St Oswald's
Parish Church church with its 212 ft spire was referred to by George Eliot
as the "finest single spire in England", and was built around
about 1340. The church has more in common with a cathedral, rather then
a parish church, an impression that is increased when one enters it.
The present
church, replacing earlier Saxon and Norman work, was begun about 1160 with
the East End, the chancel. The present beautiful perpendicular period east
window was added in 1385 repalcing the original lancets. The church was
consecrated in 1241 but building continued on the transepts and nave until
1280.
From 1300 to
1350 the south aisle and spire were completed and in 1520 the nave clerestory
was added.
The church
was to remain like this until in the 1870's the Victorians gusied themselves.
They added a high-pitched lead roof to the clerestory in the north transept,
and would have gone on to treat the chancel similarly, but fortunately Sir
Gilbert Scott managed to win his battkle with the Parocial Church Council
when he wrote -
"If
the roof had been modern, as you said, I should have gone along with you;
but, though less old than the walls, it is nevertheless of true mediaeval
period, and he must be a bold man who would dare to call the period which
produced King's Colledge Chapel and those of St George at Windsor and Henry
VII at Westminster, by the hackneyed name of 'debased'; a term now applied
by students of mediaeval art to any period of its genuine productions."
The chancel
is the oldest part off the church and contains 12 lancet windows and the
tomb of Robert de Knivetin. There are many fine examples of stain glass
windows, the best being one by Kempe showing the coats of arms of Normandy
and England. The gateway to the church is also worthy of note set with carved
skulls.
The church
has many alabaster monuments and tombs. The most famous being that tp Penelope
Boothby who died in 1791 aged 5. Thomas Bank's white Carrara marble figure
of the sleeping child is so lifelike that she appears to be only sleeping.
The graveyard
of the church is also well worth a visit, not only for its spectacular display
of flowers in the spring but also for the many varied graves of people as
diverse as Colonel John Beech Riddleston who fought at Waterloo under Wellington
to ex French Napoleonic prisoners of war.
(the 2 black & white photos date from 1923 and show the replacement cockerel
being put in place on the top of the spire - thanks to Olly Moore for the
photos. Look carefully at the top of the spire and you can see the man putting
on the new cockerel)
The Cockerel
Below are drawings from the Sept. 6th 1873 edition of "The Graphic", showing repairwork in progress to the spire, where you can see the original cockerel being bourne aloft by the vicer, the Revd. E.M.Moore.
The following is a treatese written by Mr. D. Wells of Mappleton as part
of a antiquties course, and which he has consented to appear here. (Clicking
on a photo will give a larger image)
Preface
I
have chosen the Parish Church of St Oswald, Ashbourne. Dedicated to St. Oswald,
King of Northumbria (died 642), the church was consecrated in 1241. It is
Early English in style.
I
feel the best way to approach this is to take a thematic approach, St Oswald,
Ashbourne is such a ‘treasure trove’ that I would struggle by taking a tour
approach given the wealth of materials and the 3,000 word limit of the assignment.
Examples of fixtures and fittings are described rather than comprehensively
including all.
Unfortunately
I was unable to gain access to the belfry or see the items mentioned within
the sections entitled Altar Linen, Church Plate and Clergy Robes.
Acknowledgement
I
would like to thank George Shaw, the Verger of St. Oswald for his assistance.
George has a deep love and knowledge of the church and local history and a
willingness to share this.
Introduction
The
Parish Church of St Oswald, Ashbourne in Derbyshire was consecrated in 1241.
Maps 1 & 2 show the location of Ashbourne within Derbyshire and the actual
location of the church within the town. St. Oswald has a rich history, with
a wealth of interior fixtures and fittings, examples of which I shall briefly
describe.
Altar
The
alabaster altar in the church was constructed in 1882 of pieces found during
the restoration of the church. The alabaster retable of the Altar (carved
by T.Hardy of Ashbourne) added in 1896, shows vine leaves and grapes and on
the North and South projections whereon stand the candlesticks, there are
shields on which are carved a lily, as emblematic of Incarnation and a passion-flower
as emblematic of the Great Sacrifice. At the same time the cross was gilded
and jewelled on four arms.
Altar
Linen
For
altar coverings, there are four altar frontals. One of these was presented
to the church by its maker, Lady Florence Duncombe of Calwich Abbey.
Dedicated to the use of the church on 25thAugust 1911, the
central panel bears the representation of St.Oswald. The side panels
are embroidered with representations of angels supporting sculls with
the Ter-Sanctus.
Other
items (but not seen) at St. Oswalds include the Chalice Veil, Burse,
Corporal, Pall Purification and Lavabo Towel.
Aumbrey
In
the North wall is an aumbrey which had been the receptacle for the relics
under the High altar. It now contains among other things, fragments of ancient
tiling.
Bells
There is a
peal of eight bells. The new bells, founded in 1815 by William Dobson of
Downham Market in Norfolk, were hung in a wooden frame. They were rehung
in 1891 in a metal frame and in 1931 teak was used. SInce this time they
have been rung from the floor of the church addition to the peal of eight
bells, there is the Sanctus Bell, first mentioned in the Inventory Church
Goods in 1547. The Sanctus Bell announced to the worshippers the Elevation
of the Host at the time of the Celebration of Mass. In 1891 it was moved
into the Belfry itself. It is 21 inches in diameter and weighs about 2 cwt
and bears below the crown the letter’s’ between crosses three times repeated,
( Sanctus, Sanctus, Sanctus – Holy, Holy, Holy) together with the initials
of the bell founder ‘T.N’ on an ornamental shield.
Church Plate
The
older vessels consist of;
1
Silver gilt flagon 1645
2
Silver gilt chalices 1840
1 Silver
gilt paten 1686
1
Silver gilt paten 1841
1
Silver gilt paten 1873
There
are in addition a silver gilt and jewelled chalice and patent, together with
two cruets, presented by Mr and Mrs Turnbull in 1903 as a memorial to their
daughters. They are copies of Nettlecombe pate.
Clergy
Robes
The
code for clergy robes are laid down by the ‘Ornaments Rubric’ printed in the
Book of Common Prayer. Given the fact that I have not seen them and the restricted
nature of this assignment, I will merely list them. They include the Cassock,
Amice, Alb, Chasuble, Tunicle or Dalmatic, Cope, Surplice, Rochet, Scarf and
Hood Stole and Maniple.
Font
Positioned
in the West End of the South Aisle (1241). A good specimen of Early
English work, though the arcading on it, has the round instead of the
pointed arch. It has small fleur de lis between trefoil arches.
Lectern
The
brazen lectern was given in memory of Lady Bent
Litany
Desks
The
two fine wooden Litany Desks are positioned in the tower space. At Litany
Desks an ‘asking’ prayer is said in which people take part. Its very position,
centrally within the church represents all joining together in prayers for
the needs of the world.
Monuments
The
Eastern portion of the North Transept enclosed by the screen of Tudor design
is the Boothby Chapel. It includes examples of fine Purbeck Marble and the
local Chellaston alabaster and work respected 14thcentury craftsmen
Thomas Prentice and Robert Sutton.
Beneath
the transept is the burial place of the Cokaynes. The Boothby Chapel has a
fine series of monuments to members of the Cokayne, Bradbourne and Boothy
families. Notable memorials include those of Joan and Edmund Cokayne ( 1404).
Sir John and Lady Cokayne ( 1447) and Sir Humphrey and Lady Bradbourne (1581).
The
oldest effigies are those of john and Edmund Cokayne of 1372 and 1403
respectively, set in a low tomb chest with quatrefoil panels, a fleuron
frieze and battlements
Next are those of Sir John Cokayne (died 1447) and his wife on a tomb chest
with angels with shields separated by panel tracery. This is badly defaced.
Better
preserved is that of the tomb chest with foiled panels by Sir Thomas Cokayne
(died 1537) and Lady Barbara Cokayne. The shields are of families, who
were allies
Another tomb with angels bears brasses depicting Francis Cokayne (died 1538)
and his wife.
Just outside
the Boothby chapel, against the north wall of the transept, stands the
last of the Cokayne monuments. Sir Thomas Cokayne (died 1592) and Lady
Dorothy Cokayne. This has acted in the past as a reredos.
(The momument
can be seen in the foreground of the photograph below the "Benedictus"
window in the North Transept.)
The
oldest of the several monuments of the Boothbys, successes of the Cokaynes,
is the Urn to Ann, nee Cavendish (died 1701).
An
elaborate alabaster tomb in memory of Maria Elizabeth Boothby 1758-1805
is featured. It has an elaborate rhyming epitaph.
Much
more famous is the Carrara marble figure by Thomas Banks of Penelope Boothby
(died 1793), aged nearly 6. She is said to have been able to speak a little
of the four languages inscribed on her tomb
Also
in the north chapel are the medieval screen, a painted 15thcentury
panel and some architectural fragments, including a Saxon stone with interlace
and a Norman stone with chevrons.
Monument Tablets
Altogether
in the Chancel, Nave and North and South Transpets there are at least
20 Monument Tablets. An example of which would be the small tablet
fixed on a black marble slab to the west wall.
"
Here lyeth the Body of Nicholas Spalden aged 63. I.H.S.",
and has a carving of skull and cross bones. Nicholas Spalden was a
generous benefactor to the town and died in 1713.
On
the South wall of the Chancel there is white a cenotaphic monument
in memory of Lieut. Col. Phillip Bainbrigge who was killed in Holland
in 1799. Another R.E. who fell in the trenches before Sevastopol and
was buried in the Crimea.
However,
by far the most important tablet is the Dedication Plate. On the South
wall of the Sacristy can be found a small tablet of brass, now fixed
to a slab of black marble, recording the consecration of the church
in 1241. This is a remarkable survivor. The translocation of the Lombardic
inscription on the Dedication plate is as follows:
"
In the year 1241 after the Incarnation of our Lord on the 8thday
of the Kalends of May, this church was dedicated and this altar consecrated
in honour of St Oswald King and Martyr, by the Venerable Father in
God. Hugh de Patishul, Bishop of Coventry".
Organ
Located
within the South Transept this fine organ by Messrs. Hill and Son of London
was built in 1858 and stands in a raised platform which covers the two fireproof
chambers of the Vestry, Registers and the Church Plate.
Paintings
An
example would be the Vision of St Gregory from the 15thCentury
in the chapel at St Oswald.
Parish Registers
The
oldest original portions of the Registers are from 1604 –1615, 1629 – 1640
and 1655 –1679. I am unaware as to what is still kept at the church as recently
many of the Parish Registers have gone to the Record Library in Matlock. I
believe the Parish magazines are there too. (see
excerpts from the register here)
Piscinae &
Sedilia
Within
the Sanctuary is the Early English Piscina which is in situ, corresponding
in height to the lower floor level of earlier times. The piscina is
a shallow stone basin used for washing sacred vessels such as the
chalice and paten after the Holy Communion.
The
sedilia, with filleted shafts, of the same period, have been raised
to their present position. The highest seat ( nearest the altar) is
reserved for the priest, the next for the deacon who reads the gospel
and the third seat is for the sub-deacon who reads the Epistle.
Of the two divisions
of the South Transept, the eastern part was once the Bradbourne chantry (founded
in 1483) and in a vault beneath was the burial place of the Bradbourne family.
The Bradbourne Memorials were later moved to the Boothby Chapel and this is
now the Sacristy or Chapel of St Oswald. On the south wall is a double piscina
from the 13thcentury, used in connection with the Bradbourne chantry.
Pulpit
The
pulpit dates from 1882. The base is Derbyshire gritstone while the panels
are of Derbyshire alabaster and are believed to have come from the old tombs
of the Bradbourne family. The grey stones is Hopton Wood limestone and the
little roundels are of Derbyshire Blue John.
Reredos
A
triptych was created in 1950, designed by Leslie Moore and the artist
was Donald Towner. To the left is St Oswald and to the right is St Chad.
Four larger panels from left to right display;
Adoration
of the Shepherds
Transfiguration
The
Resurrection
The
Ascension
The painting
is in tempera. It is unusual in that the background is of the Dovedale
and the Manifold Valley rather than the Holy Land.
Screen
The
Screen was erected in the memory of Canon Errington Vicar from 1850-72.
The idea of the figures representing Baptism, Praise, Prayer and the Holy
Communion was suggested by kneeling angles attributed to Michael Angelo,
in the Church of San Domenico at Bologna.
Seating
Scott erected
the Choir stalls in the Chancel to the design of Sir Gilbert Scott at
the time of the restoration of the chancel in 1876. The Vicar’s stalls
were added in 1926 as a memorial to Canon E.E. Morris.
Two old
oak benches were rescued from a local farmhouse and have bold carvings
which date from 1480. On the end of one is a linen fold pattern and on
the other end the armourial bearings of Ralph Fitzherbert, quartering
Marshall of Leicestershire. This is positioned at the East End of the
cantoris side of the choir. On the second bench both ends are enriched
with some striking foliage and a snail is devouring the leaves.
Sepulchre
Tombs
In
an ogival arched recess in the sanctuary north wall is a monument to Robert
de Kniverton (died 1471). This is a memorial, which marks the place of the
Easter Sepulchre. The Knivertons held considerable estates about Ashbourne
throughout the Middle Ages. They were founders of two of the church’s three
chantires, including the chantry of the Holy Cross in the church in 1392.
This adjoins a 19thcentury memorial, which marks the place of
the Easter Sepulchre. Of Early English design it is a memorial to Christopher
Harland, the last descendant of the Knivertons to reside in the area.
Stained
Glass
Perpendicular
East Window
The
great perpendicular east window which was the gift of the Kniverton family
in the 1390’s and replaced the triple lancets, still retains some of its
original glazing. The main part of the stained glass is by the Victorian
artist, Thomas Kempe (1896), but the heraldry in the upper part, the coat
of arms, which are families
Then
holding land in the Honour of Tutbury is, with one exception, mediaeval.
The
North Transept
The
13th century medallions in the northwest Lancet, well set in
19th century grisaille and recently cleaned are the oldest
glass in the church. There are representations of the Nativity. The lowest
has the golden winged angel appearing to the amazed shepherds. In the
top medallion Herod’s soldiers are wearing contemporary chain mail. Among
some of the fragments of the 14th century glass set up in the
North window of the Boothby chapel one can see a crucify, Christ in Benediction
and heads of St Medwin and St Christopher.
The
stained glass of the North window, the work of Mssrs. Hardiman and Co.,
of Birmingham represents the Benedictus (1877)
The
South Transept
Here
are two windows of very fine tracery – the great Perpendicular light in
St Oswalds chapel, and a decorated one over the South door. The stained
glass is mainly by Hardiman and Co., but some of the patterned glass in
the upper part, including the golden bell, (centre), is mediaeval. The
small "Good Shepherd" window high in the west wall, is by the
Bromsgrove Guild
Windows
of the Nave
The windows on
the north side show the transition from Early English to Decorated as the builders
gradually worked westward. The most easterly is a good example of the earliest
form of tracery. The stain glass is a memorial to A.G. Corbet and is by C.E.Kempe
and was dedicated on March 21st, 1902. The window represents St Andrew
and St Oswald.
The centre window
is a memorial to Neville Beard and is the work of Messrs Percy Bacon and Bros.
Of London and was completed in 1910. The window has the central light depicting
St Aidan who at the request of St Oswald came and evangelised his rude heathen
people. St Colomba (in the western light) from Iona trained and instructed St
Aidan. St Chad (in the eastern light) was in turn trained and instructed by
St Aidan to administer the great discese of Mercia or Lichfield, of which the
County of Derby, until recent years, formed a part.
On the south side
of the aisle the windows are of geometrical Decorated design, three of them
dating from the beginning of the 14th century.
The most
easterly of the windows has fine modern glass given by Mr and Mrs Peveril
Turnbull of Sandybrook Hall in 1905. The windows were in memory of their
daughters who died in a fire.
It is a fine design by Christopher Whale, a pre-Raphaelite artist.
The window
is of three lights, showing mediaeval symbolism in modern grace and beauty,
and is particularly rich in colour and line. It contains representations
of the Virgin Martyr Saints, St Cecilia, St Monica, and St Dorothea. St
Monica bears the chalice and a crook and in the distance we see a church.
St Dorothea is beautiful with her roses and in the centre light we see
St Cecila falling asleep to the sounds of heavenly music, an exquisite
symbol of death.
The large western
window of the nave is modern. The stain glass, a memorial to the Rev. Francis
Jourdain, is by C.E.Kempe (1902) and features St Matthew and St Luke.
The Baptistry
window, above the font in the Western Wall of the South Aisle is in Decorated
Style. It contains stained glass produced by Burlison and Grylls presented by
members of the Wise family in 1872. In the upper portion of the two sidelights,
tow angels are depicted, "I acknowledge one Baptism….., for the remission
of sin".
Tiles
The
pavement of the Chancel and tower is of tiles reproduced by the Minton Campbell
Company from designs found in ancient tiles discovered during the restoration
work in 1881.
War Memorials
1903
saw the unveiling of the Memorial in the South Transept for the Ashbourne
men who had died in the Boer War. The Great War Memorial followed by the
west door. It lists 115 names of Ashbourne men who gave their lives followed
by another 36 men commemorated in a World War II Memorial near to the North
Wall.
Wood Sculpture
In
the East End of the aisle in the tower pier is a canopied niche, which marks
the site of the Holy Cross. It now holds a carved wood figure of St Oswald,
(by Jethro Harris).
Conclusion
I feel I have
learned much from St Oswald’s and the assignment in terms of ecclesiastical
history, church interiors and local history. However it feels somewhat unsatisfying
listing items separately and it is important not to view such fixtures and fittings
in isolation. The fusing together of all fittings and fixtures, encompassing
smell, sounds and light provide a totality of experience spiritual and aesthetic.
D.Wells
Oswald, SAINT
(604-642, Maserfeld, Eng. feast day August 5)
Oswald was the
Anglo-Saxon king of Northumbria from 633 to 642 who introduced Celtic Christian
missionaries to his kingdom and gained ascendancy over most of England. Oswald's
father, King Aethelfrith (d. 616), had ruled the two ancient Northumbrian kingdoms
of Bernicia and Deira. Expelled from Northumbria upon the accession of his uncle
Edwin in 616, Oswald and his brother Oswiu took refuge in Iona in the Hebrides,
where they were converted to Christianity. Edwin was killed fighting King Cadwallon
of Gwynedd (in northern Wales) and Penda of Mercia in 632, but the next year
Oswald defeated and killed Cadwallon near Hexham (in present-day Northumberland).
The historian Bede says that he asserted his authority over all the peoples
of southern England. The pagan king Penda defeated and killed Oswald at Maserfelth
(probably near Oswestry, in present-day Shropshire). The dead king was venerated
as a martyr of the Northumbrian church, and it was believed that his remains
worked miracles.
Why St Oswald's
church is dedicated to St Oswald is unknown. There are no other churches to
him in the area, one reason may be that missionaries from Iona in Northumbria
brought the faith to Ashbourne, and with it their reverence to St Oswald.
It has been noted that sometime between 1160 and 1163 the pope (Alexander III?) canonised St Oswald (along with a bunch of other English Saints).
See also the excerts from St Oswalds parish records on our
history page.
