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Anne (Frontispiece), teaching the Virgin to read in a book inscribed 'D(omi)ne exaudi or(ati)onem mea(m) aurib(us) p(er)cipe ob(secre)ti(onem meam)' (, 1); (c) St. Upper range: (a) Adoration of the Magi, largely original; (b) Crucifixion, restored except for figure of St. grysely bees'; (7) Earthquakes (Plate 108), 'Ye seventh day howses mon fall Castels and towres and ilk a wall'; (8) Rocks and stones consumed, '[Ye viij day] ye roches & stanes [Sall bryn] togeder all at anes'; (9) Earth noises everywhere, '[Ye ix day] erth dyn [sall be Severally in ilk [contry]'; (10) Earth level again, '[Ye tende day for [to] neven Erthe sall be playne & even'; (11) Men come out of holes, '[Ye xj day] sall men come owte [Of their] holes & wende a bowte'; (12) Dead men's bones arise, 'Ye xij day sal dede mens banes Be sumen sett & ryse all at anes'; (13) Stars fall from Heaven (Plate 103) 'Ye thirtend day suthe sall Stevyns fra the heuen fall'; (14) Death of all living (Plate 103) 'Ye xiiij day all yat liues yan Sall dy bathe chylde man & woman;' (15) Universal Fire, 'Ye xv day yus sall betyde Ye werlde sall bryn on ilk a syde'. In upper range: (4) Feeding the Hungry; (5) Giving drink to the Thirsty; (6) Entertaining the Stranger. The main panels set in background of quarries within wide borders, an unusually early example of such treatment; middle light with border of castles and cups, and outer lights with vine scrolls; quarries, some original, with oak sprays. At foot, in side lights, groups of kneeling donors: E., priest, civilian and woman, scroll inscribed 'libera nos' and, over the second, a shield with 'R' impaling a , recorded in 17th century as James Baguley, Rector (1413–40), and Robert Chapman (Free, 1423) and wife (the arms of Baguley of Baguley survived in 1659); W., woman between two men. Michael in plate armour, with scroll inscribed 'laudantes a(n)i(m)as suscipe [san]cta Trinitas'; face stolen 1842 and replaced in plain glass; (2) arms of Whytehead, perhaps old, reset 1861; (3) St. window and two groups of donors below; of the latter that from the E. Table, small, frame and top of soft wood, mainly 17th-century, with two consoles, early 18th-century, and some tracery, possibly mediaeval. This church of 1962–4 includes re-erected parts of the structure of the demolished church of St. (5) Parish (former Priory) Church of Holy Trinity (Plates 12, 117), stands on the S. Christopher (Plate 104), bearing the Infant Christ, round his head a scroll inscribed 'Cristofori d(omi)n(u)s sedeo qui crimina tollo'. wall; date probably between 14; moved by 1846, restored in 1844 by Wailes of Newcastle, who supplied in new glass most of lower part of window and all tracery lights; cleaned and releaded 1966. John; (c) Coronation of the Virgin, largely original (Plate 102); tall canopies at heads of main lights, including geometrical traceries, and borders largely of old glass (Plate 107); tracery lights almost entirely 19th-century but some of background of oak leaves and part of figure of St. In the Tracery lights: (W.) reception of the Blessed by St. Main Canopies, not belonging, perhaps slightly later than main panels (Plate 107). Thomas the Apostle, with scroll inscribed 'D(omi)n(u)s meus et deus meus'; Christ bearing cross-staff with pennon, with scroll inscribed 'Thoma [ten]dite manu(m) manu(m) i(n) latus meu(m) qui no(n) viderunt'; archbishop, probably St. Medallions containing angels and grotesque figures playing musical instruments in upper parts of main lights and in tracery. John the Evangelist (Plate 105) in richly embroidered garment powdered with letters 'J' and 'M', with scroll inscribed 'benedictus sit sermo oris tui'. Probably the original glazing of 1425–40 (between 18 the figure of St. side of a large churchyard, the mediaeval layfolks' cemetery, fronting on Micklegate. The main gatehouse of the priory was erected during the 13th century at the entrance from Micklegate to Priory Street. by 57½ ft.) was aisled, of five bays with a square E. side of North Street; it is built partly of rubble, partly of magnesian limestone ashlar, and has roofs of modern tile. The original church was a simple rectangular cell, a local type found in the late 11th century, to which a S. In the 13th century it was enlarged as a cruciform building with aisleless . Thomas the Martyr, a chantry which was licensed in 1410 (, 162). aisle by the third window from the E., which had a figure of St. An inventory made in 1409/10, after the death of Hugh Grantham, mason, records that he owed John Ebirston 6. Grantham was also owed £4 by John Thornton and William Pontefract; this may connect John Thornton with glass that would on stylistic grounds be associated with him. Further work was carried out in 1884 and in 1907–8. The fourth and fifth arches are two-centred, of two chamfered orders, the fifth arch being higher than the fourth. The contemporary sixth arch is higher than those to the E., of two chamfered orders and with very large voussoirs which bond into the pier of the tower. The second pier has a moulded base set on an older plinth; it has finer detail than the first. The piers have masons' marks that associate them with the first pier on the N. The third pier resembles that opposite and is probably of the 14th century; the plinth is set awkwardly on a larger and older one. aisle, (2) of fielded panels with two drawers, 18th-century, inscribed 'The Gift of Lawrence and Elsie Dunphy 1951'; in St. aisle, (2) small octagonal font fitted with modern drain, found on site of Beech House on The Mount. , in vestry, wooden plaque with arms of York and seven ovals containing names and dates: 1772 Charles Turner; 1773 Henry Jubb; 18 William Hotham; 18 George Peacock; 1816 John Dales. crossing pier, (1) Thomas Condon, 1759, and Maria, grand-daughter, daughter of Charles Mellish, wife of 14th Lord Semphill, 1806, with impaling arms of Condon. Stead, York; (12) Elizabeth, wife of John Steward, merchant, 1847, John Steward, 1855, tapered white marble slab with moulded cornice and base, signed Skelton; (13) William Crumack, 1847, Martha, wife, 1854, white marble monument, signed Skelton; (14) Mary Swinburne, widow of Sir John Swinburne Bart. This church of 1872–4, built as a chapel-of-ease to St. The church has walls of gritstone and magnesian limestone, and modern dressings of Whitby sandstone, tiled roofs with some slate over the central and S.
1320–40, has original jambs, but the mullions are recut or modern.
side suggests that the arch is earlier than the pier of the tower. 1340 has three ogee-headed trefoiled lights and reticulated tracery. wall had the head cut off, presumably when the present 15th-century roof replaced an earlier one running N. Much of the walling is restored but the masonry with large blocks at the base and a chamfered plinth is original, of the 15th century. of the fifth bay is a 15th-century three-stage buttress with oversailing plinth. wall of the 14th century incorporating some very large blocks of magnesian limestone at the base. window has three trefoiled lights and reticulated tracery. Much mediaeval stone, including many coffin lids, was used in the rebuild. All three were probably associated with the cell of the anchoress mentioned in 1430. square) (Plate 11) is of three stages surmounted by a spire, in all 120 ft. The two-centred tower arch of two chamfered orders springs without capitals from two octagonal piers (Plate 95). sides the inner orders form responds with square bases and bold stops. The second stage is octagonal with weathered angles and a two-light window of 15th-century type in each of the cardinal faces. doorway (Plate 15), on the site of an original opening, incorporates some old features reset. The window head has an inner chamfered order, which is continuous, and an outer order chamfered and supported on round shafts with moulded caps and bases similar to those of the N. The aisle wall has an external chamfered plinth and a string course below the lancet. wall a straight joint indicates the corner of the original pilaster buttress.
The sixth bay is of ashlar in small blocks with a two-centred doorway, probably inserted as there is brick on either side. A modern porch and vestry mask the sixth and seventh bays. The third stage, also octagonal, has a tall two-light transomed window in each cardinal face. The two-centred head has a label with carved stops and is of three orders of which the innermost is original. by 12½ ft.) (Plate 118), is contained in the western bay of the N. The wall, which is of good ashlar up to the sloping line representing the former aisle roof, has a chamfered plinth and a double-chamfered string at sill level.
window, I (Plate 98), Lower range, (a) kneeling figures of Nicholas Blackburn junior (Lord Mayor 1429, d. 1454) beneath shields bearing letter 'B' and arms of Blackburn differenced with mullet; (b) seated Trinity; (c) kneeling figures of Nicholas Blackburn senior (Lord Mayor 1412, d. 1435), beneath shields bearing 'B' and arms of Blackburn. At base of each light a panel containing three kneeling figures of donors, all looking to E.; inscriptions now lost formerly recorded the names of Roger Henrison of Ulleskelf, freeman, 1401, and Abel de Hesyl, living in parish in 1327 (, upwards) of the signs of the end of the world as narrated in the 14th-century poem, 'The Pricke of Conscience' (ed. Morris (Berlin, 1863), 129–31), though the inscriptions beneath the panels differ from the text (restorations below from Henry Johnston's (fn. lights, panels showing donors, the former in 1670 in a S. In main panels, six of the Corporal Acts of Mercy (Plates 111–13). Knowles 1861, at expense of rector Robert Whytehead, cleaned, releaded 1965–6. light the group included a man and two women with an inscription to Richard Killingholme (Free 1397, d. Lowest range: (vii) Virtue bearing spear, leading group of well-dressed men and a woman, inscribed above '[Virt]utes [(mira)cula fa(cientes deum)ita] reuelantes'; (viii) Archangel in cap and holding trumpet, leading group of men, one of whom bears a metal-shod spade, inscribed above '[Archangeli mortales (om)nes] deo [(conducen)tes]'; (ix) Angel in deacon's robe and holding staff, leading three men, one wearing glasses, two women and child, inscribed above '[Angeli] mestos consolantes [diu]ina [annunciantes]'. (Etty was buried 30 January 1708); between fourth and fifth windows: (2) Margaret Pennington, 1753, freestone tablet. D., 1699, Esther, wife, 1745, on same slab in script; and 'Iohn Stoddart· clerke / Parson · of · this Rectory · induct here of Marche 1593' in small incised compartment in lower corner; (2) Joshua Witton, 1674, black marble, with arms of Witton impaling Thornton (Plate 36); (3) Richard Wilson, 1742, Elizabeth, widow, 1766; (4) John Rothum, 1390 (will proved ; Shaw, 45); (5) '[Orate] p(ro) a(n)i(m)a Will(el)mi L[on]disdall de [Ebor tanner et pro animabus El]ene et Alicie uxor(um) ei(us) a(nn)o d(omi)ni M, 1, 138); will proved 8 June 1469 (Wills, vol. 135)); (7) Ann Dawson, 1730, Ann Pick and Susannah Cass, 1780, granddaughters; (8) 'D. In nave: (9) Mary Mason, 1718/19; (10) Mary Milner, 1783, George, husband, 1789. aisle: (11) Thomas de Kyllyngwyke (Free 1360; living 1381) and wife Juliana, upper half of fine slab with intricate cross-head and part of shaft, black-letter inscription 'hic · iacent · thomas · de [K]yllyngwke · quondam [ci]uis ebor · et Juliana uxor eiusde(m) q(uo)r(um) a(n)imab(us) p(ro)picie(tur) d(eu)s am(en)'; slab palimpsest, on under side a fulling-bat and some shears (Shaw, 45); (12) John de Wardalle (John de Weredale, barker, Free 1355 (, 1, 50); will proved 30 Dec. W.' for Thomas Waite, goldsmith of York, Free 1613 (, 1, 62); paten with a Glory, given by William Orfeur, with York mark for 1782/3 and makers' stamp for John Hampston and John Prince, and two flagons (Plate 37), also given by William Orfeur, each with arms of Orfeur of Cumberland, York mark of 1781/2 and makers' stamp as before; alms dish, given in 1698 by Thomas Simpson ( (Plate 38): of oak, hexagonal, panels with painted figures on pedestals in moulded panels on five sides, of Hope with anchor, Our Lady with Infant Christ for Charity, Faith holding cup, a woman, and Peace holding doves, and, on frieze, 'and how shall they preach except they be sent', on lower base member, 'Anno Dom. Graime received 10: one only remaining, misericorde (Plate 19) carved with pelican in piety flanked, on left, by letters 'GIM', for John Gilyot, Master (of Arts), on right, by arms of Gilliot, probably presented by John Gilyot, rector 1467–72/3. Brook in 1899, and pier bases consisting of diagonally placed squares with chamfered angles were disclosed about 4½ ft. The piers were probably square with a large half-shaft on each face, for sections of a respond of this type were found, the shaft having a simple roll necking. was a mass of stone, perhaps the base of the sedilia.
Inscriptions in part original but greatly falsified in 1844. John Baptist (Plate 104) bearing Agnus Dei on book; (b) St. Lower range: (a) Annunciation (Plate 102), much restored; (b) Nativity, much restored; (c) Christ rising from the tomb, angel and soldiers original. 1320–40, the earliest in the church, moved to present position by 1846, restored 1844 by Wailes, releaded 1877, cleaned 1967. 4) record of the window in 1670): (1) Rising of the Sea, '[Ye first day fourty] cubetes [certain Ye see sall] ryse vp [abowen ilka mountayne]'; (2) Subsiding of the Sea, 'Ye seconde day ye see sall be so lawe [uneth] men sall it cee'; (3) The Waters return to their former level, 'Ye iij day yt sall be playne And stand as yt was agayne'; (4) Fishes rise out of the Sea (Plate 108), '[Ye fforth day] fisches sal mak[e a roring Hideus & hevy] to mannes [heryng]'; (5) The Sea on fire, 'Ye fift day ye sea sall bryn And all ye waters that my ryn'; (6) Bloody dew on Trees, 'Ye sext day sall [herbes &] trees Wyth blody dropes ... In lower range: (1) Clothing the Naked; (2) Visiting the Sick; (3) Relieving those in Prison. (At base of window inscription recording the work of 1861.) S. The original glazing was probably that now in the fourth S. Such of the glass as is ancient is part of the original glazing of this window; it was complete, apart from slight damage to inscriptions, when drawn by Henry Johnston (p. (Plate 92): on spire, elongated cock cut from flat brass sheet, with open beak, flared tail and applied eye; payment to churchwardens, 1759, for 'brass weathercock, Flemish brass for the same, gilding same' (Shaw, 69). 1150; (ii) large moulded voussoir, late 13th-century; (iii) large nook-shaft capital, 13th-century; (iv) piece of window tracery with cusp.