1 ‘This cathedral, by some means or other, seems to have escaped the fury of the Fanaticks in Cromwell’s time, and is one of the finest churches in Europe’ (The Gentleman ‘s Magazine (October 1764), p. 463). Sir Thomas Fairfax had ordered Cromwell’s army to leave the building untouched.

2 Hardwick, N., A diary of the journey through the North of England made by William and John Blathwayt oJDyrham Park in 1703 (1977), p. 18 Google Scholar.

3 Macky, J., A Journey Through England (London, 1722), 11, p. 210 Google Scholar; Defoe, D., A Tour Through the Whole Island of Great Britain (London, 1724-26), 1962 ed., 11, p. 229 Google Scholar.

4 The most notable improvement during this period was the resetting in 1715 of each of the Five Sisters windows in the north Transept within a ‘small border of clear glass, which runs round the painted, and illustrates it wonderfully’ ( Drake, F., Ehoracum: or the History and Antiquities of the City of York (York, 1736), p. 532)Google Scholar.

5 Historical Manuscripts Commission, Portland (London, 1901), VI, p. 93.

6 Drake, Ehoracum, p. 523.

7 Gent, T., The Ancient and Modern History of the Famous City of York (York, 1730), p. 46 Google Scholar refers to Finch ‘taking down a Partition of, and removing the Altar to, the farthest End of the Vaults’. Lamplugh’s Altar is illustrated in Longley, K. M. and Ingamells, J., the beautifullest Church York Minster 1472-1972 (York, 1972), p. 13 Google Scholar, cat. no. 26, pl. 5, and indicated in Willis, Browne, A Survey of the Cathedrals (London, 1742), Vol. I, p. 1 Google Scholar, with the single-bayed ‘Sanctum Sanctorum’ between it and the Screen. Drake, Ehoracum, p. 486 regarded the east end of the Minster as ‘of a nobler Gothick taste than the west end’ and possessing ‘the finest window in the world’.

8 Smith, C. Saumarez, The Building of Castle Howard (London, 1990)Google Scholar. Hawksmoor was working on the Mausoleum there from 1726. It is worth noting that Dawes, first as Bishop of Chester and then, from March 1714 as Archbishop of York, had served as one of the Commissioners for Building Fifty New Churches in London, to whom Hawksmoor was surveyor ( Port, M., ed., The Commission for Building Fifiy New Churches: The Minute Books, 1711-17, a Calendar (London Record Society, 1986), 23, pp. xv–xvi Google Scholar).

9 Hall, I., ‘The First Georgian Restoration of Beverley Minster’, The Georgian Group Journal (1993), pp. 13–31 Google Scholar. Hawksmoor is mentioned in the Minster papers on several occasions between 1718 and 1730 (Humberside County Record Office, BC IV/14/1, Minutes and Accounts 1718-31).

10 The Archbishop of York, Dean Henry Finch and his brother, Edward Finch, a York Prebend, and Thomas Jubb, the Minster Treasurer, were among the subscribers to the Beverley Minster restoration fund launched in 1718 (Humberside County Record Office, BC IV/14/1).

11 On May 1724 the York architect, William Etty was paid£1. 1. 0 ‘for Viewing & Valuing theCarpenter Work of the Lantern’ at Beverley; on 19 December 1724, John Howgell or Howgill received 10s ‘for Several draughts drawing’ and on other occasions for carving (Humberside County Record Office, BC IV/14/1); both men performed similiar work at York Minster (see notes 53, 78). William Thornton’s magnificent font cover at Beverley was carved in York (BC IV/14/1, under 3 and 9 September 1726).

12 Newman, J., The Buildings of England: North East and East Kent (Harmondsworth, 1969), pl. 83 Google Scholar.

13 Drake, Ehoracum, p. 523.

14 Dowries, K., ‘Hawksmoor’s Sale Catalogue’, The Burlington Magazine (October 1953), p. 334 Google Scholar; W, D.J.atkin, ed., Sale Catalogues of Libraries of Eminent Persons, Architects (London, 1972), Vol. 4, p. 84 Google Scholar, no. 74.

15 The British Library, K.Top.XLV-7-ff-2, inscribed in Hawksmoor’s hand ‘halfe ye Altar’ and ‘circum of Pillars 4.6 circum of pilasters 6.0 Supficiall of pillars 67.6 — wall 536 Supficiall of pilasters 90.0 wall 180 Th: Lower part. one Side. 600 The Top . . . 200 Top of y Lower part — 50 1566’ and on verso in pencil: ‘Altar for York by N: Hawksmoor’ ( Colvin, H.M., ‘The Baldachino in English Churches’, Country Life (6 January 1950), p. 43 Google Scholar, illus.; K. Downes, , Hawksmoor (London, 1959), p. 278, no. 151Google Scholar).

16 YML: YM M&P 644, inscribed in Hawksmoor’s hand ‘The Corinthian Altar The Stone Screen plan of the Wainscot Altar East window jaumb The front of the high Altar at York Note that the back part, must al be wrought fair, the said work will be seen through the Stone Screen’ (Longley, the beautifiillest Church, p. 14, cat. no. 30, pl. 7).

17 Compare this arrangement to Hawksmoor’s unexecuted 1711 scheme for a detached Chapel with arcaded links at Greenwich Hospital (Downes, Hawksmoor, pl. 26a) and his 1728 design for the Westminster Abbey choir screen ( Cocke, T., 900 Years: The Restoration of Westminster Abbey (London 1995), p. 48, pl. 29Google Scholar). The composition of the link walls in Fig. 3 may have been suggested by the Renaissance tomb chest of the (now destroyed) monument to Archbishop Matthews (died 1628), originally positioned under the east window of the Lady Chapel, directly behind Hawksmoor’s proposed Altar. This monument is illustrated in Drake, Eboracum, p. 459.

18 YML: M/P1021, inscribed in Hawksmoor’s hand ‘Plan 1. Esplanade Throne Altar Open place, or alley Space behind ye. Altar The great Stone Screen A plan of the New Alitar and ye. Situation of the Steps according to the New Designe. N.H. An 1726’.

19 The Wren Society (Oxford, 1930), VII, pp. 74-77, 81-83, 236-37, pls. XIII-XIV.

20 Downes, Hawksmoor, pls. 54, 58b.

21 Oliver, G., The History and Antiquities of the Town and Minster of Beverley (Beverley, 1829), p. 242 Google Scholar. Earlier descriptions of the High Altar are quoted in Colvin (see note 15).

22 Vol. II (Rome, 1711), pls. 18-23. For Hawksmoor’s copy see Watkin, Sale Catalogues, p. 104, no. 125. Rossi published a full cross-section of the interior of Carlo, San in Insignium Romae templomin prospectus (Rome, 1680)Google Scholar ( Blunt, A., Borromini (London, 1979), pl. 61 Google Scholar); Hawksmoor owned the 1683 edition (Downes, Hawksmoor, p. 220, and note 14). Interest in the Borrominesque motif of a rosette-coffered over-arch continued into the eighteenth century, for example, in projects by Ciolli and Nelli, 1704 ( Marconi, P., Cipriani, A. and F. Valeriani, , I disegni di architettura dell’Archiuo storico dell ‘Accademia di San Luca (Rome, 1974), cat. nos. 135-39Google Scholar) and Michetti’s Rospigliosi Chapel (1710-25) in S. Francesco a Ripa ( Blunt, A., Guide to Baroque Rome (London, 1982), p. 40 Google Scholar; Pinto, J., ‘Nicola Michetti and Eighteenth-Century Architecture in Saint Petersburg’ in Milion, H. A. and Munshower, S. S., eds., An Architectural Progress in the Renaissance and Baroque Sojourns In and Out of Italy, Papers in Art History from the Pennsylvania State University (1992), VIII, Pt. 2, p. 542, fig. 22-1Google Scholar).

23 Described as consisting of ‘four Pillars wreathed, of the richest Greek Marble, supporting a Canopy hemispherical, with proper Decorations of Architecture and Sculpture’ (The Wren Society (London, 1936), Vol. XIII, pp. XVI-II, pls. XXVII, XXXI-II).

24 Pl. 11 (for St Peter’s) and pl. 27 (for S. Maria in Traspontina). For Hawksmoor’s library, see Watkin, Sale Catalogues, p. 104, no. 120.

25 Figs, LVIII-LXVI. See Bjurström, P., ‘Baroque Theatre and the Jesuits’, in Wittkower, R. and Jaffe, L. B., eds., Baroque Art: The Jesuit Contribution (New York, 1972), pp. 99–110, pls. 59-64Google Scholar.

26 Vol. III, pp. 283-95 (reprinted in Codet, P., Germain Brice Description de la Ville de Paris et de tout ce qu’elle contient de plus remarquable (Geneva/Paris, 1971), pp. 386-90Google Scholar). See F. Kimball, , The Creation of the Rococo Decorative Style (New York, 1980), p. 102 Google Scholar, fig. 105; also fig. 75. The introduction of Baroque baldacchinos into Gothic churches was not uncommon in France during this period ( F. Souchal, , French Sculptors of the seventeenth and eighteenth centuries The reign of Louis XIV (Oxford, 1977), Vol. A-F, pp. 18 (no. 73), 121 (no. 22), 265 (no. 5)Google Scholar; (Oxford, 1981), Vol.G-L, p. 359 (no. 4)).

27 This complex and fascinating story is discussed in detail in Middleton, R. D., ‘The Abbé de Cordemoy and the Graeco-Gothic Ideal: A Prelude to Romantic Classicism’, Journal of the Warburg and Courtauld Institutes (1962), Vol. 25, pp. 278–320 CrossRefGoogle Scholar, (1963), 26, pp. 90-123, particularly pp. 280-300. Russell, P. and Price, O., eds., England Displayed (London, 1769), 11, p. 135 Google Scholar wrote of York Minster: ‘this building has two remarkable beauties not to be found in any other Gothic edifice; which are, that the height and breadth of the nave and side isles of the church, and of all the arches and windows, come very near, if not agree with, the dimensions laid down by the established rules of Roman architecture; that the span of the roof, from east to west, rises very near equal to the modern proportion; the excessive height of the roof being the chief blemish in most cathedrals’.

28 Gent, T., The Antient and Modern History Of The Loyal Town of Rippon (York, 1733), p. 91 Google Scholar. For the Screen, see Cobb, G., English Cathedrals The Forgotten Centuries: Restoration and Change from 1530 to the Present (London, 1980), pls. 82–83 Google Scholar.

29 Middleton, The Abbé de Cordemoy , p. 299. Though Brice, Nouvelle Description, 1725, reported that the columns and pedestals of Oppenord’s High Altar were ‘d’un marbre antique . . . trouvées dans les ruines d’une Ville ancienne nommée Leptis magna’, they are shown in the accompanying engraving with suitably elongated, slender shafts. Hawksmoor also inserted galleries on fluted Doric columns between the nave piers ( I., and Hall, E., Historic Beverley (York, 1973)Google Scholar, fig. 46, removed 1825), the fluting providing the same vertical emphasis as the grouped Gothic shafts, so that one visitor found the interior ‘so grand, that I confess I hardly know its Equal, since it appears not only with the Majesty and Solemnity peculiar to the Gothick Architecture, but likewise (being so well repaired) with all the Beauty and Elegance of the Modern, like a new Fabrick built after the old Fashion’ (Anonymous, A Journey from London to Scarborough in Several Letters from a Gentleman there, to his Friend in London (1734), pp. 26-7). But Drake (Eboracum, p. 523) thought ‘the fine altar [Screen] at Beverley, to be rather a blemish, than an embellishment to that church’.

30 Drake, Eboracum, p. 523.

31 ‘BALDACHIN ... a Piece of Architecture, in Form of a Canopy, supported with Columns, and serving as a Crown or Covering to an Altar. It properly signifies a Canopy carry’d over the Host in Roman Catholick Countries’ (The Builder’s Dictionary (London, 1734), 1, approved 11 January 1734 by Hawksmoor, John James and James Gibbs).

32 The three tapestries, depicting Moses and Pharoah’s Daughter, God sending Manna from Heaven, and Moses striking the Rock ( Aylmer, G. E. and Cant, R., eds., A History of York Minster (Oxford, 1977), p. 255 Google Scholar), were cleaned in 1742 (YML: E4B, Fabric Day Book 1678-1747, f. 48, 18 December 1742 ‘Baker for Cleaning ye Taplstrys’ £2.6.0), removed in 1760 (YML: H9/2/1, f.35v, 28 January 1761, when the Dean and Chapter agreed that ‘some old Tapestry lately taken down from about the Altar in the Choir . . . should . . . remain in the Deanery House as an Heir Loom for the Deans of York and their Successors’) and replaced with plate-glass, a very early instance of the use of this technology (YML: E2(23) ‘Saint Peters Accompt 1720-1769’, 12 September 1761, ‘the packing Case in which the plate Glass for the Altar Screen was pack’d’ £3). The arrangement remained until the 1829 fire.

33 Morrell, J. B., York Monuments (London, 1944), p. 40, pl. XXXVIGoogle Scholar; Whinney, M., English Sculpture 1720-1830 (London, 1971), pp. 36-7Google Scholar. The monument arrived in York from London late in 1729 ( Wilson, K. T., York Minster Monuments 1660-1760, BA Hons. dissertation, University of Leeds (1993), p. 78 Google Scholar).

34 Aylmer and Cant, A History of York Minster, pp. 449-50, pl. 150; H. Colvin, , A Biographical Dictionary of British Architects 1600-1840 (London, 1978), p. 494 Google Scholar.

35 Colvin, A Biographical Dictionary, pp. 128-32.

36 Burlington subscribed £20 (Humberside County Record Office: BC IV/14/1).

37 Drake, Eboracum, Dedication, with an engraved plan, elevation and section following p. 340. Drake (p. 338) described the Assembly Rooms as ‘an antique Egyptian hall. . . one of the finest rooms in Europe. The design was taken by that truly English VITRUVIUS, RICHARD earl of BURLINGTON from PALLADIO’, that is, the ‘Sale Egittie’ in Palladio’s 1 Quattro Libri dell’Architettura (Venice, 1570), Libro Secondo, Cap. X, pp. 41-2 ( Wittkower, R., ‘Burlington and his Work in York’ in Singleton, W. A., ed., Studies in Architectural History (London, 1954), p. 47–66 Google Scholar). Little is known of the appearance of the Pretorian Palace at York; traditionally the type would have been basilica-form.

38 Drake, Eboracum, p. 488. ‘The Old Pavement’ is illustrated on p. 491.

39 Morris, C., ed., The Journeys of Celia Fiennes (London, 1947), p. 77 Google Scholar.

40 HMC Portland, p. 93.

41 Hall, , Georgian Group Journal (1993), pp. 23-4, 28, figs. 6-8Google Scholar.

42 Gent, York, p. 47.

43 Drake, Eboracum, p. 519, to which both Burlington and Kent subscribed. Philip Yorke, visiting in 1744, gave the design solely to Kent (‘The Tra vel Journal of Philip Yorke 1744-63’ in Godber, J., The Marchioness Grey of Wrest Park, Publications of the Bedfordshire Historical Record Society (1968), XLVII, p. 129)Google Scholar; others solely to the Earl: ‘The pavement pattern was the invention of (that great architect) Lord Burlington’ ( Andrews, C. Bruyn, ed., The Torrington Diaries (1934-8), 111, p. 36, under 5 June 1792Google Scholar).

44 J. Hildyard, , An Accurate Description and History of the Metropolitan and Cathedral Churches of Canterbury and York (London/York, 1755), p. 143 Google Scholar: ‘the new and beautiful Pavement . . . was compleated, the Expence of which amounted to 2500/. and upwards’.

45 YML: H7, ‘Chapter Acts 1728 to 1747’, f. 108v, dated 21 April 1735, where the Dean and Chapter proposed recording each subscriber’s name and contribution, which would be ‘hung up in the Vestry or other publiek part of the . . . Church with thankfulness to perpetuate the Memory of the Bounty and Kindness of the . . . Subscribers’. A ‘Table of Benefactions’ in the north Choir aisle is indicated in ‘The ichnography of the Cathedral Church of York, with the new Pavement’ in Drake, Eboracum, p. 519, item 21. Drake (p. 488) remarked: ‘The present noble pavement, which is put in place of the ragged and shattered old one, has quite taken away the few inscriptions that were left us, which, indeed, were by no means significant enough to hinder the design . . . certainly, to have a bare coat of arms, fixed on the walls, as a contributor to the building, or repaving, of this magnificent fabriek, is a much greater glory than to be represented in a fulsom panegyrical epitaph, though under a statue carved by another Praxiteles’.

46 Notably John and William Aislabie of Studley Royal, James and Thomas Gee of Bishop Burton, the Earl of Carlisle of Castle Howard, Sir Charles Hotham of Beverley, Viscount Irwin of Temple Newsam, the Earl of Malton of Wentworth Woodhouse, Sir Thomas Robinson of Rokeby and Sir William Robinson of Newby Park, Sir William Strickland of Boynton, Sir William Wentworth of Bretton, Sir Rowland Winn of Nostell and Thomas Worsley of Hovingham. Their architects were Burlington, Campbell, Flitcroft, Garrett, Moyser and Robinson (Colvin, A Biographical Dictionary, pp. 131-32, 184-85, 311, 333, 565, 702-3, 844, 917).

47 YML: B3/2/11. ‘The Accompt of Subscribers towards the New paving of the Cathedral Church of York’ and ‘Payments made by Thomas Jubb . . . towards New-paving of the Cathedral’ 1731-36, recording a total of £1,814.4.12 raised. B3/2/10, ‘Subscription to the New-paving of York Minster’ is a duplicate list with names arranged alphabetically.

48 ‘A Generai LIST of the SUBSCRIBERS to the New ASSEMBLY-ROOMS in YORK. ‘, dated 20 October 1732 (Apollo of the Arts: Lord Burlington and His Circle, Nottingham University Art Gallery (1973), cat. no. 38) and Drake, Eboracum, Appendix, pp. lix-lxi.

49 YML: B3/2/11, ‘Horse-Hire . . . this Day in Waiting upon Sir Edward Gascoigne to ask His Leave to Gett Stone in Huddlestone Quarry which he Generously Granted’ 5s. Huddleston stone had been used at York Minster at least since 1385 (Aylmer and Cant, A History of York Minster, p. 165). Gascoigne, who was a Roman Catholic, did not subscribe to the repaving fund.

50 YML: H7, f.105, 7February 1735 ‘the. . . parishioners did freely and willingly give a considerable Quantity of blue Marble Stone out of their . . . parish Church for and towards the making the new pavement in the . . . Cathedral’, in return for which they requested ‘some of the Old Stone belonging to the floor’ of the Minster ‘to build a new Church porch’. YML: B3/2/12, various new pavement accounts 1731-36, includes receipts dated 21 July 1734 for work undertaken 30 April-23 June, recording the movement of ‘Marble Stone’ from Coney Street to the Minster.

51 YML: B3/2/11, ‘for printing Two Advertisements for Masons to come and View the plan of the floor and make their proposalls for finishing the Work’. B3/2/12, the text as quoted. There is no evidence that these ads were intended for publication in the local press.

52 YML: YM/C 249/1 and B3/2/1 (inscribed ‘The Frame is 18 Inches’), respectively.

53 Quoted in T. Friedman, , James Gibbs (New Haven, 1984), pp. 263, 347 note 26Google Scholar. YML: B3/2/11, ‘paid to Mr. Bickerton for Drawing Two plans of the New pavement’ £2.2.0; B3/2/12, 21 June 1731 ‘Rec’d of Mr Jubb Two pounds two Shillings for the coppying of Two Plans of the Minster pavement £2:2 — Fra: Bickerton’. The handwriting on both the documents and the sketch plan, Fig. 7, is identical. For Bickerton elsewhere see Colvin, A Biographical Dictionary, p. 110. In 1734 ‘Mr. Howgill’ was paid £1.1.0 ‘for drawing [unspecified] planns’ (YML: E4a, ‘The Fabrick Book of Rents & Accounts’ 1661-1827, f.44v): this may be John Howgill, who worked at Beverley Minster 1713-26 ( Hall, , Georgian Group Journal (1993), p. 15 Google Scholar).

54 YML: B3/2/2, a cleaner contemporary copy of the original contract (B3/2/1); an other copy is in Leeds Archives Department, Gascoigne Collection, of which B3/2/2 is a typescript. B3/2/12, loose bills and receipts from Jubb to the masons dating 17 November 1731 to 12 November 1734, including ‘Workmen wages at Minster to April 23rd. 1732’ recording payments to seven masons and thirty-two labourers, some named.

55 YML: B3/2/9.

56 YML: B3/2/12.

57 ‘The whole pavement is [on] a brick floor, laid hollow, to prevent the damp from affecting it’ (Drake, Eboracum, p. 519, with the erratum noted in ‘The Contents’ shown here in square brackets).

58 YML: B3/2/12. The ‘New plan’ is not among the Minster papers. A subtly different patterning of the blue marble is evident on comparing Fig. 8 and Drake, Eboracum, view on p. 534.

59 YML: E4B, f.38v; also f.39v. A reference of 21 April 1735 mentions ‘a beautifull and handsome floor [laid] through the whole Exclusive of the choir’ and an agreement to ‘new pave’ the latter ‘according to . . . the plan that has hitherto been excepted in other parts of the Church’ (YML: H7, ff. 108V-109). A particular ‘for takeing out all the short lengths of marble And makeing fix for ye Blackstone in ye South Isle of the Choir’ is dated 25 July 1735 (YML: B3/2/12).

60 YML: B3/2/12. E4B records payments during 1737 for ‘Black Marble’ (f.41v) and £13 on 2 January 1739/40 to Fleming ‘for Brick Work under the New Pavem. in the Quire’ (f.45v).

61 ‘The two Side-Isles have . . . each . . . a handsome Door of Iron-Work. These were placed here by the Care, or at the sole Charge, of the late Dean Finch, as his Crest upon them testifies’ (Anonymous, An Accurate Description and History of the Cathedral and Metropolitical Church of St. Peter, York, From it’s Foundation to the present Year (York, 1790), p. 41). Payments for this work are recorded in YML: E4B, f.24v, 18 April 1726, £50 to Finch ‘towards paying for the Iron Gates to the Two Side Isles’; 25 August 1726, £2 ‘to make up the whole Expence of the Said Gates’. Jane Seynor received £5.10.0 on 12 January 1759 for ‘painting ye Iron Gates in ye Side Isle, and ye Choir’ (YMP: E2/PV, vouchers).

62 In Fig. 8 this area is shown blank. In addition, the south Transept external steps were rebuilt according to a contract with the mason, William Bateson, dated 25 February 1736, which specified the use of ‘Stone taken out of the Old floor of the Cathedral’ to be refashioned in a ‘handsome Workmanlike Manner. . . according to the within Written plan’ (YML: B3/2/13). The handwriting on the contract and accompanying plan drawing is identical to an unexecuted proposal of the same year for ‘New flooring in a pritty Manner’ the late thirteenth century Chapter House at York ( Harris, J., Catalogue of the Drawings Collection of the Royal Institute of British Architects: Colen Campbell (Farnborough, 1973), p. 16, no. 33, fig. 127Google Scholar).

63 YML: H7, f. 109 (a memorandum of 21 April 1735).

64 Drake, Eboracum, p. 519. However, Carter, John remarked in The Gentleman’s Magazine, July 1807, pp. 630-31Google Scholar: ‘The late Lord Burlington, who lived in the days of contempt and aversion manifested against our Architectural Antiquities, must needs, by way of giving a lasting proof of his amateur skill in Grecian architecture, design and bring about the execution of a new Pavement in that style. . . which extends over the Nave, transepts, the choir, its ailes, &c . . . When it is considered that our Churches were formerly paved and embellished with small square ornamented tiles, emblossed or indented grave-stones, rich and delicate brasses, &c; surely we, who profess to admire the works of our remote Artists, must behold the Noble Lord’s enormous, unmeaning, masonic contortions, vulgarly called ‘Frets,’ as objects at once frightful, and diametrically opposite to all the rules of just proportion and due symmetry’.

65 Downes, Hawksmoor, p. 259. Sections of the pavement at York were renewed in 1970-71, and in 1992 the Choir was repaved with a design based on the eighteenth century work (Country Life (18 February 1993), p. 51, illus).

66 DrSharp, Samuel, Letters from Italy . . . In the Years 1765, and 1766 (London, 1766), pp. 229-30Google Scholar, Letter XLV, dated Florence, 20 April 1766.

67 Kent visited Siena in 1715 ( Wilson, M.I., William Kent Architect, Designer, Painter, Gardener, 1685-1748 (London, 1984), p. 156 Google Scholar). For Burlington and Kent abroad, see Colvin, A Biographical Dictionary, pp. 128-29, 489.

68 Andrews, , Torrington Diaries, p. 36, visiting 5 June 1792 Google Scholar. Evelyn, John in A Parallel Of The Antient Architecture With The Modern (Roland Fréart’s Parallèle (Paris, 1650)Google Scholar issued in various English editions up to 1733) cites Nigretti’s Cappella dei Principi (1604-10) in San Lorenzo, Florence and Ponzio’s Cappella Paolina (1611-15) in Santa Maria Maggiore, Rome as ‘amazing Instances, where not only the Pavement, but likewise all the Walls are most richly incrusted will all sorts of precious Marbles . . . most admirably polished, a glorious and everlasting Magnificence’ (1707 edition, p. 52). For the Wren and Taiman schemes of 1707-08 see Downes, K., Sir Christopher Wren: the Designs of St. Paul’s Cathedral (London, 1988), p. 48, 178-80Google Scholar, cat.nos. 201-02, pl. 4 and The Wren Society (Oxford, 1936), XIII, p. xi, pl. xxx (bottom).

69 The type is illustrated in Gibbs, James, Rules for Drawing The several Parts of Architecture (London, 1732), pl. LIX Google Scholar.

70 Drake, Eboracum, p. 519.

71 Drake, Eboracum, p. 24, recorded in 1736: ‘several great curiosities have been discovered at this place [Aldborough]; particularly, about four years ago ... a mosaick pavement. . . was laid open of singular figure and beauty . . . This pavement is well preserved, and shewn by an old woman . . . to strangers . . . Not long since more pavements of this kind were discovered on a hill called Burrough hill’. In 1729, £1,000 was raised for the York Minster fabric fund on rents from a Minster property at Aldborough (Aylmer and Cant, A History of York Minster, pp. 247-48).

72 Burlington subscribed to Alexander Gordon’s Itinerarium Septentrionale: or, A Journey Thro’ most of the Counties of Scotland, And Those in the North of England (London, 1726)Google Scholar, which includes Part 1 ‘Containing an Account of all the Monuments of Roman Antiquity’. The Earl’s interest in Romano-British mosaics is attested in Francis Drake’s 7 June 1749 letter to Stukeley in which he refers to having sent him the previous year ‘a duzzon of prints from a plate of a Roman bagnio and pavement found lately at Hovingham, near us, and published at the expence of Lord Burlington’ (The Family Memoirs of the Rev. William Stukeley, M.D. (Durham/London, 1887), 111, p. 356).

73 Other structural work was undertaken during these years: for example, in 1733 the Crossing tower roof was repaired and new leaded at a cost of £600, while in 1737 the interior of the Minster was ‘cleaned throughout’ (Hildyard, An Accurate Description, p. 143). See also note 62.

74 Drake, Eboracum, pp. 533-34.

75 Colvin, A Biographical Dictionary, pp. 492-93; Lang, S., ‘The Principles of the Gothic Revival in England’, Journal of The Society of Architectural Historians (December 1966), xxv, No. 4, pp. 246-47, 249Google Scholar; Vardy, Some Designs, pl. 48. This vocabulary was to find a popular outlet in Batty Langley’s pattern books, beginning with Ancient Architecture (London, 1742).

76 Drake, Eboracum, p. 122. John Carpinter was paid £5.8.0 in 1725 ‘for Carved work att the pulpitt’ (YML: E4a, f.40).

77 For other views see Alexander, J. and Binski, P., eds., Age of Chivalry: Art in Plantagenet England 1200–1400, Royal Academy of Arts (London, 1987), p. 377, pl. 40Google Scholar; Aylmer and Cant, A History of York Minster, pl. 81.

78 YML: E2(23), unpaginated. A payment of £4.4.0 to ‘Mr. Etty for drawing [unspecified] planns’in 1728 (YML: E4a, f.41v) suggests a family tradition of such work. For the Ettys, see Colvin, A Biographical Dictionary, pp. 300-1.

79 YML: YM/F90, inscribed ‘Pulpit for ye top of ye Bishop’s seat Sounding board’ (the latter twice), and YM/F239, inscribed ‘Bishop’s Seat pulpit’ (A Tercentenary Tribute to William Kent, Ferens Art Gallery (Kingston upon Hull, 1985), pp. 80-81, cat. nos. 55a-b).

80 I am grateful to Howard Colvin for this important observation (letter to the author dated 6 March 1994). Compare the handwriting on Figs. 15-16 with a Kent letter ( Hunt, J. D., William Kent Landscape garden designer (London, 1987), p. 14 Google Scholar).

81 A MS memorandum of agreement with the three craftsmen was received by YML in 1970 but its contents were unrecorded and it has since disappeared.

82 YML: E4B, f.45v, 14 October 1740 ‘Mr. Terry & others for Carvinge Throne in part’£50; f.40v, 6 December 1740 ‘John Terry & others for Work done at ye Throne & Pulpit p Bill’ £50, 3 February 1741 ditto ‘for Carving the Throne & Pulpit in the Cathedral’ £25, 26 February 1741 ditto ‘for making Carving, & setting up the Pulpit & the Archbps Throne’ £58, 4 July 1741 ‘Charles Mitley & others for Carving upon the Pulpit & Throne in the Cathedral’ £20; f.47v, 14 November 1741 to Terry, Mitley and Healey ‘in full for Work done in the Cathedral for joyning the Throne & Pulpit to their respective Canopies’ £22.

83 YML: YM/F 1140/2 to 4, inscribed ‘Rakes Seat Entrance to Bp’s Seat Single Seat do Double Seat’ (no. 2, illustrated as Fig. 17), ‘End next Ld Major and Pulpit’ (no. 3), ‘Front’ (no. 4).

84 YML: YM/F1140/1. The finished work was to be ‘Submitted to the Inspection and View of two Skilful persons appointed by the . . . Dean and Chapter . . . But if not Executed in a Workman like manner, and not approved on by the two persons . . . then Such part of the . . . Sum . . . shall be deducted as . . . shall appear reasonable’. YML: E2(23), loose bill dated 28 April 1741 ‘for Drawing & Ingrossing Articles of Agment. for Erecting new Pews in the Cathedral’. The team of craftsmen received several payments between November 1741 and November 1742 (YML: E4B, f.47v, 14 November 1741 ‘for Work done in the Cathedral towards Erecting new Pews’ £55, 14 September 1742 ‘for Erecting new Pews in the cathedral’ £50, 16 November 1742 ‘in full for Erecting new Pews’ £20). In 1754 ‘the Front of the Stalls at the West-End of the Choir [were] raised and decorated in a Taste conformable to the Elegance of the Building’ (Hildyard, An Accurate Description, p. 144).

85 YML: YM/TR/S 249/2, inscribed from left to right: illegible, ‘West Side Isle door the Same as the upper teere of pannells adjoining to it’ and ‘South door. Chiefly taken from large circular window (Commonly called the Rose window) above it wicket’, respectively.

86 Drake, Eboracum, p. 529.

87 YML: H9/1, f.32v.

88 The ‘old Clock which has grown useless by Age, and whose very large Gothick Case covered the Wall betwixt the South Door and the Chapel for Early Prayers, and blocked up one of the Windows, was removed; instead of which, an elegant and excellent Clock was made by that celebrated Artist Mr. John Hindley’ for ‘near 300l.’ (Hildyard, An Accurate Description, p. 144). Leonard Terry received £1.0.10 for ‘taking down the old Clock caise’ on 26 May 1751 (YML: E2/PV). The Clock is now in the north Transept ( Addleshaw, G.W.O., Four Hundred Years: Architects, Sculptors, Painters, Crafismen 1560-1900 whose work is to be seen in York Minster (York, nd.), p. 8 Google Scholar).

89 Hildyard, An Accurate Description, p. 143.

90 Vardy, Some Designs, pl. 49.

91 The Builder’s Dictionary (London, 1734), I, under Gothic. The York Pulpit closely resembles one in St John, Shobdon, Herefordshire, 1750-56.

92 Drake, Eboracum, p. 487.