4.17.1 North Region

Furness Abbey, East wall cloister arches.

The active recording programme on our properties in the north continues. At Fountains Abbey, recording of the South and East ranges of the Abbey in advance of, and during works, has been undertaken by York Archaeological Trust. Fountains Abbey Mill has also been recorded (together with associated documentary research and limited archaeological evaluation) as part of a joint EH/National Trust project to convert the Mill into an interpretative centre. Standing building recording in advance of and during works to the Crossing and both Transepts at Rievaulx Abbey has also been undertaken by York Archaeological Trust, and at Furness Abbey, Cumbria, recording during works to the East Range by the Lancaster University Archaeological Unit will add to the extensive existing archive for the site. Recording was undertaken of the south wall of the quire of Tynemouth Priory Church, in advance of reconsolidation, the first major programme of such work to be carried out here since it was taken into guardianship after the transfer of responsibility from the Ministry of Defence early in this century; research into the history of previous works has been undertaken in Public Record Office files and a report will be produced on this together with the results of the actual fabric recording. Standing building recording during works to the east Range of Eaglestone Abbey was conducted by Tees Archaeology. Two major post-excavation programmes are currently being assessed in accordance with Management of archaeological projects (second edition), and the assessment phase for both Wharram Percy and St Peter's Church, Barton on Humber are now nearing completion.

Hadrian's Wall World Heritage Site: recording has continued on the guardianship sections of Hadrian's Wall with work on the curtain wall and internal buildings of Housesteads Fort. A detailed management plan (under the aegis of the World Heritage Management Plan, see section 4.6) has been produced for the two Benwell Monuments, the temple, and the vallum crossing. Another archaeological assessment document has been produced for the combined areas in Guardianship at Heddon on the Wall, Brunton, Blackcarts, and Planetrees. (Two more such documents will be produced to complete the picture for all the Wall in EH guardianship by 1998). Excavations in 1986-89 on the line of the Newcastle Western Bypass which affected the Wall at Denton by Paul Bidwell were published in Archaeologia Aeliana, ser 5.24, 1996.

Historic Photograph Collections: two collections of early photographs have recently been presented to the Region. The photographs show several monuments in the north of England several years before and just in advance of clearance works during the 1920s, and are extremely valuable historic documents. A single large photograph of Rievaulx Abbey taken in about 1860 showing the east end of the site from Rievaulx Terrace has also been presented to the Region by the owner who was a former resident of Rievaulx village. This is one of the earliest photographic representations of the Abbey, and is particularly important because it shows the east end, an area not normally photographed by enthusiasts.

Wall painting conservation at Belsay Castle: the Conservation Studio, in conjunction with the Courtauld Institute, has undertaken research and conservation of the extensive and well-preserved fifteenth-century wall paintings in the great hall of Belsay Castle, which are particularly rare because of the unusual example of imitation milles fleurs tapestry, surmounted by a rare naval scene which probably relates to an episode in the history of the Middleton family. A detailed study of the paintings was considered a priority after a preliminary survey was carried out in 1994, as part of the condition audit of wall paintings within EH Properties In Care. Work was carried out in May and June 1996 in as part of the collaborative training programme with the Courtauld Institute of Art to examine the subject matter and layer structure of the various schemes to establish their sequence, stratigraphy, and art-historical influence; to examine the present condition of the paintings, including an assessment of the effects of added materials (tissue facing and Polyfilla¿ repairs); to carry out emergency conservation work, including the removal of the tissue facing and unsuitable repairs.

Belsay wall painting

The extent of the fourteenth-century scheme has now been fully documented, and although a precise identification of the scene has not been possible, it clearly represents an event in the life of Sir John Middleton VII, during the latter part of the fifteenth century. The fictive tapestry which probably covered all four walls (now only surviving on three) copies French milles fleurs tapestry of the fourteenth and fifteenth-centuries. The discovery of a rare depiction of a 'wild man' supporting the Middleton arms on the east wall helps date the scheme to the late fifteenth century.

The current condition of the paintings was recorded in detail to highlight areas in need of conservation treatment. The condition audit emphasised the need to remove the tissue facing, which had been left in place for nearly seven years, and the removal of unsuitable repairs which utilised inappropriate materials and their replacement with compatible lime-based materials. Grouting was also carried out in limited areas found to be vulnerable during the condition survey. This work represents the first comprehensive examination of the painted decoration within the great hall and has clarified the number of surviving schemes and the complex nature of their condition. Immediate conservation requirements were attended to as a priority, and the detailed condition survey has provided the opportunity to formulate a long-term strategy for the further treatment and maintenance of these important paintings.