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Whilst it appears at first glance that the Tower has simply been placed on top of the original porch of 1837-8, most of the stonework – by Wigan firm Webster & Winstanley* - was in fact new with only certain components from the original, such as the decorated arch and supporting pillars, reused a century later. Whether the foundation stone (“the corner-stone of the porch”) laid by Lord Stanley in 1837 was left undisturbed is unclear: the Parish Magazine refers to the original porch being “demolished” by March 1938.
I have not as yet been able to locate any architectural drawings of the Tower but I believe it to have been designed by Harold Alfred Dod (1890-1965).**
A “Certificate of consecration for A-in-M Holy Trinity Church extension” dated 25 July 1940 is at Wigan Archives ref. DP/2/2559/23.
*Founded in 1903, surviving partner Thomas Winstanley converted the business to a limited company in 1929. The firm was also responsible for, inter alia, the stonework at St Paul's Church, Goose Green; the lychgate at Park Lane Chapel, Bryn; and restoration of the Tower and other parts of the Parish Church of All Saints at Wigan.
**The PCC minutes mention “Diocese Architect Mr Dod” in connection with the proposed renewal of worn exterior stonework at Holy Trinity in August 1937. A former president of the Liverpool Architectural Society, Harold Alfred Dod about this time designed the Cohen Library at the University of Liverpool (completed in 1938) and a vestibule for Gibraltar Cathedral.
The colour photographs were taken on 17 August 2023; the black-and-white picture shows the original West End of the Church c. 1920.
Holy Trinity, Micklegate, York.
St Nicholas Chapel Window, 1905
By Charles Eamer Kempe (1837-1907).
Charles Eamer Kempe was a painter of walls, ceilings and woodwork of churches in the 1860s. The style then in vogue reflected a resurgence of interest to high church practices. Kempe's training served him well, and he started his own stained glass company, CE Kempe and Co in London, in 1868. He was not a trained artist, but was nevertheless artistic, and able to suggest ideas which could be developed by his artists and cartoonists. He insisted that only the firm's name should take the credit for the standard of work produced, and that individual members of the studio remain anonymous.
Kempe perfected the use of silver stain on clear glass, which leaves a yellow tint, which could be delicate or deep depending on the amount of stain. His greatest stylistic influence was the stained glass of Northern Germany and Flanders from the 16th Century. He took many trips to Europe, often taking the Kempe Company artists with him. The insignia of Kempe, from about 1895 until his death in 1907 was a wheatsheaf, from his family's coat of arms. After his death, the firm was run by four of his directors, including his cousin, Walter Tower. The insignia then changed to a wheatsheaf with a black tower.
The church was built by William Wentworth-Fitzwilliam, 6th Earl Fitzwilliam in memory of his parents. Construction started in 1872 and the building was designed by John Loughborough Pearson. It was completed in 1876 and consecrated on 31 July 1877 by the Archbishop of York. On opening, Old Holy Trinity Church, Wentworth was closed.
en.wikipedia.org/wiki/Holy_Trinity_Church,_Wentworth
Photo: Dave Rowbotham
Brass Eagle Lectern said to date from 1470.
This is one of only 48, surviving early 15th century, brass eagle lecterns to have been cast in East Anglia. Four of its contemporaries are in Italy, one in Urbino Cathedral, two in Florence and one in St Mark's, Venice.
These lecterns were made from standard patterns carved in wood which were reused in various combinations. Typically there are a dozen or so components, including the body of the eagle, the wings, the talons, the globe, the various cylinders and mouldings of the pedestal, and the seated lions that act as the feet. These components can be assembled in different groups, for example different bodies with the same wings, or with different lions.
In 1654 the Puritans wanted to sell the eagle but instead the churchwardens moved it from the Choir and used it as a collection box for Cromwell's New Model Army. Money was posted in through the beak and retrieved from the tail (the opening is still visible).
The church dates from the 12th century and is the only Medieval church in Coventry that is still complete. It is 59 metres (194 ft) long and has a spire 72 metres (236 ft) high, one of the tallest non-cathedral spires in the UK.
Brass Eagle Lectern said to date from 1470.
This is one of only 48, surviving early 15th century, brass eagle lecterns to have been cast in East Anglia. Four of its contemporaries are in Italy, one in Urbino Cathedral, two in Florence and one in St Mark's, Venice.
These lecterns were made from standard patterns carved in wood which were reused in various combinations. Typically there are a dozen or so components, including the body of the eagle, the wings, the talons, the globe, the various cylinders and mouldings of the pedestal, and the seated lions that act as the feet. These components can be assembled in different groups, for example different bodies with the same wings, or with different lions.
In 1654 the Puritans wanted to sell the eagle but instead the churchwardens moved it from the Choir and used it as a collection box for Cromwell's New Model Army. Money was posted in through the beak and retrieved from the tail (the opening is still visible).
The church dates from the 12th century and is the only Medieval church in Coventry that is still complete. It is 59 metres (194 ft) long and has a spire 72 metres (236 ft) high, one of the tallest non-cathedral spires in the UK.
The North side window closest to the Chancel (right of main picture) contains what is believed to be the oldest stained glass at Holy Trinity. The design incorporates depictions of aspects of the Crucifixion: (from top) a crown of thorns surrounding the Christogram “IHS”; Christ's tunic, and the dice used by the soldiers to determine which of them should have it; one of the nails, and the pliers used to remove them.
The glass seems to have been taken from the window in one or other of the original Vestries situated at the east end of the building of 1838. A faculty of 29 July 1913* gave “permission to remove the plain glass from windows on the south side of the nave and to erect therein stained glass intended to be removed from the east window of the present chancel”. Hilda Plant states in her 1987 history of the Church that, in fact, “one of these [former east-end windows] was placed on the north and one on the south side of the church”; subsequently, the Light of the World/Crompton memorial window in the South wall “replaced the old window taken from the east end”, leaving that in the North wall as the sole survivor.**
*Copy at Wigan Archives ref. DP/2/2559/63.
**A photograph of the pre-1914 Chancel in Hilda Plant's booklet would seem to confirm that the retained glass did NOT come from the three-light East Window donated in 1846. The latter is in any case described in the May 1913 edition of the Parish Magazine as “one which is acknowledged by all to be a very poor specimen of the craftsman's art” - and therefore, presumably, not worthy of preservation.
The photographs were taken on 12 August 2023 and (right, below) 22 June 2022.
The centre window on the South wall commemorates Harold Stanley Foster (1892-1958), Churchwarden in succession to his father William. Known by his middle name, the younger Mr Foster was also a former Church Secretary and, for 20 years until his death, headmaster of Rectory School.* As President of the Ashton in Makerfield Savings Committee he was awarded an OBE in the 1956 New Year's Honours, having previously been made MBE in the King's Birthday Honours for 1950. He appears at the extreme left of the Holy Trinity Walking Day photograph of c. 1955 above, his grandson being led along by Rector Hall.
The window incorporates the Red Rose of Lancashire, reflecting H Stanley Foster's role as chairman of the county magistrates.
William Foster (1858-1934) is commemorated by a plaque on the opposite wall, inscribed as follows:
“IN MEMORY OF \ WILLIAM FOSTER \ CHURCHWARDEN AND SIDESMAN OF THIS CHURCH \ BORN 1858 DIED 1934 \ “The Souls of the Righteous are in the Hand of God” \ In recognition of 40 Years Devoted service to the Church \ he loved This tablet is placed by Parishioners and Friends.”
William is buried in the family plot at St Thomas', Ashton (photograph at top right).
*Both in this role and as a magistrate Mr H S Foster seems to have been feared and respected in equal measure. He is the “Owd Stan” of Harold Smith's childhood reminiscences at www.wigan.gov.uk/Docs/PDF/Resident/Leisure/Museums-and-ar....
Colour photographs taken on 22 June 2022.