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Securing the Future Appeal :

It's Our Turn Now

Hildersham Lectures

Hildersham Church Events

Cafe Church

The Painted Chancel

Paintings of Hildersham Church

Holy Trinity

Easter Sepulcre

Medieval Glass

Medieval Brasses

Christmas at Hildersham

Ely Diocese Strategy

Downloads

Strategy Summary of Findings

People Fully Alive

Ely 2015

Ely Diocese Annual Report 2014

 

It's Our Turn Now

Securing the Future Appeal

To read all about the Appeal please click here

To make a donation today using Just Giving click on the logo below

Holy Trinity Facebook page

Click on the above photos to go Granta Deanery Synod Webpage

1802 Thomas Fisher painting of the Holy Trinity from a top tracery section of Stained Glass which was removed during the Victorian restoration of 1865 and has since been sadly lost. 

Click here to see more about Thomas Fisher and the Hildersham

Medieval Stained glass

The church was heavily restored between 1855 and 1890 led by the Rector Robert Goodwin and his great architect friend

Charles Alban Buckler who he had met in Oxford.  You can see the Buckler arms above, it is surrounded by an S collar and Royal badge as Charles was a Herald Exraordinary for Surrey and behind it is his Maltese Cross from his Order of Malta

To read more about

Charles Alban Buckler click here

Family History

We are always willing to help with family and local history enquiries, please click here

National Schools PDF click here

Old school at Hildersham

Church History Guides

Wall Paintings guide

written by Jim Mynors 2007

Hildersham Church guide

written by Canon P R Philips c.1914

Hildersham Church VCH

Victoria County History 1973

Mary Magdalene

sister of Martha?

1802 Thomas Fisher painting of St. Christopher from a top tracery section of Stained Glass which was removed during the Victorian restoration of 1865 and has since been sadly lost

Tree of Jesse East Window by Clayton & Bell 1865

 

Church History Guides

The Painted Chancel at Hildersham written by Andrew Westwood-Bate updated 2015

Wall Paintings guide written by Jim Mynors 2007

Hildersham Church guide written by Canon P R Philips c.1914

Hildersham Church VCH Victoria County History 1973

In 1803 Thomas Fisher painted the memorial brasses at Hildersham, here are these paintings

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Various paintings

of the Hildersham Church

Please click on each picture to get a much

enlarged HQ image

William Cole 1742

 

 

Thomas Fisher 1803

 

 

Philips family c.1810

 

 

J S Clarke 1894

 

 

 

Wilfrid Harris 1961

 

 

George Seaman-Turner 1964

 

 

Sketch 1978

Sketch for

village magazine

 

Bob Smithers 1980

 

Anthea Robinson 2004

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Christ crucified on the cross

(East Window - Tree of Jesse - Clayton & Bell 1865)

 

 

 

Holy Trinity Church, Hildersham:

The PCC of the Ecclesiastical Parish of Holy Trinity, Hildersham is a Registered Charity - Charity No: 1153435

 

 

The Priest in Charge is:

The Revd Dr. Julie Norris 01223 891350

The Rectory, 35 Church Lane, Little Abington, Cambridge CB21 6BQ

Hildersham Churchwardens:

Mrs. Cathy Myer                           01223 892848  

Mr Andrew Westwoood-Bate   01223 892430  

If you need to get in touch with the Hildersham Parochial Church Council - Please contact our two Church Wardens for any communications:

 

For all matters relating to finance -

Please contact our PCC Treasurer::

Mr. David Newble  01223 892425

Little Chilfords, Back Road, Linton, Cambs CB21 4LF

If you are interested in the church building, its history or the Parish Records - Please contact our Churchwarden, and Local & Family Historian - Andrew Westwood-Bate   01223 892430 - 0787 5469538

To find out more click here

 

If you plan to visit Holy Trinity Church, Hildersham to see our glorious world renowned Victorian High Gothic Painted Chancel and you would like a close up view of the Murals and Stained Glass, please contact one of the Churchwardens and if possible we will try to arrange for someone to meet you and give you access to the see them.

The Painted Chancel

 

To increase your enjoyment on this webpage, if you click on the vast majority of the images, they will open up much enlarged in High Quality in a new window

To read about the Hildersham Lectures or any other events in Hildersham or the other 6 churches in our benefice just click on the link

Hildersham Legacy Leaflet

Hildersham -

Imagining Our Future 2015

Please click on above image to download the doument

People Fully Alive: Ely 2015

A Strategy for Growth:

Diocesan Vision:

We pray to be generous and

visible people of Jesus Christ

Believing that God calls us to discover together

his transforming presence

in our lives and in every community,

in Jesus Christ we pray

  • To engage fully and courageously with the needs of our communities, locally and globally.
  • To grow God's Church by finding disciples and nurturing leaders.
  • To deepen our commitment to God through word, worship and prayer.

Strategy Downloads

Parish Nurse Information Leaflets:

Parish Nurse general leaflet

Parish Nurse Information sheet 2015v3

 

Holy Trinity Church, Hildersham

Special Services and Events 2015

Sunday 16 August

at 4pm

CAFE CHURCH

Summer Songs of Praise

 

Come to café church to sing favourite hymns chosen by the congregation…

 

…and enjoy tea and cake

 

to see Events in more details - click this link

 

Oct 3-4 Heritage Weekend Thanksgiving service and celebration  - due to the delay in building work this is postpone until the spring
Oct 17 Kings Taveners Concert
Oct 18 Harvest Festival & Supper
Nov 4 Emmaus Collection
Nov 20 Building work due to be completed
Nov 27

Hildersham Lecture:

Per Hall

Surgery and Art

Dec 20 Candle lit - Nine Lessons & Carols

 

Grants & Interest Free Loans received:

AmeyCespa Community Fund:

Holy Trinity Church, Hildersham gratefully acknowledges the grant of £20,000 we have received from the AmeyCespa Community Fund (part of the Landfill Communities Fund) which has contributed towards the cost of this project.’

The AmeyCespa Community Fund awards grants to support community, environmental and heritage projects run by non-profit organisations based in Cambridgeshire, within 10 miles of a landfill site. The fund is managed by Cambridgeshire Community Foundation and is part of a voluntary environmental tax credit scheme called the Landfill Communities Fund.

For more information please visit

www.cambscf.org.uk/AmeyCespa-fund.html

 

Cambridgeshire Historic Churches Trust:

Holy Trinity Church, Hildersham gratefully acknowledges the interest free loan facility of £15,000 we have received from the Cambridgeshire Historic Churches Trust which has contributed towards the cost of this project.’

The Garfield Weston Foundation:

Holy Trinity Church, Hildersham gratefully acknowledges the grant of £7,500 we have received from the Garfield Weston Foundation which has contributed towards the cost of this project.’

National Churches Trust:

Holy Trinity Church, Hildersham gratefully acknowledges the grant of £5,000 we have received from the National Churches Trust

 

St Etheldreda in an Nave West window

St Etheldreda reflected in the Tree of Life glass

.

Various paintings

of the Hildersham Church

 

Engraving of Hildersham Church by William Cole 1742

Engraving of Hildersham Church by J S Clark 1894

 

Watercolour of Hildersham Church by Richard Relhan c.1820

Relhan, Richard (1820)

Watercolour artist who made original paintings of many Cambridgeshire churches and scenes; his work is housed in the Cambridge University Library Map Room and reproduced in Alison Taylor’s ‘Archaeology of Cambridgeshire’ vol.1 & 2. There is a Hand-list of the water-colour drawings relating to Cambridgeshire made by G.M. Benton

 

Painting of Hildersham Church by Rob Howard 2012

 

Photograph of Hildersham Church by Colin Franklin

 

Hildersham Village History

Even more Hildersham village history can be found by clicking here or at our new Hildersham page on the Cambridgeshire Community Archive Network (CCAN)

In Cambridgeshire we are extremely lucky to have two fantastic depositories of local records, these are the Cambridgeshire Collection currently located at the Cambridge Central Library and Cambridgeshire Archives at Shire Hall, Castle hill, Cambridge. 

A lot of their records can now be found on their online search facility called "CALM".  To have a look at some of the Hildersham Church records held at the Cambridgeshire Archves relating to Hildersham why not click here.

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Securing the Future Appeal : It's Our Turn Now

Holy Trinity church, Hildersham is held in considerable affection by the majority of the village who enjoy its history and regard it as a place of peace and beauty which belongs to us all.  

The Parochial Church Council has been anxious to nurture the integration of Church and Village by promoting a number of initiatives including a regular "Village Teatime", a series of lectures on a wide range of interesting secular subjects, performances of plays in the churchyard and concerts in the church as well as open and inclusive services.  

These and other initiatives have been highly successful and we are anxious to do more and make the church building a living community asset rather than a Sunday museum.

In looking to achieve our aims we face a number of challenges perhaps the greatest being the complete lack of basic facilities within the church building (water, drainage, & WC).

 Not only does a lack of these facilities limit our ability to use the building to full advantage but it also means that a number of people are effectively excluded altogether.

As temporary custodians of a treasure that has existed for over 850 years we are faced with the challenge and duty to pass it on to our successors in at least as good and hopefully better order than it was passed to us - it is not ours to neglect!

Furthermore given the historical, artistic and architectural features of our building we are faced with the obligation not only to keep them safe and in good repair, but also to ensure that they remain available and accessible to the widest possible audience and can be understood and appreciated more fully and simply enjoyed by all.

In summary therefore, as a small community we are faced with a wonderful opportunity, a heavy responsibility and challenging targets - we are not  daunted and have ambitious plans to address these matters and fit us for the future.

In order to make the building accessible to all and capable of being used flexibly for a wide range of purposes we aim to provide a kitchen and WC together with a water supply and drainage.  Since the existing space within the building is already well used to achieve this aim we shall need to build an extension to the North of the existing North Door.

Our exceptional wall paintings have suffered some damage from the effects of dampness. 

The Parochial Church Council have already undertaken significant work to tackle the causes of dampness and will now complete a full survey and the necessary restoration work to the paintings not only to preserve their condition but also to enhance their visibility and accessibility to a wider group of interested parties. 

One of the causes identified was the proximity of the Oil Tank to the outside church wall trapping leaves and resulting in dampness to permeate the flint walls.  To resolve this we need to re-site the oil tank to a completely new location, this will also allow us to bring the oil delivery system to the latest Health and Safety standards. 

In order to keep our treasures in good order we must also undertake major repairs to two of the church roofs.

 

The Costs:

The cost of these enhancements are expected to be over £190,000 - What will this achieve?

If our plans are successful we shall be have available a resource to:

 

  • Further our mission to the whole village community
  • Provide a well maintained accessible building with suitable facilities for a variety of purposes in the community
  • Protect Hildersham's wall paintings, a significant historical asset for the next generation
  • Enhance our ability to work with children and young people

 

A wide range of people have been very generous and have invested their time and money in this important project, we always warmly welcome anyone else who would like to become a benefactor of this project and become integral to securing the long term future of Holy Trinity Church, Hildersham; It Is Our Turn Now

Please contact our PCC Treasurer:

Mr. David Newble  01223 892425

Little Chilfords, Back Road, Linton, Cambs CB21 4LF

Click here for a Gift Card Form

To leave a donation electronically please click here

 


It's Our Turn Now

Securing the Future Appeal

 

To make a donation today using Just Giving click on the logo below

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to donate is to use

This is cost free to the sender

Simply send the following code

TURN90

followed by the amount of your donation such as

£10

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Please Note:

The overall charity for all parish churches in this Diocese is the Ely Board of Finance.  Please be reassured all your donations will be forwarded on to Holy Trinity Church Hildersham

The amount donated will be added to your mobile phone bill

Hildersham APCM Sunday 26th 2015

Papers:

Annual report 2014 Holy Trinity Church

Church Accounts 2014

Fabric Report APCM 2015

Hildersham PCC Meeting minutes 11th April 2014

Organist's Report 2015

Hildersham Children’s Church Council (CCC) Annual Report

 


Please click on each picture to get a much enlarge HQ image

In the early days of the church, wall paintings were used to tell the bible stories and instruct the people in the morals of everyday life.  All churches were full of colour with every surface painted.

Time, the work of the iconoclasts and changes of taste have meant that most of these have been lost or are yet to be rediscovered.

In the early 1830s, the Tractarian movement started life in 1833 with the Oxford Movement, which was a movement of High Church members of the Church of England which eventually developed into Anglo-Catholicism. The movement, whose original members were mostly associated with the University of Oxford, argued for the reinstatement of some older Christian traditions of faith and their inclusion into Anglican liturgy and theology.

Then in 1836, Augustus Pugin published ‘Contrasts’, a polemical book which argued for the revival of the medieval Gothic style, and also "a return to the faith and the social structures of the Middle Ages".

The above image comes from another book in 1843 by Augustus Pugin called 'The Glossary of Ecclesiastical Ornament & Costume', a book that Robert Goodwin would have been greatly inspired by.

The Cambridge Camden Society, later known as the Ecclesiological Society from 1845 when it moved to London, was a learned architectural society founded in 1839 by undergraduates at Cambridge University to promote "the study of Gothic Architecture, and of Ecclesiastical Antiques." Its activities would come to include publishing a monthly journal, The Ecclesiologist, advising church builders on their blueprints, and advocating a return to a medieval style of church architecture in England.  At its peak influence in the 1840s, the Society counted over 700 members in its ranks, including bishops of the Church of England, deans at Cambridge University, and Members of Parliament.  The Society and its publications enjoyed wide influence over the design of English churches throughout the 19th century.

Revd Charles Goodwin

By the 1850s, the High Gothic Revival was in full swing with many architects, stained glass artists, and mural painters using the church art and design of the 13th and 14th centuries as their inspiration and guide.

In June 1806, the Revd Charles Goodwin was licensed as the new Rector of Hildersham, he was nominated by his older brother James.  James Goodwin had bought the Advowson or right to present the next priest from the Revd Thomas Salt on the 14th April 1801 for £1945, equivalent to around £150,000 in 2013, Thomas was selling the advowson as he had no offspring to hand the right on to.

Revd Robert Goodwin

On the 30th August 1816, Charles Goodwin’s son Robert Goodwin was born and it is thanks to Robert and his passionate belief in the principles of the gothic revival that we have these glorious paintings today.  Robert went to Clare College in Cambridge and entered the priesthood in 1840, at the same time Robert joined the Cambridge Camden Society and became one of its leading lights.  In 1847, Robert’s father Charles died and Robert finally achieved his heart’s desire and became the Rector of his beloved Hildersham Church.  He immediately set about thinking about how he could restore Hildersham Church to the gothic revival high ideals.  While travelling to Oxford to receive an honorary degree with his fellow enthusiast Dean Harvey Goodwin they met an equally enthusiastic young architect called Charles Alban Buckler

Tree of Jesse East Window

Charles Alban Buckler (1824-1905) was the son of the antiquarian writer and church restorer, John Chessell Buckler (1793-1894). Like his father he was a keen student of medieval art and architecture, building many churches in the Gothic manner.

His obituary in Building News states

"His first and last love in architecture was for the Early English style, as his numerous works testify, notably at Arundel Castle and the Dominican church at Haverstock Hill."

He converted to the Catholic faith in 1844, and later became a member of the Order of Malta. He was one of the most distinguished of the early to mid Victorian Roman Catholic architects. 

Other churches he designed are: St. Thomas of Canterbury St Leonards-on-Sca. St. Francis of Assisi Midhurst, and St Peter's Shoreham. He is buried in the churchyard of St. Edward the Confessor at Sutton Park.

Charles is shown dressed as a Royal Herald

Robert and Charles became firm friends and went on holiday together looking at the medieval church art across the continent. 

Buckler was also the Royal Herald for Surrey and hence we have so much heraldry in Hildersham church. 

In 1855, Robert Goodwin, with his sister Elizabeth Hemmington-Goodwin providing the finance and Charles Alban Buckler the architectural designs they started 35 years of work glorifying the Chancel at Hildersham Church.

The first stage between 1855 and 1865 was to carry out all the transformative building work, the final work in 1865 led to their first meeting with the firm of Clayton and Bell, who designed and installed our beautiful ‘Tree of Jesse’ East Window, a memorial from Elizabeth Hemmington-Goodwin (widow) to her father Charles Goodwin M.A. and her mother Sarah.

Clayton and Bell was one of the most prolific and proficient workshops of English stained glass and mural painting during the latter half of the 19th century.  The partners were John Richard Clayton and Alfred Bell.  The company was founded in 1855 and continued until 1993.  Their windows are found throughout the United Kingdom, in the United States, Canada, Australia, and New Zealand.

Clayton and Bell's commercial success was due to the high demand for stained-glass windows at the time, their use of the best quality glass available, the excellence of their designs and their employment of efficient factory methods of production.

They collaborated with many of the most prominent Gothic Revival architects and also trained as apprentices many of the leading stained glass artists and architects of the period.

A further period of restoration started in 1878 and carried on until the grand finale in 1890 with the painting of the chancel walls. 

Mural paintings were a much smaller part of the Clayton and Bell portfolio, there are a few other examples in the UK, however it is their beauty and this rarity that makes the Hildersham Murals of such national and of worldwide heritage importance

They were only made possible by the creation of the spirit fresco recipe by Thomas Gambier Parry.

Alfred Bell & Stacy Marks

painting on wooden scaffolding

True fresco painting as carried out in far warmer central European countries was tried without great success, with one of the biggest failures being the true fresco panels used in the decoration of the new Houses of Parliament in the mid-nineteenth century. 

However, in 1862 Thomas Gambier Parry published his recipe for spirit fresco, a system for painting on walls which substituted a complex mixture of beeswax, oil of spike lavender, spirits of turpentine, elemi resin, and copal varnish for the inorganic process of true fresco.  It was promoted as the solution to all the problems of painting on a grand scale: the elusive qualities of true fresco - durability, a matt surface, and luminous effect - were all guaranteed, without the drawback of a limited palette

.  

Gambier Parry developed these techniques while working on the Ely Cathedral nave ceiling paintings after the death of his friend Henry le Strange.

In the 19th century bible stories were better known than today.  The purpose of these notes is to give a little flavour of what each is about in the hope that it will inspire visitors to read more of the stories behind them.

Thomas Gambier Parry

Using Thomas Gambier Parry’s Spirit fresco recipe, Alfred Bell, John Clayton, Stacy Marks (head designer) and a whole host of apprentices and tradesmen painted the murals in 1890.  Robert Goodwin, with his architect Charles Alban Buckler and their financier Elizabeth set about choosing which designs and stories they would use.  As Elizabeth was providing the money, unusually for a women in these times had a degree of influence over some of the choices and her hand can be seen in the inclusion of Queen Esther, Ruth, and the Woman from Samaria at the well.

The basic principle was the higher up you went towards the roof the closer you were to heaven and the closer towards the east end the closer you got to God’s Holy throne in Heaven.

South Chancel Wall saints

We begin at the south Chancel Wall just to the left of the organ arch where we find six figures of prophets and saints.

Moses

First of these is Moses, the dominant figure of the Old Testament, and especially the first five books, which include the story of Abraham & Melchizedek (in the South-east corner of the chancel).  Here he is shown holding a tablet with the figures 1-10 in roman numerals, representing the 10 commandments.  Even today many would regard these rules as the best summary we have of how we should live in relation to God and to others – although Jesus’ even briefer summary (love God with all your being, and your neighbour as yourself) has recently taken its place in our Communion service.  Moses is shown here with what looks like horn.  They are in fact rays of light, this follows a mistranslation of the word horned and his face was radiant in a passage from Exodus 34:29-30

“When Moses came down from Mount Sinai with the two tablets of the covenant law in his hands, he was not aware that his face was radiant because he had spoken with the Lord.  When Aaron and all the Israelites saw Moses, his face was radiant, and they were afraid to come near him”.

Moses also features in two other paintings – one of the manna and the other of water coming out of the rock.  Both remind us of his leadership of the people of God in the desert – and of how God can meet our needs at moments in life that seem as hopeless.

King David

The Second we find is David, typically shown holding a harp.  King David, as he became, was uniquely equipped to write the great song book we called the Psalms.  They reflect the way he experienced almost every kind of human emotion – great triumphs, horrific tragedies, closeness to nature, pageantry and city life, confidence in God, bewilderment.  Even the later Psalms written by others found in him their inspiration.

Isaiah

Agnus Dei

Third, identified by the picture of the Lamb of God or Agnus Dei that he is holding we find IsaiahThe first time we hear of the Pacal Lamb is in the story of John the Baptist in John 1.29

The next day John seeth Jesus coming unto him, and saith, Behold the Lamb of God, which taketh away the sin of the world.


Isaiah traditionally comes first of the prophets in our Old Testaments.  The book bearing his name spans the period of history from the impending disaster of invasion and exile through to reflections on its aftermath.  For Christians a particular contribution is the idea of suffering on behalf of others that helped prepare for the idea of Christ’s suffering.  That is why on Good Friday we traditionally read from the 53rd chapter of Isaiah words that probably inspired this painting.

Queen Esther

Then we one of Elizabeth’s choices Queen Esther.  Hildersham must be one of the few places where she and Ruth were so prominently portrayed in Victorian times.  Esther is shown here as a Queen – a role she acquired by the unusual route of a beauty contest in ancient Persia.  But her life was one full of hazards, especially when it fell to her to prevent her people, the exiled Jews, from genocide.  It shows how even in such times women could have a key role in the history of God’s people and demonstrate resourcefulness equal to men

Elijah

Elijah – identifiable by the raven he carries – was one of the earlier prophets.  As such, no book is named after him though he had a key role at the time of the Kings (1050-586BC).  Elijah models for us the courage to speak out – against tyrannical rulers and corrupt government inspired by corrupt religion.  His story is one of great faith against apparently overwhelming opposition.  If we feel things in our day have gone badly, and seem hopeless–the story of Elijah can strengthen our resolve to see things restored.

Ruth

Ruth can recognised by the sheaf of corn she holds.  Yet her story starts with a time of famine.  This would also have been a story people of the time could relate to as Ruth was often seen Gleaning, the only way some families managed to feed their families.

Worse than that it is at first one of great personal tragedy with multiple bereavements.  And Ruth is a foreigner – from Moab.  Yet the Old Testament records how she attaches herself to the people of Israel, finds a new home and faith, and eventually becomes an ancestor of King David and so of Jesus. 

In this day of debate about the role of women and the relationship between different ethnic groups, Ruth is as relevant as ever. 

As we move across to the North wall, so we change from characters and stories in the Jewish Scriptures to figures and scenes in the New Testament.

Saul or Paul on the road to Damascus

The first lower panel begins the story of St Paul.  Saul, as he was then known, was born in Tarsus in what is now eastern Turkey.  He was a Jew and at some point he went to live in Jerusalem with his sister in order to pursue his studies in the Jewish faith.  The Jewish authorities persecuted the early Christians and Saul was at the forefront of the action. 

Acts 7:58-8:1 tells us that Saul was the ringleader in the stoning of Stephen, the first Christian martyr.  Later Saul travelled from Jerusalem to Damascus to persecute Christians there, but on the way he was struck blind by a bright light and heard Jesus calling him to repentance.  This scene is depicted in the panel before you, with Saul in the unlikely dress of a Roman Centurion and his companions dressed as Roman soldiers.  Saul embraced the Christian faith as a result of this experience and changed his name in order to emphasise its significance.

St Stephen

St Paul

In the panel above, we again see St Paul, but this time symbolised by the sword that he is holding to indicate the manner of his death and the book to remind us of the gospel that he preached.  After becoming a Christian, Paul was a tireless worker in spreading the Good News of Christ. 

Even though the Roman Empire had a good system of roads, much of Paul’s travels would have been on foot and we know from his letters that he endured considerable suffering in the process. 

As he journeyed, Paul preached the Gospel both to the Jews dispersed throughout the region and to Gentiles (non-Jews), establishing churches wherever he stayed.  His letters to those churches, and to individuals, form a major part of the New Testament and provide valuable insights into life as it was then, as well as a detailed account of Paul’s teaching.  Because he had embraced the Christian faith, Paul had made many enemies among the Jewish authorities in Jerusalem and they sought to have him killed on his last visit to that City, probably around 57CE.  Paul was rescued by the Roman authorities but put in prison to await trial on charges brought against him by the Jewish hierarchy. 

Death of St Paul

Though a Jew by birth, Paul was also a Roman citizen, which entitled him to a trial before the Emperor in Rome.  He was taken there by sea – a voyage involving shipwreck and real danger.  We are not sure what happened next, but it is probable that Paul was placed under house arrest but then released.  He was re-arrested later, however, during Nero’s persecution of Christians, and was martyred in Rome at the same time as St Peter, probably around 68CE; Paul was beheaded, the penalty for a Roman citizen, but Peter was crucified as a common criminal.  The quotation “God forbid that I should glory save in the Cross of our Lord Jesus Christ” comes from Paul’s letter to the Galatians (6:14).  The window in the east end of the north aisle shows both St Paul and St Peter’s execution.  Peter was crucified upside down as he did not consider himself even to be crucified in the same manner as Christ.

Crucifixtion of St Peter

Holy Trinity Angel

The two windows on the north side of the Chancel are both dedicated to the Holy Trinity and on each window reveal you will find an angel carrying symbol of the Trinity with an inscription in Latin emphasising the separate identity of each member of the Trinity and at the same time their unity.  The inscription around the edge reads “Pater non est Filius non est Spiritus Sanctus non est Pater” (‘The Father is not the Son; the Son is not the Holy Spirit; the Holy Spirit is not the Father’), whilst reading to the centre is “Pater est Deus; Filius est Deus; Spiritus Sanctus est Deus” (‘The Father is God; the Son is God; the Holy Spirit is God’). 

 

Chancel Window with St Alban, St Stephen & St Andrew

Each window depicts three Saints. In the first, Alban, a Roman citizen and the first Christian martyr in England, is shown holding a sword which indicates the manner of his execution, as in the case of St Paul.  Next to him is Stephen, the first Christian martyr, holding a pile of stones, again showing the attribute of how he was martyred.  The last of the three is Andrew, Simon Peter’s brother, who was martyred by crucifixion, evidenced by the cross in this window.

St Matthew with is Winged Man

St John always shown clean shaven with his attribute the Eagle

St Luke with his Winged Bull

St Mark with his Winged Lion

St Peter with the Keys of Heaven & the symbol of the Cock that crowed

At the higher level between the windows are pictures depicting the four evangelists (Matthew, holding a treasure box and pen signifying his former work as a tax collector with his symbol a winged man; Mark, symbolised by the winged lion; Luke, by the winged bull; and John by the eagle).  St Peter holds the silver and golden keys to heaven with the cockerel in the background to remind us how Peter disowned Jesus immediately before his trial.

The Nativity

In the two panels below the apostles, we find a continuation of a theme found in the Old Testament scenes on the south side of the Chancel, namely the important part played by women in the Bible.  The first scene is of the Nativity, showing Mary holding baby Jesus, with Joseph beside her, whilst shepherds are behind and in front. 

The Epiphany

The shepherd behind is carrying a lamb on his shoulders, a reminder of Jesus as the Good Shepherd (Mt.18:12-14; Jn.10:14) while the shepherd in front has brought a lamb with its legs tied together as if in sacrifice, reminding us that Jesus gave up his life for us on the Cross. 

5 Fingers and a Thumb

This shepherd has a deformity – 5 fingers and a thumb, this is undoubtedly a mistake, although some might tell you a different story. 

Angels appear above and, in the background, a woman is carrying a basket of fruit, symbolising the legal requirement in Jewish law to give the first fruits of the harvest to God.  Moving to the next panel, we again see Mary holding Jesus with Joseph beside her, as the three Magi do homage and offer their gifts to the Christ child in the scene known as the Epiphany.

Running the length of the north wall, level with the top of the windows, is a quotation from Matthew’s Gospel (21:9) itself taken from Psalm 118 (v.26)

“Blessed is he that cometh in the name of the Lord; Hosanna in the highest”.

This recalls the crowd’s chant as they welcomed Jesus into Jerusalem in triumph on the Sunday before his crucifixion, a scene reflected in the last panel at the higher level, where Jesus is seen seated on the donkey carrying him into the city.  He is followed by the twelve disciples and preceded by members of the crowd carrying palm branches while an Elder waits to welcome Jesus at the city gates. (as seen the images below)

3 images of the Palm Sunday Procession

Christ's agony in the Garden of Gethsemane

The Three disciples fast asleep

In the corresponding position opposite is Jesus’ facing the agony of temptation in the Garden of Gethsemane as he faces his impending death – while the three disciples sleep!

 

sweat beeds

The agony is clearly shown in Jesus face as he goes through this very agonising time and he has beads of sweat on his forehead.  This is one of my favourite and most moving paintings.

Raymond Arms

The Chancel South window, contains the arms of the Raymond family of Hildersham Hall, the beautiful Alabaster reredos designed by C. A. Buckler and made by Rattee and Kette, it commemorates a tragic story; as each of the angels in the top row represents a daughter who died in their father’s arms of consumption

Hildersham Altar stripped for Good Friday

showing the Reredos behind

Chancel South Stained Glass Window

with Revd Charles Goodwin, Bishop Harvey Goodwin

and Revd Canon Robert Goodwin

There are two pieces of medieval glass set in 19th century blue panels and in the three lights are Revd Charles Goodwin, Bishop Harvey Goodwin of Carlisle and the man behind all these wonderful paintings the Revd Canon Robert Goodwin.

Medieval Glass - Christ's Blessing

Medieval Glass -Mary breast feeding baby Jesus

The Instruments of the Passion

Angel carrying bag of 30 pieces of Silver

Angel with shield showing hammer and tongs

Angel showing three dice used to gamble who had Christ's robe

Angel with the Three Nails

Angel with the wooden cross

Angel with flail

Angel with Spear and sponge

Angel with a Crown of Thorns

Inside the window reveal are eight angels carrying items connected with the crucifixion of Christ, these are collectively called the ‘Instruments of the Passion

Moses and the Manna from Heaven

Moses clearly showing 'Horns' or "Radiant Face"

Moses striking the Rock for water

As we move towards the east end of the north wall, on either side of the vestry door we find, first, a scene reflecting the manna in the desert shown on the south side and no doubt intended to remind us that the Jesus who rode in triumph into Jerusalem (shown above) is also the bread of life (Jn.6:35, 48) who came down from heaven to give eternal life (Jn.6:49-51). 

Christ meeting the Samarian Woman at the Well

The last scene shows Jesus at Jacob’s Well, talking to the Samaritan woman (Jn.4:4-26) and blessing her, signifying that Jesus came to earth not just to call Israel back to God but to enable all people to share in the wonderful gift of God’s grace which Jesus personified.  (This was another choice of Elizabeth)

Framing the East Window, with its intricate pattern of the tree of Jesse, is a scene from Revelation. 

Christ's Resurrection from the Tomb

Christ's Ascension to Heaven

At the bottom of the left hand side is an interpretation of the Resurrection of Christ.  He is clearly shown bearing the stigmata (the marks of the nails in his hands and feet) whilst below him is the empty tomb, guarded by an Angel, with a rather dazed-looking guard beside it.

 

On the right hand side, we see Christ’s ascension – his footprints are still on the rock, as the remaining 11 disciples and Mary look on in wonder.  Angels above both scenes (as well as further Angels on the window reveals holding respectively a fish (featured on several occasions in the Gospels as well as being the cryptogram for Christianity), a palm of peace, a sword (indicating judgement) and a banner featuring the Cross of St George) lead the eye up to the lamb at the apex of the window, symbolising Jesus as the unblemished sacrifice (Rev. 5:6, 12)

 

Archangel Gabriel at the Annunciation

The Blessed Virgin Mary at the Annunciation

Above and across the South Transept arch is the wonderful story of the Annunciation, when Archangel Gabriel comes carrying the banner scroll with the words ’Most highly favoured Lady’ and foretells Mary of the forthcoming Virgin birth of our lord Jesus Christ

Archangel Gabriel can always be seen because he carries a white Lily normally in a pot, while the Virgin Mary can be seen receiving the word of God delivered by the Holy Spirit in the form of the Dove.  Mary is also often seen kneeling at a prayer desk.

St Etheldreda, Patron Saint of the Diocese of Ely

Panel showing 4 scenes from Etheldreda's life

Top panel showing Etheldreda's forced marriage in 1445

Same scene in Hildersham Stained glass of

Etheldreda's forced marriage in 1445

Hildersham Stained glass of St Etheldreda

On the west south transept arch is the magnificent painting of a non-biblical image of the patron Saint of Ely – St Etheldreda.  Etheldreda was a Royal Pawn being married twice by the father King Anna first to Tondbert, the young King of the Fens and after his death to Ecgfrith of Northumbria in 1445 (seen in the four panel scene, this was found on the back of a cupboard door during some restoration work.  The top right scene was used as inspiration for one of the glass panels at Hildersham).

Etheldreda stood firm and maintained her virginity, being as in her own words married to Christ.  After several celibate years, Ecgfrith consented to Etheldreda entering the religious house of St Hilda; but Ecgfrith reneged on his promise and Etheldreda was forced to make her escape with her fellow Nuns back towards the fens around Ely with Ecgfrith in hot pursuit. 

One night while sleeping on an island, Etheldreda pushed her crozier into the ground; high waves swept up to protect her and her crozier burst into flower in the morning.  On seeing these miracles Ecgrith realised he was no match for these miracles and let Etheldreda return to the fens and build her first church not far from Ely today. 

After St Etheldreda ( sometimes called St. Audrey) died, there became a pilgrimage route formed to Ely.  Pilgrims wanted to collect a momentum of their pilgrimage, so they could pray holding the 'medal' during private prayer.  At Ely the medal was a copy of one of Etheldreda's heavy necklaces.  Etheldreda belived that it was the wearing of these heavy necklaces that had caused the huge goiter in her neck which had eventually led to her death.  Over the years these necklace momentos became made of poorer and poorer materials and were what we would call very tacky.  The people of the day thought exactly the same thing, however they used a form of the word Audrey to become Tawdry as a word to describe very poor copies of a medalion.

Archangel Gabriel

Archangel Raphael

Archangel Michael

Archangel Uriel

Four Archangels guarding

God’s most Sacred Throne

The Lamb of God or Pascal Lamb

at the pinnacle of the East Window reveal

Incense Sensing Angels in the East Window reveal

Some of the most interesting paintings are on the east side of the Chancel arch, these represent a view of the Holy Heavenly Jerusalem.  They show a typical ‘rood’ scene with God the Father, God the Son and God the Holy Spirit (dove) in Holy Heavenly Jerusalem, with the Virgin Mary one side and St John the Baptist on the other side.  The edge of Heaven is represented by the wavy line and stars.

The Holy Heavenly Jerusalem

Three Musical Angels from the Choir of Heaven

We hope you have enjoyed this brief introduction to the beautiful Victorian Mural paintings at Holy Trinity Church, Hildersham; this guide barely scrapes the surface of this plethora of glorious colour and wonderment.

The wall paintings are much loved and treasured today, but this certainly wasn’t always the case.  Robert Goodwin died just 9 years after the paintings were completed, his older sister Elisabeth, was very influential in the choice of subject matter, as it was her money as a rich widow that allowed  the work to be started.  Tragically she never saw the finished product as she died in 1890 just before the work was started.

The next incumbent Canon P R Philips was like his daughter, an antiquarian, he wrote a very detailed history of the church in 1914, however, when it came to the wall paintings they did not even warrant a mention.

By 1972 the paintings were in much need of a restoration, but even this was not straight forward; the huge sum needed at the time was £3000 and when it came to a vote at the PCC to either restore them or whitewash them over, it was only by one casting vote that restoration was the choice.

Now 125 years since the mural paintings were completed they are once again in need of some Tender Love and Care, but now they are thankfully very highly regarded, as for what exactly they are, a very late example of the finest workmanship of the High Gothic Revival art, painted by one of the most famous companies of the period, Clayton & Bell, both a National and World treasure. 

Our project is entitled ‘It’s our Turn Now’, reflecting our role in safeguarding the Murals for generations to come.  The £3000 cost in 1972, has spiralled in 2015 to nearly £75,000, we are also hoping to greatly improve the lighting to make the visitor experience more enlightening.

If you have enjoyed your experience, like I am sure you have, you can do your bit to help us to secure the future of this lovely building. 

If you would like to arrange a more detailed personal guide to the Murals and the rest of the beautiful church, please contact one of the Churchwardens

 

He called them, and immediately they left the boat and their father,

and followed Him

Matthew 4:22 KJV

Below is some of the iconography at Holy Trinity, Hildersham, which portrays the story of the verse above:

Medeival Glass at Holy Trinity, Hildersham

Click here for Matthew Chapter4

And he said to them:

"Follow me, and I will

make you Fishers of Men"

Matthew 4:18 KJV

Holy Trinity, Hildersham at Christmas 2015

This year's service of Nine Lessons and carols

is at 3pm on 20th December 2015

Hildersham Church at Christmas 2010

Here are some photos of our candle lit service of Nine Lessons & Carols held on Sunday 19th December 2010. 

This is the 135th anniversary of the first service of Nine Lessons and Carols first performed in a wooden shed outside the Truro Cathedral that was being constructed.  Bishop Edward White Benson held the service at 10pm on Christmas Eve 1880, held at this time to encourage his parishioners to spend the evening in church instead of going out carousing.  As the story is told by his son:

"My father arranged from ancient sources a little service for Christmas Eve - nine carols and nine tiny lessons, which were read by various officers of the church, beginning with a chorister, and ending with the Bishop". 

The suggestion had come from the Revd. GHS. Walpole, later Bishop of Edinburgh.

 In the following years the service became popular amongst Church clergy, no doubt helped by Benson's elevation to the Archbishop of Canterbury in 1883.  By 1884, a London publisher was distributing Nine Lessons with Carols: A festal service for Christmastide, and another edition was published by the church's SPCK (Society for Promoting Christian Knowledge) making special reference to the Truro original.

Hildersham Church 9 Lessons and Carols 19 December 2010

 

Hildersham Church 9 Lessons and Carols 19 December 2010

 

The world famous service of Nine Lessons and Carols is of course the one held locally at Kings College, Cambridge.  This was first held on Christmas Eve 1918 inaugurated by the new Dean of King's College, Eric Milner-White. 

The date of the service is very important and it puts the service in context.  It was just at the end of the First World War, Eric Milner White before the war was the was the chaplain of Kings College.  He joined the army in September 1914 and he had spent 4 years at the western front amid "the roar of shaking great guns" and the sight of "bowed and grimy men in mud-brown dress, torn and stained and even bloody".

Milner returned to Kings College in July 1918 and was soon elevated to Dean of the College.  One of his first acts was to hold the memorial service for the war dead of the college on November 2nd 1918, the roll of honour that was read aloud included 199 names of King's men who had fallen in the conflict.  The dead included the poet Rupert Brooke, but also graduates, undergraduates, choral scholars, college staff members and 18 men who had been boy choristers.

The fledgling BBC first broadcast the service in 1928, it missed 1929, but returned in 1930 and has never missed since.

During WW2 you had to be a hardy soul to go to the service as all the Stained Glass had been removed and replaced with shutters and with it went all the heat.  The glass was stored locally in the caves at the Lime Kiln in Balsham.

Christmastide Wall Paintings at Hildersham

There are also two very special wall paintings that are very apt at this time of year, they were painted in 1890 during the last period of Victorian Restoration.  The artists were Clayton & Bell, the architect Charles Alban Buckler, and the designs were paid for the rector's sister Elizabeth Hemington-Goodwin, with the leading Cambridge Camden Society rector, the Revd Robert Goodwin firmly in Charge.

The Nativity - Clayton & Bell 1890

The Epiphany - Clayton & Bell 1890

Engraving of the Church by J S Clarke December 1894

Hildersham Church December 2010

Hildersham Church December 2010

 

Hildersham Church 9 Lessons and Carols 19 December 2010

Hildersham's Medieval Stained Glass

Below are some photos of images of Hildersham's Medieval Stained Glass, some still fitted in the church, some long lost, but most of them were recorded in 15 paintings in 1802 by Thomas Fisher in his book Cambridgeshire Churches of Antiquity vol H-L which came up for auction a few years ago and was bought by the Society of Antiquaries, Hildersham paid towards the images being digitised.

"The Fisher (Cambridgeshire) Collection consists of 33 items, most of which are drawings by Thomas Fisher, many dated 1802. The subjects of these drawings are churches and church monuments from various locations in Cambridgeshire. They were probably purchased in 1837 by John Bowyer Nichols, and bound while in his possession. The volume was purchased by the Society of Antiquaries in 2001, from the collection of Lt. Col J C W Francis"

Hildersham in its north wall of the nave has two superb 13th century stained glass windows, although they have been heavily restored in the 19th Century

13th Century window showing St. James the Greater with St. Martha, the Bustler coat of arms is in the tracery

13th century window of St. John the evangelist & St. Mary Magdalene, the De Vere coat of arms is in the tracery.  Below is a close up of Mary Magdalene & below that a painting by Thomas Fisher in 1802 showing missing glass replaced by Clayton & Bell in 1865

Painting in 1802

There are other fragments of glass in odd bits of tracery like the censing angel in the piece below

Other paintings in 1802 by Thomas fisher show glass lost forever

This beautiful image of the Holy Trinity

St. Christopher

 St. Peter

In the South East window of the Bustler Chapel demolished in 1803 were these images of St. Peter and St. Paul.  They artist had great trouble with St. Paul's feet and St. Paul must have struggled with those huge keys.

Thomas fisher wrote on the bottom of the painting "Memorandum the head of St. Paul has been broken and an apparent female head has been placed in it.  Well the head is definitely not Paul, who is normally shown without much hair, with a beard, was this a head of a previous St. John?

 

St. Paul from a image in one of the Clayton & Bell windows in the nave.

There is a painting by Thomas Fisher in 1802 of this lovely bearded saintly figure.

Above is a Thomas Fisher painting of the 4 light north window of what Thomas called the Rector's Chancel.  This window was replaced in the 1855 first restoration period, however the Christ giving a blessing image has been preserved in a Victorian window upper tracery

Painting of Christ giving Blessing

Medieval Stained Glass of Christ giving Blessing

Crowned Mary & baby Jesus

Memling, ca. A.D. 1487

In the Medieval glass inserted into the same window as the Christ image you can clearly see Mary Breast feeding baby Jesus this is an image that is quite common in Mediaeval paintings and stained glass.  Click here & here

 

Mary's milk was seen as an expression of her Motherly humanity to all mankind, in a scene entitled The Lactation of Saint Bernard of Clairvaux

An engraving of The Lactation of Saint Bernard of Clairvaux. Virgin Mary is shooting milk into the eye of Saint Bernard of Clairvaux from her left breast which allegedly miraculously cured an eye affliction

The Virgin Mary at Ickleton in their Doom Painting, baring her breast to take on the sins of the world.  Her arms outstretched like this was the original way people prayed, they later raised their hands up straight to the sky. It was only in the 8th century that hands were held together

 

From 'The imagery of British Churches' [M. D. Anderson 1955]:

' The posture with hands joined was unknown alike to pagan antiquity and early Christianity; it appears first in the 8th century, but did not become popular until the 12th century.  Dom Loius Gugaud suggests that it may have been derived from a teutonic feudal ceremony since it was known as a juridical form of homage long before it was adopted as a devotional attitude.  The kneeling vassal placed his hands , held palm to palm, between those of his over-lord who, when the oath of allegiance had been pronounced, kissed him and accepted him as his liege man.  In the Middle Ages it probably suggested a spiritual counterpart to feudal loyalty, and this explains why, on most medieval effigies, we see finely tapered hands pressed palm to palm as though they waited in cinfidence the accepting clasp of their creator'

Your soul was always shown as a baby or young child being carried up to heaven by an angel.  The image below is from the Office of the Dead in a Book of Hours.

---ooo000ooo---

Holy Trinity

Below is some of the iconography at Holy Trinity, Hildersham, which portrays the many images of the Holy Trinity

Mural of the Holy Trinity above the east side of the chancel arch

painted by Clayton and Bell in 1890

The arms of the Holy Trinity

The Holy Trinity as three fish on a nave kneeler

Holy Trinity star on a candelabra

Holy Trinity as three fish made from mosaic tiles

The Holy Trinity as three hares in Medieval glass at Long Melford

The Holy Trinity shown rarely as three men at the coronation of the Virgin Mary who has a new head at Holy Trinity, Goodramgate, York

 

Holy Trinity in the south

transept roundel

 

Holy Trinity star on a gravestone

 

Holy Trinity 'T' in chancel stained glass

Holy Trinity 'T'

in chancel roof murals

 

 

Above is a Clerestory windows showing the inter-woven Holy Trinity Star a common image at Hildersham here are some more

 

Above is a Clerestory windows showing the inter-woven Holy Trinity Star a common image at Hildersham

Holy Trinity star on a Chancel Chair

 

Holy Trinity from the Memorial brass of  Henry Paris (Parys) 1466

below is a painting of 1803 by Thomas Fisher, when it still had it's head and dove.  It shows Adam's Skull at the bottom of the cross, click here to read about the story of this from the Golden Legend of 1275

Holy Trinity in East Window top tracery stonework

Easter Sepulcre

Below is some of the iconography of the Easter Sepulcre at Holy Trinity,

Hildersham

From the above Thomas Fisher painting of 1803, you can see the Easter Sepulcre with the Henry & Margaret Parys Brass of 1427 sitting on top. Robert goodwin in the 1855 restoration removed this brass and set in the floor and then placed an Medieval tomb slab on top of the plinth in the Easter Sepulchre

 

Easter Sepulchre prior to

19th restorations with brass clearly on top

Easter Sepulchre as drawn by William Cole in 1462

Easter Sepulchre as it is today post Victorian transformation into a Knight's Templar tomb, with the Medieval tomb slab on top

 

Busteler Wooden Effigies

Below is some of the iconography of the Busteler wooden effigies that used to be at Holy Trinity, Hildersham.  They were stolen on the 14th December 1977, they are in Holland, but are sadly beyond our reach.

 

William Bustler & his Lady 1334

(as seen in north corner of the nave)

William Bustler & his Lady 1334

(as painted in the old Bustler Chapel in 1803

just prior to the chapel being demolished)

 

William Bustler & his Lady 1334

(as seen in north corner of the nave)

In 1803 Thomas Fisher painted the Wooden Effigies at Hildersham, sadly these were stolen in 1977.  Here are the paintings that make them look like stone!!

 

William Bustler Knight

Thomas Fisher painting

William Bustler Knight

drawing

William Bustler Knight

photo

William Bustler Knight

Thomas Fisher painting

 

Lady Bustler

Thomas Fisher painting

Lady Bustler

Drawing

Lady Bustler

Thomas Fisher painting

Lady Bustler

Photo

Alabaster Reredos

(Designed by Charles Alban Buckler

and made by Rattee & Kette)

Memorial Brasses

Below is some of the iconography of the Memorial Brasses at Holy Trinity, Hildersham.  As seen in the 1803 paintings of Thomas Fisher

The church contains four brasses, two of which are extremely good. They are to the memory of members of the Paris Family: Robert de Paris, c.1379, & Henry de Paris, 1466. The former is a beautiful cross, with an open floriated head, in the centre of which is a representation of the Most Holy Trinity, the First Person being seated on a throne, holding a crucifix. There should be an emblem of a Third Person, but this is gone, unless the ‘Nimbus’ round the Saviour’s head is it.

Robert & Aleinora Parys 1408

Robert & Aleinora Parys 1408

depicting a 'Seat of Mercy' as their is no Dove

This was the usual manner of representing the Godhead. The cross has fine crockets issuing from the stem on either side.

Right & left are the figures of Robert de Paris (of Caermarthen) & his wife (Alienora), kneeling with clasped hands. He wears a ‘Cote-hardie’, reaching to the thighs, fastened up the breast with a number of buttons. Over the shoulder is a ‘Mantle’ with a hood or collar, & the legs are enveloped in tight fitting hose. A handsome ‘Bawdrick’ is buckled round the loins.

His wife is attired in a long dress, & wears a ‘Kerchief’ on her head, falling over her shoulders. This brass is a typical one of the period to which it belongs, as is well known to collectors of rubbings.

From Haines 'Manual of Monumental Brasses'

" One of the finest products of the late fourteenth century is to be found at Hildersham.  In the head of a multi-foil cross is a representation of the Mercy-Seat Trinity: God the Father, enthroned, holds the Crucified Son (the Dove of the Holy Ghost is omitted, a not uncommon mistake).  Below, on either side of the cross, kneel a man and a woman, accompanied by coats of arms. He wears a mantle buttoned at the shoulder over a short padded tunic. A ballock-hafted dagger is suspended from his belt. She is clad in a loose cote, buttoned down the front, with lappets over the buttoned sleeves of her kirtle, and has a stiffened veil. Great attention is paid to the details such as the creasing of the man's hose at his knees.  

Usually this brass has  been dated to 1408 and the figures identified as Robert Parys the younger and his wife. However, the style of the costume, the physiognomy of the figures and the trefoil terminals of the cross all point to a date in the late 1370s or 1380s, indicating that those commemorated are in fact Robert Parys the elder (d. by October 1377) and his wife Eleanor Ie Busteler. It is remarkable that the representation of the Trinity on this and on a later Parys brass survived, although all the inscriptions have been removed.

Dowsing's diary reveals that the task of defacement was left to the churchwardens, perhaps the Parys family, who with the Huddlestons of Sawston were the leading Catholics in the county, intervened to ensure that damage was kept to the minimum ".

 

 

a 'Seat of Mercy' as their is no Dove

a 'Seat of Mercy' as their is no Dove from a Shell Guide

a 'Seat of Mercy' as their is no Dove

Henry and Margaret Parys 1427

The third brass is a small one to Henry and Margaret Paris 1427, & is of the ordinary type of an early 15th Century knight in plate armour.

 

Paris or Parys Coat of Arms

Henry Parys 1466

The second brass, which commemorates Henry Paris Esq., (c.1466) shews the figure of a knight in full armour of the period, recumbent beneath a canopy.

Henry Parys 1466

It is curious, as shewing the rest for the ‘Tilting-Lance’ on the right side of the breast-plate. The canopy is a good one with two pinnacles. The arms of Paris – gu., three unicorns’-heads couped or, a bordure engr. of the second – are placed each side of the pediment. These arms, as also another coat, a cross fleury, are shewn in the earlier Brass.

The inscriptions to both are gone, but that to Henry Paris is preserved by Cole:-

Hic jacet Henricus Parice armiger,

quondam Dominus istius ville

et patronus istius eccíesie…..

die mens: Junii AoDni Millmõ…..

Translated as:

Here Lies Sir Henry Paris

Sometime Lord of the Manor

& Patron of this Church

Died June 1466

 

Close up of the Holy Trinity on the brass below,

note the dove whispering in Gods ear

 

Mortality Brass 1530

 

Mortality Brass 1530

Originally nailed to the Sacristy door to

deter people stealing the Holy Sacraments

 

 

 

 

 

 

 

 

 

Holy Trinity Arms at

Hildersham

Church Services

for 2015

[see centre panel

for more details]

1st Sunday of month

6pm Sung Evensong

(Evensong Large Print Version)

2nd Sunday of month

9.15am Holy Communion

with children's activities

(Order Two

Large Print Version)

3rd Sunday of month

4pm 'Cafe Church'

Click on link above for details of this month's service

4th Sunday of month

9.15am Holy Communion

with children's activities

(Order One Large Print Version)

5th Sunday of month

see locally for details

Large Print Versions

of Services

Order One

Order Two

Evensong

 

Click on the above logo

to go to the Seven Churches webpage

Click on the above logo

to go to the Granta Deanery webpage

Top Altar Step Tiles

 

Pelican in Piety

Agnus Die

 

Minton

Mid-level altar step tiles

 

Solomon's Seal

IHS

Minton Tilemid-level altar steps set of tiles with the

Apostles attributes

Minton Tile set of the

Eagle of St. John

Minton Tile set of the

Winged Bull of St. Luke

Minton Tile set of the

Winged lion of St. Mark

Minton Tile set of the

Winged man of St. Matthew

Sacristy Floor tiles

Thought to be part

of a sample pack

 

Maw and Co.

Lower altar step tiles

Cross

Fleur de Lis

 

 

 

 

 

 

 

 

 

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