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THE YORK STORY, CASTLEGATE, YORK
Grade I Listed
List Entry Number: 1259342
Details
YORK
SE6051NW CASTLEGATE 1112-1/28/146 (North East side) 14/06/54 The York Story (Formerly Listed as: CASTLEGATE The Heritage Centre)
GV I
Formerly known as: Church of St Mary CASTLEGATE. Parish church, now exhibition centre. C15, incorporating remnants of early C11 nave, north arcades of C12 and C14, and south arcade of early C13. Restoration of 1867-70 included new east window, re-roofing and renewal of east end parapet. Church redundant in 1958; converted to exhibition centre 1974-75. C19 restoration by William Butterfield. C20 conversion by George Pace and Ronald Sims.
MATERIALS: magnesian limestone incorporating re-used gritstone; roofs of slate and lead.
EXTERIOR: chancel and north and south chapels; 3-bay nave with low clerestory, and 4-bay north and south aisles; embraced west tower and spire. Clerestory obscured by parapet, embattled at east end and on south side, plain elsewhere. Church is supported on all sides by buttresses with offsets, most with gabled pinnacles and gargoyles. Chancel and chapels on single chamfered plinth, remainder of church and tower on double chamfered plinth. Windows generally have hoodmoulds on corbel or head stops. Renewed east window is pointed, of 3 stepped cinquefoiled lights beneath panel traceried head. East window of north chapel is pointed, of 3 cinquefoiled lights beneath two tiers of panel tracery with embattled transoms. Sill band below east window stepped down beneath north chapel window. South chapel is set back and has pointed east window of 3 lights, now altered to doorway. On north side, easternmost bay has inserted pointed arched doorway; towards west end is blocked C14 doorway with 2-centred moulded arch; both doors beneath square-headed windows. Windows generally are square-headed, of 2 or 3 trefoiled or cinquefoiled ogee-arched lights beneath embattled transoms and panel tracery. Towards the east end is reset square-headed C14 window of 4 trefoiled lights with cusped curvilinear tracery. Western window beneath tower is pointed, of 3 foiled ogee-arched lights beneath two tiers of panel tracery. Moulded string, stepped in places, runs beneath windows. C19 south door in pointed arch of two orders, the inner chamfered, the outer roll-moulded and springing from carved corbels; square-headed window above. To west of door, length of C13 masonry incorporating original lancet survives. Below, and to west of, chancel south window is blocked segment-arched doorway. Elsewhere windows correspond to those on north side. 3-stage tower has square ground stage, surmounted by embattled parapet and walkway; second and belfry stages are octagonal, with broaches at the base, from which tapering buttresses with gargoyles rise above plain parapet to crocketed pinnacles; recessed spire is octagonal. Pointed west window has 5 cinquefoiled lights beneath double tier of panel tracery with embattled transoms. On each side of window is a carved corbel beneath trefoiled ogee-arched canopy, rib-vaulted on the underside, and surmounted by a crocket. Above the window is a vaulted niche, with trefoiled arch and steep crocketed canopy, housing a defaced figure of the Virgin Mary seated behind a balustrade. At west end of north aisle is doorway in 4-centred moulded arch, to south of low window of 5 foiled lights, 3 round-headed, 2 lancets. Above is a pointed window of 3 trefoiled round-headed lights beneath panel traceried head broken by encircled quatrefoil. Windows to west end of south aisle and south face of tower are of the same type. Upper stages of tower have tall similar windows, partly louvred and banded with panel tracery at belfry level, to three cardinal faces: the fourth, to east, has intersecting tracery in the head. Tall spire is crowned by gilded weathercock.
INTERIOR: chancel. 3-bay north arcade, with eastern arch of 2 chamfered orders on half-octagonal responds with moulded capitals and chamfered bases: narrow centre arch, continuously moulded, beneath crocketed hoodmould on headstops: 4-centred western arch of 2 chamfered orders on chamfered responds, with square capitals, coved on lower side, and later, moulded capitals superimposed. 2-bay south arcade, with eastern arch of continuous rolled and filleted mouldings beneath crocketed ogee hood: wide, double chamfered western arch on half-octagonal responds with moulded capitals and bases. Double chamfered chancel arch, inner order only with moulded capitals, outer continuous, beneath coved hoodmould on headstops. Flanking walls retain masonry of original church. Nave north arcade of three double chamfered arches beneath continuous hoodmould on animal headstops. Eastern arches are tall and pointed on half-cylindrical respond with moulded base and scalloped capital, and cylindrical piers with square abaci, one with scalloped capital, one with incised waterleaf. Western arch dies into octagonal tower pier on chamfered base, broach-stopped on to square plinth. South arcade of three double chamfered arches, two pointed, one semicircular, beneath continuous hoodmould on headstops. Half cylindrical east respond with moulded base and half-octagonal capital. First pier is octagonal, on moulded base, with octagonal capital; second pier cylindrical with double roll-moulded base on square plinth, and nailhead capital. Tower pier to west corresponds to that opposite. South aisle arch narrow, pointed, double chamfered,on responds with simple moulded capitals. Clerestory on both sides has 1-light window towards east end, and another of 3 cinquefoiled lights over the second pier. Tower arches of 2 hollow-chamfered orders dying into piers, south arch narrower than north arch. Western responds are half-octagonal with chamfered bases, broach-stopped on to square plinths. To north of west window, pointed chamfered doorway to tower stair. At west end of north aisle, former chapel doorway has 2-centred arch in deep hollow-chamfered surround. In chancel south wall, C19 piscina and restored sedilia of 3 stalls beneath cinquefoiled ogee-arched heads. In north chapel (now in staff lavatory), piscina in 2-centred arch with defaced cusping: arched tomb recess with filleted roll moulding (in staff room). In south chapel, aumbry in rebated surround, and piscina in trefoiled ogee arch; on east wall, 2 half-octagonal brackets with carved angels, each bearing heraldic shield of arms of the Graa family. In north aisle, three arched tomb recesses and plain round-headed stoup without bowl. Blocked chamfered north doorway with segmental head. In south aisle, rebated aumbry and piscina in 2-centred, hollow-chamfered arch. Beside south door, hollow niche for stoup, without bowl, in arched opening. Roofs. Chancel: principal rafter trusses with moulded and embattled, cambered ties on corbelheads, with pierced spandrels and panel-traceried tympana. Chancel north chapel and nave: king post trusses with moulded and embattled, cambered tie beams on moulded corbels, with pierced spandrels and cusped braces. Mutilated stone, c1000, discovered during restoration of 1870 and now attached to east respond of north aisle arcade, records the dedication of the church "in the name of our Lord Jesus Christ and of St Mary and St Martin and of St Cuthbert and of all the saints".
MONUMENTS: south chapel - two wall tablets moved from North Chapel: Lewis West (d.1718) and wife Dorcas (d.1732); Richard Coulton (d.1713), Rector, and wife Elizabeth (d.1731). Also to Elizabeth Tweedy (d.1811), and husband John (d.1842). North aisle - tablet to William Mushet, MD, (d.1792), by Fisher of York; also to Rawlins Gould (d.1873). South aisle - William Mason (d.1708) and wife, Jane. (City of York: RCHME: The Central Area: HMSO: 1981-: 30-36).
Listing NGR: SE6043851626
historicengland.org.uk/listing/the-list/list-entry/1259342
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St Mary Castlegate, York.
York St Mary’s is a beautiful medieval church which opened as a contemporary art venue in 2004.
From 2013 – 2015, York St Mary’s opened for a longer season with even more exhibitions during the closure of York Art Gallery for a major re-development project.
The church itself could date back as far as 1020 and a dedication stone inside bears an inscription saying it was built by ‘Efrard & Grim & Aese’. The remains of the original Saxon church are limited to stonework in the body of the church close to the chancel.
The bulk of the building dates to the early 13th century, with 14th and 15th century modifications and alterations. Records of burials in the church suggest it was a fashionable church towards the end of the medieval period. It has the tallest steeple in York at 47 metres high.
York St Mary’s was deconsecrated in 1958 and between 1975 and 2001 was a heritage centre.
www.yorkstmarys.org.uk/about-us/history-of-york-st-marys/
en.wikipedia.org/wiki/St_Mary%27s_Church,_Castlegate,_York
Mirrored pavilion in Castlegate, Aberdeen designed by Lucy Fisher from Scott Sutherland School of Architecture, Robert Gordon University (RGU) for the Festival of Architecture and Look Again Festival 2016
Looking north from the top of Clifford's Tower, in York, Towards the Minster and the steeple of St Mary Castlegate.
Clifford's Tower was the central stronghold of the medieval York Castle, in the historical northern English city.
The castle was built by William the Conqueror after the Norman conquest of Britain, with building work begun in 1069AD, to secure his hold on the north of England.
The original wooden structure was burnt to the ground in 1190AD after the city’s Jews took refuge inside the tower to escape a baying mob – it didn’t work and they committed mass suicide.
King Henry III rebuilt the castle between 1245 and 1272 and Clifford’s Tower is now all that remains, aside from some stretches of walls to the south. The tower was the original keep of the castle and comprised two floors of private rooms and a chapel.
The tower stands on top of a large earth mound and is now looked after by English heritage. From the ramparts there are views out over the modern city of York, including the Minster, the River Ouse and the city’s many churches and historical buildings.
York St Mary’s is a medieval church dating back to the 11th century and now a cultural arts centre in the heart of the old city.
Most of the church which is now standing dates from the 13th to 15th centuries, with a little of the original Saxon stonework to be found within the body of the church.
The church has the tallest steeple in York, standing 47 metres high and was deconsecrated between 1958 and 1975. In 2001 it was made a heritage centre.
York Minster dominates the skyline of the city of York and is the centre of religious worship for mile around.
Britain’s largest Gothic building, construction was begun under the Normans by Thomas of Bayeux in 1080AD, though the oldest structure still in existence dates from 1220AD.
Construction took place until the end of the 15th century, when a new central tower was built to replace the 13th century version, which had collapsed and needed to be rebuilt. The tower is built in the perpendicular style, as is the quire, which dates to 100 years earlier.
The Minster is home to a spectacular collection of stained-glass windows, while beneath the modern cathedral, it is possible to take a tour of the crypts and see the foundations for the churches and buildings which have stood on the site for thousands of years.
It is also possible to climb to the top of the tower, up 275 steps, for views of the surrounding city and countryside and the top of the Minster itself.
Lunch at Castlegate Café, Helmsley: Spicy pulled pork and mozzarella toasted Panini with salad, £6-7 ish. Pulled pork products seem to be in vogue at the moment! This wasn't spicy after all but was succulent and tasty, plus it came with their delicious sweet and sour beetroot. Overall 7.5/10
The Manors Power Station was built between 1901 and 1904 to generate electricity for the Newcastle Electric Trams system and the new electrically driven cranes on Newcastle’s Quayside.
Electricity generation for the trollybus system stopped in 1966, after which the building was used as a maintenance centre. Later it was used as an indoor car park.
During the construction of the Metro system in the 70’s a full size mockup station was constructed in the Turbine Hall for training purposes.
Stagecoach owned the building until 1996, after which it was bought by City Church. The building was renamed CastleGate and the Turbine Hall is used as a Conference Centre.
The Turbine Hall still houses a giant 50 ton crane, once used to lift new turbines into place.
Location: Melbourne Street, Newcastle upon Tyne, NE1 2JQ
Exchange Street, Sheffield.
The Market Tavern, 27 Exchange Street, late c19-early c20.
The Market Tavern has seen more name changes than any public house in Sheffield. This may be its last - demolition is threatened.
The Blue Boar is a pub on Castlegate in the city centre of York, in England.
The Blue Boar was a Mediaeval inn on the street. Among its guests were Roger Cottam, envoy to Henry VII of England, and many Royalist soldiers preparing for the Siege of York. It was demolished in about 1730 and replaced by the current building, along with the neighbouring 1 and 3 Castlegate. A tradition states that the body of Dick Turpin was kept in the cellar of the pub overnight, after his execution, and that the landlord of the pub allowed patrons to see the body, for a small fee. An additional tradition claims that Turpin's ghost haunts the pub.
In 1770, the Robin Hood pub opened on the street, probably as a direct replacement for the Blue Boar, although it is not certain whether it occupied the same building. It became an important coaching inn, with coaches running daily to Hull and Leeds, and from 1816 also to Selby, along with less regular routes to Richmond, Barnard Castle, Howden and Bubwith. In Walter Scott's novel, The Heart of Midlothian, the Seven Stars pub is thought to be based on the Robin Hood.
The front of the pub was rebuilt in 1851, including a carriage arch leading to former stables at the rear, and the pub was extended into part of 3 Castlegate. In about 1894, the pub was again renamed, as the Little John. It has since been internally rebuilt, and an extension added. In 1971, it was Grade II listed, along with the attached cast iron carriage gates.
Between 1971 and 2011, it had another name change, it became The Little John keeping its connection with Sherwood Forest.
The Pub closed in 2011,but reopened the following year, returning to the Blue Boar name.
I believe the Blue Boar was once a resident of Sherwood Forest.
Castlegate, Sheffield.
Here, the River Sheaf re-emerges after passing through a long tunnel beneath Sheffield Railway Station. The Sheaf joins the River Don at this point. The tunnel carries an AD 1916 date stone.
On the left are the former gents toilets which, I believe, are Grade ll listed as an integral part of the listed Blonk Bridge (extreme left).
Sheffield's fast flowing rivers provided waterpower for the cutler's wheels that fuelled the city's early industrial success. But as Sheffield continued to expand and prosper, the rivers suffered. They were dammed and diverted, and in some places completely disappeared beneath the growing city. The age of railways and canals help to redraw the landscape of the city and by the 20th century Sheffield's ancient rivers were a mere footnote in the urban landscape.
The Castlegate in Aberdeen was chosen as the site for this beautiful Gordon Highlanders statue because this was the site of their original 1700s barracks before moving to the Bridge of Don. Castlegate Barracks was located at the end of Union Street and Castle Street, affording views over the harbour.
St Mary Castlegate is one of the largest of York's many medieval churches and is situated in the south of the old city centre. It ceased to be used for worship several decades ago and for a while was used as the city's heritage centre. Now the interior has been opened up again and used as exhibition space for contemporary art.
The building is mostly of 14th & 15th century construction and is marked by a tapering spire rising from a slender octagonal tower (a feature of a few York city churches). The interior is devoid of its old furnishings, all removed prior to its conversion to secular use, but some fragments of medieval glass survive, reset into a window at the east end of the south aisle.
I am not sure what the current opening times of the church are, but it is safe to assume it will be open as long as there is work exhibited inside. This is an imaginative and sensitive re-use of a redundant parish church and allows visitors to enjoy both the exhibits and the entirety of the building's interior, much more than its previous incarnation did.