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37402 BR 37419 M Restart into the sidings @ BURTON WETMORE with the 5Z88 14.31 CREWE DOWN REFUSE SIDINGS - BURTON WETMORE SIDINGS ECS. Sunday 16th June 2019
A pair of Biffa Mercedes Econic bin lorries, that on the left being currently on SORN, according to the DVLA.
I refuse to forget my humble beginnings, though I don't spend as much time in the mirror as I used to. However, it is a great feeling when I do to see the woman I've become.
This Tailed Emperor refused to venture any closer than tree-top height, so the full reach of the 100-400mm plus extender were needed for what is essentially a macro! I haven't come across one of these around here.
A major waste/ garbage/ refuse/ rubbish collection company in Ireland is curiously known as Panda.
One of their collection vehicles seen on Pearse Street at Lombard Street in Dublin.
Preserved former City of Birmingham Salvage Department DV4 4-ton electric refuse lorry 184 (EOA956) was built in 1938 by Electricars Ltd, Landor Street, Birmingham and was withdrawn from service in 1972. It was one of a fleet of seventy-two similar vehicles bought between 1938 and 1948.
This sunflower stood out from the crowd this week, seemingly running from the sun and from the field of uniformity.
Information supplied by the York Civic Trust. yorkcivictrust.co.uk/heritage/civic-trust-plaques/george-...
In 1911 the city of York belatedly recognised Etty. A statue of Etty by G. W. Milburn was unveiled on 1 February outside the York Art Gallery in Exhibition Square, and a retrospective of 164 Etty paintings was held at the gallery despite opposition from some of Etty's descendants who refused to lend works for it. William Wallace Hargrove, proprietor of the York Herald, gave a speech recalling his memories of knowing Etty. Outside York, Etty generally remained little-known, with the majority of those galleries holding his works, other than the Lady Lever Art Gallery, the Russell-Cotes Museum and Anglesey Abbey, tending to keep them in storage. Minor Etty exhibitions in London in 1936 and 1938 had little impact, and likewise an exhibition of 30 Etty paintings in 1948 to mark the reopening of the York Art Gallery and another York exhibition of 108 paintings the following year to mark the centenary of his death. In 2001–02 five Etty paintings were included in Tate Britain's landmark Exposed: The Victorian Nude exhibition, which did much to raise Etty's profile, and established Etty as "the first British artist to paint the nude with both seriousness and consistency". The restoration of The Sirens and Ulysses, completed in 2010, led to increased interest in Etty, and in 2011–12 a major exhibition of Etty's works was held at the York Art Gallery. The York Art Gallery continues to hold the largest collection of Etty's works.
George Walker Milburn (1844-1941)
Woodcarver, Stonemason and Sculptor
Plaque erected in St Leonard’s Place, YO1 7HD
George Walker Milburn, master woodcarver, stonemason and sculptor, was born in Goodramgate, York on 17 June 1844. He was the eighth of ten children of Lionel Altimont Milburn, a York tailor, and his wife, Elizabeth Clapham, of Gainsborough, Lincolnshire. Little is certain about George’s childhood years but, in his early teens, he was apprenticed as a woodcarver to William Alfred Waddington, “Pianoforte Manufacturer”, who was based at 44 Stonegate, York. He attended York School of Art where he won several medals and awards. A head modelled by Milburn so impressed the sculptor Thomas Woolner RA that he offered the young student the opportunity to study with him, but Milburn felt obliged to decline as he had already commenced his apprenticeship. In 1865, having completed his woodcarving studies, George went to London to study stone-carving with Samuel J. Ruddock. While there he exhibited a medallion of the stained-glass artist Charles Hardgraves at the Royal Academy of Art.
George returned to York around 1872 and set up his own stone yard at 53 Gillygate. One of his first commissions was for the architect George Edmund Street on the massive project to restore the South Transept of York Minster. Street employed the young carver to execute a large portion of the decorative stonework on the interior and exterior during the eight years of restoration (1872-80). Street was sufficiently impressed by George’s artistry that he took him to Corfe Castle in Dorset to work on St James’ Church at Kingston, the church described as “The Jewel of the Purbecks”. In addition to Street, George worked with many other leading architects of the Victorian and Edwardian era including Sir George Gilbert Scott, Charles Clement Hodges, Charles Hodgson Fowler, and Walter H. Brierley.
York’s first public statue
In 1885 George Milburn won the competition to execute a statue to commemorate George Leeman MP, three times Lord Mayor of York and a dominant figure in 19th-century York politics. Some felt that George had insufficient experience to execute the work and the controversy rumbled on in the York newspapers for many months. He took an enormous financial gamble, signing a potentially punitive contract with York City Council which would have ruined him had he failed. But the gamble paid off and York’s first public statue established him as a sculptor in addition to his already established reputation as a stone- and woodcarver.
George Milburn’s stoneyard in St Leonard’s Place between Bootham Bar and the De Grey Rooms
About this time, George moved his stone yard to St Leonard’s Place at Bootham where it would remain for more than 50 years. He would go on to be awarded commissions for a statue of Queen Victoria for the Guildhall and a statue of William Etty which stands in Exhibition Square. While the Victoria statue also caused rumblings of discontent in the press, it was less to do with the choice of sculptor than with political squabbling over whether a statue was the correct form of memorial with which to honour the late Queen. On its completion, the statue received widespread praise. When unveiled by the Queen’s daughter, Princess Henry of Battenberg, she broke with protocol and shook the sculptor’s hand.
Ecclesiastical and secular work
George left a large body of work, ecclesiastical and secular. He carved almost 50 memorial crosses and executed works for more than 150 churches. A small sample of his stone-carving includes the impressive Boer War Memorial Cross at Durham Cathedral; the Bede Cross at Roker, Sunderland; the statues for the elaborate Reredos at St Aidan’s Church, Bamburgh; the Reredos at St Peter-at-Gowts, Lincoln; and multiple pulpits and fonts including St Barnabas’ Church in York, St Aidan’s in Hartlepool, and All Saints in Lincoln. His woodwork, equal to though less recognised than that of Robert Thompson, can be seen in the tracery panels for the magnificent double organ at Howden Minster, the organ screen for St Helen’s Church at Escrick, the chancel screen at Melton Mowbray and the beautiful reredos in St Benet’s Chapel at Ampleforth Abbey.
His mastery of both stone- and woodcarving can be seen at St Thomas’ Parish Church at Stockton-on-Tees where he sculpted the large stone cartouche over the east window and the elaborate oak bench ends in the choir, and at St Andrew’s Church at Bournemouth in Dorset where he carved the delightful oak figures for the choir, six stone statues and a beautiful alabaster reredos of the Annunciation. His works for private houses included Hawkstone Hall, Shropshire; the chapel at Hatfield College, Durham; Dunollie Hall, Scarborough; Carlton Towers, East Yorkshire; Gray’s Court, York; the renowned Arts and Crafts-style house, Goddards, York; and the chapel at Castle Howard.
National reputation
While his works were predominantly in Yorkshire and the North-East of England, his work can be found throughout the country, from Bournemouth in Dorset to Edinburgh where he carved the statue of John Hunter on the façade of the National Portrait Gallery. Although the Scottish sculptor James MacGillivray Pittendrigh has been credited with the latter, it was George Milburn who sculpted the statue from a miniature by Pittendrigh. Works can be found in almost 20 counties throughout the UK including Lincolnshire, Kent, Shropshire, Durham, Northumberland, Tyne and Wear, and Norfolk.
In York alone the list of his works includes the William Etty, Queen Victoria and George Leeman statues and works for York Minster, York Art Gallery, York Explore Library, St Barnabas’ Church, St Chad’s at Knavesmire; St Olave’s Church, St Wilfrid’s Church, Holy Trinity Church, All Saints Pavement, Barclays Bank, Beckett’s Bank (now Starbucks), Jacob’s Well in Micklegate, St Sampson’s Church, St Andrew’s Church at Bishopthorpe, Fulford Church and many others. He found time in his busy career to make a positive contribution to some of York’s many societies; he was a member of the York Philosophical Society, an active supporter of the York School of Art and a frequent lecturer.
Family life
In his private life, he was a practising Catholic – although he seems to have had a relaxed attitude about the strict adherence to church rules; his first marriage, to Ellen Ward, was at St Wilfrid’s Church; his second, to Isabella Fletcher, took place at St Olave’s Church in Marygate. Like many Victorians, he suffered a series of family tragedies; his first child, Lionel, died at the age of one; his first wife, Ellen, died of TB in 1885 at the age of 28, shortly after giving birth to their fourth child, Norah; Norah herself died one year later. In all, of five children in his two marriages, only two survived into adulthood. His second marriage, to Isabella Fletcher, in 1888, lasted until her death in 1924. With his son, Wilfrid Joseph Milburn, the two worked as G.W. Milburn & Son from the stone yard at St Leonard’s Plac
George had an exceptionally long career, working well into his eighties and living through enormous changes in his native city. Born in the seventh year of Victoria’s reign, when Sir Robert Peel was Prime Minster and York a city with a population of barely 40,000, his work straddled two centuries and honoured the dead of two wars: the Boer War and the First World War. During his lifetime the population of York expanded to more than 123,000 inhabitants. Few others can claim to have lived and worked continuously in one city through a period of such enormous change. He died in York City Hospital, Huntington Road on 3 September 1941.
His importance to York can be gauged by the judgement of his fellow artists and peers. John Ward Knowles, the renowned York stained-glass artist, was of the opinion that for many years stone-carving in York had been ‘confined to the works of ornamental sculpture’ until ‘the higher branch of the art was again resuscitated by George Milburn’. Street reportedly called him ‘the best Gothic sculptor in the country’ and Knowles felt that, in stone-carving, George ‘stood pre-eminently in front of his confrères’.
More than 270 of George Milburn’s works survive but this master craftsman has not received the recognition that he deserves, and most of his extant works remain uncredited, overshadowed by others, such as Robert Beall of Newcastle or Thompson of Kilburn, or even incorrectly ascribed to others.
William Etty RA (10 March 1787 – 13 November 1849) was an English artist best known for his history paintings containing nude figures. He was the first significant British painter of nudes and still lifes. Born in York, he left school at the age of 12 to become an apprentice printer in Hull. He completed his apprenticeship seven years later and moved to London, where in 1807 he joined the Royal Academy Schools. There he studied under Thomas Lawrence and trained by copying works by other artists. Etty earned respect at the Royal Academy of Arts for his ability to paint realistic flesh tones, but had little commercial or critical success in his first few years in London.
Etty's Cleopatra's Arrival in Cilicia, painted in 1821, featured numerous nudes and was exhibited to great acclaim. Its success prompted several further depictions of historical scenes with nudes. All but one of the works he exhibited at the Royal Academy in the 1820s contained at least one nude figure, and he acquired a reputation for indecency. Despite this, he was commercially successful and critically acclaimed, and in 1828 was elected a Royal Academician, at the time the highest honour available to an artist. Although he was one of the most respected artists in the country he continued to study at life classes throughout his life, a practice considered inappropriate by his fellow artists. In the 1830s Etty began to branch out into the more lucrative but less respected field of portraiture, and later became the first English painter to paint significant still lifes. He continued to paint both male and female nudes, which caused severe criticism and condemnation from some elements of the press.
An extremely shy man, Etty rarely socialised and never married. From 1824 until his death he lived with his niece Betsy (Elizabeth Etty). Even in London he retained a keen interest in his native York, and was instrumental in the establishment of the town's first art school and the campaign to preserve York city walls. While he never formally converted from his Methodist faith, he was deeply attached to the Roman Catholic Church and was one of the few non-Catholics to attend the 1838 opening of Augustus Pugin's chapel for St Mary's College, Oscott, at that time England's most important Roman Catholic building.
Etty was prolific and commercially successful throughout the 1840s, but the quality of his work deteriorated throughout this period. As his health progressively worsened he retired to York in 1848. He died in 1849, shortly after a major retrospective exhibition. In the immediate aftermath of his death his works became highly collectable and sold for large sums. Changing tastes meant his work later fell out of fashion, and imitators soon abandoned his style. By the end of the 19th century the value of all of his works had fallen below their original prices, and outside his native York he remained little known throughout the 20th century. Etty's inclusion in Tate Britain's landmark Exposed: The Victorian Nude exhibition in 2001–02, the high-profile restoration of his The Sirens and Ulysses in 2010 and a major retrospective of his work at the York Art Gallery in 2011–12 led to renewed interest in his work.
York Art Gallery is a public art gallery in York, England, with a collection of paintings from 14th-century to contemporary, prints, watercolours, drawings, and ceramics. It closed for major redevelopment in 2013, reopening in summer of 2015. The building is a Grade II listed building and is managed by York Museums Trust.
The gallery was created to provide a permanent building as the core space for the second Yorkshire Fine Art and Industrial Exhibition of 1879, the first in 1866 having occupied a temporary chalet in the grounds of Bootham Asylum. The 1866 exhibition, which ran from 24 July to 31 October 1866 was attended by over 400,000 people and yielded a net profit for the organising committee of £1,866. A meeting of this committee in April 1867 committed to "applying this surplus in providing some permanent building to be devoted to the encouragement of Art and Industry".
The result was the development of a second exhibition, housed in a newly constructed building designed by a York architect named Edward Taylor; a series of 189 drawings, watercolours and sketches for the proposed gallery were produced by Taylor in the period 1874–1878. The architectural plan for the building changed considerably during this time, from an 'Elizabethan' style to an 'Italian' style – neither were fully realised in the final design. The building first opened on 7 May 1879.
The site for the 1879 exhibition was an area in the grounds of the medieval St Mary's Abbey known as 'Bearparks Garden'. It is fronted by what became Exhibition Square, which was cleared by the demolition of a house and the former Bird in Hand Hotel. The art gallery consisted of an entrance hall, central hall, north and south galleries and on the upper floor a Grand Picture Saloon. Its intended grand classical façade decorated with 18 stone figures, a carved tympanum and 14 mosaics was not done for financial reasons and it was decorated instead with two tiled panels representing 'Leonardo expiring in the arms of Francis I', and 'Michaelangelo showing his Moses', together with four ceramic roundels depicting York artists William Etty (painter), John Carr (architect), John Camidge (musician), and John Flaxman (sculptor). To the rear of the building was a large temporary exhibition hall with machinery annex. The exhibition hall itself measured 200 ft (61 m) by 90 ft (27 m) and had aisles on each side with galleries above. A large organ was placed in the building, originally built in 1862 by William Telford of Dublin. The roof of the building was over 60 ft (18 m) above. Each side of the covered way between the hall and the stone building was used for refreshments with a cafe on one side and a first-class lounge on the other. A large cellar was excavated below in order to store liquor for these rooms.
The exhibition hall was intended to be used only for three years, but remained in use for meetings, concerts and other functions until 1909 and was not demolished until the Second World War.
Following the 1879 exhibition the renamed Yorkshire Fine Art and Industrial Institution aimed to create a permanent art exhibition. It was given a major boost by the bequest of York collector John Burton (1799–1882) of more than one hundred 19th-century paintings, supplemented by gifts and in the early years two major temporary loan collections. In 1888 the north galleries were leased to York School of Art, which moved there in 1890 from Minster Yard.
York City Council purchased the buildings and collection in 1892. Temporary summer exhibitions ceased in 1903 but a major exhibition of the work of York artist William Etty was held in 1911 when his statue by local sculptor George Walker Milburn was erected outside.
In 1888 the north wing was leased to York Art School which added a further storey in 1905, and after that the wing was vacated by the school. It housed the city archives from 1977 to 2012.
The period up to the commencement of the Second World War was one of modest growth, the major event being purchase of the Dr William Arthur Evelyn collection of prints, drawings and watercolours of York in 1931. The building was requisitioned for military purposes at the outbreak of the Second World War and closed, suffering bomb damage during the Baedeker Blitz on 29 April 1942.
The gallery reopened in 1948 with a small temporary exhibition before a major restoration in 1951–52 after which began a major revival of fortune under the direction of Hans Hess. He made important acquisitions with the assistance of the York Art Collection Society founded in 1948 (later Friends of York Art Gallery) and the National Art Collections Fund, and then in 1955 the donation of FD Lycett Green's collection of more than one hundred continental Old Master paintings. As a result of the systematic build up under Hess and his successors, the gallery has a British collection especially of late-19th-century and early-20th-century works with some French works representative of influential styles.
In 1963 the gallery was given Eric Milner-White's collection of studio pottery.
In 1979 a 15th-century painting of the Angel Gabriel and five saints by an artist of the Nuremberg School was stolen from the gallery. It was recovered and returned to the gallery in 2023 after an auction house in Dorchester linked it to a listing on the Art Loss Register.
In the 1990s and 2000s the collection was supplemented by other major donations and loans, most notably those of WA Ismay and Henry Rothschild (1913–2009).
In January 1999 the gallery was victim of an armed robbery, during which staff were tied up and threatened, and over £700,000 of paintings were stolen. At closing time, four members of staff were threatened by two men bearing pistols and wearing ski masks. They took a watercolour by J. M. W. Turner from a display case and 19 other paintings from the walls, cutting some of those from their frames.
The main perpetrator, Craig Townsend, was arrested by armed police when he, and another man, arrived at an arranged meeting with an art dealer to sell the stolen paintings. He was sentenced to 14 years in jail at York Crown Court in February 2000 for the robbery.
The gallery underwent a £445,000 refurbishment in 2005, reopening on 19 March. This development was supported by a £272,700 grant from the Heritage Lottery Fund and £85,000 from the City of York Council.
A restoration in 2013–15 cost £8 million, and was undertaken to increase display space by some 60%, including reincorporation of the north wing, an upper-floor extension to the south wing, and reorganisation of the internal space for exhibition and storage. The development enabled the area to the rear of the building to be restored to public use as part of the Museum Gardens. The reopened gallery houses the British Studio Ceramics on the upper floor. The gallery reopened on 1 August 2015, charging an admission fee for the first time since 2002. The first year after the gallery reopened with a new charging structure saw visitor numbers fall by over 120,000 to 91,896 compared to the year 2011–2012 when there was no admission charge.
During the 2020 exhibition of paintings by Harland Miller ("Harland Miller: York, So Good They Named it Once") it was reported that commemorative posters sold in the Art Gallery gift shop were being resold online for up to £1,000. The posters depicted a reworked version of Miller's 2009 work 'York – So Good They Named It Once'; part of his 'Pelican Bad Weather' series of humorous book covers.
In November 2020 the gallery announced that it had acquired works following a successful application to the Derbyshire School Library Service, which had owned the works but closed in 2018. The works acquired are by four British artists: Prunella Clough, Margaret Mellis, Marion Grace Hocken, and Daphne Fedarb.
The gallery has more than 1,000 paintings. Western European paintings include 14th-century Italian altarpieces, Annibale Carracci's early 17th-century Portrait of monsignor Giovanni Battista Agucchi, 17th-century Dutch morality works, and 19th-century works by French artists who were predecessors and contemporaries of the Impressionists. British paintings date from the 16th century onward, with 17th and 18th-century portraits and paintings by Giambattista Pittoni and vedutas by Bernardo Bellotto, Victorian morality works and early 20th-century work by the Camden Town Group associated with Walter Sickert being particularly strong. Among the contemporaries, Paul Nash, L. S. Lowry and Ben Nicholson and the Swiss-born Luigi Pericle. Amongst York born artists the gallery has the largest collection of works by William Etty and good paintings by Albert Moore. Henry Keyworth Raine, the great nephew of William Powell Frith, gifted various works, including a portrait of George Kirby (1845–1937), the First Curator of York Art gallery.
The gallery holds a collection of British studio ceramics with more than 5,000 pieces. They include works by Bernard Leach, Shoji Hamada, William Staite Murray, Michael Cardew, Lucie Rie, Hans Coper, Jim Malone and Michael Casson.
The collection of more than 17,000 drawings, watercolours and prints is particularly strong in views of York, with more than 4,000 examples, largely watercolours and drawings, some by local artists such as Henry Cave, John Harper, John Browne and Patrick Hall. Watercolour artists represented include Thomas Rowlandson, John Varley, Thomas Girtin, J. M. W. Turner, and 20th-century painters Edward Burra, John Piper and Julian Trevelyan. The gallery holds the William Etty archive.
There are more than 3,000 decorative objects particularly from Yorkshire potteries from the 16th century to the early 20th century, Chinese and Korean pottery from the 18th and 19th century, and glassware.
Curators and directors
George KirbyCurator1879–1931
Hans HessCurator1947–1967
Peter TomoryAssistant Curator1950–1956
John IngamellsCurator1967–1977
Richard GreenCurator1977–2003
Caroline WorthingtonCurator of Art2003–2008
Laura TurnerCurator of Art2008–2017
Vera PavlovaSenior Curator of York Art Gallery 2017–2018
Beatrice BertramSenior Curator of York Art Gallery2018 – current
Many exhibitions have taken place in the gallery, of varying sizes and length. The exhibition schedule from 2020 onwards has included a mix of touring exhibitions and internal exhibitions, often linked to wider events in the city and internationally.
Awards
Visit York Tourism Awards: Visitor Attraction of the Year 2016 (Over 50,000 Visitors category) (winner).
Art Fund: Museum of the Year 2016 (finalist).
Kids in Museums: Family Friendly Museum Award 2016 (winner).
European Museum Forum: European Museum of the Year 2017 (nominated). Special commendation received.
York is a cathedral city in North Yorkshire, England, with Roman origins, sited at the confluence of the rivers Ouse and Foss. It is the county town of Yorkshire. The city has many historic buildings and other structures, such as a minster, castle, and city walls. It is the largest settlement and the administrative centre of the wider City of York district. Through the title of Duke of York, it is the namesake of New York City.
The city was founded under the name of Eboracum in 71 AD. It then became the capital of the Roman province of Britannia Inferior, and later of the kingdoms of Deira, Northumbria, and Scandinavian York. In the Middle Ages, it became the northern England ecclesiastical province's centre, and grew as a wool-trading centre. In the 19th century, it became a major railway network hub and confectionery manufacturing centre. In the Second World War, part of the Baedeker Blitz bombed the city. Although less targeted during the war than other, more industrialised northern cities, several historic buildings were gutted and restoration took place up until the 1960s.
The city is one of 15 in England to have a lord mayor, and one of three to have "The Right Honourable" title affixed, the others being London's and Bristol's. Historic governance of the city was as a county corporate, not included in the county's riding system. The city has since been covered by a municipal borough, county borough, and since 1996 a non-metropolitan district (the City of York), which also includes surrounding villages and rural areas, and the town of Haxby. The current district's local council is responsible for providing all local services and facilities throughout this area. York's built-up area had a population of 141,685 at the 2021 UK census, and the wider city (the local government district) had a population of 202,800, a 2.4% increase compared to the 2011 census.
The history of York, England, as a city dates to the beginning of the first millennium AD but archaeological evidence for the presence of people in the region of York dates back much further to between 8000 and 7000 BC. As York was a town in Roman times, its Celtic name is recorded in Roman sources (as Eboracum and Eburacum); after 400, Angles took over the area and adapted the name by folk etymology to Old English Eoforwīc or Eoforīc, which means "wild-boar town" or "rich in wild-boar". The Vikings, who took over the area later, in turn adapted the name by folk etymology to Norse Jórvík meaning "wild-boar bay", 'jór' being a contraction of the Old Norse word for wild boar, 'jǫfurr'. The modern Welsh name is Efrog.
After the Anglian settlement of the North of England, Anglian York was first capital of Deira and later Northumbria, and by the early 7th century, York was an important royal centre for the Northumbrian kings. Following the Norman Conquest of 1066 York was substantially damaged, but in time became an important urban centre as the administrative centre of the county of Yorkshire. York prospered during much of the later medieval era; the later years of the 14th and the earlier years of the 15th centuries were characterised by particular prosperity. During the English Civil War, the city was regarded as a Royalist stronghold and was besieged and eventually captured by Parliamentary forces under Lord Fairfax in 1644. After the war, York retained its pre-eminence in the North, and, by 1660, was the third-largest city in England after London and Norwich.
Modern York has 34 Conservation Areas, 2,084 Listed buildings and 22 Scheduled Ancient Monuments in its care. Every year, thousands of tourists come to see the surviving medieval buildings, interspersed with Roman and Viking remains and Georgian architecture.
Archaeological evidence suggests that people were settled in the region of York between 8000 and 7000 BC, although it is not known if these were permanent or temporary settlements. Polished stone axes indicate the presence of people during the Neolithic period in the area where the city of York is now, especially on the south-west bank of the River Ouse, just outside the city centre near where Scarborough Bridge is now. Evidence for people continues into the Bronze Age with a hoard of flint tools and weapons found by Holgate Beck between the railway and the River Ouse, burials and bronzes found on both sides of the River Ouse and a beaker vessel found in Bootham. Iron Age burials have been found near the area on the south-west bank of the Ouse where the concentration of Neolithic axes was found. Few other finds from this period have been found in York itself, but evidence of a late Iron Age farmstead has been uncovered at Lingcroft Farm 3 miles (4.8 km) away at Naburn.
The Romans called the tribes in the region around York the Brigantes and the Parisii. York may have been on the border between these two tribes. During the Roman conquest of Britain the Brigantes became a Roman client state, but, when their leadership changed becoming more hostile to Rome, Roman General Quintus Petillius Cerialis led the Ninth Legion north of the Humber.
York was founded in 71 AD when Cerialis and the Ninth Legion constructed a military fortress (castra) on flat ground above the River Ouse near its junction with the River Foss. The fortress was later rebuilt in stone, covered an area of 50 acres, and was inhabited by 6,000 soldiers. The earliest known mention of Eburacum by name is from a wooden stylus tablet from the Roman fortress of Vindolanda along Hadrian's Wall, dated to c. 95–104 AD, where it is called Eburaci. Much of the Roman fortress lies under the foundations of York Minster, and excavations in the Minster's undercroft have revealed some of the original walls.
At some time between 109 AD and 122 AD the garrison of the Ninth Legion was replaced by the Sixth Legion. There is no documented trace of the Ninth Legion after 117 AD, and various theories have been proposed as to what happened to it. The Sixth Legion remained in York until the end of Roman occupation about 400 AD. The Emperors Hadrian, Septimius Severus and Constantius I all held court in York during their various campaigns. During his stay, the Emperor Severus proclaimed York capital of the province of Britannia Inferior, and it is likely that it was he who granted York the privileges of a colonia or city. Constantius I died during his stay in York, and his son Constantine the Great was proclaimed Emperor by the troops based in the fortress.
Economically the military presence was important with workshops growing up to supply the needs of the 5,000 troops garrisoned there and in its early stages York operated a command economy. Production included military pottery until the mid-third century; military tile kilns have been found in the Aldwark-Peasholme Green area, glassworking at Coppergate, metalworks and leatherworks producing military equipment in Tanner Row. New trading opportunities led local people to create a permanent civilian settlement on the south-west bank of the River Ouse opposite the fortress. By 237 it had been made a colonia one of only four in Britain and the others were founded for retired soldiers. York was self-governing, with a council made up of rich locals, including merchants, and veteran soldiers.
Evidence of Roman religious beliefs in York have been found including altars to Mars, Hercules, Jupiter and Fortune, while phallic amulets are the most commonly found type of good luck charm. In terms of number of reference the most popular deities were the spiritual representation (genius) of York and the Mother Goddess; there is also evidence of local or regional deities. There was also a Christian community in York although it is not known when it was first formed and there is virtually no archaeological record of it. The first evidence of this community is a document noting the attendance of Bishop Eborius of Eboracum at the Council of Arles (314), and bishops also attended the First Council of Nicaea in 325, the Council of Serdica, and the Council of Ariminum.
By 400 AD York's fortunes had changed for the worse. The town was undergoing periodic winter floods from the rivers Ouse and Foss, its wharf-side facilities were buried under several feet of silt and the primary Roman bridge connecting the town with the fortress may have become derelict. By this time Eboracum was probably no longer a population centre, though it likely remained a centre of authority. While the colonia remained above flood levels, it was largely abandoned as well, retaining only a small ribbon of population for a time.
There is little written evidence about York in the centuries following the Roman withdrawal from Britain in 410, a pattern repeated throughout Sub-Roman Britain. There is archaeological evidence for continued settlement at York near the Ouse in the 5th century, and private Roman houses, especially suburban villas, remained occupied after the Roman withdrawal.
Some scholars have suggested that York remained a significant regional centre for the Britons, based largely on literary evidence. Several manuscripts of the Historia Brittonum, written c. 830, contain a list of 28 or 33 "civitates", originally used to describe British tribal centres under Roman rule but here translated as Old Welsh cair (caer) and probably indicating "fortified cities". Among these settlements is Cair Ebrauc. Later, the text states that Ida was the first Anglian king of Bernicia and ruler over Cair Ebrauc. These are generally taken as references to a successor to old Roman Eburacum. This mention has led to speculation about Ebrauc in post-Roman times.
Christopher Allen Snyder makes note of the evidence for Eboracum continuing to function, perhaps as a military outpost or the seat of a minor kingdom based on some old territory of the Brigantes. Snyder cites historian and archaeologist Nick Higham in saying that the settlement had declined so much by the end of the Roman period that it was unlikely to have been a significant post-Roman regional centre.
Scholar Peter Field suggests that the City of Legions (urbs legionum) mentioned by Gildas in his 6th-century De Excidio et Conquestu Britanniae is a reference to York, rather than Caerleon; if this were the case it could provide some contemporary information about Ebrauc.
A Peredur son of Efrawg is the hero of a 12th- or 13th-century Welsh romance; this would have been a variant of Ebrauc along with "Efrawg" or "Efrog", suggesting the city had royal associations in later tradition.
What later became parts of the North Riding and City of York were conquered by a Bythonic to early Angle version of Deira, Based around the Derwent.
Angles settled in the area in the early 5th century. Cemeteries that are identifiably Anglian date from this period. Cremation cemeteries from the 6th century have been excavated close to York on The Mount and at Heworth; there are, however, few objects from inside the city, and whether York was settled at all at this period remains unclear. The fortress's fate after 400 AD is not clear, it is unlikely to have been a base of Romano-British power in opposition to the Anglians. Flooded area reclamation would not be initiated until the 7th century under Edwin of Northumbria. After Angle settlement of Northern England, York was the Anglo-capital of Deira and one of the capitals when the kingdom united with Bernicia, later known as Northumbria.
By the early 7th century, York was an important royal centre for the Northumbrian kings, for it was here that Paulinus of York (later St Paulinus) came to set up his wooden church, the precursor of York Minster, and it was here that King Edwin of Northumbria was baptised in 627. The first Minster is believed to have been built in 627, although the location of the early Minster is a matter of dispute.
Throughout the succeeding centuries, York remained an important royal and ecclesiastical centre, the seat of a bishop, and later, from 735, of an archbishop. Very little about Anglian York is known and few documents survive. It is known that the building and rebuilding of the Minster was carried out, along with the construction of a thirty-altar church dedicated to Alma Sophia (Holy Wisdom), which may have been on the same site.
York became a centre of learning under Northumbrian rule, with the establishment of the library and school, the ancestor of St Peter's School. Alcuin, later adviser to Charlemagne, was its most distinguished pupil and then master.
Of this great royal and ecclesiastical centre, little is yet known archaeologically. Excavations on the Roman fortress walls have shown that they may have survived more or less intact for much of their circuit, and the Anglian Tower, a small square tower built to fill a gap in the Roman way, may be a repair of the Anglian period. The survival of the walls and gates shows that the Roman street pattern survived, at least in part, inside the fortress. Certainly excavations beneath York Minster have shown that the great hall of the Roman headquarters building still stood and was used until the 9th century.
By the 8th century York was an active commercial centre with established trading links to other areas of England, northern France, the Low Countries and the Rhineland. Excavations near the junction of the River Foss and River Ouse in Fishergate found buildings dating from the 7th and 9th century. These were located away from the Roman centre of the city may form a trading settlement that served the royal and ecclesiastical century. This and other discoveries indicate an occupation pattern during the 7th to 9th century that followed the line of the rivers, creating a long linear settlement along the River Ouse and extending along some of the River Foss.
In November 866 AD a large army of Danish Vikings, called the "Great Heathen Army", captured York, unopposed due to conflict in the Kingdom of Northumbria. The next year they held the city when the Northumbrians tried to retake it; the army left the same year putting a local puppet king in charge of York and the area around York they controlled. The army returned in 875 and its leader Halfdan took control of York. From York, Viking kings ruled an area, known to historians as "The Kingdom of Jorvik", with Danes migrating and settling in large numbers in the Kingdom and in York. In York the Old Norse placename Konungsgurtha, Kings Court, recorded in the late 14th century in relation to an area immediately outside the site of the porta principalis sinistra, the west gatehouse of the Roman encampment, perpetuated today as King's Square, perhaps indicates a Viking royal palace site based on the remains of the east gate of the Roman fortress. In 954 the last Viking king, Eric Bloodaxe, was expelled and his kingdom was incorporated in the newly consolidated Anglo-Saxon state.
A renowned scholar of this era was Wulfstan II, Archbishop of York.
Several churches were built in York during the Viking Age including St Olave's, built before 1055 on Marygate, which is dedicated to St. Olaf King of Norway and St Mary Bishophill Junior which has a 10th century tower whose height was increased in the early 11th century.
Following the Norman Conquest of 1066, York was substantially damaged by the punitive harrying of the north (1069) launched by William the Conqueror in response to regional revolt. Two castles were erected in the city on either side of the River Ouse. In time York became an important urban centre as the administrative centre of the county of Yorkshire, as the seat of an archbishop, and at times in the later 13th and 14th centuries as an alternative seat of royal government. It was an important trading centre. Several religious houses were founded following the Conquest, including St Mary's Abbey and Holy Trinity Priory. The city as a possession of the crown also came to house a substantial Jewish community under the protection of the sheriff.
On 16 March 1190 a mob of townsfolk forced the Jews in York to flee into the castle keep (later replaced by Clifford's Tower), which was under the control of the sheriff. The castle was set on fire and the Jews were massacred. It is likely that various local magnates who were debtors of the Jews helped instigate this massacre or, at least, did nothing to prevent it. It came during a time of widespread attacks against Jews in Britain. The Jewish community in York did recover after the massacre and a Jewish presence remained in York until the expulsion of Jews from England in 1290.
York prospered during much of the later medieval era. Twenty-one medieval parish churches survive in whole or in part, though only eight of these are regularly used for worship. Many medieval era timber-framed buildings survive in the city. While Slum clearances in the 19th century removed some of the more decrepit ancient examples of medieval architecture in the city, such as the medieval Water Lanes, streets such as The Shambles still survive to this day. The Shambles mostly date from the later medieval era with many examples of timber-framed shops with overhanging upper floors. The street was originally occupied by butchers but is now a popular tourist attraction consisting of mostly souvenir shops. Some retain the outdoor shelves and the hooks on which meat was displayed. The medieval city walls, with their entrance gates, known as bars, encompassed virtually the entire city and survive to this day. The city was also designated as a county corporate, giving it effective county status.
The later years of the 14th and the earlier years of the 15th centuries were characterised by particular prosperity. It is in this period that the York Mystery Plays, a regular cycle of religious pageants (or plays) associated with the Corpus Christi cycle and performed by the various craft guilds grew up. Among the more important personages associated with this period was Nicholas Blackburn senior, Lord Mayor in 1412 and a leading merchant. He is depicted with his wife Margaret Blackburn in glass in the (now) east window of All Saints' Church in North Street. There seems to have been economic contraction and a dwindling in York's regional importance in the period from the later 15th century. The construction of the city's new Guildhall around the middle of the century can be seen as an attempt to project civic confidence in the face of growing uncertainty. Brandsby-type ware and Humber ware ceramics were popular in the city at this time.
Few buildings of significance were put up in the century after the completion of the Minster in 1472, the exceptions being the completion of the King's Manor (which from 1537 to 1641 housed the Council of the North) and the rebuilding of the church of St. Michael le Belfrey, where Guy Fawkes was baptised in 1570.
During the dissolution of the monasteries all the monastic institutions in the City were closed including St. Leonards Hospital and in 1539 St. Mary's Abbey. In 1547, fifteen parish churches were closed, reducing their number from forty to twenty-five, a reflection of the decline in the city's population. Despite the English Reformation making the practice of Roman Catholicism illegal, a Catholic Christian community remained in York although this was mainly in secret. Its members included St. Margaret Clitherow who was executed in 1586 for harbouring a priest and Guy Fawkes who tried to blow up the Houses of Parliament in 1605.
Following his break with Parliament, King Charles I established his Court in York in 1642 for six months. Subsequently, during the English Civil War, the city was regarded as a Royalist stronghold and was besieged and eventually captured by Parliamentary forces under Lord Fairfax in 1644. After the war, York slowly regained its former pre-eminence in the North, and, by 1660, was the third-largest city in England after London and Norwich.
In 1686 the Bar Convent was founded, in secret due to anti-catholic Laws, making it the oldest surviving convent in England.
York elected two members to the Unreformed House of Commons.
The Judges Lodgings is a Grade I listed townhouse that was built between 1711 and 1726 and later used to house judges when they attended the quarterly sessions of the Assizes at York Castle.
On 22 March 1739 the highwayman Dick Turpin was convicted at the York Grand Jury House of horse-stealing, and was hanged at the Knavesmire on 7 April 1739. Turpin is buried in the churchyard of St George's Church, where his tombstone also shows his alias, John Palmer.
In 1740, the city's first hospital, York County Hospital, opened in Monkgate and it moved into larger premises in 1745. The building was funded by public subscription. The building was expanded on the same site in 1851, and finally closed in 1976 when York District Hospital was opened.
In 1796 Quaker William Tuke founded The Retreat, a hospital for the mentally ill, situated in the east of the city outside the city walls, which used moral treatment.
The Yorkshire Museum was opened in 1830, and the British Association for the Advancement of Science held its first meeting here in 1831.
Largely thanks to the efforts of "Railway King" George Hudson, York became a major centre for the railways during the 19th century, a status it maintained well into the 20th century. The Colliergate drill hall was completed in 1872 and the Tower Street drill hall was completed in 1885.
On 29 April 1942, York was bombed as part of the retaliatory Baedeker Blitz by the German Luftwaffe; 92 people were killed and hundreds injured. Buildings damaged in the raid included the Railway Station, Rowntree's Factory, St Martin-le-Grand Church, the Bar Convent and the Guildhall which was completely gutted and not restored until 1960.
During the Cold War the headquarters of the Number 20 Group, Royal Observer Corps was moved to the newly constructed York Cold War Bunker in the Holgate area of town. It was opened on 16 December 1961, was in operation until 1991, and was then turned into a museum owned by English Heritage. In 1971 York was made an army Saluting Station, firing gun salutes five times a year such as the Queen's Birthday. The date marked 1900 years of army in York. The University of York was launched on sites at Heslington and the King's Manor and took its first students in 1963. In 1975 the National Railway Museum was opened, near the centre of York.
In October and November 2000 the River Ouse rose and York experienced very severe flooding; over 300 houses were flooded though no-one was seriously hurt.
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