I called in at Adel yesterday, the church was closed. This is normally the point where I have a rant about locked churches but I can’t moan about Adel, the church welcomes visitors daily, I just arrived at the wrong time.
Helmsley & Hawnby…not quite Damascus
Nikolaus Pevsner describes All Saints Church, Helmsley as ‘big and self confident, in the C13 style’.
It is always a good sign when the church entrance looks like this.
Stepping into the church is a joy, there are beautiful, bright, colourful murals everywhere.
The Victorian restorers of the church not only retained elements of the earlier church, they also added to them. The beakheads and outer order of the chancel arch are modern as are many other ‘romanesque’ features both within and on the exterior of the church, Rita Wood calls them ‘Heavy handed Victorian additions’, I quite like them.
The capital on the left side of the chancel arch has three heads carved on it, one creature emitting foliage and two small human heads, one wearing a pointy cap. The capital on the right side of the arch has a tiny head carved between the angle of the volutes.
This 10th century Hogback is a bit knocked about, the motif on the top is quite a rare design to find on a Hogback, it is known as a Key Pattern.
There are two chapels within the church, the south chapel is dedicated to Columba and has an altar made of what looks like Swaledale Fossil Limestone and may have come from the quarries at Barton. The North Chapel is dedicated to Aelred and has an altar made with Frosterley Marble from Weardale.
This striking painting is in the north chapel, it’s by Gabriel Max and is called St. Veronica’s Handkerchief. When I first saw the painting, the image was of Christ with his eyes closed, when I looked again his eyes were open. I found this rather disturbing, I was raised in a strict catholic household but have been an atheist, with the odd lapse into heathendom, for the past 45yrs. Was this to be my moment of conversion? was the shepherd calling me back to the fold?…then I read the notice beside the painting … ‘was painted in the middle of the 19th century, it is a form of art with a little trick, where the eyes of christ can be seen either open or closed‘…I laughed, relieved but also feeling slightly unnerved by the experience.
On reflection, I quite like the painting, it was inspired by a miraculous handkerchief that contained a perfect image of the face of Christ. As usual with these sort of Medieval relics, there were three in existence, all claiming to be the original. I suppose most religions have to rely on some form of smoke and mirrors when it comes to dealing with the supernatural.
All Saints is a wonderful church and well worth a visit if you are in the area. The history of the district is written all over its walls often in bold bright mural form. Architecturally it has embraced and built upon its past and is currently undergoing further exterior renovations. The church is open for visitors from 9-5 daily.
Driving home I remembered that in her book, Romanesque Yorkshire, Rita Wood compared the tiny carving of a man in a pointy cap to a carving in the church at Hawnby. Hawnby wasn’t too far from Helmsley so I decided to seek it out.
The Church at Hawnby, All Saints, can be found to the west of the village on the Kepwick road. The little church sits in an overgrown churchyard down by the River Rye, the setting is beautiful. The church is picturesque but architecturally fairly unremarkable, Pevsner describes it as ‘basically Norman‘. I found the carving located just inside the church door, it is lovely. Rita Wood thinks that it probably came from the chancel arch, who knows?
The Buildings of England. Yorkshire, The North Riding. Nikolaus Pevsner. Penguin Books. 1973
Romanesque Yorkshire. Rita Wood. Yorkshire Archaeological Society. Occasional Paper No.9. 2012
Yorkshire A Gazetteer of Anglo-Saxon & Viking Sites. Guy Points. Rihtspell Publishing. 2007
I recently found a bag of photographs that I thought were lost. Amongst the photographs were a few that I took in 2003 after a devastating fire swept across Fylingdales Moor. The fire burned off the peat deposits along with dense heather and bracken cover and in the process gave us a brief look at the prehistoric landscape that potentially exists beneath many of our moorlands.
The fire revealed a wealth of archaeology on the moor ranging from prehistory to the Second World War. If you are interested in finding out more I’d recommend seeking out Local Archaeologist Blaise Vyner’s excellent booklet, Fylingdales Wildfire and Archaeology. 2007. Published by North Yorkshire National Park.
Jellinge to the Jacobean
St. Andrew’s church at Haughton-le-Skerne is the oldest in Darlington and probably stands on the site of a previous Saxon Church. The church is essentially Norman and has a collection of early medieval carved stones.
I walked up to the porch, it was locked, my heart sank, I walked around to the west door, a big smile, not only an open door but a beautiful plain Norman arch and tympanum.
On entering the church things just got better, I was given a very warm welcome into the church by two lovely attendants who were sat in the baptistry on either side of this handsome font. The original font has gone but the beautiful Frosterly Marble base survives. We had a chat about this and that and I was shown around the church then left to wander.
In the nave there are a number of early medieval stones that have been built into the walls. The stones were found during the 1895 restoration. One of the carvings (bottom picture) stands out as being exceptionally good.
This piece establishes that the best carving from this site occurs with the most purely Scandinavian ornament. The ribbon animal panel on A is closely linked in style with Sockburn 8 and should date from an early stage after the introduction of the Jellinge-type style. It is possible that this piece was carved elsewhere, since it is the only piece from the site in this stone.
Another simple arch and plain tympanum leads into the porch and more remnants of carved stones including some knotwork and fragments of cross slabs. A blackbird has made its nest on a shelf, she watches me but does not move.
Back in the nave, the amount of 17th century woodwork is quite overwhelming. I’m told that this style is known as ‘Cosin woodwork’ named after Bishop Cosin of Durham. This style is unique to County Durham and is now quite rare. Nikolaus Pevsner dates the woodwork to the 1630’s and writes that ‘the church gives a very complete picture of that date.’
The chancel arch is Norman, its single-step simplicity reflects the entrance and porch arches. Below the arch on the left of the picture is a squint or ‘hagioscope’ designed as a viewing point between the nave and the chancel. Below the arch on the right side is a niche with the remains of an original pre-reformation fresco painting. This niche may have housed a statue of the Virgin Mary.
Displayed on a shelf in the south transept are a number of sheets of lead. These were removed from the tower roof. All date to the eighteenth century, three are outlines of shoes, one is a hand and another is an etching of a fully-rigged ship. All of the sheets are initialled, presumably by the craftsmen who repaired the roof at various times.
I would encourage you to visit this beautiful church. This Grade one listed church is warm and welcoming and proudly displays its rich history and heritage. The church is open for visitors every Wednesday 10am-4pm June til November.
The Buildings of England. County Durham. Nikolas Pevsner. 1953. Penguin Books.
Visitors booklet – available within the church.
The Corpus of Anglo Saxon Stone Sculpture.
Dodging Storm Dudley on Dere Street
..with Mr Vasey
Piercebridge – Fawcett – Stanwick
Wandering in the shadow of the sacred hill
My friend Graeme Chappell and I decided to have a wander around Thompson’s Rigg. We followed the Old Wife’s Way from Horcum, dropping down along Newgate Brow into the valley below.
We crossed the fields to take a look at the standing stones at the foot of Blakey Topping. These stones have been interpreted as a possible ruined stone circle.
After spending some time at the stones we walked onto Thompson’s Rigg. The Rigg is only a mile long. Its flanks slope down into the valleys of the Grain Beck to the East and Crosscliff Beck to the west. The moor is surrounded on three sides by higher ground and gently slopes to the south, where it narrows to form a valley which eventually leads to Langdale End and Howden Hill, a hill very similar in appearance to Blakey Topping.
About a third of the way along the Rigg the trackways bends, at this point, running diagonally to the trackway, is a cross ridge boundary. The boundary is a banked structure that bisects the full width of the moor and is topped, in parts, with large stones. The official scheduling for the area states that, Although this boundary forms part of the post-medieval field boundary system in the area, it is considered to incorporate elements of an earlier construction which had origins in the prehistoric period, contemporary with the cairnfield. source
In his book Early Man in North East Yorkshire Frank Elgee wrote, A wall of upright stones crosses the Rigg between the farm and the barrows, he also includes the boundary on his map of the area
It is curious that despite the earthwork being mentioned in the official scheduling of the area and despite it defining the the northern limit of the cairnfield and barrows and its close resemblance to other moorland cross ridge boundaries, this significant structure does not appear in either Don Spratt’s 1993 or Blaise Vyner’s 1995 inventories of the cross ridge boundaries of the North York Moors.
South of the large boundary earthwork we started to encounter many cairns, most are in deep heather and difficult to define, at least one of this group appears to be a large ruined barrow.
We continued south, traipsing through the deep heather to a grassy area containing a beautiful Platform Cairn. Platform Cairns are rare on the North York Moors, they are defined as, A roughly circular monument featuring a low, more or less level platform of stones surrounded or retained by a low stone kerb. Some may feature a small central open area, thus resembling a ring cairn. Source.
There is a large stone and hollow in the middle of the cairn implying a possible ruined cist, it is evident that this cairn had been excavated in the past. Graeme reminded me that we were only seven miles from Pickering, once home to James Ruddock.
James Ruddock was a nineteenth century commercial barrow digger. Between 1849 and his death in 1859 he opened many of our moorland mounds in search of finds to sell to the gentleman collectors of his time. His main client was the antiquary Thomas Bateman, he also opened barrows for Samuel Anderson of Whitby.
Unfortunately Ruddock did not always keep precise notes regarding the locations of his diggings, many of his finds have ended up in our museums with vague labels such as, from a mound 6 miles north of Pickering.
Moving further south we encountered this lovely, fairly well-defined ring cairn.
On the south eastern flanks of the Rigg is a group of hollow ways, these are not considered to be prehistoric.
At the southern end of the Rigg is this orthostatic wall which contains many large stones, some of which appear to be buried into the ground. If the wall contained unburied stones it would be classed as a boulder wall. The walling is definitely not prehistoric but may contain stones from an earlier feature.
Not far from the walling is this three foot high standing stone, located within an area of low banks and cairns at the southern end of the Rigg.
Blakey Topping and Thompson’s Rigg are well worth a visit, There is a wealth of prehistoric remains to be seen within a relatively small area. The area is owned by the National Trust and is not managed for grouse so has a mixture of habitats, we saw plenty of birds including Skylarks, Snipes and what I think were a large flock of Fieldfares.
If you visit this lovely place, what you’ll undoubtably notice is that wherever you are on the moor, Blakey Topping is the dominant landscape feature. Graeme and I agreed that this beautiful hill probably had a deep significance to the original inhabitants of this area. A sacred hill? perhaps even a sacred landscape?
Early Man in North East Yorkshire. Frank Elgee. 1930
Orthostatic Field Walls on the North York Moors. D A Spratt. YAJ Vol. 60. 1988
Linear Earthworks of the Tabular Hills, Northeast Yorkshire. D A Spratt. 1989
Prehistoric and Roman Archaeology of North-East Yorkshire edited by D A Spratt. 1993
CBA Research Report 101: Moorland Monuments’ in The Brides Of Place: Cross-Ridge Boundaries Reviewed, B Vyner. 1995
OS Map – The National Library of Scotland
To illustrate Graeme’s comments
St Mary’s Whitby
The Abbey at Whitby was one of the earliest Romanesque buildings to be erected in the North of England but my focus today was on the neighbouring church of St Mary. A while ago my friend Chris Corner posted a picture of a head carved on a capital within the church, so on a whim, I headed over the storm-battered moor road to see what I could find.
I’ve visited this church many times in the past but this was prior to my explorations of Early Medieval stonework, I wasn’t sure what to expect. The south door with its arch and carved spiral capitals lifted my spirits.
Inside the church I made my way between the beautiful box pews to the chancel arch. The arch is mostly hidden behind the upper level, the lord of the manor’s pew. There is a second arch over the entrance to the tower but this has been completely hidden behind the organ.
On the capital of the left hand arch is a carving of a head emitting unfurling foliage. This bears a striking resemblance to the ‘Green Man’ carving in Marske Church.
There are other foliate heads to be found locally at Easington, Liverton and Lythe .
One of the capitals on the right hand side of the arch has a carved head with a star on either side. The star is not an uncommon motif on Northern English Early Medieval stonework.
There are other elements of early stone work to be found in and around this lovely church, coupled with the Abbey next door, it is a wonderful place to visit. For me, with the failing light and the howling gale of Storm Barra blowing across the clifftop, it was time to head for home.
Osmotherley – St. Peter’s Church
The Romanesque arch, weather-beaten but recognisable.
The ghost of a Beakhead
The Norman font, uncomplicated with a cable pattern below the rim.
A protection mark? A saltire scratched into the underside of the arch resembles similar motifs carved into the witch posts of the moorland villages.
An Anglo-Saxon crosshead.
Regarding the grooves on the porch wall behind the cross head. These grooves are found on many of the walls of old churches throughout Europe. Tradition has it that they were caused by medieval archers sharpening their arrow heads prior to Sunday archery practice. In some parts of the country these stones are referred to as ‘Arrow Stones’. This seems like a highly unlikely explanation, the nature of the grooves would probably only serve to blunt a blade rather than sharpen it
Another possible, and more likely explanation for the grooves, is that they were caused by people collecting grit and dust from the church for use in folk medicines and ritual preparations. Any part of the fabric of a consecrated building, including water from the roof, was thought to have curative powers for both people and their livestock. The practice of collecting materials from a church, to use as a cure for all manner of ills, has been documented across Europe.
There is an old house on Marske High Street that has similar grooves on its external walls. I was told that it was once a schoolhouse and the grooves were caused by pupils sharpening their slate pencils on the building walls. An alternative explanation is that perhaps these stones were recycled from a previous building such as St. Germain’s Church or the medieval manor house that once existed on the outskirts of the town.
This cross shaft is thought to be Anglo-Danish. There is also the remains of an Anglo-Danish Hogback grave cover in the porch but it is is very eroded and barely recognisable.
Asmundrelac 1086 Domesday Book
‘Asmund’s clearing’…A hybrid formation with a Norse inflexion of the of the first element suggests very intimate association of the Norse and Anglian speech.The Place-Names of the North Riding of Yorkshire by A.H. Smith 1928
Wandering Warrenby Marshes with Graham Vasey.
Formerly in Kirkleatham, this is a collection of cottages attached to the ironworks. Now entirely obliterated is the medieval chapel of St. Sepulchre, and a burial ground. Gone too is the large 18th century grain warehouse. Over fisherman’s crossing is a road leading to Tod Point or South Gare, at the mouth of the Tees commenced in 1861Cleveland An A-Z Guide by Alec Wright. Dalesman Books 1972
A recent visit to family in Cornwall gave me the opportunity to have a look around this beautiful far corner of England.