Coventry - Holy Trinity
Holy Trinity would have been the star attraction in any other town or city, a majestic cruciform 15th century Perpendicular church with a tapering central tower and spire, and it still holds it's own despite being hemmed in by modern buildings to it's south. The spire is the second of Coventry's famous 'Three Spires' (three seperate churches, unlike Lichfield's!), but therein lies the problem, it has always been immediately overshadowed by the first, St Michael's, one of England's largets parish churches and latterly the city's 2nd cathedral. In fact not only has this church shared a churchyard with both the old and new cathedrals of St Michael to it's south and east, it was formerly even closer to the old Priory Cathedral of St Mary which stood immediately to it's north. Surely no other church in the World can claim to have shared it's space with three separate cathedral buildings on marginally different sites!
Holy Trinity was founded by the monks of the adjoining priory to act as a parish church to the monastery's lay tenants, thus it is ironic that it has long outlived the parent building. The earliest part is the north porch, which dates from the 13th century and has a ribbed vault in it's lower storey (now generally used as a private chapel), but the majority of the building dates from a more ambitious phase in Perpendicular style, with the earlier porch so engulfed by the later transept and north west chapel extensions that it barely registers externally.
The 15th century rebuilding has given us the present cruciform arrangement (with some similarites to the smaller St John the Baptist's nearby) with small transepts and extra chapels on the north side giving an overall roughly rectangular footprint. These chapels were some of many in the church that served the city's separate guilds
in medieval times.
The spire required substantial rebuilding in 1665-8 after having been blown down in a storm; it blends with the medieval work, though how closely it follows the original design is impossible to say. The tower has an unusual design of two storeys of closely grouped slit-like lancet windows and buttresses accentuating the vertical with a grid-like effect, all recased in 1826 by Thomas Rickman. Much of the exterior was similarly treated, particularly the north and west sides, by Rickman's partner Hussey in the 1840s, though this time Bath stone was used in place of the original red sandstone, probably for fashion rather than for greater durability, but giving the church a strangely two-toned appearance. The east end of the chancel was extended in 1786, also in colour-clashing Bath stone.
The 15th century rebuilding has given us the present cruciform arrangement (with some similarites to the smaller St John the Baptist's nearby) with small transepts and extra chapels on the north side giving an overall roughly rectangular footprint. These chapels were some of many in the church that served the city's separate guilds
in medieval times.
The spire required substantial rebuilding in 1665-8 after having been blown down in a storm; it blends with the medieval work, though how closely it follows the original design is impossible to say. The tower has an unusual design of two storeys of closely grouped slit-like lancet windows and buttresses accentuating the vertical with a grid-like effect, all recased in 1826 by Thomas Rickman. Much of the exterior was similarly treated, particularly the north and west sides, by Rickman's partner Hussey in the 1840s, though this time Bath stone was used in place of the original red sandstone, probably for fashion rather than for greater durability, but giving the church a strangely two-toned appearance. The east end of the chancel was extended in 1786, also in colour-clashing Bath stone.
Whilst the exterior was heavily restored in the early 19th century the interior was more sensitively treated and retains it's medieval character, which was in fact enhanced when George Gilbert Scott removed the bell-ringers chamber in 1854 to open up the lantern stage of the tower, crowning it with a beautiful star vaulted wooden ceiling. He also removed the bells above and had them rehoused in a free standing wooden belfry to the north of the church (on the site of the 1st cathedral's nave), though this was dismantled sometime after the World War II.
The church faced it's most serious threat in the Coventry Blitz of November 1940 when it's immediate neighbour, the old Cathedral was destroyed. Holy Trinity happily fared well, despite losing several windows to bomb blast, including the principal east and westernmost. It's miraculous survival is due in no small part to the dedicated team of fire-watchers (led by Canon Clitheroe) who kept vigilance on different sections of the church roof at great personal risk and extinguished or ejected incendaries as they fell. The Cathedral had a similar team but a much larger roof area, it's sprawling, non-cruciform plan complicating the operation further. The church's survival left it as a beacon of hope in the shattered city, with wartime photos showing it looking almost unscathed except for the boarded-over west window, on which were painted the words 'It all depends on me, and I depend on God'.
The church faced it's most serious threat in the Coventry Blitz of November 1940 when it's immediate neighbour, the old Cathedral was destroyed. Holy Trinity happily fared well, despite losing several windows to bomb blast, including the principal east and westernmost. It's miraculous survival is due in no small part to the dedicated team of fire-watchers (led by Canon Clitheroe) who kept vigilance on different sections of the church roof at great personal risk and extinguished or ejected incendaries as they fell. The Cathedral had a similar team but a much larger roof area, it's sprawling, non-cruciform plan complicating the operation further. The church's survival left it as a beacon of hope in the shattered city, with wartime photos showing it looking almost unscathed except for the boarded-over west window, on which were painted the words 'It all depends on me, and I depend on God'.
The postwar restoration of the church mostly entailed replacing the lost windows, with new stained glass in contrasting styles placed in the east and west windows (the tracery of the east window was also replaced at this time with a more appropriate Perpendicular design). The main focus of activity was the building of the new cathedral immediately to the east (using Holy Trinity as a replacement cathedral was even considered in the War's aftermath).
There has been further restoration of the stonework more recently, the spire in particular recieving much attention in the 1990s (it spent a couple of years under a white protective sheath prior to work starting). But the most dramatic recent restoration was the uncovering of the magnificent 15th century Doom painting at the east end of the nave in 2004. One of the most complete and important medieval Last Judgement murals in England, it was rediscovered in the early 19th century, only to be covered in a varnish that darkened so rapidly it was all but invisible under the blackened layer. For years up to work commencing in 2002 only a small experimentally cleaned patch of a resurrected figure could be seen amongst the blackness, tantalisingly suggesting what great rewards lay underneath for conservators to find; they were richly rewarded with a work of national importance.
There has been further restoration of the stonework more recently, the spire in particular recieving much attention in the 1990s (it spent a couple of years under a white protective sheath prior to work starting). But the most dramatic recent restoration was the uncovering of the magnificent 15th century Doom painting at the east end of the nave in 2004. One of the most complete and important medieval Last Judgement murals in England, it was rediscovered in the early 19th century, only to be covered in a varnish that darkened so rapidly it was all but invisible under the blackened layer. For years up to work commencing in 2002 only a small experimentally cleaned patch of a resurrected figure could be seen amongst the blackness, tantalisingly suggesting what great rewards lay underneath for conservators to find; they were richly rewarded with a work of national importance.
The Perpendicular style dominates the interior with slender pillars supporting sweeping arcades, panelling and clerestories that bear some resemblance to the lost parts of the old Cathedral of St Michael; a most unusual feature is the way the eastern arches of the nave arcade disappear into the crossing, with half arches abutting the east wall more like internal flying buttresses, despite being of the same (if not greater) width as the remaining arches. The Doom painting is again the focal point of the nave after an absence of several centuries, though other examples of medieval painting have remained visible for far longer on the rafters of the beautiful 15th century nave ceiling, where pairs of kneeling angels are seen flanking shields, whilst the ceiling panels above are painted a delightful faded sky blue, decorated with gold stars, creating a beautiful visual metaphor for Heaven above the congregation.
The chancel has a similarly fine medieval ceiling, differeing only in the absence of the kneeling angels (faded plant forms and patterning in their place) and with a more recent section at the east end where the chancel was extended in 1786. Many of the side aisles also have coloured ceilings, though not as authentic as those over the main vessels. The most interesting is that in the Marler chapel (or Mercer's chapel) on the north side, a low extension added in 1537 which has carved panelling in the ceiling of it's west bay only, mostly foliage with vine and grapes but also incorporating shield bearing angels and skulls, though being unpainted in a dark corner of the church the detail is difficult to make out without artificial lighting.
The church has an interesting mix of stained glass, with a little medieval glass surviving in a patchwork in the north west corner, including some 14th century heads, decorated quarries (including a bird eating a spider) and a fine miniature figure of a king on horseback. These are of course a pathetically small remnant of the church's original medieval glazing, though we should be grateful any survived at all.
The earliest glass otherwise is in the collection of early 19th century coats of arms in a south chapel window, clearly reset in later glass and probably originating from a more important position in the church. The rest of the prewar glass is all on the north side, the most notable being the Five Archangels by C.E.Kempe in the north transept, along with an impressive Adoration of the Magi by Clayton & Bell at the north east corner. The Marler chapel has smaller windows by Hardman's and Heaton, Butler & Bayne.
The most eye-catching glass however is of the 1950s in the principal east and west windows, both of which had been blasted out by wartime bombing. The east window is a late work by Sir Ninian Comper with a Crucifixion surrounded by saints, all in Comper's light, late-medieval influenced palette and style with his characteristic clean-shaven Christs. Dismissed by some as insipid, it nonetheless is finely drawn and no doubt admits far more light than it's Victorian predesscor did. Nearby in the south chapel is a similarly light-toned but richer work by Geoffrey Webb, one of Comper's pupils, showing Christ in majesty surrounded by angels.
The window everyone notices and remembers most however is Hugh Easton's Christ in Glory in the west window, the largest and most colourful in the church. It is often fashionable to dismiss Easton's as kitsch for his figures, particularly muscular, clean shaven blond Christs (Pevsner compared them to Tarzan!), looking like they've stepped out of a contemporary comic illustration. But few can deny the power of this work, it is dazzlingly rich in colour and detail, with a whole host of saints adoring both the youthful Christ with his feet on the globe, enveloped in a golden sunburst, and the Virgin & Child below. A truly technicolour window, like it or loathe it the effect is spectacular.
The earliest glass otherwise is in the collection of early 19th century coats of arms in a south chapel window, clearly reset in later glass and probably originating from a more important position in the church. The rest of the prewar glass is all on the north side, the most notable being the Five Archangels by C.E.Kempe in the north transept, along with an impressive Adoration of the Magi by Clayton & Bell at the north east corner. The Marler chapel has smaller windows by Hardman's and Heaton, Butler & Bayne.
The most eye-catching glass however is of the 1950s in the principal east and west windows, both of which had been blasted out by wartime bombing. The east window is a late work by Sir Ninian Comper with a Crucifixion surrounded by saints, all in Comper's light, late-medieval influenced palette and style with his characteristic clean-shaven Christs. Dismissed by some as insipid, it nonetheless is finely drawn and no doubt admits far more light than it's Victorian predesscor did. Nearby in the south chapel is a similarly light-toned but richer work by Geoffrey Webb, one of Comper's pupils, showing Christ in majesty surrounded by angels.
The window everyone notices and remembers most however is Hugh Easton's Christ in Glory in the west window, the largest and most colourful in the church. It is often fashionable to dismiss Easton's as kitsch for his figures, particularly muscular, clean shaven blond Christs (Pevsner compared them to Tarzan!), looking like they've stepped out of a contemporary comic illustration. But few can deny the power of this work, it is dazzlingly rich in colour and detail, with a whole host of saints adoring both the youthful Christ with his feet on the globe, enveloped in a golden sunburst, and the Virgin & Child below. A truly technicolour window, like it or loathe it the effect is spectacular.
Whilst little medieval glass has survived other medieval furnishings remain, the most unusual being the c1470 stone pulpit attached to the south east crossing pier, corbelled outwards at the base of the column and accessed by steps from the south chapel. Medieval stone pulpits of this type are very rare, and this is one of the finest of it's type.
Nearby is the late 15th century brass eagle lectern, another rare and very fine survival, one of perhaps only 40 or so pre-Reformation eagle lecterns remaining in the country (though interestingly I saw one recently on holiday in Croatia, spirited away to the cathedral treasury in Dubrovnik). This one survived the Puritan purges of the 17th century by conversion to an alms box, a slit being made especially in the eagle's body!
Aside from the much restored (and brightly painted) font at the west end the remain furniture dates from Scott's restoration in the 1850s, however the choir stalls conceal a further, easily missed treasure in the beautiful set of around twenty 15th century carved misericords, with subjects including angels, animals and a particularly fine Green Man. These are not original to the church, having originated in the former Whitefriars monastery church (long since disappeared though other parts of the monastic buildings remain). The stalls they originally belonged to remain in the old chapel of St John's Hostpital, more often known as the Old Grammar School in Hales Street, whilst a few more of the misericords migrated to the present Henry VIII Grammar School.
The main altar reredos is an elaborate piece c1870 with a central crucifixion and other reliefs within rich tabernacle work. The canopy of the nearby sedilia was similar in design but has been left in it's broken, war-damaged state. The sanctuary walls are adorned with late Victorian murals of the four Archangels and St George standing in tromp l'oeil niches. The nicest of the more modern furnishings is the small reredos in the Marler chapel from c1910 by Temple Moore, with colourful half-length figures of Christ and the disciples. The design was used several times elsewhere, an identical piece being in the Holy Spirit Chapel at Sheffield Cathedral.
Nearby is the late 15th century brass eagle lectern, another rare and very fine survival, one of perhaps only 40 or so pre-Reformation eagle lecterns remaining in the country (though interestingly I saw one recently on holiday in Croatia, spirited away to the cathedral treasury in Dubrovnik). This one survived the Puritan purges of the 17th century by conversion to an alms box, a slit being made especially in the eagle's body!
Aside from the much restored (and brightly painted) font at the west end the remain furniture dates from Scott's restoration in the 1850s, however the choir stalls conceal a further, easily missed treasure in the beautiful set of around twenty 15th century carved misericords, with subjects including angels, animals and a particularly fine Green Man. These are not original to the church, having originated in the former Whitefriars monastery church (long since disappeared though other parts of the monastic buildings remain). The stalls they originally belonged to remain in the old chapel of St John's Hostpital, more often known as the Old Grammar School in Hales Street, whilst a few more of the misericords migrated to the present Henry VIII Grammar School.
The main altar reredos is an elaborate piece c1870 with a central crucifixion and other reliefs within rich tabernacle work. The canopy of the nearby sedilia was similar in design but has been left in it's broken, war-damaged state. The sanctuary walls are adorned with late Victorian murals of the four Archangels and St George standing in tromp l'oeil niches. The nicest of the more modern furnishings is the small reredos in the Marler chapel from c1910 by Temple Moore, with colourful half-length figures of Christ and the disciples. The design was used several times elsewhere, an identical piece being in the Holy Spirit Chapel at Sheffield Cathedral.
The church has surprisingly few monuments, almost all being collected at the east end of the north west chapel (the former Archeacon's chapel or Consistory Court), no doubt several tablets from around the church were depositied here as the result of Victorian 'tidying'.
The only medieval monument is the very late Tudor Gothic canopied tomb on the north side, rudely carved with an empty matrix for brasses on it's rear wall, which would have shown the deceased couple and their children kneeling before an image of the Trinity, above which is a mutilated carving of an angel bearing the couple's souls to Heaven. The canopy has some crude but interesting carving, with several small heads (some atop barrels!) and an odd central relief of skulls and piled bones.
The remaining memorials are nearly all tablets from 17th and 18th centuries, the finest being that to John Bohun with busts of himself, his wife and daughter, a good Baroque piece from c1660 signed by E.D.Hurst. The other tablets are mostly non-figurative but still reward inspection.
The only medieval monument is the very late Tudor Gothic canopied tomb on the north side, rudely carved with an empty matrix for brasses on it's rear wall, which would have shown the deceased couple and their children kneeling before an image of the Trinity, above which is a mutilated carving of an angel bearing the couple's souls to Heaven. The canopy has some crude but interesting carving, with several small heads (some atop barrels!) and an odd central relief of skulls and piled bones.
The remaining memorials are nearly all tablets from 17th and 18th centuries, the finest being that to John Bohun with busts of himself, his wife and daughter, a good Baroque piece from c1660 signed by E.D.Hurst. The other tablets are mostly non-figurative but still reward inspection.
Holy Trinity shouldn't be missed by any visitor to Coventry, not only as it's best surviving medieval church but also one of the most impressive parish churches in the country. Whilst it's exterior has been much altered and restored over the last few centuries the beautiful interior has major medieval features, with the newly uncovered Doom painting being of major importance.
The church is generally open and welcoming to visitors every day between 9am & 4pm.
Aidan McRae Thomson 2012
The church is generally open and welcoming to visitors every day between 9am & 4pm.
Aidan McRae Thomson 2012
