be a fair linen cloth over the velvet, and upon the cloth a chalice, paten and two flagons all of silver, and perhaps two lights in silver candlesticks. On Sacrament Sundays those who are to partake of Communion will leave their box-pews either at the Offertory Sentence (when in modern Holy Communion services the collection is taken), or at the words ‘Ye that do truly and earnestly repent you of your sins, and are in love and charity with your neighbours’, and they will be admitted through the screen doors to the chancel. They will have been preceded by the incumbent. Thereafter the communicants will remain kneeling until the end of the service, as many as can around the Communion rails, the rest in the western side of the chancel.
ALTARNUN: ST NONNA – painted panels with biblical texts and images became popular from the 17th century; these from Cornwall hang either side of the high altar
© Michael Ellis
The only object which will be familiar from the Victorian church is the font, still near the entrance to the church and symbolical of the entrance of the Christian to Christ’s army. Beside the font is a large pew whose door opens facing it. This is the christening pew and here the baby, its parents and the god-parents wait until after the second lesson, when the incumbent will come forward to baptize the child in the presence of the congregation. Some churches had Churching pews where mothers sat.
Our churches were, as Canon Addleshaw and Frederick Etchells have pointed out in The Architectural Setting of Anglican Worship, compartmented buildings. So they remained from 1559 (Act of Uniformity) until 1841 onwards when Tractarian ideas about the prominence of the altar, the frequent celebration of Holy Communion and adequate seating for the poor – for the population had suddenly increased – caused a vital replanning of churches. What we see in 1805 is a medieval church adapted to Prayer Book worship. The object of having the Prayer Book in our own language was not so doctrinal and Protestant, in the Continental sense, as is often supposed, but was to ensure audible and intelligible services. The compartments of the building were roughly three. There is the font and christening pew which form a Baptistry. There is the nave of the church with the pews facing the pulpit which is generally half-way down the church against one of the pillars, and the nave is used for Matins, Litany and Ante-Communion. Some of the larger churches have one end of an aisle or a transept divided off with the old screens which used to surround a Chantry chapel in this part. This the parson might use for weekday offices of Matins and Evensong when the congregation was small and there was no sermon.
The lime-washed walls form a happy contrast with the coloured baize inside the box-pews, the brown well-turned Stuart and Georgian wood-work and the old screens, the hatchments which hang lozenge-shaped on the wall above family pews, and the great Royal Arms in the filled-in tympanum of the chancel arch. Behind the Royal Arms we may see faintly the remains of a medieval painting of the Doom, the Archangel Michael holding the balance, and some souls going to Heaven on one side of him, others to Hell on the other side. In other parts of the church, too, the pale brick-red lines of the painting which once covered the church may be faintly discernible in sunlight. Mostly the walls will be whitewashed, and in bold black and red, with cherubs as decorative devices, will be painted admonitory texts against idolatry. The Elizabethan texts will be in black letters; the later and less admonitory Georgian ones will be in the spacious Roman style which we see on the gravestones in the churchyard. In the Sanctuary on either side of the altar are the Lord’s Prayer and the Commandments painted in gold letters on black boards, and perhaps Moses and Aaron flank these, also painted on boards by a local inn-sign painter. An oil painting of the Crucifixion or The Deposition of our Lord or some other scriptural subject may adorn the space above the altar table. Far more people could read than is generally supposed; literacy was nearly as rife as it is today. There was not the need to teach by pictures in the parish church that there had been in the middle ages.
The lighting of the church is wholly by candles. In the centre of the nave a branched brass candelabrum is suspended by two interlocking rods painted blue, the two serpent heads which curl round and interlock them being gilded. In other parts of the church, in distant box-pews or up the choir gallery, light is from single candles in brass sconces fixed to the woodwork. If the chancel is dark, there may be two fine silver candlesticks on the altar for the purpose of illumination. But candles are not often needed, for services are generally in the hours of daylight, and the usual time for a country evensong is three o’clock in the afternoon, not six or half-past six as is now the custom.
Outside the church on a sunny Sunday morning the congregation gathers. The poorer sort are lolling against the tombstones, while the richer families, also in their best clothes, move towards the porch where the churchwardens stand with staves ready to conduct them to their private pews. The farmworkers do not wear smocks for church, but knee breeches and a long coat and shoes. Women wear wooden shoes, called pattens, when it is wet, and take them off in the porch. All the men wear hats, and they hang them on pegs on the walls when they enter the church.
How still the morning of the hallowed day!
Mute is the voice of rural labour, hushed
The ploughboy’s whistle, and the milkmaid’s song.
The scythe lies glittering in the dewy wreath
Of tedded grass, mingled with fading flowers,
That yester morn bloomed waving in the breeze.
Sounds the most faint attract the ear, – the hum
Of early bee, the trickling of the dew,
The distant bleating, midway up the hill.
With dove-like wings, Peace o’er yon village broods:
The dizzying mill-wheel rests; the anvil’s din
Hath ceased; all, all around is quietness.
Less fearful on this day, the limping hare
Stops, and looks back, and stops, and looks on man
Her deadliest foe. The toilworn horse, set free,
Unheedful of the pasture, roams at large;
And as his stiff unwieldly bulk rolls on,
His iron-armed hoofs gleam in the morning ray.
So the Scottish poet James Graham begins his poem The Sabbath (1804). All this island over, there was a hush of feudal quiet in the country on a Sunday. We must sink into this quiet to understand and tolerate, with our democratic minds, the graded village hierarchy, graded by birth and occupation, by clothes and by seating in the church. It is an agricultural world as yet little touched by the machines which were starting in the mills of the midlands and the north. The Sabbath as a day of rest and worship touched all classes. Our feeblest poets rose from bathos to sing its praises. I doubt if Felicia Hemens ever wrote better than this, in her last poem (1835), composed less than a week before she died.
How many blessed groups this hour are bending,
Through England’s primrose meadow paths, their way
Towards spire and tower, midst shadowy elms ascending,
Whence the sweet chimes proclaim the hallowed day:
The halls from old heroic ages grey
Pour their fair children forth; and hamlets low,
With whose thick orchard blooms the soft winds play,
Send out their inmates in a happy flow,
Like a freed rural stream.
I may not tread
With them those pathways, – to the feverish bed
Of sickness bound, – yet, O my God, I bless
Thy mercy, that with Sabbath peace hath filled
My chastened heart, and all its throbbings stilled
To one deep calm of lowliest thankfulness.
One is inclined, seeing the pale whites and ochres and greys, relieved here and there with