ALMOST OPPOSITE THE modern and magnificent Hepworth Wakefield art gallery, completed in 2011, there is a nine arched bridge, built between 1342 and 1356, crossing the River Calder. Midway across the bridge, there is a small gothic chapel. It is the oldest one of only four surviving bridge chapels in England. Between the mid-14th century, when it was built and the Reformation in the 16th century, the Chantry Chapel of St Mary the Virgin served as a place of worship for travellers crossing the bridge on their way from Wakefield to Leeds.
Two acts passed during the reigns of King Henry VIII and his successor the young and fanatically Protestant Edward VI resulted in the closure of the well over 2300 chantry chapels in their kingdom. The chapel on the bridge at Wakefield was one of them. Whereas many chantry chapels were demolished or otherwise rendered unrecognizable, that on the bridge at Wakefield survived because it is an integral part of the structure of the bridge (https://en.wikipedia.org/wiki/Chantry_Chapel_of_St_Mary_the_Virgin,_Wakefield).
The former chapel on the bridge was used for various purposes between 1547, when its religious use was terminated, and 1842, when it was restored. It was used at different times to house a warehouse, a library, an office, and a cheese shop.
In 1842, the formerly Roman Catholic chapel was transferred to the Church of England and it was restored by the Yorkshire Architectural Society, which was influenced in its philosophy by the Oxford Movement, a group of High Church members of the Church of England who wanted to reinstate older Christian traditions, which had been abolished during the Reformation, and incorporate them into Anglican theological practice. The architect George Gilbert Scott (1811-1878) was involved in the restoration of the edifice. By 1848, the bridge on the chapel was once again being used as a place of worship. For a while it became a parish church, and then after a new parish church was built in 1854, it became used for occasional rather than regular services, and peopled prayed whilst water flowed below them.
Currently, the chapel is under the care of the Friends of Wakefield Chantry Chapel, which was founded in 1991. The chapel is usually kept closed but is opened on certain days (see: www.chantrychapelwakefield.org/open-days.html). As luck would have it, we walked across the bridge on a sunny day that the chapel was open. The small chapel is on two floors. The upper chapel is well-lit both by electric lamps and light flooding through its five sets of stained-glass windows. A narrow spiral staircase leads down to a lower, poorly lit, rather dusty chamber, somewhat devoid of interest.
The decorative ancient gothic chapel on the bridge makes an interesting contrast to the elegant but puritanically unadorned exterior of the Hepworth Wakefield gallery almost opposite it. Both buildings are definitely well worth exploring.
DURING THE COVID19 ‘lockdowns’, it is often impossible to venture within a church. On several occasions, especially when there are builders at work within a church, we have been lucky enough to be able to enter it. Otherwise, they are usually locked up. Not too long ago, I wrote about General De Gaulle’s brief period of residence in Hampstead and mentioned that he attended mass at Hampstead’s Roman Catholic St Mary’s Church (https://adam-yamey-writes.com/2021/03/22/french-connections/). Oddly, given how often we have visited Hampstead, I had never seen St Mary’s until we visited it in late March 2021. The church is located on Holly Walk about 180 yards north of Hampstead’s Anglican Parish Church.
St Mary’s is set back from the road and its tall narrow façade is wedged between two terraced Georgian houses. The white painted façade with neo-classical ornamentation and a niche containing a large sculpture of the Virgin and Child, and a belfry with a single bell, has a Mediterranean or southern European look to it. It adds an exotic touch to its otherwise British surroundings. The façade was designed by the architect William Wardell (1823-1899), many of whose creations are in Australia. Born a Protestant, he was influenced by his friend the great Victorian architect Augustus Pugin (1812-1852), who converted to Roman Catholicism. Wardell followed in Pugin’s footsteps and became a Catholic, building several Catholic churches in England, including St Mary’s in Hampstead, before he moved to Australia in about 1858 (https://en.wikipedia.org/wiki/William_Wardell). In the 1840s, after becoming a Catholic, he became a parishioner at St Mary’s.
Prior to the construction of St Mary’s, the Roman Catholics in Hampstead worshipped in Oriel House in Little Church Row. When this became too small to accommodate the congregation, the present church was constructed in under a year and was ready for use in August 1816. At that time, the congregation was led by a French refugee, the Abbé Jean-Jacques Morel, whom I described in the article to which I referred above. While he was still officiating at St Marys, a Papal Bull, the “Restoration of the Hierarchy to England and Wales”, was issued in 1850. Included in this document was permission for bells to be rung from Catholic churches in England for the first time since the Reformation. It was this that led to the creation of the façade, designed by Wardell, which we see today.
Fortunately for us the door to the church was open when we arrived. A couple of workmen were doing some repairs and did not mind us entering the small church. According to Nikolaus Pevsner and Bridget Cherry in their “London 4: North” architectural guide, the interior was altered in 1878, and a sanctuary as well as two side chapels were added in 1907. The nave faces a baldachino supported by four pillars coloured black with gold-coloured decoration. The baldachino was designed by Adrian Gilbert Scott (1882-1963) in 1935. His family were parishioners of St Mary’s. Adrian lived in Frognal Way in a neo-Georgian house called Shepherd’s Well. Sir George Gilbert Scott (1811-1872), Adrian’s grandfather, also lived in Hampstead, at Admirals House close to Fenton House. There is a painting above the high altar that depicts the Assumption of the Virgin. This was painted by a student of Bartolomé Murillo (1617-1682) and presented to the church by one of its founders Mr George Armstrong.
There is a stone effigy in the northern side chapel, the Lady Chapel. It depicts a figure with hands together as in prayer, with a lion at his feet. Although Abbé Morel had requested to be buried under a simple marble slab, this effigy of him was commissioned by the architect Wardell. The lion at the feet of the cleric indicates that he died outside the country of his birth.
Although the interior of the church is not so old, it evokes the feeling of much older churches I have seen in Italy. As with the façade, the inside of St Mary’s feels as if it is in a country close to the Mediterranean. While visiting its interior, I popped a donation into a box in exchange for a copy of a booklet about the church, from which much of my information has been gleaned. The booklet includes information about some notable members of the church’s congregation, including General De Gaulle, the Duchess of Angouleme, William Wardell, the Gilbert-Scott family, the landscape artist Thomas Clarkson Stansfield (who lived on Hampstead High Street), the novelist Grahame Greene (1904-1991), and Baron Friedrich Von Hugel (1852-1925).
Greene, an agnostic, became converted to Catholicism and was baptised in February 1926, partly because of the influence of Vivien Dayrell-Browning, whom he married in October 1927 in the Church of St Mary’s in Hampstead.
Von Hugel, who lived in Holford Road, which runs east of Heath Street, was, like Greene, a convert to Catholicism. He was born in Florence, Italy, and moved to England when he was 15 years old. He was an influential religious historian and philosopher both inside and beyond the Roman Catholic Church. He was a leading proponent of Catholic Modernism, which:
Less cerebral than Von Hugel, but greatly skilled was Gino Masera (1915-1996), who worshipped at St Mary’s. The booklet describing the church notes that when working at London’s Savoy Hotel:
“His artistic talent was revealed when he was asked to carve a block of salt for table decoration. He regarded the commission to carve the Stations of the Cross [in St Mary’s] as a turning point in his career and went on to carve the statue of Christ the King which stands above the High Altar in St Paul’s Cathedral.”
St Mary’s Church stands above a large burial ground that lines the east side of most of Holly Walk. Less picturesque than St Mary’s, this cemetery contains some interesting gravestones including those of the actor Anton Wohlbrueck (Walbrook) who died in Germany but whose ashes are buried in Hampstead; the cartoonist George du Maurier; and the Labour politician Hugh Gaitskell.
Once again, visiting Hampstead, a district with a rich history has proved interesting. Each time we make a trip to the area, we see things we had not noticed before and this has resulted in gradually expanding our knowledge of a place that has attracted fascinating people as residents over several centuries.