Tag Archives: church

Little of this church remains today

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WILTON IN WILTSHIRE was capital of Wessex between the 9th and 11th centuries (AD). Today, it is famous for its carpet manufacturing and the wonderful Wilton House, which has been home to the Earls of Pembroke since 1544, when King Henry VIII gave it to them after the Dissolution of the Monasteries. The House, which contains a fabulous collection of paintings by the great masters, was built on the site of Wilton Abbey (established in 871 AD).

St Mary’s church in the centre of Wilton was originally the first Anglo-Saxon church in the town. It was first built in the 9th century, and then rebuilt in the 12th century. The newer church was further modified in the 15th century. However, by the 18th century it was becoming dilapidated. In 1751, the surving part of the church became used as a mortuary chapel for the Earls of Pembroke. This situation remained unchanged until 1848, when the construction of the large Italianate church of St Mary and St Nicholas was completed in nearby West Street. Then, the old St Mary’s was demolished except for the chancel and the first bay of the nave (than next to the chancel). This survivor is rarely used for services and is now cared for by the Churches Conservation Trust, which looks after historic churches of interest that have become redundant. Outside the preserved part of St Mary’s there are a few gothic arches, remains of the previously much larger church.

We have visited Wilton several times, to see both Wilton House and the Italianate church, as well as to partake of refreshments in the town’s cafés, but it was only today (7th of October 2022) that I first noticed the remains of St Mary’s. This only goes to show that revisiting a place often can be rewarding.

A church with maps in Venice

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SANTA MARIA DEL GIGLIO, or ‘Santa Maria Zobenigo’ as it is commonly named in Venice, is a baroque church with a magnificent façade. It was built between 1678 and 1681. The edifice was constructed by Giuseppe Sardi for Admiral Antonio Barbaro, who died in 1679. Amongst his many achievements he was Provveditore Generale (Governor General) of Venetian Dalmatia and Venetian Albania in 1670-71.

During my many visits to Venice, most of which were made annually with my parents during the 1960s, I have passed the church and noted an interesting feature of its façade. The base of this is decorated with six carved stone bas-relief maps. These have always fascinated me, but it was only after our recent trip to Venice in September 2022 that I finally got around to investigating them.

The maps are of Spalato (Split in Croatia); Corfu; Roma (Rome); Padoa (Padua); Candia (Haraklion in Crete); and Zara (Zadar in Croatia). Except for Rome, these are all places that were once governed by Venice. The maps depict places where Antonio Barbaro served in one capacity or another.

Wnen James (later Jan) Morris wrote “Venice” (published 1960), which is I believe the best book written about Venice, he/she noted of the façade of Santa Maria Zobenigo that:

“… it is notorious because not one item of its convoluted design has any religious significance whatsoever.”

Morris also pointed out something I have never noticed on that façade. Namely, that it bears a crest with a double-headed eagle, the crest of the Barbaro family. As this symbol interests me, I checked it out. The Barbaro family might have used it because of their connection to the Vlasto family, who were prominent in Rome by the end of 2nd century AD (see; www.christopherlong.co.uk/per/vlasto.byzantium.html). By the end of the 11th century, the Vlasto family was members of important families including the Barbaro’s. The Vlasto family crest includes the double-headed eagle, which amongst other things, was a Byzantine symbol. Interestingly, the Vlasto’s had already begun using it in the early 1st century AD, while the Byzantines only began using it in the 12th – 13th centuries. Maybe I never noticed the double-headed eagle because whenever I have passed the church, my eyes have been drawn to the maps on its fine façade. They fascinated me so much that I never bothered to look upwards.

The place where the artist Tiepolo was born in Venice

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GIOVANNI BATTISTA TIEPOLO (1696-1770) is one of my favourite artists. I have been familiar with his works ever since my childhood, when we visited Venice annually from the late 1950s or early 1960s onwards. My parents took me from church to church to see the great master’s paintings, which I prefer to the somewhat more photograph-like paintings of Canaletto.

We used to stay in a pensione on the Fondamente Zattere, a waterfront facing across a wide canal to the Giudecca island. The Gesuati church was a few yards from where we resided in Venice. It contains ceiling panels and a wall painting, all created by Tiepolo. Often, we passed the church and almost always entered it to gaze up at Tiepolo’s ceiling. I cannot remember it, but my sibling recalls that almost every morning, early, my father used to stand quietly and alone in the church for a few minutes.

I became so keen on Tiepolo that I broke my train journey between Ostend and Vienna to spend a night in Würzburg in order to see Tiepolo’s paintings in the city’s Residenz (a palace).

This September (2022), I was walking along a narrow passageway (Calle S Domenico) when I spotted a commemorative plaque above an archway leading into a long narrow courtyard surrounded by tall residential buildings. The plaque recorded that in the courtyard there was the house in which Tiepolo was born on March 1696. Exactly in part the courtyard, the Corte S Domenico, the artist was born, I could not determine. However, I had never seen this place before and was thrilled to have stumbled across the place where one of my favourite artists was born.

Greek in north London’s Golders Green

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IN THE EARLY 1960s, the first proper self-service supermarket opened on the corner of Golders Green Road and a small service road called Broadwalk Lane. I cannot recall the name of this store, but it was soon taken over by the Macfisheries company. Later, it became a supermarket where many imported foods, especially products from Israel, were sold. Now, it has become a Tesco Express.

Facing the supermarket (across Golders Green Road) is a gothic revival style church. It has been used by a Greek Orthodox (Christian) congregation since 1968. Now, the The Greek Orthodox Cathedral of the Holy Cross & St. Michael, it was constructed as the Church of England’s ‘St Michael’s Church’ in 1914 to the design of JT Lee. A clock tower, surmounted by a delicate cupola supported by thin columns, was added to the church in 1960. On one of its walls, there is a bas-relief of St Michael with one foot on a serpent. On the northeast corner of the church, there is a plaque listing people who died in WW1. Near this, there is a crucifix standing in the garden next to the church. Its design, typical of C of E crucifixes, predates the arrival of the Greek congregation.

Although the interior of the church maintains some of its original Cof E fittings, such as stained-glass windows, the font designed in a mock mediaeval style, and some wall mounted memorials in English, a great deal of effort has been made to create the atmosphere of a Greek Orthodox place of worship. The walls of the side aisles have been painted with religious scenes. There is a decorated iconostasis and several framed icons. Elaborate chandeliers hang above the nave. Despite the additions to convert the church for Greek Orthodox worship, the original gothic revival features of the building’s interior are evident, but harmonise well with the later additions.

A church near Madame Tussauds

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I HAVE PASSED IT OFTEN while travelling along London’s busy Marylebone Road and admired its elegant neoclassical portico supported by six columns with Corinthian capitals, but never entered it until today (the 7th of September 2022). I am referring to the Church of St Marylebone, consecrated in 1817. One of its predecessors, dedicated to the Blessed Virgin Mary was erected nearby in about 1400. It stood near the River Tyburn. The name Marylebone seems to be derived from a conjunction of the words Mary and ‘burn’ (from Tyburn, which began to have a bad reputation because of the much-used gallows close to its banks). This early church was replaced by another, constructed in 1740. It survived until it was demolished in 1949.  Nearby, the present larger church, which we see today, was constructed in 1817 on what was then the New Road, a by-pass on the northern edge London, and is now Marylebone Road. Its grand portico faces north, and the high altar and the colourfully decorated apse are in the south end of the building. The church, a typical example of a Regency interior with first-floor galleries, is tall and spacious.

Charles Dicken’s son was baptised in the church. The poet Robert Browning (1812-1889) married a fellow poet Elizabeth Barrett (1806-1861) in the church in 1846. And the composer John Stainer (1840-1901) composed his oratorio “The Crucifixion” specially for this church in 1887 when he was already a fellow of the Royal Academy of Music, which is across the main road facing the church.

The Methodist Charles Wesley (1707-1788), who lived nearby, asked to be buried in what was the churchyard of the older (1740) church. Where this edifice stood is now a peaceful open space, the Garden of Rest, next to Marylebone Lane (a few feet south of Marylebone Gardens). In this small space, there is a stone obelisk mounted on a pedestal. This commemorates the life of Charles Wesley and several members of his family.

Close to Madame Tussauds and the Royal Academy of Music and neighbouring one of London’s more enjoyable shopping areas – Marylebone High Street, stands the lovely church of St Marylebone, which as I discovered today, merits a visit.

Americans in Mayfair

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MY UNCLE SVEN Rindl (1921-2007) was a structural engineer. He was involved in the construction of the building on the west side of Mayfair’s Grosvenor Square, which used to house the Embassy of the USA until recently. About yards south of the former embassy building, there is another place associated with the USA on South Audley Street. Far older than the embassy, this is the Grosvenor Chapel, whose foundation stone was laid in 1730 by Sir Richard Grosvenor (1689-1732), the local landowner. The relatively simple brick and stone church with some neo-classical features was ready for use in 1731. When the church’s 99-year lease ran out in 1829, it became adopted as a chapel-of-ease (i.e., a chapel or church within a parish, other than the parish church) to St George’s Hanover Square.

Until very recently, I had often passed the Grosvenor Chapel when going to and from The Nehru Centre, also on South Audley Street, but had never entered it. Yesterday (26th of August 2022), the doors were open and, being early for a dance performance at the Nehru Centre, I looked inside the chapel. Its interior is simply decorated. The wide nave lies below a barrel-vaulted, plastered ceiling. Galleries supported by columns with Ionic capitals flank the north and south sides of the nave. The chancel is separated from the nave by a screen with openings, each of which is flanked by pairs of Ionic columns. The screen was added by the architect John Ninian Comper (1864-1960) when he remodelled the church’s interior in 1912.Ionic columns with their bases on the gallery support the ceiling of the nave. Windows (with plain glass panes) on two levels, both below and above the galleries, give the chapel good natural illumination. In summary, the simple, white-painted chapel, though not large, feels spacious. Its simplicity is a complete contrast to its neighbour, the flamboyant Gothic Revival style Catholic Church of the Immaculate Conception.

An inscribed stone plaque on the west front of the chapel records its American connection. The words on it are:

“In this chapel the Armed Forces of the United States of America held Divine Service during the Great War of 1939 to 1945 and gave thanks to God for the Victory of the Allies”

The American General Dwight David Eisenhower (1890-1969) was amongst those who worshipped there during WW2. Many years before that, another person connected with the USA, John Wilkes (1725-1797) was buried in the chapel. Wilkes, a radical journalist and politician, was a supporter of the American rebels during the American War of Independence.

America (i.e., the USA) has been associated with Mayfair since it gained independence from the British. Its first embassy was in a house in Mayfair belonging to John Adams (1735-1786), who was the first US Minister to the Court of St James (between 1785 and 1788). The embassy’s Chancery moved several times before 1938, when it was housed in 1 Grosvenor Square, now the home of the Canadian High Commission. Thus, during WW2, it was close to the Grosvenor Chapel. The embassy building, in whose construction my uncle was involved, was designed by the architect Eero Saarinen (1910-1961), and completed in 1960. By January 2018, the embassy had shifted from Grosvenor Square to a newly constructed edifice across the Thames at Nine Elms.

Returning to the small chapel, a small note about its name. The place’s website (www.grosvenorchapel.org.uk) explained:

“It retains its title of Chapel because it is not, and never has been a parish church, and its continuing existence is entirely dependent upon the generosity of those who worship here regularly or visit from time to time.”

Built during a time of war

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FROM THE OUTSIDE, the church of St Barnabas in Pitshanger Lane (Ealing) is not particularly attractive. Even though we visited it on a Sunday, it was locked up. However, we were fortunate to meet a lady, who had been in the church hall and happened to have the key to the church with her. Kindly, she unlocked the edifice, and we were able to enter. The church’s interior, unlike its exterior, is wonderful.

The church stands close to Brentham Garden Suburb, which was built largely between 1901 and 1915. I will write about the Suburb at a later date, but now I will concentrate on the church. Although the Suburb was built with a magnificent club house, there had been no plans to include a church. In 1907, a temporary church made from corrugated iron sheets, and dedicated to St Barnabas was constructed at the junction of Pitshanger Lane and Castlebar Park. Eventually, it was too small to accommodate its congregation in an area where plenty of housing was being constructed. For legal reasons, it was not possible to build a larger church on the site. So, in 1911 a larger plot was acquired at the corner of Pitshanger Lane and Denison Road (one of the streets within the Garden Suburb).

Ernest Shearman (1859-1939) was the architect chosen to build the larger St Barnabas Church, which can be seen today. After working in Buenos Aires and later at Sandringham, he moved to Winchester in 1907. From that year onwards, his work was mainly concerned with designing churches. According to a book by Hugh Mather about the centenary of the church of St Barnabas, all of Shearman’s churches:

“…are tall imposing buildings without spires, and their austere, simple architecture was designed so that elaborate furnishings and other adornments could be added subsequently …”

His churches represent “… almost the final flowering of the last phase of the Gothic Revival.”

All except one of his churches demonstrate Shearman’s fascination with rose windows and elaborate tracery. St Barnabas is a fine example of this.

The construction of the church began just before the start of WW1, in June 1914. It was completed in the middle of the war by June 1916, when it was consecrated.

The church has a spacious nave, which has a lovely timber ceiling. Although it was designed to reflect the heritage of the gothic era, the inside of the church feels almost contemporary. There is an enormous organ at the west end of the church. Made in 1851, it was made by the company of William Hill and  originally housed in St Jude’s Church in Southsea. It was moved to St Barnabas in 2011. Some of the pipes on the south side of the central tall organ pipes do not make sounds. They were added to the organ for purely aesthetic reasons. The current organ replaced an older, less reliable instrument, which was removed in 2010.

The apse is adorned by a large painting by James Clark (1857-1943), who was living in Bedford Park not far from the church when he created it. He was one of many artists residing in Bedford Park, which was an ancestor of the Garden Suburb movement. His painting in the apse depicts the three hierarchies of angels praising and adoring the Holy Trinity. It is a magnificent addition to the church.

As we did not want to delay the lady who opened the church for us, we did not have sufficient time to examine its interior in great detail, but it did demonstrate how wrong it was to, to rephrase a well-known saying, to judge a church by its cover.

The lepers’ doorway

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RAINHAM IN THE London Borough of Havering, but formerly in Essex, has an attractive and venerable parish church: St Helen & St Giles. Helen (c247-c330) is mistakenly believed to have been British. Probably born in Asia Minor, she was mother of Constantine the Great. Giles was a 7th century saint of Greek origin. Much of the body of this building was constructed in the 11th century. A small doorway on the south side, which has a fine carved stone Norman arch, was added in the 12th century, and is known as the Priest’s Entrance. The main entrance is via the South Porch, which was restored or recreated in 1897. As with so many old parish churches, Rainham’s is filled with interesting features, some of which I will describe.

View through the squint (hagioscope) in Rainham parish church

The simple stone font bowl is from the 12th century. Almost as old as the church, it stands on a carved stone pedestal, created in the 15th century. The nave is flanked by sturdy square columns that support semi-circular arches typical of the pre-gothic era. The arch above the chancel has geometric carvings (chevrons), a fine example of Norman architecture. At the southeast corner of the nave, there is an old wooden door, covering the entrance to a spiral staircase that used to lead up to a no longer existing gallery. The door was originally located in the above-mentioned Priest’s Entrance, and was constructed in the 13th century. On the floor near this old door, there lies the black gravestone of John Harle, who built nearby Rainham Hall in the 1720s. His wife and son are also buried beneath it. Near to the grave, there are a couple of memorial brasses set in the floor.

Close to Harle’s gravestone on the wall of the south aisle, there is a niche in the wall and below this, part of a late 12th or early 13th century piscina. This small basin was used by the clergy for washing sacred vessels used during a service. The nave receives natural light through several clerestory windows. In Rainham’s church, these are shaped like human eyes. Probably installed in the 13th century, their shape is extremely unusual in English churches.

The lady, who was kindly showing us around the church, pointed out a slit in the north side of the western end of the chancel. The slit, which passes through the thick wall, is not perpendicular to the wall. It runs from the northwest to the northeast. It is what is known as a ‘squint’ or a ‘hagioscope’. These were incorporated into churches to allow worshippers a view of the high altar when their view was obstructed by the walls of the side aisles in churches where the width of the chancel was considerably less than that of the combined aisles and nave.

Our guide suggested that the squint in Rainham’s church might have been used by diseased worshippers such as those suffering with leprosy. She believed that these unfortunates would have been admitted to the church by the small north door and confined to the northern aisle. By peering through the squit, they could glimpse the crucifix on the high altar in the chancel. Where or not this was really what happened, I cannot say, but I like the story.

We were extremely lucky to have been able to enter the church because, as we learned later, it is often closed. We happened to arrive when our self-appointed guide and her colleauges, all volunteers, were decorating the building with flowers.

Alice through the stained glass windows

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CHARLES LUTWIDGE DODGSON (1832-1898), better known as Lewis Carroll, author of “Alice’s Adventures in Wonderland”, was born in the village of Daresbury in Cheshire. During his first few years of life, Charles’s father was the curate of the local church of All Saints.

When he was 11, the Dodgson family moved away from Daresbury. Eventually, Charles entered Christ Church College in Oxford. It was here that he met the young child Alice Liddell, daughter of the Dean of Christ Church. It was this young child who inspired Dodgson to create and later publish his famous story. Unlike many other Victorian tales for children it was free from moral instructions.

Dodgson/Carroll died in Guildford, where he was buried. To celebrate the 100th anniversary of his birth, money was raised to create a window in the church in Daresbury to commemorate him. Known as the Lewis Carroll Window, it allows light into a Chapel in the southeast corner of the church. Designed by Geoffrey Webb, it was dedicated in mid 1935.

The stained window incorporates depictions of both Carroll and Alice Liddell, as well as some of the creatures drawn originally by John Tenniel, who illustrated the book about Alice.

A modern addition to the church was built onto its North side. This contains a Lewis Carroll exhibition. One of the exhibits is an old Bell. This used to be attached to a barge that served the religious needs of the people who lived and worked on the canals near Daresbury. This floating chapel was the creation of Lewis Carroll’s father.

We visited Daresbury on a July day when the air temperature was 37 degrees Celsius. Fortunately, it was cooler inside the church. I am grateful to Christine Casson for encouraging us to visit the church with the Wonderland window.