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Gothic Revival at Ditteridge Church Alan Payne May 2024 Of course, St Christopher’s isn’t a neo-Gothic church. But that begs the question why the Ruskin follower, architect Edward William Godwin, rebuilt the East window of the church in High Victorian style in 1859-61 and installed most of the stained-glass windows. To understand this story, we need to look at the situation of Ditteridge Church at that time. Restoration at St Christopher’s Parish, 1859-61 Ditteridge parish was a poor living, recorded in 1851 as having no residence fit for the minister.[1] The rector, Reverend George Mullins came over from Corsham each Sunday to take services, after he had moved from The Wilderness, Box, to Corsham Almshouses in about 1845. The population of the parish was small at 119 persons and the parish had a rateable value of only £554. Opposite St Christopher’s Church was a converted barn used as the local school for 15–20 children at one end of the building whilst the schoolmistress lived in the other end. (The building later became the church vestry for a short time.) The east window restored and replaced under Godwin’s directions (photograph courtesy Carol Payne) |
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Rev George Mullins was a keen archaeologist and made several discoveries about the Roman Villa in Box, which he had recorded in the Gentleman’s Magazine of 1831 (and later published by the Wiltshire Archaeological and Natural History Society). These interests connected George with a group of like-minded professional men but it is unlikely that he commissioned the work at Ditteridge Church as he was under considerable financial pressure and at the end of his tenure of the advowson of Ditteridge Church before he sold it to William Neston Heathcote in 1857.
The work needed to the church was comparatively simple – the rebuilding of portions of the south wall and the replacement of the old windows with stained glass. The work did not need an architect but one was appointed, Edward William Godwin from Bristol.[2] Edward was very active as an antiquary from his youth and got to know Rev Gilbert Heathcote (1816-79), the vicar of Colerne, when both were, essentially, founder members of the Wiltshire Archaeological and Natural History Society. In 1853 Edward and Gilbert were involved in excavating a Roman villa near Colerne and in 1855 Edward was appointed to work on improvements to Colerne Church, including replacing the pulpit and the east window there with both glass and tracery.
The work needed to the church was comparatively simple – the rebuilding of portions of the south wall and the replacement of the old windows with stained glass. The work did not need an architect but one was appointed, Edward William Godwin from Bristol.[2] Edward was very active as an antiquary from his youth and got to know Rev Gilbert Heathcote (1816-79), the vicar of Colerne, when both were, essentially, founder members of the Wiltshire Archaeological and Natural History Society. In 1853 Edward and Gilbert were involved in excavating a Roman villa near Colerne and in 1855 Edward was appointed to work on improvements to Colerne Church, including replacing the pulpit and the east window there with both glass and tracery.
Part of the south wall of the Church was restored by Godwin (courtesy Carol Payne)
William Neston Heathcote, 1827-94
In 1857 Gilbert’s second cousin, William Neston Heathcote, was appointed rector at Ditteridge. William was the son of Rev Thomas Heathcote (1789-1859) and Georgiana Fuller (1797-1881), who lived at Farley Chamberlayne, Hampshire. William was awarded his Bachelor of Arts from New Inn Hall, Oxford University, in 1851 and was ordained in 1856. He married Juliana Ludlow Bruges (1838-1867) from Melksham in 1858, who was the daughter of Richard Duppa Toovey, Esq, of Westerham, Kent.
In 1857 Gilbert’s second cousin, William Neston Heathcote, was appointed rector at Ditteridge. William was the son of Rev Thomas Heathcote (1789-1859) and Georgiana Fuller (1797-1881), who lived at Farley Chamberlayne, Hampshire. William was awarded his Bachelor of Arts from New Inn Hall, Oxford University, in 1851 and was ordained in 1856. He married Juliana Ludlow Bruges (1838-1867) from Melksham in 1858, who was the daughter of Richard Duppa Toovey, Esq, of Westerham, Kent.
Ditteridge House (courtesy Carol Payne)
William and Juliana moved to Ditteridge House in 1860 and William became a well-known local figure, although his involvement in society matters was mostly limited in favour of family and friends. However, he did take part in the Chippenham Agricultural Society dinner of 1863 when he proposed a toast of Unity and Loyalty (to the crown) and referred to the way that Wiltshire men pulled together with the great respect they had for old things and old customs.[3] He was a founder member of the North Wiltshire Conservative Society in 1880.[4] Because of his lengthy incumbency, William often represented the Ditteridge community. His advocacy was important to WJ Browne for nomination to the newly-formed Wiltshire County Council in 1889.[5] William died in 1894 and is buried in Ditteridge Churchyard.
William and Juliana had three daughters: Gertrude Ellen Beatrice (1860-1941), Agnes Blanch Evelyn (1863-1929), and Frances Maud (1863-1912). Juliana died in 1867 and William married again to Isabella Lingwood Toovey (1826-1900) at the outstandingly beautiful, High Anglican church of St George Hanover Square, Mayfair, London in 1868. Of the children, Gertrude married Rev George Evans Lewis from Colerne in 1895 but Agnes and Frances never married. Frances was a gifted musician and in 1899 she gave a performance on the harmonium at the British and Foreign Bible Society celebrations in Box.[6] She regularly played the organ at St Michael’s Church, Bath, and her funeral there was a rather grand affair, with several carriages, choral service and numerous distinguished mourners.[7]
William Neston Heathcote was rector of St Christopher’s for 34 years until his death at Ditteridge House in 1894.
William and Juliana had three daughters: Gertrude Ellen Beatrice (1860-1941), Agnes Blanch Evelyn (1863-1929), and Frances Maud (1863-1912). Juliana died in 1867 and William married again to Isabella Lingwood Toovey (1826-1900) at the outstandingly beautiful, High Anglican church of St George Hanover Square, Mayfair, London in 1868. Of the children, Gertrude married Rev George Evans Lewis from Colerne in 1895 but Agnes and Frances never married. Frances was a gifted musician and in 1899 she gave a performance on the harmonium at the British and Foreign Bible Society celebrations in Box.[6] She regularly played the organ at St Michael’s Church, Bath, and her funeral there was a rather grand affair, with several carriages, choral service and numerous distinguished mourners.[7]
William Neston Heathcote was rector of St Christopher’s for 34 years until his death at Ditteridge House in 1894.
Left: Tomb of Rev WN Heathcote and Right: his daughter Agnes in Ditteridge Churchyard (courtesy Carol Payne)
Edward William Godwin, 1833-86
At the time of the restoration work at St Christopher’s, both William (aged 32) and Edward Godwin (aged 26) were young men. Edward had just returned from two years in Londonderry, Ireland, and started studying the philosophy of John Ruskin for the first time.[8]
His work comes across as meticulous in its planning and implementation as shown by these plans for the original design, which are now held in the Metropolitan Museum, New York. He made one small alteration to the final design, however, removing the cross pews for the squire of Alcombe next to the chancel.
At the time of the restoration work at St Christopher’s, both William (aged 32) and Edward Godwin (aged 26) were young men. Edward had just returned from two years in Londonderry, Ireland, and started studying the philosophy of John Ruskin for the first time.[8]
His work comes across as meticulous in its planning and implementation as shown by these plans for the original design, which are now held in the Metropolitan Museum, New York. He made one small alteration to the final design, however, removing the cross pews for the squire of Alcombe next to the chancel.
Above: Godwin’s plans for the footprint of the church and Below: the design of the east window.[9]
The Devizes and Wiltshire Gazette carried a full report of the restoration on 17 January 1861, saying, a more perfect restoration has seldom been completed. In the course of the works, a Norman window and a small decorated window were discovered, together with two recesses in the south wall of the nave, two early English fragments of cornices for rood beam, two consecration crosses, and some broken fragments of encaustic tiles.
The newspaper reported that the south wall was rebuilt using the original stone, but it is probable that only the part of the wall around the porch was involved, where the 15th century entrance porch had cut through the Norman outer arch and door jambs. The scratch dial on the right of the porch remains intact, probably in its original position. Godwin appears to have raised the roof of the porch to make the Norman arch fully visible.[10] The dedication crosses in all four corners of the church appear to have remained intact, suggesting that the church is still on its original footing of 1097.
The newspaper reported that the south wall was rebuilt using the original stone, but it is probable that only the part of the wall around the porch was involved, where the 15th century entrance porch had cut through the Norman outer arch and door jambs. The scratch dial on the right of the porch remains intact, probably in its original position. Godwin appears to have raised the roof of the porch to make the Norman arch fully visible.[10] The dedication crosses in all four corners of the church appear to have remained intact, suggesting that the church is still on its original footing of 1097.
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Above left: The chancel floor and Right: Godwin’s decorated pulpit (both courtesy Carol Payne)
The bell turret was restored and Godwin preserved as much of the roof timbers as he could. The floor of the chancel was re-laid with floor tiles manufactured by Minton, Hollins and Co, which were acquired for £20.[11] The design is striking and intricate with bold red, black and yellow blocks of colour.
The magnificent pulpit is probably his first Ruskin-esque work. There is an earlier design of the pulpit that is much less original, more typically Gothic Revival. The carved decoration on it was taken from Ruskin’s Stones of Venice and was carved by Edwin White to Godwin’s design.[12]
Perhaps the most interesting of Godwin’s work was replacement of the stain glass windows. The East window (in headline photograph) has been described as High Victorian and depicts the life of Christ, showing his birth, baptism, the body taken from the cross, and his appearance to his disciples at supper at Emmaus after the resurrection. All the windows apart from the West window are by him. Typically, later on, Edward supplied quite a detailed sketch design to the maker, who would then draw it more finely for corrections, and then full-size cartoons would be made by the maker or an artist working for him. The 1861 newspaper report ended with the words that the works were under the direction of EW Godwin, architect of Montpelier, Bristol and by far the greatest part of the expense falls upon the rector, the Rev WN Heathcote.
Godwin went on to become a renowned designer and architect who was instrumental in introducing Japanese culture into Britain and championing the arts and crafts movement. His work covered furniture, wallpaper, and theatrical costumes and scenery.
The magnificent pulpit is probably his first Ruskin-esque work. There is an earlier design of the pulpit that is much less original, more typically Gothic Revival. The carved decoration on it was taken from Ruskin’s Stones of Venice and was carved by Edwin White to Godwin’s design.[12]
Perhaps the most interesting of Godwin’s work was replacement of the stain glass windows. The East window (in headline photograph) has been described as High Victorian and depicts the life of Christ, showing his birth, baptism, the body taken from the cross, and his appearance to his disciples at supper at Emmaus after the resurrection. All the windows apart from the West window are by him. Typically, later on, Edward supplied quite a detailed sketch design to the maker, who would then draw it more finely for corrections, and then full-size cartoons would be made by the maker or an artist working for him. The 1861 newspaper report ended with the words that the works were under the direction of EW Godwin, architect of Montpelier, Bristol and by far the greatest part of the expense falls upon the rector, the Rev WN Heathcote.
Godwin went on to become a renowned designer and architect who was instrumental in introducing Japanese culture into Britain and championing the arts and crafts movement. His work covered furniture, wallpaper, and theatrical costumes and scenery.
Conclusion
John Ayers described the work in his marvellous booklet, One Bell Sounding with this description:
The East window has medallions of the nativity, Christ's baptism, the deposition (Christ's body being taken from the cross) and the Supper at Emmaus. The two windows in the choir depict the symbols of the Four Evangelists and the Twelve Apostles. Near to the pulpit the figure of Moses and a scribe depict the Law and the Prophets (or the Old and New Testament). The designs from the destroyed medieval wall painting are depicted in the glass of the window beside the lectern (though a fish replaces the mermaid!).
John Ayers described the work in his marvellous booklet, One Bell Sounding with this description:
The East window has medallions of the nativity, Christ's baptism, the deposition (Christ's body being taken from the cross) and the Supper at Emmaus. The two windows in the choir depict the symbols of the Four Evangelists and the Twelve Apostles. Near to the pulpit the figure of Moses and a scribe depict the Law and the Prophets (or the Old and New Testament). The designs from the destroyed medieval wall painting are depicted in the glass of the window beside the lectern (though a fish replaces the mermaid!).
References
[1] Rev John Ayers, One Bell Sounding: A Brief History of Ditteridge and its Church, 1992
[2] I am indebted to Dr Aileen Reid of the Survey of London at the Bartlett School of Architecture, University College London, for many of these details. Her book on EW Godwin (1833-86) will be published by Liverpool University Press/Historic England in 2025.
[3] Devizes and Wiltshire Gazette, 3 December 1863
[4] Marlborough Times and Wilts and Berks County Paper, 19 April 1884
[5] Devizes and Wiltshire Gazette, 17 January 1889
[6] Courtesy Jane Browning
[7] The Clifton Society, 9 May 1912
[8] Courtesy Dr Aileen Reid
[9] Details Metropolitan Museum, New York, Accession Number 63.681.8
[10] I am indebted to Rev John Ayers for explaining the details of church consecration and its relevance in Ditteridge Church.
[11] Susan Weber Soros, EW Godwin, 1999, The Bard Centre for Yale University Press, p.301
[12] Susan Weber Soros, EW Godwin, 1999, The Bard Centre for Yale University Press, p.140
[1] Rev John Ayers, One Bell Sounding: A Brief History of Ditteridge and its Church, 1992
[2] I am indebted to Dr Aileen Reid of the Survey of London at the Bartlett School of Architecture, University College London, for many of these details. Her book on EW Godwin (1833-86) will be published by Liverpool University Press/Historic England in 2025.
[3] Devizes and Wiltshire Gazette, 3 December 1863
[4] Marlborough Times and Wilts and Berks County Paper, 19 April 1884
[5] Devizes and Wiltshire Gazette, 17 January 1889
[6] Courtesy Jane Browning
[7] The Clifton Society, 9 May 1912
[8] Courtesy Dr Aileen Reid
[9] Details Metropolitan Museum, New York, Accession Number 63.681.8
[10] I am indebted to Rev John Ayers for explaining the details of church consecration and its relevance in Ditteridge Church.
[11] Susan Weber Soros, EW Godwin, 1999, The Bard Centre for Yale University Press, p.301
[12] Susan Weber Soros, EW Godwin, 1999, The Bard Centre for Yale University Press, p.140