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Vetusta Monumenta: Ancient Monuments, a Digital Edition

Plate 2.10: Engraving of Doncaster Cross

Plate 2.10 of Vetusta Monumenta depicts the Doncaster Cross, which was erected in honor of Otho de Tilly, land steward to the count of nearby Conisborough from about 1165 to 1188. The dense text on either side of the cross relates a brief history of Otho de Tilly, the cross itself, and the manner in which the Society acquired the painting on which this engraving is based. Engraving by George Vertue after an anonymous early seventeenth-century painting. 509 mm x 300 mm. Published by the Society of Antiquaries of London in 1752. Current location: The original cross in Doncaster, UK, was demolished in 1792 but was replaced by a replica ex-situ the following year.

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1. Plate 2.1: Engraving of Plans for Rebuilding London, 1666 (1 of 2) Plates 2.1-2.2 of Vetusta Monumenta reproduce three plans for rebuilding the city of London after the great fire of 1666. The plans were originally submitted to King Charles II in September of 1666 and February of 1668 by John Evelyn and Christopher Wren. Engravings by George Vertue after the original plans by Evelyn and Wren. 478 x 355 mm and 486 x 353 mm. Published by the Society of Antiquaries of London in 1747. Current location: Society of Antiquaries of London. Drawings: Volume 1 [196h], fols. 68-69.
2. Plate 2.2: Engraving of Plans for Rebuilding London, 1666 (2 of 2) Plates 2.1-2.2 of Vetusta Monumenta reproduce three plans for rebuilding the city of London after the great fire of 1666. The plans were originally submitted to King Charles II in September of 1666 and February of 1668 by John Evelyn and Christopher Wren. Engravings by George Vertue after the original plans by Evelyn and Wren. 478 x 355 mm and 486 x 353 mm. Published by the Society of Antiquaries of London in 1747. Current location: Society of Antiquaries of London. Drawings: Volume 1 [196h], fols. 68-69.
3. Plate 2.3: Engraving of a Portrait of George Holmes Plate 2.3 of Vetusta Monumenta reproduces a portrait (c. 1731-1733) of George Holmes, a founding member of the Society of Antiquaries and dedicated Deputy Keeper of the Tower of London. The engraving augments the original oil painting by depicting a more mature Holmes surrounded by objects symbolic of his intellectual and professional pursuits. Engraving by George Vertue after Richard van Bleeck. 332 x 215 mm. Published by the Society of Antiquaries of London in 1750. Current location: The original portrait now hangs in the Fellows Room of the Society of Antiquaries of London, London, UK.
4. Plate 2.4: Engraving of Ancient Deeds and Seals Plate 2.4 of Vetusta Monumenta depicts two early- to mid-fourteenth-century deeds and three seals, which confirm land charters related to ecclesiastical establishments in Yorkshire. 478 x 318 mm. Engraving by George Vertue after his own drawings. Published by the Society of Antiquaries of London in 1751. Current locations: Rawlinson’s collection passed to the Bodleian Library and to St. John’s and Hertford Colleges, Oxford University, UK.
5. Plate 2.5: Engraving of a View of the Savoy from the Thames Plate 2.5 of Vetusta Monumenta is the first of three depictions of the Savoy engraved for Volume II. This plate presents a picturesque view of the Savoy Hospital from across the river Thames and records the state of the site in 1736, before it was mostly destroyed by fire in 1776. The drawing was made at the same time as the drawings for Plates 2.12 and 2.14. Engraving by George Vertue after his own drawings. 314 x 463 mm. Published by the Society of Antiquaries of London in 1750. Current location: The only surviving building of the Savoy Hospital is the Hospital Chapel, now The Queen’s Chapel of the Savoy, London, UK.
6. Plate 2.6: Engraving of the Warrant for Beheading Charles I Plate 2.6 reproduces the death warrant dated 29 January 1649 for executing Charles I, who was publicly beheaded the following day outside of the Banqueting House at Whitehall. Handwritten on parchment and bearing fifty-nine signatures with accompanying seals, the warrant was in the possession of Charles I’s executioner from 1649 until 31 July 1660 when, following the Restoration of Charles II, the House of Lords confiscated the warrant and used it to identify the individuals who had authorized Charles I’s execution. On 1 June 1749, James West (1703-1722) alerted the Society of Antiquaries of London “that the original Instrument and order, signed and Sealed for the taking off King Charles First’s Head”—which had been housed in the Parliamentary Archives since 1660—“was to be seen,” likely as a consequence of the centennial anniversary of the regicide. Engraving by George Vertue after his own drawing. 418 x 484 mm (bifolium). Published by the Society of Antiquaries of London in 1750. Current Location: The warrant has remained in the House of Lords Record Office in the Parliamentary Archives ever since its confiscation in 1660 (Parliamentary Archives, HL/PO/JO/10/1/297A), London, UK.
7. Plate 2.7: Engraving of Greensted Church with Objects Commemorating St. Edmund Plate 2.7 of Vetusta Monumenta depicts a range of objects that find commonality in their association with St. Edmund the Martyr. The central image of the Church of St. Andrew, Greensted, Essex, is rendered along with the burial shrine of St. Edmund and a seal fragment from the Abbey of Bury St. Edmunds, both in Suffolk. Engraving by George Vertue after Smart Lethieullier and John Lydgate. 312 x 447 mm. Published by the Society of Antiquaries of London in 1752. Current location: The church still stands in Greensted, Essex, UK; the shrine of St. Edmund was destroyed during the Reformation and the abbey was suppressed, but its ruins may still be seen in Bury St. Edmunds, Suffolk, UK; the seal fragment is attached to MS Add. Charter 17226 in the British Library, London, UK.
8. Plate 2.8: Engraving of Gloucester Cross Plate 2.8 of Vetusta Monumenta depicts the Gloucester Cross, framed by scaled-up images of the sculptures of English kings and queens that were located in the niches of the second story. By including the town hall and other buildings in the background and staffage figures in the foreground, the print emphasizes the civic importance of this fourteenth-century market cross. Engraving by George Vertue after Thomas Ricketts. 441 x 295 mm. Published by the Society of Antiquaries of London in 1751. Current location: Originally in Gloucester, UK, the cross was demolished in 1751.
9. Plate 2.9: Engraving of Roman Pavements Found at Winterton and Roxby Plate 2.9 of Vetusta Monumenta depicts three fourth-century CE Roman mosaic pavements discovered in North Lincolnshire in 1699 and 1747. Figures I-III depict two large nearly intact pavements, the Ceres and Orpheus Pavements, with a related fragment, all discovered at Winterton in 1747. Figure IV shows a fragment of a large geometric mosaic discovered nearby at Roxby in 1699. Engraving by George Vertue after Charles Mitley. 441 x 591 mm (bifolium). Published by the Society of Antiquaries of London in 1752. Current locations: Some fragments of the Orpheus Pavement are in the North Lincolnshire Museum, Scunthorpe, Lincolnshire, UK; the Ceres Pavement has been reconstructed and is on display at University Campus North Lincolnshire, Scunthorpe, Lincolnshire, UK; and fragments of the Roxby pavement remain buried in situ at Roxby, Lincolnshire, UK.
10. Plate 2.10: Engraving of Doncaster Cross Plate 2.10 of Vetusta Monumenta depicts the Doncaster Cross, which was erected in honor of Otho de Tilly, land steward to the count of nearby Conisborough from about 1165 to 1188. The dense text on either side of the cross relates a brief history of Otho de Tilly, the cross itself, and the manner in which the Society acquired the painting on which this engraving is based. Engraving by George Vertue after an anonymous early seventeenth-century painting. 509 mm x 300 mm. Published by the Society of Antiquaries of London in 1752. Current location: The original cross in Doncaster, UK, was demolished in 1792 but was replaced by a replica ex-situ the following year.
11. Plate 2.11: Engraving of Sandal Castle Plate 2.11 of Vetusta Monumenta depicts Sandal Castle as it appeared in the sixteenth century. Engraving by George Vertue after a drawing originally produced for a survey of the properties of the Duchy of Lancaster conducted by the Chancellor of the Duchy, Ambrose Cave, in 1561. Further drawings from this cache were engraved as Plates 1.39, 1.40, 1.41, 1.42, 1.44, 1.46, and 2.13. 307 x 461 mm. Published by the Society of Antiquaries of London in 1753. Current location: The lower courses of the barbican, foundations of some of the towers, the base of the keep, and fragments of walls from the great hall and kitchen can still be seen in Sandal Magna, West Yorkshire, UK.
12. Plate 2.12: Engraving of Savoy Hospital Plate 2.12 of Vetusta Monumenta depicts the prison and chapel buildings in the Savoy Hospital complex as they stood in 1736. The Hospital Chapel, depicted from two different sides in the lower half and the upper right portion of this plate, is the only Savoy building that survives today. The drawings were made at the same time as the drawings for Plates 2.5 and 2.14. Engraving by George Vertue after his own drawings. 459 x 334 mm. Published by the Society of Antiquaries of London in 1753. Current location: The Queen’s Chapel of the Savoy, London, UK.
13. Plate 2.13: Engraving of Clithero Castle Plate 2.13 of Vetusta Monumenta depicts Clithero Castle as it appeared in the sixteenth century. Engraving by George Vertue after a drawing originally produced for a survey of the properties of the Duchy of Lancaster conducted by the Chancellor of the Duchy, Ambrose Cave, in 1561. This concludes the sequence of eight drawings of castles preserved in the Office of the Duchy of Lancaster, including Plates 1.39, 1.40, 1.41, 1.42, 1.44, 1.46, and 2.11. 317 x 466 mm. Published by the Society of Antiquaries of London in 1753. Current location: The ruined stone keep and parts of the curtain wall remain along with buildings that were added in the eighteenth and nineteenth centuries in Clitheroe, Lancashire, UK.
14. Plate 2.14: Engraving of a Plan of the Savoy Plate 2.14 of Vetusta Monumenta reproduces an annotated ground plan of the various buildings comprising the Savoy Hospital as they stood in 1736. This plan concludes the sequence of views of these buildings presented in Plates 2.5 and 2.12. Engraving by George Vertue after his own drawings. 479 x 356 mm. Published by the Society of Antiquaries of London in 1754. Current location: The Queen’s Chapel of the Savoy, London, UK.
15. Plate 2.15: Engraving of Canterbury Cathedral and Priory with a Portrait of Eadwine (1 of 2) Plates 2.15-2.16 of Vetusta Monumenta reproduce two images from a twelfth-century manuscript, the Eadwine Psalter. The first is a plan of the monastery precinct at Christ Church, Canterbury, including Canterbury Cathedral as it stood prior to 1174. The second plate reproduces an author portrait of Eadwine of Canterbury, after whom the entire manuscript is named. Engravings by George Vertue after drawings of the manuscript made at Cambridge in 1753 by an unknown draftsman. 590 x 465 mm (bifolium) and 342 x 225 mm. Published by the Society of Antiquaries of London in 1755. Current location: The rebuilt cathedral and some architectural remains of Christ Church Priory are at Canterbury, Kent, UK; the Eadwine Psalter is at Trinity College (MS R.17.1), Cambridge University, UK.
16. Plate 2.16: Engraving of Canterbury Cathedral and Priory with a Portrait of Eadwine (2 of 2) Plates 2.15-2.16 of Vetusta Monumenta reproduce two images from a twelfth-century manuscript, the Eadwine Psalter. The first is a plan of the monastery precinct at Christ Church, Canterbury, including Canterbury Cathedral as it stood prior to 1174. The second plate reproduces an author portrait of Eadwine of Canterbury, after whom the entire manuscript is named. Engravings by George Vertue after drawings of the manuscript made at Cambridge in 1753 by an unknown draftsman. 590 x 465 mm (bifolium) and 342 x 225 mm. Published by the Society of Antiquaries of London in 1755. Current location: The rebuilt cathedral and some architectural remains of Christ Church Priory are at Canterbury, Kent, UK; the Eadwine Psalter is at Trinity College (MS R.17.1), Cambridge University, UK.
17. Plate 2.17: Engraving of a Roman Bronze Lamp with Vase and Bells Plate 2.17 of Vetusta Monumenta depicts a Roman lamp, an amphora-style vase, and two hand bells from 1366 (left) and 1547 (right). Engraving by George Vertue (his last for Vetusta Monumenta) after his own drawings. 455 x 300 mm. Published by the Society of Antiquaries of London in 1756. Current locations: The lamp, vase, and bell on the right are all untraced, but the bell on the left is in the collection of the Society of Antiquaries of London (LDSAL 133), London, UK.
18. Plate 2.18: Engraving of Two Roman Bronzes (Silenus and a Lamp)
19. Plate 2.19: Engraving of a Medieval Seal and Mantelpiece Plate 2.19 of Vetusta Monumenta depicts the third conventual seal of Canterbury Cathedral (13th century) and a segment of a wooden mantelpiece from a house in Saffron Walden featuring carved images and letters (16th century). The plate itself contains commentary on the objects in cursive script. Engraving by James Green after drawings provided by John Ward. 444 x 303 mm. Published by the Society of Antiquaries of London in 1758. Current locations: Impressions of the seal are located at National Archives, Kew, UK, and the British Library, London, UK; the mantelpiece remains in situ in the house in Saffron Walden, Essex, UK.
20. Plate 2.20: Engraving of Bronze Age Horns with Medieval Brooch, Arm-Rings, and Shield Plate 2.20 of Vetusta Monumenta depicts two silver arm rings and three bronze horns from Ireland, a fifteenth-century buckler from Wales, and a Viking Age brooch from the Western Isles of Scotland. This engraving documents a conscious effort by the Society of Antiquaries to systematize graphic practices in antiquarian illustration. Engraving by James Basire Sr. after his own drawings. 459 x 330 mm. Published by the Society of Antiquaries of London in 1763. Current locations: The arm rings, buckler, and brooch (Canmore ID 10515) are untraced, as is the first horn. The two remaining horns (Figs. IV-V) are in the collection at Mount Edgcumbe House, Cornwall, UK.

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Plate 2.10: Doncaster Cross Plate: Engraved by George Vertue (1684-1756) after a painting of c. 1630, made available to Society of Antiquaries of London (SAL) by the Leeds antiquary Thomas Wilson (c. 1702-1761). Plate 2.10 shows the Doncaster Cross, located at the southeastern end of Doncaster. The cross is framed on either side by dense text that provides information on its history. This background information was drawn from an undated manuscript fragment, as well as from antiquarian literature such as William Dugdale’s Monasticum Anglicanum. Also shown are two men in eighteenth-century dress: one of them is examining the cross, while the other one is mounted on a horse. Two small section drawings of the monument’s central column, shafts, and surmounting crosses are also included.

Object: Doncaster Cross consisted of a large cylindrical column with four engaged shafts, some 18 feet (5.5 meters) in height and 11 ½ feet (3.5 meters) in circumference, with a socle of five concentric circular steps rising from a hexagonal plinth. Prior to its partial destruction in 1644, the cross was topped by five iron crosses as shown on Vertue’s engraving. The original cross was fully demolished in 1792, but a slightly altered reconstruction was erected at Hobcross Hill (now Hall Cross Hill) in 1793.

Transcription:

Left side:
This draught of DONCASTER CROSS was taken from an old painting, formerly in the collection of the learned antiquary, Ralph Thoresby of Leedes esquire, who mentions it among his curiosities, and has printed the inscription round the pillar in his Museum, p. 489. His father, alderman Thoresby of Leedes, in the year 1672 purchased the collection of coins, paintings, and other curiosities of the Lord Fairfax and his son Sr. Thomas, among which was this painting. It is now in the hands of Dr. Richard Rawlinson, a member of this Society; together with a fragment in manuscript relating to it, which also belonged to the alderman, & contains the following account of the cross. “This is the fashion of the cross, as it was first built; which was defaced in the year of our Lord 1644, by the earl of Manchester’s army, coming out of the south to the siege of York; and was after beautified with four dials, ball, and fane, by William Paterson, mayor of Doncaster; 1678. And the said earl of Manchester’s men; endeavouring to pull the whole shank down, got a smith’s forge hammer, and broke off the four corner crosses, and then fastened ropes to the middle cross, which was stronger & higher, thinking by that to pull the whole shank down; but a stone breaking off, and falling upon one of the mens leggs, which was nearest it, and broke his leg: so they troubled themselves no more about it.” As there is no date, nor name, to this paper; it is not certain when, or by whom, it was written. Tho by what the writer sais, it is plain, that he remember’d the cross, before the damage it received by the soldiers; and that the painting truly represents it in its former state. Our historians leave us in the dark, with regard both to ye time and occasion of erecting this cross. Leland does not so much as mention it, nor any edition of Camden, except the last by Bp. Gibson, which has likewise the inscription, writen in the antient Norman language, in the same manner and form of words, in which it is here copied from the area of the painting. ICEST : EST : LA CRVICE : OTE : D : TILLIAKI : ALME : DEV : EN : FACE : MERCI : AM. But there is a mistake of the artist, in joining together the letter TILLIAKI, for the latter name of the person, as if the whole was one word. Whereas

Right side:
Mr. Thoresby very justly separates them in different words, TILLI : A KI. With this emendation the whole inscription may be thus rendered in English: This is the Cross of Ote de Tilli, to whose soul God shew mercy. Amen. The words KI whose, and ALME soul, are so spelt in several Mss. of our old statutes; and the rest are attended with no difficulty.
The present inscription, which differs in some of the words, being modern, can be of no moment in this inquiry, and therefore need not be recited. As to this Ote de Tilli, who built ye cross, it appears, that Otto or Ote de Tilli was senescallus comitis de Conibroc, and witness to a grant of Hamelin earl of Warren, Monast. Angl. V.1.p.406. He was likewise a witness to the charter of the foundation of Kirkstal abbey, 17. Steph. AD.1152, Ibid.p.857. And he afterwards attested two grants, made by Henry de Lacy to the same abbey, Ibid.p.862. His name also appears to several other grants, and writings of different kinds, during the two following reigns; which are too many to be here enumerated. So that this Ote de Tilli must have lived to an advanced age, and very probably was the same person, who erected the cross; as he was steward to the earl of Conisborough, and witness to several grants of lands not far from Doncaster. Since it was customary for such writings to be attested by the neighbouring inhabitants, and generally by those who were nearest of kin. The cross stands at the south end of the town, in the road towards London, so that carriages may pass on either side of it. It is composed of five columns, a large one in the middle, and four small ones around it, answering pretty nearly to the cardinal points. The numeral figures in the area, on the right side of the cross, near the top, seem to have been placed there in the painting to shew the hours, when the sun shon upon the south face of it. The circumference of the column is eleven feet seven inches, and its height 18 feet. The two human figures, with the horse and dog, are not in the painting; nor the sections on each side the cross.

North prospect.

G. Vertue sculpsit.
Published July 5th. 1753 according to Act of Parliament.
Sumptu Societat Antiquar. Lond. 1752

Commentary by Achim Timmermann: George Vertue’s engraving of the Doncaster Cross was based on a painting in the possession of the Leeds-based antiquary and member of the SAL Thomas Wilson. After the death of another well-connected Leeds antiquary, Ralph Thoresby (1658-1725), Wilson acquired a substantial number of manuscripts, charters, and objects that had formed part of Thoresby’s collection, the so-called Musaeum Thoresbyanum. Among these items was a painting of Doncaster Cross from c. 1630, which Wilson described for the members of the SAL in a letter read during a meeting on 28 May 1752. Wilson suggested that since “the Society hath published so many old Crosses” (SAL Minutes VII.21r), they might be interested in engraving Doncaster Cross as well. At this point, Vertue had already engraved Waltham Cross (Plate 1.7), Winchester Cross (Plate 1.61), and Chicester Cross (Plate 1.64). Wilson proposed that Doncaster Cross would make a valuable addition to the crosses already published, not least because it was more ancient than the other crosses. The minutes contain a long extract from Wilson’s letter, dealing with the history of the cross. Wilson had not been able to find information on the identity of “Ote de Tilly,” whose name is mentioned in the inscription on the cross, but his letter discusses events that are also mentioned in the text that appears on the plate, such as the cross’s partial demolition in 1644 and its reconstruction by William Paterson, the Mayor of Doncaster, in 1678 (VII.21r-21v). It is unclear why an important piece of information mentioned in Wilson’s letter was not included in the text given on the plate: Wilson states that the cross was erected in 1112 “as by a date formerly upon it, but now Defaced” (VII.21r). Wilson sent the painting to another member of the SAL, Richard Rawlinson (1690-1755), who exhibited it at a meeting on 18 June 1752 (VII.23r).

The decision to engrave the Doncaster Cross was made by ballot during a meeting of the Society of Antiquaries of London (SAL) on 25 June 1752 (SAL Minutes VII.23). Vertue’s proof print of the plate was approved during a meeting on 28 June 1753 (66), but at the next meeting (69) he was asked to add the bottom line signaling the Society’s copyright ("Published . . . according to Act of Parliament"), which appears here for the second time and soon became customary. The minutes specify a two-part justification for this addition: “to get their Property therein Secured, according to an Act of Parliament and as by our former Order 14th May 1752” (66). This policy sheds light on the new importance attached to the Society's publications after they received their royal charter in 1751 (20) and may also reflect the turbulence of this period in the history of copyright law.

Now replaced ex-situ by a partial replica erected in 1793, the Doncaster Cross (also known as the Hall Cross) originally stood at the southeastern end of Doncaster, near Hallgate, on the old London road. The dense text that frames Vertue’s engraving of the cross states that the painting on which the engraving is based was formerly in the collection of Lord Fairfax, who sold it in 1672 to the aforementioned Leeds antiquary, the Alderman Thoresby. The painting was apparently accompanied by an ancient manuscript fragment, which recorded all that was known about the history of the monument. The original cross bore on the shaft, about a third way up, an inscription in Anglo-Norman French stating that “this is the cross of Ote [or Otho] de Tilli [or Tilly], on whose soul God may have mercy. Amen” (“Icest est la crucie Ote de Tilli a ki alme Deu en face merci Amen”).

Originating from the village of Tilly in Calvados (Normandy), Otho de Tilly (c. 1121-88) first appears in the historical record during the reign of Stephen of Blois (d. 1154), for instance, as witness to the charter of foundation of Kirkstall Abbey in 1152. He subsequently served as senescallus comitis de Conibroc (seneschal or land steward to the count of Conisborough), Hamelin de Warenne (1129-1202), the illegitimate half-brother of Henry II, who first came into possession of Conisborough Castle in 1163 and extensively rebuilt it – with the addition of a new polygonal stone keep – between 1180 and 1190. Given that Conisborough is located just under six miles down the road from Doncaster, it is likely that the cross that bore Otho’s name was erected sometime during his tenure as seneschal to the Warennes—probably between the mid-1160s and Otho’s death in 1188. The exact purpose of Otho’s cross is unknown, though the monument certainly perpetuated his memoria while at the same time also contributing to the devotional infrastructure of the region at large.

As depicted and described in Vertue’s engraving, the monument consisted of a large cylindrical column with four engaged shafts, some 18 feet (5.5 meters) in height and 11 ½ feet (3.5 meters) in circumference, with a socle of five concentric circular steps rising from a hexagonal plinth. Probably informed by the painting on which it is based, the engraving reproduces the state of the monument prior to its defacement in 1644 by troops under the command of the Earl of Manchester, during which all five surmounting iron crosses were lost. To make up for the deficiency – so the text accompanying the engraving tells us – the mayor of Doncaster in 1678 erected four dials, a ball, and a vane on top of the cross.

The cluster of iron crosses – four smaller ones on each of the engaged shafts, a larger one on the central column – was in all likelihood a post-medieval addition, probably replacing a cruciform or disk-shaped cross-head, perhaps with the image of the Crucified on one (or both) of its principal sides. With its monumental simplicity and muscular austerity, Otho’s monument stands in marked contrast to the Anglo-Saxon crosses erected in the North of England during the previous centuries, which were usually characterized by four-sided shafts and a superabundance of surface ornament and imagery. The artistic inspiration for the edifice may ultimately have come from Normandy, where several Romanesque crosses with compound-pier shafts still stand today, for example at Grisy-sur-Seine, in Otho’s native region of Calvados. Otho’s monument may in turn have stimulated the construction of other late twelfth- and thirteenth-century “compound-pier crosses” in Yorkshire, for instance at Aldborough or at Braithwell, the latter being just 7 miles south of Doncaster.

Otho’s cross was finally demolished in 1792 during road improvement work, some thirty-nine years after the publication of Vertue’s engraving. The sources are unclear about whether or not fragments of it were incorporated into a partial – though much taller – copy of the cross, erected in 1793 at Hobcross Hill (now Hall Cross Hill), a little further east, as part of a development of new Georgian houses.

Works Cited:

Armitage, Ella S. 1905. Key to English Antiquities, With Special Reference to the Sheffield and Rotherham Districts. London: J. M. Dent.

Miller, Edward. 1804. The History and Antiquities of Doncaster and Its Vicinity. Doncaster: W. Sheardown.

Smith, Henry Ecroyd. 1878. Annals of Smith of Cantley, Balby, and Doncaster, County York. Sunderland: Hills.

------. 1887. The History of Conisborough Castle, With Glimpses of Ivanhoe-Land. Worksop: Robert White.

Society of Antiquaries of London. 1718-. Minutes of the Society’s Proceedings.

Vallance, Aymer. 1920. Old Crosses and Lychgates. London: Batsford.