An Archaeological Building Record of the Parish Church of ... · Figure 16 Snecked rubble construction. 18 Figure 17 East wall of north transept. 19 Figure 18 Construction tie-in

An Archaeological Building Record of the Parish Church

of St. Mary, West Harptree, Bath & Northeast Somerset.

This report has been written in general accordance with English Heritage

guidelines for an analytical record at Level Three.

Vincent J. Simmonds BSc (Hons) PGCert FGS

April 2011.

An Archaeological Building Record of the Parish Church of St Mary, West Harptree, Bath & Northeast Somerset. Vince Simmonds, 2011.

Contents: page

Title page

Contents

Figures, tables, etc.

Introduction

Fieldwork

The initial phase

The measured survey

The exterior investigation

The west tower and spire

The south aisle and porch

The east chancel

The north transept and the north side of the nave

Roof covering

The interior investigation

The porch and aisle

The chancel

The transept

The nave

The tower

Documentary evidence

Conclusion

Bibliography

1

2

2

3

8

8

12

17

17

22

23

23

27

28

28

30

32

35

39


Figures and tables:

page

Figure 1 A view of the south and east faces of the Parish Church of

St. Mary (also on title page).

1

Figure 2 The Parish Church of St. Mary’s prominent position. 2

Figure 3 A schematic diagram of the church layout. 4

Figure 4 Plan of the Parish Church of St. Mary, West Harptree. 5

Figure 5 The lower west tower. 8

Figure 6 Random rubble construction and evidence of plaster in the

tower.

9

Figure 7 The copper clad spire. 10

Figure 8 West end of the south aisle showing construction tie-in. 11

Figure 9 East wall of the porch with construction courses. 12

Figure 10 Gothic Decorated window with flattened head in the south

aisle.

13

Figure 11 Window in Gothic Decorated style at the west end of the

aisle.

14

Figure 12 Gothic Perpendicular window with four lights in the aisle. 15

Figure 13 Gothic Perpendicular window with three lights at the east

end of the aisle.

16

Figure 14 Gothic Perpendicular window in the east façade of the

chancel.

16

Figure 15 Contrasting construction materials in the south aisle and

east chancel.

18

Figure 16 Snecked rubble construction. 18

Figure 17 East wall of north transept. 19

Figure 18 Construction tie-in at the northwest corner of the nave. 20

Figure 19 Gothic Early English window on the north side of the nave. 21


Figure 20 Looking east along the south aisle. 23

Figure 21 The arcade between the nave and aisle. 24

Figure 22 The lean-to roof of the aisle looking east. 25

Figure 23 Masonry repair and reworking in the aisle arches. 26

Figure 24 Repair and reworking of the arches at the intersection of the

nave and chancel.

26

Figure 25 The arcade separating the nave and the chancel. 27

Figure 26 The chancel roof construction. 28

Figure 27 The roof construction of the nave. 29

Figure 28 One of the carved figure head corbels that support the nave

roof.

30

Figure 29 Interior detail of higher of the slit windows in the tower. 31

Figure 30 Two images of the Church of St. Mary in 1835 and 1842. 33

Figure 31 Construction phase plan of the Parish Church of St. Mary,

West Harptree.

36

Table 1 Details of significant features just above the datum line. 7

Unless otherwise stated all photographs have been taken by

the author, V.J. Simmonds.

An Archaeological Building Record of the Parish Church of St Mary, West Harptree, Bath & Northeast Somerset. Vince Simmonds 2011.

1

Figure 1. A view of the south and east faces of the Parish Church of St Mary in West

Harptree, Bath and Northeast Somerset.

Introduction.

The Parish Church of St Mary (figure 1), West Harptree is dedicated to the Blessed

Virgin Mary and since 1976 has been part of the United Parish of East Harptree with

Hinton Blewitt. It is located on the B3114 in West Harptree occupying a central

position where the church stands at a corner full of interest in all directions (Pevsner,

1958) at a prominent road junction (figure 2) and it is within the Bath and Northeast

Somerset Unitary Authority at NGR 5603056895. It has had listed building status:

Grade II* since 21st September 1960 (www.britishlistedbuildings.co.uk).

http://www.britishlistedbuildings.co.uk/


2

Figure 2. The Parish Church of St Mary’s prominent position in the village of West

Harptree. Image reproduced from Google Earth (online access 03.12.10).

The aim of this project was to investigate the evidence for different construction

phases that might still be seen in the church building at the present time and to

produce a report that makes a record of that evidence. This report is produced,

generally, in accordance with the guidelines on the recording of historic buildings as

outlined by English Heritage (2006: 14) for an analytical report at level 3. My

gratitude is given to The Reverend Peter Farrell who very kindly gave his permission

for the survey to be carried out. A copy of the final report will be given to the parish

for their records.

Fieldwork.

The initial phase: The site is local to the author and it was possible for a number of

visits to be made whilst carrying out the investigation, it was thought that a greater

Church of St Mary


3

familiarity with the site would lead to a better understanding of the building. The

methods and equipment used during the initial stages of the investigation were basic

and mostly comprised the taking of field notes and sketches; a range of photographs

were taken using a Fujifilm Finepix S5600 digital SLR camera; a 7.5 metre tape was

used for any measurements; and an Opticron Trailfinder II WP 10 x 25 monocular

was found to be useful when scrutinizing the tower construction, eaves, and spire,

etc. The early work was concentrated on the exterior walls mainly on the stonework,

in particular noting the materials used and the construction types, a substantial

number of photographs were taken, not all of which have been used in this report.

There were some minor difficulties encountered considering that the church is, of

course, surrounded by a graveyard that is still used and visited regularly and has

some fine upstanding headstones, so great care was taken to respect these sites.

There are also a number of quite substantial trees, mostly yew that proved to be

awkward when setting out the base lines and taking photographs of fuller aspects of

the buildings, however none of these problems proved to be insurmountable. Unless

stated otherwise all the photographs used in this report have been taken by the

author.

The measured survey (figure 4): Following on from the initial phases of the

exterior and interior visual investigation a measured survey of the church building

was undertaken. The equipment used for the measured survey comprised hand-

held Silva Sight Master SM-360 R compass, Silva Clino Master CM-360-%-A

clinometer, tapes of 50 metres, 20 metres and 7.5 metres, 5 x range poles and a 5

metre telescopic measuring staff. A 5 point baseline marked A, B, C, D and E was


4

established around the building perimeter (figure 3) and between each of these

points bearing and tape measurements were taken.

N

Transept

Tower Nave Chancel

Aisle

Porch

Figure 3. A schematic diagram showing the basic exterior wall layout of the Church

of St. Mary and approximate baseline positions. No openings or any other features

are shown. Not to scale.

Tape measurement and bearings were then taken to prominent building features

such as quoins, buttresses, etc. in order to fix the position and orientation of the

building. A closed-loop ground level survey was carried out around the building

A

B C

D

E


5

Figure 4. Plan of the Parish Church of St. Mary, West Harptree

Drawn by V.J. Simmonds March 2011

Chancel

Transept

Nave

Aisle

Porch

Tower

N

ME

TR

ES


6

using hand-held clinometer and measuring staff and closure was completed with an

error of 0.01 metres. The ground level survey established a difference in ground

level between the west facing end of the church and the east facing end of 0.29

metres with the eastern end being the lowest point. A datum line with an initial height

of 1.4 metres was set-up around the building; this height was decided on for ease of

measuring and allowed for variations in ground level, the ground level differences

could then be adjusted for using the clinometer and measuring staff. The datum line

was followed around the building in an anti-clockwise direction starting at the

northwest corner of the tower, measured and any features or details it intersected

were recorded, to be included on the layout plan. Some significant window features

particularly those in the chancel and north side of the building were above the datum

line with both the exterior and interior survey, the height above exterior ground level

was noted and are detailed in Table 1 below. Churches are traditionally large, single

storey spaces often with high-set windows and for completeness the features have

been recorded on the floor plan as illustrated in figure 4 above.

The datum line was projected into the building interior and followed around in the

same direction but, rather than beginning at the tower it was started from the west

pier of the arcade that separates the aisle from the nave. Any adjustments in floor

levels could be accounted for using clinometer and measuring staff. Again

prominent features and details along the datum line were recorded and later plotted

on the layout plan; these measurements were also useful in establishing the wall

thicknesses.


7

Position Description/style Height above ground

level to sill, in metres

South face/chancel Gothic Early English,

dripstone, single light

1.78

East face/chancel Gothic Perpendicular,

dripstone, three lights

2.05

North face/chancel Gothic Early English,

dripstone, single light

2.06

North face/transept Gothic, geometric tracery,

dripstone, two lights

2.03

North face/nave,east of

doorway

Gothic Early English, three

grouped lancet, plate

tracery, dripstone

1.85

North face/nave,west of

doorway

Gothic, geometric tracery,

dripstone, three lights

1.86

Table 1. Details of significant features just above datum line not recorded on the

plan. Also above the datum line were the two slit windows in the north and south

faces of the tower and the two tiny windows in the west and east walls of the porch.

The assistance of my wife, Ros and two children, Callum (10 years) and Hazel (8

years) was greatly appreciated when carrying out the measured survey fieldwork

during a spell of particularly wintry weather.


8

Figure 5. The lower west tower showing Gothic arch doorway with dripstone

moulding and clasping pilaster buttresses at the tower corners.

The exterior investigation.

The west tower and spire: The initial phase of the investigation started with an

examination of the church building exterior commencing at the west tower. This

revealed that the stonework construction type in this part of the building (figure 5) is

mainly of random rubble style and mostly comprises of the locally derived dolomitic

conglomerate with some red sandstone material being used in the buttresses. On

the north façade there is compelling evidence that at one time the tower had been

plastered or lime-washed (figure 6). There has been considerable re-pointing work

to the stonework in the past and the best evidence for a lime mortar having been

used is seen in the tight joints of the corner buttresses. The clasping pilaster


9

buttresses are squared, close butted red sandstone and on some of the blocks

evidence of the stone mason’s tool-marks can clearly be seen.

Figure 6. Random rubble construction using dolomitic conglomerate and some

remaining evidence of plaster (lime wash) being used on the north face of the tower.

In the west façade of the tower there is a Gothic arched doorway with a single leaf,

single swing door, and a dripstone moulding that begins below the impost and

continues up around the extrados (Brett, 1997: 3). The construction material used in

the doorway comprises a pale yellow-brown coarse grained shelly oolitic limestone

(freestone), there is also some red staining to the doorway that possibly might be

further evidence of painting or it could be that iron staining has leached from the red

dolomitic conglomerate over time.

Plaster (lime wash)


10

The tower is topped by a tall copper clad octagonal broach spire complete with

weather-cock (figure 7) and just below the spire eaves are bell openings with louvres

and below these a band or string course goes around the tower.

In each of the north and south facades is a narrow slit window, glazed and framed

with squared red sandstone blocks, these are at different heights. The squared

stonework around these windows appears to be slightly proud of the random rubble

and this might be a consequence of a plaster coat being removed. The spire eaves

have both plain and carved corbels although some of the carved figureheads are

now quite severely eroded. In the east side of the spire there is a memorial clock

dedicated to those who gave their lives during the 1939 – 1945 conflict, a detailed

Figure 7. Above the tower is the

copper clad broach spire. Just

below the spire eaves is a bell

opening and immediately

beneath that can be seen the

band or string course.


11

inscription can be found in the porch. The height of the combined tower and spire

was estimated using the following equation, tan of angle x distance to centre tower +

height of observer and rounded to give a height of ≈26 metres, the angle was

measured with the hand-held clinometer. The tower height is ≈11 metres and the

spire rises ≈15 metres from top of the tower to the base of the weather-cock.

Figure 8. The west end of the south aisle and the southwest corner of the nave

where the two phases of construction are tied-in and where the plinth feature begins.

Plinth

Construction phase tie-in


12

The south aisle and porch: Continuing in an anti-clockwise direction from the

tower to the west end of the south aisle the tie-in between the different construction

phases of the southwest nave corner and south aisle can be clearly seen. There is a

line of squared blocks of red sandstone that can be compared to those of the

northwest nave corner and an almost continuous joint where these two phases of

construction have been tied in; at ground level the south aisle construction phase

has a low plinth while that of the nave and tower construction has none (figure 8).

Figure 9. The east wall of the porch with the construction courses highlighted. In the

top right corner can be seen a small narrow window of Gothic Early English style

with dripstone moulding.


13

The south face of the aisle construction features a rather more regularly coursed

rubble style (Morriss, 2000: 37) and this style has been continued in the porch

construction, where in the east wall distinct courses can be observed, possibly where

each day’s work was ended (figure 9). In the aisle and porch contrasting stone types

have been used, the main wall construction comprises the local red dolomitic

conglomerate while the window surrounds, door arches, quoins and the buttresses

mainly consist of the yellow freestone material as does the ashlar parapet that

largely masks the roof structure in this part of the building.

Figure 10. South aisle Gothic Decorated window with arch head of a flattened form

and dripstone moulding. To the left of the window can be seen the angled

buttresses, to the right the projecting wall allowing space for the parvise stairs can be

seen.


14

The southwest corner of the aisle has angled buttresses and the porch has

buttresses either side of the arch, these buttresses can be described as being in the

Decorated style (Parker, 1885: 162). The porch has a Gothic arch constructed in

freestone leading to the Tudor arch doorway, also freestone and with double leaf,

single swing doors that lead into the main church interior. On the west side of the

porch is a small arch that has stairs leading up to a former parvise, the stairs are

illuminated by a tiny rectangular window, in order to make room for the stairs the

west wall of the porch projects out (figure 10). A parvise is a room over the porch of

a church and is a feature that has quite often been associated with English Norman

churches. Also inside the porch there are stone benches on either side and the

inscription regarding the memorial clock can also found. In the east wall there is a

small narrow window of Gothic Early English style with a trefoil lancet and squared

dripstone moulding overhead (figure 9 ).

Figure 11. Window in Gothic

Decorated style at the west

end of the aisle.


15

The west façade of the south aisle has a window of Gothic Decorated style with

three lights (figure 11). On the south façade of the aisle there are a further three

windows, at the far western end and to the west of the porch is a window of Gothic

Decorated style that has a flattened head form and dripstone moulding with three

lights (figure 10). To the east of the porch is a Gothic Perpendicular window with

four lights and a dripstone moulding (figure 12), to the right of this is another Gothic

Perpendicular window with dripstone moulding this one having three lights

(figure 13). In between these two windows there is a buttress that can be described

as being in the Decorated style. The east façade of the aisle has a window of Gothic

Decorated style with a dripstone moulding and three lights.

Figure 12. Gothic Perpendicular window with four lights in the aisle.


16

Figure 13. Gothic Perpendicular window with three lights at the east of the aisle.

Figure 14. The Gothic Perpendicular window in the east façade of the chancel. The

drainpipe in the corner of aisle and chancel masks the tie-in between the two

construction phases.


17

The east chancel: Moving on around further to the east end of the building to the

chancel then a very marked change in the masonry style is observed. There is a

wider range of material used in the construction with a higher proportion of lighter

coloured sandstone and lias limestone in addition to the red dolomitic conglomerate

and there is some evidence of a lime mortar being used where re-pointing has not

covered it over. There is also a noticeable re-use of material, in particular freestone

which might suggest that some features of any older phases were broken up and

thrown onto the stone pile to be recycled.

The chancel has three windows; in the south façade a small window of Gothic Early

English style with a single light and in the north façade there is another window of a

similar style but that has a less pronounced, flatter point to the arch, this is also a

single light, both windows have dripstone mouldings. In the east façade is a window

of Gothic Perpendicular style with dripstone moulding and three lights (figure 14). All

three windows are constructed of freestone.

The north transept and north side of the nave: In the south face of the chancel

starts a band or string course (figure 15), a projecting moulding (Brett, 1997: 6) that

is constructed of freestone, this feature is continuous around the chancel and the

north transept where it is incorporated into the diagonal buttresses and continues

along the north façade of the nave until it reaches the northwest corner.


18

Figure 15. The contrast in construction materials used in the south aisle and the

east chancel, the start of the band course can be seen.

Figure 16. The northwest corner of the nave depicting a snecked rubble construction

type.

South Aisle Chancel

‘snecks

’

Band Course


19

The construction style utilised in this phase has some similarities to snecked or

squared rubble (figure 16), the ‘snecks’ are the smaller stones used between the

larger stones to create more regularity in the courses (Morriss, 2000: 37).

Figure 17. The east wall of the north transept where courses and differences in the

stonework are evident, different materials have also been used in the quoins. Also

seen is one of the diagonal buttresses that are positioned either side of the north

façade of the transept.

Construction courses are clearly evident, more easily picked out because of the

contrasting material colours (figure 17). These courses probably represent the

different scaffold lifts as opposed to the daily work noted in the construction of the


20

south porch. It is possible to infer not only the availability of the various materials, for

example there is a higher proportion of red dolomitic conglomerate used in the top lift

Figure 18. The construction tie-in at the northwest corner of the nave. The inset

picture shows the tie-in of the band course at the same corner.

under the roof eaves, it could also be inferred that different masons were employed

as there appears to be some differences in the masonry style and quality.


21

This snecked rubble style of masonry work continues around from the chancel and

includes the north transept and the north façade of the nave until it ties into the west

tower; the tie-in between these construction phases is evident at the top of the

northwest corner of the nave, this is also the point where the band course ends

(figure 18).

Figure 19. Gothic Early English style window with three grouped lancet, plate tracery

and dripstone moulding seen in the north façade of the nave. To the right of the

window the position of the buttress and chimney are seen.


22

The north facing side of the building has a number of openings and other features as

follows; the north façade of the transept has a window of Gothic style with geometric

tracery, dripstone moulding and two lights, on either corner of the north facing gable

of the transept are diagonal buttresses of Decorated style, the gable end is topped

with a chimney; the west façade of the transept has a narrow semi-circular arched

doorway with a single leaf, single swing door, with the arch constructed in red

sandstone. West of the transept and in the north façade of the nave is a window in

Gothic Early English style with three grouped lancet, plate tracery and dripstone

moulding (figure 19). To the west of this window is a segmental doorway with

octagonal pilaster columns and cushion capitals of freestone and red sandstone,

with double leaf, single swing doors. Above this doorway is a chimney and to the

east of it is a buttress of Decorated style, it was noted that the band course is not

built into this particular buttress. At the far west end of the north nave is another

window of Gothic style with geometric tracery and dripstone moulding with two lights.

Roof covering: The copper clad spire apart the nave, porch, aisle, chancel and

transept all have a double Roman roof tile covering. The east facing gable ends are

all topped with stone crosses (seen in figure 15), there also appears to be a platform

on the gable end of the porch that may have once supported a similar moulding.

The south aisle has a continuous ashlar parapet that masks the wall and roof

interface while the chancel, transept and north nave have the roof eaves visible at

the wall and roof interface. The corbels that have been used in the eaves seem to

comprise of several phases with a number of sculpted figure heads being re-used

although some of these carvings are now quite eroded.


23

The interior investigation.

The porch and aisle: Continuing on from the initial investigation of the building

exterior the interior of the church was observed and a record made. On the south

side of the building from the roadside, through a gateway and along a flagstone path

to the porch the main entry to the church interior is gained through the double leaf

doorway previously described. On entry the south aisle with its five windows is a

relatively light area and is separated from the nave by an arcade comprising three

equilateral arches supported on three octagonal columns (figures 20 and 21).

Figure 20. Looking east along the south aisle, the main door is just visible on the

right where the font is also situated.


24

Figure 21. The arcade between the aisle and the nave. Photograph taken from the

chancel. To the right of the organ is the doorway leading to the tower.

The columns have a squared base and an octagonal capital below the impost.

Where the arches butt on to the wall they sit on piers of a style similar to that of the

columns. The aisle has a number of pews set on slightly raised wooden flooring. On

the whole most of the flagstone floor is covered by matting. At the east end of the

aisle below the stained glass window, dated to the 20th century, is a raised dais and

set in the south wall in this area is a piscina, a shallow basin once used for the

washing of the communion vessels. The approach to the dais is through an

equilateral arch supported on a column to the left and a pier on the right. In the aisle

and to the west of the door is the font. The aisle has a lean-to roof with braces on

plain corbels of freestone material (figure 22). The rafters are supported on central


25

chamfered ceiling beams with chamfer stops at either end of the beams. The timber

used in the roof construction does not appear to be of a great antiquity.

Figure 22. The lean-to roof of the aisle looking west.

On closer inspection of the masonry around the window at the east end of the aisle it

is apparent that there has been a good deal of repair and reworking in this part of the

building (figure 23). This is also evident in the arches, columns and piers in this

section of the building (figure 24). This reworking is most likely a consequence of

two different phases of construction where the chancel is tied into the aisle and this

is also evident in the exterior of the building where there is a marked contrast in the

construction materials used as previously mentioned (figure 15).


26

Figure 23. The masonry repair and

reworking evident around the window in

the east façade of the aisle.

Figure 24. Repair and reworking of the

arches and windows at the east

intersection of the nave and aisle.


27

The chancel: The chancel is separated from the nave by a three arch arcade

comprising a large equilateral central arch flanked on either side by smaller arches.

The central arch is supported on squared columns with pilaster columns at each

corner with quite elaborate sculpted capitals and square base (figure 25).

Figure 25. The arcade separating the nave and the chancel, viewed from the nave.

The pulpit can be seen in the left of the picture.

On the south side of the central arch the smaller arch is tied into one of the aisle

arcade columns (figure 24). The small arch to the north side of the central arch is

tied into the corner wall of the transept and nave. Under the east gable window in

the chancel, on a raised dais stands the altar; the chancel has three windows as

previously described, all with stained glass and dated to the late 19th century. The

roof of the chancel has arched timbers rising from the wall plate to support the rafters

with a collar at the top of the arch (figure 26) this arrangement complements the


28

arcade and Gothic style east window. The wall plates on which the chancel wagon

roof located comprise of substantial timber beams.

Figure 26. The chancel wagon roof construction that complements the Gothic style

east chancel window, also visible are the timbers that comprise the wall plates.

The transept: The transept on the north side of the building is a private area and is

locked; access to this area was not sought during this investigation. The equilateral

arch that leads to the transept has been closed off with a timber panel and doorway,

at the top of the panel there is some glazing possibly added to provide some light

into the transept or chancel.

The nave: The nave has pews throughout on slightly raised timber flooring and the

flagstone floor has largely been covered with matting. Looking west from the

chancel into the nave the pulpit is on the north side where the arcade ties into the


29

wall (figure 25). Diagonally opposite the pulpit is the church organ (figure 21) to the

south of the doorway that gives access into the tower. The roof construction has

some similar components to that observed in the chancel. The arch-braced roof

rises from corbels and these support rafters with a collar at the top of the arch.

These are spaced evenly along the length of the nave and a more simplistic ‘A’

frame arrangement are placed into the spaces between (figure 27).

Figure 27. The roof construction of the nave.

Eight of the fourteen corbels that support the roof are of carved figure heads (figure

28); there is some evidence that these figureheads were once decorated. There is a

doorway with double leaf, single swing doors in the north wall above which can be


30

seen the remnants of a chimney breast just behind the roof trusses and above the

wall plate. There is not any evidence of a fireplace in the wall although there is, to

the east of the doorway a floor slab that might have once had a fire or stove on it. In

the west facing wall of the nave is a segmental doorway with a single leaf, single

swing door that leads into the tower. Above this doorway are three freestone

mouldings, those on either side are carved heads and the centre moulding appears

to be an ornate remnant that is currently employed to prop up the ‘fire exit’ sign.

Figure 28. One of the carved figure head corbels that support the nave roof trusses.

Evidence for decoration is clearly visible.

The tower: The lower part of the tower has been converted into a small kitchenette

with various cupboards and storage space, the door to the exterior provides a fire


31

exit. Only the lower of the two slit windows, that one seen on the south side of the

tower is still visible in the lower section. There is in place a timbered ceiling and floor

level and access to this first level is provided by a loft ladder, at this next level the

higher of the slit windows on the north side of the tower can be observed (figure 29).

The access to the upper levels including the bells and spire from this first stage is via

a ladder and due to lone working restrictions and health and safety considerations

access to these higher levels was not attempted. The walls here in the tower have

been whitewashed as they have throughout the majority of the building’s interior. It

is likely that over the course of many years this particular style of decoration has

occurred on many occasions throughout the church interior.

Figure 29. The interior detail of the

higher of the slit windows on the north

side of the tower


32

Documentary evidence.

On entering the church, next to the door, is a copy of an older inscription detailing

the incumbents of the Church of St Mary it suggests that the church was founded in

the 11th century, the aisle constructed in the 13th century and that the first incumbent

was Henry de Insula in 1311AD. It also states that the records date back to 1653.

A review of the available documentary evidence supports the physical evidence seen

in the church fabric and it also suggests that the oldest part of the building appears

to be the tower dating from the 12th century. There is a suggestion that the church

was founded in about 1135 by William Fitz john de Harptre, this being around the

same time that he was fortifying the nearby Richmont Castle located in Harptree

Combe (PCC, West Harptree, 2002). The tower has been described as a single

stage construction with clasping pilaster buttresses and plain square headed bell

openings (www.britishlistedbuildings.co.uk). There is evidence that the tower was

once plastered as was usual with medieval English parish churches

(www.britarch.ac.uk). There are narrow slit windows of an almost military form on its

north and south faces and a 19th century pointed arch doorway to the west façade

and a string course below the bell openings and plain corbels to the spire eaves

(www.britishlistedbuildings.co.uk). It is interesting that the documentary evidence

does not mention the carved figures seen in the spire eaves. Pevsner (1958: 333)

classifies the tower as being Norman. The tall broach spire was possibly added in

the 13th century and is constructed around an oak frame that was originally sheathed

in lead; later in 1966 the lead was replaced by copper cladding (PCC, West


http://www.britarch.ac.uk/



33

Harptree, 2002). The spire stands out as a prominent feature that is clearly visible

on most approaches to the village, it appears not to have appealed to all

commentators as noted in Coysh, Mason and Waite (1954) who make an overall

statement ‘the church has been spoilt by nineteenth century renovations, but the

tower is Norman, however hard the addition of an ugly little slated spire may try to

hide its antiquity’, a statement that might be said to illustrate the saying that ‘beauty

is in the eye of the beholder’. The roof covering of the main body of the church was

apparently also originally sheathed, probably with lead later to be replaced in the 20th

century by a roof covering of double Roman tiles (figure 30); examples of the

sheathed roof covering style can still be seen at the local churches in Hinton Blewitt

and Burrington. The images below also appear to depict a slate covered spire as

mentioned by Coysh, et al (1954) in the above statement.

(a)1835 (b)1842

Figure 30. Two images of the Church of St Mary in 1835 and 1842 that pre-date the

restoration by Giles in 1865 and depict the church floor plan at the time, both appear

to depict a sheathed roof. Images reproduced from www.harptree.co.uk accessed

2nd December 2010.

http://www.harptree.co.uk/


34

Interestingly the two images from 1835 and 1842 above illustrate the church plan

before the extensive restoration by Giles c.1865. It is appears that there are a

number of features in the 1835 image that bear remarkable similarities to features

that are still recognisable in the church today. These features include east chancel

window at the left of the picture and the small window in the north face of the

chancel, the single leaf semi-circular arched doorway re-used in the subsequent

construction of the transept, the buttress and to the right of this the segmental

doorway with pilaster columns.

The tower comprises a random rubble construction style utilising the locally derived

red dolomitic conglomerate, the nave being of a largely similar construction, there is

squared and coursed sandstone to the aisle and chancel, freestone dressings,

copings and quoins and ashlar parapets (www.britishlistedbuildings.co.uk). The

freestone might originally come from either of the Dundry or Bath Oolitic limestone

quarries. In the north wall of the nave is a segmental headed 12th century doorway

with nook shafts and cushion capitals that Pevsner (1958: 333) classifies as Norman,

although having been rebuilt. There is a three-light east window of intersecting

tracery and further single cusped lights on the north and south walls. The south aisle

has one three-light Perpendicular under a flat head, one four-light traceried window

under a pointed head and a further, similar, Perpendicular window of three-lights.

The gabled south porch has a triple chamfered doorway, moulded eaves and a plain

parapet with stone benches along the side walls inside where stairs on the left that

leads to a former parvise which was lit by a window in the east wall. There is a triple

chamfered Tudor arched doorway with 19th century plank doors that allows access to



35

the main church interior. In 1865 the 12th century tower, 13th century spire and 15th

century main body were subjected to extensive restoration the work performed under

the direction of architect C.E. Giles of Taunton who also added a new chancel

(www.britishlistedbuildings.co.uk). Within the interior the nave has a three-bay

Perpendicular arcade giving onto the south aisle with octagonal piers and moulded

arches (Pevsner, 1958:333). There are some fine 15th century corbel heads to the

19th century wagon roof. The south aisle has a trefoil piscina at the southeast corner

and a lean-to 19th century rafter roof. There is a tripartite 19th century chancel arch

and a wagon roof to the chancel. The chancel has stained glass in all three windows

dated to the 1890s (www.britishlistedbuildings.co.uk).

Conclusion.

There appear to be three distinct construction phases (figure 31) that are clearly

evident and these are particularly noticeable in the building exterior where Phase 1

appears to be mostly confined to the western tower, Phase 2 comprises the south

aisle and porch and Phase 3 includes the chancel, transept and north façade of the

nave. The construction phases are more difficult to trace within the building interior

and is confined to the arcades, arches and windows, any evidence in the walls has

been covered with plaster and whitewash. The three main construction phases

might be interpreted as follows:




36

Figure 31. Construction Phases: The Parish Church of St. Mary, West Harptree

Drawn by V.J. Simmonds March 2011

Ph

as

e 1

Ph

as

e 2

Ph

as

e 3

CO

NS

TR

UC

TIO

N

ME

TR

ES

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37

Phase 1: In the 12th century many churches were being rebuilt in stone and the

Church of St. Mary might originally have comprised a tower, nave and chancel,

possibly with a stone altar. It is likely that the church at West Harptree would have

been plastered or lime washed during this period and an example of this style might

be observed locally at the village church in Emborough.

Phase 2: During the 13th and 14th centuries the south aisle might have been added

to allow for larger congregations. Churches were being used for more than just

religious purposes, after Sunday service the congregation would use the nave (not

considered the sacred part of the church at this time) for a wide range of activities,

such as, singing, dancing and where peddlars might exhibit their wares. Into the 15th

century another period of rebuilding occurs when porches are added, aisles widened

and larger windows are inserted. At West Harptree there is no evidence for the

aisle being widened in the 15th century although the porch might have been an

addition at this time. There were of course no pews in the nave and the parishioners

were expected to stand although the services were short.

Phase 3: The 19th century is another period of alteration and rebuilding when

chancels were raised and enlarged to accommodate choirs and ‘Lady Chapel’s’ were

popular and the transept is added. These particular features are evident at the

Church of St Mary where the chancel has been raised and a transept added to the

north side. As previously stated it would appear that materials were recycled from

previous construction phases for re-use in the later phase and that bulk materials

were probably sourced according to economics and availability at the time of building


38

works. During the 19th century a provision for heating was also included

(www.lookingatbuildings.org.uk). On the exterior of the building chimneys are

present although there is little remaining of any fireplaces on the interior at the

present time

These construction phases recognised at St. Mary’s would appear to fit in with more

general trends for expansion and restoration that were occurring across a wider

range of English parish churches.

The roof also appears to have undergone several phases from a documented lead

sheathing to the present roof covering of double Roman tiles that appears to be a

much later addition to the building in the 20th century. The interior of the building has

most likely been subjected to multiple phases of plastering and whitewashing over

time and the most obvious signs of any construction phases are to be noted in the

arcades and windows at the eastern end of the building particularly around the

transition zone between aisle, nave and chancel. Much of the construction material

appears to have been sourced relatively locally; dolomitic conglomerate from the

immediate vicinity where there are a number of small quarries dotted around the

outskirts of the village, the lias limestone used in much of Phase 3 is of a type widely

used in neighbouring villages such as Bishop Sutton, where there is still a small

quarry at Stowey, the freestone probably derives from Dundry. The freestone

material quarried at Dundry was being used from the 12th century in many

ecclesiastical buildings such as Strata Florida Abbey in west Wales (Davies, 2002);

alternatively the freestone could have been quarried in the Bath area. The lead that

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39

originally covered both the roof and spire might have been sourced from the Mendips

where the remains of the lead smelting industry are still visible on the hills above the

Harptree’s.

The evidence of change both physical and documented of the Parish Church of St.

Mary would indicate that for centuries the church has been a prominent feature of

West Harptree village life. The church building has been adapted over time to reflect

the social and cultural needs, and at times the growth of the local community. The

general upkeep of the church building, the graves and the regular fresh flowers

placed there would indicate that, for some it still has a considerable social role to

play within the local community.

Bibliography:

Brett, P. 1997. An Illustrated Dictionary of Building: An illustrated reference guide

for practitioners and students, Second edition. Oxford: Butterworth-Heinemann.

Coysh, A. W., Mason, E.J. and Waite, V. 1954. The Regional Book Series: The

Mendips. London: Robert Hale Ltd.

Davis, J.H. 2002. The Stones of Cwmhir Abbey in Coulson, M.R. (editor) 2005.

Stone in Wales: Materials, Heritage and Conservation. Papers from the Welsh

Stone Conference, Cardiff, 2002. Cardiff: Cadw.


40

http://www.britarch.ac.uk/yac/leaderdocs/skillstraining/english-parish-church.pdf

Accessed 12th December 2010.

http://www.lookingatbuildings.org.uk/styles/medieval/wall-and-windows/gothic-

windows-and -tracery/perpendicular-tracery.html Accessed 12th December 2010.

http://www.lookingatbuildings.org.uk/types/religous/parish-church.html

Accessed 9th January 2011.

King, J. (editor). 2006. Understanding Historic Buildings: A guide to good recording

practice. Swindon: English Heritage Publishing.

Morriss, R.K. 2000. The Archaeology of Buildings. Stroud: Tempus Publishing Ltd.

Parker, J.H. 1885. ABC of Gothic Architecture. Fourth Edition. Oxford: Parker and

Co.

PCC, 2002. West Harptree: history of the church and village. Copyright – The PCC

of the United Parish of East Harptree with West Harptree and Hinton Blewett.

Pevsner, N. 1958. The Buildings of England: North Somerset and Bristol. Published

by Penguin Books Ltd, 1958. Re-published by Yale University Press, 2002:

Newhaven and London.

http://www.britarch.ac.uk/yac/leaderdocs/skillstraining/english-parish-church.pdf

http://www.lookingatbuildings.org.uk/styles/medieval/wall-and-windows/gothic-windows-and%20-tracery/perpendicular-tracery.html

http://www.lookingatbuildings.org.uk/styles/medieval/wall-and-windows/gothic-windows-and%20-tracery/perpendicular-tracery.html

http://www.lookingatbuildings.org.uk/types/religous/parish-church.html


41

www.britishlistedbuildings.co.uk/en-32840-church-of-st-mary-west-harptree

Accessed 1st December 2010.

www.harptree.co.uk/memories.htm Accessed 1st December 2010.

http://www.britishlistedbuildings.co.uk/en-32840-church-of-st-mary-west-harptree

http://www.harptree.co.uk/memories.htm

Documents

An Archaeological Building Record of the Parish Church of ... · Figure 16 Snecked rubble construction. 18 Figure 17 East wall of north transept. 19 Figure 18 Construction tie-in