Walsgrave on Sowe - St Mary
St Mary's at Walsgrave sits in an elevated position overlooking a busy intersection of the main road in and out of Coventry's suburbia, not far from the rush of the M6; not the most sympathetic of environments for a medieval church, but at least it seems to be asserting itself as a small island of peace on the ever expanding fringe of the city. It sits huddled amidst trees in its small, raised churchyard and makes a refreshing haven of history and nature to punctuating the long bleak route towards the city.
The church is fairly small, despite having aisles either side of the nave (that on the north side being far more substantial) and the first thing one notices is the different coloured stone, red sandstone for the 13th/14th century nave and chancel and grey for the 15th century west tower and aisles (a mixture is used on the north side where earlier material was presumably recycled).The Perpendicular tower itself is fairly short, and of a type consistent with other local examples (e.g. Exhall & Ryton on Dunsmore); here its proportions have not been helped by the Victorian restoration that raised the level and pitch of the nave roof, making at break into the belfry window on the east side and giving it a stunted appearance from all sides except the west. This was done fairly often in the 19th century, where there was more thought given to enhancing the internal proportions than respecting the harmony of the existing external ones. A red sandstone clerestorey was added but lit only by tiny porthole windows, and only visible on the south side owing to the generous north aisle roof.
More recently a parish centre was added to the south west corner which wholly embraces the west end of the south aisle and much of the base of the tower, though fortunately its effect is less noticeable than one might think owing to being largely camouflaged by trees.
The church is fairly small, despite having aisles either side of the nave (that on the north side being far more substantial) and the first thing one notices is the different coloured stone, red sandstone for the 13th/14th century nave and chancel and grey for the 15th century west tower and aisles (a mixture is used on the north side where earlier material was presumably recycled).The Perpendicular tower itself is fairly short, and of a type consistent with other local examples (e.g. Exhall & Ryton on Dunsmore); here its proportions have not been helped by the Victorian restoration that raised the level and pitch of the nave roof, making at break into the belfry window on the east side and giving it a stunted appearance from all sides except the west. This was done fairly often in the 19th century, where there was more thought given to enhancing the internal proportions than respecting the harmony of the existing external ones. A red sandstone clerestorey was added but lit only by tiny porthole windows, and only visible on the south side owing to the generous north aisle roof.
More recently a parish centre was added to the south west corner which wholly embraces the west end of the south aisle and much of the base of the tower, though fortunately its effect is less noticeable than one might think owing to being largely camouflaged by trees.
Entry is now through the parish centre on the south side, where the west wall of the aisle has been pierced to make a modern entrance, thus one walks initially through a modern and rather secular looking atrium before entering another world of whitewashed walls and arches and a place of intimacy and peace, the short south aisle appearing like a small ante-chapel. As stated before this was never a large building, and one's first impression is of how small the nave is, a mere two bays long and almost the same dimensions in height and length owing to the raised roof. It is nonetheless a light and airy space owing to the white finish everywhere, a lack of clutter and stained glass only occupying a few windows. The chancel beyond, normally a much smaller space than the nave, is actually of similar dimensions to it and is the earliest part of the present building. The more spacious north aisle extends further to the east to enclose part of the north wall of the chancel, where a former window has intriguingly been knocked through at sill level to create an access point.
Furnishings
Of the furnishings the main item of interest is the font in the north aisle, a red sandstone tub with simple blind-arcaded decoration all around dating from the 12th century, the last vestige of the Norman church here. Nearby is the usual Victorian brass eagle lectern whilst the only other notable pieces are two contemporary additions, the nearby stylised wooden sculpture of the pieta (standing in the pierced north chancel window) and a small but fine stone relief of Christ on the Cross acting as a reredos above the altar in the south aisle.
Stained Glass
The church has relatively few stained glass windows compared to some, but what it does possess is of good quality. The first window that confronts the visitor is the east window of the south aisle which also contains the church's earliest and most important glass; the six tracery lights contain figures of angels holding shields, unusually each painted and stained on a single piece of glass, nearly all without visible leadwork. Except for the left hand figure which is a modern replacement all appear to be the original late medieval glass c1520 and in situ, a testament to the donors family with their display of heraldry. They are a fine and little known survival of early 16th century glass. The main lights below are clear except for the central one, which contains a figure of Mary at prayer by Pearce & Cutler of Birmingham, c1910.
The most dramatic window in the church is the east window of the chancel, a Crucified Christ with much clear glass in typical postwar fashion, dating from c1956, and probably the work of Goddard & Gibbs of London. It is a fine piece of work, and replaces and early Victorian window taken out during the War and since apparently lost. Christ is portrayed alone on the Cross as the pre-reminent focus, surrounded by a glowing golden mandorla, whilst below are three small roundels depicting the Virgin & Child, Christ's baptism and the expulsion of Satan.
It appears all the chancel windows were provided with stained glass in the early Victorian period, but only one survives on the south side, with a rich Adoration of the Magi perhaps by Lavers & Barraud. The remaining windows flanking the east wall retain only their inscriptions and a single tracery light each, having probably been removed in the postwar years in order to lighten up the interior (which must have been a gloomy space previously). A window of similar style and date must once have occupied the tower west window also, where just one topmost panel with a Lamb of God remains. Two Edwardian windows can be found in the north aisle, both by Clayton & Bell , with a fine Christ in glory from 1913 on the north side and a Madonna & Child of similar date at the west end. The only other window is the small Annunciation by the entrance in the south aisle (wholly within the extension) installed c1990 in a semi traditional style.
The most dramatic window in the church is the east window of the chancel, a Crucified Christ with much clear glass in typical postwar fashion, dating from c1956, and probably the work of Goddard & Gibbs of London. It is a fine piece of work, and replaces and early Victorian window taken out during the War and since apparently lost. Christ is portrayed alone on the Cross as the pre-reminent focus, surrounded by a glowing golden mandorla, whilst below are three small roundels depicting the Virgin & Child, Christ's baptism and the expulsion of Satan.
It appears all the chancel windows were provided with stained glass in the early Victorian period, but only one survives on the south side, with a rich Adoration of the Magi perhaps by Lavers & Barraud. The remaining windows flanking the east wall retain only their inscriptions and a single tracery light each, having probably been removed in the postwar years in order to lighten up the interior (which must have been a gloomy space previously). A window of similar style and date must once have occupied the tower west window also, where just one topmost panel with a Lamb of God remains. Two Edwardian windows can be found in the north aisle, both by Clayton & Bell , with a fine Christ in glory from 1913 on the north side and a Madonna & Child of similar date at the west end. The only other window is the small Annunciation by the entrance in the south aisle (wholly within the extension) installed c1990 in a semi traditional style.
St Mary's at Walsgrave is a haven of peace, much needed now that it finds itself at the edge of a bustling city. Thanks to the adjoining centre and the activities it holds the church is normally open most weekday mornings (Mon-Thurs 9.30-12.30) but is otherwise likely to be locked outside of services.
Aidan McRae Thomson 2015
Aidan McRae Thomson 2015