of this church is strikingly noble, and calculated to inspire the mind
with awe; but although the purer light of later times has in some degree
eclipsed the adventitious aid intended to be conveyed to the feelings,
during the religious ceremonies of our forefathers, by the almost
mysterious effect produced from intermingled arches and clustered
columns, canopied niches, costly shrines, and the mellow reflection of
the storied pane shedding
“The dim blaze of radiance richly clear,”
in these august edifices of former ages, they still possess a power over
the imagination, and insensible must that mind be which is not
susceptible of appropriate religious influences,—subdued thoughts,—and,
inspiring conceptions of divine majesty, when beholding the “long drawn
aisle” and “high embower’d roof,” where all forms and differences of
opinion, it has been justly remarked, become “trivial for awhile, amidst
the sublimity of temples so well suited to the adoration of omnipotence.”
The nave is separated from the side aisles by _four __semicircular
arches_, _resting on elegant clustered columns_, with capitals decorated
with foliage of different devices, from the rudest to the richest design.
The mouldings of these arches have bolder projections, but are less
massive than those of the early Norman, and more delicately finished, and
although the mouldings on the shafts are peculiar to the earliest pointed
style, they happily harmonize with the circular arches.
At the eastern extremity of each side aisle, opening to the transepts, is
a semi-circular arch, resting on thick round pillars, with a regular base
and indented capital, ornamented with sculpture of the earliest Norman
era; similar arches lead to the chantry chapels. These arches, from
their general style, are evidently the oldest part of the fabric, and we
may venture to ascribe them to a period not later than the Conquest. In
removing the accumulations of colouring and plaister from the walls and
arches of this part, in 1828, the _distinguishing marks_ of the
_operative masons_ employed in working the stones were discovered, and
still are to be seen, being the same as those now used. {44}
The choir and transepts are divided by three most beautiful pointed
arches, rising from piers similar to those described in the nave.
The ceiling of the nave is of oak, the intersections of the beams being
formed into panels richly decorated with ornamented quatrefoils and
foliage, carved bosses, flowers, grotesque figures, &c. A beautiful
cornice of vine branches, grapes interspersed with masks, are placed
round the walls beneath the roof. The whole is in excellent
preservation, and supposed to be one of the finest specimens of the
ancient fretted ceiling in the kingdom.
THE CHANCEL is elevated above the church by a double ascent, and the
ceiling, like that of both the transepts, is excellently painted, but
panelled in a style somewhat similar to that of the nave, and adorned
with some of the rich fret work removed from the wreck of the churches of
St. Chad and St. Alkmond.
On the north side of the altar is a most beautiful triple lancet window,
with arches remarkably acute, and resting on isolated columns, whose
capitals are adorned with elegant foliage, &c. The window is filled with
three figures in ancient stained glass.
Whilst these pages are passing through the press, a most important
improvement has been effected in the chancel, by removing the altar
screen, which, although a handsome Grecian design, obstructed not only
much of the eastern window, but was quite out of character with the
building. Another of a more appropriate description will be substituted.
The eastern window contains the truly splendid glass that adorned the
chancel of old St. Chad’s, and which escaped the destruction that befel
the other parts of the fabric. It was carefully removed and presented to
this parish by the trustees for putting into execution the act for
rebuilding the new church.
This glass, unequalled in point of beauty and colouring, represents THE
GENEALOGY OF CHRIST, from the root of Jesse. The patriarch occupies the
breadth of three bays of the window, being depicted as reclining in a
deep sleep, with his head resting upon an embroidered pillow, and
supported on his right hand. From his loins issues a VINE, the branches
of which, before its disarrangement, overspread the whole window,
inclosing within the ovals formed by its intersections a KING or PROPHET
of the ancestry of Joseph, the series of which is finished by the husband
of the Virgin Mary in a devotional posture at the feet of his progenitor.
Many of the figures are depicted with their peculiar emblems. The ground
of the whole is varied and exquisitely vivid, on which the clusters of
grapes and the bright verdure of the vine leaves are displayed with great
effect.
Two compartments contain figures of ancient knights vested in the hawberk
and bearing their square banners, and kneeling beneath foliated
tabernacles. They represent Sir John Cherleton, Lord of Powis, and his
son Sir Owen. From the following translation of an inscription on a part
of the window,
“Pray for Monsieur John de Charlton, who caused this glazing to be
made, and for Dame Hawis his companion,”
the date of its erection is ascertained to be about the middle of the
fourteenth century; it was originally placed in the church of the convent
of Grey Friars in this town, from whence it was removed to St. Chad’s at
the Dissolution.
Many of the figures have been displaced in their change of situation;
their re-arrangement, however, is now in progress, and to complete the
genealogical line additional figures will be added, and the lower tier of
arches in the window, formerly filled with brick-work, have been opened
to their base.
At the west end of the nave is a peculiarly rich and full-toned organ,
made by the celebrated builders Harris and Byfield, in 1729, which has
recently been improved by the addition of an octave and a half of pedal
pipes.
This instrument stands upon a handsome stone screen, divided into three
compartments, formed by as many obtusely pointed arches, and divided by
buttresses of two stories, highly decorated with reticulated divisions,
containing an open flower in relief; around the inner recesses of the
arches are the following inscriptions:—
Venite Domino exultemus
Rupi salutis jutilemus
Jehovam hymnis concinamus
Et grates illi persolnamus—Hallelujah.
Jehovam virgints laudate
Senes et pueri celebrate
Psalmis ecclesia sanctorum
Extollat Dominum Dominorum.
Laudate carminis clamore
Laudate buccinae clangore
Laudate organo sonoro
Laudate cymbalis et choro.
Above is a series of smaller arches similar in style, having cinque-foil
heads, and filled with the like reticulated divisions and ornament, each
of the arches being divided by a small plain buttress; the string course
is charged with elaborately carved heads of angels, pateras, &c. and the
spandrils of the several arches throughout are enriched with elegant and
varied foliage, exquisitely sculptured. The whole forming a most
prominent and imposing feature to the main entrance of the nave, and will
be a permanent monument of the good taste and munificence of the donor,
the Rev. W. G. Rowland, M.A.
The screen was designed by and executed under the superintendence of Mr.
John Carline, of this town, and is a work creditable to his professional
abilities.