Northern Rock: The Use of Egglestone Marble for Monuments in Medieval England 9781407304151, 9781407321424

Table of contents :
Front Cover
Title Page
Copyright
Table of Contents
List of Maps
List of Floorplans
List of Text Figures
List of Plates
Acknowledgements
Chapter 1: Introduction
Chapter 2: The Use of Sedimentary Marbles for Monuments in Medieval England
Chapter 3: An Overview of Monumental Production and Commemoration in the North-East of England
Chapter 4: The Evidence for Quarrying Egglestone Marble
Chapter 5: Exploitation of the Egglestone Marble Quarries Before 1400
Chapter 6: The Use of Egglestone Marble 1400-1550
Chapter 7: Post Medieval Usage of Egglestone Marble
Chapter 8: Conclusions
Appendices
Bibliography
Index
Plates

Citation preview

BAR 480 2009 BADHAM & BLACKER

Northern Rock: The Use of Egglestone Marble for Monuments in Medieval England Sally Badham Geoff Blacker

NORTHERN ROCK

B A R

BAR British Series 480 2009

Northern Rock: The Use of Egglestone Marble for Monuments in Medieval England Sally Badham Geoff Blacker

BAR British Series 480 2009

ISBN 9781407304151 paperback ISBN 9781407321424 e-format DOI https://doi.org/10.30861/9781407304151 A catalogue record for this book is available from the British Library

BAR

PUBLISHING

CONTENTS List of maps List of floorplans List of text figures List of plates Acknowledgements

iii iii iii iii vi

1. INTRODUCTION 1.1 Egglestone marble characteristics and appearance 1.2 The survey

1 1 1

2. THE USE OF SEDIMENTARY MARBLES FOR MONUMENTS IN MEDIEVAL ENGLAND 2.1 Tournai and Namur 2.2 Purbeck 2.3 Frosterley 2.4 Other crinoidal limestones

9 9 10 12 14

3. AN OVERVIEW OF MONUMENTAL PRODUCTION AND COMMEMORATION IN THE NORTH-EAST 3.1 Cross slabs 3.2 Incised and flat relief effigial slabs 3.3 Emblem slabs 3.4 Inscription slabs 3.5 Semi-effigial slabs 3.6 Effigies 3.7 Monumental brasses and indents 3.8 Other monuments 3.9 Conclusions

16 16 18 20 21 21 22 26 30 31

4. THE EVIDENCE FOR QUARRYING EGGLESTONE MARBLE 4.1 The Egglestone marble quarry sites 4.2 Documentary evidence of quarry usage 4.3 Working practices 4.2 Transportation

32 32 33 34 34

5. EXPLOITATION OF THE EGGLESTONE MARBLE QUARRIES BEFORE 1400 5.1 Extant examples 5.2 Reasons for low levels of exploitation

35 35 38

6. THE USE OF EGGLESTONE MARBLE 1400-1550 6.1 Tomb chests 6.2 Carved effigies 6.3 Incised and flat relief slabs 6.4 Brasses and indents 6.5 Fonts 6.6 Other church fittings 6.7 Script styles deployed on Egglestone marble products

40 40 45 46 51 54 58 59

7. POST MEDIEVAL USAGE OF EGGLESTONE MARBLE 7.1 Evidence for post medieval quarrying 7.2 Ledger slabs 7.3 Reasons for the decline of the industry

62 62 62 63

8. CONCLUSIONS 8.1 Patterns of patronage 8.2 Geographical spread 8.3 Losses

64 64 64 65

Appendix 1: Appendix 2:

66 71

List of sites visited Complete list of Egglestone marble pieces i

Prefatory note on abbreviations used in Appendices 3-13 Appendix 3: List of incised and flat relief effigial slabs in north-east England Appendix 4: List of pre-1550 figure brasses and indents in Yorkshire Appendix 5: List of pre-1550 figure brasses and indents in Co. Durham Appendix 6: List of pre-1550 figure brasses and indents in Northumberland Appendix 7: List of Yorkshire School brasses and indents (in date order) Appendix 8: List of Egglestone marble tomb chests Appendix 9: List of pre-1550 Egglestone marble incised and flat relief slabs Appendix 10: List of Egglestone marble pieces from matrices of monumental brasses Appendix 11: List of Egglestone marble fonts Appendix 12: List of Egglestone marble post medieval ledger slabs Appendix 13: List of plain slabs of Egglestone marble

89 90 92 100 102 103 109 111 112 124 125 129

Bibliography

130

Index

136

Plates 1-69

ii

LIST OF MAPS Map 1. Map 2. Map 3. Map 4. Map 5. Map 6. Map 7. Map 8. Map 9.

Distribution of Egglestone marble pieces in Co. Durham Distribution of Egglestone marble pieces in the North Riding of Yorkshire Distribution of Egglestone marble pieces in the West Riding of Yorkshire Distribution of Egglestone marble pieces in the East Riding of Yorkshire Distribution of Egglestone marble pieces in Cumberland, Westmorland and Lancashire Distribution of Egglestone marble pieces in Lincolnshire Distribution of Egglestone marble pieces in Nottinghamshire Location of the Egglestone marble quarries Distribution of Egglestone marble fonts

LIST OF FLOORPLANS Floorplan 1. St. Mary, Beverley (Yorkshire, East Riding) Floorplan 2. Carlisle Cathedral (Cumberland) Floorplan 3. Durham Cathedral (Co. Durham) Floorplan 4. Holy Trinity, Hull (Yorkshire, East Riding) Floorplan 5. Holy Trinity, Kendal (Westmorland) Floorplan 6. St. Peter, Leeds (Yorkshire, West Riding) Floorplan 7. Lincoln Cathedral (Lincolnshire). Floorplan 8. St. Helen and Holy Trinity, Sheriff Hutton (Yorkshire, North Riding) Floorplan 9. St. Mary, Staindrop (Co. Durham) Floorplan 10. St Mary, Wycliffe (Yorkshire, North Riding) Floorplan 11. All Saints’, North Street, York Floorplan 12. All Saints’, Pavement, York Floorplan 13. St Michael-le-Belfrey, High Petergate, York LIST OF TEXT FIGURES Fig. 1. Usage of Egglestone marble. Fig. 2 . Chronological spread of Egglestone marble artefacts Fig. 3. Rubbing of the matrix (comprising two large slabs) of the lost brass to Lewis de Beaumont, Bishop of Durham 1317-1333. Durham Cathedral (Co. Durham). Fig. 4. Cross slab to a cleric. Patrick Brompton (Yorkshire, North Riding). Drawing: Peter Ryder. Fig. 5. Cross slab to Sir John Conyers (d.1394). Sockburn (Co. Durham). Drawing: Peter Ryder. Fig. 6. Coffin-shaped slab with a low relief effigy and inscription to the wife of Aubrey de Conyers. Bowes Museum, Barnard Castle (Co. Durham). Drawing: John Blair. Fig 7: Low relief slab to Sir Thomas de Blande (d.1360) and his wife Alicia. Startforth (Yorkshire, North Riding). Fig. 8. Inscription to Thomas Rokeby on slab, possibly from a tomb chest. Egglestone Abbey (Yorkshire, North Riding). Drawing: English Heritage. Fig. 9. Drawing by Hollar in Dugdale’s Monasticon Anglicanum of the de Brus cenotaph showing the lost west end. Fig. 10. Rubbing of incised slab to John Forster (d.1456). Wycliffe (Yorkshire, North Riding). Fig. 11. Rubbing of low relief slab to Sir Ralph Pudsay (d.1468). Bolton-by-Bowland (Yorkshire, West Riding). Fig. 12. Rubbing of low relief slab to Henry and Richard Scrope, the sons of Sir Henry Scrope, 7th Lord Scrope of Bolton, both of whom died in 1525. Wensley (Yorkshire, North Riding). Fig. 13. Rubbing of brass to Richard Aske, Esquire, and his wife Margaret (d.1466). Aughton (Yorkshire, East Riding). Fig. 14. Rubbing of figures from brass to John Langton the younger (d.1466) (figure now lost) and his wife Agnes. The Egglestone marble slab, now mostly covered, shows the indents of many shields of arms, as requested in his will. Leeds (Yorkshire, West Riding). Rubbing: Society of Antiquaries of London. LIST OF PLATES Pl. 1. Pl. 2. Pl. 3. Pl. 4. Pl. 5.

Thomas Girtin, watercolour of Egglestone Abbey (Yorkshire), painted 1799-1800. The Abbey Quarry site is shown in the middle left of the picture. (London, British Museum, Department of Prints and Drawings, PDB 10393). Copyright: The Trustees of the British Museum. [colour] Polished sample of Egglestone marble. [colour] Polished sample of Frosterley marble. [colour] Polished sample of crinoidal beds from the Frosterley marble outcrop. [colour] Polished sample of Sykes marble. [colour] iii

Pl. 6.

The outcrop at Westfield Quarry, with a stepped profile where blocks have been removed. Photo: Geoff Blacker. Pl. 7. A large block remains at Westfield Quarry with the marks where two lines of wedges were hammered in to lever the blocks apart to form slabs. Note metre rule for scale. Photo: Geoff Blacker. Pl. 8. Part of the outcrop at Westfield Quarry showing where one slab has already been removed but work on the next two was abandoned. Note metre rule for scale. Photo: Geoff Blacker. Pl. 9. A basin below the quarry face at Abbey Quarry which may have been used as an area where the stone was dressed. Photo: Geoff Blacker. Pl. 10. The outlet of a man-made watercourse lined with stone leading to the working area at Abbey Quarry which would have brought water on to the site. Note metre rule for scale. Photo: Geoff Blacker. Pl. 11. The laver in the cloisters of Durham Cathedral (Co. Durham). Photo: Geoff Blacker. Pl. 12. The tomb chest for Bishop Thomas Langley (d.1437), Durham Cathedral (Co. Durham). Photo: Geoff Blacker. Pl. 13. Part of the shrine of St. William formerly in York Minster. Yorkshire Museum, York. Photo: Sally Badham. Pl. 14. Part of the shrine of St. William formerly in York Minster. Yorkshire Museum, York. Photo: Sally Badham. Pl. 15. Cross slab to Sir John Conyers (d.1394). The rectangular brass plate set across the lower terminal of the cross head is a later addition. Sockburn (Co. Durham). Photo: Aleksandra McClain. Pl. 16. Incised cross slab to an unknown cleric. Egglestone Abbey (Yorkshire, North Riding). Photo: Sally Badham. Pl. 17. Relief cross slab with a crozier, commemorating an unknown abbot. Egglestone Abbey (Yorkshire, North Riding). Photo: Sally Badham. Pl. 18. Inscription slab, possibly commemorating a member of the Neville family. Well (Yorkshire, North Riding). Photo: Geoff Blacker. Pl. 19. Panel from tomb chest for Sir John Clervaux (d.1443). Croft-on-Tees (Yorkshire, North Riding). Photo: Sally Badham. Pl.20. Tomb chest for Sir Richard Clervaux (d.1490). Croft-on-Tees (Yorkshire, North Riding). Photo: Sally Badham. Pl. 21. Detail of lettering on tomb chest for Sir Richard Clervaux (d.1490). Croft-on-Tees (Yorkshire, North Riding). Photo: Sally Badham. Pl. 22. Detail of inscription to Thomas Rokeby on slab, possibly a panel from a tomb chest. Egglestone Abbey (Yorkshire, North Riding). Photo: Sally Badham. Pl. 23. Tomb chest for Sir Ralph Bowes (d.1482). Egglestone Abbey (Yorkshire, North Riding). Photo: Geoff Blacker. Pl. 24. Detail of tomb chest for Sir Ralph Bowes (d.1482). Egglestone Abbey (Yorkshire, North Riding). Photo: Geoff Blacker. Pl. 25. Cover of tomb chest for Sir Ralph Bowes (d.1482), with underside uppermost showing rebate for close fitting on the tomb chest. Egglestone Abbey (Yorkshire, North Riding). Photo: Brian Gittos. Pl. 26. Panel from a tomb chest to a member of the Wycliffe family. Wycliffe (Yorkshire, North Riding]. Photo: Geoff Blacker. Pl. 27. Tomb chest for Sir William Pudsay (d. by 1499), Gainford (Co. Durham). Photo: Sally Badham. Pl. 28. Details of Brus cenotaph, c.1520 showing the ‘English side’. Between figures in armour representing Adam de Brus I, Adam de Brus II, Peter de Brus I, Peter de Brus II and a damaged figure of Peter de Brus III are Saints Augustine, Gregory, Jerome and Ambrose. Above the figure of St. Jerome is the rebus of the donor, Prior James Cockerell. Gisborough Priory (Yorkshire, North Riding), but now in the parish church. Photo: Sally Badham. Pl. 29. Details of Brus cenotaph, c.1520 showing the ‘Scottish side’. Between figures in armour representing Robert de Brus II, William de Brus I, Robert de Brus I (the founder of Gisborough Priory), Robert de Brus III and Robert de Brus IV are the four evangelists. Gisborough Priory (Yorkshire, North Riding), but now in the parish church. Photo: Sally Badham. Pl. 30. Details of Brus cenotaph, c.1520 showing the east end. It shows the Blessed Virgin Mary flanked by groups of praying monks. Gisborough Priory (Yorkshire, North Riding), but now in the parish church. Photo: Sally Badham. Pl. 31. Tomb chest for Margaret Neville, Countess of Westmorland (d.c.1530). Brancepeth (Co. Durham). Photo (taken before the 1998 fire): Geoff Blacker. Pl. 32. Tomb chest for Robert Brown (d.1532) at Newark (Nottinghamshire). Photo: Geoff Blacker. Pl. 33. Tomb chest for Henry, 11th Lord Clifford, K.G. (d.1542), and his wife Margaret. Skipton (Yorkshire, West Riding). Photo: Geoff Blacker. Pl. 34. Tomb chest with Egglestone marble cover with inscription to Sir Richard Musgrave (d.1464). Kirkby Stephen (Westmorland). Photo: Geoff Blacker. Pl. 35. Remaining section of the cover from a lost tomb chest with an indent of a Yorkshire series 2b brass to John Lewelyne, rector of Romaldkirk (d.c.1470). Photo: Sally Badham. Pl. 36. Fragment of the foot rest from an effigy from Egglestone Abbey (Yorkshire, North Riding). Now in the English Heritage store at Berwick-on-Tweed, accession no. 81027101. Photo: English Heritage. iv

Pl. 37. Pl. 38. Pl. 39. Pl. 40. Pl. 41. Pl. 42. Pl. 43. Pl. 44. Pl. 45. Pl. 46. Pl. 47. Pl. 48. Pl. 49. Pl. 50. Pl. 51. Pl. 52. Pl. 53. Pl. 54. Pl. 55. Pl. 56. Pl. 57. Pl. 58. Pl. 59. Pl. 60. Pl. 61. Pl.62. Pl. 63. Pl. 64. Pl. 65. Pl. 66. Pl. 67.

Pl. 68. Pl. 69.

Detail of inscription on slab to Sir Henry Boynton and his second wife Alice. Gilling West (Yorkshire, North Riding). Photo: Sally Badham. Inscription slab to Isabella Pudsay, c.1500. Marrick Priory (Yorkshire, North Riding). Photo: Geoff Blacker. Inscription slab to John and Johanna Mitchell. Egglestone Abbey (Yorkshire, North Riding). Photo: Sally Badham. Detail of low relief slab to Sir Ralph Pudsay (d.1468). Bolton-by-Bowland (Yorkshire, West Riding). Photo: Martin Stuchfield. Detail of low relief slab to Sir Ralph Pudsay (d.1468), showing his son William in clerical dress. Bolton-byBowland (Yorkshire, West Riding). Photo: Martin Stuchfield. Detail of incised slab to John Forster (d.1456). Wycliffe (Yorkshire, North Riding). Photo: Sally Badham. Low relief slab to Thomas Jackson, (d.1529). Bedale (Yorkshire, North Riding). Photo: Martin Stuchfield. Detail of low relief slab to Thomas Jackson, (d.1529). Bedale (Yorkshire, North Riding). Photo: Martin Stuchfield. Low relief slab to Sir Henry Boynton and his wife Isabella (d.1531). Gilling West (Yorkshire, North Riding). Photo: Sally Badham. Brass to Roger de Wycliff (d. by 1362) engraved c. 1410. Wycliffe (Yorkshire, North Riding). Photo: Sally Badham. Font dating from the late-fifteenth century at Kendal (Westmorland). Photo: Geoff Blacker. Font dating from the late-fifteenth century at Ripon (Yorkshire, West Riding) Photo: Geoff Blacker. Font dating from the late-fifteenth century at South Cowton (Yorkshire, North Riding) Photo: Geoff Blacker. Font dating from the late-fifteenth century at Yarm (Yorkshire, North Riding) Photo: Geoff Blacker. Font with unusual scalloped profile on the inside of the bowl. Marrick Priory (Yorkshire, North Riding). Photo: Geoff Blacker. Font donated by William Burgh (d.1442) probably soon after completion of the church in 1415. Catterick (Yorkshire, North Riding). Photo: Sally Badham. Font of early to mid-fifteenth-century date. Richmond (Yorkshire, North Riding). Photo: Geoff Blacker. Font with a stem and base dating from the mid-fifteenth century at Sedgefield (Co. Durham). Photo: Geoff Blacker. Font dating to the third quarter of the fifteenth century donated by George, Lord Lumley and his wife Elizabeth. Kirkharle (Northumberland). Photo: Geoff Blacker. Font dating to the end of the fifteenth century donated by George, Lord Lumley and his wife Elizabeth. Chester-le-Street (Co. Durham). Photo: Geoff Blacker. Font donated by Robert Rhodes (d.1474). Newcastle Cathedral (Northumberland). Photo: Geoff Blacker. Font donated by Sir Edward Neville, K.G., Lord Bergavenny [Abergavenny] (d.1476) and his wife Elizabeth Beauchamp. Staindrop (Co. Durham). Photo: Geoff Blacker. Brass shield on font donated by Sir Edward Neville, K.G., Lord Bergavenny [Abergavenny] (d.1476) and his wife Elizabeth Beauchamp. Staindrop (Co. Durham). Photo: Sally Badham. Font probably donated by Thomas, 6th Lord Scrope (d.1494). South Kilvington (Yorkshire, North Riding). Photo: Sally Badham. Detail of font probably donated by Thomas, 6th Lord Scrope (d.1494). South Kilvington (Yorkshire, North Riding). Photo: Sally Badham. Detail of font probably donated by Thomas, 6th Lord Scrope (d.1494). South Kilvington (Yorkshire, North Riding). Photo: Sally Badham. Font of likely end fifteenth century date. Barnard Castle (Co. Durham). Photo: Sally Badham. Font presented by Robert Ellerton (Abbot of Egglestone Abbey 1476-1495). Startforth (Yorkshire, North Riding). Photo: Geoff Blacker. Indent probably to Abbot Robert of Ellerton (d.1495). Egglestone Abbey (Yorkshire North Riding). Photo: Sally Badham. Font of c.1509 with brass inscription commemorating Sir Ralph Pudsay, Edwina his wife and Sir William his son. Bolton-by-Bowland (Yorkshire, West Riding). Photograph: Martin Stuchfield. Detail of font of c.1509 with brass inscription commemorating Sir Ralph Pudsay, Edwina his wife and Sir William his son. The arms are Pudsay impaled with Tunstall; this is for Sir Ralph’s marriage to his second wife, Margaret, the mother of William Pudsay. Bolton-by-Bowland (Yorkshire, West Riding). Photograph: Martin Stuchfield. Altar mensa removed from York Minster. St. Michael-le-Belfrey, York. Photo: Geoff Blacker. Etching by T. Higham of watercolour by J.M.W. Turner of Egglestone Abbey.

v

ACKNOWLEDGEMENTS We owe a huge debt of gratitude to Murray Mitchell, Chief Palaeontologist, formerly with the British Geological Survey and later Honorary Research Fellow in the School of Earth and Environment, University of Leeds, who accompanied Geoff Blacker to sites on which this study is based. Patrick Farman and Peter Hacker have been of considerable assistance in cross-checking the lists in our Appendices, particularly in ensuring that the various lists of monumental brasses and indents are as complete and accurate as possible. They have also, together with Brian and Moira Gittos, Philip Lankester, Dr. Tim Palmer, and Tim Sutton have read and provided helpful comments on various chapters. Dr. Paul Cockerham has been most helpful in providing information from the unpublished notes on incised slabs of the late F.A. Greenhill, currently in his custody. Fr. Jerome Bertram has been of great assistance in translating Latin inscriptions. For other help, we would like to thank Jane Crease, Susan Harrison (English Heritage), Trev Haysom, Dr. Julian Luxford, and Dr. Sophie Oosterwijk. The Trustees of the British Museum have kindly given us permission to reproduce Plate 1 and English Heritage has permitted reproduction of Fig. 6 and Plate 32. For the provision of other illustrations, we are grateful to Jon Bayliss, Professor John Blair, Derrick Chivers, Dr. Paul Cockerham, Dr. Aleksandra McClain, Brian Gittos, William Lack, Peter Ryder, and Martin Stuchfield. Finally, we would like to thank Tony Carr for kindly indexing this volume.

vi

CHAPTER 1 INTRODUCTION polo mints. The beds range from about 0.5 m up to 1.06 m thick.

The picturesque sites of Egglestone Abbey and the nearby gorge of the River Tees in the North Riding of Yorkshire have inspired both artists and poets alike. They have been painted by J. M.W. Turner and Thomas Girtin (Pl. 1), and described in rhyme by Sir Walter Scott (17811832), who wrote in his narrative poem ‘Rokeby’:

The limestone has been extensively bioturbated (the displacement and mixing of sediment particles by animals or plants, typically worms), a feature recognised by the blotchy appearance of the polished surface with roughly circular areas being of a slightly darker colour than the rest of the slab. Bioturbation has destroyed any layering or bedding that might originally have been present in the stone, thus removing lines of weakness. As a result the rock is hard and has a wide-spaced jointing pattern. At another of the quarries (Mains House Quarry), for example, four beds are exposed ranging in thickness from 54 to 85 cm, with joints up to 130 cm apart. One final characteristic is the presence of tension cracks which have been filled by calcite, which show as white streaks.

That mighty trench of living stone Where Tees, full many a fathom low, Wears with his rage no common foe; For pebbly bank nor sand-bed here, Nor clay-mound, checks his fierce career, Condemn’d to mine a channelled way O’er solid sheet of marble grey.1 1.1 Egglestone marble characteristics and appearance The ‘marble grey’ referred to is Egglestone marble, also known as Teesdale marble, one of a group of so-called sedimentary ‘marbles’, such as the better-known Purbeck and Tournai marbles, in which natural calcite cement has filled the original pore-spaces to such an extent that the stone is capable of receiving a high polish.2 Its merits include its attractive grey-brown surface finish when polished, its suitability when freshly quarried for detailed carving, and the fact that it is capable of being extracted in very large blocks and slabs.

The full thickness of the Great Limestone is exposed in the north bank of the Tees in the Township of Westwick, 2.5 km downstream from Egglestone Abbey. The river cliffs for about 300 m west of where the River Greta joins the Tees have been extensively quarried at a site named Westfield Quarry. The characteristics of this quarry are similar to those in Abbey Quarry, but the joints are in some cases even more widely spaced allowing significantly larger slabs to be extracted.

Mills and Hull recorded a section of the Great Limestone (Namurian Age) 22 m thick below Barnard Castle, downstream from Abbey Mill.3 The Great Limestone was noted as a fine to medium-grained, massively-bedded, bioclastic and crinoidal rock, except for the top 4.5-6 m, which is commonly argillaceous and thin bedded. The beds that have been quarried lie in the massive bedded limestones, the top of which forms the highest of a series of small falls and rapids on the River Tees.

Another smaller area of quarrying occurs at Watersmeet Quarry, where the River Greta joins the Tees. Levels in the Great Limestone similar to those at Abbey Quarry have been quarried. Although the limestone at both localities has much in common in terms of bedding, jointing, bioturbation, colour and distribution of crinoid debris, all the beds sampled at Watersmeet contain darkcoloured shell fragments which are not present in the limestones at Egglestone. This character is thought to be sufficient to distinguish Greta or Watersmeet marble from Egglestone marble.

The description of the stone which follows is based on polished samples taken from the quarry named by Blacker and Mitchell as Abbey Quarry. The rock is finegrained, medium grey-brown coloured bioclastic limestone (Pl. 2). Crinoid debris occurs mostly in two size ranges: uniformly distributed small crinoid columnals (sea lily stems) ranging in diameter from 0.6 to 2.7 mm, with a few larger examples up to 6 mm. Occasionally columnals as large as 10-11 mm in diameter have been noted. The small diameter columnals sometimes occur in lengths up to 10 mm long. The columnals, when seen end-on, give the appearance of tiny

1.2 The survey Egglestone marble has received little attention in the past, perhaps because there is no evidence of its use for building purposes. 4 No examples have been found of its deployment for columns or other structural elements in buildings, but there is a wealth of material and documentary evidence of its widespread employment for other artefacts. Geoff Blacker, in association with Murray Mitchell, Chief Palaeontologist formerly working with the British Geological Survey, has taken samples from the quarry sites at Mains House Quarry and Abbey Quarry for comparison with monuments and other

1

The poetical works of Sir Walter Scott, Bart (Boston, 1857), Vol. 4, p. 75. 2 For polishable limestones generally, see T. Palmer, ‘Carrara and Purbeck: a tale of two marbles’, Church Monuments Society Newsletter, 23 Part 1 (Summer 2007), pp. 12-14. 3 D.A.C. Mill and J.H. Hull, Geology of the country around Barnard Castle, Explanation of Sheet 32, H.M.S.O. Memoirs of the Geological Survey of Great Britain (London, 1976), p. 43.

4

A Clifton-Taylor, The pattern of English building, (London, 1972), p. 187 dismissed Egglestone marble as ‘never of any importance’, instead regarding the Frosterley marble quarries as ‘the largest in England after Purbeck, for the working of marble’. He was, however, considering only the value of the two sedimentary marbles as building stones.

1

Northern Rock: the use of Egglestone marble for monuments in medieval England state.7 A tomb slab with an indent of an inscription plate outside the south door of Hutton Cranswick church (Yorkshire, East Riding); the matrix of the Durham Series 1 brass to John Wandysford at Kirklington (Yorkshire, North Riding) and the indent of an inscription and four shields at Hexham Priory (Northumberland) fall into the same uncertain category. A number of floor slabs at Egglestone Abbey not listed in Appendix 2 are also very likely to be of Egglestone marble, although their weathered state precluded positive identification; they are, however, discussed in Chapters 5 and 6. Finally, an indent at Easington (Co. Durham), noted in October 2008, bears all the characteristics of Egglestone marble including tension fractures filled with calcite, but has been excluded from Appendix 2 until expert opinion has been sought.

artefacts in churches and other buildings at 483 locations. These are listed in Appendix 1. Most churches and other buildings searched were in the north-east of England but a number of other major churches further afield were also investigated to establish the southern limits to the zone in which Egglestone marble was used. The authors had access to the unpublished study by the late Ron Firman of the stone types used for monuments in churches in the East Midlands and East Anglia, which pinpointed the use in several locations of a stone which was subsequently confirmed to be Egglestone marble. In addition to churches and other religious houses, a number of castles and great houses were checked for examples of Egglestone marble. None were found apart from a floor at Rokeby Hall (Yorkshire, North Riding); it is impossible to tell whether this was made from freshly-quarried stone or re-used and cut-up floor slabs from an ecclesiastical building, possibly even the nearby Egglestone Abbey itself. Nonetheless, it may be inferred that the Egglestone marble was rarely, if ever, exploited for domestic purposes.

Once recording was completed, work concentrated on analysing, identifying and dating many of these items. Sally Badham was heavily involved in this stage. About half of the Egglestone marble artefacts found can be securely dated; the chief exceptions are fifty unfeatured slabs, which were probably cut from medieval graveslabs, re-used ledger slabs, and four fonts without identifying heraldry or inscriptions. These have been excluded for analytical purposes, but the picture presented from the remaining 185 items is one of exploitation between the late-thirteenth and the nineteenth centuries (see graph in Fig. 2).

The fieldwork stage of this survey was completed in December 2001. At this time a total of 354 worked pieces had been identified throughout the north and north midlands (see Appendix 2 for full details of all items).5 They include 317 monuments (mainly tomb chests and tomb slabs), three shrines, eighteen fonts, and an altar mensa (Fig. 1). No complete effigies have been found that are carved from Egglestone marble, but a fragment found at Egglestone Abbey of a carved lion, thought to be from the feet of an effigy, suggests that the marblers did include this monumental type in their repertoire.6 Examples of Egglestone marble pieces have been found in significant numbers in Yorkshire and Co. Durham, and fewer numbers in Cumberland, Westmorland, Northumberland, Lancashire, Nottinghamshire, Lincolnshire, and Derbyshire (the historic pre-1974 county boundaries are used throughout). For maps showing their locations within each of these counties with more than two sites at which Egglestone marble was found see Maps 1-7.

Usage was relatively low before 1400 and after the Reformation, but between these dates there is evidence of a thriving industry devoted to quarrying and carving this stone, particularly for monumental purposes. The peak of utilisation was in the second half of the fifteenth century; this coincided with the period when the York brassengraving workshops were at their most prolific, although other Egglestone marble artefacts were also being produced at this time.

Doubtful examples have been excluded from this analysis and are not listed in Appendix 2. For example, close to the east gate entrance to the churchyard at Sigglesthorne (Yorkshire, East Riding) is a coffin-shaped slab with a chamfered edge with the indent of an inscription plate. It is a crinoidal limestone with many of the characteristics of Egglestone marble, but positive identification of provenance is not possible due to the badly weathered

5

J.G. Blacker and M. Mitchell, ‘The use of Egglestone marble in Durham Cathedral’, Durham Archaeological Journal, 14-15 (1999), pp. 119-30; and J.G. Blacker and M. Mitchell, ‘Egglestone marble in York churches’, Interim, 22.4 (1998), pp. 39-42. See also M. Pullan, The monuments of the parish church of St Peter-at-Leeds, Thoresby Society, 2nd series 17 (Leeds, 2007), pp. 12-14. 6 It is now in the English Heritage Stone Store at Berwick-upon-Tweed, accession no. 81027101.

7 The shape rules out the local tradition that it was a mensa from nearby Meaux Abbey.

2

Introduction

Usage of Egglestone marble 1 17

effigies

62

incised slabs brasses cross slabs tomb chests

50

fonts shrines & carved pieces altar mensas

1 4

179

18 25

plain pieces ledger slabs

2

Fig. 1. Usage of Egglestone marble 40

35

25

20

15

10

5

Fig. 2. Chronological spread of Egglestone marble artefacts

3

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No. of examples

30

Northern Rock: the use of Egglestone marble for monuments in medieval England

Map 1. Distribution of Egglestone marble pieces in Co. Durham

Map 2. Distribution of Egglestone marble pieces in the North Riding of Yorkshire

4

Introduction

Map 3. Distribution of Egglestone marble pieces in the West Riding of Yorkshire

Map 4. Distribution of Egglestone marble pieces in the East Riding of Yorkshire

5

Northern Rock: the use of Egglestone marble for monuments in medieval England

Map 5. Distribution of Egglestone marble pieces in Cumberland, Westmorland and Lancashire

6

Introduction

Map 6. Distribution of Egglestone marble pieces in Lincolnshire

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Northern Rock: the use of Egglestone marble for monuments in medieval England

Map 7. Distribution of Egglestone marble pieces in Nottinghamshire

8

CHAPTER 2 THE USE OF SEDIMENTARY MARBLES FOR MONUMENTS IN MEDIEVAL ENGLAND commissioned as late as the 1170s.10 Finally, mention should be made of an example in Yorkshire at Bridlington Priory, which may possibly have been commissioned c.1150 to commemorate the founder, Walter de Gant.11

Sedimentary ‘marbles’, or polishable limestones, were in high fashion in England up to the early-fourteenth century. They were used for a variety of monumental purposes, as well as for building components and fonts. Thereafter their use was more limited, but for some types of monument they continued to be employed right up to the sixteenth century. A variety of stone types, both indigenous and imported from the continent, were used at different periods and for different purposes. The following brief summary focuses especially on the use of these stone types in the north-east and excludes some examples, such as Alwalton marble, which were never used in Yorkshire, Co. Durham and Northumberland.

Tournai marble may have also been used for the lost tomb once in Glastonbury Abbey into which the remains of King Arthur and Queen Guinevere were translated in 1191.12 This was clearly a more elaborate monument than any of those already discussed; reconstructing its likely appearance from the documentary evidence is not unproblematic, but it may have comprised a pair of sarcophagi resting on a slab supported by sculpted lions.

2.1 Tournai and Namur marbles No Tournai marble effigies carved in full relief are to be found, but incised and inlaid floor slabs of this stone – as well as slabs of Flemish Namur marble13 – were imported to the east side of England throughout the fourteenth century. They are particularly numerous in Lincolnshire, notably at the churches of the important ports of Boston and Barton-on-Humber.14 In Yorkshire examples are found at Bedale, Pocklington, Topcliffe, Welwick, and Wensley. There is also an incised panel of likely midfourteenth century date in Ripon showing a lion and a kneeling man in civil dress; it may be from an incised slab. No examples of Tournai marble monuments are

The first trend setter was Tournai marble, a dense blueblack Carboniferous Limestone without visible fossils, quarried on the banks of the River Sheldt in Belgium. It was highly regarded and exported throughout north-east France, the Low Countries and north-west Germany, as well as further afield. The introduction of this stone to England is credited to Henry of Blois, Bishop of Winchester 1129-71.8 During the second half of the twelfth century a series of low relief monuments in this stone was imported, largely as a result of monastic patronage. Most had been carved in the Low Countries, but some slabs seem to have come over in a raw state for carving in England. A very fine inscription slab from Lewes Priory (Sussex), now at Southover, commemorates Gundrada, Countess of Surrey (d.1085), the wife of William de Warenne, the Priory’s founder. It is highly unlikely that it was made immediately following her death, but it was probably commissioned by the monastic community; various authorities date it c.1145 or c.1165-70.9 Other twelfthcentury examples of Tournai slabs, most in the churches of former religious houses, include: in Lincoln Cathedral to Bishop Alexander the Magnificent (d.1148) probably dating from the third quarter of the twelfth century; in Westminster Abbey possibly to Abbot Gervase (d.1157); in Ely Cathedral to Bishop Nigel (d.1169); and in Salisbury Cathedral to Bishops Osmund (d.1099) and Roger le Poer (d.1139), both of which may have been

10 L.A.S. Butler, ‘Minor medieval monumental sculpture in the East Midlands’, Archaeological Journal, 121 (1964), pp. 111-53, at p. 142; F. Anderson, ‘Three Westminster abbots: a problem of identity’, Church Monuments, 4 (1989), pp 3-15; Anderson, ‘Tournai in Salisbury cathedral’. 11 R. Wood, ‘The Romanesque tomb-slab at Bridlington priory’, Yorkshire Archaeological Journal, 75 (2003), pp. 63-76. At Salisbury, Bishop Roger’s monument is effigial but Bishop Osmond’s slab in the Trinity chapel has just a chamfer and two incised lines marking out a wide border around the top surface, presumably for painted detail now lost. 12 P. Lindley, Tomb destruction and scholarship. Medieval monuments in Early Modern England, (Donington 2007), pp. 149-153. 13 Fragments of fourteenth-century Flemish incised slabs excavated from St Peter’s, Barton-on-Humber (Lincolnshire) have been identified as Namur marble. S. Badham, ‘Black “marbles”: problems of identity’, Monumental Brass Society Bulletin, 96 (May 2004), pp.730-1; W. Rodwell, St Peter’s, Barton-on-Humber, Lincolnshire: a parish church and its community. Vol. 1, History, archaeology and architecture, forthcoming. For Namur marble generally: E. Groessens, ‘Le marbre noir’, in J. Toussaint (ed.), Boiseries et marbres sculptés en Namurois (Namur, 1997, Musée des Arts anciens des Namurois), pp. 67-74; E. Groessens, ‘Belgian Stone, A Review’, Société belge de Géologie – Centenaire, (1987), pp. 75-87 and E. Groessens, ‘Ornamental and Building Stones from Belgium’, Stone Industries (June 1984), unpaginated. 14 F.A. Greenhill, Monumental Incised Slabs in the County of Lincoln, (Newport Pagnell, 1986); S. Badham, ‘St Peter’s Church, Barton-onHumber’, Monumental Brass Society Bulletin, 81 (1999), p. 436; N. Saul, ‘The medieval monuments of St. Mary’s, Barton on Humber’, in M. Davies and A. Prescott (eds.), London and the kingdom. Essays in honour of Caroline M. Barron, Harlaxton Medieval Studies, 16 (Donington, 2008), pp. 265-71.

8 Y. Kusaba, ‘Henry of Blois, Winchester, and the 12th-century renaissance’, in J. Crook (ed.), Winchester cathedral. Nine hundred years, (Chichester, 1993), pp. 69-79, at pp. 72-3. 9 G. Zarnecki, J. Holt and T. Holland (eds.), English Romanesque Art 1066-1200, (London, 1984), pp. 181-82; F. Anderson, ‘The Tournai marble tomb-slabs in Salisbury cathedral’, in L. Keen and T. Cocke (eds.), Salisbury cathedral. Medieval art and architecture, British Archaeological Association Conference Transactions, 17 (Leeds, 1996), pp. 85-89, at p. 86.

9

Northern Rock: the use of Egglestone marble for monuments in medieval England found in Co. Durham, although in Northumberland the fine Flemish brass to Roger Thornton (d.1429) is set in Tournai marble. Late examples of Tournai marble incised slabs survive in Kirk Newton (1458) and Newcastle Cathedral (c.1520). The lower half of a particularly fine example of c.1330 with taille d’épargne work was excavated from the Newcastle Blackfriars in 1983.15

Significant numbers of Purbeck marble effigies to knights as well as clerics were commissioned from c.1230, the stone remaining popular until the 1270s, when the demand for effigies in this material declined steadily.20 About one hundred Purbeck marble effigies survive, all but a handful in England.21 There are two examples in Yorkshire: the monument to Archbishop Walter de Grey (d.1255) in York Minster and a badly eroded military effigy of late-thirteenth or early-fourteenth century date at Welton (Yorkshire, East Riding).22 None is to be found in Durham or Northumberland. The last mainstream effigies known to have been produced in this stone are military monuments of c.1325-30 at Conington (Huntingdonshire) and of c.1340 at Dodford (Northamptonshire) and a civilian effigy at St. Audoen (Dublin, Ireland).23

2.2 Purbeck marble Of far greater importance for monumental purposes was Purbeck marble, characterised by a distinctive pattern of massed, small round fossil shells of the freshwater snail Viviparus carniferus, sometimes interspersed with fossils of the bivalve Unio. It was quarried and largely worked near Corfe in the Isle of Purbeck (Dorset) and its use has been extensively studied.16 Its employment was again popularised by Henry of Blois, who was himself commemorated by a Purbeck marble monument in Winchester Cathedral, with a sculpturally-plain, halfhipped slab, devoid of any inscription, raised on an oolitic limestone tomb chest.17 Purbeck marble subsequently gained wide acceptance as a stone suitable for commemorating people of status throughout England. Effigies, tomb chests, wall monuments, cross-slabs, incised slabs and slabs for monumental brasses were by far the largest class of Purbeck marble memorials produced for the mass market.

The twelfth and thirteenth centuries also saw extensive deployment of Purbeck marble for high-status coffin lids, many of which were decorated by relief or incised crosses, although, as a type, Purbeck marble cross slabs fell out of fashion in the early-fourteenth century.24 Some 800 examples have been recorded in locations spanning cathedrals to modest rural parish churches and also as far afield as Ireland and Normandy. However, only eleven Purbeck marble cross slabs have so far been found in Yorkshire, probably because of the long sea journey required from Dorset. They are at Bridlington Priory, Felixkirk, Londesborough, Meaux Abbey, Old Malton, Sherburn, Skipwith, York Minster, Holy Trinity Micklegate, York, and two partial examples from York Minster now in the Yorkshire Archaeological Trust store. No examples have been found elsewhere in the northeast.

The earliest known monument in this stone is a crude slab, probably dating from the early-twelfth century, from St Frideswide’s Priory, Oxford, showing a human head surmounting stylised crosses formed by concentric arcs.18 Carved effigial monuments to members of the clergy were produced from c.1160 and can be found in Dorset at Tolpuddle and Sherborne Abbey, as well as further afield in Salisbury Cathedral, Exeter Cathedral, and Westminster Abbey.19 The large-scale exploitation of Purbeck marble appears to have put to an end the use in England of Tournai for carved low-relief monuments.

For many years it was assumed that the carving was carried out in the village of Corfe Castle itself; however, current evidence suggests that manufacturing there may have been limited to small items like mortars.25 Marble waste and shaft fragments were found in the back garden of 67 West Street, Corfe Castle and recent work to a bank 20 E.S. Prior and A. Gardner, An account of medieval figure-sculpture in England, (Cambridge, 1912), pp. 568-602. 21 Information from Philip Lankester. This includes fragments and a few effigies in low relief. 22 M. J. Sillence, ‘The two effigies of Archbishop Walter de Grey (d.1255) at York Minster’, Church Monuments, 20 (2005), pp. 5-30; B. & M. Gittos, ‘A military effigy at Welton, North Humberside’, Yorkshire Archaeological Journal, 53 (1981), pp. 129-131. For the revised dating of the Welton effigy, we are grateful to Philip Lankester. The effigy forms part of a group discussed in C. Blair, J. Goodall and P. Lankester, ‘The Winchelsea tombs reconsidered’, Church Monuments,15 (2000), pp. 5-30, at pp. 12-14. 23 C. Blair, ‘The Conington Effigy: Fourteenth Century Knights at Conington, Doddington and Tollard Royal’, Church Monuments, 6 (1991), pp. 3-20. B. and M. Gittos, ‘Irish Purbeck: recently identified Purbeck marble monuments in Ireland’, Church Monuments, 13 (1998), pp. 5-14, at pp. 11-12. There is also an outlier of c.1460; see C. Blair, ‘A late Purbeck effigy at Minster, Isle of Sheppey, Kent’, Church Monuments Society, 8.2 (Winter, 1993), pp. 33-36. 24 S. Badham, B. & M. Gittos and P. Lankester, ‘List of Purbeck marble coffin-shaped slabs’, Church Monuments Society Newsletter, 10, pp. 411 and 34-37; 11, pp. 18-21 and 45-50; 12, pp. 25-28 and 53-54;13, pp. 13-18 and 44-49; 14, pp. 22-24 and 41-44; 15, pp. 10-21 and 42-49; 16, pp. 17-20; 17.2, pp. 13-21 and 19.1, pp. 11-16. 25 Dru Drury, ‘Use of Purbeck marble’, pp. 75-76; Blair, ‘Purbeck marble’, pp, 42-43.

15

S. Badham, ‘A fourteenth century Flemish composite slab from the Newcastle Blackfriars’, Transactions of the Monumental Brass Society,14 (1986), pp. 44-49. 16 G. Dru Drury, ‘The use of Purbeck marble in medieval times’, Proceedings of the Dorset Natural History and Archaeological Society, 70 (1948), pp. 74-98; R. Leach, An investigation into the use of Purbeck marble in medieval England, (2nd edn, privately printed, 1978); J. Blair, ‘Purbeck marble’ in J. Blair and N. Ramsay (eds.), Medieval Industries, (London, 1991), pp. 41-56; Kusaba, ‘Henry of Blois’, pp. 71-2. 17 J. Crook, ‘The “Rufus” tomb in Winchester Cathedral’, Antiquaries Journal, 79 (1999), pp. 187-212. 18 J. Blair, ‘An early 12th-century Purbeck marble grave slab from St Frideswide’s Priory’, Oxoniensia, 103 (1988), pp. 266-68. 19 Dru Drury, ‘Purbeck marble’, p. 77. B. Kemp, ‘Clement, Abbot of Sherborne’, in L. Keen and P. Ellis, Sherborne Abbey and school: excavations 1972-76 and 1990, Dorset Natural History and Archaeological Society Monograph no. 16, (Dorchester, 2005), pp. 7-8 indicates that Abbot Clement of Sherborne lived well into the 1180s, his successor not being elected until 1189. The identity of the bishop commemorated by the Purbeck effigy at Salisbury has aroused considerable controversy, but is probably Jocelin de Bohun (d.1184). A slab to an unknown abbot at Abbotsbury (Dorset) is also usually included amongst those of early date, but Brian and Moira Gittos suggest that the rectangular slab and tubular draperies instead point to a date in the late-thirteenth or early-fourteenth centuries.

10

The use of sedimentary marbles for monuments in medieval England of St Mary’s Abbey, York is in the Yorkshire Museum.32 From the late-thirteenth century onwards, however, the most significant use of Purbeck marble was for slabs in which were set brasses made by the London engravers. Their brasses are found throughout England, including Yorkshire, Durham, and Northumberland; most are set in Purbeck marble, but those destined for far-distant churches were often sent out loose for setting by local masons in slabs of more locally obtainable stones.33 As is explained in Chapter 6.4, Egglestone marble was commonly used for this purpose in the north.

behind another West Street house revealed a thin layer of marble chippings also containing mortars broken in manufacture. The carving of larger architectural components and monuments is more likely to have been carried out at quarry sites in the surrounding countryside. At the disused quarry at Quarr Farm, blocks of stone survive showing medieval tool marks, providing evidence of block-quarrying, but not of finer work being done there.26 However, at neighbouring Dunshay partially completed components, including a moulded thirteenthcentury column base and moulded and foliate fragments have been discovered among the marble rubble.27 Recent rebuilding of a field boundary wall here also revealed marble rubble and fragments of worked marble architectural components, including shafts. This suggests that Dunshay was a manufacturing as well as a quarrying site. Similar evidence for fine working, in the form of marble rubble, very fine chippings and a single mortar, broken before being finished, has also been found along the marble outcrop in what are now woods north of Langton Matravers.28 The only signs of by-products of monumental carving are two panels from fifteenth and sixteenth-century tomb chests built into houses in West Street, but, particularly as the latter has a date of 1601 added, these need not have been wasters discarded at Corfe.29

Purbeck marble continued to be exploited until at least the sixteenth century for tomb chests and wall tombs.34 The accounts for the lost monument from Bisham Abbey (Berkshire) to Lady Ann Fortesque include payments for £8 ‘to the marbelers of Corff for a tomb of marble’ and £3 6s 8d. ‘to a marbler in Powls church yerd for the picturs, writyng and armys gilt ... and to sett them in the marble’.35 This document demonstrates how the Corfe and London marblers continued to work co-operatively. The lost tomb may have been similar in composition to the Purbeck marble wall-tomb of likely early-sixteenth century date in Beverley Minster, which has lost the brass inlay on its back wall. In the late 1560s, the accounts of Tooley’s Charity in Ipswich include payments for the design and erection of a tomb, made partly from Purbeck marble, to the charity’s founder, Henry Tooley (d.1551) and his widow Alice (d.1565). The maker was Allen Gamon, marbler of St. Dunstan’s, Fleet Street, London, although he probably constructed the tomb from standard components carved at Corfe; the brass was made by

Effigies and cross slabs, together with fonts, architectural components, and other artefacts carved near the quarries, were sent to their destinations by sea via Ower Quay, Swanage, Wareham and perhaps Poole. However, from the 1270s onwards some of the Purbeck marblers also established London workshops. The London-based Purbeck marblers of the late-thirteenth and earlyfourteenth centuries maintained links with the Corfe marblers, sometimes working in association with them.30 Some later cross slabs appear to have been carved at the Dorset quarries, then sent to London for embellishment there by the addition of inscriptions. An example c.13049 in Clothall (Hertfordshire) had two inscriptions added, both in styles used by the London marblers; one in incised Ashford series lettering and one in the standard ‘Main Group’ brass lettering. On another, at East Lavant (Sussex), the indents for brass letters cut into and deface the relief cross, showing that they were secondary.

32 It is illustrated in Royal Commission on Historical Monuments England, City of York IV North-East, (London, 1975), p. 23, fig. 26. This shows it straight-sided, but as currently displayed it is reconstructed as tapered; see C. Wilson and J. Burton, St Mary’s Abbey, York, (York, 1988), p. 18. This may possibly indicate that it is an example of re-use, having perhaps been carved from an earlier monument. We are grateful to Philip Lankester for his observations on this slab. 33 The north-east was not the only part of the country to find a local substitute for the slabs for monumental brasses. The Lincolnshire, Norwich, Bury St. Edmunds and Cambridge workshops chiefly favoured a spine-bearing oolitic limestone probably quarried in the Peterborough/Stamford area; this is fawn in colour with sporadic seaurchin spines which look like match-sticks. London-made brasses can also be found set in this stone. R. Firman, ‘Lost brasses and newly found marble’, Church Monuments Society Newsletter, 11.2 (Winter 1995-6), pp. 34-36. 34 B. Cherry, ‘Some new types of late medieval tombs in the London area’, in L. Grant (ed.), Medieval art, architecture and archaeology in London, British Archaeological Association Conference Transactions, 10 (1990), pp. 140-54, at pp. 146-47; ‘Monuments now not in use: sixteenth century Purbeck marble tombs’, unpublished lecture by Jon Bayliss to the Church Monuments Society, Bournemouth, 1996. 35 N. Ramsay, ‘Makers of sixteenth-century monuments. Ipswich: Henry Tooley (1567-9); Bisham Abbey: Lady Anne Fortesque (1519-21)’, Monumental Brass Society Bulletin 27 (June, 1981), pp. 9-10. The monument was not completed quickly. From Corfe it was taken to the Black Friars, and left there for some time, for Sir Adrian Fortesque paid ‘the marbler of the Black Friars for the tomb lying with him two years 33s 4d’. He paid 12d ‘for the carriage of the said tomb to Paul’s churchyard to the marbler there’. B. Camm (ed.), Lives of the English Martyrs Declared Blessed by Pope Leo XIII, in 1886 and 1895, (London, 1904), pp. 418 and 423.

The London marblers also produced incised slabs in Purbeck marble, but this usage died out c.1360.31 No examples from this period have been recorded in the north-east, but a slab in a combination of incising and flat relief commemorating Abbot Thomas Spofforth (d.1486)

26

Information from Trev Haysom. Blair, ‘Purbeck marble’, p. 43. Information from Trev Haysom. 29 Information from Trev Haysom. The mortar is now in the Langton Matravers Museum (Dorset). 30 Blair, ‘Purbeck marble’, pp. 46 and 53-54; S. Badham and M. Norris, Early incised slabs and brasses from the London marblers, Reports of the Research Committee of the Society of Antiquaries of London, No. 60, (London, 1999). 31 Badham and Norris, London marblers. 27 28

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Northern Rock: the use of Egglestone marble for monuments in medieval England Nicholas Brame.36 Following the bombing of St. Mary Quay church, Ipswich (Suffolk) in World War II, the brass has been removed to the care of the Colchester and Ipswich Museums Service. The use of Purbeck for tombs extends into the 1580s and 90s but in no great numbers. When in 1560 the borough of Corfe was granted a weekly market and two yearly fairs, it was noted that the people of the town ‘are impoverished because they live by the working of marble, which art is in decay because it consists in the manufacture of sepulchral monuments and other monuments not now in use’.37

Frosterley marble was primarily quarried at the adjacent villages of Frosterley and Stanhope.40 There is some documentary evidence for quarrying in the late-thirteenth century, primarily from the 1183 customal account by Hugh du Puiset (Pudsey), Bishop of Durham, known as Bolden Book, notably a reference to Lambert the marble cutter who held 30 acres in Stanhope in return for his services.41 The village of Frosterley was held by Ralph for half a mark. Another interesting entry refers to Christian, ‘cementarius’, who held 20 acres in South Sherburn which the bishop gave him in the moor for 5s. and two bovates for 14d. and was quit of the rent the land owed as long as he was in the bishop’s service.

2.3 Frosterley marble It is clear from this brief survey of the deployment of Purbeck marble for monuments that the difficulty – and thus high cost – of transporting Purbeck marble artefacts from Dorset meant that relatively few examples found their way to northern England. This provided an incentive for the exploitation of local sedimentary marbles as substitutes for Tournai and Purbeck. Various alternatives were exploited in different parts of the country, including Alwalton marble in the East Midlands, although the use of this stone was never extensive.38

It has been speculated that one or other of the last two could also have been Frosterley marblers, but this is unlikely.42 If Ralph held the village of Frosterley he was unlikely to have been a marbler; the people who worked the stone were tenants not overlords. The Bolden Book entry shows that the Bishop was using land in this area to provide retainers for several people in his service and it is likely that he was granting land to Christian as a means of remuneration. The area referred to in the Bolden Book entry is to the immediate east of Durham (the opposite direction to Frosterley). Placenames indicate a probably substantial area of moorland. None of this indicates a connection with Frosterley or points to him being a marbler. Given the amount of land he held, he could have been the master mason at Durham. Interestingly, the entry says that the rent on the land will be remitted ‘while he may be in the service of the Bishop on building works’.

The most well-known of these substitutes employed in the north-east was Frosterley marble from the Great Limestone of Weardale (Co. Durham). Frosterley marble lies normally 7.3 m below the top of the Great Limestone and varies in thickness from 0.6 to 2.1 m, except where it is divided by beds of limestone when it may be considerable thinner.39 The Frosterley Band appears to be more restricted in distribution than the other faunal bands in the Great Limestone, but is particularly well developed in Weardale and Teesdale and is also present on the Pennine Escarpment. The fauna of the Frosterley Band are very distinctive, being composed of abundant simple rugose corals, Dibunophyllum, Koninckophyllum, Aulophyllum and Caninia, with some brachiopods and a few compound rugose corals, usually Lonsdaleia and Diphyphyllum. It is easily identified due to the distinctive large skeletons of fossils of the coral Dibunophyllum bipartitum, which have a wrinkled appearance to the exterior and which, when the stone is polished, stand out clearly from the black matrix (Pl. 3).

Frosterley marble has been described as ‘the regular substitute material for Purbeck in this northern diocese’.43 A distinction must be made, however, between structural usage and employment for monumental and other fittings. First used by the Normans, Frosterley marble was deployed to excellent effect for decorative columns, as in the Chapel of the Nine Altars at Durham and Bishop Hugh du Puiset’s Great Hall – now the Chapel – in the Palace at Bishop Auckland, as well as fonts, but its use was not extensive.44 Only limited use was made of Frosterley marble for monumental purposes, most examples probably dating from the thirteenth and early-fourteenth centuries and mostly found in Co. Durham. Hunter Blair identified five effigies in this stone, to which Gimson has added one further badly-weathered civilian effigy in the churchyard of Durham Cathedral.45 The military effigies at

36 ‘Monuments now not in use: sixteenth century Purbeck marble tombs’, unpublished lecture by Jon Bayliss. For Allen Gamon (alias Aleyn Gamen)’s workshop, see S. Badham, ‘The Man at St. Brides’ who was “no klenely portrayer” and other London Marblers’ Workshops’ , Monumental Brass Society Bulletin 92 (Jan 2003), pp. 650-3. 37 CPR, Elizabeth, vol. 1, p. 336. 38 J. Alexander, ‘Building stone from the east midlands quarries: sources, transportation and usage’, Medieval Archaeology, 39 (1995), pp. 107-135, at pp. 118-22. P. Lankester, ‘Alwalton marble effigies’, Church Monuments Society Newsletter, 12.2 (Winter 1996-7), pp. 3840. 39 G.A.L. Johnson, ‘Some biostromes in northern England’, Palaeontology, 1.2 (May 1958), pp. 151-3.

40 B. Noble, ‘Some observations on Frosterley marble, The Bonny Moor Hen, Weardale Field Study Society, 5 (1989), pp. 3-15. 41 Noble, ‘Observations on Frosterley marble’, p. 10. 42 We are grateful to Brian and Moira Gittos for these observations. 43 Clifton-Taylor, Pattern of English building, p. 187. 44 Medieval fonts carved from Frosterley marble can be found in Co. Durham at Brancepeth, Darlington (stem and base only), Durham Cathedral, Frosterley, Redmarshall and Thornley; and in Yorkshire at Beverley Minster, Bridlington Priory and Pocklington (four columns around stem). 45 C.H. Hunter Blair, ‘Medieval effigies in the County of Durham’, Archaeologia Aeliana, 4th ser. 6, (1929), pp. 1-50, at p. 4; G.S. Gimson,

12

The use of sedimentary marbles for monuments in medieval England Whitworth, Chester-le-Street (two examples originally in the churchyard of Durham Cathedral), and Hurworth are distinctive for being shown with the head enclosed in a helm and the sword being unsheathed and carried upright.46 Hunter Blair dated all these examples to the closing years of the thirteenth century, but Coss has argued persuasively that, even though it is difficult to ascribe the effigies to specific individuals, they were made earlier in the second half of the thirteenth century.47 At Easington is an effigy to a lady, probably Isabella Bruce, the illegitimate daughter of William the Lion, King of Scotland, and the first wife of John FitzMarmaduke, who died in or before 1285. This effigy is related stylistically to examples carved in sandstone at Esh and Staindrop, indicating that the carver worked in a variety of stones. At Ryton is a Frosterley marble effigy of a deacon holding a book, probably commemorating Alan of Easingwold, rector of Ryton from 1294 until his death in 1311.

Grave covers, including cross and inscription slabs, and tomb chest cover-slabs have been recorded over a wider area of distribution. Peter Ryder, in his survey of cross slab grave covers in Co. Durham, noted examples of grave covers in Frosterley marble at St Helen’s Auckland, Durham Cathedral, Escomb, Grindon, Hamsterley, Haughton-le-Skerne, and Wolsingham.51 The Grindon and Hamsterley examples are dated to the second half of the fourteenth century at the earliest, but the others are of likely thirteenth-century date. In the churchyard at Stanhope is a coffin and cover carved from this stone and in Wolsingham churchyard is a slab divided by chamfers into four raised tapering panels. The most interesting of the Co. Durham slabs is that at Pittington, which has a (re-cut) inscription in incised Romano-Lombardic lettering, reading: +NOMEN ABENS CRISTI TVMVLO TVMVLATVR IN ISTO + QVI TVMLM CERNIT COMMENDET CVM PRECE CRISTO [One having the name of Christ is buried in this grave Let him who beholds this grave commend him with a prayer to Christ]

In addition, some Frosterley marble monuments were exported to Scotland. Part of an effigy, probably carved in the early-fourteenth century as a posthumous commemoration of King William the Lion (d.1214), is at Arbroath Abbey.48 However, this is not the only example of Frosterley being used in Scotland. The stepped base at Dunfermline Abbey for the shrine constructed c.1250 for the bones of Queen Margaret of Scotland is also made of Frosterley marble.49 The translation was carried out in the presence of King Alexander III, who had succeeded his father, Alexander II, in the previous year. Alexander II was buried in Melrose Abbey; although there is no marked monument to him remaining in situ, a fragment of a Frosterley marble grave cover in the abbey museum could conceivably have commemorated the king. Finally, on the south side of the presbytery at Melrose Abbey is a simple coped grave cover of Frosterley marble, which Henderson suggests might perhaps be associated with Bishop Bondington of Glasgow who requested burial at Melrose ‘near the great altar’ on his death in 1258.50 The stone may have been chosen for use in Scotland due to the link with Isabella Bruce, whose effigy carved from the same stone has already been mentioned.

It is possible that the mason, Christian, referred to in Bolden Book, is the man commemorated by the grave slab at Pittington, especially as the village is only a few miles to the north of the area where he held his land. Certainly, the lettering on the slab would not be inconsistent with a late-twelfth century date. There are a few examples of brasses being set in slabs of Frosterley marble, including a grave-slab with indents in Lombardic lettering to Emmeri de Lumlei (d.1341/2) in Durham Cathedral and an indent of a lost brass in St Oswald, Durham, to a priest, probably William de Lanchester (d.1405).52 Frosterley was also used for some monuments in Yorkshire. The cover of the tomb chest to Archbishop Richard Scrope (d.1405) in York Minster is another Frosterley artefact.53 In Spennithorne (Yorkshire, North Riding) is a cross slab grave cover in Frosterley marble of likely late-twelfth or early-thirteenth century date.54 Even further afield is an example at Howden Minster (Yorkshire, East Riding). The inscription on it, however, reveals that it marked the viscera burial of Walter de Kirkham, Bishop of Durham (d.1260), which explains the use of a Co. Durham stone type. The Frosterley coralline marble occurs in well-defined bands or horizons within a very complex series of beds of limestone of different character. Some of the beds between these bands of coralline limestone with Dibunophyllum bipartitum fossils consist of a stone containing crinoid debris, which is similar in appearance

‘Frosterley marble effigies in Scotland and England’, The Bonny Moor Hen, Weardale Field Study Society 10 (1990), pp. 3-9. 46 The military effigy in the same style at Pittington (Co. Durham) is often also described as being of Frosterley marble, but is actually carved from sandstone. 47 P. Coss, ‘Heraldry and monumental effigies in the North East’, in T.E. Faulkner (ed.), Northumbrian panorama. Studies in the history and culture of North East England, (London, 1996), pp. 3-32. 48 G. Henderson, ‘A royal effigy at Arbroath’ in W.M. Ormrod (ed.), England in the fourteenth century, Proceedings of the 1985 Harlaxton Symposium, (Woodbridge, 1986), pp. 88-98; G. Gimson, ‘Lion hunt: a royal tomb-effigy at Arbroath Abbey’, Proceedings of the Society of Antiquaries of Scotland, 125 pt 2 (1995), pp. 901-916. 49 Henderson, ‘Royal Effigy at Arbroath’, p. 94. 50 Henderson, ‘Royal Effigy at Arbroath’, p. 95.

51 P.F. Ryder, The medieval cross slab grave cover in Co. Durham, (Durham, 1985). 52 W. Lack, H.M. Stuchfield and P. Whittemore, The monumental brasses of County Durham, (London, 2002), pp. 52 and 64. 53 Noble, ‘Frosterley marble’, p. 9. 54 Information from Brian and Moira Gittos.

13

Northern Rock: the use of Egglestone marble for monuments in medieval England to Egglestone marble (Pl. 4). However, this Frosterley ‘posts’ stone is darker in colour; the small sized crinoids are more scattered and broken up, and have corroded margins; also there are no large size columnals (fragments of the sea-lily columns).

have been employed primarily for architectural purposes (Pl. 5).58 The first firm evidence of the utilisation of Sykes marble type A at Fountains is in the choir, built 1150-70, where it was extensively used for abaci, annulets, corbels, and keeled shafts. It was also employed for plinths and columns in the chapter house, rebuilt after a fire in 1146 and in use by 1170, but the main use of this stone was in the Chapel of the Nine Altars, which dates to 1220-50. Of greater significance for this study is a simple grave slab in the sacristy. Sykes marble type B was used for various shaft bases, the original location of which is unknown, and the holy water stoup, dating from 1220-50, which has intricately carved foliage surrounding the bowl. Not all the artefacts can be dated but the period of usage coincides with that of both types of Sykes marble, which were probably quarried at Sykes Quarry within the landholding of Fountains Abbey. It is thus clear that this quarry was only in operation for the period c.1150-1250; judging from the number of artefacts for which it was used at Fountains Abbey, the quarry working complex was probably quite extensive by medieval standards.

The grave-slab to Bishop Nicholas de Farnham (d.1249) in the chapter house of Durham Cathedral is thought to be of these beds, as are an indent at Hexham Abbey, a Yorkshire Series 0 indent at Kirkleatham to Thomas de Thweng (d.1381), and a Yorkshire Series 0 indent of c.1370 to a civilian and lady at Hemingbrough. This last is in the East Riding of Yorkshire, which may seem surprisingly far south to find this stone type, although Beverley Minster has a Frosterley font and Howden Minster a Frosterley grave slab.55 It is clear from this review of the use of Frosterley marble for monumental purposes that exploitation was highest in the thirteenth century, with only a few surviving monuments having been carved from it in the fourteenth century.56 Apart from the group of artefacts in Scotland, the quarries’ marketing zone rarely extended beyond the borders of Co. Durham. Its fall from favour cannot be due to the quarries being exhausted, as they were evidently re-opened in the nineteenth century.57

The very limited evidence of its use for monuments, with only a single grave slab of this stone having been identified, may be due to two factors. First, the period of operation of this quarry ended c.1250. Although cross slabs and other grave slabs were produced in this period, it was not until the later thirteenth century that intramural burial other than of the higher clergy and the production of carved effigies and other types of monument became relatively common. Secondly, no evidence for the use of Sykes marble elsewhere has been found, so it was probably deployed only for the Abbey’s own purposes. The abbey ruin retains very few of its medieval monuments, although it is very likely that it would have been paved with floor monuments. Most would probably have dated from after the period of exploitation of these quarries, but it remains plausible that some Sykes marble monuments have been lost from the Abbey following the Dissolution.

It may be no co-incidence that the production of carved effigies from the stone ceased in the early fourteenth century, shortly before carved effigies also stopped being produced by the Purbeck marblers. Their place was taken by effigies carved from limestones and sandstones. The shift in usage from sedimentary marbles to ‘freestones’ may well have been prompted by the more widespread use of surface finishes on effigies. If the whole of the stone was to be covered by polychromy, there was little point in using the prestigious sedimentary marbles, which would have been more expensive to buy and harder to carve. Some minor monuments continued to be produced from Frosterley marble, but its heyday was over by the mid-fourteenth century. Perhaps another factor leading to the decline in usage of Frosterley marble was the challenge presented by the Egglestone marble quarries.

These are not the only northern sedimentary marbles which were exploited in the Middle Ages. Another is marble known as Nidderdale or Sykes marble from Nidderdale (Yorkshire, West Riding), which was used extensively in Fountains Abbey, but which appears to

These were not the only crinoidal limestones deployed in northern England. The Chapter House of Jervaulx Abbey (Yorkshire, North Riding) has columns of a crinoidal limestone, probably from a local source in Wensleydale. Various matrices of lost brasses are of a crinoidal limestone akin to Egglestone marble, the source of which has not been identified.59 An unidentified crinoidal limestone was used for a cross slab now in the Bowes Museum (Co. Durham) and a semi-effigial monument at Gilling East (Yorkshire, North Riding). Another important monument carved from an unidentified

55

58

2.4 Other crinoidal limestones

Other medieval fonts carved from Frosterley marble include examples at Redmarshall, Brancepeth, Bridlington Priory church, Darlington and Thornley near Tow Law. 56 There seems to have been a revival in the exploitation of the Frosterley quarries in the nineteenth century, with its products being found far beyond the confines of north-east England, even in Mumbai Cathedral, India. 57 Noble, ‘Observations on Frosterley marble’, pp. 12-13.

J. G. Blacker and M. Mitchell, The use of Nidderdale marble and other crinoidal limestones in Fountains Abbey, North Yorkshire, (Leeds, 1998). 59 They include examples in the East Riding of Yorkshire at Beverley St. Mary, Howden, Hull and Lowthorpe; in the North Riding at Aldborough Ainderby Steeple and Sessay; in the West Riding at Allerton Mauleverer and Goldsborough; and in Co. Durham at Wolsingham.

14

The use of sedimentary marbles for monuments in medieval England crinoidal limestone is the intricately-carved tomb chest in the Percy chapel at Beverley Minster to Henry Percy, 4th Earl of Northumberland (d.1489). It formerly had a canopy, but this was demolished early in the eighteenth century and was partly re-used as walling material.60 However, the sedimentary marble used most extensively for monuments in the north of England was undoubtedly Egglestone marble.

60 N. Dawton, ‘The medieval monuments’, in R. Horrox (ed.), Beverley Minster: an illustrated history, (Beverley, 2000), pp. 131-56, at pp. 15051.

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Northern Rock: the use of Egglestone marble for monuments in medieval England

CHAPTER 3 AN OVERVIEW OF MONUMENTAL PRODUCTION AND COMMEMORATION IN THE NORTH-EAST OF ENGLAND In order fully to appreciate the extent of the influence of Egglestone marble, the various examples of monuments carved from this stone need to be viewed against the background of the production of monuments and commemoration in the area in which Egglestone marble is primarily found. For this purpose, the key area is regarded as Yorkshire, Co. Durham, and Northumberland.

other area. The first such studies were those published in 1848 by Charlton of those in Durham and Northumberland and in 1874 by Alleyne Walter of those in the city of York.61 In recent decades, Peter Ryder has provided detailed catalogues of all surviving examples in Co. Durham, West Yorkshire and Northumberland; while Brian and Moira Gittos, and Aleksandra McClain have produced overviews of those in the East and North Ridings of Yorkshire respectively.62

The region contains a substantial amount of stone sculpture, much of which is commemorative, from the Anglo-Saxon and immediate post-Conquest periods. Highlights include the stunning collection of hog-back tomb stones at Brompton-in-Allertonshire (Yorkshire, North Riding) and the richly-carved Romanesque coped tomb cover at Conisbrough (Yorkshire, West Riding). However, these were produced well before the Egglestone marble quarries were first exploited, hence an examination of these monuments is not strictly relevant to the focus of this book. Similarly, the many excellent postReformation monuments in the region will not be addressed as they post-date the period in which the quarries were active. The survey below will therefore concentrate primarily on the monuments produced between c.1200 and c.1550.

Exceptionally large numbers survive in this region, perhaps reflecting greater overall usage due to the ready availability of suitable stone locally, apart from in the East Riding of Yorkshire, which has only 208 examples dating from before 1500, found at 67 sites.63 In contrast, the stone-rich North Riding of Yorkshire alone has 703 cross slabs, ranging in date from the eleventh to the sixteenth centuries, found at 137 sites. In York, fifty-one were recorded. There are 185 in forty-seven churches in West Yorkshire (which does not comprise all the historic West Riding of Yorkshire), again dating from between the eleventh and sixteenth centuries. Co. Durham also boasts large numbers, with 585 slabs at seventy-five sites having been recorded with dates up to the sixteenth century. Northumberland has an even greater concentration, with 730 at eighty-seven sites. This gives a total of cross slabs in the three counties of 2,462 extant examples recorded to date, with some parts of the West Riding of Yorkshire still to be searched. When recording is complete, the numbers as a whole may well total close to 3,000, a figure far in excess of the total number of all other types of medieval monuments in the region.

Much of the region had the economic resources to support a rich commemorative culture in the medieval period, although this varied over time and across the area. Northumberland was never rich and has the fewest monuments apart from cross slabs. In contrast Yorkshire and Durham retain a good number of medieval monuments, although many more must have been lost over the centuries. The majority of these monuments are found in churches, where they were originally intended to be; in contrast, there are also a number of monuments of virtually every type which were always meant as churchyard monuments. Most of the medieval monuments discussed below were produced indigenously, although there are some imports. However, the pattern of commemoration varies between the counties, with some types of monument more popular than others. The overview below examines production and commemoration by dividing monuments into eight categories.

Some exterior cross slabs remain in churchyards – a noteworthy group in the West Riding of Yorkshire with drainage holes are to be found at Ackworth, Darrington, and Methley – although undoubtedly not in their original

61 E. Charlton, ‘On the Sepulchral Slabs Existing in the Counties of Durham and Northumberland’, Archaeological Journal, 5 (1848) pp.252-258. D.A. Walter, Ancient memorial cross slabs from the churches of the city of York and the surrounding district, (York, 1874). 62 P. Ryder, The medieval cross slab grave cover in County Durham, (Durham, 1985); P. Ryder, ‘Some further medieval cross slabs in County Durham’, Durham Archaeological Journal, 10 (1994), pp. 4353; P. Ryder, Medieval cross slab grave covers in West Yorkshire, (Wakefield, 1991); P. Ryder, ‘Medieval Cross slab grave covers in Northumberland’ parts 1-3, Archaeologia Aeliana, 28 (2000), pp. 51110; 30 (2002), pp. 75-137; and 32 (2003), pp. 91-136; P. Ryder, The medieval cross slab grave covers in Cumbria, (Kendal, 2005); B. and M. Gittos, ‘A survey of East Riding monuments’, in C. Wilson (ed.), Medieval art and architecture in the East Riding of Yorkshire, Wilson, British Archaeological Association, (London, 1991), pp. 91-108; A. McClain, ‘Medieval cross slabs in the North Riding of Yorkshire. Chronology, distribution and social implications’, Yorkshire Archaeological Journal, 79 (2007), pp. 155-93. 63 Current figures from Brian and Moira Gittos’s unpublished records.

3.1 Cross slabs The earliest type of monument used in significant numbers for the commemoration of the dead, both in churchyards and intra-murally, was the simple cross slab. Churchyard examples were undoubtedly produced from well before the Norman Conquest, certainly from the ninth century; but most intra-mural examples date from later. The post-Conquest cross slabs of the north-east have been more intensively studied than those of any 16

An overview of monumental production and commemoration in the north-east of England The identity of those commemorated by the vast majority of cross slabs is unknown. A comparatively small number, mostly dating from the fifteenth and sixteenth centuries, have incised inscriptions naming the commemorated. A particularly unusual example is on the external south wall of the church at Wycliffe (Yorkshire, North Riding); this has the inscription in Lombardic lettering filled with lead. That some of the apparently anonymous slabs would have had painted inscriptions is suggested by an example at Melmerby (Yorkshire, North Riding) which has a blank scroll round three sides of the top surface; this would most likely have recorded the name of the person commemorated, but alternatively could have held an invocation or a request for prayers.70 Some indication of the sex, social status, and even occupation of those commemorated is provided by the secondary emblems, such as the sword, shears, chalice, bow, and hunting horn, which are shown on many slabs in the north-east. McClain’s analysis suggests that cross slabs appear to have been the primary commemorative choice of the lesser clergy and local landholders.71

positions. Hardly any intra-mural cross slabs survive in situ either, as both church floors and churchyards have been frequently re-ordered to make room for new burials. This is attested to by the large numbers of such slabs which have been re-used as building material; sometimes the patterned side was placed outwards for display, but more were probably concealed. Nationally the most frequently quoted example of such re-use is at Bakewell (Derbyshire); many sources give the number of cross slabs there at around 300 found in the 1840s, but in 1964 Butler recorded only 120 remaining.64 An example from the north-east can throw valuable light on the extent of hidden re-use. In the course of the rebuilding of Brancepeth church (Co. Durham) following a disastrous fire in 1998, a spectacular collection of around sixty medieval cross slabs were removed from the fabric.65 Together with others left in position, the Brancepeth slab collection now totals exactly 100.66 This is the largest single assemblage in the north-east, although there are large numbers at other sites, notably at Durham Cathedral and Barnard Castle church, each of which has 50 cross slabs remaining on view.67

With so few slabs securely dated by inscriptions, a stylistic chronology, which has been defined most systematically in work by Peter Ryder, has been adopted. The earliest types are geometric designs and splay-arm crosses, along with some straight-arm crosses, all of which were in common use by c.1100 and continued throughout the twelfth century. The basic bracelet head emerged in the late-twelfth century and was used consistently throughout the thirteenth century and occasionally even beyond that. More elaborate, often foliated derivatives of the basic bracelet head make up much of the work of the thirteenth and fourteenth centuries. Straight-arm cross designs had a resurgence in the late period of cross slab production in the fifteenth and early-sixteenth centuries.

Nonetheless, what remains is likely to be only a fraction of the numbers originally laid down. Ryder has estimated that the surviving total of cross slabs is probably only 10% of those once laid down and may be as low as 2-3%, although McClain disputes this.68 Yet the current distribution indicates that there must have been significant losses. Some large town churches, such as St. Peter’s, Leeds (Yorkshire, West Riding), probably once had significant numbers of such monuments but none survives today. Again very few remain in the churches and monastic cemeteries of the great monastic houses for which Yorkshire in particular was renowned. In the North Riding of Yorkshire, cross slabs are overwhelmingly located in parish churches, with only 10% of the total being found at high-status sites, such as monasteries, and cathedrals.69 It seems inherently unlikely that this is a true reflection of the original distribution pattern. Although after the late-thirteenth century lay patrons choosing burial in religious houses would probably have opted for more prestigious types of monument, many of their predecessors and at least the lower orders of the monks themselves would almost certainly have been commemorated by simple floor monuments, including cross slabs.

With the exception of the handful of high-status Purbeck marble cross slabs listed in Chapter 2.2, all the cross slabs in the region were produced indigenously. There were very few workshops whose marketing zone extended beyond the immediate locality. An exception is the Frosterley marble quarry workshops (referred to in Chapter 2.3); the cross-slabs they produced, although not great in number, had a comparatively wide geographical spread. Cross slabs mainly vary in style and form from church to church, rather than large numbers of monuments with common designs being found within regions or large groups of churches. The evidence provided by these studies reveals that most rurallylocated slabs in the north-east were not produced in major workshops with an extensive catchment area.72 Indeed, there are sometimes groups of very similar cross slabs at single churches, which are not duplicated further afield.

64

Butler, ‘East Midlands’, p. 133. P. Ryder and A. Williams, ‘Brancepeth, St Brandon’, Church Archaeology, 5-6 (2004), pp. 121-22. 66 As at October 2008, virtually none were on view but following conservation the best will be displayed in the church and the adjacent castle. 67 It should be noted, however, that some of the twenty-seven in the Durham Refectory Undercroft are believed to have been collected up from other churches in the diocese in the nineteenth century by Canon Greenwell. 68 Ryder, County Durham, p. 5; McClain, ‘North Riding’, pp. 180-81. 69 McClain, ‘North Riding’, p. 161. 65

70

S. Badham, ‘ “A new feire peynted stone”: Medieval English Incised Slabs?’, Church Monuments, 19 (2004), pp. 20-52, at p. 27 and Fig. 5. 71 McClain, ‘North Riding’, p. 161. 72 One exception is recorded in Gittos and Gittos, ‘East Riding’, p. 93. A cross slab at North Ferriby closely resembles that in York Minster to Archbishop Bovill (d.1258) and both are likely to have come from the same workshop, perhaps located in or near York.

17

Northern Rock: the use of Egglestone marble for monuments in medieval England The use of local stone for these simple, relatively lowcost monuments was a matter of economics: although transport by water was a low cost option, road cartage of stone was extremely expensive, even where the recipient owned the quarry.77 In c.1404, 400 tons of Magnesian Limestone from Thevesdale quarry near Tadcaster was transported for a short distance by cart and then by water to York Minster at a cost of £10 5s; this compared with £11 15s paid to the four masons who quarried it.78 In 1445-46, three men worked all year at Huddleston quarry near Sherburn-in-Elmet earning £13 6s; cartage of the stone from the quarry to Cawood on the River Ouse cost £31 6s 8d and the onward transport by water to York cost a relatively modest £7 16s.79 In this instance, the cost of transporting the stone was 75% of the total cost to the Minster.

McClain has cited instances in the North Riding of Yorkshire at Kirby Misperton, Myton-on-Swale, and Hauxwell.73 In the East Riding of Yorkshire, Gittos and Gittos have recorded two slabs of unique design at Patrington.74 Ryder has identified a similar situation at Middleton-in-Teesdale (Co. Durham) and Heptonstall (Yorkshire, West Riding).75 These he attributes to local masons found in the more remote villages of the Pennines and other isolated, inhospitable regions. Nevertheless it is clear from the popularity of basic designs, such as the bracelet head, that the masons who produced these monuments were, for the main part, not operating in a vacuum and had knowledge of styles that were popular on a national scale. Some examples of copying of prestigious types have been identified. The Frosterley marble slab marking the viscera burial of Bishop Kirkham at Howden (Yorkshire, East Riding), referred to in Chapter 2.3, has been noted by Gittos and Gittos as mimicking fashionable Purbeck styles.76 There are other more original types, but some are of very high quality, as exemplified by the cross slab at Hexham (Northumberland); this shows the cross emerging from a pair of faces at the base and the stem elaborately fructed with vine-leaf branches. A fine ‘tree-of-life’ motif flanking a cross slab is at Wakefield (Yorkshire, West Riding).

Since those commemorated by cross slabs were mostly the lesser clergy and local landholders, whose means would have been relatively limited, it is not surprising that most cross slabs appear to have been produced locally, especially as the transport costs would have been minimal. It is only in the case of the higher status monuments that transport costs would have been less significant to wealthy patrons, particularly in comparison with the cost of producing the monument. This would have enabled workshops to produce high-status monuments for a market across a wider geographical area.

The chronological spread of surviving cross slabs indicated by the various studies by Ryder, McClain, and Gittos and Gittos shows a significant degree of consistency across the region and also reflects the pattern met in other parts of the country. Cross slabs were produced before the Conquest, but numbers show a steady rise from the late-eleventh century and throughout the twelfth century. The highest period of production was undoubtedly the thirteenth century, with a peak around 1300. Thereafter numbers fall away as other forms of monumental commemoration entered the repertoire and became more popular. There is a particularly sharp decline in numbers in the late-fourteenth and the fifteenth centuries, although production continued at a low level until the Reformation and beyond.

3.2 Incised and flat relief effigial slabs A natural development from the ubiquitous cross slabs was the effigial stone slab incised or carved in flat relief. There are surprisingly few of them in the north-east, although it is likely that many more have been destroyed. A total of forty-five extant medieval examples have been recorded in Yorkshire, Co. Durham, and Northumberland, the majority of these being in Yorkshire (fourteen in the East Riding, fifteen in the West Riding, five in the North Riding, and four in York). They are listed in Appendix 3. Some other incised slabs are recorded in antiquarian notes, but have since been lost. In the church of St Nicholas without Walmgate Bar, York, was a grave-stone described by Drake as ‘on the marble of which a priest is

Cross slabs from the north-east are found in a wide variety of stone types, few of which can be pinpointed as originating from a specific quarry. Only twenty-two are carved from various varieties of polishable limestone. The rest are in a variety of ‘freestones’, including Magnesian Limestone and Millstone Grit, as well as a variety of unspecified sandstones and limestones. With such a plethora of workable stones across most of the region, it is likely that the vast majority of cross slabs were carved by local masons using stones quarried in the vicinity of the destination church.

77 Alexander, ‘Building stone from the east midlands quarries’ at pp. 124-29. E. Gee, ‘Stone from the medieval limestone quarries of south Yorkshire’, in A.P. Detsicas (ed.), Collectanea historica: essays in memory of Stuart Rigold, (Kent Archaeological Society, 1981), pp. 24755. 78 Gee, ‘Limestone quarries’, p. 250. 79 Gee, ‘Limestone quarries’, p. 252.

73

McClain, ‘North Riding’, p. 165. Lecture to the Church Monuments Society, Beverley, 2006 and illustrated in Gittos and Gittos, ‘East Riding’, Fig. 4f. 75 Ryder, County Durham, p. 5; Ryder, West Yorkshire, p. 29. 76 Gittos and Gittos, ‘East Riding’, p. 93. 74

18

An overview of monumental production and commemoration in the north-east of England delineated in his vestment’.80 A drawing by Gent shows that the priest was holding a chalice and that the composition was completed by an inscription in Lombardic lettering to Richard de Grimston, parson of Stillingfleet, suggesting that it was unlikely to be later than c.1350.81 Henry Johnston drew a monument formerly fixed over the south door of the church of St. George, Fishergate, which is almost certainly another lost incised slab.82 It is tapered and features the figure of a civilian standing under a canopy with his feet on a dog. On either side of the canopy arch are figures of censing angels and the area under the canopy is decorated with a diaper pattern. The marginal inscription, the name on which is unclear, is in Lombardic lettering, indicating a date not later than c.1350. In 1691 on a visit to Brayton (West Riding) Torre recorded a yellow stone showing a figure under a simple canopy with an inscription ‘inscribed’ on it.83 This was probably an incised slab. Finally, at Halifax (Yorkshire, West Riding) Henry Johnston recorded in 1669 an incised slab with a military effigy and an inscription to Thomas Savile of Copley.84 Doubtless many more have been destroyed without having been recorded.

occasionally the worn state of the slab precludes these details from being deciphered. Fortunately this applies to only ten of the effigial slabs in the region. For the remainder, it may be inferred that the people commemorated generally came from a higher social class than those likely to have been commemorated by the majority of the cross slabs. A key point to be noted is the number of heads of monastic houses who chose this type of monument. One of the priors of Warter (Yorkshire, East Riding), Thomas Brydlyngton (d.1498), had an incised slab, although it was reburied following discovery in an excavation. Abbots who were commemorated by incised slabs include William Seford (d.1505), abbot of St. Mary’s Abbey, York; this is now preserved in the Yorkshire Museum, York. Also excavated from the abbey ruins was the flat relief Purbeck marble slab to Abbot Thomas de Spofforth (d.1486) referred to in Chapter 2.2 and an incised slab of c.1450 with demi-figures commemorating Brothers John and William Hewyk.86 Both slabs are also in the Yorkshire Museum, although only the former is on display. This is not the only example of a tradition of commemoration by incised slabs in the monastic houses of the region. The example to Prior Walter de Malton has already been noted. Two other slabs from Meaux Abbey (Yorkshire, East Riding) survive. Abbot William Burton of Meaux (d.1437) was also buried under an incised slab, now to be found in Wawne church. The last example is the broken figure slab, also now at Wawne, to Brother John Vinsay (d.1452). This tradition of commemoration by incised slabs is repeated at Selby Abbey (Yorkshire, West Riding). No fewer than four incised slabs to abbots survive there: John de Shireburn (d.1407), William Pygot (d.1429), Laurence Selby (d.1504), and John Barwick (d.1526).

The earliest known effigial incised slab in the area is at Gainford (Co. Durham). Only two weathered fragments now remain, built into the north porch and the external north wall; the composition has been reconstructed by Ryder, however, on the basis of antiquarian rubbings and a description of 1847 by Walbran.85 If this reconstruction is accurate, it implies that the design is a development of the cross slab, as the lost lower portion shows the shaft and calvary base of a cross curiously overlapped by what has been interpreted as a bare human foot. The remaining portions showed a priest holding a nimbed cross, as if in the act of elevating the Host. It is difficult to date such a fragmentary example, but it may have been produced around c.1200. The next extant example commemorates Prior Walter de Malton (d.1279) at Watton (Yorkshire, East Riding). It is now in the parish church, but was discovered in the canons’ church during the priory excavations. Four examples probably date from the first half of the fourteenth century, but demand appears to have increased after the Black Death; thirty-nine examples survive from the next 200 years.

Only four members of the parochial clergy are known to have been commemorated by incised slabs: Anthony de St. Quintin (d.1430) at Hornsea (Yorkshire, East Riding), John Forster (d.1456) at Wycliffe (Yorkshire, North Riding), and at Sprotborough (Yorkshire, West Riding) slabs to Thomas Fitzwilliam (d.1482) and another fifteenth-century rector, named Thomas. No slabs are known to members of the nobility, but the gentry are commemorated by eleven incised and flat relief slabs, ranging in date from c.1300 to 1531.

Most effigial incised slabs have incised inscriptions recording the name and, from the late-thirteenth century onwards, the date of death of the person commemorated;

A variety of stone types was used for these incised and flat relief slabs. The only examples of slabs not produced within the region are the Purbeck marble incised slab from St. Mary’s Abbey, York, the Tournai marble ‘lion slab’ at Ripon and the low relief slab at Bridlington, and the three Tournai products in Northumberland, dating from c.1330, 1458, and c.1520. The five examples carved from Egglestone marble will be discussed in Chapters 5.1 and 6.3 below.

80

F. Drake, Eboracum or the history and antiquities of the city of York, (1736, repr. Wakefield, 1978), p. 251. 81 T. Gent, The antient and modern history of the famous city of York, (York, 1730), p. 171. See also B. Wilson and F. Mee, The medieval parish churches of York. The pictorial evidence. (York, 1998), p. 140, fig. 106 and Henry Johnston, ‘Church notes and drawings 1669-71, Bodleian Library, Oxford, MS Top. Yorks. C14, fo. 110. 82 Bodleian Library, Oxford, Henry Johnston, ‘Church notes and drawings 1669-71, MS Top. Yorks. C14, fo. 110. 83 James Torre, ‘Antiquities ecclesiastical of the city of York’, York Minster Library, MS L1(8). 84 Henry Johnston, ‘Church notes and drawings 1669-71, Bodleian Library, Oxford, MS Top. Yorks. C13, fo. 70. 85 Ryder, County Durham, pl. 29.

Two slabs of alabaster, in the East Riding of Yorkshire at Harpham and Hornsea, are of particular interest. The 86 The accession number for the slab to Abbot Spofforth is YORYM : 2001.13018

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Northern Rock: the use of Egglestone marble for monuments in medieval England former commemorates Sir William de St. Quintin (d.1349) and his wife, Joan (d.1384), while the latter is to their son, Anthony, rector of Hornsea (d.1430). The figure on the latter slab is defaced, but traces of the canopy survive; they bear a striking resemblance to the canopy on the Harpham slab.87 The likelihood is that both slabs were commissioned by Anthony in his own lifetime. Other broadly contemporary alabaster slabs which may also be products of the same carvers are at Eastrington (Yorkshire, East Riding), to Sir Nicholas de Portington (d.c.1420) and Thomas de Portington (d.1427) and his wife, and at Selby (Yorkshire, West Riding) to Abbot John de Shireburn (d.1407).

3.3 Emblem slabs There are other categories of monuments derived from the cross slab, although these have not been systematically recorded, either in all parts of the northeast or elsewhere. The first to be considered comprise slabs on which the main feature replacing the cross is an emblem. They include a variety of designs. Some emblem slabs, probably commemorating parish clergy, depict a chalice. Other emblem-only slabs depict the sword, either on its own or with other emblems, such as a bow and arrow, a spear, a book, a pair of scissors, and a knife or dagger. A particularly fine thirteenth-century example at Butterwick (Yorkshire, East Riding) displays a sword, shield and vines carved in relief on a coped slab. Most emblem slabs probably date from the thirteenth and early-fourteenth centuries. McClain recorded eighteen emblem slabs in the North Riding of Yorkshire, while Ryder found twenty-one in Northumberland, six in Co. Durham and three in West Yorkshire. Those in the East Riding of Yorkshire have not been specifically identified.

Although most alabaster monuments were the products of the Midlands alabasterers, these five incised slabs may well have been produced within Yorkshire, perhaps using alabaster from Ledsham in the West Riding of Yorkshire. The design of the slabs does not reflect that of contemporary alabaster incised slabs elsewhere in the country. Both the monuments representing members of the St. Quintin family rest on panelled alabaster tomb chests featuring shields within quatrefoils. At the centre of the long side facing the high altar is a panel with a crucifixion. In the porch of the church at Hornsea are two badly damaged panels of the crucifixion; although whitewashed over, they are probably also of alabaster. All four crucifixion panels are of identical dimensions.88 This may suggest a link with the production of portable rectangular panels of alabaster carved with devotional images, which were made in large numbers in medieval England, albeit primarily in the Midlands alabaster workshops. Possibly there was a workshop based in York that produced a variety of alabaster artefacts, including minor monuments and alabaster devotional image panels.89 Seven alabastermen were admitted to the freedom of York between 1457 and 1489, although none was recorded in the early-fifteenth century.90

The most significant group of emblem slabs feature croziers in the place of the cross.91 Lawrence Butler has shown that these were particularly favoured in Cistercian houses, whose statutes make it clear that simplicity and unobtrusiveness were the prime requirements for their abbots’ tombs.92 Flat coffin lids incised with an inscription or emblem were the only type permitted. Some of these were inlaid in brass, as with an example possibly originally from Jervaulx Abbey but now in Ainderby Steeple (Yorkshire, North Riding), although the majority were incised. Examples in the region can be found at Byland Abbey (Yorkshire, North Riding), Egglestone Abbey (Yorkshire, North Riding), and Blanchland (Northumberland). A fragment of a fine example, with the head beautifully incised and part of an inscription in Lombardic lettering to ‘William’ is to be found at Welwick (Yorkshire, East Riding).93 It was dug up at Plowlands farm and probably came from a nearby monastic house, conceivably the Benedictine Priory of Burstall, the site of which is now submerged. No examples survive at Rievaulx, although Prior Robert who died in 1307 while on a visit to Margam in South Wales was commemorated there instead by a fine crozier slab with an inscription; it is now on display in the Stone Museum there.

The remaining thirty-four incised and flat relief effigial slabs were carved from a variety of limestones and sandstones. Although it is difficult to make generalisations on the basis of such limited numbers, there are no discernible workshop groups among them. This indicates that, for the most part, the incised slabs were the product of minor, probably rural, workshops with a very local market, or whose main output was nonmonumental.

Also worthy of mention is the heraldic slab. Three fine examples are to be found at Lead (Yorkshire, West Riding).94 The most elaborate features a huge shield

91

Some other slabs have croziers alongside the cross. L. Butler, ‘Cistercian abbots’ tombs and abbey seals’, in M. Parsons Lillith (ed.), Studies in Cistercian art and architecture, 4 (Kalamazoo, 1993), pp. 78-250. 93 P. Farman, ‘Yorkshire’, Monumental Brass Society Bulletin, 59 (February 1992), pp. 538-39. 94 S. Badham, ‘Rubbings displayed at the 2002 AGM’, Monumental Brass Society Bulletin, 94 (September 2003), pp. 695-97. 92

87

Gittos and Gittos, ‘East Riding’, p. 102. We are grateful to Jane Crease for her insightful observations on these panels. 89 A theory first put forward by Jane Crease. 90 F.M. Collins, Freemen of York, vol. 1, Surtees Society, 96, (Durham, 1896), pp. 177 ff. 88

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An overview of monumental production and commemoration in the north-east of England particularly those produced by the quarry-based workshops of the Ancaster area, but are also found in other parts of the county, including north-east England.98

bearing the arms of Tyas, with an incised inscription in Romano-Lombardic lettering to Sir Baldwin Tyas, who died between 1247 and 1267. The second slab bears the same arms differenced, and an inscription commemorating Sir Francis Tyas (d. after 1318), heir to Sir Baldwin. A third slab has the Tyas arms but no inscription.

A total of twenty extant monuments of this type have been recorded in the region, all but three of them in Yorkshire. In the East Riding of Yorkshire, there are examples at Garton-on-the-Wolds, Goodmanham (two examples), Skerne, and South Cave.99 The North Riding of Yorkshire has monuments of this type at Amotherby, Gilling East, Hutton Rudby, and Melsonby (two examples). In the West Riding of Yorkshire, semi-effigial monuments can be found at Aldborough, Hickleton, Loversall, Moor Monkton, Throapham, Thrybergh (two examples), and Wadworth. In addition, there may have been one in Doncaster, which may now be lost.100 In Co. Durham there is a semi-effigial slab in the cloister garth of Durham Cathedral and in Northumberland there are examples at Corsenside and Newcastle Cathedral.

3.4 Inscription slabs The final type of incised slab is the inscription slab, which has received very little scholarly attention. They were produced over a wide date range. Again, early usage included slabs at Cistercian abbeys; there are four such examples at Jervaulx, three at Rievaulx, and thirteen at Fountains, all commemorating abbots.95 Four similar examples can be found in the chapter house of Durham Cathedral. Later examples were commissioned by a wider spectrum of society, including laymen of more modest means. Antiquarian notes record many such inscription slabs, a significant number of which could well be lost, but until a survey has been carried of the extant examples it will be impossible to estimate the likely rates of loss.

Most of these semi-effigial monuments probably date from the late-thirteenth or early-fourteenth centuries, although they continue to be found into the late-fifteenth century. The design of several shows a relationship to cross slabs. The Corsenside slab, which probably dates from the mid-fourteenth century, if not later, is a particularly elaborate example, showing the head of a lady above a cross, with a canopy over all. That at Newcastle is essentially a cross slab with apertures showing the head and feet of a man. The two examples at Melsonby show a head superimposed on elaborate crosses with fructed stems. Most are intra-mural monuments but the Garton-on-the-Wolds example has drainage holes, which indicate that it was always intended as a churchyard monument.101

Seven slabs at Howden bear inscriptions in Lombardic lettering and a slab in the churchyard at Ellerton (Yorkshire, East Riding) has an inscription in textualis lettering to Canon John de Wyntringham.96 Many had a marginal inscription incised around the slab, as on a slab at Lead (Yorkshire, West Riding). A unique survival is the slab of likely fifteenth-century date at Egglestone Abbey (Yorkshire, North Riding) which has an inscription to ‘T Rokeby bastarde’ in large, exceptionally elaborate textualis lettering down the length of the slab. Others had the inscription across the head end of the slab. At Ryther (Yorkshire, West Riding) is a coffin-shaped slab with a lead-filled Lombardic inscription commemorating Idonia de Gainesbrough, Prioress of Nun Appleton.97 This type was found as late as the earlysixteenth century, fine examples to members of gentry families being at Gilling West and Marrick Priory (both Yorkshire, North Riding). Inscription slabs eventually gave rise to one of the most common kinds of postReformation memorial – the ledger slab.

All except the example at Hutton Rudby commemorate members of the laity. The Loversall example is unusual as it commemorates a child. Only one of these monuments has an inscription, hence they are for the most part anonymous. The exception is a fine example excavated at Hickleton in 1985.102 This shows a bust of a man within a square opening, below which is a low-relief fructed bracket stem rising from an ogee base. A sword is shown to the right of the slab. An inscription in incised Lombardic lettering identifies the commemorated as Robert Haringel; his date of death is unknown, but may have been as early as the first quarter of the fourteenth

3.5 Semi-effigial slabs Another little-studied monumental type is the semieffigial slab. The main pattern features openings in the slab through which the head and hands, and sometimes also the feet of the person commemorated can be seen, as if the body within the coffin was being viewed. They were produced over a long period and, in the absence of identifying inscriptions, are often difficult to date with precision. They are most common in Lincolnshire and adjoining areas of Nottingham and Derbyshire,

98

Butler, ‘East Midlands’, p. 140. The Goodmanham semi-effigial monuments comprise four independent pieces arranged to suggest two monuments. The South Cave example is classified here as a semi-effigial as it includes a bust, but it also features a cross and symbols. 100 J. E. Jackson, History and Description of St George’s Church, Doncaster, destroyed by the fire in 1853, (London 1855), Pl. 5. It bears a close similarity to the example at Wadworth, suggesting that they might have been made by the same carvers. 101 P. Lankester, ‘Effigial monuments in churchyards (More drainage holes and related matters)’, Church Monuments Society Newsletter, 12.2 (Winter 1996-7), pp. 42-44. 102 S. Badham, ‘Simon de Wudston’s incised slab at Hemsworth’, Yorkshire, Transactions of the Monumental Brass Society, 15 (1994), pp. 215-21, fig. 6. 99

95

Butler, ‘Cistercian abbots’ tombs’, p. 81. Gittos and Gittos, ‘East Riding monuments’, p. 101. 97 She is almost certainly Prioress Idonia, who occurs in 1342 and may have been a kinswoman of Prioress Lucy de Gaynesburgh, (d.1367): Victoria County History (VCH), A History of the County of York, Volume 3 (1974), pp. 170-174. 96

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Northern Rock: the use of Egglestone marble for monuments in medieval England century. The Hauxwell slab has a simple round aperture with a head of a man within, like another worn example at Amotherby, but is again distinguished by the emblem of a sword on the right-hand side of the slab. The meaning of this symbol is not certain; but it clearly denotes a male burial, possibly of a man of gentry status.

3.6 Effigies The most prestigious and expensive form of monument was the carved effigy, often set on a tomb chest, in a niche, or under a purpose-built canopy. Most were carved in full relief, but some fine low relief effigies can be found in the north-east, including those at Welwick (Yorkshire, East Riding) and Wistow (Yorkshire, West Riding). Even where monuments were set up to a man and a wife together, the effigies were normally carved separately. A few examples are known where the two are carved from the same slabs, as at Eastrington (Yorkshire, East Riding), South Anston (Yorkshire, West Riding), and Stonegrave (Yorkshire, North Riding).

For only two other examples is there any indication of identity. The slab at Gilling East, which is higher quality work than most other semi-effigial monuments, also commemorates a man of some status; he is shown in armour and on either side of the slab are a horse’s head and a shield on top of a sword. The shield bears the arms a bend charged with three martlets in a border engrailed, which has not been identified but may be a variant of the arms borne by the family of Bilkemore or Belkamore in the time of Edward III.103 The name may well be derived from Blackamore in the parish of Gilling. Unfortunately nothing is known of the family. Finally, the slab at South Cave, which is later than the others discussed and features part of a cross and the bust of a man, has on it the initials ‘I B’, a shield of arms and a mason’s square. These indicators of identity are sufficient for the person commemorated to be identified as John Barton, mason, who willed to be buried in the church in 1483.104

Commemoration by carved effigies is first recorded in the country as a whole in the early-twelfth century, most extant examples of this date being to the higher clergy or likely monastic commissions commemorating founders.106 This is not to say that other members of the laity, particularly the nobility, were not commemorated in this way. The Norman knightly class, following practice back in the duchy, tended to seek burial in monastic surroundings rather than in the minsters and parish churches favoured by the English.107 Initially this might have been limited to the founder, his immediate kin and descendants, but by the twelfth century burial in monastic surroundings extended to the honorial baronage and lesser knightly tenants.

A second variant of the semi-effigial monument shows the commemorated, normally a couple, under a blanket. Again the type seems to have originated in Lincolnshire in the fourteenth century; there are examples at Careby, Stoke Rochford, and Welby. The Yorkshire carvers seem to have introduced an original development of this type. It is exemplified by the monument at the collegiate church of Lowthorpe (Yorkshire, East Riding) probably to Sir John de Heslerton (d.c.1350) and his wife; it is thought to have been set up when he founded the college in 1333.105 Here the blanket has superimposed on it a tree of life akin to the tree of Jesse which terminates at two shields at the bottom of the slab. Thirteen sculptured heads, probably representing the couple’s children or kin, are at the terminals of the branches. A broadly similar composition is to be found at Nafferton (Yorkshire, East Riding). It is worn and, although what may be branches of a tree cover the slab, there is no trace of heads of children.

We have only very limited knowledge of the commemorative choices made by these classes at this time, as their monuments were swept away along with the monastic churches housing them at the Reformation. Some at least would have had churchyard burial, but as intra-mural burial was extended beyond the clergy and founders, the demand was stimulated for larger and iconographically more complex monuments, notably carved effigies. The preference of the higher orders of society for burial – and organised intercession – in religious houses continued until the fourteenth century, when many of this class chose instead burial in parish churches, especially in collegiate establishments or family chantry chapels. From this period on, especially large numbers of effigies are found in parish churches.

The examples quoted in this section are too few and too widespread, both geographically and chronologically, to be other than the work of local masons working independently and capable of inventing their own compositions, but aware of design trends outside the immediate area.

No comprehensive catalogues of the effigies of the northeast have been published, but there are certainly over 350 in the region. Yorkshire is particularly rich in this form of monument, with at least 240 examples dating prior to 1500 having been recorded.108 Co. Durham and Northumberland have been less thoroughly surveyed, but there are at least 63 effigies in Co. Durham and 52 in Northumberland.109 Virtually all were always intended as

103

H. Lawrance, Heraldry from military monuments before 1350 in England and Wales, Harleian Society, 98 (London, 1946), p. 3. 104 N. Pevsner and D. Neave, The buildings of England. Yorkshire: York and the East Riding, (London, 1995), p. 700 (using information from Brian and Moira Gittos). 105 S. Oosterwijk, ‘ “A swithe feire graue”; the appearance of children on medieval tomb monuments’, in R. Eeles and S. Tyas (eds.), Family and dynasty in late medieval England, Harlaxton Medieval Studies, 9 (Donnington, 2003), pp. 172-92, at p. 179.

106

S. Badham, ‘Our earliest English effigies’, Church Monuments Society Newsletter, 23.2 (Winter 2007/8), pp. 9-13. 107 N. Saul, English Church Monuments. History and Representation, (Oxford, 2009) forthcoming. 108 Information taken from an unpublished list compiled by Brian and Moira Gittos. 109 Information from outline lists compiled mostly from published sources compiled by Philip Lankester.

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An overview of monumental production and commemoration in the north-east of England intra-mural monuments, but examples of churchyard effigies are to be found at Durham Cathedral.

The exception is the low-relief pair of effigies at Stonegrave (Yorkshire, North Riding) to Robert Thornton (d.1418) and his wife. This is not a trend exclusive to the region, for the same pattern can be detected nationally, as male civilians increasingly chose to be commemorated by brasses.

The high cost of this type of monument inevitably meant that lay effigies were primarily commissioned to commemorate the nobility and gentry. Of the 194 effigies to adult male members of the laity recorded thus far in the north-east, 166 (86%) are of men shown in armour, with only twenty-six being shown in civil dress. The highstatus alabaster effigial monuments of c.1419 at Harewood (Yorkshire, West Riding) to Lord Chief Justice, Sir William Gascoigne and Sir John Portington, Justice of the Common Bench (d.1453) at Eastrington (Yorkshire, East Riding) both show the commemorated in legal attire. In addition, there are 120 effigies to ladies, many of whom would have been of the same social status as the men shown in armour. Ecclesiastics account for a further thirty-two effigies. Examples at Beverley Minster (Yorkshire, East Riding), York Minster, Durham Cathedral and Hexham Priory (Northumberland) are to members of the higher clergy, but most of the remainder commemorate parochial clergy.

No effigies in the north-east can be dated with certainty before the mid-thirteenth century. The earliest were carved from polishable limestones. A group of Frosterley marble effigies, discussed in Chapter 2.3, date mostly from the second half of the thirteenth century. Notable early imports were the Purbeck marble effigies to Archbishop Walter de Grey (d.1255) in York Minster and the later military effigy at Welton (Yorkshire, East Riding).114 From c.1270 effigies were produced in the region in a variety of limestones and sandstones. In addition, there is a handful of effigies carved from wood.115 Examples from the fourteenth century are in the West Riding of Yorkshire at Allerton Mauleverer, Barnbrough, Swillington (fragmentary remains only); in the North Riding at Whorlton; and in Co. Durham at Auckland St. Andrew. Perhaps the most exceptional wooden monument is the ‘double decker’ at Worsborough (Yorkshire, West Riding) commemorating Roger Rockley (d.1525). It consists of a wooden chest with two tiers above it. Sir Roger is represented in death by a cadaver effigy on the chest, and in life as an effigy in armour on the first tier, while the top tier forms a projecting canopy. Stone ‘double decker’ tombs are found elsewhere in England, but the only other example in wood is at All Saints’, Derby; the two effigies commemorating Robert Johnson (d.1527) survive but not the original tomb chest.

There are six effigies which have been interpreted as commemorating children. Only three can be said with certainty to commemorate a child. Two are fine alabaster monuments. That in York Minster is to Prince William of Hatfield, infant son of Edward III, who died in 1337. The other at Sheriff Hutton probably commemorates a Neville child who died young (not Edward of Middleham, son of Richard III, as is commonly believed).110 Which generation of the family the child came from is uncertain. Routh and Knowles favour Ralph, one of the sons of Richard Neville, Earl of Salisbury and Alice Montacute, who died in the 1420s or 1430s. However, Crease has suggested that the tomb might instead be for one of the children of Ralph Neville, 1st Earl of Westmorland and his wife Joan Beaufort; the possibilities are Henry (b.c.1402), Cuthbert (b.c.1405) and John (b.c.1413).111 The last monument to a child is the ‘chrysom’ effigy at Skerne (Yorkshire, East Riding). The remainder are diminutive effigies, but some may mark heart burials rather than those of children.112

In the century from c.1270 significant schools of effigy carving were established at several centres in the north. Those in Yorkshire were the most prolific. Gittos and Gittos have identified five series of effigies evidently produced in the county before the Black Death.116 Three of these pattern series, termed Series B, C, and D, are of effigies carved from Magnesian Limestone. The opulent Series B effigies are among the finest to be found in all England at this date. Examples are to be found in the East Riding at Beverley Friary, Eastrington, and Howden; in the West Riding at Fountains Abbey, Goldsborough, and Hazlewood; and in the North Riding at Appleton-leStreet, Bedale, and Amotherby. The delicately detailed products of the Series C workshop had a more limited distribution pattern; good examples of the style can be found at Church Fenton, Goldsborough and Ryther, all in the West Riding. Fewer effigies can be assigned to Series

One further point must be made about the social spread of those commemorated by effigies. Effigies to ‘knights’, ladies and ecclesiastics are spread across the entire period from c.1250 to 1500; but the same does not hold true for effigies of men shown in civil dress, who are generally classified as those below the rank of knight or rich esquire. Some are so worn as to be very difficult to date, but of the remainder only one dates from after c.1400.113 110

P. Routh and R. Knowles, The Sheriff Hutton alabaster: a reassessment, (Wakefield, 1981) argues that the effigy is too early to have been made to commemorate Richard III’s son, Edward of Middleham, to whom tradition has long assigned the tomb. 111 Lecture by Jane Crease, ‘ “Not commonly reputed and taken for a Saincte”: the output of a northern workshop in the late fourteenth and early fifteenth centuries’ given at Church Monuments Society ‘Monumental Industry’ Conference on 25 October 2008. 112 For the problems of interpreting this type of monument, see Oosterwijk, ‘Children on medieval tomb monuments’. 113 Saul, History and Representation.

114

B. & M. Gittos, ‘A military effigy at Welton, North Humberside’, Yorkshire Archaeological Journal, 53 (1981), pp. 129-131. 115 A. C. Fryer, Wooden monumental effigies in England and Wales, (London 1924, revised edition), pp. 75-77 and 105-107. 116 B. & M. Gittos, ‘A classification of early Yorkshire effigies’, Bulletin of the International Society for the Study of Church Monuments, 3 (1980), pp. 53-57; B. & M. Gittos, ‘Yorkshire effigies c.1300 and their place in English sculpture’, in Medieval Europe 1992: art and symbolism. Pre-printed papers Vol. 7 (York, 1992), pp. 209-15.

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Northern Rock: the use of Egglestone marble for monuments in medieval England they might have been made. In the extreme north-east of Yorkshire in the North Riding are to be found a group of ten mid-fourteenth century effigies, termed Series E, which are carved from a gritty sandstone, the origin of which has not been pinpointed but which can be found in the Guisborough area and was used for other sculpture at Guisborough.119 Most of the effigies in this group, including two military figures at Ingleby Arncliffe and a lady at Appleton-le-Street, are in full relief, but the female effigy at Danby Wiske is in shallow relief; and on the lady at Kirkleatham the degree of relief decreases from head to foot. There is no major urban centre within the distribution area in which these effigies are located, hence Gittos and Gittos have plausibly suggested that these effigies may be the work of craftsmen who were drawn to the area to work at the important Augustinian Priory at Guisborough.

D, although some of its products can be found in the East Riding at Stillingfleet, in the West Riding at Ilkley, and in the North Riding at Felixkirk. Not all of the effigies belonging to these pattern series are found within the confines of the county; a fine Series B effigy is in Co. Durham at Norton-on-Tees and examples from the other series can be found in Lincolnshire. For all three of these series of effigies, York appears to be broadly at the centre of the distribution pattern, although Series C effigies are mostly found to the south-west of the River Ouse. Nonetheless, it is unlikely that all these effigies were produced in an urban workshop. A York base for the workshops cannot be supported by any documentary evidence. Freeman’s records, wills and other sources do not point to any craftsmen who might have produced sculptured monuments as having resided in York in the fourteenth century. It should be noted, however, that craftsmen based in the Minster workshops would not have needed to be freemen of York and a workshop producing effigial sculpture could have been established there. It may be significant that the Series B effigies have features in common with the restored Madonna and Child which forms part of the trumeau of the Chapter House doorway at York Minster.117 It is therefore possible that the Series B effigies, the dates of which span the period when the Minster nave was under construction, were produced by sculptors from a York Minster based workshop.

The final Yorkshire pattern series, termed the ‘Wolds Series’, comprises some thirteen effigies in the East Riding of Yorkshire produced between c.1320 and c.1360, including civilians in Beverley Minster and at Hornsea; a priest at Beeford; a lady at Birdsall and a tonsured knight under an elaborate canopy at Bainton.120 Their sculptural characteristics are shared by a number of semi-effigial tombs in the vicinity and some related sculpture, including the Easter Sepulchre at Patrington. All are carved in a fine-grained brown sandstone from an unidentified source. These products are generally of inferior quality to those of the other Yorkshire pattern series and had a very localised distribution.

A number of the medieval Magnesian Limestone quarries in Yorkshire have been identified and it is possible that the workshops operated at or near one of these.118 One important quarry in the later medieval period was at Huddleston, but the earliest documented use of this stone in York, or indeed elsewhere, postdates the Black Death, making it unlikely as the centre for the production of the effigies studied by Gittos and Gittos. The Roche Abbey and Stapleton quarries were exploited at the right period, although most of the documentary evidence relates to stone being supplied for works in the south-east of England. The evidence for Thevesdale quarry, which operated from at least the early-thirteenth century, is more promising. Stone from this quarry was extensively used for architectural purposes, including at York, Howden, and Beverley, but it also appears to have been used for monuments, the canopy of the monument in York Minster to Archbishop Grey (d.1255) probably being of Thevesdale stone. It was transported by cart to nearby Tadcaster and thence to York by boat and sled. It is therefore entirely possible that the Yorkshire C and D workshops might have been based either at the Thevesdale quarry or at nearby Tadcaster.

The more northerly counties also had their centres of effigy production. Apart from the group of Frosterley marble effigies, Hunter Blair identified two stylistic groups carved from sandstone in the first half of the fourteenth century.121 Some effigies may have been made by craftsmen from outside the region. Nicholas Dawton has linked the effigies of a lady and man in civil dress, probably commemorating members of the Percy family, at Alnwick (Northumberland) with the workshop which produced the Percy tomb at Beverley (Yorkshire, East Riding) discussed in Chapter 3.8.122 Both figures are, however, carved from local sandstone, suggesting that, if they were made by the same craftsmen, the Beverley sculptor may have travelled to Alnwick to carry out the commission. A similar situation is to be found at Hornsea (Yorkshire, East Riding) regarding two effigies removed in 1948 from the ruined church of Nunkeeling Priory. The effigy of a lady is so like that in Westminster Abbey commemorating Aveline Forz, Countess of Lancaster and heiress to the lordship of Holderness, that it must surely be the work of the same metropolitan workshop, yet the Hornsea effigy is carved from Yorkshire Magnesian

Four Yorkshire effigies, termed Series A, including two impressive military figures from Coverham Abbey (Yorkshire, North Riding) and another at Routh (Yorkshire, East Riding), were carved from sandstone, but the distribution does not point to where in the county 117 118

119

B. and M. Gittos, ‘The Ingleby Arncliffe group of effigies: a midfourteenth century workshop in North Yorkshire’, Church Monuments, 17 (2002), pp. 14-38. 120 Unpublished work by Brian and Moira Gittos. 121 Hunter Blair, ‘Medieval effigies in Durham’. 122 N. Dawton, ‘The medieval monuments’ in R. Horrox, (ed.), Beverley Minster: an illustrated history, (Beverley, 2000), pp. 131-56, at p. 141.

Gittos and Gittos, ‘Yorkshire effigies c.1300’, p. 211. Gee, ‘Medieval limestone quarries’.

24

An overview of monumental production and commemoration in the north-east of England Limestone.123 The other effigy, of a knight of c.1320 commemorating a member of the Fauconberg family of Catfoss (Yorkshire, East Riding), links stylistically with a Lincolnshire workshop, but is also carved from Magnesian Limestone.124 The most likely explanation is that the sculptors travelled to Yorkshire and used the local stone to carve these effigies.

found on two monuments.128 Neither is especially early, but that at Chillingham to Sir Ralph Grey (d.1443) is a fine example of its type.129 Virtually all of these prestigious – and undoubtedly expensive – alabaster monuments commemorate members of the noble and gentry classes. A rare example to a civilian is in the south aisle of Holy Trinity, Hull (Yorkshire, East Riding). It is traditionally believed to commemorate Sir William de la Pole (d.1366) and his wife, Katherine (d.1381). This attribution is highly unlikely as Katherine, like other later members of the family, chose burial in the Charterhouse which, according to her will, was built by her husband. The civilian at Hull has dangling from his belt a probe, used by wool merchants for testing the quality of wool. It almost certainly commemorates Robert de Selby (d.1390) and his wife Emma Ravenser. Selby was a prominent Hull merchant of the Staple of Calais who served at least six times as mayor of Hull. The pair were two of the beneficiaries of the Ravenser chantry in Holy Trinity church founded together with Richard Ravenser, Archdeacon of Lincoln, in 1375.130 The identification of the effigies is confirmed by the antiquary, John Leland, who recorded that ‘Selby is buried in the south side of the waulle of isle by the quire: and his wife also, with very fair images’.131

This pattern of a thriving local effigy-carving industry in the north-east changed dramatically in the mid-fourteenth century. A handful of high-quality local effigies can be dated to the middle years of the century, notably the military effigies at Sutton (Yorkshire, East Riding) and Pickering (Yorkshire, North Riding). Thereafter, with some exceptions such as the military effigy of c.1400 at Catterick (Yorkshire, North Riding), most locally produced effigies in the region are inferior examples which do not appear to fit into significant stylistic groups. One reason for this failure of the indigenous effigy carving industry may perhaps have been the Black Death, but the challenge of the Midlands alabasterers was also instrumental in the change. Pauline Routh’s study of alabaster effigies in Yorkshire lists fifty-six alabaster figures, shown separately or in pairs, to which can be added a pair of c.1500 at Lund (Yorkshire, East Riding).125 Especially important collections of this type are to be found at Swine (Yorkshire, East Riding) and Harewood (Yorkshire, West Riding). Methley (Yorkshire, West Riding) boasts two fine double alabaster tombs; they commemorate Sir Robert Waterton (d.1424) and his wife, Cecily Fleming, and Lord Welles (d. 1461) and his first wife, Cecily, the sister and heiress of Thomas, 6th Baron Clifford. The two tombs have no characteristics in common with each other, but are notable for the exceptional quality of detail shown. Virtually all these alabaster effigies are the work of the Midlands alabasterers, but one small group, including the Redman tomb at Harewood (Yorkshire, West Riding) and the child’s tomb at Sheriff Hutton (Yorkshire, North Riding), are probably local work, carved from alabaster from the Ledsham quarries which has dark pebble inclusions in the alabaster.126

The earliest alabaster effigy to be found in the region is that to Prince William of Hatfield (d.1337) in York Minster, although it was probably carved rather later. The earliest examples of alabaster tombs found nationally were produced for the royal circle and senior clerics; they include, in addition to the York example, those to Edward II (d.1327, made c. 1340) in Gloucester Cathedral; John of Eltham (d.1336, made c. 1340) in Westminster Abbey; Prince William of Windsor and Princess Blanche of the Tower (d.1340) at Westminster Abbey. Early alabaster tombs to the higher clergy included those to Archbishop John of Hotham (d.1337) in Ely Cathedral and Archbishop Stratford (d.1348) in Canterbury Cathedral. The stone quickly won the favour of patrons for its luminous quality, and was widely used for tomb chests and effigies all over England. In the north-east alabaster monuments claimed an increasing share of the elite market. By the third quarter of the fourteenth century, a significant number of better-off patrons in the region who chose commemoration by carved effigies opted for alabaster monuments in preference to locally produced alternatives, a trend that continued throughout the fifteenth century and beyond. Apart from the 1430s to the 1450s, perhaps as a result of the economic difficulties of that period, examples survive from every decade.132

In Co. Durham there are eleven alabaster effigies on a total of six monuments, three of them in Durham Cathedral.127 The earliest commemorates Ralph, Lord Neville (d.1367) and his wife. Another commemorates Bishop Hatfield (d.1381), but this prestigious type was evidently beyond the means of the parochial clergy of the region. In Northumberland four alabaster figures are

123

Stone identification by Dr Tim Palmer. Information from an as yet unpublished book on medieval military effigies in Lincolnshire by Mark Downing. 125 P. Routh, Medieval effigial alabaster tombs in Yorkshire, (Ipswich, 1976). 126 Lecture by Jane Crease, ‘ “Not commonly reputed and taken for a Saincte”: the output of a northern workshop in the late fourteenth and early fifteenth centuries’ given at Church Monuments Society ‘Monumental Industry’ Conference on 25 October 2008. 127 A. Gardner, Alabaster tombs of the pre-Reformation period in England, (Cambridge, 1940), p. 91. 124

128

Gardner, Alabaster tombs, p. 96. D. Heslop and B. Harbottle, ‘Chillingham Church, Northumberland: the South Chapel and the Grey Tomb’, Archaeologia Aeliana, 5th ser. 27 (1999), pp.123-34. 130 CPR Edward III 1374-1377, p. 167. 131 L. Toulmin Smith (ed.), The itinerary of John Leland, 5 vols., (repr. London, 1964) 1, p. 50. 132 Comment made by Jane Crease in discussion at Church Monuments Society ‘Monumental Industry’ Conference on 25 October 2008. 129

25

Northern Rock: the use of Egglestone marble for monuments in medieval England Inevitably there have also been losses of effigies, although some are recorded in antiquarian notes and drawings. Lankester drew attention to lost alabaster effigies of the mid-fifteenth century of a military figure and lady of the Lascelles family from Escrick (Yorkshire, East Riding) and of a now lost damaged alabaster effigy of c.1425 to a member of the Lound family at South Cave (Yorkshire, East Riding).133 An alabaster effigy of a lady, probably commemorating Beatrix, the widow of Richard Gascoigne (d.1422/3), has been lost from Harewood church.134 A fine military effigy commemorating Sir Robert de Mauley (d.1331), once in York Minster, was broken into pieces during the 1829 fire, after which the fragments were removed to Goodrich Court chapel (Herefordshire), but can no longer be traced.135 There was also a bearded civilian effigy of the early-fourteenth century in the Minster, perhaps an important benefactor, which no longer survives, perhaps having been destroyed at the same time.136 A military effigy of likely earlyfourteenth century date at Leake (Yorkshire, North Riding) is known only from antiquarian notes; it was a huge figure holding an unsheathed sword upright, suggesting that it originated in a Durham workshop.137 Another military effigy, to a member of the Holme family, cross-legged and therefore unlikely to be dated after c.1350, has been lost from Bolton Percy (Yorkshire, West Riding).138 Lost examples from Co. Durham include a late-thirteenth century wooden figure from Greatham Hospital.139

It was not just the Reformation and the Civil War, however, that led to the destruction of monuments. The fine pair of wooden effigies commemorating Ralph Neville, 2nd Earl of Westmorland (d.1484) and his wife Margaret was consumed in the 1998 fire at Brancepeth (Co. Durham). Worse than this accidental destruction is the continued attrition of our monumental heritage through neglect and ignorance, which continues to the present day. For example, most of an effigy of a lady of late-thirteenth or early-fourteenth century date from Etton (Yorkshire, East Riding) was used as hardcore for a garage base in the 1980s.141 3.7 Monumental brasses and indents The production of monumental brasses developed as an offshoot from the making of incised slabs. A brass at Verden (Germany) dates from 1231, but it was not until about the 1270s that English manufacturers began enriching incised slabs by inlaying them with brass − actually an alloy of copper, zinc and tin, termed ‘latten’, although until the 1560s the latten plate used was imported from the continent.142 Among the earliest examples are two coffin-lids in Westminster Abbey to offspring of Henry III’s half-brother William de Valence, which featured brass crosses and inscriptions set against a mosaic background.143 Bodily features such as the head were also inlaid on some Purbeck marble slabs, a development copied from Tournai marble slabs. No such inlaid Purbeck slabs are to be found in the north-east, but examples include the monument to John de la More (d.1309) at Westwell (Kent).144 The earliest surviving figure brass in the country, at Ashford (Kent), showing just the head of a priest, dateable to c.1282, is of this type.145

Undoubtedly there were once many more, especially in the churches of religious houses which were destroyed at the Reformation. Some effigies are known to have been moved to safety – the Ros effigy from Kirkham Abbey (Yorkshire, East Riding) is now in the Temple Church, London – but they were probably a small proportion of the whole. Will evidence can provide some indication of the losses. Various members of the Latimer, Darcy and Fauconberg families, for example, were buried at Gisborough Priory, with some at least having chosen carved effigial monuments.140 Yet all that now remains of these monuments is a fragment of the lower half of a military effigy, now in the English Heritage store at Helmsley.

One advantage of monumental brasses was their flexibility in terms of design. They ranged from simple inscription plates, through cross compositions and semieffigial representation, to large and elaborate compositions showing life-size figures of the deceased under canopies. Some were made more eye-catching by having the surface gilded and parts inlaid with colourful enamels. They could thus be tailored to suit a range of budgets and consequently were commissioned by people of a relatively wide social range.

133

P. Lankester, ‘Two lost effigial monuments in Yorkshire and the evidence of church notes’, Church Monuments, 8 (1993), pp. 25-44. 134 Routh, P. and Knowles, R. The Medieval Monuments of Harewood, (Wakefield, 1983), pp. 80-82. 135 Sir S.R. Meyrick, ‘Observations on the monumental effigy of de Mauley, formerly in the Minster at York’, Archaeologia, 31 (1845), pp. 238-48. 136 Illustrated in Drake, Eboracum, p. 491. A particularly fine drawing is in a collection compiled in the 1730s by Lethieullier and Fredick: British Library Add MS 27349, fol. 77. We are grateful to Philip Lankester for this reference. 137 S. Badham, ‘A lost military effigy from Leake, Yorkshire’, Yorkshire Archaeological Journal, 53 (1981), pp. 127-28. 138 J. Foster (ed.), Visitation of Yorkshire in 1584/5 and 1612, (London, 1875), p. 439. 139 Fryer, Wooden monumental effigies, p. 77. 140 S. Oosterwijk, ‘Lost, found and lost again? The continuing enigma of the Gisborough Priory effigies’, Journal of the British Archaeological Association, 151 (1998), pp. 190-202.

Most brasses were set in the floor, although by the laterfifteenth century mural brasses, usually showing the deceased kneeling in prayer to a devotional image, were introduced. Concurrently, similar compositions were inlaid into the back wall of wall tombs, especially those 141

B. & M. Gittos, ‘Etton’, Church Monuments Society Newsletter, 6.1 (Summer 1990), pp. 7-8. For early brass production in England see J. Coales (ed.), The earliest English Brasses, (London, 1987) and Badham and Norris, London marblers. 143 S. Badham, ‘Edward the Confessor’s chapel, Westminster Abbey: the origins of the royal mausoleum and its Cosmatesque pavement’, Antiquaries Journal, 87 (2007), pp. 197-119, at p. 201. 144 Badham and Norris, London marblers, pp. 77-78. 145 Badham and Norris, London marblers, pp. 151-56. 142

26

An overview of monumental production and commemoration in the north-east of England William West (fl. 1416-1453), whose London B workshop was based in Old St. Paul’s churchyard, London, and who is shown on his parents’ brass at Sudborough (Northamptonshire), which was made in his own workshop.150 James Reames (fl. 1464-1510), who ran the London D workshop, was based successively in the London Blackfriars and St. Paul’s churchyard.151

made of Purbeck marble. Other brasses were set in a stone which formed the cover slab of a tomb chest. The brass and the tomb chest were usually contracted to separate craftsmen. That at Broxbourne (Hertfordshire) to Sir John Say and his first wife, Elizabeth (d.1473), rests on a tomb chest in the south chancel chapel. The chapel was built specifically to house this monument; a contract was made on 25 June 1476 between Sir John Say and Robert Stowell for lengthening the south aisle of the church eastwards and other related works at a cost of £24.146 The wording of the contract makes clear that he was to make the tomb chest, but the Purbeck marble cover slab with its brass inlay would have been subcontracted or separately contracted, in this case to the London D workshop. Although there is no documentary evidence surviving for the making of brasses on tomb chests in the north-east, the variety of stone types, including Egglestone marble, used for the chests indicates that the tomb chests and brasses were also separately contracted.

Perhaps due in part to the presence of significant brass engraving workshops in York, a good number of brasses and indents are to be found in north-east England. Full lists of extant figure brasses and indents and records of lost figure brasses are given in Appendices 4-6: Yorkshire has 150, Co. Durham twenty-nine, and Northumberland a mere nine. To this must be added an indeterminate but smaller number of inscription brasses and indents, which have not been so systematically recorded. Nonetheless, the effect of the presence of a thriving local brass engraving industry in York is apparent in terms of the popularity of this type of monument in the county.

Unlike the other types of monument discussed in this chapter, from the very beginning production of brasses was based in urban centres. London workshops dominated supply, their products being found throughout England, including the north-east. There were usually two, and sometimes three, competing suppliers, mostly based in St. Paul’s churchyard, St. Dunstan-in-the-West, and the Blackfriars precinct.147 In addition, there were provincial town-based centres supplying a limited area, including at York, Durham, and possibly elsewhere in the north-east.148 Local production reduced costs further as transport then formed a lower proportion of the total cost to the patron. No examples in the north-east appear to date from the thirteenth century, but they were a popular form of commemoration in the region from the beginning of the fourteenth century.

The earliest surviving brass in the region is that in York Minster commemorating Archbishop William de Grenefield (d.1315), although brass letters formerly adorned another tomb in the Minster, known only from antiquarian sources, which featured a cast copper-alloy relief effigy to Dean William de Langton (d.1279).152 Both the design and the engraving technique used for the Grenefield brass are unlike those of contemporary London products, suggesting that it was produced outside London, probably in York. Of similar date, or possibly slightly later, is the indent of a knight from St. Mary’s Abbey, now in the Yorkshire Museum, York. It too is a likely local product. The earliest example in Co. Durham may have been the lost monument, a marble stone to Bishop Anthony Bek (d.1310), the first bishop to have been buried in the cathedral, although it is not certain that the slab held a brass. Modest brasses of likely local origin which were produced around the same time commemorate John and Helen de Eryngtoune at St. John Lee and their son, Thomas de Errington, who took holy orders, at Hartburn (both in Northumberland).

The identities of some of the medieval engravers (most of whom traded as specialist stonemasons termed ‘marblers’, brasses forming just part of their trade) have been established. One such in London, Adam of Corfe (fl. 1305-1331), was the main early-fourteenth century supplier of prestigious Purbeck marble, including for Old St. Paul’s, St. Stephen’s chapel at Westminster, and a marble slab for Edward II’s high table.149 Another was

However, in terms of sheer splendour, all these early locally-made brasses in the region were outshone by the magnificent example in Durham Cathedral to Lewis de Beaumont, Bishop of Durham 1317-1333, set in Egglestone marble, which he had prepared in his own lifetime. Although the original inlay is lost the indent remains sufficiently crisp for it to be identified as a product of the London Seymour workshop. It was clearly very influential in its day; for example, Matthew Sillence has demonstrated how its composition profoundly influenced episcopal seal design in Durham in the 1330s,

146

L.F. Salzman, Building in England down to 1540: a Documentary History, (Oxford, 1952), pp. 537-8. 147 For the Black Death period and after, see J.P.C. Kent, ‘Monumental brasses - a new classification of military effigies c.1360-1485’, Journal of the British Archaeological Association, 3rd series 12 (1949), pp. 7097; R. Emmerson, ‘Monumental brasses - London design c.1420-85’, Journal of the British Archaeological Association, 131 (1978), pp. 5078; S. Badham, ‘Monumental brasses and the Black Death: a reappraisal’, Antiquaries Journal, 80 (2000), pp. 207-47; Badham, ‘The man at St. Brides’, pp. 650-53. 148 For York-made brasses see S. Badham, ‘Monumental Brasses: the development of the York workshops in the fourteenth and fifteenth Centuries’, in Wilson, C. (ed.), East Riding of Yorkshire, pp. 165-85. The Durham workshop is discussed in S. Badham, Brasses from the North East, (London, 1979), p. 24. 149 J. Blair, ‘English monumental brasses before 1350: types, patterns and workshops’, in J. Coales (ed.), The earliest English Brasses, (London, 1987), pp. 133-74, at pp. 168-69.

150

Emmerson, ‘London design’, pp. 66-67. Emmerson, ‘London design’, p. 68; N. Saul, ‘The contract for the brass of Richard Willoughby (d.1471) at Wollaton (Notts.)’, Nottingham Medieval Studies, 50 (2006), pp. 166-193. 152 S. Badham, ‘A lost bronze effigy of 1279 from York Minster’, Antiquaries Journal 60 (1980), pp. 59-65. 151

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Northern Rock: the use of Egglestone marble for monuments in medieval England notably the first seal of Richard of Bury.153 Other highstatus commissions of London-made brasses in the fourteenth century included the brass which formerly adorned the Percy tomb at Beverley, carved in the early 1340s.

commemorated by surviving and recorded monuments, many of which were brasses, came from twenty- four different social categories, 42% of all monuments commemorated merchants.156 Some examples of York-made brasses appear deceptively modest compared with the status of those that they commemorated. This is exemplified by a Yorkshire Series 1c indent to a civilian and two wives in St. Mary Castlegate, York. Antiquarian notes enable this to be attributed to John Blackburn (d.1427) and his two wives, Katherine and Joan.157 John was a ‘merchant alderman’ of the parish of St Mary Castlegate and represented Parliament in 1417.158 In his will, he requested:

The York brass engraving workshops were nonetheless of considerable significance. A total of 119 brasses and indents can be attributed to the workshops. They are listed in Appendix 7. Five pattern series have been identified in the period c.1350 to c.1510, although a handful of likely York products date from outside this range. In contrast, the workshops based in Durham and possibly elsewhere in the north-east were of far less significance. Their output appears to have been modest and no craftsmen based in the area can be linked with the trade.

Corpus meum ad sepeliendum in ecclesia parochiali beate Marie virginis in Castelgate in Ebor’ iuxta corpus Katerine nuper uxoris mee et puerorum meorum (my body to be buried in the parish church of St. Mary Castlegate in York beside the bodies of Katherine my former wife and my children).159

In York, several named craftsmen can be linked with the brass engraving trade.154 One possible early supplier of brasses was Simon le Mason, Master Mason of York Minster until his death in 1322; in his will he left to William de Dalby his marble slabs for making tombs. He might possibly have been responsible for the Grenefield brass or the indent from St. Mary’s Abbey. Another master mason, Robert de Patryngton, active from 1369 to at least the late 1380s, can be associated through documentary evidence with a group of brasses termed Yorkshire Series 0. John Newton, described in some documents as a marbler, was perhaps responsible for the production of Yorkshire Series 1c, and may have been followed in the trade by his son, Thomas. Finally, William Hyndeley, Master Mason of York Minster from 1473 until his death in 1505, may have been involved in the production of Series 3 or Series 4 brasses. In 1481 he worked with John White of Bridlington, a mason, on a marble tomb in the Minster; this no longer survives, hence we do not know whether it had brass inlay. Hyndeley was buried in York Minster, where he was commemorated by a brass, now lost, and in his will he left his tools for engraving plate, i.e. brasses, to his clerk, William Gilmyn.

Since the indent and the antiquarian notes show that both wives were depicted on John Blackburn’s brass the likelihood is that he had already commissioned his monument, perhaps on the death of Katherine. Although Joan Blackburn was shown on her husband’s brass, she chose to be buried at All Saints in the Marsh, Peaseholme Green, York, which was demolished from 1586. Consequently, no separate monument to her survives or is known from antiquarian notes. There are no children shown; but, as his will quoted above shows, this is not because John was childless. In contrast to London-made brasses, the products of the York brass engraving workshops did not feature figures of children. This unpretentious tomb monument is in contrast with what we know of his prosperity from his will and that of his widow Joan, who was the daughter of the wealthy York merchant William Bowes.160 The couple held a key position in the York civic elite and were evidently pious and wealthy − amongst the bequests in Joan’s will were an alabaster devotional image and a primer − yet their expenditure on their funeral monument was comparatively modest. It is unlikely that the brass in St. Mary Castlegate would have cost more than £10.161

The clientele of the York brass engraving workshops included members of the upper gentry, such as the St. Quintins of Harpham; Sir Thomas Heslerton and George Salveine of Lowthorpe; William Aldeburgh of Aldborough; Sir John Mauleverer of Allerton Mauleverer; and Sir Christopher Hildyard of Winestead. Several members of the higher clergy also had York school brasses, including Prior John Burnaby of Durham; John Danby, Canon of York, at Bole; and, probably, Abbot William de Dringhow of Meaux.155 Most, however, were commissioned to commemorate the lesser gentry, parochial clergy and better-off townspeople. Barnett has shown that in York, although those

156

C.M. Barnett, ‘Commemoration in the parish church; identity and social class in late medieval York’, Yorkshire Archaeological Journal, 72 (2000), pp. 73-92, at pp. 76 and 78. 157 The most complete description is in Henry Johnston ‘Church notes and drawings’ (1669-71), Bodleian Library, Oxford, MS Top Yorks C14, fo. 104: ‘Circumscribed about a stone of marble in the middle isle of the church only this ... Johes Blakburne civis et mercator Ebor et Katherine uxor ejus quoru aiabs propt deus. There hath been 3 figures on it and an inscription on brass but torn of.’ Notes dated 14 March 1669. 158 A. Rycraft et al. (eds.), The Blackburns in York. Testaments of a merchant family in the later middle ages, (York, 2006), p. 27. 159 Rycraft, Blackburns in York, pp. 10-11. 160 Rycraft, Blackburns in York, pp. 5, 10-11 and 52-53. 161 R.H. d’Elboux, ‘Testamentary Brasses’, Antiquaries Journal, 29 (1959), pp. 183-91, esp. pp. 189-90; see also Saul, ‘The brass of Richard Willoughby’, p. 178.

153

Lecture to the MBS at the ‘Brasses Revisited’ conference, 27 September 2008. 154 Badham, ‘York workshops’, pp. 165-85. 155 B. & M. Gittos, ‘A newly discovered black slab’, Church Monuments Society Newsletter 6.2 (Winter 1990-1), pp. 27-29.

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An overview of monumental production and commemoration in the north-east of England York-engraved brasses were commissioned by the city’s elite as well as those influential in the county.

Other family members also chose commemoration in brass. John’s father Nicholas Blackburn the elder (d.1432) directed in his will:

That there was a local supplier of brasses did not entirely deter some of the more well-connected or affluent elements of north-eastern society from patronising the more prestigious London or Flemish workshops. Generally these tended to be those who were wellconnected and wealthy enough to be able to afford a large metropolitan monument. They included several abbots of Fountains and Rievaulx Abbeys, and others such as Sir John Routh (d.c.1410) of Routh, and Henry and Nicholas Holme (both d.1471), members of a long-standing family of Beverley merchants who by this stage had reached gentry status and had associations with knightly families, and who were probably commemorated by an indent in St. Mary’s, Beverley which shows two men in armour.

Lego corpus meum sepeliendum in ecclesia Cathedrali beati Petri Ebor in australi parte coram ymagine dominae nostre ibidem sub lapide meo marmorio ad hoc in eodem loco preparato (I leave my body to be buried in the cathedral church of St. Peter in York in the south part, before the image of Our Lady there, under my marble stone prepared for that purpose in the same place).162 His wife, Margaret (d.1435) also asked for burial with her husband ‘sub lapide marmorio coram ymagine domine nostre ex parte australi inibi conquiestcentis’ (beneath a marble stone before the image of Our Lady on the south side).163 No record can be traced of Nicholas and Margaret’s brass, but the empty indent may be amongst those recorded by Torre, which were destroyed or cut up for re-use in the eighteenth-century re-paving.164

One of the most outstanding brasses of the region was at Cowthorpe (Yorkshire, West Riding), although it is now mutilated. It was commissioned c.1470 from the London D workshop by Sir Brian Rouclyff, baron of the Exchequer and builder of the church, who is shown in judicial robes holding a model of the church. This was not the only brass to commemorate him, for in his will of 1494 he directed to be buried in the York Greyfriars and to be commemorated in the Temple Church, London, by another brass, to be engraved by James Reames.166 Mention must also be made of those who opted for modest London-made brasses in preference to a York product. They include Robert de Haitfield who, on the death of his wife in 1409, ordered an unusually small brass from the London A workshop to cover her grave at Owston (Yorkshire, West Riding). As an important Lancastrian estate official, he may have been influenced by the commemorative choice of his associates.

Nicholas Blackburn the elder, appointed Mayor of York in 1412, was a very wealthy merchant in Yorkshire and a merchant of the Staple of Calais. He was also active in local affairs and was briefly ‘on the nomination of merchants of the realm’ Admiral of the Northern Fleet in 1406-7. Nicholas the younger (d.1448), the third son of Nicholas senior, was mayor of York in 1429. In his will he asked to be buried: In choro beate Marie ubi sedere consuevi infra ecclesiam meam parochialem Omnoum Sanscotum in Northestrete in Ebor prope sepulcrum puerorum meorum (In the choir of St. Mary where I was accustomed to sit within my parish church of All Saints in North Street in York near the tomb of my children). 165

Of the effigial examples in Yorkshire which can be attributed to a specific workshop, seventy-two are from London compared with fifty-nine from York. In Co. Durham seven are from London, compared with fourteen from York. Northumberland has three London-made brasses and three minor examples produced locally. In addition, there are four Flemish-made brasses in the north-east. The finest commemorate a member of the parochial clergy, Sir Simon de Wensley (1394), at Wensley (Yorkshire, North Riding), and a wealthy merchant, Roger Thornton (d.1429), in Newcastle Cathedral (Northumberland).

Again nothing is known of the form that this lost monument took, although it was clearly a floor monument, hence a brass is very likely. In the 1420s Nicholas Blackburn and his third son and namesake, Nicholas the younger, took a major part in commissioning a new window for All Saints’, North Street, York. This glazing has been moved to the east window, but it was originally positioned near or over the place Nicholas Blackburn was accustomed to sit in church and where he, his wife and his children were subsequently buried.

Research has shown that losses of medieval brasses are very great; what survives may well represent less than 10% of the number of those originally laid down. Antiquarian notes and drawings reveal that huge numbers of brasses have been lost in the region, particularly in York. York now contains fewer than forty brasses of all

This brief examination of the burial practices of the prominent Blackburn family serves to illustrate that

162

Rycraft, Blackburns in York, pp. 14-15. Rycraft, Blackburns in York, pp. 26-27. 164 James Torre, ‘The antiquities of York Minster’, York Minster Library, MS L1(7). 165 Rycraft, Blackburns in York, pp. 54-55. 163

166 J.G. and L.A.B. Waller, A series of monumental brasses from the 13th to the 16th century, (repr. with corrections by J.A. Goodall, London, 1975), p.xviii.

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Northern Rock: the use of Egglestone marble for monuments in medieval England periods; but there were at least 250 in the Minster167 and, in the seventeenth century, the antiquary James Torre recorded a further 180 in city churches.168 In his Eboracum published in 1736, Drake illustrated a floor plan of York Minster taken from Torre, which showed many medieval floor monuments surviving.169 Many were empty indents, the inscriptions from which he had gleaned from the notes of earlier antiquaries. Sadly, in Drake’s lifetime the floor was replaced by a modish black and white chequered floor, for which many of the medieval Egglestone marble floor-slabs were cut up to make the black flags; much of this floor was itself replaced in the 1970s. Now, the Minster retains only a single medieval brass and a handful of indents, mostly on wall monuments. Outside York it is far less easy to get a broad measure of the rate of destruction for, unlike the wealth of material on York, the church notes left to us are far less complete in their coverage. Even so, such sources, combined with the evidence of indents, can double the 300 extant brasses surviving in the country churches of Yorkshire.170 Many of these lost brasses are known only through indents or drawings of indents, but some important lost brasses are recorded. Amongst the most interesting is a highly stylised drawing by Francis Thynne, Lancaster Herald, of an effigial brass once at Burton Agnes (Yorkshire, East Riding) to Sir Roger Somerville.171 Drake illustrated two lost monuments from York Minster, described elsewhere as brasses, to Dean Bryan Higden (d.1539) and Thomas de Dalby, Archdeacon of Richmond (d.1525).172 In his notes of 1669-70 on York parish churches, Henry Johnston drew a number of brasses which have since been lost. The floor of All Saints’ Pavement must once have been a magnificent sight, paved with many brasses, many of them of likely London origin. This church was the Guild Church of York and is said to be the resting place of thirty-nine Lord Mayors of York. The church retains nine indents, but only one is effigial. At least four of the mayors were commemorated by brasses which were largely intact in 1669-70. Excellent examples of civilian brasses included those commemorating Thomas Beverley (d.1480), John

Gyliot (d.1484) and John Feriby (d.1491).173 Feriby’s brass is the most elaborate; he and his wife Millicent are shown with prayer scrolls reading ‘Mater dei miserere mei’ emerging from their mouths, which wind towards a rectangular plate with the image of the Virgin and child. All three men were shown with their wives and children. An even more interesting lost brass from the same church was to another mayor, John de Acaster (d.1379).174 He is shown in armour rather than civilian dress, doubtless because he came from gentle rather than merchant stock. He and his wife, Isolda, are shown under an elaborate double canopy; quatrefoils at the corners of the slab held their arms on a chevron 3 acorns. This fine brass, undoubtedly from a metropolitan workshop, was almost certainly commissioned by Isolda after her husband’s death; in 1386 she established a chantry for his soul at the altar of St. Thomas the Martyr in this church.175 In Co. Durham, the greatest wholesale losses probably occurred at Durham Cathedral, which retains no medieval brasses. Twenty-nine lost brasses are recorded in antiquarian notes or recorded as indents, but there were undoubtedly significantly more. Many brasses probably survived the Reformation, but were lost in the seventeenth and eighteenth centuries.176 Following the battle of Dunbar in 1650, some 3,500 Scottish prisoners were housed for a short period in the cathedral; Dugdale recorded that they destroyed a number of brasses, including those to Bishops Beaumont and Langley. Further losses of brasses occurred in 1796 when the chapter house, which was seen as being too large, was destroyed. No study has as yet been made of losses of brasses in Northumberland, although they are unlikely to have been on the same scale in terms of numbers. There were undoubtedly many more formerly in the great monastic houses of the region, but only a handful survives as empty indents. Yet what is apparent is that what remains is only a small proportion of those which once graced the churches of Yorkshire, Co. Durham and Northumberland. 3.8 Other monuments There are also various other monuments which do not fit readily into one of the categories above. They are mostly freestanding tomb chests. Many support carved effigies or cover slabs inlaid with brasses, but others, both churchyard tombs, as at Loversall and Saxton (Yorkshire, West Riding), and those erected within churches, stand alone. The Loversall chest dates from the early-fourteenth century and is notable for the elaborate and varied tracery carved on its sides; it displays Y-tracery, intersecting tracery both cusped and uncusped, three lights and a foiled circle, and two lights with shouldered lintel-heads.

167

J.F. Williams, ‘The brasses of York Minster’, Transactions of the Monumental Brass Society, 7 (1942), pp. 342-52 and 8 (1943), pp. 1-8. James Torre, ‘The antiquities of York Minster’ (1691-2), York Minster Library, MS L(1)7. 168 James Torre, ‘Antiquities ecclesiastical of the city of York’, York Minster Library, MS L1(8). 169 Drake, Eboracum, p. 493. 170 Information taken from unpublished work by Sally Badham. Part is based on a survey of indents, to which Patrick Farman and Brian and Moira Gittos have contributed. The remainder of the lost brasses have been taken from information in antiquarian notes, chiefly William Dugdale, ‘Yorkshire arms’ 1641, College of Arms, London, MS RR 14/C; Roger Dodsworth, ‘Yorkshire church notes’ 1618-32, Bodleian Library, Oxford, MS Dodsworth 160; Henry Johnston, ‘Church notes and drawings 1669-71, Bodleian Library, Oxford, MS Top. Yorks. C13 and C14; and James Torre, ‘Churches peculiar within the diocese of York’ 1691, York Minster Library MS L1(10). 171 H.S. London and R.H. d’Elboux, ‘The lost brass of Sir Roger Somerville of Burton Agnes, Yorkshire’, Transactions of the Monumental Brass Society, 8 (1949), pp. 260-63. 172 Drake, Eboracum, pp. 496 and 502.

173 Bodleian Library, Oxford, Henry Johnston, ‘Church notes and drawings 1669-71, MS Top. Yorks. C14, fos. 110r and v and 118r. 174 Bodleian Library, Oxford, Henry Johnston, ‘Church notes and drawings 1669-71, MS Top. Yorks. C14, fo. 118v. 175 Drake, Eboracum, p. 294. 176 W. Lack, H.M. Stuchfield and P. Whittemore, The monumental brasses of County Durham, (London, 2002), p. vii.

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An overview of monumental production and commemoration in the north-east of England A cross is carved on the tomb cover. The Saxton tomb chest is plain apart from a shield of arms on each side, its importance being that it covers the remains of Ranulph, Lord Dacre of Gilsland, who was killed in 1461 at the Battle of Towton, at which he commanded the left wing of the Lancastrian army. He was buried in an upright position, his horse under him.177

3.9 Conclusions With the notable exception of monumental brasses, it is clear from the survey above that most types of monument were not produced in large metropolitan workshops. Indeed, in very few cases can large numbers of monuments be attributed to a single workshop. Some monuments, particularly effigies, may have been produced by masons attached to monastic houses and others by men working in workshops in the vicinity of significant quarries. Yet most, particularly cross slabs, appear to have been the product of rural masons whose market was very localised. They would not have been able to specialise in monumental sculpture alone, so for other evidence of their work scholars must look to architectural sculpture and church fittings, such as fonts, screens, and sedilia. In contrast, the Egglestone marblers, to whom we now turn, had a more restricted repertory.

Amongst the most elaborate of the intra-mural tomb chests is that commemorating Henry Percy, 4th Earl of Northumberland (d.1489) in Beverley Minster (Yorkshire, East Riding).178 An important group carved from Egglestone marble is discussed in detail in Chapter 6.1. There are various other examples in a variety of limestones and sandstones, but they have not been systematically recorded. Related to this group of tomb chests is the Percy tomb in Beverley Minster (Yorkshire, East Riding), which commemorates Lady Eleanor Percy (d.1328) but which was not made until the early 1340s. The monument as seen now comprises a plain tomb chest under a very elaborately carved canopy, although a second tomb chest, probably of Purbeck marble and inset with a Londonmade brass of a lady, originally stood on top of the first chest.179 The glory of this monument is the canopy, which is encrusted with sculpture of the highest quality. It may have been produced locally, for it compares well with two other local monuments. One is the effigy in York Minster to Nicholas Huggate (d.1380) and the other is at Welwick (Yorkshire, East Riding). The latter features the low relief effigy of a priest (probably William de la Mare, provost of Beverley 1338-60 or his brother Thomas de la Mare, vicar of Welwick who died in 1358) below another elaborate canopy. This may have been made in the lifetime of the commemorated, perhaps no later than c. 1350. These tombs also compare stylistically with some in Lincolnshire, including the upper part of the tomb chest of the Littlebury monument at Holbeach and the effigy of Richard de Potesgrave (d.1345) at Heckington.180 Comparisons may also be made with the tomb of St. William of York, the remains of which are in the Yorkshire Museum.181 It was carved for the Minster in the mid-fourteenth century, although whether it was a produced by the same masons is debatable. For their other works, attention must instead be addressed to architectural sculpture and canopies of monuments, particularly in Beverley Minster, including the reredos and the canopy of the ‘Two Sisters tomb’.182

177 W.E. Hampton, Memorials of the Wars of the Roses, (Upminster, 1979), pp. 228-29. 178 Dawton, ‘Medieval monuments’, pp.150-51. 179 Lindley, Tomb destruction, pp. 167-98. 180 J. Luxford, ‘The tomb of Sir Humphrey de Littlebury at All Saints’, Holbeach’, in J. McNeill (ed. ), Kings Lynn and the Fens, British Archaeological Association Conference Transactions, 30 (for 2005) (Leeds, 2008), pp. 148-69. 181 C. Wilson, The shrines of St. William of York, (York, 1977). J. Alexander and P. Binski, Age of Chivalry. Art in Plantagenet England 1200-1400, (London, 1987), pp. 422-23. 182 Dawton, ‘Medieval monuments’, pp. 131-33 and 145-48.

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CHAPTER 4 THE EVIDENCE FOR QUARRYING EGGLESTONE MARBLE

Map 8. Location of Egglestone marble quarries Quarrying was carried out by hammering a series of wedges into natural joints and bedding planes or into slots hewn into the rock at positions chosen to give slabs of the desired initial dimensions. Crowbars were then inserted into the resultant fractures and rectangular slabs of the required size were levered out of the quarry face. The slabs were then trimmed and rough hewn using mallets, chisels and axes.

Before examining the artefacts that were carved from Egglestone marble, it is important to establish that the stone in question does indeed originate from the vicinity of Egglestone Abbey. There are two classes of evidence in support of this. The first is the identification of specific quarries at which the stone was identified and at which physical evidence remains of quarrying activity. Clearly this evidence cannot be date specific, but confirmation that the quarries were in use in the medieval period is provided by documentary evidence. This includes contemporary descriptions of exploitation, leases, and accounts for specific extant artefacts which name the source of the stone used.

There is some physical evidence of past quarrying remaining at the sites. At Westfield Quarry the outcrop has a stepped profile where blocks have been removed (Pl. 6). A large block remains at this quarry with the marks where two lines of wedges were hammered in to lever the blocks apart to form slabs (Pl. 7). One slab has already been removed but work on the next two was abandoned (Pl. 8). Below the quarry face at Abbey Quarry there is a basin some 20 ft. across which may have been used as an area where the stone was dressed (Pl. 9). Leading to it is a man-made watercourse lined with stone which would have brought water on to the site (Pl. 10). This water, together with locally-available sand and grit, could have enabled the first stages of surface finishing to have been carried out on site.

4.1 The Egglestone marble quarry sites The medieval sites at which Egglestone marble was quarried are on both banks of the River Tees close to Barnard Castle at the north-west end of a gorge cut into the Great Limestone (Namurian age). The four sites in the river cliffs at which the stone was quarried can be precisely pinpointed. Named by Blacker and Mitchell as Abbey Quarry, Mains House Quarry, Westfield Quarry, and Watersmeet Quarry, their locations are shown in Map 8. As noted in Chapter 1.1 above, the stone from Watersmeet Quarry differs in character from that produced at the other quarries. 32

The evidence for quarrying Egglestone marble plain tomb cover with the indent of a brass chamfer inscription (Pl. 12).186 An account roll for the building work covering the period August 1433 to August 1435 included payments to a quarryman working at Egglestone and carriage of four cartloads of marble from there to Durham.187

4.2 Documentary evidence of quarry usage That these quarries were in use in the medieval period in question is confirmed by documentary evidence. John Leland wrote in 1541: ‘Hard under the clif by Egleston is found on eche side of Tese very fair marble, wont to be taken up booth by marbelers of Barnardes [Castelle] and of Egleston, and partly to have be wrought by them, and partely sold onwrought to other’.183 He further observed ‘About a quarter mile beneth Eggleston is a faire quarre of blak marble spottid with white, in the very ripe of Tese’.

Other artefacts likely to have been carved from stone from this quarry include the slabs covering the shrines at Durham to St. Cuthbert and the Venerable Bede. The Watersmeet Quarry, situated at the confluence of the Tees and the Greta, also belonged to the abbot of Egglestone. After the suppression of Egglestone Abbey in January 1540, the abbey lands, including the quarries, were transferred to private hands, but the families who acquired them seemed uninterested in exploiting their commercial potential.188

The use of Abbey Quarry, owned by the successive priors of Egglestone Abbey (founded c.1198) until the Reformation, is well documented in the fifteenth century.184 In 1432 marble from Abbey Quarry, then owned by Egglestone Abbey, was used to carve the laver at Durham Cathedral, which is still in the cloister garth (Pl. 11).185 The Durham Account Rolls record the payments made, throwing considerable light on the processes involved in working the stone and where they were carried out. Thomas of Morton, the abbot of Egglestone, received 20s for the use of the quarry, implying that it was already being exploited and did not need to be newly opened. Thomas Hyndeley, master mason of Durham Cathedral, who had in 1402-03 worked on the tomb being prepared for Bishop Skirlaw (d.1406), received payments of 103s 10d ‘for the getting or winning of the marble stones in the quarry at Egglestone’, 42s 1d for ‘drawing out of the quarry, the scappling and wayning of the said stones’, and of 110s 3d for ‘the polishing of the marble stones’. It is questionable whether Hyndeley would have carried out all these tasks himself; some of the payments may have represented wages for other craftsmen involved, although there are also payments recorded to John Pykyryng, John Fethyrstonhalgh, John Knaythe, and John Tyndall, all of whom were probably masons, as well as to a plumber, a latoner and a slater. The work was carried out in a lodge in the cemetery at Durham made by Robert Nurry. In addition a charge of 12s was incurred for carriage of the stones from the quarry and 28s 4d ‘for carriage of three marble stones from the aforesaid quarry [at Egglestone] to Durham’. Abbey Quarry was undoubtedly also worked for the marble stone for the massive tomb chest in the Galilee Chapel of Durham Cathedral with the arms of Bishop Thomas Langley (d.1437), the whole being topped by a

One of the quarries on the north side of the Tees is also securely documented as being worked in the medieval period. In 1437 Richard the Quarrier held a lease of the manor of Barnard Castle at the annual rent of 6s 8d for 3 years to work marble stone in Westwick next to the river opposite Egglestone Abbey.189 Both this quarry and Mains House quarry formed part of the lordship of Barnard Castle, which in 1307 was granted to Guy Beauchamp, Earl of Warwick, in whose family they remained until 1449 when they passed to Richard Neville, who by his marriage to the heiress, Anne Beauchamp, became Earl of Warwick. Following his death at the Battle of Barnet in 1471, the lordship – and ownership of the quarries – passed to Richard, Duke of Gloucester, later King Richard III. They remained Crown property until 1603. There are other documented uses of Egglestone marble, though not all specify the quarry used. One of the most prestigious artefacts made of this stone was the base for the relics of St. William in York Minster provided for the re-consecration of the shrine in 1472.190 The shrine was destroyed in 1538, but parts of the base (which was about 350 cm long and 234 cm in height) survive in the Yorkshire Museum, York. Although there is no record from which quarry the stone was quarried, a comparison showed that the stone used for the shrine is indistinguishable from a polished sample taken from Abbey Quarry. In 1469-70 Robert Spilsby, the master mason of York Minster, was paid 37s 4d for ‘riding with a servant in search of marblers for twenty-eight days’.191 He later received a further 4s for riding to different places for masons, suggesting that men of suitable ability were 186

Blacker and Mitchell, ‘Durham cathedral’, p. 125. Muniments of the Dean and Chapter of Durham, Miscellaneous Charters 5720. We are grateful to Mr M.G. Snape for this reference. 188 Lands and tithes were leased to Alan Kynge of London in 1541 and in 1548 Robert Strelley acquired the site of Egglestone Abbey, as well as various other nearby properties. J.W. Clay (ed.), Yorkshire Monasteries – suppression papers, Yorkshire Archaeological Society Record Series 98, (York, 1912), p. 103. 189 Blacker and Mitchell, ‘Durham cathedral’, p. 120. 190 Wilson, St. William. 191 J. Raine (ed.), The fabric rolls of York Minster, Surtees Society, 35 (Durham, 1859), p. 73

183

Toulmin Smith, Leland, 1, p. 78. 184 Confusingly, there are two places named Egglestone within the vicinity of Barnard Castle. On the south (Yorkshire) side of the Tees, a mile below Barnard Castle, is Egglestone Abbey situated in Egglestone Township. On the north (Co. Durham) side of the river, five and a half miles north-west of Barnard Castle, is Eggleston. The Abbot of Egglestone had no known connection with the Durham Eggleston and the location of the quarry is, therefore, firmly established as in Yorkshire. 185 J. Raine (ed.), Historia Dunelmensis scriptores tres, Surtees Society, 9 (Durham, 1839), pp. ccccxliii-cccclv.

187

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Northern Rock: the use of Egglestone marble for monuments in medieval England hard to find. Nonetheless, he was evidently successful in finding expert craftsmen: the high quality of the carving, with its delicate detail, including beautifully executed miniature heads which adorn edges and niches, and richness of carving is in marked contrast to most of the sculptured monuments produced by the Egglestone marblers (Pl. 13-14). 4.3 Working practices Although this physical and documentary evidence clearly demonstrates that Egglestone marble was quarried at four sites in the medieval period, we have virtually no knowledge of where the bulk of the Egglestone marble artefacts were actually made. There are indications at Abbey Quarry to suggest that rough finishing of stone blocks was carried out on-site. There is also documentary proof that some raw stone was transported elsewhere for carving of some high status artefacts. Yet whether the run-of-the-mill Egglestone marble monuments and fonts were carved in the vicinity of the quarries or in nearby towns is unknown. A comparison with what has been gleaned from archaeological evidence for the Purbeck marble industry in Chapter 2.2 above, however, suggests that it is more likely that carving and finishing was carried out near the quarry sites themselves. Stone working is a noisy and dusty occupation that would be unwelcome in an urban environment. Moreover, transport costs would be reduced if excess stone were removed in or near the quarry sites and only the lighter finished product required onward transportation. 4.4 Transportation Although the stone was quarried on the banks of the River Tees, it is almost certain that stone would not have been taken from the quarries by river transport. Only part of the Tees was navigable in the medieval period, the highest point upstream being 14 miles downstream from the quarries.192 Moreover, such documentation as exists concerning the transport of this stone refers to it having been carted. One factor which led to the widespread usage of this stone was probably the easy availability of good road links. On a ridge about half a mile to the south of the Abbey ran the major east-west routeway across the Pennines via the Stainmore Pass, which in turn linked at Scotch Corner with Dere Street, the main route south to York. The route passed through Boroughbridge, where the stone could also have been loaded onto boats at Boroughbridge staithe for transport via the Rivers Ure and Ouse to York and beyond.

192

J.F. Edwards and B.P. Hindle, ‘The transportation system of medieval England and Wales’, Journal of the History of Geography, 17, part 2 (1991), pp. 123-34; J.F. Edwards, The transportation system of Medieval England and Wales, unpublished Ph.D. thesis, Department of Geography, University of Salford, 1987.

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CHAPTER 5 EXPLOITATION OF THE EGGLESTONE MARBLE QUARRIES BEFORE 1400 in Durham Cathedral to Lewis de Beaumont, Bishop of Durham 1317-1333, which he had prepared in his own lifetime (Fig. 3).193 This was one of two extant examples of early usage of the stone at Durham, the other being the shrine to the Venerable Bede constructed in 1370.194 It was described in the Rites of Durham as:

Having established that the Egglestone marble quarries were in operation in the medieval period, we turn now to the artefacts which were carved from it. As explained in Chapter 1.2, the peak of exploitation was the period 1400-1550. Before examining Egglestone marble products from this period, it is useful to examine separately earlier examples and to explore why initial quarrying appears to have been on a limited scale.

A goodly monumt all of blew m’ble ye hight of a yeard from ye ground supported wth v: pillers, in eu’y corn’ one & vnder ye midest one & aboue ye said throwghe [tomb slab] of m’ble pillers did stand a second schrine to St Cuthb: wherin ye bones of ye holie man St Beede was inshryned.

5.1 Extant examples Although the use of Frosterley marble seems largely to have ceased by the second quarter of the fourteenth century, there is only sporadic evidence of exploitation of the Egglestone marble quarries before 1400, with just twelve artefacts identified.

Only the top and bottom slabs survived the Reformation in the positions recorded in the Rites.195 It is possible that many other brasses in Durham Cathedral recorded in the Rites had Egglestone marble slabs, but sadly few of their matrices survive. Stylistic analysis reveals that the brass to Bishop Beaumont was a product of the London-based Seymour workshop, operational between c.1310 and c.1345.196 The brass plates were evidently sent out loose from London to reduce transport costs, then set in the stone matrix locally. That Egglestone marble was used for this monument suggests that by the first decade of the fourteenth century its qualities had already been recognized and that it had some sort of history of exploitation. Nonetheless, only one monument can be said with certainty to pre-date it. The earliest surviving example of Egglestone marble usage known is a coffin-shaped slab at Patrick Brompton (Yorkshire, North Riding) featuring a very worn relief splay-arm cross with a chalice emblem to the left, thus indicating that it commemorated a cleric (Fig. 4). It has a somewhat different style and more crudely carved head than most others in the area and seems closer to the locally produced work in the North Riding, rather than that of the mass-produced workshop monuments. McClain, who has made a detailed study of cross slabs in the North Riding of Yorkshire, is of the opinion that it probably dates from the late-thirteenth century.197 One of the perils of cross slab dating, however, is that it is almost entirely dependent upon stylistic analysis, and there is the possibility that older style designs were still in use long 193 Canon R. Fowler (ed.), The rites of Durham written 1593, Surtees Society 2, (Durham, 1903), pp. 14-15: ‘Ludovick de Bellomonte Bpp of Durha[m] lyeth buried before the high altar in the quire beneath the stepps that goe upp to the sd high altar, under a most curious and sumptvus marble stonn wch he ppared for himself before hee dyed …’. 194 Blacker and Mitchell, ‘Durham cathedral’, p. 125. 195 Fowler, Rites of Durham, p. 44. 196 Badham and Norris, London Marblers, pp. 75-84. 197 A. McClain, ‘Medieval cross slabs in the Yorkshire North Riding: chronology, distribution and social implications’, Yorkshire Archaeological Journal, 79 (2007), pp. 155-193. Detailed supplementary information personal communication (emails: A. McClain to S. Badham, February 2008).

Fig. 3. Rubbing of the matrix (comprising two large slabs) of the lost brass to Lewis de Beaumont, Bishop of Durham 1317-1333. Durham Cathedral (Co. Durham). Illustration: William Lack. Probably the earliest closely datable item is the matrix (comprising two large slabs) of the magnificent lost brass 35

Northern Rock: the use of Egglestone marble for monuments in medieval England after they first became common. This could be the case with Patrick Brompton; but in either case it remains interesting, either as an example of early Egglestone marble exploitation, or as a monument made of quite high status material, but using an antiquated and perhaps locally produced cross design and emblem. It is most probably a quarry product, but it is curious that such an outlier in terms of the chronological spread of exploitation of this stone type, should not be located close to the quarry sites.

Fig. 5. Cross slab to Sir John Conyers (d.1394). Sockburn (Co. Durham). Drawing: Peter Ryder. The brass to Sir John Conyers is one of three posthumous brass inscriptions from the Durham brass engraving workshop to members of the Conyers family, all set in Egglestone marble and probably all part of a single commission. The inscription is valuable, however, as it enables this cross slab to be dated with precision. It is odd that no other cross slabs positively identified as having been carved from Egglestone marble survive, particularly as it has been shown in Chapter 3.1 that this type of monument is to be found in such huge numbers in the north-east. There are two cross slabs at Egglestone Abbey which may well be of Egglestone marble, but weathering precludes certain identification. The first, an incised example, is missing the head, but the stem has a chalice superimposed on it (Pl. 16). The second is in relief and has a crozier to the left of the shaft (Pl. 17). Both are likely to date from the fourteenth century and they may be the only survivals of what was once a common monumental type at the abbey carved from stone from their own quarry. It may well be that other examples were produced for other religious churches or parish churches, but have been destroyed during the Reformation, reflooring, or church restorations. Nonetheless, it is unlikely that they were ever produced in large numbers. Probably the high cost of transportation in comparison with the cost of the monument itself made it uneconomic to market this type of monument over a wide area.

Fig. 4. Cross slab to a cleric. Patrick Brompton (Yorkshire, North Riding). Drawing: Peter Ryder. The only other extant cross slab in Egglestone marble is an example of late-fourteenth century date in the chancel floor at Sockburn (Co. Durham). It has an incised design of a straight-arm cross with cusped arms and terminals having curling fleur-de-lys leaves but no bud (Fig. 5 and Pl. 15). To the right of the cross is a sword and on the left a shield bearing the Conyers manche. A rectangular brass commemorating Sir John Conyers (d.1394) is set across the lower terminal of the cross head, but this is a later addition of c.1460, the lettering linking it to the Durham Series 1 brass engraving workshop.

Five fourteenth-century brasses, apart from that to Bishop Beaumont, were set in slabs of Egglestone marble. The earliest is the simple plate inscription to William le Bone (d.1359), Baron of Greystoke, at Greystoke (Cumberland). This is a London series A product, which 36

Exploitation of the Egglestone marble quarries before 1400 SECUNT DA R DNI NEVILE CUI DUES PROPIECTUR AMEN MERCI EIT DE LALME’, although it is now virtually illegible. It is thus clear that Margery’s monument is that in the churchyard. Whom the Egglestone marble slab commemorates is uncertain, but if the person’s first name is a two-syllable name ending in ‘i’, perhaps Henri, he could well have been another member or connection of the Neville family.

must have been sent out loose for setting locally. From the same workshop but probably dating from c.1390 came an elaborate brass of which only the matrix survives at Seamer (Yorkshire, North Riding). It commemorated a civilian shown under a canopy; a plate inscription and shields complete the composition. Two indents from the Yorkshire Series 0 workshop are set in this stone. That at Lowthorpe (Yorkshire, East Riding) probably commemorates Sir Thomas Heslerton, who founded a chantry here in 1364, and his wife Alicia. At St. Saviour’s, York is a fine indent to an unknown civilian and his two wives. The other eight Yorkshire 0 products are set in a variety of stones, mostly a dark limestone broadly akin to, but not identical with, Egglestone marble. Finally, one indent for a lost Yorkshire Series 1 brass at Adlingfleet is in Egglestone marble. It commemorates Robert de Haldenby (d.1399). Several floor monuments carved from Egglestone marble feature inscriptions in Lombardic lettering. Such lettering can be difficult to date. In many parts of the country it was superseded by textualis lettering (commonly called blackletter) in the mid-fourteenth century but in remoter parts its usage lingered on. Two such slabs carved from Egglestone marble are coffin-shaped, which again usually indicates a date of before c.1350, although later examples are to be found in this region. A coffin-shaped slab in the south aisle chapel at Well (Yorkshire, North Riding) has a marginal inscription in Lombardic lettering (Pl. 18). Not all of the inscription can be deciphered with certainty but it appears to read: ‘+ MERCI EIT DEUS DEL AL[ME] ... [?HENR]I ... KI OSSESMENT REPOSE ICI’. The letter forms are mostly true Lombardics although the opening M is of a Roman type. The name of the commemorated was unfortunately in the illegible part of the inscription. It is traditionally said to commemorate Margery de Thweng, the daughter of Sir Marmaduke de Thweng of Flamborough and Isabel de Ros. She was the second wife of Ralph de Neville, 1st Lord of Raby (d.1331), and died in 1332.198

Fig. 6. Coffin-shaped slab with low relief effigy and inscription to the wife of Aubrey de Conyers. Bowes Museum, Barnard Castle (Co. Durham). Drawing John Blair.

In the early-nineteenth century Whitaker recorded two coffin-shaped marble slabs in the churchyard on the south side of the church, presumably ejected from the church to make room for other monuments or pews.199 One was that under discussion, but the second remains in the churchyard, although it is of sandstone, not marble as recorded by Whitaker. This had a marginal inscription in Lombardic letters, set out in two parallel lines, reading: ‘HIC IACET MERGERI DOMINA NEVILE UXOR

In the Bowes Museum, Barnard Castle (Co. Durham), is a very badly weathered coffin-shaped slab with an effigy of a woman carved on it in low relief (Fig. 6). This was formerly at Denton (Co. Durham), at one stage in a cupboard but in 1985 reared against the wall of the vestry at the west end of the church.200 It has an inscription in Lombardic lettering, now very worn, reading: ‘HIC GIST AUBREY DE COYNNERS DA COMPAYN’. Unfortunately nothing about Aubrey de Conyers can be traced and the composition is not sufficiently distinctive

198 In 1343, Ralph Neville was granted licence from Prior John Fossour of Durham to found three chantries in the church at Staindrop (Co. Durham), for the souls of his parents, Ralph Neville and Euphania de Clavering, and for his stepmother, Margery de Thweng. Anon. ‘Staindrop church’, Transactions of the Archaeological and Architectural Society of Durham and Northumberland, 3 (1890), pp. 75110, at pp. 105-108 discusses the Neville effigies at Staindrop and attributes one to Margery de Thweng, so she appears to have been commemorated by two monuments. 199 Whitaker, Richmondshire, Vol. 2, p. 82.

200 Information from notes made by John Blair on a visit in May 1985. It is illustrated in C.C. Hodges, The sepulchral slabs ... now remaining in Co. Durham 1, (privately printed, 1884), pl. 28.

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Northern Rock: the use of Egglestone marble for monuments in medieval England between ?6 cross crosslets, and his arse-girdle to which are attached a sword and dagger. His lady wears a gown covered by a cloak and the veil and wimple, suggesting that she outlived him and commissioned the monument after his death. Round the perimeter of the slab is an inscription in Lombardic lettering. The slab has been trimmed to fit its current location aligned north to south under the altar resulting in the loss of much of the lettering. Fortunately the full text was recorded by Surtees as reading: ‘THOMAS ET ALICIA DE BLANDE JACENT HIC ORATE PRO ANIMABUS PROPICIETUR DEUS’.203 The letter forms are of a more advanced type than those displayed at Well, confirming that the Startforth slab was made significantly later.

to aid dating, but the likelihood is that it was produced in the first half of the fourteenth century. Surtees, writing in the early-nineteenth century, saw the monument in front of the altar rails and noted that the inscription was filled with lead.201

5.2 Reasons for low levels of exploitation Three of the early examples of Egglestone marble usage discussed above are located within a few miles of the Egglestone marble quarries: Denton to the north of the River Tees; Startforth to the south; and Sockburn downstream on the Tees itself. It would not be surprising to find such examples of early exploitation located in such close proximity to the quarries and to commemorate people of relatively modest status, but the other examples do not conform to this pattern. The examples at Durham and Well are both high-status commissions located some distance from the quarries. The ownership of the Abbey and Watersmeet quarries by Egglestone Abbey may help to explain the early usage of Egglestone marble in the monastic house at Durham. The route from Barnard Castle to Durham was regularly used for large royal parties in the fourteenth century, which has led Geoffrey Wright to suggest that this was a ‘reasonably surfaced road’, which would have been suitable for carting stone from the quarries.204 The accounts for both the laver and Bishop Langley’s tomb include the cost of cartage from the quarries.205 The Neville family had strong connections with Durham, which may in turn explain why Egglestone marble was used for the slab to a likely family member at Well, some thirty miles to the south of Barnard Castle. It is undoubtedly also significant that Well is located just a mile off Dere Street, a major route in the medieval period, so that transportation of this monument by cart or sled would not have presented a problem.

Fig. 7. Low relief slab to Sir Thomas de Blande (d.1360) and his wife Alicia. Startforth church (Yorkshire, North Riding). Rather later in date is an incised rectangular-shaped slab under the altar in Startforth church (Yorkshire, North Riding) commemorating Sir Thomas de Blande (d.1360) and his wife Alicia (Fig. 7). Sir Thomas had only recently come into the ownership of the manor, it having been in the possession of William de Bowes as late as 1345; his family may well have commissioned a monument to emphasise their establishment of a lordship seat.202 The slab is a poorly designed composition, incised in thin and shallow lines. The knight is nearly effaced, the clearest parts are his ‘jupon’, decorated with his arms a bend

The ruins of Egglestone Abbey church retain very few of its medieval monuments, although it is very likely that it would have been paved with floor monuments as well as having fine high tombs. It is thus entirely plausible that many early and later Egglestone marble monuments have been lost from the Abbey following the Dissolution. It is also likely that there have been extensive losses from Durham Cathedral. Hence the apparent dearth of 203

Surtees, Durham, Vol. 3, p. 127. G.N. Wright, Roads and trackways of the Yorkshire Dales, (Ashbourne, 1985), p. 41. 205 Blacker and Mitchell, ‘Durham Cathedral’, pp. 122 and 125. There were two items for cartage for the laver: 12d for carriage of stones and 28s 4d for carriage of three marble stones from the quarry to Durham.

201

204

R Surtees, The history and antiquities of the county palatine of Durham, 4 vols., (London, 1816-40), 4, p. 6. Lead filled inscriptions are found elsewhere, including one at Ryther, referred to in Chapter 3. 202 VCH, History of the County of York North Riding: Volume 1 (London, 1914), pp. 134-138.

38

Exploitation of the Egglestone marble quarries before 1400 examples of pre-1400 Egglestone marble monuments may be overstated due to losses, especially at Egglestone Abbey and Durham Cathedral. It may well be that initially the quarries were opened to serve only Egglestone Abbey itself, in the same way that Sykes marble was used only at Fountains Abbey and Wensleydale marble was used only at Jervaulx Abbey. The house of Premonstratensian Canons at Egglestone was never large or rich; there were probably never more than an abbot and fifteen canons in the abbey.206 Patrons of Egglestone Abbey and the monastery at Durham may have seen the use of this stone at Egglestone and thus gradually have become aware of its attractiveness and suitability as a substitute for Purbeck marble. Leasing land for quarrying would have added to the Abbey’s income. The reputation of the quarries may have been slow to become established in the region, but it is clear that exploitation of this stone type greatly expanded in the fifteenth century and continued at a high level until the Reformation.

206 D. Knowles and R.N. Hadcock, Medieval religious houses in England and Wales, (London, 1971), p. 188.

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CHAPTER 6 THE USE OF EGGLESTONE MARBLE 1400-1550 lost inscription was recorded for Dugdale in 1641 as stating that his son Richard erected the monument.207

The period between 1400 and the Reformation was evidently when the Egglestone marble quarries were at their most productive. A large number of artefacts carved from the stone can be dated to this period. They are considered below within six different categories of usage. The main type of artefact produced from the stone was tomb monuments; these comprise tomb chests, effigies, incised and flat relief slabs, and brasses and indents. In addition, the Egglestone marblers produced fonts and other church fittings.

Nearby is a complete tomb chest for Sir Richard (d.1490), who married Elizabeth, the daughter of Sir Henry Vavasour of Hazlewood (Pl. 20).208 The tomb monument celebrates both his lineage and his worldly success. The sides of the tomb chest are again plain apart from carved arms. On the long sides are the arms of Clervaux encircled by the Lancastrian SS collar, flanked by paired devices featuring the Clervaux badge, a muzzle. The short ends feature Clervaux impaling Vavasour enclosed in a twisted-cloth wreath with Richard’s motto ‘Fortune le veit’. The cover slab is plain except for a somewhat boastful inscription carved in flat relief on the chamfer of the slab. It reads:

6.1 Tomb chests and cover slabs Amongst the most impressive monuments carved from Egglestone marble are the tomb chests, which have dates ranging from 1437 to 1547 (listed in Appendix 8). Egglestone was ideal for this purpose because it was capable of being extracted from the quarries in very large pieces. The size of block that could be produced from this stone is illustrated by the massive tomb chest carved with quatrefoils and shields and with a brass fillet inscription to Robert Brown (d.1532) at Newark (Nottinghamshire) (Pl. 32). Measuring 194 cm long by 97 cm wide and 66 cm deep, this sarcophagus is not constructed but monolithic; that is, it is carved out from a single block of stone. Constructed tomb chests of Egglestone marble could be even larger, as evidenced by that at Egglestone Abbey to Sir Ralph Bowes (d.1482); the side panels, which feature canopied niches, are each 327 cm long by 71cm deep and average 33 cm in thickness (Pls. 23-24).

‘Clervaux Ricardus jacet hic sub marmore clausus, Crofte quondam dominus huic miserere deus, armiger Henrici regis et pro corpore sexti, quem deus exelsi duxit ad astra poli, sanguinis Edwardi quarti ternique Ricardi, gradibus in ternis alter utrique fuit, qui obiit anno domini MCCCCLXXXX’ (Here lies buried beneath this marble Richard Clervaux, formerly lord of Croft God have mercy on him; he was esquire to the body of King Henry VI whom God brought to the stars of high heaven; next he was of the blood of both Edward IV and of Richard III in the third degree, which Richard died AD 1490.) 209

Twenty-five extant tomb chests partly or wholly constructed from Egglestone marble have been recorded in total and one more lost example is known from antiquarian sources but there are only eleven tomb chests of which the sides and the tops are all of Egglestone marble. Many of them are characterised by heraldic displays on the sides of the chest. Seven examples can probably be dated to the fifteenth century. The earliest is that in Durham Cathedral to Bishop Thomas Langley (d.1437). The tomb chest has a series of square panels enclosing shields carved with the Langley arms; it is topped by a plain tomb cover with the indent of a brass chamfer inscription (Pl. 12).

Although relatively plain, this massive tomb chest makes a considerable impact, taking up most of the space partitioned off by parclose screens. The relative simplicity of the design is balanced by the high quality of the carving. The twisted-cloth wreaths enclosing the arms on the short ends are beautifully executed and the lettering, in a textualis script characterised by distinctive cusped outline to the letters, is very fine (Pl. 21). Broadly contemporary with the last tomb chest is one in Egglestone Abbey to Sir Ralph Bowes of Streatlam (Co. Durham), who married Margery, daughter and co-heir of Richard Conyers.210 He died in 1482 and in his will dated 6 July 1482 requested burial in the monastery of St. John

Two tomb chests were constructed for members of the Clervaux family in the Clervaux chapel in the south aisle at Croft-on-Tees (Yorkshire, North Riding). Three slabs of Egglestone marble built into the south wall of what must be the Clervaux chapel almost certainly formed panels of a tomb chest for Sir John Clervaux (d.1443), a Justice of the Peace and Sheriff of Yorkshire who married Margaret Lumley, a niece of Ralph Neville, 1st Earl of Westmorland. They are plain apart from the carved shields on them. Two panels show the arms of Lumley, and the third Clervaux and Lumley impaled (Pl. 19). A

207 ‘Dugdale’s Yorkshire Arms’, College of Arms, London, MS RR14/c, fo. 166v. The inscription read: ‘Hic jacet Johes Clervaux miles qui obit xiiij Aug A D MCCCC XLiij Et Dna Margareta uxor ejus filia Ranulphi Lumley militis et nepos Rado Nevill Comisi Westmerlandia quae obiit vicessimo die Decembris Ric ejus filius hanc tumularum fieri fecit’. 208 A.J. Pollard, ‘Richard Clervaux of Croft: a North Riding squire in the fifteenth century’, Yorkshire Archaeological Journal, 50 (1978), pp. 151-69. 209 Ibid, p. 169 doubts that Clervaux was esquire to the two Yorkist kings. He was, however, linked by blood to them as all three had a common great-grandfather in John, Lord Neville (d.1388). 210 VCH, North Riding, pp. 71-84.

40

The use of Egglestone marble 1400-1550 Thomas Pykworth, and the children of Ellen his late wife; (2) John son of John de Ellerton and his heirs male, who were to assume the cognomen of Wycliffe and bear the ancient arms; (3) Robert, son of John de Langton; and Thomas son of John de la Mare. Thus John de Wycliffe, who was lord in 1428, may have been John, son of John de Ellerton, and represent a new dynasty of Wycliffes. He married Agnes, daughter of Sir Thomas Rokeby, and left a son and heir Robert, who died seised in 1494, leaving a son and heir Ralph. Therefore, the likelihood is that the tomb chest commemorated either John de Wycliffe or, perhaps less likely, his son Robert.214

Fig. 8. Inscription to Thomas Rokeby on slab, possibly from a tomb chest. Egglestone Abbey (Yorkshire, North Riding). Drawing: English Heritage. at Egglestone.211 No inscription remains but there is firm antiquarian evidence for its attribution. Leland recorded in 1541, ‘I saw in the body of the chirch of Egleston to very fair tumbes of gray marble. In the greater was buried, as I learned, one Syr Rafe Bowes, and yn the lesser one of the Rokebys’.212 The Rokeby tomb chest does not survive, although there is a slab remaining at the Abbey which may be Egglestone marble but is too weathered for certain identification, with an exceptionally fine incised inscription in English to Thomas Rokeby (Fig. 8 and Pl. 22). Whether this panel formed part of the tomb chest seen by Leland is uncertain.

The final fifteenth-century tomb chest carved entirely from Egglestone marble is at Gainford (Co. Durham) and commemorates Sir William Pudsay (d. by 1499) and his wife Elizabeth, daughter of Sir Roger Aske (Pl. 27). Like many others commemorated by monuments in this stone, Pudsay belonged to a group of northern gentry who distinguished themselves through service to the powerful Neville family. Unfortunately, his monument has been removed from the church and stands in the churchyard near the priest’s door on the south of the church. In consequence, it is severely weathered and, although it has all the characteristics of a typical Egglestone tomb chest, we must rely on antiquarian sources for a detailed description. The sides of this unusually shallow tomb chest are plain apart from small centrally placed shields with the arms of Laton and Pudsay impaling Aske. Traces of a carved flat relief textualis inscription, like that already encountered at Croft-on-Tees but less elaborate in its majuscules, remain on the chamfer of the cover slab. Surtees recorded it as having read: ‘Hic jacet D’n’s Will’m’s Pudsey, Miles, et Elizabeth uxor ejus quorum animabus p’picietur Deus Amen’ (Here lies Sir William Pudsay, knight, and Elizabeth his wife on whose souls God have mercy Amen).215 It is worthy of note that this inscription contains no date, often an indication that the monument was commissioned in the lifetime of the person commemorated. That this may well be the case here is supported by the style of lettering, which seems less developed than the Croft-on-Tees chamfer. It could well be as early as c.1480-90.

The tomb chest for Sir Ralph Bowes is more elaborate than most Egglestone marble examples (Pls. 23-24). The north and south sides have seven cinquefoil ogival canopied niches, in which are alternately shields and brackets for separately carved figures. The end panels are similarly carved, but with only four niches each. Sadly, there is no record of the lost figures which graced these niches but they may well have represented kinsmen or ancestors of Sir Ralph Bowes. The rebated cover is set into the grass several feet to the west of the chest (Pl. 25).213 It is upside-down, hence we cannot tell whether it had an inscription or even incised or low relief effigial representation of the deceased. The next example cannot be firmly attributed although it almost certainly dates from the fifteenth century. Built into the south exterior wall of Wycliffe church (Yorkshire, North Riding) is a badly weathered section from a tomb chest (Pl. 26). It is carved with two shields set in square panels with a crocketed pinnacle between them. The arms are those of Wycliffe quartering Ellerton on one shield and Wycliffe quartering Rokeby on the second. These arms are sufficient to pinpoint the person who might be commemorated.

Of the four sixteenth-century Egglestone marble tomb chests, undoubtedly the most ambitious and interesting is the so-called Brus cenotaph of c.1520 from Gisborough Priory (Yorkshire, North Riding), but which was moved to the parish church shortly after the Dissolution in 1540 (Pls. 28-30).216 Alone of all the surviving examples, it retains effigial carving. The cover slab is entirely plain apart from a moulded chamfer but the side panels are all intricately carved. The Brus family descended from

The manor of Wycliffe was held directly of the castle of Richmond, the under-tenants being from the thirteenth century the family of Wycliffe. By 1389 a clerk, Robert de Wycliffe, had become head of this family. He died in 1423, but in 1412 he had settled the manor and advowson of Wycliffe on himself with remainders to: (1) Sir

211

Surtees, Durham, 4, p. 102. Toulmin Smith, Leland, 1, p. 78. Whitaker, Richmondshire, 1, p. 187 records that the Bowes tomb was moved to a field to the south of the Abbey and illustrates it there. It was returned to the Abbey from the grounds of Rokeby Park in 1925: M.D.C. Rudd, The discovery of Teesdale, (Chichester, 2007), p. 168. 213 We are grateful to Brian Gittos for this discovery. 212

214

VCH, North Riding, pp. 138-142. Surtees, Durham, 4, p. 9. W. Brown, ‘The Brus cenotaph at Guisborough’, Yorkshire Archaeological Journal, 13 (1895), pp. 226-61. 215 216

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Northern Rock: the use of Egglestone marble for monuments in medieval England

Fig. 9. Drawing by Hollar in Dugdale’s Monasticon Anglicanum of the de Brus cenotaph showing the lost west end. Guisborough (Yorkshire, North Riding).

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The use of Egglestone marble 1400-1550 Robert de Brus, who founded the Priory in 1119. By the later Middle Ages the family had divided into two branches, the English from Skelton (Yorkshire) and the Scottish from Annandale. The English knights are represented by five ‘weeper’ figures on the north side (Adam de Bruce I, who was the son of the founder of Gisborough Priory; Adam de Brus II; Peter de Bruce I; Peter de Brus II; and Peter de Brus III) and the Scottish knights by five ‘weepers’ on the south side (Robert de Brus, who was the second son of the founder; William de Brus; Robert de Brus III; Robert de Brus IV; and Robert de Brus V, who was the father of King Robert Bruce. Hence, like the Egglestone Abbey tomb chest, this monument falls within Morganstern’s category of ‘Gothic tombs of kinship’.217

Beneath the west tower at Brancepeth (Co. Durham) was formerly the tomb chest to Margaret Neville, Countess of Westmorland (d.c.1530), although it was terminally damaged in 1998 when a falling bell struck it during the disastrous fire that gutted the church (Pl. 31). Unusually, the cover slab was 1 cm smaller than the dimensions of the chest. The chest had six quatrefoil panels containing shields on the two long sides; in 1892 the Neville saltire could still be discerned.219 The end panels and the top were plain, but the name of the member of the Neville family commemorated can be confirmed through antiquarian sources. Leland wrote c.1541, shortly after the tomb was erected: ‘There lyith also in a Chapelle on the South side of the Quier a Countess of Westmerland, sister to Bouth, Archbishop of York’.220 The monument was removed to a space beneath the tower in 1876. Margaret’s husband, Ralph Neville, 3rd Earl of Westmorland, (d.1523) had been buried in the parish church at Hornby (Yorkshire, North Riding).221

On each long side, four smaller niches with carved figures fill the spaces between the knights; above them are shields. On the ‘English’ side are the great doctors of the Latin church, Saints Augustine, Gregory, Jerome and Ambrose (Pl. 28); on the ‘Scottish’ side are the four evangelists (Pl. 29). The lost west panel is said to have displayed the figure of a king, cloaked and crowned, carrying a sceptre in his right hand and with a shield bearing the royal arms of Scotland supported by his left hand. He was flanked by two smaller figures, crowned and in armour. A drawing by Hollar in Dugdale’s Monasticon Anglicanum of 1661 is the only known record of this lost panel (Fig. 9). These are thought most probably to have represented King Robert Bruce, his father, and his grandfather. The eastern panel has as its central representation a seated figure of a prior of Gisborough (but unusually with his hood over his head) holding a shield with the arms of the Priory, flanked by groups of praying canons (Pl. 30).218 This is most probably intended to represent William de Brus, brother of the founder, who was Gisborough’s first prior.

Broadly coeval with this is the above-mentioned tomb chest at St Mary Magdalene’s church in Newark, which commemorates Robert Brown (d.1532) and his wife Agnes (Pl. 32). It was originally in the Holy Trinity Chapel, which was in the south transept, but is now in the Lady Chapel. All four sides of the tomb chest are panelled and decorated with arms in brass, which were restored in their correct colours in 1976. Although the tomb chest is a northern product the inscription was engraved in London, being from the London F debased pattern series. The inscription pays tribute to Brown’s worldly success and status: it records that he was Alderman of the Guild of the Holy Trinity, Constable of Newark Castle, principal Steward of the Liberty of the town, receiver to Cardinal Wolsey and Bishop Longland of Lincoln, Sheriff of Nottinghamshire and Derbyshire, and Keeper of the Rolls in Nottinghamshire and Kesteven, Lincolnshire.

Small carvings of the Virgin, to whom the Priory was dedicated, holding the infant Jesus are to be found at the east end and at the east end of the north side. Various devices are carved above the figures of the saints. The central shield on the ‘English’ side of the tomb chest bears, next to a scallop shell, the emblem of St. James, a cock on a hand reel. To the left is a shield bearing a mitre and crozier. The former is the rebus of James Cockerell, who was prior 1519-34. The whole thus ‘reads’ in symbols ‘Prior James Cockerell’, indicating that it was carved during his period of office and probably that he was responsible for ordering it (Pl. 30a). Other devices of the cock are to be found among the carvings on the other surviving sides also, ensuring that from whichever side the viewer approached they would be reminded of Prior Cockerell. It is thus clear that this was an example of monastic patronage to enhance the house’s reputation and possibly commissioned to mark the 400th anniversary of the founding of the Priory.

The monument was clearly designed to impress, but why one of the wealthiest and most influential men in sixteenth-century Nottinghamshire should have chosen to be commemorated by a monument carved from Egglestone marble is puzzling. The tomb chest could have been carted relatively easily from Barnard Castle via Dere Street and thence to York by river and via Ouse and Trent to Newark, but a tomb carved by the Midlands alabasterers might have seemed a more natural choice. Possibly Brown had family connections in Teesside, but no record of them has been traced.

219

J.R. Boyle, The county of Durham; its castles, churches and manor houses, (London, 1892), p. 457. 220 Toulmin Smith, Leland, 1, p. 72. In fact she was Booth’s niece, not his sister. 221 Toulmin Smith, Leland, 1, p. 72.

217 A. McGee Morganstern, Gothic tombs of kinship, (Pennsylvania, 2000). 218 We are grateful to Fr. Jerome Bertram for advice on this point.

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Northern Rock: the use of Egglestone marble for monuments in medieval England of a priest with a cross above and a chalice below. At Crosthwaite (Cumberland) an Egglestone marble cover slab has brass effigies from the London F debased workshop commemorating Sir John Ratclif (d.1527) and his wife Alice. The monument was restored in the eighteenth century and the slab now rests on a modern base. The tomb chest for Sir Richard Yorke (d.1498) at St. John the Evangelist, Micklegate, York, has a replacement brass fillet inscription on the chamfer of the slab. It recorded that he was mayor of York and founded a chantry in the church.225 In his will he instructed that he be buried ‘in the Church of St. John the Evangelist, near Ouse Bridge in front of the image of the Trinity, in my own tomb which I have caused to be made there’.226 It is clear from this that he commissioned his monument in his own lifetime. At Carlisle Cathedral (Cumberland) the red sandstone tomb chest for Prior Simon Senhouse (d.c.1520) has a brass plate identifying the commemorated set into the Egglestone marble cover slab; this brass was designed by Pugin and engraved by Hardmans of Birmingham in 1850. At Kendal (Westmorland) the Egglestone marble cover slab on the tomb chest to Sir Roger Bellingham (d.1533) and his wife Margaret has restored brass inlay of 1858 engraved by W.C. Garfield.

The latest tomb chest in date to be carved from Egglestone marble is on the north side of the chancel at Skipton (Yorkshire, West Riding) (Pl. 33). The eastern panel is of sandstone, but is undoubtedly a replacement. An upstanding slab at the east end of the chest has set into it a modern brass commissioned by the Duke of Devonshire in 1867.222 This replaced the brass inlay stolen in the Civil War; a volume of seventeenth-century church notes in the College of Arms records a visit on 17 August 1665 during which the author noted: ‘Behind the Chancell in the North Isle stands a faire raised tombe wheron have been the protraitures of a man in Armour and his wife and 4 escocheons of Arms Gartered all in brasses, but torne out by the soldiers in the late rebellious times, wth the inscription also plates of brasses on the verge thereof .’223 The commemorated can nonetheless be identified as Henry, 11th Lord Clifford, K.G. (d.1542), and his wife Margaret, for in his will, dated April 1541, Clifford requested burial at Skipton ‘in one tombe ther newlie made’ on the north side of the choir of Skipton church; this indicates that he had himself commissioned the tomb chest with an Egglestone marble cover-slab with brasses of likely London origin.224 The tomb chest itself appears to be in a remarkable state of preservation, the edges of the carving being unusually crisp and the cover slab polished to a very high shine. This may not be original; possibly the whole chest was re-finished during the 1867 restoration, but it provides an excellent impression of how the monument would have looked on its completion. Nonetheless the pattern of the panelled tomb chest with gartered shields in quatrefoils undoubted is original and the broad similarity with the Brown tomb chest at Newark is apparent.

Other cover slabs had carved inscriptions or decoration. In the Hartley chapel in the church at Kirkby Stephen (Westmorland) is an Egglestone marble cover slab on a sandstone chest (Pl. 34). The cover slab has on the top surface an inscription in Latin to Sir Richard Musgrave (d.1464), which records that he was buried near his wife Elizabeth and son and heir Thomas. The inscription is not well preserved but the style of incised textualis lettering compares closely with that on the flat relief slab to Sir Ralph Pudsay (d.1468) at Bolton-by-Bowland (Yorkshire, West Riding), which is dealt with in detail in Chapter 6.3 below.

Fourteen examples recorded in the survey have only the cover slab made of Egglestone marble, all but two of which rest on tomb chests of a different stone type. Several had brasses inlaid in the cover slab. The earliest is at Halsham (Yorkshire, East Riding) and has the indents of brass effigies from the Yorkshire 2a workshop probably commemorating Sir John Constable (d.1451) and his wife, Matilda de Umfreville. The Constables were leading members of the gentry and had considerable land holdings in Holderness in the East Riding. The Egglestone marble cover slab on the Magnesian Limestone tomb chest to Richard Marshall, who from 1496 to 1505 was vicar of Fishlake (Yorkshire, West Riding), has the indent of a lost brass featuring the figure

Four cover slabs are entirely plain. At Kendal (Westmorland) there are two examples: the first is on the tomb chest of another stone type commemorating Sir William Parr (d.1483), who had the distinction of being a Knight of the Garter and of being chief mourner at Edward IV’s funeral;227 and the second commemorates Sir Walter Strickland (d.1528) and his wife Katherine. Another plain Egglestone marble cover slab is on a Magnesian Limestone tomb chest for Sir John Dawney (d.1493) at Snaith (Yorkshire, West Riding).228 The final example is on the tomb chest in Lincoln Cathedral for Bishop John Longland (d.1547).

225 D.G. Moore, ‘Memoirs concerning Sir Richard York (of York) knight’, Yorkshire Archaeological Journal, 37 (1951), pp. 213-30. 226 J. Raine, (ed.), Testamenta Eboracensia 4, Surtees Society, 53 (Durham, 1869), pp. 134-37. 227 Royal Commission on Historical Monuments England, Westmorland, (London, 1936), p. 122; R. Bingham, Kendal – a social history, (Milnthorpe, 1995), p. 50. 228 E.T. Clark, Church of St Lawrence, Snaith, notes on its history, (Leeds, 1904), p. 16; A.J. Pollard, North-eastern England during the Wars of the Roses, (Oxford, 1990), pp. 328, 356-57 and 385; J.W. Clay (ed.), Dugdale’s Visitation of Yorkshire, (Exeter, 1917), pp. 331-32.

222 M. Stephenson, ‘Monumental brasses in the West Riding’, Yorkshire Archaeological Journal, 15 (1898), pp. 1-60, at p. 50. 223 ‘Arms in the Churches of Yorkshire, Northumberland and the Bishoprick of Durham 1665/6’, College of Arms, London, MS RR19d/A, fo. 122. 224 J.W. Clay (ed.), Testamenta Eboracensia 6, Surtees Society, 106 (Durham, 1902) pp. 127-30.

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The use of Egglestone marble 1400-1550 Egglestone marble products, indicating that it is most likely the work of the Egglestone marblers themselves.

There are also two slabs which do not have an associated tomb chest, but which have chamfered edges, indicating that they originally rested on a tomb chest, perhaps of Egglestone marble, which no longer survives. Set into the floor of the south chapel at Harewood (Yorkshire, West Riding), is an Egglestone marble slab with the indents of a London D brass to a civilian and wife, which antiquarian notes record commemorated a Yorkshire lawyer and Commissioner of the Peace, John Thwaites of Denton (d.1469), and his wife Isabella.229 In the course of the conservation of the church in 1979-1981, it was discovered that the slab had chamfered edges, indicating that it had probably been used as the cover stone of a tomb chest. Built into the north wall of the chancel at Romaldkirk (Yorkshire, North Riding) is a fragment of the cover slab which held the lost brass of John Lewelyne, rector of Romaldkirk (d.c.1470), who founded a perpetual chantry in St. Thomas’s chapel, Romaldkirk and another on the bridge over the River Tees at Eggleston (Co. Durham).230 The high tomb in the chancel on which the cover slab and its brass inlay rested was destroyed in 1828 and the cover slab let into the chancel floor and boarded over; the brass inlay was given away as ‘curiosities’. The floor of the chancel was lifted in 1868 but the slab remained there until the 1895 restoration, when the casement was taken up and inserted into the north wall (Pl. 35).

Even more distinctive is the Brus cenotaph at Guisborough, which is entirely different from other Egglestone marble tomb chests under discussion both in terms of its elaborate design and the fine quality of the carving. Although no documentary evidence for its production survives, it is perhaps unlikely that this cenotaph was produced by the Egglestone craftsmen, but rather was undertaken by marblers brought in specifically to carry out this project, just as specialist marblers had been sought to carve St. William’s shrine base at York. Such an analysis would chime with Leland’s observation cited earlier that Egglestone marble was ‘wont to be taken up booth by marbelers of Barnardes [Castelle] and of Egleston, and partly to have be wrought by them, and partely sold onwrought to other’. Although most of the tomb chests carved from Egglestone marble are simple standardised designs, they were evidently regarded as a high-status type of monument suitable for even the most powerful families in the area. Generally, the clientele for regionally produced monuments tended to be restricted to the lesser gentry and better-off townspeople, but that was not the case for these products of the Egglestone marblers. The most exalted of those commemorated by them were Henry, 11th Lord Clifford, at Skipton and Margaret Neville, Countess of Westmorland, at Brancepeth, as well as the higher clergy as represented by Bishop Thomas Langley at Durham and Bishop John Longland at Lincoln. Most of the others were from knightly families, among them a group of northern gentry who distinguished themselves through service to the powerful Neville family.

Most of the tomb chests discussed conform more or less to a standard pattern featuring sides with heraldic carving. They are markedly different from the standard type with niched and tabernacled panels which were popularised by the Midlands alabasterers and copied widely elsewhere in England in the fifteenth and early-sixteenth centuries. The sides of most Egglestone marble tomb chests are plain apart from shields that either rise in stark relief from plain sides or, especially in the later period of production, are set within geometric panels. The chests are topped by plain cover slabs which could have had an inscription on the chamfer, either on an inset brass fillet or carved directly into the stone in incised or flat relief textualis lettering. It is likely that these tomb chests represent the run-of-the-mill pattern, produced by craftsmen based either at the quarries or at nearby Barnard Castle, which varied relatively little in over a century of production. The only significant degree of customisation that they appeared to offer was the provision of arms to reflect the client’s pedigree.

Some patrons may have chosen an Egglestone marble tomb chest because they wanted one like a tomb chest they had seen or had been chosen by an associate; this may well explain why three cover slabs from tomb chests are to be found in Kendal (Westmorland). Clearly the standard tomb chest design, with its emphasis on heraldic display, appealed to armigerous families who wanted to emphasise their lineage and social status on their monuments. There may have been little or no stylistic development in the century during which these tomb chests were being produced, but the Egglestone marblers had clearly found a type which had lasting appeal to an affluent market in northern England.

Two monuments stand apart from this type of pattern, from which it might be inferred that they may have been carved by more experienced craftsmen used to producing high-quality carved artefacts. That at Egglestone Abbey to Sir Ralph Bowes is more elaborate than most Egglestone marble examples with its provision for ‘weeper’ figures on brackets. Nonetheless, details of the carving, particularly of the canopy design, link with other

6.2 Carved effigies Curiously, apart from the low relief carving of a lady from Denton mentioned in Chapter 5.1 (Fig. 6), no effigies carved from Egglestone marble survive intact, although a fragment of what appears to have been one was found during excavations at Egglestone Abbey. Now preserved in the English Heritage store at Berwick-uponTweed, it is very small and damaged and thus almost

229

Routh, P. and Knowles, R. The Medieval Monuments of Harewood, (Wakefield, 1983), pp. 75-77. 230 Whittaker, Richmondshire, pp. 130-31.

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Northern Rock: the use of Egglestone marble for monuments in medieval England impossible to date.231 Nonetheless, it clearly shows the chamfer of an effigy slab on two sides of the fragment, with the main sculpture remaining showing the front end of a lion, its hairy front legs extended along the side of the head, sadly now missing (Pl. 36). It would have acted as a foot-rest for an effigy, although there is no evidence left of the feet of the effigy. That a lion was used as the foot-rest suggests that the effigy would most likely have been that of a man in armour. The finished chamfers are a little curious in that the edge tapers in slightly towards the main body of the effigy, i.e. it splays slightly towards the feet. With a chamfered-edged effigy slab the likelihood is that it would have rested on a tomb chest, probably also carved from Egglestone marble.

Even in the immediate vicinity of the quarries, the Egglestone marblers seemed unable to make an impact on the effigy-carving industry. There are a number of effigies in churches near Egglestone Abbey and bordering the River Tees, but they are all carved from the local sandstone. At Wycliffe is the upper half of a civilian, probably dating to the first half of the fourteenth century, with a largely illegible inscription in Lombardic lettering. Wycliffe contains ten Egglestone marble artefacts, but the person who commissioned the effigy patronised another workshop. Similarly there are four Egglestone marble monuments at Romaldkirk, but the effigy to Sir Hugh Fitzhenry (d.1304) is carved from sandstone. Again, Barnard Castle has an Egglestone marble font, but the mid-fourteenth century effigy to Robert de Northam, vicar of Gainford, is in sandstone.

Unfortunately, there is no contextual information for the majority of the collection from Egglestone including this piece; most of them presumably found in antiquarian ‘excavations’ or Ministry of Works clearance.232 As explained in the previous section, however, Leland saw two such tomb chests at Egglestone Abbey: ‘In the greater was buried, as I learned, one Syr Rafe Bowes, and yn the lesser one of the Rokebys’. He made no mention of an effigy, but his interest lay more with those commemorated than the form of the monument. Could the effigy have been associated with one of these tomb chests?

As outlined in Chapter 3.6, by the early-fifteenth century the use of alabaster from the Midlands workshops became commonplace for high-status monuments throughout England, including Yorkshire and Co. Durham. Some limestone and sandstone effigies continued to be produced in Yorkshire, but they were local products commemorating minor figures. Hence it can be seen that the demand for effigies from the Egglestone marblers was never likely to have been great. 6.3 Incised and flat relief slabs

That there is not more evidence of Egglestone marble being used for carved effigies requires explanation, especially as the stone could certainly be extracted in large enough blocks for such usage. There is certainly substantiation of full-relief effigial carving in the Brus cenotaph at Guisborough and the lost ‘weeper’ figures from the Bowes tomb chest at Egglestone. The reason why Egglestone marble was not widely used for effigies may simply be a matter of fashion. As explained in Chapter 3.6, sedimentary marbles for effigies fell out of use for monuments at the beginning of the fourteenth century, long before Egglestone marble was exploited on a significant scale.

Seventeen Egglestone marble slabs survive which have been embellished with incised or flat-relief carving on the upper surface (listed in Appendix 9). The simplest of them feature just an inscription. The fourteenth-century examples at the Bowes Museum, Startforth and Well have been described above, but fourteen examples date from the main period of exploitation of Egglestone marble. Four are too worn for the name of the person commemorated or the date of death to be deciphered. Three of the remaining inscriptions are found on tomb chest cover slabs at Kirkby Stephen, Croft-on-Tees, and Wycliffe. The first inscription slab to be considered is almost effaced and very difficult to date. In the centre aisle of the nave at Wensley (Yorkshire, North Riding) is a slab with a marginal inscription in flat relief textualis lettering on which Greenhill recorded sections as reading ‘ioannes + … Clederow fratres quondam rectoris huius ecclesie … aia …Amen ’.233 It thus appears to commemorate the brother of John Clederow, who was vicar of Wensley 1469-1524. The style of the lettering suggests a date towards the end of this span.

There was a strong demand for carved effigies in fourteenth-century Yorkshire but, as explained in Chapter 3.6, that was largely satisfied by the Magnesian Limestone quarry workshops near York. In addition, in the extreme north-east of Yorkshire are to be found a group of ten mid-fourteenth century effigies termed ‘Series E’. Durham also had its centres of effigy production in sandstone and wood. The shift in usage from sedimentary marbles to ‘freestones’ may well have been prompted by the more widespread use of surface finishes on effigies to give them a life-like appearance. If the whole of the stone was to be covered by polychromy, there was little point in using the prestigious sedimentary marbles, which would have been more expensive to buy and harder to carve.

More modest still is a large slab in the north aisle of the church at Gilling West with a flat relief inscription at the head end of the slab reading ‘Alys bewsay et Sr Herri Boynton knight Deus propicius esto nobis peccatoribz’ (Pl. 37). The aisle was reserved as the burial place of the Boyntons in the sixteenth century, after Sir Henry

231 We are grateful to Susan Harrison, English Heritage, for photos and information on this fragment. 232 Information from Susan Harrison.

233

Information from the manuscript notes of F.A. Greenhill, now in the custody of Paul Cockerham.

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The use of Egglestone marble 1400-1550 Boynton and Richard Barningham established a chantry dedicated to St. Nicholas here.234 Sir Henry Boynton married Alice, the daughter of Sir John le Botiler of Bewsey (Lancashire), after the death of his first wife, Isabella, with whom he was commemorated by a fine effigial slab discussed below. No date is given on the inscription slab, but a date of c.1540 is most likely. The lettering is broadly similar in style to the flat relief lettering seen on the chamfers of tomb chest covers but it lacks the exaggeratedly cusped outlines of the miniscule letters produced in the closing decade of the fifteenth century. Comparisons with the lettering on effigial incised slabs discussed below suggest that the cusping was toned down on later flat relief inscriptions. Of similar design is the example at Marrick Priory (Yorkshire, North Riding) to Isabella Pudsay (Pl. 38). At the head end of a large slab is the inscription in flat relief textualis lettering with Lombardic majuscules ‘Sub iacit petra monialis Ysabella Soror Tome Pudsa de Barfurht’ (Under this stone lies the nun Ysabella, sister of Thomas Pudsay of Barforth). Isabella may perhaps be the daughter of that name of Sir Ralph Pudsay and his wife Margaret; although she was married twice, first to Robert Plays and then to Thomas Beauchamp, she might have taken the veil after the death of her second husband. She had an elder full brother named Thomas, although he is usually referred to as being of Worsall. Alternatively, the Isabella commemorated may have been a sister of Sir Thomas Pudsay, Ralph’s great-grandson, who was born c.1471 and died in 1536. Unfortunately no date is given so it is difficult to determine when exactly the slab was made. In contrast to the other artefacts with flat relief lettering, this slab is comparatively poorly executed. The very modest cusping on the minuscule letters suggests a date of c.1530 or perhaps slightly later, indicating that Isabella was more likely to have been the sister of Sir Thomas Pudsay (d.1536). Related to these last two examples is a slab at Egglestone Abbey which is too weathered for identification, although it is almost certainly Egglestone marble. It bears a simple relief inscription to John and Johanna Mitchell, who were presumably benefactors of the Abbey (Pl. 39). Unfortunately it is not dated and nothing can be traced about the couple. Comparisons with other inscriptions suggest a date in the first quarter of the sixteenth century.

Fig. 10. Rubbing of incised slab to John Forster (d.1456). Wycliffe (Yorkshire, North Riding). in mass vestments standing under a shaftless canopy. A chalice and a clasped missal are shown between the pinnacles of the canopy and at the corners of the slab are barbed quatrefoils. A marginal inscription reading ‘Hic jacet Jh’es Forster quo’dam Rector istius Eccl’ie de Wyclif cujus a’ie p’picietur Deus Amen’ (Here lies John Forster formerly Rector of Wycliff, God have mercy on his soul Amen) and a text about the head and shoulders reading ‘Jesu fili Dei miserere mei Amen’ (Jesus son of God have mercy on me Amen) complete the composition.

The remaining seven examples all have effigial decoration. Apart from the example at Startforth discussed above, which commemorates Sir Thomas de Blande (d.1360) and his wife Alicia (Fig. 7), only one is incised rather than being in flat or low relief, viz. that at Wycliffe. Located in Teesdale, relatively close to the Egglestone quarries, it commemorates John Forster (d.1456) (Fig. 10 and Pl. 40). This slab appears exceptionally poorly planned and drawn. It shows Forster

234

The rest of the examples of low-relief effigial carving follow in the tradition of the slab from Denton discussed above, although they are spread over a period of nearly eighty years. The earliest is the idiosyncratic composition at Bolton-by-Bowland (Yorkshire, West Riding) to Sir

VCH, North Riding, pp. 71-84.

47

Northern Rock: the use of Egglestone marble for monuments in medieval England

Fig.11. Rubbing of incised slab to Sir Ralph Pudsay (d.1468). Bolton-by-Bowland (Yorkshire, West Riding).

48

The use of Egglestone marble 1400-1550

Fig. 12. Rubbing of low relief slab to Henry and Richard Scrope, the sons of Sir Henry Scrope, 7th Lord Scrope of Bolton, both of whom died in 1525. Wensley (Yorkshire, North Riding). Ralph Pudsay (d.1468) and his family, which is carved from a huge single block (306 cm long by 170 cm wide and about 17 cm thick) of Egglestone marble (Fig. 11). The slab, which rests on a modern tomb chest, has no inscription giving the names of the deceased; presumably this information was recorded on the original (lost) chest. Invaluable genealogical information is provided by the monument, which shows Sir Ralph’s three wives and twenty-five children.235 At the hem of the gown worn by

each wife is a numeral indicating how many children she bore him. Inscriptions on the slab also indicate the names of the children.

235 For more on this monument, see Sally Badham, Geoff Blacker and Martin Stuchfield. ‘The brasses and other monuments to the Pudsay

family at Bolton-by-Bowland, Yorkshire’, Transactions of the Monumental Brass Society, forthcoming.

Much about the design and execution of this slab is most unusual. The drawing of the canopies is sketchy and that of the ill-proportioned figures naive. Moreover, the armour and costume shown belong to an earlier era. Sir Ralph is shown in a pointed bacinet and plate armour

49

Northern Rock: the use of Egglestone marble for monuments in medieval England Hac tegu(n)tur humo henric(us) Scrop / Richard(us)q(ue) d(omi)ni henrici de bolton et Mabelle / Uxor(is) sue Minores natu liberi / Quor(um) alt(er) xxv die decessit Marcii alt(er) xxviij iulij / an(no) d(omi)ni M D xxv / quas a(n)i(m)as ditet de(us)’ (Under this earth are covered Henry Scrope and Richard, younger sons of Henry of Bolton and his wife Mabel; of whom one died 25 March, the other 28 July AD 1525; may God enrich those souls).

underneath what appears to have been intended as a ‘jupon’ incised with his arms, vert a chevron between three mullets pierced gold. His sword and dagger are attached to an old-fashioned square-sectioned arse-girdle. Around his neck is what may be a livery collar; the design is unclear but perhaps it was an SS collar to reflect Sir Ralph’s service to Henry VI. Behind his head is the Pudsay crest, a hart lodged, but unusually it is not attached to a helm (Pl. 40). Above his shoulders are the words ‘Jhu merci’. Those of his sons who did not take holy orders are in armour. Some, like their father, sport a sword and dagger; others have only a sword or are depicted with a lance and battleaxe. All three wives and the female children are attired alike in horned headdresses and flowing gowns covered by voluminous cloaks of a style more commonly seen a generation before the monument was made.

Far less well preserved is the shallow relief slab set into the floor of the north aisle at Bedale (Yorkshire, North Riding), which commemorates Thomas Jackson, (d.1529), a wealthy merchant of Bedale (Pls. 43-44). Jackson wears a short civilian gown, reaching only to his knees, with long pendant false sleeves. On either side of him are the half-size figures of his two sons, each in a full-length gown, the hems spilling into a sea of folds as on the 1525 slab at Wensley; the figure on the right has the remains of a collared dog at his feet. They stand under a debased-Gothic canopy, surmounted by a panelled arcade, on the left of which appears to be part of a sword and on the right a shield. The marginal inscription is now hard to decipher, but Dodsworth recorded it as reading: ‘Hic jacet Thomas Jackson, quondam mercator de Bedall qui obit primo die mensis Julii anno Domini MCCCCCXX nono cujus anime propiectur Deus’ (Here lies Thomas Jackson, formerly merchant of Bedale, who died on 1 July 1529 on whose soul God have mercy).236

Although superficially there are few similarities between the Wycliffe and Bolton-by-Bowland slabs, which are very close in date, a detailed scrutiny reveals some stylistic parallels. The shapes of the main canopies are different but the Wycliffe canopy can be compared with those over the children at Bolton. Moreover, the treatment of the cusping is the same on both main canopies and the tops of the pinnacles are identical (Fig. 11 and Pl. 42). There are also some similarities in the lettering, notably the majuscule J in the name ‘Johes’ on the Wycliffe slab, which precisely mirrors the shape of the J in the text ‘Jhu merci’ behind Sir Ralph Pudsay’s head (Pl. 40), and the unusual separation of the minuscule letters.

The final example in the series provides an appropriate crescendo. Formerly in the floor of the north aisle at Gilling West (Yorkshire, North Riding), but now mural at the west end, is a slab with full length figures carved in low relief of Sir Henry Boynton and his wife Isabella (d.1531), the daughter of Bertram Lumley (Pl. 45). Henry was the elder son of Christopher Boynton – linked by service to the Neville family (and one of the executors of the will of Ralph Neville, 1st Earl of Westmorland) – and his wife Agnes, daughter of Henry, 4th Lord Scrope. Hence, like many others who were commemorated by monuments carved from Egglestone marble, the couple formed part of an elite group centred on the powerful Neville family.

This analysis suggests that both slabs were the product of the same quarry marblers, rather than the slab for the Pudsay monument being supplied roughly dressed for more expert carvers to work on at or near the church. Comparisons can also be made with other products of the Egglestone marblers. The design of the canopies, particularly the feathery crockets shown on the Bolton-by Bowland incised slab, are replicated on the tomb chest at Egglestone Abbey to Sir Ralph Bowes (Fig. 10 and Pl. 24). The pinnacle on the Wycliffe incised slab is also replicated on the tomb chest panel outside the same church (Pls. 42 and 26). The final four examples were produced within less than a decade of each other. Mounted on the north wall of the north aisle at Wensley is a low relief slab of Egglestone marble to Henry and Richard Scrope, the sons of Sir Henry Scrope, 7th Lord Scrope of Bolton, who both died in 1525 (Fig.12). The mural positioning, which cannot be original, has left this slab in a fine state of preservation. Two male figures, dressed in doublets and long gowns with wide sleeves, are shown under canopies. An interesting feature is that they stand on brackets, probably to indicate that they died before reaching maturity. The composition is completed by a marginal inscription in textualis lettering, which continues on a scroll above the figures. It reads:

The couple are shown on their monument with their heads resting on single rectangular cushions. Sir Henry is depicted in armour with his sword hanging from a transverse belt. Isabella is shown as a widow. She is attired in a long gown, held at the waist by a girdle from which a rosary hangs, while on her head she wears a netted headdress with a veil falling from it on either side. The monument proudly displays their lineage: the arms of Boynton and Lumley are over the figures and both rest their feet on a goat, the Boynton family crest. An incised marginal inscription with evangelists’ symbols at the corners records: 236

J.W. Clay (ed.), Yorkshire church notes 1619-1631 by Roger Dodsworth, Yorkshire Archaeological Society Record Series, 34 (Leeds, 1904), p. 237.

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The use of Egglestone marble 1400-1550 Hic jacet dñs he[n]ricus boynton myles ultim’ heres de sydbery isti’ nõis et essabella uxor ejus qui VII id januarii obiit año dñi mocccccoxxxioquo[..] añib[us] p[ro]picietur deus Ame[n]’ (Here lies Sir Harry Boynton, knight, last heir of Sudbury of that name, and Isabel his wife; she died 7th Ides January [7th January) A.D.1531 [1532], on whose souls may God have mercy Amen).

low relief slabs found copyists elsewhere. At Middleham (Yorkshire, North Riding) is a limestone slab removed from Jervaulx Abbey, which commemorates Abbot Robert Thornton (d.1533). This slab features a crozier and mitre, resting on a tun and with the initials ‘RT’ all carved against a background of thorns; the combination of the thorns and the tun is a clear rebus for ‘Thornton’. The low relief carving and the way the slab is set out, with a marginal inscription and evangelists’ symbols at the corners, are strongly reminiscent of the later Egglestone marble products.

Sir Henry was the last male Boynton of Sedbury, a manor four miles from Gilling West, the seat of the family from the mid-fifteenth century.

6.4 Brasses and indents The inscription gives Isabella’s date of death, but not Sir Henry’s, showing that the slab was commissioned by Sir Henry in his own lifetime. The execution of this slab is much superior to the other examples remaining, which raises the question of whether it was carved by the Egglestone marblers or whether Sir Henry turned to more expert stone-masons.

An entirely different picture is presented by an analysis of the brasses of the region, a high proportion of which were set in Egglestone marble. In total 179 Egglestone marble slabs (including tomb chest covers) have been found which either have brasses set in them or retain indents of lost brasses (listed in Appendix 10). Significant numbers are to be found in Yorkshire (North Riding 42, East Riding 29, West Riding 24 and York 24), and Co. Durham (37), with a small number in each of the counties of Cumberland (9), Lincolnshire (7), Westmorland (4), Northumberland (1), Nottinghamshire (1), and Lancashire (1).

Although these early-sixteenth century slabs are by no means sophisticated products, they are executed with a degree of panache that would certainly have attracted the attention of the Christian faithful and hopefully have moved them to pray for the souls of those commemorated. Egglestone marble incised and low relief slabs did not, however, have wide appeal. In total there are thirty-nine effigial incised slabs remaining in Yorkshire which date from before 1550. The seven effigial Egglestone marble low-relief and incised slabs recorded so far therefore represent 18% of the total number of such monuments in the county. There are only two effigial incised slabs in Durham, both dating from before the period when Egglestone marble appears to have been quarried in significant quantities.

A total of seventy-nine indents cannot be attributed to a specific workshop, five because they are too worn or covered and seventy-four because they consist of the indent of an inscription plate or shield with no effigial representation. The remaining one hundred brasses and indents in Egglestone marble slabs should be considered in three categories. First is the handful of Durham Series 1 brasses produced in the 1460s. Only five examples, all simple plate inscriptions, have been identified as attributable to this workshop.237 Those at Sockburn (Pl. 15) and Sedgefield (Co. Durham) are in slabs definitely identified as Egglestone marble; the last at Kirklington (Yorkshire, North Riding) is probably also of this stone, but due to the eroded surface a firm attribution cannot be provided. There are also effigial indents in this stone in Co. Durham at Heighington, Sedgefield and Winston-onTees which are most probably of local manufacture.

It is difficult to account for why the Egglestone marblers did not make more of an impact on the market for incised slabs. It was not that this kind of monument was unpopular with the type of clientele who favoured their other products. There are incised slabs in Yorkshire to the higher clergy and the gentry but, apart from Sir Ralph Pudsay and Sir Henry Boynton, they commissioned their monuments from other workshops. A factor may have been the apparent failure before the 1530s to produce an emphatically heraldic type that would appeal to the Nevilles and their circle, as the standard type of tomb chest had done, or perhaps those who wanted a floor monument instead preferred more eye-catching and durable brasses.

The second group comprises brasses made in the York workshops (listed in Appendix 7). Five series have been identified in the period c.1350 to c.1510, although a handful of likely York products fall outside this date range.238 In total 117 examples can be identified as of likely York manufacture (not all of which are set in Egglestone marble); eleven do not retain their original matrices and a further sixteen could not be checked. As

There is, however, one low relief slab in the county that suggests that the sixteenth-century Egglestone marble

237 238

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Badham, North East, pp. 24-25 and 32. Badham, ‘York workshops’, pp. 165-85.

Northern Rock: the use of Egglestone marble for monuments in medieval England

Fig. 13. Rubbing of brass to Richard Aske, esquire, and his wife Margaret (d.1466). Aughton (Yorkshire, East Riding). Illustration: William Lack.

Fig. 14. Rubbing of figures from brass to John Langton the younger (d.1466) (figure now lost) and his wife Agnes. The Egglestone marble slab, now mostly covered, shows the indents of many shields of arms, as requested in his will. Leeds (Yorkshire, West Riding). Rubbing: Society of Antiquaries of London

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The use of Egglestone marble 1400-1550 The final group of brasses set in Egglestone marble slabs comprises London-made brasses that were sent out loose and set in slabs of Egglestone marble. A total of forty-six such figure brasses and indents have been located in the region surveyed, from a range of London workshops. All but one are post-Black Death examples; two are from London A, nine from London B, fourteen from London D, seven from London F, and four from London G, with a further nine examples being classified as of likely London manufacture, although they cannot be attributed to a specific workshop. London-made brasses are uncommon in the north-west, but the only such figure brass in Westmorland and all four in Cumberland have Egglestone marble slabs. In contrast, only one of the six such brasses in Co. Durham was found to be set in an Egglestone marble slab. Effigial brasses and indents are much more common in Yorkshire (listed at Appendix 7). There are seventy-two London-made figure brasses and indents in Yorkshire dating between 1400 and the Dissolution, of which seventeen (24%) are set in Egglestone marble.

discussed above, Yorkshire Series 0, operational in the 1370s and 1380s, used Egglestone marble for three out of its nineteen known products, but the slabs of nine examples no longer survive or remain open to view. From the beginning of the fifteenth century much greater use was made of Egglestone marble. Amongst the earliest was a simple inscription slab at Wycliffe (Yorkshire, North Riding) with a shield below in impressed lead, undoubtedly originally inlaid with coloured wax or a similar soft material (Pl. 46). It commemorates Roger de Wyclif; Lord of the Manor; and his wife Katherine. Documentary evidence indicates that Roger was alive in 1349 and dead in 1362, hence he probably died during the Black Death. The brass was laid down many years after his death, being a Yorkshire Series 1 product of c.1410. Sixteen of the forty-three products of the Yorkshire Series 1 workshop, operational c.1390 to c.1435, are set in Egglestone marble slabs (nine had no slab or could not be checked); this represents a minimum 38% set in Egglestone marble. Twenty of thirty-five brasses and indents from Series 2, operational c.1445 to c.1475 are set in Egglestone marble (nine had no slab or could not be checked); this represents a minimum 63% set in Egglestone marble. Four of the six Yorkshire Series 3 brasses produced in the 1480s (one of which survives only as a palimpsest reverse and cannot therefore be associated with an extant slab) are set in Egglestone marble, as are four of the six Series 4 brasses produced c.1493 to c.1503. There are nine examples of apparent York manufacture which cannot be assigned to a specific pattern series, mainly because they pre- or postdate the main workshop groups; of these, six have Egglestone marble slabs. Some of the remaining examples are in a crinoidal limestone which cannot be positively identified as being of Egglestone marble, so the actual percentages of York made brasses set in Egglestone marble may be somewhat higher.

If the proportion of London-made figure brasses in Yorkshire which have been set locally in slabs of Egglestone marble seems low, it must be remembered that many of those who could afford a large figure brass from the metropolitan workshops would probably not have baulked at paying for it to be shipped complete with a Purbeck marble slab in which it had been set at the workshop. For the less well-off, compromises were made, probably to economise on transport costs. It is noteworthy, however, that a number of relatively high-status Yorkshire patrons chose to have prestigious Londonmade brasses, but were quite happy for them to be set locally in Egglestone marble. They include the prior commemorated by an indent, clearly not in its original position since it is aligned north-south, at Snaith, presumably removed from the minor Benedictine Priory of Snaith at the Reformation, and a number of men of knightly status. Five London-made inscription brasses were found to be set in slabs of Egglestone marble and there are an additional seventy-five inscription indents in Egglestone marble, a good number of which may well have originally held London-made brasses.

The clientele of the York brass engraving workshops included members of the upper gentry, but most, however, were commissioned to commemorate the lesser gentry, parish priests and better-off townspeople. Betteroff townspeople who were commemorated by brasses set in Egglestone marble included Richard Aske, esquire, and his wife Margaret, who are commemorated by a York Series 2b brass set in Egglestone marble at Aughton (Fig.13). When Richard died in 1460 he was buried in Ellerton Priory, but it was Margaret (d.1466) who commissioned the brass; in her will she directed ‘ad empcionem unius lapidis super sepulchrum meum et mariti mei ponendum et jacendum xl’ (£10, to buy a single stone to be placed and to lie over my grave and my husband’s).239 The sum of £10 seems on the high side for a brass at this time. The brass was presumably originally set in Ellerton Priory but rescued at the Dissolution by the family who were still resident at Aughton.

One particularly interesting example is the brass to John Langton, esquire (d.1467). His father and namesake had been commemorated by a York-made brass set in an Egglestone marble slab on his death in 1459. In his will, dated 1466-7, John Langton the younger asked to be buried in Leeds parish church in the place where his wife Agnes was buried. He directed his executors to provide: A stone of marbill to be laid upon us both, with a grete skochon of myn armes and of armes of my said wife to be set in the mydis of the ston, with all my doghtirs in armes with thair husbandis upon my right syde, and with all my sones and their wifes in armes

239 J. Raine (ed.), Testamenta Eboracensia 2, Surtees Society, 30 (Durham, 1855) p. 75.

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Northern Rock: the use of Egglestone marble for monuments in medieval England upon my left syde and with all my fadir, graunsir, and auncestres in small skocheons at my hede.240

6.5 Fonts The Egglestone marblers were also responsible for a series of pedestal fonts found throughout the north-east (listed in Appendix 11). A total of eighteen examples, either whole or in parts, have been recorded: nine are in Yorkshire, five in Co. Durham, three in Northumberland and one in Cumberland (the distribution is shown in Map 9). Although fonts are outside the category of tomb monuments, which is the main focus of this volume, most have heraldry or inscriptions and are therefore commemorative in nature.

The worn remains of his London sub-B brass, now detached from its Egglestone marble matrix, survive in St. Peter’s church, Leeds (Yorkshire, West Riding) (Fig. 14). Admittedly, the reference to ‘a ston of marbill’ in the will cannot necessarily be taken as specifically referring to an Egglestone marble slab; the same terminology is found specifically to refer to slabs of Purbeck marble and was probably even used generically to refer to a brass or incised slab.241 Nonetheless, the term might sometimes have been used with the specific intention of referring to Egglestone marble. Perhaps a more significant reference is the will of John de St. Quintin, esquire (d.1515), who was buried at Harpham and requested ‘a stone of blew marbill to be layde uppon my father and me, I to lye on the right hand of my father’.242 Unfortunately the monument, almost certainly a brass as it was evidently effigial, is lost, although York-made brasses in Egglestone marble slabs to two of his ancestors survive. Hence we cannot know whether John meant an Egglestone marble slab, but it is very likely; many antiquarian notes contain the term ‘a blue marble’ or ‘a blue stone’ to describe slabs that are of Egglestone marble.243

Although most fonts in England are carved from ‘freestone’, there was a tradition of the commissioning of high-status fonts carved from sedimentary ‘marbles’. Fonts carved from Tournai marble are found throughout Europe, including in England. They are to be found in Hampshire at East Meon, St. Mary Bourne, Southampton, and Winchester; in Suffolk are two examples at Ipswich, one in St. Peter’s church and the other, found during excavations, possibly from Christchurch Priory and now in the city museum; and in Lincolnshire in Lincoln Cathedral and at Thornton Curtis.245 Purbeck marble fonts are found in large numbers in southern England and East Anglia, although there are none recorded in the north-east.246 Frosterley marble was another polishable limestone from which fonts were produced; there are medieval examples in Co. Durham at Redmarshall, Brancepeth, Darlington, and Thornley near Tow Law and in Yorkshire in Beverley Minster and Bridlington Priory church.247 The presence of this group in the north-east may have prompted the use of Egglestone marble for fonts.

Although it is evident from this survey that very large numbers of Egglestone marble slabs were used for setting both York-made and London-made brasses, the numbers of such slabs surviving are only a proportion of those originally laid down. In the course of this study, a total of fifty plain floor slabs of Egglestone marble were recorded, which may have been reversed at some stage and could have had indents of lost brasses on the back. In addition, it was noted that the floors of York Minster, Ripon Cathedral and Beverley Minster contained many paver slabs of Egglestone marble that are almost certainly cut-up indents of lost brasses. Certainly when part of York Minster floor was taken up for works in the early 1970s, it was seen that the reverses of some pavers had partial indents.244 As explained in Chapter 3.7, there have been significant losses of monumental brasses, the original numbers possibly being ten times what remain to us. The production of Egglestone marble slabs for brasses was thus evidently a large-scale industry.

The Egglestone marble fonts are very different from pedestal fonts found elsewhere in the country. In the fifteenth and early-sixteenth centuries, many font bowls were richly carved.248 Especially fine are the Seven Sacraments fonts of East Anglia. Elsewhere, including in much of Yorkshire, architectural patterns based on window tracery or gabled niches were favoured. Rectangular ornamented panelling, often with figures of angels or saints or with the instruments of the passion, became popular from the later-fifteenth century. Sometimes such imagery alternated with shields, which could have been painted with the arms of the donor, but religious imagery predominated. In contrast, religious imagery is absent on virtually all of the Egglestone marble fonts. Instead, the main form of decoration is usually a series of shields on the bowl, often marked with arms or merchants’ marks. This reinforces their secondary function as a means of commemorating the

240

Raine, Testamenta Eboracensia 2, p. 278. Badham, ‘ “A new feire peynted stone” ’, p. 23. 242 Clay, Testamenta Eboracensia 6, pp. 54-55. 243 There is some evidence of deliberate distinction between ‘blue marbles’ and other sedimentary marbles in antiquarian church notes relating to this region. In James Torre’s ‘Churches peculiars within the Diocese of York’, York Minster Library, L1(10), fo. 205, the Frosterley marble cover-slab in Howden Minster is described as a ‘black coffinlike marble’. There are also many references to ‘white stones’, presumably ‘freestones’ which do not take a polish, probably including Magnesian Limestone; most seem to be incised inscription slabs. 244 Information from Patrick Farman. 241

245

C.S. Drake, ‘The distribution of Tournai fonts’, Antiquaries Journal, 73 (1993), pp. 11-26. 246 Leach, Purbeck marble, pp. 69-83. 247 The example at Brancepeth was severely damaged in the fire but has been successfully restored. 248 F. Bond, Fonts and Font Covers, (Oxford, 1908).

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The use of Egglestone marble 1400-1550

Map 9. Distribution of Egglestone marble fonts.

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required to provide blocks from which the extant font components were carved varies from 50 cm to 127 cm. The bedding and joint pattern in Mains House Quarry would be particularly suited to providing blocks of the required dimensions: four beds are exposed ranging in thickness from 54 to 85 cm, with joints up to 130 cm apart.

donors. An unlooked-for benefit of the adoption of a secular decorative scheme, however, is that, with the possible exception of the Richmond font discussed below, they were not subject to iconoclasm at the Reformation. The Egglestone marble fonts were carved in three constituent parts: the bowl, the pedestal and the base. Two designs of octagonal bowls predominate. A pronounced octagonal shape with concave sides and the base of the bowl cut straight back to the pedestal is typified by the example at Bolton-by-Bowland (Pls. 6667). Other examples of this type are at Barnard Castle (Pl. 63), Kendal (Pl. 47), Richmond (Pl. 53), Ripon Cathedral (Pl. 48), South Cowton (Pl. 49), South Kilvington (Pls. 60-62), Startforth (Pl. 64), and Yarm (Pl. 50). Bowls with a rounded, cup-like shape, albeit with different degrees of emphasis but usually with concave sides, are at Catterick (Pl. 52), Chester-le-Street (Pl. 56), Kirkharle (Pl. 55), Staindrop (Pls. 58-59), and Newcastle Cathedral (Pl. 57). The scalloped profile of the inside of the bowl of the Marrick Priory font has not been paralleled elsewhere; this font is also considerable smaller than any other Egglestone marble example. (Pl. 51). This high degree of standardisation of design suggests that one or more workshops specialised in font manufacture, producing merchandise to a stock design. Some may even have been carved in readiness for orders yet to come. Fifteen of these fonts have octagonal bowls with a shield carved on one or more faces. Those at Marrick, Ripon Cathedral, Yarm, and South Cowton have blank heraldic shields, but the rest have at least some carving on the shields. Those with blank shields might have been painted with arms, the polychromy having long since worn away. Indeed, it is very likely that even the fonts which have carved arms originally had polychromy; the example at Newcastle has been re-painted to give an impression of its original appearance (Pl. 57). The fact that the shields were sometimes carved but in other instances left blank or painted may be evidence that the fonts were carved ready for personalisation for the client.

No accounts for the production of any of these fonts survives, but a font, albeit more elaborately carved, that was made in 1468 for East Dereham church (Norfolk), cost £12 14 2d, excluding the cost of the raw materials and stone from which it was carved and the lead lining for the bowl, of which £10 was paid to the mason for his workmanship.249 It is unclear over how long a period these fonts were made. Most are generally given dates ranging from the mid-fifteenth century to the early-sixteenth, although some may be earlier. A degree of precision in dating can be obtained for fourteen of the fonts through an analysis of the heraldry or inscriptions, but for the remaining four examples close dating is impossible. Eleven examples can be dated to the second half of the fifteenth century with a fair degree of certainty. The font at Catterick (Yorkshire, North Riding) may well be the earliest extant example (Pl. 52). It shows the initials and arms of William Burgh (d.1442), who was commemorated, together with his son William (d.1462), on a Yorkshire Series 3 brass set in an Egglestone marble slab in the church. Also on the upper part of the font bowl are the arms of Fitzhugh of Ravensworth, Scrope of Masham, Lascelles, d’Arcy and Neville. On the stem in textualis lettering, with one very elaborate letter on each side, is ‘clarfon’ (clear fountain); and on the base three pairs of letters GL, WR and CR, which have not been explained. Nonetheless, it is the Burgh connection which is most significant. The church had been re-built by 1415 under an agreement dated 1412 between Katherine, the widow of John Burgh, her son Richard Burgh and Richard of Crakehall, near Bedale.250 John Burgh is commemorated at Catterick by an inscription brass of Yorkshire Series 1 workmanship set in an Egglestone marble slab. What is more likely than that the font was commissioned by William Burgh soon after the completion of the church?

It is uncertain whether all the fonts were produced in the same workshop or originated in several workshops based in or near the quarries, but it may be possible to identify from which particular quarry the blocks for the bowls came as there is a correlation between the size of the component parts and the bedding and jointing patterns at Mains House Quarry. Bowls are the largest of the three components which comprised a font. Most of these fonts are fairly uniform in size, all but a handful having a bowl diameter in the range of 79-98 cm and depth of 44-56 cm. Examples with bowls 1.16 m in diameter are at Barnard Castle and Kendal. The deepest bowl is 62 cm at Kirkharle. The font at Marrick is the smallest, with a bowl diameter of just 54 cm and a depth of 30 cm, but this is so different from the other fonts that it has been excluded from this analysis. To these dimension an allowance of at least 10% extra needs to be added for wastage of stone while carving the font to its final dimensions. This indicates that the minimum dimension between the vertical joints in the stone beds in the quarry

The Egglestone marble font at Richmond (Yorkshire, North Riding) may be early to mid-fifteenth century in date (Pl. 53). It had low relief lettering on six of the shields, now mostly chiseled off. On the eastern and western sides there remain the letters ‘chi’ and ‘i be’ in a finely executed textualis lettering style. From the absence of majuscules and the disjointed state of the letters, it can be inferred that these are merely the fragments of an 249

R. Gough, ‘Description of the old font in the church of East Meon, Hampshire, 1789, with some observations on fonts’, Archaeologia, 10 (1792), pp. 183-207, at pp. 196-97. 250 The contract, dated 1412, is printed in J. Raine, Catterick church in the county of York, (London, 1834).

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The use of Egglestone marble 1400-1550 mounted on it a brass shield with the arms of Sir Edward Neville, K.G., Lord Bergavenny [Abergavenny] (d.1476), and his wife Elizabeth Beauchamp (Pl. 59). A date in the third quarter of the fifteenth century is thus indicated. Elizabeth (d.1448) is commemorated in the same church by a brass, all lost bar two shields identical to that on the font. It is a Yorkshire Series 2a product set in an Egglestone marble slab.

inscription which originally ran round the font. As the church is dedicated to St Mary, it has been suggested that the inscription might originally have read ‘Ma / rie / bgn / the / rne / celi / mri / chi’ (To Mary, the blessed virgin, the queen of heaven, the mother of Christ). The removal of all but tiny fragments of the inscription could well have been carried out during the Reformation. On the western face of the font is a merchant’s mark incorporating the letters I and Y, but the name of the donor is unknown.

The font at South Kilvington (North Riding), which is said to have been removed from the chapel at Upsall Castle, has an incised inscription in textualis lettering with very elaborate majuscules on the base to the donors, ‘Dominus Thomas le Scrope et Elizabetha uxor ejus’ (Thomas, Lord Scrope and his wife Elizabeth) (Pls. 6062). There were two Lord Scropes of Masham and Upsall in succession, who each married a wife called Elizabeth. This gives a possible date span for the font of between 1456 and 1494. However, the exceptionally close similarity in design to the Bolton-by-Bowland example, discussed below, points to Thomas, 6th Lord Scrope (d.1494), and his wife Elizabeth Neville as the likely donors. A date in the last quarter of the fifteenth century is thus indicated.

At Sedgefield (Co. Durham) is a font regarded as being made up of components of two periods (Pl. 54). The Egglestone marble base and pedestal are reputed to have been given c.1450 by the wealthy Newcastle merchant, Roger Thornton the younger (d. after 1456), who married Elizabeth, daughter of Lord Greystoke.251 The bowl – a crinoidal limestone not identified as Egglestone marble – is post-Reformation, but the arms shown include Thornton and Greystoke. Roger Thornton the younger is reputed to have been the donor of the example once in All Saints’, Newcastle, but in 1884 removed to Kirkharle (Northumberland). This font has various shields: carved but in poor condition on the bowl, and restored brass shields on the replacement base (Pl. 55). The heraldic display includes the arms of George, Lord Lumley (d.1507), and his wife Elizabeth, daughter of Roger Thornton, and another shield with a merchant’s mark. The couple married c.1459 so the font must date to the 1460s at the earliest, suggesting that they are more likely to have commissioned the font in memory of Elizabeth’s father.

The examples at Barnard Castle (Pl. 63) and Startforth (Pl. 64), both very near to the Egglestone quarries, are similar in design and share the same Lombardic lettering style. The latter is marked in Lombardic letters with the initials of the abbot of Egglestone Abbey, Robert Ellerton (abbot from 1476 to 1495), who presented it at his own cost and charges.252 Abbot Ellerton is almost certainly commemorated by an indent of a lost London F brass at Egglestone Abbey, with a figure of him holding a crozier, a foot inscription and four quatrefoils at the corners. It is probably of Egglestone marble, but the weathering it has suffered precludes definite identification (Pl. 65). Lombardic majuscules were superseded by Gothic forms towards the end of the fourteenth century, but underwent a brief revival in conjunction with textualis minuscules from the closing decades of the fifteenth century to the early-sixteenth.

This is not the only Egglestone marble font with which they can be associated. The font at Chester-le-Street, which may date from the very end of the century, bears the arms of Hedworth, Lumley and Thornton (Pl. 56). Bearing in mind the pedigree of the Lumley family, it may be inferred that the donors were George and Elizabeth Lumley. The Egglestone marble font at St. Nicholas’s Cathedral, Newcastle (Pl. 57), has on six of the faces the arms of Robert Rhodes (d.1474). He sat in Parliament seven times between 1427 and 1442 and was a notable benefactor of the church, having paid for the building of its steeple. The remaining two shields show the arms of his niece and heiress and her husband, Richard Bainbrigge, who may have commissioned the font to his memory. Broadly contemporary is the font at Staindrop (Co. Durham) (Pl. 58). Seven of the shields are blank but the eighth has

The font at Barnard Castle (Co. Durham) has a merchant’s mark on four of the shields and on the base, the remaining four shields having in relief the Lombardic letters T, M. E and A. These may be the initials of the donor of the font but another explanation has been that the M and A are the initial and terminal letters of the name ‘Maria’, the M containing all the letters of Maria as a monogram, and hence the font was given in honour of the Virgin Mary, to whom the church was dedicated, by a merchant with the initials T.E. The donor was evidently buried in Barnard Castle church; Surtees recorded the same merchant’s mark on ‘a blue stone in the middle aisle’.253 From the use of the term ‘blue marble’ it can be inferred that this monument could well also have been of

251 Roger Thornton and his wife Agnes are commemorated by a Flemish brass once in All Saints’ church but now in Newcastle cathedral. His father, Roger Thornton the elder (d.1429), was three times mayor of Newcastle and was summoned to parliament on several occasions. He was a generous benefactor of All Saints’ and St Nicholas’s churches. The east window of St Nicholas’s church formerly contained an inscription ‘Orate pro anima Rogeri de Thornton & pro animabus filiorum et filiarum.’ [‘St Nicholas’ church: History and architecture’, Historical Account of Newcastle-upon-Tyne: Including the Borough of Gateshead (1827), pp. 235-255. URL: http://www.british-history.ac.uk/ report.aspx?compid=43352. Date accessed: 10 February 2008.].

252 J.F. Hodgson, ‘Fonts and font covers’, Transactions of the Architectural and Archaeological Society of Durham and Northumberland, 6 (1906-11), pp. 49-80. 253 Surtees, Durham, 4, p. 81.

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decade of the sixteenth century.254 Why this should be when incised slabs and tomb chests continued in production is an enigma.

Egglestone marble, but it has not survived and the identity of the person commemorated is thus unknown. Bolton-by-Bowland boasts an especially imposing Egglestone marble font, which is distinctive due to the inscription engraved on pairs of brass strips on four of the concave panels of the bowl (Pls. 66-67). These brass inscriptions are very crudely engraved, suggesting that the work was carried out by a craftsman at the Egglestone quarry workshop. The inscriptions read ‘Orate p[ro] a[n]i[m]ab[u]s / d[omin]i Radul / phi Pudsay / milit[is] & de / Edinie uxor[is] / euis ac d[omi]ni / W[i]li Pudsay / filij ea[rum] (for eorum) co[n]d[am] (for quondam) rec/tor[is] hui[us] eccl[es]ie’ (Pray for the souls of Ralph Pudsay knight and of Edwina his wife and Sir William their son once rector of this church). William Pudsay was appointed to the living of Bolton-by-Bowland by his father in 1448 and he remained there until his death in 1507. He is shown in academic dress on the incised slab to his father (described in Chapter 6.3 above), in the top line of the children, third from the right (Fig. 11 and Pl. 40).

6.6 Other church fittings Finally, there are six other major artefacts which were carved from Egglestone marble in the medieval period. All are examples of monastic patronage. Mention has already been made in Chapter 1.2 of the laver at Durham Cathedral, for which there is ample documentary evidence, which was carved from Egglestone marble in 1432 (Pl. 11). It was originally located in a building on the south side of the cloister near the frater. Remains of the building are now covered over and the laver itself is central on the Cloister Garth. The laver bowl is carved out of a single piece of the marble. It is octagonal in form, 2.43 m in diameter and 34 cm in thickness, which has been hollowed out to a depth of 20 cm. The sides, 12.5 cm thick, are slightly concave and the top rim sloped outwards. In the middle of each side is a blank shield in relief and another at each junction point of the eight sides. This feature echoes the design of Egglestone marble fonts and tomb chests; the shields were presumably originally painted with the arms of the abbey. The bowl rests upon two other stones, which unite to form the octagonal surrounding trough, 2.88 m in diameter, 25 cm in thickness and projecting out 22.5 cm on each side of the bowl. The part under the bowl is cut away so as to lessen the weight. Twenty four brass taps were mounted around the bowl, but have disappeared long since.

The font has carved arms on each of the eight sides, the heraldry on which provides a good guide as to when the font was made and by whom it was commissioned. The inclusion of the arms of Clifford demonstrates that it could not have been made before c.1506, when the marriage allying this family to the Pudsays took place. Therefore, the spur for its commissioning was probably William Pudsay’s death in 1507. His brother, Sir John Pudsay, had died in 1492 and it is thus to the next generation that we must look for the patron who commissioned the font.

There is also evidence that Egglestone marble appears to have been used in the construction of two important shrines in Durham cathedral. In 1104, after years of searching for a permanent home, the remains of St. Cuthbert (d. 687) were enshrined behind the high altar of the cathedral. In 1372 a new shrine base was presented by John, Lord Neville. The shrine was destroyed shortly after the surrender of the Priory in 1539, when the remains were re-interred in an ordinary vault and Purbeck marble stones from the shrine base were built into the walls. In 1899, when the vault was re-opened, the Purbeck marble blocks from the base were re-positioned and are now displayed on the platform around an Egglestone marble slab. The lettering ‘CUTHBERTUS’ was added at this date but the original use of the stone slab has not been established.

Although two of the shields display William’s descent, far more reflect the descent of Henry Pudsay, heir to Sir John Pudsay, and of the marriages of his siblings and children. There are no arms to denote the marriage of Henry’s heir Thomas Pudsay to Margaret, daughter and coheir of Sir Roger Pilkington; the likely explanation for this is that the font was made before this marriage took place in 1517. These arms and the events they record thus indicate that the font was made between 1507 and 1517, but it is most likely that it was made soon after William’s death in 1507. It is clear from this analysis that commemorative fonts carved from Egglestone marble were produced throughout the fifteenth century and at the very beginning of the sixteenth century. The example at Staindrop was yet another commission by a member of the Neville family, but both prominent gentry families and wealthy merchants also chose to commission these artefacts. Many were embellished by the arms of the donors and the families to whom they were related, which is a relatively unusual feature nationally. On most the details of the memorialisation were carved into the stone but the Staindrop font has a brass shield while the Bolton-byBowland example has applied brass inscriptions naming those in whose name the font was commissioned. Curiously, none of the fonts can be dated after the first

The second shrine at Durham was to the Venerable Bede (d. 735). In 1370 his relics were removed to a shrine in the Galilee Chapel of the cathedral, which was again destroyed at the Dissolution. The description of this shrine in the Rites of Durham is quoted in Chapter 4.3. The author went on to say:

254 The type clearly remained influential in the area. Wycliffe church (Yorkshire, North Riding) boasts a font carved from Hopton Wood marble, presented to the church in 1898, which copies the distinctive shape and armorial character of the local Egglestone marble fonts.

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The use of Egglestone marble 1400-1550 ‘Ther ys two stones, that was of Sayncte Beedes shrine in the galiley of blewe mble wch after the defacyinge therof was browght into ye bodye of the church and lyeth nowe over against the estmost Toumbe of the Neivell ionyned both together, the uppermost stone of the said shrine hath iij holes in evy corner for Irons to stand and be fastned in to guyde the covyng whene it was drawe up or letten downe, whereupon did stand Saincte Beedes shrine. And the other ys a playne ble stone whiche was Loweste and dyd lye above a litle mble tombe, wher on ye lower end of ye v: smale pillars of mble did stande, wch pillers did also supporte the uppmost stone.’

holes in the back of the niches to indicate their former existence. Only some minor integral sculptural details remain to testify to the high quality of the work.

These top and bottom slabs remain in the positions recorded in the Rites in the fourth bay from the west end of the south aisle.255 Two Egglestone marble slabs in the nave of the cathedral are said to have been part of Bede’s shrine. One has three holes in each corner for the iron rails that guided the movement of the wooden cover that would have covered the shine when it was lifted. Bede’s bones were re-interred in 1542 in an Egglestone marble tomb chest on the site of the shrine.

The last Egglestone marble artefact is an altar mensa, now in the floor of St. Michael-le-Belfrey, York (Pl. 68). The antiquary, Henry Johnston, writing in 1669-71 described it thus:

St. William’s shrine was not the only use made of this stone for decorative carving in York Minster. Two other major items carved from Egglestone marble have been recorded. A small square block, discovered during excavations of the College of the Vicars Choral of York Minster in Bedern in York, has been identified as part of a small pedestal base in a decorative niche intended for small-scale statuary which may have formed part of a screen, reredos or tomb chest of the late-fourteenth or early-fifteenth century.260

‘Ther is a marble ston in the midle isle 5 yards and 2 inches long wch ley as were the Altar ston in the Minster and all undernith it wher as ther is a vault it is carved wth figures and meny crossht letter. It was brought hether in anno 1617’.261

Rather more remains of the shrine of St. William from York Minster, the documentary evidence for the carving of which is set out in Chapter 4.3. The Privy Council, sitting at York, ordered on 22 September 1541 that the head reliquary should be broken up; dismantling of the shrine base was certainly complete by 1553 when Robert Broddis, draper and Sheriff of York requested in his will to be buried ‘nighe unto the grave of Saint William the bishope whereas his tombe Sumtype stood ther at his ffeet’.256 It seems that the shrine had been dismantled and hidden in Precentor’s Court, in the north-west corner of the cathedral precinct, where parts were re-discovered in 1715, 1835, 1882-3 and 1927-8. Other parts were discovered in the gardens of Clifford’s Tower in York Castle. All the re-discovered sections were re-united in the Yorkshire Museum, York, although they are sadly no longer on display. Some further small fragments are still embedded in the walls of No. 10, Precentor’s Court.257 St. William’s shrine base is the latest and largest example of its type surviving in England.258 It was of the specifically English niche type of shrine base, which had been in use for over two centuries before 1471. The surviving sections show it to be a most elaborate piece, but with a strong architectural character (Pls. 13-14). It has been described by Wilson as ‘of a precise, rather cool elegance, as against the florid character of [St. William’s] tomb’.259 The most striking features are the vaults of the niches. The shrine was originally liberally endowed with sculpted figures, but as very few were integral with the sculpture, they have vanished, leaving only the dowel

It is presumably now upside-down, thus not showing the consecration crosses, or indeed, the elaborate figural carving described by Johnston. This slab is probably a pre-Reformation mensa and at 468 cm by 137 cm, it is the largest single slab of worked Egglestone marble recorded in the survey. 6.7 Script styles deployed on Egglestone marble products The range of artefacts carved from Egglestone marble and the long period over which they were made makes comparisons between different types of product difficult, apart from some commonality in canopy design as noted above. One characteristic which many products share is the prominent shields found on tomb chests and fonts, the designs of which were eminently suitable for the bold heraldic displays likely to appeal to the armigerous classes and which could also be adapted to display merchants’ marks. However, another feature which transcends the type of artefact is the lettering style used on tomb chests, incised slabs and fonts; a degree of commonality of letter shape can be distinguished on some examples. The three incised slabs with inscriptions that date from the fourteenth century – the inscription slab at Well, the slab with a low relief effigy from Denton and now in the Bowes Museum, and the effigial incised slab at Startforth – all have inscriptions in Lombardic lettering. The first two examples have plain letter forms reasonably evenly

255

Fowler, Rites of Durham, p. 44. Wilson, St. William, p. 10. Wooden doors that formed part of the shrine are stored in the Minster stonemasons’ workshop. 258 R. Marks and P. Williamson, Gothic: art for England 1400-1547, (London, 2003), p. 248. 259 Wilson, St. William, p. 20. 256 257

260 Contribution by G. Blacker and M. Mitchell to D.A. Stocker (ed.), Architectural fragments: the College of the Vicars Choral of York Minster at Bedern, The Archaeology of York, 10 (York, 1999), p. 329. 261 Bodleian Library, Oxford, MS Top. Yorks. C14, fo. 174.

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in high quality Lombardic lettering, far superior in execution to the Lombardic lettering shown on any of the floor slabs. Finally, in considering the case for separate production of fonts, it has already been noted in Chapter 6.5 that it may be possible to identify from which particular quarry the blocks for the bowls came as there is a correlation in size with the bedding and jointing patterns at Mains House Quarry. It is tempting to speculate that quarry workshops associated with this site on the north of the River Tees specialised in the production of fonts, while monuments were mainly produced in or near the Abbey Quarry on the south bank of the river – but it is impossible to move beyond speculation to certainty.

set around the perimeter of the slab. The letter forms are plain, but it is noteworthy that both have some letters in Roman form, a surprising feature at such a late date as the early-fourteenth century. It is possible that these inscriptions may have been inlaid, perhaps with brass or lead. In contrast the Startforth inscription is rather untidily laid out and displays purely Lombardic forms. At c.1360, this is a late example of the use of Lombardic lettering; in most of the country this type of script had been superseded by textualis lettering during the second quarter of the fourteenth century. This use of an obsolete type of display script is in line with the use of outmoded costume already noted in connection with some of the effigial incised slabs produced from Egglestone marble. A possible explanation for the unsophisticated and old-fashioned appearance of Egglestone marble products may be that they are the work of craftsmen working in a relatively remote part of north-east England, who were probably not familiar with current fashions. A similar phenomenon can be found in Ireland, remote parts of Scotland and, at an earlier period, in north Wales.

Moving on to the scripts on Egglestone marble artefacts produced between the late-fifteenth century and the Reformation, there is a clear break in style, with the near universal deployment of a superior script carried out in flat relief carving. The finest example is on the chamfer of the tomb chest at Croft-on-Tees to Sir Richard Clervaux (d.1490); the lettering, in a textualis script, is characterised by distinctive cusped outlines to the letters. The inscription includes Sir Richard’s date of death in 1490, enabling us to date the monument to a year or two after his death. This is in contrast to the tomb chest at Gainford (Co. Durham), which commemorates Sir William Pudsay (d. by 1499) and his wife Elizabeth; here there is no date of death, indicating that it was commissioned by Sir William in his own lifetime, perhaps c.1480-90. Certainly this script, while very like that at Croft-on-Tees, has less elaborate majuscules. The inscription slab at Egglestone Abbey to John and Johanna Mitchell deploys a comparable script.

There is a long time gap between these early products of the Egglestone marblers and the appearance of the next surviving artefacts with inscriptions. Leaving aside the font dated c.1420 at Catterick, which has finely-executed individual letters on each face of the stem and base in an elaborate textualis script, the next examples date to the mid-fifteenth century. The first three to be considered are the incised slab at Wycliffe to John Forster (d.1456), the tomb chest cover at Kirkby Stephen to Sir Richard Musgrave (d.1464), and the flat-relief slab at Bolton-byBowland to Sir Ralph Pudsay (d.1468). All the inscriptions on these artefacts are rather untidily incised in textualis lettering which displays common features, notably the shapes of the majuscules. In contrast, the lettering on the font at South Kilvington, thought to date to the last quarter of the fifteenth century, is in a much finer script, characterised by elaborate majuscules with the leading upper stroke often comprising a series of lozenges and marked bifurcated terminals to the risers and descenders of the minuscule letters. Some, but not all, of the letters on the Kirkby Stephen inscription have risers with bifurcated terminals but they are less pronounced.

The final group of Egglestone marble monuments with inscriptions all date from c.1525-1540. Like the inscriptions on the tomb chests at Croft-on-Tees and Gainford, all but one of the scripts are in flat relief. The exception is the effigial slab at Gilling West to Sir Henry and Isabella Boynton (d.1531), on which the inscription is incised. The script on this slab shows surprisingly little development from the inscriptions on the mid-fifteenth century Egglestone marble monuments at Wycliffe, Kirkby Stephen and Bolton-by-Bowland. The majuscule H deployed on the Gilling West slab is a purely Gothic type, notable for its trailing inward curling curved part to the letter, which mirrors majuscules on scripts on the earlier artefacts. The minuscule letters have risers with bifurcated terminals, but they are not as pronounced as on the South Kilvington font.

It is possible that the finer lettering associated with the fonts at Catterick and South Kilvington points to the fonts having been produced by different workmen from those who produced the floor slabs and tomb chests, but it is difficult to make such judgements on the basis of such a small sample. Unfortunately the remaining fonts have insufficient lettering to test such a thesis much further. It should be noted, however, that the remaining traces of lettering on the mid-fifteenth century font at Richmond have bifurcated terminals to the risers, as seen at South Kilvington, but not present on the mid-century incised inscriptions on monuments reviewed above. It may also be significant that the individual letters on the shields of some fonts which denote the identity of the donor are all

The slab to Sir Henry Boynton and his second wife, Alice, at Gilling West and the slabs at Wensley, Bedale, and Marrick all have flat relief lettering based on the type already noted on the Croft-on-Tees tomb chest. The lettering is broadly similar in style to the flat relief lettering seen on the chamfers of tomb chest covers but, apart from the Scrope slab at Wensley, the minuscule letters lack the exaggeratedly cusped outlines of those produced in the closing decade of the fifteenth century. A notable new introduction to the script on these later 60

The use of Egglestone marble 1400-1550 monuments is the replacement of Gothic majuscules by revived Lombardic types. This follows practice throughout England, the Lombardic script receiving a brief revival for majuscule letters from the late-fifteenth century to c.1530. There are too few Egglestone marble artefacts with inscriptions for a detailed analysis of the development of the script to be provided, but the more general analysis undertaken in this section displays an interesting pattern of development and some distinctions between the scripts used for different types of Egglestone marble products.

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CHAPTER 7 POST MEDIEVAL USAGE OF EGGLESTONE MARBLE Although the prime focus of this study is the medieval usage of Egglestone marble, it is instructive also to examine what evidence there is for quarrying and carving after the Reformation. Only one type of Egglestone marble monument can be found from that era – the ubiquitous ledger slab.

7.2 Ledger slabs A total of sixty-two ledger slabs in Egglestone marble were found, ranging in date from the 1570s to the 1890s (listed in Appendix 12). Twenty of them show clear signs that old slabs have been appropriated for re-use; most of these have indents of lost brasses or rivets visible. Several ledger slabs were in turn re-appropriated with inscriptions for later family members or for people from entirely different families from the oldest inscription extant. In addition, there are examples of post-medieval brass inscription plates having been added to medieval floor slabs of Egglestone marble.

7.1 Evidence for post medieval quarrying No quarry working has been documented in the seventeenth century. The quarries were, however, active in the eighteenth century; Cox observed ‘In this Town [Egglestone] they hew Marble out of the Rocks, to their great Benefit, as well as employing their Poor, as the Sale of it’.262 This quarry was almost certainly Abbey Quarry. Marble quarries in the Rokeby township were included in the sale in 1769 of the Rokeby and Egglestone estate by Sir Thomas Robinson to the Morrit family.263 Thirty-four ledger slabs have inscriptions to people who died in the eighteenth century. Whether these were newly quarried slabs or re-used medieval floor slabs is, however, a moot point, to be considered below. By the early-nineteenth century, quarrying had almost certainly ceased. Moreover, there is no reference to active quarry working in Whitaker’s Richmondshire, although he comments on the use of the stone in the medieval period:

The remaining forty-two ledgers appear to have been carved from blank slabs, but they were not necessarily newly quarried ones. In the course of the survey fifty entirely blank floor slabs of Egglestone marble were recorded, indicating that they were probably old slabs, perhaps with indents of lost brasses, which had been turned over for re-use (listed in Appendix 13). The apparently new ledger slabs may thus in fact also be reused medieval monuments. A study of the examples at St. Peter’s, Leeds (Yorkshire, West Riding), may throw valuable light on the question of whether new slabs were quarried for the post-medieval ledger slabs.267 The antiquarian Ralph Thoresby noted in his Ducatus Leodiensis of 1715 that the ‘very large marble’ containing the brass of John Langton (d.1467) also had added to it some brass plates and incised inscriptions for Richard Garbut (d.1630), Ralph Glossop (d.1670), Bartholomew Ibbetson (d.1676) and William Horne (d.1685).268 Thoresby’s strictures over the lack of respect and care that the older monuments had been afforded over the years strongly suggest that there had been few scruples over the re-use of the stone slabs of medieval monuments.

It was reserved for the monks and their lay contemporaries to avail themselves of these treasures – vast sepulchral slabs of grey marble were in the 13th, 14th and 15th centuries dispersed over Richmondshire and probably far beyond from the quarries of the Teese.264 Nor is there any sign of use of the quarries in watercolours including the Abbey Quarry site painted by Thomas Girtin in 1799-1800 (Pl. 1).265 J. M. W. Turner also painted and sketched the scene several times. A watercolour of 1818 depicted the view looking southwest towards Egglestone Abbey from the north bank of the Tees showing the river bank in the vicinity of the abbey; there is no sign of stone working activity, although the paper mill owned by the Cooke family is prominent. An engraving based on Turner’s painting was produced by T. Higham (Pl. 69).266

It is perhaps no coincidence that ten Egglestone marble ledger slabs can be found in the church, and there may once have been more, for Thoresby records seven other marble slabs which can no longer be found.269 The condition of the surviving ledger slabs in St. Peter’s, specifically the very shallow incised lettering which characterises them, suggests that they were not produced from newly quarried slabs. Egglestone marble is easily cut when newly quarried, but on exposure to the air it develops a hardened ‘skin’ which makes it far more difficult to carve or cut. The eighteenth-century masons

262

T. Cox, Magna Britannia. Yorkshire, (London, 1720-31), p. 602. London Evening Post, 27-29 June 1765, unpaginated. T.D. Whitaker, An history of Richmondshire, in the North Riding of the county of York, 2 vols. (London, 1823), 1 p. 151. 265 Girtin undertook two studies of the scene. One is in the Print Room of the British Museum and the second in Oldham Art Gallery, Lancashire. An engraving of c.1805 based on the British Museum watercolour was made by S. Middiman in 1805. It shows the Abbey Quarry site, but with no indication of industrial activity. 266 Whitaker, Richmondshire, 1, between pp. 152 and 153. 263 264

267

Pullan, St Peter-at-Leeds, pp. 12-13. R. Thoresby, Ducatus Leodiensis or, The topography of the ancient and populous town and parish of Leedes and parts adjacent in the WestRiding of the county of York ed. T.D. Whitaker (Leeds and Wakefield, 2nd edition, 1816), pp. 43-45. 269 Pullan, St Peter-at-Leeds, p.13. Not all of these were necessarily of Egglestone marble. 268

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Post Medieval usage of Egglestone marble who used it appear to have been unfamiliar with the stone and did not seem to have realised how unsuitable old Egglestone marble slabs were for re-use. The lettering on the Egglestone marble ledgers has survived far less well than that on the contemporary examples cut into the dark limestone slabs elsewhere in the church. It is thus likely that many, if not all, of the post-medieval ledger slabs of Egglestone marble were monuments produced ‘on the cheap’ by re-using old slabs; a practice that continued from the medieval period.270 7.3 Reasons for the decline of the industry It is clear from this study that quarrying of Egglestone marble declined dramatically as a result of the Reformation. It was suggested in Chapter 5.2 that initially the quarries were opened to serve only Egglestone Abbey itself and that the motivation for expanding exploitation of Abbey and Watersmeet quarries in particular was to bolster the limited finances of the abbey, which had few land and mineral holdings to provide financial support. In 1540 the abbey was surrendered and the abbot and eight other canons pensioned off.271 The lands, including the quarries, passed into private hands. The site and demesnes of the monastery were in 1548 granted by the king to Robert Strelley and Fredeswide his wife.272 The domestic buildings were converted into a dwelling house. With the monastery converted into a landed estate, the new owner would undoubtedly not have wanted his property marred by noisy and dusty quarry working on the doorstep, nor would he have had need for the relatively modest amount of money that the lease of the quarry site would have brought in. Westfield and Mains House quarries were not owned by the Abbey. They formed part of the lordship of Barnard Castle, owned successively by the Beauchamp and Neville earls of Warwick. Following the death of Richard Neville at the Battle of Barnet in 1471, the lordship – and ownership of the quarries – passed to Richard, Duke of Gloucester, later King Richard III. They remained Crown property until 1603 and it may be that the Crown also was not greatly interested in exploiting these minor quarries.

270 S. Badham, S., 'Medieval greens: recycling brasses and their slabs, Monumental Brass Society Bulletin 93, (May 2003), pp. 673-74. 271 Knowles and Hadcock, Medieval religious houses, p. 188. 272 VCH, North Riding, pp. 109-117.

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CHAPTER 8 CONCLUSIONS chests and other monuments from the Egglestone marblers. A key factor here is that the marblers developed standard armorial tomb chest and font patterns, the designs of which were eminently suitable for bold heraldic displays, which would advertise the high status of those commemorated.

8.1 Patterns of patronage Viewed in the context of overall monumental commemoration in the north-east, the output of the Egglestone marble quarry workshops, while not dominant in the region, was certainly of considerable significance. Regionally made monuments commonly serve a clientele who were of middling social status and perhaps could not afford monuments from the metropolitan workshops, the more important and richer inhabitants of such areas normally preferring to patronise the more prestigious London workshops. This pattern does not appear to apply to the core sphere of influence of the pre-Reformation Egglestone marble workshops.

These designs could also be adapted to display other emblems, such as merchant’s marks, broadening the appeal to wealthy merchants such as the Thorntons of Newcastle. The only monumental type for which the Egglestone marblers appear not to have been successful in obtaining significant numbers of commissions was carved effigies. In this sector, the Midlands alabasterers reigned supreme from the late-fourteenth century onwards, as they did in most of the rest of England. Nonetheless, it is clear that this hitherto little-known sedimentary limestone polished to an appearance of marble was of considerable significance in the monumental industry in northern England, particularly in the period 1400-1550.

It is clear from the survey on which this study is based that the initial impetus for the exploitation of the Egglestone marble quarries came from Egglestone Abbey, even though relatively few artefacts carved from the stone remain on site. Monastic patronage rapidly spread, with particularly notable monuments and other items having been found at Durham and York. There were undoubtedly originally many more in all three locations. Other monastic sites which retain monuments carved from this stone are Beverley, Bridlington, Carlisle, Cartmel, Gisborough, Lincoln, Newcastle, Ripon, and Selby. Many of the monuments at these places were not the result of monastic patronage, however, but that of lay patrons who chose burial in these religious houses, rather than in parish churches.

8.2 Geographical spread In terms of geographical spread, the majority of artefacts made of Egglestone marble identified in this study are located in Yorkshire and Co. Durham. Smaller numbers were found in other northern counties, notably Northumberland, Cumberland and Westmorland, but the pattern of commemoration was different in these more sparsely populated counties. The vast majority of monuments found in these counties are cross slabs, a type of monument which, as shown in Chapter 5.1, was rarely produced by the Egglestone marblers. Significantly fewer other monuments dated between 1400 and 1550 are to be found in these counties than in Yorkshire and Co. Durham. Nonetheless, a high proportion of monumental brasses in these other northern counties, including ones made in London, were found to be set in slabs of Egglestone marble. This indicates that Egglestone marble was of importance throughout northern England.

Nonetheless, in the main period in which the Egglestone marble quarries were active, a high proportion of the laity were buried and commemorated in parish churches. In the fourteenth century, when few Egglestone marble monuments have been found, a high proportion of the most influential families in the north were commemorated by carved effigies produced within the region. As shown in Chapter 3.6, indigenous production of this type of monument went into irreversible decline in the fifteenth century, under pressure from the Midlands alabasterers. For most, the choice fell between imported Midlands alabaster tombs, and London-made brasses; or monuments made within the region, notably York-made brasses, usually set in Egglestone marble slabs, and other monumental types carved from Egglestone marble. Many chose high-status Midland and London memorials, but many others opted for the local alternative.

Inevitably not every medieval church in the north could be searched, even over the fourteen year period in which this study has been conducted. Hence, some more examples of Egglestone marble usage may come to light. Any new discoveries are most likely to be of floor slabs, particularly those that are fragmentary and do not retain brass inlay. The survey was not carried out on a random basis, but for the most part was specifically targeted after detailed research, with priority being given to churches known to retain medieval brasses and ‘marble’ tomb chests and fonts. Other churches were also visited, but some churches remain inaccessible to even the most determined of would-be visitors.

Although the most numerous type of Egglestone marble monument produced was stone slabs in which brasses were set for the lesser gentry and parish clergy, the workshops also produced monuments for the most influential families in the north. The Neville family, who owned the quarries on the north side of the Tees from 1449 to 1471, and their circle – including the families of Boynton, Conyers, Clervaux, Lumley, Pudsay and Scrope – were amongst those who commissioned fonts, tomb

Only small numbers of Egglestone marble artefacts were found in the more southerly counties of Lincolnshire, 64

Conclusions To return to Sir Walter Scott, his poem ‘Rokeby’ describes the sad ruin of Egglestone Abbey thus:

Nottinghamshire and Derbyshire. They were all in the northern part of these counties, with Newark and Lincoln marking the most southerly locations at which the stone was found. Admittedly, fewer churches were searched in these counties, but it is unlikely that significant numbers of monuments were missed. The authors had access to the unpublished study by Ron Firman of the stone types used for monuments in churches in the East Midlands and East Anglia.273 He established that the north was not the only part of the country to find a local substitute for the slabs for monumental brasses. The Lincolnshire, Norwich, Bury St. Edmunds and Cambridge workshops chiefly favoured a stone probably quarried in the Peterborough/ Stamford area; this is fawn in colour with sporadic seaurchin spines which look like match-sticks. He also noted that London-made brasses can also be found set in this stone. Indeed, he found that floor slabs of this stone type were three times more common than those of Purbeck marble in Lincolnshire and Cambridgeshire. In the course of his fieldwork Firman also came across some examples of a crinoidal limestone that was subsequently identified as Egglestone marble, including the Brown tomb chest at Newark, but they were relatively few.274

The reverend pile lay wild and waste, Profaned, dishonour’d, and defaced, Through storied lattices no more In soften’d light the sunbeams pour, Gilding the Gothic sculpture rich Of shrine, and monument, and niche. The Civil fury of the time Made sport of sacrilegious crime; For dark Fanaticism rent Altar, and screen, and ornament, And peasant hands the tombs o’erthrew Of Bowes, of Rokeby, and Fitz-Hugh.277

This spine-bearing oolitic limestone was not the only stone used for monuments in the East Midlands. Butler has demonstrated the wide marketing zone of the Ancaster quarries, which produced, as well as cross slabs, other minor monuments such as incised slabs and semieffigial slabs.275 In the period that the Egglestone marble quarries were most active, Firman’s and Butler’s work thus strongly suggests that the southern spread of Egglestone marble was checked by the marketing zones of the Ancaster quarries and the unknown quarry that produced the spine-bearing oolitic limestone. 8.3 Losses It must be remembered, however, that although many Egglestone monuments remain, many more have undoubtedly disappeared due to the multiple scourges of medieval re-flooring to make room for new burials; the Reformation; the Civil War; and church reordering in the modern period. Especially large numbers of Egglestone marble monuments are likely to have been lost from religious houses, such as Durham Cathedral and Egglestone Abbey. It is probable that the work of destruction of the church at Egglestone Abbey began soon after the suppression of the monasteries, when the domestic buildings were converted into a dwelling-house. A letter from Ralph Rokeby the younger of Lincoln’s Inn, dated 1565, mentions its ‘utter ruine and desolation’, so that the gravestones in the church were exposed and appeared ‘old and weatherbeaten’.276 273

Firman, ‘Newly found marbles’. R. Firman, ‘Purbeck marble: some East Midlands examples of mistaken identity, Church Monuments Society Newsletter, 10.2, pp. 3034. 275 Butler, ‘East Midlands’, pp. 149-52. 276 VCH, North Riding, pp. 109-117. 274

277

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Scott, Poetical works, p. 278.

APPENDIX 1: LIST OF SITES VISITED BEVERLEY; YER; 1. St. Mary; 2. Minster Church of St. John and St. Martin BEWERLEY; YWR; Grange Chapel BILBROUGH; YWR; St. James BILTON-IN-AINSTY; YWR; St. Helen BIRSTALL; YWR; Oakwell Hall BISHOP AUCKLAND; D; St. Anne BISHOP BURTON; YER; All Saints’ BISHOP MONKTON; YWR; St. John the Baptist BISHOP WILTON; YER; St. Edith BLACKBURN; La; Cathedral Church of St. Mary the Virgin with St. Paul BLADON; O; St. Martin BLANCHLAND; N; St. Mary the Virgin BOLAM; N; St. Andrew BOLSOVER; De; Castle BOLTON ABBEY; YWR; Priory Church of St. Mary and St. Cuthbert BOLTON-BY-BOWLAND; YWR; St. Peter and St. Paul BOLTON PERCY; YWR; All Saints’ BOROUGHBRIDGE; YWR; St. James BOSTON; Li; St. Botolph BOTHAL; N; St. Andrew BOWES; YNR; 1. St. Giles; 2. Bowes Castle BOYNTON; YER; St. Andrew BRADFIELD; YWR; St. Nicholas BRADFORD; YWR; 1. Cathedral Church of St. Peter; 2. Bolling Hall BRAFFERTON; YNR; St. Peter BRANCEPETH; D; St. Brandon BRANDESBURTON; YER; St. Mary BRAYTON; YWR; St. Wilfrid BRIDLINGTON; YER; Priory Church of St. Mary BRIGNALL; YNR; Old Church of St Mary BRINKBURN; N; Priory Church of St. Peter and St. Paul BROUGH; W; 1. St. Michael; 2. Castle BROUGHAM; W; 1. St. Ninian; 2. Castle BUBWITH; YER; All Saints’ BUILDWAS; Sh; Abbey Church of St. Mary and St. Chad BURGHWALLIS; YWR; St. Helen BURNESTON; YNR; St. Lambert BURNLEY; La; Townley Hall BURNSALL; YWR; St. Wilfrid BURSTWICK; YER; All Saints’ BURTON AGNES; YER; 1. St. Martin; 2. Hall BURTON CONSTABLE; YER; Hall BYLAND ABBEY; YNR; Abbey Church of the Blessed Virgin Mary BYWELL; N; St. Andrew

The sites listed in the Appendix were all visited prior to December 2001. Locations in bold are those at which Egglestone marble was found; those in ordinary type indicate locations where there is no Egglestone marble. All buildings listed are churches except where otherwise indicated. For counties, the boundaries are those of the pre-1974 local government reorganisation. The following county abbreviations have been used: C – Cumberland; Ca – Cambridgeshire; D – Durham; De – Derbyshire; Do – Dorset; Dn – Devon; E –Essex; Gl – Gloucestershire; Ha – Hampshire; He – Herefordshire; K – Kent; La – Lancashire; Le – Leicestershire; Li – Lincolnshire; N – Northumberland; No – Nottinghamshire; Nt – Northamptonshire; O – Oxfordshire; Sf – Staffordshire; Sh – Shropshire; Sm – Somerset; Sx – Sussex; W – Westmorland; Wc – Worcestershire; Wi – Wiltshire; Ww – Warwickshire; YER – Yorkshire, East Riding; YNR – Yorkshire, North Riding; YWR – Yorkshire, West Riding. ADDINGHAM; YWR; St. Peter ADLINGFLEET; YWR; All Saints’ AINDERBY STEEPLE; YNR; St. Helen ALDBOROUGH; YWR; St. Andrew ALLERTON MAULEVERER; YWR; St. Martin ALLERTON PARK; YWR; Mansion House ALNWICK; N; 1. St. Michael; 2. Castle ALWALTON; Ca; St. Andrew AMPLEFORTH; YNR; St. Hilda APPLEBY; W; St. Lawrence APPLETON WISKE; YNR; St. Mary ARTHURET; C; St. Michael ASKRIGG; YNR; St. Oswald ASHFORD-IN-THE-WATER; De; Holy Trinity AUGHTON; YER; All Saints’ AYSGARTH; YNR; St. Andrew BAINTON; YER; St. Andrew BARDEN; YWR; Barden Tower BARFORTH; YNR; St. Lawrence BARROW-IN-FURNESS; La; Abbey Church of St. Mary, Furness BARNARD CASTLE; D; 1. St. Mary; 2. Bowes Museum; 3. Castle BARNINGHAM; YNR; St. Michael BARTON; YNR; St. Cuthbert and St. Mary BARTON-ON-HUMBER; Li; 1. St. Mary; 2. St. Peter BATH; Sm; Abbey Church of St. Peter and St. Paul BAWTRY; YWR; St. Nicholas BEDALE; YNR; St. Gregory BEEFORD; YER; St. Leonard BELSAY; N; Castle BERWICK-UPON-TWEED; N; Castle

CAMBRIDGE; Ca; 1. Clare College Chapel; 2. King's College Chapel; 3. Trinity College Chapel CARLISLE; C; Cathedral Church of the Holy and Undivided Trinity CARTMEL; La; Priory Church of St. Mary and St. Michael CARTMEL FELL; La; St. Anthony CASTLE BOLTON; YNR; 1. St. Oswald; 2. Castle

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Appendices FELIXKIRK; YNR; St. Felix FIELD BROUGHTON; La; St. Peter FINCHALE PRIORY; D; Priory Church of St. John the Baptist FISHLAKE; YWR; St. Cuthbert FORCETT; YNR; St. Cuthbert FORDON; YER; St. James FRANT; Sx; St. Alban

CATTERICK; YNR; St. Anne CAYTON; YNR; St. John Baptist CHESTER-LE-STREET; D; St. Mary and St. Cuthbert CHILLINGHAM; N; Castle CLIBURN; W; St. Cuthbert COCKFIELD; D; St. Mary COLD KIRBY; YNR; St. Michael COLLINGHAM; YWR; St. Oswald CONISBROUGH; YWR; 1. St. Peter; 2. Castle CORBRIDGE; N; St. Andrew CORFE; Do; 1. St. Edward; 2. Castle COTHERSTONE; YNR; St. Cuthbert COTTINGHAM; YER; St. Mary COVERHAM; YNR; Holy Trinity COWTHORPE; YWR; St. Michael COXWOLD; YNR; St. Michael CRATHORNE; YNR; All Saints’ CRAYKE; YNR; St. Cuthbert CROFT; YNR; St. Peter CROSTHWAITE; C; St. Kentigern CROWLAND; Li; Abbey Church of the Blessed Virgin Mary, St. Bartholomew and St. Guthlac, Croyland CUCKNEY; No; St. Mary CUNDALL; YNR; St. Mary and All Saints’

GAINFORD; D; St. Mary GAINSBOROUGH; Li; 1. All Saints’; 2. Gainsborough Old Hall GARTON-ON-THE-WOLDS; YER; St. Michael GILLING EAST; YNR; Holy Cross GILLING WEST; YNR; St. Agatha GIRSBY; YNR; All Saints’ GLENTHAM; Li; St. Peter GREAT ASBY; W; St. Peter GREAT MUSGRAVE; W; St. Theobald GREAT RIBSTONE; YWR; St. Andrew’s Chapel attached to Ribstone Hall GREYSTOKE; C; St. Andrew GUISBOROUGH; YNR; 1. St. Nicholas; 2. Priory Church of St. Mary, Gisborough GOLDSBOROUGH; YWR; St. Mary GOODMANHAM; YER; All Saints’ GOODRICH; He; Castle GRANTHAM; Li; St. Wulfram GREAT AYTON; YNR; All Saints’ GREAT GIVENDALE; YER; St. Ethelburga GREAT OUSEBURN; YWR; St. Mary GRINTON; YNR; St. Andrew

DACRE; YNR; Holy Trinity DALBY; YNR; St. Peter DANBY WISKE; YNR; Church has no dedication DARLINGTON; D; St. Cuthbert DENT; YWR; St. Andrew DOE LEA CHESTERFIELD; De; 1. Hardwick Old Hall; 2. Hardwick New Hall DOWNHOLME; YNR; St. Michael DOWNSIDE; Sm; Abbey Basilica of St. Gregory the Great DURHAM; D; Cathedral Church of Christ, the Blessed Virgin Mary and St. Cuthbert

HALIFAX; YWR; St. John HALSHAM; YER; All Saints’ HAMPSTHWAITE; YWR; St. Thomas à Becket HAREWOOD; YWR; 1. All Saints’; 2. Harewood House HARPHAM; YER; St. John of Beverley HARROGATE; YWR; Christ Church HARTBURN; N; St. Andrew HAUXWELL; YNR; St. Oswald HAWES; YNR; St. Margaret HAWNBY; YNR; All Saints’ HEALAUGH; YWR; St. John HEDON; YER; St. Augustine HEIGHINGTON; D; St. Michael HELMSLEY; YNR 1. All Saints’; 2. English Heritage Stone Store; 3. Castle HEMINGBROUGH; YER; St. Mary HEREFORD; He; Cathedral Church of St. Mary the Virgin and St. Ethelbert the King HEXHAM; N; Abbey and Priory Church of St. Andrew HEYSHAM; La; Abbey Church and Hospital of St. Mary, Cockersand HIGH CONISCLIFFE; D; St. Edwin HILTON; YNR; St. Peter HOLME-UPON-SPALDING MOOR; YER; All Saints’ HOLY ISLAND; N; 1. Priory Church of St. Cuthbert; 2. St. Mary HORNBY; YNR; St. Mary HORNBY; La; St. Margaret

EASBY; YNR; 1. St. Agatha; 2. Abbey Church of St. Agatha. EASINGWOLD; YNR; All Saints’ and St. John EAST HARLSEY; YNR; St. Oswald EAST MEON; Ha; All Saints’ EASTRINGTON; YER; St. Michael EAST WITTON; YNR; 1. St. John Evangelist; 2. Abbey Church of the Blessed Virgin Mary, Jervaulx ECCLESFIELD; YWR; St. Mary ECKINGTON; De; St. Peter and St. Paul EDENHALL; C; St. Cuthbert EGGLESCLIFFE; D; St. John the Baptist EGGLESTONE; YNR; Abbey Church of St. Mary and St. John the Evangelist ELLERTON; YER; St. Mary ELY; Ca; Cathedral Church of the Holy and Undivided Trinity ERYHOLME; YNR; St. Mary ESCRICK; YER; St. Helen ETAL; N; Castle EXETER; Dn; Cathedral Church of St. Peter FARLINGTON; YNR; St. Leonard 67

Northern Rock: the use of Egglestone marble for monuments in medieval England MALTBY; YWR; Abbey Church of St. Mary, Roche MALVERN; Wc; Abbey Church of St. Mary MANCHESTER; La; 1. Cathedral Church of St. Mary, St. Denys and St. George; 2. St. Anne MARKET BOSWORTH; Le; St. Peter MARR; YWR; St. Helen MARRICK; YNR; St. Andrew, now a residential centre for outdoor pursuits MARTON-IN-THE-FOREST; YNR; St. Mary MASHAM; YNR; St. Mary MAYFIELD; Sx; 1. St. Dunstan; 2. Old Palace MELLING; La; St. Wilfrid MELSONBY; YNR; St. James METHLEY; YWR; St. Oswald MIDDLEHAM; YNR; 1. St. Mary and St. Alkelda; 2. Castle MIDDLESMOOR; YWR; St. Chad MIDDLETON; YNR; St. Andrew MITTON; YWR; All Hallows' MONKWEARMOUTH; D; St. Peter with St. Cuthbert MORLAND; W; St. Lawrence

HORSMONDEN; K; St. Margaret HOVINGHAM; YNR; All Saints’ HOWDEN; YER; Minster Church of St. Peter and St. Paul HUBBERHOLME; YWR; St. Michael HULL; YER; 1 Holy Trinity; 2. St. Mary HUMBLETON; YER; St. Peter HUSTHWAITE; YNR; St. Nicholas HUTTON RUDBY; YNR; All Saints’ HUTTON CRANSWICK; YER; St. Peter HUTTON MAGNA; YNR; St. Mary ILKLEY; YWR; All Saints’ INGLEBY GREENHOW; YNR; St. Andrew JARROW; D; St. Paul KENDAL; W; Holy Trinity KENILWORTH; Ww; Castle KIRBY HILL near Ravensworth; YNR; St. Peter and St. Felix KIRBY HILL near Boroughbridge; YNR; All Saints’ KIRBY KNOWLE; YNR; St. Wilfrid KIRBY WISKE; YNR; St. John Baptist KIRKBY MALHAM; YWR; St. Michael KIRKBY MALZEARD; YWR; St. Andrew KIRKBY MOORSIDE; YNR; All Saints’ KIRKBY OVERBLOW; YWR; All Saints’ KIRKBY STEPHEN; W; St. Stephen KIRKBY WHARFE; YWR; St. John KIRKDALE; YNR; St. Gregory KIRK DEIGHTON; YWR; All Saints’ KIRK HAMMERTON; YWR; St. John the Baptist KIRKHARLE; N; St. Wilfred KIRKLEATHAM; YNR; St. Cuthbert KIRK LEVINGTON; YNR; St. Martin KIRKLINGTON; YNR; St. Michael. KIRK SANDAL; YWR; St. Oswald KNARESBOROUGH; YWR; St. John LANCASTER; La; 1. St. Mary, 2. Castle LANCHESTER; D; All Saints’ LASTINGHAM; YNR; St. Mary LAUGHTON-EN-LE-MORTHEN; YWR; All Saints’ LAXTON; No; St. Michael the Archangel LEAKE; YNR; St. Mary LEEDS; YWR; 1. St. Peter; 2. St. John; 3. Temple Newsam House LICHFIELD; Sf; Cathedral Church of the Blessed Virgin Mary and St. Chad LINCOLN; Li; 1. Cathedral Church of the Blessed Virgin Mary, 2. Castle LINTON in CRAVEN; YWR; St. Michael LITTLE DRIFFIELD; YER; St. Mary LITTLE OUSEBURN; YWR; Holy Trinity LOCKINGTON; YER; St. Mary LONDESBOROUGH; YER; All Saints’ LOWTHORPE; YER; St. Martin LYTHE; YNR; St. Oswald

NEWARK; No; St. Mary Magdalene NEWBALD; YER; St. Nicholas NEWCASTLE; N; 1. Cathedral Church of St. Nicholas; 2. St. John; 3. St. Andrew; 4. Castle NEWTON-UPON-OUSE; YNR; All Saints’ NORTHALLERTON; YNR; 1. All Saints’; 2. Priory Church of the House of the Assumption of the Blessed Virgin and St. Nicholas, Mount Grace NORTH FRODINGHAM; YER; St. Elgin NORTH RIGTON; YWR; St. John NUNKEELING; YER; Priory Church of St. Mary Magdalene and St. Helen NUN MONKTON; YWR; St. Mary NUNNINGTON; YNR; 1. All Saints’ and St. James; 2. Nunnington Hall OLD BYLAND; YNR; All Saints’ OSMOTHERLEY; YNR; St. Peter OSWALDKIRK; YNR; St. Oswald OUNDLE; Nt; St. Peter OWSTON; YWR; All Saints’ OXFORD; O; Christchurch Cathedral PADIHAM; La; Gawthorpe Hall PATELEY BRIDGE; YWR; St. Cuthbert PATRICK BROMPTON; YNR; St. Patrick PATRINGTON; YER; St. Patrick PEMBURY; K; St. Peter PENRITH; C; St. Andrew PERSHORE; Wc; Abbey Church of St. Mary and St. Eadburga PETERBOROUGH; Ca; Cathedral Church of St. Peter, St. Paul and St. Andrew PICKERING; YNR; 1. St. Peter and St. Paul; 2. Castle PICKHILL; YNR; All Saints’ PITTINGTON; D; St. Laurence POCKLINGTON; YER; All Saints’

MAIDEN NEWTON; Do; St. Mary MALTON; YNR; 1. St. Michael; 2. Priory Church of St. Mary, Old Malton

RAMSGILL; YWR; St. Mary REDMIRE; YNR; St. Mary 68

Appendices STAINDROP; D; 1. St. Mary; 2. Raby Castle and Chapel STAMFORD; Li; 1. All Saints’; 2. St. John Baptist STAMFORD BRIDGE; YER; St. John Baptist STANWICK; YNR; St. John Baptist STARTFORTH; YNR; Holy Trinity STILLINGTON; YNR; St. Nicholas STOKESAY; Sh; Castle STOKESLEY; YNR; St. Peter and St. Paul STONEGRAVE; YNR; Holy Trinity STUDLEY ROYAL; YWR; St. Mary SUTTON-ON-THE-FOREST; YNR; All Hallows’ SUTTON-ON- TRENT; No; All Saints’ SWAINBY; YNR; Holy Cross SWINE-IN-HOLDERNESS; YER; St. Mary

RICCALL; YER; St. Mary RICHMOND; YNR; 1. St. Mary the Virgin; 2. Castle RIEVAULX; YNR; Abbey Church of the Blessed Virgin Mary RIPLEY; YWR; 1. All Saints'; 2. Castle RIPON; YWR; 1. Cathedral Church of St. Peter and St. Wilfrid; 2. Holy Trinity; 3. St. John the Baptist; 4. St. Mary Magdalene's Chapel; 5. Abbey Church of the Blessed Virgin Mary, Fountains; 6. Fountains Hall ROKEBY; YNR; Hall ROMALDKIRK; YNR; St. Romald ROSEDALE ABBEY; YNR; St. Mary and St. Lawrence ROTHERHAM; YWR; All Saints’ ROTHBURY: N; Cragside House ROUTH; YER; All Hallows’ ROWLEY; YER; St. Peter ROWSLEY; De; 1. Haddon Hall; 2. Chapel ROXBY; YNR; St. Nicholas RUDSTON; YER; All Saints’ RYTHER; YWR; All Saints’

TADCASTER; YWR; St. Mary TAMWORTH; Sf; 1. St. Editha; 2. Castle TERRINGTON; YNR; All Saints’ TEWKESBURY; Gl; Abbey Church of the Blessed Virgin Mary THIRKLEBY; YNR; All Saints’ THIRSK; YNR; St. Mary THORNHILL; YWR; St. Michael THORNTON; Li; Abbey Church of the Blessed Virgin Mary THORNTON CURTIS; Li; St. Lawrence THORNTON-LE-STREET; YNR; St. Leonard THORNTON WATLASS; YNR; St. Mary THORPE SALVIN; YWR; St. Peter THROAPHAM; YWR; St. John THRYBERGH; YWR; St. Leonard THWING; YER; All Saints’ TICKHILL; YWR; St. Mary TISSINGTON; De; St. Mary TODWICK; YWR; St. Peter and St. Paul TOPCLIFFE; YNR; St. Columba TUNSTALL; YNR; Holy Trinity TYNEMOUTH; N; 1. Priory Church of St. Mary and St. Oswin; 2. Castle

SAFFRON WALDEN; E; St. Mary the Virgin SALISBURY; Wi; Cathedral Church of the Blessed Virgin Mary SANCTON; YER; All Saints’ SANDAL MAGNA; YWR; St. Helen SAWLEY; YWR; Abbey Church of the Blessed Virgin Mary SCARBOROUGH; YNR; 1. St. Mary; 2. Castle SCAWTON; YNR; St. Mary SEAMER; YNR; St. Martin SEDBERGH; YWR; St. Andrew SEDGEFIELD; D; St. Edmund SELBY; YWR; Abbey Church of St. Mary the Virgin and St. Germain SESSAY; YNR; St. Cuthbert SHAP; W; Abbey Church of the Blessed Virgin Mary SHEFFIELD; YWR; Cathedral Church of St. Peter and St. Paul SHERIFF HUTTON; YNR; St. Helen and the Holy Cross SHREWSBURY; Sh; Abbey Church of St. John the Evangelist, Haughmond SIGGLESTHORNE; YER; St. Lawrence SILKSTONE; YWR; All Saints’ SKELTON near York; YNR; St. Giles SKELTON-cum-NEWBY; YWR; Christ the Consoler SKIPTON; YWR; Holy Trinity SLEDMERE; YER; Sledmere House SLINGSBY; YNR; All Saints’ SNAITH; YWR; Priory Church of St. Laurence SNAPE; YNR; Castle Chapel SNARFORD; Li; St. Lawrence SOCKBURN; D; All Saints’ SOUTH COWTON; YNR; St. Mary SOUTH KILVINGTON; YNR; St. Wilfrid SOUTH OTTERINGTON; YNR; St. Andrew SOUTHWELL; No; Minster and Cathedral Church of the Blessed Virgin Mary SPENNITHORNE; YNR; St. Michael SPOFFORTH; YWR; All Saints’ SPROTBOROUGH; YWR; St. Mary

WADDINGTON; YWR; St. Helen WAKEFIELD; YWR; Cathedral Church of All Saints’ WARCOP; W; St. Columba WARWICK; Ww; 1. The Collegiate Church of St. Mary; 2. Castle; 3. Lord Leycester Hospital WATH near Ripon; YNR; St. Mary WAWNE; YER; St. Peter WELL; YNR; St. Michael WELLS; Sm; Cathedral Church of St. Andrew WELWICK; YER; St. Mary WENSLEY; YNR; Holy Trinity WEST TANFIELD; YNR; St. Nicholas WENTWORTH; YWR; 1. Holy Trinity; 2. Holy Trinity Old Church WESTWARD; C; St. Hilda WETHERBY; YWR; St. James WHALLEY; La; 1. St. Mary; 2. Abbey Church of St. Mary the Virgin WHALTON; N; St. Mary Magdalene WHENBY; YNR; St. Martin 69

Northern Rock: the use of Egglestone marble for monuments in medieval England WROXETER; Sh; St. Andrew WYCLIFFE; YNR; St. Mary the Virgin

WHITBY; YNR; 1. St. Mary, 2. Abbey Church of St. Peter and St. Hilda WHITGIFT; YWR; St. Mary Magdalene WHITKIRK; YWR; St. Mary WHORLTON-IN-CLEVELAND; YNR; Holy Cross WILBERFOSS; YER; St. John the Baptist WINCHESTER; Ha; 1. Cathedral Church of the Holy Trinity, St. Peter, St. Paul and St. Swithun; 2. The Hospital and Church of St. Cross; 3. College Chapel; 4. Great Hall; 5. Wolvesey Castle WINESTEAD; YER; St. Germain WINSTON-ON-TEES; D; St. Andrew WITHERSLACK; W; St. Paul WITTON-LE-WEAR; D; St. Philip and St. James WOODSTOCK; O; Blenheim Palace WOOLLEY; YWR; St. Peter WORCESTER; Wc; Cathedral Church of Christ and the Blessed Virgin Mary WORKSOP; No; Priory Church of Our Lady and St. Cuthbert WORSBOROUGH; YWR; St. Mary

YARM; YNR; St. Mary Magdalene YORK; Yorkshire; 1. All Saints’, North Street; 2. All Saints’, Pavement; 3. Holy Trinity, Goodramgate; 4. Holy Trinity, Micklegate; 5. Cathedral and Minster Church of St. Peter; 6. St. Andrew, St. Andrewgate; 7. St. Crux Parish Room, Pavement; 8. St. Denys, Walmgate; 9. St. John the Evangelist, Micklegate now a cafe bar; 10. St. Helen, Stonegate; 11. St. Martinle-Grand, Coney Street; 12. St. Martin-cum-Gregory, Micklegate; 13. St. Mary’s Abbey, Museum Gardens; 14. St. Mary Bishophill Junior; 15. St. Mary, Castlegate; 16. St. Michael-le-Belfrey, High Petergate; 17. St. Michael, Spurriergate - now The Spurriergate Centre; 18, St. Olave, Marygate; 19. St. Saviour, St. Saviourgate – now the Archaeological Resource Centre; 20. Merchant Adventurers’ Hall, Fossgate; 21. Treasurer’s House, Minster Precinct; 22. York Archaeological Trust; 23. Yorkshire Museum

70

Appendices

APPENDIX 2: COMPLETE LIST OF EGGLESTONE MARBLE PIECES For counties, the boundaries are those of the pre-1974 local government reorganisation. The following county abbreviations have been used. C – Cumberland; Ca – Cambridgeshire; D – Durham; De – Derbyshire; Do – Dorset; Dn – Devon; E –Essex; Gl – Gloucestershire; Ha – Hampshire; He – Herefordshire; K – Kent; La – Lancashire; Le – Leicestershire; Li – Lincolnshire; N – Northumberland; No – Nottinghamshire; Nt – Northamptonshire; O – Oxfordshire; Sf – Staffordshire; Sh – Shropshire; Sm – Somerset; Sx – Sussex; W – Westmorland; Wc – Worcestershire; Wi – Wiltshire; Ww – Warwickshire; YER – Yorkshire, East Riding; YNR – Yorkshire, North Riding; YWR – Yorkshire, West Riding. The following general abbreviations have been used. c. – approximately; d. – date of death; n.d. - no date identified; N, S, E, W - prime compass points, + indicates that the full dimension could not be recorded, usually because furniture, pipework or carpet partially covered the piece. All the three hundred and fifty four examples of Egglestone Marble that have been recorded in the study are listed. Information, if available, is given thus: PLACE LOCATION; County; Name of building where piece is located – usually a church, cathedral or abbey; Floorplan figure number, if included, that illustrates the position of pieces in the building; Position in building – a sequence of S Aisle, S Transept, Chancel, Choir, Sanctuary, Nave, N Transept, N Aisle, has been adopted; Reference number; Use and description of piece, for example, tomb slab, tomb-chest with brass, indent, incised inscription; Name(s) associated with the piece; Status, profession or occupation; Date of death of person if known, written, for example, d.1456, or, if the date of decease is unknown, a possible date suggested by other features, such as style; Dimensions – rounded up or down to the nearest centimetre; Brass workshop and stylistic group of the engraving, for example Yorkshire 2b, London D. Only the main features of slabs carrying brasses or indents are given e.g. effigy, inscription plate, shield, or any other prominent distinguishing feature. Fonts usually comprise three elements and two measurements are given for each – (a) 'diameter' and (b) height, represented as (a) x (b) in the text. The construction of a font does not allow for a true diameter to be measured directly. The measurement convention adopted is: Bowl – (a) maximum distance across upper surface, (b) vertical height from upper surface to junction with pedestal; Pedestal - with an octagonal profile, (a) horizontal distance between two parallel vertical surfaces, (b) vertical height from junction with bowl to junction with base; Base - with an octagonal profile, (a) horizontal distance between two parallel vertical surfaces, (b) vertical height from junction with pedestal to font mount. OCTAGONAL FONT MEASUREMENTS – PLAN VIEWS BOWL

PEDESTAL AND BASE

a a

a BAINTON; YER; St. Andrew’s Church; Chancel; 4; Tomb slab with brass effigy of Roger Godeale, brass marginal inscription slightly mutilated, 4 Evangelist symbols; Rector; d.1429; Yorkshire 1c; 2.23 m x 1.17 m. BARNARD CASTLE; D. 1. St. Mary’s Church; N transept; 5; Font; last quarter of fifteenth century; Octagonal bowl with lettered shields and merchant's marks, 1.16 m x 44 cm, Octagonal pedestal, 51 cm x 36 cm, Octagonal base with merchant’s mark, 87 cm x 32 cm. 2. Bowes Museum; Local history display; 6; Coffin shaped slab with weathered carved low-relief effigy of a lady and Lombardic letter marginal inscription; member of Conyers family; n.d. c.1320; 1.78 m x 79 cm (head), 52 cm (foot) x 16 cm.

THE LIST ADLINGFLEET; YWR; All Saints’ Church; S aisle; 1; Tomb slab with indents of figure of Robert de Haldenby, inscription plate, 2 shields; d. 1399; Yorkshire 1c; 2.16 m x 77 cm. ALDBOROUGH; YWR; St. Andrew’s Church; N aisle; 2; Plain tomb slab; n.d; 1.90 m x 43+ cm. AUGHTON; YER; All Saints’ Church; Sanctuary; 3; Tomb slab with brass effigy of Richard Ask; Esquire; part brass effigy of wife Margaret, part brass inscription plate, indents for 4 shields, quatrefoils; Margaret d.1466; Yorkshire 2b; 2.33 m x 1.17 m.

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Northern Rock: the use of Egglestone marble for monuments in medieval England BEDALE; YNR; St. Gregory’s Church; Chancel; 7; Tomb slab covered with rivets possibly for effigies and marginal inscription; indent of inscription plate; n.d; 1.25+ m x 1.48 m. N aisle; 8; Tomb slab with low relief carved effigy of Thomas Jackson; Merchant; two sons, marginal inscription; d.1529; 2.56 m x 1.19 m. 9; Tomb slab with incised inscription to Joseph Heaton; d.1700; No measurements. 10; Tomb slab with unreadable inscription; n.d; 1.78 m x not measurable. BEEFORD; YER; St. Leonard’s Church; Chancel; 11; Tomb slab with brass effigy of Thomas Tonge, part brass marginal inscription, indents for quatrefoils; Rector; d.1472; 1.92 m x 1.03 m; Yorkshire 2b. BEVERLEY; YER. 1. St. Mary’s Church; (see Floorplan 1); Chapel of St. Katharine; 12; Tomb slab with indents of inscription plate, shield, quatrefoils; probable 15th or 16th century; 2.43 m x 1.13 m. 13; Tomb slab with indents of two half effigies of priests, inscription plate, shield, quatrefoils; ?Peter de Irford , d.1426, and another priest; 2.24 m x 1.02 m; Yorkshire 1c. Chapel of St. Michael; 14; Tomb slab with indents of figures of civilian and lady, 2 shields, marginal inscription, quatrefoils; early 16th century; 2.70 m x 1.33 m; Yorkshire workshop. Chancel; 15; Tomb slab with indents of inscription plate, shield, quatrefoils; c.1440 – 1480; 2.21 m x 95 cm. 16; Tomb slab with incised inscription to members of Courtney family; various dates including 1773, 1780, 1793, 1813; 1.95 m x 1.05 m. N transept; 17; Plain tomb slab; n.d; 2.08 m x 86+ cm. 2. Minster Church of St. John and St. Martin; S and N transepts; 18; Many paver slabs probably from reused tomb slabs; n.d; c.72 cm x c.39 cm. BOLTON-BY-BOWLAND; YWR; St. Peter’s and St. Paul’s Church; S Chapel (Pudsay chantry chapel); 19; Tomb-chest cover slab with low-relief carved figures of Sir Ralph Pudsay; Knight; 3 wives and 25 children; Ralph d.1468; 3.06 m x 1.70 m x 17 cm thickness. Nave; 20; Font; c.1507; Octagonal bowl with armorial shields and brass inscription, 1.02 m x 50 cm, Octagonal pedestal, 46 cm x 23 cm, Octagonal base with inscribed panels, 86 cm x 35 cm. BOLTON PERCY; YWR; All Saints' Church; S Aisle; 21; Tomb slab with indents of inscription plate, 4 shields; Possibly 15th century; 2.86 m x 1.16+ m. Nave; 22; Tomb slab with indents of inscription plate, 4 shields; Possibly 15th century; 2.06 m x 1.11 m.. N Aisle; 23; Tomb slab with indent of inscription plate; n.d; 1.97 m x 89 cm. BOWES; YNR; St. Giles’ Church; N wall; 24; Plain tomb slab; n.d; 2.16 m x 77 cm x 17 cm thickness. BRANCEPETH; D; St. Brandon’s Church; Church gutted by fire 1998 and many monuments destroyed., including all examples of Egglestone marble. S Doorway; 25; Plain tomb slab; n.d. 2.51 m x 62+ cm. 26; Plain tomb slab; n.d; 2.51 m x 64 cm. S Aisle; 27; Coffin shaped tomb slab with brass effigy of Thomas Claxton, indents

of inscription plate, 2 shields; Knight, Constable of Brancepeth Castle; d.1403; 1.99 m x 1.01 m (head), 83.5 cm (foot); Yorkshire 1b. Chantry Chapel; 28; Tomb slab with indent; n.d; 2.61 m x 86+ cm. Chancel; 29; Tomb slab with brasses of half effigy of Richard Drax, inscription plate, Evangelist symbols; Rector; d.1456; 2.38 m x 1.16 m; London B. 30; Plain slab as base for effigy carved in sandstone of Robert Nevill; Peacock of the North; n.d; 2.69 m x 1.23 m. 31; Plain tomb slab; n.d; 1.31+ m x 1.15 m. 32; Tomb slab with indent of possible shield; n.d; 1.87 m x 87 cm. Tower; 33; Tomb-chest of Margaret (or Matilda) Nevill; Countess of Westmorland. It is thought that the monument was constructed for her husband Ralph Nevill, 3rd Earl of Westmorland, who died at Hornby, Yorkshire in 1523; Margaret d. c.1530; Plain cover slab 2.93 m x 1.17 m x 18 cm thickness; N and S panels with carved quatrefoil panels enclosing shields 2.94 m x 87 cm x 21 cm thickness, E and W panels 69 cm x 87 cm. BRAYTON; YWR; St. Wilfrid’s Church; Nave; 34; Tomb slab with indents of inscription plate, 2 shields, quatrefoils; 15th or 16th century; 3.35 m x 1.32 m. BRIDLINGTON; YER; Priory Church of St. Mary; Nave; 35; Tomb slab with indents of figure of a knight, inscription plate, 4 shields; c.1530; 2.72 m x 1.12 m; London G. BUBWITH; YER; All Saints’ Church; Chancel; 36; Tomb slab with (i) indent of inscription plate; n.d; and (ii) incised inscription to George Vavasour, son of John Vavasour; d.1696; 1.80+ m x 1.17 m. BURSTWICK; YER; All Saints’ Church; Chancel (under organ); 37; Tomb slab with indents of 2 figures, inscription plate, quatrefoils; ?Stephen Burstwick & lady, Stephen d. 1492; 2.50 m x 1.08+ m; London D or F. CARLISLE; C; Cathedral Church of the Holy and Undivided Trinity; (See Floorplan 2); Ambulatory; 38; Tomb slab with evidence of indent (rivets visible), 4 shields; possible marginal inscription; n.d; 2.43+ m x 1.24 m. Presbytery; 39; Plain tomb slab; n.d; 2.00 m x 87 cm. 40; Tomb slab with indents of lady, inscription plate, 4 shields; marginal inscription, quatrefoils; c.1420; 2.62 m x 1.39 m; London D. Choir; 41; Tomb slab with brasses of Richard Bell, triple canopy, inscription plate, marginal inscription, indents of quatrefoils; Bishop of Carlisle; d.1496; 3.30 m x 1.88 m; London D. N Transept; 42; Tomb-chest cover slab with brass inscription plate laid 1850 to Simon Senhouse; Prior of Carlisle in reign of Henry VII; d. c.1520; 2.42 m x 1.14 m x 15 cm thickness. Nave; 43; Plain tomb slab; n.d; 2.43 m x 1.11 m. 44; Tomb slab with indents of civilian and wife, 2 sons, 1 daughter, double canopy, 2 shields, roundels; 2.66 m x 1.21 m; c.1490; London D. CARTMEL; La; Priory Church of St. Mary and St. Michael; Piper Choir; 45; Tomb slab with (i) indent of inscription plate; n.d; and (ii) incised inscription to William Knipe; d.1745; 2.23 m x 1.03 m.

72

Appendices

Floorplan 1. St. Mary, Beverley (Yorkshire, East Riding)

Floorplan 2. Carlisle Cathedral (Cumberland)

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Northern Rock: the use of Egglestone marble for monuments in medieval England CATTERICK; YNR; St. Anne’s Church; S Aisle; 46; Tomb slab with incised inscription to Dame Alice Wandesford; Widow of Rt. Hon. Christopher Wandesford, Deputy of Ireland; d.1659; 1.75+ m x 1.38 m. Sanctuary; 47; Plain tomb slab; n.d; 2.56 m x 1.41 m. 48; Tomb slab with incised inscription to Isabella Rogeri Croft; d.1684; 2.54 m x 1.42 m. Nave; 49; Font; c.1420; Octagonal bowl with armorial shields, 77 cm x 46 cm; Octagonal pedestal with inscription, 39 cm x 29 cm; Octagonal base with shields and lettering, 74 cm x 25 cm. N Aisle; 50; Tomb slab with brasses of effigies of William Burgh; Esquire; and son William; Esquire; inscription plate, and indents of 4 shields; father d.1442, son d.1465; 2.65 m x 1.18 m; c. 1465; Yorkshire 2b. 51; Tomb slab with brasses of inscription plate to John de Burgh; Esquire; and wife Katerina, 1 shield, and indents of 3 shields; John d.1412; 2.34 m x 1.17 m; Yorkshire 1; 52; Tomb slab with incised inscription to John Lawson de Burgh; Baronet; and wife Catherine; John d.1698; 1.15+ m x 99 cm. CAYTON; YNR; St. John Baptist’s Church; Chancel; 53; Tomb slab with brasses of Evangelist symbols, 2 inscription plates (i) Robert ...; 1452; Yorkshire 2a; (ii) to John Wyvill; d.1705; 2.37 m x 1.42 m. CHESTER-LE-STREET; D; St. Mary’s and St. Cuthbert’s Church; S Aisle; 54; Font; late 15th century; Octagonal bowl with armorial shields, 1.00 m x 45 cm, Octagonal pedestal, 46 cm x 34 cm, Octagonal base c.1.00 m x 26 cm. Central crossing; 55; Plain tomb slab; n.d; 2.03 m x 91 cm. N Transept; 56; Tomb slab with incised inscription to John Hedworth; Armiger; wife Jane, and son Ralph Hedworth; Armiger; John d.1624; 2.14 m x 1.06 m. CRATHORNE; YNR; All Saints’ Church; Outside S Porch; 57; Plain slab; n.d; 2.38 m x 78 cm. 58; Chancel; Tomb slab with brasses of inscription plate to Thomas Crathorn; Esquire; and wife Elizabeth; c.1410, shield; 2.21 m x 1.12 m; Yorkshire 1. CROFT; YNR; St. Peter’s Church; S Aisle; 59; Tombchest of Sir Richard Clervaux; Knight; d.1490; Plain cover slab 2.81 m x 1.64 m x 20 cm thickness, S panel carved with armorial shields 2.72 m x 1.03 m x 20 cm thickness, N panel carved with armorial shields 2.72 m x 1.03 m x 19 cm thickness, E and W panels carved with armorial shields 1.16 m x 1.03 m. S Wall; 60; Probable tomb-chest remnants (A,B,C) of Sir John Clervaux; Knight; father of Richard; d.1443; A, C carved with armorial shields 1.13 m x 69 cm x 24 cm thickness, B carved with armorial shields 2.04 m x 69 cm x 24 cm thickness. CROSTHWAITE; C; St. Kentigern’s Church; S Aisle; 61; Tomb slab elevated on sandstone pillars with brasses of effigies of Sir John Ratclif; Knight; and wife Dame Alice, inscription plate, 4 shields; John d.1527; 2.36 m x 1.09 m x 15 cm thickness; London F debased work. CUCKNEY; No; St. Mary’s Church; Chancel; 62; Tomb slab with incised inscription (now illegible) recorded as being to Robert Pierrepoint; Earl of Kingston, Lord of the Manor; d.1642; 1.78 m x 1.21 m.

DANBY WISKE; YNR; Church has no dedication; Nave; 63; Tomb slab with (i) incised inscription (unreadable); 1685 date legible; and (ii) brass inscription plate to John, Ann, Alexander, children of William and Elizabeth Linton; d.1728; 1.84 m x c.70 cm. DARLINGTON; D; St. Cuthbert's Church; Inside W door; 64; Tomb slab with incised inscription, mostly unreadable, but dated 1716 and 1727/8; 1.43+ m x 91 cm. N Aisle; 65; Plain slab; n.d; 94 cm x 63 cm. DOWNHOLME; YNR; St. Michael’s Church; Chancel; 66; Plain tomb slab; n.d; 1.87 m x 1.18 m. DURHAM; D; Cathedral Church of Christ, the Blessed Virgin Mary and St. Cuthbert; (see Floorplan 3); Cloister; 67 (on floorplan, (a) marks original position and (b) present position); Laver; 1432 – 1433; Bowl 2.43 m x 34 cm deep, Base 2.88 m x 25 cm deep. Galilee Chapel; 68; Tomb-chest to Bishop Thomas Langley; Bishop of Durham, Chancellor of England – 3 times; Ambassador to France; d.1437; Plain cover slab 3.34 m x 1.75 m x 17 cm thickness, W end carved with 3 shields, 1.59 m x 91 cm x 17 cm thickness, N and S panels not measurable as partially obscured by steps. 69; Steps on N and S sides of Bishop Langley’s tomb-chest. 70; Two arches of doorhead which led into a chantry chapel founded by Bishop Langley to himself, now in the Cathedral stone archive; 1433-1435; Crown of arch to outside 91 cm x 64 cm height. 71; Tomb slab with (i) indents of inscription plate and shield; and (ii) incised inscription to John Brimley; Cathedral organist and master of choristers; d.1576; 2.38 m x 1.04 m. 72; Fragment of slab probably marking the position of a font erected by Bishop Langley; c.1406-1437; 1.00 m x 54.5 cm. 73; Tomb slab with indents of inscription plate, shield, possibly to Richard of Barnard Castle; Archdeacon of Northumberland 13621369, Dean of Auckland; d.c.1400; 2.50 m x 1.15 m. 74; Tomb-chest marking position of the Shrine of the Venerable Bede with incised inscription on cover slab; n.d; Cover slab 2.59 m x 1.17 m x 20 cm thickness, N and S panels 2.38 m x 50 cm x 37 cm thickness, E and W panels 33 cm x 50 cm. S Aisle; 75; Plain slab with 3 holes in each corner recorded as the top stone of Venerable Bede's Shrine; 1370; 1.40 m x 87 cm. 76; Plain slab recorded as the bottom stone of Venerable Bede’s Shrine; 1370; 1.34 m x 81 cm. 77; Plain tomb slab; n.d; 2.52 m x 1.09 m. 78; Tomb slab with indents of half figure and inscription plate; n.d; 2.85 m x 1.40 m. 79; Tomb slab with indents of figure of Robert Nevill under a canopy and inscription plate; Bishop of Durham 1438-1457; d.1457; 2.78 m x 1.35 m; London D. S and N Choir Aisles; 80; Steps leading into chancel; n.d; no measurements. Choir; 81; Tomb slab in two pieces with modern brass effigy of Lewis de Beaumont laid into indent; Bishop of Durham 1318-1333; d.1333; 4.81 m x 2.92 m overall; original brass from London Seymour workshop. 82; St. Cuthbert’s Shrine; Tomb slab with incised inscription to St. Cuthbert covering the vault; n.d; 2.74m x 1.32 m x 17 cm thickness.

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Appendices

Floorplan 3. Durham Cathedral (Co. Durham).

Floorplan 4. Holy Trinity, Hull (Yorkshire, East Riding)

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Northern Rock: the use of Egglestone marble for monuments in medieval England EASBY; YNR; St. Agatha’s Church; Chancel; 83; Plain tomb slab; n.d; 1.45 m x 84 cm. 84; Tomb slab with indents of inscription plate and 2 shields; possibly 15th century; 2.37 m x 1.39 m. 85; Tomb slab with indents of inscription plate and shield; 15th or 16th century; 2.58 m x 1.34 m. ECKINGTON; De; St. Peter’s and St. Paul’s Church; S Chapel; 86; Steps leading into chapel; n.d; Typical step 1.25 m x 38 cm x 5.9 cm thickness. Nave; 87; Tomb slab with incised inscription to Dorothy Newton; d.1726; 1.97 m x 1.04 m. EDENHALL; C; St. Cuthbert’s Church; Sanctuary; 88; Tomb slab with brasses of effigies of William Stapilton; Esquire, Lord of Edenhall; and wife Margaret, inscription plate; William d.1458; 2.25 m x 1.15 m; London D, female engraved c.1470. EGGLESTONE; YNR. 1. Abbey Church of St. Mary and St. John the Evangelist; A number of tomb slabs, probably of Egglestone Marble, lie in the Nave but their geological provenance cannot be established conclusively because of their weathered condition. Nave; 89; Tomb-chest of Sir Ralph Bowes; Knight; d.c.1482; Cover slab lost, N and S panels 3.27 m x 71 cm x 33 cm thickness, E panel 1.14 m x 71 cm x 24 cm thickness, W panel 1.14 m x 71 cm x 31 cm thickness. The cover slab is set upside-down into the grass to the west of the chest. 2. English Heritage Stone Store – Helmsley, but moved to Berwick-upon-Tweed; 90; Fragment of a carved dog on which the feet of a knight would have rested – accession number 81027101, found during archaeological investigations at the Abbey; n.d.

Aisle; 99; Tomb slab with incised inscription to Alys Bewsay and Sir Henry Boynton, Knight; c.1540 1.85 m x 1.41 m. GLENTHAM; Li; St. Peter’s Church, Tourney Chapel; 100; Tomb slab with brasses of half effigy, inscription plate to Elizabeth Tourney; Wife of John Tourney; Armiger; and indent of shield; d.1452; 2.38 m x 90.5+ cm; Yorkshire 2a. GREAT ASBY; W; St. Peter’s Church; Porch; 101; Tomb slab with indents of male civilian and wife, 4 shields, marginal inscription in separated fillets; c.1490; 2.39+ m x 1.27 m; London F. GREAT MUSGRAVE; W; St. Theobald’s Church; 102; Sanctuary; Tomb slab with brasses of effigy of Thomas Ouds, Evangelist symbols, and indent of inscription plate, quatrefoils; Rector; c.1502; 1.72 m x 85 cm; London F. GREAT RIBSTONE; YWR; St. Andrew’s Chapel attached to Ribstone Hall; Sanctuary; 103; Tomb slab with indents of knight, 4 shields, marginal inscription; early-16th century; 2.14+ m x 1.04+ m; ?York workshop. 104; Tomb slab with indents of lady, 4 shields, marginal inscription, quatrefoils; c.1420; 2.17+ m x 1.08+ m; London B. GREYSTOKE; C; St. Andrew’s Church; S Lady Chapel; 105; Plain tomb slab; n.d; 2.24 m x 1.19 m. 106; Tomb slab with worn indent; n.d; 1.97 m x 93 cm. 107; Tomb slab with brass of half effigy of John Whelpdall LL.D, inscription plate, 2 shields; Master of the College of Greystoke, Rector of Caldbeck; d.1526; 2.05 m x 95 cm; London F debased. Chancel; 108; Tomb slab with brass inscription plate to William le Bone; indents of 4 shields; Baron of Greystoke; d.1359; 2.76 m x 1.36 m; London A. 109; Tomb slab with brass inscription plate to Thomas Eglisfelde; Rector 1440; and Walter Readman; Rector 1507-1509; Both Provosts of Greystoke; Walter d.1509; 2.01 m x 96 cm. GUISBOROUGH; YNR; St. Nicholas’ Church; S Aisle; 110; Tomb-chest to the Bruce family; c.1520; Plain cover slab 2.76 m x 1.14 m x 23 cm thickness at E end, 24 cm thickness at W end, N panel carved with figures 2.48 m x 92 cm x c.15 cm thickness, S panel carved with figures 2.64 m x 92 cm x c.16 cm thickness, E panel carved with figure of James Cockerell, Prior of Gisborough, 15191534, 82 cm x 92 cm x 16 cm thickness, W panel not Egglestone Marble.

FISHLAKE; YWR; St. Cuthbert’s Church; Chancel; 91; Cover slab of tomb-chest of Richard Marshall, with indents of figure (priest), cross, chalice, wafer, inscription plate, quatrefoils; Vicar 1496-1505; d.c.1505; 2.25 m x 1.12 m x 12 cm thickness; possible York work. GAINFORD; D; St. Mary’s Church; Sanctuary; 92; Tomb slab with brass inscription plate to William Pegg; Civilian?; and wife Katherine; William d.1486; 2.43 m x 1.23+ m; London D. N Porch; 93; Plain slab; n.d; 1.86 m x 94 cm. 94; Plain slab; n.d; 1.56 m x 57.5 cm. External alongside S wall; 95; Tomb-chest; on cover slab (i) raised letter marginal inscription on S and E side panels to Sir William Pudsay; Knight, Retainer of Richard Nevill, Earl ofSalisbury; and wife Elizabeth; William dead by 1499; and (ii) incised inscription to William Cradock; Esquire; d.1736; Cover slab 2.44 m x 1.34 m x 15 cm thickness, S panel with coat of arms 2.27 m x 30 cm, E panel with coat of arms 1.28 m x 30 cm x 10 cm thickness, N and W panels not Egglestone Marble. GILLING EAST; YNR; Church of the Holy Cross; Chancel; 96; Tomb slab with brass inscription plate to Robert Wellyngton; Rector of Gilling; d.1503; 1.58+ m x 90.5 cm; Yorkshire 4 GILLING WEST; YNR; St. Agatha’s Church; W wall; 97; Tomb slab with carved effigies in low relief of Sir Henry Boynton; Knight; and wife Isabella and raised letter marginal inscription; Isabella d.1531; 2.42 m x 1.18 m. Nave; 98; Plain tomb slab; n.d; 1.42 m x 1.00 m. N

HALSHAM; YER; All Saints’ Church; Constable Chapel; 111; Tomb-chest cover slab with indents of figure, John Constable; Knight; 2nd figure now partially obscured recorded as a lady, shields, marginal inscription. Alabaster effigy of a knight from the Constable family sits on top of the monument; d.1451; Cover slab 2.15 m x 1.25 m x 13 cm thickness; Yorkshire 2a. HAREWOOD; YWR; All Saints’ Church; S Aisle; 112; Slab, probably a tomb-chest cover, with indents of 2 figures, John Thwaites; Lawyer; and wife Isabella, shield, marginal inscription; John d.1469; 1.87 m x 86 cm; Yorkshire 2b. HARPHAM; YER; St. John of Beverley’s Church; N Chapel; 113; Tomb slab with brasses of effigies of Sir Thomas de St. Quintin; Knight; and wife Agnes under a double canopy, 3 armorial shields, marginal inscription 76

Appendices (part lost), indent for 4th shield; Agnes d.1418 when the brass laid down, the date of decease of Thomas was not filled in and he probably survived her; 2.76 m x 1.33 m; Yorkshire 1c. 114; Tomb slab with brass effigy of Thomas de St. Quintin, inscription plate, 3 armorial shields, indent for 4th shield; Esquire; d.1445; 2.15 m x 1.00 m; Yorkshire 2a. HEDON; YER; St. Augustine’s Church; N Transept; 115; Tomb slab with indents of knight and lady, inscription plate, quatrefoils; early 16th century; 2.11 m x 89 cm; Yorkshire work. HEIGHINGTON; D; St. Michael’s Church; Under Tower; 116; Font; 15th century; Octagonal pedestal, 39 cm x 26 cm, Octagonal base, 76 cm x 24 cm; Octagonal bowl – sandstone. 117; Tomb slab with carved marginal inscription to John March; Merchant Adventurer; and shield cut into the stone bearing the emblem of the Merchant Adventurers Company of Newcastle; d.1590; 1.92 m x 1.08 m. Sanctuary; 118; Tomb slab with (i) indents of 2 figures, inscription plate; c. 1490; York work; and (ii) incised inscription to Margery and Thomas Hilton and others; dates including 1675, 1697; 1.83 m x 81 cm. HELMSLEY; YNR. 1. All Saints’ Church; Under Tower; 119; Tomb slab formerly in Rievaulx Abbey with brasses of effigies thought to be of Thomas 10th Lord de Ros of Helmsley, and wife Philippa, plumed helm, and indents of 3 children, inscription plate, 4 shields, scrolls; Thomas, a Lancastrian, was beheaded 1464; 2.35+ m x 1.16 m; London B. 2. English Heritage Stone Store (now moved to Berwickupon-Tweed store); See also Egglestone Abbey object no. 90; Fragment of a carved dog on which the feet of a knight would have rested – accession number 81027101, found during archaeological investigations at the Abbey; n.d. HEMINGBROUGH; YER; St. Mary’s Church; Chancel; 120; Tomb slab with indents of figure, marginal inscription to John Radburn; Priest; d.1428; 2.12 m x 1.04 m; Yorkshire 1c. HIGH CONISCLIFFE; D; St. Edwin’s Church; Chancel; 121; Plain tomb slab; n.d; 2.02 m x 97.5 cm. 122; Plain tomb slab; n.d; 2.18 m x 90 cm. Nave; 123 (under pulpit) Tomb slab with indent for inscription plate; n.d; 1.81 m x 88 cm. 124; Tomb slab with (i) indent for inscription plate; n.d; and (ii) incised inscription to Christopher Vasie Senr.; d.1678, John Vesey, d.1723; and ?Elizabeth, n.d; 1.85+ m x 96 cm. 125; Tomb slab with indent for inscription plate and blackletter marginal inscription (unreadable); n.d; 2.00 m x 1.20 – 1.27 m. N Aisle; 126; Tomb slab with brass inscription plate to William Berwys; Bailiff of Coniscliffe; d.1519; 1.48 m x 1.08 m; London F. 127; Tomb slab with incised letters

MV; n.d; 1.64 m x 40 cm (Head), 37 cm (foot). 128; Plain tomb slab; n.d; c.1.82 m (irregular edges) x 91 cm. 129; Tomb slab in 3 pieces with incised inscription to Laurence Copland; n.d; 2.28-2.32 m x 1.02 m. HORNBY; YNR; St. Mary’s Church; S Porch entrance; 130; Plain slab; n.d; 3.01 m x 1.36 m. S Chapel; 131; Tomb slab with brass inscription plate to Henry Harrison; and wife Margaret; Henry d.1668; 2.10+ m x 1.31 m. 132; Tomb slab with brasses of effigies of Thomas Mountford (part lost); Esquire; and wife Agnes, 15 children (8 sons, 7 daughters), inscription plate and indent of shield; Thomas d.1489; 2.18 m x 1.23 m; London D. 133; Tomb slab with brass inscription plate to Christopher Conyers; Esquire, Steward of Middleham and other Lordships in Middleham, Bailiff of the Honour and Liberty of Richmond, Retainer of Richard Nevill, Earl of Salisbury; and wife Ellen, scrolls, and indents of 2 pairs of ?shields; Ellen d.1443 when the brass laid down, the date of decease of Christopher was only partially completed. He died between 1463 and 1465; 2.08 m x 1.07 m; Yorkshire 2a. HOWDEN; YER; Minster Church of St. Peter and St. Paul; S Transept; 134; Tomb slab with indents of kneeling knight and lady, scrolls, inscription plates, 4 shields; c.1450; 2.28 m x 1.16 m; London D. Nave; 135; Tomb slab with indents of figure of priest, inscription plate, 4 shields; c.1430; 1.99 m x 1.02 m; Yorkshire 1c. HULL; YER; Holy Trinity Church; (See Floorplan 4); Chancel; 136; Tomb slab with incised inscription to Robert (surname unreadable), Robert and Robert; n.d. (unreadable); 2.44 m x 1.04+ m. 137; Tomb slab with incised inscription to Isabella Hollingworth and family members; 1812, 1818; 2.78 m x 1.10+ m. 138; Tomb slab with incised inscription to Joseph Fernely and family members and carved circular emblem; n.d. (unreadable); 2.15 m x 1.09 m. 139; Tomb slab with incised inscription to Andrew Jam(?es); n.d. (unreadable); 1.50 m x 51 cm. 140; Tomb slab with incised inscription to ?Sproull; n.d; 1.71 m x 88 cm. 141; Tomb slab with incised inscription (unreadable); d.1796; 1.77 m x 20+ cm. N Aisle; 142; Tomb slab with (i) indent of inscription plate; n.d; and (ii) incised inscription to Robert (surname unreadable); Alderman; n.d. (unreadable); 2.08 m x 1.01 m. 143; Tomb slab with (i) indent of inscription plate; n.d; and (ii) incised inscription (unreadable); 1733; 2.30 m x 1.00 m. 144; Tomb slab with indents of 3 inscription plates, possible marginal indent, 2 shields; n.d; 2.30 x 98 cm. 145; Tomb slab with incised inscription to John Cockril Dunn; d.1826; 1.81 m x 97+ cm. HUTTON RUDBY; YNR; All Saints’ Church; Sanctuary; 146; Tomb slab with indent of inscription plate; n.d; 2.17 m x 1.02 m. 147; Tomb slab covered by carpet; n.d; 1.96+ m x not measureable. 148; Plain tomb slab; n.d; 2.56 m x 1.28 m.

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Northern Rock: the use of Egglestone marble for monuments in medieval England

Floorplan 5. Holy Trinity, Kendal (Westmorland)

Floorplan 6. St. Peters, Leeds (Yorkshire, West Riding)

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Appendices KENDAL; W; Holy Trinity Church; (see Floorplan 5); S Aisle; 149; Font; late 15th century; Octagonal bowl with blank shields, 1.16 m x 48 cm, Octagonal pedestal, 53 cm x 33 cm, Octagonal base, 91 cm x 30 cm. Parr Chapel; 150; Plain cover slab on tomb-chest of Sir William Parr; Knight of the Garter; d.1483; 1.95 m x 1.05 m x 20 cm thickness. Strickland Chapel; 151; Plain cover slab on tomb-chest probably of Sir Walter Strickland; Knight, Retainer of Richard Nevill, Earl of Salisbury; and wife Katherine; Walter d.1528; 2.23 m x 1.11 m x 15 cm thickness. Old Sanctuary; 152; Tomb slab with (i) unreadable blackletter inscription; late 15th, early 16th century; and (ii) brass inscription plate to Father Robert Dawson; Bishop of Clonfert and Kilmacduagh, Head of the church in Ireland; d.1643; 1.48 m x 90cm. 153; Tomb slab with brass inscription plate to Raulph Tiror, B.D; Vicar; d.1627; 1.48 m x 76 cm. Bellingham Chapel; 154; Tomb-chest cover slab with brasses of effigies (19th century replacements) of Sir Roger Bellingham; Knight; and wife Margaret, inscription plate, 4 shields; Roger d.1533; 1.94 m x 1.04 m x 8 cm thickness. KIRKBY STEPHEN; W; St. Stephen’s Church; Hartley or Musgrave Chapel; 155; Tomb-chest cover slab with edge inscription to Sir Richard Musgrave; Knight; d.1464; 2.06 m x 91+ cm x c.19 cm thickness. KIRKBY WHARFE; YWR; St. John’s Church; Chancel; 156; Tomb slab with brasses of effigy, probably William Gisborne, inscription plate with effaced lettering; Priest; d.c.1480; c.95 cm x not measurable; London D. KIRKHARLE; N; St. Wilfred’s Church; Nave; 157; Font – originally in All Saints’ Church, Newcastle; 15th century; Octagonal bowl with armorial shields and merchant's mark, 98 cm x 62 cm, Octagonal pedestal, 34cm x 30 cm, Octagonal base – sandstone. KIRKLEATHAM; YNR; St. Cuthbert’s Church; Nave; 158; Tomb slab with indent of inscription plate that is in Kirkleatham Hall Museum to Thomas Lambert and wife Agnes; Parents of William Lambert, Master of Staindrop College; Thomas; d.1453, brass engraved 1470; 2.36 m x 1.21 m; Yorkshire 2b. KNARESBOROUGH; YWR; St. John’s Church; Slingsby Chapel; 159; Tomb slab reputed to have covered Saint Robert’s tomb in St. Robert’s Priory (remains); Knaresborough, now with (i) weathered indent possibly of a figure; n.d; and (ii) incised inscription to Sir Henry Slingsby; Bart; beheaded 1658; 1.89 m x 1.41 m x 14 cm thickness.

(ii) John Firth; Merchant and Alderman; d.1779; and (iii) Mary Tennant, daughter of Alderman Firth; d.1799; 1.84 m x 1.00m. 163; Tomb slab with incised inscription to Jeremiah Barstow and family members; 1711, 1719; 1.83 m x 76 cm. 164; Tomb slab with incised inscription to Douglas family; earliest date 1669; 1.85 m x 85 cm. 165; Tomb slab with incised inscription to Bywater family members; 176? (unreadable) and other later dates including 1824; 1.83 m x 1.05 m. Altar Flat; 166; Tomb slab with indents of chalice, 3 inscription plates. The brass plate to Thomas Clarell and chalice are mounted on the S chancel wall; Vicar; d.1469; 1.54 m x 1.05 m; Yorkshire 2b. 167; Tomb slab with incised inscription to Fenton family; 1714 to 1777; 1.83 m x 1.01 m. Lady Chapel; 168; Tomb slab with incised inscription to Henry Hall; Esquire, Alderman and Mayor of Leeds; and wife Elizabeth; Henry d.1805, Elizabeth d.1804; 1.82 m x 97 cm. 169; Tomb slab with incised inscription to Harriott, daughter of Joseph Mason; d.1798; 1.84 m x 99 cm. 170; Tomb slab with incised inscription to William Cookson; Esquire; and family; William d.1713, last date 1811; 1.80 m x 97 cm. N Entrance; 171; Tomb slab with brass rivets visible as evidence of lost brass; n.d; 1.81 m x 96 cm. The slab was broken and lifted when the north porch floor was relaid in 1998. It was not replaced. A circle of Egglestone Marble in the centre of the new floor was cut from a piece of this slab. Chancel; 172; Tomb slab with indents of figures of Sir John Langton; Knight; and wife Eufemia; inscription plate. The brasses are mounted on the S Chancel wall; John d.1459; 1.83 m x 1.01 m; Yorkshire 2b. 173; Tomb slab with indents of figures of John Langton; Esquire; and wife Agnes (only indent of lady now visible); inscription plate, shields. The brass of the lady is mounted on the W wall, but not the inscription plate; John d.1467; 1.84 m x 53+ cm; London Sub B. Nave; 174; Tomb slab with (i) indent of shield; n.d; and (ii) incised inscriptions to several people including Catharine Ibbetson; d.1710; Dame Isabella Ibbetson; d.1757; and Thomasin Paxton; d.1757; 1.76 m x 1.00 m. 175; Tomb slab with (i) brass rivets as evidence of lost brass; n.d; and (ii) worn incised inscription at E edge to ?Harrison Owner; n.d; 1.83 m x 1.02 m. LINCOLN; Li; Cathedral Church of the Blessed Virgin Mary; (see Floorplan 7); S Choir Aisle; 176; Tomb slab with indent of inscription plate; n.d; 2.50 m x 1.04 m. 177; Tomb slab with indent of inscription plate; n.d; 2.85 m x 1.33 m. 178; Tomb slab with indent of inscription plate; n.d; 2.88 m x 1.26 m. Longland Chantry; 179; Plain cover slab on tomb-chest of Bishop John Longland; Bishop of Lincoln, Confessor to Henry VIII, Chancellor of Oxford University; d.1547; Cover slab 2.31+ m x 1.11+ m x 13 cm thickness, Base 2.31 m x 34 cm thickness (the chest is not Egglestone Marble), Steps on which tomb mounted, W piece 1.28 m x 13 cm x 20 cm thickness, E piece 1.26 m x 13 cm x 20 cm thickness. N Choir Aisle; 180; Tomb slab with indents of figure, inscription plate, shields; n.d; 2.81 m x 1.06 m. 181; Tomb slab with indents of inscription plate, 2 shields,

LAXTON; No; St. Michael the Archangel’s Church; Chancel; 160; Tomb slab with indent of inscription plate; n.d; 2.19 m x 1.00 m. LEAKE; YNR; St. Mary’s Church; Nave; 161; Tomb slab with brass effigies of John Watson; Auditor to Lord Scrope of Upsall; and wife Alice, with blackletter inscription; John d.c.1530; 1.84 m x 83+ cm; Cambridge workshop. LEEDS; YWR; St. Peter’s Church; (See Floorplan 6); S Aisle; 162; Tomb slab with (i) incised inscription to son of John Firth; d.1741; and two brass inscription plates to

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Northern Rock: the use of Egglestone marble for monuments in medieval England

Floorplan 7. Lincoln Cathedral (Lincolnshire)

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Appendices Evangelist symbols; 2nd half 15th century; 2.60 m x 1.03 m. LITTLE DRIFFIELD; YER; St. Mary’s Church; Inside N Door; 182; Tomb slab said to have three compositions (i) indents possibly of figure and scroll; 15th century; London workshop; (ii) inscription plate, shield; probably 16th century; and (iii) brass inscription plate to Raufe Buckton, and wife Margaret, partly laid into smaller plate indent; d.c.1540; 2.11 m x 96 cm. LONDESBOROUGH; YER; All Saints’ Church; Chancel; 183; Tomb slab with brass inscription plate to Margaret Lady Clifford and Vescy; Wife of John Lord Clifford, mother of Henry Lord Clifford, The Shepherd Lord; d.1493; 1.72 m x 67 cm; Yorkshire 4. LOWTHORPE; YER; St. Martin’s Church; Ruined Roofless Chancel; 184; Tomb slab with indents of 2 figures under elaborate canopy, inscription plate, 2 shields probably to Sir Thomas Heslerton; Knight; and wife Alicia; Thomas founded a chantry here in 1364; 1.43+ m x 1.10 m; Yorkshire 0.

NORTHALLERTON; YNR; All Saints’ Church; Nave; 201; Tomb slab with incised inscription to Margaret ?Careless; d.1764; 1.77 m x 91 cm. 202; Tomb slab with (i) indents of inscription plate, quatrefoils; n.d; (ii) brass inscription plate to Francis Kaye; Vicar; d.1624; (iii) incised inscription to Rev. Pigot and wife Elizabeth; d.1775, 1776; 2.07 m x 1.20 m. NORTH FRODINGHAM; YER; St. Elgin’s Church; S Porch; 203 Tomb slab with indent for inscription plate; 2.12 m x 93 cm. NUNNINGTON; YNR; All Saints’ and St. James’ Church; Nave; 204; Tomb slab with indents of male figure, probably Thomas Butler; Civilian; and 2 wives, Agnes and Margaret, inscription plate; Thomas d.1526; 1.85 m x 94 cm; London G.

MARRICK; YNR; St. Andrew’s Church, now a residential centre for outdoor pursuits; Outside Main Entrance; 185; Plain slab; n.d; 2.51 m x 1.14 m. Entrance Hall; 186; Tomb slab with indents of knight and lady, inscription plate, 4 shields; c.1450; 2.81 m x 1.42 m; Yorkshire 2b. 187; Tomb slab with indent of inscription plate; n.d; 2.01 m x 1.07 m. 188; Tomb slab with indent of inscription plate; n.d; 2.25 m x 1.17 m. Chapel Chancel; 189; Font; c.1500; Octagonal bowl with blank shields and panels, 54 cm x 30 cm, Octagonal pedestal and circular base – not Egglestone Marble. 190; Slab fragment; n.d; 75 cm x 28+ cm. 191; Slab fragment with blackletter inscription (unreadable); n.d; 99 cm x 42+ cm. 192; Tomb slab with Latin inscription in blackletter with Lombardic majuscules to Isabella, sister of Thomas Pudsay of Barfoot; Nun; c.1530; 2.19 m x 1.03 m. 193; Plain slab; n.d; 1.69 m x 1.17 m. MIDDLEHAM; YNR; St. Mary’s and St. Alkelda’s Church; Entrance S Porch; 194 – 197; 4 Plain slabs (1 as foundation for E side porch); n.d; largest 2.02 m x 1.08 m.

PATRICK BROMPTON; YNR; St. Patrick’s Church; N Aisle; 206; Coffin shaped slab with weathered cross in relief and chalice; probably late 13th century; 1.82 m x 55 cm (head), 38 cm (foot). PATRINGTON; YER; St. Patrick's Church; Chancel; 207; Tomb slab with indents of inscription plate, quatrefoils; 15th or 16th century; 2.62 m x 1.28 m. PITTINGTON; D; St. Laurence’s Church; S Aisle; 208; Plain tomb slab; n.d; 1.83 m x 99 cm. POCKLINGTON; YER; All Saints’ Church; Entrance to Lady Chapel; 209; 2 Steps; n.d; Upper 91 cm x 30 cm x 15.5 cm thickness, Lower 92 cm x 30 cm x 14.5 cm thickness.

OSMOTHERLEY; YNR; St. Peter’s Church; Chancel; 205; Plain tomb slab believed to have covered grave of Sir James Strangways; Knight, High Sheriff of Yorkshire; d.1541; 2.55 m x 1.20 m.

RICCALL; YER; St. Mary’s Church; Chancel; 210; Tomb slab with brass inscription plate to Maud Kelsy and son Robert; Maud d. c.1460; 1.97 m x 78+ cm; Yorkshire 2b. RICHMOND; YNR; St. Mary the Virgin’s Church; N Aisle; 211; Font; mid 15th century; Octagonal bowl with blank shields, lettered shield and merchant's mark, 89 cm x 56 cm, Pedestal and base - sandstone. RIPLEY; YWR; All Saints’ Church; Chancel; 212; Tomb slab with brasses of chalice, inscription plate to Richard Kendale; Rector; d.1429; 1.96 m x 58+ cm; Yorkshire 1. Sanctuary; 213; Tomb slab with brass inscription plate to Katherine Ingelby; wife of Sir William Ingelby and mother of John; d.1500; 2.11 m x 1.11 m; Yorkshire 4. 214; Tomb slab with brass inscription plate to John Ingelby; Esquire; d.1502; 2.13 m x 1.01 m; Yorkshire 4. N Aisle; 215; Plain tomb slab; n.d; 1.99 m x 95 cm. RIPON; YWR; Cathedral Church of St. Peter and St. Wilfrid; S Aisle; 216; Font; possibly 16th century; Octagonal bowl with blank shields and lozenges, 97 cm x 47 cm, Octagonal pedestal, 44 cm x 37 cm, Octagonal base with blank shields and carved lozenges, 93 cm x 41 cm. 217; Tomb slab with incised inscription to Margaret Oxley; d.1811; 1.85 m x 97 cm. Entrances to Treasury, Crypt, Chancel; 218; Steps, threshold slabs; n.d. Floor of

NEWARK; No; St. Mary Magdalene’s Church; Lady Chapel; 198; Tomb-chest with marginal brass inscription to Robert Brown; Alderman of the Guild of the Holy Trinity, Constable of the Castle, principal Steward of the Liberty of the town, receiver to Cardinal Wolsey and Bishop Longland of Lincoln, Sheriff of Notts. and Derby, and Keeper of the Records in Nottinghamshire and in the Kesteven part of Lincolnshire; d.1532; Cover slab 2.03 m x 1.05 m x 17 cm thickness, chest carved from a single block of stone, N and S sides with painted armorial emblems 1.94 m x 66 cm, E and W sides with painted armorial emblems 97 cm x 66 cm; London F debased. NEWCASTLE; N. 1. Cathedral Church of St. Nicholas; Nave; 199; Font; c.1475; Octagonal bowl with painted armorial shields, 96 cm x 54 cm, Octagonal pedestal, 41 cm x 31 cm, Octagonal base, 1.00 m x 29 cm. 2. St. John’s Church; Nave; 200; Font; n.d; Octagonal base, 78 cm x 28 cm, Bowl and pedestal − sandstone.

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Northern Rock: the use of Egglestone marble for monuments in medieval England Nave and Aisles; 219; Many paver slabs - probably reused tomb slabs; n.d. ROKEBY; YNR; Rokeby Hall; S Entrance Hall; 220; Floor tiles; n.d; No measurements. ROMALDKIRK; YNR; St. Romald’s Church; ChancelMural; 221; Part tomb-chest cover slab with figure indent, marginal black letter inscription, mutilated in places, to John Lewelyne; Rector; d. c.1470; 1.33 m (lower portion missing) x 1.36 m x c.17 cm thickness; Yorkshire 2b. Under Tower; 222; Plain tomb slab; n.d; 2.05 m x 91 cm. 223; Tomb slab with indent; n.d; 83 cm x not measurable; 224; Plain tomb slab; n.d; 1.27 m x not measurable. ROXBY; YNR; St. Nicholas’ Church; Chancel; 225; Tomb slab with brasses of effigy of figure, inscription plate, 4 armorial shields, to Thomas Boynton; Esquire; d.1523; 1.88 m x 86 cm; London G.

and wife Agnes; Thomas was Chancellor of the Exchequer in reign of Henry VI and Edward IV, Executor to Richard Nevill, Earl of Salisbury and his son Richard, "Warwick the Kingmaker"; Thomas d. c.1480; 2.23 m x 1.11+ m; London D. SKIPTON; YWR; Holy Trinity Church; Sanctuary; 239; Tomb-chest of Henry, 11th Lord de Clifford; 1st Earl of Cumberland, Knight of the Garter, Governor of Carlisle, President of the King's Council in the North. The cover slab has brasses of effigies of Henry and wife Margaret, daughter of Henry Percy, 5th Earl of Northumberland, an edge inscription and armorial shields. A vertical stone resting on the cover slab carries brasses of the family of Henry’s son, Henry, 2nd Earl of Cumberland, an inscription and a figure of the Trinity. The tomb-chest was restored in 1867 when the brasses were laid into the stone; Henry, 1st Earl d.1542; Cover slab 2.62 m x 1.29 m x 15 cm thickness, N/S panels decorated with armorial emblems, 2.28 m x 58 cm x 11 cm thickness, W panel decorated with an armorial emblem, 77 cm x 58 cm, E panel sandstone; Base overall (4 sections) 2.43 m x 34 cm x 10 cm thickness, Vertical stone 1.10 m x 77 cm x 13 cm thickness. SNAITH; YWR; Priory Church of St. Laurence; S Choir Aisle; 240; Plain cover slab on tomb-chest of Sir John Dawnay; Knight; d.1493; 2.17 m x 1.18 m x 11-17 cm thickness. Sanctuary; 241; Tomb slab with indents of an Abbot under triple canopy, marginal inscription, scrolls, quatrefoils; c.1400; 3.37 m x 1.88 m; London B. SNARFORD; Li; St. Lawrence’s Church; St. Paule Chapel; 242; Tomb slab with moulded edge to N, S and W sides and evidence of figure indent (rivets visible); n.d; 1.78 m x 91 cm x 13 cm thickness. SOCKBURN; D; All Saints’ Church; Conyers Chapel; 243; Tomb slab with (i) incised cross, armorial shield, sword; and (ii) later brass inscription plate to Sir John Conyers; Knight; d.1394; 1.83 m x 1.08 (head), 77 cm (foot); Durham 1 probably engraved c.1460. 244; Tomb slab with brass inscription plate to Isabella Conyers; wife of Sir Robert Conyers, Knight; d.1433; 1.96 m x 93 cm; Durham 1 probably engraved c.1460. 245; Tomb slab with brass inscription plate to Sir Robert Conyers; Knight; husband of Isabella and son of John; d.1433; 2.12 m x 96 cm; Durham 1 probably engraved c.1460. 246; Tomb slab with brass inscription plate, 4 shield indents to Margery Conyers; wife of Sir Christopher Conyers; d.1470; 2.23 m x 1.04 m, London D. 247; Plain tomb slab; n.d; 2.30 m x c.1.28 m. 248; Plain tomb slab; n.d; 2.41 m x 1.09 m. SOUTH COWTON; YNR; St. Mary’s Church; Nave; 249; Font; Probably late 15th century; Octagonal bowl with blank shields, 91 cm x 44 cm, Octagonal pedestal, 41 cm x 34 cm, Octagonal base, 90 cm x 22 cm. SOUTH KILVINGTON; YNR; St. Wilfrid’s Church; Chancel; 250; Plain tomb slab; n.d; 2.24 m x 1.07 m. Nave; 251; Font; late 15th century; Octagonal bowl with armorial shields, 87 cm x 48 cm, Octagonal pedestal, c.41

SANCTON; YER; All Saints’ Church; Chancel; 226; Tomb slab with indents of figure, inscription plate; c.1500; 1.63 m x not measurable; London D or F. SCARBOROUGH; YNR; St. Mary’s Church; S Aisle; 227; Tomb slab with indents of 2 figures (knight? and lady), inscription plate, quatrefoils; c.1470; 2.15+ m x 1.18 m; London D. SEAMER; YNR; St. Martin’s Church; Chancel; 228; Tomb slab with evidence of indent of inscription plate (rivets visible); n.d; 1.92 m x 92 cm. Vestry; 229; Tomb slab with indents of figures of civilian and lady under canopy, inscription plate, shields; late 14th century; 3.09 m x 1.20 m; London A. SEDGEFIELD; D; St. Edmund’s Church; S Aisle; 230; Font; c.1450; Octagonal pedestal, 38 cm x 28 cm, Octagonal base, 89 cm x 25 cm, Bowl – unidentified crinoidal limestone. Chancel; 231; Tomb slab with brasses of plumed helm, inscription plate to William Hoton; Esquire; d.1414; 1.81 m x 89 cm; London B. 232; Tomb slab with indents of figure, shield, quatrefoils; c.1490; 1.58 m x 77 cm. SELBY; YWR; Abbey Church of St. Mary the Virgin and St. Germain; S Aisle; 233; Tomb slab with incised inscription to Stephen Staniland; d.189?; 2.12 m x 1.04 m. SHERIFF HUTTON; YNR; St. Helen’s and the Holy Cross Church; (See Floorplan 8); S Aisle; 234; Plain tomb slab; n.d; 1.60+ m x 10+ cm (covered by box pew). 235; Tomb slab with brasses of inscription plate, shield, to Thomas Gower; Lord of the Manor of Sittenham; and wife Alice; Thomas d. c.1486; 1.60+ m x 1.20 m; Yorkshire 3. Chancel; 236; Tomb slab with brasses of effigy holding a swaddled infant, inscription plate to Mary Hall and son; mother and son d.1657; 1.40 m x 76 cm; York work. Nave; 237; Tomb slab with brasses of 2 infant effigies in swaddling clothes, inscription plate to Dorothy and John Fenys; Children of Sir Thomas Fenys, Lord Dacre and wife Anne; both d.1491; 87 cm x 48 cm; Yorkshire 3. St. Nicholas Chapel; 238; Tomb slab with brasses of inscription plate, shield to Thomas Wytham,

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Appendices

Floorplan 8. St. Helen and the Holy Cross, Sheriff Hutton (Yorkshire, North Riding)

Floorplan 9. St. Mary, Staindrop (Co. Durham)

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Northern Rock: the use of Egglestone marble for monuments in medieval England

cm x 27 cm, Octagonal base with inscribed panels, c.80 cm x 31 cm. SPOFFORTH; YWR; All Saints’ Church; S Aisle; 252; Tomb slab with indents of figures of lady and daughter, inscription plate; William & Isabella Middleton; d.1497; 2.23 m x 35+ cm; London F or G. 253; Tomb slab with indents of 2 figures (a lady and a male), shields, marginal inscription; William and Jane Middleton; 1549; 2.37 m x 35+ cm; London work. SPROTBOROUGH; YWR; St. Mary’s Church; Chancel; 254; Tomb slab with brasses of effigies of William FitzWilliam; Esquire; and wife Elizabeth, inscription plate, indents of 4 shields; William d.1474; 2.44 m x 1.15 m; Yorkshire 2b. STAINDROP; D; St. Mary’s Church; (see Floorplan 9); S Aisle; 255; Plain tomb slab; n.d; 2.07 m x 96 cm. 256; Tomb slab with indent of inscription plate (rivets visible); n.d; 2.04 m x 87 cm. 257; Tomb slab with incised inscription to Margaret –lliot; wife of John –lliot; d.1761; 1.87 m x 83 cm. 258; Tomb slab with indent of inscription plate; n.d; 2.38 m x 1.27 m. 259; Slab fragment; n.d; 1.12 m x 14.5 cm. 260; Tomb slab with indent of inscription plate; n.d; 1.84 m x 90 cm. 261; Tomb slab with (i) indent of inscription plate; n.d; and (ii) incised inscription to Francis? – of George David; d.1799; 2.13 m x 98 cm. 262; Plain tomb slab; n.d; c.1.61 m x 78+ cm. 263; Tomb slab with (i) indent of skewed inscription plate; n.d; and (ii) incised inscription to Jeremiah Hutchinson; d.1786; 2.43 m x 1.09 m. Nave; 264; Tomb slab with (i) indents of figures of knight and lady, inscription plate, 4 shields; c.1450; and (ii) incised inscription to Thomas Hutchinson; d.1766; 2.36 m x 1.28 m; Yorkshire 2a. 265; Font; 15th century; Octagonal bowl with armorial shield, 87 cm x 49 cm, Octagonal pedestal, 36 cm x 36 cm, Octagonal base, 88 cm x 30 cm. N Aisle; 266; Plain tomb slab; n.d; 1.85 m x 85 cm. 267; Tomb slab with indent of inscription plate and large square hole over part of indent; n.d; 2.06 m x 1.01 m. 268; Plain tomb slab; n.d; 2.21 m x c.94 cm E end, 85 cm W end. 269; Plain tomb slab, n.d; 1.66 m x 66+ cm. 270; Tomb slab with indents of lady figure, inscription plate, 4 shields; Elizabeth Beauchamp; 1448; 1.29 m x c.62 cm; Yorkshire 2a. STARTFORTH; YNR; Holy Trinity Church; Sanctuary; 271; Tomb slab with incised effigies of Sir Thomas de Blande; Knight; and lady; c.1360; 2.11 m x 91 cm. Nave; 272; Font; 1483 – 1485; Octagonal bowl with shields and lettering, 87 cm x 46 cm, Octagonal pedestal, 51 cm x 36 cm, Octagonal base, 70 cm x 23 cm. 273; Plain tomb slab; n.d; 1.75 m x 91 cm. SUTTON-ON-THE-FOREST; YNR; All Hallows’ Church; Chancel; 274; Tomb slab with evidence of lost brass (rivets visible); n.d; 2.09 m x 80+ cm.

THIRSK; YNR; St. Mary's Church; S Aisle; 276; Tomb slab with brasses of effigy, plate with a verse, inscription plate to Robert Thresk; Rector of Market Bosworth, Leicestershire, Remembrancer in the King’s Exchequer, founder of a chantry in Thirsk Church; d.1419; 2.49 m x 1.05 m; Yorkshire 1c. WAKEFIELD; YWR; Cathedral church of All Saints’; Choir Aisle – N side; 277; Tomb slab with (i) very worn indent of inscription plate; and (ii) incised inscription to John and Jeremiah Bennett and others; Various dates connected to the Bennett family, 165(?)4, 1696, 1721, 1740, 1747; 1.76 m x 87 cm. WELL; YNR; St. Michael’s Church; S Aisle; 278; Plain tomb slab; n.d; 2.35 m x 1.09 m. Nevill or S Chapel; 279; Tomb-chest cover slab with brass inscription plate to Dame Dorothea Nevill; wife of Sir John Nevill, later 3rd Lord Latimer; d.1526; 1.54 m x 70 cm W end, 62 cm E end; London G. 280; Plain tomb slab; n.d; 1.08 m x 79 cm. 281; Coffin shaped slab with a worn incised Lombardic lettered inscription to Henry ....; date of death unknown but probably early14th century; 1.46 m x 53 cm (head), 44 cm (foot). 282; Tomb slab with incised inscription to Hon. William Cecil; d.1715; 1.71 m x 1.03 m. Chancel; 283; Tomb slab, covering the Latimer burial vault, with rivet holes for a large brass, possibly including an effigy under a canopy, and a marginal inscription. The stone is not countersunk for the brass. Interred are George Nevill, 1st Lord Latimer, d.1469; Richard, 2nd Lord, d.1530, and his wife Anne; John, 3rd Lord, d.1542, and his wife Dorothea; another John 4th Lord, d.1577; Hon. William Cecil and brother Charles; 3.69 m x 1.43 m. 284; Plain tomb slab; n.d; 2.00+ m x 92 cm. 285; Plain tomb slab; n.d; 1.41 m x 71 cm. Nave; 286; Plain tomb slab; n.d; 2.04 m x 97 cm. WENSLEY; YNR; Holy Trinity Church; Sanctuary; 287; Tomb slab with indent of inscription plate; n.d; 2.20 m x 98 cm. 288; Plain tomb slab; n.d; 2.20 m x 1.17 m. Nave; 289; Tomb slab with blackletter marginal inscription to Richard, brother of John Clederow; Rector; John d. 1524; 2.49 m x 1.86 m. N Aisle – mural; 290; Tomb slab with effigies carved in shallow relief of Henry and Richard Scrope under arches, black letter marginal inscription; Children of Sir Henry Scrope, 7th Lord Scrope of Bolton; both d.1525; 1.94 m x 1.31 m. WEST TANFIELD; YNR; St. Nicholas' Church; Chancel; 291; Tomb slab with brasses of effigy of Thomas Sutton, inscription plate; Rector of Tanfield, Canon of the Collegiate Church of St. John the Baptist, Chester, 1458-1489; d. c.1490; 2.29 m x 88 cm; London D. WHENBY; YNR; St. Martin’s Church; N Chapel; 292; Tomb slab with indents of inscription plate, 4 shields; n.d; 2.21 m x 1.08 m. WHITBY; YNR; St. Mary’s Church; Sanctuary; 293; Tomb slab with (i) indents of inscription plate, shield, quatrefoils; n.d; and (ii) incised inscription to Henrietta Catherine; wife of Nathaniel Cholmley; d.1769; 2.10 m x 1.14 m. Chancel; 294; Tomb slab with indent of shield and evidence of plate indent (rivets visible); n.d; 2.24 m x 1.00+ m.

THIRKLEBY; YNR; All Saints' Church; Nave; 275; Tomb slab with indent of inscription plate; n.d; 1.53+ m x 1.10 m.

84

Appendices WHITKIRK; YWR; St. Mary’s Church; S Aisle; 295; Tomb slab with incised inscription to John Roades; Gentleman of Temple Newsam; d.1711; 2.04 m x 94 cm. WILBERFOSS; YER; St. John the Baptist’s Church; S Aisle; 296; Tomb slab with brasses of effigies of Robert Hoton; Esquire; and wife Joan, inscription plate; Robert d.1447; 2.11 m x 89 cm; Yorkshire 2a. WINESTEAD; YER; St. Germain’s Church; Chancel; 297; Tomb slab with brass inscription plate to William Retherby; Rector; d.1417; 1.60+ m x 90 cm; Yorkshire 1. WINSTON-ON-TEES; D; St. Andrew’s Church; S Aisle; 298; Tomb slab with (i) indent of figure; n.d; and (ii) brass inscription plate to Richard Mason; d.1535; 1.66 m x 87 cm; London F. Chancel; 299; Tomb slab with brass inscription plate to John ?Perlles; Probably priest in charge of Winston; d.1498; 1.70+ m x 88 cm. 300; Tomb slab with indent of inscription plate; n.d; 1.91 m x 83 cm; York work. 301; Tomb slab with (i) indent of inscription plate; n.d; and (ii) brass inscription plate to John Emerson; Rector of Middleton in Teesdale, Stainton and Winston; and daughter Elizabeth; John d.1774; 2.33 m x 98 cm. Nave; 302; Tomb slab with brass inscription plate to Mary Dowthwhet; d.1606; 1.88 m x 88 cm. WORKSOP; No; Priory Church of Our Lady and St. Cuthbert; Nave; 303; Tomb slab with incised inscription to John and Elizabeth White, and low relief carving, probably a shield; John d.1778; 1.91 m x 92.5 cm. 304; Slab fragment with incised inscription to John ?Mindon; d.1777; 1.20 m x 71 cm. WYCLIFFE; YNR; St. Mary the Virgin’s Church; (See Floorplan 10); Sanctuary; 305; Tomb slab with brasses of kneeling effigy with inscription, armorial shield to Ralph (Radulfo) Wyclif; Son of William Wyclif; d.1606 aged 14 years; 2.13 m x 75 cm; London workshop. 306; Tomb slab with brass inscription plate, undated, lead shield, to Roger de Wyclif; Lord of the Manor; and wife Katherine; Documentary evidence indicates that Roger was alive in 1349 and dead in 1362; 2.17 m x 97 cm; Brass c.1410, Yorkshire 1. 307; Tomb slab with brass inscription plate to William Wycliff; Armiger; and wife Merial; William d.1584, brass placed by son John 1611; 2.17 m x 1.39 m. 308; Plain tomb slab; n.d; 1.83 m x 89 cm. Chancel; 309; Tomb slab with incised inscription to Thomas Robinson; Rector; d.1769; 2.12 m x 1.10 m. 310; Tomb slab with incised effigy of John Forster, under a canopy, blackletter marginal inscription; Rector; d.1456; 1.86 m x 83 cm. Nave; 311; Tomb slab with indents of inscription plate, infilled shield; n.d; 1.55 m x 95 cm. 312; Plain tomb slab; n.d; 1.87 m x 91 cm. 313; Tomb slab with indents of inscription plate, shield; n.d; 1.84 m x 91 cm. External – S wall; 314; Probable fragment of tomb-chest with 2 armorial shields; 16th century; Not measured.

YORK; Yorkshire. 1. All Saints’ Church, North Street; (See Floorplan 11); S Aisle; 316; Tomb slab with (i) brasses of inscription plate to Thomas Clerk; Common clerk and Free of the City; and wife Margaret, 3 Evangelists' symbols; Thomas d.1482; Yorkshire 3; and (ii) indent of inscription plate, was mural N aisle, now lost, to Thomas Atkinson; Tanner; d.1642; 1.49 m x 77 cm. 317; Tomb slab with indents of civilian figure, inscription plate; c.1420; 2.03 m x 1.14 m; London D. Chancel; 318; Tomb slab with indents of half figure of priest, inscription plate, shield; ?Jacob Baguley, Rector; c.1440; 1.83 m x 85 cm; London D. 319; Tomb slab with evidence of indent (rivets visible); n.d; 2.05 m x 94 cm. N Aisle; 320; Tomb slab with indent of inscription plate; n.d; 1.85 m x 94 cm. 2. All Saints’ Church, Pavement; (See Floorplan 12); S Aisle; 321; Slab fragment with indent; n.d; 59 cm x 59 cm. 322; Slab fragment with part incised letter S; n.d; 70 cm x 62 cm. S Transept; 323; Tomb slab fragment with indents of incised letter S, quatrefoils; n.d; 1.07+ m x 98 cm. Nave; 324; Tomb slab with indents of inscription plate, shield; n.d; 2.24 m x 95 cm. 325; Tomb slab with (i) indents of inscription plate, shields; n.d; and (ii) incised inscription to George Bilton and family members; 1766, 1773; 1.80 m x 88 cm. 326; Tomb slab with (i) indents of inscription plate, shield; n.d; and (ii) 2 incised letters S; n.d; 1.83 m x 88 cm. 327; Tomb slab with incised inscription to John Maude, 1st wife Elizabeth Rudd and others; various dates including 1772, 1837; 1.91 m x 1.26 m. 328; Tomb slab with incised inscription to members of Wightman family; various dates including 1738, 1758, 1789, 1804; 1.79 m x 1.15 m. 329; Plain tomb slab; n.d; 1.88 m x 97 cm. N Aisle; 330; Tomb slab fragment with (i) indents of 2 shields; n.d; and (ii) incised letter S; n.d; 1.19 m x 83 cm. 331; Plain tomb slab; n.d; 2.14 m x 1.47 m. 332; Plain slab with curved W side; n.d; 2.14 m x 1.18 m. 333; Tomb slab with almost illegible incised inscription; 1781 legible; 2.55 m x 1.29 m. 334; Tomb slab with indents of 2 inscription plates; n.d; 1.92 m x 95 cm. 3. Holy Trinity Church, Goodramgate; SE Chapel; 335; Tomb slab raised above floor level with brass inscription plate to Thomas Danby; Lord Mayor of York; and wife Matilda; Thomas d.1458, Matilda d.1464; 2.20 m x 1.03 m; Yorkshire 2b. Nave; 336; Tomb slab with indents of shield, inscription plate; n.d; 2.16 m x 88 cm. In Tower; 337; Tomb slab with indents of ?figure, inscription plate; n.d; 1.72 m x 81 cm. 4. Cathedral and Minster Church of St. Peter; N and S Aisles, Transepts; 338; Many paver slabs probably from reused tomb slabs; relaid 1968- 1970. 5. St. Denys’ Church, Walmgate; Nave; 339; Tomb slab with indents of inscription plate, 4 shields; n.d; Not measureable – now under carpet. 6. St. John the Evangelist’s Church, Micklegate [was occupied by the York Arts Centre and now a cafe bar]; N Aisle; 340; Tomb-chest cover slab with indent around chamfered edge which had an inscription to Sir Richard Yorke; Knight, Lord Mayor of York, Chamberlain,

YARM; YNR; St. Mary Magdalene’s Church; Nave; 315; Font; probably late 15th century; Octagonal bowl with blank shields, 79 cm x 40 cm, Octagonal pedestal, 38 cm x 32 cm, Octagonal base, 79 cm x 26 cm.

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Northern Rock: the use of Egglestone marble for monuments in medieval England

Floorplan 10. St. Mary the Virgin, Wycliffe (Yorkshire, North Riding)

Floorplan 11. All Saints’, North Street, York

86

Appendices

Floorplan 12. All Saints’, Pavement, York

Floorplan 13. St. Michael-le-Belfrey, High Petergate, York

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2.10 m x 1.02 m. N Aisle; 350; Tomb slab with indents of chalice, inscription plate, mounted on E wall, to William Langton; Rector; d.1466; 2.05 m x 1.01 m; Yorkshire 2b. 351; Slab fragment with indent of quatrefoil; n.d; 81 cm x 80+ cm. 11. St. Saviour’s Church, St. Saviourgate – now the Archaeological Resource Centre; Chancel; 352; Slab with (i) indents of inscription plate, brass now mounted on N wall of All Saints' Church, Pavement, York; 4 shields; to Roger de Moreton; Mayor; and wife Isabel; Roger d.1382, Isabel 1412; Yorkshire 1; and (ii) incised inscription to Benjamin Atkinson; d.1773; 3.01 m x 1.43 m. 12. York Archaeological Trust; 353; Fragment 284 (Catalogue reference 13.II.282 af 9008, P6.1) from the excavation of The College of the Vicars Choral at York Minster at Bedern; lower part of a pedestal base in a decorative niche possibly from the Shrine to St. William, formerly in York Minster; possibly c.1470. 13. Yorkshire Museum; 354; Shrine of St. William of York, formerly in York Minster; 1470-1472; Substantial remains of the Egglestone Marble pedestal that supported the coffin, reconstructed to a height of 2.34 m, are in the Museum and other fragments are in the Museum archive store, various accession numbers commencing 1980.52. Also see piece 353 above.

Sheriff, Member of Parliament; d.1498; 2.13 m x 85 cm x 13 cm thickness. 7. St. Mary’s Bishophill Junior Church; S Aisle; 341; Slab fragment; n.d; 83+ cm x 31+ cm. N Aisle; 342; Tomb slab with indents of figure, 2 shields; c.1420; 1.17 m x 79 cm; Yorkshire 1c. 8. St. Mary’s Church, Castlegate; Nave; 343; Tomb slab with (i) indents of inscription plate, 2 shields; n.d; and (ii) incised inscription to Rev. Brown; Rector; d.1741; c.2.32 m x c.1.02 m. 9. St. Michael-le-Belfrey’s Church, High Petergate; (see Floorplan 13); S Aisle; 344; Tomb slab with incised inscription to Mary (Goodlad) Chippendale and Joseph Goodlad; Mary d.1786; 1.71 m x 91 cm. 345; Tomb slab with indents of inscription plate, 2 shields visible; possibly 15th century; 1.93 m x 62+ cm. Nave; 346; Plain slab believed to have been the Minster altar table; n.d, possibly pre-Reformation; 4.68 m x 1.37+ m. 347; Slab fragment with evidence of brass (rivet holes visible); n.d; 1.28 m x 1.09 m. 348; Plain tomb slab; n.d; 1.05 m x 79 cm. 10. St. Michael's Church, Spurriergate, now The Spurriergate Centre; S Aisle; 349; Tomb slab with indents of 2 inscription plates, both mounted on the E wall (i) to William Hancok; Apothecary; and wife Ellen; William d.1485; Yorkshire 3; and (ii) to William Shaw; d.1681; .

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Prefatory note on abbreviations used in Appendices 3-13 1. Column 1 ‘No’: This is the reference number used in Appendix 2, the complete list of Egglestone marble pieces, which gives full details of the location and dimensions of each item. 2. ‘County’: The historic pre-1974 county boundaries are used throughout. For the Yorkshire Ridings, ER is East Riding, NR North Riding and WR West Riding. 3. In Appendices 4-7 column ‘MS’: This refers to the unique reference number given in the standard list of brasses. For Cumberland, the reference number given is from W. Lack, H.M. Stuchfield and P. Whittemore, The monumental brasses of Cumberland and Westmorland, (London, 1998). In Appendix 5, for Durham, the LSW reference number given is from W. Lack, H.M. Stuchfield and P. Whittemore, The monumental brasses of Durham, (London, 2002). For all other counties this is M. Stephenson, A list of monumental brasses in the British Isles, (London, 1926). 4. In Appendices 3-7 column ‘Stone type’: ‘Crinoidal’ refers to crinoidal stone types that have either been identified as definitely not Egglestone marble or which cannot be identified with certainty as Egglestone. ‘Frosterley non-coral’ refers to the beds between the well-defined bands of Frosterley marble with its distinctive large skeletons of fossils of the coral Dibunophyllum bipartitum. These intervening beds may contain crinoid and shell debris, which is similar in appearance to Egglestone marble but with few or no large size columnals.

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90

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92

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94

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96

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98

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100

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102

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104

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106

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108

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110

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112

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114

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116

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118

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120

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122

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135

INDEX Berwys, William (1519), 77, 116 Beverley, Thomas (1480), 30 Beverley, Yorkshire ER; Friary, 23; Minster, 11, 12n, 14, 15, 23, 24, 28, 31, 54, 64, 72, 92; St Mary, 14n, 29, 72, 73, 92, 105, 108, 112, 125, 129 Bewsay, Alice (c. 1540), 46, 47, 60, 76 Bilbrough, Yorkshire WR, 93 Billingham, Co. Durham, 100, 104, 106 Bilton family, 85, 127 Birdsall, Yorkshire ER, 24 Bisham Abbey, Berkshire, 11 Bishop Auckland, Co. Durham, 100; Palace Great Hall, 12 Bishop Burton, Yorkshire ER, 93, 107 Blackburn, John (c.1420), 98, 105 Blackburn, John, Katherine and Joan (1427), 28 Blackburn, Margaret, (1435), 29 Blackburn, Nicholas (1432), 29 Blackburn, Nicholas (1448), 29 Blanchland, Northumberland, 20 Blande, Thomas and Alicia (1360), 38, 47, 84, 91, 111 Blois, Henry of, 9, 10 Bohun, Jocelin de (1184), 10n Bole, Nottinghamshire, 104 Bolton Abbey, Yorkshire WR, 93 Bolton Percy, Yorkshire WR, 26, 72, 93, 112 Bolton-by-Bowland, Yorkshire WR, 44, 48, 50, 56, 58, 60, 72, 90, 93, 109, 111, 124, pls 40, 66, 67 Bond, William (c.1470), 107 Bondington, William de (1258), 13 Bone, William le (1359), 36, 76, 115 Bossall, Yorkshire NR, 93, 106 Boston, Lincolnshire, 9, 107 Bosvile, John (1441), 93 Bovill, Sewal de (1258), 17n Bowes, Ralph (1482), 40, 41, 45, 46, 50, 76, 109, pls 2325 Bowes, William (1435), 106 Bowes, Yorkshire NR, 72, 129 Bowrell, Andrew (1458), 90 Boynton family, 64 Boynton, Henry (c.1540), 46, 47, 50, 51, 60, 76, 111, pl 37 Boynton, Henry and Isabella (1531), 60, 76, 90, 111, pl 45 Boynton, Thomas (1523), 82, 96 Brame, Nicholas, 12 Brancepeth, Co. Durham, 12n, 14n, 17, 26, 43, 45, 54, 72, 100, 104, 109, 112, 113, 129, pl 31 Brandesburton, Yorkshire ER, 93, 104 Brass engravers see Marblers and other craftsmen Brasses see Monuments Brayton, Yorkshire WR, 19, 72, 113 Bridlington Priory, Yorkshire ER, 9, 10, 12n, 14n, 19, 54, 64, 72, 93, 113 Brimley, John (1576), 74, 125 Brompton-in-Allertonshire, Yorkshire NR, 16 Brown, — (1741), 88, 127 Brown, Robert (1532), 40, 43, 44, 81, 110, 123, pl 32 Broxbourne, Hertfordshire, 27

Illustration references in bold type. Abbotsbury, Dorset, 10n Acaster, John and Isolda de (1379), 30 Ackworth, Yorkshire WR, 16 Adlingfleet, Yorkshire WR, 37, 71, 104, 112 Adwick-le-Street, Yorkshire WR, 90 Ainderby Steeple, Yorkshire NR, 14n, 20, 105 Alabaster see Stone Aldborough, Yorkshire NR, 14n Aldborough, Yorkshire WR, 21, 71, 92, 104, 129 Aldeburgh, William de (1388), 28, 92, 104 Alexander the Magnificent (1148), 9 Allerton Mauleverer, Yorkshire WR, 14n, 23, 92, 104 Alnwick, Northumberland, 24 Altar mensa, 59, pl 68 Amotherby, Yorkshire NR, 21-23 Ancaster workshops see Workshops Appleton-le-Street, Yorkshire NR, 23, 24 Arbroath Abbey, Scotland, 13 Arthur, King of Britain, 9 Ashford, Kent, 26 Aske, Richard and Margaret (1466), 52, 53, 71, 92, 107, 112 Askrigg, Yorkshire NR, 92 Atkinson, Benjamin (1773), 88, 128 Atkinson, Thomas (1642), 85 Auckland St Andrew, Co. Durham, 23, 90, 104 Aughton, Yorkshire ER, 52, 53, 71, 92, 107, 112 Baguley, Jacob (c.1440), 85, 98, 122 Bainton, Yorkshire ER, 24, 71, 92, 105, 112 Bakewell, Derbyshire, 17 Barnard Castle, Co. Durham, 17, 45, 46, 56, 57, 71, 100, 106, 124, pl 63; Bowes Museum, 14, 37, 46, 59, 71, 111 Barnard Castle, Richard of (c.1400), 74, 114 Barnburgh, Yorkshire WR, 23 Barstow, Jeremiah and family, 79, 126 Barton, Conon and Johanna (1436), 121 Barton, John (1483), 22 Barton-on-Humber, Lincolnshire, 9, 104 Barwick, John (1526), 19, 90 Beauchamp, Elizabeth (1448), 84, 101, 106, 120 Beaumont, Lewis de (1333), 27, 30, 35, 74, 100, 114 Bedale, Yorkshire NR, 9, 23, 50, 72, 90, 92, 111, 112, 125, pls 43, 44 Bede, Venerable, 33, 35, 58, 59, 74 Beeford, Yorkshire ER, 24, 72, 92, 107, 112 Bek, Anthony (1310), 27 Bell, Richard (1496), 72, 113 Bellingham, Roger and Margaret (1533), 44, 79, 109, 117 Bennett family, 84 Bennett, John (1654), 127 Bergavenny, Edward Neville, Lord (1476), 57, 124, pl 59 Bergavenny, Elizabeth Neville, Lady (1448), 57 Berkshire Bisham Abbey, 11 Berwick-upon-Tweed, Northumberland, English Heritage store, 45 136

Index Clifford, Henry, 11th Lord and Margaret (1542), 44, 45, 82, 110, pl 33 Clifford, John de (1422), 93 Clothall, Hertfordshire, 11 Clyderow, Robert de (1334), 96, 103 Cockerell, James, 43, 76, pl 28 Colchester and Ipswich Museums Service, 12 Colholme, Richard (1425), 105 Conington, Huntingdonshire, 10 Conisbrough, Yorkshire WR, 16 Constable, John and Matilda (1451), 44, 76, 94, 106, 109, 115 Constable, Robert (1454), 93, 106 Conyers family, 64, 71 Conyers, Aubrey de, wife of, 37, 111 Conyers, Christopher and Ellen (1443), 77, 106, 116 Conyers, Isabella (1433), 82, 119 Conyers, John (1394), 36, 82, 119, pl 15 Conyers, Margery (1470), 82, 119 Conyers, Robert (1433), 82, 119 Cookson family, 79, 126 Copland, Laurence, 77, 125 Corfe Castle, Dorset, 10, 11 Corfe marblers see Marblers and other craftsmen Corfe, Adam of see Marblers and other craftsmen Corsenside, Northumberland, 21 Cottingham, Yorkshire ER, 93 Courtney family, 72, 125 Covenham St Bartholomew, Lincolnshire, 105 Coverham Abbey, Yorkshire NR, 24 Cowthorpe, Yorkshire WR, 29, 93 Coxwold, Walter (1338), 94 Coxwold, Yorkshire NR, 107 Cradock, William (1736), 76, 125 Crathorn, Thomas and Elizabeth (c.1410), 74, 104, 114 Crathorne, Robert (1464), 107 Crathorne, Yorkshire NR, 74, 104, 114, 129 Croft, Isabella Rogeri (1684), 74, 125 Croft-on-Tees, Yorkshire NR, 40, 41, 46, 60, 74, 109, 111, pls 19-21 Cross slabs see Monuments Crosthwaite, Cumberland, 44, 74, 109, 114 Cuckney, Nottinghamshire, 74, 125 Cumberland Carlisle Cathedral, 44, 64, 72, 73, 109, 113, 129 Crosthwaite, 44, 74, 109, 114 Edenhall, 76, 114 Greystoke, 36, 76, 115, 129 Cumberland, Henry Clifford, 2nd Earl of, 82 Cuthbert, St, 33, 58, 74

Brus family, 41, 42, 43, 45, 46, 76, 109, pls 28-30 Brydlyngton, Thomas (1498), 19, 91 Bubwith, Yorkshire ER, 72, 113, 125 Buckton, Raufe and Margaret (c.1540), 81 Burgh, John and Katerina de (1412), 74, 105, 113 Burgh, John Lawson and Catherine de (1698), 74, 125 Burgh, William (1442), 56, 74, 124 Burgh, William (1462), 56, 74, 93, 107, 113 Burgh, William (1492), 93 Burghwallis, Yorkshire WR, 90 Burley, Robert (1410), 94 Burnaby, John (1464), 28, 100, 107, 114 Burstall Priory, Yorkshire ER, 20 Burstwick, Stephen (1492), 72, 113 Burstwick, Yorkshire ER, 72, 93, 113 Burton Agnes, Yorkshire ER, 30 Burton, William (1437), 19, 91 Bury St Edmunds workshops see Workshops Butler, Thomas, Agnes and Margaret (1526), 81, 96, 118 Butterwick, Yorkshire ER, 20 Byland Abbey, Yorkshire NR, 20, 93 Byll, Richard (1451), 95 Bywater family, 79, 126 Bywell St Peter, Northumberland, 90 Cadaver effigies see Monuments Caistor, Lincolnshire, 107 Caleys, William (c.1420), 105 Cambo, Northumberland, 90 Cambridge workshops see Workshops Cambridgeshire Ely Cathedral, 9, 25 Canterbury Cathedral, Kent, 25 Careby, Lincolnshire, 22 Careless, Margaret (1764), 81, 127 Carlisle Cathedral, Cumberland, 44, 64, 72, 73, 109, 113, 129 Cartmel, Lancashire, 64, 72, 113 Catterick, Yorkshire NR, 25, 56, 60, 74, 93, 105, 107, 113, 124, 125, 129, pl 52 Cayton, Yorkshire NR, 74, 106, 114, 125 Cecil, William (1715), 84, 127 Chester-le-Street, Co. Durham, 13, 56, 57, 74, 100, 124, 129, pl 56 Chetwynd, John (1410), 104 Chillingham, Northumberland, 25 Chippendale, Mary (1786), 88, 128 Cholmley, Henrietta Catherine (1769), 84, 127 Christian ‘cementarius’ see Marblers and other craftsmen Chrysom effigies see Monuments Church Fenton, Yorkshire WR, 23 Cistercian monuments, 20, 21 Clarell, Thomas (1469), 79, 107, 117 Claxton, Thomas (1403), 72, 100, 104, 112 Clederow, Richard, brother of John (c.1524), 46, 84, 111 Clement, Abbot of Sherborne (c.1189), 10n Clerk, Thomas and Margaret (1482), 85, 108, 122 Clervaux family, 64 Clervaux, John (1443), 40, 74, 109, pl 19 Clervaux, Richard (1490), 40, 60, 74, 109, 111, pls 20, 21 Clifford and Vescy, Margaret, Lady (1493), 81, 108, 118

Dacre, Ranulph, Lord (1461), 31 Dalby, Thomas (1458), 106 Dalby, Thomas de (1525), 30 Dalby, William de see Marblers and other craftsmen Danby Wiske, Yorkshire NR, 24, 74, 125 Danby, John (1400), 28, 104 Danby, Thomas and Matilda (1458), 85, 122 Darfield, Yorkshire WR, 93 Darlington, Co. Durham, 12n, 14n, 54, 74, 125, 129 Darrell, William (1364), 93 Darrington, Yorkshire WR, 16 137

Northern Rock: the use of Egglestone marble for monuments in medieval England Haughton-le-Skerne, 13 Heighington, 51, 77, 101, 108, 115, 124, 125 High Coniscliffe, 77, 111, 116, 125, 126, 129 Hurworth, 13 Middleton-in-Teesdale, 18 Norton-on-Tees, 24 Pittington, 13, 13n, 81, 129 Redmarshall, 12n, 14n, 54 Ryton, 13 St Helen Auckland, 13, 101 Sedgefield, 51, 57, 82, 101, 108, 124, pl 54 Sockburn, 36, 38, 51, 82, 119, pl 15 Staindrop, 13, 56-58, 83, 84, 101, 106, 119, 120, 124, pls 58, 59 Stanhope, 13 Thornley nr Tow Law, 12n, 14n, 54 Whitworth, 13 Winston-on-Tees, 51, 85, 101, 121 Wolsingham, 13, 14n Durham workshops see Workshops Dyson, William (c.1410), 104

David, Francis (1799), 127 Dawney, John (1493), 44, 82, 110 Dawson, Robert (1643), 79 Denton, Co. Durham, 37, 38, 45, 47, 59 Derby, All Saints, 23 Derbyshire Bakewell, 17 Eckington, 76, 125 Devon Exeter Cathedral, 10 Dishforth, Yorkshire NR, 93 Dodford, Northamptonshire, 10 Doncaster, Yorkshire WR, 21 Dorset Abbotsbury, 10n Corfe Castle, 10, 11 Dunshay, 11 Langton Matravers, 11 Ower Quay, 11 Poole, 11 Quarr Farm, 11 Sherborne Abbey, 10 Swanage, 11 Tolpuddle, 10 Wareham, 11 Douglas family, 79, 126 Downholme, Yorkshire NR, 129 Dowthwhet, Mary (1606), 121 Drax, Richard (1456), 72, 100, 113 Dringhow, William de (1372), 28, 96, 103 Dublin, Ireland, St Audoen, 10 Dunfermline Abbey, Scotland, 13 Dunn, John Cockril (1826), 77, 126 Dunshay, Dorset, 11 Durham Cathedral, 13, 17, 23, 25, 27, 30, 33, 35, 38-40, 45, 58, 59, 64, 74, 75, 100, 107, 109, 114, 125, pl 12; Chapel of the Nine Altars, 12; chapter house, 14, 21; churchyard, 12, 13; cloister garth, 21; font, 12n; Galilee Chapel, 33; laver, 33, pl 11; Refectory Undercroft, 17n Durham, St Oswald, 13, 100, 104 Durham, County Auckland St Andrew, 23, 90, 104 Barnard Castle, 17, 45, 46, 56, 57, 71, 100, 106, 124, pl 63; Bowes Museum, 14, 37, 46, 59, 71, 111 Billingham, 100, 104, 106 Bishop Auckland, 100; Palace Great Hall, 12 Brancepeth, 12n, 14n, 17, 26, 43, 45, 54, 72, 100, 104, 109, 112, 113, 129, pl 31 Chester-le-Street, 13, 56, 57, 74, 100, 124, 129, pl 56 Darlington, 12n, 14n, 54, 74, 125, 129 Denton, 37, 38, 45, 47, 59 Easington, 2, 13, 100, 106 Eggleston, 33n Escomb, 13 Esh, 13 Frosterley, 12n Gainford, 19, 41, 60, 76, 90, 108, 109, 111, 114, 125, 129, pl 27 Greatham Hospital, 26 Grindon, 13 Hamsterley, 13 Hartlepool, All Saints, 101, 106

Easby, Yorkshire NR, 76, 114, 129 Easington, Co. Durham, 2, 13, 100, 106 Easingwold, Alan of (1311), 13 East Dereham, Norfolk, 56 East Gilling, Yorkshire NR, 14, 21, 22, 76, 108, 114 East Harlsey, Yorkshire NR, 93 East Lavant, Sussex, 11 Eastrington, Yorkshire ER, 20, 22, 23, 90, 93, 94 Eckington, Derbyshire, 76, 125 Edenhall, Cumberland, 76, 114 Edward II, 25 Effigies see Monuments Eggleston, Co. Durham, 33n Egglestone Abbey, Yorkshire NR, 20, 21, 36, 38-40, 41, 45-47, 50, 57, 60, 63-65, 76, 94, 109, pls 1, 22-25, 36, 39, 65, 69 Eglisfelde, Thomas (1440), 76 Ellerton Priory, Yorkshire ER, 53 Ellerton, Robert (1495), 57, 124, pl 64, 65 Ellerton, Yorkshire ER, 21, 94, 106 Eltham, John of, 25 Ely Cathedral, Cambridgeshire, 9, 25 Emblem slabs see Monuments Emerson, John and Elizabeth (1774), 85 Ermantoun, Margareta de, 92, 104 Errington, Thomas de (1310), 27, 102 Eryngtoune, John and Helen de (c.1310), 27, 102 Escomb, Co. Durham, 13 Escrick, Yorkshire ER, 26, 94 Esh, Co. Durham, 13 Etton, Yorkshire ER, 26 Exeter Cathedral, Devon, 10 Farnham, Nicholas de (1249), 14 Fauconberg, — (c.1320), 25 Felixkirk, Yorkshire NR, 10, 24 Fenton family, 79, 126 Fenys, Dorothy and John (1491), 82, 97, 108, 119 Feriby, John and Millicent (1491), 30 Fernely, Joseph, 77, 126 138

Index Greystoke, Cumberland, 36, 76, 115, 129 Grimston, Richard de (c.1350), 19 Grindon, Co. Durham, 13 Guinevere, Queen of Britain, 9 Guisborough, Yorkshire NR, 41, 45, 46, 76, 109 Guiseley, Yorkshire WR, 94, 103 Gundrada, Countess of Surrey (1085), 9 Gyliot, John (1484), 30

Fethyrstonhalgh, John see Marblers and other craftsmen Firth, John (1779), 79, 126 Fishlake, Yorkshire WR, 44, 76, 94, 109, 114 Fitzhenry, Hugh (1304), 46 Fitzwilliam, Thomas (1482), 19, 90 FitzWilliam, William and Elizabeth (1474), 84, 97, 107, 119 Flemish workshops see Workshops Fons, John (c.1475), 107 Fonts Egglestone, 54-58, 60, 124, pls 47-58, 66, 67 Frosterley, 54 Hopton Wood, 58n Purbeck, 54 Tournai, 54 Forster, John (1456), 19, 47, 60, 85, 91, 111, pl 42 Fortesque, Ann, 11 Forz, Aveline, 24 Fosser, William and Margaret (c.1320), 102 Fountains Abbey, Yorkshire WR, 14, 21, 23, 29, 39, 94 Frosterley marble see Stone Frosterley, Co. Durham, 12n

Haitfield, Robert de (1409), 29, 96 Haldenby, Robert de (1399), 37, 71, 92, 104, 112 Halifax, Yorkshire WR, 19, 94 Hall, Henry and Elizabeth (1805), 79, 126 Hall, Mary (1657), 82, 119 Halsham, Yorkshire ER, 44, 76, 94, 106, 109, 115 Hampshire Winchester Cathedral, 10 Hampsthwaite, Yorkshire WR, 94 Hamsterley, Co. Durham, 13 Hancok, William and Ellen (1485), 88, 123 Hardmans of Birmingham, 44 Harewood, Yorkshire WR, 23, 25, 26, 45, 76, 94, 109, 115 Haringel, Robert, 21 Harpham, Yorkshire ER, 19, 20, 54, 76, 90, 94, 95, 105, 106, 115 Harrison, Henry and Margaret (1668), 77, 116 Hartburn, Northumberland, 27, 102 Hartlepool, Co. Durham, All Saints, 101, 106 Haryson, John (1525), 95 Hatfield, Stephen (1492), 93 Hatfield, Thomas (1381), 25 Hatfield, William of (1337), 23, 25 Hatfield, Yorkshire WR, 95 Hatton, Bishop (1516), 98 Haughton-le-Skerne, Co. Durham, 13 Hauxwell, Yorkshire NR, 18, 22 Hazlewood, Yorkshire WR, 23, 95 Heart burials see monuments Heaton, Joseph (1700), 72, 125 Heckington, Lincolnshire, 31 Hedon, Yorkshire ER, 77, 95, 108, 115 Hedworth family, 74, 125 Heighington, Co. Durham, 51, 77, 101, 108, 115, 124, 125 Helmsley, Yorkshire NR, 77, 95, 104, 116; English Heritage store, 26, 76, 77, 95 Hemingbrough, Yorkshire ER, 14, 77, 95, 103, 105, 116 Hemsworth, Yorkshire WR, 90 Heptonstall, Yorkshire WR, 18 Heraldry, 20, 21, 40, 41, 45, 56-58, 64 Herefordshire Goodrich Court, 26 Hertfordshire Clothall, 11 Heslerton, John de (1333), 22 Heslerton, Thomas and Alicia (c.1364), 28, 37, 81, 96, 103, 118 Hewyk, John and William (c.1450), 19, 91 Hexham Priory, Northumberland, 2, 14, 18, 23, 102, 104 Hickleton, Yorkshire WR, 21, 95 Higden, Bryan (1539), 30, 98

Gainesbrough, Idonia de, 21 Gainford, Co. Durham, 19, 41, 60, 76, 90, 108, 109, 111, 114, 125, 129, pl 27 Gamon, Allen see Marblers and other craftsmen Gant, Walter de (c.1150), 9 Garbut, Richard (1630), 62 Garfield, W.C., 44 Garton-on-the-Wolds, Yorkshire ER, 21 Gascoigne, Beatrix (1422/3), 26 Gascoigne, William (c.1419), 23 Gerard, Archbishop of York (1369), 98, 103 Gervase, Abbot of Westminster (1157), 9 Gifford, Walter (1369), 98, 103 Gilling West, Yorkshire NR, 21, 46, 50, 60, 76, 90, 111, 129, pls 37, 45 Gilmyn, William see Marblers and other craftsmen Gisborne, William (1480), 79, 95, 117 Gisborough Priory, Yorkshire NR, 26, 41, 64, 94, 105, pls 28-30 Glastonbury, Somerset, 9 Glentham, Lincolnshire, 76, 106, 115 Glossop, Ralph (1670), 62 Gloucester Cathedral, 25 Godeale, Roger (1429), 71, 92, 105, 112 Goldesborough, Eve de (1350), 94, 103 Goldsborough, Yorkshire WR, 14n, 23, 94, 103 Goltho, Lincolnshire, 105 Goodlad, Mary and Joseph (1786), 88 Goodmanham, Yorkshire ER, 21, 94, 103 Goodrich Court, Herefordshire, 26 Gower, Thomas and Alice (c.1486), 82, 108, 119 Grave slabs see Monuments Great Asby, Westmorland, 76, 115 Great Musgrave, Westmorland, 76, 115 Great Ribstone, Yorkshire WR, 76, 94, 108, 115 Greatham Hospital, Co. Durham, 26 Grenefield, William de, 27, 28, 98 Grey, Ralph (1443), 25 Grey, Walter de (1255), 10, 23, 24 139

Northern Rock: the use of Egglestone marble for monuments in medieval England Kendale, Richard (1429), 81, 105 Kent Ashford, 26 Canterbury Cathedral, 25 Westwell, 26 Kilburn, Thomas (1490), 93 Kingston, Robert Pierrepoint, Earl of (1642), 74, 125 Kirby Misperton, Yorkshire NR, 18 Kirk Sandal, Yorkshire WR, 95 Kirkby Stephen, Westmorland, 44, 46, 60, 79, 109, 111, pl 34 Kirkby Wharfe, Yorkshire WR, 79, 95, 105 Kirkham Abbey, Yorkshire ER, 26 Kirkham, Walter de (1260), 13, 18 Kirkharle, Northumberland, 56, 57, 79, 124, pl 55 Kirkleatham, Yorkshire NR, 14, 24, 79, 95, 104, 117 Kirklington, Yorkshire NR, 2, 51 Kirknewton, Northumberland, 10, 90 Knaresborough, Yorkshire WR, 79, 117, 126 Knaythe, John see Marblers and other craftsmen Knipe, William (1745), 72

High Coniscliffe, Co. Durham, 77, 111, 116, 125, 126, 129 Hildyard, Christopher (1538), 28, 98, 108 Hilton, Thomas and Margery (1675), 77, 125 Holbeach, Lincolnshire, 31 Hollingworth, Isabella (1812), 77, 126 Holme, — (c.1350), 26 Holme, Henry and Nicholas (1471), 29, 92 Holme-on-Spalding Moor, Yorkshire ER, 90 Holy Island, Northumberland, 102 Hopton Wood marble see Stone Hornby, Yorkshire NR, 43, 77, 95, 106, 116, 129 Horne, William (1685), 62 Hornsea, Yorkshire ER, 19, 20, 24, 90 Hotham, John of (1337), 25 Hoton, Robert and Joan (1447), 85, 98, 106, 121 Hoton, William (1414), 82 Howden Minster, Yorkshire ER, 13, 14, 14n, 18, 21, 23, 54n, 77, 90, 95, 106, 116 Huggate, Nicholas (1380), 31 Hull, Yorkshire ER; Holy Trinity, 14n, 25, 75, 77, 95, 116, 126; St Mary, Lowgate, 95 Humbleton, Yorkshire ER, 95, 106 Huntingdonshire Conington, 10 Hurworth, Co. Durham, 13 Hutchinson, Jeremiah (1786), 84, 127 Hutchinson, Thomas (1766), 84, 127 Hutton Cranswick, Yorkshire ER, 2, 90 Hutton Rudby, Yorkshire NR, 21, 77, 117, 129 Hyndeley, Thomas see Marblers and other craftsmen Hyndeley, William see Marblers and other craftsmen

Lambert the marble cutter see Marblers and other craftsmen Lambert, Thomas and Agnes (1470), 79, 117 Lambton, Alice (c.1430), 100 Lancashire Cartmel, 64, 72, 113 Middleton, 103 Lanchester, William de (1405), 13, 100, 104 Langley, Thomas (1437), 30, 33, 38, 40, 45, 74, 109, pl 12 Langton Matravers, Dorset, 11 Langton, John and Agnes (1467), 52, 53, 62, 79, 96, 117 Langton, John and Eufemia (1459), 79, 107, 117 Langton, William (1466), 88, 107, 123 Langton, William de (1279), 27 Langton, William de (1345), 96 Lascelles, — (c.1450), 26 Latimer family, 84 Latimer, George Nevill, 1st Lord (1469), 97, 120 Laver, 33, 38, 58, pl 11 Laxton, Nottinghamshire, 79, 117 Lead, 21, 38, 53 Lead, Yorkshire WR, 20, 21 Leake, Yorkshire NR, 26, 79, 96, 117 Ledger slabs see Monuments Ledsham, Yorkshire WR, 20 Leeds, Yorkshire WR, St Peter, 17, 52, 53, 54, 62, 78, 79, 96, 107, 117, 126 Lettering, 47, 50, 59-61, pls 21, 22; textualis, 40, 41, 4447, 50, 56, 57, 60 Lewelyne, John (c.1470), 45, 82, 96, 107, 110, pl 35 Lewes Priory, Sussex, 9 Limestone see Stone Lincoln; Cathedral, 9, 44, 45, 64, 79, 80, 81, 109, 118; St Peter-at-Gowts, 107 Lincolnshire Barton-on-Humber, 9, 104 Boston, 9, 107 Caistor, 107 Careby, 22

Ibbetson, Bartholomew (1676), 62 Ibbetson, Catharine (1710), 79, 126 Ibbetson, Isabella (1757), 79 Ilkley, Yorkshire WR, 24 Incised and flat relief slabs see Monuments Indents see Monuments India Mumbai Cathedral, 14n Ingelby, John (1502), 81, 108 Ingelby, Katherine (1500), 81, 108 Ingleby Arncliffe, Yorkshire NR, 24 Inscription slabs see Monuments Inscriptions see Lettering Ipswich, Suffolk, 11; St Mary Quay, 12 Ireland Dublin, St Audoen, 10 Irford, Peter de (1426), 72, 92, 105, 112 Jackson, Thomas (1529), 50, 72, 90, 111, pls 43, 44 James, Andrew, 77, 126 Jervaulx Abbey, Yorkshire NR, 14, 20, 21, 39, 51 Johnson, Peter (1460), 107 Johnson, Robert (1527), 23 Kaye, Francis (1624), 81 Kellaw, Richard (1316), 100 Kelsy, Maud and Robert (c.1460), 81, 107 Kendal, Westmorland, 44, 45, 56, 78, 79, 109, 111, 117, 124, pl 47 140

Index Marrick Priory, Yorkshire NR, 21, 47, 56, 81, 96, 107, 111, 118, 124, 129, pls 38, 51 Marshall, Richard (c.1505), 44, 76, 94, 109, 114 Mason, Harriott (1798), 79, 126 Mason, Richard (1535), 85, 101, 121 Mason, Simon le see Marblers and other craftsmen Maude, John and others, 85, 127 Mauleverer, John (1400), 28, 92, 104 Mauley, Robert de (1331), 26 Meaux Abbey, Yorkshire ER, 10, 19, 96, 103 Melmerby, Yorkshire NR, 17 Melrose Abbey, Scotland, 13 Melsonby, Yorkshire NR, 21 Methley, Yorkshire WR, 16, 25 Middleham, Edward of, 23 Middleham, Yorkshire NR, 51, 81, 129 Middleton, Lancashire, 103 Middleton, William and Isabella (1497), 84, 97, 119 Middleton, William and Jane (1549), 84, 97, 119 Middleton-in-Teesdale, Co. Durham, 18 Middleton Tyas, Yorkshire NR, 96 Mindon, John (1777), 85, 127 Mitchell, John and Johanna, 47, 60, pl 39 Monuments Brasses, 2, 11, 13, 20, 26-31, 36, 43, 44, 51, 52, 53-58, 64, 92-108, pls 15, 46, 55 Cadaver effigies, 23 Chrysom effigies, 23 Cross slabs, 10, 11, 13, 16-18, 35, 36, 64, pls 15-17 Effigies, Copper-alloy, 27 Effigies, Stone, 2, 10-12, 22-26, 45, 46, pl 36 Effigies, Wooden, 23, 26, 46 Emblem slabs, 20, 21 Grave slabs, 13, 14, 129 Heart burials, 23 Incised and flat relief slabs, 9, 11, 18-21, 37, 38, 46, 47-49, 50, 51, 59, 60, 90, 91, 111, pls 40-45 Indents, 2, 13, 14, 27-30, 33, 35, 37, 40, 44, 45, 51, 52, 53, 57, 62, 112-123, pl 65 Inscription slabs, 37, pls 18, 37-39 Ledger slabs, 62, 63, 125-128 Semi-effigial slabs, 21, 22 Tomb chests, 30, 31, 40, 41, 42, 43-45, 60, 109, 110, pls 19-21, 23-35 Tomb covers, 9, 10, 40, 44, 45 Moor Monkton, Yorkshire WR, 21 More, John de la (1309), 26 Moreton, Roger and Isabel de (1412), 88, 105, 123 Morton, Thomas of, 33 Mountford, Thomas and Agnes (1489), 77, 95, 116 Mumbai Cathedral, India, 14n Murdac, Henry (1369), 98, 103 Musgrave, Richard (1464), 44, 60, 79, 109, 111, pl 34 Myton-on-Swale, Yorkshire NR, 18

Covenham St Bartholomew, 105 Glentham, 76, 106, 115 Goltho, 105 Heckington, 31 Holbeach, 31 Snarford, 82, 119 Stoke Rochford, 22, 107 Welby, 22 Lincolnshire workshops see Workshops Linton family, 74 Little Driffield, Yorkshire ER, 81, 118 Littlebury, — , 31 Lockington, Yorkshire ER, 96, 104 Londesborough, Yorkshire ER, 10, 81, 108, 118 London; Old St Paul’s, 27; Temple Church, 26, 29 London marblers see Marblers and other craftsmen London workshops see Workshops Longland, John (1547), 44, 45, 79, 109 Lound, — (c.1425), 26 Louth, Nicholas de (1383), 93 Loversall, Yorkshire WR, 21, 30 Lowthorpe, Thomas de (1398), 92 Lowthorpe, Yorkshire ER, 14n, 22, 37, 81, 96, 103, 105, 118 Lumlei, Emmeri de (c.1342), 13 Lumley family, 64 Lumley, George, Lord (c.1470), 124, pl 55 Lund, Yorkshire ER, 25 Magnus, Thomas (1550), 97 Malton, Walter de (1279), 19, 91 Manston, John (1464), 107 Marblers and other craftsmen see also Workshops Brass engravers, 27, 28 Christian ‘cementarius’, 12, 13 Corfe, Adam of, 27 Corfe marblers, 11, 12 Dalby, William de, 28 Fethyrstonhalgh, John, 33 Gamon, Allen, 11, 12n Gilmyn, William, 28 Hyndeley, Thomas, 33 Hyndeley, William, 28 Knaythe, John, 33 Lambert the marble cutter, 12 London marblers, 11 Mason, Simon le, 28 Nurry, Robert, 33 Patryngton, Robert de, 28 Pykyryng, John, 33 Quarrier, Richard the, 33 Reames, James, 27, 29 Spilsby, Robert, 33 Stowell, Robert, 27 Tyndall, John, 33 West, William, 27 White, John, 28 March, John (1590), 77, 125 Mare, Thomas de la (c.1350), 31 Mare, William de la (c.1350), 31 Margam, Wales, Stone Museum, 20 Margaret of Scotland, St, 13

Nafferton, Yorkshire ER, 22 Namur marble see Stone Neceham, John (1456), 106 Nevill, Dorothea (1526), 84, 110, 120 Nevill, Robert (1457), 74, 100, 114 Nevill, Robert, 72 Neville family, 58, 64, pl 18 141

Northern Rock: the use of Egglestone marble for monuments in medieval England Ower Quay, Dorset, 11 Owner, Harrison, 79, 126 Owston, Yorkshire WR, 29, 96 Oxford, St Frideswide’s Priory, 10 Oxley, Margaret (1811), 81, 127

Neville, Ralph, Lord (1367), 25 Newark, Nottinghamshire, 40, 43, 44, 81, 110, 123, pl 32 Newcastle, Northumberland; All Saints, 57, 102; Blackfriars, 10; Cathedral, 10, 21, 29, 56, 57, 64, 81, 90, 102, 124, pl 57; St Andrew, 102; St John, 81, 124; St Leonard’s Hospital, 102 Newton, Dorothy (1726), 76, 125 Newton, John, 28 Newton, Thomas, 28 Nidderdale (or Sykes) marble see Stone Nigel, Bishop of Lincoln (1169), 9 Norfolk East Dereham, 56 North Ferriby, Yorkshire ER, 17n North Frodingham, Yorkshire ER, 81, 118 Northallerton, Yorkshire NR, 81, 118, 127 Northam, Robert de, 46 Northamptonshire Dodford, 10 Sudborough, 27 Northumberland Alnwick, 24 Berwick-upon-Tweed, English Heritage store, 45 Blanchland, 20 Bywell St Peter, 90 Cambo, 90 Chillingham, 25 Corsenside, 21 Hartburn, 27, 102 Hexham Priory, 2, 14, 18, 23, 102, 104 Holy Island, 102 Kirkharle, 56, 57, 79, 124, pl 55 Kirknewton, 10, 90 Newcastle; All Saints, 57, 102; Blackfriars, 10; Cathedral, 10, 21, 29, 56, 57, 64, 81, 90, 102, 124, pl 57; St Andrew, 102; St John, 81, 124; St Leonard’s Hospital, 102 St John Lee, 27 Throckington, 102 Northumberland, Henry Percy, 4th Earl of (1489), 15, 31 Norton, John (1489), 97, 107 Norton, John (1520), 97 Norton, John (c.1500), 93 Norton, Richard (1420), 97, 105 Norton-on-Tees, Co. Durham, 24 Norwich workshops see Workshops Nottinghamshire Bole, 104 Cuckney, 74, 125 Laxton, 79, 117 Newark, 40, 43, 44, 81, 110, 123, pl 32 Worksop Priory, 85, 127 Nunkeeling Priory, Yorkshire ER, 24 Nunnington, Yorkshire NR, 81, 96, 118 Nurry, Robert see Marblers and other craftsmen

Parker, Robert (1423), 93 Parr, William (1483), 44, 79, 109 Patrick Brompton, Yorkshire NR, 35, 36, 81 Patrington, Yorkshire ER, 18, 24, 81, 96, 104 Patryngton, Robert de see Marblers and other craftsmen Paxton, Thomasin (1757), 79 Pegg, William and Katherine (1486), 76, 114 Percy, Eleanor (c.1340), 28, 31, 92 Perlles, John (1498), 85, 121 Pickering, Geoffrey of (c.1400), 93 Pickering, Yorkshire NR, 25 Pigot, — and Elizabeth (1775), 81, 127 Pittington, Co. Durham, 13, 13n, 81, 129 Pocklington, Yorkshire ER, 9, 12n, 81, 96 Poer, Roger le (1139), 9 Pole, William (1366) and Katherine (1381) de la, 25 Polychromy, 56 Poole, Dorset, 11 Portington, John (1453), 23 Portington, Nicholas de (c.1420), 20, 90 Portington, Thomas de (1427), 20, 90 Potesgrave, Richard de (1345), 31 Pudsay family, 64 Pudsay, Edine (1485), 108 Pudsay, Henry (1509), 93, 124 Pudsay, Isabella (c.1530), 47, 81, 111, pl 38 Pudsay, Ralph (1468), 44, 48, 49, 50, 60, 72, 90, 109, 111, 124, pls 40, 41, 66, 67 Pudsay, William (1507), 58 Pudsay, William and Elizabeth (c.1499), 41, 60, 76, 109, 111, pl 27 Pugin, A.W., 44 Puiset, Hugh du, 12 Purbeck marble see Stone Pygot, William (1429), 19, 90 Pykyryng, John see Marblers and other craftsmen Quarr Farm, Dorset, 11 Quarrier, Richard the see Marblers and other craftsmen Quarries see also Stone Alabaster; Ledsham, 20, 25 Egglestone, 39, 62, 63; Abbey Quarry, 1, 32-34, 38, 60, 62, 63, pls 9, 10; Mains House Quarry, 1, 32, 33, 56, 60, 63; Watersmeet Quarry, 32, 33, 38, 63; Westfield Quarry, 1, 32, 33, 63, pls 6-8 Frosterley, 12 Limestone, 24; Ancaster, 65; Huddleston, 18, 24; Roche Abbey, 24; Stapleton, 24; Sykes, 14; Thevesdale, 18, 24 Purbeck; Dunshay, 11; Langton Matravers, 11, Quarr Farm, 11

Ogle, Robert (1410), 102, 104 Old Malton, Yorkshire NR, 10 Osmotherley, Yorkshire NR, 81, 129 Osmund, Bishop of Salisbury (1099), 9 Ouds, Thomas (1502), 76, 115 Ousteby, John (1461), 107

Radburn, John (1428), 77, 95, 105, 116 Ratclif, John and Alice (1527), 44, 74, 109, 114 Ravenser, Emma, 25 Readman, Walter (1509), 76 142

Index Melrose Abbey, 13 Scrope family, 64, 93 Scrope, Henry and Richard (1525), 49, 50, 60, 84, 91, 111 Scrope, Richard (1405), 13 Scrope, Thomas, 6th Lord (1494), 57, 124, pls 60-62 Seamer, Yorkshire NR, 37, 82, 97, 104 Sedgefield, Co. Durham, 51, 57, 82, 101, 108, 124, pl 54 Seford, William (1505), 19, 91 Selby Abbey, Yorkshire WR, 19, 20, 64, 82, 90, 127 Selby, Laurence (1504), 19, 90 Selby, Robert de (1390), 25 Semi-effigial slabs see Monuments Senhouse, Simon (c.1520), 44, 72, 109 Sessay, Yorkshire NR, 14n, 97 Shaw, William (1681), 88, 127 Sherborne Abbey, Dorset, 10 Sherburn, Yorkshire ER, 10 Sheriff Hutton, Yorkshire NR, 23, 25, 82, 83, 97, 108, 119 Shireburn, John de (1407), 19, 20, 90 Shrines; Dunfermline, 13; Durham, 33, 35, 58, 59, 74; York, 33, 59, pls 13, 14 Sigglesthorne, Yorkshire ER, 2 Skelton, Yorkshire NR, 97 Skerne, Yorkshire ER, 21, 23 Skipton, Yorkshire WR, 44, 45, 82, 110, pl 33 Skipwith, Yorkshire ER, 10 Skipwyth, John (1415), 105 Skirlaw, Walter (1406), 33 Slingsby, Henry (1658), 79, 126 Slingsby, Yorkshire NR, 107 Smyth, John (1504), 93 Snaith, Yorkshire WR, 44, 53, 82, 97, 110, 119 Snarford, Lincolnshire, 82, 119 Sockburn, Co. Durham, 36, 38, 51, 82, 119, pl 15 Somerset Glastonbury, 9 Somerville, Roger, 30 South Anston, Yorkshire WR, 22 South Cave, Yorkshire ER, 21, 22, 26, 90 South Cowton, Yorkshire NR, 56, 82, 124, pl 49 South Kilvington, Yorkshire NR, 56, 57, 60, 82, 124, pls 60-62 Spennithorne, Yorkshire NR, 13 Spilsby, Robert see Marblers and other craftsmen Spofforth, Thomas (1486), 11, 19, 91 Spofforth, Yorkshire WR, 84, 97, 119 Sprotborough, Yorkshire WR, 19, 84, 90, 97, 107, 119 Staindrop, Co. Durham, 13, 56-58, 83, 84, 101, 106, 119, 120, 124, pls 58, 59 Stanhope, Co. Durham, 13 Staniland, Stephen (189?), 82, 127 Stanwick St John, Yorkshire NR, 108 Stapilton, William and Margaret (1458), 76, 114 Startforth, Yorkshire NR, 38, 46, 47, 56, 57, 59, 60, 84, 91, 111, 124, pl 64 Stephenson, John (c.1500), 108 Stillingfleet, Yorkshire ER, 24 Stockton, Isabel (1471), 107 Stoke Rochford, Lincolnshire, 22, 107

Reames, James see Marblers and other craftsmen Redman, — , 25 Redmarshall, Co. Durham, 12n, 14n, 54 Reresby, William (c.1469), 91 Retherby, William (1417), 85, 105, 121 Reynard, John (1506), 108 Rhodes, Robert (1474), 57, 124, pl 57 Riccall, Yorkshire ER, 81, 107 Richmond, Yorkshire NR, 56, 60, 81, 124, pl 53 Rievaulx Abbey, Yorkshire NR, 21, 29, 77, 96 Rigton, William (1316), 94 Ripley, Yorkshire WR, 81, 105, 108, 129 Ripon Cathedral, Yorkshire WR, 9, 19, 54, 56, 64, 81, 90, 124, 127, pl 48 Roades, John (1711), 85, 127 Robert, Prior of Rievaulx (1307), 20 Robinson, Thomas (1769), 85, 127 Roche Abbey, Yorkshire WR, 90, 96 Rochforth, Henry (1470), 107 Rockley, Roger (1525), 23 Rockley, Thomas (c.1500), 98 Rokeby Hall, Yorkshire NR, 2, 82 Rokeby, Joan (1521), 93 Rokeby, Thomas, 21, 41, 46, pl 22 Rokeby, William (1521), 95 Romaldkirk, Yorkshire NR, 45, 46, 82, 96, 107, 110, 129, pl 35 Romeyn, John the (1369), 98, 103 Ros, — , 26 Ros, Thomas, 10th Lord de and Philippa (1464), 77, 95 Rouclyff, Brian (c.1470), 29, 93 Routh, John (c.1410), 29, 96 Routh, Yorkshire ER, 24, 96 Rowley, Yorkshire ER, 96 Roxby, Yorkshire NR, 82, 96 Ryther, Yorkshire WR, 21, 23 Ryton, Co. Durham, 13 St Helen Auckland, Co. Durham, 13, 101 St John Lee, Northumberland, 27 St Quintin family, 28 St Quintin, Anthony de (1430), 19, 20, 90 St Quintin, Thomas (1445), 77, 95, 106, 115 St Quintin, Thomas and Agnes (1418), 76, 77, 94, 105, 115 St Quintin, Thomas de (1398), 93, 104 St Quintin, William de (1349) and Joan (1384), 20, 90 Salisbury Cathedral, Wiltshire, 9, 10 Saltmarshe, John (1513), 90 Salveine, George, 28, 96, 105 Sancton, Yorkshire ER, 82, 96 Sandford, Katherine (1461), 91 Sandstone see Stone Savile, Thomas, 19 Sawley Abbey, Yorkshire WR, 96, 103 Saxton, Yorkshire WR, 30, 31 Say, John and Elizabeth (1473), 27 Scarborough, William de (1414), 92 Scarborough, Yorkshire NR, 82, 97 Scotland Arbroath Abbey, 13 Dunfermline Abbey, 13 143

Northern Rock: the use of Egglestone marble for monuments in medieval England Tomb chests see Monuments Tomb covers see Monuments Tonge, Thomas (1472), 72, 92, 107, 112 Tooley, Henry and Alice (c.1568), 11 Topcliffe, Thomas de (1391), 97 Topcliffe, Yorkshire NR, 9, 97 Tournai marble see Stone Tourney, Elizabeth (1452), 76, 106, 115 Tower, Blanche of the (1340), 25 Transportation of stone see Stone Tyas, Baldwin (13th C), 21 Tyas, Francis (1318), 21 Tyndall, John see Marblers and other craftsmen

Stone see also Quarries Alabaster, 19, 20, 23, 25, 26, 46, 64, 90, 91 Frosterley marble, 12-14, 17, 18, 23, 24, 54, 54n, 95, 100, 103, 104, pls 3, 4 Hopton Wood marble, 58n Limestone, 9, 12, 13, 20, 37, 46, 51, 90, 91, 102; Crinoidal, 1, 14, 57, 92, 94, 96, 97, 100, 103, 104, 108; Magnesian, 18, 23-25, 44, 46, 90, 91 Namur marble, 9 Nidderdale (or Sykes) marble, 14, 39, 94, pl 5 Purbeck marble, 10-12, 18, 19, 23, 26, 27, 31, 39, 58, 65, 91-99, 103, 104, 106 Sandstone, 13, 13n, 14, 18, 20, 23, 24, 37, 44, 46, 90, 91 Tournai marble, 9, 10, 19, 26, 54, 90, 92, 96-98, 102, 104 Transportation of stone, 11, 18, 34, 38, 43 Wensleydale marble, 39 Stonegrave, Yorkshire NR, 22, 23, 97, 103 Stowell, Robert see Marblers and other craftsmen Strangways, James (1541), 81 Strelley, Robert and Fredeswide, 63 Strickland, Walter and Katherine (1528), 44, 79, 109 Sudborough, Northamptonshire, 27 Suffolk Ipswich, 11; St Mary Quay, 12 Sussex East Lavant, 11 Lewes Priory, 9 Sutton, Thomas (c.1490), 84, 98, 121 Sutton, Yorkshire ER, 25 Sutton-on-the-Forest, Yorkshire NR, 84, 120 Swanage, Dorset, 11 Swillington, Yorkshire WR, 23 Swine, Yorkshire ER, 25 Sykes (or Nidderdale) marble see Stone

Upsall Castle, Yorkshire NR, 57 Valence, William de, children of, 26 Vasie, Christopher (1678), 77, 126 Vavasour, George (1696), 72, 125 Vescy, Robert and Elizabeth (c.1500), 97 Vesey, John and Elizabeth (1723), 77 Vinsay, John (1452), 19, 91 Wadworth, Yorkshire WR, 21 Wakefield, John (1510), 94 Wakefield, Yorkshire WR, 18, 84, 120, 127 Wales Margam, Stone Museum, 20 Wandesford, Alice (1659), 74, 125 Wandysford, John, 2 Wareham, Dorset, 11 Warter Priory, Yorkshire ER, 19, 91 Warwick, Guy Beauchamp, Earl of, 33 Warwick, Richard Neville, Earl of, 33 Waterhows, John (1530), 94 Waterton, Robert and Cecily (1424), 25 Wath, Yorkshire NR, 97, 105, 107 Watson, John and Alice (c.1530), 79, 96, 117 Watton, Yorkshire ER, 19, 91 Wawne, Yorkshire ER, 19, 91 Welby, Lincolnshire, 22 Well, Yorkshire NR, 37, 38, 46, 59, 84, 97, 110, 111, 120, 127, pl 18 Welles, —., Lord and Cecily (1461), 25 Wellyngton, Robert (1503), 76, 108, 114 Welton, Yorkshire ER, 10, 23 Welwick, Yorkshire ER, 9, 20, 22, 31, 97 Wensley, Simon de (1394), 29, 98 Wensley, Yorkshire NR, 9, 29, 46, 49, 50, 60, 84, 91, 98, 111, 120 Wensleydale marble see Stone West Tanfield, Yorkshire NR, 84, 98, 121 West, William see Marblers and other craftsmen Westminster; Abbey, 9, 10, 24-26; St Stephen’s chapel, 27 Westmorland Great Asby, 76, 115 Great Musgrave, 76, 115 Kendal, 44, 45, 56, 78, 79, 109, 111, 117, 124, pl 47 Kirkby Stephen, 44, 46, 60, 79, 109, 111, pl 34 Westmorland, Margaret Neville, Countess of (c.1530), 43, 45, 72, 109, pl 31

Taille d’épargne, 10 Tatersall, Margaret, 90 Tennant, Mary (1799), 79 Thirkleby, Yorkshire NR, 84, 120 Thirsk, Yorkshire NR, 84, 97, 105, 120 Thomas II, Archbishop of York (1369), 98, 103 Thoresby, John (1369), 98, 103 Thornley nr Tow Law, Co. Durham, 12n, 14n, 54 Thornton family, 64 Thornton, Robert (1418), 23 Thornton, Robert (1533), 51 Thornton, Roger (1429), 10, 29, 102, 124 Thornton, Roger (c.1456), 57 Thorpe Salvin, Yorkshire WR, 91 Thresk, Robert (1419), 84, 97, 105, 120 Throapham, Yorkshire WR, 21 Throckington, Northumberland, 102 Thrybergh, Yorkshire WR, 21, 91 Thwaites, John and Isabella (1469), 45, 76, 94, 109, 115 Thweng, Margery de (1332), 37 Thweng, Thomas de (1381), 95, 104 Tiasse, Alice (c.1425), 90 Tickhill, Yorkshire WR, 97 Tiror, Raulph (1627), 79, 117 Tolpuddle, Dorset, 10 144

Index Westmorland, Ralph Neville, 3rd Earl of (1523), 43 Westmorland, Richard, 2nd Earl and Margaret (1484), 26 Westwell, Kent, 26 Whelpdall, John (1526), 76, 115 Whenby, Yorkshire NR, 84, 121 Whitby, Yorkshire NR, 84, 121, 127 White, John (1778), 127 White, John see Marblers and other craftsmen Whitkirk, Yorkshire WR, 85, 127 Whitworth, Co. Durham, 13 Whorlton, Yorkshire NR, 23 Wighill, Yorkshire WR, 98, 106 Wightman family, 85, 127 Wilberfoss, Yorkshire ER, 85, 98, 106, 121 William of York, St, 31, 33, 59, 88, pls 13, 14 William the Lion, King of Scotland (1214), 13 Wilson, William (c.1500), 108 Wiltshire Salisbury Cathedral, 9, 10 Wincent, Alice (1450), 90 Winchester Cathedral, Hampshire, 10 Windsor, William of, 25 Winestead, Yorkshire ER, 85, 98, 105, 108, 121 Winston-on-Tees, Co. Durham, 51, 85, 101, 121 Wistow, Yorkshire WR, 22 Wolsingham, Co. Durham, 13, 14n Workshops see also Marblers and other craftsmen Ancaster, 21 Bury St Edmunds brasses, 11n, 65 Cambridge brasses, 11n, 65, 79, 96 Durham, 26-28, 46 Durham series 1 brasses, 2, 36, 51, 82 Flemish, 29, 92, 97, 98, 102 Lincolnshire, 11n, 25, 65 Lincolnshire B brasses, 96 London, 29, 30, 31, 44, 53 London Ashford series brasses, 11 London A brasses, 29, 36, 37, 53, 82, 92, 94, 96, 97, 102 London B brasses, 27, 53, 72, 76, 77, 82, 92-100, 102 London sub-B brasses, 54, 79, 96 London D brasses, 27, 29, 45, 53, 72, 74, 76, 77, 79, 82, 84, 85, 92-102 London F brasses, 53, 57, 72, 76, 77, 82, 84, 85, 92-97, 100, 101 London F debased brasses, 43, 44, 74, 81 London G brasses, 53, 72, 81, 82, 84, 92-98 London Seymour brasses, 27, 35, 74, 100 Norwich brasses, 11n, 65 York, 27, 28, 51, 53, 54, 76, 82, 85, 103 Yorkshire series 0 brasses, 14, 28, 37, 53, 81, 94-99, 103, 104 Yorkshire series 1 brasses, 37, 53, 56, 74, 81, 85, 88, 104-106 Yorkshire series 1a brasses, 92, 93, 100, 104 Yorkshire series 1b brasses, 72, 92, 100, 104, 105 Yorkshire series 1c brasses, 28, 71, 72, 77, 84, 88, 92, 94-100, 104-106 Yorkshire series 2 brasses, 53, 107 Yorkshire series 2a brasses, 44, 57, 74, 76, 77, 84, 85, 93, 96, 98, 100, 101, 106

Yorkshire series 2b brasses, 53, 71, 72, 74, 76, 79, 81, 82, 84, 85, 88, 92, 93, 96, 97, 100, 107, pl 35 Yorkshire series 3 brasses, 28, 53, 56, 82, 85, 88, 97, 108 Yorkshire series 4 brasses, 28, 53, 76, 81, 108 Yorkshire series A effigies, 24 Yorkshire series B effigies, 23, 24 Yorkshire series C effigies, 23, 24 Yorkshire series D effigies, 23, 24 Yorkshire Wolds series effigies, 24 Worksop Priory, Nottinghamshire, 85, 127 Worsborough, Yorkshire WR, 23, 98 Wudston, Simon de (1369), 90 Wyclif, Ralph (1606), 85, 121 Wyclif, Roger and Katherine de (c.1410), 53, 85, 105, 121, pl 46 Wycliff, William and Merial (1611), 85, 121 Wycliffe family, pl 26 Wycliffe, John de (1494), 41, 110 Wycliffe, Robert (1494), 41 Wycliffe, Yorkshire NR, 17, 19, 41, 46, 47, 50, 53, 58n, 60, 85, 86, 91, 105, 110, 111, 121, 122, 127, pls 26, 42, 46 Wyman, Henry (1413), 105 Wyntringham, John de, 21 Wytham, Thomas and Agnes (c.1480), 82, 119 Wyvill, John (1705), 74, 125 Yarm, Yorkshire NR, 56, 85, 124, pl 50 York, 64; All Saints in the Marsh, Peaseholme Green, 28; All Saints, North Street, 29, 85, 86, 98, 105, 107, 108, 122; All Saints, Pavement, 30, 85, 87, 98, 107, 122, 127; Bedern, 59; Greyfriars, 29; Holy Trinity, Goodramgate, 85, 91, 106, 122, 123; Holy Trinity, Micklegate, 10; St Crux, 105; St Cuthbert, 106; St Denys, Walmgate, 85, 123; St George, Fishergate, 19; St John the Evangelist, Micklegate, 44, 85, 110, 123; St Mary Bishophill Junior, 88, 98, 105, 123; St Mary, Castlegate, 28, 88, 98, 105, 123, 127; St Mary’s Abbey, 11, 19, 27, 28; St Michael, Spurriergate, 88, 107, 108, 123, 127; St Michael-le-Belfrey, 59, 87, 88, 99, 106, 123, 128, pl 68; St Nicholas without Walmgate Bar, 18; St Sampson, 99; St Saviour, 37, 88, 99, 104, 105, 123, 128;York Minster, 10, 13, 17n, 23, 24-31, 33, 54, 59, 85, 98, 103, 108, pls 13, 14, 68; Yorkshire Archaeological Trust, 10, 88; Yorkshire Museum, 11, 19, 27, 31, 33, 59, 88, 91, 99, 103, pls 13, 14 Yorke, Richard (1498), 44, 85, 110, 123 Yorkshire, East Riding Aughton, 52, 53, 71, 92, 107, 112 Bainton, 24, 71, 92, 105, 112 Beeford, 24, 72, 92, 107, 112 Beverley; Friary, 23; Minster, 11, 12n, 14, 15, 23, 24, 28, 31, 54, 64, 72, 92; St Mary, 14n, 29, 72, 73, 92, 105, 108, 112, 125, 129 Birdsall, 24 Bishop Burton, 93, 107 Brandesburton, 93, 104 Bridlington Priory, 9, 10, 12n, 14n, 19, 54, 64, 72, 93, 113 Bubwith, 72, 113, 125 Burstall Priory, 20 145

Northern Rock: the use of Egglestone marble for monuments in medieval England Bossall, 93, 106 Bowes, 72, 129 Brompton-in-Allertonshire, 16 Byland Abbey, 20, 93 Catterick, 25, 56, 60, 74, 93, 105, 107, 113, 124, 125, 129, pl 52 Cayton, 74, 106, 114, 125 Coverham Abbey, 24 Coxwold, 107 Crathorne, 74, 104, 114, 129 Croft-on-Tees, 40, 41, 46, 60, 74, 109, 111, pls 19-21 Danby Wiske, 24, 74, 125 Dishforth, 93 Downholme, 129 Easby, 76, 114, 129 East Gilling, Yorkshire NR, 14, 21, 22, 76, 108, 114 East Harlsey, 93 Egglestone Abbey, 20, 21, 36, 38-40, 41, 45-47, 50, 57, 60, 63-65, 76, 94, 109, pls 1, 22-25, 36, 39, 65, 69 Felixkirk, 10, 24 Gilling West, 21, 46, 50, 60, 76, 90, 111, 129, pls 37, 45 Gisborough Priory, 26, 41, 64, 94, 105, pls 28-30 Guisborough, 41, 45, 46, 76, 109 Hauxwell, 18, 22 Helmsley, 77, 95, 104, 116; English Heritage store, 26, 76, 77, 95 Hornby, 43, 77, 95, 106, 116, 129 Hutton Rudby, 21, 77, 117, 129 Ingleby Arncliffe, 24 Jervaulx Abbey, 14, 20, 21, 39, 51 Kirby Misperton, 18 Kirkleatham, 14, 24, 79, 95, 104, 117 Kirklington, 2, 51 Leake, 26, 79, 96, 117 Marrick Priory, 21, 47, 56, 81, 96, 107, 111, 118, 124, 129, pls 38, 51 Melmerby, 17 Melsonby, 21 Middleham, 51, 81, 129 Middleton Tyas, 96 Myton-on-Swale, 18 Northallerton, 81, 118, 127 Nunnington, 81, 96, 118 Old Malton, 10 Osmotherley, 81, 129 Patrick Brompton, 35, 36, 81 Pickering, 25 Richmond, 56, 60, 81, 124, pl 53 Rievaulx Abbey, 21, 29, 77, 96 Rokeby Hall, 2, 82 Romaldkirk, 45, 46, 82, 96, 107, 110, 129, pl 35 Roxby, 82, 96 Scarborough, 82, 97 Seamer, 37, 82, 97, 104 Sessay, 14n, 97 Sheriff Hutton, 23, 25, 82, 83, 97, 108, 119 Skelton, 97 Slingsby, 107 South Cowton, 56, 82, 124, pl 49 South Kilvington, 56, 57, 60, 82, 124, pls 60-62 Spennithorne, 13

Burstwick, 72, 93, 113 Burton Agnes, 30 Butterwick, 20 Cottingham, 93 Eastrington, 20, 22, 23, 90, 93, 94 Ellerton Priory, 53 Ellerton, 21, 94, 106 Escrick, 26, 94 Etton, 26 Garton-on-the-Wolds, 21 Goodmanham, 21, 94, 103 Halsham, 44, 76, 94, 106, 109, 115 Harpham, 19, 20, 54, 76, 90, 94, 95, 105, 106, 115 Hedon, 77, 95, 108, 115 Hemingbrough, 14, 77, 95, 103, 105, 116 Holme-on-Spalding Moor, 90 Hornsea, 19, 20, 24, 90 Howden Minster, 13, 14, 14n, 18, 21, 23, 54n, 77, 90, 95, 106, 116 Hull; Holy Trinity, 14n, 25, 75, 77, 95, 116, 126; St Mary, Lowgate, 95 Humbleton, 95, 106 Hutton Cranswick, 2, 90 Kirkham Abbey, 26 Little Driffield, 81, 118 Lockington, 96, 104 Londesborough, 10, 81, 108, 118 Lowthorpe, 14n, 22, 37, 81, 96, 103, 105, 118 Lund, 25 Meaux Abbey, 10, 19, 96, 103 Nafferton, 22 North Ferriby, 17n North Frodingham, 81, 118 Nunkeeling Priory, 24 Patrington, 18, 24, 81, 96, 104 Pocklington, 9, 12n, 81, 96 Riccall, 81, 107 Routh, 24, 96 Rowley, 96 Sancton, 82, 96 Sherburn, 10 Sigglesthorne, 2 Skerne, 21, 23 Skipwith, 10 South Cave, 21, 22, 26, 90 Stillingfleet, 24 Sutton, 25 Swine, 25 Warter Priory, 19, 91 Watton, 19, 91 Wawne, 19, 91 Welton, 10, 23 Welwick, 9, 20, 22, 31, 97 Wilberfoss, 85, 98, 106, 121 Winestead, 85, 98, 105, 108, 121 Yorkshire, North Riding Ainderby Steeple, 14n, 20, 105 Aldborough, 14n Amotherby, 21-23 Appleton-le-Street, 23, 24 Askrigg, 92 Bedale, 9, 23, 50, 72, 90, 92, 111, 112, 125, pls 43, 44 146

Index Moor Monkton, 21 Owston, 29, 96 Ripley, 81, 105, 108, 129 Ripon Cathedral, 9, 19, 54, 56, 64, 81, 90, 124, 127, pl 48 Roche Abbey, 90, 96 Ryther, 21, 23 Sawley Abbey, 96, 103 Saxton, 30, 31 Selby Abbey, 19, 20, 64, 82, 90, 127 Skipton, 44, 45, 82, 110, pl 33 Snaith, 44, 53, 82, 97, 110, 119 South Anston, 22 Spofforth, 84, 97, 119 Sprotborough, 19, 84, 90, 97, 107, 119 Swillington, 23 Thorpe Salvin, 91 Throapham, 21 Thrybergh, 21, 91 Tickhill, 97 Wadworth, 21 Wakefield, 18, 84, 120, 127 Whitkirk, 85, 127 Wighill, 98, 106 Wistow, 22 Worsborough, 23, 98 Yorkshire workshops see Workshops

Stanwick St John, 108 Startforth, 38, 46, 47, 56, 57, 59, 60, 84, 91, 111, 124, pl 64 Stonegrave, 22, 23, 97, 103 Sutton-on-the-Forest, 84, 120 Thirkleby, 84, 120 Thirsk, 84, 97, 105, 120 Topcliffe, 9, 97 Upsall Castle, 57 Wath, 97, 105, 107 Well, 37, 38, 46, 59, 84, 97, 110, 111, 120, 127, pl 18 Wensley, 9, 29, 46, 49, 50, 60, 84, 91, 98, 111, 120 West Tanfield, 84, 98, 121 Whenby, 84, 121 Whitby, 84, 121, 127 Whorlton, 23 Wycliffe, 17, 19, 41, 46, 47, 50, 53, 58n, 60, 85, 86, 91, 105, 110, 111, 121, 122, 127, pls 26, 42, 46 Yarm, 56, 85, 124, pl 50 Yorkshire, West Riding Ackworth, 16 Adlingfleet, 37, 71, 104, 112 Adwick-le-Street, 90 Aldborough, 21, 71, 92, 104, 129 Allerton Mauleverer, 14n, 23, 92, 104 Barnburgh, 23 Bilbrough, 93 Bolton Abbey, 93 Bolton Percy, 26, 72, 93, 112 Bolton-by-Bowland, 44, 48, 50, 56, 58, 60, 72, 90, 93, 109, 111, 124, pls 40, 66, 67 Brayton, 19, 72, 113 Burghwallis, 90 Church Fenton, 23 Conisbrough, 16 Cowthorpe, 29, 93 Darfield, 93 Darrington, 16 Doncaster, 21 Fishlake, 44, 76, 94, 109, 114 Fountains Abbey, 14, 21, 23, 29, 39, 94 Goldsborough, 14n, 23, 94, 103 Great Ribstone, 76, 94, 108, 115 Guiseley, 94, 103 Halifax, 19, 94 Hampsthwaite, 94 Harewood, 23, 25, 26, 45, 76, 94, 109, 115 Hatfield, 95 Hazlewood, 23, 95 Hemsworth, 90 Heptonstall, 18 Hickleton, 21, 95 Ilkley, 24 Kirk Sandal, 95 Kirkby Wharfe, 79, 95, 105 Knaresborough, 79, 117, 126 Lead, 20, 21 Ledsham, 20 Leeds, St Peter, 17, 52, 53, 54, 62, 78, 79, 96, 107, 117, 126 Loversall, 21, 30 Methley, 16, 25 147

Pl. 1. Thomas Girtin, watercolour of Egglestone Abbey (Yorkshire), painted 1799-1800. The Abbey Quarry site is shown in the middle left of the picture. (London, British Museum, Department of Prints and Drawings, PDB 10393). Copyright: The Trustees of the British Museum.

Pl. 2. Polished sample of Egglestone marble.

Pl. 3. Polished sample of Frosterley marble.

Pl. 4. Polished sample of crinoidal beds from the Frosterley marble outcrop.

Pl. 5. Polished sample of Sykes marble.

Pl. 6. The outcrop at Westfield Quarry, with a stepped profile where blocks have been removed. Photo: Geoff Blacker.

Pl. 7. A large block remains at Westfield Quarry with the marks where two lines of wedges were hammered in to lever the blocks apart to form slabs. Note metre rule for scale. Photo: Geoff Blacker.

Pl. 8. Part of the outcrop at Westfield Quarry showing where one slab has already been removed but work on the next two was abandoned. Note metre rule for scale. Photo: Geoff Blacker.

Pl. 9. A basin below the quarry face at Abbey Quarry which may have been used as an area where the stone was dressed. Photo: Geoff Blacker.

Pl. 10. The outlet of a man-made watercourse lined with stone leading to the working area at Abbey Quarry which would have brought water on to the site. Note metre rule for scale. Photo: Geoff Blacker.

Pl. 11. The laver in the cloisters of Durham Cathedral (Co. Durham). Photo: Geoff Blacker.

Pl. 12. The tomb chest for Bishop Thomas Langley (d.1437), Durham Cathedral (Co. Durham). Photo: Geoff Blacker.

Pl. 13. Part of the shrine of St William formerly in York Minster. Yorkshire Museum, York. Photo: Sally Badham.

Pl. 14. Part of the shrine of St William formerly in York Minster. Yorkshire Museum, York. Photo: Sally Badham.

Pl. 15. Cross slab to Sir John Conyers (d.1394). The rectangular brass plate set across the lower terminal of the cross head is a later addition. Sockburn (Co. Durham). Photo: Aleksandra McClain.

Pl. 16. Incised cross slab to an unknown cleric. Egglestone Abbey (Yorkshire, North Riding). Photo: Sally Badham.

Pl. 17. Relief cross slab with a crozier, commemorating an unknown abbot. Egglestone Abbey (Yorkshire, North Riding). Photo: Sally Badham.

Pl. 18. Inscription slab, possibly commemorating a member of the Neville family. Well (Yorkshire, North Riding). Photo: Geoff Blacker.

Pl. 19. Panel from tomb chest for Sir John Clervaux (d.1443). Croft-on-Tees (Yorkshire, North Riding). Photo: Sally Badham.

Pl. 20. Tomb chest for Sir Richard Clervaux (d.1490). Croft-on-Tees (Yorkshire, North Riding]. Photo: Sally Badham.

Pl. 21. Detail of lettering on tomb chest for Sir Richard Clervaux (d.1490). Croft-on-Tees (Yorkshire, North Riding). Photo: Sally Badham.

Pl. 22. Detail of inscription to Thomas Rokeby on slab, possibly a panel from a tomb chest. Egglestone Abbey (Yorkshire, North Riding). Photo: Sally Badham.

Pl. 23. Tomb chest for Sir Ralph Bowes (d.1482). Egglestone Abbey (Yorkshire, North Riding). Photo: Geoff Blacker.

Pl. 24. Detail of tomb chest for Sir Ralph Bowes (d.1482). Egglestone Abbey (Yorkshire, North Riding). Photo: Geoff Blacker.

Pl. 25. Cover of tomb chest for Sir Ralph Bowes (d.1482), with underside uppermost showing rebate for close fitting on the tomb chest. Egglestone Abbey (Yorkshire, North Riding). Photo: Brian Gittos.

Pl. 26. Panel from a tomb chest to a member of the Wycliffe family. Wycliffe (Yorkshire, North Riding). Photo: Geoff Blacker.

Pl. 27. Tomb chest for Sir William Pudsay (d. by 1499), Gainford (Co. Durham). Photo: Sally Badham.

Pl. 28. Details of Brus cenotaph, c.1520 showing the ‘English side’. Between figures in armour representing Adam de Brus I, Adam de Brus II, Peter de Brus I, Peter de Brus II and a damaged figure of Peter de Brus III are Saints Augustine, Gregory, Jerome and Ambrose. Above the figure of St Jerome is the rebus of the donor, Prior James Cockerell. Gisborough Priory (Yorkshire, North Riding), but now in the parish church. Photo: Sally Badham.

Pl. 29. Details of Brus cenotaph, c.1520 showing the ‘Scottish side’. Between figures in armour representing Robert de Brus II, William de Brus I, Robert de Brus I (the founder of Guisborough Priory), Robert de Brus III and Robert de Brus IV are the four evangelists. Gisborough Priory (Yorkshire, North Riding), but now in the parish church. Photo: Sally Badham.

Pl. 30. Details of Brus cenotaph, c.1520 showing the east end. It shows the Blessed Virgin Mary flanked by groups of praying monks. Gisborough Priory (Yorkshire, North Riding), but now in the parish church. Photo: Sally Badham.

Pl. 31. Tomb chest for Margaret Neville, Countess of Westmorland (d.c.1530). Brancepeth (Co. Durham). Photo (taken before the 1998 fire): Geoff Blacker.

Pl. 32. Tomb chest for Robert Brown (d.1532) at Newark (Nottinghamshire). Photo: Geoff Blacker.

Pl. 33. Tomb chest for Henry, 11th Lord Clifford, K.G. (d.1542), and his wife Margaret. Skipton (Yorkshire, West Riding). Photo: Geoff Blacker.

Pl. 34. Tomb chest with Egglestone marble cover with inscription to Sir Richard Musgrave (d.1464). Kirkby Stephen (Westmorland). Photo: Geoff Blacker.

Pl. 35. Remaining section of the cover from a lost tomb chest with an indent of a Yorkshire series 2b brass to John Lewelyne, rector of Romaldkirk (d.c.1470). Photo: Sally Badham.

Pl. 36. Fragment of the foot rest from an effigy from Egglestone Abbey (Yorkshire, North Riding). Now in the English Heritage store at Berwick-on-Tweed, accession no. 81027101). Photo: English Heritage.

Pl. 37. Detail of inscription on slab to Sir Henry Boynton and his second wife Alice. Gilling West (Yorkshire, North Riding). Photo: Sally Badham.

Pl. 38. Inscription slab to Isabella Pudsay, c.1500 Marrick Priory (Yorkshire, North Riding). Photo: Geoff Blacker.

Pl. 39. Inscription slab to John and Johanna Mitchell. Egglestone Abbey (Yorkshire, North Riding). Photo: Sally Badham.

Pl. 40. Detail of low relief slab to Sir Ralph Pudsay (d.1468). Bolton-by-Bowland (Yorkshire, West Riding). Photo: Martin Stuchfield.

Pl. 41. Detail of low relief slab to Sir Ralph Pudsay (d.1468) ), showing his son William in clerical dress. Bolton-by-Bowland (Yorkshire, West Riding). Photo: Martin Stuchfield.

Pl. 42. Detail of incised slab to John Forster (d.1456). Wycliffe (Yorkshire, North Riding). Photo: Sally Badham.

Pl. 43. Low relief slab to Thomas Jackson, (d.1529). Bedale (Yorkshire, North Riding). Photo: Martin Stuchfield.

Pl. 44. Detail of low relief slab to Thomas Jackson, (d.1529). Bedale (Yorkshire, North Riding). Photo: Martin Stuchfield.

Pl. 45. Low relief slab to Sir Henry Boynton and his wife Isabella (d.1531), Gilling West (Yorkshire, North Riding). Photo: Sally Badham.

Pl. 46. Brass to Roger de Wycliff (d. by 1362) engraved c. 1410. Wycliffe (Yorkshire, North Riding). Photo: Sally Badham.

Pl. 47. Font dating from the late-fifteenth century at Kendal (Westmorland). Photo: Geoff Blacker.

Pl. 48. Font dating from the late-fifteenth century at Ripon, (Yorkshire, North Riding). Photo: Geoff Blacker.

Pl. 49. Font dating from the late-fifteenth century at South Cowton (Yorkshire, North Riding). Photo: Geoff Blacker.

Pl. 50. Font dating from the late-fifteenth century at Yarm (Yorkshire, North Riding). Photo: Geoff Blacker.

Pl. 51. Font with unusual scalloped profile on the inside of the bowl. Marrick Priory (Yorkshire, North Riding). Photo: Geoff Blacker.

Pl. 52. Font donated by William Burgh (d.1442) probably soon after completion of the church in 1415, Catterick (Yorkshire, North Riding). Photo: Sally Badham.

Pl. 53. Font of early to mid fifteenth-century date. Richmond (Yorkshire, North Riding). Photo: Geoff Blacker.

Pl. 54. Font with a stem and base dating from the mid-fifteenth century at Sedgefield (Co. Durham). Photo: Geoff Blacker.

Pl. 55. Font dating to the third quarter of the fifteenth century donated by George, Lord Lumley and his wife Elizabeth. Kirkharle (Northumberland). Photo: Geoff Blacker.

Pl. 56. Font dating to the end of the fifteenth century donated by George, Lord Lumley and his wife Elizabeth. Chester-le-Street (Co. Durham). Photo: Geoff Blacker.

Fig 57. Font donated by Robert Rhodes (d.1474). Newcastle Cathedral (Northumberland). Photo: Geoff Blacker.

Pl. 58. Font donated by Sir Edward Neville, K.G., Lord Bergavenny [Abergavenny] (d.1476) and his wife Elizabeth Beauchamp. Staindrop (Co. Durham). Photo: Geoff Blacker.

Pl. 59. Brass shield on font donated by Sir Edward Neville, K.G., Lord Bergavenny [Abergavenny] (d.1476) and his wife Elizabeth Beauchamp. Staindrop (Co. Durham). Photo: Sally Badham.

Pl. 60. Font probably donated by Thomas, 6th Lord Scrope (d.1494). South Kilvington (Yorkshire, North Riding). Photo: Sally Badham.

Pl. 61. Detail of font probably donated by Thomas, 6th Lord Scrope (d.1494). South Kilvington (Yorkshire, North Riding). Photo: Sally Badham.

Pl. 62. Detail of font probably donated by Thomas, 6th Lord Scrope (d.1494). South Kilvington (Yorkshire, North Riding). Photo: Sally Badham.

Pl. 63. Font of likely end fifteenth century date. Barnard Castle (Co. Durham). Photo: Sally Badham.

Pl. 64. Font presented by Robert Ellerton (Abbot of Egglestone Abbey 1476-1495). Startforth (Yorkshire, North Riding). Photo: Geoff Blacker.

Pl. 65. Indent probably to Abbot Robert Ellerton (d.1495). Egglestone Abbey (Yorkshire North Riding). Photo: Sally Badham.

Pl. 66. Font of c.1509 with brass inscription commemorating Sir Ralph Pudsay, Edwina his wife and Sir William his son. Bolton-by-Bowland (Yorkshire, West Riding). Photograph: Martin Stuchfield.

Pl. 67. Detail of font of c.1509 with brass inscription commemorating Sir Ralph Pudsay, Edwina his wife and Sir William his son. The arms are Pudsay impaled with Tunstall; this is for Sir Ralph’s marriage to his second wife, Margaret, the mother of William Pudsay. Bolton-by-Bowland (Yorkshire, West Riding). Photograph: Martin Stuchfield.

Pl. 68. Aerial view of altar mensa removed from York Minster. St Michael-le-Belfrey, York. Photo: Geoff Blacker.

Pl. 69. Etching by T. Higham of watercolour by J.M.W. Turner of Egglestone Abbey.