PARISH CHURCHES
The Porch--Font--Stone benches--Pews--Pulpits--Rood-lofts--Destruction
of--Screens--Royal arms--Chancel--Stalls--_Misereres_--Lectern--High
altar and its furniture--Piscina--Credence--Aumbry--Sedilia--Easter
sepulchre--Reredos--Shrines--Numerous altars--Chantry chapels--
Hagioscopes--Images--Low side windows--Vestries--Vestments--Churches
in olden times--Reading pews--Galleries--Destruction and profanation--
Evils of "restoration."
In the centre of our village stands the church, always the most
important and interesting building in the place. We will suppose that
it has not suffered overmuch at the hands of the "restorers" of the
nineteenth, or the Puritans of the seventeenth, or the spoliators of
an earlier century, so that we may observe all those details which
characterise an ancient church. In spite of all the vandalism which has
taken place, in spite of the changes in ceremonial and forms of worship,
our beautiful old churches still retain relics of the past which time
has spared.
We will enter the church and notice first the porch, often a large
structure with a chamber above. Why was it made so large? According to
the Sarum use several services took place in the porch. Parts of the
baptismal service and of the marriage service and the churching of women
were there performed; hence the porch was an important building, and
it was necessary to make it rather large. Above the door there is
frequently a niche for the image of the patron saint of the church,
which has not usually escaped the destructive hand of the Puritan. The
room over the porch was frequently inhabited by a recluse, as I have
already recorded in the previous chapter. Near the door always stands
the font, signifying that baptism is the entrance to the Church of
Christ. Ancient fonts are large enough to allow the infant to be totally
immersed, and are made of stone or lead. Childrey Church, in our county
of Berks, has a fine cylindrical, leaden font, of Norman date, carved
with figures of bishops. Norman fonts are frequently carved, the
favourite subjects being the Baptism of our Lord, the Twelve Apostles,
and the evangelistic symbols. Early English and Decorated fonts are not
usually carved, but in the Perpendicular style they are rich with
ornamentation, the Seven Sacraments being a not uncommon design. We have
sometimes noticed the symbols of Freemasonry carved on fonts, as at
Bray, in Berkshire. To the same period belong the splendid spire-shaped
font-covers, of immense weight, of which I am sometimes a little
fearful, lest the mechanism by which they are raised should become
damaged, and terrible disaster follow during the progress of a baptismal
service. At Sonning, Berks, there is a small stone desk attached to a
pillar for the service-book to rest on.
The nave of the church is now filled with seats for the use of the
congregation. In early times they do not seem to have been considered
necessary, and until the fourteenth century the stone benches ranged
against the walls were the only seats provided. Even as late as the
fourteenth century it does not appear that many churches had pews, but
in the fifteenth they became general. The hideous monstrosities of
post-Reformation times did not then disfigure our churches. The pews
were low open seats made of oak, sometimes carved at the back, and
panelled, with the ends higher than the rest, and often richly carved.
Many rich men left money in their wills for the _puying_ of churches.
[Illustration: ANCIENT PEW-WORK, TYSOE CHURCH, WARWICKSHIRE]
It was not until the beginning of the seventeenth century that the
fashion of erecting high pews set in, which so disfigured our churches,
and were frequently censured by the authorities. Some of these (as at
Whalley) resemble four-posted beds; others are like cattle-pens, large
square boxes with seats all round, wherein the occupants sit and sleep,
screened from the rest of the congregation. The carving of the woodwork
of these erections is often very elaborate. Modern pews are happily
based upon the more primitive fashion.
Preaching not being considered such an important part of the service in
pre-Reformation times, pulpits in churches of that period were not so
usual as in modern churches. Monastic refectories had pulpits, which the
reader occupied when he read to his brethren during meals. Beaulieu
Abbey has the most ancient pulpit in this country, which evidently
belongs to the thirteenth century.
The churches of Devonshire and Norfolk have wooden pulpits of the
fifteenth century, which were painted and gilded, the figures of the
four doctors of the church--SS. Augustine, Ambrose, Gregory, and
Jerome--being the favourite subjects. In 1603 the churchwardens were
ordered to provide in every church "a comely and decent pulpit." Hence
most of our pulpits date from this period. The sides were panelled and
carved with scrollwork; and at the same time a sounding-board was
introduced. Occasionally the hour-glass which regulated the length of
the preacher's discourse remains, with its beautiful scroll-worked
stand.
The most striking feature of the pre-Reformation Church was the
rood-loft, a narrow long gallery above the beautifully decorated screen,
which separated the chancel from the nave. In this loft was erected the
rood, or figure of our blessed Lord on the cross, together with figures
of the Virgin and St. John on each side. Both the screen and the loft
were richly panelled and ornamented with tracery and carvings, and
before them hung one or more lamps. Sometimes tall candlesticks stood on
pillars on each side of the figures. A staircase of stone, constructed
in the wall near the chancel-arch, led to the rood-loft, and the
blocked-up archway of this rood-stair frequently remains. The priest
stood in the rood-loft to read the gospel and epistle, and sometimes
preached there; official notices were read, and from it the bishop used
to give the Benediction. The rood-cloth, or veil, hid the rood during
Lent, and in some churches we have seen the roller which was used to
raise this veil. A special altar, called the rood-altar, used to stand
under the screen.
[Illustration: EARLY ENGLISH SCREEN, THURCASTON, LEICESTERSHIRE]
The Reformers played havoc with these old rood-lofts and screens, which
were regarded as monuments of idolatry and superstition. The
churchwardens' account-books of many churches bear witness to this
destruction. Those of St. Giles', Reading, tell of certain _items_ "for
pulling down the rood and carting away the rubbish." Instead of the
figure of our Lord they put up the royal arms; and one John Serjente, of
Hytchen, is licensed in 1614--
"to paynte in all the Churches and Chappells, within this Realme of
England, the Kinges Majesties armes in due forme with helme creste
mantell and supporters as they oughte to be--and to wright in fayre text
letters the tenn commandments, the beliefe, and the Lord's prayer, with
some other fruitefull and profitable sentences of holye scripture."
In spite of this destruction of the ancient roods, several lofts still
remain, _e.g._ at Bradninch, Cullompton, Dartmouth, Hartland, Kenton,
Ugborough, and Plymtree, in Devonshire; in several places in
Somersetshire, and at Charlton-on-Otmoor (erected in 1485) and
Handborough, Oxfordshire. A very large number of the old screens remain,
ornamented with the arms of Elizabeth or James I.
Proceeding eastward we enter the chancel, so called because it is
inclosed with _cancelli_, or the lattice-work of the screen. If the
church was formerly connected with some monastery we shall see some
beautifully carved wooden stalls with rich canopies over them. The seats
are curiously constructed. They can be turned up, and beneath the seats
is a projecting bracket of wood, commonly adorned with carved
work--animals, birds, leaves, and flowers, and often with grotesque,
satirical, and irreverent devices. They are called miserere-stalls, and
were used by the monks or canons to lean against during the portions of
the long mediaeval services, when they were not allowed to be seated. As
this practice was a concession to human weakness or infirmity, the seats
were called in France _misericordes_, and in England _misereres_. The
subjects of the sculptures are often extremely curious. Domestic scenes,
fables, such as the "Fox and the Grapes," demons carrying off monks,
"The Seven Deadly Sins," are some of these subjects. Miss Phipson has
published a learned work on _Choir Stalls and their Carvings_, which
contains reproductions of three hundred of her sketches of curiously
wrought _misereres_.
[Illustration: VILLAGE CHURCH IN THE VALE]
The lectern formerly stood in the chancel; and then, as now, was often
in the form of a large eagle, emblematic of St. John. Most of these
reading-desks belong to the fifteenth and seventeenth centuries, and are
made of wood, latten, iron, or stone, as well as of brass. There is a
very curious wooden one at East Hendred, Berks, representing a foot
resting on the head of a dragon, emblematic of the word of God
conquering the powers of evil. Ancient wooden double reading-desks are
not uncommon. The ornamentation usually denotes the period when they
were constructed.
And now we approach the high altar of the church, made of stone, covered
with a beautifully worked frontal and cloth, and inclosed at the sides
with curtains suspended on iron rods projecting from the wall. A
crucifix hangs above the altar, and two candlesticks stand, one on each
side. The furniture and accessories of the altar in pre-Reformation
times were numerous. There was the pyx, a box or vessel of precious
metal, in which the Host was reverently preserved for the purpose of
giving communion to the sick and infirm. There were two small cruets or
vessels for containing the wine and water used in Holy Communion, one
engraved with the letter "V" (_vinum_), and the other "A" (_aqua_). An
_osculatorium_, or pax tablet, of ivory or wood, overlaid with gold, was
used for giving the kiss of peace during the High Mass just before the
reception of the Host. Of church plate generally we shall write in a
subsequent chapter.
[Illustration: NORMAN PISCINA, ROMSEY CHURCH, HANTS]
On the south we see the piscina, which is contained in a beautifully
carved niche--a hollow basin with a stone drain, wherein the priest
washed his hands before consecrating the elements, and poured the water
from the rinsed chalice. Above it in the niche was the credence, a shelf
of stone, on which were placed the chalice and paten and all things
necessary for the celebration. In some churches there is a separate
credence table. On the north side was the aumbry, or locker, where the
sacred vessels, altar linen, and service books were kept, guarded by a
strong wooden door. The doors have usually disappeared, but a very large
number of churches have the hole in the wall which was formerly the
aumbry.
On the south side are the sedilia, or stone seats, for the assistant
clergy, frequently with canopies richly carved, and usually three in
number. Opposite to the sedilia in the north wall is a large arch,
within which the holy sepulchre was set up at Easter. This was a wooden
structure made for the deposition of the consecrated elements of the
Eucharist from the evening of Good Friday until the morning of Easter
Day; during which time it was watched by a quasi-guard, after the manner
of our Lord's sepulchre. The books of St. Lawrence, Reading, record:--
"Anno 1498. In primis payed for Wakyng of the Sepulchre viii'd."
"Anno 1510. It. payed to Walter Barton to the new Sepulchur iiii'li
xiii's x'd."
As this sum of money was a considerable one at that period, the
sepulchre must have been an object of unusual magnificence. Sometimes
it was a permanent structure of stone, carved with figures of soldiers
watching the tomb of our Lord. Behind the altar was the reredos. In
village churches these screens were made up of recessed stone panels,
surrounded by sculptured wallflowers and other devices; but in large
churches they were very ornate, enriched with niches, statues,
tabernacle-work, and other adornments. Many of them were destroyed at
the Reformation, together with the stone altars. Some were covered up
and concealed by plaster, in order to preserve them from iconoclastic
violence. They were buried and forgotten, until by some happy accident
their existence was revealed in modern times. Nearly all large churches,
and some village churches, especially those connected with a monastery,
had shrines, or receptacles for the body or relics of a saint. Some
of them were fixed, and made of stone or wood, adorned with rich
tabernacle-work, such as the shrine of St. Cuthbert at Durham, or of St.
Frideswide at Oxford; and others were portable, shaped like coped boxes,
covered with precious metal, enamels, and engraving. Sculptured stones
in the walls of our churches often mark the spot in the building where
relics were stored.
It is evident from the existence of niches and piscinas in other parts
of the church, besides in the south wall near the high altar, that there
formerly existed many altars in the sacred building. At the east end of
each aisle we usually find these indications of the existence of an
altar, which belonged to a chantry chapel, separated from the rest of
the church by a screen. Here a priest said Mass daily for the soul of
the founder of the chantry, his ancestors, and posterity. Ancient stone
altars still remain in some of our churches. Sometimes they have been
removed from their place, and used as tombstones, or in paving the floor
of the church. They can be recognised by the five crosses engraved on
them, one at each corner, and one in the centre of the stone.
Hagioscopes, or squints, are openings in the thickness of the wall,
enabling worshippers in the chantry chapels to witness the elevation of
the Host at the high altar. They are usually plain; but in some churches
we find these curious apertures moulded and decorated with architectural
designs.
Pre-Reformation churches had several wooden images of saints, most of
which were destroyed by the iconoclastic zeal of the Reformers or
Puritans. The brackets on which these figures stood often remain, though
the images have disappeared.
[Illustration: LOW SIDE WINDOW, DALLINGTON CHURCH, NORTHAMPTONSHIRE]
Low side windows, commonly called "Lepers' windows," are very frequently
found in our churches, and usually on the south wall of the chancel.
Their object has been, and is, much disputed among antiquaries. The
vulgar idea is that poor lepers used to come to this window to see the
celebration of the Mass; but unfortunately it is quite impossible in
many cases to see the high altar through this window, and moreover
lepers were not allowed to enter a churchyard. Another idea is that
they were used as confessionals, the priest in the church hearing the
confession of the penitent who knelt on the grass in the churchyard.
A more inconvenient arrangement could not have been devised; and this
idea might be at once dismissed, were it not that one of Henry's
commissioners for suppressing monasteries and chantries wrote: "We think
it best that the place where these friars have been wont to hear outward
confession of all-comers at certain times of the year, be walled up, and
that use to be done for ever." It appears that sometimes at any rate the
low side windows were used for this purpose. However, I am inclined to
think that they were intended for the use of the anchorites or recluses,
who dwelt in churches. The windows were not glazed, but had iron bars on
the outside, and a wooden shutter on the inside of the church. These
windows were probably their means of communication with the outside
world.
Many village churches then, as now, had no vestry. Where a _vestiarium_
existed it was usually on the north side of the chancel, and its
contents were more elaborate than the plain surplice stole and hood of
recent times. In the vestry press we should find an alb of fine white
linen, somewhat similar to a surplice, ornamented with "apparels,"
_i.e._ embroidery, on the cuffs and skirts; a girdle made of white silk
embroidered with colours; an amice, or oblong piece of fine linen, worn
on the head or as a collar; a stole with embroidered ends; a maniple, or
strip of ornamented linen worn by the priest in his left hand during
celebrations; dalmatic, chasuble and other vestments which the ornate
ritual of the mediaeval church required.
Before the Reformation the appearance of our churches was certainly
splendid, and differed much from the Puritan simplicity of later times.
The walls were covered with mural paintings. The windows, soon to be
"Shorn of their glass of a thousand colourings,
Through which the deepened glories once could enter,"
were then resplendent with stained glass. Above, the rood looked down on
all the worshippers. Everywhere there was beautifully carved woodwork,
gilded and painted, tombs of knights and dames all painted and adorned,
altars with rich embroidered hangings. The floor was composed of
encaustic tiles, and had many memorial brasses. Armour, crests, and
banners hung upon the walls. Lights burned before numerous images, and
the whole appearance of our churches was gorgeous and magnificent.
Many changes have taken place since. Coatings of whitewash hide the
mural paintings. Sacrilegious hands "have broken down all the carved
work with axes and hammers." The stone altars have disappeared, and
instead we have "an honest table decently covered." Reading-pews for the
clergy were set up, and in the last century the hideous "three decker,"
which hid the altar and utterly disfigured the sacred building. Instead
of the low open seats great square high pews filled the nave. Hideous
galleries were erected which obstructed the windows and hid the
architectural beauties of former days. The old timber roofs were
covered, and low flat ceilings substituted. Brasses were torn up and
sold by dishonest churchwardens, and old monuments broken and defaced.
The old stained-glass windows were destroyed. The Communion table was
taken from the east end of the chancel, and seats erected round it.
Crosses were defaced everywhere, and crucifixes destroyed. Puritan
profanation and wanton destruction devastated our churches to a degree
which has never been equalled since the hordes of heathens and barbaric
Danish invaders carried fire and sword into the sanctuaries of God.
[Illustration: READING-PEW, SEVENTEENTH CENTURY, LANGLEY CHAPEL, SALOP]
Much harm was done by the Goths and Vandals of the nineteenth century.
Many old churches, replete with a thousand memories of the past, were
pulled down entirely, and modern structures of "Victorian Gothic" style
erected in their place, which can have none of the precious associations
which the old churches had. Much harm was done to the old features of
many churches by so-called "restoration," carried out by men ignorant of
architecture and antiquities. But we are learning better now. The
Society of Antiquaries has done much to prevent injudicious restoration
and the destruction of our old churches, and if any incumbent and his
parishioners are thinking of restoring their church, they cannot do
better than to consult the secretaries of that learned body, who will
show how best to preserve the interesting memorials of the past which
time has spared.