Considerable effort has gone into checking the facts about each entry, and wherever possible we have corrected errors. For errors that we have inadvertently introduced or have failed to correct, we both apologise and welcome comments.
To those people who may be disconcerted by the disappearance from this edition of their familiar churches, we ask for their forbearance, and hope that we have explained with sufficient persuasion the reasons why. Above all what we have striven to achieve is a book that captures the spirit of the earlier editions, in a 21st-century context.
A book such as this is not possible without the work of many people, not least those who have contributed to the various counties over the years. In particular I would like to thank Sam Richardson and Helena Nicholls at Collins Reference for their enthusiastic support for a long and complex project. I would also like to express my gratitude to Mike and Ros Ellis at Thameside Media: their hard and painstaking work on the planning, design, mapping, checking and photography have been essential. Their enthusiasm and expertise has taken them, I suspect, way beyond their brief. I am also very grateful to Michael Lynch, former Sir William Fraser Professor of Scottish History and Palaeography, for his eagle-eyed and helpful observations on my attempts to disentangle Scottish religious history.
Many others have contributed more indirectly – those hard-working souls that keep (some) of our fine churches open, that write the individual church guides, many of which are of a very high standard, and the various organisations, particularly the Churches Conservation Trust, the Friends of Friendless Churches, the National Churches Trust and the many county historic church trusts, all of whom work tirelessly to preserve a priceless heritage – the parish church.
Richard Surman 2011
WALPOLE ST PETER: ST PETER – the porch to the church is vaulted in a beautiful sandstone, the bosses sculpted into the sleeping forms of foals, sheep and suchlike
© Michael Ellis
INTRODUCTION by Sir John Betjeman (#ulink_d05847c5-eac0-566c-be6d-64aa9b03a30f)
PART ONE: THE OLD CHURCHES
To atheists inadequately developed building sites; and often, alas, to Anglicans but visible symbols of disagreement with the incumbent: ‘the man there is “too high”, “too low”, “too lazy”, “too interfering”’ – still they stand, the churches of England, their towers grey above billowy globes of elm trees, the red cross of St George flying over their battlements, the Duplex Envelope System employed for collections, schoolmistress at the organ, incumbent in the chancel, scattered worshippers in the nave, Tortoise stove slowly consuming its ration as the familiar 17th-century phrases come echoing down arcades of ancient stone.
Odi et amo. This sums up the general opinion of the Church of England among the few who are not apathetic. One bright autumn morning I visited the church of the little silver limestone town of Somerton in Somerset. Hanging midway from a rich-timbered roof, on chains from which were suspended branched and brassy-gleaming chandeliers, were oval boards painted black. In gold letters on each these words were inscribed:
TO GOD’S
GLORY
&
THE HONOR OF
THE
CHURCH OF
ENGLAND
1782
They served me as an inspiration towards compiling this book.
The Parish Churches of England are even more varied than the landscape. The tall town church, smelling of furniture polish and hot-water pipes, a shadow of the medieval marvel it once was, so assiduously have Victorian and even later restorers renewed everything old; the little weather-beaten hamlet church standing in a farmyard down a narrow lane, bat-droppings over the pews and one service a month; the church of a once prosperous village, a relic of the 15th-century wool trade, whose soaring splendour of stone and glass subsequent generations have had neither the energy nor the money to destroy; the suburban church with Northamptonshire-style steeple rising unexpectedly above slate roofs of London and calling with mid-Victorian bells to the ghosts on the edge of the industrial estate; the High, the Low, the Central churches, the alive and the dead ones, the churches that are easy to pray in and those that are not, the churches whose architecture brings you to your knees, the churches whose decorations affront the sight – all these come within the wide embrace of our Anglican Church, whose arms extend beyond the seas to many fabrics more.
From the first wooden church put up in a forest clearing or stone cell on windy moor to the newest social hall, with sanctuary and altar partitioned off, built on the latest industrial estate, our churches have existed chiefly for the celebration of what some call the Mass, or the Eucharist and others call Holy Communion or the Lord’s Supper.
Between the early paganism of Britain and the present paganism there are nearly twenty thousand churches and well over a thousand years of Christianity. More than half the buildings are medieval. Many of those have been so severely restored in the last century that they could almost be called Victorian – new stone, new walls, new roofs, new pews. If there is anything old about them it is what one can discern through the detective work of the visual imagination.
It may be possible to generalize enough about the parish church of ancient origin to give an impression of how it is the history of its district in stone and wood and glass. Such generalization can give only a superficial impression. Churches vary with their building materials and with the religious, social and economic history of their districts.
The Outside of the Church – Gravestones
See on some village mount, in the mind’s eye, the parish church of today. It is in the old part of the place. Near the church will be the few old houses of the parish, and almost for certain there will be an inn very near the church. A lych-gate built as a memorial at the beginning of this century indicates the entrance to the churchyard. Away on the outskirts of the town or village, if it is a place of any size, will be the arid new cemetery consecrated in 1910 when there was no more room in the churchyard.
Nearer to the church and almost always on the south side are to be found the older tombs, the examples of fine craftsmanship in local stone of the Queen Anne and Georgian periods. Wool merchants and big farmers, all those not entitled to an armorial monument on the walls inside the church, generally occupy the grandest graves. Their obelisks, urns and table tombs are surrounded with Georgian ironwork. Parish clerks, smaller farmers and tradesmen lie below plainer stones. All their families are recorded in deep-cut lettering. Here is a flourish of 18th-century calligraphy; there is reproduced the typeface of Baskerville. It is extraordinary how long the tradition of fine lettering continued, especially when it is in a stone easily carved or engraved, whether limestone, ironstone or slate. The tradition lasted until the middle of the 19th century in those country places where stone was used as easily as wood. Some old craftsman was carving away while the young go-aheads in the nearest town were busy inserting machine-made letters into white Italian marble.
ST JUST-IN-ROSELAND: ST JUST – coastal lichen and moss on one of the headstones
© Michael Ellis
The elegance of the local stone carver’s craft is not to be seen only in the lettering. In the 18th century it was the convention to carve symbols round the top of the headstone and down the sides. The earlier examples are in bold relief, cherubs with plough-boy faces and thick wings, and scythes, hour glasses and skulls and cross-bones diversify their tops. You will find in one or another country churchyard that there has been a local sculptor of unusual vigour and perhaps genius who has even carved a rural scene above some well-graven name. Towards the end of the 18th century the lettering becomes finer and more prominent, the decoration flatter and more conventional, usually in the Adam manner, as though a son had taken on his father’s business and depended on architectural pattern-books. But the tops of all headstones varied in shape. At this time too it became the custom in some districts to paint the stones and to add a little gold leaf to the lettering. Paint and stone by now have acquired a varied pattern produced by weather and fungus, so that the stones are probably more beautiful than they were when they were new, splodged as they are with gold and silver and slightly overgrown with moss. On a sharp frosty day when the sun is in the south and throwing up the carving, or in the west and bringing out all the colour of the lichens, a country churchyard may bring back the lost ages of craftsmanship more effectively than the church which stands behind it. Those unknown carvers are the same race as produced the vigorous inn signs which were such a feature of England before the brewers ruined them with artiness and standardization. They belong to the world of wheelwrights and wagon-makers, and they had their local styles. In Kent the chief effect of variety was created by different-sized stones with elaborately-scalloped heads to them, and by shroud-like mummies of stone on top of the grave itself; in the Cotswolds by carving in strong relief; in slate districts by engraved lettering. In counties like Surrey and Sussex, where stone was rare, there were many wooden graveyard monuments, two posts with a board between them running down the length of the grave and painted in the way an old wagon is painted. But most of these wooden monuments have perished or decayed out of recognition.
‘At rest’, ‘Fell asleep’, ‘Not dead but gone before’ and other equally non-committal legends are on the newer tombs. In Georgian days it was the custom either to put only the name or to apply to the schoolmaster or parson for a rhyme. Many a graveyard contains beautiful stanzas which have not found their way to print and are disappearing under wind and weather. Two of these inscriptions have particularly struck my fancy. One is in Bideford and commemorates a retired sea-captain Henry Clark, 1836. It summarizes for me a type of friendly and pathetic Englishman to be found hanging about, particularly at little seaports.
For twenty years he scarce slept in a bed;
Linhays and limekilns lull’d his weary head
Because he would not to the poor house go,
For his proud spirit would not let him to.
The black bird’s whistling notes at break of day
Used to wake him from his bed of hay.
Unto the bridge and quay he then repaired
To see what shipping up the river stirr’d.
Oft in the week he used to view the bay,
To see what ships were coming in from sea,
To captains’ wives he brought the welcome news,
And to the relatives of all the crews.
At last poor Harry Clark was taken ill,
And carried to the work house ’gainst his will:
And being of this mortal life quite tired,
He lived about a month and then expired.
The other is on an outside monument on the north wall of the church at Harefield, near Uxbridge, one of the last three country villages left in Middlesex. It is to Robert Mossendew, servant of the Ashby family, who died in 1744. Had he been a gentleman his monument would at this time have been inside the church. He was a gamekeeper and is carved in relief with his gun above this inscription.
In frost and snow, thro’ hail and rain
He scour’d the woods, and trudg’d the plain;
