Assaye.
Torres Vedras.
Vittoria.
Waterloo.
These “crowning deeds” have been well selected. Assaye represents the Duke’s Indian campaign; Torres Vedras, his successful defence of Portugal; Vittoria, the victory which delivered Spain; and Waterloo, the battle which saved Europe. It is impossible to convey in words an idea of this beautiful monument, which reflects the highest credit on its designer.
Immediately in front of this memorial, is a monumental brass in the pavement, thus inscribed:—
In Memory of R. C. Carpenter, who but a short time survived the completion of his design, the restoration of this Church, MDCCCLV.
The font of the church was much admired for the sculpture which adorned it; but in 1743 its beauty was nearly effaced by the churchwardens, Thomas Stranbido, William Buckell, and G. Warden, who had it cleaned, partially re-cut, and their names carved in the base, a monument of their vitiated taste, confirmed vanity, and profound ignorance. It is of a circular form, and is raised from the floor by one step. It has excited much observation amongst antiquaries, some of whom contend for its early date, whilst others consider it only a copy; but where the original is they are at a loss to say. The sculpture upon it is in four sections. The first represents the Lord’s Supper, and consists of seven figures; Our Saviour, crowned with glory, in the centre, is in the act of giving the blessing, and on the table are distributed various drinking vessels, with the bread. The next compartment contains a kneeling figure; the third, which is larger, has a boat on the sea, with the sail unfurled, and two figures, one presenting a small barrel or vessel to a bishop, who has his mitre and crozier, and the other giving bread to a female; both figures in the water. The fourth division consists of three arches, in each of which is a figure, the centre appearing to be the principal. The whole is sculptured in basso relievo. Over these compartments is a line of zig-zag and lozenge work, curiously chamfered, and beneath them is a row of exceedingly handsome ornamental work of leaves and flowers.
The following are extracts from a diary:—
Sunday, August 29th, 1778. Have been this morning to the sailor’s land mark—to the only church in the town—and collected a number of novelties. The Doctor was pleased to inform us, in a religiously political, or politically religious discourse, that when men tremble they are generally afraid; when they are in danger they should strive to extricate themselves; and that hope is the expectant of many great and singular good events.
Monday, September, 13th.—A new man and wife have just passed me.—The town’s-people preserve some customs here that smack of great antiquity, and seem peculiar to the county of Sussex. At a marriage there are strewers, who strew the way from church, not only with flowers, but with sugar-plums and wheat. Why sugar-plums and wheat, I wonder? Many ceremonies have been retained longer than the history of their origin or foundation.
This system of strewing the bride and bridegroom is still pursued, not merely by the friends of the happy pair,—all couples just married are pronounced to be happy,—but by a constant group of women with children in their arms, who scatter their corn, &c., with blessings, in proportion to the harvest of coin they reap.
In the beginning of the 16th century, the Rev. Edward Lowe was vicar of the parish. His successor was the Rev. John Bolt, who died on the 2nd of November, 1660. He was succeeded by the Rev. — Falkner, who was incumbent till 1705. The vestry book of the date, “November the 2nd, Anno Domini, 1703,” records that:—
That day the Reverend Mr Joseph Grave, Rector off St. Anne’s, Lewes, Sent the works off Mr. Charnock, in two Volumes of his for the use off the Vicar of Brighthelmstone and his surveyvors. Each Volume having in gold letters (Brighthelmston) upon both sides off the cover. The benefactor at London would no(t) otherwise be known than by the two letters off his name, H: Y: