Temple Grafton - St Andrew
St Andrew's at Temple Grafton dates from 1875 and is an attractive example of Victorian church architecture, the work of architect Frederick Preedy (who also designed stained glass, including the east window here). The south west spire is particularly distinctive, with it's timber-framed belfry storey.
It replaces a much humbler medieval church, originally built by the Knights Templars (hence the village's name), of which no trace remains following the Victorian rebuilding. The old church appears to have been roughly cruciform with a small weather-boarded belfry at the west end and shows evidence of alterations spanning the Middle Ages. Preedy's church is a much more imposing structure, but looking at the old photo of its predecessor it's hard not to feel a sense of unnecessary loss for this diminutive but clearly ancient building. It could well have been in need of much renovation internally (the exterior appears sound) but there was clearly more desire (and money) to 'improve upon' the past, rather than simply restore it, a common sentiment in Victorian England.
It replaces a much humbler medieval church, originally built by the Knights Templars (hence the village's name), of which no trace remains following the Victorian rebuilding. The old church appears to have been roughly cruciform with a small weather-boarded belfry at the west end and shows evidence of alterations spanning the Middle Ages. Preedy's church is a much more imposing structure, but looking at the old photo of its predecessor it's hard not to feel a sense of unnecessary loss for this diminutive but clearly ancient building. It could well have been in need of much renovation internally (the exterior appears sound) but there was clearly more desire (and money) to 'improve upon' the past, rather than simply restore it, a common sentiment in Victorian England.
The interior is largely honey brown in colour with some bands of different coloured grey stone in the nave columns and elsewhere. Nearly everything is all of a piece, furnishings and all, with the 1875 Preedy rebuilding, such as the pale stone font at the west end. The main east and west windows are also contemporary, and were designed by Frederick Preedy himself (who is notable as much as a stained glass designer as an architect).
Stained Glass
The east window depicts Christ's Ascension with a full complement of apostles reaching upwards towards Jesus, and is typical of Preedy's boldly coloured work, all executed in a primitive, neo-medievalist style,(although of course nothing like genuine medieval work, like most Victorian glass). The larger four-light west window features two central figures, more convincingly medieval in design, representing a Knight Templar and Knight Hospitaller, surrounded by six scenes representing the Acts of Mercy, with a the Lamb of God filling the cinquefoil tracery above. It is again the work of Preedy, though a more complex design.
There are only two other windows that contain stained glass, namely a largely monochrome Annunciation in a south chancel window, a late work by Clayton & Bell dated 1892, and the more impressive three-light window on the south side of the nave, by Powell's & Sons from c1909, depicting Christ surrounded by children and angels. The style is typical of Powell's at this date, with it's Burne-Jones / late Pre-Raphaelite influenced figures. The designer was most likely Joseph Brown, though perhaps even the great Henry Holiday was involved, as the figures of Christ and the sleeping shepherd show his influence. This is in my mind by far the finest window in the church.
There are only two other windows that contain stained glass, namely a largely monochrome Annunciation in a south chancel window, a late work by Clayton & Bell dated 1892, and the more impressive three-light window on the south side of the nave, by Powell's & Sons from c1909, depicting Christ surrounded by children and angels. The style is typical of Powell's at this date, with it's Burne-Jones / late Pre-Raphaelite influenced figures. The designer was most likely Joseph Brown, though perhaps even the great Henry Holiday was involved, as the figures of Christ and the sleeping shepherd show his influence. This is in my mind by far the finest window in the church.
I found the church open, which was a pleasant surprise having found it locked on my previous visit (though that was some years ago, and very late in the afternoon). It sits amongst a group of small picturesque villages northwest of Stratford that mostly have open, visitor friendly churches.
Aidan McRae Thomson 2014
Aidan McRae Thomson 2014