A substantial building with 12th-century and later west tower, aisleless nave of c.1140 or earlier with four bays, 19th-century chancel of three bays and north vestry.

The building was restored 1856-7 by J. L. Pearson (Pevsner and Neave 1995, 582-4).

The local Jurassic limestone is very prone to decay, as can be seen on the exterior walling which is flaking or spalling, or has been replaced. The chancel had been apsed and rebuilt, not very well, in the Middle Ages. Charles Brereton described, and his wife Ada illustrated, the church immediately before the 19th-century restoration. There were remnants of the original apsed east end reused in the later medieval chancel (Brereton 1853-4, 228, 230; MacMahon 1953, 23). John Loughborough Pearson found the line of the apse when excavating for his new chancel shortly afterwards, but perhaps not all the old stones were reused by Pearson (for example capitals, etc., around the chancel doorway). When we first visited Kirkburn, there were rumours of left-over carved stones in farm buildings, but none were identified.

A full spread of sculpture of our period has survived, in corbels, south doorway, chancel arch and font. This sculpture is often figurative but there is also a lively variety of simpler designs. Even mass dials have survived, though the wall surface is fragile.

A large number of original corbels survives. There are 91 corbels in the nave and chancel in total, of which 8 near the tower are conventional mouldings and probably of post-medieval date; 22 are 19th-century restorations and 61 are original 12th-century work. These last are in poor condition, either they are blackened and difficult to read from below, or the black surface has decayed and the stone has decayed from within. Advantage was taken of scaffolding being used to replace guttering in July 2002. Photographs were taken from the scaffolding platform by Jeffrey Craine.

The photographed plan in church porch is from MacMahon 1953; also Wood 2003, Fig. 1.

The churchyard is immediately to the S of a strong spring. The footpath along the N side of the churchyard looks down quite a height onto a spread of watercress and other plants in water that drains eastwards. Hence, no doubt, the placenames, Burnous (Domesday Book) or Kirk-burn.

In Domesday Book some of Kirkburn was waste (VCH Yorkshire, II, 197, 291, 320). No church is mentioned in Domesday Book, however a church was part of the foundation grant to Augustinian Guisborough Priory sometime between 1119 and 1124. It was the only church in this Riding given by Rotbert de Brus to Guisborough. The sculpture suggests that the canons had an active presence at Kirkburn, and that the 12th-century building was built by them (Wood 2003).

The major restoration was done by Pearson in 1856 for Sir Tatton Sykes (Brereton 233-4; Parkes 133). This included not only the obviously necessary large-scale structural work, and detailed restoration, for example, of the S doorway, but the ‘improvement’ of corbels in accordance with Victorian taste.

Sir Stephen Glynne visited some time in November 1865 when the church had 'undergone a complete restoration with partial rebuilding' (Butler 2007, 245-6).

There are recognisable Augustinian influences on the teaching content of the font at Everingham, and some of the other fonts. Not only teachings of Augustine, but images of him, occur at Kirkburn. These examples, and more, suggest a united regional effort by the Augustinian priories (Guisborough, Bridlington, Kirkham and, later, Warter). This probably extended to – or began with - the provision of fonts, which are the commonest examples of Romanesque sculpture in the East Riding. The archbishop would probably have been directing this effort since the Augustinians were regular canons under their bishop, not monks under an abbot. For a longer discussion see Wood 2003.

Corbels: The motifs used at Kirkburn can be seen at other churches in the Wolds, for example in corbels at Garton on the Wolds where there is a similar emphasis on the control of lust. From comparison with other examples in the region, from other artworks and even from considering some of the restoration corbels, many of the old corbels can be deciphered.

The tower may have been used at a first floor level by the Augustinians as a lodging, as described by the Bridlington Dialogue, with the unusual staircase continuing up to give access to a west window, and to the bells (drawings nos. 13A and B). Ada Brereton’s drawing no. 12, of the interior of the tower, shows the position of an intermediate (first) floor level, marked by stone corbels or by holes in the wall for wooden beams.

Morris (1919, 231) says the tower ‘has apparently twice been heightened – first in the Transitional, or EE, period, and later in the 14th or 15th century.’ MacMahon (1953, 24-5) considers that it is doubtful that the early 12th-century church had a west tower. It is dated to c.1180-1200 by MacMahon (1953, 21, 25). This structure is barely of our period in style, though it may be in date.

The column on the exterior corners of the tower should be compared to a pair of plain columns flanking the angles of the tower at Melbourne (DE), another church with Augustinian connections; exterior columns are used at a lower level on pilasters on the east end of the church at Campsall (YW). The row of facetted domes used in part of the SW angle recalls similar at Askham Bryan on the porch entrance (former doorway), now almost worn away.

N doorway puzzles the fieldworker by its apparent mixture of dates, it has capitals like the S doorway, but a label which looks late 12th-century. It is not obviously affected by the restoration, and anyway, it seems unlikely that Pearson would have mixed the decoration of different periods. Perhaps the tympanum and arch were inserted in the later 12th century as a repair. The tympanum is comparable in shape to the S doorway, but is uncommon in this form.

Adel (YW) and the East Riding: Several features of the corbels, such as the little men standing in ‘boxes’ and the double arch on the cornice supported by the corbels, are seen at Adel (YW). Ada Brereton’s drawing’s of the slightly pointed tower belfry window shows a zigzag pattern which is reminiscent of windowheads at Fangfoss (YE) and Adel (YW). See Wood 2012, 90-95.

The sculpture on the S doorway: Sculpture on the label could have been used in various ways because individual stones have their significance, and the whole series has an overall unifying text which is Psalm 148. Individual meanings would include the story of the feeding miracle with the five loaves and two fishes (stones 2 and 3), or the story of the Perdix, the stray believer who returns to the church (stones 10, 12 and 14). Psalm 148, as interpreted by Augustine of Hippo the patron of the Augustinian canons, describes all creation coming to praise God and, in the figure of the Wise Virgin at the top of the arch, praise is articulated by the Church (Wood 2003, 28-40). The beakheads on the S doorway are countered by the star, foliage and snake patterns in the second order, and the chevron and 'heaven' patterns in the first order. The random linear scrolling patterns used on capitals, etc. (and 'copied' by some restoration work) are not found elsewhere and are not easily classified.

The carvings on the font (briefly): The upper register has the Ascension, presenting Christ as Lord. Baptism is illustrated by the arrival of the bishop, presumably with the chrism; the candle suggests the symbolism of light associated with the Easter Vigil and the Exultet hymn, attributed to Augustine of Hippo; baptism is performed by Christ (as described by Augustine); the giving of the keys (authority) to St Peter after his confession. Among these ceremonials, onlookers or ordinary parishioners are shown. The lower register deals with moral problems, illustrating the baptised believer's conflict with sin. Sinners by their fallen natures attack Christ, they are 'slaughterers' of the Lamb, carrying the club and axe: Augustine described himself and his friend Alypius in those terms. The cat catches a mouse, meaning the devil is waiting for unwary, curious, creatures (careless Perdix, take note!). The devil must bow to the Cross. See Wood 2003, 40-55.

Rim patterns on the font: The several patterns have been suggested to indicate, firstly, perhaps a firmament, using arcading, interlace and individual stars, to separate the earthly sphere from the heavenly one. They separate the worldly concerns of the two registers of carvings from the sanctified water in the basin. The rising mandorla of the Ascension may be meant to break into the rim pattern. Secondly, the patterns may be seen as grouped in four single and one double lengths, that is, as making six equal divisions of the rim. The number six, to St Augustine, was a perfect number representing the perfection of God's act of creation; baptism was a re-creation. See Wood 2003, 53.

String courses inside the nave and chancel, by Pearson: A string course along the top of the wall, but exterior, has been recorded at Harswell (YE) but is not common, and even there it may be reassembled, or entirely imagined by the restorer.

The major restoration was done by Pearson in 1856 for Sir Tatton Sykes (Brereton 233-4; Parkes 133). This included not only the obviously necessary large-scale structural work, and detailed restoration, for example, of the S doorway, but the ‘improvement’ of corbels in accordance with Victorian taste.

Sir Stephen Glynne visited some time in November 1865 when the church had 'undergone a complete restoration with partial rebuilding' (Butler 2007, 245-6).

There are recognisable Augustinian influences on the teaching content of the font at Everingham, and some of the other fonts. Not only teachings of Augustine, but images of him, occur at Kirkburn. These examples, and more, suggest a united regional effort by the Augustinian priories (Guisborough, Bridlington, Kirkham and, later, Warter). This probably extended to – or began with - the provision of fonts, which are the commonest examples of Romanesque sculpture in the East Riding. The archbishop would probably have been directing this effort since the Augustinians were regular canons under their bishop, not monks under an abbot. For a longer discussion see Wood 2003.

Corbels: The motifs used at Kirkburn can be seen at other churches in the Wolds, for example in corbels at Garton on the Wolds where there is a similar emphasis on the control of lust. From comparison with other examples in the region, from other artworks and even from considering some of the restoration corbels, many of the old corbels can be deciphered.

The tower may have been used at a first floor level by the Augustinians as a lodging, as described by the Bridlington Dialogue, with the unusual staircase continuing up to give access to a west window, and to the bells (drawings nos. 13A and B). Ada Brereton’s drawing no. 12, of the interior of the tower, shows the position of an intermediate (first) floor level, marked by stone corbels or by holes in the wall for wooden beams.

Morris (1919, 231) says the tower ‘has apparently twice been heightened – first in the Transitional, or EE, period, and later in the 14th or 15th century.’ MacMahon (1953, 24-5) considers that it is doubtful that the early 12th-century church had a west tower. It is dated to c.1180-1200 by MacMahon (1953, 21, 25). This structure is barely of our period in style, though it may be in date.

The column on the exterior corners of the tower should be compared to a pair of plain columns flanking the angles of the tower at Melbourne (DE), another church with Augustinian connections; exterior columns are used at a lower level on pilasters on the east end of the church at Campsall (YW). The row of facetted domes used in part of the SW angle recalls similar at Askham Bryan on the porch entrance (former doorway), now almost worn away.

N doorway puzzles the fieldworker by its apparent mixture of dates, it has capitals like the S doorway, but a label which looks late 12th-century. It is not obviously affected by the restoration, and anyway, it seems unlikely that Pearson would have mixed the decoration of different periods. Perhaps the tympanum and arch were inserted in the later 12th century as a repair. The tympanum is comparable in shape to the S doorway, but is uncommon in this form.

Adel (YW) and the East Riding: Several features of the corbels, such as the little men standing in ‘boxes’ and the double arch on the cornice supported by the corbels, are seen at Adel (YW). Ada Brereton’s drawing’s of the slightly pointed tower belfry window shows a zigzag pattern which is reminiscent of windowheads at Fangfoss (YE) and Adel (YW). See Wood 2012, 90-95.

The sculpture on the S doorway: Sculpture on the label could have been used in various ways because individual stones have their significance, and the whole series has an overall unifying text which is Psalm 148. Individual meanings would include the story of the feeding miracle with the five loaves and two fishes (stones 2 and 3), or the story of the Perdix, the stray believer who returns to the church (stones 10, 12 and 14). Psalm 148, as interpreted by Augustine of Hippo the patron of the Augustinian canons, describes all creation coming to praise God and, in the figure of the Wise Virgin at the top of the arch, praise is articulated by the Church (Wood 2003, 28-40). The beakheads on the S doorway are countered by the star, foliage and snake patterns in the second order, and the chevron and 'heaven' patterns in the first order. The random linear scrolling patterns used on capitals, etc. (and 'copied' by some restoration work) are not found elsewhere and are not easily classified.

The carvings on the font (briefly): The upper register has the Ascension, presenting Christ as Lord. Baptism is illustrated by the arrival of the bishop, presumably with the chrism; the candle suggests the symbolism of light associated with the Easter Vigil and the Exultet hymn, attributed to Augustine of Hippo; baptism is performed by Christ (as described by Augustine); the giving of the keys (authority) to St Peter after his confession. Among these ceremonials, onlookers or ordinary parishioners are shown. The lower register deals with moral problems, illustrating the baptised believer's conflict with sin. Sinners by their fallen natures attack Christ, they are 'slaughterers' of the Lamb, carrying the club and axe: Augustine described himself and his friend Alypius in those terms. The cat catches a mouse, meaning the devil is waiting for unwary, curious, creatures (careless Perdix, take note!). The devil must bow to the Cross. See Wood 2003, 40-55.

Rim patterns on the font: The several patterns have been suggested to indicate, firstly, perhaps a firmament, using arcading, interlace and individual stars, to separate the earthly sphere from the heavenly one. They separate the worldly concerns of the two registers of carvings from the sanctified water in the basin. The rising mandorla of the Ascension may be meant to break into the rim pattern. Secondly, the patterns may be seen as grouped in four single and one double lengths, that is, as making six equal divisions of the rim. The number six, to St Augustine, was a perfect number representing the perfection of God's act of creation; baptism was a re-creation. See Wood 2003, 53.

String courses inside the nave and chancel, by Pearson: A string course along the top of the wall, but exterior, has been recorded at Harswell (YE) but is not common, and even there it may be reassembled, or entirely imagined by the restorer.