the latter of whom was not created archbishop until the year 1405. It
was constructed in a more florid style of architecture than the rest of
the fabric. The roof, higher by some feet than that of the nave, was
more richly ornamented, an elegant kind of festoon work descending from
the capitals of the pillars, which separated the middle from the side
aisles; from these columns sprung the vaulted roof, the ribs of which
crossed each other in angular compartments. The magnificent window, the
admiration of all beholders, occupies nearly the whole space of the
eastern end of the choir; it is divided by two large mullions into
three principal divisions, which are again subdivided into three lights;
the upper part from the springing of the arches are also separated
into various compartments. It contains nearly two hundred subjects,
principally scriptural. The painting of this window was executed about
the year 1405, at the expense of the dean and chapter, by John Thornton,
a glazier, of Coventry, who, by his contract, was engaged to finish it
within three years, and to receive four shillings per week for his
work; he was also to have one hundred shillings besides; and also ten
pounds more if he did his work well.[3] On the exterior of the choir,
immediately over the window, is the effigy of John de Thoresby, mitred
and robed, and sitting in his archiepiscopal chair, his right hand
pointing to the window, and in his left holding the model of a church.
At the base of the window are the heads of Christ and the Apostles,
with that of some sovereign, supposed to be Edward III.

We will now bring this article to a close, by quoting the words of Æneas
Sylvius, afterwards Pope Pius II., in praise of York Cathedral. He says,
"It is famous all over the world for its magnificence and workmanship,
but especially for a fine lightsome chapel, with shining walls, and
small, thin-waisted pillars, quite round."[4]