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Later it was used as a burial place because prior to the nineteenth century it had a slab on which was a matrix for a brass which depicted the outline of a lady, surrounded by shields. These were extremely difficult to see as they canon 23223340 partially covered with the remnants of medieval paintwork. The marks arc also to be observed in bays Canon 23223340. It is interesting to note that the marks two intersecting Vs and a single arrow have been so positioned as to form a Trinity with the single arrow mark at the apex and pointing downwards. Indeed, as architect at the time of construction, he would not normally have put his mark on them.

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Of great interest here is the beautiful canopied tomb of a priest that lies witnin the south aisle. Its position in the south aisle, clashes with that of the south-east window, and owing to canon 23223340, it has suffered extensive damage to the canopy.

In the past it has canon 23223340 stated that this tomb possibly came from Burstall Priory. Minute examination both inside and outside convincingly sets aside this assumption.

Clearly, if the tomb canon 23223340 been dismantled and brought here after the Dissolution, surely it would have been placed centrally between the two south aisle windows without any structural interference. As it now is, the tomb with canon 23223340 piscina forms a correct composition as an integral part of a chantry chapel at the east end of this aisle. Evidence of a chantry chapel can be seen on the east pier of the nave arcade on the south side. Here there are remains of cuttings for the parclose screens of this chapel, which were to admit screens both to the east and the south, thereby completely enclosing the altar, the tomb and its piscina.

The tomb combines two functions, that of a tomb with that part of the south aisle as a chantry chapel, and on the outside what could best be described as an external chantry for the benefit of the public at large. Comparisons with this are to be seen at Lichfield Cathedral and some Somerset churches. Outside the most arresting feature after the niche and canopy arrangement is the ashlar work above and the rest of the south aisle wall, taking a form almost akin to marquetry. This is indeed work of the very highest quality canon 23223340 only for this area, but on a wider scale and certainly mirrors the general quality of the work inside.

This would in itself indicate to the casual visitor that there was something very special on the inside, and this is at once confirmed with his first view of the tomb from the south door.

Shattered as it is, the tomb can still vie with the best in the land for opulence and magnificence 13 R. Either of these might therefore be the name of the mason. John Harvey for this. The tomb consists of a segmental arch over which is a complex of ogee niche and canopy work, flanked on the cast and west by decorated buttresses. Under the arch a canon 23223340 contains the effigy of a priest wearing mass vestments.

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Two more form corbel supports on the wall at the back of the recess and others on each return wall; on the semi-circular arch are two more utilised as label-stops. In the nichcwork above is to be seen exuberant tracery of Curvilinear style out of which myriads of angels canon 23223340 to be diving through the tracery as if from Heaven. One cannot fail to be moved by this spectacular display. On the other hand, the recess is vaulted by a plain net vault unadorned except for its supporting corbels.

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The cfhgy canon 23223340 the priest and the coffin arc carved from canon 23223340 huge slab of oolitic limestone. The coffin is embattled all round with twelve crenellations on the front, eleven at the back, three at the head and two at the feet.

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The front is carved with a flowing band which is punctuated by the four signs of the Evangelists. Here there is a departure from the normal practice of placing these symmetrically. The fine detail of the carving has disappeared, but if one identifies the symbols from east to west as those of Matthew, Mark, Luke and John, it would go some way towards unravelling the curious representations described here. There seems to have been a deliberate intention to provoke allusion to the Canon 23223340 theorem, the Trinity, the Four Gospels and the Pentateuch. The signs of the Evangelists are placed on the side of the coffin.


The two central signs are canon 23223340 symmetrically measuring from the east, but from the west are asymmetrical. This of course breaks up the flowing band.

From the west and between John and Luke there are three trefoils. Between Luke and Mark there are four trefoils, canon 23223340 between Mark and Matthew there are five trefoils. The spacing between Matthew, Mark and Luke is equal, but in one there are four trefoils and in the other five trefoils have been placed in a cramped way. The same allusion is to be seen in the composition of the segmental arch, forming an almost perfect third of a circle. The canon 23223340 foliated cusping within the arch encloses four bi-foliatcd falchions; hence the system of three, four and five. These added together come to twelve; the number of crenellations on the front side ol the coffin. Is Stylistically, the remains of the tomb have strong connections with the work in Beverley Minster described above.

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