Ettington Park - Holy Trinity
I find this a fascinating place and one of Warwickshire's little known gems, where else can one see a picturesque church ruin embedded amongst lush trees, fine 17th century sculpted monuments, some of the most important 20th century stained glass in the country and a stunning Victorian Gothic mansion all in the same beautifully landscaped setting? Ettington has had three churches throughout it's history, but this is by far the most interesting one, and it is a shame that most who pass through the modern village will miss this altogether, unless they know where and how to seek it out.

Ettington's original church of Holy Trinity (sometimes also referred to as St Nicholas) stands nearly two miles to the south of the modern village, the sole survivor of the medieval village at it's original site at Ettington Park, closer to Newbold on Stour. It's now functions as little more than a picturesque garden feature in the grounds of the Shirley family's showpiece home, the Victorian Gothic fantasy that is Ettington Park, now a hotel. The village disappeared long before the present house was built, when the Shirley's decided they would prefer the sight of a landscaped deer park over the dwelling places of peasant folk!

The old church was allowed to fall into ruin and parts were demolished to enhance it's romantic, picturesque qualities, for example the east and north walls have gone altogether, leaving the north nave arcade opening directly into the gardens and the view into the former chancel now dissolves into a distant avenue of trees.
Fortunately the early 13th century transitional tower was left complete and the south transept converted into a mortuary chapel to house Shirley family monuments (it was given it's own miniature chancel in the 1860s). Aside from this the south walls of nave and chancel, the north arcade (and parts of clerestorey) and the west wall of the former north aisle remain standing.
Fortunately the early 13th century transitional tower was left complete and the south transept converted into a mortuary chapel to house Shirley family monuments (it was given it's own miniature chancel in the 1860s). Aside from this the south walls of nave and chancel, the north arcade (and parts of clerestorey) and the west wall of the former north aisle remain standing.

The former transept is now a self contained church, complete with it's own bellcote and chancel. Entry is via the doorway in the blocked archway that formerly opened into the nave (a good beast-head corbel remains just above this). It is normally locked, but a key is avasilable from the hotel reception (it is however one of those locks that can cause you problems if you don't get it right first time, as I found on my last visit!). You then enter a world very different from the spooky medieval ruins outside, and clearly of later date.

The first thing one sees is the stained glass window immediately opposite with it's strikingly bold colouring and modern design centreing on the figure of a bishop; this is the St Nicholas window and a major work by renowned Irish Expressionist artist Evie Hone, one of the most important names in 20th century stained glass. Her largest and most famous commission was the huge east window at Eton College Chapel (appropriately Hone was a descendent of Galyon Hone who created much of the glass at King's College Chapel, Cambridge).
Immediately to the right and dominating the west wall, and in contrast to the modern glass, a group of white marble figures stand or recline proudly atop a sarcophagus. This is the monument to Earl Ferrers, and is by far the most significant piece of sculpture here. Two other major monuments compete for attention, the battered medieval couple lying in the south east corner and the mid-17th century canopied tomb of Dame Francis Freckleton on the north side. Her effigy, somewhat damaged, is that of an elderly woman adorned with lace.
Immediately to the right and dominating the west wall, and in contrast to the modern glass, a group of white marble figures stand or recline proudly atop a sarcophagus. This is the monument to Earl Ferrers, and is by far the most significant piece of sculpture here. Two other major monuments compete for attention, the battered medieval couple lying in the south east corner and the mid-17th century canopied tomb of Dame Francis Freckleton on the north side. Her effigy, somewhat damaged, is that of an elderly woman adorned with lace.

To the east is the chapel's own chancel, clearly a Victorian addition, and affording just enough space for a small altar and pews. The most signicant feature here is the east window, another work by Evie Hone, portraying the Last Judgement with Christ seated and crowned as Judge in the centre flanked by angels who are either beckoning to the elect souls, seen in a boat on the right, or repelling a group of colourful demons on the left.
The St Nicholas window represents the saint surrounded by legendary scenes from his life.
It seems odd to find such bold, contemporary statements in glass in such a little used chapel. There was important stained glass here before as well, but of a much earlier date, being elements of the 15trh century glass of Winchester College Chapel, acquired by the Shirleys after it was replaced by 'copies' during the early 19th century restoration and installed in these two windows until being returned to Winchester in the 1930s. Hone's windows were commissioned to fill the gaps left behind, turning this unlikely ex-church from a pilgrimage place for lovers of medieval art to one for fans of the modern movement.
The St Nicholas window represents the saint surrounded by legendary scenes from his life.
It seems odd to find such bold, contemporary statements in glass in such a little used chapel. There was important stained glass here before as well, but of a much earlier date, being elements of the 15trh century glass of Winchester College Chapel, acquired by the Shirleys after it was replaced by 'copies' during the early 19th century restoration and installed in these two windows until being returned to Winchester in the 1930s. Hone's windows were commissioned to fill the gaps left behind, turning this unlikely ex-church from a pilgrimage place for lovers of medieval art to one for fans of the modern movement.

Visitors to the old church will need to obtain the key for the Shirley mortuary chapel from the reception of the adjoining Ettington Park Hotel, the 1858-62 mansion designed by John Prichard & Seddon, which is itself worth seeing for it's stunning Gothic fantasy exterior (and interiors too if you're lucky!).
Aidan McRae Thomson 2012
Aidan McRae Thomson 2012