A series of features from the 2004 and 2005 parish magazines
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| The church of St Mary, North Mymms, taken in August 1966 Image by Ron Kingdon, part of the Images of North Mymms Collection |
Introduction
The following is a reproduction of a series of articles about the historical aspects of the fabric of St Mary's church, North Mymms. They were written for the parish magazine by Patricia Cook, a former churchwarden, and were published intermittently during 2004 and 2005. The articles, which were later put on the St Mary's Church website in a feature entitled 'Know Your Church', are reproduced here with the permission of the church. The North Mymms History Project has also been given permission to reproduce the original line drawings by local artist Jean Atkinson, who has been closely involved with St. Mary's for many years, including serving on the parochial church council. We have added modern-day photographs of the items Jean sketched at the foot of this piece.
Table of Contents
- THE AMBER TANKARD
- SEATING OVER THE YEARS
- THE DECALOGUE BOARD
- THE PULPIT
- THE HOLY WATER STOUP
- A HIDDEN GEM - THE NUNC DIMITTIS WINDOW
- A RARE TOMB
- THE KESTEVEN BRASS
- THE MASS DIAL
- GARGOYLES, CORBELS, OR LABEL-STOPS?
- ELEPHANTS & ROYAL ARMS
- THE SOMERS MEMORIAL
- ACKNOWLEDGEMENTS
- PHOTOGRAPHS OF SKETCHED ITEMS
Know Your Church
By Patricia Cook, sketches by Jean Atkinson
THE AMBER TANKARD
This was given to the church by Dame Lydia Mews, tenant of North Mymms House, the daughter of George Jarvis.
Monuments to George Jarvis and his daughter can be seen on the north wall of the church building.
For more about the Amber Tankard see chapter 3 of Dorothy Colville's North Mymms - Parish and People.
"Made in Nuremberg in 1659, its eight panels of amber are set in straps of silver gilt. The panels are carved in low relief with figures symbolic of the virtues, lively animals decorate rim and base, and St. George and the dragon appear on the lid. Only one other tankard of nearly like design and workmanship is known to exist, and that has the vices where the North Mymms tankard has the virtues."
The Rev. G. Staunton Batty, vicar from 1880 until 1911, left a description of the figures carved on the amber panels: (1) Industry with distaff, (2) Faith with cross and chalice, (3) Fortitude with column, (4) Justice with sword and scales, (5) Charity with children, (6) Hope with anchor, (7) Temperance with ewer and goblet, (8) Innocence with book and lamb."
There is also mention of the tankard in chapter 6 of 'The Victoria History of the County of Hertfordshire', edited by W. Page in 1908, as well as many other interesting facts about the fabric of the church.
SEATING OVER THE YEARS
However, all the pews in the church are Victorian, dating from 19th century restorations. The large box pew belonging to Potterells, situated almost exactly where the re-positioned choir now sits was retained, as was a smaller box pew in the chancel for North Mymms House.
If you look at the framed drawing dated 1859 on the NE wall, above the candle stand, you will see, with some difficulty, the seating arrangement which was used. Apparently there were so many objections to the re-pewing that the archdeacon was called in!
It is interesting to see that the large houses in the parish each had their own family pew near the front, with servants graded by seniority at the back. At a later restoration, in 1871, the box pews were removed and the choir stalls built.
In medieval times there was practically no seating in the church, only perhaps a stone ledge running round the wall for the lame and elderly. This led to the phrase ‘the weakest go to the wall’. The congregation either stood or possibly knelt, a practice still evident in Orthodox churches today.
Some of the medieval pews were beautifully carved, with ‘poppy-heads’, and animals and even scenes from the Bible. Animals and even mermaids were quite commonly seen.
Our pew-ends have simple leaf decorations. If you look carefully you will notice variations.
After the Reformation the sermon became the most important part of the service, often lasting up to one hour, and seating was needed, first benches, and later backs to these.Then came the large box pews, some of which even had fireplaces! Rents were usually paid for these, a custom which has only recently disappeared.
Lately the need for pews has diminished. Services now take different forms, with the congregation moving about more. Also, flexibility is now important, and many churches have removed most or even all of their pews and introduced stacking chairs to allow for greater space for church events.
THE DECALOGUE BOARD
Medieval churches had a rood screen, that is a screen between the chancel and the nave. There was a beam, or rood, on which were statues of Jesus Christ in the centre, with the Virgin Mary and St John on either side. Sometimes there was a rood loft, from which the gospel and epistle were read. Nearly all of these were removed after the Reformation, though in some parts of the country they may still be found, as can a few modern versions. Blocked up doors are often visible in old churches.
In 1560 Elizabeth ordered Archbishop Parker to see ‘that the tables of the Commandments be comely set or hung up in the east end of the chancel’. The Creed and Lord’s Prayer were not necessarily required to be displayed, but were felt to be ‘very fit companions’ for the Commandments. Decalogues were also set up on the tympanum - panelling which filled the curve of the chancel arch to replace the discarded roof loft.
In most churches today, the Decalogue boards have long since been removed from their position behind the altar and are usually displayed on a convenient wall of the nave or aisles. In St Mary’s the Commandments, the Creed and the Lord’s Prayer are visible in the chancel, having been cleaned a few years ago. Do look at them!
THE PULPIT
The side panels are Elizabethan or Jacobean, and may have originally been used as wall panelling. The patterns popular at that time were often copied from pattern books from Holland or Flanders.
The rose was a popular motif in Tudor times, the Tudor rose being a combination of the white rose of York,and the red of Lancaster. The strapwork shown was often used in decoration, and can also be seen at Hatfield House. The base is Victorian.
In the Middle Ages the Mass was celebrated behind a screen, and there was no seating in the nave. (The Orthodox Churches still follow this format). Some churches had stone benches at the foot of the walls, hence the expression ‘the weakest go to the wall’. Sermons were rare. Few medieval churches had pulpits, and those that did were mostly built of stone and of a wine-glass shape, sometimes with painted panels depicting the four evangelists.
After the Reformation there was much greater emphasis on communication between the priest and the people, and preaching became more important. Many pulpits had a ‘sounding board'or tester above to amplify the vicar’s voice.
By the 18th century pulpits were often two-or three-decker, with seating for the parish clerk on the lower part and perhaps another tier with a reading desk incorporated as well. Sermons could be very long, and some pulpits had an hourglass attached to remind the priest (and possibly the congregation!) of the time.
In some churches the pulpit was moved to the nave and seating rearranged. In Great St Mary’s Church in Cambridge the pulpit is movable, swinging from the side of the nave to the centre as required!
Some of the 17th century churches have a very grand stair up to the dominant pulpit, as is the case in many non-conformist churches. By the 19th century the priest was conducting the service from the chancel, and pulpits were simplified, although some of the earlier ones remain.
THE HOLY WATER STOUP
Apart from St Mary’s, there are only four remaining stoups in Hertfordshire churches. Others are to be found throughout the country, usually inside the church itself, but sometimes in the south porch.
In medieval times the stoups held holy water, which was blessed once a week before mass. On entering the church, worshippers dipped their fingers into the water and crossed themselves as a reminder of their baptismal vows. To prepare the water, salt was exorcised, then blessed; the water itself was then exorcised and blessed, the salt was sprinkled over it in the form of a cross,and then a final blessing given to the mixture.
Holy water stoups are still in use in the Roman Catholic Church, and in many Anglo-Catholic churches. However, at the time of the Reformation in the 16th century, their use was discontinued in the Church of England, and many were destroyed, especially by the Puritans in the 17th century, along with many other church fixtures and fittings which were thought to be too reminiscent of Roman Catholicism.
At St Mary’s the front of the basin was removed, and the remainder filled in, plastered over and whitewashed. During the restoration of the church in 1991-2 the stoup was discovered and opened up. There was some discussion as to whether it should be left in the state in which it was found. But a new basin was made and attached to the existing remains, and now flowers are displayed there from time to time. As you can see, the shape of the arch, called an ogee, is very similar to the design of the top of the windows, suggesting it was made at the same time, probably around 1341.
A HIDDEN GEM - THE NUNC DIMITTIS WINDOW
The Nunc Dimittis (or Song of Simeon) window in the east end of the north wall of the nave, (between the door to St Michael’s Room and St. Catherine’s chapel) is a very unusual subject for stained glass, and is of excellent workmanship and design. This depicts the story of Simeon, the aged prophet who recognised Jesus as the Messiah, when the infant was brought to the temple by his parents. Simeon’s prayer, which is part of the Evensong liturgy, tells of his delight at this recognition, and his plea to God ‘Now lettest thy servant depart in peace, according to thy word, for mine eyes have seen my salvation’.
The window is in a very unusual style for English stained glass. The artist is unknown, but it may well be William Heasman, who was responsible for a window in Liverpool, and also an earlier one in Holt in Norfolk, both of which show similarities in design. He may have been influenced by continental work, as it resembles some windows in France and Germany.
Simeon is seen at the centre, holding the child Jesus, and various figures from the nativity are shown at the sides. A King holding a gift, and below this a shepherd with his head bowed in prayer. Above Simeon, is the ‘Lamb with the Seven Seals’, a very rare depiction in English glass, but common in France. The figures of the shepherds and the kings are beautifully drawn, and the whole window is a masterpiece. Do look at it!
You can view a slideshow of stained glass at St Mary's.
A RARE TOMB
One of the most interesting tombs in St. Mary's is that of the Barforde or Beresford family, below the northwest aisle window.
Made of Derbyshire alabaster (a sort of gypsum resembling marble) with the figure carved and the lines of the carving filled with bitumen. This is an extremely rare form of tomb, although there is one dated 1549 at Cleshill in Warwickshire. The delicately carved figure wears a Spanish farthingale, a popular fashion of the 16th century.
This tomb was originally against the south wall of the chancel, but during the restoration of 1871 when the choir pews were installed it was removed.
Unfortunately, in order to fit into its present position the tomb appears to have been partially destroyed, the back and part of the sides removed, and the top slab fractured. There is a raised inscription running right round the edge of this slab, but the lettering is illegible. The arms on the side of the tomb are those of the Beresford family, collared and chained bears.
It is not known who is represented on this tomb. The family lived in North Mymms in the 16th century, and two sisters, Elizabeth and Mary died within three months of each other in about 1584, so possibly this is a memorial to both of them.
There is another fascinating contemporary tomb in St Catherine's chapel, almost hidden by the organ. Only the end is visible. This is probably the tomb of Elizabeth Frowick who married Ralph Coningsby, and whose grandson built North Mymms House. The stained glass in the chapel has the arms of the Coningsby family.
The fact that these tombs were placed in the church signifies the importance of these families, who were local landlords and benefactors to the parish.
THE KESTEVEN BRASS
Of these the earliest and the most important is that of William of Kesteven, which is found on the north wall of the chancel. William was the incumbent, or vicar, from 1344 until his death in 1361, having held land in the parish as early as 1337.
There was originally some doubt as to whether the figure was that of another early incumbent, Thomas de Horton, but in 1949 the shield of arms below the figure was confirmed to be that of William de Kesteven.
He is shown in Eucharistic vestments, with chalice and paten, under a canopy, with figures of Christ, saints and angels in panels above it, and his shield of arms below, and various saints on the sides. Christ is holding the representative of the soul of William on his lap. The brass is worth a close look, as it is beautifully worked. The swirl of the small figures is typical of 14th century art.
The workmanship is Flemish, and similar to that of Abbot de la Mare, the Abbot of St Albans, which can be seen in the Cathedral. The metal used is latten, an alloy of zinc and copper, and it would have been set in stone on the church floor, or on a tomb chest. In many churches the brasses have been reset and placed on the wall to avoid further wear and tear. Sometimes the stone has been left in place.
Brass memorials were popular between 1250 and 1650, and about 8,000 remain in England, more than in any other country, although far more have been lost for various reasons. Occasionally a brass was reused, the back being engraved with a different image. This is known as a ‘palimpsest’.
On such memorials heraldic devices and Christian symbols were often featured. In the 14th century most were clerical figures, but later smaller brasses, often in memory of whole families, became popular. Examples of these can be seen on the south wall of the chancel, one of which depicts Robert Knolles and his family.
THE MASS DIAL
Circles are usually about six inches in diameter, with lines radiating from a central hole. A wooden or metal peg, called a gnomon, was put in the hole, and its shadow marked the time of day; a primitive sundial, but one with a specific purpose. There were marks which gave the times for morning mass, noon and vespers (evensong) to make sure that both the priest and people were in time for services in the days before clocks and watches.
Occasionally, the line for mass is thicker, or identified by a short crossbar.
The dial at St Mary’s has a double circle, above which is an inscription. It is very difficult to read this, as it is badly weathered. It consists of some signs under a curved line, below which is a line of letters. The date is 1584, well into the reign of Queen Elizabeth I. The lower part of the circle is missing, but at about ‘eight o’clock’ there appear to be numbers.
In the 17th century churchyard crosses had to be reduced in size, and many of the stumps had a horizontal plate put on the top, and were used as sundials. Later, in the 18th century, most churches were given clocks, which are usually high up on the tower, in order to be visible from a distance.
GARGOYLES, CORBELS, OR LABEL-STOPS?
Medieval gargoyles were often made by itinerant masons who were free from restraint, and were allowed to let their imagination run riot, and not always in the best of taste!
Corbels are either single, supporting a beam, or a corbel-table, that is, a row of corbels running along a cornice usually outside just under the roof. In some churches a corbel-table can be seen inside. Label-stops, however, are at the end of a 'label' or 'dripstone', which is a surround to a window, or framing the arcade of the aisle or nave. If on the exterior, a dripstone served to carry away water from the window tracery.
At St. Mary's we have none of these outside, apart from what appears to be Victorian gargoyles high up on the tower. These seem to be only decorative and fulfil no useful purpose, being too low to be waterspouts.
Inside, there are both corbels and label-stops. The corbels are high up, most supporting the roof, although at the west end, two appear to support nothing at all. These may indicate an earlier roof than the present one. Some of the corbels could possibly be later, having been put in when the roof was renewed. The label-stops, or head-stops, to introduce yet another name, are lower down, in the nave arcade.
Some of the figures are almost regal, with head-dresses and clothing dating from the early 14th century, the time of the building of the church, while others are earthier, even with tongues out and pulling faces. It is sometimes said that local faces were used as models. If you look carefully, you can make out animal and foliage carving on other corbels.
ELEPHANTS & ROYAL ARMS
One can see three ‘elephants’, or at least what the designer thought they looked like! The idea of an elephant as a Christian symbol may not be immediately recognised, and why it should be featured in a 17th century English parish church is puzzling. The elephant is found in heraldry, symbolising strength and wisdom. Some animals are thought to have significance in the Christian Church. Obviously, the snake is seen as sinful, and the fox as wily and deceitful. It is often shown as preaching, in bench-ends and misericords. The lion is usually thought to be noble, but can also be wicked.
The rather sad epitaph to Theophila Fountaine, ‘dyed March 19th Anno 167½ aged six months’, reminds us how short the lives of many children were in the past. The recorded date may puzzle you, as it appears to be uncertain. This is because it is an example of the ‘old style’ of dating. Until 1752 the legal New Year in England began on March 25th, Lady Day, although New Year’s Day was reckoned as January 1st. Therefore it was customary to show both years for dates between January 1st and March 24th. Oddly, only the infant Theophila is commemorated here, as there is no mention as to where the rest of the family is buried.
The motto of the Fountaine family, VIX EA NOSTRA is, strangely enough, the same as that of Fulke Greville, who died in 1952, and whose memorial may be seen on the north wall of the nave.
ROYAL ARMS
The Royal Arms began to be displayed after the Reformation, showing allegiance to the Crown and not to the Pope. This became compulsory after the restoration of Charles II, as a pledge of loyalty to the king after the Commonwealth, during which many Royal Arms were defaced or hidden.
Most are painted on wooden boards, but some are carved wood or even metal. Often the initials of the monarch, and occasionally the date, are included in the design, and, particularly in the Stewart period, they also may carry loyal texts.
The coat-of-arms at St Mary’s is that of George III, who reigned from 1760 - 1820. Until recently it was displayed on the front of the gallery, but moved to the east end of the north aisle at the time of the recent re-ordering.
The arms displayed show those of the Hanoverian period, with the shield of Hanover together with that of Great Britain. This dates it to between 17141801. The fleur-de-lis of France is still displayed in one quarter, with the Hanoverian arms in another.
It is interesting to note that the French fleur-de-lis occupies a whole quarter, as does the harp of Ireland, leaving only the fourth quarter in which to squash the three lions of England, and the lion rampant of Scotland.
After 1801 the fleur-de-lis at last disappeared, and the Hanoverian arms were superimposed in the centre. The English Arms now occupied the first and third quarters, the Scottish the second, and the Irish harp the third.
On the accession of Queen Victoria the Hanoverian arms were dropped, as the Salic Law forbade the accession of a woman to the throne of Hanover. Supporters at the sides are the Lion and the Unicorn, representing England and Scotland. In the Tudor period, before the Union of the Crowns, the supporters were the Lion and the Welsh Dragon.
THE SOMERS MEMORIAL
When the NADFAS church recorders were doing their survey of the church, they were astonished to find that the door was part of a memorial to John, Lord Somers. He was an interesting character who, after an illustrious career during which he was one of the men who invited William III to assume the crown, fell into disgrace in 1700 because he was involved in the affairs of the pirate Captain Kidd, and ended his days in obscurity at Brookmans.
The monument, by the famous sculptor Paul Scheemakers, is of white, grey and black marble, and reaches to roof level. The door to the vestry is of white marble. Lord Somers was Lord High Chancellor of England, and the figure of Justice, wearing classical draperies and sandals, sits on a black sarcophagus, with a grey obelisk behind. This arrangement of classical figures was very popular in the early 18th century.
(Important Tudor memorials had a figure of the deceased, his wife and his family, with a row of children, boys on one side, girls on the other, often brightly coloured. The tomb of Robert Cecil, (who died in 1611), in St Etheldreda’s church in Hatfield, has a life-size figure of the earl, and underneath a skeleton, showing that however powerful one was on earth, in death all were the same.)
On looking around the church one can see the great changes in memorial sculpture. The earliest are the medieval brasses, originally on the floor, now on the chancel walls, the latest the 21st century memorial to Sir George Burns near the entrance.
Medieval and Tudor memorials usually depicted an image of the dead person, and were on the floor or in recesses. By the 18th century memorials were attached to the wall, and there are many of these in St Mary’s. Made of marble and stone, some have busts of the deceased, but most are quite flat and rather plain having only epitaphs recalling the apparently perfect life of the deceased. Children are amused by the wording on the memorial of the tutor to the Duke of Leeds’ children who apparently ‘expired without a groan’.
By the 20th century memorials took the form of flat marble plaques attached to the wall, no figures, but often with coats-of arms. The memorial to Sir George Burns is a fine example of modern craftsmanship as are the smaller plaques on the North wall. There are also a number of brass plaques - a medium popular from the late 19th century. By this date inscriptions usually have only biographical details and dates.
Acknowledgements
The North Mymms History Project would like to thank the author Patricia Cook and local artist Jean Atkinson for allowing the site to reproduce their work. We would also like to thank Jean Hockings, who manages the St Mary's website, for her cooperation.
Photographs
The following are photographs of the items sketched by Jean Atkinson in the original feature, above.
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| Carving at the end of a pew at St Mary's church, North Mymms Image by the North Mymms History Project, released under Creative Commons BY-NC-SA 4.0 |
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| The decalogue board at St Mary's Church with the Lord's Prayer Image by the North Mymms History Project, released under Creative Commons BY-NC-SA 4.0 |
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| Another board at St Mary's Church showing the 10 commandments Image by the North Mymms History Project, released under Creative Commons BY-NC-SA 4.0 |
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| The pulpit at St Mary's, North Mymms Image by the North Mymms History Project, released under Creative Commons BY-NC-SA 4.0 |
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| The stoup at St Mary's Church Image by the North Mymms History Project, released under Creative Commons BY-NC-SA 4.0 |
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| The Nunc Dimittis window at St Mary's church, North Mymms Image by the North Mymms History Project, released under Creative Commons BY-NC-SA 4.0 |
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| Detail of the Nunc Dimittis window at St Mary's church, North Mymms Image by the North Mymms History Project, released under Creative Commons BY-NC-SA 4.0 |
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| The Barforde or Beresford family tomb Image by the North Mymms History Project, released under Creative Commons BY-NC-SA 4.0 |
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| The William of Kesteven brass Image by the North Mymms History Project, released under Creative Commons BY-NC-SA 4.0 |
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| The mass dial at St Mary's church North Mymms Image from Mike Allen, from the Images of North Mymms collection      |
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| The slate 'elephant' monument at St Mary's church, North Mymms Image by the North Mymms History Project, released under Creative Commons BY-NC-SA 4.0 |
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| The George III coat of arms
Image by the North Mymms History Project, released under Creative Commons BY-NC-SA 4.0
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