St Michael, Garton-on-the-Wolds, Yorkshire, East Riding

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Feature Sets (3)


This imposing twelfth-century church stands at the top of a rise just south of the village, a windy spot. It consists of a massive W tower, a normal-sized nave and chancel, with a nineteenth-century vestry. It is basically of the twelfth century, but it was restored and given a new chancel in 1856 by J. L. Pearson. The top of the tower is fifteenth-century. The medieval chancel is said to have fallen down in 1714 (VCH II, 221): at the Borthwick Institute, a catalogue entry summarises years of neglect with: ‘100 years without a vicar; no cup’.

Pevsner & Neave 1995, 434, say that J. L. Pearson rebuilt the chancel on the old foundations using some original features; among these are likely to be some of the corbels on the N side and the single window in the E gable. The chancel arch appears to be entirely new. The N wall of the nave was rebuilt and most of its corbels retained; the S doorway is largely new. The W doorway, though original, is deteriorating; the sculptural panel above it is mostly erased. The tower is buttressed, in contrast to Wharram-le-Street, but like Kirkburn and Kilham. The nave has pilasters, as for Newbald, Fangfoss and Kirkburn, etc. The solidity and position of the church recall Weaverthorpe.

The church is visited for its rich Victorian interior, especially since the wall-paintings by Clayton and Bell have been restored as a memorial to Nikolaus Pevsner. However, there is much of interest for this Corpus, particularly the W façade and the corbels in the nave. There is an internal doorway to the tower stair, and the jambs of a tower arch, which was tall even before being heightened later.


In 1086, the various estates all seem to have been ‘waste’. Landholders in Garton included the count of Mortain and the Archbishops of York and Durham; in the summary, the Archbishop of York held 9 carucates and the Count of Mortain 17 or 25 carucates. By the 1130s, Mortain’s lands were probably held by Walter Espec, to be inherited in 1157-8 by Robert Ros.

There was a church here in 1086, listed in the lands of the Count of Mortain (VCH II, 226). Walter Espec gave it, together with a carucate of land called ‘St. Michael’s flat’, to Kirkham Priory which he had founded c. 1122 on the advice of his uncle, William Espec, rector of Garton then a canon of Nostell (VCH II, 220-1; Burton 1995, 2). This gift may have been made as late as 1133-39. William Espec became the first prior of Kirkham. It seems likely that the church was built following the gift to the priory (Pevsner and Neave 1995, 432). The church at Garton is described as a minster in the foundation document of Kirkham Priory: having a more than local importance may account for its monumentality and spaciousness.


Exterior Features


Internal doorway to tower stair

See under 'Interior Features: doorway to internal stairs'.

South doorway to nave

This is a restoration by Pearson in 1856-7. The effect is less austere than the W doorway, but there are a few original elements that validate the degree of elaboration: the impost and label include original stonework. 

The doorway is of four orders and label, with gabled projection having flanking colonettes on its angles.

approx. height of opening 3.16m
width of opening 1.8m
1st order

The capitals throughout resemble those of the W doorway, but are not so high.

The impost throughout has a pattern not seen elsewhere, but on the E face is an original stone to vouch for it. It is based perhaps on repeated pairs of simple leaves set diagonally, which when meeting/confronted form a four-sided motif with a central vertically-set cross. This pattern somewhat resembles the pattern used on the string-course between the window and the sculptural panel on the W facade, but is more elaborate.

In the arch, there is chevron frontal to the soffit near the angle, and in the centre of the soffit is a hollow row. On the face are rows of steps parallel to the chevron moulding, these are centrifugal.

2nd order

In the arch, as for 1st order.

3rd order

In the arch, an angle roll of modest dimensions. It is flanked on soffit and face by a hollow and a low roll.

4th order

As for orders 1 and 2, though perhaps a little heavier or stronger.


The label is chamfered, and plain on the face; the three patterns used are grander versions of those on the label of the W doorway. It is difficult to be certain that there is anything really old in the present label despite the discolouration and decay of some of it: one or two stones have lost almost all their billets, while the small arches at the outer edge of the same stone are very sharp, and so regular as to suggest machining. 

The patterns are: a double row of billet on the chamfer, a row of eight-pointed chip-carved stars in a circle and a row of blank arches on the face of the label.


The unusual feature here is the shafting on the angles, both above and below the level of the impost. Below the impost, the shafts are the same dimensions as the shafts of the orders of the doorway itself, and the dimensions are similar above. The shorter upper shafts end just below the sloping roof of the pediment. No original stone is included.

West doorway to tower

The doorway is part of a design for an impressive W facade; above it is the relief with St Michael and two angels, and then a large window. See VCH II, plate opposite p. 129 for a view in 1971, when there was noticeably more of the sculptural panel. Described in the present report under the separate headings of doorway, window, string courses and sculptural panel, it was meant as a unity.

The W doorway is of four orders and a label. The course containing the capitals is unusually deep/high for this relatively early time in the 12th-century; it would be more characteristic of Transitional work in this region.

approx. height of impost block 0.14m
height of capital and ring 0.3m
height of opening 2.78m
width of opening 1.3m
1st order

The bases throughout are very worn, but approximate to a plain plinth with medium-to-shallow base. The first order has a half column. There are plain rings throughout. There is a large single scallop capital on both L and R. The impost throughout is chamfered (with perhaps the slightest of hollows); just above the angle is a rounded moulding between two quirks. Above that on the upright is a row of chip-carved saltire star pattern. This impost continues beyond the doorway as a string-course and ends at the pilaster on either side.

In the arch, in the soffit, centrally there are two hollow mouldings; against the door is a small roll, and on the angle is a heavy roll. Outside the angle roll on the face are two hollow mouldings.

2nd order

This consists of bases, free-standing shafts (now lost), and capitals and imposts that are similar to those for the second, third and fourth orders. Rings are plain; the capitals are unemphatic shallow double scallop with small knobs for volutes, the shields cut back at the curve just enough to catch the light. The impost is as for the first order. In the arch, the profile is not distinctly right-angled as the soffit and face, but the soffit is rounded or angled so that the chevrons spread continuously from soffit onto face.There is a row of centripetal chevron on the angle, one step to the inside and two to the outside of the row.

3rd order

In the arch, the sharpness of the angle of the profile is softened again, but angled or chamfered rather than rounded. There are two rows of chevron, with plain spandrels to the second order, two steps between the rows and one step outside.

4th order

This is a similar profile to the third order. There are two rows of chevron, with two steps against the third order, one step between the two rows of chevron and one step outside.


Modern work has replaced about one third of the arc. The profile is chamfered and plain. On the chamfer against the fourth order there is a double row of billet; on the plain surface there is a row of chip-carved star-in-square, and on the outside is a series of little sunken arcs in pace with the stars.


Windows on chancel, nave and tower

The windows are graded in importance.

Those to the chancel date from the 19th century restoration and it cannot be known what preceded them. 

The windows to the nave are of comparable size (both the window in the gable and the N nave windows are about 8 courses high in the jambs). 

The windows to the tower stair are slits.

The W window on the tower is the most elaborate of all surviving windows.

1. Windows on chancel, E wall

On the E wall, the three windows are restoration; only one window on this wall may be original, that at the top centre of the gable. This is of one order, flush with the wall; it has a narrow chamfer, and in the arch on the face an inner border of sunken triangles, or dentation.

The two small blank oculi flanking that window have no known parallel in the Riding and no authenticating detail or fragment is incorporated, but a vesica window at Askham Bryan (YW) has similar knobs on the chamfer. The central window seems genuine and is probably reset from the original chancel, as it has a patterned windowhead (in contrast to the original nave windows). 

A triplet of windows occurs quite commonly on a chancel E wall, old or new. Pearson may have had evidence here, or perhaps Bishop Wilton was in his mind; when he restored that church in 1858-9, there were traces of the two flanking windows though the central one had been lost. The present appearance of the oculi is rather heavy and probably largely due to being a Victorian restoration.

2. Windows on chancel, side walls

On the chancel N and S walls Pearson has given a zigzag treatment (dentation) to window-heads, as for the window in the E gable

3. Windows of nave

These are plain tall round-headed windows, on the S and (rebuilt) N wall. They are flush with the wall surface and have a narrow chamfer. There is no string-course at their sills.

4. Minor windows on tower

These are narrow slits, except for ones on the N and S sides of the tower which are as wide as the nave windows but not so tall. All are plain and flush with the wall surface.

5. Window in W façade

The window of two orders and hoodmould stands on the star-patterned string-course. The first order is plain in jambs, with no capital or impost but the semicircular head has a row of centrifugal chevron, with two steps outside it and one inside. The second order has a plain plinth, renewed on the L; the bases are similar to the doorway below. The shaft is free-standing, with a plain ring and a capital with two spiral volutes on the W face, see Comments/Opinions. The  impost is integral, plain and flush with the volutes and wall surface. The impost projects in the usual way on the internal faces of the capitals. In the arch, it is plain in the soffit; on the face, a row of centrifugal chevron with two steps outside it. The spandrel at the angle has two canted sections. The label is plain and chamfered on both sides. It continues as a string-course round the pilasters and onto the other walls of the tower.

Exterior Decoration

String courses

String-courses on tower

1.  On the W façade, immediately below the window and within the pilasters, is a string-course slightly deeper than normal. It has a wide vertical surface and an upper and a lower chamfer. The upright is cut with a pattern of saltire crosses, each made of four narrow lenticular excavations or ‘petals’. There does not seem to be any evidence for the central arris added to the ‘petals’ in the restored sections.

2.  The chamfered impost of the W doorway continues up to the pilasters as a string-course with a saltire star pattern, chip-carved as usual.

3.  On the tower, as the continuation of the hood mould over the W window, this string-course is plain and chamfered. It runs over buttresses and across N and S faces of the tower; it is continuous with the corbel-table. Pearson takes it across the E face of the chancel so, in a sense, it is complete all round the building.

Internally, there is none to see.

Corbel tables, corbels

Corbels on N wall of chancel

N wall of chancel

Bay 1

CN 1:  A mask with big eyes, open mouth, and tongue hanging out.

CN 2:  Restoration.

CN 3:  Probably original: a human head.

CN 4:  Restoration.

CN 5:  Original: a mask.

Bay 2 

Bay 2 is interrupted by the roof of the vestry. (Corbels on the vestry are 19th century inventions, Pearson did much the same thing at Kirkburn.)

CN6: Two human heads looking out. See NS8.

CN7:  Restoration.

CN8:  Original: a man’s head.

CN9:  A mask restrained by small hands from the side holding the lower jaw.

(gable of vestry roof here)

CN10:  A grinning or leering beast.

CN11:  An animal with flat face and perhaps two hands. Or is it a small animal sideways? As at Drax and Selby?

CN12:  A mask with a lot of teeth.

CN13:  Perhaps a human face, turned sideways and looking upwards.

Corbels on N wall of nave

N wall of nave 

Bay 1

NN1 and NN2:  Animal masks with plenty of teeth; NN1 has its teeth apart, NN2 shows its tongue between them.

NN3:  A human-like face, but with pointed ears, compare NN2. Two delicate hands clasp the mouth or neck.

NN4:  A head similar to CS 1.

NN5:  A mask similar to NN2, but with mouth shut.

NN6:  A mask with open mouth.

Bay 2

NN7:  A muzzled mask.

NN8:  A mask with mouth perhaps held open by two small hands and arms. It has no teeth and something in its mouth. Tongue? Human face?

NN9:  The main face shows an animal coming from the L, with its two front legs across the stone, and a lance coming from upper R to enter its mouth. The E face of the corbel shows the animal complete, it is a winged dragon, perhaps with further coils of its body on the downward face of the corbel. The W face of the corbel shows an armed man, forcing the lance into the mouth of the dragon and holding a conical shield in his L hand. There could be a wing on his back; the clothing is odd, he could be almost naked, except the raised R arm has a wide sleeve. This corbel could have been copied as CS11.

NN10:  The figure of a man facing R extends over the main face and the downward face of the corbel. He appears to be naked, and perhaps he has his mouth open, as if shouting. He has his R arm raised, this is on the E face, where an animal faces away from the man and towards the church. On the W face, the other hand of the man is also raised, it is holding a small roundish object. An animal with two round ears, two front paws and perhaps two back legs, not clearly preserved, faces the man.

NN11:  A mask

NN12:  On the main face, a man with an axe leans over from the L; he stands on the E face wearing a tunic. At the bottom of the main face and on the downward surface, are the legs and bodies of two people, which continue onto the W face, where they embrace.

Bay 3

NN13-16:  Masks. NN16 has an odd chin, is it a beard, or something hanging out of the mouth?

NN17:  A symmetrical pattern formed of sparsely foliated trails.

NN18:  A mask with pointed head.

Corbels on S wall of chancel

S wall of chancel 

Bay 1

CS1:  An old corbel; a grinning mask; a human lion?

CS2:  Possibly a ram’s head; if so, perhaps representing a leader of the flock, that is, an apostle, teacher or priest.

Corbels CS3 to CS8 are restorations.

Bay 2

CS9:  May be original.

CD10 and CS11:  Modern; the latter looks like a copy of an original figurative scene, but the stone has split. Compare NN9.

CS12:  Probably medieval; a man’s face looking disconcerted, one hand to his chin. From the W, an animal’s tail curls up onto the face and the expression is one-sided. Compare NS11.

Corbels on S wall of nave

S wall of nave 

Bay 1

NS1:  Mask.

NS2:  A disc on edge.

NS3:  A mask with a toothy grin.

NS4:  A mask restrained by little hands.

NS5:  Another disc on edge.

NS6:  A mask.

NS7:  A bearded man with perhaps his hands on his hips.

Bay 2

NS8:  A variation on two heads watching.  These are on the angles of the corbel; the one on the L has his tongue hanging out a little, the R head is lost.  On the downward face is the top half of a small man, as if looking out of a window. On the W face, an animal faces L but turns its upper body and forepaws outwards to the man’s face on the angle. This animal resembles the animal on the E face of NN10. A triangular shape is at the top to the R of the animal’s head. The E face of the corbel has flaked off, unfortunately.

NS9:  A mask

NS10:  The block is shallowly cut with a number of motifs. On the main face, an armed man faces R; he seems to have a sword and shield but the remains are worn. On the W face, a man (or a standing animal) faces an animal with a long tail; this animal is twisted round to face N. The downward face of the corbel has a row of four arches in the bottom half and perhaps a larger arch above enclosing them. On the E face, an animal confronts the armed man on the main face. This animal has its mouth open (as on corbels NN10 and NS8); it has a tufted tail.

NS11:  An animal mask, with two hands coming from behind (on the under surface) and holding its mouth closed. Compare CN9; contrast CS12.

NS12:  A man’s face looking up and grimacing? To the R and below, the ashlar seems to contain a re-used mass-dial.

NS13: A horse-like mask with open mouth.

Bay 3              

NS14:  Restoration.

NS15:  Disc on edge.

NS16:  Not possible to read

NS17:  Mask

NS18:  Mask with some detail round the mouth broken and not legible

NS19:  Disc on edge

NS20:  At the E end of nave, beyond the pilaster, is a mask perhaps with a face showing in its mouth.


Panel on W face of tower

Sculpture on the W façade of St Michael, the dragon, and two angels

The carving is between the doorway and the patterned string-course and shafted window. The sculpture appears as one panel, one scene, but is on three stones, two squarish ones at the sides and a central one which is of similar size but has an arched top. Such a relief is unusual for a village church in this region.

There is/was an angel in the side panels to L and R of St Michael; they are symmetrical and were presumably identical (so far as the 12th century ever could achieve or wanted to achieve perfect repeats). They have long narrow lorus-type robes (or wings?) crossed over their body, curved wings raised above their heads and hands lifted in orant position. The dress of the L angel ends above the ankle in a broad border with saltire star pattern.

The archangel stands on a dragon, his right arm raised at the top of his spear, his left hand in the middle of its shaft, his head tilted to the R to look down at the dragon and the spear in its mouth.

Apart from its having a wing and being on its back, there is not a lot that one could say about the dragon because of its decayed state, but it was probably no more complex than the one on the doorway at Riccall.

The photographic record is scanty. There is a photo in the Conway Library, of the 1940s, ref. 39/47(16); this was used for Wood 2003a, fig. 4b. A photograph of c.1900 in the Thelwell Collection (vol. 2, p.17) illustrates the whole W façade, but with only enough detail to prove the carving is now very decayed. An image of the W face of the tower is in VCH II, plate opposite p. 129 (1971). Now there is less than ever to see. On the visit in 2016, the angel on the R had disappeared; the dragon is hardly more than a hump, only recognisable by comparison with earlier photographs. The sculpture has recently been conserved.

Interior Features

Doorway to internal stairs

c. Miscellaneous: internal doorway 

The four corners of the tower are buttressed, the SE corner containing the stair. The square-headed doorway opens off the nave W wall and seems to have been flush with all surfaces. The jambs, up to the last course, are chamfered. Three rows of scale pattern are incised in the lintel, not very accurately.


height to lintel 1.75m
width of opening 0.61m


Tower/Transept arches

Tower arch

The jambs and capitals of the tower arch remain but have been raised later and given a pointed arch. Even at first the tower arch was tall and wide, though the arch was probably not highly decorated, to judge by the capitals. The opening is of two orders. The first order has: a plain plinth; on the side to the nave a base with a double torus; coursed half-column; to the tower, a plain pilaster. The ring and capitals to N and S are the same: a cable ring; a double scallop capital to N and S, and a  single scallop to E.  These scallops are even less pronounced than those on the W doorway. The impost seems to be original, and, again like the W doorway, it has the merest hint of a hollow chamfer; there is a quirk on the angle and plain above. Higher work is later. See Comments/Opinions.

width of opening at ground level 3.1m


S doorway to nave

What grounds Pearson had for this design are unknown. Except for one section of the impost on the E face, and some of the label, he has not left much clue as to what was there before - but those items are the really unusual ones. At Kirkburn at about the same time Pearson was not always able to restrain the Victorian impulse to improve medieval work, but at Bishop Wilton in 1858-9 he was careful to retain validating scraps. All three works were for the same patron, Sir Tatton Sykes I. 

The pattern used on the impost is not recognised from elsewhere in so developed a form. The degree of elaboration, contrasting to the W doorway, might even recall the refectory archway at Kirkham priory. 

The angle columns on the pediment, in two stages, seem unlikely to be genuine reproductions though the pediment of the W doorway of the church at Kirkstall Abbey has a layer of angle columns at the same level as the shafts of its doorway. More relevant is that a small capital and its base survive, perhaps in situ, or near to being so, on the E side of the pediment of the S nave doorway at Kilham; their column is replaced by a length of iron pipe.

The pattern of eight-armed chip-carved stars on the label recalls the star roundels on the jambs of the chancel arch at Kirkburn but, of course, that motif occurs elsewhere too.

Windowheads on chancel.

The single upper window on the E wall is more weathered than the remainder and may perhaps be original. If so, it may have been a chancel window since the nave windows on the N wall are plain and a higher degree of ornamentation would be proper for the chancel. Dentation is used at Fangfoss (YE) and at Adel (YW), but with no distinction of nave and chancel so far as can be known, allowing for restorations.

W façade with St Michael sculpture

Morris 1919, 165, describes seeing ‘an ancient carving of St Michael (the patron saint) and the Dragon, with a mutilated angel on either side.’ The patron saint is the focus of attention, perhaps in the same way as the figure said to be St Nicholas on the W face of the tower at St Nicholas’, North Grimston. The local stone does not weather well even with the grain set horizontal; it is doomed as an exposed slab. 

The earliest known photo is in the Conway Library, 1940s. The bottom of the robe of the angel on the left has a broad band of saltire star pattern, also a thicker, rolled, edge like the standing figures on the slab of the Crucifixion at Westow. St Michael is a larger figure, spearing the dragon in a pose very like that of St Michael at St Gilles du Gard (Gard, France). He might have had a conical or domed shield; however, this pointed shape is more likely to have been the cuff of a hanging sleeve.

The position of the panels between doorway and window parallels the disposition of the frieze at Lincoln cathedral. In Yorkshire, apart from North Grimston, sculptured slabs are used to great effect at Adel, probably in the late 1140s.

St Michael is shown in the act of expelling the devil from heaven (Rev. 12:7-11) and forcing him down to earth. The string course immediately above the angels is decorated with saltire stars and perhaps, together with the star-patterned impost/string course below, defines the lowest heaven and the firmament. With the devil driven down but allowed to range freely over the earth for a time (Rev. 12:12), the church doorway offers itself as a refuge. It might be that the triumph of St Michael and the angels was made relevant to mourners and those buried in the churchyard (Stocker and Everson 2006).

The capitals of W window

These recall a capital on the S doorway at Kirkburn, third order, L side.

The corbels on N and S walls.

Many of the corbels are bold rounded masks or human heads with big eyes.

CN11 recalls bears on corbels CN7 and CN14 at Kirkburn. There are two corbels, NS11 and CS12, where human heads seem to be changing into masks or animals, a feature seen at North Grimston and elsewhere.

Corbel NS8, containing a man’s head with the tongue hanging out, recalls a corbel in the N aisle at Edlington (YW); also see corbel NS14. The man in the ‘box’ on corbel NS8 is a motif which occurs at Kirkburn and at Adel (YW).

A few of the corbels are differently cut, and of individual content. The carving in these is shallow and extends over all four faces of the corbel; the detail is complex and no doubt spells out some message, if only each of the motifs could be correctly identified. However, only a few credible solutions can be offered here:

1.  Corbel NN9 is easily understood as St Michael defeating the dragon, the same event as on the W wall of the tower.

2.  Corbel NN12 could be admonitory and illustrate the call to repentance of John the Baptist: ‘the axe is laid to the root of the tree…’ Matt. 3:10; Luke 3:9. At Kirkburn, corbel NN6 illustrates a couple copulating, in a general context of the coming Judgment (Wood 2003a, 20-21); corbel NS19 at Kirburn represents Matt.3:12 (Wood 2003a, 22).

3.  Corbel NS8 has two men on the angles who are watching, and another man watching from the downward face: these are both standard ways to depict believers who are expecting the second coming of Christ (Wood 2003a, 14-19). In this context, the animal on the W face of the same corbel is probably a benevolent lion.

4.  Corbel NN10 has apparently the same animal as carved on corbel NS8, but it turns its back on the man on the main face. Unfortunately the main figure on NN10 is worn.

5.  Corbel NS10 contains two confrontations. The first is on the W face between two animals or perhaps a man and an animal, the animal on the R perhaps being the lion as before. The second conflict extends over the main S face and the E face of the corbel, and here an armed man confronts the lion-like animal. Both corbels NN10 and NS10 have a man on the main face and he appears to be doing wrong: in one case he has dealings with a nasty-looking animal and in the other he fights the lion. Such imagery could have been used in moral teaching. Elsewhere, armed men are carved singly on corbels at Kilham, and the use of the armed figures there is not allegorical or symbolic, but seems to have been intended to show contemporary armed men that they should be behaving with restraint: not waving their weapons, but sheathing their swords.

Internal doorway to tower stairs. 

The scale pattern is irregular, but not as irregular as at Goodmanham. That doorway probably also served a tower stair.

The tower space.

Although the Gothic alterations draw attention to the great height of the opening, the Romanesque width (3.1m) is already remarkable, and puts this arch in a select group with those at Etton, Hotham and Nunburholme (width respectively 3.465m, 3.16m and 2.915m). The twelfth-century round-headed arches survive at those other churches.

It is recorded in the gift to Kirkham Priory that Garton was a minster church, implying that it would have had pastoral functions, and there is no reason to think that these functions would have been reduced under the Augustinians - rather the opposite. As with the three churches mentioned above, it is suggested that baptisms took place in this important western chamber. No twelfth-century font survives at any of these churches, leading to the possibility that baptism was by immersion in a basin in the floor (Wood 2011, 146-7).


  • J. Burton, Kirkham Priory from Foundation to Dissolution. York 1995.

  • G. Lawton, Collectio rerum ecclesiasticarum de diocesi Eboracensi; or, collections relative to churches and chapels within the Diocese of York. To which are added collections relative to churches and chapels within the diocese of Ripon,  New edition, London 1842.

  • J. E. Morris, The East Riding of Yorkshire. 2nd ed. London 1919.

  • N. Pevsner & D. Neave, The Buildings of England: Yorkshire: York and the East Riding, 2nd ed. London 1995.

  • D. Stocker and P. Everson, Summoning St Michael: early Romanesque towers in Lincolnshire. Oxford 2006.

  • Thelwell Collection: ‘Photographs of East Riding churches’, 4 vols (2, 5, 6, 7). Bridlington Public Library. [Archive of original prints of photographs]

  • Victoria County History: East Riding of Yorkshire. II (Dickering Wapentake). 1974.

  • R. Wood, 'The Augustinians and the Romanesque font from Everingham, East Riding', Yorkshire Archaeological Journal 83 (2011), 112-47.

  • R. Wood, 'The Augustinians and the Romanesque Sculpture at Kirkburn Church', East Yorkshire Historian 4 (2003a), 3-59.

The tower and S nave wall from SW.
The church from the NE.
The E facade of the chancel.
Interior of the church with restored wall-paintings.


Site Location
National Grid Reference
SE 982 593 
pre-1974 traditional (England and Wales): Yorkshire, East Riding
now: East Riding of Yorkshire
medieval: York
now: York
now: St Michael and St Michael and All Angels (occasional)
medieval: St Michael (Lawton 1842, 300)
Type of building/monument
Parish church  
Report authors
Rita Wood 
Visit Date
4 May 2007, 30 Mar 2016