. The Yorkshire coast and the Cleveland hills and dales;. tical art, his destructive power fellshort of his iconoclastic zeal, and the sadly-injuredpaintings were again exposed in the year 1878. Suchwas their condition that restoration became necessary ifthey were to be preserved, and the work has been mostconscientiously and carefully carried out. Happily,where doubts arose, access could be had to a series ofdrawings made for the Yorkshire Architectural Societywhen first the paintings were disclosed.* On the southside of the nave, above the transept arch, and extendingsomewhat westward of it,
. The Yorkshire coast and the Cleveland hills and dales;. tical art, his destructive power fellshort of his iconoclastic zeal, and the sadly-injuredpaintings were again exposed in the year 1878. Suchwas their condition that restoration became necessary ifthey were to be preserved, and the work has been mostconscientiously and carefully carried out. Happily,where doubts arose, access could be had to a series ofdrawings made for the Yorkshire Architectural Societywhen first the paintings were disclosed.* On the southside of the nave, above the transept arch, and extendingsomewhat westward of it, is a series of twelve subjectsillustrating scenes in the life of St. Catherine ofAlexandria. We see her rebuking Maxentius for his * Much is due in this restoration to the present Vicar of Picker-ing, the Rev. G. H. Lightfoot, , whose interest and care werechiefly instrumental in saving the paintings. He has describedthem in the Antiqitary (April, 1890). The work of restoration wasexecuted by Mr. Jewitt for Messrs. Shrigley and Hunt, of OLD FRESCOES I.\ nCKERING ly permission from a photograph by Messrs. Boak ami Sons, Driffield. From Farndale to T/ioruloit Dale 175 worship of Serapis (the idol being a horned image ona pedestal), and we follow her in her imprisonments,her scourging, and her torture upon the wheel, whichbreaks up miraculously, the whole being exceedingquaint and archaic. Then follow, after the manner ofa frieze above the nave arches, a series of seven designsrepresenting the corporal works of mercy; and wenext find, without break, representations of the Passionof our Lord. We see Him in the garden and beforePilate (who is painted black) and being scourged andbearing the cross, and the crucifixion is depicted, withthe taking down of our Lords body, and the entomb-ment. Then follows the descent into hell—to thespirits in prison who stand within the jaws of , within the fierce jaws of a finel3^-conceivedgrotesque monste
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Keywords: ., bookcentury1800, bookdecade1890, bookidyorkshirecoa, bookyear1892
