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& Marcij A(nn)o do(min)i M, 1, 170), and Evangelists' symbols (N. Mortuus et vivus sum moriorq(ue) tuus' (Thomas, tanner, son of Henry Atkinson, tanner, 1589; , ii, 32). of (2), (3) similar, in coffin lid; at entrance to chancel, (4) in marble slab, and (5) oblong, in worn stone; in S. side of fifth window, (14) piece of coffin lid with black letter inscription; under same window, (15) incised shaft of cross; built into S. (The following description starts from the top and reads from left to right, range by range, downwards.) In cusped head of each light, three square quarries set diagonally and each within a sun.

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Peter; (E.) damned dragged by demons into hell; in topmost light, fragments of seated Majesty recorded in 1670. Glass (excepting main canopies) originally in fifth N. Thomas of Canterbury, whose altar was in this bay in 1407. ); (8) (unidentified 1); (9) (unidentified 2)—(8), (9) said to have come from Winchester. Lower range: (1) female donor; (2) the Agony, Christ kneeling before the Cup; (3) female donor. The mediaeval walls are of brownish limestone, white magnesian limestone, and a little gritstone; the post-mediaeval walls are of dressed ashlar, with some brick; the roofs are of modern tiles and Welsh slates. 1090–1100 Ralph Paynel gave to the Benedictine Abbey of Marmoutier, near Tours, the church of Holy Trinity in York together with other properties which had belonged to a wealthy pre-Conquest minster of canons ( (1)) interpreted as part of a tympanum indicates a building of distinction. The last survivor of the monastic buildings, it was demolished in 1854, but scale drawings were made (Fig.

Glass in original position, almost certainly by John Thornton of Coventry, and donors' names suggest early 15th-century; restored 1861 by J. window, of two lights, implying three panels in each light; probably dating from between 14; former arrangement included figure of Nicholas Blackburn and undifferenced arms of Blackburn, probably indicative of memorial to the father of Nicholas Blackburn senior (d. Borders include niches containing small figures of prophets (Plate 110); canopies with pinnacled turrets with pairs of figures. Some patterned background quarries and canopies, 15th-century. A church with short choir, partly recovered by excavation, aisleless transepts and nave, was built soon after the founding of the priory; only the two western piers of the . end was remodelled, at least in the lower part, in the Gothic style, but completion of the upper parts and of the nave aisles was delayed, and gifts of oaks between 12 indicate the period of construction of the roofs (, 1234–7, 315, 432; 1237–42, 264; 1251–3, 270; 1254–6, 140).

Many of the wings and other details are missing or damaged. of (1) at entrance to aisle, (2) (Plate 27) oblong plate inscribed 'Oret q(ui)sq(ue) speciali(ter) p(er)t(ra)nsie(n)s p(ro)a(n)i(m)ab(us) Tho(m)e Clerk quo(n)da(m) cl(er)ici ciuitatis Ebor. On same slab, indent for brass (3) Thomas Atkinson, 1642, now fixed on wall of N.

The bosses include human and animal heads, grotesques, and foliage. bosses in the centre of the chancel portray Christ, bearded, with head dress and a cord round the brow, and an angel holding a shield with the arms of Gilliot. aisle of the nave is covered with a barrel vault of plaster with 19th-century cased ties forming four bays. nave arcade three stone corbels, wall posts and a chamfered wall plate of the mediaeval roof remain; the wall plate stops short over the fifth post from the E., where the original nave ended. wall, with two trefoiled openings under square head, mediaeval. & toci(us) com(munitatis) & Margar(e)te vx(oris) q(u)i obieru(n)t xvj dieb(us) ffebr. aisle (Plate 35), lettered in capitals and also inscribed 'Vixi dum volui, volui dum Christe volebas. wall, (4) large oblong plate (Plate 35) with shield-of-arms of Askwith differenced with a crescent and inscription to Thomas Askwith (Sheriff 1592), 1609, and wife Anne; below (4), (5) oblong plate, Charles Towneley, 1712 (Plate 36). aisle, (1) oblong, in grey marble; (2) small, in tapered coffin lid of freestone; W. of fourth window, (11) lower part of cross with stepped foot; under fourth window, (12) part of cross; under same window and to W., (13) part of lid with stepped bottom foot to cross; near E.

The hammer beams are carved as figures of angels (Plate 43). The piers have twin half-shafts to the transept arches; the original bases had small spurs at the angles. arch of the crossing and semi-octagonal responds to the nave arcades. This last runs into the straight face of the opening from the S. Some stones just above the level of the pavement may belong to the footings of the early aisleless church. by 27 ft.) is of five bays, with heavy Transitional arcades, octagonal piers and two-centred arches of three chamfered orders. respond leans outwards, but is coursed through into the W. The only part of the nave standing to its original height is the westernmost bay on the N. Here the triforium of the early 13th century shows within the church, having an arcade of three blind lancets with chamfered heads and round shafts with moulded caps and bases (Plate 118). wall has battlements of post-Dissolution date above a string, and at the E.

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