Memorials of Old Dorset

by Unknown

Norman work is naturally more abundant. The church at Studland, in the Isle of Purbeck, is no doubt the most complete example to be met with in the county. It is also a fine example of restoration at its best. The church was in great danger of falling, owing to the sinking of an artificial bed of clay on which the foundations of some of the walls were laid; wide cracks had opened in the walls, in the chancel arch, and other places; the mortar of the core of the walls had perished; but by underpinning the walls, grouting with cement, the insertion of metal tie-beams, and stopping the cracks, the church has been made safe. There is little work of post-Norman date, but it is by no means certain that the Norman builders built the church from its foundations; there is good reason to suppose that a previous church of rude rubble masonry existed here, and that a great part of the original walls was left standing, and that the Norman builders cut out portions of the old walls to insert their own more perfect work in various places. It is a long, narrow church, without aisles; a low central tower, probably never completed, covered with a gable roof, stands between the nave and chancel. The tower arches are low, and the roof is vaulted. The Norman work probably dates from about 1130. The church bears some resemblance to the well-known church at Iffley, but the decoration is not so elaborate.

Next to Studland in interest comes the church of Worth Matravers, also in the Isle of Purbeck. Here, however, the tower stands at the west end. The chancel is Early English, the roof is of wood; but the chancel arch is elaborately carved, as is also the door within the south porch. In the parish of Worth stands a unique building—the chapel of St. Ealdhelm, on St. Ealdhelm’s (or, as it is often incorrectly called, St. Alban’s) Head. It shares with the later chapel of St. Catherine, near Abbotsbury, the peculiarity of being built, within and without, walls and roof alike, of stone. The chapel of St. Ealdhelm stands four square, with a pyramidal roof, now surmounted by a cross, which has taken the place of the cresset in which the beacon fire blazed on nights of storm or national danger. No doubt it showed one of the “twinkling points of fire” of Macaulay’s ballad when the Armada had been sighted off Alderney. There is a legend that it was built by St. Ealdhelm, who, finding that he could not by land get at the heathen of what we now call Dorset, came in a boat and climbed the cliff, and afterwards founded this chapel to mark the spot where he landed. That he landed here is probable enough, but the style of architecture—Norman—shows that it was built long after St. Ealdhelm’s time. It is far more likely that his chapel was built on the hill at “Corfes-geat,” now crowned with the ruins of Corfe Castle. Another more romantic story tells us that this chapel on St. Ealdhelm’s Head was founded by the Norman Lord of the Manor, who, when his daughter, who had just been married, set out from Poole Haven to sail down channel to her home, came to this high spot to watch the vessel that bore her pass, and saw it wrecked on the rocks below. Hence it is said that he built this chapel so that masses might be said there for her soul’s rest. Be this as it may, it is certain that for many centuries the chaplain received his yearly stipend of fifty shillings from the Royal Treasury, and the chapel was a seamen’s chantry, where prayers for their safety might be offered, and whose flaming beacon served as a lighthouse. A narrow Norman window, or, rather, a slit, near the north-west corner of the east wall, alone admits light. A Norman doorway, in the opposite wall, is the only entrance. The stone vault is supported by ribs springing from a central pier, an arrangement similar to that common in polygonal chapter houses. The local name for the building was at one time “The Devil’s Chapel,” and people sought to gain their objects by some process of incantation, one part of the rite being the dropping of a pin into a hole in the central pier, a custom not altogether abandoned even now. On Worth “club walking day,” in Whitsun week, the building was used as a dancing room; at other times of the year as a coastguard store. It has, however, been refitted as a chapel, and service for the coastguard station is held at stated times by the rector of Worth.

Sidney Heath 1901

The Chapel on St. Ealdhelm’s Head.

It is neither possible nor desirable to mention all the Norman work which is to be found in Dorset, but attention must be called to that at Bere Regis. In this church may especially be noticed some curious carved heads on some of the capitals; on one, an arm comes down from above, and the hand raises the eyelids—evidently the gift of sight is here indicated; on another in like manner the fingers open the mouth—probably the gift of speech is here represented, although the carving might be intended to represent the gift of taste.

Work of the Early English period (thirteenth century) is not very common in Dorset. We meet with it, however, in the east end of Wimborne Minster, in the churches of Knighton, Cranborne, Corfe Mullen, Portesham, and Worth, among others.

Nor is the Decorated style more fully represented. The best examples are Milton Abbey Church, which is almost entirely in this style, and the aisles of Wimborne Minster; but it may also be seen in Gussage St. Michael, Tarrant Rushton, and Wooton Glanville, and at St. Peter’s, Dorchester, a well-preserved arch for the Easter sepulchre of this period may be seen. It was customary in such arches to set up at Easter a movable wooden structure representing the grave in Joseph’s garden, where certain rites commemorating the Burial and Resurrection were performed. These sepulchres were very elaborate, and associated with them were figures, of course of small size, representing Christ, the Father, the Holy Ghost, the armed guard, and angels and devils.

The great majority of the Dorset churches are of Perpendicular date, and in churches of earlier date there are few that do not contain some addition or insertion made after the time when this peculiarly English style had had its birth in the Abbey Church at Gloucester, and had been adopted by William of Edington and William of Wykeham in the transformation of the Norman Cathedral Church at Winchester during the latter half of the fourteenth century.

Why was it that so many churches were built during the fifteenth century? Probably because conditions had changed, and the building was no longer the work chiefly of the bishops or of the religious orders as it had been up to the thirteenth century, or of the nobles as it had been in the fourteenth, but of the people. The French wars of Edward III. emptied the purses of the nobles and the monasteries; the Black Death also counted many monks among its victims, and had entirely swept away many of the smaller religious houses, and decreased the numbers of brethren in the larger;[17] and the middle class rose after the Black Death to a position that it had never occupied before. This class demanded parish churches, as well as trade halls and guild chapels, and built them, too—that is, supplied money to pay masons. Architecture became more of a trade and less of an art. Norfolk and Somerset were especially rich districts at a time when England exported the raw material, wool, and not, as now, manufactured goods; and hence in these two counties some of the largest and grandest parish churches were built. And Dorset, lying as it does on the Somerset border, showed, though in less degree, the results of the new conditions. It has no churches of this period to match in size St. Mary Redcliffe at Bristol, or St. Mary Magdalene’s at Taunton; it has no Perpendicular towers to rival those of Shepton Mallet, St. Cuthbert’s at Wells, or Huish Episcopi; but it has some fine examples, nevertheless, distinctly traceable to Somerset influence. The parent design in Dorset may perhaps be seen in Piddletrenthide, 1487; Fordington St. George, the top of which tower has not been very wisely altered of late, is a little more in advance; St. Peter’s, Dorchester, and Charminster are still further developed; the two last probably are the finest individual towers in the county. Bradford Abbas may be thought by some more beautiful, but the builder borrowed details from the Quantock group of churches. The tower at Cerne is probably by the same builder as Bradford, judging from the similarity of the buttresses and pinnacles in the two churches. Beaminster also has a fine tower, and so has Marnhull, though the general effect of the latter is ruined by the clumsy modern parapet. Milton Abbey tower has good details. In all these cases, excepting Cerne, there are double windows in the belfry stage; but this arrangement is not so common in Dorset as in Somerset, and the writer knows no instance of triple windows. A Somerset feature that is very commonly met with in Dorset is an external stair-turret, an arrangement not found in the East of England. The Somerset builders often placed pinnacles on the offsets of their buttresses; these are rarely seen in Dorset. Generally, the Dorset towers are not so richly ornamented as those of Somerset.