the the cathedral" title="THE WEST FRONT BEFORE SIR G. G. SCOTT&#8217;S RESTORATION." /></a>
+<p class="captionl"><i>Watson, Ripon, Photo.</i>]</p>
+
+<p class="caption">THE WEST FRONT BEFORE SIR G. G. SCOTT&#8217;S RESTORATION.</p>
+
+<p class="caption">(From an old print, by the kind permission of the Ripon Museum.)</p>
+</div>
+
+<p>As yet, most of the prebends were distinguished by the names of the
+Canons who held them, or of Saints; and it <span class='pagenum'><a name="Page_18" id="Page_18">[18]</a></span>was not till 1301 that they
+were named after the principal hamlet or township in each&mdash;Stanwick,
+Monkton, Givendale, Sharow, Nunwick, Studley, Thorp. They were all in
+the neighbourhood except Stanwick, which was in the North Riding, near
+Richmond. The Church was (as it still is) parochial as well as
+collegiate. Each prebend carried with it a cure of souls, yet all
+(except Stanwick) were included in the huge parish of Ripon, which
+extended to Pateley Bridge, and in 1300 had a radius of nine or ten
+miles. Thus the collegiate establishment differed from the usual type in
+which each prebend was a separate parish with a church of its own.
+Moreover, there was neither Dean nor Chancellor. The Canons may at first
+have lived in common, but as early as 1301, and probably earlier, they
+were dwelling in separate prebendal houses round the Church. There is no
+evidence that they ever resided on their prebends, except in the case of
+the Canon of Sharow, whose residence was at that place. The canonries,
+having been founded by Archbishops of York, were in the gift of the see,
+or of the Crown when the see was vacant. The Canon of Stanwick was <i>ex
+officio</i> Ruler of the Choir, whence his obligation to reside in Ripon in
+spite of the remoteness of his prebend, which was served by a vicar.
+Similarly the Canon of Monkton was always Treasurer, and had charge of
+the Chapter-house, the ornaments and plate, and the High Altar.</p>
+
+<p>The revenues of the church may be divided as usual under three heads.
+There was a Common Fund, arising from certain rents, tithes, fees, and
+oblations; a survival perhaps of a time when the Canons lived in common.
+Secondly, there were the revenues drawn by the Canons from their
+respective prebends, and consisting partly of rents, but chiefly of
+tithes. The prebend of Stanwick was worth about twice as much as any
+other. Thirdly, there was the Fabric Fund, arising from certain rents,
+oblations,<a name="FNanchor_13_13" id="FNanchor_13_13"></a><a href="#Footnote_13_13" class="fnanchor">[13]</a> and licences, from the profits of St. Wilfrid&#8217;s
+burning-iron (with which cattle were branded to keep off murrain),<a name="FNanchor_14_14" id="FNanchor_14_14"></a><a href="#Footnote_14_14" class="fnanchor">[14]</a>
+and, in later days, of the pok-stone (which was probably regarded as in
+some way a preventive against the &#8216;pokkes&#8217; of sheep and cattle); but
+especially from the farm <span class='pagenum'><a name="Page_19" id="Page_19">[19]</a></span>of indulgences. When much building was in
+progress the Canons&#8217; incomes were afterwards specially taxed, and once
+or twice Peter&#8217;s-pence were actually withheld from the Pope and devoted
+to architectural purposes.</p>
+
+<p>At the time of Archbishop de Gray, the old and somewhat vague
+jurisdictions in and about Ripon had become more distinct. The parish
+was a Peculiar,<a name="FNanchor_15_15" id="FNanchor_15_15"></a><a href="#Footnote_15_15" class="fnanchor">[15]</a> and as such was exempt from the authority of the
+Archdeacon of Richmond, either by tradition from the days when the
+church was a monastery, or because of the presence here of the
+Archbishops. Over this Peculiar (the laity included) the Chapter
+exercised the spiritual jurisdiction of an archdeacon&#8217;s court, assisted
+by the Rural Dean of Ripon, who sat as &#8216;Dean of Christianity.&#8217; This
+&#8216;Court Christian&#8217; dealt with testamentary and matrimonial cases, cases
+of defamation, immorality, neglect of religious duties, etc. Accused
+persons cleared themselves by compurgation, or underwent penalties
+(commutable, however), such as being beaten, walking barefoot in the
+processions, suspension <i>ab ingressu ecclesi&aelig;</i>, or excommunication.<a name="FNanchor_16_16" id="FNanchor_16_16"></a><a href="#Footnote_16_16" class="fnanchor">[16]</a>
+Lesser offences were dealt with by an archbishop&#8217;s officer called
+<i>penitentiarius</i>, who heard confessions and enjoined penances. The
+Archbishop was Ordinary of the Peculiar. He held visitations in the
+Chapter-house, and could order repairs of buildings, make statutes (in
+consultation with the Chapter) for the College, and sequestrate its
+revenues. He also exercised authority over offending Canons and over the
+inferior clergy of the staff, though the correction of these belonged
+primarily to the Chapter and especially to the Canon of Stanwick.</p>
+
+<div class="figcenter" style="width: 377px;">
+<a name="image07" id="image07"></a><a href="images/image07-full.jpg"><img src="images/image07.jpg" width="377" height="600" alt="Three medieval seals" title="MEDI&AElig;VAL SEALS." /></a>
+<p class="caption">MEDI&AElig;VAL SEALS.</p>
+
+<p class="caption">1. Seal of the Medi&aelig;val Chapter.<br />
+2. Capitular Seal &#8220;ad causas.&#8221;<br />
+3. Common Seal of the Vicars.</p>
+</div>
+
+<p>For purposes of secular jurisdiction Ripon, with the lands round it, was
+a Liberty, exempt, that is, from the authority of the Sheriff. The
+Liberty was almost co-extensive with the Peculiar. Within it were two
+secular jurisdictions, that of the Archbishop as lord of the manor, and
+that of the Chapter, which embraced the southern half of the town and
+many country districts, and which may have originated either with<span class='pagenum'><a name="Page_20" id="Page_20">[20]</a></span><span class='pagenum'><a name="Page_21" id="Page_21"><br />[21]</a></span>
+Ealdred&#8217;s presumable gifts of land out of the manor to form prebends, or
+(as the charters pretend) from a grant of Athelstan, or perhaps from an
+original independence enjoyed by the church as a monastery. The Chapter
+claimed within their sphere the rights attributed to Athelstan&#8217;s grant,
+and also assize of bread, ale, weights and measures; dues of fairs and
+markets; certain feudal dues; power over masterless goods, and to deal
+with cases of rent, wrongful detention of land, and theft; <i>cognitio de
+falso judicio</i>; execution of royal writs; &#8216;sheriff-tourn&#8217;; coroners of
+their own; in fact the powers of a sheriff and of the justices-in-eyre,
+with a prison and the right of gaol-delivery, and even of inflicting
+capital punishment. In cases of homicide, however, a king&#8217;s justice must
+sit as assessor. For civil suits there was a provision against &#8216;wager of
+battle,&#8217; and the accused again cleared themselves by compurgation.
+Archbishop de Gray claimed similar privileges, but wished to exercise
+them over the whole Liberty, on the ground that the church and its
+appurtenances were part of his manor (as indeed they very possibly were,
+originally). Unlike Archbishop Gerard, who had supported the church&#8217;s
+privilege against the sheriff, de Gray actually joined the sheriff in
+invading it. In 1228 the case came before the king&#8217;s justices in the
+Chapter-house at Ripon, and the decision was for the Chapter. Thus the
+division of jurisdictions received from the State an undoubted sanction.
+Within his sphere the Archbishop appointed his own justices, but on
+arriving at the limits of that sphere, the king&#8217;s justices sat with them
+there on the first day, and were afterwards admitted to sit with them in
+the town. The Archbishops claimed also that their commissioners should
+administer the oath of obedience at the mile-limit to those who sought
+sanctuary. The Archbishops are also said to have had a &#8216;military court,&#8217;
+probably a feudal institution.</p>
+
+<p>The memory of de Gray was perhaps held in scant respect at Ripon. He is
+accused by Matthew Paris of having refused to distribute his corn during
+a famine, and it was through the erection of Bishopthorpe Palace by him
+that Ripon ceased to be a favourite provincial residence of the
+Archbishops. Nevertheless they still frequently visited the town, both
+for sport and duty. They had a park &#8220;six miles in compass,&#8221; and the
+fishing in the Ure. The existence, moreover, of a <span class='pagenum'><a name="Page_22" id="Page_22">[22]</a></span>prison here for
+criminous clerks made the minster a convenient place for the public
+degradations which the Archbishop was obliged to hold from time to time.
+On these occasions the offending clerks were brought across to the
+church, where the Archbishop in full pontificals would hear their avowal
+of guilt in the nave, and then solemnly divest them of their robes and
+of their office at the west door.</p>
+
+<p>In 1270 came the first echo from the outside world since the reign of
+Stephen. Prince Edward was setting out on a crusade, and Archbishop
+Giffard was compelled to exact from the Chapter a twentieth of their
+temporalities. The town had now attained to some importance, and sent
+two members to the Model Parliament of 1295.</p>
+
+<p>As yet the minster of Archbishop Roger had suffered no change in its
+main fabric save the rebuilding of the west front, but an alteration was
+now to be made at the other extremity also, and the eastern portion of
+the choir was rebuilt with all the elaboration of the Decorated style.
+Of this work the greater part was probably effected under <b>Archbishop
+John Romanus</b> (1286-1296).</p>
+
+<p>In 1293 the almost cathedral rank of the church was marked by the
+consecration within its walls of a bishop (of Galloway). It was, as has
+been said, the parish church of the huge parish of Ripon. Yet the town
+itself possessed at an early period a separate parish church of
+Allhallows, a memory of which survives in &#8216;Allhallowgate.&#8217;<a name="FNanchor_17_17" id="FNanchor_17_17"></a><a href="#Footnote_17_17" class="fnanchor">[17]</a> There was
+also an old chapel of the Virgin called the &#8216;Lady-kirk,&#8217; in
+&#8216;Stammergate,&#8217; and there were chapels at the two hospitals and the
+palace. But there were at first few if any places of worship in the
+surrounding country, and the most remote of the parishioners had been
+obliged to repair Ripon. This state of things led to the erection of
+district chapels by the larger landholders under the sanction of the
+Chapter, as early as the twelfth century, and of these chapels there
+were eventually at least sixteen.</p>
+
+<p><span class='pagenum'><a name="Page_23" id="Page_23">[23]</a></span>The parishioners, however, still assembled at Ripon on certain feasts,
+notably Christmas, Good Friday, Easter, Ascension, Whitsuntide, and the
+feasts of St. Wilfrid&#8217;s death (October 12th) and translation (April
+24th), to which was added later a feast of his nativity, observed on the
+Sunday after Lammas Day, and in the parish of Ripon only.<a name="FNanchor_18_18" id="FNanchor_18_18"></a><a href="#Footnote_18_18" class="fnanchor">[18]</a> On St.
+Wilfrid&#8217;s feasts the privilege of sanctuary was extended beyond the
+mile-limit to all who visited the mother-church, and the penalty for
+molestation without the limit was &pound;6. On Easter Day all the parishioners
+received the Communion in the minster,<a name="FNanchor_19_19" id="FNanchor_19_19"></a><a href="#Footnote_19_19" class="fnanchor">[19]</a> and on that day, on Christmas
+Day, and on the feast of St. Wilfrid&#8217;s nativity, the district chaplains
+attended in their copes. Very picturesque, too, must have been the
+miracle-plays at Easter, Christmas, and Epiphany; the great fairs; the
+solemn processions, especially at Rogation-tide, when the relics of the
+Saint were borne in state by representatives of the greater tenants of
+the church, and attended by the sanctuary-men carrying staves with
+banners. It is probable that once a year (perhaps at Whitsuntide) the
+church was visited by clergy and laity from the whole of that division
+of the diocese to which Ripon was the mother-church. Such annual
+visitations were the especial privilege of mother-churches, and were a
+great source of profit.</p>
+
+<p>Underneath all this pageantry, however, there was much that was
+unsatisfactory in the internal affairs of the college. In the thirteenth
+century even more than afterwards, the great difficulty in the working
+of secular colleges was non-residence. The Canons were often pluralists,
+or foreigners appointed under pressure from the Pope or the king, who
+provided in this way for prominent civil servants. A canon would often
+leave his prebend in the spiritual charge of a vicar engaged by the
+year, or under the administration of a proctor, or would even farm it
+out&mdash;sometimes to a layman. Sometimes a canon was suspected of being a
+layman himself, or a married man. The <span class='pagenum'><a name="Page_24" id="Page_24">[24]</a></span>proctors or lessees dismissed or
+appointed vicars at their pleasure. The prebendal houses fell into
+disrepair, and in some cases a plot had been assigned, but no house had
+been built. Some canons at this period resigned their stalls after an
+extremely short tenure, or changed from one stall to another.</p>
+
+<p><b>Archbishop Thomas de Corbridge</b> (1299-1303) addressed himself to the
+reform of these evils. He ordered the Canons to look to their prebendal
+houses. He tried to control their acceptance of benefices in plurality.
+He forbade them to farm their prebends to any but brother-canons except
+with his licence. It was he who gave the prebends their territorial
+names. Most important of all, he decreed in 1303 that the cure of souls
+in each prebend was to be entrusted to a vicar-perpetual. The collegiate
+system was indeed breaking down, and the Vicars henceforth were almost
+as important a body as the Canons, whom they relieved of all
+responsibility for the parochial work and the performance of the
+services. Except the Vicar of Stanwick, they all lived at Ripon, and in
+1304 one Nicholas de Bondgate provided them with a common residence,
+which became known as the Bedern<a name="FNanchor_20_20" id="FNanchor_20_20"></a><a href="#Footnote_20_20" class="fnanchor">[20]</a> (whence &#8216;Bedern Bank&#8217;). The office
+of <i>penitentiarius</i> or of rural dean was often held by one of them.
+Besides the seven Canons and the six Vicars in Ripon, there were three
+deacons, three sub-deacons, six thuriblers, and six choristers, and the
+full officiating staff thus amounted to thirty-one, exclusive of the
+chantry priests, of whom, however, there were as yet but few.</p>
+
+<p>The successor of Archbishop de Corbridge was an ex-Canon of Ripon,
+<b>William Greenfield</b> (<b>Archbishop</b> 1304-1315). He rebuilt the chapel of the
+Palace and founded a chantry in it. It was at Ripon that he put forth,
+with additions of his own, certain rules against clerical abuses which
+he had borrowed from the diocese of Chichester. He found indeed much to
+reform. Already the vicariate was becoming demoralized. Vicars and
+inferior clergy were addicted to shows and sports, to dances and
+stage-plays. A chaplain invented a gambling game called &#8220;ding-thrifts.&#8221;
+What wonder that the laity, then, begged at the altars under pretence of
+being proctors of absent canons, or intruded into the choir during
+service&mdash;a privilege reserved for <span class='pagenum'><a name="Page_25" id="Page_25">[25]</a></span>the great? And another privilege of
+rank had been invaded also, for the Archbishop had to direct that only
+great persons and benefactors were to be buried within the minster. In
+1310 two women fought in the graveyard so savagely that it had to be
+reconsecrated. In his last year the Archbishop had to restrain the
+proctors of absent canons from acting independently in the
+administration of the prebends, and from exercising capitular authority.</p>
+
+<p>These internal difficulties, however, were presently forgotten in a new
+danger from without. Already, in 1298, Archbishop de Newark had called
+upon the Chapter to assist in providing cavalry for Edward I.&#8217;s campaign
+against John Balliol, King of Scots. The King himself is said to have
+visited the town in 1300. In 1315 the Chapter had sent a representative
+to a council held by Archbishop Greenfield at Doncaster to consider the
+defence of the realm. Since Bannockburn the Scots had been raiding the
+northern counties, and in 1316 Edward II. ordered Ripon to provide
+maintenance for Aymer de Valence, Earl of Pembroke, who was to pass
+through on his way to check the raids. In March 1318 the town sent a
+contingent to the King&#8217;s forces, and the money, together with a banner
+of St. Wilfrid, was provided by <b>Archbishop William de Melton</b>
+(1317-1340). In May of the same year the Scots descended upon Ripon
+itself. They might have spared the place, for in 1297 it had been the
+temporary home of the mother of Robert Bruce, now King of Scotland, but
+no consideration was shown. As there were no town walls, the inhabitants
+fled to the minster and fortified it. For three days their homes were
+given over to plunder, and the enemy demanded one thousand marks as the
+price of a promise not to burn the town altogether. Even the Archbishop
+urged the townsmen to pay this blackmail lest further damage should be
+done, but such a sum could not be raised in a moment, and during either
+this or a subsequent visit the Scots did much damage to the church. The
+prebends suffered to the extent of over 150 marks, and the hospitals
+were much crippled. Nor was any satisfaction to be had, save by solemnly
+excommunicating the enemy on Sundays and festivals. It was probably in
+consequence of the havoc wrought that in 1322 Parliament, which had been
+summoned to meet at Ripon, met at York instead.</p>
+
+<p>Thrice again after 1318 were forces levied in the Liberty <span class='pagenum'><a name="Page_26" id="Page_26">[26]</a></span>against the
+Scots&mdash;in 1327, in 1333, and in 1342, when Edward III. even offered
+pardon to the sanctuary-men if they would serve.</p>
+
+<p>Meanwhile Archbishop de Melton had been promoting the repair of the
+minster, a task which included probably the renewal of the spires, the
+roof, the stained glass, and the woodwork. In 1331-2 he issued some
+important statutes for the College. Hitherto each Canon (except the
+Canon of Stanwick) had received an annual dividend out of the Common
+Fund. Of this fund, a large portion which had always gone to furnish
+these dividends (or a part of them) was now appropriated exclusively to
+canons willing to reside. Thus a premium was put upon residence, which
+was fixed at twelve weeks in the year (not necessarily continuous), and
+a distinction was admitted between resident and non-resident canons.
+Again, the Common Fund was now to be charged with the salaries of the
+Vicars, who had hitherto been precariously paid by the Canons their
+masters.</p>
+
+<p><b>Archbishop John de Thoresby</b> (1352-1373) added to the prebend of Studley
+the two districts of Dacre and Bewerley, and it was probably about this
+time that the Lady-chapel (now the Library) was built. In 1375 some part
+of the church was burnt, and in 1396-7 the central spire seems to have
+been rebuilt. The town had now recovered its prosperity, for in 1405 it
+became the residence of the Court, when King Henry IV. was driven from
+Westminster by a plague. The next reign is marked by an improvement in
+the status of the Vicars. They had been living dispersed over the
+town,&mdash;indeed, their common residence or Bedern is said to have been
+destroyed by the Scots.</p>
+
+<p>In 1415, therefore, <b>Archbishop Henry Bowet</b> (1407-1423), having obtained
+from Henry V. a charter with a dispensation of the Statute of Mortmain,
+gave a site out of his manor for a new Bedern; and the vicars
+themselves, who at this period are commended by both the Archbishop and
+the King, were at the same time formed into a corporate body having a
+common seal, and were allowed to elect from their number a Provost.
+Under this Archbishop there were several instances of canons exchanging
+their stalls for other benefices. The discipline of the staff seems to
+have become exceedingly lax by 1439. The church music was <span class='pagenum'><a name="Page_27" id="Page_27">[27]</a></span>neglected.
+The Mass of Our Lady was not said regularly in the Lady-chapel. The
+inferior clergy did not study for their examinations, and wore daggers
+in the Choir. They and the vicars frequented taverns, walked about the
+nave during service, and absented themselves without leave. The Canons
+did not attend church in their habits, and the clergy generally indulged
+in field sports.</p>
+
+<p><b>Archbishop John Kemp</b> (1426-1452) did what he could to reform these
+abuses, and effected some improvement (the nature of which is not clear)
+in the status of the Vicars, who had been badly treated by the Chapter
+in financial matters. Later in this century a chantry chaplain is found
+engaging in dishonest trade; priests fight; laymen assault one another
+in the minster during service. But medi&aelig;val morality in general must not
+be condemned, of course, for a few recorded crimes.</p>
+
+<p>About 1450 the south-east corner of the central tower gave way, and so
+unsafe was the church that service had to be held in the Lady-kirk. In
+consequence of this disaster the Canons were obliged to rebuild not only
+the south and east sides of the tower, but also the east side of the
+south transept, and eventually part of the south side of the Choir; and
+it is evident that they would have rebuilt the two remaining sides of
+the tower, had they not been prevented by the Dissolution. The present
+rood screen and canopied stalls were put in toward the close of the
+fifteenth century. In 1502 the Lady-kirk (in which a chantry had been
+founded in 1392) was handed over by the Chapter to Archbishop Savage,
+who in turn transferred it to Fountains Abbey. Abbot Huby, intending to
+make it a colony of Cistercians, rebuilt the east end of it, and
+enclosed part of its graveyard with a fine stone wall having a
+strongly-marked base. Of this wall a great part remains in St.
+Mary-gate. A large doorway in it has been built up. The Lady-kirk itself
+has vanished long ago.</p>
+
+<p>At this time was begun the greatest architectural enterprise that had
+been undertaken at Ripon since the twelfth century, namely, the
+rebuilding of the nave of the minster. The Transitional nave, it was
+said, had become ruinous through age and storms, but the real motive for
+its destruction was probably an ambition to enlarge the building. The
+enlargement of aisleless churches was usually begun by the addition of a
+single aisle, and that on the north side (since the <span class='pagenum'><a name="Page_28" id="Page_28">[28]</a></span>south was usually
+the side of the graveyard); but at Ripon the south aisle was built
+first, perhaps because it was always intended that there should be two
+aisles&mdash;an arrangement which there were no cloisters here to prevent.
+The work was begun in 1502 or 1503. Delayed by a plague in 1506, it was
+almost complete, as Leland&#8217;s <i>Itinerary</i> shows,<a name="FNanchor_21_21" id="FNanchor_21_21"></a><a href="#Footnote_21_21" class="fnanchor">[21]</a> when he visited the
+town about 1538, but the aisles had not yet been vaulted when the
+Dissolution came, and had wooden roofs until our own time. Irreparable
+as is the loss of Archbishop Roger&#8217;s nave, its successor must surely be
+placed among the great naves of the Perpendicular period&mdash;and it is the
+latest of them. The work was furthered by <b>Archbishop Savage</b> (1501-1507)
+and by <b>Cardinal Archbishop Bainbridge</b> (1508-1514), and two canons must
+especially be mentioned in connection with it, Andrew Newman, appointed
+Master of the Fabric in 1502, and <b>Marmaduke Bradley</b>, who was paymaster,
+and who was connected with the repairs after the failure of the central
+tower, and gave up to the fabric a large portion of his fees for
+residence. The last work done before the Reformation was probably the
+rebuilding of the three westernmost bays on the south side of the choir,
+which had been weakened doubtless by the accident to the central tower.</p>
+
+<p>By this time the church contained nine chantries, namely, those of St.
+Andrew (founded 1234); of the Holy Trinity <i>supra summum altare</i> (1345);
+of St. John the Evangelist and St. John the Baptist (1364); of St. James
+(1407-8); of Our Lady &#8216;in the Church&#8217; (1408); of St. Thomas of
+Canterbury (1418); of the Holy Trinity <i>subtus altare</i> (1466); of Our
+Lady &#8216;in the Lady-loft&#8217;; and of St. Wilfrid (? 1420). In some of these,
+other chantries had been merged. There were also four or five chantries
+in various chapels in the parish. The chantry-chaplains were not
+strictly on the staff, but helped on Sundays and festivals. As their
+chantries did not give them sufficient occupation, they sometimes held
+in addition such offices as that of Proctor of an absent canon, Curator
+of the Fabric, Sub-Precentor, Sub-Treasurer, or Chamberlain, the holder
+of this post being the chief financial officer of the community.</p>
+
+<p><span class='pagenum'><a name="Page_29" id="Page_29">[29]</a></span>On the eve of the Reformation the discipline of the staff was again very
+unsatisfactory, chiefly through the influence of the Treasurer, Canon
+Christopher Dragley, who employed the vestry clerks on his private
+business, disposed of chantries prematurely, and encouraged the Vicars,
+who were now living dispersed, to be insubordinate. It was the custom
+for choir and clergy to adjourn after Prime to the Chapter-house, where
+the martyrology for the day was read and notices were given out. Here,
+too, once a week sat the Chapter Court. But Dragley was able to hinder
+all this by keeping the door locked. From 1533 to 1539 he was Treasurer,
+Canon Residentiary, and President of the Chapter, and the general laxity
+was largely due to this concentration of authority in the hands of one
+bad man through non-residence. The case of Dragley drew several decrees
+from <b>Archbishop Edward Lee</b> (1531-1544):&mdash;that no vicar should be
+appointed without the consent of a majority in Chapter; that the Chapter
+seal must be kept by three people; that one canon must no longer form a
+quorum (as hitherto) in the Chapter Court, and as a question had arisen
+whether the powers of the Chapter were not entirely vested in the
+canons-resident,<a name="FNanchor_22_22" id="FNanchor_22_22"></a><a href="#Footnote_22_22" class="fnanchor">[22]</a> it was laid down that the latter were indeed
+competent to dispose of certain chantries and other offices, and to
+exercise the Chapter&#8217;s spiritual jurisdiction, but that in most other
+matters the whole body must be consulted. As most of them were always
+absent, this means, perhaps, that they were represented in Chapter by
+their proctors. There is an instance in 1546 of the Vicars, chantry
+priests, and deacons being allowed to take part in a Chapter meeting.</p>
+
+<p>An attack on relics was begun in 1538, and it was probably about this
+date that the shrine of St. Wilfrid was destroyed. In 1539 came the
+suppression of Fountains Abbey, the abbot who surrendered it being no
+other than Marmaduke Bradley. He had been Abbot since 1536, holding his
+canonry at Ripon at the same time, and after the suppression of the
+Abbey, he became once more a power at Ripon. As sole residentiary in
+1544, 1545, and 1546, he appears to have used his influence well, and
+played a prominent part in the last architectural opera<span class='pagenum'><a name="Page_30" id="Page_30">[30]</a></span>tions before the
+Dissolution. The old system of sanctuary, suited only to times when the
+State was weak, seems to have died out about this period. In 1545 came
+an Act for the dissolution of chantries and hospitals. As &#8216;Supreme Head
+of the Church&#8217; Henry VIII. renewed the visitatorial authority of the
+Archbishops, and both he and Edward VI. confirmed the ecclesiastical
+jurisdiction of the Chapter. But the end was imminent. In 1547 the
+College was dissolved,<a name="FNanchor_23_23" id="FNanchor_23_23"></a><a href="#Footnote_23_23" class="fnanchor">[23]</a> and its revenues were annexed to the Duchy of
+Lancaster. There had been attached to the church for centuries a <b>Grammar
+School</b>, for which the Chapter had claimed a monopoly of education within
+the Parish and Liberty, forbidding in 1468 the establishment of any
+other school without their special licence. This ancient seminary was
+apparently dissolved, and a new grammar school independent of the church
+was founded by Edward VI., whose benefaction was completed by Mary, the
+endowment being provided from the revenues of four of the late
+chantries. There had also been a Song-school, but it was perhaps merely
+a room in which boys of the Grammar School were trained to be
+choristers. Out of the confiscated revenues one or more clergy were paid
+to minister to the parish, but under Mary the old state of things was in
+some measure brought back. There was once more a Chamberlain, whose
+accounts show much the same items as do those of his medi&aelig;val
+predecessors, and the old religion was restored; indeed, there were six
+altars in the church.</p>
+
+<p>Under Elizabeth there was a return to the arrangement of Edward, the
+clergy (now as many as five in number) being denominated vicars.
+Archbishop Sandys (1577-1588), Lord Burleigh, Richard Hooker, Moses
+Fowler (afterwards the first Dean), and others tried to bring about the
+establishment of a theological college in the Bedern, and an increase of
+the endowments of the church, but in vain. The town must have lost all
+favour in 1569, by taking part in the Rising in the North. It was
+visited by the rebel earls of Northumberland and Westmorland, many of
+the townsmen and local gentry joining them, and for the last time the
+minster witnessed the celebration of the Mass. On the collapse of the
+rebellion, a number of those who had taken up arms were hanged at<span class='pagenum'><a name="Page_31" id="Page_31">[31]</a></span> Ripon
+in sight of their homes, and the church suffered much damage from the
+Queen&#8217;s soldiery, who stripped the lead from the roof. Like the
+Pilgrimage of Grace in 1536, this Rising was a protest against the
+Reformation, and the records of Archbishop Young (1561-1568), and of the
+Court of High Commission (1580), show that the people of Ripon still
+clung to the old religion. The pillage of Henry and Edward had no doubt
+destroyed most of the ornaments of the church, but some still remained
+or had been renewed under Mary, and the clergy displayed a marked
+reluctance in removing them; &#8216;Images,&#8217; even when removed, were concealed
+in private houses. One vicar named Thomas Blackburne had continued the
+old practice of holding churchings in the Lady-chapel, and was ordered
+publicly to renounce this error, as well as that of having left &#8220;that
+olde, abhominable, and supersticious vawte called the Wilfride&#8217;s
+nedle<a name="FNanchor_24_24" id="FNanchor_24_24"></a><a href="#Footnote_24_24" class="fnanchor">[24]</a> and the alter therein&#8221; undefaced. One townsman is punished for
+having taken part in the Mass during the late Rising. The clergy
+generally were unclerical in dress and lax in their performance of the
+reformed services, which the parishioners showed a corresponding
+unwillingness to attend, while the old fasts and festivals were not
+wholly given up.</p>
+
+<div class="figcenter" style="width: 584px;">
+<a name="image08" id="image08"></a><a href="images/image08-full.png"><img src="images/image08.png" width="584" height="399" alt="Drawing of the cathedral" title="RIPON MINSTER ANTERIOR TO 1660." /></a>
+<p class="caption">RIPON MINSTER ANTERIOR TO 1660.</p>
+
+<p class="captionl">Note.&mdash;This representation much resembles that engraved on the old
+communion plate. As a view of Ripon Minster, it affords an instance of
+the inaccuracy of old architectural drawings; but it shows, at any rate,
+the effect of the spires.</p>
+</div>
+
+<p><b>The Chapter revived.</b>&mdash;On the accession of <b>James I.</b> a second futile
+attempt was made to obtain for Ripon a theological college.<a name="FNanchor_25_25" id="FNanchor_25_25"></a><a href="#Footnote_25_25" class="fnanchor">[25]</a> The
+influence, however, of the queen, <b>Anne of Denmark</b>, gained from the king
+a greater boon, and in 1604 he re-established the Chapter. Under the new
+constitution there were six prebendaries, and for the first time a Dean.
+Much of the old endowments was restored, but the new stalls could not be
+identified with the old territorial prebends, and were therefore
+distinguished as &#8216;the first stall,&#8217; &#8216;the second stall,&#8217; and so on. After
+1607 the Prebendaries were empowered to elect a Sub-Dean. The cure of
+souls was discharged by two vicars, and the choir was composed of six
+lay-clerks and six choristers. The parish remained a Peculiar. The
+spiritual jurisdiction of the Chapter and the Archbishop had been
+somewhat restricted by the Reformation, and the secular jurisdiction of
+the Liberty&mdash;especially in criminal cases&mdash;had been partly transferred
+to the king&#8217;s itinerant justices.<span class='pagenum'><a name="Page_32" id="Page_32">[32]</a></span><span class='pagenum'><a name="Page_33" id="Page_33"><br />[33]</a></span> The Archbishop, however, still
+retained some criminal jurisdiction and also his &#8216;Court Military,&#8217;
+which, strange to say, came to hear civil cases. During the latter half
+of the fifteenth century the secular cases heard by the Chapter had been
+chiefly cases of debt, and under the new constitution they were
+authorized to hold a court, which was called the Canon Fee Court, for
+cases of debt and other civil cases. Some obscurity exists as to the
+medi&aelig;val relation of the Archbishop to the town. There was, of course, a
+town council, and its president the Wakeman<a name="FNanchor_26_26" id="FNanchor_26_26"></a><a href="#Footnote_26_26" class="fnanchor">[26]</a> (an official peculiar to
+Ripon) had charge of what would now be called the town police. The
+ancient town bridges (of which only one remains) were under the charge
+of the Archbishop. During the sixteenth century the borough constitution
+had been the subject of disputes, in which Cardinal Wolsey had been
+concerned in 1517 and Archbishop Hutton in 1598. James I. therefore now
+granted a new Charter, under which the Wakeman became a Mayor; and
+henceforth the borough had also an independent court of its own. The
+dissolution of the Chapter in 1547, coming as it did upon the decay of
+the manufacture of woollen cloth, had been a great blow to the
+prosperity of the inhabitants,<a name="FNanchor_27_27" id="FNanchor_27_27"></a><a href="#Footnote_27_27" class="fnanchor">[27]</a> and it was no wonder that when James
+visited the town in 1617 he received an ovation.</p>
+
+<p>In 1625 a plague, such as had not occurred here since 1546, prevented
+the country folk from approaching the minster, and obliged them to have
+their children baptized in the fields.<span class='pagenum'><a name="Page_34" id="Page_34">[34]</a></span> Several changes in the
+surroundings of the church took place at this time. The Bedern, with its
+quadrangle, hall, and chapel, had been demolished by 1625, in which year
+the Deanery was erected, perhaps upon its site. Of the old prebendal
+houses some had been sold, or let; others, perhaps, were occupied by the
+Prebendaries of the new foundation. In 1629 the ancient Palace, which
+stood to the north of the minster and west of the Deanery, was turned
+into a poor-house. The town (and doubtless the minster) was visited in
+1633 by Charles I. on his way to his coronation at Edinburgh.<a name="FNanchor_28_28" id="FNanchor_28_28"></a><a href="#Footnote_28_28" class="fnanchor">[28]</a> A few
+years later he was to pass through again, a captive on his way to Holmby
+House.</p>
+
+<p>Ripon had escaped the Wars of the Roses, but it was not unscathed by the
+Great Rebellion, for in 1643 it was occupied by Sir Thomas Mauleverer, a
+Parliamentary officer, whose soldiery broke into the minster and
+shattered the magnificent glass in the great east window, and doubtless
+much other glass besides. At the end of the war the manorial rights were
+sold to Lord Fairfax, and the Chapter was again dissolved, &#8220;one who
+called himself Dr. Richardson&#8221; being &#8220;appointed to preach in the minster
+by the Parliament, tho&#8217; in all probability he was never in any Orders,
+Presbyterian or Episcopal.&#8221;<a name="FNanchor_29_29" id="FNanchor_29_29"></a><a href="#Footnote_29_29" class="fnanchor">[29]</a> The Chapter was revived at the
+Restoration, but all its members were new save one.</p>
+
+<p>In the same year (1660) the central spire, which had been injured by
+lightning in 1593, fell through the roof, wrecking many of the beautiful
+canopies of the stalls. The damage to the choir and other parts of the
+church, estimated at &pound;6000, was repaired with money raised under a brief
+from Charles II., but the spire was never rebuilt, and in 1664, to avoid
+any further catastrophe, the western spires, though sound, were
+deliberately removed.<a name="FNanchor_30_30" id="FNanchor_30_30"></a><a href="#Footnote_30_30" class="fnanchor">[30]</a> The place of the spires <span class='pagenum'><a name="Page_35" id="Page_35">[35]</a></span>was ill supplied by
+the erection of battlements and pinnacles, which were renewed in 1797.</p>
+
+<p>It was perhaps at this period that the west gate of the precincts was
+pulled down&mdash;a medi&aelig;val structure which contained at least seven rooms,
+and which stood at the bottom of Kirkgate. The graveyard in the middle
+ages contained a cross, at which a service was held on Palm Sunday;
+also, possibly, a mortuary chapel and a well associated with St.
+Wilfrid&mdash;(not, of course, the St. Wilfrid&#8217;s well which now fills the
+public baths). Of these things there is now not a trace, save, perhaps,
+the stump of the cross, near the south wall of the nave. Nor are there
+any undoubted remains of the medi&aelig;val wall which enclosed the precincts,
+except the fragment with an archway in it, which still forms the
+southern entrance. The medi&aelig;val prisons, which belonged respectively to
+the Archbishop and the Chapter, have long vanished, as has also that
+which appertained to the Court of Canon Fee, but there is a Liberty
+prison of some age in &#8216;Stammergate.&#8217; Most of the archiepiscopal palace
+had disappeared by 1830, but there was still a portion which was used as
+the court-house of the Liberty. In that year this was pulled down, and
+the present court-house was built upon the site. A memory of the Palace
+survives in &#8216;Hall Yard,&#8217; and there still remains what is, perhaps, a
+remnant of the actual fabric, in the shape of an old cottage with an
+external staircase, which stands behind the wall to the west of the
+public garden that fronts the north side of the church. In the
+above-mentioned wall is an Early English doorway, with a dripstone
+adorned with the nailhead moulding. The door has a flat-arched wooden
+frame, the spandrels of which are carved with <i>fleurs-de-lys</i>, while the
+wooden tympanum above has Perpendicular panelling. This doorway is not,
+perhaps, a relic of the Palace. It is not in its original position, and
+indeed is said to have come originally from St. Mary Magdalene&#8217;s
+Hospital. Several of the old houses adjoining the Cathedral on the south
+side, and along St. Agnes-gate, may possibly have been inhabited by the<span class='pagenum'><a name="Page_36" id="Page_36">[36]</a></span>
+Prebendaries of the Second Collegiate foundation, but the stone-roofed
+house adjoining Bondgate Green Bridge is the only one in Ripon which can
+be identified with a medi&aelig;val prebend&mdash;that of Thorp, and even here the
+existing fabric can scarcely be pre-Reformation. St. John&#8217;s
+Hospital,<a name="FNanchor_31_31" id="FNanchor_31_31"></a><a href="#Footnote_31_31" class="fnanchor">[31]</a> whose inmates for several centuries have been women, was
+unfortunately rebuilt in 1869, but the modern chapel (served by one of
+the cathedral clergy) retains a bell of 1663. The old Grammar
+School,<a name="FNanchor_32_32" id="FNanchor_32_32"></a><a href="#Footnote_32_32" class="fnanchor">[32]</a> which stood at the foot of the steps from St. Agnes-gate to
+the Minster, has been pulled down since 1872.</p>
+
+<p>Meanwhile the Minster itself had been undergoing restoration&mdash;in 1829
+and the following years at the hands of Blore, when upwards of &pound;3000
+were spent, and from 1862 to 1870 at the hands of Sir G. Gilbert Scott,
+and at a cost of about &pound;30,000.</p>
+
+<p>From the eighth century up to 1836 Ripon had been in the diocese of
+York. In that year was created the modern diocese of Ripon, and the
+church thus attained to cathedral rank. It had, however, always had some
+pretension to that rank, not merely as a mother-church but because (up
+to 1836) the Archbishops had their throne in the choir; indeed, it is
+styled a cathedral in documents of 1537 and 1546. The diocese is
+composed of parts of Yorkshire taken from the sees of York and Chester,
+and included Wakefield, Leeds, Bradford, Halifax and Huddersfield, until
+in 1888 a portion including Halifax and Huddersfield was taken away to
+form part of a new diocese of Wakefield. There are three archdeaconries:
+those of Richmond, Ripon, and Craven. The first is a survival, in a
+diminished form, of the ancient archdeaconry of the same name; the
+others are modern; the last is the only one which is held without a
+canonry. In accordance with the Act of 1840, the Sub-Deanery has been
+suppressed, the Prebendaries have been reduced to four, and their style
+has been changed to that of Canons. In 1841, provision was made for the
+appointment of<span class='pagenum'><a name="Page_37" id="Page_37">[37]</a></span> Canons honorary. There is also a precentor, and three
+other clergy who act as minor canons, and assist him in discharging the
+cure of souls&mdash;for though the huge medi&aelig;val parish has been gradually
+divided into many, the greater portion of the city itself is still
+served from the cathedral church. The choir is composed of six
+lay-clerks and twelve choristers. There was as late as 1890 a
+Choir-school, but most of the present choristers come from Jepson&#8217;s
+Hospital&mdash;a charity which was founded in 1672, in Water Skellgate, and
+the old buildings of which were pulled down in 1878.</p>
+
+<p>There are still some relics of the ancient jurisdictions of the Chapter
+and the Archbishop. Though the secular jurisdiction has been gradually
+reduced by legislation to the scope of Quarter and Petty Sessions, the
+Liberty has Quarter Sessions of its own, and its justices are still
+nominated by the Archbishop, while his Court Military survived at any
+rate into the nineteenth century. A copyhold court, called the Canon Fee
+Court, is also still held by the Chapter. As regards ecclesiastical
+jurisdiction, the medi&aelig;val right of the Chapter to hear testamentary and
+matrimonial cases (which were not taken away from the ecclesiastical
+courts till 1857) probably survived at least until the abolition of the
+Peculiar. Peculiars, with but one or two exceptions, had ceased to exist
+by 1850, and Ripon, once exempt from archidiaconal authority, is now
+itself an archdeaconry. The Bishop of Ripon has, of course, his
+Consistory court, which is held at the Cathedral.</p>
+
+<p>In ending this account of one of the most venerable of English churches,
+it is worth while to remark that, of the four mother-churches of the old
+diocese of York, Ripon is the only one besides York Cathedral itself
+which still has a collegiate foundation.</p>
+
+<p><span class='pagenum'><a name="Page_38" id="Page_38">[38]</a></span></p>
+
+<div class="figcenter" style="width: 524px;">
+<a name="image09" id="image09"></a><a href="images/image09-full.jpg"><img src="images/image09.jpg" width="524" height="362" alt="Photo of the the cathedral" title="THE CATHEDRAL FROM THE SOUTH-EAST." /></a>
+<p class="captionl"><i>Ronald P. Jones, Photo.</i>]</p>
+
+<p class="caption">THE CATHEDRAL FROM THE SOUTH-EAST.</p>
+</div>
+
+
+<div class="footnotes">
+
+<p class="footnote" title="footnote"><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> The archbishopric of York arose out of the bishopric of
+Northumbria in the eighth century.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> The name in this form is modern. In common speech the
+street is always &#8216;Stammergate,&#8217; which is probably a corruption of
+&#8216;Stanbriggate.&#8217; The latter is the original name of the street, and
+appears frequently in medi&aelig;val records. It has reference to a stone
+bridge over a brook where the gas-works now are. The continuation of
+this street toward the Cathedral is called St. Mary-gate, but this name
+again seems to be modern, and to have arisen from a notion that &#8216;St.
+Mary-gate&#8217; is the origin of the word &#8216;Stammergate&#8217;&mdash;a notion which would
+be rendered more plausible by the fact that this was the situation of
+the Lady-kirk.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span></a> The question whether his monastery church stood over the
+Saxon crypt which exists below the present Cathedral is reserved for
+Chap. III.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_4_4" id="Footnote_4_4"></a><a href="#FNanchor_4_4"><span class="label">[4]</span></a> For the place of Ripon in the theory of the direct
+connection of Saxon architecture with the Comacine Guild of Italy, see
+<i>The Cathedral Builders</i>, by Leader Scott, p. 139 <i>sqq.</i></p>
+
+<p class="footnote" title="footnote"><a name="Footnote_5_5" id="Footnote_5_5"></a><a href="#FNanchor_5_5"><span class="label">[5]</span></a> An MS. which has been thought to be identical with
+Wilfrid&#8217;s gift came into the market recently, and has passed to
+America.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_6_6" id="Footnote_6_6"></a><a href="#FNanchor_6_6"><span class="label">[6]</span></a> The Saint&#8217;s return after his long exile is still
+commemorated at Ripon, early in August, on the first Saturday after
+Lammas Day, when a man dressed as a Saxon bishop and riding a grey horse
+is escorted through the streets.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_7_7" id="Footnote_7_7"></a><a href="#FNanchor_7_7"><span class="label">[7]</span></a> This liturgical term sometimes refers to the <i>burial</i> of a
+saint, sometimes, as here, to the <i>death</i>.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_8_8" id="Footnote_8_8"></a><a href="#FNanchor_8_8"><span class="label">[8]</span></a> There is also mention of an Abbot Tylberht, but he may be
+the same as Tatberht.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_9_9" id="Footnote_9_9"></a><a href="#FNanchor_9_9"><span class="label">[9]</span></a> <i>I.e.</i>, &#8216;Elves-how&#8217;&mdash;&#8216;the hill of fairies.&#8217; Coins of Aella
+and other early kings have been found in the hill.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_10_10" id="Footnote_10_10"></a><a href="#FNanchor_10_10"><span class="label">[10]</span></a> At a later period the Chapter claimed also that <a name="corr2" id="corr2"></a>&#8216;St.
+Wilfrid&#8217;s men&#8217; need not pay tolls when travelling on business through
+the realm, and on one occasion they issued to a Ripon clerk a kind of
+passport.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_11_11" id="Footnote_11_11"></a><a href="#FNanchor_11_11"><span class="label">[11]</span></a> Frisia&#8217;s debt was remembered in the seventeenth century,
+when one of the Canons of Antwerp wrote an account of Ripon monastery
+for his countrymen.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_12_12" id="Footnote_12_12"></a><a href="#FNanchor_12_12"><span class="label">[12]</span></a> Until Walbran drew attention to this passage, the
+rebuilding was attributed to Thurstan.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_13_13" id="Footnote_13_13"></a><a href="#FNanchor_13_13"><span class="label">[13]</span></a> Especially at St. Wilfrid&#8217;s shrine.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_14_14" id="Footnote_14_14"></a><a href="#FNanchor_14_14"><span class="label">[14]</span></a> It has been suggested that this was the iron which in
+Saxon times had been used for the ordeal of fire.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_15_15" id="Footnote_15_15"></a><a href="#FNanchor_15_15"><span class="label">[15]</span></a> A Peculiar is a district taken out of its geographical
+surroundings for purposes of ecclesiastical jurisdiction (<i>Sir W.
+Anson</i>).</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_16_16" id="Footnote_16_16"></a><a href="#FNanchor_16_16"><span class="label">[16]</span></a> In later times (at any rate) the Archbishop apparently had
+a spiritual court of his own. A Chapter minute of 1467 declares a
+certain person accused of a spiritual offence to be &#8220;non de foro
+Capituli sed de foro Archiepiscopi, unde litter&aelig; correctionis
+eman&acirc;runt.&#8221;</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_17_17" id="Footnote_17_17"></a><a href="#FNanchor_17_17"><span class="label">[17]</span></a> This church had disappeared, as Leland tells us, long
+before his visit to Ripon, which took place about 1538. The dates of its
+erection and demolition are both unknown. In the Chapter-house is
+preserved a key which has been assigned to the fifteenth century, and
+which has been thought to have belonged to Allhallows, but it is thought
+that the church disappeared at an early date.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_18_18" id="Footnote_18_18"></a><a href="#FNanchor_18_18"><span class="label">[18]</span></a> This Sunday is still called Wilfrid Sunday at Ripon. The
+Saturday preceding it is the day on which the town commemorates the
+Saint&#8217;s return from his first appeal to Rome. The season is regarded as
+a holiday, and another relic of the nativity festival survives in the
+fair held on the Thursday after August 2nd.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_19_19" id="Footnote_19_19"></a><a href="#FNanchor_19_19"><span class="label">[19]</span></a> The Easter Communion has survived till our own day. Within
+living memory, and at a period when Early Celebrations were not usual,
+it was celebrated at 7 <span class="smcap">A.M.</span>, and people drove in from the outlying
+places.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_20_20" id="Footnote_20_20"></a><a href="#FNanchor_20_20"><span class="label">[20]</span></a> This word is probably connected with the Anglo-Saxon
+&#8216;b&eacute;d,&#8217; a prayer (whence &#8216;bedesmen&#8217;), and means a &#8216;house of prayer.&#8217; In
+one passage of the records it is rendered in Latin by <i>proseucha</i>.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_21_21" id="Footnote_21_21"></a><a href="#FNanchor_21_21"><span class="label">[21]</span></a> It was Walbran, again, who drew attention to Leland&#8217;s
+phraseology here.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_22_22" id="Footnote_22_22"></a><a href="#FNanchor_22_22"><span class="label">[22]</span></a> The Canon of Stanwick was always in Ripon, but was not
+considered technically a canon-resident. Perhaps he was not entitled to
+the special fees for residence. He had, however, full capitular rights.
+These had been denied to him by Dragley, but were now restored by the
+Archbishop.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_23_23" id="Footnote_23_23"></a><a href="#FNanchor_23_23"><span class="label">[23]</span></a> If the Ripon hospitals were dissolved they were
+re-established, for they are still fulfilling their purpose.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_24_24" id="Footnote_24_24"></a><a href="#FNanchor_24_24"><span class="label">[24]</span></a> <i>I.e.</i>, the Saxon crypt.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_25_25" id="Footnote_25_25"></a><a href="#FNanchor_25_25"><span class="label">[25]</span></a> The project is being realized in our own day.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_26_26" id="Footnote_26_26"></a><a href="#FNanchor_26_26"><span class="label">[26]</span></a> <i>I.e.</i>, the watchman, or setter of the watch. The town
+motto is, &#8220;Except the Lord keep the city, the <i>Wakeman</i> waketh in vain.&#8221;
+After 1598 a horn was blown every evening to denote the setting of the
+watch. If any house was robbed between horn-blowing and sunrise,
+compensation could be claimed from the town. To support this system a
+small tax was levied on each house-door, and if a house had two doors it
+paid more, as being more liable to be robbed. A relic of the system
+still survives. Every night a horn is blown thrice before the Mayor&#8217;s
+door at 9 <span class="smcap">P.M.</span> and thrice at the Market Cross afterwards. The ancient
+horn of the Wakeman (which appears on the city arms) is still worn by
+the Sergeant-at-mace in civic processions.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_27_27" id="Footnote_27_27"></a><a href="#FNanchor_27_27"><span class="label">[27]</span></a> Since then, however, another industry had arisen&mdash;the
+manufacture of spurs, for which Ripon became famous, and James was
+presented with a pair. This industry did not die out till the end of the
+last century, and a spur is still the crest of the city. The manufacture
+of saddle-trees, which flourished here in the sixteenth century, is
+still carried on.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_28_28" id="Footnote_28_28"></a><a href="#FNanchor_28_28"><span class="label">[28]</span></a> In 1640 he was at war with the Scots for their opposition
+to episcopacy, and it was at Ripon that the disgraceful negotiations
+were begun, by which a sum of &pound;850 a day was to be paid to maintain
+their invading army, pending a more permanent settlement. The house in
+which the &#8216;Treaty of Ripon&#8217; was negotiated stood near Ailcy Hill, and
+disappeared about the beginning of the century. Charles is said to have
+visited the town four times altogether.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_29_29" id="Footnote_29_29"></a><a href="#FNanchor_29_29"><span class="label">[29]</span></a> Walker&#8217;s &#8220;Sufferings of the Clergy,&#8221; quoted in <i>Surtees
+Soc.</i>, Vol. 78. There is a tablet to Richardson&#8217;s wife in the south
+Choir-aisle.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_30_30" id="Footnote_30_30"></a><a href="#FNanchor_30_30"><span class="label">[30]</span></a> The following is probably the true version of a story that
+is told in connection with their demolition. One of the workmen had been
+hoisted by means of a pulley, and was being held aloft by his comrades
+below, when he spied some coursing in progress on Bondgate Green. Seeing
+the hare well away and the dogs straining in the leash, he shouted &#8220;Let
+go!&#8221; And his comrades below did.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_31_31" id="Footnote_31_31"></a><a href="#FNanchor_31_31"><span class="label">[31]</span></a> For the other hospitals, the &#8216;Thorp&#8217; house, and other old
+buildings still standing, see <a href="#CHAPTER_IV">Chap. IV</a>.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_32_32" id="Footnote_32_32"></a><a href="#FNanchor_32_32"><span class="label">[32]</span></a> Ripon Grammar School has produced an Archbishop of York,
+Matthew Hutton (one of the two of that name who held the office from
+1595 to 1606 and from 1749 to 1757 respectively: the latter Hutton
+became Archbishop of Canterbury); also Beilby Porteous, Bishop of London
+(1776-1787), and Dr. William Stubbs, late Bishop of Oxford.</p>
+</div>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_39" id="Page_39">[39]</a></span></p>
+
+<div class="figcenter" style="width: 364px;">
+<a name="image10" id="image10"></a><a href="images/image10-full.jpg"><img src="images/image10.jpg" width="364" height="235" alt="Photo of cathedral" title="THE WEST DOORWAYS" /></a>
+<p class="captionl"><i>Ronald P. Jones, Photo.</i>]</p>
+
+<p class="caption">THE WEST DOORWAYS.</p></div>
+
+
+
+<h2 class="sectionhead"><a name="CHAPTER_II" id="CHAPTER_II"></a>CHAPTER II.<br />
+
+<span class="chaptitle">THE EXTERIOR.</span></h2>
+
+
+<p>Built upon the verge of a slope, along whose base the Skell hurries
+eastwards under many bridges to join the Ure among the meadows a
+half-mile below the town, Ripon Cathedral stands unusually well.<a name="FNanchor_33_33" id="FNanchor_33_33"></a><a href="#Footnote_33_33" class="fnanchor">[33]</a> Of
+general views the two best, perhaps, are to be had from the wooden
+bridge by Bondgate Green, and from the south-east gate of the graveyard.
+Unfortunately lack of funds prevented Sir Gilbert Scott from raising the
+roofs of nave and transept to their original pitch; but what most
+injures the general effect is the lowness of the central tower, which is
+no higher than those at the west end. This fault, however, must have
+been far less noticeable when all three towers were crowned with lofty
+spires. And, even as it stands, the exterior of Ripon is dignified and
+not unworthy of its commanding site. The size of the clearstorey
+windows, the <span class='pagenum'><a name="Page_40" id="Page_40">[40]</a></span>severity of the transept, the obvious variety of style and
+date throughout the building&mdash;these are the features that strike the
+observer most forcibly.</p>
+
+<p>Several kinds of material have been employed. Up to almost the end of
+the thirteenth century the builders used a coarse gritstone such as is
+found five miles to the south-west at Brimham Rocks, and also a finer
+gritstone or sandstone that may have come from Hackfall. After that date
+they built with magnesian limestone, brought partly, perhaps, from near
+York, but chiefly, it would seem, from Quarry Moor, a mile south of the
+city. At the last restoration the older parts were repaired with
+Hackfall stone, and the later parts with limestone from Quarry Moor and
+Monkton Moor, and so extensive were the repairs needed on the exterior,
+that the church somewhat belies, by its appearance, its real antiquity.</p>
+
+<p>The most picturesque approach is from High St. Agnes-gate by a flight of
+steps, which ascend through an old arch to an avenue of limes that leads
+up to the south door; but it is better, perhaps, that the survey should
+begin at the west end.</p>
+
+<p><b>The West Front</b> was doubtless the object of two indulgences, issued
+respectively by Archbishop de Gray in 1233 and by Pope Alexander IV. in
+1258, and was therefore erected just before or during the struggle
+between Henry III. and Simon de Montfort, in the best period of the
+Early English style.</p>
+
+<p>The height of the gable is said to be 103 feet, and that of the towers
+110 feet, and the front is divided by the string-courses into four
+stages. In the central compartment the lowest stage is approached by
+three steps, and is filled by three doorways, set in a thickening of the
+wall, and surmounted by gables finished with crosses. The central
+entrance, higher, more widely splayed, and more deeply recessed than the
+others, has five orders and five triple shafts in the jamb, while they
+have three orders and three shafts, the innermost of which is triple and
+the others single. As usual in this style, the shafts are detached and
+not worked on the stones of the jamb. The mouldings of the capitals are
+carried through the jamb from end to end, and on the front of the piers
+between the archways is a curious moulding which resembles an undercut
+roll set up on end, and which has a capital as if it were a shaft. In
+the arches the mouldings are chiefly rounds and hollows: many of the
+former are filleted, and some of the latter are <span class='pagenum'><a name="Page_41" id="Page_41">[41]</a></span>filled with the
+dog-tooth (an ornament peculiar to this style), which is more profusely
+employed in the central arch than in the others. The terminations of the
+dripstones are foliated and stand out detached. The central gable is
+adorned with a square panel of foliage, and either of the others with a
+sunk foliated quatrefoil, and between the gables are spouts issuing from
+the heads of animals. It is worthy of remark that all three doors open
+into the nave; for as a rule when a church has three west doors, two of
+them open into the aisles.<a name="FNanchor_34_34" id="FNanchor_34_34"></a><a href="#Footnote_34_34" class="fnanchor">[34]</a> The wooden doors in these and all the
+doorways of the church are of considerable age, and those in the central
+archway here bear the date 1673 in nails.</p>
+
+<p>Above the doors is a tier of five lancet windows, and above these
+another tier, also of five, which diminish in height toward the sides,
+the last window at either end being, however, as high as the tier below.
+These tiers occupy the whole width of the compartment. Above them,
+again, is a group of three small lancets graduated to the gable and
+placed very high, with a string-course below them. These serve to light
+the space between the internal and external roofs. In all this work the
+detail is of the very best: the various arches are richly moulded and
+supported by clusters of engaged shafts, which in the two great tiers
+are banded at about half their height, and the dog-tooth ornament is
+everywhere employed profusely. The lower tier is the more elaborate&mdash;its
+mouldings more numerous, its shafts more richly clustered, its capitals
+covered with foliage; and between the second and third lancets from the
+right there is a small niche with a toothed edge and the remains of a
+figure. At either end of the two tiers an ornament not unlike the
+ball-flower of the Decorated style is carried up the jamb, and a bold
+corbel-table runs up the sides of the gable, under the apex of which
+there is a trefoil panel, while the whole is crowned by an elaborate
+cross.</p>
+
+<div class="figcenter" style="width: 366px;">
+<a name="image11" id="image11"></a><a href="images/image11-full.jpg"><img src="images/image11.jpg" width="366" height="278" alt="Photo of cathedral" title="VIEW FROM THE NORTH-WEST" /></a>
+<p class="captionl"><i>Ronald P. Jones, Photo.</i>]</p>
+
+<p class="caption">VIEW FROM THE NORTH-WEST.</p>
+</div>
+
+<p>In the towers the lowest of the four stages is relieved by a little
+arcade of six trefoiled arches, with detached shafts, fluted capitals,
+and dripstones not trefoiled and terminating in heads. Each of the three
+upper stages is occupied by three tall lancets, of which that in the
+centre, higher and broader than the others, is pierced and (except in
+the belfry) glazed. In their enrich<span class='pagenum'><a name="Page_42" id="Page_42">[42]</a></span>ment these arcades resemble the
+windows of the central compartment. The second stage is not quite so
+high here in the towers as it is there, and the level of the
+string-course above is consequently broken. The third stage, taller than
+the second, reaches to the springing of the gable. The fourth, taller
+than the third, rises somewhat above the gable cross, and the shafts of
+the lancets are twice banded, while above are two circular panels, which
+on the north tower are raised and contain quatrefoils, but on the south
+tower are sunk and contain trefoils. On the other faces of these towers
+the arches are not so richly moulded, and the shafts are single and also
+detached, except in the uppermost stage of the north tower, where they
+are engaged and filleted. As the second stage does not descend so low
+upon the western face as upon the other faces, the string-course below
+it, after passing round the corners of the fa&ccedil;ade, is stopped, and when
+it is resumed it passes above the sill of the <span class='pagenum'><a name="Page_43" id="Page_43">[43]</a></span>arcade, being carried
+round the little plinths of the shafts. All the string-courses, it will
+be noticed, are enriched with the nailhead moulding. The buttresses rise
+to the parapets without diminishing in breadth or projection&mdash;an early
+feature, and three large rolls or beads are worked upon their edge.
+Those that flank the portal have each a large niche at the bottom, with
+engaged shafts, and the head and dripstone trefoiled. At the corners of
+the fa&ccedil;ade, where the staircases are, the buttresses are triple. The
+original corbel-table, surmounted by a row of dog-tooth ornament,
+remains at the top of the towers, but the battlements and pinnacles have
+been put up since the removal of the spires in 1664, and were renewed in
+1797.</p>
+
+<p>The bells, ten in number, are in the south tower. Of the medi&aelig;val peal,
+which consisted of six bells, the largest, known as the <i>Klank Knoll</i>,
+was made in 1379 at York, and perhaps hung in the north tower; while
+some of the others seem to have been made in Ripon in 1391. They were
+all recast in 1761 by Lester &amp; Pack of London, after which there were
+eight. Two of these (Nos. 4 and 7) were recast in 1866 by Warner of
+London, and two new bells (Nos. 1 and 2), by Shaw of Bradford, have been
+added since 1890. The ninth bell is rung every evening at nine for the
+curfew. The medi&aelig;val clock, mentioned in 1379, has long vanished;
+another was put up in 1723; the present clock (by Thwaites of
+Clerkenwell) dates from 1808.</p>
+
+<p>The whole front has been much restored by Sir Gilbert Scott, especially
+the doorways and the towers. The latter were badly cracked through
+settlement (due partly to the fact that in either tower one of the sides
+is older than the rest),<a name="FNanchor_35_35" id="FNanchor_35_35"></a><a href="#Footnote_35_35" class="fnanchor">[35]</a> but, as Sir Gilbert himself declared, they
+are once more strong enough to bear spires, and it is to be hoped that
+the hint will some day be taken. The more the west front of Ripon is
+studied, the more it becomes apparent how much thought has been expended
+upon it. Yet as a work of art it is perplexing. To some it will appear
+beautiful as a design; to others its excellence of detail will be its
+only commendation, and they will complain that the tiers of windows are
+wider than the gable, that there is a disproportion between the little
+arcade in the lowest stage of the towers and the great lancets in the
+upper stages, that the height of the latter makes the towers appear
+top-heavy, that the whole fa&ccedil;ade lacks projection and <span class='pagenum'><a name="Page_44" id="Page_44">[44]</a></span>depth of shade,
+and that there is too much glass. Some dissatisfaction was felt, as the
+Fabric Rolls indicate, in 1379, when masons were employed to divide each
+of the large windows into two lights with a quatrefoil above.<a name="FNanchor_36_36" id="FNanchor_36_36"></a><a href="#Footnote_36_36" class="fnanchor">[36]</a> The
+mullions and quatrefoils remained till our own day, when they were
+removed by Sir Gilbert Scott, whose action the present state of expert
+opinion on restoration would severely condemn.</p>
+
+<p><b>The Nave. North Side.</b>&mdash;By being rebuilt with the addition of aisles, the
+nave became as wide as the west front. Its width is 87 feet internally
+and nearly 100 feet externally, and it is the widest nave in England
+after York, Winchester, Chichester, and St. Paul&#8217;s. The date of the
+rebuilding is indicated by a Chapter minute of 1502, which alludes to
+the <i>onus canonicis modo impositum super re&aelig;dificationem navis</i>. The
+Fabric Rolls mention the purchase of stone in 1503, and the roofing of
+some &#8220;new work&#8221; in 1505, while a will of 1508 requires the testator&#8217;s
+body to be buried in &#8220;the new work of the College Church.&#8221; These are
+doubtless references to the south side, which is evidently the older and
+bears internally the arms of Archbishop Savage (1501-1507). Again, an
+indulgence of 1512, by Archbishop Bainbridge (1508-1514), alluding to
+the demolition of the old nave as then complete, suggests that the north
+wall had been left standing till then, and the laying of the foundation
+of the north aisle, which bears his arms, is mentioned in the Roll for
+1512-13. It appears from the Rolls that the main roof was up by 1520-21.
+Lastly, Leland&#8217;s allusion to &#8220;the body of the Chirch of late dayes made
+of a great Widnesse&#8221; shows that the main part of the work was finished
+at any rate by about 1538.<a name="FNanchor_37_37" id="FNanchor_37_37"></a><a href="#Footnote_37_37" class="fnanchor">[37]</a></p>
+
+<p>The nave is divided&mdash;east of the towers&mdash;into six bays, of which the
+easternmost is narrower than the rest, to answer to a fragment of the
+old nave preserved within. The plinth is considerably higher than that
+of the west front.</p>
+
+<p>On the north side, the six buttresses project 5 feet at the base and
+rise to the parapet in two stages, which are crowned by gables. These
+gables have their sides curved inwards and are adorned with crockets and
+finials, the latter being attached to the front of the gable, while
+grotesques project from the angles. The windows are of three lights, and
+are rather acutely jointed and deeply set for such late work, and their
+arches <span class='pagenum'><a name="Page_45" id="Page_45">[45]</a></span>are well moulded, a broad hollow running up the sides. As is
+often the case in late work, there are no sub-arches in the tracery, and
+the mullions are carried up through the head. The easternmost of these
+windows is of two lights, and has a transom in the tracery, and the
+westernmost is shortened to allow of a doorway of four-centred form
+beneath. Below the sills runs a string-course, which rises to pass over
+the door. The parapet is battlemented, not for military purposes but for
+ornament, and at intervals are the beginnings of panelled pinnacles, set
+diagonally and partially embedded in the battlements. The clearstorey
+has no pilasters or buttresses, but where it joins the west tower a
+projecting strip of masonry may be seen half imbedded in the Early
+English work and half in the Perpendicular. This is, without doubt, the
+upper part of one of the buttresses of the old nave.</p>
+
+<p>The clearstorey windows are actually larger than those of the aisle
+below, and are again rather acutely pointed for late work. They are of
+five lights, and the two mullions in the middle are carried up through
+the head, but a sub-arch comprises the two outer lights on either side.
+The last window eastwards is of three lights, is shorter than the rest,
+and has several transoms in the tracery. In the parapet, the coping is
+not carried down the sides of the battlements as it is on the aisles,
+and the rudimentary pinnacles spring from grotesque corbels at the
+string-course, with a plain corbel at the side of each to carry the
+water-spout.</p>
+
+<p><b>The Central Tower. North and West Sides.</b>&mdash;The central tower of Ripon is
+probably unique among towers in being divided vertically between two
+different styles of architecture. Its north and west sides are
+Archbishop Roger&#8217;s work,<a name="FNanchor_38_38" id="FNanchor_38_38"></a><a href="#Footnote_38_38" class="fnanchor">[38]</a> but the other sides are Perpendicular,
+having been rebuilt after the collapse of the south-east angle. Seen
+from the north-west, however, it presents much the same appearance now
+as in the twelfth century, and either side displays a pair of
+round-headed windows, with the weathering of the original roof rising
+high between them and (on the west face) cutting off their corners. The
+windows have a shaft in the jamb, and the abacus of the capitals is
+continued round the tower as a <span class='pagenum'><a name="Page_46" id="Page_46">[46]</a></span>string, but interrupted by the
+buttresses and weatherings, as is also another string below the sills.
+In the windows of the north side there is a space or tympanum over the
+inner arch. Each corner of the tower was strengthened by a pair of flat
+buttresses, with one shaft at the corner itself and another at the inner
+side of either buttress, and with the shafts banded half way up and
+again near the top. These buttresses are received in an overhanging
+corbel-table, above which runs a hollow moulding, filled with dog-tooth
+ornament of a large size and continued round the projections that serve
+for gargoyles. The use of this Early English ornament in a scheme which
+might otherwise be pure Norman affords a good instance of the
+Transitional character of the work. The battlements are later.</p>
+
+<p><b>The North Transept</b>, with the three adjacent bays of the choir, gives
+some idea of the external appearance of Archbishop Roger&#8217;s church.<a name="FNanchor_39_39" id="FNanchor_39_39"></a><a href="#Footnote_39_39" class="fnanchor">[39]</a>
+The date of the beginning of the work ascribed to him is placed within
+his lifetime (1154-1181) by his own words quoted in <a href="#CHAPTER_I">Chapter I</a>. The
+transept is divided by the string-courses into four stages, and has a
+very massive plinth which is lower than that of the nave, thus
+expressing the slope of the ground. The west wall is shorter than the
+east and has two bays only, but south of the second bay, and separated
+from it by a flat pilaster, is a narrow space, along the top of which
+are the remains of a cornice: the two bays proper are separated by a
+recessed buttress of some projection. One round-headed window, divided
+by a mullion, appears in the second stage; and in the fourth stage are
+two plain, round-headed windows, not subdivided. The original
+corbel-table remains above, but it is surmounted by a (probably)
+fourteenth century battlemented parapet, which is returned over the
+central buttress, forming a square turret, which has a (renewed)
+gargoyle below it, and is pierced with a cross. The buttresses at the
+north-west corner of the transept, where is a staircase, are clustered
+and rise to the top of the wall, and like most Norman buttresses, and
+some of Early English date (as in the west front), they do not diminish
+as they ascend. The large buttress on the west side of this <span class='pagenum'><a name="Page_47" id="Page_47">[47]</a></span>corner has
+two carved stones built into it at the height of about eighteen feet
+from the ground. They are covered with patterns resembling the knots so
+often found on ancient crosses, and are of especial interest as being
+possibly survivals of the church built by St. Wilfrid.<a name="FNanchor_40_40" id="FNanchor_40_40"></a><a href="#Footnote_40_40" class="fnanchor">[40]</a> It is
+noticeable that the first string-course is the only one which is not
+carried round the buttresses at this corner. A recessed buttress of the
+same type separates the end of the transept from that of an aisle which
+is thrown out from its eastern side.</p>
+
+<div class="figright" style="width: 214px;">
+<a name="image12" id="image12"></a><a href="images/image12-full.jpg"><img src="images/image12.jpg" width="214" height="307" alt="Photo of doorway of cathedral" title="DOORWAY, NORTH TRANSEPT" /></a>
+<p class="captionl"><i>Ronald P. Jones, Photo.</i>]</p>
+
+<p class="caption">DOORWAY, NORTH TRANSEPT.</p></div>
+
+
+<p>The lowest stage of this north elevation is blank save for a rather
+interesting doorway set in a thickening of the wall near the western
+corner. In this doorway the innermost arch is of unusual form&mdash;a trefoil
+resting on corbels&mdash;and its edges are left square and plain. Over it is
+a semicircular arch of three orders with three detached shafts in either
+jamb, and as usual throughout almost all Archbishop Roger&#8217;s work, the
+arch has the edge-roll between hollows (here on every order), the shafts
+are detached, their bases round upon square, and their capitals
+square-topped, with the edge of the abacus hollowed. The capitals here
+are enriched with good foliage of a rather classical type.</p>
+
+<p><span class='pagenum'><a name="Page_48" id="Page_48">[48]</a></span>In the stage above are three round-headed windows with a shaft in either
+jamb and foliage on the capitals. Each of these windows, like that on
+the west side, and several in the other transept, has been divided by a
+mullion into two lights, presumably in the fourteenth century.<a name="FNanchor_41_41" id="FNanchor_41_41"></a><a href="#Footnote_41_41" class="fnanchor">[41]</a> The
+third stage, which corresponds to the triforium within, is blank here as
+on the west side, and in the fourth stage are three round-headed
+windows, plainly recessed and chamfered. The gable, on which stands a
+plain cross, has been lowered, as is shown by the weathering on the
+tower, and its sides, after descending, take an upward turn to meet the
+corners. It is flanked by two lofty square turrets, which have been
+compared with those on the west front of Tewkesbury. They have a shaft
+at each angle, are pierced on each face with two round-headed openings
+under a round arch, with a string below running round the turret, and
+are surmounted by pyramidal stone caps ending in pommels and having a
+rude pinnacle at each corner. The end of the aisle is set back, and
+displays a window like the three above the door, but without the
+dividing mullion; and above this a round-headed niche, doubtless once a
+window that lighted the space over the aisle-vault; while a round arch
+over this niche, and a little pointed arch on the buttress adjacent
+westwards, carry a curious thickening of the masonry above. The
+arrangement of the windows here breaks the continuity of the first
+string-course, which, after crossing the main elevation, has to be
+stopped and resumed at a lower level in order to pass beneath the
+windows of the aisle. At the corner of the latter are more clustered
+buttresses, terminating below the parapet, and above them rises a plain
+gabled pinnacle (an addition, probably, of the fourteenth century),
+while another buttress, rising from the inclined coping of the
+aisle-wall, runs up the clearstorey.</p>
+
+<p>The east side of the aisle has two more buttresses like those at the
+corner, and consists of two bays, each containing a window like that at
+the end. It is hard to say whether the moulded string or cornice below
+the parapet is original, but the gargoyle which juts from it and the
+parapet itself, with its <span class='pagenum'><a name="Page_49" id="Page_49">[49]</a></span>cruciform piercings, are not earlier than the
+fourteenth century. The roofs of the aisles in both transepts and in the
+choir have been lowered, and it has been suggested that this was done at
+the time when the Minster was fortified against the Scots, in order to
+afford better standing-room for armed men,<a name="FNanchor_42_42" id="FNanchor_42_42"></a><a href="#Footnote_42_42" class="fnanchor">[42]</a> and the various
+battlements on choir and transepts were probably erected for the same
+occasion. Here the round arches of the triforium have been built up, and
+the clearstorey harmonizes with the more elaborate scheme of the choir.
+The wall is divided into three bays by flat pilasters received in the
+cornice, and each bay contains a round arch, pierced and glazed, between
+two lower and narrower pointed arches, all resting on single detached
+shafts. Between the buttresses runs a corbel-table, supporting a
+battlemented parapet of Decorated character, in which the merlons are of
+great width in proportion to the embrasures&mdash;an early feature&mdash;and have
+the usual cruciform piercings, so splayed at the back as to leave no
+doubt that they were really intended for the use of archers. The three
+gargoyles below have been renewed, and none of the gargoyles on choir or
+transepts are earlier, perhaps, than the Decorated period.</p>
+
+<p><b>The Choir. North Side.</b>&mdash;Here the three westernmost bays of the aisle and
+clearstorey respectively are Archbishop Roger&#8217;s work. Two flat
+pilaster-buttresses rise out of the slope of the plinth and run up the
+aisle-wall, each terminating short of the parapet in two sets-off close
+together. The level of the window-sills was the same here as in the
+transept, but the string-course has been broken in the Decorated period
+by the insertion of three slender windows, each having two lights with a
+quatrefoil above. Above the windows comes the moulded string or cornice
+continued from the transept, and above this the pierced merlons of the
+Decorated battlement are again very broad in proportion to the
+embrasures. Instead of being built up, the exposed arches of the
+triforium have here been glazed. The clearstorey resembles that of the
+transept, but the corbel table is surmounted here by a slope, on which
+rest two large gargoyles (renewed), and instead of a Decorated
+battlement there is a plain coping.</p>
+
+<p>The last three bays of the clearstorey and the last two of the aisle are
+Decorated work, probably of the end of the <span class='pagenum'><a name="Page_50" id="Page_50">[50]</a></span>thirteenth century, and here
+the level of the plinth is again lowered to suit the slope of the
+ground. In the aisle the two bays are separated from the rest and from
+each other by buttresses having a projection of 8 feet. Either of these
+buttresses is crowned by a gable having a finial, and is surmounted by a
+tall square pinnacle to receive the thrust of a flying buttress that
+spans the aisle; and either pinnacle has its sides panelled and gabled,
+a head at each corner, and five finials. The two last aisle-windows are
+larger than those in the western bays, but have much the same tracery.
+They have, however, a thick shaft worked on the stones of the jamb, and
+a large keeled round on the edge of the arch, and there is no dripstone.
+Below them is a small string-course, which is carried round the east
+end. The string or cornice above them is made to match that on the
+western portion of the aisle, but in the battlement the merlons are of
+merely ordinary width. In the clearstorey the wall is considerably set
+back from the Transitional bays, and the three windows are very
+elaborate. Their arches are richly moulded and acutely pointed, the
+springing-line being rather low down. Each window is divided into four
+lights, comprised under two sub-arches, either of which contains a
+circle enclosing a trefoil, while above, in the head of the window, is a
+large circle with five trefoils radiating from its centre. The
+dripstones end in heads. A moulded string-course, with gargoyles, runs
+below the parapet, which is a continuation of the plain coping on the
+western bays.</p>
+
+<p>From this point it will be best to return to the west front, and proceed
+along the south side of the Cathedral.</p>
+
+<p><b>The Nave. South Side.</b>&mdash;This side is architecturally superior to the
+other, and differs from it greatly in detail. The plinth, which is very
+massive, rises even higher above that of the west front here than it
+does there, and the buttresses project over 8 feet at the base and are
+of three stages, and the gables on these have their sides straight,
+their eaves everywhere continued to the wall, and their corners enriched
+with heads, but on the second stage only. In the two easternmost
+buttresses the lowest stage has heads also, and in the last buttress
+eastwards this stage, for some unexplained reason, is twice as broad as
+the others, and has an ogee gable. On all gables the crockets are large,
+and the finials, which here stand upon the apex, are huge and very
+boldly executed; while the <span class='pagenum'><a name="Page_51" id="Page_51">[51]</a></span>rudimentary pinnacles are thicker here than
+on the north side and more detached from the parapet. The wall is
+thickened up to the windows, below which there is a set-off, and the
+windows themselves are so moulded as to seem set in heavy frames, and
+are much less acutely pointed than in the other aisle, their arches
+approaching the &#8216;drop&#8217; form. The rather clumsy mullions are carried up
+through the head, but branch out to form arches over the side lights,
+and are reduced in thickness above the branching point; and in the head
+there is a transom, except in the narrow easternmost window. Though the
+aisles differ so much, the clearstorey is much the same on this side as
+on the other, and again one of Archbishop Roger&#8217;s buttresses is visible,
+imbedded between the Perpendicular walling and the west tower. The
+height of his roof is indicated by the weathering on the central tower
+and by the west gable, and the sixteenth century roof was probably not
+lower, for the central tower shows high weatherings of the latter period
+also; but the pitch had been lowered before the last restoration, and
+Sir Gilbert Scott was unable to raise it to the full height. It is to be
+hoped that the raising may yet be accomplished, and that lead may be
+substituted for slate.</p>
+
+<p><b>The South Transept</b>, all but its eastern side, is mainly Archbishop
+Roger&#8217;s work. The plinth is altogether lower not only than that of the
+nave, and even of the west front, but also than that of the other
+transept, and the architecture thus expresses the downward slope of the
+ground from north to south as well as from west to east. Here, as in the
+nave, the buttresses have a greater projection than on the north side of
+the church, as if the ground here were more liable to settle. As this
+transept bears a general resemblance to the other, it will be best to
+note only the points in which they differ. In the west wall the window
+in the second stage has no mullion, the innermost buttress is of the
+same type as its next neighbour, and the parapet is returned over all
+the buttresses, thus forming three &#8216;turrets,&#8217; of which that nearest to
+the nave rests partially on a large corbel. The staircase at the
+south-west corner terminates at the top in a square turret with a
+pyramidal stone cap.</p>
+
+<p>In the south elevation the doorway is very elaborate. The opening is of
+the form sometimes called the shouldered arch, a square lintel (which,
+curiously enough, is not one stone) resting <span class='pagenum'><a name="Page_52" id="Page_52">[52]</a></span>on corbels; and the
+semicircular arch over this is of four orders, the uppermost of which
+projects considerably from the wall. On either side there are five
+shafts, the outermost order having two, which are placed on the front of
+the jamb and share one abacus. These two shafts are worked on the stones
+of the jamb&mdash;a mode of construction not very common in such early
+doorways. The details resemble those of the less elaborate doorway in
+the other transept, but some of the foliage on the capitals here is
+almost Early English. This doorway is approached by five steps, and was
+once covered by a Renaissance porch.</p>
+
+<div class="figleft" style="width: 208px;">
+<a name="image13" id="image13"></a><a href="images/image13-full.jpg"><img src="images/image13.jpg" width="208" height="311" alt="Photo of doorway" title="DOORWAY, SOUTH TRANSEPT" /></a>
+<p class="captionl"><i>Ronald P. Jones, Photo</i>.]</p>
+
+<p class="caption">DOORWAY, SOUTH TRANSEPT.</p></div>
+
+<p>In the windows of the second stage the abacus of the capitals is
+continued as a string from window to window. The two flanking buttresses
+have been crowned at some later period with gables ending in finials,
+and the great gable is pierced with a Perpendicular window of three
+lights, which has three transoms in the head, the mullions carried up to
+the archivolt, and a dripstone ending in foliage. The sides of the gable
+here do not take an upward turn to meet the corners, and there are no
+flanking turrets. In the end of the aisle the blocked upper window is
+pointed, and has a little trefoiled niche above and to the left of it,
+and there is no thickening of the masonry above to necessitate
+carrying-arches. The buttresses at the corner reach to the top of the
+parapet and have no surmounting pinnacle. The small portion of the east
+side of the aisle which <span class='pagenum'><a name="Page_53" id="Page_53">[53]</a></span>is not concealed by the Chapter-house and
+Lady-loft displays in the lower stage a somewhat inexplicable blind
+arch, carrying an inclined thickening of the masonry that has been
+afterwards built up to a level, and below the parapet a moulded cornice
+like that on the north side of the church. This cornice is continued
+within the Lady-loft, and reappears over the last bay of the
+choir-aisle.</p>
+
+<p><b>The Chapter-House.</b>&mdash;The south aisle of the choir is concealed by a wing
+of three storeys, of which the lowest, though exposed to view by the
+conditions of the site, is of the nature of a crypt, while the second
+comprises the Chapter-house and vestry, and the third, known as the
+Lady-loft, is an addition, probably of the fourteenth century. The first
+two storeys seem to have formed part of a church earlier than Archbishop
+Roger&#8217;s,<a name="FNanchor_43_43" id="FNanchor_43_43"></a><a href="#Footnote_43_43" class="fnanchor">[43]</a> and have been variously ascribed to Archbishops Thurstan
+(1114-1141)<a name="FNanchor_44_44" id="FNanchor_44_44"></a><a href="#Footnote_44_44" class="fnanchor">[44]</a> and Thomas of Bayeux (1069-1100).<a name="FNanchor_45_45" id="FNanchor_45_45"></a><a href="#Footnote_45_45" class="fnanchor">[45]</a> From the east wall
+of these two storeys an apse is thrown out, upon which rests a square
+projection from the Lady-loft, too short to be called a chancel. The two
+westernmost buttresses, up to the string above the crypt, are evidently
+additions by Archbishop Roger, while the third, which completely encases
+a three-sided apsidal projection at the corner of the vestry, is of much
+later date and will be examined presently. Adjoining it is a flat
+pilaster buttress, apparently original. The crypt has five unglazed
+windows along the south side, all round-headed and plainly splayed, and,
+where it joins the transept, there is a large rectangular squint which
+gives light to a staircase that leads up to the Chapter-house. A pointed
+doorway, made in later times, cuts into the fourth window from the west.
+In the second storey there are on this side only four windows, which are
+spaced without any regard to the position of those below. The two
+westernmost, which are circular and without tracery&mdash;a type of window
+that is somewhat rare&mdash;can hardly be later than the time of Archbishop
+Roger, and may be earlier: the next two are square and of much later
+date. Above the windows <span class='pagenum'><a name="Page_54" id="Page_54">[54]</a></span>the eaves of the original roofs remain,
+supported on a corbel-table which is carried round the apsidal chamber
+at the corner and round the eastern apse. At the south side of the
+latter the builders have left a narrow recess which extends from the
+ground nearly to the top of the crypt.</p>
+
+<p>The apse displays in the lower storey a round-headed unglazed window
+like those along the south wall, and in the upper storey a small
+round-headed light at the south side and a larger window in the middle,
+of the same size as that below, but not so deeply splayed, and with the
+head rudely trefoiled. On either side of these central windows, a shaft,
+made in short joints, runs up the apse from base to eaves. The string
+between the two storeys is carried round these shafts, and their
+circular bases overhang the plinth and rest on small blocks, while the
+capitals are square-topped, as in Archbishop Roger&#8217;s work. From the roof
+of this apse and of the apsidal chamber at the corner, and from the
+eaves that project along the south wall, it would seem that the whole
+structure was roofed with stone at a steep inclination. Where its wall
+joins the transept the stone-work seems to be of the same date on both
+sides of the corner, so that there may have been an original buttress or
+wall extending southwards from this point.</p>
+
+<p>The third storey is now the Cathedral library, but was originally the
+<b>Lady-chapel</b>, and was commonly called the Lady-loft. Such a position for
+a Lady-chapel&mdash;at the south side of the choir, and in an upper
+storey&mdash;is extremely unusual.<a name="FNanchor_46_46" id="FNanchor_46_46"></a><a href="#Footnote_46_46" class="fnanchor">[46]</a> Authorities have differed widely as to
+its date. Some have assigned it to about 1482; but the Lady-loft is
+clearly mentioned in the Treasurers&#8217; Rolls in 1470, and its
+architecture, which is Decorated rather than Perpendicular, would be in
+favour of ascribing it to the middle of the previous century, were it
+not for a certain coarseness of execution which makes a suspension of
+judgment advisable.<a name="FNanchor_47_47" id="FNanchor_47_47"></a><a href="#Footnote_47_47" class="fnanchor">[47]</a> To support this additional storey, the two
+western buttresses were carried up, diminishing both in projection and
+in width, to within a few feet of the upper string-course. The huge
+buttress <span class='pagenum'><a name="Page_55" id="Page_55">[55]</a></span>at the corner was very possibly added later, to counteract a
+settlement which is evident to anyone so standing as to bring the shafts
+on the apse in line with the corner of the choir, and which was
+doubtless due to the weight of the Lady-loft. This buttress is of the
+same height as the others, but is broader, and has as many as seven
+stages, the fourth of which is crowned by a truncated hip roof and
+pierced with a slit to light the apsidal chamber within, from whose
+sloping top the upper stages spring. Traces of some external means of
+access to this apsidal chamber from below may be seen at the west side.
+Except one small lancet adjoining this buttress, the windows of the
+Lady-loft are square-headed, with mullions branching out into
+intersecting arches whose cusps spring from the soffit independently of
+the mouldings&mdash;an early feature; and the dripstones are square labels
+terminating in foliage, but with the ends not returned. Altogether these
+are more like the windows of a castle or manor-house than of a church.
+The four towards the south are of three lights, but the east window has
+five lights and is set higher in the wall, while its dripstone
+terminates at one end in a grotesque sitting figure. Various gargoyles
+project from the string-course, which rises to pass over the east
+window. The angles of the east end seem to rest upon the very edge of
+the cornice of the apse, and one wonders how the wall is supported along
+the chord of the curve. In reality, however, the apse is not so sharply
+curved internally as externally, and its walls are very thick, so that
+the square form could be imposed upon the round without much
+overlapping. The parapet shows the same wide merlons and cruciform
+piercings which characterize the other Decorated parapets of the church,
+and it may have been brought forward from the choir-aisle.</p>
+
+<p>The last bay of the latter displays a window like those on the north
+side, but having foliage on the capitals of the shafts; and below the
+parapet runs the cornice continued from the transept, with a curious
+gargoyle upon it. Part of the base of Archbishop Roger&#8217;s choir-aisle is
+visible imbedded between this wall and the apse.</p>
+
+<p>Those parts of the church which were rebuilt after the collapse of the
+south-east corner of the tower can be best examined from the roof of the
+Lady-loft, which forms with the roofs of the aisles a level surface of
+considerable extent.</p>
+
+<p><span class='pagenum'><a name="Page_56" id="Page_56">[56]</a></span><b>The East Side of the South Transept</b> has three buttresses, crowned by
+pinnacles of which the two nearest to the tower are modern. The central
+buttress is much shallower than the others and has a different
+termination. The clearstorey displays three well-arched windows of three
+lights (the innermost window a little smaller than the others) with
+tracery not unlike that in the south aisle of the nave. The parapet is
+probably old Decorated work that has been used again, for it has the
+wide merlons and cruciform piercings characteristic of early
+battlements, and the Perpendicular pinnacles, it will be noticed, are
+not in the middle of the merlons. The manner in which the corner of the
+tower has been reconstructed is extremely interesting. Up the angle
+formed by choir and transept runs a sort of excrescence of masonry that
+blossoms out, so to speak, into an extraordinary complication of
+corbelling near the top, and is itself corbelled away at the bottom. In
+this excrescence, as elsewhere, old materials have been used again, and
+in the projecting mass, at the level of both triforium and clearstorey,
+are the springings of arches curving eastwards and southwards, which
+suggest that the adjoining walls had at first been intended to be on a
+more advanced plane, and that the arches of the triforium were to have
+been round in the transept (where, by the way, they are recessed) as
+they are in the choir. This angle contains the tower staircase, which is
+lighted by a little window in the upper corbelling and is reached from
+the clearstorey gallery of the transept. On this side of the church the
+parapet walk has to be carried round the corners of the tower on
+squinches.</p>
+
+<div class="figcenter" style="width: 364px;">
+<a name="image14" id="image14"></a><a href="images/image14-full.jpg"><img src="images/image14.jpg" width="364" height="538" alt="Photo of cathedral" title="RECONSTRUCTED ANGLE OF THE GREAT TOWER, (SOUTH TRANSEPT AND CHOIR.)" /></a>
+<p class="captionl"><i>Watson, Ripon, Photo.</i>]</p>
+
+<p class="caption">RECONSTRUCTED ANGLE OF THE GREAT TOWER, (SOUTH TRANSEPT AND CHOIR.)</p></div>
+
+<p><b>The Central Tower. South and East Sides.</b>&mdash;The south and east faces are
+each divided by a central pilaster running up to the top of the parapet,
+but otherwise the general scheme is not unlike that of the older sides,
+save that the windows here are set higher in the wall. Each window has
+two lights, wide and low, with much tracery above them, in which the
+mullion branches into two sub-arches; and there are dripstones ending in
+heads. The high weathering on these sides indicates that it was not in
+the Perpendicular period that the roofs of the church were so
+unfortunately lowered. At either end of each of these sides a buttress
+rises to the base of the parapet in three stages, the second of which
+has on the front a panel with an ogee crocketed hood and is crowned by a
+gable with a grotesque at each corner, while the <span class='pagenum'><a name="Page_57" id="Page_57">[57]</a></span><span class='pagenum'><a name="Page_58" id="Page_58"><br />[58]</a></span>third is narrower,
+but is also panelled. Various gargoyles project from the uppermost
+string, which on the east side is not broken by the central pilaster. As
+this string is higher than the corbel-table of the older sides, the
+tower presents a very curious appearance when seen from the south-west
+or north-east.<a name="FNanchor_48_48" id="FNanchor_48_48"></a><a href="#Footnote_48_48" class="fnanchor">[48]</a> The battlements and pinnacles were perhaps first
+added when the south and east sides were rebuilt, but in places they
+have been much renewed. The stair-turret is surmounted by a hexagonal
+stone cap, which is pierced with a spire-light and crowned by a finial;
+and there is also a wooden polygonal bell-cote at the north-west corner
+of the tower. At the north-east angle the Perpendicular masonry turns
+the corner and enfolds the Transitional buttresses, where it stops with
+a jagged edge. This unfinished work has a considerable projection from
+the Transitional walling, the intention having been, perhaps, to correct
+externally the obliquity in the ground plan of Roger&#8217;s tower;<a name="FNanchor_49_49" id="FNanchor_49_49"></a><a href="#Footnote_49_49" class="fnanchor">[49]</a> it is
+also corbelled away at the bottom, probably to afford freer passage
+along the parapet walk and to avoid the necessity of a squinch.
+Originally the tower had perhaps a low pyramidal roof without a parapet,
+and then came several successive spires. The last of these, which fell
+in 1660, is said to have been 120 feet high from the top of the tower,
+and its disappearance has surely done more than anything else to spoil
+the external effect of the building.<a name="FNanchor_50_50" id="FNanchor_50_50"></a><a href="#Footnote_50_50" class="fnanchor">[50]</a></p>
+
+<p><b>The South Side of the Choir.</b>&mdash;Here the three westernmost bays are
+Perpendicular and the others Decorated. The westernmost window is
+smaller than the rest, and is of three lights, with the mullions carried
+up through the head. The next two windows imitate in curvature their
+Decorated neighbours, and are of four lights, with the central mullion
+branching out to form two sub-arches, between which a foliated circle, a
+feature not common in Perpendicular windows, is introduced <span class='pagenum'><a name="Page_59" id="Page_59">[59]</a></span><span class='pagenum'><a name="Page_60" id="Page_60"><br />[60]</a></span>into the
+head. In the fourth bay the Decorated arch has been filled with
+Perpendicular tracery, but the fifth and sixth windows remain in their
+original beauty as on the north side, save that in the easternmost the
+small circles have been mutilated and have lost their foliation. The two
+flying buttresses resemble those on the north side, but from the points
+where they meet the wall two pilasters run up into the parapet, which is
+flush with them and is crowned by a plain coping, while beneath it is a
+string, with gargoyles. Except at this end the wall, as in the
+clearstorey of the nave, is not buttressed, notwithstanding the size of
+the windows and their nearness together.</p>
+
+<div class="figcenter" style="width: 365px;">
+<a name="image15" id="image15"></a><a href="images/image15-full.jpg"><img src="images/image15.jpg" width="365" height="501" alt="Photo of cathedral" title="FLYING BUTTRESSES, SOUTH SIDE OF CHOIR" /></a>
+<p class="captionl"><i>Ronald P. Jones, Photo.</i>]</p>
+
+<p class="caption">FLYING BUTTRESSES, SOUTH SIDE OF CHOIR.</p>
+</div>
+
+<p><b>The East End.</b>&mdash;The rebuilding of the east end of Archbishop Roger&#8217;s
+choir was probably the object of an indulgence of 1284 by Archbishop
+Wickwaine, a brief of 1285 by Pope Celestine V., two indulgences issued
+in 1288 and 1300 respectively by Archbishops Romanus and Corbridge, and
+some credentials issued by the latter in 1302 for a collector of funds.
+And yet it is hard to fix the date of the work with any exactness. It
+had apparently not begun in 1286, for a mandate of Archbishop Romanus in
+that year begins <i>Cancellus Rypon&#8217; ruinosus reparetur</i>; but it may have
+been completed before the irruption of the Scots in 1318. Two
+indulgences of Archbishop Melton, one of which is dated 1328, do indeed
+allude to some &#8220;new work&#8221; as still unfinished, but this &#8220;new work&#8221; may
+have been the repairs necessitated by the violence of the Scots.<a name="FNanchor_51_51" id="FNanchor_51_51"></a><a href="#Footnote_51_51" class="fnanchor">[51]</a> The
+east end of the Cathedral, then, recalls that period in our history when
+Edward I. was wrestling with the Scottish problem, and was also carrying
+into effect those lessons in representative government which he had
+learnt from Simon de Montfort.</p>
+
+<div class="figcenter" style="width: 357px;">
+<a name="image16" id="image16"></a><a href="images/image16-full.jpg"><img src="images/image16.jpg" width="357" height="455" alt="Photo of east end of cathedral" title="THE EAST END" /></a>
+<p class="captionl"><i>Ronald P. Jones, Photo</i>.]</p>
+
+<p class="caption">THE EAST END.</p>
+</div>
+
+<p>The well-marked plinth of this east end has been already noticed. Either
+corner of the choir contains a staircase, and is strengthened by a pair
+of massive buttresses and crowned by an octagonal turret with a conical
+stone cap and a finial. These buttresses have a projection of 8 feet,
+rise to the top of the aisles, and are surmounted by gables with
+finials, and at the north corner the gables and the coping of the aisle
+are <span class='pagenum'><a name="Page_61" id="Page_61">[61]</a></span>crocketed. At the south corner the upper part of the turret has
+been used as a cell. It is lighted by a small slit and has a wooden
+floor with a trap in it, from which a ladder once descended to the head
+of the staircase; and at the west side, <span class='pagenum'><a name="Page_62" id="Page_62">[62]</a></span>in the parapet of the aisle,
+there is a garderobe seat. It would be interesting to know whether this
+turret was a prison, or a place of penance, or whether it was occupied
+by a watchman or sentinel, or, as is not improbable, by one of those
+recluses who were so often attached to religious communities in the
+middle ages. The central compartment is flanked by two huge buttresses,
+which have a projection of 10 feet at the bottom and rise to the base of
+the gable, or rather a little above it, in two stages only, the lower
+stage reaching a little above the coping of the aisles, and both stages
+are crowned by gables with finials.<a name="FNanchor_52_52" id="FNanchor_52_52"></a><a href="#Footnote_52_52" class="fnanchor">[52]</a> The three compartments of the
+front are on the same plane. Each aisle shows at the end a window of the
+same pattern with these in the sides, and that in the south aisle has
+foliage on the capitals of its shafts and is surmounted by a little
+window of trefoil form which lights a staircase within, for staircases
+ascend over these windows in the thickness of the wall and run up the
+angles of the clearstorey.</p>
+
+<p>The great window in the central compartment is one of the finest
+examples of Geometrical tracery, if not one of the largest windows, in
+England. It is over 50 feet high, is 25 feet wide, and has seven lights.
+Of these the three at either end are comprised under a sub-arch, in the
+head of which are three cinquefoiled circles, while the central light of
+the seven is surmounted by an arch, not so high as its neighbours, but
+impaling upon its acute point a huge circle which fills the head of the
+window and contains six trefoils radiating from its centre. The arch of
+this superb window is rather acutely pointed and richly moulded, and has
+two very slender shafts worked on the stones of either jamb, with
+foliage on their capitals. Just above the ground below this window there
+may be observed in the wall one of the many architectural puzzles in
+which the Cathedral abounds, a half-arch, rising toward the right and
+filled in with masonry, except at the right side, where is a narrow
+opening that runs in for a few feet.<a name="FNanchor_53_53" id="FNanchor_53_53"></a><a href="#Footnote_53_53" class="fnanchor">[53]</a> A <span class='pagenum'><a name="Page_63" id="Page_63">[63]</a></span>string-course continued from
+the sides of the aisles passes below the three windows and round the
+buttresses, which are further relieved at a little height above it by a
+set-off. The gable has been entirely rebuilt by Sir Gilbert Scott. It is
+slightly set back, and displays a lofty window of four lights with
+geometrical tracery not unlike that in the great window below. On either
+side of this window there is panelling graduated to suit the triangular
+space, and the gable is crowned by an elaborate cross and flanked by two
+pinnacles which resemble those of the flying buttresses but are larger
+and have foliage at the corners instead of heads. The original Decorated
+gable was probably very much of this pattern. Its height was indicated
+by the weathering on the tower, and it seems to have had flanking
+pinnacles and graduated panelling. It had, however, been lowered in
+pitch and had been altered also by the insertion of a rather debased
+Perpendicular window.<a name="FNanchor_54_54" id="FNanchor_54_54"></a><a href="#Footnote_54_54" class="fnanchor">[54]</a> Whatever may be thought, therefore, of Sir
+Gilbert Scott&#8217;s action in rebuilding it, he has surely improved the
+general effect of the front, and it is well that one of the roofs, at
+any rate, should have been raised to the original pitch. What is most to
+be regretted, perhaps, is the removal of all traces, if any there were,
+of the chantry of the Holy Trinity <i>supra summum altare</i>, which was
+situated, as its name implies, in the roof, behind the old gable.</p>
+
+<p>In Archbishop Roger&#8217;s day the choir was probably as long as it is now,
+and Walbran (followed by Sir Gilbert Scott) believed that the aisles at
+that period were returned across the east end. If so, the clearstorey
+must have been a bay shorter than at present, with a pent roof
+projecting from below it on the east side to cover the returned portion
+of the aisle. The rebuilding of the east end in the Decorated period was
+the first operation in which limestone was employed, but much of the old
+gritstone has been used again.</p>
+
+<p><span class='pagenum'><a name="Page_64" id="Page_64">[64]</a></span></p>
+
+<div class="figcenter" style="width: 356px;">
+<a name="image17" id="image17"></a><a href="images/image17-full.jpg"><img src="images/image17.jpg" width="356" height="539" alt="Photo of interior of the cathedral" title="THE NORTH-WESTERN PORTION OF THE NAVE" /></a>
+<p class="captionl"><i>Watson, Ripon, Photo.</i>]</p>
+
+<p class="caption">THE NORTH-WESTERN PORTION OF THE NAVE.</p>
+
+<p class="caption">(Junction of XIIth and XVIth Century work.)</p></div>
+
+<div class="footnotes">
+<p class="footnote" title="footnote"><a name="Footnote_33_33" id="Footnote_33_33"></a><a href="#FNanchor_33_33"><span class="label">[33]</span></a> The name Ripon comes probably from the Latin <i>ripa</i>, &#8220;a
+river&#8217;s bank.&#8221; Bede uses a form &#8220;Inrhypum,&#8221; which arose perhaps out of
+<i>in ripis</i>. The derivation <i>Uri pons</i> has been generally abandoned.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_34_34" id="Footnote_34_34"></a><a href="#FNanchor_34_34"><span class="label">[34]</span></a> The reason of the peculiarity here is the unusual width of
+the nave. (<i>See below</i>, <a href="#Page_44">p. 44</a>.)</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_35_35" id="Footnote_35_35"></a><a href="#FNanchor_35_35"><span class="label">[35]</span></a> This will be explained in <a href="#CHAPTER_III">Chapter III</a>.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_36_36" id="Footnote_36_36"></a><a href="#FNanchor_36_36"><span class="label">[36]</span></a> See illustration, <a href="#Page_17">p. 17</a>.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_37_37" id="Footnote_37_37"></a><a href="#FNanchor_37_37"><span class="label">[37]</span></a> This was pointed out by Walbran.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_38_38" id="Footnote_38_38"></a><a href="#FNanchor_38_38"><span class="label">[38]</span></a> The Transitional or Transition-Norman work at Ripon
+probably was not all erected during Roger&#8217;s lifetime, but all of it
+will, in these pages, be associated with his name.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_39_39" id="Footnote_39_39"></a><a href="#FNanchor_39_39"><span class="label">[39]</span></a> Upon a modern Chapter seal there is what is possibly meant
+for a representation of Roger&#8217;s church, with western towers, three
+spires, and no aisles. The seal is a reproduction of another of the time
+of James I., which may have been reproduced from a third of earlier
+date.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_40_40" id="Footnote_40_40"></a><a href="#FNanchor_40_40"><span class="label">[40]</span></a> For the origin and meaning of this knotwork, so often
+found in these islands on ancient crosses, and for its value as an
+illustration of the possible connection of Saxon architecture with the
+Comacine Guild of Italy, see <i>The Cathedral Builders</i>, by Leader Scott,
+pp. 82-99, and p. 145.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_41_41" id="Footnote_41_41"></a><a href="#FNanchor_41_41"><span class="label">[41]</span></a> This was the case with all the windows of both
+transepts&mdash;in the lower tier at any rate&mdash;until the last restoration.
+The reason why Sir Gilbert Scott has left or renewed the mullions in
+some of the windows is probably that he did not wish to disturb the
+memorial glass.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_42_42" id="Footnote_42_42"></a><a href="#FNanchor_42_42"><span class="label">[42]</span></a> The suggestion was made by Mr. Francis Bond.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_43_43" id="Footnote_43_43"></a><a href="#FNanchor_43_43"><span class="label">[43]</span></a> <i>I.e.</i>, they were probably a Southern Chapel of the choir
+(<i>vid. inf.</i>, Ch. III.). It is doubtful whether this earlier choir
+itself can have had a crypt.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_44_44" id="Footnote_44_44"></a><a href="#FNanchor_44_44"><span class="label">[44]</span></a> By Sir Gilbert Scott.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_45_45" id="Footnote_45_45"></a><a href="#FNanchor_45_45"><span class="label">[45]</span></a> By Walbran.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_46_46" id="Footnote_46_46"></a><a href="#FNanchor_46_46"><span class="label">[46]</span></a> Lady-chapels are usually found at the extreme east end of
+the choir, unless that position was wanted for the resting-place of a
+local saint.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_47_47" id="Footnote_47_47"></a><a href="#FNanchor_47_47"><span class="label">[47]</span></a> Walbran favoured 1482; Sir Gilbert Scott the middle of the
+fourteenth century.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_48_48" id="Footnote_48_48"></a><a href="#FNanchor_48_48"><span class="label">[48]</span></a> See the illustration, <a href="#Page_2">p. 2</a>.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_49_49" id="Footnote_49_49"></a><a href="#FNanchor_49_49"><span class="label">[49]</span></a> <i>The Builder</i>, February 4th, 1893.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_50_50" id="Footnote_50_50"></a><a href="#FNanchor_50_50"><span class="label">[50]</span></a> This last spire must have been erected after all intention
+of rebuilding the north and west sides of the tower had been given up,
+and therefore (perhaps) after the dissolution. The three spires are
+shown upon the seventeenth century communion plate and in several old
+prints (see the illustration, <a href="#Page_32">p. 32</a>). They were wooden and covered with
+lead, and are represented as octagonal. The two at the west end are
+shown without parapets at the base, and all three are without those
+sloping spurs which so often connect an octagonal spire with the corners
+of the tower.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_51_51" id="Footnote_51_51"></a><a href="#FNanchor_51_51"><span class="label">[51]</span></a> Dean Waddilove, in his monograph on the Cathedral,
+mentions that the date 1330 is to be found upon the choir, but he does
+not say where. Walbran believed the work to have been executed between
+1280 and 1297, and is followed by Sir Gilbert Scott.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_52_52" id="Footnote_52_52"></a><a href="#FNanchor_52_52"><span class="label">[52]</span></a> The buttresses of this east wall were formerly connected
+at the bottom by a debased battlemented wall, and the space within was
+used for sheds, the grooves for whose pent roofs can be seen on the
+sides of the buttresses.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_53_53" id="Footnote_53_53"></a><a href="#FNanchor_53_53"><span class="label">[53]</span></a> The arch springs from the buttress (as an excavation in
+1900 showed), and may perhaps be a relieving-arch, to take the weight
+off a weak place in the foundations. Yet it was not intended,
+apparently, to be filled up. The stones forming the right edge of the
+hole are coigns, and have mason-marks on their sides. At the back of the
+hole the masonry appears to be of some antiquity: may it be part of the
+foundation of the east end of Archbishop Roger&#8217;s choir?</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_54_54" id="Footnote_54_54"></a><a href="#FNanchor_54_54"><span class="label">[54]</span></a> There are several prints of the Cathedral, as it was
+before restoration, in the Ripon Museum.</p>
+</div>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_65" id="Page_65">[65]</a></span></p>
+
+<div class="figcenter" style="width: 357px;">
+<a name="image18" id="image18"></a><a href="images/image18-full.png"><img src="images/image18.png" width="357" height="225" alt="Drawing of interior of cathedral" title="CONJECTURAL VIEW OF INTERIOR OF ARCHBISHOP ROGER&#8217;S NAVE
+BY SIR G. G. SCOTT." /></a>
+<p class="caption">CONJECTURAL VIEW OF INTERIOR OF ARCHBISHOP ROGER&#8217;S NAVE
+BY SIR G. G. SCOTT.</p>
+
+<p class="caption">(By the kind permission of the Arch&aelig;ological Institute.)</p>
+</div>
+
+
+<h2 class="sectionhead"><a name="CHAPTER_III" id="CHAPTER_III"></a>CHAPTER III.<br />
+
+<span class="chaptitle">THE INTERIOR.</span></h2>
+
+
+<p><b>The Nave.</b>&mdash;On entering through the west doors a perspective is disclosed
+of 133 feet to the end of the Nave, 170 feet to the Rood Screen, and 270
+feet to the end of the Choir. The Early English builders have preserved
+two bays of Archbishop Roger&#8217;s nave and have incorporated them into the
+west towers,<a name="FNanchor_55_55" id="FNanchor_55_55"></a><a href="#Footnote_55_55" class="fnanchor">[55]</a> and the two great tower-arches which they have cut
+through the Transitional walling are very fine specimens of the Early
+English style. Each of the half-pillars that support them is a cluster
+of five large engaged shafts separated by very deep hollows, and upon
+every shaft there is a large fillet, which is carried up into the
+capital and down over the base. The base consists of two round mouldings
+separated by a hollow and fillets, and overhangs the plinth so much as
+to suggest that <span class='pagenum'><a name="Page_66" id="Page_66">[66]</a></span>the floor just here has been lowered. The capitals and
+the arches themselves (which are of three orders) are moulded with
+rounds and hollows very strongly marked, and the hood of the southern
+arch terminates eastwards in a bunch of foliage.</p>
+
+<p>The interior of the towers is more richly treated than is usual. Over
+the tower-arch is a small arcade of four members with clustered shafts,
+and with a string below, while the other three walls are plain up to the
+windows, each of which is flanked, as on the exterior, by two blind
+lancets. The arcading thus formed has clustered and banded shafts (not
+detached), behind which ran a passage, now blocked, and below the sill,
+and a little distance apart, are two strings, to the lower of which the
+sills of all the windows save two descend in steps. The windows are not
+splayed, and those which now look into the aisles are unglazed, and
+their flanking lancets are of unequal width. All the arches are much
+moulded and ornamented with the dog-tooth, and the central shaft of each
+cluster has a fillet. In each corner a detached shaft springs from a
+round corbel above the lowest string and rises to the impost of the
+arches, being banded twice on the way; and from its capital another
+shaft runs up to the ceiling. The doors to the spiral staircases open
+into little square lobbies which have vaults with groin-ribs springing
+from corbels.<a name="FNanchor_56_56" id="FNanchor_56_56"></a><a href="#Footnote_56_56" class="fnanchor">[56]</a> In the north tower is a modern stained window of some
+merit.</p>
+
+<p>The two bays of Archbishop Roger&#8217;s work incorporated in the towers,
+taken together with another Transitional bay at the east end, make it
+possible to imagine the whole interior of what must have been the most
+remarkable nave in England. It was unusually broad. From the ground to
+the first string (about 16 feet) there was plain wall. Above this was a
+triforium (if it can be so called<a name="FNanchor_57_57" id="FNanchor_57_57"></a><a href="#Footnote_57_57" class="fnanchor">[57]</a>) of the unusual height of about 28
+feet, and there were thus no windows except in the clearstorey, and
+there only in alternate bays. According to Sir Gilbert Scott the
+triforium and clearstorey were probably con<span class='pagenum'><a name="Page_67" id="Page_67">[67]</a></span>tinued across the west wall.
+The bays were alternately broad and narrow, and there is room for five
+of each sort. The westernmost bay shows in the triforium stage a round
+arch comprising four pointed arches. Of these the two in the middle are
+raised above the others on shafts of two stages, in the upper of which
+the capital is circular and its moulding is continued along the tympanum
+to the <i>apices</i> of the two lower arches. The tympanum is relieved by a
+sunk quatrefoil in a serrated circle, and so is the space under either
+of the two central sub-arches. The passage in this bay has been built
+up, and the bay itself shortened, probably when the tower arches were
+made.</p>
+
+<div class="figcenter" style="width: 366px;">
+<a name="image19" id="image19"></a><a href="images/image19-full.jpg"><img src="images/image19.jpg" width="366" height="210" alt="Drawing of plan of cathedral" title="CONJECTURAL PLAN OF ARCHBISHOP ROGER&#8217;S CHURCH BY SIR G.
+G. SCOTT." /></a>
+<p class="caption">CONJECTURAL PLAN OF ARCHBISHOP ROGER&#8217;S CHURCH BY SIR G.
+G. SCOTT. See <a href="#Page_16">p. 16</a>.</p>
+
+<p class="caption">(By permission of the Arch&aelig;ological Institute.)</p>
+</div>
+
+<p>In the adjoining narrow bay, the comprising arch is pointed, there are
+only two sub-arches, and there are no quatrefoils, except in the
+tympanum on the north side. Doors have also been inserted in this bay to
+communicate with the passages behind the arcades in the towers.</p>
+
+<p>The shafts throughout are single, and (in the sub-arches) detached, and
+the details generally are the same as in all Archbishop Roger&#8217;s work. It
+is worthy of remark that the <span class='pagenum'><a name="Page_68" id="Page_68">[68]</a></span>tympanum over the sub-arches is flush with
+the lower part of the wall, and that the comprising arches, with all the
+walling above them, are a plane in advance. The more natural plan would
+have been to make the comprising arch flush with the wall below, and to
+have set back the sub-arches and tympanum. In consequence of Archbishop
+Roger&#8217;s arrangement the shafts of the comprising arch stand, not upon
+the sill of the triforium, but upon corbels, each of which carries two
+of them and also a roof-shaft<a name="FNanchor_58_58" id="FNanchor_58_58"></a><a href="#Footnote_58_58" class="fnanchor">[58]</a> which forms with them a cluster.</p>
+
+<p>The clearstorey shows in the broad bay a stilted round arch, pierced,
+between two small blind lancets, and in the narrow bay three small blind
+lancets. These arches are not recessed or moulded, and are without
+hoods, as usual. Their piers, behind which is a passage, are square, and
+the impost moulding is continued as a string.</p>
+
+<p>The roof-shafts have a curious break in them at the impost-level of the
+triforium, where a face is carved upon them with a band above it. They
+are banded also by the impost-moulding of either storey, and by the
+upper string-course, and end in square-topped capitals a little short of
+the present roof. Throughout Archbishop Roger&#8217;s church the roof was
+probably flat, or slightly coved as at Peterborough. The corbels from
+which the roof-shafts spring are moulded and finished off with scrolls,
+and are placed at the level of the string-course, which is undercut; but
+on either side of the tower-arches the shafts have been shortened to a
+point above the string, which has been made continuous beneath them, and
+instead of corbels they have grotesque heads carved upon their ends.
+Beyond the westernmost roof-shaft there is a further shaft, which at
+first sight seems to have been the beginning of another bay, but the
+round moulding which rises from it runs up vertically instead of curving
+over to form an arch.</p>
+
+<p>The western wall is far more impressive from within the church than from
+without, and shows the Early English style at its best. The three
+doorways have stilted segmental arches moulded with rounds, and their
+hood-moulds are continuous. Their shafts are single and engaged, and in
+the jambs are holes for the great bars which no doubt held the doors
+against the Scots in 1318. But if the doorways are <span class='pagenum'><a name="Page_69" id="Page_69">[69]</a></span>plainer, the great
+lancets above are much richer, on this side than on the other. Their
+arches have more mouldings, their hood-moulds as well as the
+string-courses are enriched with the nailhead, the dog-tooth is used
+more profusely, and the piers are clusters of seven engaged shafts
+instead of five, banded at half their height and having behind them in
+both tiers passages which formerly communicated with the towers. The
+glass, by Burlison and Grylls, is worthy of its framing. It was put up
+to the memory of the late Bishop in 1886. In the lower tier &#8220;the earthly
+type&#8221; is represented by the Parable of the Ten Virgins. In the upper
+tier, in which the various designs represent &#8220;the Heavenly type,&#8221; the
+Bride is the Church, and Our Lord is seen enthroned and surrounded by
+choirs of angels.</p>
+
+<p>The yellow gritstone of the older work is contrasted curiously with the
+white limestone of the Perpendicular nave, and at the junction the later
+builders have left a jagged edge. Among very late Gothic buildings there
+are few indeed which are of so good a quality as this nave of Ripon,
+which, like the late church towers of Somerset, shows that medi&aelig;val art
+took long to die out in regions remote from London. It is, indeed, the
+architecture of the days of Agincourt rather than of the eve of the
+English Renaissance. The pillars are characteristic of the Perpendicular
+style, their section being a square with a semi-circle projecting from
+each side, and the corners hollowed. Their bases have complex plinths of
+considerable height and are polygonal, but follow roughly the form of
+the pillar, and the mouldings, as usual in this style, overhang the
+plinth. The capitals, with small mouldings and many angles, are of
+somewhat the same form as the bases. On the westernmost complete pillar
+of the north arcade are two shields, charged respectively with the arms
+of Ripon (a horn) and of Pigott of Clotherholme. The arches, instead of
+being of that depressed form which is so common in late work, are very
+beautifully proportioned, and their mouldings are bold, numerous and
+well-cut. There is no triforium; but a passage, at a slightly lower
+level than in Archbishop Roger&#8217;s bays, runs below the great clearstorey
+windows, which were once, no doubt, gorgeous with stained glass. Their
+arches are moulded, but the splay is left plain. The roof-shafts, which
+are in clusters of three and have fillets upon them, spring from
+semi-octagonal corbels, and where each cluster passes the string-course
+there is <span class='pagenum'><a name="Page_70" id="Page_70">[70]</a></span>an angel holding a shield. A sign of decadence may be found,
+perhaps, in the way in which the hood-moulds of the <span class='pagenum'><a name="Page_71" id="Page_71">[71]</a></span>windows intersect
+with these shafts. Though the two sides of the nave are not quite of the
+same date, they are almost alike, but for some slight differences in the
+capitals, the arch-mouldings, and the hollows on the pillars; the
+builders feeling doubtless that any marked variation would mar the
+general perspective&mdash;a consideration which, of course, could not bind
+them in designing the north aisle. The original Perpendicular roof may
+have resembled that which now covers the transepts. About 1829 Blore put
+up an almost flat ceiling of deal. The present oaken vault, by Sir
+Gilbert Scott, was copied from that of the transepts of York Minster,
+and is adapted to the old roof-shafts, between which have been added
+angel corbels of wood. As the ribs intersect near their springing, they
+weave a network over the whole vault, and the carved bosses at the
+intersections amount to 107. A passing notice is merited by the pulpit,
+which is Jacobean.</p>
+
+<div class="figcenter" style="width: 361px;">
+<a name="image20" id="image20"></a><a href="images/image20-full.jpg"><img src="images/image20.jpg" width="361" height="482" alt="Photo of the interior of the cathedral" title="THE NAVE, LOOKING WESTWARDS" /></a>
+<p class="captionl"><i>Ronald P. Jones, Photo.</i>]</p>
+
+<p class="caption">THE NAVE, LOOKING WESTWARDS.</p>
+
+</div>
+
+<p>East of the five Perpendicular bays remains the second fragment of the
+old nave, namely, a portion of a broad bay, partly encased by the later
+masonry, and one complete narrow bay. In the latter the tympanum on both
+sides is relieved by a quatrefoil, which here is pierced and not
+enclosed in a circle, and the last shaft eastwards (one of those of the
+comprising arch) runs to the ground. Affixed to the north wall is an
+eighteenth century monument to Hugh Ripley, last Wakeman and first Mayor
+of Ripon (d. 1637). The original monument was destroyed during the Civil
+War, but the altar-like erection below the present structure was
+probably part of it. The roof-shaft west of this bay, for some unknown
+reason, ends considerably short of the roof in a kind of corbel with
+rude foliage upon it. In the south wall is a triangular piscina, which,
+if it is of Roger&#8217;s date, is among the oldest piscin&aelig; in the country.</p>
+
+<div class="figcenter" style="width: 369px;">
+<a name="image21" id="image21"></a><a href="images/image21-full.jpg"><img src="images/image21.jpg" width="369" height="252" alt="Drawing of the plan of the crypt" title="PLAN OF THE SAXON CRYPT." /></a>
+<p class="caption">PLAN OF THE SAXON CRYPT.</p>
+
+<p class="caption">(From drawings by Mr. W. H. St. John Hope and Mr. T. Wall.)</p>
+</div>
+
+<p><b>The Saxon Crypt</b>, sometimes called <b>St. Wilfrid&#8217;s Needle</b>.&mdash;From a
+trap-door in the pavement below the piscina a flight of twelve steps
+winds down into a flat-roofed and descending passage, 2&frac12; feet wide
+and slightly over 6 feet high, which, running a few feet northwards and
+bending at right angles round the south-west tower pier, extends
+eastward for about 10 yards, with a descent of one step near the end,
+and terminates in a blank wall. There is a square-headed niche at the
+turn and a round-headed niche at the end, both meant, doubtless, to hold
+lights. Three feet from the end a round-<span class='pagenum'><a name="Page_72" id="Page_72">[72]</a></span>headed doorway, 2 feet wide and
+over 6 feet high, opens northwards, with a descent of two more steps,
+into a barrel-vaulted chamber, 11 feet 5 inches long from east to west,
+7 feet 7 inches wide, and 9 feet 10 inches high. In the north wall of
+this chamber, and approached by three rude steps, is the celebrated St.
+Wilfrid&#8217;s Needle, a round-headed aperture pierced through into a passage
+that runs behind. This aperture was connected with one of those
+superstitions that so often flourished before the Reformation in notable
+centres of religion, and ability to pass through it or &#8216;thread the
+needle&#8217; was regarded as a test of female chastity; but it was, of
+course, in the later middle ages that this superstition arose, and the
+&#8216;needle&#8217; (or rather needle&#8217;s eye) is evidently only one of the original
+niches with the back knocked out. Of these niches (which again were
+doubtless for lights) there are four in the chamber besides the
+&#8216;needle,&#8217;&mdash;one in each wall,&mdash;and, like the niche, at the end of the
+passage of entrance, they all have semicircular heads each cut in a
+single stone. That in the west wall has a hole or cup at the bottom,
+probably to hold oil in which a wick might <span class='pagenum'><a name="Page_73" id="Page_73">[73]</a></span>float, while the others
+(except the &#8216;needle&#8217;) have a sort of funnel at the top, doubtless to
+catch the soot from lamps. In the east wall there is also a round-headed
+recess of larger size, the meaning of which will be discussed later. An
+excavation made in 1900 has lowered the earthen floor and revealed a
+set-<span class='pagenum'><a name="Page_74" id="Page_74">[74]</a></span>off running round the chamber,<a name="FNanchor_59_59" id="FNanchor_59_59"></a><a href="#Footnote_59_59" class="fnanchor">[59]</a> and upon the ground at the east
+end are traces of a later medi&aelig;val altar, namely, a long stone parallel
+with the east wall and having behind it a small rectangular enclosure
+bounded by other wrought stones. Some of the latter were only laid bare
+at the above-mentioned excavation, when, moreover, the enclosure was
+found to be a pit containing bones, some of which had belonged to a man,
+others to an ox, others to a bird. These were probably regarded as
+relics, and may have been buried here at the Reformation for safety,<a name="FNanchor_60_60" id="FNanchor_60_60"></a><a href="#Footnote_60_60" class="fnanchor">[60]</a>
+but it is possible that they were placed here at an earlier period, and
+that this is an instance of a relic-pit. Two other deposits have been
+found in the crypt in modern times, one behind the niche in the south
+wall of this chamber, the other behind the niche at the end of the
+passage of entrance. Most of the bones in these deposits were human, but
+one had belonged to an ox, another to a bird, another to a sheep, while
+others could not be identified. These bones again were probably
+&#8216;relics,&#8217; and had almost certainly been built up behind the niches at
+the Reformation<a name="FNanchor_61_61" id="FNanchor_61_61"></a><a href="#Footnote_61_61" class="fnanchor">[61]</a> for concealment. From the west end of the chamber
+another doorway similar to the last opens, with an ascent of one step,
+into a second chamber, 12 feet long from north to south, 4 feet wide, 9
+feet high, and roofed with a semi-vault rising eastwards, in which there
+has been a square opening, probably for ventilation. At the north end a
+flight of four steps, lighted doubtless from the square niche in the
+west wall, ascends eastwards to the passage behind the &#8216;needle.&#8217; Of
+these steps the lowest occupies the whole width of the chamber, while
+the second, on being cleaned at the time of the excavation
+above-mentioned, was found to have its upper and western surfaces sunk
+in the middle and traversed at one end by two parallel raised bands, and
+to show traces of that yellow enamel-like substance with which, indeed,
+the whole crypt seems to have been originally overlaid. In roof, width
+and height the passage at the top of these steps resembles that by which
+the <span class='pagenum'><a name="Page_75" id="Page_75">[75]</a></span>crypt was approached, but it is spanned at the entrance by a round
+arch, and gradually ascends, terminating in a staircase now blocked at
+the fourth step (or perhaps the fifth, since one seems to have been
+removed at the bottom), while in the roof may be traced the shape of the
+long opening (rounded at the western end) through which these stairs
+once led up into the church. From the point at which they are blocked
+the distance to the arch that spans the passage is about 18 feet. It
+will be noticed that the floor of this passage is level with the
+&#8216;needle,&#8217; which on this side, moreover, has been broken through so as to
+open out like a funnel.</p>
+
+<div class="figcenter" style="width: 366px;">
+<a name="image22" id="image22"></a><a href="images/image22-full.jpg"><img src="images/image22.jpg" width="366" height="408" alt="Photo of the crypt" title="THE SAXON CRYPT, EAST END OF THE CENTRAL CHAMBER." /></a>
+<p class="captionl"><i>Watson, Ripon, Photo.</i>]</p>
+
+<p class="caption">THE SAXON CRYPT, EAST END OF THE CENTRAL CHAMBER.</p>
+
+<p class="caption">(St. Wilfrid&#8217;s needle on the left.)</p>
+</div>
+
+
+<p>There is little doubt that this crypt is the work of Wilfrid. It
+strongly resembles another at Hexham in Northumberland, which is almost
+certainly his since it agrees with a description given by his
+contemporary Eddius, and (more fully) by Richard, Prior of Hexham in the
+twelfth century. As, therefore, Wilfrid is known to have built a church
+in either of these places, and as the crypts remaining resemble each
+other, and as that at Hexham is almost certainly his, it is natural to
+conclude that this at Ripon is his also.<a name="FNanchor_62_62" id="FNanchor_62_62"></a><a href="#Footnote_62_62" class="fnanchor">[62]</a> And the subject has had
+fresh light thrown upon it as arch&aelig;ology has progressed. It is thought
+that the Romanizing party which prevailed at the Synod of Whitby
+affected for its churches the Italian type,<a name="FNanchor_63_63" id="FNanchor_63_63"></a><a href="#Footnote_63_63" class="fnanchor">[63]</a> one of the
+characteristics of which was the <i>Confessio</i>, an underground chamber for
+relics<a name="FNanchor_64_64" id="FNanchor_64_64"></a><a href="#Footnote_64_64" class="fnanchor">[64]</a> situated under the high altar, and surrounded, except toward
+the church, by a passage reached by steps from the body of the building,
+whence, moreover, there were generally steps leading up to the floor of
+the presbytery, and sometimes an incline stretching down to a window
+that looked into the chamber below. Now the present entrance to this
+crypt at Ripon is not original. To mention some of the evidences of
+this, there are in the roof of the passage several tombstones (one at
+the entrance and two beyond the bend) bearing incised crosses of the
+thirteenth <span class='pagenum'><a name="Page_76" id="Page_76">[76]</a></span>century, and 15 feet west of the doorway into the central
+chamber there are signs that a cross-wall has been cut through. The only
+part of the work, then, which is original is that which extends
+eastwards of this point, and in Saxon times there was probably only one
+entrance to the crypt, namely by the north passage; indeed, it seems
+likely that the formation of an approach from the nave was
+contemporaneous with the blocking of that passage, and that both
+alterations were due to the incompatibility of the original disposition
+of the crypt with the subsequent arrangements of the church above. Now
+if that original disposition has been indicated correctly, the crypt
+presented all the more important characteristics of a <i>confessio</i>. There
+is the central chamber with a window looking into it (for this is the
+probable explanation of the arched recess in the east wall),<a name="FNanchor_65_65" id="FNanchor_65_65"></a><a href="#Footnote_65_65" class="fnanchor">[65]</a> and
+there is the surrounding passage, which, however, is interrupted at the
+south-west corner of the crypt in such a way that it is necessary to
+pass through the chamber itself.<a name="FNanchor_66_66" id="FNanchor_66_66"></a><a href="#Footnote_66_66" class="fnanchor">[66]</a> An excavation made in 1891<a name="FNanchor_67_67" id="FNanchor_67_67"></a><a href="#Footnote_67_67" class="fnanchor">[67]</a>
+failed to reveal any traces of a staircase at the east end of the south
+passage, but as there are many instances in Italy of a <i>confessio</i>
+without a second stair, this failure is of little importance. If, then,
+this crypt may be assumed to be a <i>confessio</i>, there follows a very
+interesting consequence. The fact that the surrounding passage was
+entered from the east, that it runs round the west and not the east end
+of the central chamber, and that the blocked window (if such it be) is
+in the east wall of the latter, indicates that the nave lay to the
+east,<a name="FNanchor_68_68" id="FNanchor_68_68"></a><a href="#Footnote_68_68" class="fnanchor">[68]</a> in other words, that the presbytery was at the west end of the
+church. Such a position for the high altar is ultra-Roman, was already
+being discontinued in Wilfrid&#8217;s day, and had probably never been seen in
+the north, unless here and at Hexham; all of which considerations, in
+the <span class='pagenum'><a name="Page_77" id="Page_77">[77]</a></span>light of the known bias and character of Wilfrid, are in favour of
+the theory above propounded.<a name="FNanchor_69_69" id="FNanchor_69_69"></a><a href="#Footnote_69_69" class="fnanchor">[69]</a> It is impossible to say with certainty
+whether Wilfrid&#8217;s presbytery was apsidal or square; and whether his
+church had aisles or not.<a name="FNanchor_70_70" id="FNanchor_70_70"></a><a href="#Footnote_70_70" class="fnanchor">[70]</a></p>
+
+<div class="figcenter" style="width: 300px;">
+<a name="image23" id="image23"></a><a href="images/image23-full.jpg"><img src="images/image23.jpg" width="168" height="132" alt="Drawing of plan of the crypt" title="CONJECTURAL PLAN OF THE CRYPT AND PRESBYTERY IN THE TIME
+OF WILFRID, BY MR. J. T. MICKLETHWAITE, V.P.S.A." /></a>
+<p class="caption">CONJECTURAL PLAN OF THE CRYPT AND PRESBYTERY IN THE TIME
+OF WILFRID, BY MR. J. T. MICKLETHWAITE, V.P.S.A.</p>
+
+<p class="caption">(By permission of the Arch&aelig;ological Institute.)</p>
+</div>
+
+<p>There remains the question whether this crypt was or was not under the
+church of the monastery. In Leland&#8217;s description of Ripon,<a name="FNanchor_71_71" id="FNanchor_71_71"></a><a href="#Footnote_71_71" class="fnanchor">[71]</a> &#8220;the Old
+Abbay of Ripon&#8221; is certainly represented as having stood on the site
+which in Leland&#8217;s time was occupied by the Lady-kirk, adjacent, that is,
+to the west side of the street now called St. Mary-gate;<a name="FNanchor_72_72" id="FNanchor_72_72"></a><a href="#Footnote_72_72" class="fnanchor">[72]</a> and it has
+been argued with great ability<a name="FNanchor_73_73" id="FNanchor_73_73"></a><a href="#Footnote_73_73" class="fnanchor">[73]</a> (on the supposition that &#8220;the Old
+Abbay&#8221; means the Saxon Monastery) that this crypt, though almost
+certainly Wilfrid&#8217;s, was under a second church outside the monastery
+wall.<a name="FNanchor_74_74" id="FNanchor_74_74"></a><a href="#Footnote_74_74" class="fnanchor">[74]</a> It is, however, still possible to suppose that the site in St.
+Mary-gate may have been that of the domestic <span class='pagenum'><a name="Page_78" id="Page_78">[78]</a></span>buildings only, and that
+the monastery church stood over this crypt; or that &#8220;the Old Abbay&#8221;
+means the Scottish Monastery, the site of which was also probably not
+far from St. Mary-gate and may have been confused by Leland with that
+afterwards occupied by the Lady-kirk. Nor in any case, perhaps, are the
+mere statements of Leland a sufficient foundation for the argument that
+has been constructed upon them. Indeed, an elaborate <i>confessio</i> like
+this would hardly have been made for any church other than that of the
+monastery.</p>
+
+<p>And if, after all, Wilfrid&#8217;s monastery church stood above this crypt,
+there arises a very interesting probability in connection with that part
+of the south passage which extends 15 feet westward from the doorway
+opening into the central chamber, namely that it was the original
+burial-place of Wilfrid himself, whom Bede declares to have been laid
+<i>juxta altare ad austrum</i>.<a name="FNanchor_75_75" id="FNanchor_75_75"></a><a href="#Footnote_75_75" class="fnanchor">[75]</a></p>
+
+<p>The position of the crypt suggests the history of the ground plan of the
+Cathedral. After the destruction of Wilfrid&#8217;s Church, the site of his
+nave became that of the choir, and a nave was added westwards. Thus it
+came about that the crypt is now in the centre of the building. The
+central line or axis of the church in all stages of its history has
+probably always passed over this crypt.</p>
+
+<p><b>The Aisles of the Nave.</b>&mdash;As no aisles were contemplated when the west
+towers were built, the east side of the latter shows, of course, the
+same external decoration as the other sides. At the back of the
+surviving portions of the old nave there may be seen at the western end
+of either aisle one of Archbishop Roger&#8217;s buttresses, and at the eastern
+end a roughened surface where another buttress has been removed. The two
+buttresses that remain have a large set-off near the bottom, and they do
+not diminish as they ascend; while from their upper portions, which are
+visible outside the church, it would seem that they rose to the very top
+of the walls. At a little over 16 feet from the ground there remains
+upon them a portion of an external string-course, which is not on a
+level with any of those on the exterior of the transepts. Either aisle
+opens into the transept with a massive arch resembling those of the
+north main arcade, and has along the foot of its wall a bench table,
+from which rise the vaulting-shafts. But though preparation <span class='pagenum'><a name="Page_79" id="Page_79">[79]</a></span>had been
+made for stone vaulting, the roofs were of wood until the last
+restoration, when Sir Gilbert Scott put up the present stone groining.
+The effect is good, but would have been better had there been ridge-ribs
+and bosses.</p>
+
+<div class="figcenter" style="width: 361px;">
+<a name="image24" id="image24"></a><a href="images/image24-full.jpg"><img src="images/image24.jpg" width="361" height="301" alt="Photo of fonts" title="THE TWO FONTS, TWELFTH AND SIXTEENTH CENTURIES" /></a>
+
+<p class="captionl"><i>Watson, Ripon, Photo.</i>]</p>
+
+<p class="caption">THE TWO FONTS, TWELFTH AND SIXTEENTH CENTURIES.</p>
+</div>
+
+
+<p><b>The South Aisle</b> contains the font, which was probably among the latest
+additions to the church before the dissolution, and formerly stood at
+the west end of the nave. This font is raised upon two circular steps,
+and is octagonal and of blue marble, with the various surfaces of base,
+stem, and bowl slightly hollowed. The sides of the bowl and also of the
+base bear shields and lozenges alternately, and upon the base the
+lozenges are richly carved. In a corner hard by stands another and much
+older font&mdash;probably that of Archbishop Roger&#8217;s <span class='pagenum'><a name="Page_80" id="Page_80">[80]</a></span>church. It is a
+circular basin, adorned with an arcade of trefoil arches.<a name="FNanchor_76_76" id="FNanchor_76_76"></a><a href="#Footnote_76_76" class="fnanchor">[76]</a></p>
+
+<div class="figcenter" style="width: 359px;">
+<a name="image25" id="image25"></a><a href="images/image25-full.jpg"><img src="images/image25.jpg" width="359" height="137" alt="Drawing of bas-relief" title="BAS-RELIEF IN THE SOUTH AISLE OF THE NAVE." /></a>
+<p class="caption">BAS-RELIEF IN THE SOUTH AISLE OF THE NAVE.<br />
+
+(Reduced from a rubbing.)</p>
+</div>
+
+<p>Against the wall a little further eastwards is an altar-tomb of great
+interest. The marble slab at the top has at one end a bas-relief
+representing a grove, and in it a lion walking away from a man, who
+kneels in an attitude of supplication with his back to the lion, while
+between the two figures is a bird flying toward the man. Tradition says
+that this is the tomb of an Irish prince who brought back from Palestine
+a lion that had there become attached to him, but a story of this kind
+was popular in medi&aelig;val romances,<a name="FNanchor_77_77" id="FNanchor_77_77"></a><a href="#Footnote_77_77" class="fnanchor">[77]</a> and the tradition, though of some
+age, is not, perhaps, very probable. It has been well suggested that the
+sculpture represents deliverance from a lion in answer to prayer; but as
+it is possibly only part of a larger composition, its full meaning must
+still be doubtful.<a name="FNanchor_78_78" id="FNanchor_78_78"></a><a href="#Footnote_78_78" class="fnanchor">[78]</a> The work is rather Flemish in character, and may
+be assigned to the fourteenth century, with which date the costume of
+the man agrees. Thus the slab is considerably older than the wall to
+which it is now affixed, and it is doubtless older than the lower part
+of the tomb itself, which may be <span class='pagenum'><a name="Page_81" id="Page_81">[81]</a></span>of the same date as the aisle. There
+is a black-letter inscription upon the front of the structure, but it is
+unfortunately quite illegible. An entry in the Chapter Acts<a name="FNanchor_79_79" id="FNanchor_79_79"></a><a href="#Footnote_79_79" class="fnanchor">[79]</a>
+indicates that this tomb was used as a money-table in business
+transactions between the medi&aelig;val townsmen.</p>
+
+<p>The windows have their sides moulded, but somewhat clumsily. That above
+the font contains the only medi&aelig;val glass in the Cathedral, a collection
+of fragments chiefly of the fourteenth century. Most of these were
+originally in the great window of the choir, where, being in the upper
+tracery, they had escaped the violence of Sir Thomas Mauleverer&#8217;s
+troopers. Among the figures in the medallions are St. Peter, St. Paul,
+and St. Andrew, and there is a fine shield of the arms of England, with
+a border or mantling of France, and surmounted by a label of three
+points azure.<a name="FNanchor_80_80" id="FNanchor_80_80"></a><a href="#Footnote_80_80" class="fnanchor">[80]</a> The quality of the glass is exceedingly good, and the
+window, when the sun shines through it, resembles a screen of gems, and
+puts its neighbours to shame. The fourth window from the west, however,
+by Clayton &amp; Bell, is of considerable merit. The vaulting-shafts are in
+clusters of three, and have overhanging bell-shaped bases with polygonal
+plinths, while upon the capitals are angels bearing shields, one angel
+to each cluster. The last two shields eastwards are charged respectively
+with the arms of Archbishop Savage (1501-1507), and with the three stars
+of St. Wilfrid. Where these shafts break the string-course under the
+windows they are encircled by a thin band. Upon the eastern fragment of
+the old nave there remains in this aisle another portion of Archbishop
+Roger&#8217;s external string-course, and also (near the last capital of the
+arcade) some trace of a band of ornament.</p>
+
+<p>The western end of the <b>North Aisle</b> is the Consistory Court, and has been
+used as an ecclesiastical court since 1722, when Ripon was still in the
+diocese of York. Over the Chancellor&#8217;s seat is a modern canopy of
+stained deal, which formerly surmounted the throne in the choir. The
+stone base of the railings, with its many projecting angles and its band
+of delicate quatrefoils, is thought to have formed part of the shrine of
+St. Wilfrid, and, having been found in fragments, was placed here <span class='pagenum'><a name="Page_82" id="Page_82">[82]</a></span>by
+Sir Gilbert Scott. In this aisle the sides of the windows are partially
+panelled. The glass is of little interest, save that in the third window
+from the west, by Burlison &amp; Grylls, and a few seventeenth century
+fragments. The vaulting-shafts here are single, and are half-octagons
+with their sides slightly hollowed, and they again break the
+string-course, which rises to pass over the doorway. Of the shields on
+their angel capitals the three easternmost are charged respectively with
+the arms of Fountains Abbey<a name="FNanchor_81_81" id="FNanchor_81_81"></a><a href="#Footnote_81_81" class="fnanchor">[81]</a> (three horse-shoes), with those of
+Cardinal Archbishop Bainbridge (1508-1514) (supported by <i>two</i> angels),
+and with the stars of St. Wilfrid. The arch opening into the transept is
+not so high as in the other aisle, and upon the space above it are
+portions of a once external string-course and buttress.</p>
+
+<p><b>The Central Tower.</b>&mdash;It is from the interior of the church that the
+extent of the repairs necessitated by the partial fall of the tower can
+best be realized, and it is here that the documentary evidence for their
+dates may best be summed up. The catastrophe itself is described in an
+indulgence of 1450 by Archbishop Kemp, but the repairs had not advanced
+much by 1459, for in that year a testator bequeaths money to this
+object, &#8220;<i>cum fuerit in operando</i>.&#8221; It would seem, however, from an
+indulgence of Archbishop George Neville that the tower had been
+partially repaired by 1465. After a bequest in 1466 (the last of a
+series beginning in 1454), it seems to be next mentioned in the Fabric
+Roll for 1541-2, and the Chapter Acts speak of the work that remained to
+be done as late as 1545. The order, therefore, of the larger operations
+in the Perpendicular period was probably as follows:&mdash;First the Canons
+remodelled the two ruinous sides of the tower and the east side of the
+south transept (where the work much resembles that in the tower), then
+they rebuilt the nave,<a name="FNanchor_82_82" id="FNanchor_82_82"></a><a href="#Footnote_82_82" class="fnanchor">[82]</a> then the western bays on the south side of
+the choir (as the late character of the work itself would indicate),<a name="FNanchor_83_83" id="FNanchor_83_83"></a><a href="#Footnote_83_83" class="fnanchor">[83]</a>
+and lastly they <span class='pagenum'><a name="Page_83" id="Page_83">[83]</a></span>were about to remodel the two remaining sides of the
+tower when they were checked by the dissolution.</p>
+
+<div class="figcenter" style="width: 358px;">
+<a name="image26" id="image26"></a><a href="images/image26-full.jpg"><img src="images/image26.jpg" width="358" height="457" alt="Photo of interior of cathedral" title="THE WESTERN ARCH OF THE CENTRAL TOWER." /></a>
+<p class="captionl"><i>Ronald P. Jones, Photo.</i>]</p>
+
+<p class="caption">THE WESTERN ARCH OF THE CENTRAL TOWER.</p>
+</div>
+
+
+<p>The planning of the Cathedral is remarkably irregular. Not only is the
+axis of the choir, as in so many churches, inclined<span class='pagenum'><a name="Page_84" id="Page_84">[84]</a></span> (here toward the
+north) but the centre of the Rood Screen is south of the axis of the
+nave, and the north side of the tower is not parallel to the south side,
+the north-west angle being less than a right angle. This is the only
+angle which remains in its original condition, and here the responds of
+the two adjacent arches stand upon one circular plinth, their own bases
+being, however, rectangular, though following in the upper mouldings the
+forms of the shafts. The capitals of the latter are, as usual,
+square-topped. The respond of the western arch has a semicircular shaft
+upon the front, and a smaller shaft at the west side, where the pier is
+twice recessed. The arch itself springs from the level of the top of
+Archbishop Roger&#8217;s triforium, is semicircular, and has more orders
+toward the west than toward the east, but the mouldings (chiefly rounds)
+are lacking in boldness, and the absence of a hood-mould (both in this
+arch and the other) is a disadvantage. The other respond is concealed by
+a huge Perpendicular casing, which, obtruding as it does into the arch,
+is a very conspicuous object in the view from the west doors. Upon the
+piers of this arch toward the nave are some curious brackets, which
+probably supported the original rood-beam.<a name="FNanchor_84_84" id="FNanchor_84_84"></a><a href="#Footnote_84_84" class="fnanchor">[84]</a></p>
+
+<p>The northern arch springs from a higher level, and is less richly
+decorated than the other, and its form is almost segmental. It has more
+orders toward the south than toward the north, and again the mouldings
+are chiefly rounds. Its western respond has a shaft on the front, and at
+the south side another, which is banded at the springing-level of the
+western arch and carried up to that of the northern arch, where it ends
+in a three-sided capital, upon which stands another and very short
+shaft, complete with base and capital, that carries the rim of the arch
+and an angle of masonry that projects from the corner. The lower portion
+of this respond is cased by a rectangular addition (almost as old as the
+pier itself), which has upon the front a massive detached shaft with a
+circular capital, on which stands a quaint figure of King James I.,
+brought from the screen of York Minster. To support an image of some
+kind may, perhaps, have always been the purpose of this pillar. It has
+been suggested that there is a similar projection concealed behind the
+casing of the south-western pier.</p>
+
+<p><span class='pagenum'><a name="Page_85" id="Page_85">[85]</a></span>Over these two arches is a bold cornice, which possibly once supported a
+ceiling, and the blind storey above shows in each wall two pairs of
+plain lancets with the impost-moulding continued as a string, and with a
+passage behind. In the third storey, where again there is a passage, the
+two windows in each wall have a third arch (also round) between them,
+and alternating with these three arches are little lancets which have
+been blocked as far up as the imposts, their shafts having been first
+removed. A cornice supports the ceiling, and on the west side there are
+also some rather inexplicable corbels.</p>
+
+<p>The builders of this tower were certainly misguided in employing round
+arches to support it, at a time when (as the choir shows) pointed arches
+of considerable size were in common use, and it would seem that the
+superior strength of the latter form was not yet fully realized. No
+stronger specimens of that form are to be found, perhaps, than the
+arches that support the two remaining sides. Their giant piers are
+clusters of engaged cylindrical shafts with rounded hollows between, and
+at each remodelled angle of the tower the two adjacent responds are
+treated as one whole, presenting seven shafts almost on the same plane.
+The bases, with their complex plinths and overhanging upper mouldings,
+are over five feet high, and the capitals are polygonal, with small and
+shallow mouldings, of which the lowest follows the form of the pier.
+Slightly stilted, richly moulded, and of many orders, these arches are
+so lofty as to leave no room for a blind storey above. Though the
+windows here are set higher in the wall, their rear-arches reach down
+nearly to the Transitional sill-level. Between the two windows in either
+wall a shaft springs from an angel corbel at the string-course below the
+sills, and runs up in a kind of groove, and these two shafts, with
+another which springs from the junction of the two great arches, end
+short of the present ceiling in semi-octagonal capitals, while on the
+east wall, and at a lower level, there are more corbels. Indeed, from
+the various corbels and shafts in this storey it would seem that the
+level of the ceiling had been altered, possibly more than once, and
+perhaps that it was destined to be altered again when the remodelling
+should be complete. The present ceiling, flat and painted with good
+effect, was put up by Sir Gilbert Scott.</p>
+
+<p><b>The Transepts.</b>&mdash;The length of either transept is 43 feet, and that of
+both together (including the crossing) is 134 feet, <span class='pagenum'><a name="Page_86" id="Page_86">[86]</a></span>or about the same
+as the length of the nave. In the transepts and choir the relative
+proportion of the three storeys or stages to one another, which in the
+nave was so remarkable, becomes more ordinary, and the change in the
+level of the triforium passage&mdash;due to the heightening of the lowest
+stage to meet the exigencies of aisles&mdash;necessitates long staircases
+(now blocked) behind the western piers of the tower: and the same is the
+case (though in a less degree) with the clearstorey, which in this part
+of the church is loftier, instead of being shorter, than the triforium.
+In either transept a bench-table runs along the west wall, and the large
+lower windows are plainly splayed, but have their sills stepped. The
+glass in them is bad, except some seventeenth century pieces in the
+window over the north door. The roof, which is of oak, and
+Perpendicular, had been concealed in the time of Blore by sham Norman
+vaulting constructed of <i>papier mach&eacute;</i>. Sir Gilbert Scott removed this
+abomination and exposed the old ceiling, which he repaired and partially
+renewed. It is almost flat, is raised on wooden figure-corbels, which
+prevent it from intersecting with the tower arches, and is adorned with
+judicious colour.</p>
+
+<p><b>The North Transept</b>, which is 34 feet wide, or 52 feet if the &#8216;aisle&#8217; be
+included, is almost as its builders left it, and is among the most
+famous examples of the architecture of the age of Henry II. and Thomas &agrave;
+Becket, when the early English style was being developed from the
+Norman. As the details are the same here as in all Archbishop Roger&#8217;s
+work, they need no further description. To take the west and north walls
+first, the Perpendicular arch opening into the aisle of the nave cuts
+into two blocked round arches, of which that on the right was a window,
+while that on the left is backed by the old nave wall; and in this first
+bay (which is narrower than the others in both this and the opposite
+wall) the triforium arches are blocked up, as well as the first lancet
+in the clearstorey, where there is moreover no window. Each bay shows in
+the triforium two pointed arches with a pierced quatrefoil between them,
+and in the clearstorey a stilted round arch, pierced and glazed, between
+two smaller arches of lancet form, which on the north wall are very
+curiously barred across at the impost level, the <i>abaci</i> of two shafts
+being formed by one slab.</p>
+
+<div class="figcenter" style="width: 351px;">
+<a name="image27" id="image27"></a><a href="images/image27-full.jpg"><img src="images/image27.jpg" width="351" height="518" alt="Photo of the interior of the cathedral" title="THE NORTH TRANSEPT" /></a>
+<p class="captionl"><i>Ronald P. Jones, Photo.</i>]</p>
+
+<p class="caption">THE NORTH TRANSEPT.</p>
+</div>
+
+
+<p>The east wall is much more richly treated, and harmonizes in design with
+the choir. It might perhaps be more proper to <span class='pagenum'><a name="Page_87" id="Page_87">[87]</a></span><span class='pagenum'><a name="Page_88" id="Page_88"><br />[88]</a></span>describe the aisles of
+these transepts as a series of eastern chapels. Their floor is raised
+two steps above the body of the transept, from which they were evidently
+once railed off, and in either transept the two outer bays are walled
+off from that nearest to the tower. At any rate the arches here have the
+appearance of independent units rather than of a continuous arcade.
+Separated by roof-shafts of unusual bulk, their responds consist each of
+three engaged shafts with a fourth to carry the aisle-vault; and the
+bases, rectangular but with the upper mouldings following the pillar,
+are united with those of the roof-shafts, while the capitals as usual
+are square-topped. The actual arches are of two orders, each of which
+has the edge-roll, while under the soffit, which is flat, is another
+roll between two mouldings that are hook-shaped in section. The arch
+nearest to the tower has given way slightly and has been blocked up,
+apparently not very long after it was built, for in the blocking wall is
+an acutely-pointed and thrice-recessed doorway of decidedly early
+character, and the material throughout is gritstone. The wooden doors
+are probably Perpendicular work.</p>
+
+<p>Adjoining this doorway is a Perpendicular stone pulpit, which has a base
+but no stem, and is ascended by means of three steps only. It has five
+sides, and is covered with rich panelling, but the top has apparently
+been taken off. This may not indeed be its original position,<a name="FNanchor_85_85" id="FNanchor_85_85"></a><a href="#Footnote_85_85" class="fnanchor">[85]</a> yet it
+was a medi&aelig;val custom to deliver the sermon just as the procession was
+about to enter the choir, and this pulpit is most conveniently placed
+for such a purpose. If this is not its original position, it may perhaps
+be identified with a nave pulpit mentioned in the Chapter Acts.</p>
+
+<p>On this east side the triforium shows in each bay a semicircular arch
+comprising two pierced lancets and flanked by two blind lancets, with a
+quatrefoil pierced through the tympanum under the comprising arch, an
+arrangement that is the germ of tracery. Here there is no passage in the
+thickness of the wall, as there was an open gallery over the aisle until
+the external roof was lowered and the back of the arches blocked.</p>
+
+<p>In the clearstorey the shafts of the round arch in each bay are doubled,
+each couple sharing a common plinth and capital, <span class='pagenum'><a name="Page_89" id="Page_89">[89]</a></span>from which latter
+springs a tiny shaft that carries the edge-roll of the arch; and the
+lancet arches also, where they adjoin the solid piers between the bays,
+have a shaft in the jamb. On all three walls the shafts in this storey
+stand on a kind of kerb or parapet, which is interrupted in the middle
+of each bay, and the stilt of the round arch is treated almost like a
+classical entablature, and has a moulding or cornice above it, while the
+uppermost part of the wall is thickened, thereby necessitating over each
+bay a comprising arch, which on the north wall is round, but on the
+other walls follows the shape of the three sub-arches, and forms a kind
+of upper order to them.</p>
+
+<p>The roof-shafts, which do not break the string-courses, spring from very
+various levels: on the east side from the ground, and on the north side
+from the unusually high level of the second string, while on the west
+side one cluster rises from the first string and the other from above
+the second string (having perhaps been shortened in the last case to
+make way for the Perpendicular arch beneath). On the east and west walls
+these shafts are of a thickness which, besides being out of proportion
+to the other parts of the architecture, is structurally unnecessary, for
+they do not directly support the roof at all, but end at the top of the
+triforium in triple capitals, of which the central member is square and
+the others round. Upon each of these capitals, stand three detached and
+much thinner shafts&mdash;namely, that which really carried the roof-beams,
+and those (adjacent to it) of the arches that carry the above-mentioned
+thickening of the wall. Thus is afforded a striking instance of the
+tendency, so often exemplified in Archbishop Roger&#8217;s work, to use two
+shafts, one on the top of the other, instead of prolonging one&mdash;a
+tendency which marks the organic development of the style as still
+incomplete. On the north wall the three shafts in each cluster are
+carried up from their corbel to the top in one piece, unbroken save by a
+band at the impost level of the triforium and another at the third
+string, and they seem detached throughout their height both from the
+wall and from each other. At each corner of the transept the thickening
+of the wall over the clearstorey arcade is carried by a shaft which
+rises from the bench-table or the ground.</p>
+
+<p>The roof is entirely modern, and the shields on its corbels bear the
+arms of the chief promoters of the last restoration.</p>
+
+<p>Against the north wall is a fifteenth century altar-tomb, <span class='pagenum'><a name="Page_90" id="Page_90">[90]</a></span>covered with
+inferior panelling and shields of arms, and surmounted by the figures of
+Sir Thomas and Lady (Eleanor) Markenfield; and adjoining this tomb
+(which formerly stood within the aisle) is the lid of a thirteenth
+century stone coffin on the floor. In the aisle stands another
+altar-tomb, which has the sides panelled and adorned with shields of
+arms and bears the figure of an earlier Sir Thomas Markenfield, clad in
+armour of the period between Poitiers and Agincourt, and wearing a very
+curious collar of park palings with a stag couchant in front, possibly
+(as has been suggested) a badge of adherence to the party of Lancaster.
+The figure of Lady Markenfield has, unfortunately, been destroyed.<a name="FNanchor_86_86" id="FNanchor_86_86"></a><a href="#Footnote_86_86" class="fnanchor">[86]</a></p>
+
+<p>The aisle is often called the Markenfield Chapel, and doubtless
+contained the Markenfield family chantry, which seems to have become
+afterwards merged in another foundation.<a name="FNanchor_87_87" id="FNanchor_87_87"></a><a href="#Footnote_87_87" class="fnanchor">[87]</a> The two bays were
+apparently once walled off from each other, the dividing wall having
+perhaps been removed to make way for this Markenfield tomb. At any rate,
+between the bays of the vaulting there is a plain cross-arch of
+remarkable thickness, whose eastern respond is cut off above the tomb,
+as are also the two adjacent vaulting-shafts, which have had heads
+carved upon their ends. The south wall is probably original, since (to
+mention one reason) part of the string-course upon it is worked on the
+same stone with the vaulting-shaft. The lower parts of the walls display
+traces of a design in red representing round arches interlaced. In the
+north wall there is a square aumbry, and in the south wall a large
+piscina, with trefoil head and projecting basin. If this piscina is
+original, it is a very fine specimen for so early a date. A huge
+eighteenth century monument to Sir Edward Blacket of Newby almost covers
+the southernmost window, but the remaining two contain glass of some
+merit, which in that facing east commemorates the recovery from fever of
+King Edward VII., then Prince of Wales. The vaulting springs from single
+cylindrical shafts, which rise from the ground and do not <span class='pagenum'><a name="Page_91" id="Page_91">[91]</a></span>interrupt the
+string-course. Their bases have three-sided plinths, and their capitals
+are enriched with stiff foliage and are three-sided above.</p>
+
+<p>The vaulting, which is apparently original, deserves especial notice.
+Its bays are square, and the groin ribs consist each of three round
+mouldings, of which the most prominent is &#8216;keeled&#8217;;<a name="FNanchor_88_88" id="FNanchor_88_88"></a><a href="#Footnote_88_88" class="fnanchor">[88]</a> but what is most
+remarkable is that there are also ridge-ribs, which are not usually
+found before the thirteenth century, and it has been suggested<a name="FNanchor_89_89" id="FNanchor_89_89"></a><a href="#Footnote_89_89" class="fnanchor">[89]</a> that
+this is the earliest instance of their employment. There are also
+wall-ribs, and these and the ridge-ribs are much thinner than the
+groin-ribs, and consist of a single roll only.</p>
+
+<div class="figcenter" style="width: 364px;">
+<a name="image28" id="image28"></a><a href="images/image28-full.jpg"><img src="images/image28.jpg" width="364" height="258" alt="Photo of the interior of the cathedral" title="VAULT OF THE NORTH TRANSEPT AISLE, TWELFTH CENTURY." /></a>
+<p class="captionl"><i>Watson, Ripon, Photo.</i>]</p>
+
+<p class="caption">VAULT OF THE NORTH TRANSEPT AISLE, TWELFTH CENTURY.</p>
+</div>
+
+<p><b>The South Transept</b> is narrower than the other by a yard, its width being
+49 feet to the aisle wall (which, it should <span class='pagenum'><a name="Page_92" id="Page_92">[92]</a></span>be noticed, has not been
+rebuilt). Without the aisle the width is only 30 feet, but this is
+partly due to the Perpendicular alterations. The end and west side of
+this transept, which remain more or less as they were in Archbishop
+Roger&#8217;s day, resemble the corresponding walls of the other, yet with the
+following differences. The roof-shafts on the west side are thinner here
+than there, and are carried up to the required height in one piece,
+unbroken save by the string-courses.</p>
+
+<p>In connection with the attachment of shafts of any considerable height
+to wall-surfaces in Archbishop Roger&#8217;s work, it will be observed that
+though the shafts (according to the general practice of masonry) are
+usually made in short joints built in at the back, yet (as here) their
+jointing sometimes does not harmonize with the coursing of the wall;
+again (as in the old nave and north transept) the shafts of a cluster
+are sometimes not worked all on the same stones.</p>
+
+<p>To return to the differences of this transept from the other, the
+roof-shafts over the inserted Perpendicular arch (which here obtrudes
+into the triforium) descend no lower than the sill of the clearstorey.
+Again, the thickening of the walls at the top is supported in the
+south-west angle not by one shaft but by two, one of which stands on a
+projecting strip of masonry that runs up the angle to the triforium. The
+design of the eighteenth century monument against the south wall, to Mr.
+Weddell of Newby, is taken from that of the choragic monument of
+Lysicrates at Athens.</p>
+
+<p>On the east side, which has been entirely remodelled in the
+Perpendicular period, the bay next to the tower displays from the ground
+to the triforium a plain surface broken only by a pointed doorway
+surmounted by three cinquefoiled niches with ogee crocketed hoods. The
+doorway retains its original doors with an ornamental iron scutcheon
+over the keyhole. In their great strength, and in their treatment
+generally, the two arches opening into the aisle resemble the
+Perpendicular arches of the central tower. The triforium stage is
+exceedingly poor, and shows traces of more or less modern disfigurement.
+Each bay contains a single arch which does not occupy the whole space,
+and which is surmounted by a hood-mould and divided into two sub-arches,
+but without cusps. Here again the arches were once pierced through to a
+gallery over the aisle, as the exterior of the wall plainly shows; and
+this seems to indicate <span class='pagenum'><a name="Page_93" id="Page_93">[93]</a></span>either that the external roof had not been
+lowered when these Perpendicular repairs took place, or that possibly
+the two lower storeys of Archbishop Roger&#8217;s wall were left standing, and
+have been, not rebuilt, but cased. The appearance of the wall externally
+suggests that these arches may have once been round, and the unusual
+bulk of the two aisle-arches seems further to support the theory of a
+&#8216;casing.&#8217; In the clearstorey the windows have hood-moulds, but otherwise
+are treated much as in the nave. The southernmost contains a fragment of
+old glass, bearing the words &#8216;Jhesu mercy.&#8217; Along the sill of the
+passage may be seen the stumps of uprights which may perhaps have
+supported a rail. The roof-shafts are clustered and extremely thick, and
+appear the more awkward in that the wall and the shafts with it are set
+back at the base of the triforium. In this transept the ceiling is old,
+and among the heraldic devices carved upon it are those of the church
+itself, St. Wilfrid, the See of York, the Pigotts, the Nortons, and
+Fountains Abbey.</p>
+
+<p>The aisle, the walls of which have not been rebuilt, and which has a
+chequered pavement of uncertain date, was for some centuries the
+burial-place of the owners of Studley Royal, and is often called the
+Mallory Chapel. A curious recess in the south wall is concealed by the
+monument of John Aislabie of Studley, Chancellor of the Exchequer at the
+time of the South Sea Bubble, and against the north wall is a monument
+to that Sir John Mallory of Studley who defended Skipton Castle for
+Charles I., and delivered Ripon from Sir Thomas Mauleverer. There is a
+square aumbry to the right of this monument, and in the next bay
+another, divided by a stone shelf and having modern doors with
+ornamental iron-work. The northern bay is almost wholly occupied by a
+stone staircase leading up to two doors, one of which opens on the left
+into a chamber now containing the bellows of the organ, while the other
+opens into the Lady-loft or Library. Over the latter door and over the
+Mallory monument will be observed traces of two original windows, which,
+before the erection of the Lady-loft, admitted doubtless whatever light
+was not blocked out by the old roof of the Chapter-house. On this wall
+hangs a royal escutcheon bearing the motto of James I. The vaulting is
+Perpendicular, but two of the original supports remain on the east side.
+The shaft in the south-east corner resembles <span class='pagenum'><a name="Page_94" id="Page_94">[94]</a></span>those in the Markenfield
+Chapel, save that its capital has no foliage; but between the two bays,
+instead of two shafts flanking the respond of a thick cross-arch, there
+is a cluster of three detached shafts, banded at the string-course, and
+sharing a common capital with a semi-octagonal top. It would seem,
+therefore, that the two bays here were never walled off from one
+another.<a name="FNanchor_90_90" id="FNanchor_90_90"></a><a href="#Footnote_90_90" class="fnanchor">[90]</a> At the north-east corner the vaulting springs from a
+Perpendicular corbel. Its moulded ribs are exceedingly ponderous, and
+one of them, not having room to descend upon the pillar, is finished off
+with a head. The present Library staircase was put up by Sir Gilbert
+Scott in place of an older flight attached to the north wall, and upon
+the latter may be seen (behind the stairs) traces of mural paintings in
+red and green, representing the Adoration of the Magi and other
+subjects. The archaic character of these paintings indicates the age of
+the wall, which, nevertheless (unlike the corresponding wall in the
+Markenfield Chapel), seems to have been an afterthought, since it
+differs from the other walls in the coursing of the stone and in the
+pattern of the string-course, and, moreover, at its northern end there
+is a &#8216;straight joint,&#8217; visible in the choir-aisle.</p>
+
+<p><b>The Rood Screen</b>, according to Sir Gilbert Scott, is of a date a few
+years earlier than 1494, but, if so, it has taken the place of another,
+which is mentioned in the Fabric Rolls as early as 1408.<a name="FNanchor_91_91" id="FNanchor_91_91"></a><a href="#Footnote_91_91" class="fnanchor">[91]</a> The general
+design is that of an arched doorway with four large niches on either
+side, and a tier of twenty-four small niches over all. The doorway,
+which retains its original panelled doors, has three shafts in either
+jamb, and is surmounted by a crocketed ogee hood, under which is a
+sculpture representing the First Person of the Trinity with attendant
+angels. A figure of the Saviour evidently once rested, as Walbran
+noticed, upon the knees of the central Figure; above whose head or
+shoulder, moreover, there was doubtless once a representation of the
+Holy Dove. The niches again have crocketed ogee hoods, and in the lower
+tier <span class='pagenum'><a name="Page_95" id="Page_95">[95]</a></span>contain pedestals bearing shields charged with the arms of the
+Pigotts and other benefactors, while the sill of the last at either end
+of this tier is considerably raised, and the space below panelled. The
+niches contain ribbed vaults, and are cinquefoil, with feathered
+cusping, and their hoods are prolonged so as to divide the members of
+the upper tier into pairs; while from the sides of these hoods, from the
+buttresses, and from the curve of the doorway, thin strips of stone,
+adorned with knobs that distinctly add to the effect, are carried up to
+the cornice, along which runs a row of shields bearing traces of colour.
+In the lower part of the screen the spaces between the strips and under
+the hoods are filled with tracery. The screen is 12 feet thick, and in
+the passage through it are two doors, that on the right opening into a
+winding staircase to the loft above, and that on the left into <span class='pagenum'><a name="Page_96" id="Page_96">[96]</a></span>a deep
+pit, which once communicated, it is thought, with the north passage of
+the Saxon crypt.</p>
+
+<div class="figcenter" style="width: 364px;">
+<a name="image29" id="image29"></a><a href="images/image29-full.jpg"><img src="images/image29.jpg" width="364" height="279" alt="Photo of the interior of the cathedral" title="THE ROOD SCREEN" /></a>
+<p class="captionl"><i>Ronald P. Jones, Photo.</i>]</p>
+
+<p class="caption">THE ROOD SCREEN.</p>
+</div>
+
+
+<p><b>The Choir.</b>&mdash;The choir extends 92 feet eastward from the screen. Its
+width is 33 feet between the columns, or 68 feet if the aisles be
+included. A notable peculiarity in it is, that after the lowering of the
+aisle-roofs externally, the triforium was glazed, so that there are two
+tiers of windows above the main arches.<a name="FNanchor_92_92" id="FNanchor_92_92"></a><a href="#Footnote_92_92" class="fnanchor">[92]</a> Many styles meet here. The
+first three bays on the north side are Archbishop Roger&#8217;s work, while
+the three opposite are Perpendicular, and lastly, the three easternmost
+bays on either side are chiefly Decorated.</p>
+
+<p>To begin with the north side. The arch in the first bay has been built
+up, probably to strengthen the tower, and by the twelfth-century
+builders themselves, for the abacus-moulding of the capital is continued
+across the blocking wall. In the latter the fifteenth-century builders
+have made a small pointed doorway, which is now blocked but apparently
+once gave access from the top of the screen to a staircase in the north
+aisle. This and the two next bays bear in all three stages a general
+resemblance to the east side of the north transept. The columns,
+however, are clusters of eight cylindrical shafts, and stand upon
+circular plinths, the base proper following, of course, the form of the
+pillar. The capitals, as usual, are compound and composed of plain
+inverted bells, and have square tops with the abacus hollowed and
+grooved. The arches differ from those in the transept only in that the
+large moulding under the soffit is &#8216;keeled,&#8217; and that the mouldings
+which flank it are simple ridges. In the triforium the cusps visible in
+the glazed sub-arches belong to some tracery which has been applied to
+the back at a later period.</p>
+
+<div class="figcenter" style="width: 367px;">
+<a name="image30" id="image30"></a><a href="images/image30-full.jpg"><img src="images/image30.jpg" width="367" height="545" alt="Photo of the interior of the cathedral" title="THE GREAT EAST WINDOW" /></a>
+<p class="captionl"><i>Ronald P. Jones, Photo.</i>]</p>
+
+<p class="caption">THE GREAT EAST WINDOW.</p></div>
+
+<div class="figleft" style="width: 179px;">
+<a name="image31" id="image31"></a><a href="images/image31-full.png"><img src="images/image31.png" width="179" height="512" alt="Drawing of detail of cathedral" title="BAY OF ARCHBISHOP ROGER&#8217;S CHOIR (WITHOUT THE VAULTING)." /></a>
+<p class="caption">BAY OF ARCHBISHOP ROGER&#8217;S CHOIR (WITHOUT THE VAULTING).</p>
+
+<p class="caption">(From a drawing by Sir G. G. Scott, by permission of the Arch&aelig;ological
+Institute.)</p>
+</div>
+
+<p>The treatment of the vaulting-shafts is very remarkable; indeed, nothing
+is more instructive than the variety shown in the treatment of this
+feature throughout Archbishop Roger&#8217;s church, the different parts of
+which are suggestive of nothing so much as of a series of architectural
+experiments. Here, upon the capital of each column, rests a sort of
+compound rectangular plinth, from which project three corbels, hollowed
+underneath and having little blocks beneath their overhanging edge. From
+this plinth and corbels springs a cluster of no <span class='pagenum'><a name="Page_97" id="Page_97">[97]</a></span><span class='pagenum'><a name="Page_98" id="Page_98"><br />[98]</a></span>less than five shafts,
+which, by their united width, conceal the springing of the upper order
+of the main arches. They are banded at the string-course below the
+triforium, and end at the sill of the clearstorey in a compound capital,
+of which the three central members are square, and the others round.
+Upon this capital, apparently, stand the two adjoining shafts that carry
+the thickening of the wall above the clearstorey, and here (but hidden
+by the vaulting) stands also the original roof-shaft, and these three
+are &#8216;detached.&#8217; Thus the arrangement is in principle similar to that
+adopted in the north transept, while at the same time the clustered
+shafts are even more disproportionate here than there to the slight
+burden they have to carry; indeed the effect is that of five shafts
+diminishing to one. The vaulting hides a feature which is not found in
+the transept, namely, a little lancet arch whose apex comes exactly
+behind the roof-shaft in each bay.</p>
+
+<div class="figright" style="width: 158px;">
+<a name="image32" id="image32"></a><a href="images/image32-full.jpg"><img src="images/image32.jpg" width="158" height="334" alt="Photo of detail of the cathedral" title="DECORATED CAPITAL IN CHOIR" /></a>
+<p class="captionl"><i>Watson, Ripon, Photo.</i>]</p>
+
+<p class="caption">DECORATED CAPITAL IN CHOIR.</p>
+</div>
+
+<p>Though the three eastern bays (still on the north side) are chiefly
+Decorated, portions of Archbishop Roger&#8217;s work have been retained or
+used again. Thus the fourth column from the west is his, and perhaps the
+fifth up to the abacus, <span class='pagenum'><a name="Page_99" id="Page_99">[99]</a></span>which is convex and of limestone. The respond
+against the east wall is of his pattern, but it has not the circular
+plinth, and the capital is of limestone, has the abacus moulded with
+rounds upon the edge, and is covered with delicate foliage in the
+Decorated manner. In these arches the lower order has exactly the same
+mouldings as in the western bays, and is of gritstone, while the upper
+order is of limestone, and has fillets upon the larger mouldings. It
+would seem, therefore, that the later builders have used the original
+archivolts again, and have merely added another order or orders over it.
+The plane of the wall above, indeed, is brought forward to the face of
+Archbishop Roger&#8217;s vaulting-shafts: yet without being really thickened,
+since it is set back from his wall on the exterior. At the junction of
+the old vaulting-shafts with the additional order of the first Decorated
+arch the later builders have carved a group of grotesque faces. In each
+bay of the Decorated triforium there is a round arch filled with tracery
+consisting of three round-headed and trefoil lights with two circles
+enclosing trefoils above them; and on either side of this arch (but on
+one three only, in the first of the side bays) is a sunk lancet panel
+enclosing a pointed arch impaling a trefoil. The clearstorey has a
+second plane of tracery, a feature not very common in England. The
+vaulting-shafts are in clusters of three and are filleted, and the
+string-course below the triforium is not carried round them. Each
+cluster springs from a semicircular corbel <span class='pagenum'><a name="Page_100" id="Page_100">[100]</a></span>resting on a head, and has
+its capitals enriched with foliage. The last pendentive of the vaulting
+rests on a single shaft springing directly from a head-corbel. The
+string-courses are not of the same pattern with those on the older bays.</p>
+
+<div class="figcenter" style="width: 312px;">
+<a name="image33" id="image33"></a><a href="images/image33-full.jpg"><img src="images/image33.jpg" width="312" height="386" alt="Photo of the interior of the cathedral" title="THE NORTH SIDE OF THE CHOIR" /></a>
+<p class="captionl"><i>Watson, Ripon, Photo.</i>]</p>
+
+<p class="caption">THE NORTH SIDE OF THE CHOIR.</p>
+
+<p class="caption">(Junction of Transitional and Decorated work.)</p>
+
+</div>
+
+<p>On the south side the westernmost Perpendicular bay, up to the
+triforium, is solid and covered with cinquefoil panelling. In the next
+two bays the mouldings of the arch, among which a broad hollow is
+conspicuous, are continued down the column, <span class='pagenum'><a name="Page_101" id="Page_101">[101]</a></span>and there is no capital&mdash;a
+sign of decadence more common in the Flamboyant work of the Continent
+than here. There is, however, a debased half-capital on the east side of
+the last Perpendicular column, and on the west side of it are three
+small heads at the impost-level. These columns are lozenge-shaped in
+section, wider from north to south than from east to west, and though
+the mouldings end before they reach the bottom of the column, there is
+no proper base. Each column has a shaft at the front and another at the
+back, the former carrying the rim of the arch and having a stilted
+polygonal base but no capital, while the latter has capital as well as
+base (both polygonal), and helps to carry the aisle-vault. The spandrels
+of these arches are filled with panelling, in which are several shields
+(one bearing the arms of Pigott). The triforium again shows in each bay
+a round arch; indeed, no better example than this choir could be found
+of the truth that the form of the arch is not a safe guide to the date
+of a building, but was often dictated by convenience; for here in the
+triforium are round arches, of which some belong to the twelfth, others
+to the thirteenth, and others to the sixteenth century. The fact that
+the distance between the string-courses was already settled by the
+Transitional bays, compelled the later builders to make their arches
+round, as a pointed arch of the requisite width would have been too
+tall. Here the round arch, which is again flanked by two panels,
+comprises three cinquefoil lights, and the mullions are carried up
+through the head. The panels are pointed and divided each into two
+cinquefoil divisions. The Perpendicular clearstorey windows have their
+rims moulded, but are not splayed. The vaulting-shafts resemble those in
+the Decorated bays, but their corbels are polygonal and have the sides
+slightly hollowed, and the abacus of the capital is a half-lozenge. The
+string-courses have not been made to match either the Transitional or
+the Decorated. The whole of this Perpendicular work is of very late
+character, and justifies the belief that it was the last important
+alteration in the fabric before the dissolution. Moreover, where it
+meets the tower there seems to be a &#8216;straight joint,&#8217; which indicates
+that these bays are at any rate later than the tower piers.</p>
+
+<p>East of the Perpendicular pillars the next column is Arch<span class='pagenum'><a name="Page_102" id="Page_102">[102]</a></span>bishop
+Roger&#8217;s, and perhaps the next also, with the exception of its capital,
+which has two rings upon the necking, with the rectangular top imposed
+directly upon them and chamfered beneath, while the abacus (which is of
+limestone) is convex.<a name="FNanchor_93_93" id="FNanchor_93_93"></a><a href="#Footnote_93_93" class="fnanchor">[93]</a> The respond against the east wall is again of
+the old pattern, but without the circular plinth, and its capital
+resembles that just described. In the westernmost of these southern
+Decorated bays three styles meet. The lower order of the arch seems
+again to be Transitional work, while in the triforium and clearstorey
+Decorated arches have been filled with Perpendicular tracery. In the two
+remaining bays the main arches are entirely Decorated, the lower order
+being of limestone and the large moulding under the soffit having a
+fillet. Over the last two complete columns there is a little foliage,
+and of the corbels of the vaulting-shafts one is enriched with foliage
+while the other consists of a head between two embracing figures. There
+is foliage upon the capitals of these vaulting-shafts, and upon the
+capital and base of that which supports the last pendentive of the
+vaulting. With the exceptions mentioned, these bays resemble those
+opposite.</p>
+
+<p>It has been remarked that the choir was probably as long in the twelfth
+century as it is now. The point is indeed proved if (as there seems no
+reason to doubt) the last complete column on either side is original and
+occupies its original position; but a further indication is to be found
+in the fact that the fragment of the original south wall, the end of
+which is visible on the exterior between the south aisle and the apse,
+extends well into the last bay of the present choir.<a name="FNanchor_94_94" id="FNanchor_94_94"></a><a href="#Footnote_94_94" class="fnanchor">[94]</a></p>
+
+<p>The huge east window, which is not splayed, has a deep rear-vault
+bounded by a massive rib, whose outer edge rests on slender engaged
+shafts with foliage on their capitals, while the inner edge ends in
+bunches of foliage. Between this rib and the tracery is another rib
+springing on the north side from a bunch of foliage and on the south
+from a grotesque corbel. The inner arch has slender shafts, and so has
+the moulding next to the tracery, but in the latter case the capitals
+are plain.<a name="FNanchor_95_95" id="FNanchor_95_95"></a><a href="#Footnote_95_95" class="fnanchor">[95]</a> Few acts of <span class='pagenum'><a name="Page_103" id="Page_103">[103]</a></span>vandalism are more to be regretted,
+probably, than the destruction in 1643 of the magnificent fourteenth
+century glass which once occupied this window. The present very poor
+glass, by Wailes of Newcastle, commemorates the revival of the see of
+Ripon in 1863.</p>
+
+<div class="figright" style="width: 168px;">
+<a name="image34" id="image34"></a><a href="images/image34-full.jpg"><img src="images/image34.jpg" width="157" height="152" alt="Photo of detail of cathedral" title="A Bishop and a King." /></a>
+<p class="caption">A Bishop and a King.</p>
+
+<a name="image35" id="image35"></a><a href="images/image35-full.jpg"><img src="images/image35.jpg" width="168" height="150" alt="Photo of detail of cathedral" title="The Expulsion from Paradise" /></a>
+<p class="caption">The Expulsion from Paradise.</p>
+
+<p class="captionl"><i>Watson, Ripon, Photo.</i>]</p>
+
+<p class="caption">BOSSES FROM THE CHOIR-VAULT.</p>
+</div>
+
+
+<p>Over the window may be seen the mark of one of the earlier roofs. The
+choir is thought to have received a groined vault of oak after the
+rebuilding of the east end, but this vault was probably renewed more
+than once, especially after the accident to the tower about 1450, and
+the fall of the spire in 1660. Sir Gilbert Scott found a vault of lath
+and plaster (probably the work of Blore) for which he substituted the
+present roof, a groined wooden vault, admirable in its lofty pitch and
+judicious colouring. Its chief feature, however, is the splendid bosses
+along the ridge, which are survivals from either the Decorated or a
+subsequent Perpendicular vault. In some of these bosses the figures are
+five feet long.</p>
+
+<div class="blockquot"><p>From west to east the subjects are as follows: (1) A head; (2) an
+angel, with foliage; (3) a head; (4) a man conducting a woman to a
+church door; (5) a bishop in benediction; (6) a king enthroned; (7)
+a bishop enthroned; (8) a king and a bishop enthroned together; (9)
+the Crucifixion (modern); (10) the Annunciation; (11) the expulsion
+from Paradise; (12)? the good Samaritan; (13) a head.</p></div>
+
+<p>There are also good foliage bosses against the walls between <span class='pagenum'><a name="Page_104" id="Page_104">[104]</a></span>the
+pendentives. The westernmost pendentive on either side rests on a
+Perpendicular corbel carved with delicate foliage.</p>
+
+<p>The general arrangements of the presbytery have been much changed since
+the middle ages. The altar then stood against a screen one bay in
+advance of its present position, and the iron hooks upon the second
+complete column from the east end on either side held, it is supposed,
+the Lenten Veil. Before the last restoration the altar stood, as now,
+against the east wall (on a single step, however), but the Sanctuary
+still extended two bays westward and was three steps above the rest of
+the choir, which was all on one level. Since then the floor has been
+raised one step at the east end of the stalls, and the steps to the
+Sanctuary have been diminished by one, while there are now two steps to
+the altar, and the Sanctuary and the raised portion of the choir have
+received an inlaid marble pavement. The reredos, an arcading of slender
+arches each enclosing a trefoiled arch impaling a trefoil, is a
+restoration of the original Decorated work. The latter had been covered
+by a painted screen of wood&mdash;possibly of late medi&aelig;val workmanship&mdash;and
+this again by a huge oil-painting of the time of Charles II. Both were
+removed to make way for a high reredos by Blore, which in its turn was
+taken down by Sir Gilbert Scott.<a name="FNanchor_96_96" id="FNanchor_96_96"></a><a href="#Footnote_96_96" class="fnanchor">[96]</a> On the pavement south of the altar
+is a piscina, which (if this be its original position) must have
+belonged to a chapel or chantry behind the high altar&mdash;possibly the
+chantry of the Holy Trinity <i>subtus altare</i>.<a name="FNanchor_97_97" id="FNanchor_97_97"></a><a href="#Footnote_97_97" class="fnanchor">[97]</a> From its position it
+would seem that in those days the floor here was considerably lower than
+it is now.</p>
+
+<div class="figcenter" style="width: 349px;">
+<a name="image36" id="image36"></a><a href="images/image36-full.jpg"><img src="images/image36.jpg" width="349" height="522" alt="Photo of the interior of the cathedral" title="THE SEDILIA" /></a>
+<p class="captionl"><i>Ronald P. Jones, Photo.</i>]</p>
+
+<p class="caption">THE SEDILIA.</p>
+</div>
+
+
+<p><b>The Sedilia.</b>&mdash;The last bay on the south side is now occupied by three
+sedilia and a piscina, which form one block. As might be expected from
+the medi&aelig;val position of the altar, they once stood in the second bay
+from the east, and they were not removed to their present position until
+the last restoration. Sir Gilbert Scott considered them late Decorated
+work, but they have rather the appearance of late Perpendicular. Over
+each seat is an ogee canopy, cinquefoil,<span class='pagenum'><a name="Page_105" id="Page_105">[105]</a></span><span class='pagenum'><a name="Page_106" id="Page_106"><br />[106]</a></span> crocketed, and surmounted by
+a huge finial. These canopies rest on square pillars, the sides of which
+are adorned with a sort of &#8216;four-leaved flowers,&#8217; while the capitals are
+encircled with foliage in which are animals and monsters. Each pillar is
+surmounted by a pinnacle, and behind each canopy rises a crocketed
+gable, again crowned by a huge finial. The gables, the pinnacles, and
+the tops of the canopies are the work of Sir Gilbert Scott, who found
+the sedilia in a mutilated condition. Below the seats and the piscina
+runs a chamfer with &#8216;four-leaved flowers&#8217; along it, and below this are
+panels enclosing trefoils containing faces. But the most curious feature
+of these sedilia is not perceived until a glance is given beneath the
+canopies. The carved ends of the cusps are in reality the heads of
+extraordinary grotesques whose bodies are curled up against the under
+surface of the arch. Some of these figures, in addition to their proper
+physiognomy, have faces carved on the crowns of their heads. The
+piscina, which has been converted into a credence table, has another
+ogee canopy, and is backed by a wall, along the top of which runs a band
+of foliage that is continued round the top of a square pillar at the end
+of the block.</p>
+
+<p>The fine oak chairs in the Sanctuary are of modern construction but of
+old material, while the rails, lectern and pulpit are all modern.<a name="FNanchor_98_98" id="FNanchor_98_98"></a><a href="#Footnote_98_98" class="fnanchor">[98]</a></p>
+
+<p>In the four easternmost bays the choir is separated from its aisles
+(except where the sedilia already block one arch) by elaborate oak
+screens of various designs, in the upper part of which the tracery is
+largely pendant&mdash;an arrangement characteristic of Yorkshire. These
+screens have been restored, but contain much of the old work, most of
+which is probably of the same date with the stalls.<a name="FNanchor_99_99" id="FNanchor_99_99"></a><a href="#Footnote_99_99" class="fnanchor">[99]</a> Until the last
+restoration they were surmounted by seventeenth century galleries in the
+so-called Jacobean style.</p>
+
+<div class="figcenter" style="width: 364px;">
+<a name="image37" id="image37"></a><a href="images/image37-full.jpg"><img src="images/image37.jpg" width="364" height="471" alt="Photo of the interior of the cathedral" title="CHOIR STALLS, FIFTEENTH CENTURY" /></a>
+<p class="captionl"><i>Ronald P. Jones, Photo.</i>]</p>
+
+<p class="caption">CHOIR STALLS, FIFTEENTH CENTURY.</p>
+</div>
+
+
+<p><b>The Stalls</b>&mdash;thirteen on either side and eight returned <span class='pagenum'><a name="Page_107" id="Page_107">[107]</a></span>against the Rood
+Screen&mdash;are exquisite specimens of fifteenth century woodwork. They are
+surmounted by lofty canopies of <span class='pagenum'><a name="Page_108" id="Page_108">[108]</a></span>elaborate tabernacle-work supported on
+slender shafts and rising into a forest of crocketed spirelets and
+pinnacles. There are ribbed vaults under the canopies, and upon the
+pendants in front are hovering angels. The canopies on the south side
+were wrecked by the fall of the spire in 1660, and those over the eight
+easternmost stalls were then reconstructed in the &#8216;Jacobean&#8217; style with
+a gallery above, while of the canopies now over the other nine, eight
+are said to have been brought across from the eastern end of the north
+range, where more Jacobean canopies were erected in their place. Sir
+Gilbert Scott removed all this seventeenth century work and set up
+reproductions of the fifteenth century design. Thus the eight
+easternmost canopies on either side are modern. The misereres and arms
+of the stalls are exquisitely carved.</p>
+
+<div class="figcenter" style="width: 363px;">
+<a name="image38" id="image38"></a><a href="images/image38-full.jpg"><img src="images/image38.jpg" width="363" height="258" alt="Photo of detail of cathedral" title="MISERERES, FIFTEENTH CENTURY" /></a>
+<p class="caption">Jonah emerging from the whale. Pelican feeding her young.</p>
+
+<p class="captionl"><i>Watson, Ripon, Photo</i>.]</p>
+
+<p class="caption">MISERERES, FIFTEENTH CENTURY.</p></div>
+
+
+<div class="blockquot"><p>The subjects upon the former are as follows, beginning from the
+archway in the screen:&mdash;</p>
+
+<p><i>North side</i>:&mdash;(1) (<span class="smcap">Canon in Residence</span>) lion attacked by dogs; (2)
+<span class='pagenum'><a name="Page_109" id="Page_109">[109]</a></span>dragon attacked by dogs; (3) angel with shield; (4) dragon and
+birds; (5) hart&#8217;s-tongue ferns; (6) conventional flowers; (7) ape
+attacked by lion; (8) vine; (9) birds pecking fruit; (10)
+antelopes; (11) fox preaching to goose and cock; (12) fox running
+off with geese; (13) fox caught by dogs; (14) dragons fighting;
+(15) fruit and flowers issuing from inverted head; (16) man holding
+club with oak leaves and acorns; (17) (<span class="smcap">Mayor&#8217;s Stall</span>) griffin
+catching rabbit.</p>
+</div>
+
+<div class="figright" style="width: 216px;">
+<a name="image39" id="image39"></a><a href="images/image39-full.jpg"><img src="images/image39.jpg" width="216" height="332" alt="Photo of detail of the cathedral" title="DESK-END OF MAYOR&#8217;S STALL." /></a>
+
+<p class="captionl"><i>Rev. E. H. Swann, Photo.</i>]</p>
+
+<p class="caption">DESK-END OF MAYOR&#8217;S STALL.</p>
+</div>
+
+<div class="blockquot">
+<p><i>South side</i>:&mdash;(1) (<span class="smcap">Dean</span>) angel with book; (2) angel with shield
+bearing date 1489; (3) lion <i>versus</i> griffin; (4) griffin devouring
+human leg; (5) owl; (6) mermaid with mirror and hair-brush; (7) two
+pigs dancing to bagpipe played by a third; (8) Jonah thrown to the
+whale; (9) man wheeling another who holds a reed and a bag; (10)
+fox caught carrying off goose by dog and by woman with distaff;
+(11) winged animal; (12) hart, gorged and chained; (13) pelican
+feeding young; (14) Jonah emerging from the whale; (15) Samson
+carrying the gates; (16) head (modern)<a name="FNanchor_100_100" id="FNanchor_100_100"></a><a href="#Footnote_100_100" class="fnanchor">[100]</a>; (17) (BISHOP&#8217;S THRONE)
+Caleb and Joshua carrying the grapes and watched by Anakim.</p></div>
+
+<p>Most of these misereres have exquisite conventional flowers (especially
+roses) cut upon them in addition to the figure-subjects. The desks in
+front of the stalls have rich finials, and their panelled fronts form
+the backs of a lower tier of seats, the arms of which are supported each
+on a square shaft set diamondwise. In front of these <span class='pagenum'><a name="Page_110" id="Page_110">[110]</a></span>lower seats the
+desks again have carved finials and panelled fronts, and on those
+parallel with the Rood Screen the tracery is distinctly Flamboyant. The
+finial before the stall of the Canon in Residence has a griffin attached
+to it, and that in front of the Dean&#8217;s stall a lion. Before both these
+stalls the ends of the two tiers of desks are richly carved.<span class='pagenum'><a name="Page_111" id="Page_111">[111]</a></span> The
+Bishop&#8217;s throne and Mayor&#8217;s stall have each a canopied niche on the
+exterior toward the east,<a name="FNanchor_101_101" id="FNanchor_101_101"></a><a href="#Footnote_101_101" class="fnanchor">[101]</a> and two small apertures in the east side
+to enable the occupant to see the altar, and in front of these two
+stalls the ends of the two tiers of desks are again richly carved. The
+Mayor&#8217;s stall, which is wider than the others, was probably that of the
+Wakeman, and attached to the finial in front is a grotesque ape, beneath
+which the supporting shaft is of open work. The end of this desk
+displays a shield charged with two keys in saltire, for the see of York.</p>
+
+<div class="figcenter" style="width: 259px;">
+<a name="image40" id="image40"></a><a href="images/image40-full.jpg"><img src="images/image40.jpg" width="259" height="399" alt="Photo of detail of cathedral" title="FINIAL IN FRONT OF THE BISHOP&#8217;S THRONE." /></a>
+<p class="captionl"><i>Rev. J. Beanland, Photo.</i>]</p>
+
+<p class="caption">FINIAL IN FRONT OF THE BISHOP&#8217;S THRONE.</p></div>
+
+
+<p>The Bishop&#8217;s throne was originally occupied by the Archbishops of York.
+The Jacobean canopy, which succeeded that of the fifteenth century,
+comprised the space of two stalls, as did also the modern structure by
+which it was itself succeeded and which is now in the Consistory Court.
+The present canopy resembles those of the other stalls but is higher and
+more elaborate. Upon the back of the throne inside is a small mitre. The
+finial in front consists of an elephant carrying a man in his trunk, and
+bearing on his back a castle filled with armed soldiery, and in front of
+the elephant is a centaur (renewed), the shaft under which is again of
+open-work. The end of this desk displays a large mitre above a shield
+charged with the three stars of St. Wilfrid and supported by two angels,
+between whom is a scroll with the date 1494.</p>
+
+<div class="figcenter" style="width: 363px;">
+<a name="image41" id="image41"></a><a href="images/image41-full.jpg"><img src="images/image41.jpg" width="363" height="447" alt="Photo of the interior of the cathedral" title="THE WEST END OF THE CHOIR." /></a>
+<p class="captionl"><i>Ronald P. Jones, Photo</i>.]</p>
+
+<p class="caption">THE WEST END OF THE CHOIR.</p></div>
+
+
+<p><b>The Organ</b> occupied the top of the Rood Screen as early as 1408; but
+doubtless all traces of the medi&aelig;val instrument disappeared at the
+Reformation or in the Civil War. During the <a name="corr3" id="corr3"></a>ascendancy of the Puritans
+organ-building became a lost art, and at the Restoration it had to be
+revived by foreigners, one of whom, Gerard Schmidt, nephew of &#8216;Father
+Schmidt,&#8217; built an organ for Ripon. This instrument was remodelled in
+1833 by Booth of Leeds, and about 1878 the organ was rebuilt by T. C.
+Lewis of Brixton, so that very little of Schmidt&#8217;s work now remains. The
+present case was designed by Sir Gilbert Scott. Over the doorway in the
+screen is a projecting wooden gallery, in good imitation of the
+Perpendicular manner. This <span class='pagenum'><a name="Page_112" id="Page_112">[112]</a></span>gallery, which dates probably from the time
+of Schmidt, was occupied until comparatively recently by the organist.
+From the front of it projects a well-carved hand, which, worked by a
+pedal, could be made to beat time&mdash;a very interesting piece of
+<span class='pagenum'><a name="Page_113" id="Page_113">[113]</a></span>mechanism, which again probably dates from the time of Schmidt.</p>
+
+<div class="figright" style="width: 209px;">
+<a name="image42" id="image42"></a><a href="images/image42-full.jpg"><img src="images/image42.jpg" width="209" height="287" alt="Photo of the interior of the cathedral" title="THE NORTH CHOIR AISLE." /></a>
+<p class="captionl"><i>Ronald P. Jones, Photo.</i>]</p>
+
+<p class="caption">THE NORTH CHOIR AISLE.</p></div>
+
+<p><b>The North Choir Aisle.</b>&mdash;The floor of the choir is now a step above that
+of the aisles, and it may be further remarked that in both of them the
+first bay is somewhat dark, being walled up on three sides; that in the
+second bay the archway toward the choir is occupied by organ-pipes; that
+a bench table runs along the side wall and the east end, and that the
+latter portion is adorned with panelling of the same design with the
+reredos.</p>
+
+<p>In the north aisle the first three bays and a portion of the fourth are
+Archbishop Roger&#8217;s work, with the exception of the windows. The most
+notable feature, as usual, is the vaulting-shafts, which spring from
+above the string-course, and are in clusters of three. In each cluster
+the central shaft is even thicker than the others, and the capitals,
+which are carved with foliage of Norman character, share a common
+five-sided abacus, while the bases are circular and rest on radiating
+brackets smaller than themselves. These brackets, which are said to be
+unique, have square corners and are moulded, but only on the front, and
+their receding portion consists of a concave moulding containing a
+convex block. In the north-west corner there is but a single shaft,
+which rises from the bench-table, is banded at the string-course, and
+has a square-topped capital. The vaulting has wall-<span class='pagenum'><a name="Page_114" id="Page_114">[114]</a></span>ribs,
+cross-springers, and groin-ribs, and is rather high-pitched. Upon the
+cross-springers the mouldings are a large keeled round having on either
+side a hollow between fillets, while the groin-ribs are moulded as in
+the Markenfield Chapel. In the westernmost bay the vault has shown signs
+of weakness (like so many other parts of the building adjacent to the
+ill-fated tower) and has been strengthened by a cross-arch with a
+half-arch abutting against it on the west side, both springing from
+corbels. The corbels are quite in Archbishop Roger&#8217;s manner, and
+indicate that these strengthening arches, and therefore the blocking
+walls from which they spring, are of his period. Moreover, the abacus
+moulding of the first choir capital is continued as a string to the
+shaft (which it encircles) in the north-west corner. This string is
+interrupted by a rather inexplicable round arch in the west wall, and
+has also been broken by the obtrusion of the Perpendicular tower-pier,
+and by the blocked doorway which once opened from the Rood Screen. Below
+this doorway (adjoining which there is a recess in the obtruding masonry
+of the tower-pier) the wall shows traces of a gallery or staircase. On
+the north wall the string-course, which is rather undercut, is original
+as far as the end of the fourth bay, and marks the level to which the
+sills of the original windows descended in steps.<a name="FNanchor_102_102" id="FNanchor_102_102"></a><a href="#Footnote_102_102" class="fnanchor">[102]</a> In the present
+windows, which descend to the old level, the mouldings of the arch are
+stopped upon a set-off and the jamb is left plain.</p>
+
+<div class="figleft" style="width: 200px;">
+<a name="image43" id="image43"></a><a href="images/image43-full.jpg"><img src="images/image43.jpg" width="106" height="270" alt="Photo of detail of cathedral" title="TRANSITIONAL VAULTING CORBEL. CHOIR AISLE." /></a>
+<p class="captionl"><i>Watson, Ripon, Photo.</i>]</p>
+
+<p class="caption">TRANSITIONAL VAULTING CORBEL. CHOIR AISLE.</p>
+</div>
+
+<p>In the two easternmost bays the Decorated string-course is of a
+different pattern and at a slightly higher level; and here <span class='pagenum'><a name="Page_115" id="Page_115">[115]</a></span>the jambs of
+the windows are moulded with a hollow continued from the arch; while the
+rim of the latter has upon it a large filleted round flanked by hollows
+and supported on shafts with polygonal plinths and circular bases and
+capitals, the latter enriched with foliage. The east window, however, is
+not splayed, and has a deep rear-vault and a flat sill, while its rim is
+more elaborately moulded and there are shafts to the inner as well as to
+the outer arch. Except in the two easternmost windows on the north side,
+the glass is very poor. The Decorated vaulting-shafts are again in
+clusters of three, but rise from the bench-table and break the
+string-course. They have polygonal plinths, and their capitals are
+adorned with rather ill-cut foliage. In the north-east corner there is a
+single shaft having a fillet, and adjoining it is a round-headed
+doorway, which once opened into the angle staircase. In this aisle the
+panelling is carried two bays westwards.</p>
+
+<p>It should be noticed that toward the aisle the choir arches have one
+more order in the three Decorated bays than they have in the rest. In
+the Decorated vaulting several chamfers are introduced among the
+mouldings of the cross-springers, and both in these and in the
+groin-ribs the most prominent moulding has a fillet. Otherwise the roof
+roughly matches that of the older bays. The older and the later period
+meet in the fourth bay from the west, where two of the groin-ribs have
+the fillet, while the other two are without it. In the two easternmost
+bays there are fine bosses at the crown of the vault.</p>
+
+<p>It is thought that the Shrine of St. Wilfrid was in the east end of this
+aisle.<a name="FNanchor_103_103" id="FNanchor_103_103"></a><a href="#Footnote_103_103" class="fnanchor">[103]</a> Unfortunately Leland&#8217;s words <i>S. Wilfridi reliquiae sub arcu
+prope magnum altare sepultae</i> are too vague to decide its exact
+position.</p>
+
+<p><b>The South Choir Aisle.</b>&mdash;This aisle, in some respects, has been altered
+more than the other, but the south wall is Archbishop Roger&#8217;s work as
+far as the end of the fourth bay, if not farther. About 14 feet from the
+west end occurs that<span class='pagenum'><a name="Page_116" id="Page_116">[116]</a></span> &#8216;straight joint&#8217; in the masonry which shows the
+separation of this aisle from the Mallory Chapel to have been an
+afterthought; and a little further east a round-headed doorway, moulded
+with the edge-roll and retaining a panelled door of some age, opens into
+the Chapter-house. There was evidently a second and similar doorway a
+few yards further on, but it has been blocked (doubtless when the
+cross-wall was built at the back of it between the Chapter-house and
+vestry), and a square-headed doorway has been made to open into the
+latter. To the right of this entrance is a square-headed lavatory with a
+projecting rectangular basin and a hole knocked through into the lobby
+behind. This lavatory is of course an insertion, probably of the
+fifteenth century; indeed the whole of this part of the wall has been
+much repaired with limestone. The aisle is somewhat darkened by the fact
+that its first four windows look into the Lady-loft. Fortunately the
+three westernmost are original. They are as usual round-headed and
+plainly splayed, and their sills descend to the string-course in steps.
+Archbishop Roger&#8217;s vaulting-shafts here are in better preservation than
+in the other aisle. The original vaulting itself must of course have
+been taken down when the three westernmost columns of the choir-arcade
+were rebuilt, but in the reconstruction the old ribs seem to have been
+used again. The groin-ribs have no room to descend upon the
+Perpendicular choir-capitals, and end prematurely upon corbels carved
+into faces.</p>
+
+<p>The westernmost bay of the aisle has been divided into two storeys, the
+upper of which now contains part of the mechanism of the organ, but is
+thought to have been once a chantry chapel. This curious chamber is
+reached through a pointed doorway at the top of the Library staircase in
+the south transept. Its roof is of course formed by the aisle-vault,
+which originally extended, doubtless, as far westwards in this aisle as
+in the other. The space, however, has been shortened by the great
+thickness of a Perpendicular cross-arch, which, though its southern
+respond obtrudes into the aisle below, is itself only visible from this
+chamber. When, therefore, the vaulting here was rebuilt, it had to be
+adapted to the shortened space, and the groin-ribs, which are very much
+of Archbishop Roger&#8217;s pattern, spring from Perpendicular corbels carved
+into faces. The wall which separates this bay of the aisle from the
+choir was said above, quite <span class='pagenum'><a name="Page_117" id="Page_117">[117]</a></span>truly, to be Perpendicular, but on this its
+southern face the masonry is apparently Archbishop Roger&#8217;s. It is of
+gritstone, and behind the organ-bellows there remains a corbel like
+those of the cross-arch that props the vaulting in the corresponding bay
+of the north aisle. The presumption therefore is that the original
+vaulting was similarly propped here, and that the wall on which this
+corbel remains was built to block or strengthen the first choir-arch,
+and has survived the arch itself. To the west of the door a small square
+window looks into the Mallory Chapel.</p>
+
+<p>In its eastern portion this aisle resembles the other, but the
+bench-table here is only carried two bays westward, and the panelling
+only one bay. In the fifth bay from the west the window is shortened to
+about half the length of the others, and the string-course (which is of
+Archbishop Roger&#8217;s pattern) is correspondingly raised, possibly because
+a longer window would have come below the springing of the vestry roof
+(in the period when there was no Lady-loft), or possibly (though this is
+less likely) to make room for the monument underneath, which, though
+placed here by Sir Gilbert Scott, who found it in pieces, may have
+occupied this position before. The monument is that of Moses Fowler,
+first Dean of Ripon (d. 1608), and the effigy is not a favourable
+example of English sculpture in the seventeenth century. Of the stained
+glass, that in the last window on the south side is of some merit. The
+capitals of the Decorated vaulting-shafts are better executed in this
+aisle than in the other. Here, as there, the Decorated vaulting begins
+in the middle of the fourth bay, where the fillet is again found upon
+the two eastern groins only. At the south-east corner of this aisle are
+the remains of a piscina&mdash;a fragment of a basin resting on a
+shaft&mdash;which probably belonged to one of the many chantries. The
+staircase at this corner affords the best access to the turret cell
+described in the last chapter, and to the attic over the choir, where
+the framing of the roof is a very remarkable specimen of modern joinery.</p>
+
+<p>On account of the alterations that have taken place at different periods
+in the part of the Cathedral south of the choir, it will be well to
+examine the crypt under the Chapter-house before examining either the
+latter itself or the Library.</p>
+
+<p><b>The Norman Crypt.</b>&mdash;A round-headed doorway in the west wall of the
+Chapter-house admits to a staircase which, <span class='pagenum'><a name="Page_118" id="Page_118">[118]</a></span>roofed with a sloping
+barrel-vault and descending southwards, turns eastwards, under another
+round arch, into the crypt. The age of this staircase is uncertain, but
+its west wall is of course the east wall of Archbishop Roger&#8217;s transept,
+and its barrel-vault is under his buttresses which will be seen in the
+Library. The crypt is divided by a cross-wall with a round arch in it
+into two portions, each having the vaulting supported on pillars along
+the middle; but half of the first and third bays of the western portion
+has been walled up in modern times for burial-vaults. The width of the
+crypt is about 18 feet and the total length about 68 feet.</p>
+
+<div class="figcenter" style="width: 361px;">
+<a name="image44" id="image44"></a><a href="images/image44-full.jpg"><img src="images/image44.jpg" width="361" height="262" alt="Photo of the crypt" title="THE NORMAN CRYPT." /></a>
+<p class="captionl"><i>Watson, Ripon, Photo.</i>]</p>
+
+<p class="caption">THE NORMAN CRYPT.</p></div>
+
+<p>This part of the church was assigned by Walbran to Thomas of Bayeux
+(1070-1100), and by Sir Gilbert Scott to Thurstan (1114-1141); but it is
+quite possible that both these Archbishops, if not Oda or Oswald before
+them, may have had a share in its construction. Much of the work at <a name="corr5" id="corr5"></a>any
+rate belongs to a Norman church which preceded that of Archbishop Roger.</p>
+
+<p>In the vaulting (which by-the-way has had to be propped <span class='pagenum'><a name="Page_119" id="Page_119">[119]</a></span>at some period
+by two rude pointed limestone arches at the west end) the chamfered
+groin-ribs seem to have been added later for strength, probably when the
+storey above was remodelled; but the vaulting itself, with its square
+pillars, its plain round arches from pillar to pillar and from pillar to
+walls, and without ribs upon the groins (such having been its original
+condition, apparently), seems pure Norman work.<a name="FNanchor_104_104" id="FNanchor_104_104"></a><a href="#Footnote_104_104" class="fnanchor">[104]</a> The traces of
+painted decoration remaining upon both pillars and vaulting are probably
+original. Along the walls the arches spring, not from corbels, but from
+short strings of the same pattern with the impost-moulding on the
+pillars&mdash;a pattern not of very early character. The north and south
+walls must, perhaps, be as old at least as the vaulting which rests
+against them; nor does the former wall seem quite on the same plane with
+the portion of Archbishop Roger&#8217;s choir foundations visible outside
+(between the present choir and the apse), he having perhaps built his
+wall against this one. The large limestone buttress against this wall,
+and another buttress which rises from the east wall but is hidden by the
+vaulting, were added in the Decorated period, and can be followed up
+through the two storeys above. They terminate in the pinnacles of the
+flying buttresses that span the choir-aisle. The south wall may perhaps
+be definitely placed somewhat early in the Norman period, since the
+windows are splayed both internally and externally.<a name="FNanchor_105_105" id="FNanchor_105_105"></a><a href="#Footnote_105_105" class="fnanchor">[105]</a> Of equal age,
+probably, is the cross-wall (which, to judge from the mass of masonry
+that spans the present passage of communication between the two parts of
+the crypt, is very thick) since allowance is made for its thickness in
+the spacing of the windows.<a name="FNanchor_106_106" id="FNanchor_106_106"></a><a href="#Footnote_106_106" class="fnanchor">[106]</a> It is at least as old as the vaulting,
+whose bays are arranged to suit it; and moreover the half-pillar against
+its eastern side has never been a whole pillar, as the capital plainly
+shows. This last remark applies also to the half-pillar against the
+extreme west wall, which therefore may perhaps be taken as marking the
+westward limit of the crypt at the time when the vaulting was
+constructed; while the east wall (excluding <span class='pagenum'><a name="Page_120" id="Page_120">[120]</a></span>the apse) probably marks
+the contemporary eastward limit&mdash;if, that is to say, the eastern portion
+of the vaulting has not undergone alteration. That eastern portion is
+clearly planned for an apse or chancel of some kind. The arch that rises
+eastward from the last pillar is stopped half-way in its course by a
+cross-arch opening into the apse, and the two last groin-ribs are
+carried from the pillar to the abutments of the cross-arch, being
+obliged by this contraction of span to form the only pointed arches in
+the whole vaulting. Such an arrangement&mdash;a &#8216;nave&#8217; terminating in an
+apse, and at the same time divided by a row of pillars along the
+middle&mdash;is somewhat unusual. The present apse is of uncertain date. Part
+of it may be Norman. Its window indeed is of early Norman type: yet its
+wall seems of softer stone than the rest of the crypt,<a name="FNanchor_107_107" id="FNanchor_107_107"></a><a href="#Footnote_107_107" class="fnanchor">[107]</a> and the
+string which runs along the east wall of the latter and round the
+responds of the cross-arch is there broken off: moreover, the cross-arch
+itself is clearly not of the same date or construction with the two ribs
+of the apse-roof, which ribs may possibly be of the same date as the
+groin-ribs; and lastly, it will be remembered that the shafts on the
+exterior had something of the appearance of Archbishop Roger&#8217;s work. The
+floor of the apse is raised on two steps, but there is no trace of an
+altar.</p>
+
+<p>It will be noticed that at the south-east corner there is no apsidal
+chamber to correspond to that in the storey above. There is, however, an
+unsavoury hole from which have been extracted a number of skulls.
+Indeed, this crypt formerly contained huge piles of bones, which had
+probably been brought here by the sixteenth century builders from the
+foundations of their new nave-aisles,<a name="FNanchor_108_108" id="FNanchor_108_108"></a><a href="#Footnote_108_108" class="fnanchor">[108]</a> and which were removed in
+1865 to a pit in the graveyard. Among the stone relics which have found
+a resting-place here, the most interesting are a sarcophagus, the head
+of a cross of Saxon character, and a group of coffin-lids near the north
+wall. Most of these last are perhaps of the thirteenth century.<a name="FNanchor_109_109" id="FNanchor_109_109"></a><a href="#Footnote_109_109" class="fnanchor">[109]</a> At
+the west end of the crypt is preserved Blore&#8217;s reredos.</p>
+
+<p><span class='pagenum'><a name="Page_121" id="Page_121">[121]</a></span><b>The Chapter-house</b> is 22 feet wide from wall to wall and 35 feet long,
+but it was evidently once open to the vestry, and the dividing wall,
+which with its bench-table is of limestone, was erected in the Decorated
+or in the Perpendicular period. In both rooms, as also in the storey
+above, the original floor was perhaps of stone or tiles, but if so, it
+has been covered or superseded by wooden planking.</p>
+
+<p>The Chapter-house is marked as such by the stone benches which are
+carried in two tiers along the north and south walls. On the north side
+the upper tier is interrupted by the piers of an arcading of plainly
+chamfered round arches, the central bay of which contains a fine
+medi&aelig;val cupboard with iron scroll-work. The doorway into the choir is
+very curiously treated on this side. It is surmounted first by a lintel,
+the stones above which are wedges forming a &#8216;flat arch,&#8217; and then by a
+round arch so high as to run up behind the westernmost arch of the
+arcading. The very fine vaulting, although some have ascribed it to the
+Early English period, belongs more probably to the time of Archbishop
+Roger. Unlike that over the choir-aisles and the Markenfield chapel,
+however, it has all its arches rounded, and is without wall-ribs. It
+springs from five-sided corbels which, like the corbels of the old nave,
+are finished off with scrolls, and which on the north side are placed
+against the piers of the arcading; and in the middle of the room it is
+supported on two cylindrical and monolithic pillars. The bases and
+capitals of these are circular, and the former are almost pure Early
+English, the plinth having a round moulding at the bottom, and the base
+proper consisting of two round mouldings separated by a hollow, with one
+or two beads or fillets. The capitals are less advanced in style, as the
+part just above the bell is not moulded and the abacus retains the
+square edge. All the eight ribs that rise from each pillar resemble the
+groin-ribs in the crypt.</p>
+
+<div class="figcenter" style="width: 546px;">
+<a name="image45" id="image45"></a><a href="images/image45-full.jpg"><img src="images/image45.jpg" width="546" height="390" alt="Interior of the chapter-house" title="THE CHAPTER-HOUSE" /></a>
+<p class="caption">THE CHAPTER-HOUSE.</p>
+</div>
+
+<p>The arcade against the north wall is continued in the vestry, and it has
+been thought that it is Norman, and that its arches were once open.<a name="FNanchor_110_110" id="FNanchor_110_110"></a><a href="#Footnote_110_110" class="fnanchor">[110]</a>
+But had this ever been the case the piers <span class='pagenum'><a name="Page_122" id="Page_122">[122]</a></span><span class='pagenum'><a name="Page_123" id="Page_123">[123]</a></span>would surely have been
+narrower, and would have had capitals. Indeed, it is doubtful whether
+the arcade is Norman at all: for if it were, its bays might be expected
+to agree in span and number with the (presumably Norman) bays of the
+crypt, whereas there are five bays there and only four here occupying
+the same total length. Secondly, the set-off on which its piers stand is
+probably Archbishop Roger&#8217;s work, as will appear later; and the piers
+themselves seem to be of the same construction with the wall behind
+them, which again is almost certainly his. Moreover, it is significant
+that the arches agree in span with those of his choir, and that their
+piers are back to back with his vaulting-shafts in the choir-aisle.
+Lastly, these piers correspond in width with his buttresses on the north
+side of the choir. In fact it is difficult to resist the conclusion that
+they are Archbishop Roger&#8217;s south choir buttresses in disguise,<a name="FNanchor_111_111" id="FNanchor_111_111"></a><a href="#Footnote_111_111" class="fnanchor">[111]</a> and
+that the arches between them were thrown across merely to form a
+straight boundary for the vaulting, and to carry a ledge which (when
+there was no storey above) might support the external roof. The piers
+indeed are carried up, with a &#8216;straight joint&#8217; on either side, above the
+springing of the arches, and the latter are constructed as if they had
+been let into the piers as an after-thought.<a name="FNanchor_112_112" id="FNanchor_112_112"></a><a href="#Footnote_112_112" class="fnanchor">[112]</a></p>
+
+<p>As the bays of this arcade, to which the vaulting is adapted, do not
+agree with those of the crypt, it follows that the two cylindrical
+pillars here do not stand exactly over the pillars below&mdash;which
+strengthens the presumption that the vaulting there is of earlier date,
+and that its groin-ribs were added later for strength: nor does the
+dividing wall here stand exactly over the cross-wall below, so that the
+strain on the crypt roof must be considerable.</p>
+
+<p>The two round windows are very widely splayed, and the uppermost part of
+their rim has a different curvature from the rest, as if they had once
+been straight-sided and round-headed. In their present form they are of
+uncertain date. The most conspicuous instance of the employment of this
+rare type of window&mdash;viz., the nave of Southwell Cathedral&mdash;is <span class='pagenum'><a name="Page_124" id="Page_124">[124]</a></span>pure
+Norman, but the received opinion ascribes these Ripon examples to the
+time of Archbishop Roger, and it will be observed that their position
+harmonizes with the bays of the vaulting, which is presumably his, but
+has no relation externally to the spacing of the windows of the crypt,
+which, moreover, have an external splay. The third window was once
+circular like the rest, for a portion of the rim may still be traced;
+but as it would otherwise have been bisected by the cross-wall, the
+later builders have blocked half of it and squared the rest, splaying it
+at the same time like a squint. The date of the south wall itself is
+doubtful. It is thinner here than in either the vestry or the crypt.</p>
+
+<div class="figcenter" style="width: 362px;">
+<a name="image46" id="image46"></a><a href="images/image46-full.jpg"><img src="images/image46.jpg" width="362" height="229" alt="Photo of sculpture" title="ANCIENT SCULPTURES PRESERVED IN THE CHAPTER-HOUSE" /></a>
+<p class="captionl"><i>Watson, Ripon, Photo.</i>]</p>
+
+<p class="caption">The Resurrection.&nbsp;&nbsp;&nbsp;&nbsp;St. Wilfrid.&nbsp;&nbsp;&nbsp;&nbsp;The Coronation of the Virgin.</p>
+
+<p class="caption">ANCIENT SCULPTURES PRESERVED IN THE CHAPTER-HOUSE.</p></div>
+
+
+<p>Near the modern hearth is a case of curiosities found about the church,
+among them several fourteenth or fifteenth century reliefs in alabaster,
+representing the Resurrection, the Coronation of the Virgin, the story
+of Herodias, and the figure of a bishop, probably St. Wilfrid, with a
+curious P-shaped implement on his arm.</p>
+
+<p><span class='pagenum'><a name="Page_125" id="Page_125">[125]</a></span>At the north end of the cross-wall it will be observed that the blocked
+doorway noticed in the choir-aisle was not round-headed on this side,
+but segmental. The square-headed doorway in the cross-wall itself is
+modern, and opens into a lobby, the opposite side of which is formed by
+the Decorated buttress whose lower portion was noticed in the crypt,
+while on the left is the doorway into the choir, and on the right
+another square-headed doorway, opening into the vestry.</p>
+
+<p><b>The Vestry.</b>&mdash;Before the erection of the cross-wall the vaulting
+evidently extended eastward continuously to the apse, which still
+contains a fragment of it with two corbels, while further traces,
+including another corbel, may be seen upon the south wall. Its removal
+may have taken place either when the two Decorated buttresses were
+introduced, or at the erection of the Lady-loft, or possibly much later;
+but was doubtless contemporaneous with the building of the cross-wall,
+which was evidently intended not only as a partition, but as a &#8216;stop&#8217;
+for the portion of the vaulting that was retained. The present ceiling
+was put up by Sir Gilbert Scott, who, it is said, would have restored
+the vaulting had funds allowed. Of the buttresses, that adjoining the
+doorway has in its front, as well as in the side toward the lobby, a
+small trefoiled and moulded recess. These two buttresses are built
+against the piers of the arcading, part of the last arch of which is
+visible behind the cupboard.</p>
+
+<p>In the same cupboard may be observed, scarcely above the floor, a wide
+stone ledge with a bold moulding worked along the front. If the floor
+can ever have been lower than it is now, this ledge may have been used
+as a bench. In itself, it is of course the set-off on which the piers of
+the arcading stand. Now it will be remembered that the portion of
+Archbishop Roger&#8217;s wall-base visible from the graveyard (between the
+choir and the apse) has at the top a wide set-off or slope. This ledge
+in the vestry, then, seems to be level with the base of that slope,
+where moreover there is a moulding similar to that found here; also the
+front of the ledge here seems to be flush with Archbishop Roger&#8217;s
+masonry there.</p>
+
+<p>If, then, the work there is his,<a name="FNanchor_113_113" id="FNanchor_113_113"></a><a href="#Footnote_113_113" class="fnanchor">[113]</a> the above considerations afford
+some reason surely for the belief that this set-off on <span class='pagenum'><a name="Page_126" id="Page_126">[126]</a></span>which the piers
+of the arcading stand, and perhaps also the uppermost courses of the
+wall beneath it, are Archbishop Roger&#8217;s work. Nor is it improbable that
+this set-off once had a slope, of which that above-mentioned was the
+continuation, and out of which the buttresses (<i>i.e.</i>, the arcade piers)
+rose after the manner of those on the other side of the choir&mdash;in fact,
+that Archbishop Roger intended to make this wall the exterior of his
+church by demolishing the crypt, vestry, and Chapter-house; and that it
+was only after some such idea had been conceived and abandoned, that the
+arches were thrown across from buttress to buttress, the vaulting
+constructed against them, this ledge formed (by cutting away the slope
+of the set-off), and the stone benches carried along the wall of the
+Chapter-house.</p>
+
+<p>The arch above the ledge has been mutilated to make way for a modern
+spiral staircase of wood leading to the Library. Half-way up this
+staircase there remain upon the wall and upon the buttress (if it may
+now be so called) portions of a string-course which may be taken perhaps
+as additional evidence for the theory that Archbishop Roger at first
+intended to demolish the vestry and Chapter-house.<a name="FNanchor_114_114" id="FNanchor_114_114"></a><a href="#Footnote_114_114" class="fnanchor">[114]</a> It does not,
+however, match the external string on the other side of the choir, but
+resembles the internal string in the choir-aisles.</p>
+
+<p>The single window in the south wall is round-headed internally, and is
+partially splayed on one side and not at all on the other: indeed the
+wall here appears to have undergone some alteration. In this room this
+wall is of the same thickness with the corresponding wall of the crypt,
+which is not the case in the Chapter-house.</p>
+
+<p>East of the above window a square-headed doorway opens into the apsidal
+chamber enclosed by the corner buttress. This curious little chamber was
+probably a sacristy or treasury. It has a recess in the west side, and
+seems to have communicated directly with the graveyard. In the roof is a
+slab which has a small cross graven upon it, and which may have formed
+part of an altar.</p>
+
+<p>The projection at the south side of the apse was probably one of the
+responds of an arch against which the vaulting abutted, as in the crypt.
+Under the east window the curve of the wall has been flattened, probably
+to afford a better back for the altar, of which the step remains. On the
+north side is an <span class='pagenum'><a name="Page_127" id="Page_127">[127]</a></span>aumbry, with a recess adjoining it in the side of the
+buttress; and on the south side is a smaller aumbry, and a piscina with
+a projecting basin and a semicircular head, the latter cut apparently in
+one stone. This again is probably one of the earliest piscin&aelig; in
+existence. The curve of the apse is wider in this storey than below,
+which partly accounts for the fact that the adjoining Decorated buttress
+protrudes here into the room. There is also a difference in the stone
+used, and in several other particulars, <i>e.g.</i>, the two windows here
+have very little external splay&mdash;all of which may or may not indicate a
+difference in date between the apse in this storey and in the crypt. The
+hand of Archbishop Roger seems traceable here not only in the external
+shafts and corbel-table, but also in the trefoiling (externally) of the
+east window. The two vaulting-corbels at any rate seem to be his, as
+well as the piscina. The upper part of the apse has lost its
+semicircular shape and been squared, and some masonry has been thrown
+across from its wall to the Decorated buttress, the motive having been
+perhaps to make a better support for the rectangular east end of the
+Lady-loft. The oak table in this room was probably the Communion-table
+of the church during the period following the Reformation.</p>
+
+<p>The question now arises how long the vestry and Chapter-house have
+served their present purpose. Of the arrangements in this storey before
+the time of Archbishop Roger nothing can be recovered with certainty,
+but the (presumably Norman) wall between the two parts of the crypt
+suggests by its thickness that it was intended to support a division of
+some kind above. After being remodelled in the time of Archbishop Roger,
+however, this upper storey was evidently open from end to end, and its
+apsidal termination, containing both piscina and altar-step, indicates
+that it was a chapel: indeed, as has been well suggested, it was
+probably the original Lady Chapel. Nevertheless, in an age when every
+action of life was invested with a religious character, the western part
+may have been used for capitular purposes even without a dividing wall,
+and the gritstone benches, so significant of those purposes, are
+doubtless of considerable age. The statement in the old Records that the
+trial of 1228<a name="FNanchor_115_115" id="FNanchor_115_115"></a><a href="#Footnote_115_115" class="fnanchor">[115]</a> was held <i>apud Rypon in Aul&acirc; Capituli</i> is definite
+enough to show that <span class='pagenum'><a name="Page_128" id="Page_128">[128]</a></span>there was a recognised place for Chapter meetings;
+nor is it improbable that the reference may be to the present building.
+Some doubt is thrown upon this conclusion by a proclamation of
+Archbishop Lee in 1537 sequestrating the Common Fund on the ground that
+&#8220;the Chapter-house is ruinous in walls, roof, and stonework generally,
+so that it is likely to fall.&#8221; These words, it has been thought, can
+never have been applicable to the present Chapter-house, and it has been
+suggested therefore that there may have been another which has
+disappeared. Archbishop Lee&#8217;s words, however, are perhaps not
+irreconcilable with the present building. They may refer to the serious
+settlement which necessitated the huge Perpendicular buttress at the
+corner of what is now the vestry. There is, it is true, some difficulty
+in the fact that it is not the vestry but the Chapter-house which is
+mentioned, and in the allusion to a dilapidated roof (<i>tectura</i>); but it
+is conceivable that there was as yet no dividing wall, that the vaulting
+of what is now the vestry was still standing, that it had been injured
+by the settlement above-mentioned&mdash;in fact that its removal and the
+erection of the dividing wall took place in the time of Archbishop Lee.
+His direction for repairs may also account for the presence of limestone
+in the north wall of the Chapter-house, and for the propping of the
+vault at the west end of the crypt.<a name="FNanchor_116_116" id="FNanchor_116_116"></a><a href="#Footnote_116_116" class="fnanchor">[116]</a> As has already been shown, the
+history of the vestry is bound up with that of the Chapter-house. At
+what period services ceased to be held at the altar in the apse, it is
+difficult to say; perhaps on the completion of a Lady Chapel above,
+perhaps on the erection of the dividing wall,<a name="FNanchor_117_117" id="FNanchor_117_117"></a><a href="#Footnote_117_117" class="fnanchor">[117]</a> perhaps through the
+advent of the Reformation. At any rate, it was probably not before this
+part of the church had ceased to be used for services that it began to
+be recognised as a robing-room. There is an allusion to a recognised
+vestry in Leland, and very possibly the present room is meant; if so, it
+would seem from his account to have been used also as a library. But the
+fact remains that the church possesses no vestry except what is
+obviously a disused chapel.</p>
+
+<p><span class='pagenum'><a name="Page_129" id="Page_129">[129]</a></span><b>The Lady-chapel</b> or Lady-loft is 23 feet 3 inches wide, and 68 feet
+long.<a name="FNanchor_118_118" id="FNanchor_118_118"></a><a href="#Footnote_118_118" class="fnanchor">[118]</a> Its west and north sides, being formed by what was once the
+exterior of the church, display not only windows and buttresses, but
+also a string-course with gargoyles. From the west wall projects one of
+Archbishop Roger&#8217;s buttresses, terminating in a slope, between the two
+blocked windows of the Mallory Chapel, which resemble the aisle windows
+of the other transept. The window on the right, mutilated by the
+insertion of the doorway, has lost its shafts, and retains only their
+capitals. The other window is partly cut off by the south wall, and is
+now a cupboard.</p>
+
+<p>In the north wall, the first three bays are Archbishop Roger&#8217;s, and the
+windows resemble in their treatment the two just described, and are
+separated from each other by two buttresses which terminate, like those
+on the opposite side of the choir, in two slopes one close below the
+other. There is a third buttress, terminating in a single slope, at the
+angle formed with the transept. The Decorated window in the fourth bay
+is treated in the same manner as the rest of those in the eastern
+portion of the choir-aisles, and the Decorated buttresses which flank it
+are those which have been followed up from the crypt. The rich
+string-course or cornice along the top of this and the west wall
+corresponds with that on the other side of the church. The gargoyles are
+of course Decorated, and so is the string-course itself, eastwards at
+any rate of the second gargoyle on the north wall, for here one of the
+mouldings has a fillet upon it. Whether the rest of the string is
+Archbishop Roger&#8217;s work or not, it is difficult to decide.</p>
+
+<p>The large windows in the south and east walls are surmounted by square
+labels ending in heads. Above the modern fireplace is the defaced
+monument of Anthony Higgin, second Dean (d. 1624), the founder of the
+present library; and further east, under the small lancet window (which
+is filled with fragments of stained glass), is an arched recess of
+considerable size, and a trefoiled piscina, each surmounted by a gable
+moulding with a finial. The piscina probably belonged to the chantry of
+Our-Lady-in-the-Lady-loft. A large stone bracket, supported by a
+grotesque figure, projects from the east wall, and the east window is
+bright with armorial bearings of benefactors of the church. This glass,
+which is mostly of the eighteenth century, <span class='pagenum'><a name="Page_130" id="Page_130">[130]</a></span>was once in the great window
+of the choir. The north side of the recess in which the east window is
+set, is partially splayed outwards to join the last Decorated buttress,
+which with its neighbour have been cut back in this storey to the plane
+of the pinnacles above&mdash;doubtless when this Lady-loft was added.</p>
+
+<p>The present pinewood ceiling was put up by Sir Gilbert Scott, but most
+of the carved angle-pieces in the panels came from an older roof of oak.</p>
+
+<div class="figcenter" style="width: 362px;">
+<a name="image47" id="image47"></a><a href="images/image47-full.jpg"><img src="images/image47.jpg" width="362" height="266" alt="Photo of the library" title="THE LIBRARY" /></a>
+<p class="captionl"><i>Ronald P. Jones, Photo.</i>]</p>
+
+<p class="caption">THE LIBRARY.</p></div>
+
+
+<p>The history of the library begins with the MS. of the Gospels given by
+St. Wilfrid; and the ascription to him of various other gifts, which
+occurs in the writings of Peter of Blois (a Canon of Ripon in the
+twelfth century), implies at any rate that there was a library when
+Peter wrote. In 1466 money was bequeathed by William Rodes, a chaplain,
+<i>ad fabricam cujusdam librarii in ecclesi&acirc; construendi</i>, words which may
+refer to the screening off for books of a portion of this chapel; but
+in<span class='pagenum'><a name="Page_131" id="Page_131">[131]</a></span> Leland&#8217;s time books were apparently kept in the vestry, though it is
+not certain that the present vestry is meant.<a name="FNanchor_119_119" id="FNanchor_119_119"></a><a href="#Footnote_119_119" class="fnanchor">[119]</a> Except a few MSS. of
+Chapter Acts, Fabric Rolls, etc., none of the books now here are known
+for certain to have belonged to the church before the Reformation;<a name="FNanchor_120_120" id="FNanchor_120_120"></a><a href="#Footnote_120_120" class="fnanchor">[120]</a>
+indeed the present collection began with the bequest of his books by
+Dean Higgin in 1624. The books were in this chapel in 1817, but in 1859
+they were at the Deanery. There are now over 5000 volumes, including
+seven MSS., of which one of the most notable is the Ripon Psalter
+(1418), containing the special offices for St. Wilfrid, and many printed
+books of the fifteenth and sixteenth centuries, among them two fine
+Caxtons. Many of the books have beautiful old bindings in stamped
+leather. The most interesting items in the collection are exposed in a
+glass case at the east end of the room.<a name="FNanchor_121_121" id="FNanchor_121_121"></a><a href="#Footnote_121_121" class="fnanchor">[121]</a> Near the opposite end is
+another case containing the bones recently dug up under the site of the
+medi&aelig;val altar in the Saxon crypt.</p>
+
+<p><span class='pagenum'><a name="Page_132" id="Page_132">[132]</a></span></p>
+
+<div class="figcenter" style="width: 544px;">
+<a name="image48" id="image48"></a><a href="images/image48-full.png"><img src="images/image48.png" width="544" height="399" alt="Drawing of the chapel" title="THE OLD CHAPEL OF ST. MARY MAGDALENE&#8217;S HOSPITAL." /></a>
+<p class="caption">THE OLD CHAPEL OF ST. MARY MAGDALENE&#8217;S HOSPITAL.</p>
+
+<p class="caption">(From a pen-drawing by the author.)</p>
+</div>
+
+
+<div class="footnotes">
+
+<p class="footnote" title="footnote"><a name="Footnote_55_55" id="Footnote_55_55"></a><a href="#FNanchor_55_55"><span class="label">[55]</span></a> This is what was meant by saying in <a href="#CHAPTER_II">Chapter II.</a> that in
+each tower one side is older than the others.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_56_56" id="Footnote_56_56"></a><a href="#FNanchor_56_56"><span class="label">[56]</span></a> In the interior of these towers the courses run level with
+those of Archbishop Roger&#8217;s work&mdash;a fact which has been taken as
+indicating that the lowest portion of the towers internally (but not, of
+course, the tower arches) may be actually his work. The theory that his
+west front was flanked by towers or chambers of some kind is not
+improbable.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_57_57" id="Footnote_57_57"></a><a href="#FNanchor_57_57"><span class="label">[57]</span></a> A triforium is properly a gallery, open to the church,
+between the internal and external roofs of the aisles, but here there
+were no aisles, and the gallery or passage is in the thickness of the
+wall.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_58_58" id="Footnote_58_58"></a><a href="#FNanchor_58_58"><span class="label">[58]</span></a> This term will be used wherever the usual term
+&#8216;vaulting-shaft&#8217; is inapplicable.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_59_59" id="Footnote_59_59"></a><a href="#FNanchor_59_59"><span class="label">[59]</span></a> The earth here has apparently been brought in from
+outside. Can it have come from some sacred spot abroad? The original
+floor, if not earthen, may possibly have rested on the set-off.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_60_60" id="Footnote_60_60"></a><a href="#FNanchor_60_60"><span class="label">[60]</span></a> It has been suggested, however, that they may be relics of
+a feast buried here to defile the site of the altar. The bones in
+question are now in the Lady-loft.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_61_61" id="Footnote_61_61"></a><a href="#FNanchor_61_61"><span class="label">[61]</span></a> With one of the deposits was found a brass bodkin of the
+type used in the sixteenth century.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_62_62" id="Footnote_62_62"></a><a href="#FNanchor_62_62"><span class="label">[62]</span></a> It was Walbran, again, who gave these reasons for
+assigning the crypt to Wilfrid. Before his time it was thought to have
+been built during the Roman Occupation.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_63_63" id="Footnote_63_63"></a><a href="#FNanchor_63_63"><span class="label">[63]</span></a> See article by Mr. J. T. Micklethwaite, V.P.S.A., in
+<i>Arch&aelig;ol. Journ.</i>, vol. xxxvii. p. 364.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_64_64" id="Footnote_64_64"></a><a href="#FNanchor_64_64"><span class="label">[64]</span></a> A <i>confessio</i>, it need hardly be said, has nothing to do
+with a confessional. The word is probably to be explained as meaning the
+tomb of one who had been a witness or <i>confessor</i> of the Faith.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_65_65" id="Footnote_65_65"></a><a href="#FNanchor_65_65"><span class="label">[65]</span></a> In making excavations for laying the wind-trunk of the
+organ the exterior of this wall was laid bare and appeared extremely
+rough. This, however, does not prove that it had never been meant to be
+seen. It may have been faced with smooth stones, which, just because
+they were exposed, attracted attention, and were removed by later masons
+for use elsewhere.&mdash;<i>Mr. Micklethwaite.</i></p>
+
+<p class="footnote" title="footnote"><a name="Footnote_66_66" id="Footnote_66_66"></a><a href="#FNanchor_66_66"><span class="label">[66]</span></a> Among the five known Saxon crypts (all of the <i>confessio</i>
+type) Ripon and Hexham alone show this peculiarity.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_67_67" id="Footnote_67_67"></a><a href="#FNanchor_67_67"><span class="label">[67]</span></a> See <i>Proceedings Soc. Antiq.</i>, 16th June 1892.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_68_68" id="Footnote_68_68"></a><a href="#FNanchor_68_68"><span class="label">[68]</span></a> In making the above-mentioned excavation in 1891, Mr.
+Micklethwaite found what was presumably the floor of the body of
+Wilfrid&#8217;s church. It was of plaster 3 inches thick, and was 1 foot 7
+inches below the floor of the present Cathedral.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_69_69" id="Footnote_69_69"></a><a href="#FNanchor_69_69"><span class="label">[69]</span></a> The explanation of the crypt as a <i>confessio</i> is due to
+Mr. Micklethwaite, and is ably set forth, with its consequences, in
+<i>Arch&aelig;ol. Journ.</i>, vol. xxxix. p. 347.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_70_70" id="Footnote_70_70"></a><a href="#FNanchor_70_70"><span class="label">[70]</span></a> The square termination of the crypt is in favour of a
+square presbytery; while his Roman proclivities are perhaps slightly in
+favour of an apse, and of aisles.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_71_71" id="Footnote_71_71"></a><a href="#FNanchor_71_71"><span class="label">[71]</span></a> <i>Surtees Soc.</i>, vol. lxxiv. p. 83.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_72_72" id="Footnote_72_72"></a><a href="#FNanchor_72_72"><span class="label">[72]</span></a> It is certainly true that numerous white <i>tesser&aelig;</i> of
+Italian character, such as Wilfrid might have used, have been dug up on
+this site (<i>Murray&#8217;s Cathedrals</i>, Pt. 1, p. 172, n. 1). They may,
+however, mark the site of the domestic buildings and not of the church.
+Or they may be relics of the Roman Occupation.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_73_73" id="Footnote_73_73"></a><a href="#FNanchor_73_73"><span class="label">[73]</span></a> By Walbran in <i>Proceedings Arch&aelig;ol. Inst.</i>, York Vol. 1846
+(pub. 1848).</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_74_74" id="Footnote_74_74"></a><a href="#FNanchor_74_74"><span class="label">[74]</span></a> There is an interesting suggestion in <i>Murray&#8217;s
+Cathedrals</i>, Pt. 1, p. 172, n. 2, that the church of which the crypt
+formed a part was built not by Wilfrid but by Eadhead, who, as the
+supplanter of Wilfrid, would probably be excluded from Wilfrid&#8217;s
+monastery, but who may, nevertheless, have employed his workmen. The
+western position of the altar, however, is against placing the work as
+late as the episcopate of Eadhead.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_75_75" id="Footnote_75_75"></a><a href="#FNanchor_75_75"><span class="label">[75]</span></a> The suggestion is Mr. Micklethwaite&#8217;s. <i>Altare</i> would, of
+course, mean the high altar in the presbytery above.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_76_76" id="Footnote_76_76"></a><a href="#FNanchor_76_76"><span class="label">[76]</span></a> A third font (modern) formerly stood in the north-west
+tower.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_77_77" id="Footnote_77_77"></a><a href="#FNanchor_77_77"><span class="label">[77]</span></a> It is curious that the same story should be told of Roger
+de Mowbray, founder of Byland Abbey in this same county. (<i>Murray&#8217;s
+Cathedrals.</i>)</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_78_78" id="Footnote_78_78"></a><a href="#FNanchor_78_78"><span class="label">[78]</span></a> Another suggestion is that the subject has some connection
+with the history of the Disobedient Prophet.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_79_79" id="Footnote_79_79"></a><a href="#FNanchor_79_79"><span class="label">[79]</span></a> <i>Surtees Soc.</i>, vol. lxiv. p. 92.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_80_80" id="Footnote_80_80"></a><a href="#FNanchor_80_80"><span class="label">[80]</span></a> But for the label, these arms resemble those of John of
+Eltham (brother of Edward III.), who died without issue in 1334.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_81_81" id="Footnote_81_81"></a><a href="#FNanchor_81_81"><span class="label">[81]</span></a> It is pleasant to find in the church several indications
+of aid received from the other great ecclesiastical foundation in the
+neighbourhood.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_82_82" id="Footnote_82_82"></a><a href="#FNanchor_82_82"><span class="label">[82]</span></a> Taken by itself, the coarseness of the work in the tower
+and transept would suggest that these parts were later, and not earlier,
+than the nave. But (not to mention documentary evidence), if they were
+later, then the Rood Screen must be later also, which can hardly be the
+case, the stalls against it being dated 1489.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_83_83" id="Footnote_83_83"></a><a href="#FNanchor_83_83"><span class="label">[83]</span></a> Probably (as Walbran suggested) with money subscribed for
+the tower, the completion of which was perhaps the less pressing
+necessity.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_84_84" id="Footnote_84_84"></a><a href="#FNanchor_84_84"><span class="label">[84]</span></a> In the large medi&aelig;val churches there was usually an altar
+at the east end of the nave.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_85_85" id="Footnote_85_85"></a><a href="#FNanchor_85_85"><span class="label">[85]</span></a> It may have been put here at the time of the building of
+the present nave, than which it is perhaps slightly earlier.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_86_86" id="Footnote_86_86"></a><a href="#FNanchor_86_86"><span class="label">[86]</span></a> The Markenfields were one of the principal families in the
+neighbourhood from the fourteenth century onwards, until in the reign of
+Elizabeth they ruined themselves by taking part in the Rising in the
+North. Their ancient moated Manor-house, in which both the knights
+sculptured on these altar tombs must have lived, is still standing,
+about three miles from Ripon, towards Harrogate.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_87_87" id="Footnote_87_87"></a><a href="#FNanchor_87_87"><span class="label">[87]</span></a> This aisle was also the site of the chantry of St.
+Andrew.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_88_88" id="Footnote_88_88"></a><a href="#FNanchor_88_88"><span class="label">[88]</span></a> In these pages this term is used to describe round
+mouldings which are brought to an edge without actually having a fillet
+upon them.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_89_89" id="Footnote_89_89"></a><a href="#FNanchor_89_89"><span class="label">[89]</span></a> By Mr. Francis Bond.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_90_90" id="Footnote_90_90"></a><a href="#FNanchor_90_90"><span class="label">[90]</span></a> In spite of Sir G. Scott&#8217;s conjectural plan. (See <a href="#Page_67">p. 67</a>.)</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_91_91" id="Footnote_91_91"></a><a href="#FNanchor_91_91"><span class="label">[91]</span></a> It is possible that the screen there mentioned may be the
+present structure, or may have been incorporated into it. In 1408 the
+accident to the tower had not yet occurred, and the piers that now flank
+the screen had therefore not yet been built. There is a not very
+credible story that the present screen came from Fountains Abbey.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_92_92" id="Footnote_92_92"></a><a href="#FNanchor_92_92"><span class="label">[92]</span></a> This peculiarity is found at some other places&mdash;<i>e.g.</i>,
+St. Cross, Winchester.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_93_93" id="Footnote_93_93"></a><a href="#FNanchor_93_93"><span class="label">[93]</span></a> This column and that opposite to it on the north side have
+been regarded as entirely Decorated imitations of Archbishop Roger&#8217;s
+columns, but surely without sufficient reason.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_94_94" id="Footnote_94_94"></a><a href="#FNanchor_94_94"><span class="label">[94]</span></a> See also the account of the East End in Chapter II., pp.
+<a href="#Page_60">60-63</a>.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_95_95" id="Footnote_95_95"></a><a href="#FNanchor_95_95"><span class="label">[95]</span></a> Two holes have been drilled through the rear-vault from
+the attic above, but for what purpose it is hard to say.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_96_96" id="Footnote_96_96"></a><a href="#FNanchor_96_96"><span class="label">[96]</span></a> It appears from the Fabric Rolls that a new high altar was
+begun in 1522. The work seems to have lasted four years, and apparently
+included a carved wooden reredos.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_97_97" id="Footnote_97_97"></a><a href="#FNanchor_97_97"><span class="label">[97]</span></a> <i>Subtus altare</i> suggests a crypt, but there seems to have
+been no crypt under the choir. Perhaps the <i>altare</i> meant may have stood
+over the Saxon or the Norman crypt.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_98_98" id="Footnote_98_98"></a><a href="#FNanchor_98_98"><span class="label">[98]</span></a> Mention may be here made of the Communion plate, some of
+which is as old as 1676 and has upon it representations of the church,
+very incorrect but showing the spires; also of the mace which is now
+borne before the Dean, and which has been assigned to the fifteenth
+century and may possibly have been once borne before the Wakeman. Upon
+the top has been engraved an <i>Agnus Dei</i>, the cognizance of the church.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_99_99" id="Footnote_99_99"></a><a href="#FNanchor_99_99"><span class="label">[99]</span></a> A piece of woodwork, however, which was in the north aisle
+at the time of the last restoration, is said to have borne the date
+1397.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_100_100" id="Footnote_100_100"></a><a href="#FNanchor_100_100"><span class="label">[100]</span></a> The old miserere was probably removed when the Throne was
+made to comprise two stalls. (<i>See</i> <a href="#Page_111">p. 111</a>.)</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_101_101" id="Footnote_101_101"></a><a href="#FNanchor_101_101"><span class="label">[101]</span></a> It has been supposed that these niches were for figures
+of St. Peter and St. Wilfrid, and that the same was the case with the
+two niches which form the ends of the lower tier in the Rood Screen, and
+also with those which flank the west doors. It may also have been the
+case with the two eastward projections (if there were two) from the
+western piers of the Central Tower.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_102_102" id="Footnote_102_102"></a><a href="#FNanchor_102_102"><span class="label">[102]</span></a> Below the string-course there is a certain amount of
+limestone in the wall, but this hardly accounts for the language of a
+Chapter minute which records a meeting in 1546 to consider the repair of
+certain <i>defectus et ruinositates apertae tam campanilis quam muri
+lapidei insulae borealis</i>.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_103_103" id="Footnote_103_103"></a><a href="#FNanchor_103_103"><span class="label">[103]</span></a> Above the shrine there hung, apparently, a gilded
+crescent like that above the site of St. Thomas&#8217;s shrine at Canterbury.
+The bones were enclosed in a splendid coffer with poles attached, and on
+solemn occasions this &#8216;feretory,&#8217; besides being carried in procession,
+was sometimes placed under a tent in the fields. It was also very
+elaborately renewed in 1520 <a name="corr4" id="corr4"></a>(<i>Surtees Soc.</i>, vol. lxxxi. p. 204, n.,
+etc.). Portions of the shrine exist, perhaps, in the alabaster
+bas-reliefs in the Chapter-house, as well as in the base of the railing
+in the north aisle of the nave.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_104_104" id="Footnote_104_104"></a><a href="#FNanchor_104_104"><span class="label">[104]</span></a> It may, however, be later than the main walls.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_105_105" id="Footnote_105_105"></a><a href="#FNanchor_105_105"><span class="label">[105]</span></a> The lower portion of this wall seems to be of an even
+earlier type of masonry than the upper. A somewhat similar difference
+between the upper and lower portions may be observed in the east and
+north walls also.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_106_106" id="Footnote_106_106"></a><a href="#FNanchor_106_106"><span class="label">[106]</span></a> The late doorway approached by four steps, east of the
+cross-wall, occupies the place of one of the windows.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_107_107" id="Footnote_107_107"></a><a href="#FNanchor_107_107"><span class="label">[107]</span></a> Three kinds of stone occur in this crypt: a sandstone, a
+fine gritstone, and a coarser and harder gritstone.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_108_108" id="Footnote_108_108"></a><a href="#FNanchor_108_108"><span class="label">[108]</span></a> There are numerous entries in the Fabric Rolls, from 1512
+onwards, relating to expenses &#8216;for the carriage of the bones.&#8217;</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_109_109" id="Footnote_109_109"></a><a href="#FNanchor_109_109"><span class="label">[109]</span></a> One has a sword graven upon it, another a pair of shears
+(closed), another a book and a chalice, the latter slightly tipped,
+while a gravestone lying in the apse has upon it a dagger, and a pair of
+shears open.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_110_110" id="Footnote_110_110"></a><a href="#FNanchor_110_110"><span class="label">[110]</span></a> Since it is probable that the axis of the church has
+always, at all periods, passed over the Saxon crypt, the Chapter-house
+and vestry can hardly have been the south aisle of the choir before the
+time of Archbishop Roger (as Walbran supposed), for they are too far
+south; indeed, they would seem rather to have been a chapel thrown out
+from such an aisle.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_111_111" id="Footnote_111_111"></a><a href="#FNanchor_111_111"><span class="label">[111]</span></a> In the storey above will be found certain buttresses
+which are clearly his, which stand exactly over these piers, and of
+which the latter are probably merely the lower portions.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_112_112" id="Footnote_112_112"></a><a href="#FNanchor_112_112"><span class="label">[112]</span></a> The supposition that the arches were added afterwards
+would explain why the westernmost of them cuts off the top of the arch
+over the door.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_113_113" id="Footnote_113_113"></a><a href="#FNanchor_113_113"><span class="label">[113]</span></a> That it is his can hardly be doubted. The moulding and
+slope at the top resemble those which characterize the wall-base
+throughout his work.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_114_114" id="Footnote_114_114"></a><a href="#FNanchor_114_114"><span class="label">[114]</span></a> <i>Murray&#8217;s Cathedrals</i>, Pt. 1, p. 180.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_115_115" id="Footnote_115_115"></a><a href="#FNanchor_115_115"><span class="label">[115]</span></a> See <a href="#CHAPTER_I">Chapter I</a>.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_116_116" id="Footnote_116_116"></a><a href="#FNanchor_116_116"><span class="label">[116]</span></a> A view of the crypt as it was before the removal of the
+bones represents the vaulting as propped also by certain pillars of
+Perpendicular character. These may have been removed by Sir Gilbert
+Scott.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_117_117" id="Footnote_117_117"></a><a href="#FNanchor_117_117"><span class="label">[117]</span></a> <i>I.e.</i>, if that wall was not erected contemporaneously
+with the said Lady Chapel.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_118_118" id="Footnote_118_118"></a><a href="#FNanchor_118_118"><span class="label">[118]</span></a> For its date see <a href="#CHAPTER_I">Chapters I.</a> and <a href="#CHAPTER_II">II.</a></p>
+
+<p class="footnote" title="footnote"><a name="Footnote_119_119" id="Footnote_119_119"></a><a href="#FNanchor_119_119"><span class="label">[119]</span></a> Can Leland mean that the books, then as now, were in the
+Lady-loft, and that part of it was used as a vestry?</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_120_120" id="Footnote_120_120"></a><a href="#FNanchor_120_120"><span class="label">[120]</span></a> In 1567 a number of books were found in &#8216;a vawte&#8217; of the
+church, where they had been concealed for safety (<i>Surtees Soc.</i>, vol.
+lxxxi. p. 344).</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_121_121" id="Footnote_121_121"></a><a href="#FNanchor_121_121"><span class="label">[121]</span></a> For a full account of this interesting library, see the
+monograph by the Rev. Canon Fowler, F.S.A., of Durham, by whom the books
+were arranged in 1872. A copy is kept in the room.</p>
+</div>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_133" id="Page_133">[133]</a></span></p>
+
+<h2 class="chapterhead"><a name="CHAPTER_IV" id="CHAPTER_IV"></a>CHAPTER IV.<br />
+
+<span class="chaptitle">OTHER OLD BUILDINGS IN RIPON.</span></h2>
+
+
+<p><b>The Deanery</b>, a stone house with two gabled wings, stands opposite to the
+north transept. It was built in or about 1625. The front bears the royal
+arms, and the hall contains some paintings of the kings and queens of
+England, which are more curious than valuable, and are probably of no
+very great age. Before the house is an ancient stone wall with
+strongly-marked base, gable coping, and a doorway whose trefoil head was
+apparently not made for its present position. This may perhaps be part
+of Abbot Huby&#8217;s wall, or of the boundary-wall of either the Palace or
+the Bedern.</p>
+
+<p>Near the south-west tower is a fine red-brick house which doubtless
+remembers the Georges, or even Queen Anne. It has all the air of a
+prebendal residence, but if it was ever connected with the church, that
+connection has long ceased.</p>
+
+<p>Another red-brick house of some age, adjoining the picturesque ascent
+from High St. Agnesgate to the south transept, was the Canons&#8217; Residence
+up to 1859, when was bought the present Residence near the north-east
+corner of the graveyard.</p>
+
+<p>High St. Agnesgate contains several interesting buildings, foremost
+among which is <b>St. Anne&#8217;s Hospital</b>,<a name="FNanchor_122_122" id="FNanchor_122_122"></a><a href="#Footnote_122_122" class="fnanchor">[122]</a> formerly called &#8216;The Maidens&#8217;
+Due&#8217; (Maison de Dieu), with its interesting ruined chapel. This is the
+only one of the three hospitals which was never affiliated to the
+Collegiate Church. The date of its origin has been placed shortly before
+1438, in which year a chantry was founded in its chapel. The hospital
+foundation was for four poor men and four poor women, and there were
+also two beds for &#8216;casuals&#8217;; and the little community was under the
+charge of a priest. There was apparently no endowment. The domestic
+portion of the building was pulled down in 1869. Though it had been
+divided into cottages some time before that date, the original
+arrangements have been recovered from an old document and from certain
+indications that had <span class='pagenum'><a name="Page_134" id="Page_134">[134]</a></span>survived in the fabric itself. Joined to the west
+end of the chapel was a sort of nave, divided down the middle by a
+partition, on one side of which were the beds for the men, on the other
+those for the women, while at the west end were two rooms for the
+priest. This &#8216;nave&#8217; was probably open to the chapel, as the large size
+of the western arch of the latter seems to indicate, and possibly the
+infirmer inmates could attend the service without leaving their
+beds.<a name="FNanchor_123_123" id="FNanchor_123_123"></a><a href="#Footnote_123_123" class="fnanchor">[123]</a></p>
+
+<p>To pass to the chapel itself&mdash;a window in the north wall has been
+blocked with masonry, upon which is a shield of arms, thought to be
+those of Sir Solomon Swale of South Stainley, and surmounted by a
+Maltese cross with the letters S.S. and the date 1654 upon it. The west
+gable has once been crowned by a bell-cote, and attached to the
+south-west corner of the chapel are the remains of an arched doorway.
+The western arch of the building, curiously enough, is not in the middle
+of the wall. It is recessed and chamfered, and rests upon two
+semi-cylindrical responds, whose rather curious capitals do not follow
+the form of the shaft, but are triple and rectangular. The chapel
+internally is 20 feet 10 inches long and 11 feet 6 inches wide, and is
+not at right angles to its western wall, but inclines considerably
+toward the south. In the middle of the entrance is an octagonal basin,
+supported on a pedestal and having a shield on each of its sides. This
+is thought to have been a stoup for holy water. It is not, perhaps, in
+its original position, and the pedestal does not seem to belong to it.
+Opposite to the blocked window already mentioned, which has an aumbry
+east of it, there is a late square-headed window of two lights, whose
+arches do not reach quite up to the lintel, but are connected with it by
+short perpendiculars. East of this is a piscina with projecting
+semi-octagonal basin, trefoil head, and ogee hood, and with a small
+square window above and to the left of it. The stone slab on two stone
+supports against the east wall is probably the original altar, and
+tradition says that the ransom of a Scottish prince was paid down upon
+it. On either side of the altar is a stone bracket, that on the north
+side bearing a shield of arms.<a name="FNanchor_124_124" id="FNanchor_124_124"></a><a href="#Footnote_124_124" class="fnanchor">[124]</a> The east window, which is blocked,
+is <span class='pagenum'><a name="Page_135" id="Page_135">[135]</a></span>divided into two lights, and the head is almost filled by a large
+quatrefoil, of which the uppermost and lowermost foils are ogees. This
+window, and the piers and capitals of the <span class='pagenum'><a name="Page_136" id="Page_136">[136]</a></span>western arch, give the
+impression that the chapel is of a date earlier than that usually
+assigned for the foundation of the hospital. The modern cottages are
+inhabited by eight women.</p>
+
+<div class="figcenter" style="width: 354px;">
+<a name="image49" id="image49"></a><a href="images/image49-full.png"><img src="images/image49.png" width="354" height="461" alt="Drawing of chapel" title="THE CHAPEL OF ST. ANNE&#8217;S HOSPITAL." /></a>
+<p class="caption">THE CHAPEL OF ST. ANNE&#8217;S HOSPITAL.</p>
+
+<p class="caption">(From a pen-drawing by the author.)</p>
+</div>
+
+<p>Between St. Anne&#8217;s Hospital and Bondgate Green Bridge stands the <b>Thorp
+Prebendal House</b>, now divided into several dwellings. Whether its
+existing fabric is as old as the Reformation or not, this was the site
+upon which dwelt the Canons of the medi&aelig;val prebend of Thorp. In 1391
+the hall of the then existing house was used for casting several bells
+for the Minster, and here, in later days, as Canon of Thorp, lived
+Marmaduke Bradley. The house is said to have been sold by Edward VI. to
+the Earl of Cumberland, and to have subsequently sheltered Mary Queen of
+Scots, James I, and Charles I. It is best seen from the adjoining
+bridge, whence its plastered walls, irregular gables, and stone roof
+form a picturesque foreground to the Cathedral. Of the dwellings into
+which it is now divided, the third from the bridge contains the grand
+staircase, which has twisted skeleton balusters.</p>
+
+<p>East of St. Anne&#8217;s Hospital, there are two more old houses, one of
+which, known as <b>St. Agnes&#8217; Lodge</b>,<a name="FNanchor_125_125" id="FNanchor_125_125"></a><a href="#Footnote_125_125" class="fnanchor">[125]</a> is of considerable interest. The
+body of it, long and low, with a high-pitched roof and with a massive
+chimney-stack buttressing one end, is said to be of the time of Henry
+VII., but derives much of its &#8216;character&#8217; from the comparatively modern
+windows, which resemble the portholes of a ship. A wing added in the
+seventeenth century, with quaint curvilinear gable, projects into the
+garden behind. Within the house is a square hall, having above the
+fireplace some carving and a painted panel of the burning of London in
+1666. There is also a good oak staircase, and in the upper storey are
+several quaint features, including a cupboard that may have served for a
+hiding-place, and two &#8216;powdering-closets&#8217; in which ladies&#8217; hair, or
+men&#8217;s wigs, could be powdered in the eighteenth century. But the part of
+the house most interesting architecturally is the attics, where the
+framing of the king-post roof is extremely massive, while the floor is
+of <i>concrete</i>.<a name="FNanchor_126_126" id="FNanchor_126_126"></a><a href="#Footnote_126_126" class="fnanchor">[126]</a> One of the roof-beams in the wing bears the date
+1693. This house disputes with the Thorp<span class='pagenum'><a name="Page_137" id="Page_137">[137]</a></span> Prebendal House the honour of
+having sheltered Mary Queen of Scots on her way from Bolton Castle to
+Tutbury, and it is said that it was during her sojourn at Ripon that she
+addressed an appeal to Queen Elizabeth and received an offer of marriage
+from the Duke of Norfolk. St. Agnes&#8217; Lodge claims also to have been a
+temporary home of Turner, at the time when he was illustrating
+Whitaker&#8217;s <i>History of Craven</i> and <i>History of Richmondshire</i>. Whether
+this house or its immediately western neighbour were ever prebendal
+residences it is now difficult to say.</p>
+
+<p>Two old gabled houses remain in the Market-place, and one of them, now a
+basket-shop, is said to have been the residence of Hugh Ripley, last
+Wakeman and first Mayor of Ripon.</p>
+
+<p>At the north end of Stonebridgegate, and not far from the Ure, stands
+the <b>Hospital of St. Mary Magdalene</b>, sometimes called &#8216;The Maudlins.&#8217; It
+was founded by Archbishop Thurstan (1114-1141) for secular brethren and
+sisters, and one chaplain. The brethren and sisters were not merely to
+benefit by the charity themselves, but were to minister to lepers and
+blind priests born within the Liberty of Ripon, a certain number of whom
+were received into the Hospital. Lepers from outside the Liberty were
+entitled to a night&#8217;s lodging: so also apparently were any other
+strangers or mendicant clergy who might be passing through the town. On
+St. Mary Magdalene&#8217;s day there was a dole of food to the poor. A second
+chaplain was subsequently added by the benefaction of one William de
+Homelyn. At some period, apparently after 1241, the character of the
+foundation was changed by another Archbishop, whose name is not known.
+The brethren and sisters disappeared, and the staff consisted henceforth
+of a Master and one chaplain, or sometimes two. The Master was appointed
+by the Archbishop, and was generally a clerk, though sometimes only in
+<a name="corr6" id="corr6"></a>acolyte&#8217;s Orders. In 1334 one John Warrener, of Studley Roger, founded
+here a chantry of two if not three priests. Thus there may have been no
+less than six clergy attached to this small chapel; but the number was
+not kept up, and at the Reformation there were, besides the Master, only
+the two priests of Warrener&#8217;s foundation. The Hospital continued to
+minister to blind priests, and also to lepers until leprosy died out.
+The lepers&#8217; portion of the building was demolished about 1350.<span class='pagenum'><a name="Page_138" id="Page_138">[138]</a></span> In
+1546-7 the inmates were &#8216;five poor people.&#8217; All traces of the Master&#8217;s
+house, the hall, the brewery, and the original dwellings have vanished.
+The dwellings were rebuilt in 1674, and again in 1875, since which date
+more cottages have been added, and a new chapel; and the hospital now
+accommodates twelve poor women. The Mastership, still in the gift of the
+Archbishop, is at present held with one of the canonries, and the cure
+of souls is discharged by a non-resident chaplain.</p>
+
+<div class="figleft" style="width: 136px;">
+<a name="image50" id="image50"></a><a href="images/image50-full.jpg"><img src="images/image50.jpg" width="136" height="279" alt="Photo of the seal" title="SEAL OF ST. MARY MAGDALENE&#8217;S HOSPITAL" /></a>
+<p class="caption">SEAL OF ST. MARY MAGDALENE&#8217;S HOSPITAL</p>
+</div>
+
+<p>Fortunately the old chapel remains. The main fabric is apparently
+Thurstan&#8217;s. It is of gritstone, but has been much altered and repaired
+at later periods, when limestone has been used. To the later work belong
+the set-off of the base, the coigns, the parapet, the east part of the
+south wall, the framing of most of the windows and doors, and the
+buttress and bell-cote at the west end.</p>
+
+<p>The west front is now divided by a large buttress of many stages
+terminating in a slope, but the plinth of this buttress is apparently
+original. To the right of the buttress is a long two-cusped lancet
+light; to the left may be traced, perhaps, the outline of an original
+round-arched window; while on both sides there are sloping lines in the
+masonry, as if there had been an acutely-pointed gable here.</p>
+
+<p>The north side of the chapel has been propped at a late period by three
+sloping buttresses. At its western end is a doorway, the jambs of which
+seem original, while the pointed head is later. About half-way along
+this side is one of those &#8216;low side windows&#8217; through which, it is
+supposed, the Sacrament was administered to lepers&mdash;indeed, the
+leper-house stood on this side of the chapel.<a name="FNanchor_127_127" id="FNanchor_127_127"></a><a href="#Footnote_127_127" class="fnanchor">[127]</a> Though of limestone,
+this small lancet window, with its arch and dripstone trefoiled, is
+<span class='pagenum'><a name="Page_139" id="Page_139">[139]</a></span>apparently of the thirteenth century, and an early example of its
+class. East of it are, first a Perpendicular window of two lights&mdash;late
+in character, and second a partially-blocked and possibly original
+doorway, perhaps for the priest, (though priests&#8217; doors are usually on
+the south side). Its outer arch is rounded, while the inner is pointed
+and has perhaps been altered.</p>
+
+<p>The east window is broad, finely arched, and surmounted by a bold
+dripstone terminating in heads. Its four lights, partially blocked, are
+round-headed, with rather large cusps, and in the upper part of the
+window there is much tracery, in which perpendicular lines lead up to
+arches that intersect. Indeed it is difficult to say whether this fine
+window is an example of late Perpendicular, or of the transition to that
+style from the Decorated.</p>
+
+<p>It is on the south side that the irregularity in the size, spacing, and
+level of the windows in this chapel is most marked. Here toward the
+eastern end is a square-headed Perpendicular window of two lights, much
+resembling the south window at St. Anne&#8217;s Hospital, and surmounted by a
+square label. Next comes a small lancet, probably Early English, with no
+limestone about it. The next window is tall, rectangular, and without
+tracery, but the stump of a mullion remains on the sill, which is of
+gritstone. West of this is the principal entrance, a Norman arch,
+beneath which a pointed arch has been inserted, the original imposts,
+however, remaining. The upper arch is enriched with the chevron, and its
+dripstone with two rows of the round billet arranged chequerwise and
+with a moulding composed of a series of little crosses, rather
+suggestive of the dog-tooth.</p>
+
+<p>The interior has up to this time escaped &#8216;restoration.&#8217; There have been
+repairs, but enough only to arrest decay, and the plaster has not been
+removed from the walls.<a name="FNanchor_128_128" id="FNanchor_128_128"></a><a href="#Footnote_128_128" class="fnanchor">[128]</a> The length internally is about 49 feet and
+the breadth just over 16 feet. The floor is of brick, and the roof,
+which is almost flat, has been much renovated, but retains its original
+massive cross beams and wooden corbels. Internally the two <span class='pagenum'><a name="Page_140" id="Page_140">[140]</a></span>western
+doorways are rounded, and just east of them the chapel is crossed by a
+late Perpendicular screen, which retains its folding doors, and has an
+uncommon effect due to the great length of the mullions in the upper
+part. The lower portion was once closed. It is perhaps more probable
+that this is the original position of the screen than that it ever
+stretched across the Sanctuary. Against the north wall is a fine old
+chest raised on feet and bound with many iron clamps ending in scrolls.
+It has a double lock and a ring at either end, and inside it is kept a
+curious bell of wood painted to resemble metal, and said to have been
+hung in the bell-cote by an unscrupulous official who had caused the
+real bell to be sold.</p>
+
+<p>The &#8216;low side window&#8217; internally has a depressed pointed arch, and is
+widely splayed, as are also the tall and the short window opposite. It
+is remarkable that although the windows differ so much externally, yet
+internally all except the &#8216;low side window&#8217; and the east window are of
+the form known as the &#8216;shouldered arch,&#8217; a form which, by-the-way, is
+more usually employed in doorways.</p>
+
+<p>In front of the Sanctuary are preserved two old Perpendicular pews or
+stalls, with carved finials. The Sanctuary itself is raised on two
+steps, and extends eight feet from the east wall. The blocked door
+noticed on the exterior would open into the chapel immediately west of
+the line of the lower step.</p>
+
+<p>This is among the very few churches in the country which retain the
+pre-Reformation stone altar, and if the instance at St. Anne&#8217;s Hospital
+is genuine, Ripon thus possesses two examples of this rare feature. The
+altar here is 7 feet 7 inches long, 3 feet 5 inches wide, 2 feet 11
+inches high, and has no step. Two of the usual five incised crosses (the
+larger cross near the middle is probably spurious) may still be traced
+upon the slab, the lower edge of which is chamfered off. In the front of
+the substructure are two deep recesses. The altar is flanked by two
+stone brackets. On the north wall is a third, and in the south wall a
+piscina with two-cusped arch and projecting basin.</p>
+
+<p>In front of the altar is a tessellated pavement 11 feet long and nearly
+4 feet wide. It is chiefly composed of red and blackish <i>tesser&aelig;</i>; but
+in the centre is a circular medallion containing a large four-petalled
+white flower with a red centre and small red flowers between the petals,
+all upon a ground of <span class='pagenum'><a name="Page_141" id="Page_141">[141]</a></span>black. It has been supposed that this pavement was
+taken from the neighbouring remains of some Roman building. As regards
+the central medallion this is probably the case, but the rest of the
+pavement seems to be later work, perhaps of the thirteenth century.<a name="FNanchor_129_129" id="FNanchor_129_129"></a><a href="#Footnote_129_129" class="fnanchor">[129]</a>
+At the south end of the pavement is the slab of another and smaller
+altar, retaining three of its incised crosses.</p>
+
+<p>It appears from a document of 1306 that the chapel at that date
+contained certain &#8216;relics&#8217; of St. Mary Magdalene.</p>
+
+<p>Of the medi&aelig;val bridges of Ripon <b>The North Bridge</b> alone survives.<a name="FNanchor_130_130" id="FNanchor_130_130"></a><a href="#Footnote_130_130" class="fnanchor">[130]</a>
+It crosses the Ure on nine arches with bold buttresses, triangular in
+plan, between them, and is prolonged, with three smaller arches, over
+the low meadow which forms the southern shore. It is from this shore
+that the best view of it is to be obtained, a few yards down stream. The
+arches, some of them recessed, vary in height and span, but all are
+round save two, over one of which there is a corbel-table below the
+parapet. The other side of the bridge was remodelled some twenty years
+ago.</p>
+
+
+<div class="footnotes">
+
+<p class="footnote" title="footnote"><a name="Footnote_122_122" id="Footnote_122_122"></a><a href="#FNanchor_122_122"><span class="label">[122]</span></a> In the medi&aelig;val records the street is almost invariably
+called Annesgate, and indeed was probably named after the hospital. The
+form &#8216;Agnesgate&#8217; is, however, not modern, for it occurs in 1462. It may
+have arisen from a trisyllabic pronunciation of &#8216;Annesgate.&#8217;</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_123_123" id="Footnote_123_123"></a><a href="#FNanchor_123_123"><span class="label">[123]</span></a> Thus far I am largely indebted to a paper on this
+hospital by the Rev. W. C. Lukis, F.S.A. in the twelfth edition of
+Walbran&#8217;s <i>Ripon</i>.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_124_124" id="Footnote_124_124"></a><a href="#FNanchor_124_124"><span class="label">[124]</span></a> Possibly those of Boynton or Plumpton (<i>Parker</i>).</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_125_125" id="Footnote_125_125"></a><a href="#FNanchor_125_125"><span class="label">[125]</span></a> The house is not shown.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_126_126" id="Footnote_126_126"></a><a href="#FNanchor_126_126"><span class="label">[126]</span></a> This latter peculiarity is found also in a house at
+Bishopton, a mile off.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_127_127" id="Footnote_127_127"></a><a href="#FNanchor_127_127"><span class="label">[127]</span></a> Some arch&aelig;ologists, however, hold that the purpose of low
+side windows was to display a light to scare away demons.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_128_128" id="Footnote_128_128"></a><a href="#FNanchor_128_128"><span class="label">[128]</span></a> It is probable that in the interior of many of our old
+churches the surface of the stone was never meant to be seen, and was
+covered with plaster at the time of building. The plaster was doubtless
+often adorned with designs in colour.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_129_129" id="Footnote_129_129"></a><a href="#FNanchor_129_129"><span class="label">[129]</span></a> This view is held by Mr. Micklethwaite. The white
+<i>tesser&aelig;</i> in the medallion resemble some which were dug up in 1837 on
+the site assigned by Leland to the &#8216;Old Abbay of Ripon&#8217; and which have
+been adduced to support the view that Wilfrid&#8217;s Abbey Church stood on
+that site and not on the site of the present Cathedral (see <a href="#Page_77">p. 77</a> and <a href="#FNanchor_72_72">n.
+4</a> there).</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_130_130" id="Footnote_130_130"></a><a href="#FNanchor_130_130"><span class="label">[130]</span></a> The others were Bondgate Bridge (over the Skell),
+Bishopton Bridge (over the Laver), Hewick Bridge (over the Ure below the
+town), the Archer-bridge, and the &#8216;Esgel-bridge.&#8217; The position of the
+two last is uncertain, and the rest have long been rebuilt. Bishopton
+Bridge had a chapel upon it with which was connected a hermit. In the
+middle ages the bridges were under the charge of the Archbishop. They
+were often the recipients of bequests, but were themselves made to
+contribute to the Common Fund of the Collegiate Church, by means of
+money-boxes which were placed upon them.</p>
+</div>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_142" id="Page_142">[142]</a></span></p>
+
+<h2 class="chapterhead"><a name="APPENDIX" id="APPENDIX"></a>APPENDIX.</h2>
+
+
+<p class="heading"><a name="ABBOTS" id="ABBOTS"></a>ABBOTS OF THE SAXON MONASTERY.</p>
+
+<table width="50%" border="0" cellpadding="0" cellspacing="0" summary="Saxon abbots">
+<tr>
+  <td class="smcap">St. Eata</td>
+  <td class="tdr"><i>c.</i> 657-661.</td>
+</tr>
+<tr>
+  <td class="smcap">St. Wilfrid</td>
+  <td class="tdr">661-709.</td>
+</tr>
+<tr>
+  <td class="smcap">Tatberht</td>
+  <td class="tdr">709.</td>
+</tr>
+<tr>
+  <td class="smcap">Botwine</td>
+  <td class="tdr">died 786.</td>
+</tr>
+<tr>
+  <td class="smcap">Alberht</td>
+  <td class="tdr">786-787.</td>
+</tr>
+<tr>
+  <td class="smcap">Sigred</td>
+  <td class="tdr">787.</td>
+</tr>
+<tr>
+  <td class="smcap">Uilden or Wildeng</td>
+  <td class="tdr">?</td>
+</tr>
+</table>
+
+
+<p class="heading"><span class="smcap"><a name="Canons" id="Canons"></a>Canons of Stanwick in the Medi&aelig;val Collegiate Church</span>.<a name="FNanchor_131_131" id="FNanchor_131_131"></a><a href="#Footnote_131_131" class="fnanchor">[131]</a></p>
+
+<table width="50%"  border="0" cellpadding="0" cellspacing="0" summary="Mediaeval Canons">
+<tr>
+  <td>Geoffrey de Bockland</td>
+  <td class="tdr"><i>circa</i> 1226.</td>
+</tr>
+<tr>
+  <td>Laurence de Topcliffe</td>
+  <td class="tdr"><i>circa</i> 1230.</td>
+</tr>
+<tr>
+  <td>Eadmund de Maundevill</td>
+  <td class="tdr">resigned 1279.</td>
+</tr>
+<tr>
+  <td>Anthony Beck<a name="FNanchor_132_132" id="FNanchor_132_132"></a><a href="#Footnote_132_132" class="fnanchor">[132]</a></td>
+  <td class="tdr">1279.</td>
+</tr>
+<tr>
+  <td>Roger Swayne</td>
+  <td class="tdr"><i>c.</i> 1285-<i>c.</i> 1311.</td>
+</tr>
+<tr>
+  <td>Richard de Henney</td>
+  <td class="tdr">1311-<i>c.</i> 1315.</td>
+</tr>
+<tr>
+  <td>William de Seton</td>
+  <td class="tdr">1316-<i>c.</i> 1320.</td>
+</tr>
+<tr>
+  <td>Thomas de Cave</td>
+  <td class="tdr">1320-<i>c.</i> 1322.</td>
+</tr>
+<tr>
+  <td>Robert de Rypon</td>
+  <td class="tdr">1322-<i>c.</i> 1333.</td>
+</tr>
+<tr>
+  <td>Peter de Wetwang</td>
+  <td class="tdr">1333.</td>
+</tr>
+<tr>
+  <td>John de Crakhall</td>
+  <td class="tdr"><i>c.</i> 1344-<i>c.</i> 1378.</td>
+</tr>
+<tr>
+  <td>John de Seggefield</td>
+  <td class="tdr">1378-1384.</td>
+</tr>
+<tr>
+  <td>John de Middleton</td>
+  <td class="tdr">1384-1397.</td>
+</tr>
+<tr>
+  <td>John de Dene<a name="FNanchor_133_133" id="FNanchor_133_133"></a><a href="#Footnote_133_133" class="fnanchor">[133]</a></td>
+  <td class="tdr">1397-<i>c.</i> 1435.</td>
+</tr>
+<tr>
+  <td>Simon Alcock</td>
+  <td class="tdr">1435-<i>c.</i> 1436.</td>
+</tr>
+<tr>
+  <td>Richard Morton</td>
+  <td class="tdr">1436-? 1447.</td>
+</tr>
+<tr>
+  <td>John Clere</td>
+  <td class="tdr">? 1447-1478.</td>
+</tr>
+<tr>
+  <td>Robert Symson</td>
+  <td class="tdr">1479-1481.</td>
+</tr>
+<tr>
+  <td>Thomas Bakehouse</td>
+  <td class="tdr">1481-<i>c.</i> 1521.</td>
+</tr>
+<tr>
+  <td>Richard Dean</td>
+  <td class="tdr"><i>c.</i> 1535-<i>c.</i> 1545.</td>
+</tr>
+<tr>
+  <td>Christopher Seale</td>
+  <td class="tdr"><i>c.</i> 1545-? 1547.</td>
+</tr>
+</table>
+
+<p><span class='pagenum'><a name="Page_143" id="Page_143">[143]</a></span></p>
+
+<p class="heading"><span class="smcap"><a name="Deans_of_King_James_Is" id="Deans_of_King_James_Is"></a>Deans of King James I.&#8217;s Foundation</span>.</p>
+
+<table width="50%"  border="0" cellpadding="0" cellspacing="0" summary="King Janes&#8217;s Deans">
+<tr>
+  <td>Moses Fowler, B.D.</td>
+  <td class="tdr">1604-1608.</td>
+</tr>
+<tr>
+  <td>Anthony Higgin, B.D.</td>
+  <td class="tdr">1608-1624.</td>
+</tr>
+<tr>
+  <td>John Wilson, D.D.</td>
+  <td class="tdr">1624-1634.</td>
+</tr>
+<tr>
+  <td>Thomas Dod, D.D.<a name="FNanchor_134_134" id="FNanchor_134_134"></a><a href="#Footnote_134_134" class="fnanchor">[134]</a></td>
+  <td class="tdr">1635-<i>c.</i> 1645.</td>
+</tr>
+<tr>
+  <td>John Wilkins, D.D., F.R.S.<a name="FNanchor_135_135" id="FNanchor_135_135"></a><a href="#Footnote_135_135" class="fnanchor">[135]</a></td>
+  <td class="tdr">1660-1668.</td>
+</tr>
+<tr>
+  <td>John Neile, D.D.<a name="FNanchor_136_136" id="FNanchor_136_136"></a><a href="#Footnote_136_136" class="fnanchor">[136]</a></td>
+  <td class="tdr">1674-1675.</td>
+</tr>
+<tr>
+  <td>Thomas Tullie, D.D.</td>
+  <td class="tdr">1675.</td>
+</tr>
+<tr>
+  <td>Thomas Cartwright, D.D.<a name="FNanchor_137_137" id="FNanchor_137_137"></a><a href="#Footnote_137_137" class="fnanchor">[137]</a></td>
+  <td class="tdr">1675-1686.</td>
+</tr>
+<tr>
+  <td>Christopher Wyvill, D.D.<a name="FNanchor_138_138" id="FNanchor_138_138"></a><a href="#Footnote_138_138" class="fnanchor">[138]</a></td>
+  <td class="tdr">1686-1710.</td>
+</tr>
+<tr>
+  <td>Heneage Dering, LL.D.<a name="FNanchor_139_139" id="FNanchor_139_139"></a><a href="#Footnote_139_139" class="fnanchor">[139]</a></td>
+  <td class="tdr">1710-1750.</td>
+</tr>
+<tr>
+  <td>Francis Wanley, D.D.<a name="FNanchor_140_140" id="FNanchor_140_140"></a><a href="#Footnote_140_140" class="fnanchor">[140]</a></td>
+  <td class="tdr">1750-1791.</td>
+</tr>
+<tr>
+  <td>Robert Darley Waddilove, LL.D., F.S.A.<a name="FNanchor_141_141" id="FNanchor_141_141"></a><a href="#Footnote_141_141" class="fnanchor">[141]</a></td>
+  <td class="tdr">1792-1828.</td>
+</tr>
+<tr>
+  <td>James Webber, D.D.</td>
+  <td class="tdr">1828-</td>
+</tr>
+</table>
+
+
+<p class="heading"><span class="smcap"><a name="Deans_of_the_Cathedral" id="Deans_of_the_Cathedral"></a>Deans of the Cathedral Foundation</span>.</p>
+
+<table width="50%"  border="0" cellpadding="0" cellspacing="0" summary="Deans">
+<tr>
+  <td>James Webber, D.D.<a name="FNanchor_142_142" id="FNanchor_142_142"></a><a href="#Footnote_142_142" class="fnanchor">[142]</a></td>
+  <td class="tdr">-1847.</td>
+</tr>
+<tr>
+  <td>The Hon. Henry David Erskine, D.D.<a name="FNanchor_143_143" id="FNanchor_143_143"></a><a href="#Footnote_143_143" class="fnanchor">[143]</a></td>
+  <td class="tdr">1847-1859.</td>
+</tr>
+<tr>
+  <td>Thomas Garnier, B.C.L.</td>
+  <td class="tdr">1859-1860.</td>
+</tr>
+<tr>
+  <td>William Goode, D.D., F.S.A.</td>
+  <td class="tdr">1860-1868.</td>
+</tr>
+<tr>
+  <td>Hugh M&#8216;Neile, D.D.</td>
+  <td class="tdr">1868-1876.</td>
+</tr>
+<tr>
+  <td>Sydney Turner, B.A.</td>
+  <td class="tdr">1876.</td>
+</tr>
+<tr>
+  <td>William Robert Fremantle, D.D.</td>
+  <td class="tdr">1876-1895.</td>
+</tr>
+<tr>
+  <td>The Hon. William Henry Fremantle, D.D.</td>
+  <td class="tdr">1895.</td>
+</tr>
+</table>
+
+
+<p class="heading"><a name="BISHOPS" id="BISHOPS"></a>BISHOPS OF RIPON.</p>
+
+<table width="50%"  border="0" cellpadding="0" cellspacing="0" summary="Bishops">
+<tr>
+  <td class="smcap">Eadhead</td>
+  <td class="tdr">681-686.</td>
+</tr>
+<tr>
+  <td class="smcap">Charles Thomas Longley, D.D., F.S.A.<a name="FNanchor_144_144" id="FNanchor_144_144"></a><a href="#Footnote_144_144" class="fnanchor">[144]</a></td>
+  <td class="tdr">1836-1856.</td>
+</tr>
+<tr>
+  <td class="smcap">Robert Bickersteth, D.D., F.R.S.<a name="FNanchor_145_145" id="FNanchor_145_145"></a><a href="#Footnote_145_145" class="fnanchor">[145]</a></td>
+  <td class="tdr">1857-1884.</td>
+</tr>
+<tr>
+  <td class="smcap">William Boyd-carpenter, D.D.</td>
+  <td class="tdr">1884.</td>
+</tr>
+</table>
+
+
+<div class="footnotes" style="margin-top: 2em;">
+
+<p class="footnote" title="footnote"><a name="Footnote_131_131" id="Footnote_131_131"></a><a href="#FNanchor_131_131"><span class="label">[131]</span></a> The medi&aelig;val College of Canons had no official head, but
+the Prebendary of Stanwick, as Ruler of the Choir, was generally in
+residence, and was in some sense the most important of the Canons. He
+did not, however, preside, at least not if any other Canon was in
+residence. Thus Christopher Dragley (Prebendary of Monkton) was often
+<i>Praesidens Capituli</i> from 1533 to 1539, and Marmaduke Bradley
+(Prebendary of Thorp) from 1544 to 1546.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_132_132" id="Footnote_132_132"></a><a href="#FNanchor_132_132"><span class="label">[132]</span></a> Afterwards the celebrated Bishop of Durham, one of the
+most prominent personages at the court of Edward I.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_133_133" id="Footnote_133_133"></a><a href="#FNanchor_133_133"><span class="label">[133]</span></a> A brass to him is preserved in the Cathedral. The
+inscription was probably cut in his lifetime, for the space for the date
+of his death is left blank. He helped to found the chantry of St.
+Wilfrid, and is buried in the Choir.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_134_134" id="Footnote_134_134"></a><a href="#FNanchor_134_134"><span class="label">[134]</span></a> Deprived by the Parliament when they suppressed the
+Chapter.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_135_135" id="Footnote_135_135"></a><a href="#FNanchor_135_135"><span class="label">[135]</span></a> One of the founders of the Royal Society: married Oliver
+Cromwell&#8217;s sister: became Bishop of Chester.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_136_136" id="Footnote_136_136"></a><a href="#FNanchor_136_136"><span class="label">[136]</span></a> Buried near the vestry door.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_137_137" id="Footnote_137_137"></a><a href="#FNanchor_137_137"><span class="label">[137]</span></a> Became Bishop of Chester, and was a strong supporter of
+James II.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_138_138" id="Footnote_138_138"></a><a href="#FNanchor_138_138"><span class="label">[138]</span></a> Buried within the Altar-rails (brass).</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_139_139" id="Footnote_139_139"></a><a href="#FNanchor_139_139"><span class="label">[139]</span></a> Buried in the north choir-aisle (tablet).</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_140_140" id="Footnote_140_140"></a><a href="#FNanchor_140_140"><span class="label">[140]</span></a> Buried in the Cathedral (formerly there was a tablet in
+the south aisle of the nave).</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_141_141" id="Footnote_141_141"></a><a href="#FNanchor_141_141"><span class="label">[141]</span></a> Tablet in the Chapter-house.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_142_142" id="Footnote_142_142"></a><a href="#FNanchor_142_142"><span class="label">[142]</span></a> Buried within the Altar-rails.</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_143_143" id="Footnote_143_143"></a><a href="#FNanchor_143_143"><span class="label">[143]</span></a> Buried in the graveyard near the north-east corner of the
+choir (tomb by Sir Gilbert Scott).</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_144_144" id="Footnote_144_144"></a><a href="#FNanchor_144_144"><span class="label">[144]</span></a> Afterwards Bishop of Durham, then Archbishop of York, and
+finally Archbishop of Canterbury. The modern diocese of Ripon does not
+correspond in area with that over which Eadhead presided (<i>see <a href="#CHAPTER_I">Chap.
+I</a>.</i>)</p>
+
+<p class="footnote" title="footnote"><a name="Footnote_145_145" id="Footnote_145_145"></a><a href="#FNanchor_145_145"><span class="label">[145]</span></a> Buried in the graveyard near the south-east corner of the
+choir.</p>
+</div>
+<p><span class='pagenum'><a name="Page_144" id="Page_144">[144]</a></span></p>
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_145" id="Page_145">[145]</a></span></p>
+
+<h2 class="chapterhead"><a name="INDEX" id="INDEX"></a>INDEX.</h2>
+
+
+<ul class="index">
+  <li><span class="smcap">Abbots</span>, list of, <a href="#Page_142">142</a>.</li>
+  <li>Ailcy Hill, <a href="#Page_9">9</a>.</li>
+  <li>Aisles of the nave, <a href="#Page_78">78</a>;</li>
+  <li class="subhead">south aisle, <a href="#Page_79">79</a>;</li>
+  <li class="subhead">north aisle, <a href="#Page_81">81</a>;</li>
+  <li class="subhead">of the choir, (north) <a href="#Page_113">113</a>;</li>
+  <li class="subhead">(south) <a href="#Page_115">115</a>.</li>
+  <li>Archbishops of York, <a href="#Page_13">13</a> <i>et seq.</i></li>
+  <li>Athelstan, King, <a href="#Page_9">9</a>.</li>
+</ul>
+
+<ul class="index">
+  <li><span class="smcap">Bas-relief</span> of lion, <a href="#Page_80">80</a>.</li>
+  <li>Bedern, the, <a href="#Page_24">24</a>, <a href="#Page_26">26</a>, <a href="#Page_34">34</a>.</li>
+  <li>Bells, the, <a href="#Page_43">43</a>.</li>
+  <li>Bishops of Ripon, <a href="#Page_143">143</a>.</li>
+  <li>Bridge, the North, <a href="#Page_141">141</a>.</li>
+</ul>
+
+<ul class="index">
+  <li><span class="smcap">Canons</span>, irregularities of the, <a href="#Page_23">23</a>.</li>
+  <li>Canons of Stanwick, list of, <a href="#Page_142">142</a>.</li>
+  <li>Chantries, <a href="#Page_28">28</a>.</li>
+  <li>Chapter, the, <a href="#Page_29">29</a>, <a href="#Page_30">30</a>;</li>
+  <li class="subhead">re-established, <a href="#Page_31">31</a>, <a href="#Page_33">33</a>, <a href="#Page_34">34</a>, <a href="#Page_37">37</a>.</li>
+  <li>Chapter-house, the, <a href="#Page_53">53</a>, <a href="#Page_122">122-125</a>.</li>
+  <li>Charles I., <a href="#Page_34">34</a>.</li>
+  <li>Choir, the, <a href="#Page_49">49</a>, <a href="#Page_58">58</a>;</li>
+  <li class="subhead">interior, <a href="#Page_96">96-117</a>.</li>
+  <li>College of Canons, the, <a href="#Page_12">12</a>, <a href="#Page_17">17</a>, <a href="#Page_22">22</a>, <a href="#Page_30">30</a>.</li>
+  <li>Courts, ecclesiastical and secular, <a href="#Page_19">19</a>, <a href="#Page_31">31</a>, <a href="#Page_37">37</a>.</li>
+  <li>Crypt, the Saxon, <a href="#Page_71">71-78</a>;</li>
+  <li class="subhead">the Norman, <a href="#Page_117">117-120</a>.</li>
+  <li>Cuthbert, St., <a href="#Page_4">4</a>, <a href="#Page_11">11</a>, <a href="#Page_12">12</a>.</li>
+</ul>
+
+<ul class="index">
+  <li><span class="smcap">Deanery</span>, the, <a href="#Page_133">133</a>.</li>
+  <li>Deans, list of, <a href="#Page_143">143</a>.</li>
+  <li>Dedication by Wilfrid, <a href="#Page_6">6</a>.</li>
+  <li>Diocese of Ripon, <a href="#Page_36">36</a>.</li>
+</ul>
+
+<ul class="index">
+  <li><span class="smcap">Eadhead</span>, Bishop of Ripon, <a href="#Page_7">7</a>.</li>
+  <li>East End, the, <a href="#Page_60">60</a>.</li>
+  <li>Eata, first Abbot, <a href="#Page_4">4</a>, <a href="#Page_12">12</a>.</li>
+  <li>Edward I., <a href="#Page_25">25</a>.</li>
+</ul>
+
+<ul class="index">
+  <li><span class="smcap">Fonts</span>, the, <a href="#Page_79">79</a>.</li>
+  <li>Grammar-School, Ripon, <a href="#Page_14">14</a>, <a href="#Page_30">30-36</a>.</li>
+  <li>Gray, Archbishop Walter de, <a href="#Page_11">11</a>, <a href="#Page_16">16</a>, <a href="#Page_21">21</a>.</li>
+</ul>
+
+<ul class="index">
+  <li><span class="smcap">Henry</span> IV., <a href="#Page_26">26</a>.</li>
+  <li>Henry V., <a href="#Page_11">11</a>.</li>
+</ul>
+
+<ul class="index">
+  <li><span class="smcap">James</span> I., <a href="#Page_31">31</a>, <a href="#Page_33">33</a>.</li>
+</ul>
+
+<ul class="index">
+  <li><span class="smcap">Lady-Kirk</span>, the, <a href="#Page_22">22</a>, <a href="#Page_27">27</a>.</li>
+  <li>Lady-loft, the, <a href="#Page_54">54</a>, <a href="#Page_129">129</a>.</li>
+  <li>Liberty of Ripon, <a href="#Page_19">19-37</a>.</li>
+  <li>Library, the, <a href="#Page_130">130</a>.</li>
+</ul>
+
+<ul class="index">
+  <li><span class="smcap">Mallory</span> Chapel, <a href="#Page_93">93</a>.</li>
+  <li>Markenfield Chapel and tombs, <a href="#Page_90">90</a>.</li>
+  <li>Monastery of Ripon, the (Scottish), <a href="#Page_4">4</a>;</li>
+  <li class="subhead">(Saxon), <a href="#Page_5">5</a>;</li>
+  <li class="subhead">end of, <a href="#Page_12">12</a>.</li>
+</ul>
+
+<ul class="index">
+  <li><span class="smcap">Nave</span>, rebuilding of, <a href="#Page_27">27</a>, <a href="#Page_69">69</a>;</li>
+  <li class="subhead">north side, exterior, <a href="#Page_44">44</a>;</li>
+  <li class="subhead">south side, <a href="#Page_50">50</a>;</li>
+  <li class="subhead">interior, <a href="#Page_65">65</a>.</li>
+</ul>
+
+<ul class="index">
+  <li><span class="smcap">Oda</span>, Archbishop of Canterbury, <a href="#Page_11">11</a>.</li>
+  <li>Organ, the, <a href="#Page_111">111</a>.</li>
+  <li>Oswald, Archbishop, <a href="#Page_11">11</a>.</li>
+</ul>
+
+<ul class="index">
+  <li><span class="smcap">Palace</span>, Archiepiscopal, <a href="#Page_24">24</a>, <a href="#Page_35">35</a>.</li>
+  <li>Peculiar, the parish a, <a href="#Page_19">19</a>, <a href="#Page_31">31</a>, <a href="#Page_37">37</a>.</li>
+  <li>Prebends, <a href="#Page_12">12</a>, <a href="#Page_14">14</a>, <a href="#Page_17">17</a>, <a href="#Page_18">18</a>, <a href="#Page_23">23</a>, <a href="#Page_26">26</a>.</li>
+  <li>Presbytery, arrangement of the, <a href="#Page_104">104</a>.</li>
+  <li>Pulpit (Old) in north transept, <a href="#Page_88">88</a>.</li>
+</ul>
+
+<ul class="index">
+  <li><span class='pagenum'><a name="Page_146" id="Page_146">[146]</a></span>Ripon Minster, foundation of the Scottish monastery, <a href="#Page_4">4</a>;</li>
+  <li class="subhead">original site of, <a href="#Page_5">5</a>;</li>
+  <li class="subhead">dedication of new church, <a href="#Page_6">6</a>;</li>
+  <li class="subhead">end of monastery, <a href="#Page_12">12</a>;</li>
+  <li class="subhead">as a collegiate church, <a href="#Page_12">12</a>, <a href="#Page_22">22</a>;</li>
+  <li class="subhead">as a parochial church, <a href="#Page_18">18</a>, <a href="#Page_22">22</a>;</li>
+  <li class="subhead">present church built, <a href="#Page_15">15</a>;</li>
+  <li class="subhead">central tower reconstructed, <a href="#Page_27">27</a>;</li>
+  <li class="subhead">nave rebuilt, <a href="#Page_27">27</a>.</li>
+  <li>Rising in the North, the, <a href="#Page_30">30</a>.</li>
+  <li>Roger de Pont l&#8217;Ev&ecirc;que, Archbishop, <a href="#Page_15">15</a>;</li>
+  <li class="subhead">his plan, <a href="#Page_16">16</a>, <a href="#Page_67">67</a>.</li>
+  <li>Rood Screen, the, <a href="#Page_94">94</a>.</li>
+</ul>
+
+<ul class="index">
+  <li><span class="smcap">St. Agnes&#8217;</span> Lodge, <a href="#Page_136">136</a>.</li>
+  <li>St. Anne&#8217;s Hospital, <a href="#Page_133">133</a>.</li>
+  <li>St. John&#8217;s Hospital, <a href="#Page_36">36</a>.</li>
+  <li>St. Mary Magdalene&#8217;s Hospital, <a href="#Page_35">35</a>, <a href="#Page_137">137</a>.</li>
+  <li>Sanctuary, right of, <a href="#Page_9">9</a>, <a href="#Page_23">23</a>, <a href="#Page_30">30</a>.</li>
+  <li>Saxon monastery, the, <a href="#Page_5">5</a>.</li>
+  <li>Scots, incursion of, <a href="#Page_25">25</a>.</li>
+  <li>Scottish monastery, the, <a href="#Page_4">4</a>.</li>
+  <li>Sedilia, the, <a href="#Page_104">104</a>.</li>
+  <li>Site, original, <a href="#Page_5">5</a>.</li>
+  <li>Spires, fall and removal of the, <a href="#Page_34">34</a>.</li>
+  <li>Stalls, the choir, <a href="#Page_106">106</a>.</li>
+  <li>Stammergate, <a href="#Page_5">5</a>, <a href="#Page_22">22</a>, <a href="#Page_35">35</a>.</li>
+  <li>Stanwick, Prebend, <a href="#Page_17">17</a>, <a href="#Page_18">18</a>, <a href="#Page_29">29</a>, <a href="#Page_142">142</a>.</li>
+</ul>
+
+<ul class="index">
+  <li><span class="smcap">Theodore</span>, Archbishop of Canterbury, <a href="#Page_6">6</a>.</li>
+  <li>Thomas of Bayeux, Archbishop, <a href="#Page_13">13</a>.</li>
+  <li>Thorp, prebendal house, <a href="#Page_36">36</a>, <a href="#Page_136">136</a>.</li>
+  <li>Throne, the Bishop&#8217;s, <a href="#Page_111">111</a>;</li>
+  <li class="subhead">the Archbishop&#8217;s, <a href="#Page_36">36</a>.</li>
+  <li>Thurstan, Archbishop, <a href="#Page_73">73</a>, <a href="#Page_14">14</a>.</li>
+  <li>Tower, the central, <a href="#Page_45">45</a>, <a href="#Page_56">56</a>;</li>
+  <li class="subhead">interior, <a href="#Page_82">82</a>.</li>
+  <li>Towers, western, <a href="#Page_41">41</a>.</li>
+  <li>Transept, north, <a href="#Page_46">46</a>;</li>
+  <li class="subhead">south, <a href="#Page_51">51</a>, <a href="#Page_56">56</a>;</li>
+  <li class="subhead">interior, <a href="#Page_85">85</a>;</li>
+  <li class="subhead">north, <a href="#Page_86">86</a>;</li>
+  <li class="subhead">south, <a href="#Page_91">91</a>.</li>
+</ul>
+
+<ul class="index">
+  <li><span class="smcap">Vault-bosses</span> in choir, <a href="#Page_103">103</a>.</li>
+  <li>Vaulting, north transept, <a href="#Page_91">91</a>.</li>
+  <li>Vestry, the, <a href="#Page_125">125</a>.</li>
+</ul>
+
+<ul class="index">
+  <li><span class="smcap">Wakeman</span>, the, <a href="#Page_33">33</a>.</li>
+  <li>West front, the, <a href="#Page_16">16</a>, <a href="#Page_40">40</a>, <a href="#Page_43">43</a>;</li>
+  <li class="subhead">interior, <a href="#Page_68">68</a>.</li>
+  <li>West Gate, the, demolished, <a href="#Page_35">35</a>.</li>
+  <li>Wilfrid, St., <a href="#Page_4">4</a>, <a href="#Page_6">6</a>, <a href="#Page_7">7</a>, <a href="#Page_8">8</a>, <a href="#Page_12">12</a>, <a href="#Page_75">75</a>;</li>
+  <li class="subhead">relics of, <a href="#Page_11">11</a>, <a href="#Page_16">16</a>;</li>
+  <li class="subhead">translation of, <a href="#Page_14">14</a>;</li>
+  <li class="subhead">shrine of, <a href="#Page_14">14</a>, <a href="#Page_29">29</a>, <a href="#Page_81">81</a>;</li>
+  <li class="subhead">crypt of, <a href="#Page_31">31</a>, <a href="#Page_71">71</a>.</li>
+  <li>William, St., of York (Archbishop Fitzherbert), <a href="#Page_15">15</a>.</li>
+  <li>Window, east, <a href="#Page_34">34</a>, <a href="#Page_62">62</a>, <a href="#Page_102">102</a>.</li>
+  <li>Wolsey, Archbishop, <a href="#Page_33">33</a>.</li>
+  <li>Wulfstan, Archbishop, <a href="#Page_10">10</a>.</li>
+</ul>
+
+<hr style="width: 65%;" />
+
+<p><span class='pagenum'><a name="Page_147" id="Page_147">[147]</a></span></p>
+
+<div class="figcenter" style="width: 427px;">
+<a name="image51" id="image51"></a><a href="images/image51-full.png"><img src="images/image51.png" width="427" height="615" alt="Drawing of plan of the cathedral" title="Ground Plan of Ripon Cathedral." /></a>
+<p class="caption">GROUND PLAN OF RIPON CATHEDRAL.</p>
+</div>
+
+<p><span class='pagenum'><a name="Page_148" id="Page_148">[148]</a></span></p>
+
+<p class="heading">DIMENSIONS (internal).</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="dimensions">
+<tr>
+  <td>Total Length,</td>
+  <td class="tdr">270</td>
+  <td>feet</td>
+</tr>
+<tr>
+  <td>Length of Nave,</td>
+  <td class="tdr">133</td>
+  <td class="padded1">&#8221;</td>
+</tr>
+<tr>
+  <td>Width of Nave,</td>
+  <td class="tdr">87</td>
+  <td class="padded1">&#8221;</td>
+</tr>
+<tr>
+  <td>Width of Transept,</td>
+  <td class="tdr">52</td>
+  <td class="padded1">&#8221;</td>
+</tr>
+<tr>
+  <td>Height of Vault (Nave),</td>
+  <td class="tdr">88</td>
+  <td class="padded1">&#8221;</td>
+</tr>
+<tr>
+  <td>Height of Towers,</td>
+  <td class="tdr">110</td>
+  <td class="padded1">&#8221;</td>
+</tr>
+<tr>
+  <td>Area,</td>
+  <td class="tdr">25,280</td>
+  <td>square feet.</td>
+</tr>
+</table>
+
+
+<p class="titlepage" style="margin-top: 3em;">PRINTED BY NEILL AND CO., LTD., EDINBURGH.</p>
+
+
+
+<hr style="width: 65%;" />
+<div style="background-color: #EEE; padding: 0.5em 1em 0.5em 1em;">
+<p class="center noindent"><a name="trans_note" id="trans_note"></a><b>Transcriber&rsquo;s&nbsp;Note</b></p>
+
+<p class="noindent">The following typographical errors have been corrected:</p>
+
+<table style="margin-left: 0%;" cellpadding="0" cellspacing="0" summary="typos">
+<tr>
+  <td>Page</td>
+  <td>Error</td>
+</tr>
+<tr>
+  <td><a href="#corr1">2</a></td>
+  <td>the Tower. changed to the Tower.)</td>
+</tr>
+<tr>
+  <td><a href="#corr2">10, fn. 10</a></td>
+  <td>St Wilfrid&#8217;s changed to St. Wilfrid&#8217;s</td>
+</tr>
+<tr>
+  <td><a href="#corr3">111</a></td>
+  <td>ascendency changed to ascendancy</td>
+</tr>
+<tr>
+  <td><a href="#corr4">115, fn. 103</a></td>
+  <td>Surtee&#8217;s changed to Surtees</td>
+</tr>
+<tr>
+  <td><a href="#corr5">118</a></td>
+  <td>anyrate changed to any rate</td>
+</tr>
+<tr>
+  <td><a href="#corr6">137</a></td>
+  <td>acolyte&#8217;s Orders changed to acolyte&#8217;s Orders.</td>
+</tr>
+</table>
+
+<p class="noindent">The following words were inconsitently spelled:</p>
+
+<p class="noindent">afterthought / after-thought<br />
+Agnesgate / Agnes-gate<br />
+aisleless / aisle-less<br />
+stonework / stone-work</p>
+</div>
+
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<hr class="full" />
+<p>***END OF THE PROJECT GUTENBERG EBOOK BELL'S CATHEDRALS: THE CATHEDRAL CHURCH OF RIPON***</p>
+<p>******* This file should be named 25800-h.txt or 25800-h.zip *******</p>
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+The Project Gutenberg eBook, Bell's Cathedrals: The Cathedral Church of
+Ripon, by Cecil Walter Charles Hallett
+
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+
+
+
+Title: Bell's Cathedrals: The Cathedral Church of Ripon
+       A Short History of the Church and a Description of Its Fabric
+
+
+Author: Cecil Walter Charles Hallett
+
+
+
+Release Date: June 16, 2008  [eBook #25800]
+
+Language: English
+
+Character set encoding: ISO-646-US (US-ASCII)
+
+
+***START OF THE PROJECT GUTENBERG EBOOK BELL'S CATHEDRALS: THE CATHEDRAL
+CHURCH OF RIPON***
+
+
+E-text prepared by Jonathan Ingram, Julia Miller, and the Project
+Gutenberg Online Distributed Proofreading Team (https://www.pgdp.net)
+
+
+
+Note: Project Gutenberg also has an HTML version of this
+      file which includes the original illustrations.
+      See 25800-h.htm or 25800-h.zip:
+      (https://www.gutenberg.org/dirs/2/5/8/0/25800/25800-h/25800-h.htm)
+      or
+      (https://www.gutenberg.org/dirs/2/5/8/0/25800/25800-h.zip)
+
+
+Transcriber's note
+
+      Obvious typographical errors have been corrected. A list of
+      changes is found at the end of the book. Inconsistencies in
+      spelling and hyphenation have been retained. A list of
+      inconsistently spelled words is found at the end of the book.
+
+      Text enclosed by equal signs was in bold face in the original
+      (=bold text=).
+
+
+
+
+
+THE CATHEDRAL CHURCH OF RIPON
+
+A Short History of the
+Church & a Description
+of Its Fabric
+
+by
+
+CECIL HALLETT, B.A.
+Magdalen Coll., Oxford
+
+With 53 Illustrations
+
+
+
+
+
+
+
+[Illustration: RIPON CATHEDRAL FROM THE FOOTBRIDGE OVER THE SKELL.]
+
+
+
+[Illustration]
+
+London George Bell & Sons 1901
+
+
+
+
+PREFACE.
+
+
+The original authorities for the history (both constitutional and
+architectural) of the Church of Ripon have been most ably edited for the
+Surtees Society by the Rev. Canon J. T. Fowler, F.S.A., in his
+_Memorials of Ripon_ and _The Ripon Chapter Acts_ (_Surtees Soc._, vols.
+74, 78, 81, 64). These authorities range from the Saxon period to the
+times following the Reformation, but in the Introductions to vol. 81,
+and in the Rev. J. Ward's _Fasti Riponienses_, included in vol. 78, the
+story is virtually continued to our own day; while the aforesaid
+Introductions epitomise, in its constitutional and architectural
+aspects, the whole history of the church.
+
+To these volumes and to their Editor, who most kindly consented to
+revise the proofs of this book, the present writer is very deeply
+indebted. He has also had recourse to an article by Sir G. Gilbert
+Scott, R.A., in vol. xxxi. of the _Archaeological Journal_; to the same
+Author's _Recollections_; to several articles on the Saxon Crypt, duly
+specified on pp. 76, 77; to the Guides, by J. R. Walbran, F.S.A.,
+published by Mr. Harrison of Ripon; to Mr. Murray's _Cathedrals_; to the
+volume by the Ven. Archdeacon Danks in Messrs. Isbister's Cathedral
+Series; to _A Day in the City of Ripon_, by Mr. George Parker of Ripon;
+to the old Guides by Farrer and Gent respectively; and to other works of
+a more general character.
+
+His sincere thanks are also due to the Right Rev. the Bishop of Ripon
+for permission to consult the library at the Palace; to the Very Rev.
+the Dean for privileges granted in connection with the library in the
+Cathedral and with the Cathedral itself; to the Ven. the Archdeacon of
+Ripon and the Ven. the Archdeacon of Richmond for their courteous
+assistance on several occasions; to Mr. J. T. Micklethwaite, V.P.S.A.,
+Mr. W. H. St. John Hope, Mrs. Swire, the Rev. H. A. Wilson, Fellow of
+Magdalen College, the Rev. G. W. Garrod, and Mr. John Whitham for
+valuable information on various points, historical and architectural; to
+Mr. Ronald P. Jones for his excellent photographs, to the Archaeological
+Institute and other learned Societies for various other illustrations,
+and to the Rev. E. H. Swann, the Rev. J. Beanland, Capt. E. J. Warre
+Slade, R.N., Mr. F. Forbes Glennie, Mr. T. Wall, Mr. Watson, and others
+for similar assistance.
+
+He desires also to express his thanks to Mr. E. W. Winser, Dean's
+Verger, for much valuable local information; to Mr. Henry Williams,
+Canons' Verger, for expert advice on points of masonry; and to both, as
+well as to the Sexton, for that general assistance which they so
+willingly rendered him throughout his investigation of the Fabric.
+
+
+
+
+CONTENTS.
+
+
+                                                                  PAGE
+  CHAPTER I.--HISTORY OF THE CHURCH                                  3
+
+  CHAPTER II.--THE EXTERIOR                                         39
+
+  CHAPTER III.--THE INTERIOR                                        65
+
+  CHAPTER IV.--OTHER OLD BUILDINGS IN RIPON                        133
+
+  APPENDIX--
+    Abbots of the Monastery of Ripon                               142
+    Canons of Stanwick                                             142
+    Deans of King James I. Foundation                              143
+    Deans of the Cathedral Foundation                              143
+    Bishops of Ripon                                               143
+
+  INDEX                                                            145
+
+
+
+
+LIST OF ILLUSTRATIONS.
+
+
+                                                                  PAGE
+  Ripon Cathedral from the Footbridge over the Skel  _Frontispiece_
+  Arms of the See                                      _Title Page_
+  The Nave, South Side                                               2
+  View from the South-West                                           3
+  Early Apsidal Chapel with Later Chapel superimposed               13
+  The West Front before Restoration                                 17
+  Mediaeval Seals (3)                                                20
+  Ripon Minster Anterior to 1660 (from an old Engraving)            32
+  The Cathedral from the South-East                                 38
+  The West Doorways                                                 39
+  View from the North-West                                          42
+  Doorway, North Transept                                           47
+  Doorway, South Transept                                           52
+  Reconstructed Angle of the Great Tower                            57
+  Flying Buttresses, South Side of Choir                            59
+  The East End                                                      61
+  The North-Western Portion of the Nave                             64
+  Conjectural View of the Interior of Archbishop Roger's
+    Nave (by Sir G. G. Scott)                                       65
+  Conjectural Plan of Archbishop Roger's Church
+    (by Sir G. G. Scott)                                            67
+  The Nave, looking Westward                                        70
+  Plan of Saxon Crypt                                               72
+  The Saxon Crypt                                                   73
+  Conjectural Plan of St. Wilfrid's Crypt and Presbytery
+    (by Mr. J. T. Micklethwaite)                                    77
+  The Two Fonts                                                     79
+  Bas-Relief in the South Aisle of the Nave                         80
+  The Western Arch of the Central Tower                             83
+  The North Transept                                                87
+  Vault of North Transept Aisle                                     91
+  The Rood Screen                                                   95
+  The Great East Window                                             97
+  Bay of Archbishop Roger's Choir (by Sir G. G. Scott)              98
+  Decorated Capital in the Choir                                    99
+  The North Side of the Choir                                      100
+  Bosses from the Choir-Vault (2)                                  103
+  The Sedilia                                                      105
+  Choir Stalls                                                     107
+  Misereres                                                        108
+  Desk-End of Mayor's Stall                                        109
+  Finial in front of the Bishop's Throne                           110
+  The West End of the Choir                                        112
+  The North Choir Aisle                                            113
+  Transitional Vaulting Corbel                                     114
+  The Norman Crypt                                                 118
+  The Chapter-House                                                122
+  Ancient Sculptures in the Chapter-House                          124
+  The Library                                                      130
+  The Old Chapel, St. Mary Magdalene's Hospital                    132
+  Chapel of St. Anne's Hospital                                    135
+  Seal of St. Mary Magdalene's Hospital                            138
+
+  PLAN OF THE CATHEDRAL                                        _at end_
+
+
+  [Illustration: THE NAVE--SOUTH SIDE.
+   (Showing junction of Transitional and Perpendicular work in the
+   Tower.)]
+
+
+
+
+
+  [Illustration: VIEW FROM THE SOUTH-WEST.]
+
+
+RIPON CATHEDRAL.
+
+
+CHAPTER I.
+
+HISTORY OF THE CHURCH.
+
+
+There is evidence that the neighbourhood of Ripon was inhabited during,
+and perhaps before, the Roman occupation of Britain. Whether the place
+was a settlement of the Romans is uncertain; but it was assuredly in
+touch with their civilization, for several of their roads passed near
+it--notably Watling Street, on which, six miles to the east, was
+Isurium, the modern Aldborough; while imperial coins and other Roman
+objects have been dug up in Ripon itself. It is not known whether the
+Romans imparted to the local tribes of the Brigantes their own
+Christianity; but two centuries after the withdrawal of the legions the
+greater part of what is now Yorkshire was absorbed by the invading
+Angles into their kingdom of Deira, which had itself been united with
+the more northern kingdom of Bernicia to form the single realm of
+Northumbria. Deira, however, seems to have retained its own
+individuality. About the year 627 King Eadwine of Northumbria was
+converted to Christianity by Paulinus, and the majority of his Deiran
+subjects followed his example.
+
+=The Scottish Monastery.=--It is in the middle of the seventh century that
+the recorded history of Ripon begins. Deira was then ruled by Prince
+Alchfrith of Northumbria under his father, King Oswiu, nephew of
+Eadwine, and Bede, writing not eighty years after the event, relates
+that the prince chose Ripon for the site of a monastery. The date may be
+fixed in or just before the year 657. This monastery was one of those
+numerous religious colonies which were the result not only of the new
+Christian fervour, but also of a reaction from war toward social life
+and industry. It did not represent the Roman Christianity of Augustine
+which Paulinus had introduced into Deira from Canterbury, but the
+Christianity which had come from Ireland through St. Columba's
+missionary college at Iona, and which was now predominant throughout the
+north. The monks of Ripon were brought from Melrose Abbey on the Tweed.
+Like most monks of that early period, they probably followed no definite
+Rule. Their abbot was Eata, a pupil of St. Aidan, and previously Abbot
+of Melrose and Lindisfarne, while the guest-master was no less a person
+than Cuthbert, the legend of whose having entertained an angel unawares
+at Ripon added, no doubt, to the growing reputation of the house.
+
+Its tranquillity, however, was not to last. The Roman party in the
+Northumbrian Church, though inconsiderable, was gaining force, and
+Alchfrith, deserting his former convictions, gave the new monastery,
+with an endowment of thirty or forty hides of land, as Bede relates, to
+one who had visited Rome, and who regarded the Irish (or, as it was
+called by that time, the Scottish) Church as schismatical.
+
+The life of =St. Wilfrid of Ripon=--so full of adventure, misfortune, and
+lasting achievement--can only be related here in so far as it bears upon
+the story of this, his favourite monastery. It was in 661 that the
+transference from Eata to Wilfrid took place, and at once the Scottish
+monks, refusing to conform to Roman usages, left Ripon in a body. It is
+probable that Wilfrid imposed upon their successors the Benedictine
+Rule, which he had studied at Rome. The new Abbot was not yet in
+priest's orders, but was presently ordained at Ripon by Agilbert, the
+Frankish Bishop of Wessex. In 664 he took the action for which he is
+especially remembered in English history. Appearing at the Synod of
+Whitby, he prevailed upon King Oswiu to throw in his lot with the Roman
+party, and was thus the means indirectly of preventing the isolation of
+the England of that time from the Church and civilization of the
+Continent. Almost immediately afterwards Abbot Wilfrid became Bishop of
+Northumbria, and this tenure of the two offices by the same person was
+perhaps the origin of the subsequent connection of Ripon with the
+Archbishops of York.[1] Wilfrid insisted on going to be consecrated by
+Agilbert, who was now Bishop of Paris, and so long did he remain abroad
+that on his return in 666 he found another bishop, Chad (afterwards St.
+Chad of Lichfield), in possession of the see. He therefore retired to
+Ripon for three years, during which, however, he visited Mercia and also
+Kent, where he met Aedde, or Eddius, who became his chaplain and
+biographer.
+
+=The Saxon Monastery.=--In 669 Wilfrid was restored to his see by
+Theodore, Archbishop of Canterbury, and soon afterwards began to build
+at Ripon. The Scottish monastery, which was probably of wood, is thought
+to have occupied a site between Priest Lane, Stonebridgegate,[2] and a
+nameless road which connects them. Wilfrid now abandoned it, and erected
+upon a new site a more imposing monastery of stone.[3] The practice of
+building in stone seems to have become uncommon in Britain after the
+departure of the Romans, and Wilfrid is thought to have employed foreign
+workmen, perhaps Italians.[4] His church is described by Eddius,
+himself now a Ripon monk, as "of smoothed stone from base to summit, and
+supported on various columns and (?) arcades (_porticibus_)," and was
+doubtless of that Italian type which had become identified in Britain
+with the Roman party in the Church, as opposed to the Scottish mission.
+The Scottish type of church consisted of a small aisle-less nave and
+square chancel: the Italian type generally had aisles, and the altar was
+usually raised upon a platform, beneath which was a crypt called
+_confessio_. A little later than 670 A.D. Wilfrid's new minster was
+solemnly dedicated by him in honour of St. Peter, in the presence of a
+great concourse of clergy and nobles, headed by the King of Northumbria,
+Ecgfrith, the successor of Oswiu. The endowments seem to have included
+at this time certain lands round Ripon which had belonged to the British
+Church before the coming of the Angles, and to have been now increased
+by grants--some as far distant as Lancashire--made by the great men
+present at the ceremony. Wilfrid himself gave a splendid copy of the
+Gospels, written in gold upon purple vellum, the beginning perhaps of a
+library.[5] The feasting was kept up for three days--indeed, no
+monastery could have had for its church a more striking dedication. And
+for the next seven years Ripon must have shared the importance of the
+Abbot-Bishop, whose state rivalled that of the king. By persuading the
+queen to become a nun, however, he presently lost the royal favour;
+while the great size of the diocese, which extended at last from the
+Forth to the Wash, prevented the achievement of complete success in his
+episcopal work.
+
+As yet the see of Canterbury was the sole archbishopric, and in 678
+Archbishop Theodore--already known as an organizer of the
+episcopate--was invited to the court of Northumbria. With Ecgfrith's
+approval, but without consulting Wilfrid, he divided the diocese into
+the three sees of Hexham, York, and Lindsey, answering respectively to
+the tribal divisions Bernicia, Deira, and the land of the Lindiswaras
+(Lincolnshire). Wise though this action was, it was naturally resented
+by Wilfrid, who appealed to the Pope--the first appeal of the kind ever
+made by an Englishman--and set out himself for Rome. He was destined not
+to return till 680, and even then to be kept out of his bishopric till
+686. Ripon was now in the new diocese of York, but in 681 Theodore
+constituted yet another diocese, of which he made Ripon the cathedral
+town.
+
+Of =Eadhead, First Bishop of Ripon= (681-686), little is known. Originally
+a priest at the court of Oswiu, he had accompanied the intruded bishop,
+Chad, when the latter sought consecration at Canterbury during Wilfrid's
+absence for consecration in Gaul. Eadhead had afterwards been appointed
+by Theodore to the see of Lindsey, and was translated thence to Ripon
+when Lindsey was recovered by the Mercians.
+
+His tenure of his new office lasted for five years only, for in 686
+Aldfrith, the successor of Ecgfrith, restored Wilfrid--not indeed to his
+original bishopric of Northumbria, but to a see which combined the
+lately-formed dioceses of Ripon and York[6]. Eadhead accordingly
+retired, and there were no more Bishops of Ripon for twelve centuries.
+
+To Wilfrid was restored not only his bishopric, but also his monastery
+of Ripon, which he retained in peace for the next five years. At the end
+of that time a long dispute arose with Aldfrith, who was veering back to
+the diocesan partition of Theodore, and Wilfrid, deprived of his see for
+the third time, crossed over into Mercia. In 703 a synod was held at
+Austerfield, the King and Berhtwald, Archbishop of Canterbury, being
+present, when Wilfrid was actually asked to promise that he would cease
+to act as bishop, that he would accept the partition of Theodore, and
+that he would retire to Ripon and not leave the monastery without the
+king's permission.
+
+Though he was now a man of seventy, he set out once more for Rome, and
+this time as before the Pope decided in his favour. Returning to Ripon
+in 705, he attempted to conciliate Aldfrith's successor Eadwulf, but in
+vain. In the same year, however, Eadwulf was succeeded by Osred, and
+presently another synod was held, this time at Nidd, seven miles south
+of Ripon, when it was decided, in the presence of Osred and the now
+relenting Berhtwald, that Wilfrid should have the monastery and see of
+Hexham (resigning York) and the monastery of Ripon, thus restored to him
+for the second time.
+
+In 709 he received a call to Mercia, which had already twice received
+him in his adversity, and in which he had accepted the bishopric of
+Leicester. Immediately before his departure he was at Ripon, where he
+kept his treasure, and having a presentiment that he would never return,
+he bequeathed a portion of his wealth to the monastery, appointed
+Tatberht to succeed him as Abbot, and took an affecting farewell of the
+whole community. Arriving at his monastery of Oundle, in
+Northamptonshire, he was seized with illness, and died there on October
+12 in the seventy-sixth year of his age. The body was placed on a car
+and carried in solemn procession to Ripon, where it was buried on the
+south side of the high altar in his own minster.
+
+In 710 the anniversary of his death was kept at Ripon with great
+solemnity, and out of such commemorations, probably, arose the feast of
+his _Depositio_,[7] which was afterwards kept on every 12th of October.
+According to Eddius a remarkable phenomenon occurred on this occasion.
+In the evening the monastery was suddenly encircled with brilliant
+light, as of day, and whether this was a display of Northern Lights or
+not, it was regarded as a Divine testimony to the sanctity of Wilfrid.
+The story shows, at any rate, that he was already beginning to be
+regarded as a saint, and it was probably about this time that his name
+was coupled with St. Peter's in the dedication of the Church. Miracles
+were worked at his tomb, and it became an object of pilgrimage; but
+little is known of the period immediately succeeding his death, save
+that the dwellers around Ripon (as a twelfth century writer, Eadmer,
+represents) first encouraged the cult of the saint, then became
+disgusted at the crowds it drew, and finally endeavoured to check it
+altogether. Wilfrid was succeeded in the abbacy by Tatberht, and history
+has recorded the names of three more abbots who followed each other
+toward the end of the eighth century, Botwine, Alberht, Sigred; and of
+one of uncertain date, Uilden or Wildeng.[8] In 791 a noble named
+Eardwulf, who had plotted against Ethelred, then King of Northumbria,
+was put to death (as it was thought) at the monastery gate by the king's
+orders. The monks carried him 'with Gregorian chantings' to the
+precincts of the church, where they laid him out, but after midnight he
+was found within the building--a recovery which was regarded as
+miraculous.
+
+Ripon did not escape the violence of the Danes. It is thought that about
+the year 860 they burned the town and did some damage to the church, and
+the remarkable mound known as =Ailcy Hill=,[9] near the Canons' Residence,
+and due east of the Cathedral, is probably a relic of some battle of
+this period. In the street-names too, all ending in 'gate' (which in the
+sense of 'way' is a Danish word), another trace may perhaps be found of
+their presence, as well as of the existence of a town at this early
+period. The town probably grew up around the monastery. It has been
+believed that a civic charter was granted by King Alfred in 886; but
+this is impossible, even if such charters were ever granted at this
+time, for Alfred had resigned all this part of England (which since
+about 839 had owned the overlordship of Wessex) to the Danes in 878.
+
+One of the great events in Ripon history is the visit of Alfred's
+grandson =King Athelstan=. Yorkshire had lately been a separate Danish
+kingdom, but it passed under the direct rule of Wessex in 926, and it
+was either in that year that Athelstan came, or in 937, when he defeated
+the Scots and other northern rebels at Brunanburh. It was to this king
+that the church afterwards referred the grant of its most important
+privileges. Among these was that of =sanctuary=, by which homicides,
+thieves, debtors, etc., could flee to Ripon and live there under the
+protection of St. Wilfrid for a specified time. The area within which
+they were protected extended one mile from the church in every
+direction, and the limit was marked by eight crosses, the base of one of
+which is still to be seen on the Sharow Road. The penalties for
+molesting refugees were afterwards graduated as follows:--between the
+limit and the graveyard wall, L18; within the graveyard, L36; within the
+choir (where the pursued sought the last possible refuge at the
+'grythstool,' or chair of sanctuary), confiscation of goods and possible
+death. Those who took sanctuary were called 'gyrthmen' or 'grythmen'
+(from the Anglo-Saxon 'gryth' 'peace'), and undertook, among other
+things, to carry the banners before the relics of St. Wilfrid in certain
+processions. They were under the spiritual charge of a 'gryth-priest.'
+The protection of the outer sanctuary can hardly have been extended to
+Ripon men, as theoretically the whole town could then have committed
+crimes with impunity, and practically the criminals would not have been
+safe from their fellow-townsmen. Ripon debtors did indeed enjoy
+protection here at Rogation-tide, but as a rule men of Ripon would seek
+sanctuary at Durham or Beverley. Athelstan is also said to have granted
+to the church a jurisdiction over its lands independent alike of the
+northern archbishop and of the king, with the right to inflict the
+ordeals of fire and water, and with exemption from taking oaths, from
+taxation, and from military service.[10] Of the two charters in which
+these grants are set forth, one is, indeed of the eleventh or twelfth,
+and the other of the thirteenth century, but Athelstan may at any rate
+have done something to give rise to the tradition, though it is
+impossible to tell exactly what. The story of his having given the manor
+to the see of York is doubtless misleading. The territorial sway of the
+Archbishop at Ripon must be of earlier origin, and it may even have
+arisen out of the grant of the monastery with its thirty or forty hides
+of land to Wilfrid and his retention of them after his elevation to the
+see of Northumbria.
+
+The connection of the monastery with the Archbishop is illustrated in
+the reign of Athelstan's brother Eadred, when Archbishop Wulfstan, by
+aiding a rebellion for the purpose of again setting up a Danish king at
+York, drew down the royal anger upon Ripon. In 948 (or 950, according to
+one authority) Eadred harried Northumbria, and then, says the Worcester
+Chronicle, "was that famed minster burned at Ripon, which St. Wilfrid
+built." Wulfstan himself was deprived and imprisoned.
+
+About two years later the half-ruined and deserted church was visited
+(the see of York being vacant) by Oda, Archbishop of Canterbury. There
+was a tradition in the sixteenth century that he rebuilt it, but his
+visit is also memorable for another tradition, namely, that he
+translated the bones of St. Wilfrid to Canterbury. Hence arose a fierce
+dispute between Canterbury and Ripon, each claiming that it possessed
+the body of the Saint. The claim of Canterbury, which is accepted to
+this day by the Church of Rome, is supported by the assertion of Oda
+himself, and by several subsequent chroniclers, one of whom, however,
+attributes the translation to St. Dunstan, while another goes so far as
+to concede that Oda left a portion of the bones behind. But Ripon always
+maintained that it possessed the whole, and that the relics removed had
+been those of Wilfrid II. (Archbishop of York, 718-732). According to
+the contemporary biographer of Oswald (Archbishop of York, 972-992) the
+bones of the Saint were at Ripon in the tenth century, and Oswald
+solemnly enshrined them--whence that feast of St. Wilfrid's translation
+which was afterwards kept on the 24th of April; and a later chronicler
+speaks of "the body of the blessed Wilfrid" as being at Ripon in the
+reign of Stephen. The claim of Canterbury was forgotten for a time in
+the glories of St. Thomas a Becket, while that of Ripon became more or
+less established in the north. In 1224 Archbishop de Gray, who
+translated the alleged relics at Ripon to a more splendid shrine,
+declared that he had found the skeleton complete. In the fifteenth
+century Henry V. himself writes to Ripon of his reverence for "St.
+Wilfrid, buried in the said church." In the sixteenth, Leland, while
+recording a common opinion that Oda rebuilt the minster, makes no
+mention of any removal of the relics. The controversy will perhaps never
+be decided definitely, but it is interesting in view of the cult of St.
+Wilfrid at Ripon in the middle ages.
+
+The account of the enshrinement of the relics by Oswald has been thought
+to imply that it was he who rebuilt the monastery, and that he filled it
+again with monks. Whether it was rebuilt by Oda or Oswald, the body of
+St. Cuthbert rested here in 995 on its way from Chester-le-Street to
+Durham. From this point onwards, however, no more is heard of monks at
+Ripon, and it may be interesting to recall here the part which this
+monastery had played in the history of the Church. Its first abbot,
+Eata, had become Bishop of Hexham and of Lindisfarne. It had been for a
+time the home of St. Cuthbert. Under Wilfrid, Ceolfrith, one of its
+monks, had become Abbot of Wearmouth, and another, AEthelwald, had
+carried on Cuthbert's work in the Farne Islands. In accepting and
+treasuring the staff of St. Columba, the Ripon of Wilfrid had forgotten
+something of its hostility to the Scottish mission. Through Wilfrid,
+Ripon had been connected with the founding of other monasteries, Hexham,
+Selsey, Lichfield, Oundle. Through his labours, again, and those of St.
+Willibrord, another of its monks, it had become known as a great centre
+of missionary work. Wilfrid had strengthened Christianity in Mercia and
+Kent, and may claim to have introduced it into Sussex and the Isle of
+Wight. Abroad he had carried the Gospel to the Frisians, and his work
+among them was splendidly completed by Willibrord, who became Archbishop
+of Utrecht.[11]
+
+=The College of Secular Canons.=--From 995 to the Conquest, the history of
+Ripon is almost a blank. During that time the monastery, by a reversal
+of the more usual process, became converted into a college of secular
+canons, but nothing is known of the manner in which the change was
+effected. The last Saxon Archbishop of York, Ealdred, who crowned both
+Harold and the Conqueror, is said to have founded prebends--perhaps
+giving lands out of his manor, and the Canons of Ripon duly appear in
+Domesday Book (1085-6). In 1070 the Conqueror, to whom the north had
+given much difficulty, ordered the Vale of York to be harried. Ripon
+suffered severely, and in Domesday Book the surrounding lands are
+recorded as "waste." The minster probably shared in the general wreck.
+
+What happened to it in the succeeding period is not definitely known. It
+may have been entirely rebuilt, as most great Saxon churches were after
+the Conquest, or it may have been rebuilt partially, or merely enlarged.
+That something was done is proved by the existence south of the choir
+of some Norman work which has been attributed to the first Norman
+Archbishop, Thomas of Bayeux (1070-1100), or to Archbishop Thurstan
+(1114-1141).
+
+  [Illustration: EARLY APSIDAL CHAPEL WITH LATER CHAPEL SUPERIMPOSED.]
+
+The former died at Ripon. Indeed, the Archbishops had been in the habit
+of residing here since the end of the tenth century, and they duly
+appear in Domesday Book as lords of the manor, of which the canons' land
+is apparently treated as a part. It is worthy of note that Domesday Book
+records also the 'soc' jurisdiction and freedom from taxation which are
+mentioned in the 'Athelstan' charters. The exemption also from the
+king's officers which is set forth in the same charters, was proved in
+1106, when an attempted invasion of the liberties of the Church by the
+Sheriff of York was successfully resisted by Archbishop Gerard before
+arbitrators appointed by Henry I. This king also exempted the lands of
+Ripon from castle-building, and granted to the Canons and the Archbishop
+a fair at the feast of St. Wilfrid's translation (April 24th). In the
+next century fairs were also claimed for the feast of his _Depositio_
+(October 12th), and for the feasts of St. Michael and of the Finding of
+the Holy Cross.
+
+=Archbishop Thomas II.= (1109-1114) founded the =Hospital of St. John the
+Baptist=, and another Hospital, that =of St. Mary Magdalen=, of which the
+chapel remains, was founded by his successor, =Archbishop Thurstan=
+(1114-1141). Both these Hospitals were affiliated to the Church, and the
+masterships were in the gift of the Archbishop. St. John's afforded
+shelter to poor travellers who came in through the forest which then
+adjoined the town. When the forest was cleared, the endowment provided
+exhibitions for a few poor boys, who lived here while they pursued their
+studies in "grammar" (perhaps at the Grammar School), with a view to
+becoming clerks. The two hospitals, and a third which was founded later,
+were placed at three of the principal entrances to the town, with the
+express intention, perhaps, of assisting the pilgrims who resorted to
+the shrine of St. Wilfrid.
+
+Thurstan added one more canon to the staff by founding the prebend of
+Sharow. He may also be called the founder of Fountains Abbey, which was
+built on land assigned by him out of his domain of Ripon.
+
+In the troubles of the reign of Stephen, Ripon took no small share. When
+the Scots descended into Yorkshire, nominally to aid the Empress Maud,
+Thurstan sent against them all the levies which an archbishop, as a
+feudal baron, could muster, including doubtless the men of his manor of
+Ripon, and the victory which they won near Northallerton in 1138 is
+known as the Battle of the Standard, from the banners of the three
+mother-churches--Ripon, York, and Beverley--which waved over the English
+army. Ripon was soon to experience the anarchy which prevailed toward
+the end of the war. In 1140 Alan, Earl of Richmond, entrenched himself
+on a neighbouring hill and grievously oppressed the town and its
+inhabitants. Led by him, the large landholders in the neighbourhood
+broke open the storehouses and granaries of the archbishop, and in 1143
+Earl Alan himself burst into the church with an armed band and attacked
+Archbishop William Fitzherbert (afterwards St. William of York), who was
+standing by St. Wilfrid's shrine. The Archbishop's offence may have been
+that he was the king's nephew. At any rate he was detested by the
+Cistercians, who were strongly represented here by Fountains Abbey, and
+Ripon seems to have sided with them, for in 1148, when Archbishop
+William was temporarily deprived of his office, it was to Ripon that his
+supplanter, Archbishop Murdac, retired when he durst not enter York.
+Stephen confirmed to the College all the privileges granted by his
+predecessors.
+
+=Building of the Present Church.=--The reign of Henry II. is marked by
+another rebuilding of the church. William was succeeded in 1154 (the
+year of the king's accession) by =Archbishop Roger de Pont l'Eveque=
+(1154-1181). This prelate is known in politics for his opposition to
+Thomas a Becket, and in art for his prominent share in the development
+of our national architecture. There is perhaps no more important example
+of the transition from the Norman to the Early English style than his
+work at Ripon. With the exception of the crypt under the present
+crossing, and of some Norman work south of the present choir, he rebuilt
+the whole church, and history has recorded the wording of a deed in
+which he gives "L1000 of the old coinage for the building of the
+basilica ... which we have begun afresh."[12] Roger's church was a
+cruciform building, and its nave had no aisles. A great portion of his
+work remains--the two transepts, half of the central tower, and
+portions of the nave and choir. The plan (see below, p. 67) was typical
+of the early history of the place and of its subsequent conversion from
+a monastery into a college of secular canons; for the aisleless
+cruciform arrangement in churches was developed from a combination of
+the Scottish type with the Roman or basilican, and the absence of aisles
+was, or rather had been at a slightly earlier period, the recognized
+mark of a secular as opposed to a monastic church. In giving aisles to
+the choir Roger's plan was singular, for it was not usual for a choir to
+have aisles when the nave had none. Except by the addition of
+nave-aisles, the dimensions of his plan (as Walbran remarked) have not
+been materially exceeded; and Ripon is an example of the size to which
+churches of canons often attained, in spite of the fact that their plan
+was generally that of a mere parish church.
+
+The next archbishop, Geoffrey Plantagenet, was often in disagreement
+with his brothers, Richard I. and John, but the manor of Ripon is said
+to have been the only portion of his temporalities of which the latter
+king did not deprive him.
+
+After Geoffrey's death the see was vacant for nine years until 1216, the
+year of the accession of Henry III., when it was given to =Archbishop
+Walter de Gray= (1216-1255). In the same year 'spiritual fraternity' was
+formally concluded between Ripon and Fountains; and a somewhat similar
+arrangement was made a little later with Southwell, which since Henry I.
+had shared with Ripon and Beverley the dignity of a mother-church or
+pro-cathedral in the diocese of York. In 1224, at the request of the
+Canons, Archbishop de Gray translated the relics of St. Wilfrid (if such
+they were) to a new shrine, enshrining the head separately in such a way
+that it was exposed to view. He also granted an indulgence of thirty
+days to all who should make pilgrimage to the saint's new resting-place.
+This second translation never became a feast, but it doubtless
+stimulated the cult of St. Wilfrid afresh, and probably brought
+considerable profit to the Church.
+
+A few years later, at any rate, an important alteration was made in the
+fabric, by the building of the present west front with its two flanking
+towers, and the tall wooden and lead-covered spires which once crowned
+the latter and the central tower were probably erected at this period.
+
+In 1230, the Archbishop founded a seventh prebend--that of Stanwick;
+and in 1241 sanctioned the addition of the parish of Nidd to the common
+property of the College.
+
+  [Illustration: THE WEST FRONT BEFORE SIR G. G. SCOTT'S RESTORATION.
+   (From an old print, by the kind permission of the Ripon Museum.)]
+
+As yet, most of the prebends were distinguished by the names of the
+Canons who held them, or of Saints; and it was not till 1301 that they
+were named after the principal hamlet or township in each--Stanwick,
+Monkton, Givendale, Sharow, Nunwick, Studley, Thorp. They were all in
+the neighbourhood except Stanwick, which was in the North Riding, near
+Richmond. The Church was (as it still is) parochial as well as
+collegiate. Each prebend carried with it a cure of souls, yet all
+(except Stanwick) were included in the huge parish of Ripon, which
+extended to Pateley Bridge, and in 1300 had a radius of nine or ten
+miles. Thus the collegiate establishment differed from the usual type in
+which each prebend was a separate parish with a church of its own.
+Moreover, there was neither Dean nor Chancellor. The Canons may at first
+have lived in common, but as early as 1301, and probably earlier, they
+were dwelling in separate prebendal houses round the Church. There is no
+evidence that they ever resided on their prebends, except in the case of
+the Canon of Sharow, whose residence was at that place. The canonries,
+having been founded by Archbishops of York, were in the gift of the see,
+or of the Crown when the see was vacant. The Canon of Stanwick was _ex
+officio_ Ruler of the Choir, whence his obligation to reside in Ripon in
+spite of the remoteness of his prebend, which was served by a vicar.
+Similarly the Canon of Monkton was always Treasurer, and had charge of
+the Chapter-house, the ornaments and plate, and the High Altar.
+
+The revenues of the church may be divided as usual under three heads.
+There was a Common Fund, arising from certain rents, tithes, fees, and
+oblations; a survival perhaps of a time when the Canons lived in common.
+Secondly, there were the revenues drawn by the Canons from their
+respective prebends, and consisting partly of rents, but chiefly of
+tithes. The prebend of Stanwick was worth about twice as much as any
+other. Thirdly, there was the Fabric Fund, arising from certain rents,
+oblations,[13] and licences, from the profits of St. Wilfrid's
+burning-iron (with which cattle were branded to keep off murrain),[14]
+and, in later days, of the pok-stone (which was probably regarded as in
+some way a preventive against the 'pokkes' of sheep and cattle); but
+especially from the farm of indulgences. When much building was in
+progress the Canons' incomes were afterwards specially taxed, and once
+or twice Peter's-pence were actually withheld from the Pope and devoted
+to architectural purposes.
+
+At the time of Archbishop de Gray, the old and somewhat vague
+jurisdictions in and about Ripon had become more distinct. The parish
+was a Peculiar,[15] and as such was exempt from the authority of the
+Archdeacon of Richmond, either by tradition from the days when the
+church was a monastery, or because of the presence here of the
+Archbishops. Over this Peculiar (the laity included) the Chapter
+exercised the spiritual jurisdiction of an archdeacon's court, assisted
+by the Rural Dean of Ripon, who sat as 'Dean of Christianity.' This
+'Court Christian' dealt with testamentary and matrimonial cases, cases
+of defamation, immorality, neglect of religious duties, etc. Accused
+persons cleared themselves by compurgation, or underwent penalties
+(commutable, however), such as being beaten, walking barefoot in the
+processions, suspension _ab ingressu ecclesiae_, or excommunication.[16]
+Lesser offences were dealt with by an archbishop's officer called
+_penitentiarius_, who heard confessions and enjoined penances. The
+Archbishop was Ordinary of the Peculiar. He held visitations in the
+Chapter-house, and could order repairs of buildings, make statutes (in
+consultation with the Chapter) for the College, and sequestrate its
+revenues. He also exercised authority over offending Canons and over the
+inferior clergy of the staff, though the correction of these belonged
+primarily to the Chapter and especially to the Canon of Stanwick.
+
+  [Illustration: MEDIAEVAL SEALS.
+   1. Seal of the Mediaeval Chapter.
+   2. Capitular Seal "ad causas."
+   3. Common Seal of the Vicars.]
+
+For purposes of secular jurisdiction Ripon, with the lands round it, was
+a Liberty, exempt, that is, from the authority of the Sheriff. The
+Liberty was almost co-extensive with the Peculiar. Within it were two
+secular jurisdictions, that of the Archbishop as lord of the manor, and
+that of the Chapter, which embraced the southern half of the town and
+many country districts, and which may have originated either with
+Ealdred's presumable gifts of land out of the manor to form prebends, or
+(as the charters pretend) from a grant of Athelstan, or perhaps from an
+original independence enjoyed by the church as a monastery. The Chapter
+claimed within their sphere the rights attributed to Athelstan's grant,
+and also assize of bread, ale, weights and measures; dues of fairs and
+markets; certain feudal dues; power over masterless goods, and to deal
+with cases of rent, wrongful detention of land, and theft; _cognitio de
+falso judicio_; execution of royal writs; 'sheriff-tourn'; coroners of
+their own; in fact the powers of a sheriff and of the justices-in-eyre,
+with a prison and the right of gaol-delivery, and even of inflicting
+capital punishment. In cases of homicide, however, a king's justice must
+sit as assessor. For civil suits there was a provision against 'wager of
+battle,' and the accused again cleared themselves by compurgation.
+Archbishop de Gray claimed similar privileges, but wished to exercise
+them over the whole Liberty, on the ground that the church and its
+appurtenances were part of his manor (as indeed they very possibly were,
+originally). Unlike Archbishop Gerard, who had supported the church's
+privilege against the sheriff, de Gray actually joined the sheriff in
+invading it. In 1228 the case came before the king's justices in the
+Chapter-house at Ripon, and the decision was for the Chapter. Thus the
+division of jurisdictions received from the State an undoubted sanction.
+Within his sphere the Archbishop appointed his own justices, but on
+arriving at the limits of that sphere, the king's justices sat with them
+there on the first day, and were afterwards admitted to sit with them in
+the town. The Archbishops claimed also that their commissioners should
+administer the oath of obedience at the mile-limit to those who sought
+sanctuary. The Archbishops are also said to have had a 'military court,'
+probably a feudal institution.
+
+The memory of de Gray was perhaps held in scant respect at Ripon. He is
+accused by Matthew Paris of having refused to distribute his corn during
+a famine, and it was through the erection of Bishopthorpe Palace by him
+that Ripon ceased to be a favourite provincial residence of the
+Archbishops. Nevertheless they still frequently visited the town, both
+for sport and duty. They had a park "six miles in compass," and the
+fishing in the Ure. The existence, moreover, of a prison here for
+criminous clerks made the minster a convenient place for the public
+degradations which the Archbishop was obliged to hold from time to time.
+On these occasions the offending clerks were brought across to the
+church, where the Archbishop in full pontificals would hear their avowal
+of guilt in the nave, and then solemnly divest them of their robes and
+of their office at the west door.
+
+In 1270 came the first echo from the outside world since the reign of
+Stephen. Prince Edward was setting out on a crusade, and Archbishop
+Giffard was compelled to exact from the Chapter a twentieth of their
+temporalities. The town had now attained to some importance, and sent
+two members to the Model Parliament of 1295.
+
+As yet the minster of Archbishop Roger had suffered no change in its
+main fabric save the rebuilding of the west front, but an alteration was
+now to be made at the other extremity also, and the eastern portion of
+the choir was rebuilt with all the elaboration of the Decorated style.
+Of this work the greater part was probably effected under =Archbishop
+John Romanus= (1286-1296).
+
+In 1293 the almost cathedral rank of the church was marked by the
+consecration within its walls of a bishop (of Galloway). It was, as has
+been said, the parish church of the huge parish of Ripon. Yet the town
+itself possessed at an early period a separate parish church of
+Allhallows, a memory of which survives in 'Allhallowgate.'[17] There was
+also an old chapel of the Virgin called the 'Lady-kirk,' in
+'Stammergate,' and there were chapels at the two hospitals and the
+palace. But there were at first few if any places of worship in the
+surrounding country, and the most remote of the parishioners had been
+obliged to repair Ripon. This state of things led to the erection of
+district chapels by the larger landholders under the sanction of the
+Chapter, as early as the twelfth century, and of these chapels there
+were eventually at least sixteen.
+
+The parishioners, however, still assembled at Ripon on certain feasts,
+notably Christmas, Good Friday, Easter, Ascension, Whitsuntide, and the
+feasts of St. Wilfrid's death (October 12th) and translation (April
+24th), to which was added later a feast of his nativity, observed on the
+Sunday after Lammas Day, and in the parish of Ripon only.[18] On St.
+Wilfrid's feasts the privilege of sanctuary was extended beyond the
+mile-limit to all who visited the mother-church, and the penalty for
+molestation without the limit was L6. On Easter Day all the parishioners
+received the Communion in the minster,[19] and on that day, on Christmas
+Day, and on the feast of St. Wilfrid's nativity, the district chaplains
+attended in their copes. Very picturesque, too, must have been the
+miracle-plays at Easter, Christmas, and Epiphany; the great fairs; the
+solemn processions, especially at Rogation-tide, when the relics of the
+Saint were borne in state by representatives of the greater tenants of
+the church, and attended by the sanctuary-men carrying staves with
+banners. It is probable that once a year (perhaps at Whitsuntide) the
+church was visited by clergy and laity from the whole of that division
+of the diocese to which Ripon was the mother-church. Such annual
+visitations were the especial privilege of mother-churches, and were a
+great source of profit.
+
+Underneath all this pageantry, however, there was much that was
+unsatisfactory in the internal affairs of the college. In the thirteenth
+century even more than afterwards, the great difficulty in the working
+of secular colleges was non-residence. The Canons were often pluralists,
+or foreigners appointed under pressure from the Pope or the king, who
+provided in this way for prominent civil servants. A canon would often
+leave his prebend in the spiritual charge of a vicar engaged by the
+year, or under the administration of a proctor, or would even farm it
+out--sometimes to a layman. Sometimes a canon was suspected of being a
+layman himself, or a married man. The proctors or lessees dismissed or
+appointed vicars at their pleasure. The prebendal houses fell into
+disrepair, and in some cases a plot had been assigned, but no house had
+been built. Some canons at this period resigned their stalls after an
+extremely short tenure, or changed from one stall to another.
+
+=Archbishop Thomas de Corbridge= (1299-1303) addressed himself to the
+reform of these evils. He ordered the Canons to look to their prebendal
+houses. He tried to control their acceptance of benefices in plurality.
+He forbade them to farm their prebends to any but brother-canons except
+with his licence. It was he who gave the prebends their territorial
+names. Most important of all, he decreed in 1303 that the cure of souls
+in each prebend was to be entrusted to a vicar-perpetual. The collegiate
+system was indeed breaking down, and the Vicars henceforth were almost
+as important a body as the Canons, whom they relieved of all
+responsibility for the parochial work and the performance of the
+services. Except the Vicar of Stanwick, they all lived at Ripon, and in
+1304 one Nicholas de Bondgate provided them with a common residence,
+which became known as the Bedern[20] (whence 'Bedern Bank'). The office
+of _penitentiarius_ or of rural dean was often held by one of them.
+Besides the seven Canons and the six Vicars in Ripon, there were three
+deacons, three sub-deacons, six thuriblers, and six choristers, and the
+full officiating staff thus amounted to thirty-one, exclusive of the
+chantry priests, of whom, however, there were as yet but few.
+
+The successor of Archbishop de Corbridge was an ex-Canon of Ripon,
+=William Greenfield= (=Archbishop= 1304-1315). He rebuilt the chapel of the
+Palace and founded a chantry in it. It was at Ripon that he put forth,
+with additions of his own, certain rules against clerical abuses which
+he had borrowed from the diocese of Chichester. He found indeed much to
+reform. Already the vicariate was becoming demoralized. Vicars and
+inferior clergy were addicted to shows and sports, to dances and
+stage-plays. A chaplain invented a gambling game called "ding-thrifts."
+What wonder that the laity, then, begged at the altars under pretence of
+being proctors of absent canons, or intruded into the choir during
+service--a privilege reserved for the great? And another privilege of
+rank had been invaded also, for the Archbishop had to direct that only
+great persons and benefactors were to be buried within the minster. In
+1310 two women fought in the graveyard so savagely that it had to be
+reconsecrated. In his last year the Archbishop had to restrain the
+proctors of absent canons from acting independently in the
+administration of the prebends, and from exercising capitular authority.
+
+These internal difficulties, however, were presently forgotten in a new
+danger from without. Already, in 1298, Archbishop de Newark had called
+upon the Chapter to assist in providing cavalry for Edward I.'s campaign
+against John Balliol, King of Scots. The King himself is said to have
+visited the town in 1300. In 1315 the Chapter had sent a representative
+to a council held by Archbishop Greenfield at Doncaster to consider the
+defence of the realm. Since Bannockburn the Scots had been raiding the
+northern counties, and in 1316 Edward II. ordered Ripon to provide
+maintenance for Aymer de Valence, Earl of Pembroke, who was to pass
+through on his way to check the raids. In March 1318 the town sent a
+contingent to the King's forces, and the money, together with a banner
+of St. Wilfrid, was provided by =Archbishop William de Melton=
+(1317-1340). In May of the same year the Scots descended upon Ripon
+itself. They might have spared the place, for in 1297 it had been the
+temporary home of the mother of Robert Bruce, now King of Scotland, but
+no consideration was shown. As there were no town walls, the inhabitants
+fled to the minster and fortified it. For three days their homes were
+given over to plunder, and the enemy demanded one thousand marks as the
+price of a promise not to burn the town altogether. Even the Archbishop
+urged the townsmen to pay this blackmail lest further damage should be
+done, but such a sum could not be raised in a moment, and during either
+this or a subsequent visit the Scots did much damage to the church. The
+prebends suffered to the extent of over 150 marks, and the hospitals
+were much crippled. Nor was any satisfaction to be had, save by solemnly
+excommunicating the enemy on Sundays and festivals. It was probably in
+consequence of the havoc wrought that in 1322 Parliament, which had been
+summoned to meet at Ripon, met at York instead.
+
+Thrice again after 1318 were forces levied in the Liberty against the
+Scots--in 1327, in 1333, and in 1342, when Edward III. even offered
+pardon to the sanctuary-men if they would serve.
+
+Meanwhile Archbishop de Melton had been promoting the repair of the
+minster, a task which included probably the renewal of the spires, the
+roof, the stained glass, and the woodwork. In 1331-2 he issued some
+important statutes for the College. Hitherto each Canon (except the
+Canon of Stanwick) had received an annual dividend out of the Common
+Fund. Of this fund, a large portion which had always gone to furnish
+these dividends (or a part of them) was now appropriated exclusively to
+canons willing to reside. Thus a premium was put upon residence, which
+was fixed at twelve weeks in the year (not necessarily continuous), and
+a distinction was admitted between resident and non-resident canons.
+Again, the Common Fund was now to be charged with the salaries of the
+Vicars, who had hitherto been precariously paid by the Canons their
+masters.
+
+=Archbishop John de Thoresby= (1352-1373) added to the prebend of Studley
+the two districts of Dacre and Bewerley, and it was probably about this
+time that the Lady-chapel (now the Library) was built. In 1375 some part
+of the church was burnt, and in 1396-7 the central spire seems to have
+been rebuilt. The town had now recovered its prosperity, for in 1405 it
+became the residence of the Court, when King Henry IV. was driven from
+Westminster by a plague. The next reign is marked by an improvement in
+the status of the Vicars. They had been living dispersed over the
+town,--indeed, their common residence or Bedern is said to have been
+destroyed by the Scots.
+
+In 1415, therefore, =Archbishop Henry Bowet= (1407-1423), having obtained
+from Henry V. a charter with a dispensation of the Statute of Mortmain,
+gave a site out of his manor for a new Bedern; and the vicars
+themselves, who at this period are commended by both the Archbishop and
+the King, were at the same time formed into a corporate body having a
+common seal, and were allowed to elect from their number a Provost.
+Under this Archbishop there were several instances of canons exchanging
+their stalls for other benefices. The discipline of the staff seems to
+have become exceedingly lax by 1439. The church music was neglected.
+The Mass of Our Lady was not said regularly in the Lady-chapel. The
+inferior clergy did not study for their examinations, and wore daggers
+in the Choir. They and the vicars frequented taverns, walked about the
+nave during service, and absented themselves without leave. The Canons
+did not attend church in their habits, and the clergy generally indulged
+in field sports.
+
+=Archbishop John Kemp= (1426-1452) did what he could to reform these
+abuses, and effected some improvement (the nature of which is not clear)
+in the status of the Vicars, who had been badly treated by the Chapter
+in financial matters. Later in this century a chantry chaplain is found
+engaging in dishonest trade; priests fight; laymen assault one another
+in the minster during service. But mediaeval morality in general must not
+be condemned, of course, for a few recorded crimes.
+
+About 1450 the south-east corner of the central tower gave way, and so
+unsafe was the church that service had to be held in the Lady-kirk. In
+consequence of this disaster the Canons were obliged to rebuild not only
+the south and east sides of the tower, but also the east side of the
+south transept, and eventually part of the south side of the Choir; and
+it is evident that they would have rebuilt the two remaining sides of
+the tower, had they not been prevented by the Dissolution. The present
+rood screen and canopied stalls were put in toward the close of the
+fifteenth century. In 1502 the Lady-kirk (in which a chantry had been
+founded in 1392) was handed over by the Chapter to Archbishop Savage,
+who in turn transferred it to Fountains Abbey. Abbot Huby, intending to
+make it a colony of Cistercians, rebuilt the east end of it, and
+enclosed part of its graveyard with a fine stone wall having a
+strongly-marked base. Of this wall a great part remains in St.
+Mary-gate. A large doorway in it has been built up. The Lady-kirk itself
+has vanished long ago.
+
+At this time was begun the greatest architectural enterprise that had
+been undertaken at Ripon since the twelfth century, namely, the
+rebuilding of the nave of the minster. The Transitional nave, it was
+said, had become ruinous through age and storms, but the real motive for
+its destruction was probably an ambition to enlarge the building. The
+enlargement of aisleless churches was usually begun by the addition of a
+single aisle, and that on the north side (since the south was usually
+the side of the graveyard); but at Ripon the south aisle was built
+first, perhaps because it was always intended that there should be two
+aisles--an arrangement which there were no cloisters here to prevent.
+The work was begun in 1502 or 1503. Delayed by a plague in 1506, it was
+almost complete, as Leland's _Itinerary_ shows,[21] when he visited the
+town about 1538, but the aisles had not yet been vaulted when the
+Dissolution came, and had wooden roofs until our own time. Irreparable
+as is the loss of Archbishop Roger's nave, its successor must surely be
+placed among the great naves of the Perpendicular period--and it is the
+latest of them. The work was furthered by =Archbishop Savage= (1501-1507)
+and by =Cardinal Archbishop Bainbridge= (1508-1514), and two canons must
+especially be mentioned in connection with it, Andrew Newman, appointed
+Master of the Fabric in 1502, and =Marmaduke Bradley=, who was paymaster,
+and who was connected with the repairs after the failure of the central
+tower, and gave up to the fabric a large portion of his fees for
+residence. The last work done before the Reformation was probably the
+rebuilding of the three westernmost bays on the south side of the choir,
+which had been weakened doubtless by the accident to the central tower.
+
+By this time the church contained nine chantries, namely, those of St.
+Andrew (founded 1234); of the Holy Trinity _supra summum altare_ (1345);
+of St. John the Evangelist and St. John the Baptist (1364); of St. James
+(1407-8); of Our Lady 'in the Church' (1408); of St. Thomas of
+Canterbury (1418); of the Holy Trinity _subtus altare_ (1466); of Our
+Lady 'in the Lady-loft'; and of St. Wilfrid (? 1420). In some of these,
+other chantries had been merged. There were also four or five chantries
+in various chapels in the parish. The chantry-chaplains were not
+strictly on the staff, but helped on Sundays and festivals. As their
+chantries did not give them sufficient occupation, they sometimes held
+in addition such offices as that of Proctor of an absent canon, Curator
+of the Fabric, Sub-Precentor, Sub-Treasurer, or Chamberlain, the holder
+of this post being the chief financial officer of the community.
+
+On the eve of the Reformation the discipline of the staff was again very
+unsatisfactory, chiefly through the influence of the Treasurer, Canon
+Christopher Dragley, who employed the vestry clerks on his private
+business, disposed of chantries prematurely, and encouraged the Vicars,
+who were now living dispersed, to be insubordinate. It was the custom
+for choir and clergy to adjourn after Prime to the Chapter-house, where
+the martyrology for the day was read and notices were given out. Here,
+too, once a week sat the Chapter Court. But Dragley was able to hinder
+all this by keeping the door locked. From 1533 to 1539 he was Treasurer,
+Canon Residentiary, and President of the Chapter, and the general laxity
+was largely due to this concentration of authority in the hands of one
+bad man through non-residence. The case of Dragley drew several decrees
+from =Archbishop Edward Lee= (1531-1544):--that no vicar should be
+appointed without the consent of a majority in Chapter; that the Chapter
+seal must be kept by three people; that one canon must no longer form a
+quorum (as hitherto) in the Chapter Court, and as a question had arisen
+whether the powers of the Chapter were not entirely vested in the
+canons-resident,[22] it was laid down that the latter were indeed
+competent to dispose of certain chantries and other offices, and to
+exercise the Chapter's spiritual jurisdiction, but that in most other
+matters the whole body must be consulted. As most of them were always
+absent, this means, perhaps, that they were represented in Chapter by
+their proctors. There is an instance in 1546 of the Vicars, chantry
+priests, and deacons being allowed to take part in a Chapter meeting.
+
+An attack on relics was begun in 1538, and it was probably about this
+date that the shrine of St. Wilfrid was destroyed. In 1539 came the
+suppression of Fountains Abbey, the abbot who surrendered it being no
+other than Marmaduke Bradley. He had been Abbot since 1536, holding his
+canonry at Ripon at the same time, and after the suppression of the
+Abbey, he became once more a power at Ripon. As sole residentiary in
+1544, 1545, and 1546, he appears to have used his influence well, and
+played a prominent part in the last architectural operations before the
+Dissolution. The old system of sanctuary, suited only to times when the
+State was weak, seems to have died out about this period. In 1545 came
+an Act for the dissolution of chantries and hospitals. As 'Supreme Head
+of the Church' Henry VIII. renewed the visitatorial authority of the
+Archbishops, and both he and Edward VI. confirmed the ecclesiastical
+jurisdiction of the Chapter. But the end was imminent. In 1547 the
+College was dissolved,[23] and its revenues were annexed to the Duchy of
+Lancaster. There had been attached to the church for centuries a =Grammar
+School=, for which the Chapter had claimed a monopoly of education within
+the Parish and Liberty, forbidding in 1468 the establishment of any
+other school without their special licence. This ancient seminary was
+apparently dissolved, and a new grammar school independent of the church
+was founded by Edward VI., whose benefaction was completed by Mary, the
+endowment being provided from the revenues of four of the late
+chantries. There had also been a Song-school, but it was perhaps merely
+a room in which boys of the Grammar School were trained to be
+choristers. Out of the confiscated revenues one or more clergy were paid
+to minister to the parish, but under Mary the old state of things was in
+some measure brought back. There was once more a Chamberlain, whose
+accounts show much the same items as do those of his mediaeval
+predecessors, and the old religion was restored; indeed, there were six
+altars in the church.
+
+Under Elizabeth there was a return to the arrangement of Edward, the
+clergy (now as many as five in number) being denominated vicars.
+Archbishop Sandys (1577-1588), Lord Burleigh, Richard Hooker, Moses
+Fowler (afterwards the first Dean), and others tried to bring about the
+establishment of a theological college in the Bedern, and an increase of
+the endowments of the church, but in vain. The town must have lost all
+favour in 1569, by taking part in the Rising in the North. It was
+visited by the rebel earls of Northumberland and Westmorland, many of
+the townsmen and local gentry joining them, and for the last time the
+minster witnessed the celebration of the Mass. On the collapse of the
+rebellion, a number of those who had taken up arms were hanged at Ripon
+in sight of their homes, and the church suffered much damage from the
+Queen's soldiery, who stripped the lead from the roof. Like the
+Pilgrimage of Grace in 1536, this Rising was a protest against the
+Reformation, and the records of Archbishop Young (1561-1568), and of the
+Court of High Commission (1580), show that the people of Ripon still
+clung to the old religion. The pillage of Henry and Edward had no doubt
+destroyed most of the ornaments of the church, but some still remained
+or had been renewed under Mary, and the clergy displayed a marked
+reluctance in removing them; 'Images,' even when removed, were concealed
+in private houses. One vicar named Thomas Blackburne had continued the
+old practice of holding churchings in the Lady-chapel, and was ordered
+publicly to renounce this error, as well as that of having left "that
+olde, abhominable, and supersticious vawte called the Wilfride's
+nedle[24] and the alter therein" undefaced. One townsman is punished for
+having taken part in the Mass during the late Rising. The clergy
+generally were unclerical in dress and lax in their performance of the
+reformed services, which the parishioners showed a corresponding
+unwillingness to attend, while the old fasts and festivals were not
+wholly given up.
+
+[Illustration: RIPON MINSTER ANTERIOR TO 1660.
+
+_Note_.--This representation much resembles that engraved on the old
+communion plate. As a view of Ripon Minster, it affords an instance of
+the inaccuracy of old architectural drawings; but it shows, at any rate,
+the effect of the spires.]
+
+=The Chapter revived.=--On the accession of =James I.= a second futile
+attempt was made to obtain for Ripon a theological college.[25] The
+influence, however, of the queen, =Anne of Denmark=, gained from the king
+a greater boon, and in 1604 he re-established the Chapter. Under the new
+constitution there were six prebendaries, and for the first time a Dean.
+Much of the old endowments was restored, but the new stalls could not be
+identified with the old territorial prebends, and were therefore
+distinguished as 'the first stall,' 'the second stall,' and so on. After
+1607 the Prebendaries were empowered to elect a Sub-Dean. The cure of
+souls was discharged by two vicars, and the choir was composed of six
+lay-clerks and six choristers. The parish remained a Peculiar. The
+spiritual jurisdiction of the Chapter and the Archbishop had been
+somewhat restricted by the Reformation, and the secular jurisdiction of
+the Liberty--especially in criminal cases--had been partly transferred
+to the king's itinerant justices. The Archbishop, however, still
+retained some criminal jurisdiction and also his 'Court Military,'
+which, strange to say, came to hear civil cases. During the latter half
+of the fifteenth century the secular cases heard by the Chapter had been
+chiefly cases of debt, and under the new constitution they were
+authorized to hold a court, which was called the Canon Fee Court, for
+cases of debt and other civil cases. Some obscurity exists as to the
+mediaeval relation of the Archbishop to the town. There was, of course, a
+town council, and its president the Wakeman[26] (an official peculiar to
+Ripon) had charge of what would now be called the town police. The
+ancient town bridges (of which only one remains) were under the charge
+of the Archbishop. During the sixteenth century the borough constitution
+had been the subject of disputes, in which Cardinal Wolsey had been
+concerned in 1517 and Archbishop Hutton in 1598. James I. therefore now
+granted a new Charter, under which the Wakeman became a Mayor; and
+henceforth the borough had also an independent court of its own. The
+dissolution of the Chapter in 1547, coming as it did upon the decay of
+the manufacture of woollen cloth, had been a great blow to the
+prosperity of the inhabitants,[27] and it was no wonder that when James
+visited the town in 1617 he received an ovation.
+
+In 1625 a plague, such as had not occurred here since 1546, prevented
+the country folk from approaching the minster, and obliged them to have
+their children baptized in the fields. Several changes in the
+surroundings of the church took place at this time. The Bedern, with its
+quadrangle, hall, and chapel, had been demolished by 1625, in which year
+the Deanery was erected, perhaps upon its site. Of the old prebendal
+houses some had been sold, or let; others, perhaps, were occupied by the
+Prebendaries of the new foundation. In 1629 the ancient Palace, which
+stood to the north of the minster and west of the Deanery, was turned
+into a poor-house. The town (and doubtless the minster) was visited in
+1633 by Charles I. on his way to his coronation at Edinburgh.[28] A few
+years later he was to pass through again, a captive on his way to Holmby
+House.
+
+Ripon had escaped the Wars of the Roses, but it was not unscathed by the
+Great Rebellion, for in 1643 it was occupied by Sir Thomas Mauleverer, a
+Parliamentary officer, whose soldiery broke into the minster and
+shattered the magnificent glass in the great east window, and doubtless
+much other glass besides. At the end of the war the manorial rights were
+sold to Lord Fairfax, and the Chapter was again dissolved, "one who
+called himself Dr. Richardson" being "appointed to preach in the minster
+by the Parliament, tho' in all probability he was never in any Orders,
+Presbyterian or Episcopal."[29] The Chapter was revived at the
+Restoration, but all its members were new save one.
+
+In the same year (1660) the central spire, which had been injured by
+lightning in 1593, fell through the roof, wrecking many of the beautiful
+canopies of the stalls. The damage to the choir and other parts of the
+church, estimated at L6000, was repaired with money raised under a brief
+from Charles II., but the spire was never rebuilt, and in 1664, to avoid
+any further catastrophe, the western spires, though sound, were
+deliberately removed.[30] The place of the spires was ill supplied by
+the erection of battlements and pinnacles, which were renewed in 1797.
+
+It was perhaps at this period that the west gate of the precincts was
+pulled down--a mediaeval structure which contained at least seven rooms,
+and which stood at the bottom of Kirkgate. The graveyard in the middle
+ages contained a cross, at which a service was held on Palm Sunday;
+also, possibly, a mortuary chapel and a well associated with St.
+Wilfrid--(not, of course, the St. Wilfrid's well which now fills the
+public baths). Of these things there is now not a trace, save, perhaps,
+the stump of the cross, near the south wall of the nave. Nor are there
+any undoubted remains of the mediaeval wall which enclosed the precincts,
+except the fragment with an archway in it, which still forms the
+southern entrance. The mediaeval prisons, which belonged respectively to
+the Archbishop and the Chapter, have long vanished, as has also that
+which appertained to the Court of Canon Fee, but there is a Liberty
+prison of some age in 'Stammergate.' Most of the archiepiscopal palace
+had disappeared by 1830, but there was still a portion which was used as
+the court-house of the Liberty. In that year this was pulled down, and
+the present court-house was built upon the site. A memory of the Palace
+survives in 'Hall Yard,' and there still remains what is, perhaps, a
+remnant of the actual fabric, in the shape of an old cottage with an
+external staircase, which stands behind the wall to the west of the
+public garden that fronts the north side of the church. In the
+above-mentioned wall is an Early English doorway, with a dripstone
+adorned with the nailhead moulding. The door has a flat-arched wooden
+frame, the spandrels of which are carved with _fleurs-de-lys_, while the
+wooden tympanum above has Perpendicular panelling. This doorway is not,
+perhaps, a relic of the Palace. It is not in its original position, and
+indeed is said to have come originally from St. Mary Magdalene's
+Hospital. Several of the old houses adjoining the Cathedral on the south
+side, and along St. Agnes-gate, may possibly have been inhabited by the
+Prebendaries of the Second Collegiate foundation, but the stone-roofed
+house adjoining Bondgate Green Bridge is the only one in Ripon which can
+be identified with a mediaeval prebend--that of Thorp, and even here the
+existing fabric can scarcely be pre-Reformation. St. John's
+Hospital,[31] whose inmates for several centuries have been women, was
+unfortunately rebuilt in 1869, but the modern chapel (served by one of
+the cathedral clergy) retains a bell of 1663. The old Grammar
+School,[32] which stood at the foot of the steps from St. Agnes-gate to
+the Minster, has been pulled down since 1872.
+
+Meanwhile the Minster itself had been undergoing restoration--in 1829
+and the following years at the hands of Blore, when upwards of L3000
+were spent, and from 1862 to 1870 at the hands of Sir G. Gilbert Scott,
+and at a cost of about L30,000.
+
+From the eighth century up to 1836 Ripon had been in the diocese of
+York. In that year was created the modern diocese of Ripon, and the
+church thus attained to cathedral rank. It had, however, always had some
+pretension to that rank, not merely as a mother-church but because (up
+to 1836) the Archbishops had their throne in the choir; indeed, it is
+styled a cathedral in documents of 1537 and 1546. The diocese is
+composed of parts of Yorkshire taken from the sees of York and Chester,
+and included Wakefield, Leeds, Bradford, Halifax and Huddersfield, until
+in 1888 a portion including Halifax and Huddersfield was taken away to
+form part of a new diocese of Wakefield. There are three archdeaconries:
+those of Richmond, Ripon, and Craven. The first is a survival, in a
+diminished form, of the ancient archdeaconry of the same name; the
+others are modern; the last is the only one which is held without a
+canonry. In accordance with the Act of 1840, the Sub-Deanery has been
+suppressed, the Prebendaries have been reduced to four, and their style
+has been changed to that of Canons. In 1841, provision was made for the
+appointment of Canons honorary. There is also a precentor, and three
+other clergy who act as minor canons, and assist him in discharging the
+cure of souls--for though the huge mediaeval parish has been gradually
+divided into many, the greater portion of the city itself is still
+served from the cathedral church. The choir is composed of six
+lay-clerks and twelve choristers. There was as late as 1890 a
+Choir-school, but most of the present choristers come from Jepson's
+Hospital--a charity which was founded in 1672, in Water Skellgate, and
+the old buildings of which were pulled down in 1878.
+
+There are still some relics of the ancient jurisdictions of the Chapter
+and the Archbishop. Though the secular jurisdiction has been gradually
+reduced by legislation to the scope of Quarter and Petty Sessions, the
+Liberty has Quarter Sessions of its own, and its justices are still
+nominated by the Archbishop, while his Court Military survived at any
+rate into the nineteenth century. A copyhold court, called the Canon Fee
+Court, is also still held by the Chapter. As regards ecclesiastical
+jurisdiction, the mediaeval right of the Chapter to hear testamentary and
+matrimonial cases (which were not taken away from the ecclesiastical
+courts till 1857) probably survived at least until the abolition of the
+Peculiar. Peculiars, with but one or two exceptions, had ceased to exist
+by 1850, and Ripon, once exempt from archidiaconal authority, is now
+itself an archdeaconry. The Bishop of Ripon has, of course, his
+Consistory court, which is held at the Cathedral.
+
+In ending this account of one of the most venerable of English churches,
+it is worth while to remark that, of the four mother-churches of the old
+diocese of York, Ripon is the only one besides York Cathedral itself
+which still has a collegiate foundation.
+
+  [Illustration: THE CATHEDRAL FROM THE SOUTH-EAST.]
+
+
+FOOTNOTES:
+
+[1] The archbishopric of York arose out of the bishopric of Northumbria
+in the eighth century.
+
+[2] The name in this form is modern. In common speech the street is
+always 'Stammergate,' which is probably a corruption of 'Stanbriggate.'
+The latter is the original name of the street, and appears frequently in
+mediaeval records. It has reference to a stone bridge over a brook where
+the gas-works now are. The continuation of this street toward the
+Cathedral is called St. Mary-gate, but this name again seems to be
+modern, and to have arisen from a notion that 'St. Mary-gate' is the
+origin of the word 'Stammergate'--a notion which would be rendered more
+plausible by the fact that this was the situation of the Lady-kirk.
+
+[3] The question whether his monastery church stood over the Saxon crypt
+which exists below the present Cathedral is reserved for Chap. III.
+
+[4] For the place of Ripon in the theory of the direct connection of
+Saxon architecture with the Comacine Guild of Italy, see _The Cathedral
+Builders_, by Leader Scott, p. 139 _sqq._
+
+[5] An MS. which has been thought to be identical with Wilfrid's gift
+came into the market recently, and has passed to America.
+
+[6] The Saint's return after his long exile is still commemorated at
+Ripon, early in August, on the first Saturday after Lammas Day, when a
+man dressed as a Saxon bishop and riding a grey horse is escorted
+through the streets.
+
+[7] This liturgical term sometimes refers to the _burial_ of a saint,
+sometimes, as here, to the _death_.
+
+[8] There is also mention of an Abbot Tylberht, but he may be the same
+as Tatberht.
+
+[9] _I.e._, 'Elves-how'--'the hill of fairies.' Coins of Aella and other
+early kings have been found in the hill.
+
+[10] At a later period the Chapter claimed also that 'St. Wilfrid's men'
+need not pay tolls when travelling on business through the realm, and on
+one occasion they issued to a Ripon clerk a kind of passport.
+
+[11] Frisia's debt was remembered in the seventeenth century, when one
+of the Canons of Antwerp wrote an account of Ripon monastery for his
+countrymen.
+
+[12] Until Walbran drew attention to this passage, the rebuilding was
+attributed to Thurstan.
+
+[13] Especially at St. Wilfrid's shrine.
+
+[14] It has been suggested that this was the iron which in Saxon times
+had been used for the ordeal of fire.
+
+[15] A Peculiar is a district taken out of its geographical surroundings
+for purposes of ecclesiastical jurisdiction (_Sir W. Anson_).
+
+[16] In later times (at any rate) the Archbishop apparently had a
+spiritual court of his own. A Chapter minute of 1467 declares a certain
+person accused of a spiritual offence to be "non de foro Capituli sed de
+foro Archiepiscopi, unde litterae correctionis emanarunt."
+
+[17] This church had disappeared, as Leland tells us, long before his
+visit to Ripon, which took place about 1538. The dates of its erection
+and demolition are both unknown. In the Chapter-house is preserved a key
+which has been assigned to the fifteenth century, and which has been
+thought to have belonged to Allhallows, but it is thought that the
+church disappeared at an early date.
+
+[18] This Sunday is still called Wilfrid Sunday at Ripon. The Saturday
+preceding it is the day on which the town commemorates the Saint's
+return from his first appeal to Rome. The season is regarded as a
+holiday, and another relic of the nativity festival survives in the fair
+held on the Thursday after August 2nd.
+
+[19] The Easter Communion has survived till our own day. Within living
+memory, and at a period when Early Celebrations were not usual, it was
+celebrated at 7 A.M., and people drove in from the outlying places.
+
+[20] This word is probably connected with the Anglo-Saxon 'bed,' a
+prayer (whence 'bedesmen'), and means a 'house of prayer.' In one
+passage of the records it is rendered in Latin by _proseucha_.
+
+[21] It was Walbran, again, who drew attention to Leland's phraseology
+here.
+
+[22] The Canon of Stanwick was always in Ripon, but was not considered
+technically a canon-resident. Perhaps he was not entitled to the special
+fees for residence. He had, however, full capitular rights. These had
+been denied to him by Dragley, but were now restored by the Archbishop.
+
+[23] If the Ripon hospitals were dissolved they were re-established, for
+they are still fulfilling their purpose.
+
+[24] _I.e._, the Saxon crypt.
+
+[25] The project is being realized in our own day.
+
+[26] _I.e._, the watchman, or setter of the watch. The town motto is,
+"Except the Lord keep the city, the _Wakeman_ waketh in vain." After
+1598 a horn was blown every evening to denote the setting of the watch.
+If any house was robbed between horn-blowing and sunrise, compensation
+could be claimed from the town. To support this system a small tax was
+levied on each house-door, and if a house had two doors it paid more, as
+being more liable to be robbed. A relic of the system still survives.
+Every night a horn is blown thrice before the Mayor's door at 9 P.M. and
+thrice at the Market Cross afterwards. The ancient horn of the Wakeman
+(which appears on the city arms) is still worn by the Sergeant-at-mace
+in civic processions.
+
+[27] Since then, however, another industry had arisen--the manufacture
+of spurs, for which Ripon became famous, and James was presented with a
+pair. This industry did not die out till the end of the last century,
+and a spur is still the crest of the city. The manufacture of
+saddle-trees, which flourished here in the sixteenth century, is still
+carried on.
+
+[28] In 1640 he was at war with the Scots for their opposition to
+episcopacy, and it was at Ripon that the disgraceful negotiations were
+begun, by which a sum of L850 a day was to be paid to maintain their
+invading army, pending a more permanent settlement. The house in which
+the 'Treaty of Ripon' was negotiated stood near Ailcy Hill, and
+disappeared about the beginning of the century. Charles is said to have
+visited the town four times altogether.
+
+[29] Walker's "Sufferings of the Clergy," quoted in _Surtees Soc._, Vol.
+78. There is a tablet to Richardson's wife in the south Choir-aisle.
+
+[30] The following is probably the true version of a story that is told
+in connection with their demolition. One of the workmen had been hoisted
+by means of a pulley, and was being held aloft by his comrades below,
+when he spied some coursing in progress on Bondgate Green. Seeing the
+hare well away and the dogs straining in the leash, he shouted "Let go!"
+And his comrades below did.
+
+[31] For the other hospitals, the 'Thorp' house, and other old buildings
+still standing, see Chap. IV.
+
+[32] Ripon Grammar School has produced an Archbishop of York, Matthew
+Hutton (one of the two of that name who held the office from 1595 to
+1606 and from 1749 to 1757 respectively: the latter Hutton became
+Archbishop of Canterbury); also Beilby Porteous, Bishop of London
+(1776-1787), and Dr. William Stubbs, late Bishop of Oxford.
+
+
+
+
+  [Illustration: THE WEST DOORWAYS.]
+
+
+CHAPTER II.
+
+THE EXTERIOR.
+
+
+Built upon the verge of a slope, along whose base the Skell hurries
+eastwards under many bridges to join the Ure among the meadows a
+half-mile below the town, Ripon Cathedral stands unusually well.[33] Of
+general views the two best, perhaps, are to be had from the wooden
+bridge by Bondgate Green, and from the south-east gate of the graveyard.
+Unfortunately lack of funds prevented Sir Gilbert Scott from raising the
+roofs of nave and transept to their original pitch; but what most
+injures the general effect is the lowness of the central tower, which is
+no higher than those at the west end. This fault, however, must have
+been far less noticeable when all three towers were crowned with lofty
+spires. And, even as it stands, the exterior of Ripon is dignified and
+not unworthy of its commanding site. The size of the clearstorey
+windows, the severity of the transept, the obvious variety of style and
+date throughout the building--these are the features that strike the
+observer most forcibly.
+
+Several kinds of material have been employed. Up to almost the end of
+the thirteenth century the builders used a coarse gritstone such as is
+found five miles to the south-west at Brimham Rocks, and also a finer
+gritstone or sandstone that may have come from Hackfall. After that date
+they built with magnesian limestone, brought partly, perhaps, from near
+York, but chiefly, it would seem, from Quarry Moor, a mile south of the
+city. At the last restoration the older parts were repaired with
+Hackfall stone, and the later parts with limestone from Quarry Moor and
+Monkton Moor, and so extensive were the repairs needed on the exterior,
+that the church somewhat belies, by its appearance, its real antiquity.
+
+The most picturesque approach is from High St. Agnes-gate by a flight of
+steps, which ascend through an old arch to an avenue of limes that leads
+up to the south door; but it is better, perhaps, that the survey should
+begin at the west end.
+
+=The West Front= was doubtless the object of two indulgences, issued
+respectively by Archbishop de Gray in 1233 and by Pope Alexander IV. in
+1258, and was therefore erected just before or during the struggle
+between Henry III. and Simon de Montfort, in the best period of the
+Early English style.
+
+The height of the gable is said to be 103 feet, and that of the towers
+110 feet, and the front is divided by the string-courses into four
+stages. In the central compartment the lowest stage is approached by
+three steps, and is filled by three doorways, set in a thickening of the
+wall, and surmounted by gables finished with crosses. The central
+entrance, higher, more widely splayed, and more deeply recessed than the
+others, has five orders and five triple shafts in the jamb, while they
+have three orders and three shafts, the innermost of which is triple and
+the others single. As usual in this style, the shafts are detached and
+not worked on the stones of the jamb. The mouldings of the capitals are
+carried through the jamb from end to end, and on the front of the piers
+between the archways is a curious moulding which resembles an undercut
+roll set up on end, and which has a capital as if it were a shaft. In
+the arches the mouldings are chiefly rounds and hollows: many of the
+former are filleted, and some of the latter are filled with the
+dog-tooth (an ornament peculiar to this style), which is more profusely
+employed in the central arch than in the others. The terminations of the
+dripstones are foliated and stand out detached. The central gable is
+adorned with a square panel of foliage, and either of the others with a
+sunk foliated quatrefoil, and between the gables are spouts issuing from
+the heads of animals. It is worthy of remark that all three doors open
+into the nave; for as a rule when a church has three west doors, two of
+them open into the aisles.[34] The wooden doors in these and all the
+doorways of the church are of considerable age, and those in the central
+archway here bear the date 1673 in nails.
+
+Above the doors is a tier of five lancet windows, and above these
+another tier, also of five, which diminish in height toward the sides,
+the last window at either end being, however, as high as the tier below.
+These tiers occupy the whole width of the compartment. Above them,
+again, is a group of three small lancets graduated to the gable and
+placed very high, with a string-course below them. These serve to light
+the space between the internal and external roofs. In all this work the
+detail is of the very best: the various arches are richly moulded and
+supported by clusters of engaged shafts, which in the two great tiers
+are banded at about half their height, and the dog-tooth ornament is
+everywhere employed profusely. The lower tier is the more elaborate--its
+mouldings more numerous, its shafts more richly clustered, its capitals
+covered with foliage; and between the second and third lancets from the
+right there is a small niche with a toothed edge and the remains of a
+figure. At either end of the two tiers an ornament not unlike the
+ball-flower of the Decorated style is carried up the jamb, and a bold
+corbel-table runs up the sides of the gable, under the apex of which
+there is a trefoil panel, while the whole is crowned by an elaborate
+cross.
+
+  [Illustration: VIEW FROM THE NORTH-WEST.]
+
+In the towers the lowest of the four stages is relieved by a little
+arcade of six trefoiled arches, with detached shafts, fluted capitals,
+and dripstones not trefoiled and terminating in heads. Each of the three
+upper stages is occupied by three tall lancets, of which that in the
+centre, higher and broader than the others, is pierced and (except in
+the belfry) glazed. In their enrichment these arcades resemble the
+windows of the central compartment. The second stage is not quite so
+high here in the towers as it is there, and the level of the
+string-course above is consequently broken. The third stage, taller than
+the second, reaches to the springing of the gable. The fourth, taller
+than the third, rises somewhat above the gable cross, and the shafts of
+the lancets are twice banded, while above are two circular panels, which
+on the north tower are raised and contain quatrefoils, but on the south
+tower are sunk and contain trefoils. On the other faces of these towers
+the arches are not so richly moulded, and the shafts are single and also
+detached, except in the uppermost stage of the north tower, where they
+are engaged and filleted. As the second stage does not descend so low
+upon the western face as upon the other faces, the string-course below
+it, after passing round the corners of the facade, is stopped, and when
+it is resumed it passes above the sill of the arcade, being carried
+round the little plinths of the shafts. All the string-courses, it will
+be noticed, are enriched with the nailhead moulding. The buttresses rise
+to the parapets without diminishing in breadth or projection--an early
+feature, and three large rolls or beads are worked upon their edge.
+Those that flank the portal have each a large niche at the bottom, with
+engaged shafts, and the head and dripstone trefoiled. At the corners of
+the facade, where the staircases are, the buttresses are triple. The
+original corbel-table, surmounted by a row of dog-tooth ornament,
+remains at the top of the towers, but the battlements and pinnacles have
+been put up since the removal of the spires in 1664, and were renewed in
+1797.
+
+The bells, ten in number, are in the south tower. Of the mediaeval peal,
+which consisted of six bells, the largest, known as the _Klank Knoll_,
+was made in 1379 at York, and perhaps hung in the north tower; while
+some of the others seem to have been made in Ripon in 1391. They were
+all recast in 1761 by Lester & Pack of London, after which there were
+eight. Two of these (Nos. 4 and 7) were recast in 1866 by Warner of
+London, and two new bells (Nos. 1 and 2), by Shaw of Bradford, have been
+added since 1890. The ninth bell is rung every evening at nine for the
+curfew. The mediaeval clock, mentioned in 1379, has long vanished;
+another was put up in 1723; the present clock (by Thwaites of
+Clerkenwell) dates from 1808.
+
+The whole front has been much restored by Sir Gilbert Scott, especially
+the doorways and the towers. The latter were badly cracked through
+settlement (due partly to the fact that in either tower one of the sides
+is older than the rest),[35] but, as Sir Gilbert himself declared, they
+are once more strong enough to bear spires, and it is to be hoped that
+the hint will some day be taken. The more the west front of Ripon is
+studied, the more it becomes apparent how much thought has been expended
+upon it. Yet as a work of art it is perplexing. To some it will appear
+beautiful as a design; to others its excellence of detail will be its
+only commendation, and they will complain that the tiers of windows are
+wider than the gable, that there is a disproportion between the little
+arcade in the lowest stage of the towers and the great lancets in the
+upper stages, that the height of the latter makes the towers appear
+top-heavy, that the whole facade lacks projection and depth of shade,
+and that there is too much glass. Some dissatisfaction was felt, as the
+Fabric Rolls indicate, in 1379, when masons were employed to divide each
+of the large windows into two lights with a quatrefoil above.[36] The
+mullions and quatrefoils remained till our own day, when they were
+removed by Sir Gilbert Scott, whose action the present state of expert
+opinion on restoration would severely condemn.
+
+=The Nave. North Side.=--By being rebuilt with the addition of aisles, the
+nave became as wide as the west front. Its width is 87 feet internally
+and nearly 100 feet externally, and it is the widest nave in England
+after York, Winchester, Chichester, and St. Paul's. The date of the
+rebuilding is indicated by a Chapter minute of 1502, which alludes to
+the _onus canonicis modo impositum super reaedificationem navis_. The
+Fabric Rolls mention the purchase of stone in 1503, and the roofing of
+some "new work" in 1505, while a will of 1508 requires the testator's
+body to be buried in "the new work of the College Church." These are
+doubtless references to the south side, which is evidently the older and
+bears internally the arms of Archbishop Savage (1501-1507). Again, an
+indulgence of 1512, by Archbishop Bainbridge (1508-1514), alluding to
+the demolition of the old nave as then complete, suggests that the north
+wall had been left standing till then, and the laying of the foundation
+of the north aisle, which bears his arms, is mentioned in the Roll for
+1512-13. It appears from the Rolls that the main roof was up by 1520-21.
+Lastly, Leland's allusion to "the body of the Chirch of late dayes made
+of a great Widnesse" shows that the main part of the work was finished
+at any rate by about 1538.[37]
+
+The nave is divided--east of the towers--into six bays, of which the
+easternmost is narrower than the rest, to answer to a fragment of the
+old nave preserved within. The plinth is considerably higher than that
+of the west front.
+
+On the north side, the six buttresses project 5 feet at the base and
+rise to the parapet in two stages, which are crowned by gables. These
+gables have their sides curved inwards and are adorned with crockets and
+finials, the latter being attached to the front of the gable, while
+grotesques project from the angles. The windows are of three lights, and
+are rather acutely jointed and deeply set for such late work, and their
+arches are well moulded, a broad hollow running up the sides. As is
+often the case in late work, there are no sub-arches in the tracery, and
+the mullions are carried up through the head. The easternmost of these
+windows is of two lights, and has a transom in the tracery, and the
+westernmost is shortened to allow of a doorway of four-centred form
+beneath. Below the sills runs a string-course, which rises to pass over
+the door. The parapet is battlemented, not for military purposes but for
+ornament, and at intervals are the beginnings of panelled pinnacles, set
+diagonally and partially embedded in the battlements. The clearstorey
+has no pilasters or buttresses, but where it joins the west tower a
+projecting strip of masonry may be seen half imbedded in the Early
+English work and half in the Perpendicular. This is, without doubt, the
+upper part of one of the buttresses of the old nave.
+
+The clearstorey windows are actually larger than those of the aisle
+below, and are again rather acutely pointed for late work. They are of
+five lights, and the two mullions in the middle are carried up through
+the head, but a sub-arch comprises the two outer lights on either side.
+The last window eastwards is of three lights, is shorter than the rest,
+and has several transoms in the tracery. In the parapet, the coping is
+not carried down the sides of the battlements as it is on the aisles,
+and the rudimentary pinnacles spring from grotesque corbels at the
+string-course, with a plain corbel at the side of each to carry the
+water-spout.
+
+=The Central Tower. North and West Sides.=--The central tower of Ripon is
+probably unique among towers in being divided vertically between two
+different styles of architecture. Its north and west sides are
+Archbishop Roger's work,[38] but the other sides are Perpendicular,
+having been rebuilt after the collapse of the south-east angle. Seen
+from the north-west, however, it presents much the same appearance now
+as in the twelfth century, and either side displays a pair of
+round-headed windows, with the weathering of the original roof rising
+high between them and (on the west face) cutting off their corners. The
+windows have a shaft in the jamb, and the abacus of the capitals is
+continued round the tower as a string, but interrupted by the
+buttresses and weatherings, as is also another string below the sills.
+In the windows of the north side there is a space or tympanum over the
+inner arch. Each corner of the tower was strengthened by a pair of flat
+buttresses, with one shaft at the corner itself and another at the inner
+side of either buttress, and with the shafts banded half way up and
+again near the top. These buttresses are received in an overhanging
+corbel-table, above which runs a hollow moulding, filled with dog-tooth
+ornament of a large size and continued round the projections that serve
+for gargoyles. The use of this Early English ornament in a scheme which
+might otherwise be pure Norman affords a good instance of the
+Transitional character of the work. The battlements are later.
+
+=The North Transept=, with the three adjacent bays of the choir, gives
+some idea of the external appearance of Archbishop Roger's church.[39]
+The date of the beginning of the work ascribed to him is placed within
+his lifetime (1154-1181) by his own words quoted in Chapter I. The
+transept is divided by the string-courses into four stages, and has a
+very massive plinth which is lower than that of the nave, thus
+expressing the slope of the ground. The west wall is shorter than the
+east and has two bays only, but south of the second bay, and separated
+from it by a flat pilaster, is a narrow space, along the top of which
+are the remains of a cornice: the two bays proper are separated by a
+recessed buttress of some projection. One round-headed window, divided
+by a mullion, appears in the second stage; and in the fourth stage are
+two plain, round-headed windows, not subdivided. The original
+corbel-table remains above, but it is surmounted by a (probably)
+fourteenth century battlemented parapet, which is returned over the
+central buttress, forming a square turret, which has a (renewed)
+gargoyle below it, and is pierced with a cross. The buttresses at the
+north-west corner of the transept, where is a staircase, are clustered
+and rise to the top of the wall, and like most Norman buttresses, and
+some of Early English date (as in the west front), they do not diminish
+as they ascend. The large buttress on the west side of this corner has
+two carved stones built into it at the height of about eighteen feet
+from the ground. They are covered with patterns resembling the knots so
+often found on ancient crosses, and are of especial interest as being
+possibly survivals of the church built by St. Wilfrid.[40] It is
+noticeable that the first string-course is the only one which is not
+carried round the buttresses at this corner. A recessed buttress of the
+same type separates the end of the transept from that of an aisle which
+is thrown out from its eastern side.
+
+  [Illustration: DOORWAY, NORTH TRANSEPT.]
+
+The lowest stage of this north elevation is blank save for a rather
+interesting doorway set in a thickening of the wall near the western
+corner. In this doorway the innermost arch is of unusual form--a trefoil
+resting on corbels--and its edges are left square and plain. Over it is
+a semicircular arch of three orders with three detached shafts in either
+jamb, and as usual throughout almost all Archbishop Roger's work, the
+arch has the edge-roll between hollows (here on every order), the shafts
+are detached, their bases round upon square, and their capitals
+square-topped, with the edge of the abacus hollowed. The capitals here
+are enriched with good foliage of a rather classical type.
+
+In the stage above are three round-headed windows with a shaft in either
+jamb and foliage on the capitals. Each of these windows, like that on
+the west side, and several in the other transept, has been divided by a
+mullion into two lights, presumably in the fourteenth century.[41] The
+third stage, which corresponds to the triforium within, is blank here as
+on the west side, and in the fourth stage are three round-headed
+windows, plainly recessed and chamfered. The gable, on which stands a
+plain cross, has been lowered, as is shown by the weathering on the
+tower, and its sides, after descending, take an upward turn to meet the
+corners. It is flanked by two lofty square turrets, which have been
+compared with those on the west front of Tewkesbury. They have a shaft
+at each angle, are pierced on each face with two round-headed openings
+under a round arch, with a string below running round the turret, and
+are surmounted by pyramidal stone caps ending in pommels and having a
+rude pinnacle at each corner. The end of the aisle is set back, and
+displays a window like the three above the door, but without the
+dividing mullion; and above this a round-headed niche, doubtless once a
+window that lighted the space over the aisle-vault; while a round arch
+over this niche, and a little pointed arch on the buttress adjacent
+westwards, carry a curious thickening of the masonry above. The
+arrangement of the windows here breaks the continuity of the first
+string-course, which, after crossing the main elevation, has to be
+stopped and resumed at a lower level in order to pass beneath the
+windows of the aisle. At the corner of the latter are more clustered
+buttresses, terminating below the parapet, and above them rises a plain
+gabled pinnacle (an addition, probably, of the fourteenth century),
+while another buttress, rising from the inclined coping of the
+aisle-wall, runs up the clearstorey.
+
+The east side of the aisle has two more buttresses like those at the
+corner, and consists of two bays, each containing a window like that at
+the end. It is hard to say whether the moulded string or cornice below
+the parapet is original, but the gargoyle which juts from it and the
+parapet itself, with its cruciform piercings, are not earlier than the
+fourteenth century. The roofs of the aisles in both transepts and in the
+choir have been lowered, and it has been suggested that this was done at
+the time when the Minster was fortified against the Scots, in order to
+afford better standing-room for armed men,[42] and the various
+battlements on choir and transepts were probably erected for the same
+occasion. Here the round arches of the triforium have been built up, and
+the clearstorey harmonizes with the more elaborate scheme of the choir.
+The wall is divided into three bays by flat pilasters received in the
+cornice, and each bay contains a round arch, pierced and glazed, between
+two lower and narrower pointed arches, all resting on single detached
+shafts. Between the buttresses runs a corbel-table, supporting a
+battlemented parapet of Decorated character, in which the merlons are of
+great width in proportion to the embrasures--an early feature--and have
+the usual cruciform piercings, so splayed at the back as to leave no
+doubt that they were really intended for the use of archers. The three
+gargoyles below have been renewed, and none of the gargoyles on choir or
+transepts are earlier, perhaps, than the Decorated period.
+
+=The Choir. North Side.=--Here the three westernmost bays of the aisle and
+clearstorey respectively are Archbishop Roger's work. Two flat
+pilaster-buttresses rise out of the slope of the plinth and run up the
+aisle-wall, each terminating short of the parapet in two sets-off close
+together. The level of the window-sills was the same here as in the
+transept, but the string-course has been broken in the Decorated period
+by the insertion of three slender windows, each having two lights with a
+quatrefoil above. Above the windows comes the moulded string or cornice
+continued from the transept, and above this the pierced merlons of the
+Decorated battlement are again very broad in proportion to the
+embrasures. Instead of being built up, the exposed arches of the
+triforium have here been glazed. The clearstorey resembles that of the
+transept, but the corbel table is surmounted here by a slope, on which
+rest two large gargoyles (renewed), and instead of a Decorated
+battlement there is a plain coping.
+
+The last three bays of the clearstorey and the last two of the aisle are
+Decorated work, probably of the end of the thirteenth century, and here
+the level of the plinth is again lowered to suit the slope of the
+ground. In the aisle the two bays are separated from the rest and from
+each other by buttresses having a projection of 8 feet. Either of these
+buttresses is crowned by a gable having a finial, and is surmounted by a
+tall square pinnacle to receive the thrust of a flying buttress that
+spans the aisle; and either pinnacle has its sides panelled and gabled,
+a head at each corner, and five finials. The two last aisle-windows are
+larger than those in the western bays, but have much the same tracery.
+They have, however, a thick shaft worked on the stones of the jamb, and
+a large keeled round on the edge of the arch, and there is no dripstone.
+Below them is a small string-course, which is carried round the east
+end. The string or cornice above them is made to match that on the
+western portion of the aisle, but in the battlement the merlons are of
+merely ordinary width. In the clearstorey the wall is considerably set
+back from the Transitional bays, and the three windows are very
+elaborate. Their arches are richly moulded and acutely pointed, the
+springing-line being rather low down. Each window is divided into four
+lights, comprised under two sub-arches, either of which contains a
+circle enclosing a trefoil, while above, in the head of the window, is a
+large circle with five trefoils radiating from its centre. The
+dripstones end in heads. A moulded string-course, with gargoyles, runs
+below the parapet, which is a continuation of the plain coping on the
+western bays.
+
+From this point it will be best to return to the west front, and proceed
+along the south side of the Cathedral.
+
+=The Nave. South Side.=--This side is architecturally superior to the
+other, and differs from it greatly in detail. The plinth, which is very
+massive, rises even higher above that of the west front here than it
+does there, and the buttresses project over 8 feet at the base and are
+of three stages, and the gables on these have their sides straight,
+their eaves everywhere continued to the wall, and their corners enriched
+with heads, but on the second stage only. In the two easternmost
+buttresses the lowest stage has heads also, and in the last buttress
+eastwards this stage, for some unexplained reason, is twice as broad as
+the others, and has an ogee gable. On all gables the crockets are large,
+and the finials, which here stand upon the apex, are huge and very
+boldly executed; while the rudimentary pinnacles are thicker here than
+on the north side and more detached from the parapet. The wall is
+thickened up to the windows, below which there is a set-off, and the
+windows themselves are so moulded as to seem set in heavy frames, and
+are much less acutely pointed than in the other aisle, their arches
+approaching the 'drop' form. The rather clumsy mullions are carried up
+through the head, but branch out to form arches over the side lights,
+and are reduced in thickness above the branching point; and in the head
+there is a transom, except in the narrow easternmost window. Though the
+aisles differ so much, the clearstorey is much the same on this side as
+on the other, and again one of Archbishop Roger's buttresses is visible,
+imbedded between the Perpendicular walling and the west tower. The
+height of his roof is indicated by the weathering on the central tower
+and by the west gable, and the sixteenth century roof was probably not
+lower, for the central tower shows high weatherings of the latter period
+also; but the pitch had been lowered before the last restoration, and
+Sir Gilbert Scott was unable to raise it to the full height. It is to be
+hoped that the raising may yet be accomplished, and that lead may be
+substituted for slate.
+
+=The South Transept=, all but its eastern side, is mainly Archbishop
+Roger's work. The plinth is altogether lower not only than that of the
+nave, and even of the west front, but also than that of the other
+transept, and the architecture thus expresses the downward slope of the
+ground from north to south as well as from west to east. Here, as in the
+nave, the buttresses have a greater projection than on the north side of
+the church, as if the ground here were more liable to settle. As this
+transept bears a general resemblance to the other, it will be best to
+note only the points in which they differ. In the west wall the window
+in the second stage has no mullion, the innermost buttress is of the
+same type as its next neighbour, and the parapet is returned over all
+the buttresses, thus forming three 'turrets,' of which that nearest to
+the nave rests partially on a large corbel. The staircase at the
+south-west corner terminates at the top in a square turret with a
+pyramidal stone cap.
+
+In the south elevation the doorway is very elaborate. The opening is of
+the form sometimes called the shouldered arch, a square lintel (which,
+curiously enough, is not one stone) resting on corbels; and the
+semicircular arch over this is of four orders, the uppermost of which
+projects considerably from the wall. On either side there are five
+shafts, the outermost order having two, which are placed on the front of
+the jamb and share one abacus. These two shafts are worked on the stones
+of the jamb--a mode of construction not very common in such early
+doorways. The details resemble those of the less elaborate doorway in
+the other transept, but some of the foliage on the capitals here is
+almost Early English. This doorway is approached by five steps, and was
+once covered by a Renaissance porch.
+
+  [Illustration: DOORWAY, SOUTH TRANSEPT.]
+
+In the windows of the second stage the abacus of the capitals is
+continued as a string from window to window. The two flanking buttresses
+have been crowned at some later period with gables ending in finials,
+and the great gable is pierced with a Perpendicular window of three
+lights, which has three transoms in the head, the mullions carried up to
+the archivolt, and a dripstone ending in foliage. The sides of the gable
+here do not take an upward turn to meet the corners, and there are no
+flanking turrets. In the end of the aisle the blocked upper window is
+pointed, and has a little trefoiled niche above and to the left of it,
+and there is no thickening of the masonry above to necessitate
+carrying-arches. The buttresses at the corner reach to the top of the
+parapet and have no surmounting pinnacle. The small portion of the east
+side of the aisle which is not concealed by the Chapter-house and
+Lady-loft displays in the lower stage a somewhat inexplicable blind
+arch, carrying an inclined thickening of the masonry that has been
+afterwards built up to a level, and below the parapet a moulded cornice
+like that on the north side of the church. This cornice is continued
+within the Lady-loft, and reappears over the last bay of the
+choir-aisle.
+
+=The Chapter-House.=--The south aisle of the choir is concealed by a wing
+of three storeys, of which the lowest, though exposed to view by the
+conditions of the site, is of the nature of a crypt, while the second
+comprises the Chapter-house and vestry, and the third, known as the
+Lady-loft, is an addition, probably of the fourteenth century. The first
+two storeys seem to have formed part of a church earlier than Archbishop
+Roger's,[43] and have been variously ascribed to Archbishops Thurstan
+(1114-1141)[44] and Thomas of Bayeux (1069-1100).[45] From the east wall
+of these two storeys an apse is thrown out, upon which rests a square
+projection from the Lady-loft, too short to be called a chancel. The two
+westernmost buttresses, up to the string above the crypt, are evidently
+additions by Archbishop Roger, while the third, which completely encases
+a three-sided apsidal projection at the corner of the vestry, is of much
+later date and will be examined presently. Adjoining it is a flat
+pilaster buttress, apparently original. The crypt has five unglazed
+windows along the south side, all round-headed and plainly splayed, and,
+where it joins the transept, there is a large rectangular squint which
+gives light to a staircase that leads up to the Chapter-house. A pointed
+doorway, made in later times, cuts into the fourth window from the west.
+In the second storey there are on this side only four windows, which are
+spaced without any regard to the position of those below. The two
+westernmost, which are circular and without tracery--a type of window
+that is somewhat rare--can hardly be later than the time of Archbishop
+Roger, and may be earlier: the next two are square and of much later
+date. Above the windows the eaves of the original roofs remain,
+supported on a corbel-table which is carried round the apsidal chamber
+at the corner and round the eastern apse. At the south side of the
+latter the builders have left a narrow recess which extends from the
+ground nearly to the top of the crypt.
+
+The apse displays in the lower storey a round-headed unglazed window
+like those along the south wall, and in the upper storey a small
+round-headed light at the south side and a larger window in the middle,
+of the same size as that below, but not so deeply splayed, and with the
+head rudely trefoiled. On either side of these central windows, a shaft,
+made in short joints, runs up the apse from base to eaves. The string
+between the two storeys is carried round these shafts, and their
+circular bases overhang the plinth and rest on small blocks, while the
+capitals are square-topped, as in Archbishop Roger's work. From the roof
+of this apse and of the apsidal chamber at the corner, and from the
+eaves that project along the south wall, it would seem that the whole
+structure was roofed with stone at a steep inclination. Where its wall
+joins the transept the stone-work seems to be of the same date on both
+sides of the corner, so that there may have been an original buttress or
+wall extending southwards from this point.
+
+The third storey is now the Cathedral library, but was originally the
+=Lady-chapel=, and was commonly called the Lady-loft. Such a position for
+a Lady-chapel--at the south side of the choir, and in an upper
+storey--is extremely unusual.[46] Authorities have differed widely as to
+its date. Some have assigned it to about 1482; but the Lady-loft is
+clearly mentioned in the Treasurers' Rolls in 1470, and its
+architecture, which is Decorated rather than Perpendicular, would be in
+favour of ascribing it to the middle of the previous century, were it
+not for a certain coarseness of execution which makes a suspension of
+judgment advisable.[47] To support this additional storey, the two
+western buttresses were carried up, diminishing both in projection and
+in width, to within a few feet of the upper string-course. The huge
+buttress at the corner was very possibly added later, to counteract a
+settlement which is evident to anyone so standing as to bring the shafts
+on the apse in line with the corner of the choir, and which was
+doubtless due to the weight of the Lady-loft. This buttress is of the
+same height as the others, but is broader, and has as many as seven
+stages, the fourth of which is crowned by a truncated hip roof and
+pierced with a slit to light the apsidal chamber within, from whose
+sloping top the upper stages spring. Traces of some external means of
+access to this apsidal chamber from below may be seen at the west side.
+Except one small lancet adjoining this buttress, the windows of the
+Lady-loft are square-headed, with mullions branching out into
+intersecting arches whose cusps spring from the soffit independently of
+the mouldings--an early feature; and the dripstones are square labels
+terminating in foliage, but with the ends not returned. Altogether these
+are more like the windows of a castle or manor-house than of a church.
+The four towards the south are of three lights, but the east window has
+five lights and is set higher in the wall, while its dripstone
+terminates at one end in a grotesque sitting figure. Various gargoyles
+project from the string-course, which rises to pass over the east
+window. The angles of the east end seem to rest upon the very edge of
+the cornice of the apse, and one wonders how the wall is supported along
+the chord of the curve. In reality, however, the apse is not so sharply
+curved internally as externally, and its walls are very thick, so that
+the square form could be imposed upon the round without much
+overlapping. The parapet shows the same wide merlons and cruciform
+piercings which characterize the other Decorated parapets of the church,
+and it may have been brought forward from the choir-aisle.
+
+The last bay of the latter displays a window like those on the north
+side, but having foliage on the capitals of the shafts; and below the
+parapet runs the cornice continued from the transept, with a curious
+gargoyle upon it. Part of the base of Archbishop Roger's choir-aisle is
+visible imbedded between this wall and the apse.
+
+Those parts of the church which were rebuilt after the collapse of the
+south-east corner of the tower can be best examined from the roof of the
+Lady-loft, which forms with the roofs of the aisles a level surface of
+considerable extent.
+
+=The East Side of the South Transept= has three buttresses, crowned by
+pinnacles of which the two nearest to the tower are modern. The central
+buttress is much shallower than the others and has a different
+termination. The clearstorey displays three well-arched windows of three
+lights (the innermost window a little smaller than the others) with
+tracery not unlike that in the south aisle of the nave. The parapet is
+probably old Decorated work that has been used again, for it has the
+wide merlons and cruciform piercings characteristic of early
+battlements, and the Perpendicular pinnacles, it will be noticed, are
+not in the middle of the merlons. The manner in which the corner of the
+tower has been reconstructed is extremely interesting. Up the angle
+formed by choir and transept runs a sort of excrescence of masonry that
+blossoms out, so to speak, into an extraordinary complication of
+corbelling near the top, and is itself corbelled away at the bottom. In
+this excrescence, as elsewhere, old materials have been used again, and
+in the projecting mass, at the level of both triforium and clearstorey,
+are the springings of arches curving eastwards and southwards, which
+suggest that the adjoining walls had at first been intended to be on a
+more advanced plane, and that the arches of the triforium were to have
+been round in the transept (where, by the way, they are recessed) as
+they are in the choir. This angle contains the tower staircase, which is
+lighted by a little window in the upper corbelling and is reached from
+the clearstorey gallery of the transept. On this side of the church the
+parapet walk has to be carried round the corners of the tower on
+squinches.
+
+  [Illustration: RECONSTRUCTED ANGLE OF THE GREAT TOWER, (SOUTH TRANSEPT
+   AND CHOIR.)]
+
+=The Central Tower. South and East Sides.=--The south and east faces are
+each divided by a central pilaster running up to the top of the parapet,
+but otherwise the general scheme is not unlike that of the older sides,
+save that the windows here are set higher in the wall. Each window has
+two lights, wide and low, with much tracery above them, in which the
+mullion branches into two sub-arches; and there are dripstones ending in
+heads. The high weathering on these sides indicates that it was not in
+the Perpendicular period that the roofs of the church were so
+unfortunately lowered. At either end of each of these sides a buttress
+rises to the base of the parapet in three stages, the second of which
+has on the front a panel with an ogee crocketed hood and is crowned by a
+gable with a grotesque at each corner, while the third is narrower,
+but is also panelled. Various gargoyles project from the uppermost
+string, which on the east side is not broken by the central pilaster. As
+this string is higher than the corbel-table of the older sides, the
+tower presents a very curious appearance when seen from the south-west
+or north-east.[48] The battlements and pinnacles were perhaps first
+added when the south and east sides were rebuilt, but in places they
+have been much renewed. The stair-turret is surmounted by a hexagonal
+stone cap, which is pierced with a spire-light and crowned by a finial;
+and there is also a wooden polygonal bell-cote at the north-west corner
+of the tower. At the north-east angle the Perpendicular masonry turns
+the corner and enfolds the Transitional buttresses, where it stops with
+a jagged edge. This unfinished work has a considerable projection from
+the Transitional walling, the intention having been, perhaps, to correct
+externally the obliquity in the ground plan of Roger's tower;[49] it is
+also corbelled away at the bottom, probably to afford freer passage
+along the parapet walk and to avoid the necessity of a squinch.
+Originally the tower had perhaps a low pyramidal roof without a parapet,
+and then came several successive spires. The last of these, which fell
+in 1660, is said to have been 120 feet high from the top of the tower,
+and its disappearance has surely done more than anything else to spoil
+the external effect of the building.[50]
+
+=The South Side of the Choir.=--Here the three westernmost bays are
+Perpendicular and the others Decorated. The westernmost window is
+smaller than the rest, and is of three lights, with the mullions carried
+up through the head. The next two windows imitate in curvature their
+Decorated neighbours, and are of four lights, with the central mullion
+branching out to form two sub-arches, between which a foliated circle, a
+feature not common in Perpendicular windows, is introduced into the
+head. In the fourth bay the Decorated arch has been filled with
+Perpendicular tracery, but the fifth and sixth windows remain in their
+original beauty as on the north side, save that in the easternmost the
+small circles have been mutilated and have lost their foliation. The two
+flying buttresses resemble those on the north side, but from the points
+where they meet the wall two pilasters run up into the parapet, which is
+flush with them and is crowned by a plain coping, while beneath it is a
+string, with gargoyles. Except at this end the wall, as in the
+clearstorey of the nave, is not buttressed, notwithstanding the size of
+the windows and their nearness together.
+
+  [Illustration: FLYING BUTTRESSES, SOUTH SIDE OF CHOIR.]
+
+=The East End.=--The rebuilding of the east end of Archbishop Roger's
+choir was probably the object of an indulgence of 1284 by Archbishop
+Wickwaine, a brief of 1285 by Pope Celestine V., two indulgences issued
+in 1288 and 1300 respectively by Archbishops Romanus and Corbridge, and
+some credentials issued by the latter in 1302 for a collector of funds.
+And yet it is hard to fix the date of the work with any exactness. It
+had apparently not begun in 1286, for a mandate of Archbishop Romanus in
+that year begins _Cancellus Rypon' ruinosus reparetur_; but it may have
+been completed before the irruption of the Scots in 1318. Two
+indulgences of Archbishop Melton, one of which is dated 1328, do indeed
+allude to some "new work" as still unfinished, but this "new work" may
+have been the repairs necessitated by the violence of the Scots.[51] The
+east end of the Cathedral, then, recalls that period in our history when
+Edward I. was wrestling with the Scottish problem, and was also carrying
+into effect those lessons in representative government which he had
+learnt from Simon de Montfort.
+
+  [Illustration: THE EAST END.]
+
+The well-marked plinth of this east end has been already noticed. Either
+corner of the choir contains a staircase, and is strengthened by a pair
+of massive buttresses and crowned by an octagonal turret with a conical
+stone cap and a finial. These buttresses have a projection of 8 feet,
+rise to the top of the aisles, and are surmounted by gables with
+finials, and at the north corner the gables and the coping of the aisle
+are crocketed. At the south corner the upper part of the turret has
+been used as a cell. It is lighted by a small slit and has a wooden
+floor with a trap in it, from which a ladder once descended to the head
+of the staircase; and at the west side, in the parapet of the aisle,
+there is a garderobe seat. It would be interesting to know whether this
+turret was a prison, or a place of penance, or whether it was occupied
+by a watchman or sentinel, or, as is not improbable, by one of those
+recluses who were so often attached to religious communities in the
+middle ages. The central compartment is flanked by two huge buttresses,
+which have a projection of 10 feet at the bottom and rise to the base of
+the gable, or rather a little above it, in two stages only, the lower
+stage reaching a little above the coping of the aisles, and both stages
+are crowned by gables with finials.[52] The three compartments of the
+front are on the same plane. Each aisle shows at the end a window of the
+same pattern with these in the sides, and that in the south aisle has
+foliage on the capitals of its shafts and is surmounted by a little
+window of trefoil form which lights a staircase within, for staircases
+ascend over these windows in the thickness of the wall and run up the
+angles of the clearstorey.
+
+The great window in the central compartment is one of the finest
+examples of Geometrical tracery, if not one of the largest windows, in
+England. It is over 50 feet high, is 25 feet wide, and has seven lights.
+Of these the three at either end are comprised under a sub-arch, in the
+head of which are three cinquefoiled circles, while the central light of
+the seven is surmounted by an arch, not so high as its neighbours, but
+impaling upon its acute point a huge circle which fills the head of the
+window and contains six trefoils radiating from its centre. The arch of
+this superb window is rather acutely pointed and richly moulded, and has
+two very slender shafts worked on the stones of either jamb, with
+foliage on their capitals. Just above the ground below this window there
+may be observed in the wall one of the many architectural puzzles in
+which the Cathedral abounds, a half-arch, rising toward the right and
+filled in with masonry, except at the right side, where is a narrow
+opening that runs in for a few feet.[53] A string-course continued from
+the sides of the aisles passes below the three windows and round the
+buttresses, which are further relieved at a little height above it by a
+set-off. The gable has been entirely rebuilt by Sir Gilbert Scott. It is
+slightly set back, and displays a lofty window of four lights with
+geometrical tracery not unlike that in the great window below. On either
+side of this window there is panelling graduated to suit the triangular
+space, and the gable is crowned by an elaborate cross and flanked by two
+pinnacles which resemble those of the flying buttresses but are larger
+and have foliage at the corners instead of heads. The original Decorated
+gable was probably very much of this pattern. Its height was indicated
+by the weathering on the tower, and it seems to have had flanking
+pinnacles and graduated panelling. It had, however, been lowered in
+pitch and had been altered also by the insertion of a rather debased
+Perpendicular window.[54] Whatever may be thought, therefore, of Sir
+Gilbert Scott's action in rebuilding it, he has surely improved the
+general effect of the front, and it is well that one of the roofs, at
+any rate, should have been raised to the original pitch. What is most to
+be regretted, perhaps, is the removal of all traces, if any there were,
+of the chantry of the Holy Trinity _supra summum altare_, which was
+situated, as its name implies, in the roof, behind the old gable.
+
+In Archbishop Roger's day the choir was probably as long as it is now,
+and Walbran (followed by Sir Gilbert Scott) believed that the aisles at
+that period were returned across the east end. If so, the clearstorey
+must have been a bay shorter than at present, with a pent roof
+projecting from below it on the east side to cover the returned portion
+of the aisle. The rebuilding of the east end in the Decorated period was
+the first operation in which limestone was employed, but much of the old
+gritstone has been used again.
+
+  [Illustration: THE NORTH-WESTERN PORTION OF THE NAVE.
+   (Junction of XIIth and XVIth Century work.)]
+
+
+FOOTNOTES:
+
+[33] The name Ripon comes probably from the Latin _ripa_, "a river's
+bank." Bede uses a form "Inrhypum," which arose perhaps out of _in
+ripis_. The derivation _Uri pons_ has been generally abandoned.
+
+[34] The reason of the peculiarity here is the unusual width of the
+nave. (_See below_, p. 44.)
+
+[35] This will be explained in Chapter III.
+
+[36] See illustration, p. 17.
+
+[37] This was pointed out by Walbran.
+
+[38] The Transitional or Transition-Norman work at Ripon probably was
+not all erected during Roger's lifetime, but all of it will, in these
+pages, be associated with his name.
+
+[39] Upon a modern Chapter seal there is what is possibly meant for a
+representation of Roger's church, with western towers, three spires, and
+no aisles. The seal is a reproduction of another of the time of James
+I., which may have been reproduced from a third of earlier date.
+
+[40] For the origin and meaning of this knotwork, so often found in
+these islands on ancient crosses, and for its value as an illustration
+of the possible connection of Saxon architecture with the Comacine Guild
+of Italy, see _The Cathedral Builders_, by Leader Scott, pp. 82-99, and
+p. 145.
+
+[41] This was the case with all the windows of both transepts--in the
+lower tier at any rate--until the last restoration. The reason why Sir
+Gilbert Scott has left or renewed the mullions in some of the windows is
+probably that he did not wish to disturb the memorial glass.
+
+[42] The suggestion was made by Mr. Francis Bond.
+
+[43] _I.e._, they were probably a Southern Chapel of the choir (_vid.
+inf._, Ch. III.). It is doubtful whether this earlier choir itself can
+have had a crypt.
+
+[44] By Sir Gilbert Scott.
+
+[45] By Walbran.
+
+[46] Lady-chapels are usually found at the extreme east end of the
+choir, unless that position was wanted for the resting-place of a local
+saint.
+
+[47] Walbran favoured 1482; Sir Gilbert Scott the middle of the
+fourteenth century.
+
+[48] See the illustration, p. 2.
+
+[49] _The Builder_, February 4th, 1893.
+
+[50] This last spire must have been erected after all intention of
+rebuilding the north and west sides of the tower had been given up, and
+therefore (perhaps) after the dissolution. The three spires are shown
+upon the seventeenth century communion plate and in several old prints
+(see the illustration, p. 32). They were wooden and covered with lead,
+and are represented as octagonal. The two at the west end are shown
+without parapets at the base, and all three are without those sloping
+spurs which so often connect an octagonal spire with the corners of the
+tower.
+
+[51] Dean Waddilove, in his monograph on the Cathedral, mentions that
+the date 1330 is to be found upon the choir, but he does not say where.
+Walbran believed the work to have been executed between 1280 and 1297,
+and is followed by Sir Gilbert Scott.
+
+[52] The buttresses of this east wall were formerly connected at the
+bottom by a debased battlemented wall, and the space within was used for
+sheds, the grooves for whose pent roofs can be seen on the sides of the
+buttresses.
+
+[53] The arch springs from the buttress (as an excavation in 1900
+showed), and may perhaps be a relieving-arch, to take the weight off a
+weak place in the foundations. Yet it was not intended, apparently, to
+be filled up. The stones forming the right edge of the hole are coigns,
+and have mason-marks on their sides. At the back of the hole the masonry
+appears to be of some antiquity: may it be part of the foundation of the
+east end of Archbishop Roger's choir?
+
+[54] There are several prints of the Cathedral, as it was before
+restoration, in the Ripon Museum.
+
+
+
+
+  [Illustration: CONJECTURAL VIEW OF INTERIOR OF ARCHBISHOP ROGER'S NAVE
+   BY SIR G. G. SCOTT.
+   (By the kind permission of the Archaeological Institute.)]
+
+
+CHAPTER III.
+
+THE INTERIOR.
+
+
+=The Nave.=--On entering through the west doors a perspective is disclosed
+of 133 feet to the end of the Nave, 170 feet to the Rood Screen, and 270
+feet to the end of the Choir. The Early English builders have preserved
+two bays of Archbishop Roger's nave and have incorporated them into the
+west towers,[55] and the two great tower-arches which they have cut
+through the Transitional walling are very fine specimens of the Early
+English style. Each of the half-pillars that support them is a cluster
+of five large engaged shafts separated by very deep hollows, and upon
+every shaft there is a large fillet, which is carried up into the
+capital and down over the base. The base consists of two round mouldings
+separated by a hollow and fillets, and overhangs the plinth so much as
+to suggest that the floor just here has been lowered. The capitals and
+the arches themselves (which are of three orders) are moulded with
+rounds and hollows very strongly marked, and the hood of the southern
+arch terminates eastwards in a bunch of foliage.
+
+The interior of the towers is more richly treated than is usual. Over
+the tower-arch is a small arcade of four members with clustered shafts,
+and with a string below, while the other three walls are plain up to the
+windows, each of which is flanked, as on the exterior, by two blind
+lancets. The arcading thus formed has clustered and banded shafts (not
+detached), behind which ran a passage, now blocked, and below the sill,
+and a little distance apart, are two strings, to the lower of which the
+sills of all the windows save two descend in steps. The windows are not
+splayed, and those which now look into the aisles are unglazed, and
+their flanking lancets are of unequal width. All the arches are much
+moulded and ornamented with the dog-tooth, and the central shaft of each
+cluster has a fillet. In each corner a detached shaft springs from a
+round corbel above the lowest string and rises to the impost of the
+arches, being banded twice on the way; and from its capital another
+shaft runs up to the ceiling. The doors to the spiral staircases open
+into little square lobbies which have vaults with groin-ribs springing
+from corbels.[56] In the north tower is a modern stained window of some
+merit.
+
+The two bays of Archbishop Roger's work incorporated in the towers,
+taken together with another Transitional bay at the east end, make it
+possible to imagine the whole interior of what must have been the most
+remarkable nave in England. It was unusually broad. From the ground to
+the first string (about 16 feet) there was plain wall. Above this was a
+triforium (if it can be so called[57]) of the unusual height of about 28
+feet, and there were thus no windows except in the clearstorey, and
+there only in alternate bays. According to Sir Gilbert Scott the
+triforium and clearstorey were probably continued across the west wall.
+The bays were alternately broad and narrow, and there is room for five
+of each sort. The westernmost bay shows in the triforium stage a round
+arch comprising four pointed arches. Of these the two in the middle are
+raised above the others on shafts of two stages, in the upper of which
+the capital is circular and its moulding is continued along the tympanum
+to the _apices_ of the two lower arches. The tympanum is relieved by a
+sunk quatrefoil in a serrated circle, and so is the space under either
+of the two central sub-arches. The passage in this bay has been built
+up, and the bay itself shortened, probably when the tower arches were
+made.
+
+  [Illustration: CONJECTURAL PLAN OF ARCHBISHOP ROGER'S CHURCH BY SIR G.
+   G. SCOTT. See _p._ 16.
+   (By permission of the Archaeological Institute.)]
+
+In the adjoining narrow bay, the comprising arch is pointed, there are
+only two sub-arches, and there are no quatrefoils, except in the
+tympanum on the north side. Doors have also been inserted in this bay to
+communicate with the passages behind the arcades in the towers.
+
+The shafts throughout are single, and (in the sub-arches) detached, and
+the details generally are the same as in all Archbishop Roger's work. It
+is worthy of remark that the tympanum over the sub-arches is flush with
+the lower part of the wall, and that the comprising arches, with all the
+walling above them, are a plane in advance. The more natural plan would
+have been to make the comprising arch flush with the wall below, and to
+have set back the sub-arches and tympanum. In consequence of Archbishop
+Roger's arrangement the shafts of the comprising arch stand, not upon
+the sill of the triforium, but upon corbels, each of which carries two
+of them and also a roof-shaft[58] which forms with them a cluster.
+
+The clearstorey shows in the broad bay a stilted round arch, pierced,
+between two small blind lancets, and in the narrow bay three small blind
+lancets. These arches are not recessed or moulded, and are without
+hoods, as usual. Their piers, behind which is a passage, are square, and
+the impost moulding is continued as a string.
+
+The roof-shafts have a curious break in them at the impost-level of the
+triforium, where a face is carved upon them with a band above it. They
+are banded also by the impost-moulding of either storey, and by the
+upper string-course, and end in square-topped capitals a little short of
+the present roof. Throughout Archbishop Roger's church the roof was
+probably flat, or slightly coved as at Peterborough. The corbels from
+which the roof-shafts spring are moulded and finished off with scrolls,
+and are placed at the level of the string-course, which is undercut; but
+on either side of the tower-arches the shafts have been shortened to a
+point above the string, which has been made continuous beneath them, and
+instead of corbels they have grotesque heads carved upon their ends.
+Beyond the westernmost roof-shaft there is a further shaft, which at
+first sight seems to have been the beginning of another bay, but the
+round moulding which rises from it runs up vertically instead of curving
+over to form an arch.
+
+The western wall is far more impressive from within the church than from
+without, and shows the Early English style at its best. The three
+doorways have stilted segmental arches moulded with rounds, and their
+hood-moulds are continuous. Their shafts are single and engaged, and in
+the jambs are holes for the great bars which no doubt held the doors
+against the Scots in 1318. But if the doorways are plainer, the great
+lancets above are much richer, on this side than on the other. Their
+arches have more mouldings, their hood-moulds as well as the
+string-courses are enriched with the nailhead, the dog-tooth is used
+more profusely, and the piers are clusters of seven engaged shafts
+instead of five, banded at half their height and having behind them in
+both tiers passages which formerly communicated with the towers. The
+glass, by Burlison and Grylls, is worthy of its framing. It was put up
+to the memory of the late Bishop in 1886. In the lower tier "the earthly
+type" is represented by the Parable of the Ten Virgins. In the upper
+tier, in which the various designs represent "the Heavenly type," the
+Bride is the Church, and Our Lord is seen enthroned and surrounded by
+choirs of angels.
+
+The yellow gritstone of the older work is contrasted curiously with the
+white limestone of the Perpendicular nave, and at the junction the later
+builders have left a jagged edge. Among very late Gothic buildings there
+are few indeed which are of so good a quality as this nave of Ripon,
+which, like the late church towers of Somerset, shows that mediaeval art
+took long to die out in regions remote from London. It is, indeed, the
+architecture of the days of Agincourt rather than of the eve of the
+English Renaissance. The pillars are characteristic of the Perpendicular
+style, their section being a square with a semi-circle projecting from
+each side, and the corners hollowed. Their bases have complex plinths of
+considerable height and are polygonal, but follow roughly the form of
+the pillar, and the mouldings, as usual in this style, overhang the
+plinth. The capitals, with small mouldings and many angles, are of
+somewhat the same form as the bases. On the westernmost complete pillar
+of the north arcade are two shields, charged respectively with the arms
+of Ripon (a horn) and of Pigott of Clotherholme. The arches, instead of
+being of that depressed form which is so common in late work, are very
+beautifully proportioned, and their mouldings are bold, numerous and
+well-cut. There is no triforium; but a passage, at a slightly lower
+level than in Archbishop Roger's bays, runs below the great clearstorey
+windows, which were once, no doubt, gorgeous with stained glass. Their
+arches are moulded, but the splay is left plain. The roof-shafts, which
+are in clusters of three and have fillets upon them, spring from
+semi-octagonal corbels, and where each cluster passes the string-course
+there is an angel holding a shield. A sign of decadence may be found,
+perhaps, in the way in which the hood-moulds of the windows intersect
+with these shafts. Though the two sides of the nave are not quite of the
+same date, they are almost alike, but for some slight differences in the
+capitals, the arch-mouldings, and the hollows on the pillars; the
+builders feeling doubtless that any marked variation would mar the
+general perspective--a consideration which, of course, could not bind
+them in designing the north aisle. The original Perpendicular roof may
+have resembled that which now covers the transepts. About 1829 Blore put
+up an almost flat ceiling of deal. The present oaken vault, by Sir
+Gilbert Scott, was copied from that of the transepts of York Minster,
+and is adapted to the old roof-shafts, between which have been added
+angel corbels of wood. As the ribs intersect near their springing, they
+weave a network over the whole vault, and the carved bosses at the
+intersections amount to 107. A passing notice is merited by the pulpit,
+which is Jacobean.
+
+  [Illustration: THE NAVE, LOOKING WESTWARDS.]
+
+East of the five Perpendicular bays remains the second fragment of the
+old nave, namely, a portion of a broad bay, partly encased by the later
+masonry, and one complete narrow bay. In the latter the tympanum on both
+sides is relieved by a quatrefoil, which here is pierced and not
+enclosed in a circle, and the last shaft eastwards (one of those of the
+comprising arch) runs to the ground. Affixed to the north wall is an
+eighteenth century monument to Hugh Ripley, last Wakeman and first Mayor
+of Ripon (d. 1637). The original monument was destroyed during the Civil
+War, but the altar-like erection below the present structure was
+probably part of it. The roof-shaft west of this bay, for some unknown
+reason, ends considerably short of the roof in a kind of corbel with
+rude foliage upon it. In the south wall is a triangular piscina, which,
+if it is of Roger's date, is among the oldest piscinae in the country.
+
+  [Illustration: PLAN OF THE SAXON CRYPT.
+   (From drawings by Mr. W. H. St. John Hope and Mr. T. Wall.)]
+
+=The Saxon Crypt=, sometimes called =St. Wilfrid's Needle=.--From a
+trap-door in the pavement below the piscina a flight of twelve steps
+winds down into a flat-roofed and descending passage, 2-1/2 feet wide
+and slightly over 6 feet high, which, running a few feet northwards and
+bending at right angles round the south-west tower pier, extends
+eastward for about 10 yards, with a descent of one step near the end,
+and terminates in a blank wall. There is a square-headed niche at the
+turn and a round-headed niche at the end, both meant, doubtless, to hold
+lights. Three feet from the end a round-headed doorway, 2 feet wide and
+over 6 feet high, opens northwards, with a descent of two more steps,
+into a barrel-vaulted chamber, 11 feet 5 inches long from east to west,
+7 feet 7 inches wide, and 9 feet 10 inches high. In the north wall of
+this chamber, and approached by three rude steps, is the celebrated St.
+Wilfrid's Needle, a round-headed aperture pierced through into a passage
+that runs behind. This aperture was connected with one of those
+superstitions that so often flourished before the Reformation in notable
+centres of religion, and ability to pass through it or 'thread the
+needle' was regarded as a test of female chastity; but it was, of
+course, in the later middle ages that this superstition arose, and the
+'needle' (or rather needle's eye) is evidently only one of the original
+niches with the back knocked out. Of these niches (which again were
+doubtless for lights) there are four in the chamber besides the
+'needle,'--one in each wall,--and, like the niche, at the end of the
+passage of entrance, they all have semicircular heads each cut in a
+single stone. That in the west wall has a hole or cup at the bottom,
+probably to hold oil in which a wick might float, while the others
+(except the 'needle') have a sort of funnel at the top, doubtless to
+catch the soot from lamps. In the east wall there is also a round-headed
+recess of larger size, the meaning of which will be discussed later. An
+excavation made in 1900 has lowered the earthen floor and revealed a
+set-off running round the chamber,[59] and upon the ground at the east
+end are traces of a later mediaeval altar, namely, a long stone parallel
+with the east wall and having behind it a small rectangular enclosure
+bounded by other wrought stones. Some of the latter were only laid bare
+at the above-mentioned excavation, when, moreover, the enclosure was
+found to be a pit containing bones, some of which had belonged to a man,
+others to an ox, others to a bird. These were probably regarded as
+relics, and may have been buried here at the Reformation for safety,[60]
+but it is possible that they were placed here at an earlier period, and
+that this is an instance of a relic-pit. Two other deposits have been
+found in the crypt in modern times, one behind the niche in the south
+wall of this chamber, the other behind the niche at the end of the
+passage of entrance. Most of the bones in these deposits were human, but
+one had belonged to an ox, another to a bird, another to a sheep, while
+others could not be identified. These bones again were probably
+'relics,' and had almost certainly been built up behind the niches at
+the Reformation[61] for concealment. From the west end of the chamber
+another doorway similar to the last opens, with an ascent of one step,
+into a second chamber, 12 feet long from north to south, 4 feet wide, 9
+feet high, and roofed with a semi-vault rising eastwards, in which there
+has been a square opening, probably for ventilation. At the north end a
+flight of four steps, lighted doubtless from the square niche in the
+west wall, ascends eastwards to the passage behind the 'needle.' Of
+these steps the lowest occupies the whole width of the chamber, while
+the second, on being cleaned at the time of the excavation
+above-mentioned, was found to have its upper and western surfaces sunk
+in the middle and traversed at one end by two parallel raised bands, and
+to show traces of that yellow enamel-like substance with which, indeed,
+the whole crypt seems to have been originally overlaid. In roof, width
+and height the passage at the top of these steps resembles that by which
+the crypt was approached, but it is spanned at the entrance by a round
+arch, and gradually ascends, terminating in a staircase now blocked at
+the fourth step (or perhaps the fifth, since one seems to have been
+removed at the bottom), while in the roof may be traced the shape of the
+long opening (rounded at the western end) through which these stairs
+once led up into the church. From the point at which they are blocked
+the distance to the arch that spans the passage is about 18 feet. It
+will be noticed that the floor of this passage is level with the
+'needle,' which on this side, moreover, has been broken through so as to
+open out like a funnel.
+
+  [Illustration: THE SAXON CRYPT, EAST END OF THE CENTRAL CHAMBER.
+   (St. Wilfrid's needle on the left.)]
+
+There is little doubt that this crypt is the work of Wilfrid. It
+strongly resembles another at Hexham in Northumberland, which is almost
+certainly his since it agrees with a description given by his
+contemporary Eddius, and (more fully) by Richard, Prior of Hexham in the
+twelfth century. As, therefore, Wilfrid is known to have built a church
+in either of these places, and as the crypts remaining resemble each
+other, and as that at Hexham is almost certainly his, it is natural to
+conclude that this at Ripon is his also.[62] And the subject has had
+fresh light thrown upon it as archaeology has progressed. It is thought
+that the Romanizing party which prevailed at the Synod of Whitby
+affected for its churches the Italian type,[63] one of the
+characteristics of which was the _Confessio_, an underground chamber for
+relics[64] situated under the high altar, and surrounded, except toward
+the church, by a passage reached by steps from the body of the building,
+whence, moreover, there were generally steps leading up to the floor of
+the presbytery, and sometimes an incline stretching down to a window
+that looked into the chamber below. Now the present entrance to this
+crypt at Ripon is not original. To mention some of the evidences of
+this, there are in the roof of the passage several tombstones (one at
+the entrance and two beyond the bend) bearing incised crosses of the
+thirteenth century, and 15 feet west of the doorway into the central
+chamber there are signs that a cross-wall has been cut through. The only
+part of the work, then, which is original is that which extends
+eastwards of this point, and in Saxon times there was probably only one
+entrance to the crypt, namely by the north passage; indeed, it seems
+likely that the formation of an approach from the nave was
+contemporaneous with the blocking of that passage, and that both
+alterations were due to the incompatibility of the original disposition
+of the crypt with the subsequent arrangements of the church above. Now
+if that original disposition has been indicated correctly, the crypt
+presented all the more important characteristics of a _confessio_. There
+is the central chamber with a window looking into it (for this is the
+probable explanation of the arched recess in the east wall),[65] and
+there is the surrounding passage, which, however, is interrupted at the
+south-west corner of the crypt in such a way that it is necessary to
+pass through the chamber itself.[66] An excavation made in 1891[67]
+failed to reveal any traces of a staircase at the east end of the south
+passage, but as there are many instances in Italy of a _confessio_
+without a second stair, this failure is of little importance. If, then,
+this crypt may be assumed to be a _confessio_, there follows a very
+interesting consequence. The fact that the surrounding passage was
+entered from the east, that it runs round the west and not the east end
+of the central chamber, and that the blocked window (if such it be) is
+in the east wall of the latter, indicates that the nave lay to the
+east,[68] in other words, that the presbytery was at the west end of the
+church. Such a position for the high altar is ultra-Roman, was already
+being discontinued in Wilfrid's day, and had probably never been seen in
+the north, unless here and at Hexham; all of which considerations, in
+the light of the known bias and character of Wilfrid, are in favour of
+the theory above propounded.[69] It is impossible to say with certainty
+whether Wilfrid's presbytery was apsidal or square; and whether his
+church had aisles or not.[70]
+
+  [Illustration: CONJECTURAL PLAN OF THE CRYPT AND PRESBYTERY IN THE
+   TIME OF WILFRID, BY MR. J. T. MICKLETHWAITE, V.P.S.A.
+   (By permission of the Archaeological Institute.)]
+
+There remains the question whether this crypt was or was not under the
+church of the monastery. In Leland's description of Ripon,[71] "the Old
+Abbay of Ripon" is certainly represented as having stood on the site
+which in Leland's time was occupied by the Lady-kirk, adjacent, that is,
+to the west side of the street now called St. Mary-gate;[72] and it has
+been argued with great ability[73] (on the supposition that "the Old
+Abbay" means the Saxon Monastery) that this crypt, though almost
+certainly Wilfrid's, was under a second church outside the monastery
+wall.[74] It is, however, still possible to suppose that the site in St.
+Mary-gate may have been that of the domestic buildings only, and that
+the monastery church stood over this crypt; or that "the Old Abbay"
+means the Scottish Monastery, the site of which was also probably not
+far from St. Mary-gate and may have been confused by Leland with that
+afterwards occupied by the Lady-kirk. Nor in any case, perhaps, are the
+mere statements of Leland a sufficient foundation for the argument that
+has been constructed upon them. Indeed, an elaborate _confessio_ like
+this would hardly have been made for any church other than that of the
+monastery.
+
+And if, after all, Wilfrid's monastery church stood above this crypt,
+there arises a very interesting probability in connection with that part
+of the south passage which extends 15 feet westward from the doorway
+opening into the central chamber, namely that it was the original
+burial-place of Wilfrid himself, whom Bede declares to have been laid
+_juxta altare ad austrum_.[75]
+
+The position of the crypt suggests the history of the ground plan of the
+Cathedral. After the destruction of Wilfrid's Church, the site of his
+nave became that of the choir, and a nave was added westwards. Thus it
+came about that the crypt is now in the centre of the building. The
+central line or axis of the church in all stages of its history has
+probably always passed over this crypt.
+
+=The Aisles of the Nave.=--As no aisles were contemplated when the west
+towers were built, the east side of the latter shows, of course, the
+same external decoration as the other sides. At the back of the
+surviving portions of the old nave there may be seen at the western end
+of either aisle one of Archbishop Roger's buttresses, and at the eastern
+end a roughened surface where another buttress has been removed. The two
+buttresses that remain have a large set-off near the bottom, and they do
+not diminish as they ascend; while from their upper portions, which are
+visible outside the church, it would seem that they rose to the very top
+of the walls. At a little over 16 feet from the ground there remains
+upon them a portion of an external string-course, which is not on a
+level with any of those on the exterior of the transepts. Either aisle
+opens into the transept with a massive arch resembling those of the
+north main arcade, and has along the foot of its wall a bench table,
+from which rise the vaulting-shafts. But though preparation had been
+made for stone vaulting, the roofs were of wood until the last
+restoration, when Sir Gilbert Scott put up the present stone groining.
+The effect is good, but would have been better had there been ridge-ribs
+and bosses.
+
+  [Illustration: THE TWO FONTS, TWELFTH AND SIXTEENTH CENTURIES.]
+
+=The South Aisle= contains the font, which was probably among the latest
+additions to the church before the dissolution, and formerly stood at
+the west end of the nave. This font is raised upon two circular steps,
+and is octagonal and of blue marble, with the various surfaces of base,
+stem, and bowl slightly hollowed. The sides of the bowl and also of the
+base bear shields and lozenges alternately, and upon the base the
+lozenges are richly carved. In a corner hard by stands another and much
+older font--probably that of Archbishop Roger's church. It is a
+circular basin, adorned with an arcade of trefoil arches.[76]
+
+  [Illustration: BAS-RELIEF IN THE SOUTH AISLE OF THE NAVE.
+   (Reduced from a rubbing.)]
+
+Against the wall a little further eastwards is an altar-tomb of great
+interest. The marble slab at the top has at one end a bas-relief
+representing a grove, and in it a lion walking away from a man, who
+kneels in an attitude of supplication with his back to the lion, while
+between the two figures is a bird flying toward the man. Tradition says
+that this is the tomb of an Irish prince who brought back from Palestine
+a lion that had there become attached to him, but a story of this kind
+was popular in mediaeval romances,[77] and the tradition, though of some
+age, is not, perhaps, very probable. It has been well suggested that the
+sculpture represents deliverance from a lion in answer to prayer; but as
+it is possibly only part of a larger composition, its full meaning must
+still be doubtful.[78] The work is rather Flemish in character, and may
+be assigned to the fourteenth century, with which date the costume of
+the man agrees. Thus the slab is considerably older than the wall to
+which it is now affixed, and it is doubtless older than the lower part
+of the tomb itself, which may be of the same date as the aisle. There
+is a black-letter inscription upon the front of the structure, but it is
+unfortunately quite illegible. An entry in the Chapter Acts[79]
+indicates that this tomb was used as a money-table in business
+transactions between the mediaeval townsmen.
+
+The windows have their sides moulded, but somewhat clumsily. That above
+the font contains the only mediaeval glass in the Cathedral, a collection
+of fragments chiefly of the fourteenth century. Most of these were
+originally in the great window of the choir, where, being in the upper
+tracery, they had escaped the violence of Sir Thomas Mauleverer's
+troopers. Among the figures in the medallions are St. Peter, St. Paul,
+and St. Andrew, and there is a fine shield of the arms of England, with
+a border or mantling of France, and surmounted by a label of three
+points azure.[80] The quality of the glass is exceedingly good, and the
+window, when the sun shines through it, resembles a screen of gems, and
+puts its neighbours to shame. The fourth window from the west, however,
+by Clayton & Bell, is of considerable merit. The vaulting-shafts are in
+clusters of three, and have overhanging bell-shaped bases with polygonal
+plinths, while upon the capitals are angels bearing shields, one angel
+to each cluster. The last two shields eastwards are charged respectively
+with the arms of Archbishop Savage (1501-1507), and with the three stars
+of St. Wilfrid. Where these shafts break the string-course under the
+windows they are encircled by a thin band. Upon the eastern fragment of
+the old nave there remains in this aisle another portion of Archbishop
+Roger's external string-course, and also (near the last capital of the
+arcade) some trace of a band of ornament.
+
+The western end of the =North Aisle= is the Consistory Court, and has been
+used as an ecclesiastical court since 1722, when Ripon was still in the
+diocese of York. Over the Chancellor's seat is a modern canopy of
+stained deal, which formerly surmounted the throne in the choir. The
+stone base of the railings, with its many projecting angles and its band
+of delicate quatrefoils, is thought to have formed part of the shrine of
+St. Wilfrid, and, having been found in fragments, was placed here by
+Sir Gilbert Scott. In this aisle the sides of the windows are partially
+panelled. The glass is of little interest, save that in the third window
+from the west, by Burlison & Grylls, and a few seventeenth century
+fragments. The vaulting-shafts here are single, and are half-octagons
+with their sides slightly hollowed, and they again break the
+string-course, which rises to pass over the doorway. Of the shields on
+their angel capitals the three easternmost are charged respectively with
+the arms of Fountains Abbey[81] (three horse-shoes), with those of
+Cardinal Archbishop Bainbridge (1508-1514) (supported by _two_ angels),
+and with the stars of St. Wilfrid. The arch opening into the transept is
+not so high as in the other aisle, and upon the space above it are
+portions of a once external string-course and buttress.
+
+=The Central Tower.=--It is from the interior of the church that the
+extent of the repairs necessitated by the partial fall of the tower can
+best be realized, and it is here that the documentary evidence for their
+dates may best be summed up. The catastrophe itself is described in an
+indulgence of 1450 by Archbishop Kemp, but the repairs had not advanced
+much by 1459, for in that year a testator bequeaths money to this
+object, "_cum fuerit in operando_." It would seem, however, from an
+indulgence of Archbishop George Neville that the tower had been
+partially repaired by 1465. After a bequest in 1466 (the last of a
+series beginning in 1454), it seems to be next mentioned in the Fabric
+Roll for 1541-2, and the Chapter Acts speak of the work that remained to
+be done as late as 1545. The order, therefore, of the larger operations
+in the Perpendicular period was probably as follows:--First the Canons
+remodelled the two ruinous sides of the tower and the east side of the
+south transept (where the work much resembles that in the tower), then
+they rebuilt the nave,[82] then the western bays on the south side of
+the choir (as the late character of the work itself would indicate),[83]
+and lastly they were about to remodel the two remaining sides of the
+tower when they were checked by the dissolution.
+
+  [Illustration: THE WESTERN ARCH OF THE CENTRAL TOWER.]
+
+The planning of the Cathedral is remarkably irregular. Not only is the
+axis of the choir, as in so many churches, inclined (here toward the
+north) but the centre of the Rood Screen is south of the axis of the
+nave, and the north side of the tower is not parallel to the south side,
+the north-west angle being less than a right angle. This is the only
+angle which remains in its original condition, and here the responds of
+the two adjacent arches stand upon one circular plinth, their own bases
+being, however, rectangular, though following in the upper mouldings the
+forms of the shafts. The capitals of the latter are, as usual,
+square-topped. The respond of the western arch has a semicircular shaft
+upon the front, and a smaller shaft at the west side, where the pier is
+twice recessed. The arch itself springs from the level of the top of
+Archbishop Roger's triforium, is semicircular, and has more orders
+toward the west than toward the east, but the mouldings (chiefly rounds)
+are lacking in boldness, and the absence of a hood-mould (both in this
+arch and the other) is a disadvantage. The other respond is concealed by
+a huge Perpendicular casing, which, obtruding as it does into the arch,
+is a very conspicuous object in the view from the west doors. Upon the
+piers of this arch toward the nave are some curious brackets, which
+probably supported the original rood-beam.[84]
+
+The northern arch springs from a higher level, and is less richly
+decorated than the other, and its form is almost segmental. It has more
+orders toward the south than toward the north, and again the mouldings
+are chiefly rounds. Its western respond has a shaft on the front, and at
+the south side another, which is banded at the springing-level of the
+western arch and carried up to that of the northern arch, where it ends
+in a three-sided capital, upon which stands another and very short
+shaft, complete with base and capital, that carries the rim of the arch
+and an angle of masonry that projects from the corner. The lower portion
+of this respond is cased by a rectangular addition (almost as old as the
+pier itself), which has upon the front a massive detached shaft with a
+circular capital, on which stands a quaint figure of King James I.,
+brought from the screen of York Minster. To support an image of some
+kind may, perhaps, have always been the purpose of this pillar. It has
+been suggested that there is a similar projection concealed behind the
+casing of the south-western pier.
+
+Over these two arches is a bold cornice, which possibly once supported a
+ceiling, and the blind storey above shows in each wall two pairs of
+plain lancets with the impost-moulding continued as a string, and with a
+passage behind. In the third storey, where again there is a passage, the
+two windows in each wall have a third arch (also round) between them,
+and alternating with these three arches are little lancets which have
+been blocked as far up as the imposts, their shafts having been first
+removed. A cornice supports the ceiling, and on the west side there are
+also some rather inexplicable corbels.
+
+The builders of this tower were certainly misguided in employing round
+arches to support it, at a time when (as the choir shows) pointed arches
+of considerable size were in common use, and it would seem that the
+superior strength of the latter form was not yet fully realized. No
+stronger specimens of that form are to be found, perhaps, than the
+arches that support the two remaining sides. Their giant piers are
+clusters of engaged cylindrical shafts with rounded hollows between, and
+at each remodelled angle of the tower the two adjacent responds are
+treated as one whole, presenting seven shafts almost on the same plane.
+The bases, with their complex plinths and overhanging upper mouldings,
+are over five feet high, and the capitals are polygonal, with small and
+shallow mouldings, of which the lowest follows the form of the pier.
+Slightly stilted, richly moulded, and of many orders, these arches are
+so lofty as to leave no room for a blind storey above. Though the
+windows here are set higher in the wall, their rear-arches reach down
+nearly to the Transitional sill-level. Between the two windows in either
+wall a shaft springs from an angel corbel at the string-course below the
+sills, and runs up in a kind of groove, and these two shafts, with
+another which springs from the junction of the two great arches, end
+short of the present ceiling in semi-octagonal capitals, while on the
+east wall, and at a lower level, there are more corbels. Indeed, from
+the various corbels and shafts in this storey it would seem that the
+level of the ceiling had been altered, possibly more than once, and
+perhaps that it was destined to be altered again when the remodelling
+should be complete. The present ceiling, flat and painted with good
+effect, was put up by Sir Gilbert Scott.
+
+=The Transepts.=--The length of either transept is 43 feet, and that of
+both together (including the crossing) is 134 feet, or about the same
+as the length of the nave. In the transepts and choir the relative
+proportion of the three storeys or stages to one another, which in the
+nave was so remarkable, becomes more ordinary, and the change in the
+level of the triforium passage--due to the heightening of the lowest
+stage to meet the exigencies of aisles--necessitates long staircases
+(now blocked) behind the western piers of the tower: and the same is the
+case (though in a less degree) with the clearstorey, which in this part
+of the church is loftier, instead of being shorter, than the triforium.
+In either transept a bench-table runs along the west wall, and the large
+lower windows are plainly splayed, but have their sills stepped. The
+glass in them is bad, except some seventeenth century pieces in the
+window over the north door. The roof, which is of oak, and
+Perpendicular, had been concealed in the time of Blore by sham Norman
+vaulting constructed of _papier mache_. Sir Gilbert Scott removed this
+abomination and exposed the old ceiling, which he repaired and partially
+renewed. It is almost flat, is raised on wooden figure-corbels, which
+prevent it from intersecting with the tower arches, and is adorned with
+judicious colour.
+
+=The North Transept=, which is 34 feet wide, or 52 feet if the 'aisle' be
+included, is almost as its builders left it, and is among the most
+famous examples of the architecture of the age of Henry II. and Thomas a
+Becket, when the early English style was being developed from the
+Norman. As the details are the same here as in all Archbishop Roger's
+work, they need no further description. To take the west and north walls
+first, the Perpendicular arch opening into the aisle of the nave cuts
+into two blocked round arches, of which that on the right was a window,
+while that on the left is backed by the old nave wall; and in this first
+bay (which is narrower than the others in both this and the opposite
+wall) the triforium arches are blocked up, as well as the first lancet
+in the clearstorey, where there is moreover no window. Each bay shows in
+the triforium two pointed arches with a pierced quatrefoil between them,
+and in the clearstorey a stilted round arch, pierced and glazed, between
+two smaller arches of lancet form, which on the north wall are very
+curiously barred across at the impost level, the _abaci_ of two shafts
+being formed by one slab.
+
+  [Illustration: THE NORTH TRANSEPT.]
+
+The east wall is much more richly treated, and harmonizes in design with
+the choir. It might perhaps be more proper to describe the aisles of
+these transepts as a series of eastern chapels. Their floor is raised
+two steps above the body of the transept, from which they were evidently
+once railed off, and in either transept the two outer bays are walled
+off from that nearest to the tower. At any rate the arches here have the
+appearance of independent units rather than of a continuous arcade.
+Separated by roof-shafts of unusual bulk, their responds consist each of
+three engaged shafts with a fourth to carry the aisle-vault; and the
+bases, rectangular but with the upper mouldings following the pillar,
+are united with those of the roof-shafts, while the capitals as usual
+are square-topped. The actual arches are of two orders, each of which
+has the edge-roll, while under the soffit, which is flat, is another
+roll between two mouldings that are hook-shaped in section. The arch
+nearest to the tower has given way slightly and has been blocked up,
+apparently not very long after it was built, for in the blocking wall is
+an acutely-pointed and thrice-recessed doorway of decidedly early
+character, and the material throughout is gritstone. The wooden doors
+are probably Perpendicular work.
+
+Adjoining this doorway is a Perpendicular stone pulpit, which has a base
+but no stem, and is ascended by means of three steps only. It has five
+sides, and is covered with rich panelling, but the top has apparently
+been taken off. This may not indeed be its original position,[85] yet it
+was a mediaeval custom to deliver the sermon just as the procession was
+about to enter the choir, and this pulpit is most conveniently placed
+for such a purpose. If this is not its original position, it may perhaps
+be identified with a nave pulpit mentioned in the Chapter Acts.
+
+On this east side the triforium shows in each bay a semicircular arch
+comprising two pierced lancets and flanked by two blind lancets, with a
+quatrefoil pierced through the tympanum under the comprising arch, an
+arrangement that is the germ of tracery. Here there is no passage in the
+thickness of the wall, as there was an open gallery over the aisle until
+the external roof was lowered and the back of the arches blocked.
+
+In the clearstorey the shafts of the round arch in each bay are doubled,
+each couple sharing a common plinth and capital, from which latter
+springs a tiny shaft that carries the edge-roll of the arch; and the
+lancet arches also, where they adjoin the solid piers between the bays,
+have a shaft in the jamb. On all three walls the shafts in this storey
+stand on a kind of kerb or parapet, which is interrupted in the middle
+of each bay, and the stilt of the round arch is treated almost like a
+classical entablature, and has a moulding or cornice above it, while the
+uppermost part of the wall is thickened, thereby necessitating over each
+bay a comprising arch, which on the north wall is round, but on the
+other walls follows the shape of the three sub-arches, and forms a kind
+of upper order to them.
+
+The roof-shafts, which do not break the string-courses, spring from very
+various levels: on the east side from the ground, and on the north side
+from the unusually high level of the second string, while on the west
+side one cluster rises from the first string and the other from above
+the second string (having perhaps been shortened in the last case to
+make way for the Perpendicular arch beneath). On the east and west walls
+these shafts are of a thickness which, besides being out of proportion
+to the other parts of the architecture, is structurally unnecessary, for
+they do not directly support the roof at all, but end at the top of the
+triforium in triple capitals, of which the central member is square and
+the others round. Upon each of these capitals, stand three detached and
+much thinner shafts--namely, that which really carried the roof-beams,
+and those (adjacent to it) of the arches that carry the above-mentioned
+thickening of the wall. Thus is afforded a striking instance of the
+tendency, so often exemplified in Archbishop Roger's work, to use two
+shafts, one on the top of the other, instead of prolonging one--a
+tendency which marks the organic development of the style as still
+incomplete. On the north wall the three shafts in each cluster are
+carried up from their corbel to the top in one piece, unbroken save by a
+band at the impost level of the triforium and another at the third
+string, and they seem detached throughout their height both from the
+wall and from each other. At each corner of the transept the thickening
+of the wall over the clearstorey arcade is carried by a shaft which
+rises from the bench-table or the ground.
+
+The roof is entirely modern, and the shields on its corbels bear the
+arms of the chief promoters of the last restoration.
+
+Against the north wall is a fifteenth century altar-tomb, covered with
+inferior panelling and shields of arms, and surmounted by the figures of
+Sir Thomas and Lady (Eleanor) Markenfield; and adjoining this tomb
+(which formerly stood within the aisle) is the lid of a thirteenth
+century stone coffin on the floor. In the aisle stands another
+altar-tomb, which has the sides panelled and adorned with shields of
+arms and bears the figure of an earlier Sir Thomas Markenfield, clad in
+armour of the period between Poitiers and Agincourt, and wearing a very
+curious collar of park palings with a stag couchant in front, possibly
+(as has been suggested) a badge of adherence to the party of Lancaster.
+The figure of Lady Markenfield has, unfortunately, been destroyed.[86]
+
+The aisle is often called the Markenfield Chapel, and doubtless
+contained the Markenfield family chantry, which seems to have become
+afterwards merged in another foundation.[87] The two bays were
+apparently once walled off from each other, the dividing wall having
+perhaps been removed to make way for this Markenfield tomb. At any rate,
+between the bays of the vaulting there is a plain cross-arch of
+remarkable thickness, whose eastern respond is cut off above the tomb,
+as are also the two adjacent vaulting-shafts, which have had heads
+carved upon their ends. The south wall is probably original, since (to
+mention one reason) part of the string-course upon it is worked on the
+same stone with the vaulting-shaft. The lower parts of the walls display
+traces of a design in red representing round arches interlaced. In the
+north wall there is a square aumbry, and in the south wall a large
+piscina, with trefoil head and projecting basin. If this piscina is
+original, it is a very fine specimen for so early a date. A huge
+eighteenth century monument to Sir Edward Blacket of Newby almost covers
+the southernmost window, but the remaining two contain glass of some
+merit, which in that facing east commemorates the recovery from fever of
+King Edward VII., then Prince of Wales. The vaulting springs from single
+cylindrical shafts, which rise from the ground and do not interrupt the
+string-course. Their bases have three-sided plinths, and their capitals
+are enriched with stiff foliage and are three-sided above.
+
+The vaulting, which is apparently original, deserves especial notice.
+Its bays are square, and the groin ribs consist each of three round
+mouldings, of which the most prominent is 'keeled';[88] but what is most
+remarkable is that there are also ridge-ribs, which are not usually
+found before the thirteenth century, and it has been suggested[89] that
+this is the earliest instance of their employment. There are also
+wall-ribs, and these and the ridge-ribs are much thinner than the
+groin-ribs, and consist of a single roll only.
+
+  [Illustration: VAULT OF THE NORTH TRANSEPT AISLE, TWELFTH CENTURY.]
+
+=The South Transept= is narrower than the other by a yard, its width being
+49 feet to the aisle wall (which, it should be noticed, has not been
+rebuilt). Without the aisle the width is only 30 feet, but this is
+partly due to the Perpendicular alterations. The end and west side of
+this transept, which remain more or less as they were in Archbishop
+Roger's day, resemble the corresponding walls of the other, yet with the
+following differences. The roof-shafts on the west side are thinner here
+than there, and are carried up to the required height in one piece,
+unbroken save by the string-courses.
+
+In connection with the attachment of shafts of any considerable height
+to wall-surfaces in Archbishop Roger's work, it will be observed that
+though the shafts (according to the general practice of masonry) are
+usually made in short joints built in at the back, yet (as here) their
+jointing sometimes does not harmonize with the coursing of the wall;
+again (as in the old nave and north transept) the shafts of a cluster
+are sometimes not worked all on the same stones.
+
+To return to the differences of this transept from the other, the
+roof-shafts over the inserted Perpendicular arch (which here obtrudes
+into the triforium) descend no lower than the sill of the clearstorey.
+Again, the thickening of the walls at the top is supported in the
+south-west angle not by one shaft but by two, one of which stands on a
+projecting strip of masonry that runs up the angle to the triforium. The
+design of the eighteenth century monument against the south wall, to Mr.
+Weddell of Newby, is taken from that of the choragic monument of
+Lysicrates at Athens.
+
+On the east side, which has been entirely remodelled in the
+Perpendicular period, the bay next to the tower displays from the ground
+to the triforium a plain surface broken only by a pointed doorway
+surmounted by three cinquefoiled niches with ogee crocketed hoods. The
+doorway retains its original doors with an ornamental iron scutcheon
+over the keyhole. In their great strength, and in their treatment
+generally, the two arches opening into the aisle resemble the
+Perpendicular arches of the central tower. The triforium stage is
+exceedingly poor, and shows traces of more or less modern disfigurement.
+Each bay contains a single arch which does not occupy the whole space,
+and which is surmounted by a hood-mould and divided into two sub-arches,
+but without cusps. Here again the arches were once pierced through to a
+gallery over the aisle, as the exterior of the wall plainly shows; and
+this seems to indicate either that the external roof had not been
+lowered when these Perpendicular repairs took place, or that possibly
+the two lower storeys of Archbishop Roger's wall were left standing, and
+have been, not rebuilt, but cased. The appearance of the wall externally
+suggests that these arches may have once been round, and the unusual
+bulk of the two aisle-arches seems further to support the theory of a
+'casing.' In the clearstorey the windows have hood-moulds, but otherwise
+are treated much as in the nave. The southernmost contains a fragment of
+old glass, bearing the words 'Jhesu mercy.' Along the sill of the
+passage may be seen the stumps of uprights which may perhaps have
+supported a rail. The roof-shafts are clustered and extremely thick, and
+appear the more awkward in that the wall and the shafts with it are set
+back at the base of the triforium. In this transept the ceiling is old,
+and among the heraldic devices carved upon it are those of the church
+itself, St. Wilfrid, the See of York, the Pigotts, the Nortons, and
+Fountains Abbey.
+
+The aisle, the walls of which have not been rebuilt, and which has a
+chequered pavement of uncertain date, was for some centuries the
+burial-place of the owners of Studley Royal, and is often called the
+Mallory Chapel. A curious recess in the south wall is concealed by the
+monument of John Aislabie of Studley, Chancellor of the Exchequer at the
+time of the South Sea Bubble, and against the north wall is a monument
+to that Sir John Mallory of Studley who defended Skipton Castle for
+Charles I., and delivered Ripon from Sir Thomas Mauleverer. There is a
+square aumbry to the right of this monument, and in the next bay
+another, divided by a stone shelf and having modern doors with
+ornamental iron-work. The northern bay is almost wholly occupied by a
+stone staircase leading up to two doors, one of which opens on the left
+into a chamber now containing the bellows of the organ, while the other
+opens into the Lady-loft or Library. Over the latter door and over the
+Mallory monument will be observed traces of two original windows, which,
+before the erection of the Lady-loft, admitted doubtless whatever light
+was not blocked out by the old roof of the Chapter-house. On this wall
+hangs a royal escutcheon bearing the motto of James I. The vaulting is
+Perpendicular, but two of the original supports remain on the east side.
+The shaft in the south-east corner resembles those in the Markenfield
+Chapel, save that its capital has no foliage; but between the two bays,
+instead of two shafts flanking the respond of a thick cross-arch, there
+is a cluster of three detached shafts, banded at the string-course, and
+sharing a common capital with a semi-octagonal top. It would seem,
+therefore, that the two bays here were never walled off from one
+another.[90] At the north-east corner the vaulting springs from a
+Perpendicular corbel. Its moulded ribs are exceedingly ponderous, and
+one of them, not having room to descend upon the pillar, is finished off
+with a head. The present Library staircase was put up by Sir Gilbert
+Scott in place of an older flight attached to the north wall, and upon
+the latter may be seen (behind the stairs) traces of mural paintings in
+red and green, representing the Adoration of the Magi and other
+subjects. The archaic character of these paintings indicates the age of
+the wall, which, nevertheless (unlike the corresponding wall in the
+Markenfield Chapel), seems to have been an afterthought, since it
+differs from the other walls in the coursing of the stone and in the
+pattern of the string-course, and, moreover, at its northern end there
+is a 'straight joint,' visible in the choir-aisle.
+
+=The Rood Screen=, according to Sir Gilbert Scott, is of a date a few
+years earlier than 1494, but, if so, it has taken the place of another,
+which is mentioned in the Fabric Rolls as early as 1408.[91] The general
+design is that of an arched doorway with four large niches on either
+side, and a tier of twenty-four small niches over all. The doorway,
+which retains its original panelled doors, has three shafts in either
+jamb, and is surmounted by a crocketed ogee hood, under which is a
+sculpture representing the First Person of the Trinity with attendant
+angels. A figure of the Saviour evidently once rested, as Walbran
+noticed, upon the knees of the central Figure; above whose head or
+shoulder, moreover, there was doubtless once a representation of the
+Holy Dove. The niches again have crocketed ogee hoods, and in the lower
+tier contain pedestals bearing shields charged with the arms of the
+Pigotts and other benefactors, while the sill of the last at either end
+of this tier is considerably raised, and the space below panelled. The
+niches contain ribbed vaults, and are cinquefoil, with feathered
+cusping, and their hoods are prolonged so as to divide the members of
+the upper tier into pairs; while from the sides of these hoods, from the
+buttresses, and from the curve of the doorway, thin strips of stone,
+adorned with knobs that distinctly add to the effect, are carried up to
+the cornice, along which runs a row of shields bearing traces of colour.
+In the lower part of the screen the spaces between the strips and under
+the hoods are filled with tracery. The screen is 12 feet thick, and in
+the passage through it are two doors, that on the right opening into a
+winding staircase to the loft above, and that on the left into a deep
+pit, which once communicated, it is thought, with the north passage of
+the Saxon crypt.
+
+  [Illustration: THE ROOD SCREEN.]
+
+=The Choir.=--The choir extends 92 feet eastward from the screen. Its
+width is 33 feet between the columns, or 68 feet if the aisles be
+included. A notable peculiarity in it is, that after the lowering of the
+aisle-roofs externally, the triforium was glazed, so that there are two
+tiers of windows above the main arches.[92] Many styles meet here. The
+first three bays on the north side are Archbishop Roger's work, while
+the three opposite are Perpendicular, and lastly, the three easternmost
+bays on either side are chiefly Decorated.
+
+To begin with the north side. The arch in the first bay has been built
+up, probably to strengthen the tower, and by the twelfth-century
+builders themselves, for the abacus-moulding of the capital is continued
+across the blocking wall. In the latter the fifteenth-century builders
+have made a small pointed doorway, which is now blocked but apparently
+once gave access from the top of the screen to a staircase in the north
+aisle. This and the two next bays bear in all three stages a general
+resemblance to the east side of the north transept. The columns,
+however, are clusters of eight cylindrical shafts, and stand upon
+circular plinths, the base proper following, of course, the form of the
+pillar. The capitals, as usual, are compound and composed of plain
+inverted bells, and have square tops with the abacus hollowed and
+grooved. The arches differ from those in the transept only in that the
+large moulding under the soffit is 'keeled,' and that the mouldings
+which flank it are simple ridges. In the triforium the cusps visible in
+the glazed sub-arches belong to some tracery which has been applied to
+the back at a later period.
+
+  [Illustration: THE GREAT EAST WINDOW.]
+
+The treatment of the vaulting-shafts is very remarkable; indeed, nothing
+is more instructive than the variety shown in the treatment of this
+feature throughout Archbishop Roger's church, the different parts of
+which are suggestive of nothing so much as of a series of architectural
+experiments. Here, upon the capital of each column, rests a sort of
+compound rectangular plinth, from which project three corbels, hollowed
+underneath and having little blocks beneath their overhanging edge. From
+this plinth and corbels springs a cluster of no less than five shafts,
+which, by their united width, conceal the springing of the upper order
+of the main arches. They are banded at the string-course below the
+triforium, and end at the sill of the clearstorey in a compound capital,
+of which the three central members are square, and the others round.
+Upon this capital, apparently, stand the two adjoining shafts that carry
+the thickening of the wall above the clearstorey, and here (but hidden
+by the vaulting) stands also the original roof-shaft, and these three
+are 'detached.' Thus the arrangement is in principle similar to that
+adopted in the north transept, while at the same time the clustered
+shafts are even more disproportionate here than there to the slight
+burden they have to carry; indeed the effect is that of five shafts
+diminishing to one. The vaulting hides a feature which is not found in
+the transept, namely, a little lancet arch whose apex comes exactly
+behind the roof-shaft in each bay.
+
+  [Illustration: BAY OF ARCHBISHOP ROGER'S CHOIR (WITHOUT THE VAULTING).
+   (From a drawing by Sir G. G. Scott, by permission of the Archaeological
+   Institute.)]
+
+  [Illustration: DECORATED CAPITAL IN CHOIR.]
+
+Though the three eastern bays (still on the north side) are chiefly
+Decorated, portions of Archbishop Roger's work have been retained or
+used again. Thus the fourth column from the west is his, and perhaps the
+fifth up to the abacus, which is convex and of limestone. The respond
+against the east wall is of his pattern, but it has not the circular
+plinth, and the capital is of limestone, has the abacus moulded with
+rounds upon the edge, and is covered with delicate foliage in the
+Decorated manner. In these arches the lower order has exactly the same
+mouldings as in the western bays, and is of gritstone, while the upper
+order is of limestone, and has fillets upon the larger mouldings. It
+would seem, therefore, that the later builders have used the original
+archivolts again, and have merely added another order or orders over it.
+The plane of the wall above, indeed, is brought forward to the face of
+Archbishop Roger's vaulting-shafts: yet without being really thickened,
+since it is set back from his wall on the exterior. At the junction of
+the old vaulting-shafts with the additional order of the first Decorated
+arch the later builders have carved a group of grotesque faces. In each
+bay of the Decorated triforium there is a round arch filled with tracery
+consisting of three round-headed and trefoil lights with two circles
+enclosing trefoils above them; and on either side of this arch (but on
+one three only, in the first of the side bays) is a sunk lancet panel
+enclosing a pointed arch impaling a trefoil. The clearstorey has a
+second plane of tracery, a feature not very common in England. The
+vaulting-shafts are in clusters of three and are filleted, and the
+string-course below the triforium is not carried round them. Each
+cluster springs from a semicircular corbel resting on a head, and has
+its capitals enriched with foliage. The last pendentive of the vaulting
+rests on a single shaft springing directly from a head-corbel. The
+string-courses are not of the same pattern with those on the older bays.
+
+  [Illustration: THE NORTH SIDE OF THE CHOIR.
+   (Junction of Transitional and Decorated work.)]
+
+On the south side the westernmost Perpendicular bay, up to the
+triforium, is solid and covered with cinquefoil panelling. In the next
+two bays the mouldings of the arch, among which a broad hollow is
+conspicuous, are continued down the column, and there is no capital--a
+sign of decadence more common in the Flamboyant work of the Continent
+than here. There is, however, a debased half-capital on the east side of
+the last Perpendicular column, and on the west side of it are three
+small heads at the impost-level. These columns are lozenge-shaped in
+section, wider from north to south than from east to west, and though
+the mouldings end before they reach the bottom of the column, there is
+no proper base. Each column has a shaft at the front and another at the
+back, the former carrying the rim of the arch and having a stilted
+polygonal base but no capital, while the latter has capital as well as
+base (both polygonal), and helps to carry the aisle-vault. The spandrels
+of these arches are filled with panelling, in which are several shields
+(one bearing the arms of Pigott). The triforium again shows in each bay
+a round arch; indeed, no better example than this choir could be found
+of the truth that the form of the arch is not a safe guide to the date
+of a building, but was often dictated by convenience; for here in the
+triforium are round arches, of which some belong to the twelfth, others
+to the thirteenth, and others to the sixteenth century. The fact that
+the distance between the string-courses was already settled by the
+Transitional bays, compelled the later builders to make their arches
+round, as a pointed arch of the requisite width would have been too
+tall. Here the round arch, which is again flanked by two panels,
+comprises three cinquefoil lights, and the mullions are carried up
+through the head. The panels are pointed and divided each into two
+cinquefoil divisions. The Perpendicular clearstorey windows have their
+rims moulded, but are not splayed. The vaulting-shafts resemble those in
+the Decorated bays, but their corbels are polygonal and have the sides
+slightly hollowed, and the abacus of the capital is a half-lozenge. The
+string-courses have not been made to match either the Transitional or
+the Decorated. The whole of this Perpendicular work is of very late
+character, and justifies the belief that it was the last important
+alteration in the fabric before the dissolution. Moreover, where it
+meets the tower there seems to be a 'straight joint,' which indicates
+that these bays are at any rate later than the tower piers.
+
+East of the Perpendicular pillars the next column is Archbishop
+Roger's, and perhaps the next also, with the exception of its capital,
+which has two rings upon the necking, with the rectangular top imposed
+directly upon them and chamfered beneath, while the abacus (which is of
+limestone) is convex.[93] The respond against the east wall is again of
+the old pattern, but without the circular plinth, and its capital
+resembles that just described. In the westernmost of these southern
+Decorated bays three styles meet. The lower order of the arch seems
+again to be Transitional work, while in the triforium and clearstorey
+Decorated arches have been filled with Perpendicular tracery. In the two
+remaining bays the main arches are entirely Decorated, the lower order
+being of limestone and the large moulding under the soffit having a
+fillet. Over the last two complete columns there is a little foliage,
+and of the corbels of the vaulting-shafts one is enriched with foliage
+while the other consists of a head between two embracing figures. There
+is foliage upon the capitals of these vaulting-shafts, and upon the
+capital and base of that which supports the last pendentive of the
+vaulting. With the exceptions mentioned, these bays resemble those
+opposite.
+
+It has been remarked that the choir was probably as long in the twelfth
+century as it is now. The point is indeed proved if (as there seems no
+reason to doubt) the last complete column on either side is original and
+occupies its original position; but a further indication is to be found
+in the fact that the fragment of the original south wall, the end of
+which is visible on the exterior between the south aisle and the apse,
+extends well into the last bay of the present choir.[94]
+
+The huge east window, which is not splayed, has a deep rear-vault
+bounded by a massive rib, whose outer edge rests on slender engaged
+shafts with foliage on their capitals, while the inner edge ends in
+bunches of foliage. Between this rib and the tracery is another rib
+springing on the north side from a bunch of foliage and on the south
+from a grotesque corbel. The inner arch has slender shafts, and so has
+the moulding next to the tracery, but in the latter case the capitals
+are plain.[95] Few acts of vandalism are more to be regretted,
+probably, than the destruction in 1643 of the magnificent fourteenth
+century glass which once occupied this window. The present very poor
+glass, by Wailes of Newcastle, commemorates the revival of the see of
+Ripon in 1863.
+
+  [Illustration: A Bishop and a King.]
+
+  [Illustration: The Expulsion from Paradise.
+   BOSSES FROM THE CHOIR-VAULT.]
+
+Over the window may be seen the mark of one of the earlier roofs. The
+choir is thought to have received a groined vault of oak after the
+rebuilding of the east end, but this vault was probably renewed more
+than once, especially after the accident to the tower about 1450, and
+the fall of the spire in 1660. Sir Gilbert Scott found a vault of lath
+and plaster (probably the work of Blore) for which he substituted the
+present roof, a groined wooden vault, admirable in its lofty pitch and
+judicious colouring. Its chief feature, however, is the splendid bosses
+along the ridge, which are survivals from either the Decorated or a
+subsequent Perpendicular vault. In some of these bosses the figures are
+five feet long.
+
+     From west to east the subjects are as follows: (1) A head; (2) an
+     angel, with foliage; (3) a head; (4) a man conducting a woman to a
+     church door; (5) a bishop in benediction; (6) a king enthroned; (7)
+     a bishop enthroned; (8) a king and a bishop enthroned together; (9)
+     the Crucifixion (modern); (10) the Annunciation; (11) the expulsion
+     from Paradise; (12)? the good Samaritan; (13) a head.
+
+There are also good foliage bosses against the walls between the
+pendentives. The westernmost pendentive on either side rests on a
+Perpendicular corbel carved with delicate foliage.
+
+The general arrangements of the presbytery have been much changed since
+the middle ages. The altar then stood against a screen one bay in
+advance of its present position, and the iron hooks upon the second
+complete column from the east end on either side held, it is supposed,
+the Lenten Veil. Before the last restoration the altar stood, as now,
+against the east wall (on a single step, however), but the Sanctuary
+still extended two bays westward and was three steps above the rest of
+the choir, which was all on one level. Since then the floor has been
+raised one step at the east end of the stalls, and the steps to the
+Sanctuary have been diminished by one, while there are now two steps to
+the altar, and the Sanctuary and the raised portion of the choir have
+received an inlaid marble pavement. The reredos, an arcading of slender
+arches each enclosing a trefoiled arch impaling a trefoil, is a
+restoration of the original Decorated work. The latter had been covered
+by a painted screen of wood--possibly of late mediaeval workmanship--and
+this again by a huge oil-painting of the time of Charles II. Both were
+removed to make way for a high reredos by Blore, which in its turn was
+taken down by Sir Gilbert Scott.[96] On the pavement south of the altar
+is a piscina, which (if this be its original position) must have
+belonged to a chapel or chantry behind the high altar--possibly the
+chantry of the Holy Trinity _subtus altare_.[97] From its position it
+would seem that in those days the floor here was considerably lower than
+it is now.
+
+  [Illustration: THE SEDILIA.]
+
+=The Sedilia.=--The last bay on the south side is now occupied by three
+sedilia and a piscina, which form one block. As might be expected from
+the mediaeval position of the altar, they once stood in the second bay
+from the east, and they were not removed to their present position until
+the last restoration. Sir Gilbert Scott considered them late Decorated
+work, but they have rather the appearance of late Perpendicular. Over
+each seat is an ogee canopy, cinquefoil, crocketed, and surmounted by
+a huge finial. These canopies rest on square pillars, the sides of which
+are adorned with a sort of 'four-leaved flowers,' while the capitals are
+encircled with foliage in which are animals and monsters. Each pillar is
+surmounted by a pinnacle, and behind each canopy rises a crocketed
+gable, again crowned by a huge finial. The gables, the pinnacles, and
+the tops of the canopies are the work of Sir Gilbert Scott, who found
+the sedilia in a mutilated condition. Below the seats and the piscina
+runs a chamfer with 'four-leaved flowers' along it, and below this are
+panels enclosing trefoils containing faces. But the most curious feature
+of these sedilia is not perceived until a glance is given beneath the
+canopies. The carved ends of the cusps are in reality the heads of
+extraordinary grotesques whose bodies are curled up against the under
+surface of the arch. Some of these figures, in addition to their proper
+physiognomy, have faces carved on the crowns of their heads. The
+piscina, which has been converted into a credence table, has another
+ogee canopy, and is backed by a wall, along the top of which runs a band
+of foliage that is continued round the top of a square pillar at the end
+of the block.
+
+The fine oak chairs in the Sanctuary are of modern construction but of
+old material, while the rails, lectern and pulpit are all modern.[98]
+
+In the four easternmost bays the choir is separated from its aisles
+(except where the sedilia already block one arch) by elaborate oak
+screens of various designs, in the upper part of which the tracery is
+largely pendant--an arrangement characteristic of Yorkshire. These
+screens have been restored, but contain much of the old work, most of
+which is probably of the same date with the stalls.[99] Until the last
+restoration they were surmounted by seventeenth century galleries in the
+so-called Jacobean style.
+
+  [Illustration: CHOIR STALLS, FIFTEENTH CENTURY.]
+
+=The Stalls=--thirteen on either side and eight returned against the Rood
+Screen--are exquisite specimens of fifteenth century woodwork. They are
+surmounted by lofty canopies of elaborate tabernacle-work supported on
+slender shafts and rising into a forest of crocketed spirelets and
+pinnacles. There are ribbed vaults under the canopies, and upon the
+pendants in front are hovering angels. The canopies on the south side
+were wrecked by the fall of the spire in 1660, and those over the eight
+easternmost stalls were then reconstructed in the 'Jacobean' style with
+a gallery above, while of the canopies now over the other nine, eight
+are said to have been brought across from the eastern end of the north
+range, where more Jacobean canopies were erected in their place. Sir
+Gilbert Scott removed all this seventeenth century work and set up
+reproductions of the fifteenth century design. Thus the eight
+easternmost canopies on either side are modern. The misereres and arms
+of the stalls are exquisitely carved.
+
+  [Illustration: Jonah emerging from the whale.
+   Pelican feeding her young.
+   MISERERES, FIFTEENTH CENTURY.]
+
+     The subjects upon the former are as follows, beginning from the
+     archway in the screen:--
+
+     _North side_:--(1) (CANON IN RESIDENCE) lion attacked by dogs; (2)
+     dragon attacked by dogs; (3) angel with shield; (4) dragon and
+     birds; (5) hart's-tongue ferns; (6) conventional flowers; (7) ape
+     attacked by lion; (8) vine; (9) birds pecking fruit; (10)
+     antelopes; (11) fox preaching to goose and cock; (12) fox running
+     off with geese; (13) fox caught by dogs; (14) dragons fighting;
+     (15) fruit and flowers issuing from inverted head; (16) man holding
+     club with oak leaves and acorns; (17) (MAYOR'S STALL) griffin
+     catching rabbit.
+
+     _South side_:--(1) (DEAN) angel with book; (2) angel with shield
+     bearing date 1489; (3) lion _versus_ griffin; (4) griffin devouring
+     human leg; (5) owl; (6) mermaid with mirror and hair-brush; (7) two
+     pigs dancing to bagpipe played by a third; (8) Jonah thrown to the
+     whale; (9) man wheeling another who holds a reed and a bag; (10)
+     fox caught carrying off goose by dog and by woman with distaff;
+     (11) winged animal; (12) hart, gorged and chained; (13) pelican
+     feeding young; (14) Jonah emerging from the whale; (15) Samson
+     carrying the gates; (16) head (modern)[100]; (17) (BISHOP'S THRONE)
+     Caleb and Joshua carrying the grapes and watched by Anakim.
+
+  [Illustration: DESK-END OF MAYOR'S STALL.]
+
+Most of these misereres have exquisite conventional flowers (especially
+roses) cut upon them in addition to the figure-subjects. The desks in
+front of the stalls have rich finials, and their panelled fronts form
+the backs of a lower tier of seats, the arms of which are supported each
+on a square shaft set diamondwise. In front of these lower seats the
+desks again have carved finials and panelled fronts, and on those
+parallel with the Rood Screen the tracery is distinctly Flamboyant. The
+finial before the stall of the Canon in Residence has a griffin attached
+to it, and that in front of the Dean's stall a lion. Before both these
+stalls the ends of the two tiers of desks are richly carved. The
+Bishop's throne and Mayor's stall have each a canopied niche on the
+exterior toward the east,[101] and two small apertures in the east side
+to enable the occupant to see the altar, and in front of these two
+stalls the ends of the two tiers of desks are again richly carved. The
+Mayor's stall, which is wider than the others, was probably that of the
+Wakeman, and attached to the finial in front is a grotesque ape, beneath
+which the supporting shaft is of open work. The end of this desk
+displays a shield charged with two keys in saltire, for the see of York.
+
+  [Illustration: FINIAL IN FRONT OF THE BISHOP'S THRONE.]
+
+The Bishop's throne was originally occupied by the Archbishops of York.
+The Jacobean canopy, which succeeded that of the fifteenth century,
+comprised the space of two stalls, as did also the modern structure by
+which it was itself succeeded and which is now in the Consistory Court.
+The present canopy resembles those of the other stalls but is higher and
+more elaborate. Upon the back of the throne inside is a small mitre. The
+finial in front consists of an elephant carrying a man in his trunk, and
+bearing on his back a castle filled with armed soldiery, and in front of
+the elephant is a centaur (renewed), the shaft under which is again of
+open-work. The end of this desk displays a large mitre above a shield
+charged with the three stars of St. Wilfrid and supported by two angels,
+between whom is a scroll with the date 1494.
+
+  [Illustration: THE WEST END OF THE CHOIR.]
+
+=The Organ= occupied the top of the Rood Screen as early as 1408; but
+doubtless all traces of the mediaeval instrument disappeared at the
+Reformation or in the Civil War. During the ascendancy of the Puritans
+organ-building became a lost art, and at the Restoration it had to be
+revived by foreigners, one of whom, Gerard Schmidt, nephew of 'Father
+Schmidt,' built an organ for Ripon. This instrument was remodelled in
+1833 by Booth of Leeds, and about 1878 the organ was rebuilt by T. C.
+Lewis of Brixton, so that very little of Schmidt's work now remains. The
+present case was designed by Sir Gilbert Scott. Over the doorway in the
+screen is a projecting wooden gallery, in good imitation of the
+Perpendicular manner. This gallery, which dates probably from the time
+of Schmidt, was occupied until comparatively recently by the organist.
+From the front of it projects a well-carved hand, which, worked by a
+pedal, could be made to beat time--a very interesting piece of
+mechanism, which again probably dates from the time of Schmidt.
+
+  [Illustration: THE NORTH CHOIR AISLE.]
+
+=The North Choir Aisle.=--The floor of the choir is now a step above that
+of the aisles, and it may be further remarked that in both of them the
+first bay is somewhat dark, being walled up on three sides; that in the
+second bay the archway toward the choir is occupied by organ-pipes; that
+a bench table runs along the side wall and the east end, and that the
+latter portion is adorned with panelling of the same design with the
+reredos.
+
+In the north aisle the first three bays and a portion of the fourth are
+Archbishop Roger's work, with the exception of the windows. The most
+notable feature, as usual, is the vaulting-shafts, which spring from
+above the string-course, and are in clusters of three. In each cluster
+the central shaft is even thicker than the others, and the capitals,
+which are carved with foliage of Norman character, share a common
+five-sided abacus, while the bases are circular and rest on radiating
+brackets smaller than themselves. These brackets, which are said to be
+unique, have square corners and are moulded, but only on the front, and
+their receding portion consists of a concave moulding containing a
+convex block. In the north-west corner there is but a single shaft,
+which rises from the bench-table, is banded at the string-course, and
+has a square-topped capital. The vaulting has wall-ribs,
+cross-springers, and groin-ribs, and is rather high-pitched. Upon the
+cross-springers the mouldings are a large keeled round having on either
+side a hollow between fillets, while the groin-ribs are moulded as in
+the Markenfield Chapel. In the westernmost bay the vault has shown signs
+of weakness (like so many other parts of the building adjacent to the
+ill-fated tower) and has been strengthened by a cross-arch with a
+half-arch abutting against it on the west side, both springing from
+corbels. The corbels are quite in Archbishop Roger's manner, and
+indicate that these strengthening arches, and therefore the blocking
+walls from which they spring, are of his period. Moreover, the abacus
+moulding of the first choir capital is continued as a string to the
+shaft (which it encircles) in the north-west corner. This string is
+interrupted by a rather inexplicable round arch in the west wall, and
+has also been broken by the obtrusion of the Perpendicular tower-pier,
+and by the blocked doorway which once opened from the Rood Screen. Below
+this doorway (adjoining which there is a recess in the obtruding masonry
+of the tower-pier) the wall shows traces of a gallery or staircase. On
+the north wall the string-course, which is rather undercut, is original
+as far as the end of the fourth bay, and marks the level to which the
+sills of the original windows descended in steps.[102] In the present
+windows, which descend to the old level, the mouldings of the arch are
+stopped upon a set-off and the jamb is left plain.
+
+  [Illustration: TRANSITIONAL VAULTING CORBEL. CHOIR AISLE.]
+
+In the two easternmost bays the Decorated string-course is of a
+different pattern and at a slightly higher level; and here the jambs of
+the windows are moulded with a hollow continued from the arch; while the
+rim of the latter has upon it a large filleted round flanked by hollows
+and supported on shafts with polygonal plinths and circular bases and
+capitals, the latter enriched with foliage. The east window, however, is
+not splayed, and has a deep rear-vault and a flat sill, while its rim is
+more elaborately moulded and there are shafts to the inner as well as to
+the outer arch. Except in the two easternmost windows on the north side,
+the glass is very poor. The Decorated vaulting-shafts are again in
+clusters of three, but rise from the bench-table and break the
+string-course. They have polygonal plinths, and their capitals are
+adorned with rather ill-cut foliage. In the north-east corner there is a
+single shaft having a fillet, and adjoining it is a round-headed
+doorway, which once opened into the angle staircase. In this aisle the
+panelling is carried two bays westwards.
+
+It should be noticed that toward the aisle the choir arches have one
+more order in the three Decorated bays than they have in the rest. In
+the Decorated vaulting several chamfers are introduced among the
+mouldings of the cross-springers, and both in these and in the
+groin-ribs the most prominent moulding has a fillet. Otherwise the roof
+roughly matches that of the older bays. The older and the later period
+meet in the fourth bay from the west, where two of the groin-ribs have
+the fillet, while the other two are without it. In the two easternmost
+bays there are fine bosses at the crown of the vault.
+
+It is thought that the Shrine of St. Wilfrid was in the east end of this
+aisle.[103] Unfortunately Leland's words _S. Wilfridi reliquiae sub arcu
+prope magnum altare sepultae_ are too vague to decide its exact
+position.
+
+=The South Choir Aisle.=--This aisle, in some respects, has been altered
+more than the other, but the south wall is Archbishop Roger's work as
+far as the end of the fourth bay, if not farther. About 14 feet from the
+west end occurs that 'straight joint' in the masonry which shows the
+separation of this aisle from the Mallory Chapel to have been an
+afterthought; and a little further east a round-headed doorway, moulded
+with the edge-roll and retaining a panelled door of some age, opens into
+the Chapter-house. There was evidently a second and similar doorway a
+few yards further on, but it has been blocked (doubtless when the
+cross-wall was built at the back of it between the Chapter-house and
+vestry), and a square-headed doorway has been made to open into the
+latter. To the right of this entrance is a square-headed lavatory with a
+projecting rectangular basin and a hole knocked through into the lobby
+behind. This lavatory is of course an insertion, probably of the
+fifteenth century; indeed the whole of this part of the wall has been
+much repaired with limestone. The aisle is somewhat darkened by the fact
+that its first four windows look into the Lady-loft. Fortunately the
+three westernmost are original. They are as usual round-headed and
+plainly splayed, and their sills descend to the string-course in steps.
+Archbishop Roger's vaulting-shafts here are in better preservation than
+in the other aisle. The original vaulting itself must of course have
+been taken down when the three westernmost columns of the choir-arcade
+were rebuilt, but in the reconstruction the old ribs seem to have been
+used again. The groin-ribs have no room to descend upon the
+Perpendicular choir-capitals, and end prematurely upon corbels carved
+into faces.
+
+The westernmost bay of the aisle has been divided into two storeys, the
+upper of which now contains part of the mechanism of the organ, but is
+thought to have been once a chantry chapel. This curious chamber is
+reached through a pointed doorway at the top of the Library staircase in
+the south transept. Its roof is of course formed by the aisle-vault,
+which originally extended, doubtless, as far westwards in this aisle as
+in the other. The space, however, has been shortened by the great
+thickness of a Perpendicular cross-arch, which, though its southern
+respond obtrudes into the aisle below, is itself only visible from this
+chamber. When, therefore, the vaulting here was rebuilt, it had to be
+adapted to the shortened space, and the groin-ribs, which are very much
+of Archbishop Roger's pattern, spring from Perpendicular corbels carved
+into faces. The wall which separates this bay of the aisle from the
+choir was said above, quite truly, to be Perpendicular, but on this its
+southern face the masonry is apparently Archbishop Roger's. It is of
+gritstone, and behind the organ-bellows there remains a corbel like
+those of the cross-arch that props the vaulting in the corresponding bay
+of the north aisle. The presumption therefore is that the original
+vaulting was similarly propped here, and that the wall on which this
+corbel remains was built to block or strengthen the first choir-arch,
+and has survived the arch itself. To the west of the door a small square
+window looks into the Mallory Chapel.
+
+In its eastern portion this aisle resembles the other, but the
+bench-table here is only carried two bays westward, and the panelling
+only one bay. In the fifth bay from the west the window is shortened to
+about half the length of the others, and the string-course (which is of
+Archbishop Roger's pattern) is correspondingly raised, possibly because
+a longer window would have come below the springing of the vestry roof
+(in the period when there was no Lady-loft), or possibly (though this is
+less likely) to make room for the monument underneath, which, though
+placed here by Sir Gilbert Scott, who found it in pieces, may have
+occupied this position before. The monument is that of Moses Fowler,
+first Dean of Ripon (d. 1608), and the effigy is not a favourable
+example of English sculpture in the seventeenth century. Of the stained
+glass, that in the last window on the south side is of some merit. The
+capitals of the Decorated vaulting-shafts are better executed in this
+aisle than in the other. Here, as there, the Decorated vaulting begins
+in the middle of the fourth bay, where the fillet is again found upon
+the two eastern groins only. At the south-east corner of this aisle are
+the remains of a piscina--a fragment of a basin resting on a
+shaft--which probably belonged to one of the many chantries. The
+staircase at this corner affords the best access to the turret cell
+described in the last chapter, and to the attic over the choir, where
+the framing of the roof is a very remarkable specimen of modern joinery.
+
+On account of the alterations that have taken place at different periods
+in the part of the Cathedral south of the choir, it will be well to
+examine the crypt under the Chapter-house before examining either the
+latter itself or the Library.
+
+=The Norman Crypt.=--A round-headed doorway in the west wall of the
+Chapter-house admits to a staircase which, roofed with a sloping
+barrel-vault and descending southwards, turns eastwards, under another
+round arch, into the crypt. The age of this staircase is uncertain, but
+its west wall is of course the east wall of Archbishop Roger's transept,
+and its barrel-vault is under his buttresses which will be seen in the
+Library. The crypt is divided by a cross-wall with a round arch in it
+into two portions, each having the vaulting supported on pillars along
+the middle; but half of the first and third bays of the western portion
+has been walled up in modern times for burial-vaults. The width of the
+crypt is about 18 feet and the total length about 68 feet.
+
+  [Illustration: THE NORMAN CRYPT.]
+
+This part of the church was assigned by Walbran to Thomas of Bayeux
+(1070-1100), and by Sir Gilbert Scott to Thurstan (1114-1141); but it is
+quite possible that both these Archbishops, if not Oda or Oswald before
+them, may have had a share in its construction. Much of the work at any
+rate belongs to a Norman church which preceded that of Archbishop Roger.
+
+In the vaulting (which by-the-way has had to be propped at some period
+by two rude pointed limestone arches at the west end) the chamfered
+groin-ribs seem to have been added later for strength, probably when the
+storey above was remodelled; but the vaulting itself, with its square
+pillars, its plain round arches from pillar to pillar and from pillar to
+walls, and without ribs upon the groins (such having been its original
+condition, apparently), seems pure Norman work.[104] The traces of
+painted decoration remaining upon both pillars and vaulting are probably
+original. Along the walls the arches spring, not from corbels, but from
+short strings of the same pattern with the impost-moulding on the
+pillars--a pattern not of very early character. The north and south
+walls must, perhaps, be as old at least as the vaulting which rests
+against them; nor does the former wall seem quite on the same plane with
+the portion of Archbishop Roger's choir foundations visible outside
+(between the present choir and the apse), he having perhaps built his
+wall against this one. The large limestone buttress against this wall,
+and another buttress which rises from the east wall but is hidden by the
+vaulting, were added in the Decorated period, and can be followed up
+through the two storeys above. They terminate in the pinnacles of the
+flying buttresses that span the choir-aisle. The south wall may perhaps
+be definitely placed somewhat early in the Norman period, since the
+windows are splayed both internally and externally.[105] Of equal age,
+probably, is the cross-wall (which, to judge from the mass of masonry
+that spans the present passage of communication between the two parts of
+the crypt, is very thick) since allowance is made for its thickness in
+the spacing of the windows.[106] It is at least as old as the vaulting,
+whose bays are arranged to suit it; and moreover the half-pillar against
+its eastern side has never been a whole pillar, as the capital plainly
+shows. This last remark applies also to the half-pillar against the
+extreme west wall, which therefore may perhaps be taken as marking the
+westward limit of the crypt at the time when the vaulting was
+constructed; while the east wall (excluding the apse) probably marks
+the contemporary eastward limit--if, that is to say, the eastern portion
+of the vaulting has not undergone alteration. That eastern portion is
+clearly planned for an apse or chancel of some kind. The arch that rises
+eastward from the last pillar is stopped half-way in its course by a
+cross-arch opening into the apse, and the two last groin-ribs are
+carried from the pillar to the abutments of the cross-arch, being
+obliged by this contraction of span to form the only pointed arches in
+the whole vaulting. Such an arrangement--a 'nave' terminating in an
+apse, and at the same time divided by a row of pillars along the
+middle--is somewhat unusual. The present apse is of uncertain date. Part
+of it may be Norman. Its window indeed is of early Norman type: yet its
+wall seems of softer stone than the rest of the crypt,[107] and the
+string which runs along the east wall of the latter and round the
+responds of the cross-arch is there broken off: moreover, the cross-arch
+itself is clearly not of the same date or construction with the two ribs
+of the apse-roof, which ribs may possibly be of the same date as the
+groin-ribs; and lastly, it will be remembered that the shafts on the
+exterior had something of the appearance of Archbishop Roger's work. The
+floor of the apse is raised on two steps, but there is no trace of an
+altar.
+
+It will be noticed that at the south-east corner there is no apsidal
+chamber to correspond to that in the storey above. There is, however, an
+unsavoury hole from which have been extracted a number of skulls.
+Indeed, this crypt formerly contained huge piles of bones, which had
+probably been brought here by the sixteenth century builders from the
+foundations of their new nave-aisles,[108] and which were removed in
+1865 to a pit in the graveyard. Among the stone relics which have found
+a resting-place here, the most interesting are a sarcophagus, the head
+of a cross of Saxon character, and a group of coffin-lids near the north
+wall. Most of these last are perhaps of the thirteenth century.[109] At
+the west end of the crypt is preserved Blore's reredos.
+
+=The Chapter-house= is 22 feet wide from wall to wall and 35 feet long,
+but it was evidently once open to the vestry, and the dividing wall,
+which with its bench-table is of limestone, was erected in the Decorated
+or in the Perpendicular period. In both rooms, as also in the storey
+above, the original floor was perhaps of stone or tiles, but if so, it
+has been covered or superseded by wooden planking.
+
+The Chapter-house is marked as such by the stone benches which are
+carried in two tiers along the north and south walls. On the north side
+the upper tier is interrupted by the piers of an arcading of plainly
+chamfered round arches, the central bay of which contains a fine
+mediaeval cupboard with iron scroll-work. The doorway into the choir is
+very curiously treated on this side. It is surmounted first by a lintel,
+the stones above which are wedges forming a 'flat arch,' and then by a
+round arch so high as to run up behind the westernmost arch of the
+arcading. The very fine vaulting, although some have ascribed it to the
+Early English period, belongs more probably to the time of Archbishop
+Roger. Unlike that over the choir-aisles and the Markenfield chapel,
+however, it has all its arches rounded, and is without wall-ribs. It
+springs from five-sided corbels which, like the corbels of the old nave,
+are finished off with scrolls, and which on the north side are placed
+against the piers of the arcading; and in the middle of the room it is
+supported on two cylindrical and monolithic pillars. The bases and
+capitals of these are circular, and the former are almost pure Early
+English, the plinth having a round moulding at the bottom, and the base
+proper consisting of two round mouldings separated by a hollow, with one
+or two beads or fillets. The capitals are less advanced in style, as the
+part just above the bell is not moulded and the abacus retains the
+square edge. All the eight ribs that rise from each pillar resemble the
+groin-ribs in the crypt.
+
+  [Illustration: THE CHAPTER-HOUSE.]
+
+The arcade against the north wall is continued in the vestry, and it has
+been thought that it is Norman, and that its arches were once open.[110]
+But had this ever been the case the piers would surely have been
+narrower, and would have had capitals. Indeed, it is doubtful whether
+the arcade is Norman at all: for if it were, its bays might be expected
+to agree in span and number with the (presumably Norman) bays of the
+crypt, whereas there are five bays there and only four here occupying
+the same total length. Secondly, the set-off on which its piers stand is
+probably Archbishop Roger's work, as will appear later; and the piers
+themselves seem to be of the same construction with the wall behind
+them, which again is almost certainly his. Moreover, it is significant
+that the arches agree in span with those of his choir, and that their
+piers are back to back with his vaulting-shafts in the choir-aisle.
+Lastly, these piers correspond in width with his buttresses on the north
+side of the choir. In fact it is difficult to resist the conclusion that
+they are Archbishop Roger's south choir buttresses in disguise,[111] and
+that the arches between them were thrown across merely to form a
+straight boundary for the vaulting, and to carry a ledge which (when
+there was no storey above) might support the external roof. The piers
+indeed are carried up, with a 'straight joint' on either side, above the
+springing of the arches, and the latter are constructed as if they had
+been let into the piers as an after-thought.[112]
+
+As the bays of this arcade, to which the vaulting is adapted, do not
+agree with those of the crypt, it follows that the two cylindrical
+pillars here do not stand exactly over the pillars below--which
+strengthens the presumption that the vaulting there is of earlier date,
+and that its groin-ribs were added later for strength: nor does the
+dividing wall here stand exactly over the cross-wall below, so that the
+strain on the crypt roof must be considerable.
+
+The two round windows are very widely splayed, and the uppermost part of
+their rim has a different curvature from the rest, as if they had once
+been straight-sided and round-headed. In their present form they are of
+uncertain date. The most conspicuous instance of the employment of this
+rare type of window--viz., the nave of Southwell Cathedral--is pure
+Norman, but the received opinion ascribes these Ripon examples to the
+time of Archbishop Roger, and it will be observed that their position
+harmonizes with the bays of the vaulting, which is presumably his, but
+has no relation externally to the spacing of the windows of the crypt,
+which, moreover, have an external splay. The third window was once
+circular like the rest, for a portion of the rim may still be traced;
+but as it would otherwise have been bisected by the cross-wall, the
+later builders have blocked half of it and squared the rest, splaying it
+at the same time like a squint. The date of the south wall itself is
+doubtful. It is thinner here than in either the vestry or the crypt.
+
+  [Illustration: The Resurrection.
+   St. Wilfrid.
+   The Coronation of the Virgin.
+   ANCIENT SCULPTURES PRESERVED IN THE CHAPTER-HOUSE.]
+
+Near the modern hearth is a case of curiosities found about the church,
+among them several fourteenth or fifteenth century reliefs in alabaster,
+representing the Resurrection, the Coronation of the Virgin, the story
+of Herodias, and the figure of a bishop, probably St. Wilfrid, with a
+curious P-shaped implement on his arm.
+
+At the north end of the cross-wall it will be observed that the blocked
+doorway noticed in the choir-aisle was not round-headed on this side,
+but segmental. The square-headed doorway in the cross-wall itself is
+modern, and opens into a lobby, the opposite side of which is formed by
+the Decorated buttress whose lower portion was noticed in the crypt,
+while on the left is the doorway into the choir, and on the right
+another square-headed doorway, opening into the vestry.
+
+=The Vestry.=--Before the erection of the cross-wall the vaulting
+evidently extended eastward continuously to the apse, which still
+contains a fragment of it with two corbels, while further traces,
+including another corbel, may be seen upon the south wall. Its removal
+may have taken place either when the two Decorated buttresses were
+introduced, or at the erection of the Lady-loft, or possibly much later;
+but was doubtless contemporaneous with the building of the cross-wall,
+which was evidently intended not only as a partition, but as a 'stop'
+for the portion of the vaulting that was retained. The present ceiling
+was put up by Sir Gilbert Scott, who, it is said, would have restored
+the vaulting had funds allowed. Of the buttresses, that adjoining the
+doorway has in its front, as well as in the side toward the lobby, a
+small trefoiled and moulded recess. These two buttresses are built
+against the piers of the arcading, part of the last arch of which is
+visible behind the cupboard.
+
+In the same cupboard may be observed, scarcely above the floor, a wide
+stone ledge with a bold moulding worked along the front. If the floor
+can ever have been lower than it is now, this ledge may have been used
+as a bench. In itself, it is of course the set-off on which the piers of
+the arcading stand. Now it will be remembered that the portion of
+Archbishop Roger's wall-base visible from the graveyard (between the
+choir and the apse) has at the top a wide set-off or slope. This ledge
+in the vestry, then, seems to be level with the base of that slope,
+where moreover there is a moulding similar to that found here; also the
+front of the ledge here seems to be flush with Archbishop Roger's
+masonry there.
+
+If, then, the work there is his,[113] the above considerations afford
+some reason surely for the belief that this set-off on which the piers
+of the arcading stand, and perhaps also the uppermost courses of the
+wall beneath it, are Archbishop Roger's work. Nor is it improbable that
+this set-off once had a slope, of which that above-mentioned was the
+continuation, and out of which the buttresses (_i.e._, the arcade piers)
+rose after the manner of those on the other side of the choir--in fact,
+that Archbishop Roger intended to make this wall the exterior of his
+church by demolishing the crypt, vestry, and Chapter-house; and that it
+was only after some such idea had been conceived and abandoned, that the
+arches were thrown across from buttress to buttress, the vaulting
+constructed against them, this ledge formed (by cutting away the slope
+of the set-off), and the stone benches carried along the wall of the
+Chapter-house.
+
+The arch above the ledge has been mutilated to make way for a modern
+spiral staircase of wood leading to the Library. Half-way up this
+staircase there remain upon the wall and upon the buttress (if it may
+now be so called) portions of a string-course which may be taken perhaps
+as additional evidence for the theory that Archbishop Roger at first
+intended to demolish the vestry and Chapter-house.[114] It does not,
+however, match the external string on the other side of the choir, but
+resembles the internal string in the choir-aisles.
+
+The single window in the south wall is round-headed internally, and is
+partially splayed on one side and not at all on the other: indeed the
+wall here appears to have undergone some alteration. In this room this
+wall is of the same thickness with the corresponding wall of the crypt,
+which is not the case in the Chapter-house.
+
+East of the above window a square-headed doorway opens into the apsidal
+chamber enclosed by the corner buttress. This curious little chamber was
+probably a sacristy or treasury. It has a recess in the west side, and
+seems to have communicated directly with the graveyard. In the roof is a
+slab which has a small cross graven upon it, and which may have formed
+part of an altar.
+
+The projection at the south side of the apse was probably one of the
+responds of an arch against which the vaulting abutted, as in the crypt.
+Under the east window the curve of the wall has been flattened, probably
+to afford a better back for the altar, of which the step remains. On the
+north side is an aumbry, with a recess adjoining it in the side of the
+buttress; and on the south side is a smaller aumbry, and a piscina with
+a projecting basin and a semicircular head, the latter cut apparently in
+one stone. This again is probably one of the earliest piscinae in
+existence. The curve of the apse is wider in this storey than below,
+which partly accounts for the fact that the adjoining Decorated buttress
+protrudes here into the room. There is also a difference in the stone
+used, and in several other particulars, _e.g._, the two windows here
+have very little external splay--all of which may or may not indicate a
+difference in date between the apse in this storey and in the crypt. The
+hand of Archbishop Roger seems traceable here not only in the external
+shafts and corbel-table, but also in the trefoiling (externally) of the
+east window. The two vaulting-corbels at any rate seem to be his, as
+well as the piscina. The upper part of the apse has lost its
+semicircular shape and been squared, and some masonry has been thrown
+across from its wall to the Decorated buttress, the motive having been
+perhaps to make a better support for the rectangular east end of the
+Lady-loft. The oak table in this room was probably the Communion-table
+of the church during the period following the Reformation.
+
+The question now arises how long the vestry and Chapter-house have
+served their present purpose. Of the arrangements in this storey before
+the time of Archbishop Roger nothing can be recovered with certainty,
+but the (presumably Norman) wall between the two parts of the crypt
+suggests by its thickness that it was intended to support a division of
+some kind above. After being remodelled in the time of Archbishop Roger,
+however, this upper storey was evidently open from end to end, and its
+apsidal termination, containing both piscina and altar-step, indicates
+that it was a chapel: indeed, as has been well suggested, it was
+probably the original Lady Chapel. Nevertheless, in an age when every
+action of life was invested with a religious character, the western part
+may have been used for capitular purposes even without a dividing wall,
+and the gritstone benches, so significant of those purposes, are
+doubtless of considerable age. The statement in the old Records that the
+trial of 1228[115] was held _apud Rypon in Aula Capituli_ is definite
+enough to show that there was a recognised place for Chapter meetings;
+nor is it improbable that the reference may be to the present building.
+Some doubt is thrown upon this conclusion by a proclamation of
+Archbishop Lee in 1537 sequestrating the Common Fund on the ground that
+"the Chapter-house is ruinous in walls, roof, and stonework generally,
+so that it is likely to fall." These words, it has been thought, can
+never have been applicable to the present Chapter-house, and it has been
+suggested therefore that there may have been another which has
+disappeared. Archbishop Lee's words, however, are perhaps not
+irreconcilable with the present building. They may refer to the serious
+settlement which necessitated the huge Perpendicular buttress at the
+corner of what is now the vestry. There is, it is true, some difficulty
+in the fact that it is not the vestry but the Chapter-house which is
+mentioned, and in the allusion to a dilapidated roof (_tectura_); but it
+is conceivable that there was as yet no dividing wall, that the vaulting
+of what is now the vestry was still standing, that it had been injured
+by the settlement above-mentioned--in fact that its removal and the
+erection of the dividing wall took place in the time of Archbishop Lee.
+His direction for repairs may also account for the presence of limestone
+in the north wall of the Chapter-house, and for the propping of the
+vault at the west end of the crypt.[116] As has already been shown, the
+history of the vestry is bound up with that of the Chapter-house. At
+what period services ceased to be held at the altar in the apse, it is
+difficult to say; perhaps on the completion of a Lady Chapel above,
+perhaps on the erection of the dividing wall,[117] perhaps through the
+advent of the Reformation. At any rate, it was probably not before this
+part of the church had ceased to be used for services that it began to
+be recognised as a robing-room. There is an allusion to a recognised
+vestry in Leland, and very possibly the present room is meant; if so, it
+would seem from his account to have been used also as a library. But the
+fact remains that the church possesses no vestry except what is
+obviously a disused chapel.
+
+=The Lady-chapel= or Lady-loft is 23 feet 3 inches wide, and 68 feet
+long.[118] Its west and north sides, being formed by what was once the
+exterior of the church, display not only windows and buttresses, but
+also a string-course with gargoyles. From the west wall projects one of
+Archbishop Roger's buttresses, terminating in a slope, between the two
+blocked windows of the Mallory Chapel, which resemble the aisle windows
+of the other transept. The window on the right, mutilated by the
+insertion of the doorway, has lost its shafts, and retains only their
+capitals. The other window is partly cut off by the south wall, and is
+now a cupboard.
+
+In the north wall, the first three bays are Archbishop Roger's, and the
+windows resemble in their treatment the two just described, and are
+separated from each other by two buttresses which terminate, like those
+on the opposite side of the choir, in two slopes one close below the
+other. There is a third buttress, terminating in a single slope, at the
+angle formed with the transept. The Decorated window in the fourth bay
+is treated in the same manner as the rest of those in the eastern
+portion of the choir-aisles, and the Decorated buttresses which flank it
+are those which have been followed up from the crypt. The rich
+string-course or cornice along the top of this and the west wall
+corresponds with that on the other side of the church. The gargoyles are
+of course Decorated, and so is the string-course itself, eastwards at
+any rate of the second gargoyle on the north wall, for here one of the
+mouldings has a fillet upon it. Whether the rest of the string is
+Archbishop Roger's work or not, it is difficult to decide.
+
+The large windows in the south and east walls are surmounted by square
+labels ending in heads. Above the modern fireplace is the defaced
+monument of Anthony Higgin, second Dean (d. 1624), the founder of the
+present library; and further east, under the small lancet window (which
+is filled with fragments of stained glass), is an arched recess of
+considerable size, and a trefoiled piscina, each surmounted by a gable
+moulding with a finial. The piscina probably belonged to the chantry of
+Our-Lady-in-the-Lady-loft. A large stone bracket, supported by a
+grotesque figure, projects from the east wall, and the east window is
+bright with armorial bearings of benefactors of the church. This glass,
+which is mostly of the eighteenth century, was once in the great window
+of the choir. The north side of the recess in which the east window is
+set, is partially splayed outwards to join the last Decorated buttress,
+which with its neighbour have been cut back in this storey to the plane
+of the pinnacles above--doubtless when this Lady-loft was added.
+
+The present pinewood ceiling was put up by Sir Gilbert Scott, but most
+of the carved angle-pieces in the panels came from an older roof of oak.
+
+  [Illustration: THE LIBRARY.]
+
+The history of the library begins with the MS. of the Gospels given by
+St. Wilfrid; and the ascription to him of various other gifts, which
+occurs in the writings of Peter of Blois (a Canon of Ripon in the
+twelfth century), implies at any rate that there was a library when
+Peter wrote. In 1466 money was bequeathed by William Rodes, a chaplain,
+_ad fabricam cujusdam librarii in ecclesia construendi_, words which may
+refer to the screening off for books of a portion of this chapel; but
+in Leland's time books were apparently kept in the vestry, though it is
+not certain that the present vestry is meant.[119] Except a few MSS. of
+Chapter Acts, Fabric Rolls, etc., none of the books now here are known
+for certain to have belonged to the church before the Reformation;[120]
+indeed the present collection began with the bequest of his books by
+Dean Higgin in 1624. The books were in this chapel in 1817, but in 1859
+they were at the Deanery. There are now over 5000 volumes, including
+seven MSS., of which one of the most notable is the Ripon Psalter
+(1418), containing the special offices for St. Wilfrid, and many printed
+books of the fifteenth and sixteenth centuries, among them two fine
+Caxtons. Many of the books have beautiful old bindings in stamped
+leather. The most interesting items in the collection are exposed in a
+glass case at the east end of the room.[121] Near the opposite end is
+another case containing the bones recently dug up under the site of the
+mediaeval altar in the Saxon crypt.
+
+  [Illustration: THE OLD CHAPEL OF ST. MARY MAGDALENE'S HOSPITAL.
+   (From a pen-drawing by the author.)]
+
+
+FOOTNOTES:
+
+[55] This is what was meant by saying in Chapter II. that in each tower
+one side is older than the others.
+
+[56] In the interior of these towers the courses run level with those of
+Archbishop Roger's work--a fact which has been taken as indicating that
+the lowest portion of the towers internally (but not, of course, the
+tower arches) may be actually his work. The theory that his west front
+was flanked by towers or chambers of some kind is not improbable.
+
+[57] A triforium is properly a gallery, open to the church, between the
+internal and external roofs of the aisles, but here there were no
+aisles, and the gallery or passage is in the thickness of the wall.
+
+[58] This term will be used wherever the usual term 'vaulting-shaft' is
+inapplicable.
+
+[59] The earth here has apparently been brought in from outside. Can it
+have come from some sacred spot abroad? The original floor, if not
+earthen, may possibly have rested on the set-off.
+
+[60] It has been suggested, however, that they may be relics of a feast
+buried here to defile the site of the altar. The bones in question are
+now in the Lady-loft.
+
+[61] With one of the deposits was found a brass bodkin of the type used
+in the sixteenth century.
+
+[62] It was Walbran, again, who gave these reasons for assigning the
+crypt to Wilfrid. Before his time it was thought to have been built
+during the Roman Occupation.
+
+[63] See article by Mr. J. T. Micklethwaite, V.P.S.A., in _Archaeol.
+Journ._, vol. xxxvii. p. 364.
+
+[64] A _confessio_, it need hardly be said, has nothing to do with a
+confessional. The word is probably to be explained as meaning the tomb
+of one who had been a witness or _confessor_ of the Faith.
+
+[65] In making excavations for laying the wind-trunk of the organ the
+exterior of this wall was laid bare and appeared extremely rough. This,
+however, does not prove that it had never been meant to be seen. It may
+have been faced with smooth stones, which, just because they were
+exposed, attracted attention, and were removed by later masons for use
+elsewhere.--_Mr. Micklethwaite._
+
+[66] Among the five known Saxon crypts (all of the _confessio_ type)
+Ripon and Hexham alone show this peculiarity.
+
+[67] See _Proceedings Soc. Antiq._, 16th June 1892.
+
+[68] In making the above-mentioned excavation in 1891, Mr. Micklethwaite
+found what was presumably the floor of the body of Wilfrid's church. It
+was of plaster 3 inches thick, and was 1 foot 7 inches below the floor
+of the present Cathedral.
+
+[69] The explanation of the crypt as a _confessio_ is due to Mr.
+Micklethwaite, and is ably set forth, with its consequences, in
+_Archaeol. Journ._, vol. xxxix. p. 347.
+
+[70] The square termination of the crypt is in favour of a square
+presbytery; while his Roman proclivities are perhaps slightly in favour
+of an apse, and of aisles.
+
+[71] _Surtees Soc._, vol. lxxiv. p. 83.
+
+[72] It is certainly true that numerous white _tesserae_ of Italian
+character, such as Wilfrid might have used, have been dug up on this
+site (_Murray's Cathedrals_, Pt. 1, p. 172, n. 1). They may, however,
+mark the site of the domestic buildings and not of the church. Or they
+may be relics of the Roman Occupation.
+
+[73] By Walbran in _Proceedings Archaeol. Inst._, York Vol. 1846 (pub.
+1848).
+
+[74] There is an interesting suggestion in _Murray's Cathedrals_, Pt. 1,
+p. 172, n. 2, that the church of which the crypt formed a part was built
+not by Wilfrid but by Eadhead, who, as the supplanter of Wilfrid, would
+probably be excluded from Wilfrid's monastery, but who may,
+nevertheless, have employed his workmen. The western position of the
+altar, however, is against placing the work as late as the episcopate of
+Eadhead.
+
+[75] The suggestion is Mr. Micklethwaite's. _Altare_ would, of course,
+mean the high altar in the presbytery above.
+
+[76] A third font (modern) formerly stood in the north-west tower.
+
+[77] It is curious that the same story should be told of Roger de
+Mowbray, founder of Byland Abbey in this same county. (_Murray's
+Cathedrals._)
+
+[78] Another suggestion is that the subject has some connection with the
+history of the Disobedient Prophet.
+
+[79] _Surtees Soc._, vol. lxiv. p. 92.
+
+[80] But for the label, these arms resemble those of John of Eltham
+(brother of Edward III.), who died without issue in 1334.
+
+[81] It is pleasant to find in the church several indications of aid
+received from the other great ecclesiastical foundation in the
+neighbourhood.
+
+[82] Taken by itself, the coarseness of the work in the tower and
+transept would suggest that these parts were later, and not earlier,
+than the nave. But (not to mention documentary evidence), if they were
+later, then the Rood Screen must be later also, which can hardly be the
+case, the stalls against it being dated 1489.
+
+[83] Probably (as Walbran suggested) with money subscribed for the
+tower, the completion of which was perhaps the less pressing necessity.
+
+[84] In the large mediaeval churches there was usually an altar at the
+east end of the nave.
+
+[85] It may have been put here at the time of the building of the
+present nave, than which it is perhaps slightly earlier.
+
+[86] The Markenfields were one of the principal families in the
+neighbourhood from the fourteenth century onwards, until in the reign of
+Elizabeth they ruined themselves by taking part in the Rising in the
+North. Their ancient moated Manor-house, in which both the knights
+sculptured on these altar tombs must have lived, is still standing,
+about three miles from Ripon, towards Harrogate.
+
+[87] This aisle was also the site of the chantry of St. Andrew.
+
+[88] In these pages this term is used to describe round mouldings which
+are brought to an edge without actually having a fillet upon them.
+
+[89] By Mr. Francis Bond.
+
+[90] In spite of Sir G. Scott's conjectural plan. (See p. 67.)
+
+[91] It is possible that the screen there mentioned may be the present
+structure, or may have been incorporated into it. In 1408 the accident
+to the tower had not yet occurred, and the piers that now flank the
+screen had therefore not yet been built. There is a not very credible
+story that the present screen came from Fountains Abbey.
+
+[92] This peculiarity is found at some other places--_e.g._, St. Cross,
+Winchester.
+
+[93] This column and that opposite to it on the north side have been
+regarded as entirely Decorated imitations of Archbishop Roger's columns,
+but surely without sufficient reason.
+
+[94] See also the account of the East End in Chapter II., pp. 60-63.
+
+[95] Two holes have been drilled through the rear-vault from the attic
+above, but for what purpose it is hard to say.
+
+[96] It appears from the Fabric Rolls that a new high altar was begun in
+1522. The work seems to have lasted four years, and apparently included
+a carved wooden reredos.
+
+[97] _Subtus altare_ suggests a crypt, but there seems to have been no
+crypt under the choir. Perhaps the _altare_ meant may have stood over
+the Saxon or the Norman crypt.
+
+[98] Mention may be here made of the Communion plate, some of which is
+as old as 1676 and has upon it representations of the church, very
+incorrect but showing the spires; also of the mace which is now borne
+before the Dean, and which has been assigned to the fifteenth century
+and may possibly have been once borne before the Wakeman. Upon the top
+has been engraved an _Agnus Dei_, the cognizance of the church.
+
+[99] A piece of woodwork, however, which was in the north aisle at the
+time of the last restoration, is said to have borne the date 1397.
+
+[100] The old miserere was probably removed when the Throne was made to
+comprise two stalls. (_See_ p. 111.)
+
+[101] It has been supposed that these niches were for figures of St.
+Peter and St. Wilfrid, and that the same was the case with the two
+niches which form the ends of the lower tier in the Rood Screen, and
+also with those which flank the west doors. It may also have been the
+case with the two eastward projections (if there were two) from the
+western piers of the Central Tower.
+
+[102] Below the string-course there is a certain amount of limestone in
+the wall, but this hardly accounts for the language of a Chapter minute
+which records a meeting in 1546 to consider the repair of certain
+_defectus et ruinositates apertae tam campanilis quam muri lapidei
+insulae borealis_.
+
+[103] Above the shrine there hung, apparently, a gilded crescent like
+that above the site of St. Thomas's shrine at Canterbury. The bones were
+enclosed in a splendid coffer with poles attached, and on solemn
+occasions this 'feretory,' besides being carried in procession, was
+sometimes placed under a tent in the fields. It was also very
+elaborately renewed in 1520 (_Surtees Soc._, vol. lxxxi. p. 204, n.,
+etc.). Portions of the shrine exist, perhaps, in the alabaster
+bas-reliefs in the Chapter-house, as well as in the base of the railing
+in the north aisle of the nave.
+
+[104] It may, however, be later than the main walls.
+
+[105] The lower portion of this wall seems to be of an even earlier type
+of masonry than the upper. A somewhat similar difference between the
+upper and lower portions may be observed in the east and north walls
+also.
+
+[106] The late doorway approached by four steps, east of the cross-wall,
+occupies the place of one of the windows.
+
+[107] Three kinds of stone occur in this crypt: a sandstone, a fine
+gritstone, and a coarser and harder gritstone.
+
+[108] There are numerous entries in the Fabric Rolls, from 1512 onwards,
+relating to expenses 'for the carriage of the bones.'
+
+[109] One has a sword graven upon it, another a pair of shears (closed),
+another a book and a chalice, the latter slightly tipped, while a
+gravestone lying in the apse has upon it a dagger, and a pair of shears
+open.
+
+[110] Since it is probable that the axis of the church has always, at
+all periods, passed over the Saxon crypt, the Chapter-house and vestry
+can hardly have been the south aisle of the choir before the time of
+Archbishop Roger (as Walbran supposed), for they are too far south;
+indeed, they would seem rather to have been a chapel thrown out from
+such an aisle.
+
+[111] In the storey above will be found certain buttresses which are
+clearly his, which stand exactly over these piers, and of which the
+latter are probably merely the lower portions.
+
+[112] The supposition that the arches were added afterwards would
+explain why the westernmost of them cuts off the top of the arch over
+the door.
+
+[113] That it is his can hardly be doubted. The moulding and slope at
+the top resemble those which characterize the wall-base throughout his
+work.
+
+[114] _Murray's Cathedrals_, Pt. 1, p. 180.
+
+[115] See Chapter I.
+
+[116] A view of the crypt as it was before the removal of the bones
+represents the vaulting as propped also by certain pillars of
+Perpendicular character. These may have been removed by Sir Gilbert
+Scott.
+
+[117] _I.e._, if that wall was not erected contemporaneously with the
+said Lady Chapel.
+
+[118] For its date see Chapters I. and II.
+
+[119] Can Leland mean that the books, then as now, were in the
+Lady-loft, and that part of it was used as a vestry?
+
+[120] In 1567 a number of books were found in 'a vawte' of the church,
+where they had been concealed for safety (_Surtees Soc._, vol. lxxxi. p.
+344).
+
+[121] For a full account of this interesting library, see the monograph
+by the Rev. Canon Fowler, F.S.A., of Durham, by whom the books were
+arranged in 1872. A copy is kept in the room.
+
+
+
+
+CHAPTER IV.
+
+OTHER OLD BUILDINGS IN RIPON.
+
+
+=The Deanery=, a stone house with two gabled wings, stands opposite to the
+north transept. It was built in or about 1625. The front bears the royal
+arms, and the hall contains some paintings of the kings and queens of
+England, which are more curious than valuable, and are probably of no
+very great age. Before the house is an ancient stone wall with
+strongly-marked base, gable coping, and a doorway whose trefoil head was
+apparently not made for its present position. This may perhaps be part
+of Abbot Huby's wall, or of the boundary-wall of either the Palace or
+the Bedern.
+
+Near the south-west tower is a fine red-brick house which doubtless
+remembers the Georges, or even Queen Anne. It has all the air of a
+prebendal residence, but if it was ever connected with the church, that
+connection has long ceased.
+
+Another red-brick house of some age, adjoining the picturesque ascent
+from High St. Agnesgate to the south transept, was the Canons' Residence
+up to 1859, when was bought the present Residence near the north-east
+corner of the graveyard.
+
+High St. Agnesgate contains several interesting buildings, foremost
+among which is =St. Anne's Hospital=,[122] formerly called 'The Maidens'
+Due' (Maison de Dieu), with its interesting ruined chapel. This is the
+only one of the three hospitals which was never affiliated to the
+Collegiate Church. The date of its origin has been placed shortly before
+1438, in which year a chantry was founded in its chapel. The hospital
+foundation was for four poor men and four poor women, and there were
+also two beds for 'casuals'; and the little community was under the
+charge of a priest. There was apparently no endowment. The domestic
+portion of the building was pulled down in 1869. Though it had been
+divided into cottages some time before that date, the original
+arrangements have been recovered from an old document and from certain
+indications that had survived in the fabric itself. Joined to the west
+end of the chapel was a sort of nave, divided down the middle by a
+partition, on one side of which were the beds for the men, on the other
+those for the women, while at the west end were two rooms for the
+priest. This 'nave' was probably open to the chapel, as the large size
+of the western arch of the latter seems to indicate, and possibly the
+infirmer inmates could attend the service without leaving their
+beds.[123]
+
+To pass to the chapel itself--a window in the north wall has been
+blocked with masonry, upon which is a shield of arms, thought to be
+those of Sir Solomon Swale of South Stainley, and surmounted by a
+Maltese cross with the letters S.S. and the date 1654 upon it. The west
+gable has once been crowned by a bell-cote, and attached to the
+south-west corner of the chapel are the remains of an arched doorway.
+The western arch of the building, curiously enough, is not in the middle
+of the wall. It is recessed and chamfered, and rests upon two
+semi-cylindrical responds, whose rather curious capitals do not follow
+the form of the shaft, but are triple and rectangular. The chapel
+internally is 20 feet 10 inches long and 11 feet 6 inches wide, and is
+not at right angles to its western wall, but inclines considerably
+toward the south. In the middle of the entrance is an octagonal basin,
+supported on a pedestal and having a shield on each of its sides. This
+is thought to have been a stoup for holy water. It is not, perhaps, in
+its original position, and the pedestal does not seem to belong to it.
+Opposite to the blocked window already mentioned, which has an aumbry
+east of it, there is a late square-headed window of two lights, whose
+arches do not reach quite up to the lintel, but are connected with it by
+short perpendiculars. East of this is a piscina with projecting
+semi-octagonal basin, trefoil head, and ogee hood, and with a small
+square window above and to the left of it. The stone slab on two stone
+supports against the east wall is probably the original altar, and
+tradition says that the ransom of a Scottish prince was paid down upon
+it. On either side of the altar is a stone bracket, that on the north
+side bearing a shield of arms.[124] The east window, which is blocked,
+is divided into two lights, and the head is almost filled by a large
+quatrefoil, of which the uppermost and lowermost foils are ogees. This
+window, and the piers and capitals of the western arch, give the
+impression that the chapel is of a date earlier than that usually
+assigned for the foundation of the hospital. The modern cottages are
+inhabited by eight women.
+
+  [Illustration: THE CHAPEL OF ST. ANNE'S HOSPITAL.
+   (From a pen-drawing by the author.)]
+
+Between St. Anne's Hospital and Bondgate Green Bridge stands the =Thorp
+Prebendal House=, now divided into several dwellings. Whether its
+existing fabric is as old as the Reformation or not, this was the site
+upon which dwelt the Canons of the mediaeval prebend of Thorp. In 1391
+the hall of the then existing house was used for casting several bells
+for the Minster, and here, in later days, as Canon of Thorp, lived
+Marmaduke Bradley. The house is said to have been sold by Edward VI. to
+the Earl of Cumberland, and to have subsequently sheltered Mary Queen of
+Scots, James I, and Charles I. It is best seen from the adjoining
+bridge, whence its plastered walls, irregular gables, and stone roof
+form a picturesque foreground to the Cathedral. Of the dwellings into
+which it is now divided, the third from the bridge contains the grand
+staircase, which has twisted skeleton balusters.
+
+East of St. Anne's Hospital, there are two more old houses, one of
+which, known as =St. Agnes' Lodge=,[125] is of considerable interest. The
+body of it, long and low, with a high-pitched roof and with a massive
+chimney-stack buttressing one end, is said to be of the time of Henry
+VII., but derives much of its 'character' from the comparatively modern
+windows, which resemble the portholes of a ship. A wing added in the
+seventeenth century, with quaint curvilinear gable, projects into the
+garden behind. Within the house is a square hall, having above the
+fireplace some carving and a painted panel of the burning of London in
+1666. There is also a good oak staircase, and in the upper storey are
+several quaint features, including a cupboard that may have served for a
+hiding-place, and two 'powdering-closets' in which ladies' hair, or
+men's wigs, could be powdered in the eighteenth century. But the part of
+the house most interesting architecturally is the attics, where the
+framing of the king-post roof is extremely massive, while the floor is
+of _concrete_.[126] One of the roof-beams in the wing bears the date
+1693. This house disputes with the Thorp Prebendal House the honour of
+having sheltered Mary Queen of Scots on her way from Bolton Castle to
+Tutbury, and it is said that it was during her sojourn at Ripon that she
+addressed an appeal to Queen Elizabeth and received an offer of marriage
+from the Duke of Norfolk. St. Agnes' Lodge claims also to have been a
+temporary home of Turner, at the time when he was illustrating
+Whitaker's _History of Craven_ and _History of Richmondshire_. Whether
+this house or its immediately western neighbour were ever prebendal
+residences it is now difficult to say.
+
+Two old gabled houses remain in the Market-place, and one of them, now a
+basket-shop, is said to have been the residence of Hugh Ripley, last
+Wakeman and first Mayor of Ripon.
+
+At the north end of Stonebridgegate, and not far from the Ure, stands
+the =Hospital of St. Mary Magdalene=, sometimes called 'The Maudlins.' It
+was founded by Archbishop Thurstan (1114-1141) for secular brethren and
+sisters, and one chaplain. The brethren and sisters were not merely to
+benefit by the charity themselves, but were to minister to lepers and
+blind priests born within the Liberty of Ripon, a certain number of whom
+were received into the Hospital. Lepers from outside the Liberty were
+entitled to a night's lodging: so also apparently were any other
+strangers or mendicant clergy who might be passing through the town. On
+St. Mary Magdalene's day there was a dole of food to the poor. A second
+chaplain was subsequently added by the benefaction of one William de
+Homelyn. At some period, apparently after 1241, the character of the
+foundation was changed by another Archbishop, whose name is not known.
+The brethren and sisters disappeared, and the staff consisted henceforth
+of a Master and one chaplain, or sometimes two. The Master was appointed
+by the Archbishop, and was generally a clerk, though sometimes only in
+acolyte's Orders. In 1334 one John Warrener, of Studley Roger, founded
+here a chantry of two if not three priests. Thus there may have been no
+less than six clergy attached to this small chapel; but the number was
+not kept up, and at the Reformation there were, besides the Master, only
+the two priests of Warrener's foundation. The Hospital continued to
+minister to blind priests, and also to lepers until leprosy died out.
+The lepers' portion of the building was demolished about 1350. In
+1546-7 the inmates were 'five poor people.' All traces of the Master's
+house, the hall, the brewery, and the original dwellings have vanished.
+The dwellings were rebuilt in 1674, and again in 1875, since which date
+more cottages have been added, and a new chapel; and the hospital now
+accommodates twelve poor women. The Mastership, still in the gift of the
+Archbishop, is at present held with one of the canonries, and the cure
+of souls is discharged by a non-resident chaplain.
+
+  [Illustration: SEAL OF ST. MARY MAGDALENE'S HOSPITAL]
+
+Fortunately the old chapel remains. The main fabric is apparently
+Thurstan's. It is of gritstone, but has been much altered and repaired
+at later periods, when limestone has been used. To the later work belong
+the set-off of the base, the coigns, the parapet, the east part of the
+south wall, the framing of most of the windows and doors, and the
+buttress and bell-cote at the west end.
+
+The west front is now divided by a large buttress of many stages
+terminating in a slope, but the plinth of this buttress is apparently
+original. To the right of the buttress is a long two-cusped lancet
+light; to the left may be traced, perhaps, the outline of an original
+round-arched window; while on both sides there are sloping lines in the
+masonry, as if there had been an acutely-pointed gable here.
+
+The north side of the chapel has been propped at a late period by three
+sloping buttresses. At its western end is a doorway, the jambs of which
+seem original, while the pointed head is later. About half-way along
+this side is one of those 'low side windows' through which, it is
+supposed, the Sacrament was administered to lepers--indeed, the
+leper-house stood on this side of the chapel.[127] Though of limestone,
+this small lancet window, with its arch and dripstone trefoiled, is
+apparently of the thirteenth century, and an early example of its
+class. East of it are, first a Perpendicular window of two lights--late
+in character, and second a partially-blocked and possibly original
+doorway, perhaps for the priest, (though priests' doors are usually on
+the south side). Its outer arch is rounded, while the inner is pointed
+and has perhaps been altered.
+
+The east window is broad, finely arched, and surmounted by a bold
+dripstone terminating in heads. Its four lights, partially blocked, are
+round-headed, with rather large cusps, and in the upper part of the
+window there is much tracery, in which perpendicular lines lead up to
+arches that intersect. Indeed it is difficult to say whether this fine
+window is an example of late Perpendicular, or of the transition to that
+style from the Decorated.
+
+It is on the south side that the irregularity in the size, spacing, and
+level of the windows in this chapel is most marked. Here toward the
+eastern end is a square-headed Perpendicular window of two lights, much
+resembling the south window at St. Anne's Hospital, and surmounted by a
+square label. Next comes a small lancet, probably Early English, with no
+limestone about it. The next window is tall, rectangular, and without
+tracery, but the stump of a mullion remains on the sill, which is of
+gritstone. West of this is the principal entrance, a Norman arch,
+beneath which a pointed arch has been inserted, the original imposts,
+however, remaining. The upper arch is enriched with the chevron, and its
+dripstone with two rows of the round billet arranged chequerwise and
+with a moulding composed of a series of little crosses, rather
+suggestive of the dog-tooth.
+
+The interior has up to this time escaped 'restoration.' There have been
+repairs, but enough only to arrest decay, and the plaster has not been
+removed from the walls.[128] The length internally is about 49 feet and
+the breadth just over 16 feet. The floor is of brick, and the roof,
+which is almost flat, has been much renovated, but retains its original
+massive cross beams and wooden corbels. Internally the two western
+doorways are rounded, and just east of them the chapel is crossed by a
+late Perpendicular screen, which retains its folding doors, and has an
+uncommon effect due to the great length of the mullions in the upper
+part. The lower portion was once closed. It is perhaps more probable
+that this is the original position of the screen than that it ever
+stretched across the Sanctuary. Against the north wall is a fine old
+chest raised on feet and bound with many iron clamps ending in scrolls.
+It has a double lock and a ring at either end, and inside it is kept a
+curious bell of wood painted to resemble metal, and said to have been
+hung in the bell-cote by an unscrupulous official who had caused the
+real bell to be sold.
+
+The 'low side window' internally has a depressed pointed arch, and is
+widely splayed, as are also the tall and the short window opposite. It
+is remarkable that although the windows differ so much externally, yet
+internally all except the 'low side window' and the east window are of
+the form known as the 'shouldered arch,' a form which, by-the-way, is
+more usually employed in doorways.
+
+In front of the Sanctuary are preserved two old Perpendicular pews or
+stalls, with carved finials. The Sanctuary itself is raised on two
+steps, and extends eight feet from the east wall. The blocked door
+noticed on the exterior would open into the chapel immediately west of
+the line of the lower step.
+
+This is among the very few churches in the country which retain the
+pre-Reformation stone altar, and if the instance at St. Anne's Hospital
+is genuine, Ripon thus possesses two examples of this rare feature. The
+altar here is 7 feet 7 inches long, 3 feet 5 inches wide, 2 feet 11
+inches high, and has no step. Two of the usual five incised crosses (the
+larger cross near the middle is probably spurious) may still be traced
+upon the slab, the lower edge of which is chamfered off. In the front of
+the substructure are two deep recesses. The altar is flanked by two
+stone brackets. On the north wall is a third, and in the south wall a
+piscina with two-cusped arch and projecting basin.
+
+In front of the altar is a tessellated pavement 11 feet long and nearly
+4 feet wide. It is chiefly composed of red and blackish _tesserae_; but
+in the centre is a circular medallion containing a large four-petalled
+white flower with a red centre and small red flowers between the petals,
+all upon a ground of black. It has been supposed that this pavement was
+taken from the neighbouring remains of some Roman building. As regards
+the central medallion this is probably the case, but the rest of the
+pavement seems to be later work, perhaps of the thirteenth century.[129]
+At the south end of the pavement is the slab of another and smaller
+altar, retaining three of its incised crosses.
+
+It appears from a document of 1306 that the chapel at that date
+contained certain 'relics' of St. Mary Magdalene.
+
+Of the mediaeval bridges of Ripon =The North Bridge= alone survives.[130]
+It crosses the Ure on nine arches with bold buttresses, triangular in
+plan, between them, and is prolonged, with three smaller arches, over
+the low meadow which forms the southern shore. It is from this shore
+that the best view of it is to be obtained, a few yards down stream. The
+arches, some of them recessed, vary in height and span, but all are
+round save two, over one of which there is a corbel-table below the
+parapet. The other side of the bridge was remodelled some twenty years
+ago.
+
+
+FOOTNOTES:
+
+[122] In the mediaeval records the street is almost invariably called
+Annesgate, and indeed was probably named after the hospital. The form
+'Agnesgate' is, however, not modern, for it occurs in 1462. It may have
+arisen from a trisyllabic pronunciation of 'Annesgate.'
+
+[123] Thus far I am largely indebted to a paper on this hospital by the
+Rev. W. C. Lukis, F.S.A. in the twelfth edition of Walbran's _Ripon_.
+
+[124] Possibly those of Boynton or Plumpton (_Parker_).
+
+[125] The house is not shown.
+
+[126] This latter peculiarity is found also in a house at Bishopton, a
+mile off.
+
+[127] Some archaeologists, however, hold that the purpose of low side
+windows was to display a light to scare away demons.
+
+[128] It is probable that in the interior of many of our old churches
+the surface of the stone was never meant to be seen, and was covered
+with plaster at the time of building. The plaster was doubtless often
+adorned with designs in colour.
+
+[129] This view is held by Mr. Micklethwaite. The white _tesserae_ in the
+medallion resemble some which were dug up in 1837 on the site assigned
+by Leland to the 'Old Abbay of Ripon' and which have been adduced to
+support the view that Wilfrid's Abbey Church stood on that site and not
+on the site of the present Cathedral (see p. 77 and n. 4 there).
+
+[130] The others were Bondgate Bridge (over the Skell), Bishopton Bridge
+(over the Laver), Hewick Bridge (over the Ure below the town), the
+Archer-bridge, and the 'Esgel-bridge.' The position of the two last is
+uncertain, and the rest have long been rebuilt. Bishopton Bridge had a
+chapel upon it with which was connected a hermit. In the middle ages the
+bridges were under the charge of the Archbishop. They were often the
+recipients of bequests, but were themselves made to contribute to the
+Common Fund of the Collegiate Church, by means of money-boxes which were
+placed upon them.
+
+
+
+
+APPENDIX.
+
+
+ABBOTS OF THE SAXON MONASTERY.
+
+  ST. EATA                                    _c._ 657-661.
+  ST. WILFRID                                      661-709.
+  TATBERHT                                             709.
+  BOTWINE                                         died 786.
+  ALBERHT                                          786-787.
+  SIGRED                                               787.
+  UILDEN OR WILDENG                                       ?
+
+
+CANONS OF STANWICK IN THE MEDIAEVAL COLLEGIATE CHURCH.[131]
+
+  Geoffrey de Bockland                        _circa_ 1226.
+  Laurence de Topcliffe                       _circa_ 1230.
+  Eadmund de Maundevill                      resigned 1279.
+  Anthony Beck[132]                                   1279.
+  Roger Swayne                         _c._ 1285-_c._ 1311.
+  Richard de Henney                         1311-_c._ 1315.
+  William de Seton                          1316-_c._ 1320.
+  Thomas de Cave                            1320-_c._ 1322.
+  Robert de Rypon                           1322-_c._ 1333.
+  Peter de Wetwang                                    1333.
+  John de Crakhall                     _c._ 1344-_c._ 1378.
+  John de Seggefield                             1378-1384.
+  John de Middleton                              1384-1397.
+  John de Dene[133]                         1397-_c._ 1435.
+  Simon Alcock                              1435-_c._ 1436.
+  Richard Morton                               1436-? 1447.
+  John Clere                                   ? 1447-1478.
+  Robert Symson                                  1479-1481.
+  Thomas Bakehouse                          1481-_c._ 1521.
+  Richard Dean                         _c._ 1535-_c._ 1545.
+  Christopher Seale                       _c._ 1545-? 1547.
+
+
+DEANS OF KING JAMES I.'S FOUNDATION.
+
+  Moses Fowler, B.D.                             1604-1608.
+  Anthony Higgin, B.D.                           1608-1624.
+  John Wilson, D.D.                              1624-1634.
+  Thomas Dod, D.D.[134]                     1635-_c._ 1645.
+  John Wilkins, D.D., F.R.S.[135]                1660-1668.
+  John Neile, D.D.[136]                          1674-1675.
+  Thomas Tullie, D.D.                                 1675.
+  Thomas Cartwright, D.D.[137]                   1675-1686.
+  Christopher Wyvill, D.D.[138]                  1686-1710.
+  Heneage Dering, LL.D.[139]                     1710-1750.
+  Francis Wanley, D.D.[140]                      1750-1791.
+  Robert Darley Waddilove, LL.D., F.S.A.[141]    1792-1828.
+  James Webber, D.D.                             1828-
+
+
+DEANS OF THE CATHEDRAL FOUNDATION.
+
+  James Webber, D.D.[142]                            -1847.
+  The Hon. Henry David Erskine, D.D.[143]        1847-1859.
+  Thomas Garnier, B.C.L.                         1859-1860.
+  William Goode, D.D., F.S.A.                    1860-1868.
+  Hugh M'Neile, D.D.                             1868-1876.
+  Sydney Turner, B.A.                                 1876.
+  William Robert Fremantle, D.D.                 1876-1895.
+  The Hon. William Henry Fremantle, D.D.              1895.
+
+
+BISHOPS OF RIPON.
+
+  EADHEAD                                          681-686.
+  CHARLES THOMAS LONGLEY, D.D., F.S.A.[144]      1836-1856.
+  ROBERT BICKERSTETH, D.D., F.R.S.[145]          1857-1884.
+  WILLIAM BOYD-CARPENTER, D.D.                        1884.
+
+
+FOOTNOTES:
+
+[131] The mediaeval College of Canons had no official head, but the
+Prebendary of Stanwick, as Ruler of the Choir, was generally in
+residence, and was in some sense the most important of the Canons. He
+did not, however, preside, at least not if any other Canon was in
+residence. Thus Christopher Dragley (Prebendary of Monkton) was often
+_Praesidens Capituli_ from 1533 to 1539, and Marmaduke Bradley
+(Prebendary of Thorp) from 1544 to 1546.
+
+[132] Afterwards the celebrated Bishop of Durham, one of the most
+prominent personages at the court of Edward I.
+
+[133] A brass to him is preserved in the Cathedral. The inscription was
+probably cut in his lifetime, for the space for the date of his death is
+left blank. He helped to found the chantry of St. Wilfrid, and is buried
+in the Choir.
+
+[134] Deprived by the Parliament when they suppressed the Chapter.
+
+[135] One of the founders of the Royal Society: married Oliver
+Cromwell's sister: became Bishop of Chester.
+
+[136] Buried near the vestry door.
+
+[137] Became Bishop of Chester, and was a strong supporter of James II.
+
+[138] Buried within the Altar-rails (brass).
+
+[139] Buried in the north choir-aisle (tablet).
+
+[140] Buried in the Cathedral (formerly there was a tablet in the south
+aisle of the nave).
+
+[141] Tablet in the Chapter-house.
+
+[142] Buried within the Altar-rails.
+
+[143] Buried in the graveyard near the north-east corner of the choir
+(tomb by Sir Gilbert Scott).
+
+[144] Afterwards Bishop of Durham, then Archbishop of York, and finally
+Archbishop of Canterbury. The modern diocese of Ripon does not
+correspond in area with that over which Eadhead presided (_see Chap.
+I._)
+
+[145] Buried in the graveyard near the south-east corner of the choir.
+
+
+
+
+INDEX.
+
+
+  ABBOTS, list of, 142.
+
+  Ailcy Hill, 9.
+
+  Aisles of the nave, 78;
+    south aisle, 79;
+    north aisle, 81;
+    of the choir, (north) 113;
+      (south) 115.
+
+  Archbishops of York, 13 _et seq._
+
+  Athelstan, King, 9.
+
+
+  BAS-RELIEF of lion, 80.
+
+  Bedern, the, 24, 26, 34.
+
+  Bells, the, 43.
+
+  Bishops of Ripon, 143.
+
+  Bridge, the North, 141.
+
+
+  CANONS, irregularities of the, 23.
+
+  Canons of Stanwick, list of, 142.
+
+  Chantries, 28.
+
+  Chapter, the, 29, 30;
+    re-established, 31, 33, 34, 37.
+
+  Chapter-house, the, 53, 122-125.
+
+  Charles I., 34.
+
+  Choir, the, 49, 58;
+    interior, 96-117.
+
+  College of Canons, the, 12, 17, 22, 30.
+
+  Courts, ecclesiastical and secular, 19, 31, 37.
+
+  Crypt, the Saxon, 71-78;
+    the Norman, 117-120.
+
+  Cuthbert, St., 4, 11, 12.
+
+
+  DEANERY, the, 133.
+
+  Deans, list of, 143.
+
+  Dedication by Wilfrid, 6.
+
+  Diocese of Ripon, 36.
+
+
+  EADHEAD, Bishop of Ripon, 7.
+
+  East End, the, 60.
+
+  Eata, first Abbot, 4, 12.
+
+  Edward I., 25.
+
+
+  FONTS, the, 79.
+
+  Grammar-School, Ripon, 14, 30-36.
+
+  Gray, Archbishop Walter de, 11, 16, 21.
+
+
+  HENRY IV., 26.
+
+  Henry V., 11.
+
+
+  JAMES I., 31, 33.
+
+
+  LADY-KIRK, the, 22, 27.
+
+  Lady-loft, the, 54, 129.
+
+  Liberty of Ripon, 19-37.
+
+  Library, the, 130.
+
+
+  MALLORY Chapel, 93.
+
+  Markenfield Chapel and tombs, 90.
+
+  Monastery of Ripon, the (Scottish), 4;
+    (Saxon), 5;
+    end of, 12.
+
+
+  NAVE, rebuilding of, 27, 69;
+    north side, exterior, 44;
+    south side, 50;
+    interior, 65.
+
+
+  ODA, Archbishop of Canterbury, 11.
+
+  Organ, the, 111.
+
+  Oswald, Archbishop, 11.
+
+
+  PALACE, Archiepiscopal, 24, 35.
+
+  Peculiar, the parish a, 19, 31, 37.
+
+  Prebends, 12, 14, 17, 18, 23, 26.
+
+  Presbytery, arrangement of the, 104.
+
+  Pulpit (Old) in north transept, 88.
+
+
+  Ripon Minster, foundation of the Scottish monastery, 4;
+    original site of, 5;
+    dedication of new church, 6;
+    end of monastery, 12;
+    as a collegiate church, 12, 22;
+    as a parochial church, 18, 22;
+    present church built, 15;
+    central tower reconstructed, 27;
+    nave rebuilt, 27.
+
+  Rising in the North, the, 30.
+
+  Roger de Pont l'Eveque, Archbishop, 15;
+    his plan, 16, 67.
+
+  Rood Screen, the, 94.
+
+
+  ST. AGNES' Lodge, 136.
+
+  St. Anne's Hospital, 133.
+
+  St. John's Hospital, 36.
+
+  St. Mary Magdalene's Hospital, 35, 137.
+
+  Sanctuary, right of, 9, 23, 30.
+
+  Saxon monastery, the, 5.
+
+  Scots, incursion of, 25.
+
+  Scottish monastery, the, 4.
+
+  Sedilia, the, 104.
+
+  Site, original, 5.
+
+  Spires, fall and removal of the, 34.
+
+  Stalls, the choir, 106.
+
+  Stammergate, 5, 22, 35.
+
+  Stanwick, Prebend, 17, 18, 29, 142.
+
+
+  THEODORE, Archbishop of Canterbury, 6.
+
+  Thomas of Bayeux, Archbishop, 13.
+
+  Thorp, prebendal house, 36, 136.
+
+  Throne, the Bishop's, 111;
+    the Archbishop's, 36.
+
+  Thurstan, Archbishop, 73, 14.
+
+  Tower, the central, 45, 56;
+    interior, 82.
+
+  Towers, western, 41.
+
+  Transept, north, 46;
+    south, 51, 56;
+    interior, 85;
+      north, 86;
+      south, 91.
+
+
+  VAULT-BOSSES in choir, 103.
+
+  Vaulting, north transept, 91.
+
+  Vestry, the, 125.
+
+
+  WAKEMAN, the, 33.
+
+  West front, the, 16, 40, 43;
+    interior, 68.
+
+  West Gate, the, demolished, 35.
+
+  Wilfrid, St., 4, 6, 7, 8, 12, 75;
+    relics of, 11, 16;
+    translation of, 14;
+    shrine of, 14, 29, 81;
+    crypt of, 31, 71.
+
+  William, St., of York (Archbishop Fitzherbert), 15.
+
+  Window, east, 34, 62, 102.
+
+  Wolsey, Archbishop, 33.
+
+  Wulfstan, Archbishop, 10.
+
+
+[Illustration: GROUND PLAN OF RIPON CATHEDRAL.]
+
+
+
+
+DIMENSIONS (internal).
+
+  Total Length,             270 feet
+  Length of Nave,           133   "
+  Width of Nave,             87   "
+  Width of Transept,         52   "
+  Height of Vault (Nave),    88   "
+  Height of Towers,         110   "
+  Area,                  25,280 square feet.
+
+
+PRINTED BY NEILL AND CO., LTD., EDINBURGH.
+
+
+
+      *      *      *      *      *      *
+
+
+
+Transcriber's Note
+
+   The following obvious typographical errors were corrected:
+
+     Page  Error
+     2     the Tower. changed to the Tower.)
+     10, fn. 10    St Wilfrid's changed to St. Wilfrid's
+     111   ascendency changed to ascendancy
+     115, fn. 103  Surtee's changed to Surtees
+     118   anyrate changed to any rate
+     136   acolyte's Orders changed to acolyte's Orders.
+
+
+   The following words were inconsistently spelled:
+
+     afterthought / after-thought
+     Agnesgate / Agnes-gate
+     aisleless / aisle-less
+     stonework / stone-work
+
+
+
+***END OF THE PROJECT GUTENBERG EBOOK BELL'S CATHEDRALS: THE CATHEDRAL
+CHURCH OF RIPON***
+
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