ST. MARY’S CHURCH
stands on a commanding situation, nearly one hundred feet above the level of the river, on the north-eastern side of the town, and is one of the most interesting ecclesiastical edifices in the county, displaying in its construction almost every variety of ancient architecture, and affording to the antiquary and man of taste a rich and unique field for observation.
It is a cruciform building, consisting of a nave, side aisles, transepts, spacious chancel, two chantry chapels, and a lofty spire steeple.
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;
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.
It is much to be wished that the correct taste displayed in these and other beautiful specimens of the decorated style of monumental architecture, recently erected in this church, was more generally manifested in the adaptation of monuments to the character of the buildings in which they are to be placed, instead of the unsightly tablets so commonly introduced, and which frequently contribute anything but ornament to our ancient churches.
From the south transept a fine Norman arch opens to the
TRINITY CHAPEL,
which also has a communication with the chancel by an arch in the pointed style.
This building (57 feet by 30) was at first of smaller dimensions, as is evident from two lancet windows (beneath which are two very early loop holes) in the wall next to the south aisle. Immediately above the shelving portion still visible of the roof of the original chapel is a peculiar circular window.
The enlargement was effected by the Draper’s Company soon after their incorporation in 1461, having therein a guild or fraternity to the Holy Trinity. Within the south wall is the sedilia formerly used by the officiating priests, and the remains of a piscina, all of which were once overspread with elegant canopies.
On the opposite side is a large pointed arch, now walled up. Under this is an altar tomb, the sides of which are divided by small buttresses in ornamental niches of the early decorated style. Above is a mutilated recumbent figure of a cross-legged knight in linked armour, supposed to represent one of the Leyburnes Lords of Berwick, in this parish, and who died about the middle of the 14th century. The grave below was opened in 1816, and was composed of wrought masonry, when, after a little loose rubbish had been removed, some leg and thigh bones were discovered. On digging about three feet lower to the bottom of the tomb, a skeleton was found wrapped in leather, but without a head. This is conjectured to be the skeleton of Thomas Percy, Earl of Worcester, who was beheaded after the battle of Shrewsbury, and his head sent to London, while his body found an asylum in the tomb of a family which had become extinct.
This church, in 1232, was the scene of an assemblage of legates, convened by command of the Pope to hear charges which had been preferred against Llewelyn for repeated infractions of treaties. This negociation was at length left to six referees on the part of King Henry III. and four on that of the Welsh Prince, by which peace was maintained for a season.
When Charles the First visited this town in 1642, it is recorded he took “a protestation and the sacrament upon it to defend the Protestant religion established by Queen Elizabeth and his royal father,” which solemn scene, it is supposed, took place within this edifice, being the parish church of the mansion in which he was sojourning. King James the Second, it is also said, attended divine service here in 1687, after which he exercised the royal gift of healing by touching many persons for the king’s evil.
The Monuments of particular interest having been already noticed in their proper situations, it need only be remarked that there are mural tablets commemorative of individuals connected with the families of Lyster, Lloyd (of Rûg, &c.), Morhall, Blakeway, &c. on the walls of the chancel, and several other memorials in the nave, transepts, and chapel; which the extended description of this church, and the confined limits of the present work, will not permit further to enumerate.
The length of the building from east to west is 160 feet, breadth (including side aisles) 50 feet.
The tower contains a peal of ten bells, the harmony of which, it is considered, cannot be excelled by that of any peal in the kingdom: weight of tenor 21 cwt. 2 qrs. 17 lbs.
On the west wall of the steeple is an inscription to the memory of Thomas Cadman, who lost his life in a bold attempt to descend from the top of the spire by means of a rope, which he had fixed to it and brought down to the Gay meadow, on the other side of the river Severn. He fell near the Water-lane gate, Feb. 2, 1739, aged 28, at a time when “the ground was iron and the Severn glass,” owing, as the epitaph records, to
“A faulty cord being drawn too tight.”
The parish of Saint Mary extends several miles in detached parts of the country, having within its boundaries five chapels of ease, viz. Albrighton, Astley, Berwick, Clive, and St. Michael’s (Castle-foregate).
The church is a royal peculiar, and the official court has probate of all wills and cognizance of all other ecclesiastical matters arising within the parish. The living is a perpetual curacy, and was, previous to the late municipal act, in the presentation of the Corporation of Shrewsbury; and in the choice of a minister, the son of a burgess, who has been educated at the royal free grammar school, or (in case there be no burgess’s son of that description) one born in the parish of Chirbury, with a qualification similar to the foregoing, is to have the preference.
SAINT ALKMUND’S CHURCH
is situate at a short distance from St. Mary’s, and its cemetery adjoins that of St. Julian’s.
The fine old cruciform church of this parish was inconsiderately destroyed in 1794, under a mistaken apprehension of its stability. The present building, with the exception of the tower and spire, which fortunately escaped the fate of the old church, was opened for divine service Nov. 8, 1795, at a cost of rather more than £3000.
The new structure is of Grinshill stone, and in the style called modern gothic, having six lofty pointed windows on each side, filled with slender mullions of cast-iron; between the windows are graduated buttresses.
The interior is handsomely fitted up, and the general effect pleasing, although not in strict conformity with a gothic building,—wanting that sombre grandeur characteristic of this style of architecture. It is 82 feet long by 44 feet wide, with a small chancel terminated by a pointed window filled with enamelled glass emblematical of “Evangelical Faith,” depicted in the character of a female figure in the attitude of kneeling upon a cross, with her arms extended, and eyes elevated towards a celestial crown which appears in the opening clouds. The countenance has an interesting expression of adoration, and the motto, “Be thou faithful unto death,” &c. is inscribed on an open volume. The window was painted by the elder Egginton, and cost 200 guineas.
At the west end is a capacious gallery, containing a small fine-toned organ by Gray, of London, erected by a subscription in 1823.
The principal entrance to the church is in the base of the tower, under an elegant pointed arch recessed within a square aperture, on either side of which are niches, most barbarously repaired in 1825; above is a bold mullioned window in the style of the sixteenth century, when the tower and spire were probably built. In this window are two ancient escutcheons in stained glass, displaying England and France quarterly, and the arms of Richard Sampson, Bishop of Lichfield, and Lord President of the Marches from 1543 to 1548.
The tower is finely proportioned, being flanked with double buttresses gradually diminishing, and terminated with a crocketed pinnacle; an open parapet of pointed arches surrounds the base of the spire, which, though not remarkable for height, is considered by persons of good taste “to possess singular elegance of form.” The tower contains eight musical bells, recast in 1813, and is 70 feet high, the spire 114, making a total of 184 feet from the ground.
In a vault beneath this church are interred the remains of Thomas Jones, Esq. who died in 1642. He was six times bailiff, and the first Mayor of Shrewsbury; also those of Sir Thomas Jones, Lord Chief Justice of the Court of Common Pleas, who died 1692, to whom and other members of this ancient Shropshire family are several memorials. Other monumental tablets also relieve the walls of the building.
The old structure contained many curious brasses and monuments; the former were sold, and the latter dispersed, on its unnecessary demolition.
The living is a vicarage in the gift of the Crown, and a weekly lecture is preached in the church on Wednesdays.
SAINT JULIAN’S CHURCH.
The church, dedicated to St. Juliana, occupies an elevated situation at the top of Wyle Cop, and was erected 1749–50, from a design by Mr. T. F. Prichard, of this town, on the site of an Anglo-Norman structure, which had become ruinous.
It is a plain oblong building of brick, and stone dressings, 83 feet by 48, with a small recess for the chancel.
At the west end is the tower of the old church; the basement is of red stone, and of a date far anterior to the superstructure, which is of the 16th century, and crowned by a handsome embattled parapet and eight lofty pinnacles, restored in 1818, when the masonry of the tower was chipped and repaired. The tower contains a peal of six bells, recast in 1706, and an excellent clock, the dial of which is illuminated at night.
In the south wall of the chancel is an ancient figure, probably intended to represent St. Juliana.
The interior is particularly neat, possessing an air of solemnity unusual in the generality of modern churches. Four large Roman-Doric pillars support the roof of the nave, which is coved and adorned with the fret-work of the old church. Galleries occupy three sides of the building. At the west end is an excellent organ, by Bowsher and Fleetwood, of Liverpool, erected by a subscription in 1834, the exterior of which is tasteful in design, and harmonizes with the internal architecture of the edifice.
The pulpit is handsome, and belonged to the old church. The altar-piece and furniture of the chancel are in good taste; the former is of wainscot, and presents a Roman Doric basement, supporting Ionic pilasters and entablature with modillion cornice, from which springs a rich architrave surrounding a Venetian window, in the centre light of which is a figure in stained glass of St. James bearing the Holy Scriptures. The side lights contain the royal arms, and those of the see of Lichfield, impaling Cornwallis.
In the windows of the south gallery are the armorial bearings of Queen Elizabeth, the family of Bowdler, a fine ancient shield of the town arms, and heads of St. Peter and St. Paul, surmounted by their emblems, the keys and sword. On the north side are the arms of Prince, Bennett, Astley, the Earl of Tankerville, and a figure of St. John.
In the floor of the south aisle is an ancient gravestone, preserved from the former church: round the edge is a Longobardic inscription to the memory of Edmund Tromwyn, who is supposed to have died about the close of the thirteenth century.
There are several mural monuments in the aisles and chancel: on the north side of the latter is a pedimented tablet set on a square table of dove-coloured marble, with the following inscription:—
Sacred to the Memory
Of the VENERABLE HUGH OWEN, M.A. F.R.S.
Archdeacon of Salop,
Prebendary of Salisbury and Lichfield,
One of the Portionists of Bampton, Oxfordshire,
Formerly Minister of this Parish, and afterwards of St. Mary, in
Shrewsbury.
He was the only son of Pryce Owen, M.D. and Bridget his wife,
And the lineal descendant of an Ancient British family.
Distinguished for the extent and accuracy of his Antiquarian researches,
And knowledge of the principles of Ecclesiastical and Civil
Architecture,
By the judicious application of this talent,
Joined to a firm but mild execution of his official authority,
He greatly contributed to the decent and substantial restoration
Of many venerable fabrics within his Archdeaconry.
His “Account of the Ancient and Present State of Shrewsbury,”
Originally published in a single volume,
Was afterwards embodied in a complete History written by him,
In conjunction with the Rev. John Brickdale Blakeway.
He died Dec. 23d, 1827, aged 67 years.
Harriet, his wife, daughter of Edward Jeffreys, Esq.
Died April 3d, 1825, aged 59 years.
In the south aisle, a plain tablet surmounted by a lion commemorates the public spirit and unremitting exertions of Mr. Robert Lawrence, “in opening the great road through Wales between the united kingdoms, and for establishing the first mail coach to this town.” He died Sept. 3d, 1806, aged 57 years.
The living is a perpetual curacy in the presentation of the Right Hon. the Earl of Tankerville, and the parish comprehends the Wyle Cop and the suburb of Coleham, but isolated districts of it are intermixed with several of the other parishes at different ends of the town.
A Sunday evening lecture was commenced at this church, April 20th, 1828, for the “free accommodation of the town at large,” the parishioners having consented to lend their pews for the occasion. Several of the clergy connected with the town preach alternately at this additional service.
THE PARISH OF
ST. MICHAEL WITHIN THE CASTLE.
It has been already stated (page [24]) that the royal free chapel of St. Juliana became at an early period appurtenant to the church of St. Michael, the situation of which it has been shown was within the castle.
It is uncertain whether a church existed here anterior to the Norman conquest; however, in the survey called Domesday-book, compiled in 1085, the churches of Shrewsbury are mentioned in the following order, and their possessions enumerated: viz. St. Mary, St. Michael, St. Chad, St. Alkmund, and St. Julian. And of St. Michael these particulars are given:
“The Church of Saint Michael holds, of the Earl Roger, Posseton: Chetel held it [in the time of the Confessor]: there is one virgate of land: the land is half a carucate: one man renders therefore a bundle of box on the day of Palms. The same church holds Suletene: Brictric, a free man held it from the Confessor, when there was one hide paying tax at the time of the Conquest: the land was one caracute: there was also half a caracate: it was then worth five shillings; now (the completion of Domesday) four pence less.” [63]
It may be useful, therefore, in this place to relate some further information respecting the parish of St. Michael, which has lately excited the public attention, by the parish of St. Mary enforcing a demand for the payment of poor-rates upon the tenant of the Castle, J. C. Pelham, Esq. and which that gentleman resisted on the ground that the Castle formed no part of the parish of St. Mary. The issue came on for trial at the Summer Assizes, 1836, before Mr. Justice Patteson and a special jury, when a verdict was obtained in favour of the plaintiff, Mr. Pelham.
1222.—This Chapel was of the donation of the Lord the King, and given to William de Haverhul.
The Chapel of the Forde was also of the gift of the King, and belonged to this church of the Castle, and rendered three shillings, and was worth one mark, which William de Haverhul then held.
1235.—The Chapel of St. Michael was held by William de Battal, and was worth yearly fourteen marks.
1271.—The Rector of St. Michael proceeded to recover in law for services due to him in right of his church. The entry commences thus:
“Robert Corbet, of Morton, offered himself on the fourth day (fourth day probably of the assizes at Shrewsbury) against Richard de Sarre, Parson of the Church of St. Michael, of a plea that the same Robert should do to the aforesaid Richard the accustomed and right services which he ought to do to him for his frank tenement which he holds of him in Soleton and Lack.”
1293.—The Chapel of St. Michael was worth yearly twelve marks, and Master Adam de Malane held it of the gift of the King.
1309.—King Edward the Second granted to his beloved clerk, Boniface de Ledes, this Free Chapel, vacant by the resignation of Roger de Ledes.
1318.—A similar Grant to Roger de Lysewy, of this Free Chapel of St. Michael, being then vacant, &c. To this grant is appended an order from the King to “Master Thomas de Cherlton,” then Constable of the Castle, to induct this Roger into corporal possession thereof.
1330.—A similar Grant of this Chapel, being vacant, to Walter de London.
1330.—A subsequent Grant, in this year, of the said Chapel to Adam de Overton.
1342.—It appears that Adam D’Overton was Warden of this Free Chapel of St. Michael.
1343.—A Grant to John de Wynwyk of this Free Chapel, and an order to John de Wyndsore, then the Constable, to induct him; also a Grant to the same John de Wynwyk of the King’s Free Chapel of St. Julian, Salop.
1344.—A Grant to John Fitz John Le Strange, of Blaunkmonstr, of this Free Chapel.
1347.—It appears that a suit was pending between John Fitz John Le Strange, of Whitechurch, Parson of this Free Chapel, and certain persons in the pleas mentioned.
1395.—An Inquisition taken at Salop, on Wednesday next after the Exaltation of the Holy Cross, before John de Eyton, Sheriff of Salop, by virtue of a certain Writ to the said Sheriff directed, and to this Inquisition annexed, by oath of William Banaster of Bromdon, and others, who say upon their oath that William Tyrington, late Parson of this Chapel, had committed waste, dilapidation, and destruction in this Chapel, to wit, in throwing down, dilapidating, and destroying this Chapel, to the value of one hundred pounds, through the defect of the roofing, repairing, and supporting of this Chapel, that is, in lead, stone, timber, and glass windows, and also in the carrying away one chalice and divers entire vestments, with all the ornaments ordained for the said chalice and vestments pertaining to the said Chapel, and by destroying divers images lately being in the same Chapel, by reason of his improvident custody of the said Chapel, and of his neglect of the repairing of this Chapel, to the value aforesaid, beginning the defects aforesaid in the Feast of Easter, in the 48th year of King Edward the Third, till the death of this William Tyrington, so that this Chapel was utterly destroyed and wholly thrown down and laid in ruins by this William de Tyrington, late Parson of this Chapel, and so that two hundred marks were not sufficient to amend and repair it, with the ornaments lately being therein.
1410.—A Grant by King Henry the Fourth, reciting, that whereas he had granted to “Roger Yve, of Leeton, Rector of our Chapel of St. John the Baptist at Adbrighton Husee,” “certain lands in fields called the Batteleyfield, in which field the battle between us and Henry Percy, deceased, and certain of our rebels, lately took place,” in order to build “a certain Chapel of St. Mary Magdalene,” of which he was appointed Warden, with power to choose five Chaplains to celebrate Divine Service in the said Chapel every day. The Grant then proceeds to endow the said Chapel of St. Mary Magdalene at Battlefield with various possessions, and among others with the Advowson of “the King’s Free Chapel of St. Michael within the Castle of Salop, to which the Chapel of St. Julian of Salop is appurtenant or appendant.”
1417.—John Repynton, then Warden of the said Chapel of Saint Michael, surrendered the same to the King.
1558.—John Halliwell took of Richard Burper, among other property, all manner of tithes, oblations, obventions, fruits, profits, and emoluments, of the Rectory, Church, and Chapel, of Saint Julian, and of “the Chapel of Saint Michael.”
1583.—Was a Fine, passing the same property.
Queen Elisabeth having granted a lease of the Castle and its appurtenances to Humphrey Onslow, Esq. at the yearly rent of 13s. 4d. that gentleman’s lease expired in 1596, when the Castle and its appurtenances came into the possession of the Corporation.
In the records of the Corporation is the following entry:
1605.—“Agreed that persons shall view the stones in the Castle belonging to St. Michael’s Chapel, and take account thereof, and enquire what stones are taken away.”
There can be little doubt, however, but the Parish of St. Michael’s had originally some connexion with St. Mary’s parish; for in the reign of Henry II. it seems that Walter de Dunstanville, Rector of St. Michael’s, sold a tract of land called Wogheresforlong and a moiety of Derefold to a person named Gilbert, reserving to himself a rent of three shillings and sixpence; and that John the son of Gilbert soon afterwards conveyed it to one Nicholas le Poncer, who subsequently granted it to Haghmond Abbey, free from all secular service, saving a rent of four shillings to be annually paid (in lieu of the tithes of Derefold) to the parson of the parish of the church of St. Michael within the Castle.
This commutation is assented to and witnessed by the Dean and Chapter of St. Mary’s, “for us and our successors for ever;” an attestation which would appear as quite unnecessary, if this district had not once been connected with their jurisdiction.
The etymology of Derfald, or Deerfold, is an enclosure or park (which will be noticed hereafter) for keeping deer, an appendage not unusual to our early fortresses. This circumstance (and at a period when little respect was shown to boundaries civil or ecclesiastical) might have induced Roger de Montgomery, as feudal lord, to assign it as the parochial limits of his church, although at the cost of the parish of St. Mary.