Warwickshire: The Land of Shakespeare

by Clive Holland

Almost a rival to St Michael’s, at least in interest if not in beauty, is the church of the Holy Trinity, the date of the original foundation of which is unknown, but certain portions of the present building in and above the north porch probably date from about the middle of the thirteenth century, at which time the church was joined to the priory. It is an undoubted fact, however, that a much earlier building must have existed on the same spot. The present church, which is 178 feet long and 67 feet broad, probably dates from a short time before that of St. Michael’s, and differs very much from it both as regards its form and construction. In shape it is cruciform, and consists of a nave with north and south aisles, a chancel with chapels, and transepts. The tower and spire are situated in the centre, and are supported on four arches, springing from massive but well–proportioned piers. The ancient spire was blown down during the terrific hurricane of January 24, 1665, the church being greatly damaged by its fall. The task of rebuilding it and repairing the injury done to the church was commenced almost immediately, and so rapidly did the work proceed that the spire was completed in two years to a height of 237 feet, which is supposed to be somewhat greater than that of the one destroyed.

Over the north porch, which is the most ancient portion of the present church, is situated a domus or priest’s chamber, the east side window of which was formerly a doorway leading into St. Thomas’ Chapel.

Prior to the Reformation there were a large number of chapels and altars attached to Holy Trinity, the chief of which were the Marlers’ or Mercers’ Chapel to the east of the transept; the chapel of Our Lady, now forming the choir vestry, anciently a continuation of the south chancel aisles; the Butchers’ Chapel; the Jesus Chapel in the south transept; and the Tanners’ or Barkers’ Chapel in the south aisle of the nave.

In 1831 a fresco, illustrative of the Last Judgment, was discovered in the space over the west arch under the tower. This survival, which was probably whitewashed over during Puritan times, has unfortunately deteriorated and become almost indistinguishable. The picture when discovered depicted the Saviour in the centre, seated on a rainbow, and flanked on either side by six apostles; at a slightly lower position were figures of the Virgin Mary and St. John the Baptist; two angels with trumpets were sounding the summons to judgment, and the dead were seen issuing from their tombs. On the right hand of the Saviour was the figure of a pope entering Paradise, while on the left were figures of doomed spirits being dragged to torment.

The clerestory of the church is of the Perpendicular period, and is divided into eight bays, each containing two windows. The pulpit, attached to the south–east pier of the tower, is noticeable as being a fine specimen of stone–work in the Perpendicular style. The font, which stands on its original base of two steps, has sunk panels painted and gilt in the Decorated style. The brass eagle is of far greater interest than usually attaches to these things, owing to the fact that it is contemporary in date with the church itself, and is also one of the earliest examples of core casting.

A considerable amount of romance is connected with this lectern, for in 1560 an entry is found in which it is stated that xvjd were expended “for mendyng of ye Eagle’s tayle,” which had been damaged, possibly at the time of the suppression of the monasteries. This self–same eagle was threatened with even greater risk of destruction during the Commonwealth, for we find an entry in the vestry book of the date of July 13, 1654, which states “that Mr. Abraham Watts made a motion, that whereas he was informed that this House had an intention to sell the brass Eagle standing in the vestrie, that he might have the refusall thereof when such shall be mede.” An additional entry running, “Agreed, that if it be sold, he shall have the refusall thereof.” At the time when the lectern was nearly sold, the font, being in those times considered an objectionable survival of Romanism, was removed and an ordinary vessel was provided for use at baptisms. It was, however, fortunately preserved, and brought back and set up in its original position after the Restoration.

The handsome reredos was erected in 1873 by Sir Gilbert G. Scott, R.A., and represents the Crucifixion in the centre, with the Nativity and Ascension on either side.

An event of more than passing interest in connection with the church was the marriage, recorded in the register, of Sarah Kemble—afterwards the famous Mrs. Siddons—with William Siddons, an actor in the theatrical company of the bride’s father, which was at the time performing in the Drapers’ Hall.

The Church of John the Baptist, also known as Bablake Church, is one well worth visiting, especially by students of architecture and archaeology. It possesses a fine lantern tower with battlements springing from the centre of the church. Since 1774 it has been the Parish Church.