UNTIL THIS SEPTEMBER (2022), I had only visited Knole House (near Sevenoaks in Kent) once, and that was in about 1972.
I remember three things about that visit. First, it was a grey, drizzly day. Second, in those far-off days, visitors were taken on a guided tour of the house. Third, was the miserable guide. He was an elderly man who did his best to seem unenthusiastic about Knole House. He took us from room to room, stopping at various exhibits, saying things like:
“This is a Jacobean cupboard. Quite interesting if you like that kind of thing”
And:
“Here is a Queen Anne clock. Quite interesting if you like that kind of thing.”
And:
“This is a carved wooden staircase, if you like that kind of thing.”
He made similar comments, always lacking in enthusiasm, each time he pointed out an exhibit or feature. What with the dull weather and the depressing commentary provided by the guide, I believe that subconsciously I avoided revisiting the place.
It was only recently, when we were on our way to visit some friends who live in Kent, that my wife said that she had never visited Knole, and that we should see the place. I agreed, thinking that it would be a good idea to see Knole again: to give it another chance. We went on a sunny afternoon. We walked at our own pace from room to room in the building that was the country home of an archbishop of Canterbury in the 15th century, and later (for over 400 years) the home of the Sackville family, which still resides there. In each room, there were knowledgeable National Trust volunteers who answered our questions and, unlike the guide I met on my first visit, inspired us with enthusiasm for the fascinating place.
Whereas after my first visit to Knole and the poor impression it made on me, I used to be reluctant to recommend people to visit it, but having seen it again, I would put into my top 10 places to visit in Kent.
ONE OF THE JOYS of travelling around in one’s own car is the ability to go almost anywhere one wishes and by any route, direct or indirect. Recently, we were driving along the A1141 between the Suffolk wool towns of Lavenham and Hadleigh when we noticed a small brown and white sign directing tourists to “St James Chapel”. We turned off the main road and drove along a narrow, winding by-road, which threaded its way through cultivated fields and small clumps of trees. We had no idea where the chapel is located and it was almost by chance that we noticed the small building, which is located well away from the lane. The best view of this tiny edifice is through a farmyard next to which it stands, otherwise it is well concealed by tall hedges.
Maintained by English Heritage, the chapel is approached via a narrow L-shaped passage between it and the hedges. A board close by gives the history of the place. The tiny 13th century chapel served the nearby Lindsey Castle, which was abandoned in the 14th century and now exists only as earthworks (www.heritagegateway.org.uk/Gateway/Results_Single.aspx?uid=384905&resourceID=19191). During the 13th century, a lady called Nesta de Cockfield (c1182-c1248; https://our-royal-titled-noble-and-commoner-ancestors.com/p5161.htm#i154959), who was born near Lindsey Castle at Kersey, established a tithe (tax) to maintain the chapel of St James. Along with all other chantries (usually, chapels on private land), St James was closed in 1547 as part of the religious reforms instigated by King Edward VI.
The chapel was used as a barn from 1547 until the early 1930s, when it became designated as a historic monument. The building is built with roughly cut flints held together with mortar or cement. The entrance with its gothic archway and the windows are trimmed with well-cut stone blocks. The interior walls are not plastered and look the same as the exterior. On the south wall there is a niche or ‘piscina’ (used for draining water used in the Mass in pre-Reformation church services), which, like the windows, is topped by a gothic arch. Apart from the piscina, there is nothing else left within the chapel apart from the ghosts of those who prayed there many centuries ago.
The ceiling of St James is formed of the exposed timbers that support the roof, which is attractively thatched, and looks well-maintained. The north wall of the chapel faces the road across the car park of the farm next door to it.
Without a car or bicycle or horse, reaching the tiny chapel of St James would involve a tiring walk. Without a car and plenty of leisure time we would most likely never have visited this delightful remnant of East Anglia’s rich mediaeval heritage.
A SHORT REMNANT OF the old Roman city wall, which used to surround London, runs just south of the church of St Giles Cripplegate, which itself is on the southern edge of the Barbican complex. The garden of Salter’s Hall lies where once a moat ran along the outer side of the wall. And on the other side of the wall, between it and the wide road called London Wall (the A1211), there are the remains of a mediaeval structure, which look as if they might have been the lower part of a gothic tower. These ruins can be examined close-up or a few feet away, seated at a table under the awnings of Barbie Green, an Australian-style, contemporary eatery, which serves good coffee. The restaurant is relatively new, but the ruins have been there far, far longer. Oddly, although we have passed this area often, it was only yesterday, 16th of August 2021, that we first noticed them.
A notice next to the ruins explains that they are all that remains of the tower of St Elsyng Spital, which was also known as ‘The Hospital of St Mary within Cripplegate’ (www.british-history.ac.uk/vch/london/vol1/pp535-537). This hospital was founded in 1330 by the merchant, a mercer, William Elsyng as a college for priests and to provide shelter and other assistance to London’s homeless blind people (https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.538317). A victim of the Black Death, he died in 1349. Following his instructions, after his death it became an Augustinian priory, which survived until it was dissolved in 1536 during the reign of King Henry VIII. After its dissolution, the parishioners of the nearby St Alphage Church, which had become derelict, purchased the church of Elsyng’s establishment. According to the architectural historian Nikolaus Pevsner, the 14th century tower, whose remains we saw, was incorporated into the structure of St Alphage. St Alphage was demolished at the end of the 16th century and its parishioners used what was left of Elsyng’s priory church, which was eventually replaced by a newly built church on a different site in 1777 (https://en.wikipedia.org/wiki/St_Alphege_London_Wall).
The well-maintained ruins consist of several tall gothic arches connected to each other by walls made of roughly hewn stones and mortar. Most of the arches are arranged around what was once the base of a tower. This mediaeval site is surrounded by modern buildings, lies beneath a sinuous elevated oxidised metal walkway. It is sandwiched between the fragment of London’s Roman Wall and the busy London Wall dual carriageway. Part of the joy of stumbling across this relic of pre-Reformation architecture is that unlike so many others we have seen on our travels, it is in the heart of a modern metropolis rather than a rustic environment.
Small though it is in comparison with its modern surroundings, finding this reminder of London’s distant past, founded long ago by a philanthropic merchant, was a delightful surprise. Even today, so many centuries later, philanthropy thrives in the heart of the old City of London in the form of the descendants of the guilds, of which The Salters, whose hall I mentioned above, is just one example of many.
BROTHER PETER IS one of six retired ex-servicemen who reside at The Lord Leycester Hospital, one of the oldest buildings in the town of Warwick apart from its famous, much-visited castle. He explained to us that the word ‘hospital’ in the name refers not to what we know as a medical establishment but to a place providing hospitality. The men, who reside in the Hospital are known as the ‘Brethren’.
The Hospital is contained in an attractive complex of half-timbered buildings that were erected next to Warwick’s still standing Westgate in the late 14th century. They are almost the only structures to have survived the Great Fire of Warwick that destroyed most of the town in September 1694. The buildings and the adjoining chapel that perches on top of the mediaeval Westgate were initially used by the guilds of Warwick, which played a major role in administering the town and its commercial activity. The ensemble of edifices includes the mediaeval Guildhall in which members of the guilds carried out their business. Between 1548 and 1554, it was used as a grammar school.
In 1571, Queen Elizabeth I’s favourite, Robert Dudley, Earl of Leicester (1532-1588), who lived in nearby Kenilworth Castle, was asked by the queen to clear the streets of Warwick of ailing, infirm, and disabled soldiers, by establishing a refuge (i.e., ‘hospital’) to shelter them. It is said that Dudley persuaded the town’s officials to give him their Guildhall to be used for this purpose. This ended the guilds’ use of the complex of mediaeval buildings, now known as Lord Leycester’s Hospital.
Initially, Dudley’s hospital provided accommodation for The Master, a clergyman, and twelve Brethren, poor and/or wounded soldiers, and their wives. According to the excellent guidebook I bought, the original rules of the hospital include the following:
“That no Brother take any woman to serve or tend upon him in his chamber without special licence of the Master, nor any with licence, under the age of three-score years except she be his wife, mother, or daughter.”
To accommodate them, modifications of the interiors of the buildings had to be made. Brother Peter, with whom we chatted, is one of the current Brethren. He introduced us to another of his fraternity, a young man with a scarred head, who had survived an explosion whilst serving in Afghanistan.
Dudley’s arrangement survived until the early 1960s, when the number of Brethren was reduced to eight. By this time, the Master was no longer recruited from the clergy but from the retired officers of the Armed Forces. What is unchanged since Dudley’s time is his requirement, established in an Act of Parliament (1572), that the Brethren must attend prayers in the chapel every morning. They recite the very same words chosen by Dudley when he established the hospital.
We did not have sufficient time to take a tour of the buildings that comprise the hospital, but we did manage to enter The Great Hall, which now serves as a refreshment area for visitors. This large room has a magnificent 14th century beamed timber ceiling made of Spanish chestnut. It was here that King James I was entertained and dined in 1617, an event lasting three days. We were also able to catch a glimpse of the Mediaeval Courtyard, which is:
The Lord Leycester Hospital is less well-known than the nearby Warwick Castle, which has become something of a costly ‘theme park’. However, the hospital is a far more interesting place to visit, However, you will need to go there before the 23rd of December 2021, when it will be closed for restoration for quite a lengthy period.
OUR DETAILED ROAD atlas – yes, we are still using one of these in preference to ‘GPS’ – marks ‘churches of interest’. One of these is at Little Dunmow in Essex and was labelled ‘priory church’. As we were nearby, we made a small detour to the tiny village of Little Dunmow and found the superb gothic structure standing near some small modern dwellings. As is frequently the case, the church was locked up, but someone suggested that if we asked the lady who lived in one of the nearby houses, she would most likely open it for us. We knocked on her front door and a neighbour looked into her back garden, only to discover that she was not at home. Another of her neighbours suggested that she might be out walking her dog. We saw several ladies out walking with their dogs, and the third one we asked happened to be the one with the key to the church. She opened the church for us, and we had a good look around its interior.
The Flitch Chair at Little Dunmow, Essex
The church of St Mary in Little Dunmow is all that remains of what was once a huge priory church. In fact, it is what was once the Lady Chapel on the south side of the chancel. The rest of the church and the Augustinian Priory, to which it was attached, was demolished in the 16th century following the passing of the Suppression of Religious Houses Act 1535 during the reign of King Henry VIII. Some of the great area that was once occupied by the priory and its large church now contains the village’s extensive cemetery.
The north wall of the existing church was the south arcade of the chancel of the former priory church. The arches through which one could have passed from the Lady Chapel into the now demolished church have been filled in with masonry, but the original supports of the arches remain intact. The south wall of the current parish church has four large gothic windows and on the eastern wall another, which allow a great deal of light to suffuse the church. Probably, these date from 1360 when the chapel was, according the architectural historian Nikolaus Pevsner writing in his Essex volume of “The Buildings of England”, opulently remodelled. The red brick bell tower at the western end of the edifice was added in 1872 and Pevsner describes it as being “… a silly NW turret.”
The church’s well-lit interior has a wonderfully spacious feel beneath its ceiling lined with simple dark timber beams. Apart from enjoying the place in its entirety, several features attracted my interest. Two alabaster effigies, a man and his wife lying down with carved animals at their feet, commemorate Walter Fitzwalter (died 1432) and his wife Elizabeth (née Chideock, died 1464). Walter was the grandson of Robert Fitzwalter (1247-1346), First Baron Fitzwalter. And, more interestingly, Robert’s father, Robert Fitzwalter (died 1235), feudal baron of Little Dunmow, was one of the barons who opposed King John and made sure that he adhered to what was contained in the Magna Carta, which he signed in 1215. A modern plaque on the eastern wall of the church honours his memory.
The pair of effigies are located next to the north wall of the church, west of an alabaster effigy of a now unknown woman, also located next to the wall. Information in the church suggests that she might have been the mother of Walter Fitzwalter, or Matilda, the daughter of Robert, the Third Baron, or even Maid Marion of Robin Hood fame.
Another curious feature within the church is a wooden chair with carvings made in the 15th century, using wood with 13th century carvings. This, the Dunmow Flitch Chair, is a unique piece of furniture. Its seat is wide enough to comfortably seat two adults. It was used during the so-called ‘Flitch Trials”, which still take place in Great Dunmow every four years:
“The ancient Flitch of bacon custom rewarded a couple who had been married in church and remained ‘unregreted’ for a year and a day, with a flitch of bacon. The claimants had to swear an oath kneeling on two sharp pointed stones in the churchyard. They were then carried through the village to be acclaimed.” (www.magnacartabarons.info/index.php/the-towns-and-villages/little-dunmow-essex/)
A flitch of bacon is a side of bacon (half a pig cut lengthwise). The trials were held at the priory church in Little Dunmow until 1750, and were later revived in the 19th century following the publishing in 1854 of “The Flitch of Bacon”, a novel written by William Harrison Ainsworth (1805-1882). In the preface to his story, the author hints at the origin of the tradition:
“”Among the jocular tenures of England, none have been more talked of than the Bacon of Dunmow.” So says Grose, and truly. The Dunmow Flitch has passed into a proverb. It is referred to by Chaucer in a manner which proves that allusion to it was as intelligible in his day as it would be in our own. The origin of the memorable Custom, hitherto enveloped in some obscurity, will have found fully explained in the course of this veracious history. Instituted by a Fitzwalter in the early part of the Thirteenth Century, the Custom continued in force till the middle of the Eighteenth—the date of the following Tale.”
According to the novel, the couple attempting to win the flitch of bacon had to came to the priory church at Little Dunmow, where they were subjected to a trial with witnesses, jury, and judges, to assess whether their marriage had been without blemish for a year and a day. On arrival at the priory church, Ainsworth related, the couple:
“… kneel down on the self-same spot, and on the self-same stones, where, more than four centuries ago, Reginald Fitzwalter and his wife knelt when they craved a blessing from the good prior. Benedicite! fond pair! Ye deserve holy priest’s blessing as well as those who have knelt there before you. Bow down your gentle heads as the reverend man bends over you, and murmurs a prayer for your welfare. All who hear him breathe a heartfelt response. Now ye may look up. He is about to recite the Oath, and ye must pronounce it after him. The Oath is uttered.”
Having been awarded the flitch, we learn that:
“All is not over yet. Ye have to be placed in the antique chair, and, according to usage, borne on men’s shoulders round the boundaries of the old Priory, which in the days of your predecessors stood hereabouts. And see! the chair is brought out for you. It is decked with rich though faded tapestry, woven with armorial bearings, which ye must know well, since they are your own, and with a device, which each of you may apply to the other—Toujours Fidèle.”
Well, our road atlas marked the church at Little Dunmow as being “of interest”, and having visited it, we can assure you that it is of very great interest.
THE TOWER CAN BE seen from far away. From a distance, the visitor to Old Isleworth on the River Thames might be fooled into believing that the 14th century stone square church tower topped with four pinnacles, one at each corner, is attached to an equally venerable church, but this is no longer the case. The mediaeval tower is almost all that remains of the mediaeval church of All Saints in Isleworth. It is attached to a twentieth century structure that now serves as the church. When I saw this, I wondered what disaster had befallen the rest of the original pre-20th century church.
The origin of the name Isleworth is unknown. In the Domesday Book, it is listed as ‘Gistelworde’ and Norden, writing in 1591, named it both ‘Thistleworth’ and ‘Istleworth’. Simon de Montfort (c1205-1265), who expelled the Jews from Leicester in 1231, and his barons are known to have camped in Isleworth Park in 1263. To digress, maybe, in view of his anti-Semitism, the authorities of De Montfort University in Leicester, ought to reconsider its name. Getting back to Isleworth, the Domesday Book records that there was Christian worship in Isleworth (https://allsaints-isleworth.org/about-us/church-history/) and a vicarage is mentioned in records compiled in 1290 (www.british-history.ac.uk/vch/middx/vol3/pp122-129). The church, whose tower is still standing, was dedicated to ‘All saints’ in 1485 and was connected to Syon Abbey, a Bridgettine establishment, founded in 1415 in Isleworth, which was disbanded by Henry VIII. Interestingly, it was in the Abbey’s chapel that the body of Henry VIII lay overnight on its journey from Westminster to St Georges Chapel in Windsor (https://en.wikipedia.org/wiki/Syon_Abbey). The abbey stood where Syon House stands today.
The church is said to have been ‘very ancient’. Its chancel was rebuilt in 1398-99. By 1701, the church was in a poor condition and needed rebuilding. Christopher Wren, architect of London’s St Paul’s Cathedral, was invited to redesign the church. His design was deemed to costly to be carried out and was discarded. Eventually, the churchwardens brought out Wren’s plans and modified them to make the construction of the church more economical. James Thorne, author of “Handbook to the Environs of London” (published 1876), wrote that:
“Apart from its ivy-covered tower, there could not well have been an uglier ch[urch] than that of Isleworth a few years ago…”
However, he added:
“…but it has been transformed, the windows altered, a new roof of higher pitch, and a lofty white-brick Dec. [i.e. gothic revival] chancel added, greatly to the benefit of the general effect.”
He also described many improvements to its interior and noted the existence of a fine organ built by Father Schmidt (Bernard Schmidt: c1630-1708). Alas, none of what Thorne described, apart from the tower, can ever be seen again.
Except for the tower, the church was destroyed by fire in 1943 during WW2. The fire was not the result of military activity but was caused by two young boys. These same two miscreants also set fire to Holy Trinity Church in Hounslow a few days later. This is what happened (https://stmargarets.london/archives/2013/05/fire_starter.html):
“In the early hours of Friday, 28th May 1943, All Saints Church, standing by the Thames in Old Isleworth, was destroyed by fire. The alarm was given at 2.30am by Miss Burrage who lived next door and again by Mr. McDonald, the publican of the “London Apprentice”. Against the darkness of the wartime black-out the glow of the huge fire could be seen for miles.
Three days later, on the afternoon of Tuesday 1st of June 1943, the Parish Church of Hounslow (Holy Trinity) was completely destroyed by fire. Shortly after 5.00pm smoke was reported to be issuing from the church … The police noted that an attempt had been made to open the church safe…”
Two boys, one aged 12 and the other 13, were arrested and tried at Brentford in the old courthouse, which is now home to a restaurant/café called The Verdict. These two youngsters had been in court several times before for crimes of petty theft. In court, they admitted:
“…that they only set fire to the churches out of spite and only if they found no money to steal. They told the chairman Mr. A. J. Chard J.P, how easy it was to break into churches and how easy it was to burn them down. At the Mission Hall they set fire to the curtains. At Broadway Baptist Church they set eight separate fires. At Holy Trinity it was five. The older boy also confessed to burning down a haystack in a coal yard a year earlier.”
The two arsonists were sent to approved schools. The Chairman of the Court recommended:
“…to the Home Office that the two lads should go to separate schools and that the schools should be of the strictest kind; further, that they should be kept there for the full period of three years.”
All Saints Church was rebuilt yet again in 1970 to the designs of architect Michael Blee (1931-1996), who built several churches. From the outside it is quite an attractive structure attached to the mediaeval tower.
While wandering around the church, two things caught my eye. One is a stone placed close to a large yew tree in the churchyard. The stone informs us that the yew tree is growing upon the site where 49 people, who died in the Great Plague of 1665, were buried. The other feature that interested me was a group of stones set in the wall surrounding the churchyard. Each of these records the level to which water reached when the Thames flooded on various years between 1774 and 1965. The building of The Thames Barrier, completed in 1984, brought an end to these flooding events.
All Saints Church stands a few yards away from the riverbank from where there are wonderful views of the Thames and Isleworth Ait and a rich selection of waterfowl swimming in the river. Given how close the old part of Isleworth is to suburban west London, it has a remarkably rustic feeling, and is a peaceful place, providing you ignore the low-flying aircraft that pass above every few minutes.
SEEN FROM ACROSS THE THAMES at Battersea Park, it looks like a Tudor palace in immaculate condition on the opposite bank of the river. But do not be fooled because much of Crosby Hall, the edifice you can see from the riverside at Battersea, was built between 1910 and about 1926. Part of the building is far older, dating back to mediaeval times and it was moved from the heart of the City to its present location in Chelsea in 1910. Let me explain, please.
In 1466, Sir John Crosby, alderman and a sheriff of London, built his mansion, Crosby Place, on land just east of Bishopsgate, leased to him by the Prioress St Helens Bishopsgate, a church nearby. After Crosby died in 1475/6, Crosby Place was owned by the Duke of Gloucester (1452-1485), who was to become King Richard III, of Shakespearian fame. John Timbs in his “Curiosities of London” (published in 1855) suggests that in 1598, Shakespeare had lodgings close to Crosby Place. In Act 1, scene 2 of his play, Richard, Duke of Gloucester says:
“And presently repair to Crosby House;
Where (after I have solemnly interr’d
At Chertsey monast’ry this noble king,
And wet his grave with my repentant tears)
I will with all expedient duty see you.
For diverse unknown reasons, I beseech you,
Grant me this boon.”
Writing in 1603 in his “The Survey of London”, John Stow (1524/25-1605) noted:
“Then you have one great house called Crosby place, because the same was built by Sir John Crosby, grocer and Woolman … This house he built of stone and timber, very large and beautiful, and the highest at that time in London … he was buried in St Helen’s, the parish church…”
Stow also recorded that in the late 16th century several ambassadors lived in the house.
The fourth owner of Crosby Place was the senior government official, Sir Thomas More (1478-1535), whose head was removed at the Tower of London after disagreements with his ‘boss’, King Henry VIII. It has been suggested by Timbs that More wrote his books “Utopia” (1516) and “History of Richard the Third” (1512-1519) whilst residing at Crosby Place. In 1523, More sold Crosby Place to his friend, the banker and merchant Antonio Bonvisi (died 1558) from Lucca in Italy. Interestingly, More moved to his house in Chelsea after leaving Crosby Place. His riverside home, the former Beaufort House was a few yards away from the present Crosby Hall.
The ownership of Crosby Place changed several times after More sold it. Sir Walter Raleigh lived there in 1601. Between 1621 and 1638, the Place was home to the East India Company (founded 1600). Soon after 1642, fire struck the property, and it was never again used as a residence. The conflagration spared the great hall, which became known as Crosby Hall. During the Civil War, it was used as a prison for Royalists. In 1672, it was converted into a Presbyterian meeting house, and was used as such until 1769. Next, the hall was used as a packer’s warehouse. The packer’s lease expired in 1831. Following that and public concern about its condition, the hall was restored in about 1836. Timbs noted that it was:
“… the finest example in the metropolis of the domestic mansion Perpendicular work … The glory of the place is, however, the roof which is an elaborate architectural study, and decidedly one of the finest examples of timber-work in existence. It differs from many other examples in being an inner roof…”
From Timbs’s detailed description, it sounds as if it was a spectacular creation.
Following its restoration, Crosby Hall became used for musical performances and as a meeting place for literary societies. In 1868, Crosby Hall became a restaurant. The Hall was sold to the Chartered Bank of India, Australia, and China in 1907. The bank wanted to destroy what was one of the oldest buildings in the City of London, one of the few survivors of the Great Fire of 1666. These plans caused a public outcry. In 1910, the Hall was dismantled and moved stone by stone to its present site in Chelsea, opposite Battersea Park. There, it was reassembled and Tudor-style additions, designed by the architect Walter Godfrey (1881-1961) were constructed.
During WW1, the relocated and enlarged Crosby Hall was used to house refugees from war-torn Belgium. Between 1925 and 1968, the Hall was leased by the British Federation of University Women. Following the anti-Jewish laws passed by the Nazis in 1933, Crosby Hall provided residential fellowships for Jewish women academics who had fled from Hitler’s Germany. After 1988, Crosby Hall became a private residence (www.christophermoran.org/news/crosby-hall-the-most-important-surviving-domestic-medieval-building-in-london/).
Close to the relocated Crosby Hall there is a statue of Sir Thomas More, seated and looking across the Thames. This statue is appropriately located between what is left of his old home, which used to be in Bishopsgate, and the land on which his Chelsea mansion used to stand. One day, I hope that I will be able to see the superb hammer beam roof in Crosby Hall. I wonder how it compares with the wonderful example that can be seen in Middle Temple Hall, in which Shakespeare’s “Twelfth Night” was first performed in 1602.
THE ROMANS BUILT straight roads when they occupied Britain. Watling Street, which linked Dover (in Kent) and Wroxeter (in Shropshire) via London, was no exception. London’s Edgware Road, part of the A5 main road, follows the course of Watling Street. It connects Marble Arch with Edgware. A short section of this road travels over a hill between Kilburn Underground station and the start of Cricklewood Broadway, about 840 yards away. This aesthetically unremarkable stretch of the former Watling street is called Shoot Up Hill. Although it is hard to imagine by looking at this non-descript portion of one of London’s main thoroughfares, its name is associated with the history of the area of northwest London known as Hampstead.
Also known in the past as ‘Shuttop’ or ‘Shot-up’, Shoot Up was the name of a mediaeval manor or an estate, which was part of the Manor of Hampstead. The land with the name Shoot Up (or its variants) was part of the Temple Estate, which was granted to the Knights Templars in the 12th century (https://www.british-history.ac.uk/vch/middx/vol9/pp91-111). In 1312, the Pope dissolved the Order of the Templars and transferred its possessions to the Knights Hospitallers of St. John of Jerusalem. By the 14th century, the Watling Street marked the estate’s western boundary, as well as that of the Manor of Hampstead. The Hospitallers were dissolved in 1540 by King Henry VIII.
One of the king’s officials involved in the dissolution of religious orders such as the Hospitallers was Sir Roger de Cholmeley (c1485-1565), the man who founded Highgate School in 1565, the school where I completed my secondary (‘high school’) education. One of his recent biographers, Benjamin Dabby, relates in his “Loyal to The Crown. The Extraordinary Life of Sir Roger Cholmeley” that in 1546, Sir Roger was granted the:
“… the lordship and manor of Hampstead Midd. [i.e. Middlesex], and lands in the parishes of Wyllesden and Hendon, Midd. …”
He was granted these lands which he helped to take from the Hospitallers. Dabby wrote that his newly acquired estate was known as ‘Shut Up Hill’ or ‘Shoot Up Hill’ Manor and that it consisted of:
“… some two hundred acres of arable land, fifty acres of meadow, two hundred of pasture, one hundred and forty of wood, and one hundred of waste, in the parishes of Hampstead, Willesden, and Hendon.”
It was a valuable estate, and being a landowner gave him enhanced status in Court circles. Income from this estate helped finance the school that Sir Roger created shortly before his death. Unlike others of his status, Sir Roger was uneasy about the signing of the document that brought the unfortunate Lady Jane Grey to the throne. This allowed him to escape execution when Queen Mary succeeded her as monarch. Instead, he was imprisoned briefly and fined.
The Shoot Up Manor (or Estate), which remained in the northwest corner of Hampstead Parish, passed through various owners after the death of Sir Roger. Until the 19th century when most of it was developed for building, there was little in the way of buildings on the land. A history of the area (https://www.british-history.ac.uk/vch/middx/vol9/pp91-111#p41) revealed:
“There is unlikely to have been a dwelling house on the Temple estate earlier than the one which the prior of the Hospitallers was said in 1522 to have made at his own expense, a substantial dwelling house with a barn, stable, and tilehouse. It was probably on the site of the later Shoot Up Hill Farm, which certainly existed by the 1580s, on Edgware Road just south of its junction with Shoot Up Hill Lane. The farm buildings remained until the early 20th century.”
A map surveyed in 1866 shows that what is now Edgware Road was built-up as far as the railway bridges where Kilburn station is located, but north of this, Shoot Up Hill ran through open country, passing a flour mill (‘Kilburn Mill’) where the current Mill Lane meets the Hill, on the west side of the road.
Today, Shoot Up Hill is lined on its eastern side by large dwelling houses, mostly divided into flats. The western side is occupied mainly by large purpose-built blocks of flats. One of these architecturally undistinguished blocks is appropriately named Watling Gardens. As for origin of the name Shoot Up Hill, this is unknown. It is extremely unlikely that it has anything to do with firing weapons. If the traffic is heavy, you will have plenty of time to meditate on its possible origin, otherwise you will hardly notice it as you speed along it.
“IT’S THE TOWN’S SYMBOL, you see”, we were told by a friendly young man whom we met by chance in a churchyard in the town of Bruton in the county of Somerset.
“Never been up there myself, even though I’ve been living in Bruton all my life,” he told us, pointing at a tall tower on the summit of a hill overlooking the town.
“Where have you come from?” he asked us. When we replied ‘London’, he commented:
“Never been there myself. Have a good evening.”
Bruton is about 120 miles southwest of central London. The tower about which we had asked the young man is square in plan, is built of neatly cut limestone blocks, has three layers of windows, and looks (from below) as if it is missing its roof. The top parts of each of the four walls are triangular, looking as if they were once the side walls of gabled roofs.
The tower that stands in Bruton’s Jubilee Park is known as ‘The Dovecote’. The hill on which it stands rises steeply from the almost level fields of the public park. Birds, mainly pigeons, could be seen perching on the edges of the four gables at the top of the tower. It stands on a square plot 65 square feet in area and is situated on land over 300 feet above sea level, to the south of the centre of Bruton. Although it is tall, I have not been able to discover its height by searching the internet. That it has lost its roof, is recorded.
The tower stands in what was a deer park of about 30 acres established in about 1545-6 by the canons of the long-since demolished nearby Bruton Abbey (whose remains can be seen in the town). The park was later enlarged and surrounded by a wall. In the 18th century, the deer were removed. However, much earlier, in the 16th or, 17th century (actual date is uncertain although some of the timber used in the construction has been dated as being felled between 1554 and 1586), the present tower was built by the Berkly family. They acquired the land after the Dissolution of the Monasteries by Henry VIII. The tower was built to be used as a ‘prospect’ or ‘look out’ tower.
In about 1780, or maybe much earlier, the tower was converted to be used as a dovecote. Inside the tower, which we could not enter, there are roosting spaces (nesting boxes) for at least 200 doves. Long ago, pigeons and doves were an important food source. They were reared for their eggs, flesh, and dung. In 1915, the National Trust (‘NT’) acquired the freehold of the tower from Sir Henry Hugh Arthur Hoare (1865-1947). Not only did Sir Henry give his tower to the NT, but also, more importantly, he also donated his family estate with its fabulous landscaped grounds at nearby Stourhead to the same organization in 1946. The Hoare family, about whom I hope to write soon, is also associated with another tower not far from Bruton, the Alfred Tower, which we have visited … but more on this anon.
Although we could not enter The Dovecote tower, we did one better than the young local with whom we spoke earlier; we walked up to its base.
AN ELDERLY LADY WALKING with the help of a walking frame beckoned to us just after we had walked around the Church of St Mary in the village of Guilden Morden near Royston in Cambridgeshire. As with so many country churches we have visited since the onset of the covid19 pandemic, we had found that the church was locked up. However, the lady, who had called us over, was holding a large old-fashioned key and asked us whether we would like to see inside the church. I am so glad that we accepted her offer because she pointed out something that is very rarely found in English churches: a double rood screen.
A rood screen is often found in late mediaeval churches. Commonly made of wood and often ornate, the screens separate the nave where the congregation assembles from the chancel where the choir sings and the clergy officiate near to the high altar. The rood screen at St Mary’s in Guilden Morden, whose construction began in the 12th or 13th centuries, consists of two parallel screens on either side of a central passage leading between the chancel and the nave. It is decorated with some paintings of saints and on each side of the passage, there are small enclosures large enough for several congregants to sit during a service.
The lady, who pointed out the special nature of the rood screen, told us that in the past, the lord of one manor sat with family members in the ‘cubicle’ on one side of the central passageway and the lord of another manor sat in the cubicle on the other side. She told us that when she was a small child in the village, she had seen the local aristocrats occupying the rather cramped-looking booths between the parallel screens.
The website www.english-church-architecture.net doubts the church’s claim that the double-rood screen is an original feature of the church. It quotes the architectural historian Nikolaus Pevsner, who:
“… declared it to be reassembled from the original rood screen and one or more parclose screens, to form “a double rood-screen, i.e. with a kind of pew left and right of a central passageway. Three designs are represented, two very similar and clearly not too late in the fourteenth century, the third, early Perp.” In fact, the early Perpendicular work forms the back of the screen and the re-used sections of parclose screens, if that is what they are, appear to have been built up against it on the side towards the nave.”
Whatever its history, neither my wife nor I had ever seen anything quite like that in British churches … and we have visited quite a few of them.
Before leaving the church and the kind old lady, I spotted the baptismal font that looks far older than the church. Our new friend thought it predated the present church. According http://www.british-history.ac.uk, the font’s basin is 12th century and the pillars supporting it are later.
Before we left the church and the lady locked it up, I asked her about the name Guilden Morden. She believed that it might mean something like ‘golden moor’. She was not far off the truth, which is that the name is derived from the Old English ‘Gylden More Dun’, meaning ‘Golden’ (rich or productive) ‘Moor Hill’.
Once again, a trip out of London into the countryside has proved to be not only refreshing but also enjoyable. England, from which we have always travelled abroad during the years before the current pandemic, is proving to be at least as interesting as the many far more exotic destinations we have been enjoying over the years.
yamey 