History - Features of the Church
Wall Paintings
The decorations of the interior walls of the church were paid for by Canon Parsons. The frescos by the altar represent the four archangels (Michael, Raphael, Gabriel and Uriel). On the north side of the chancel is depicted Christ’s Agony in the Garden of Gethsemane and on the south side; the Annunciation. Over the chancel arch are the adoring angels with the Lamb as the central figure. All these were completed in 1886 and were the work of Messrs Heaton, Butler and Bayne.
When the interior of the church was lightened in 1962, all but the pictorial panels of the previously all-over decoration of the chancel were painted over in white, as was another fresco above the door leading into the clergy vestry.
The decorations of the interior walls of the church were paid for by Canon Parsons. The frescos by the altar represent the four archangels (Michael, Raphael, Gabriel and Uriel). On the north side of the chancel is depicted Christ’s Agony in the Garden of Gethsemane and on the south side; the Annunciation. Over the chancel arch are the adoring angels with the Lamb as the central figure. All these were completed in 1886 and were the work of Messrs Heaton, Butler and Bayne.
When the interior of the church was lightened in 1962, all but the pictorial panels of the previously all-over decoration of the chancel were painted over in white, as was another fresco above the door leading into the clergy vestry.
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Pelican in her Piety
On the reverse of the chancel arch (just above the projection screen), is a wall painting of a pelican plucking at her breast to make it bleed, so that she can feed her young. This is known as the “Pelican in her Piety” and is an allegorical reference to Jesus Christ feeding us with his blood during the Eucharist. |
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The Pulpit
The pulpit was carved by Miss Jane Parsons, the Rector’s youngest daughter. Carved into the pulpit are the words “We preach Christ Crucified, the Power of God, the Wisdom of God,” which are words from 1 Corinthians chapter 1. Surrounding the words are vine branches and leaves which is a reference to John 15. In the panels there are various symbolic plants and flowers intricately carved. They include passion flower, ivy, oak leaves, lilies and ears of wheat.
The pulpit was carved by Miss Jane Parsons, the Rector’s youngest daughter. Carved into the pulpit are the words “We preach Christ Crucified, the Power of God, the Wisdom of God,” which are words from 1 Corinthians chapter 1. Surrounding the words are vine branches and leaves which is a reference to John 15. In the panels there are various symbolic plants and flowers intricately carved. They include passion flower, ivy, oak leaves, lilies and ears of wheat.
The Font
The font was also carved, in what has been described as a "furiously" Norman style, by Miss Jane Parsons in 1854, when she was 25. It replaced the previous large square font, when the church was rebuilt.
Among the decorations on the font are the dove (representing the Holy Spirit), the sacred monogram (Greek letters for Jesus Christ), the Lily (representing the Virgin Mary) and the cross.
The font cover is made in oak and is decorated with an applied iron cross and stylised foliage. The arms of the cross end in a fleur-de-lys and at the intersection is a ring handle simulating rope. It dates from the mid-nineteenth century.
The font was also carved, in what has been described as a "furiously" Norman style, by Miss Jane Parsons in 1854, when she was 25. It replaced the previous large square font, when the church was rebuilt.
Among the decorations on the font are the dove (representing the Holy Spirit), the sacred monogram (Greek letters for Jesus Christ), the Lily (representing the Virgin Mary) and the cross.
The font cover is made in oak and is decorated with an applied iron cross and stylised foliage. The arms of the cross end in a fleur-de-lys and at the intersection is a ring handle simulating rope. It dates from the mid-nineteenth century.
Reredos and Wooden Evangelists’ Panel.
The reredos, which is the carved wooden panels behind the high altar, was carved by Mrs Jane Monkton-Jones. At one time, the panel with the four evangelists was located next to it with St. Matthew and St. Mark to the left and St. Luke and St. John to the right. During the restoration in 1999 the wall tiles were uncovered; they show angels holding banners with the words “Worthy is the lamb” the four large ones depicting the attributes of the four evangelists (St. Matthew, St. Mark, St. Luke and St. John). The congregation voted in favour of the wall tiles remaining on view and the panel with the four evangelists was moved to its existing location in the north aisle, near the organ.
The re-discovered wall tiling would appear to be contemporaneous with the floor tiles, and is obviously designed to flank the reredos. The wall tiling is a scheme of decoration with a long history. The chancel floor is made of encaustic tiles and was the work of William Godwin of Lugwardine, Herefordshire. Godwin was a leading exponent of his art, and laid pavements at Hereford and Salisbury Cathedrals.
St. John is depicted in the panel as a young man, which contrasts with how he is depicted in the west window with the other evangelists. St. John was one of the youngest disciples, which is why he is often shown as a young man. You can also see St. John in the east window as he comforts the Virgin Mary (who is seen fainting).
The reredos, which is the carved wooden panels behind the high altar, was carved by Mrs Jane Monkton-Jones. At one time, the panel with the four evangelists was located next to it with St. Matthew and St. Mark to the left and St. Luke and St. John to the right. During the restoration in 1999 the wall tiles were uncovered; they show angels holding banners with the words “Worthy is the lamb” the four large ones depicting the attributes of the four evangelists (St. Matthew, St. Mark, St. Luke and St. John). The congregation voted in favour of the wall tiles remaining on view and the panel with the four evangelists was moved to its existing location in the north aisle, near the organ.
The re-discovered wall tiling would appear to be contemporaneous with the floor tiles, and is obviously designed to flank the reredos. The wall tiling is a scheme of decoration with a long history. The chancel floor is made of encaustic tiles and was the work of William Godwin of Lugwardine, Herefordshire. Godwin was a leading exponent of his art, and laid pavements at Hereford and Salisbury Cathedrals.
St. John is depicted in the panel as a young man, which contrasts with how he is depicted in the west window with the other evangelists. St. John was one of the youngest disciples, which is why he is often shown as a young man. You can also see St. John in the east window as he comforts the Virgin Mary (who is seen fainting).
The Bells
A new ring of five bells, cast in 1880 by Mears and Stainbank of Whitechapel, were given by two wealthy residents, Mrs Blakely and Mrs Jones, replacing three smaller old bells and were a memorial to the Revd Henry Parsons and his family’s contribution to the parish.
The sixth bell of the present peal, the tenor bell, had been given by Mrs Ellen Dumbleton of Longdown Lodge, as part of her gift of the church clock. The clock face is on the east of the church tower and is driven by a hand wound turret clock mechanism, manufactured by James Benson of Ludgate Hill in London, and is located in the tower and strikes the hours on the tenor bell.
The bells were re-hung on ball-bearings in 1938. The treble bell is in F# and weighs 2 cwt; 3 qtr and 27lbs while the tenor is in A and weighs 7 cwt; 2 qtr and 20lbs. All the bells are inscribed and full details are recorded in a plaque on the bell tower.
A new ring of five bells, cast in 1880 by Mears and Stainbank of Whitechapel, were given by two wealthy residents, Mrs Blakely and Mrs Jones, replacing three smaller old bells and were a memorial to the Revd Henry Parsons and his family’s contribution to the parish.
The sixth bell of the present peal, the tenor bell, had been given by Mrs Ellen Dumbleton of Longdown Lodge, as part of her gift of the church clock. The clock face is on the east of the church tower and is driven by a hand wound turret clock mechanism, manufactured by James Benson of Ludgate Hill in London, and is located in the tower and strikes the hours on the tenor bell.
The bells were re-hung on ball-bearings in 1938. The treble bell is in F# and weighs 2 cwt; 3 qtr and 27lbs while the tenor is in A and weighs 7 cwt; 2 qtr and 20lbs. All the bells are inscribed and full details are recorded in a plaque on the bell tower.
Stained Glass windows of St. Francis and St. Christopher
In the south aisle there is a window showing St. Francis and St. Christopher. It was installed in 1939 in memory of Patrick Leslie Peacocke (1915-1925).
St. Francis is depicted with wildlife as he saw them as his brothers and sisters, along with every person. This illustrates that God cares for every living thing.
In keeping with tradition, the image of St. Christopher is visible from the door. This illustrates an ancient superstition that if you look upon an image of St. Christopher you would not die that day.
In the south aisle there is a window showing St. Francis and St. Christopher. It was installed in 1939 in memory of Patrick Leslie Peacocke (1915-1925).
St. Francis is depicted with wildlife as he saw them as his brothers and sisters, along with every person. This illustrates that God cares for every living thing.
In keeping with tradition, the image of St. Christopher is visible from the door. This illustrates an ancient superstition that if you look upon an image of St. Christopher you would not die that day.
Annunciation Windows
The centre window depicts the Annunciation (see Luke 1:26-38), with the archangel Gabriel and the Virgin Mary. This represents the Angel Gabriel visiting Mary telling her that she would be the mother of Jesus by the Holy Spirit (represented by the dove). This is a traditional depiction of the Archangel Gabriel, with a sceptre, to the left of Mary, Mary being at prayer, and the two figures separated by an architectural feature, in this case an actual architectural feature. The words which appear on the scroll which Archangel Gabriel is holding are in Latin and translate as “Hail Mary full of Grace”. The book Mary is reading is open at the prophet Isaiah (chapter 7 verse 14) where the prediction (in Latin) says that a virgin will conceive and bear a son. The flowering plant next to Mary is a lily which is traditionally associated with Mary. The “Fleur-de-Lys” which appears on Mary’s robe is another symbol associated with her and also with royalty. The dove on a beam of light represents the Holy Spirit by which Mary became pregnant (Luke 1:35)
The centre window depicts the Annunciation (see Luke 1:26-38), with the archangel Gabriel and the Virgin Mary. This represents the Angel Gabriel visiting Mary telling her that she would be the mother of Jesus by the Holy Spirit (represented by the dove). This is a traditional depiction of the Archangel Gabriel, with a sceptre, to the left of Mary, Mary being at prayer, and the two figures separated by an architectural feature, in this case an actual architectural feature. The words which appear on the scroll which Archangel Gabriel is holding are in Latin and translate as “Hail Mary full of Grace”. The book Mary is reading is open at the prophet Isaiah (chapter 7 verse 14) where the prediction (in Latin) says that a virgin will conceive and bear a son. The flowering plant next to Mary is a lily which is traditionally associated with Mary. The “Fleur-de-Lys” which appears on Mary’s robe is another symbol associated with her and also with royalty. The dove on a beam of light represents the Holy Spirit by which Mary became pregnant (Luke 1:35)