Memorials of Shrewsbury / being a concise description of the town and its environs, adapted as a general guide for the information of visitors and residents

by Henry Pidgeon

THE ABBEY CHURCH.

The Abbey Church is situated in the suburb to which it has given the name of Abbey Foregate. It is built of a deep red stone. A noble simplicity combined with a massive solidity characterizes the whole structure, to which time has given a most venerable appearance; and, though marks of mutilation are too evident throughout, it displays many curious features of ancient Norman architecture combined with the earlier pointed style.

It originally formed part of the richly endowed monastery founded in 1083 by Roger de Montgomery, Earl of Shrewsbury, and when entire was a stately cruciform building, equal in size to some of our cathedrals, having a central and western tower, transepts, &c. The whole eastern portion, two-thirds of the structure, was barbarously destroyed at the dissolution of monasteries in the time of Henry the Eighth. The neglect of after-times has contributed much to disfigure its external elevation, the eastern portion of the upper clerestory having from decay fallen down some time about the close of the 17th century.

The present church consists of the nave, side aisles, and western tower of the Abbey church, and owes its escape to the circumstance of the western end having always been used as the church of the parish of Holy Cross, the name it still retains.

The west front is composed of the tower, flanked by the ends of the Norman side aisles, and has a bold appearance. The tower is broad and massive; the basement early Norman, surmounted by a well-proportioned superstructure of the 14th century. The portal is a deeply recessed round-headed arch, having a pointed doorway inserted within it; to preserve uniformity, the exterior rib of the outward round arch springs on each side from a Norman shaft with an indented capital, and the combination displays much skill and ingenuity.

Above this is one of the most magnificent windows in the kingdom, 46 feet high by 23 feet wide; the intrado of the arch is enriched by a series of small trefoil panels; the label rises high above it in the ogee form, richly crocketed and terminated in a finial. The window is in the decorated style, and divided horizontally by transoms, and perpendicularly by six mullions, into seven compartments for the glass, the lower division having blank panels which have never been pierced for glazing. The arched head is gracefully pointed and filled with a profusion of the most rich and delicate tracery.

On each side of the window are the remains of a canopied niche, which once contained statues, probably of Saint Peter and St. Paul, the tutelar saints of the Abbey.

The north and south-west angles of the tower are flanked by shelving buttresses, having their sets-off worked into pedimented weatherings. The bell chamber has two windows on each side, between those of the western front is an elegant canopied niche containing the statue of an armed knight, bearing in one hand a mutilated sword, the other appears to have once projected from the body, but is now broken. The figure has a conical basinet, encircled by a crown, fastened to a camail of mail, which covers the neck, shoulders, and breast to the hips, and is finished by an emblazoned jupon. The thighs and legs are encased in plate armour. This statue is supposed to represent Edward the Third, in whose reign the tower was probably built.

On the north side of the church is a lofty and handsome porch, the entrance to which is under a pointed arch resting on round columns, and peculiarly recessed within a square aperture charged with shields; above is a chamber (formerly in two stories) lighted by small mullioned windows whose arches are nearly flat. On each side are niches, in one of which is the remains of a figure. The ceiling of the porch is cylindrical, without ornament, and the interior doorway a plain semi-circular arch with round mouldings.

The exterior of the side aisles displays a series of modern gables, each of which contains a mullioned window. The eastern end of the church is finished by a wall run up between the remains of the two western piers that supported a central tower, in which a pointed window is inserted. This, however, will soon be removed, and three elegant Norman lights substituted by private munificence.

On the south side the gables are at present miserably repaired with brickwork, but it is to be hoped that ere long the public spirit and good taste of the town will be exercised in such a manner as to assist the parishioners in the proper restoration of this side of the church, which presents so striking a feature from the new line of the London road.

The south aisle is entered by a plain Norman arch, resting on slender shafts, and which once communicated with the western wing of the cloister; the approach from the opposite eastern wing was by a pointed doorway; adjoining this is the ruined wall of the transept, in which are two round arches, supposed to have formed portions of a side aisle, or small chantry chapel west of the transept.

THE INTERIOR

presents a majestic appearance of solemnity, calculated to raise devout and profound veneration towards that Almighty Being to whose service and honour the edifice is dedicated, as well as to enchain the attention to the scriptural motto inscribed upon the north portal—“Reverence my Sanctuary.”

The nave is separated from the side aisles by five arches: two, which on each side join the tower, are in the pure style of the 14th century, and delicately lined with deep mouldings resting on clustered columns, and exhibit very distinctly the taste which prevailed in engrafting the more elegant pointed upon the massy Anglo-Norman style; the former, it will be clearly seen, have been formed out of the original semi-circular arches, similar to the three eastward, which rest on short thick round pillars (16½ feet in circumference) of the plainest Norman character. Above these is a story of smaller arches in the same style, now filled up, but which evidently shew that it was the intention of the monastery to assimilate them to the style adopted in the side windows of the tower and western portion of the nave: the alteration, however, was not completed.

The pointed arch opposite the north porch is partly filled by a skreen, the remnant of a small chantry chapel which formerly occupied this portion of the church. This skreen is adorned with a series of foliated niches once enriched with sculpture.

The ceiling of the church is painted in imitation of an oak ribbed roof, ornamented with flowers, the intersections of the ribs being finished with bosses, and the interstices with quatrefoils. A lofty beautiful pointed arch, 52 feet high, springing from richly moulded imposts divides the tower from the nave, by which the whole front of the great western window is displayed. This window is filled with a series of armorial bearings in stained glass, restored in 1814 at the expence and under the direction of the Rev. W. G. Rowland, M.A. from a drawing in the Heralds’ College.

First row: 1. Beauchamp; 2. Thomas of Woodstock, Duke of Gloucester; 3. King Richard the Second; 4. John of Gaunt, Duke of Lancaster; 5. Edmund of Langley, Duke of York; 6. Stafford.

Second row: 7. Audley; 8. Clare; 9. B. a lion rampant O. (the arms of the monastery); 10. Barry of twelve, A. and S.

Third row: 11. Mortimer Earl of March; 12. Fitzalan and Warren.

Fourth row: 13. Montague; 14. Boteler of Wem; 15. Ufford Earl of Suffolk; 16. B. on a bend A. three escallops S.

Fifth row: 17. Warren Earl of Surrey; 18, 19, 20. B. a lion rampant within a bordure O. (probably intended for the three Norman Earls of Shrewsbury); 21. Blundeville Earl of Chester; 22. Sir Philip de Burnell.

Sixth row: 23. England and France quarterly; 24. John of Hainault; 25. Strange of Blackmere; 26. Strange of Knockin; 27. Lisle; 28. Mortimer Earl of March; 29. Arundel and Warren; 30. France semée and England; 31. Arundel and Maltravers; 32. Corbet; 33. Albini; 34. Latimer; 35. Roger de Montgomery; 36. Sir Simon de Burley impaling Stafford; which last bearings will probably fix the date when the original window was put up, viz. about the 12th of King Richard the Second.

The whole extent of the tower is occupied by a spacious gallery, in which is an excellent organ made by Gray, of London, and erected in 1806 at a cost of 365 guineas. The front of the gallery is a gothic skreen of three arches, divided by buttresses, and displays the armorial bearings of the principal benefactors to the organ.

The eastern window contains six resplendent figures in stained glass, executed by Mr. David Evans, of Shrewsbury, viz. St. James, King David, St. John, King Solomon (as in the act of consecrating the Temple), St. Peter, and St. Paul, with their respective emblems. The figures were placed in rich tracery work in 1836, but the window was originally set up in 1820, with the following inscription:—aedi . sanctae . crucis . Post . Annos . Viginti . Septem . In . sacris . ejus . Administrandis . Impensos . Dono . Dedit . Gvlielmvs . Gorsvch . Rowland . anno . salvtis . mdcccxx.

Below this window is a series of highly-enriched Norman arches, forming the altar skreen, erected from a design by Mr. Carline, and at the expense of the Rev. Richard Scott, B. D. which has given a most imposing feature to this part of the church.

The north-east window was the gift of the late Lord Berwick, and previously to the year 1820 stood over the altar. In the centre compartment is a large figure of St. Peter, and the remainder of the window is occupied by the arms of the See of Lichfield, those of the munificent donor, and thirteen escutcheons of the incumbents from the Reformation to 1804. A rich border lines the mullions, and at the bottom is inscribed—mvnificentia • viri • praenobilis • thomae • noel • baronis • berwick • de • attingham • hvjvs • ecclesiae • patroni • anno • salvtis • mdcccvi.

Small windows divided by a single mullion are placed in the eastern arches of the side aisles (which formerly opened with the transepts); that on the north side has the arms of Mortimer, Fitzalan, Talbot, and Berkeley, in stained glass. The corresponding window of the south aisle has three ancient shields (originally in the great chamber of the abbey) bearing the arms of France and England, Roger de Montgomery, and the symbols of the Patron Saints, the key and sword, in saltire.

In the south aisle is a beautiful mosaic window of stained glass, by Mr. D. Evans, containing twelve shields of the armorial bearings of families connected with the late Rev. John Rocke. Underneath is inscribed—MAJORVM SVORVM INSIGNIA DEPINGI CURAVIT JOHANNES ROCKE, MDCCCXX.

The western portion of the south aisle is walled from the church for a vestry, near which, on a pavement of emblazoned tiles, stands the Font: the pedestal is carved with zigzag mouldings, and supports a round basin, ornamented with chevron work and small arched panels. This originally belonged to the church at High Ercall.

Another font, found some years since in the adjoining garden, is at the eastern end of the north aisle. Its basin represents an open flower, over which is festooned drapery supported from the mouths of grotesque heads; the pillar on which it is fixed formed the upper part of the ancient cross which formerly stood opposite the south door of St. Giles’s church. On the sides are sculptured the Crucifixion, the Visitation, the Virgin and Child, and a person in the act of devotion.

Length of the church from east to west 123 feet, breadth (including aisles) 63 feet; the tower is 104 feet in height, and contains a fine mellow peal of eight bells.

MONUMENTS—SOUTH AISLE.

The oldest monument in the church is the mutilated cumbent figure of a warrior clad in mail of the date of King John’s reign, and conjectured by the heralds at the visitation in 1623 to be the effigy of the Founder of the abbey, who died July 27th, 1094. It has been placed on a basement of early pointed arches, by the Rev. W. G. Rowland, M.A. to whose taste this church is mainly indebted for its interior beauty and interest.

On the fall of St. Chad’s and the demolition of St. Alkmund’s church, several ancient monuments found an habitation within the aisles of this church. To enumerate all the inscriptions on these and other memorials would far exceed the prescribed limits of these pages: a brief survey must therefore suffice.

Commencing at the eastern end of the south aisle, we find—a bust, under a Roman arch, in alderman’s robes, representing John Lloyd, alderman of this town, who died in 1647, aged 53.

Near this is a handsome altar-tomb bearing two cumbent figures, an alderman in his civic robes, with picked beard and bareheaded, and a lady in a scarlet gown, finished after the stiff habit of the times, denoting William Jones and Eleanor his wife; the former died in 1612, and the latter in 1623. These were brought from St. Alkmund’s.

An alabaster tomb from Wellington old church, described by Dugdale as “a faire raised monument, whereon is cut the portraiture of a man in armour, and by him his wife, with this inscription”—

Hic jacet in Tumba corpus Will’mi Chorlton armigeri et Anne Uxor’ ejus; que quidem Anna obiit vii die mensis Junii, Anno D’ni Mill’imo cccccxxiiii. et dictas Will’ms obiit p’mo die mensis Julii anno d’ni mill’imo cccccxliiii. quorum animab’ p’picietur Deus.

On the sides of the tomb are a series of canopied niches, with figures of angels and friars bearing shields, on which are emblazoned armorial bearings of the families of Charlton, Zouch, and Horde; one of the friars is remarkable, having a fox’s head peeping out from under his long gown.

In this part are handsome mural tablets with Latin inscriptions to the memory of individuals of the families of Rocke, Prince, Baldwin, &c. &c.

Near the south entrance is the cumbent figure of a cross-legged knight in linked armour, with surcoat, sword in scabbard, gauntlets on his hands, spurs on his heels, and his feet resting on a lion. It is considered to be the effigy of Sir Walter de Dunstanville, Lord of Ideshale, and a benefactor to Wombridge Priory, from whence the figure was brought. He died 25th Henry III.

NORTH AISLE.

Resting on a basement is a curious ancient ridge-backed gravestone, on which is cut a foliated cross; under this is a small figure clad as a priest, close to whose head is attached the outline of a bell. On the right side is a chalice, a book, and a candle; round the edge of the stone is T: M: O: R: E: U: A, which is conjectured to mean Thomas More, Vicarius Abbatiæ. It was removed from St. Giles’s.

Among other ancient cumbent figures in this aisle, one is supposed to represent a Judge who died in Shrewsbury, being robed to the feet, and having a coif drawn close over his head, and tied under the chin. It is of the date of Edward I.

Another monumental statue clad in plate armour displays a long loose robe as the surcoat, which is curiously disposed on one side to shew the warlike character of the deceased, whose armour, belt, and dagger would have been otherwise concealed. The head is wrapped in a close cowl. From the peculiarity of the robe being thrown back, this effigy is probably unique. Froissart asserts that a similar dress was worn in battle, and that this kind of long loose drapery proved fatal to Sir John Chandos, for he “wore over his armour a large robe which fell to ye ground;” and as it appears, when he marched “entangled his legs so that he made a stumble, and was killed by the enemy.” The costume of the present figure (which originally stood on an altar-tomb in St. Alkmund’s church) may be attributed to the close of the 14th century; but whom it represents is now unknown.

On the side walls are several neat tablets. An elegant canopied niche with pinnacles commemorates Edward Jenkins, Esq. of Charlton Hill, co. Salop, who ably distinguished himself in the first American war, being then a lieutenant in the 60th regiment, and died May 1, 1820, in his 81st year.

At the eastern end is a large altar-tomb, on which are recumbent figures of Richard Onslow, Esq. (Speaker of the House of Commons in the reign of Elizabeth), and his lady Catherine; the former is dressed in his robes of office, and the latter in the dress of the times. On the sides and ends of the monument are small figures of his sons and daughters. He died in 1571, and was buried at St. Chad’s.

Above this is a mural monument representing a gentleman and lady kneeling opposite to each other under a rich Grecian entablature; the former is clad in a ruff and long gown, and the latter has a long veil thrown back. They represent Thomas Edwards, Esq. who died 1634, and Ann his wife, daughter of Humfrey Baskerville, alderman of London. Over the entablature is a lady in a richly-laced habit, and a little girl kneeling, intended for Mary, wife of Thomas Edwards, Esq. and daughter of Thomas Bonham Norton, Esq. who died in childbirth, 1641.

In the vestry is an old painting of the Crucifixion, which was a century ago “turned out of the church,” and occasioned at the time some strife between the parson and his flock.

The living is a vicarage, with St. Giles’s annexed, in the gift of the Right Hon. Lord Berwick, who received it from the Crown in exchange for three small livings in Suffolk.

The ruins of the monastic buildings, which are now scattered over an extent of about nine acres, are not considerable, and will be described in a notice of the suburb of Abbey-foregate.

SAINT GILES’S CHURCH.

Sacred edifices, under the invocation of this Saint, were generally founded “without the city;” that in this town occupies a situation at the eastern extremity of the suburb of Abbey-foregate.

The structure is unquestionably as old as the early part of the twelfth century; and while presenting an interesting picture of the work of former times, has a tendency to lead the mind, under fit impressions, to the hope of a less perishable, “greater, and more perfect tabernacle.”

It consists of a nave, chancel, and north aisle, with a small turret at the western end, in which a bell has lately been introduced. The principal entrance is at the south, under a Norman arch. The north aisle is separated from the nave by three pointed arches sustained on plain round columns, formed (it appears) in the thickness of the wall, and peculiarly flanked on the north side by square piers, having an upper and lower narrow moulding adorned with recessed quatrefoils. These piers, it is presumed, originally served as buttresses to strengthen the outward wall of the fabric, which on receiving the addition of a north aisle (evidently at a very early period), a communication was then opened with the nave by perforating the wall into arches, which are of the era when the Norman was giving way to the pointed style. It is not improbable but this aisle was made for the accommodation of persons afflicted with leprosy, to which they had access from the adjoining hospital by a pointed doorway, and where they might hear the offices of religion without endangering other worshippers with their contagious malady. At the east end is a curious round-headed window with mullions.

A fine pointed arch separates the nave from the chancel, which is terminated by a flat-arched mullioned window, containing a noble collection of stained glass, executed by Mr. David Evans, of Shrewsbury. The four lower compartments have full-length figures of the Evangelists, standing upon hexagonal pedestals, through the external circular arches of which is exhibited the groined roof of a crypt supported by slender pillars. Over each figure is a beautiful canopy of tabernacle work, and in the intersections of the tracery are the symbols of the Evangelists, each supporting a tablet, on which is respectively inscribed, in small characters—

Mattheus Christi stirpens et genus ordine narrat
Marcus Baptistam clamantem inducit eremo
Virgine pregnatum Lucas describit Jesum
Prodit Joannes verbi impenetrabile lumen.

The three principal compartments in the upper division display fine representations from ancient designs of The Salutation, The Wise Mens’ Offering, and The Presentation in the Temple, beneath each of which is a Latin text: the first is taken from Luke i. 28; the second from Psalm lxxii. 10; the third from Luke ii. 29, 30. At the bottom of the window, Gulielmus Gorsuch Rowland dono dedit.

The small Norman loop-hole on the north side contains a figure of St. Giles, and is an exquisite imitation of ancient stained glass.

On the south side of the chancel is a low pointed arch, the stone-work of which projects outside the building, and was no doubt originally intended to contain the remains of a master of the hospital. After the plaister had been removed in 1826, which brought to view this archway, the ground at its base was opened, when a stone grave cased with brick-work was discovered, with part of the bones of two individuals. In 1685 it appears to have been used for the interment of the individual whose name is inscribed on the stone, and to prevent (if possible) that ejection of himself which must have befallen the remains of a former tenant, it is further added

stvr not my bones
which are layde in claye
for i mvst rise at
the resvrrection day.

THE INTERIOR OF THE CHURCH

Possesses much of its primitive character, being unencumbered with pews, and until the last few years exhibited a still more rude appearance of damp and neglect. Many important improvements, however, have been effected within and around the building, especially in placing drains around the exterior, which have not only rendered the interior free from damp, but contributed also to the dryness of the cemetery. The alterations in the nave consist in levelling and repairing the floor, ceiling the roof, and appropriately colouring the walls and rafters; removing the pulpit from the corner of the fine arch leading into the chancel to the south-east corner of the nave, and placing stone tracery of a bold design in the large pointed window of the south wall. The windows of the north aisle are filled with fragments of stained glass ingeniously disposed, so as to represent the outline of figures. [82]

In feet, whoever has visited this ancient church during its former wretched state will be astonished; it now truly looks

“As though we own’d a God, adored his power,
Rever’d his wisdom, loved his mercy.”

And its sacred walls will, it is to be hoped, no more echo with the twittering of birds,—the sparrow find a place of security over the altar, or the swallow be permitted to “build her brooding nest” above its antique pulpit; altho’ these are striking resemblances of the tranquillity and peace which the means of grace are to a christian, and which seem to inhabit the house of the Deity.

But the sentiment which this venerable place impressed was in some measure checked by its disuse, divine service being only celebrated within its walls twice a year.

Since the foregoing account was written, the author of these Memorials has the pleasure to record that regular service was commenced in this church on Sunday, June 19, 1836, which will form a great convenience to the increasing population of the neighbourhood. Nine new oak pews have been subsequently erected within its walls, from a design by Mr. Carline, and at the expence of the Reverend Richard Scott, B. D. who has also contributed a sum that will, with the letting of the pews, further increase the stipend of a minister. Much has been very justly said against the deformity which the introduction of pews has rendered to churches; those, however, placed in this structure meet every objection, and are perfect models of what pews should be,—fixed forms having backs, but without doors;—adapted for a devotional rather than a lounging posture. On the outside partition of each is a small carved finial, and the whole are in unison with the style of the church and ancient benches still remaining on the south side. A new altar-piece has been placed above the communion-table: the latter was presented by an inhabitant of the parish, and the former by Mr. Scott.

The dimensions of the church are—nave 45 feet by 36, chancel 20 feet by 15, total length 65 feet. The font is the upper portion of a Norman pillar with the capital hollowed, and originally belonged to the Abbey church.

It may be mentioned, that after the monks of Shrewsbury had obtained possession of the bones of St. Wenefrede in 1137, those precious relics were deposited on the altar of this church, until a shrine worthy their reception could be prepared in the Abbey.

On the floor are several ancient stones bearing crosses, no doubt denoting the interment of some of the masters of the old hospital of St. Giles.

A spacious cemetery surrounds the building, where the contemplative mind,

“Free from noise and riot rude,”

may resort, and, unmolested by the vulgar gaze of unsympathizing intruders, pour the grateful tribute of a sigh, or embalm afresh the memory of that departed spirit with whom he once took generous and undesigning counsel; and renew in imagination, through time’s dim mist, hours consecrated to friendship.

In this silent repository are gravestones 200 years old, many inhabitants of the town having selected it as their last resting place, from a feeling similar to that inscribed upon a tomb in the south-west corner of the church-yard:

Ut Nemini noceret Mortuus,
Qui Unicuique pro re nata succurrere voluit Vivus,
Hic extra Urbem sese contumulandum præcipiebat,
CHENEY HART, M.D.
Warringtoni in agro Lancastriensi natus Nov. 17–28, 1726.

A stone near the south window covers the remains of John Whitfield, surgeon, on which is recorded an epitaph, the very quintessence of chemical brevity—

I. W.
COMPOSITA SOLVANTUR.

Opposite the south door is the socket of an ancient stone cross, the upper portion of which supports a font in the Abbey church.

From hence likewise is an extensive view of the town, with the different churches displayed to much picturesque advantage, the vale below being watered by the meanderings of the Rea brook; while the more distant prospect, chequered with mountains and woody knolls, verdant pastures and rural habitations, presents a striking picture of

“Life’s fair landscape, mark’d with light and shade.”

SAINT MICHAEL’S CHURCH

Stands on a pleasant site in the populous suburb of Castle Foregate. The western side commands an interesting view of the town. The venerable Castle with its towers and hoary walls, the Royal Free Grammar School, and the lofty spires of St. Mary’s and St. Alkmund’s churches, combine to form a most pleasing group; whilst the fine church of Saint Chad, backed by distant mountains, stands prominent in the front. On the northern side of the building is a picturesque dell, along which the majestic Severn formerly poured its crystal stream.

The church is a respectable building in the Doric style, composed of brick. It was erected by subscription, and consecrated for divine worship August 24th, 1830.

In plan, it consists of a tower, nave, side aisles, and an elliptical recess for the communion, with a vestry in the base of the tower.

The tower is of three divisions, and rises to the height of 70 feet; the basement is square, on which rests an octagonal belfry, crowned by a similar division of smaller dimensions, having a cornice charged with lions’ heads, the whole being surmounted by an angular lead roof and a gilded cross.

The body of the church is in length 70 ft. 6 in. and in breadth 40 ft. 6 in. and has a stone plinth, cornice, and parapet. The windows throughout are circular-headed, having unbroken stone dressings surrounding them.

The Interior is approached by two entrances, north and south, beneath a stone cornice sustained on pilasters; and, if not splendid in decoration, it has that solemnity which becometh the House of God: it possesses, however, one great advantage, in being capable of comfortably accommodating a congregation of 800 persons, 620 of whom may possess free sittings. On the floor are thirty-six pews, the other part being entirely free. There are galleries over the north and south aisles, and at the western end, the whole of which are free sittings. These galleries are sustained on cast-iron columns, which are also continued for the support of the roof.

The ceiling has a good effect, being panelled in large square compartments, and beautifully painted in imitation of oak. The pulpit and reading desk are octagonal, and are placed on opposite sides of the church.

The eastern end is finished by three panels, inscribed with the Decalogue, &c. Three windows of splendid stained glass decorate the chancel. The subject of the centre one is the Nativity, from the celebrated “La Notte” of Correggio, and is a most masterly production of the art of glass-staining, especially in the management of light suitable to the time and scene of the subject. Underneath is the inscription in Roman capitals—“And they came with haste, and found Mary, and Joseph, and the Babe lying in a manger.”

The windows on each side of the above are designed from the Annunciation, and the Presentation in the Temple, the former from a painting by Guido in the chapel of the palace on the Monte Cavallo of Rome. The angel, a beautiful figure arrayed in yellow drapery tastefully displayed, is in the act of presenting to the virgin a lily, while his attitude and countenance seem to bespeak the emphatic words of the motto inscribed beneath—“Hail! thou that art highly favoured among Women; the Lord is with thee.” The other is from the celebrated picture at Antwerp, by Rubens, and founded on the words of holy Simeon—“Lord, now lettest thou thy servant depart in peace: according to thy word.”

These windows, perfect gems of the art, were executed by Mr. David Evans, of Shrewsbury, and were the gift of the Rev. W. G. Rowland, M.A. Minister and Official of St. Mary’s.

There is a small but excellent organ in the west gallery, and the tower contains a light peal of six bells, cast in 1830. The architect of the church was Mr. J. Carline; and when it is considered that it was erected at an expence of little more than £2000, criticism is disarmed in the substantial appearance which it possesses.

The cemetery surrounding the church is particularly neat; a gravel walk extends along its sides, and the ground is laid out in divisions for graves and vaults, which are numbered according to a plan kept with the sexton.

This church is in St. Mary’s parish, with the minister of which the presentation is vested.