# Archaeological Journal/Volume 3/Notices of New Publications: The Churches of the Archdeaconry of Northampton

CHANCEL OF HIGHAM FERRERS CHURCH. [LOOKING WEST] Published by John Henry Parker. Oxford-March 1st 1846.
The Churches of the Archdeaconry of Northampton. Published by the Architectural Society of that Archdeaconry.—Number 1. Higham Ferrers.
The Churchyard Cross, with the Bede house and Vicarage, Higham Ferrers.
The subject of this work can hardly be considered as one of mere local interest. The county of Northampton comprises specimens illustrative of the progress of Ecclesiastical architecture in England from the rudest and earliest efforts to the last decline of the art. Within sight of each other are the supposed Saxon tower of Earl's Barton and the beautiful Perpendicular church of Whiston, of the sixteenth century; and within a short distance of these, in the district which is now undergoing the careful survey of the Northamptonshire Architectural Society, are some of the finest examples known of the intermediate styles. Many of these churches are remarkable for a fine outline; and some of them have details of a richness and delicacy of execution not easily surpassed. Although they are mostly parochial, ​they present much variety of character. The central tower is not a common feature, but of western towers we meet with almost every variety: the broach spire, of which Raunds is a magnificent example; the steeple, with the parapet, pinnacles, and flying buttresses, as at Higham and Rushden; the octagonal lantern, seen at Fotheringhay, Lowick, and Irthlingborough; the square tower, plain, embattled, or finished with a rich capping of pinnacles, as at Tichmarsh, present themselves to the eye in succession. One of the only four round churches in the kingdom belongs to this county. As we look into the interiors, we find in some of the churches new and interesting features. The pierced straining arch occurs in more than one instance, with excellent effect. There are also a few bell-gables, which might be copied to advantage. The late Norman belfry at Northborough, and the three-arched gable at Peakirk, may be noticed. It should be remembered also, that the county of Rutland is comprised within the arch- deaconry, and consequently forms part of the plan of this work. We need scarcely observe, that it is equally celebrated for fine churches with its neighbour.
The church which has been selected for the first number of the series is in some respects one of the most curious and interesting. Its double nave and chancel form an arrangement almost unique; and the tower and spire, though restored in the seventeenth century, after partial destruction, may be regarded as authentic, and they are very beautiful specimens of the style in which they were originally built. At the entrance, under the tower, "the inner doorway is double, being divided by a shaft or pier, an arrangement not uncommon in cathedral or conventual churches in this style, but rarely met with in parochial buildings. The heads of the two openings are low segmental arches having their architraves, as well as the jambs on each side, richly ornamented with foliage and small figures: within is a small shaft or rather bowtell, with a distinct base, but running uninterruptedly into the architrave without any capital. Between the jamb mouldings of the two openings, in the centre of the pier formed by them, is a small shaft which blossoms, as it were, into a rich capital of foliage without any astragal; this supports a large square abacus, the upper moulding of which is continued as a string-course over the heads of the two arches, and supports the base of a flat trefoil-headed niche; the statue is gone, and the lower part consequently left quite bare, but the upper part is diapered. The remainder of the tympanum on each side the niche is filled with circles containing sculptures of events in sacred history, five on each side: the interstices are filled with foliage."
Mr. Freeman, to whom the description of this church has been entrusted, notices carefully the junction of the old work with that of the later restorations, and the difference of the masonry; this is a matter which, in every case, demands our strictest attention, as it may often enable us to supply tests of authenticity ; and the modes of construction by which old work is made available, even in the carrying out of new designs, are not among the least interesting subjects. The researchers of Professor ​Willis at Canterbury and Winchester have opened a new field to the architectural antiquary. It may be doubted whether the bulging of the spire is a mark, as Mr. Freeman supposes, of the lateness of its erection. Several spires, especially in Lincolnshire, are so much sugar-loaved, that we must look upon them as so designed and constructed originally, as no possible alteration could account for their present form. Of these we may notice Caythorpe in Lincolnshire.
Window and Priest's Door.
The Decorated windows in this church are principally of the reticulated character, which is nowhere uncommon, and is very prevalent in Northamptonshire. This kind of Decorated window is the one most successfully imitated in the present day. Some of the windows have ogee heads, a feature somewhat peculiar to this district. Of the porch, "the outer doorway has shafts with good moulded capitals, and very beautiful foliaged terminations to the label; the inner doorway, though mutilated, is a good example of the style, and from the use of the square abacus, although there is no other vestige of Norman character about it, would appear to be early in the style, and therefore, in all probability, the most ancient feature of the church. It has four shafts to the jambs, and the architrave is well, al- though not very richly, moulded. The gable of this porch is not low, but has been higher than at present, as appears from the gablet, which is adapted to a considerably higher pitch than now exists."
The church of Higham Ferrers is rich in monumental brasses, and has an example of tile-pavement, which is valuable, from the few which remain of original arrangement. "The steps which led to the High Altar remain, they are covered with indented and encaustic tiles, laid in various patterns, one of these being a lozenge formed by a square black tile, scored in squares, as a centre, surrounded by four narrow yellow bordering tiles, having a small black one at each angle. Another part of the steps is laid down with lozenge-shaped tiles.
"The tiles used here are different from those generally met with; the device or pattern is generally pressed into the soft clay, and the impression so produced is tilled up with a light-coloured clay previous to the tile being glazed; but in these the outline only of the pattern is pressed into the clay, and the whole surface is glazed over of one uniform colour.
"In the upright part of the steps, or risers, as they arc called, three ​patterns of coloured tiles (a lion passant and two heraldick antelopes) are used, but these are formed like the rest, the outline of the figure is indented, and the figure itself painted on the surface before glazing. These tiles are used with two other kinds in a regular alternation as follows:—a painted tile, a square black tile divided with indented lines into nine squares, the centre one being yellow, a narrow yellow bordering tile with two indented flowers, the black tile as before, and lastly a painted tile." We understand that the Society propose to give an engraving of this remarkable pavement in the next number.
The Font, Higham Ferrers.
"The Font, which is Early English, stands on two circular steps and an octagonal base in the north aisle. Its shaft is square, rounded at the angles, and very deeply depressed at the sides, so as to give the appearance of four shafts around a central column. Both the bases and capitals of these quasi shafts are rudely moulded, and on them rests the octagonal bason, of unequal faces, and a little wider at the top than at the bottom. Three of the faces are sculptured, that facing east with a Maltese cross, with the top of a staff attached to the lower member, and foliated rays issuing from the centre."
The very careful and accurate description of the church is followed by three or four pages called the "Architectural History" of it, much of which must be considered as Mr. Freeman's theory rather than as authenticated "history," and we could have wished that some other title had been chosen for this essay. For instance, Mr. Freeman asserts as matter of "history," that "about 1340 further alterations were made. . . . .Another north aisle was added, the pointed windows of the original aisle being removed into the north wall, but to adapt them to its smaller height, they were converted into square-headed ones." This statement is opposed to the evidence of the building itself: the sections of the mouldings of the capitals in this aisle, given in p. 15, are of earlier character than any of the others, rather than later, and the alleged alteration of the windows is very improbable.
The other buildings worth notice are the chapel, westward of the church, ​now used as a school. The bede-house, which stands to the south of the church, and has some fine late Perpendicular work, with a beautiful bell-niche at the west end, and the college, the front of which is seen in the street. These works are by Archbishop Chichele.
We hope this first number fairly represents the future character of the work. From the beauty and variety of the subjects on which those who have undertaken it are engaged, there need, at no point, be a falling off of interest in the matter; while the names of Mackenzie, Le Keux, and Jewitt are a sufficient guarantee that the artists will do justice to the subjects. We are indebted to the Society for the specimen plate and woodcuts, which will enable the Members of the Institute to judge of their execution. The faithful and accurate description which Mr. Freeman has given of Higham Ferrers church, will be an excellent guide to his companions in the same field; and it is to be hoped that the exertions of this and other Societies will shortly enable the ecclesiastical antiquary to form a clear estimate of the local merits and peculiarities of our medieval architecture.