beverley minster
latterly JTC of Leicester, an off-shoot fromNorman& Underwood under the direction of Trevor Corser. Arguments rumble on about the relative merits of
cast lead versusmilled sheet. Cast lead proponents say that milled lead has locked-in stresses because of the rolling process. Cast lead is supposed to be more stable because it has a larger crystalline structure. Milled lead is said to be too pure, and the traces of impurities of other metals in re-cast old lead improve its longevity. On the other hand,milled lead fans say that lead casting is such a craft process that you can’t guarantee the consistent thickness of the resultant sheet material, and smugly point out that, consequently, cast lead cannot be covered by a British Standard. Milled lead has also been produced since the 17th century. I amnot qualified to adjudicate the scientific
arguments.However, my pragmatism tells me that lead which has lasted for nearly two centuries must be pretty good stuff and, whatever its constituents, if we melt it down and recast it, it should give us another jolly good innings. Furthermore, the scrap value of lead is so much less than the purchase price of newthat it makes absolute economic sense to re-use the existing material and pay only for a small proportion of make weight and, of course, the labour. This gives us another green feather in our cap for recycling too. Not only is the recasting of the lead an extremely
skilful process, but so is the preparing, laying and fixing of themetal.We have been fortunate to attract very good leadworkers, usually philosophical chaps who work in uncomfortable, awkward conditions, shifting hugeweights, yet cutting, dressing and finishing the metal as delicately as seamstresses making a ball gown. Like the masons, their tools have changed little sincemedieval times, although plastic dressers are more common than boxwood ones nowadays. I have a particular passion for leadwork.
It seems that, evenmore than in other trades, real craftsmanship shines through and the beauty of really well-laid lead is immediately apparent and is in stark contrast to the tortured metal resulting from poor workmanship. Pursuing the pastry metaphor, the less themetal ismanipulated the better is likely to be the result. Themalleability of lead means that overworking
52 Cornerstone, Vol 32, No 2 2011
which is why they were selected as themodel for the newrailings. Much more recently Helen Whittaker,workingwith
Keith Barley’s Studio from York,was the artist/glazier whomade the new stained glass SouthWindowand sculptures in the Retroquire – also amajor project of enhancement undertaken by the Friends of the Minster in 2004, and dedicated by the then Archbishop of York, the Right Reverend David Hope, at amemorable service in September that year. Archaeology is like the building industry these days,
with separate roles for consultants and archaeological contractors. Our contractors for two trial holes alongside the Nave foundations in 2003/4 were the York Archaeological Trust, which provided a fascinating report on the 48 interments, which the dig revealed, including, at the earliest levels, a remarkably intact Saxon oak coffin. Their endeavours revealed the previously unknown nature of the foundations.
Top, the Percy Canopy, the finest carving of its time. Above, Minster Architect Ian Stewart – ‘I’m privileged to be involved’
it thins themetal and reduces the life of the roof covering. The really skilful tradesman forms his rolls and drips between sheets without any significant loss of thickness in themetal. Other specialist trades atwork in and outside the
Minster over recent years have included excellent joinery and furniture from Patrick Tite of Driffield, whose pieces have usually been commissioned and paid for by the Friends of Beverley Minster, and decorative ironwork by Chris Topp from Carlton Husthwaite, near Thirsk. Chris Topp’s handsome railings, beside the access
ramp into theNorthQuire Aisle for those in wheelchairs, aremodelled on the nearby 18th-century gates,which formerly stood in the Hawksmoor-era pulpitumscreen – an extraordinary confection superseded by the present organ screen in the 19th century. The gates now stand in theNorth Quire Aisle,
ALTHOUGH they are not contractors,we should not overlook the efforts of young people on cathedral camps who have come to Beverley, aswell as tomost of the cathedrals and several of the other greater churches, year on year. They pay for the privilege of spending a week or a fortnight carrying out some extremely uncongenial but very valuable tasks, such as cleaning out roof spaces, vaults and turret stairs, clearing guano, de-rusting and painting ironwork, polishing woodwork and so on. This admirable scheme was temporarily scuppered by the difficulty of getting insurance cover in this Health & Safety obsessed era. I say, bring back Harry Lorenz! Despite the increased levels of controls and bureaucracy since his day, Harry’s spirit and devotion to the Minster, even if not all of his techniques, live on in thosewho continue to care for this magnificent building.
This article is based on a talk given during a day school in Beverley, organised by the Friends of Beverley Minster. It has been adapted for publication in the proceedings of that study day under the title “Who Built Beverley Minster?”, edited byDr Paul Barnwell and Arnold Pacey (Spire Books).
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