Henley in Arden - St John the Baptist
Henley in Arden's High Street is almost a mile long, and it's parish church of St John the Baptist peeps out to display it's proud Perpendicular tower and west porch, but surprisingly little else, for this church has no churchyard of it's own, and appears to have been squeezed into a tight plot between a narrow lane and the timber framed 15th century Guildhall next door. Only the south and west elevations are fully visible and sit directly on the pavement. One might wonder where the good parishoners of Henley might be laid to rest, however there is a churchyard barely 100 yards to the east; oddly this serves yet another medieval church, St Nicholas's at Beaudesert (listed as a separate village in Pevsner and other guides to the county, but in reality very much a part of Henley), the two churches forming a united parish.
The church appears to date entirely from the late 15th century and it's most notable feature externally is the north west tower with it's charmingly distinctive assymetrically-positioned clock and tall belfry windows (their lower parts blocked more recently, altering the effect), against which was built the attractive west porch which serves as the main entrance (unusually there is no south door, owing to the limitations of the site). Renewed winged-beast carvings flank the entrance arch. Within are original head stops of a king and queen each side of the door, with it's nearly triangular arch.
The porch contains an attractive two-light window by Powell's of Whitefriars (signed with their whitefriar monk emblem) depicting St Christopher carrying the young Christ and St George and dates from c1924.
The porch contains an attractive two-light window by Powell's of Whitefriars (signed with their whitefriar monk emblem) depicting St Christopher carrying the young Christ and St George and dates from c1924.
The body of the church consists of a long oblong comprising nave and chancel without structural division and a slightly shorter north aisle, divided from the main vessel by an attractive four bay arcade.
The interior is somewhat dark and wears a heavier Victorian presence than one might expect, largely due to the decorative glazing that fills most of the windows.There are however a number of medieval head stops and angel carvings high up, the most striking of which is the huge bat-like creature who supports the west end of the arcade where it meets the tower-wall; he seems to be in the act of letting out some kind of horrifying scream.
The only monuments are some minor wall tablets on the north side, and the stained glass by William Wailes was limited to the main east and west windows (along with an isolated figure of Faith, partially hidden by the organ). The remainder of the glazing is filled by a mixture of decorative quarries and roundels from c1875, which does somewhat smother the light, with the exception of the Millennium window by 'The Art of Glass' studio, installed in the south wall in 2000.
The interior is somewhat dark and wears a heavier Victorian presence than one might expect, largely due to the decorative glazing that fills most of the windows.There are however a number of medieval head stops and angel carvings high up, the most striking of which is the huge bat-like creature who supports the west end of the arcade where it meets the tower-wall; he seems to be in the act of letting out some kind of horrifying scream.
The only monuments are some minor wall tablets on the north side, and the stained glass by William Wailes was limited to the main east and west windows (along with an isolated figure of Faith, partially hidden by the organ). The remainder of the glazing is filled by a mixture of decorative quarries and roundels from c1875, which does somewhat smother the light, with the exception of the Millennium window by 'The Art of Glass' studio, installed in the south wall in 2000.
The furnishings appear to date entirely from late Victorian times with one significant exception, the rather fine early 16th century wooden pulpit with linenfold-type details set within cusped panels. The font is old too, though a very simple piece.
I have to confess I can't really get excited about the glass here, the Wailes east window with Christ flanked by the Evangelists is not attractive, being rather dull and harshly coloured. The west window suffers similarly with hard colours and canopies, but has a less static tableaux of the Adoration of the Shepherds & Magi.
I have to confess I can't really get excited about the glass here, the Wailes east window with Christ flanked by the Evangelists is not attractive, being rather dull and harshly coloured. The west window suffers similarly with hard colours and canopies, but has a less static tableaux of the Adoration of the Shepherds & Magi.
The south wall has an unbroken sequence of five identical three-light windows, all until recently filled with Victorian decorative glazing, consisting of ornamental quarries punctuated by bright rosettes and borders, somewhat fussy and mechanical in effect and reducing the light, and yet some I find the medallion elements attractive. The centre window however was replaced by the Millennium window in 2000, a bright and boldy coloured affair with a golden sky made from jagged shards of streaky amber glass.
I generally welcome bold, contemporary statements in glass, but I'm afraid I'm not overly keen on this window, I find the simplified drawing of the figure uncomfortably cartoonish, and the obsession with representing contemporary dress and professions (particularly the nurse, fireman etc in the tracery lights) could make the window seem quite dated before it's time in my opinion. Although Christ the carpenter is clearly the central theme, it feels to me like it has a rather more secular agenda.
I generally welcome bold, contemporary statements in glass, but I'm afraid I'm not overly keen on this window, I find the simplified drawing of the figure uncomfortably cartoonish, and the obsession with representing contemporary dress and professions (particularly the nurse, fireman etc in the tracery lights) could make the window seem quite dated before it's time in my opinion. Although Christ the carpenter is clearly the central theme, it feels to me like it has a rather more secular agenda.
The church is happily normally open and welcoming to visitors from 10am till dusk (the only time I've found it locked was when I arrived just before 10am one morning, luckily a pleasant gentleman soon appeared to open up, so I didn't have long to wait).
The church's own website appears to be having difficulties loading, so in the meantime for more information see below
http://www.henley-in-arden.co.uk/our-town/places-to-visit/st-john-the-baptist-church/
Photos & Text Aidan McRae Thomson 2012
The church's own website appears to be having difficulties loading, so in the meantime for more information see below
http://www.henley-in-arden.co.uk/our-town/places-to-visit/st-john-the-baptist-church/
Photos & Text Aidan McRae Thomson 2012
