Little Coggeshall, Essex

St Nicholas Chapel is the last remnant of Coggeshall Abbey and lies south of the town. After being used for many years as a barn it was restored in the late C19 and is now sporadically in use as a church.

ABBEY. The Abbey was founded by King Stephen about 1140 and made Cistercian in 1147. Of the C12 church no traces remain above ground. Of the cloister S of it a little has recently been excavated, C15 buttresses and wall-shafts of the arcades. Of the monastic buildings there are indications of the dormitory, Undercroft (one semicircular C13 respond) and one fine C13 doorway leading into a completely reserved corridor to the E of the former Dormitory. This has single-chamfered ribs and arches to the E. S of it and of the Dormitory a range of unknown purpose. It has lancet windows with round heads inside. The same windows also in a detached building SE of the former. This is not aligned with the Dormitory and cloister. From its style and from documentary evidence Mr J. Gardner attributes these two buildings to c. 1185-90 and the Dormitory to c. 1180. Finally, completely detached from all the rest the chapel of St Nicholas, the gate chapel or capella extra portas of the abbey - a plain rectangle with lancet windows on the N side quite regularly arranged. The date must be about 1225. In this and all the other buildings the most remarkable feature is the extensive use of brick dressings - and brick which is definitely not Roman. It is supposed to be the earliest medieval brickwork in England.

In a delightful pastoral scene on the other side of the Blackwater is a perfect little chapel of the 13th century; we come to it by a brick bridge which has been here 700 years, perhaps the oldest brick bridge in the country. Dedicated to St Nicholas, patron saint of travellers, the chapel stood at the gate of a monastery. It is of interest on its own account and also for the small pink bricks forming the arches of the windows, the piscina, and the sedilia; the bricks are also at the threshold of the doorway where they are cut and shaped into a pattern. These bricks are under two inches thick and are the earliest known in England since Roman days; it is believed that they were made at Tylkell* on the north boundary of the county.

Fading away at the back of the sedilia in this little chapel is a consecration cross marking the place where the bishop put his hand on the wall 700 years ago. It was because the chapel was used as a barn that it escaped the fate of the great church of the abbey at the Dissolution. Not a stone of that church remains to be seen, but its Norman foundations have been traced and found to measure 70 yards long with a width of 80 feet across the transepts.

A group of farm buildings here is of very great interest. One dates from about 1200 and has roof beams 400 years old; and there is a 13th century wing connected by a two-storeyed corridor to a 16th century house built from the ruins of the monastery. The columns and arches we come upon as we wander through this quaint rambling house suggest that the old monks were building for all time. 

* Tilkey, adjoining Coggeshall, seems not to be another case, though it lies between Robin's Brook and the Blackwater. Apparently, its name is a corruption of Tylkell, meaning Tile kiln (see Beaumont, Hist. of Coggeshall, p. 113: 1890).

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Bicknacre, Essex

As well as the remnant of the priory Bicknacre also hosts two rather strange chapels - St Andrew and St Giles.

St Andrew

St Giles

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Blackmore End, Essex

St Mary the Virgin is a redundant Victorian building which has been sold for conversion into a private residence - it's no great loss.

Neither Mee nor Pevsner mention it.

Brentwood, Essex

Brentwood has the last three in area southerly churches remaining - Brentwood RC Cathedral, St Thomas of Canterbury and the ruined Chapel of Thomas a Becket.

They can be summed up thus:

SS Mary & Helen (the Cathedral) - the original 1861 building hideous, the 1989/1991 building splendid.

St Thomas of Canterbury - execrable.

Chapel of Thomas a Becket - an odd survival (in that it was never developed on) and interesting.

ST THOMAS. By E. C. Lee, 1882-90. Large and serious, flint with a tall NW steeple; spire with four spirelets. The interior is E.E., competent but rather dull, but the outside has certain mannerisms which are reminiscent of such a younger man as E. S. Prior. The flints are of pebble size, and the buttresses as well as the stair turret are semicircular in plan. It gives the exterior a curiously primeval flavour.

ST THOMAS'S CHAPEL, High Street. Very little left. Some W and N walling of the nave and the stump of the NW tower. C14. Prettily overgrown with ivy. Brentwood could make better use of this accent in a visually not very successful town.

ROMAN CATHOLIC CATHEDRAL, Ingrave Road. 1861. Ragstone with a polygonal SW turret, of that assertive ugliness which is characteristic of much church work of the sixties. - STAINED GLASS. E window by Mayer of Munich.

Long after Pevsner wrote the above the Cathedral was transformed into something completely different which I think will become, or maybe it already has, a respected piece of architecture:

Brentwood Cathedral began in 1861 as a parish church built in a gothic style.This relatively small building was raised to Cathedral status in 1917. Between 1989 and 1991 the church was enlarged in an Italianate Classical style by Quinlan Terry. The original church building on the south (liturgical east) side was retained.

The new Brentwood Cathedral was dedicated by Cardinal Basil Hume on 31 May 1991. The donors chose to remain anonymous and the money was given solely for this purpose.

Architecturally, Quinlan Terry took his inspiration from the early Italian Renaissance crossed with the English Baroque of Christopher Wren. This, it was felt, would be appropriate for the town and its conservation area, but above all it would provide the right space and light for the liturgy to be celebrated. The cathedral was designed along a square plan, focussed on the high altar, placed in the nave to accommodate the changes in liturgical fashion after the Second Vatican Council.

Work began in 1989 and was completed two years later. The north elevation consists of nine bays each divided by Doric pilasters. This is broken by a huge half-circular portico, which was inspired by a similar one at St Paul's. The handmade traditional Smeed Dean brick of the clerestory leads up to the octagonal lantern, or cupola, the high point both of the outside and inside.

A conscious decision was taken to retain part of the Gothic revival church of 1861 alongside the new classical cathedral. The east elevation juxtaposes the old and the new, linking them through the scale of the 1991 building and the sympathetic use of ragstone and Welsh slate roof tiles.

All the Classical architectural orders are represented in the interior - the four giant Doric pilasters, the Tuscan arcade of arches, the Ionic pilasters of the Palladian windows in the east and west aisles, the Corinthian and Composite influences evident on the cathedral and the organ case.

While the interior of the cathedral has a deliberately 'restrained' feeling to it, richness is to be found in the ceiling. The Roman key pattern and the double guilloche pattern, picked out in gold leaf, are dominant here. All the round-headed windows are in the Classical-Wren style, with clear leaded lights of hand-made glass.

With clear windows on all four sides, the cathedral is flooded with light at any time of the day. This, together with the white walls and stone floor, combines to give a translucent effect which uplifts the spirit and conveys its own sense of the presence of God. The cathedral is lit by brass English Classical chandeliers (one of which was formerly in the church at Epping) and, above the cornice, concealed lighting.

The processional cross is a copy of a medieval design. The figure represents a transitional period in the theology of design where Christ still wears the crown of the Risen Lord, but the corpus is that of the crucified Saviour. The Bishop's chair or cathedra is a tangible sign of his presiding over the diocese. It was made in Pisa, in Nabrassina stone, and has steps of Portland stone. In the centre is the coat of arms of the diocese. The base of the seat is inlaid with slate, to match the floor.

Consecration crosses are incised into the stone of the Doric pilasters that hold up the clerestory. They were anointed like the altar, as a sign that the whole building is dedicated to God.On the feast of the Dedication the candles in front of the gilded crosses are lit. In the east aisle, there are two rooms set aside to celebrate the Sacrament of Reconciliation or Confession. Opposite them is a crucifix, formerly in the church at Stock, Essex.

Around the arcade are terracotta roundels representing the 15 Stations of the Cross. These were modelled by Raphael Maklouf, the well-known sculptor, who was responsible for the Queen's head on Commonwealth coinage from 1985 to 1997. Their milky glaze perfectly complements the subtlety and intimacy with which the familiar scenes have been expressed.

Cathedral of SS Mary and Helen

St Thomas of Canterbury

Chapel of St Thomas a Becket

BRENTWOOD. It has much of the old world still left, and its ancient school has memories of two immortal young Englishmen who gave their lives for England. Long famous as a coaching stage on the Roman road from London, Brentwood has a wide main street, fine old houses, gabled buildings from Tudor England, and attractive inns where there was much coming and going 200 years ago. One of the most interesting has a galleried courtyard with an overhanging upper storey and 500-year-old timbers. Another inn has an Elizabethan roof, and a room with a plaster ceiling panelled and enriched with birds and beasts and men in pleated skirts.

In a garden only a step from the street we come to what is left of Brentwood’s old church, a chapel to Thomas Becket founded by one of the abbots of St Osyth. The lowest storey of its little tower is here, with some fragments of the nave, and the doorways suggest that the masonry still standing is 14th century work. There are two modern churches, one with a tall spire and at its entrance sculptures of Our Lord and the Evangelists, the Wise Virgins, and the martyrdom of Becket; the other (St George’s) a 20th century memorial to an old vicar. It is a striking place and is not yet complete, designed by Mr Laurence King in the spirit of the new movement for making churches appealing to the new generation. It has a spacious sanctuary, processional aisles to the nave, and a lady chapel. Every seat has an unbroken view of the altar. The lighting is indirect and throws no shadows. One of the unusual features of St George’s is an outdoor pulpit at the east end, facing the road; the pulpit has a canopy with a stone crucifix which can be automatically floodlit.

Brentwood is rightly proud of its public school, founded by Sir Anthony Browne in 1557. Its original charter was signed by Philip and Mary on a summer’s day in that year, and the date 1568 is still over the door of the Big School, which remains from the ancient buildings. The fine group of modern buildings stretches from the London Road to Shenfield Common on the outskirts of Brentwood; they include a memorial hall built after the Great War, a spacious 19th century chapel extended in the 20th century, with three aisles, neat open rafters, dignified seats, and an attractive group of lancets in the east window.

Sir Anthony Browne, though he was Queen Mary’s right-hand in the bitter persecution of the Protestants, founded his school to teach “virtue, learning, and manners,” and it would thrill him with pride to know how well his school has fulfilled this high ideal.

It was from Brentwood School that there went out to join the RAF the young airman who wrote to his mother a farewell letter first published in The Times and afterwards in most of the newspapers of the English-speaking World. His name was kept secret, but everybody who read the letter of the unknown airman was deeply moved, and it was felt that it expressed nobly but with great simplicity the feeling of the nation at the time of the Deliverance of Dunkirk, where this young man fell. We are permitted to say that he was a scholar of Brentwood School, where his portrait (by Frank Salisbury) will hang for generations as an example of the character this school is making for our country.

We have no room to give the airman’s letter, written before he set out on the raid from which he did not return, but in it he declared himself lucky to be the right age and fully trained to throw his weight into the scale for England. Those who serve England, he said, must expect nothing from her; we debase ourselves if we regard our country merely as a place in which to eat and sleep. He would have lived and died an Englishman and nothing else mattered. He had no fear of death and would have it no other way:

The universe is so vast and so ageless that the life of one man can only be justified by the measure of his sacrifice. We are sent to this world to acquire a personality and a character to take with us that can never be taken from us.

There is a marble obelisk on a green lawn at the cross-roads in memory of William Hunter, and tradition would have us believe that he was burned to death near the old elm in front of the school. He was a London apprentice in the days of Mary Tudor, and came to live with his father at Brentwood, where, finding a Bible lying on a desk, he learned to read it. They took him to Bishop Bonner for “meddling with the scriptures,” and the bishop, liking him well, offered to make him a freeman in the City and give him £40 to set up a business if he would recant; but he said, “I thank you for your great offer; notwithstanding, my lord, I cannot find in my heart to turn from God for the love of the wor1d.” It was arranged that he should be burned, and on the day of the burning the sheriff's son came to this apprentice boy (who was 19) to bring him comfort, but could speak little for weeping. They brought him a letter from the queen promising him life if he would recant, but William rose and went to the stake, to which he was chained. He cried out, “Son of God shine upon me,” and immediately the sun shone, and the people were much moved as he lifted up his hands in the flames.

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Cheshunt, Hertfordshire

I'm going to try hard to be impartial about St Mary the Virgin but it's quite difficult when it was the only church, out of twelve visited, that was open...

Is it a great church? Not really but it is interesting when compared with the other churches of the trip. I saw no sign of the brasses mentioned by both.

ST MARY. Built between 1418 and I448 by the then Rector of Cheshunt (who was also a Baron of the Exchequer), and important as a dated example of the Perp style in Herts. All-embattled. W tower of ashlar stone with taller SE stair-turret and low buttresses, W door with spandrels decorated with shields and three-light W window. The aisle windows have depressed arches, three lights, and elementary panel tracery. The five-bay arcade inside on piers consisting of four shafts and four hollows in the diagonals. Broad two-centred arches. Two-light clerestory windows. The stencilled and painted decoration of the nave belongs probably to the restoration of 1874 under Bodley. - PLATE. Chalice, 1638; Flagon, 1638; Paten, 1672. - MONUMENTS. Unimportant Brasses E end of N aisle and E end of nave, C15, 1609, and 1449. - Robert Dacres d. 1543, tomb-chest in recess in the chancel, the superstructure remodelled by Sir Thomas Dacres in 1643. - Henry Atkins d. 1638, physician to James I and Charles I, under arch similar to the previous. one, but with draperies tied round the flanking columns. - Margaret Watton d. 1675, small standing wall monument crowned by an urn. At the foot an inscription in Greek. - Daniel Dodson d. 1747, life-size figure nonchalantly leaning on an urn, back wall with garlands hanging down to the l. and r. By the younger W. Woodman.

Cheshunt. We should come to it in rose time, for its roses are not to be forgotten; but indeed it is a place to draw the traveller any time. Old Temple Bar for one of its gateways, the hall of Cardinal Wolsey’s old home, a noble 15th-century church, several timbered houses from the past standing out among hundreds of new ones, all these it has, and more, for on its outskirts is Waltham Cross, raised by Edward I to mark the place the body of his beloved Eleanor rested on its last journey from Nottinghamshire to Westminster.

Hertfordshire has gathered to itself this famous relic, though Waltham Abbey, with which the Cross is historically linked, is over the Essex border. This is perhaps the best of all the crosses set up to mark the place where the body of Queen Eleanor rested on its way to Westminster, where she lies in the Confessor’s Chapel, her lovely tomb protected by the beautiful grille made by one of the famous craftsmen of this countryside, Thomas of Leighton over the border. Twelve crosses were set up to mark her resting-places, the first at Lincoln, the last at Charing, and Waltham Cross and one outside Northampton are still monuments of splendour. It is believed that  Waltham Cross was designed by William Torel, the goldsmith who made the queen’s tomb. The cross, now in the care of the Ministry of Public Building and Works, stands on modern steps and is fashioned in stone with three stages, the first stage being original 13th-century work, and all above it rebuilt twice in the 19th century from the old materials. The first stage has six panelled and traceried sides with slender buttresses at the corners and a charming sculptured cornice. The second stage is an elaborate piece of carving, with three statues of Queen Eleanor under canopies with carved finials; the queen is holding her sceptre and all the statues are original and complete except for the loss of one head, which has been made new. Rising above the third stage is an elegant pinnacle set on a dainty base and crowned with a cross.

The most ancient of Cheshunt’s national monuments is the church, but curiosity takes most of us first to Theobalds Park to see old Temple Bar. For two centuries it stood across Fleet Street, gate to the City, and even today the monarch must wait where it stood to receive the sword of the City and give it back to the Lord Mayor before he enters. It has been decked with gold for royal processions and hung with black for Nelson’s funeral, and many a gruesome head has been stuck on it for the wind to batter and the rain to beat. But it got in the way of the traffic, and towards the end of last century it came down. Its stones were numbered and after it had lain some time uncared for the owner of Theobalds, Sir Henry Meux, bought it and set it up here. Christopher Wren designed it, with its central gateway and the smaller round-headed doorways through which six generations of Londoners passed, but the statues in the niches were the work of John Bushnell. Between these statues of three kings and a queen are windows into a room in which a City bank long stored its records.

Only a few fragments remain of the old palace of Theobalds, built by Queen Elizabeth I’s Lord Burghley and accepted by James I in exchange for Hatfield House, for the palace was demolished and three houses have been set up in its place; but we may see part of the old garden wall, and farther afield (at Aldbury Farm) is a bit of the wall which ran ten miles round the royal park in which King James and his children lived. By an irony of fate it was within this wall that James I’s son Charles grew into manhood, and from Theobalds he went to Nottingham to set up his standard on Castle Hill, signal for the Civil War; and it was outside this wall Oliver Cromwell’s son Richard dragged out a weary old age in lodgings for which he paid ten shillings a week.

Cheshunt Great House, once the home of Cardinal Wolsey, is a shadow of its former greatness, with only a fragment left of its moat, but it has still the panelled hall with the same splendid 15th-century timber roof under which the cardinal himself used to sit down to dine.

The common, which once covered acres of the high ground to the north, has dwindled to the little green where stands a rather pathetic old figure, a windmill bereft of its sails. The cawing of the rooks among the chestnuts guides us to the handsome church begun in 1418 and completed after 30 years of devoted care by its rector Nicholas Dixon, whose brass inscription is under the altar table. There are brass portraits of some of his flock, William and Ellen Parke and two other 15th-century women without names, and the kneeling figure of Elizabeth Collen on a brass of 1609.

Apart from two chapels and the south porch, the church is much as Parson Dixon built it, and we may wish he could see it with the beauty of the painted angels in the nave. The new roof resting on the old stone corbels is also painted, adding to the splendour. Here is a big armoured coffer with three locks which has served the church for nearly four centuries, and an old barrel organ with ten tunes on each barrel, still treasured though its day is past. The chancel stalls are a memorial to the men of the Great War, whose names are recorded in gold. By the altar is a great tomb of the Dacres family, the first name on it being that of Robert, Privy Councillor to Henry VIII. The monument to Henry Atkins, physician to two Stuart kings, has been moved to one of the chapels, and near it is a graceful tribute in white marble to a young wife of 24, Margaret Whatton “fair as an angel, virtuous as a saint.”

One of the curates here, John Tillotson, son of a Puritan clothier, rose to be Archbishop of Canterbury. Though his marriage with Cromwell’s niece was no recommendation in those Restoration days, his merit was not to be denied, and men flocked to hear him preach.

There lies in a vault in the church one of the half-forgotten great men of that time, whose father also knew Cromwell; he was Nehemiah Grew the botanist, who crowded into his 71 years of life, which ended here, many botanical discoveries which revolutionised the knowledge of flowers and plants and trees. There lie in the churchyard, also, under a square tomb in the north-west corner, some members of the Cromwell family, one of them an Oliver Cromwell (great-great-grandson) and his daughter Elizabeth Oliveria, the last of the family to bear the surname of the great Protector. The Cromwells had long been familiar figures in Cheshunt, and Richard Cromwell himself here lived out the end of his days when his romance was over.

On stepping down from his high office as Protector, Richard Cromwell went into exile and wandered on the continent for 20 years, when he came back (his wife having been dead five years), took the name of Clarke, and lived with his friend Mrs Pengelly at Cheshunt. There was trouble with his daughters, and an appearance in the courts, but in due course they were reconciled and Richard divided his time between Cheshunt and Hursley in Hampshire, where his daughter Elizabeth lived. At Cheshunt he paid Mrs Pengelly ten shillings a week for his board and lodging, but there were evidently extras, for we find among a bundle of accounts charges for tobacco, brandy, pipes, and a loan of £2 “when you had your feast.” A charge of sixpence is for “repairing your breeches,” 30 shillings for a new hat, and there is an entry for £3 18s. 0d., “money you were pleased to give Tommy on his entrance at the Temple, and a guinea towards buying his law books.” Richard appears to have spent half a crown on mourning gloves in honour of the memory of Queen Mary. One of the most pathetic things ever seen in Cheshunt must have been the little shagreen trunk of Richard Cromwell, which he gave into the care of Mrs Pengelly with orders that it should be very carefully treated. It was probably the trunk which contained the addresses of congratulation on his accession to power, sent to him from all parts of the kingdom.

Another notable figure in Nonconformity Cheshunt knew in those days - Isaac Watts, who spent a quarter of a century preaching in the town, and here preached his last sermon in a meeting-house which has now vanished. The Crossbrook Street Congregational church is named after him.

Nehemiah Grew, who lies in Cheshunt church, came of a family rich in brains and character; his father, a schoolmaster parson who had suffered bitterly as a Parliament man, personally interceding with Cromwell for King Charles’s life. Nehemiah passed from Cambridge to Leyden, where he was admitted doctor of medicine at 30, practised at Coventry and in London with much success, and began investigations on the digestive system that led to important results. He was a good astronomer, one of the little company watching the stars from the top of the Monument at London Bridge, till its vibrations made observations useless. But it was as a botanist that Grew astonished his generation. He first recognised system, design, and function in trees, plants, and flowers. He began his study of vegetable anatomy when he was 23, and five years later his first paper on the subject was read before the Royal Society. At 36 he was elected secretary of that unique fellowship of learning. Watching the stars, curing his patients, and devoutly applying himself to religious practices, he studied the growths of field and garden as if he had had the leisure of a dozen men. He had a marvellous eye; only by the aid of the microscope were others able to verify the discoveries he made with his unaided sight.

He first revealed the sex of flowers and explained the purpose of stamen and pistil. He explained the growth of roots and the way Nature builds tree trunks, and he pointed out the resin ducts in the pine. He anatomised leaves and seeds, the composition of fruits, the nature of plant hairs, the sap channels in the vine. In book after book, laboriously written and lavishly illustrated, he poured out new and astonishing knowledge.

Still his professional work went on, still he attended the Royal Society, classifying and describing its rarities in terms of delightful quaintness. He was one of the lesser great men of an age of giants. We sometimes get a peep of him in company with Prince Rupert and John Evelyn, but he could have had little spare time for social relaxation. He worked to the end, and died visiting a patient.

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Roding Lane Cemetery, Woodford Green

On the way to Waltham Cross I stopped at Roding Lane Cemetery having spotted a row of CWGC headstones - off topic I know - and having recorded them noticed similar shaped headstones which were all of similar design but not of CWGC origins. Looking at them closer it transpired that they were the headstones of the Blitz and later bombings - a first for me - and I found them extraordinarily moving. I suppose that as I move into recording more north east London areas these headstones will become as familiar as CWGC headstones.

Barkingside to Perry Green

On Tuesday, taking advantage of decent weather, I finished off the SW quadrant - with the exception of Brentwood and Abridge (which I might give up on) - fully expecting most to be locked and was not disappointed.  It is perhaps a sign of the times that out of 12 churches visited 11 were locked with no keyholder listed and I suspect that the one open church, Cheshunt, was only open because of a toddler group - but that might be an unfair assumption.

It does mean, however, that I can cover 11 churches with one post!

Children's Church, Barkingside

DR BARNARDO'S VILLAGE HOME. Opened 1873 with about four cottages. The management of Dr Bamardo’s Homes could not supply any useful architectural information, except that the CHAPEL dates from 1892 and the AUSTRALASIAN HOSPITAL from 1912 (W. A. Pize).

Holy Trinity, Barkingside

HOLY TRINITY, Mossfield Green. 1840 by Blore. Norman in yellow brick, with starved tower on the N side close to the W end. Long Norman lancets, exceedingly long especially at the W end. The chancel added c. 1875.

St Barnabas, Woodford Green

All Saints, Woodford Green

Christ Church, Waltham Cross

HOLY TRINITY (actually Christ Church), towards the N end of the High Street, was built in 1832. It is of yellow brick and has the tall, rather gaunt character of churches of that time. The one-light and two-light Perp lancets (an odd combination) are characteristic. No aisles, no galleries. The E parts were remodelled very well in 1914 by Ayres. Tall double transeptal openings with piers without any capitals. No E window at all, but N and S windows concealed by an arch across the chancel at the entry to the altar-space.

St Clement, Turnford

St Cuthbert, Rye Park

Whilst in Rye Park I accidentally (a happy TomTom error) stumbled on Rye House Gatehouse which is definitely worth a visit.

St Francis, Hunsdon

The redundant stable block of the Rectory was converted into a chapel in the 1960s in order to bring the church (St Dunstan, the parish church, is separated by some distance from the village) back into the heart of the village. It felt like a very Catholic arrangement to me and also rather apt.

Holy Trinity, Wareside

HOLY TRINITY, 1841, by Thomas Smith. Of stock brick in the Norman style. Nave, wide transepts with galleries in them, and apse (polygonal outside). In front of the altar rails the Puginesque brass to a vicar who died in 1845.

St Mary, Colliers End

The church of St. Mary at Colliers End, a small red brick building, was built as a mission church in 1910 by Mr. E. E. Wickham of Plashes in memory of his wife.

St Thomas, Perry Green

The first 4 are in Essex the rest are in Hertfordshire. Mee mentioned none of them and St Francis comments are mine while Colliers End comes from a Google search; the other comments are from Pevsner. Clicking on the pictures takes you to their Flickr set but there's not much else to see as they're all locked.