Part 4

In common with our early churches we have no opportunity of ascertaining the precise date of its erection on written testimony. The probable period of foundation has been stated, page 24; the renovation and subsequent addition is therefore presumptive, and our decision must be governed by analogy of style with other edifices, whose origin is authenticated.

That the era of ancient buildings may be inferred from the internal evidence they themselves afford of their respective antiquity admits of little doubt; indeed, the amiable poet, Gray, who had much knowledge in antiquarian pursuits, has said that “they constantly furnish, to the well informed eye, arms, ornaments, and other indubitable marks by which their several ages may be ascertained.”

There will be little difficulty in appropriating the ancient portions of this building to distinct ages, if we except the task of assigning a correct criteria to the curious mixture displayed in the columns which support the semi-circular arches of the nave, where the Norman and pointed styles are singularly blended together, the union of which will afford matter of interesting speculation to the experienced antiquary.

William of Malmesbury has related an anecdote of the pious Wolstan, Bishop of Worcester (from 1062 to 1095) praying, on his way to Chester, in the _wooden church of St. Peter_, in this town, {39} and of the “citizens asking him why he preferred it to the church which they called St. Mary’s;”—a question we may reasonably conclude as shewing this was then, in their opinion, from some circumstance, a church of no little consequence.

The superior taste and enlarged views of improvement manifested by the Normans in the arts, caused the restoration of many important churches in much less time than a century after they had obtained the conquest of our island.

St. Mary’s, no doubt, from its antiquity, required restoration, and excited their early attention; but although destitute of positive data, as before stated, from whence to ascribe a period to its re-edification, the various improvements plainly evident in several parts of the fabric will easily be discovered by the critical eye of the architectural antiquary.

It may be mentioned that three distinct styles are apparent,—the Anglo-Norman of the 12th century, in the basement of the tower, nave, transepts, and doorways; the early lancet style in the windows of the transepts and chancel; the pointed and obtuse arch of the 15th and 16th century in the side aisles, clere-story, chantry, chapels, &c.

These shall be carefully examined by analysis, and the predominant features appropriated with caution to their respective periods.

The greater part of a new structure, it is therefore conjectured, was raised on the site of a previous Saxon building, probably early in the reign of Henry I. This is evident from the plain circular windows inserted in the massive basement of the tower, which, like the lower portion of the entire building, is of red stone, and flanked by broad flat buttresses, similar to those on the lower part of the Abbey tower.

The tower of St. Mary’s originally was probably not higher than the part composed of red stone, and was terminated like the generality of Norman towers, by a plain parapet.

The struggle between the Norman and pointed styles sometimes occasioned incongruous arches, and we may attribute the rude pointed doorway of the tower having an internal arch nearly triangular, to the reign of Stephen.

THE SOUTH PORCH of the nave is of the early Norman era, the outward arch circular, having zigzag mouldings issuing from clustered columns, and an inner rib, obtusely pointed; the windows on each side are curious as early specimens of the rudiments of the mullioned window, introduced about the time of Stephen; the arches of these windows rest on short thick columns, and are bisected into two lights by a similar pillar as a mullion, the capitals of which are all different; in the apex is a quatrefoil, one of the simplest and most ancient kind of ornaments.

The ceiling of the porch is also an example of the most ancient kind of groined vault, having neither boss nor ornament; above this is a chamber (entered from the church by a newel staircase), and lighted by a pointed window.

The inner doorway of the porch is an enriched round arch, with chevron, lozenge, and foliated mouldings. That on the north side of the nave is similar in style; and the doorways (now closed) in the north and south transepts are very elegant specimens of the style which prevailed from the Conquest to the time of Henry I.; the latter is decorated with alternate lozenge panels filled with an embossed flower.

A progressive movement of refinement and beauty took place in the science of architecture during the reign of Henry III. when the heavy Norman was succeeded by the slender lancet arch and its attendant ornaments. The transepts of this church are fine specimens of this transition of the styles, the north and south ends of which are terminated by beautifully proportioned triple lancet windows enriched with slender shafts and mouldings.

About the close of the 15th century, a greater stateliness of character and ornamental arrangement became the prevailing characteristic of architectural display, and the general features of the building were altered to the fashionable style.

The walls of the side aisles previous to this time were much lower, which is indicated by a slope in the stone work at the west end and a pier at the south-west, on which the roof originally rested. When the walls were raised, three mullioned windows were substituted on each side for round-headed lights, which narrowed towards the exterior surface of the wall, similar, no doubt, to that still remaining at the west end.

The nave shortly afterwards received the addition of a clere-story, lighted by a range of short windows with obtusely pointed arches, extending the whole length of the nave and chancel.

To render these important alterations of the fabric complete, the low massy tower was raised, and large double pointed windows were placed on each side, and the whole surmounted with an embattled parapet and pinnacles, which (being much decayed) were judiciously restored in 1816. From this tower rises an octagonal spire of noble proportions, which may be ranked as equal in height to the _third loftiest spire_ in the kingdom, and forms an interesting and prominent object from every part of the rich and beautiful scenery which surrounds the town.

The dimensions, as taken at the last repair in 1818, are—tower, 78 feet 4 inches; spire, to the top of vane, 141 feet 10 inches; total height, 220 feet 2 inches.

The chapel south of the chancel has a remarkably lofty roof, and on the south side four handsome pointed windows of Henry the Sixth’s time; each window is divided by a buttress, on which rests a crocketed pinnacle. The eastern end of this building was originally finished by a large window, but within its space two lofty round-headed lights, with singular canopies in the debased style, prevalent about the reign of Queen Elizabeth, have been inserted.

The chancel is terminated by a large window, divided by mullions into two tiers of eight lights each, the apex being ramified into inelegant tracery, introduced in repairing the damage which this window (and that alluded to in the above chapel) sustained during an extreme tempest in 1579.

THE INTERIOR

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.

THE NORTH TRANSEPT

has a rich and pleasing appearance on entering the church from the eastern door, {48} through a porch which was once a chantry chapel, and connected with the transept by a fine Norman arch.

The triple windows of this and the corresponding transept are filled with small full-length figures in stained glass, bearing their respective insignia, and judiciously placed within ovals of chaste mosaic patterns. The centre of the middle light has the arms of King George the Third, with the following inscription:

GEO. III. REGUM • OPTIMUS • GENTIS • BRITANNICAE • OLIM • DELICIÆ • NUNC • DESIDERIUM • MORTALITATEM • EXUIT • MENS • JAN • DIE • 29 • A.D. 1820 • ANNO • ÆTAT • 82 . REGNI • 60 .

On a scroll at the top,

_Among many Nations was there no King like him_.—Neh. xiii. 26.

On another at the bottom,

_His Heart was perfect with the Lord all his Days_.—1 Kings xv. 14.

Above these arms is the figure of the Virgin Mary, and below is St. Andrew. The dexter lancet window is occupied with the figures of St. Philip, St. Bartholomew, and St. James the son of Zebedee, and the sinister with St. Simon, St. Thomas, and St. Matthias. At the bottom is the following inscription:—“IOANNES BRICKDALE BLAKEWAY, A.M. HUJUS ECCLESIÆ JUDEX OFFICIALIS ET MINISTER INSIGNIA REGIA P. C. ANNO MDCCCXX. RELIQUAM FENESTRÆ PARTEM EXORNAVIT EJUS VIDUA M.E.B. ANNO MDCCCXXIX.”

The lower portion of the walls are ornamented with interstitial divisions and monuments.

Against the west wall is a most beautiful free-stone

MONUMENT TO THE LATE REV. J. B. BLAKEWAY;

[Picture: Monument to Rev. J. B. Blakeway, and North Transept]

which for elegance of design, beauty of execution, and general effect, has perhaps rarely been surpassed in modern times.

This beautiful Memorial was designed by Mr. John Carline, of this town, and is upwards of 12 feet in length and 16 feet in height, and is divided into three compartments by clustered buttresses, which sustain richly crocketed pinnacles. The centre compartment comprises a large pointed arch, cusped, canopied, and crocketed, the back of which is deeply recessed, and contains the following inscription in ornamental Roman capitals:

To the Memory of the Reverend JOHN BRICKDALE BLAKEWAY, M.A. F.A.S. Thirty-one years Ordinary and Official And Thirty-two years Minister of this Parish, This Monument is erected By the Voluntary Subscription of his Parishioners, As a tribute of respect for his talents, Esteem for his virtues, And gratitude for his long and faithful services As their Friend and Pastor. He died the tenth day of March, MDCCCXXVI. Aged sixty years.

On each side of the above compartment is an elegant niche with a cinquefoil head, octagonal back, and groined ceiling. These niches are surmounted by acute-angled crocketed canopies formed of deep mouldings; and resting on the head of each niche within the canopy is a cinquefoil within a circle. In a similar situation in the centre compartment is a shield containing the following arms:—Argent, on a bend engrailed sable, three bezants; impaling argent, a fess vaire between three unicorns passant, gules.

The above divisions rest on an altar tomb, the front of which is divided into twelve small niches with trefoil heads. These niches are separated by small buttresses, with crocketed canopies and pinnacles.

Mr. Blakeway was the son of Joshua Blakeway, Esq. of this town, and a gentleman whose pleasing adaptation of manners and amiable walk through life gained him the universal respect of his fellow townsmen. Neither the church nor the state had a more faithful defender of its rights or supporter of its dignity, nor the true interests of his native town a more watchful guardian.

As a scholar and a gentleman, united with the character of a true christian, we shall perhaps “ne’er look upon his like again.” As a preacher he was admired for his forcible illustration of holy writ, and the valuable admonitions clothed in the language of affection which his discourses generally contained, whilst his devoutness in the performance of the sacred duties of the sanctuary must have impressed their importance on all who heard them. In his personal appearance he was tall and robust;—his face bore the line of thought, and his ample forehead bespoke the mind that dwelt within. As an author he had written much and published little, and was known only to the literary world previous to 1821 by a few sermons, controversial tracts, and critical notes in Malone’s edition of Boswell’s Life of Johnson. His name, however, will be immortalized in the valuable History of Shrewsbury which he commenced in 1820, with the Venerable Archdeacon Owen, and just lived to see the general history and ecclesiastical portions published in two quarto volumes, which elaborate undertaking will obtain for him and his revered friend and colleague the respect and gratitude of every true Salopian in subsequent generations.

Mr. Blakeway likewise shewed much attention and devotedness to the antiquities of his native county, and the valuable mass of manuscripts he left behind in illustration of its genealogical and topographical history will remain also as a monument of his industry. {52}

His last end was peace,—for he departed almost without a sigh, and nearly without losing that benignant smile which was so peculiar to him. His remains were interred on the right of the west entrance to the church-yard.

Three beautiful specimens of monumental sculpture, designed by the same architect, occupy the north wall, and harmonize with the splendid memorial just described, a detail of which would occupy too much space. The lancet window in the west wall contains a fine ancient figure in stained glass of St. John the Evangelist, arrayed in a robe which displays a most splendid specimen of the ancient ruby glass of the old masters; the hem of the garment is brilliantly studded with pearls.

THE ANCIENT FONT stands in the centre of the area, and is very handsome. The basin is octangular, each side having an ornamented quatrefoil, in the centre of which is a large double rose. The angles have been adorned with busts of angels bearing shields, and the pedestal is pierced into gothic arches, divided by small shelving buttresses.

In the north-eastern angle is an octangular turret, in which a small doorway opens to a staircase leading to a chamber which was no doubt once a chantry. It is lighted by a curious triangular window, with a trefoil on the intrado of each arch, the mouldings of which are deeply recessed. Below this is another chantry chapel, now used as a VESTRY, having at the east end an early Norman light, and on the north a mullioned window of the fifteenth century. Under a low pointed arch beneath this window is a monumental tomb composed of alabaster, but sunk into the floor for economy of space: it bears the figures of a warrior and his lady in the act of devotion, supposed to represent Nicholas Stafford and his wife Katherine. The former was bailiff of the town in 1458, and died in 1471.

SOUTH TRANSEPT.

The window of this transept contains the figures of our Saviour, St. James the son of Alpheus, and St. Thaddeus; in the dexter compartments are those of St. Matthew the Evangelist, St. Paul, and St. Mark; and in the sinister those of St. John the Evangelist, St. Peter, and St. Luke. Underneath this window is “GULIELMUS GORSUCH ROWLAND A.M. HUJUS ECCLESLÆ JUDEX OFFICIALIS ET MINISTER HANC FENESTRAM FACIENDAM CURAVIT ANNO 1829.”

The windows of this and the north transept were executed by Mr. D. Evans, of Shrewsbury, and may be considered as some of the finest specimens of the art in the kingdom, both as regards brilliancy and harmony of colours, beauty of design, and exquisite workmanship, whilst the “dim religious light” which they shed around, imparts an impressiveness of character that at once bespeaks the sacred purpose of the place as the House of Prayer.

Below the south window of this transept is a bold composition of monumental architecture, designed by Mr. J. Carline, consisting of three acute-angled crocketed canopies, crowned with a finial. The labels of the arches are enriched with foliage, and the interior sweep fashioned in the ogee manner. From the lateral piers, and between each division of the arches, springs an elegant crocketed pinnacle panelled and finished by an open flower.