Christ Church Eastbourne

Edington Priory and Other Kitchens by Sasha Ward

Edington Priory Church, Wiltshire.

Being inside Edington Priory Church made me feel as if I were in a town, with different things to see round every corner. It was built from 1352 - 1361 by William of Edington, a local man who became Bishop of Winchester and who spent his money on this wonderful large church. There is a noticeable change of style from the chancel to the slightly later and plainer nave and west end, with periods of embellishment and restoration up to the twentieth century. It has plaster ceilings in three different styles, Jacobean woodwork in the screens, fine monuments and new fittings exquisitely blended in - I’m thinking in particular of the rows of lights below the gorgeous red and white ceiling that look as if they have been sprayed the same colour as the stonework (below right).

Edington Priory Church with monuments and plaster ceilings.

The gorgeous red and white ceiling pattern that is dated 1663 changes to a section of intricate 18th century fan vaulting, and then to a delicate Gothic white pattern in the chancel. Through the carved rood screen, then past a fine Jacobean communion rail in front of the altar, is a blue and gold reredos from the 1930s with figures carved by Christopher Webb (below right) an artist who is better known for his stained glass.

Edington Priory Church; looking through to the reredos with carving of the devotional poet George Herbert holding a mandolin..

Edington Priory Church; the Lady Chapel with 14th century stained glass.

The best stained glass is in the Lady Chapel (above), that is a rare fourteenth century crucifixion window restored in 1971 by the York Glaziers Trust. There are lovely photogenic details in every part of the building, like this small angel (below left) above your head in the chancel, see how the electric cable has also been sprayed stone colour. And being in a Wiltshire church, of course we have one of those kitchens with a sloping wooden cover, squeezed in between the tombs of two medieval knights that were formerly in Imber church and now lie in the south west corner at Edington (below right).

Edington Priory Church; stone angel, kitchen between the tombs of two medieval knights.

Left: St Mary’s Church, Garsington, Oxfordshire. Right: St Mary’s Church, Collingbourne Kingston, Wiltshire.

I last wrote about kitchens in churches on my blog in 2022, since then I’ve found and photographed about twenty more. Here is an update with six of the most extreme examples, starting with the kitchen in the south west corner of Garsington church that is watched over by Lady Ottoline Morrell in a carving by Eric Gill (above left). Only occasionally are the church kitchens hidden away - I know enough by now to guess that the doors seamlessly extending from the panelling of the organ in Collingbourne Kingston church (above right) would have a well equipped one inside including the drying dishcloth that features in many of my photos.

Left: Congleton United Reformed Church, Cheshire. Right: St Mary Magdalene Church, Hullavington, Wiltshire.

Sometimes the catering takes over the space with the monuments and stained glass just filling in the gaps between the sink - always with a dramatic hook shaped tap - the piles of chairs and the folding tables. In one of Europe’s oldest wooden churches at Marton (below right) I particularly enjoyed seeing an old school tea urn in front of a painting of Moses and some lovely fragments of glass in the windows. Best of all was the real play kitchen with the right kind of tap in Christ Church, Eastbourne (below right) that had been brought out for a children’s session as if to parody the whole idea of having a kitchen in a church.

Left: Church of St James & St Paul, Marton, Cheshire. Right: Christ Church, Eastbourne, Sussex.

Georges and Dragons by Sasha Ward

Left, late fifteenth century St George in St George’s Church, Kelmscott. Right, St George by Veronica Whall 1928 in Christ Church Eastbourne,

Over the years I’ve been collecting St George windows, a saint easy to identify from the red cross that is his emblem, his suit of armour and the dragon that always appears at his feet. In the more dynamic versions he is spearing the dragon from his horse, the similarities of the pose in versions made almost 500 years apart, shown above, are striking.

Left, St George by Jones & Willis 1905 in St George, Orcheston. Centre, St George by Morris and Co. 1860s in St Nicholas Beaudesert, Henley in Arden. Right, St George by Theodora Salusbury c. 1920 in All Saints, Newton Linford.

More often he is standing more or less on the dragon, holding a shield and a spear. What really interests me are the dragons which are always at the bottom of the windows and therefore easy to examine and photograph. In every example I have from the 1860s to the 1930s (above and below) the dragon is made of luscious streaky glass in a range of rich colours, purples, pinks, greens and blues. They are lovely but confusing pictorially as the deep colours jump forward, even when the dragon is in the background.

Left, dragon by C.E. Kempe in St David 1898, Moreton in Marsh. Right, dragon by Morris of Westminster 1930 in St Barnabas, Swindon.

Left, dragon by Aldam, Heaton & Co. in St Michael and All Angels, Brinkworth. Right, dragon in St Oswald, Lythe.

Some of the loveliest dragons are at the feet of the Archangel Michael instead. In the two examples above their long jaws and scales show up better on paler streaky glass, and in the two examples below (left and middle) you know it’s St Michael not from the inscription but from his wings. In one of my favourite sets of local windows there is a beautiful dragon made of red flashed glass at the feet of St Margaret (below right).

Left, St Michael in St John the Baptist, Kingston Lisle by Heaton, Butler and Bayne 1911. Centre, St Michael by Powell & Sons 1919 in St Michael, Highworth. Right, St Margaret by Heaton, Butler and Bayne in St Nicholas, Grafton 1888.

There is a really effective window of St Michael in one of the large, beautiful arched windows of Romsey Abbey (below). The lighting in the alcove made it difficult to get a good photograph of the glass, which is delicately coloured and dynamic with a swirl of feathers and banners as the blue and green streaky dragon gets speared.

St Michael by C.E. Kempe 1897 in Romsey Abbey.