occupied in the building of it. They show you, in the crypt, some fine remains of the Norman church that preceded it on the same site, together with traces of the still older Saxon church that preceded the Norman. The first one was of wood, and was totally destroyed. The Saxon remains are a fragment of stone staircase and a piece of wall built in the ancient herring-bone fashion. The Norman remains are four clustered columns, embellished in the zig-zag style. There is not much of commemorative statuary at York, and what there is of it was placed chiefly in the chancel.

YORK AND LINCOLN COMPARED*

BY EDWARD A. FREEMAN

The towers of Lincoln, simply as towers, are immeasurably finer than those of York; but the front of York, as a front, far surpasses the front of Lincoln.

As for the general outline, there can be no doubt as to the vast superiority of Lincoln. Lincoln has sacrificed a great deal to the enormous pitch of its roofs, but it has its reward in the distant view of the outside. The outline of York is spoiled by the incongruity between the low roofs of the nave and choir and the high roofs of the transepts. The dumpiness of the central tower of Yorkwhich is, in truth, the original Norman tower cased -can not be wholly made a matter of blame to the original builders. For it is clear that some finish, whether a crown like those at Newcastle and Edin*From "English Towns and Districts."

burgh or any other, was intended. Still the proportion which is solemn in Romanesque becomes squat in perpendicular, and, if York has never received its last finish, Lincoln has lost the last finish which it received. Surely no one who is not locally sworn to the honor of York can doubt about preferring the noble central tower of Lincoln, soaring still, even tho shorn of its spire. The eastern transept, again, is far more skilfully managed at Lincoln than at York. It may well be doubted whether such a transept is really an improvement; but if it is to be there at all, it is certainly better to make it the bold and important feature which it is at Lincoln, than to leave it, as it is at York, half afraid, as it were, to proclaim its own existence.

Coming to the east end, we again find, as at the west, Lincoln throwing away great advantages by a perverse piece of sham. The east window of Lincoln is the very noblest specimen of the pure and bold tracery of its own date. But it is crusht, as it were, by the huge gable window above it-big enough to be the east window of a large churchand the aisles, whose east windows are as good on their smaller scale as the great window, are absurdly finished with sham gables, destroying the real and natural outline of the whole composition. At York we have no gables at all; the vast east window, with its many flimsy mullions, is wonderful rather than beautiful; still the east end of York is real, and so far it surpasses that of Lincoln.

On entering either of these noble churches, the great fault to be found is the lack of apparent height. To some extent this is due to a cause common to both. We are convinced that both churches

are too long. The eastern part of Lincoln-the angels' choir-is in itself one of the loveliest of human works; the proportion of the side elevations and the beauty of the details are both simply perfect. But its addition has spoiled the minster as a whole. The vast length at one unbroken height gives to the eastern view of the inside the effect of looking through a tube, and the magnificent east window, when seen from the western part of the choir, is utterly dwarfed. And the same arrangement is open to the further objection that it does not fall in with the ecclestiastical arrangements of the building.

In the nave of York, looking eastward or westward, it is hard indeed to believe that we are in a church only a few feet lower than Westminster or Saint Ouens. The height is utterly lost, partly through the enormous width, partly through the low and crushing shape of the vaulting-arch. The vault, it must be remembered, is an imitation of an imitation, a modern copy of a wooden roof made to imitate stone. This imitation of stone construction in wood runs through the greater part of the church; it comes out specially in the transepts, where a not very successful attempt is made to bring the gable windows within the vault-the very opposite to the vast space lost in the roofs at Lincoln. Yet with all this, many noble views may be got in York nave and transepts, provided only the beholder takes care never to look due east or west. The western view is still further injured by the treatment of the west window-in itself an admirable piece of tracery-which fits into nothing, and seems cut through the wall at an arbitrary point. But the nave elevation, taken bay by

bay, is admirable. Looking across out of the aisle -the true way to judge the real height at last comes out, and we are reminded of some of the most stately minsters of France.

DURHAM*

BY NATHANIEL HAWTHORNE

Durham Cathedral has one advantage over the others I have seen, there being no organ-screen, nor any sort of partition between the choir and nave; so that we saw its entire length, nearly 500 feet, in one vista. The pillars of the nave are immensely thick, but hardly of proportionate height, and they support the round Norman arch; nor is there, as far as I remember, a single pointed arch in the cathedral. The effect is to give the edifice an air of heavy grandeur. It seems to have been built before the best style of church architecture had established itself; so that it weighs upon the soul, instead of helping it to aspire. First, there are these round arches, supported by gigantic columns; then, immediately above, another row of round arches, behind which is the usual gallery that runs, as it were, in the thickness of the wall, around the nave of the cathedral; then, above all, another row of round arches, enclosing the windows of the clere-story.

The great pillars are ornamented in various ways-some with a great spiral groove running

*Fom "English Note Books." By arrangement with, and by permission of, the publishers of Hawthorne's works, Houghton, Mifflin Co. Copyright, 1870 and 1898.

from bottom to top; others with two spirals, ascending in different directions, so as to cross over one another; some are fluted or channeled straight up and down; some are wrought with chevrons, like those on the sleeve of a police inspector. There are zigzag cuttings and carvings, which I do not know how to name scientifically, round the arches of the doors and windows; but nothing that seems to have flowered out spontaneously, as natural incidents of a grand and beautiful design. In the nave, between the columns of the side aisles, I saw one or two monuments.

I left my seat, and after strolling up and down the aisle a few times sallied forth into the churchyard. On the cathedral door there is a curious old knocker, in the form of a monstrous face, which was placed there, centuries ago, for the benefit of fugitives from justice, who used to be entitled to sanctuary here. The exterior of the cathedral, being huge, is therefore grand; it has a great central tower, and two at the western end; and reposes in vast and heavy length, without the multitude of niches, and crumbling statues, and richness of detail, that make the towers and fronts of some cathedrals so endlessly interesting. One piece of sculpture I remember-a carving of a cow, a milkmaid, and a monk, in reference to the legend that the site of the cathedral was, in some way, determined by a woman bidding her cow go home to Dunholme. Cadmus was guided to the site of his destined city in some such way as this.

It was a very beautiful day, and tho the shadow of the cathedral fell on this side, yet, it being about noontide, it did not cover the churchyard entirely, but left many of the graves in sunshine.