I have finally got around to my Part Two of Sherford Church, St. Martin of Tours.
Part One mainly featured the building and its history, the how it got here and why, side of things. This post is more about the interior and the contents of this Grade 1 listed building. This post has really opened a can of worms, and I now have information coming out of my ears including advice from Cambridge professors and doctoral theses from Exeter University to deal with. So I am going to have to pare down what I have found to a simpler tale of what is in the church and how it may have got there, at least as far as the rood screen and its decoration is concerned.
That's pare not pair by the way in case you were wondering, as in trim down, not as in divide into two. It's from the Latin parare to prepare. I digress, as I just enjoy these diversions. This is more of an "artist's impression" of the church than a comprehensive history.
The early 16th century Rood Screen is the dominant feature of the interior and depicts the twelve disciples and two doctors of the church, sixteen figures in all, in painted panels. The doors in the middle are now blank so it is presumed that at least one of them originally featured the patron saint St. Martin of Tours. The parclose screens which are at right angles to the rood screen and which divide the chancel from the aisles are 15th century, which may suggest that the current screen replaced an earlier one.
There would have been a wide section of ornate coving above the screen and a mezzanine floor or Rood Loft, supporting a cross, which is also missing.
What you see today is very different to what you would have seen in early 2014. Later that year and into January 2015 some major analysis and restoration work was carried out on the screen and pulpit.
This is a rare surviving example of coving and rood loft in Atherington North Devon to give some idea as to what it would have looked like originally. This is the only surviving example left in Devon. I will be doing a separate post on Atherington church.
In Sherford church as recently as early 2014 most of the woodwork was painted dark brown in various layers with a top layer of darkened varnish, with stippled brown paint effects under, and then earlier white layers of household paint beneath that. At some earlier date the painted figures have been uncovered, some tracery removed and some baseboards added along the bottom of the dado, to cover damaged wood, eaten away by Death Watch Beetle.
The ominously sounding Death Watch beetle is an interesting creature, if widely feared in ancient buildings. It is a wood boring insect which lays its eggs in wooden crevices or existing insect holes. It is particularly partial to old oak, none of your cheap pine thank you, which its larvae will feed on while burrowing into the timber for up to ten years, before emerging as an adult beetle. When they emerge on summer evenings in the roof timbers of old buildings they have amorous intentions causing them to make a tapping or drumming noise. Traditionally it was at night that the newly deceased or dying were accompanied by their nearest and dearest in a "death watch" or vigil and it was at this time that the beetle's drumming could be heard.
Immediately to the left of the entrance doors are this group of four saints. From left to right, St. James, St.Andrew, St. John and St. Peter. Notice the carved wood tracery above and below the figures. This tracery is missing on some of the panels, just leaving the infill painted areas as seen below. Conservators have noted the remains of both silver and gold leaf as well as red ochre, crimson and green on the carved areas. These panels would have been very striking when new.
The polychromy of the screen was the last stage of its creation. It was of the utmost importance for the visual aspect of the medieval screen where brightness, perhaps even garishness, was highly prized. The screen’s western front was very often much more elaborate than that facing the chancel; it faced the congregation and the polychromy reflected this. Michael Aufrère Williams
The floral arches of the tracery echo the perpendicular style of the windows. The dark wood tracery above and below has been reattached after it was discovered that it had been taken off to create the pulpit in the early 19th century. Many strange things went on in the late 18th and into the 19th century. It looks like amateur members of the congregation or odd job men decided to make their own "improvements".
St. Peter on the right is shown holding the keys to heaven in his right hand.
Analysis of the painted finishes suggests that the whole was painted white at some point, maybe to "brighten up the place". Subsequently tastes may have changed and it was decided that brown would be an improvement. It is difficult to imagine the thought processes that led to someone thinking it would be a good idea to paint over the 16th century painted portraits.
It is worth remembering though that this church was originally a Catholic church before the Reformation, and Catholic churches were ornate and colourful places. Things changed after the Protestants took over and it was not long after Henry VIII broke away from the established church that his daughter Elizabeth ordered the rood lofts to be removed. It may have been soon after that or even during the Civil War when the saints were overpainted.
In fact a large part of the history of rood screens and rood lofts spans that period of major religio-political change roughly between Henry VIII and the death of Elizabeth I. Screens largely survive only from the 14th century or later, although evidence that they existed go as far back as the 7th century. Being made of wood they were subject to deterioration over time, and were often replaced. Later, as rural populations increased and the parishioners got richer there was a bit of a rood screen arms race as churches competed for bigger and better screens with grander and more spectacular carving and decoration.
The main source of information from this period is from churchwarden records of expenditure which detail payments for timber and paint as well as payments to artists and wood carvers. I am grateful to Michael Aufrère Williams for the work he has done in compiling all this data into a document, Medieval English Roodscreens, with special reference to Devon, 2008. However, with 416 pages of data I can only touch the surface of the subject here.
One interesting factor is, who was paying for all of this and how much did it all cost? I have no detail for Sherford but as an example, in nearby Ashburton, where there is a good record, their screen was built between 1522 to 1526, and we even know the name of the man who carved it, Peter Rowallyng, with the cost being at least £43. That is nearly £23,000 in today's money, but of course hourly wages and material costs back then were not what they would be today, even taking into account inflation. I would guess similar work today would probably be more likely to be in the hundreds of thousands.
The Atherington screen pictured above was one of the last screens to be built in the mid 1540's before the trend against screen building began and the further trend of dismantling them started. I hesitate to say the parishioners of Atherington paid £14, 7s and 7d for their screen which was the official sum involved, because there was actually a scandal about the cost, with the parishioners refusing to pay the £10 demanded by the carpenters. I wonder if the congregation of Atherington ended up with the only remaining roodloft today, because they had also been so late in the game in acquiring it, and resenting the enormous cost of only just having carved it, had no intention of forking out more cash to pay someone to take it down.
Who was paying the bills, when they were paid? Records point to most of the money raised coming unsurprisingly from towns and those of modest means with notable donations from the richest locals. In Ashburton, the wealthiest man in town was John Ford whose wealth was assessed as being worth £140. He alone donated £23. He was the Bill Gates of Ashburton it seems.
Sherford had three manors so we can expect that one or all three of them contributed a large share of the funds.
Here in this detail it is possible to see where the tracery is missing from above the figures of St. Bartholomew and St. Philip. The paintings are thought to be by a Continental hand and have a Flemish influence. This makes them unusual for the deepest recesses of Devon until you realise that the English south coast was at the forefront, when it came to trade and contact with mainland Europe. Sherford is a mere mile from the sea at high tide in Frogmore.
So why are these said to have Flemish influences? Here is an image by Hans Memling from the Royal Museums of Fine Arts of Belgium, dated 1472, a mere thirty or so years before the estimated date of the rood screen panels at Sherford. Artistic fashions lasted longer and travelled across Europe much more slowly back then. I am sure if Hans Memling had been on TikTok his fame would have been instantly viral. Although the Sherford paintings are not as masterly in technique, it is possible to see similarities in style, in particular the background snippets of landscape giving the figures a space to inhabit.
When I started this research I had heard of Flemish Art but could not have told you anything about it. Having just Googled Flemish Painting, the first thing I discovered was that in the Anglosphere it was commonly referred to as "Early Netherlandish" there not being a distinction between the areas of the Netherlands and Flanders in England at that time. This is interesting because having already mentioned Peter Rowallyng the carver named in the Ashburton records, it seems that there is no local record of his name anywhere else even as far as Exeter, although there are records of a Peter Carver which is presumed to be him. It was not uncommon as we know for people to acquire surnames based on their craft or trade. Peter Carver, however is described as an "alien" or "foreigner" possibly from the Netherlands who is recorded as being in Ashburton at the same time, for "tax purposes" as we say today.
Getting back to the religio/political changes of the time, during Mary I's short reign there was a boom in repair work at cathedrals like Exeter where much damage had been done by enthusiastic Reformers. This boom in building and artistic trades is believed to have caused a notable influx of foreign workers who had the particular skills needed. There is at least one record of a "Dutchman", Cornely Carver, being employed at Exeter cathedral, so we know that these skills were a commodity that traded between Europe and England. Did these "foreign" workers filter out into the surrounding rural areas to do smaller commissions like painting the screen at Sherford? It is highly unlikely that small rural manors like Sherford had these highly specialised skills available in any other way.
Below, St. Thomas and St. Matthew. The saints names were probably a later addition. Early worshippers who were probably illiterate, would have recognised the Saints from the way they were depicted and the objects they held.
St Thomas was usually depicted with a ruler and spear, and sure enough you can just make out the figure holding a spear in his left hand.
During the restoration in 2015 the borrowed sections on the pulpit were reused in their proper place on the screen but some gaps remain. Long term it is proposed that new carved sections will be made to replace the missing areas and toned in to match the old wood. This will add to the overall effect and show off the paintings as they were meant to be seen. Damaged timbers have been conserved and backed with new oak to protect them.
St. Paul, carrying a sword, St. James, holding a staff, St. Bartholomew and St. Philip.
As is customary, the congregation over the years have embroidered panels for the hassocks or kneeler cushions. The pews however were a very late addition not being installed until 1897. Originally all churches were open spaces where the faithful congregated to attend services with standing room only. The weakest or oldest members "went to the wall" where they could either perch on ledges if they were lucky or just lean on the walls. But by the standards of most churches, the pews here came very late.
There are 103 kneelers worked in wool on canvas, on a rust coloured ground, mainly in tent stitch. Other stitches used are Gobelin, Rhodes tied satin, fern, knitting, cushion, florentine and chain. Nadfas Church Record.
And that is eight embroidery terms I didn't know before today.
During the twentieth century in December 1943 the villagers of Sherford were all evacuated as an area of 30,000 acres that covered several local villages along the coast with a population of 3000 people was emptied to allow for 15,000 American troops to carry out rehearsals for the D-Day landings. The church was emptied and used by the American armed forces.
Here is another style of hassock made from carpet and other fabrics.
At the altar rail are a set of communion rail kneelers with stylised flowers. These lilies, pomegranates and vine sprays are the work of Mrs. Vera Coleman.
On the altar cloth is this unusual piece of needlework in the form of a decorated cross. The work is titled Obsidian and is again the work of Mrs. Vera Coleman of Coombe Cottage in Frogmore.
The font is a bit of a mystery. Most churches have a brief description of the most important object in the building, but not so here. The only information I have for definite is that it is carved from Beer stone which is to be expected. Beer stone was used to build Exeter cathedral and many other important churches and cathedrals, and it was the must have material, but at a cost. Some local churches have decorative features made of Beer stone that contrast with plainer local stone for the main structure. As seen here at Higher Ashton.
I have done a visual search online for this font at Sherford and nothing like it comes up. The closest matches that appear are described as perpendicular of 14th or 15th century, which if true is exactly what you would expect. It would be nice to have an expert opinion on it though.
The font cover is described as early 20th century. I am grateful too, to the current Treasurer of the church Peter Hadley, dated mid 20th century, who has furnished me with reams of interesting information which has been useful in making this post. In reference to the font Peter had this to say, "I do recall the water was chilly when I was ducked in 1948!" I can readily believe it was, although I am not sure if I should believe that he can remember the occasion.
The 19th century pulpit is an early example of what we now call upcycling, with bits and pieces of carving used to decorate the main structure. The technical term is an "inhabited vine scroll". It is more than likely that some of these pieces were salvaged from damaged parts of the screen, like the missing cornices. It is now possible to see where the recently removed sections were taken off and returned to the screen.
Carving the tracery was a specialised skill and one theory is that there were regional workshops employing carvers where parts could be made on an assembly line, for sale to various churches. The styles of carving have been categorised and the carving in Sherford is categorised as Type 7 or the Dartmouth style. It is shared by eight churches, all within walking distance of each other. Dartmouth the largest church, with Sherford, Blackawton, Chivelstone, East Allington, East Portlemouth, Slapton, and South Pool all sharing this carving style.
Even in this mangled state though, the pulpit is a fascinating example of its type and has its own less ancient story to tell. It is easy to imagine those repurposed vine carvings being made in lengths and sold by the foot.
Inhabited vine, but inhabited with what? You can just make out a small flying bird in the middle of the top line of carving, and this type of vine was normally inhabited by a multitude of flying and creeping creatures.
Above and below you can now see examples of the tracery on the pulpit and the screen. The original sections of tracery have also been overpainted in dark brown and it is believed that underneath there are bright reds and greens waiting to be discovered at a later date. The rounded band across the middle is described as "barber's pole" and you can just make out the twisted colours that are probably hidden underneath.
On the side chapel door there is a clear example of brown overpainting with the white layers underneath.
On either side of the altar rail are two very old memorial tablets. On the left is this one to George Reynell d. 1643. This piece is next to the doorway to the Malston chapel. Although the spelling is 17th century which fits with the date of the death, the incised lettering is believed to be nearly 200 years later. A possible explanation is that there was originally a floor slab near this spot at the entrance to the chapel which may have been covered by the new floor laid in the late 19th century. This slab may have been a copy made at the same time.
To the right of the altar is this memorial to John and Mary Mills, d.1807 and 1823. The verse reads, Improve the present hour, for all beside is a mere feather on the torrents tide. This is by the poet William Cowper.
William Cowper was an English poet and hymnodist (not to be confused with a hypnotist) known for his contributions to English literature and the Evangelical revival of the 18th century. He suffered from periods of severe depression and mental illness, which influenced much of his work. Despite his struggles, Cowper produced notable works including 'Olney Hymns' in collaboration with John Newton and 'The Task,' which gained considerable popularity. His poetry is often characterized by its introspective, religious, and sometimes melancholic themes. Simple poetry.com
This central ornate memorial is another Reynell, Elizabeth d. 1662. The inscription suggests great tragedy, but there is no known record to explain it.
The Latin inscription translates -
In grateful memory of Elizabeth,
daughter of Peter Specott of Thornbury, Esquire,
and wife of George Reynell of Malston, Esquire,
who died the twenty second day of May in the year of our Lord
1662.
Death has carried away the children.
The wife, most dearly beloved of her husband,
is stricken by many ills. She longs to die.
Fate wills it and her longing prevails.
Now she lives for ever well and united with her children, happy.
On the external wall of the south aisle is this memorial. Two daughters of Richard and Dorothy Hurrell, Dorothy and Susanna who died aged 27 and 30 respectively.
It is worth remembering that life expectancy in England was 37 for a woman in 1700 and had only risen to 42 by 1840. This memorial below is to Samuel Cornish who died at 41, and had three wives, death being more common than divorce. His first wife died at the age of 28, his second at the age of 35. His third wife survived him.
Moving forward to the beginning of the 20th century and war was beginning to rear its ugly head.
Totnes Weekly Times - Saturday 06 July 1901
A meeting, called by Mr Hurrell, C.C., the chairman of Kingsbridge Urban District Council, was held in the Town Hall, Kingsbridge, on Tuesday evening for the purpose of presenting watches to Corpl. Veale and Privates Cope and Farr, recently returned from the front. Mr. Hurrell who presided, was supported on the platform by several members of the Council. A programme of music by the Kingsbridge Orchestral Band, and songs, patriotic and comic by Messrs J R Lapthorn,Reeves, and Mundy preceded the presentation.
The Chairman said he had received a letter from Major Bennet, who was unable to be present....... The chairman expressed his thanks, and those of the audience, to the Volunteers who had gone to serve their country at a critical time. From the E Company four went out, but only three returned, Private Stone having succumbed to enteric fever. It was intended to perpetuate his memory by a tablet in Sherford Church. Hurrell then handed an English lever watch, in a handsome case, to each of the men.The assembly loudly cheered and sang "For they are jolly good fellows", accompanied by the band. Each watch is engraved with the name of the recipient and with, "Presented by the town and district of Kingsbridge in remembrances of patriotic services during the war in South Africa as an active service volunteer in the 2nd Devon Regiment, 1900 and 1901.'’ The watches cost nearly £5 each.
Western Morning News - Tuesday 15 October 1901
A SHERFORD MEMORIAL
In Sherford Church on Sunday, in the presence of a crowded congregation Rev. CW Finzell, the vicar, unveiled a marble tablet, inscribed,
"In Memory Of
Private W.A. Stone,
E Company, 5th VB Devon Regiment,
who died whilst on active service
in South Africa, at Sanderton,
on the 29th of March 1900.
This tablet was erected
by his comrades and friends".
The deceased who lived at Frogmore, was one of four members of E Co. Kingsbridge rifle volunteers who went to the front, and there died in six months from dysentery. For the unveiling, nearly 50 members of E Co., Sergeant-Instructor Heaven in command, marched four miles to Frogmore. There they were joined by Chillington brass band, under Mr. J Rhymes, and then proceeded to the church, a mile away. Rev. C Finzell assisted at the service, Sergeant-Major WH Webb read the lessons, and Rev. TC Lewis, chaplain, preached from the text "And he was a good man." The unveiling was followed by the singing of the hymn "Fight the good fight." Nearly 300 persons unable to enter the church remained outside during the impressive ceremony.
To give some context to the situation in South Africa where Private Stone perished, I include this short piece written only three days after his death, which describes the conditions of the volunteers.
Totnes Weekly Times - Saturday 05 May 1900
DEVONSHIRE VOLUNTEERS IN SOUTH AFRICA
SEVENTY MEN UNDER THE DOCTOR'S CARE ?
Mr F W Tucker, stationmaster at St Thomas, has received a letter from his son who is serving with the Devon Volunteer Infantry Company in Natal. The letter was written from Elandslaagte, and dated April Ist, and in it the writer says:—Two of the Volunteers have died from enteric fever. Pte. Cumes, of Starcross, has been very ill with dysentery —he is now much better and out of danger. There are 70 out of our Company of 114 under the care of the doctor. We did not get our blankets or waterproof sheets until Thursday last. We have slept out for two nights on outpost duty, sleeping in our overcoats only. We have to march two miles to wash and bathe. There are almost 200 ill in the Brigade. The hospitals can only at present accommodate about 70. Should sickness increase, we shall have to go back to Pietermaritzburg or Durban. I hope this will not be the case. Those who are well are anxious to enter Pretoria. We have had lovely weather since we left Ladysmith. The country around us is very much like Dartmoor, but it is minus clear, cool streams. We have route marching occasionally. The Boers have left this district, and we have a fairly easy time of it."
Finally, it is not only the rood screen and pews that arrived late to Sherford, as the church only received its electrical lighting system in 1958 due to a generous bequest from Miss K Fairweather. I can't help picturing Miss Fairweather at Evensong, squinting with difficulty by candle light to make out the words in her prayer book prior to writing her will that would eventually benefit the eyesight of those who followed.
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