The salt sea winds, the driving rain of summer and the wild winter storms have wrought much havoc in the eight hundred years that “High Whitby’s cloistered pile” has braved the elements. A little more than fifty years ago the central tower crashed to earth, carrying many of the surrounding arches with it, and the mighty fragments still lie as they fell. The remaining walls and arches are now guarded with the loving care which is being lavished to-day upon the historic ruins of England and one can only regret that the spirit which inspires it was not aroused at least a hundred years ago.
St. Mary’s, a stone’s throw from the abbey, is one of the crudest and least ornate of any of the larger churches which we saw in England. Its lack of architectural graces may be due to the fact that it was originally built—about 1110, by de Percy, Abbot of Whitby—for “the use of the common people of the town,” the elaborate abbey church being reserved for the monks. Perhaps the worthy abbot little dreamed that the plain, massive structure which he thought good enough for the laity would be standing, sturdy and strong and still in daily use centuries after his beautiful abbey fane, with its graceful arches, its gorgeous windows and splendid towers had fallen into hopeless ruin. All around the church are blackened old gravestones in the midst of which rises the tall Caedmon Cross, erected but a few years ago. To reach St. Mary’s one must ascend the hundred and ninety-nine broad stone steps that lead up the cliff—a task which would test the zeal of many church-goers in these degenerate days.
PIER LANE, WHITBY
From original painting by J. V. Jelley, exhibited in 1910 Royal Academy
We enjoyed our excursions about the town, for among the network of narrow lanes we came upon many odd nooks and corners and delightful old shops. The fish-market, where the modest catch of local fishermen is sold each day, is on the west side. The scene here is liveliest during the months of August and September, when the great harvest of the sea is brought in at Whitby. It was on the west side, too, that we found Pier Lane after a dint of inquiry—for the little Royal Academy picture which graces these pages had made us anxious to see the original. Many of the natives shook their heads dubiously when we asked for directions, but a friendly policeman finally piloted us to the entrance of the lane. It proved a mere brick-paved passageway near the fish-market, about five or six feet in width, and from the top we caught the faint glimpse of the abbey which the artist has introduced into the picture. It is one of the many byways that intersect the main streets of the town—though these streets themselves are often so narrow and devious as to scarce deserve the adjective I have applied to them. Whitby has no surprises in overhanging gables, carved oak beams, curiously paneled doorways or other bits of artistic architecture such as delight one in Ludlow, Canterbury or Shrewsbury. Everything savors of utility; the oldtime Yorkshire fisherman had no time and little inclination to carve oak and stone for his dwelling. I am speaking of the old Whitby, crowded along the waterside—the new town, with its ostentatious hotels and lodging-houses, extends along the summit of West Cliff and while very necessary, no doubt, it adds nothing to the charm of the place. As an English artist justly observes, “While Whitby is one of the most strikingly picturesque towns in England, it has scarcely any architectural attractions. Its charm does not lie so much in detail as in broad effects”—the effects of the ruin, the red roofs, the fisher-boats, the sea and the old houses, which vary widely under the moods of sun and shade that flit over the place. The words of a writer who notes this variation throughout a typical day are so true to life that I am going to repeat them here:
“In the early morning the East Cliff generally appears merely as a pale gray silhouette with a square projection representing the church, and a fretted one the abbey. But as the sun climbs upwards, colour and definition grow out of the haze of smoke and shadows, and the roofs assume their ruddy tones. At midday, when the sunlight pours down upon the medley of houses clustered along the face of the cliff, the scene is brilliantly colored. The predominant note is the red of the chimneys and roofs and stray patches of brickwork, but the walls that go down to the water’s edge are green below and full of rich browns above, and in many places the sides of the cottages are coloured with an ochre wash, while above them all the top of the cliff appears covered with grass. On a clear day, when detached clouds are passing across the sun, the houses are sometimes lit up in the strangest fashion, their quaint outlines being suddenly thrown out from the cliff by a broad patch of shadow upon the grass and rocks behind. But there is scarcely a chimney in this old part of Whitby that does not contribute to the mist of blue-gray smoke that slowly drifts up the face of the cliff, and thus, when there is no bright sunshine, colour and detail are subdued in the haze.”
In St. Mary’s churchyard there is another cross besides the stately memorial dedicated to Caedmon that will be pointed out to you—a small, graceful Celtic cross with the inscription:
“Here lies the body of Mary Linskill.
Born December 13, 1840. Died April 9, 1891.