St Nicholas, Elmdon

St Mary the Virgin, Newport (Essex)

Holy Trinity, Chrishall

St Botolph, Hadstock

Hadstock can claim to be one of the oldest parish churches in continuous use in England. This late Anglo-Saxon church is regarded by many as the Minster built by King Cnut (Canute) in 1020, to commemorate his victory over Edmund Ironside at the battle of Assandun in 1016.

Its history may date even further back, as it was built on the site of an even earlier Anglo-Saxon church. It is possible that this was the site of the monastery founded in 654 by St Botolph at Icanho (the other contender is Iken, also in Essex) but destroyed by the Danes in 870. The claim rests both on archeology (a dig unearthed a limited quantity of early Anglo-Saxon pottery) and a reference in the Book of Ely, which links Hadstock (then called Cadenho) to Botolph. 

Whether or not all this is the case, the impressively tall and long nave and the north transept of the present building are certainly late Anglo-Saxon. The nave retains four double-splayed windows from this period, as well as the famous door, dated through dendrochronology to 1034-42. The doorway is an impressive piece of Romanesque architecture in its own right, with imposts and outer mouldings decorated with a "honeysuckle" or palmette decoration. This form also survives in the opening to the south transept.

The original church may have had a wooden central crossing tower, but the present west tower dates from the 15th Century, the south transept having already been rebuilt in the 14th Century. All this would be wonderfully harmonious, were it not for the less fortunate history of the chancel: the Anglo-Saxon apse was replaced by a large, square-ended chancel in mediaeval times, itself replaced in 1790 by a small apse, and replaced again by the present chancel in 1884, by William Butterfield. I confess that, in my view, it is not his best work: it all feels ill at ease with the rest if the church (the dark red tiles on the east nave wall are particularly unfortunate). 

Happier are the fittings: a 14th Century font on a Saxon base, with a late 17th or early 18th century cover; a 15th century screen with carvings of a fox preaching to geese; and some lovely late-mediaeval oak benches.

Now part of the Saffron Walden and Villages Team Ministry, the church has services on the first and third Sundays a month and Morning Prayer on Tuesdays.

St Botolph's, Church Path, Hadstock, CB21 4PH

St Mary the Virgin, Saffron Walden

All Saints, Stock Harvard

St Mary the Virgin, Fryerning

Fryerning's pretty parish church is notable for its late mediaeval brick tower and the memorial to the politician, Airey Neave MP.

The nave and chancel date from the 11th century, although heavy 19th restoration means the signs are limited; five round-headed windows in the nave, and a scattering of Roman bricks, used as quoins on the corners of the chancel and nave walls, and as voussoirs over the windows. The main event is really the tower, 15th century Tudor, and an early example of the use of brick in a parish church. That said, the bricklayers were already confident enough with their rediscovered building material to incorporate diamond patterns in the English bond.

The fittings include a robust, square font from c.1200, decorated with quatrefoils, crosses, stars and a crescent, embellished with foliage designs. Opposite the door in the north wall is a memorial window to Airey Neave MP, killed by the IRA in 1979, designed by his cousin.

St Mary the Virgin, Blackmore Road, Fryerning, Essex, CM4 0NW

St Mary's, Buttsbury

Buttsbury is a quiet spot, isolated from modern settlement and situated on a junction of two minor roads. It's amazing that it is still there.

The exterior presents an attractive jumble of roofs, a white weather-boarded porch and a grey wooden belfry, with expanse of roofs, flint walls and plain render. Dating mostly from the 14th century, the interior is whitewashed with a brick floor, with Perpendicular nave arcades. The chancel dates from the 18th century, and has a Gothick East window of interlacing 'Y' tracery.

The north door of the nave has mediaeval ironwork and has been dated to the 12th century. It's a lovely thought that in the late mediaeval period, they modernised and enlarged their church but kept the old door. The main fitting of interest is a painted wooden board, a fragment of a mediaeval Doom painting, now on the south wall.

The church has a regular Sunday service, though times vary each week - check the website for details.
Ingatestone Road, Buttsbury, Essex, CM4 9PA

St Margaret's, Margaretting

St Margaret's is picture-postcard pretty, surrounded by trees and alongside a lovely Georgian Rectory. Both are reached across a level crossing on the busy London to Norwich railway line, and its visibility from passing trains makes the church a popular choice for weddings.

The church dates from around the 12th century, but reached its current form in the 15th century, when the south aisle, porch and (later in the century) the wonderful wooden bell tower were added. The nave roof also dates from this period. The interior is spacious, and includes charming details such as the nave corbels, which represent the symbols of the four Gospel Evangelists, angels and demons. The principal architectural feature of interest is the bell tower: this rests on 10 posts with complex cross-bracing, and contains an original peals of bells dated from between 1392 and 1538.

The other great treasure is the east window. Surrounded by somewhat distracting decorative plasterwork (installed, according to the guidebook, in 1918), the window takes the form of a Tree of Jesse, depicting the familial line from David to Christ. The window dates from around 1460 and is an exceptionally complete example of stained glass from the period.

Other items of interest include the chancel screen, which includes elements of the mediaeval original, and the 17th century Tanfield Memorial, commemorating John Tanfield (1547-1625), his wife, three sons and four daughters.

St Margaret's Church, Church Road, Margaretting, Ingatestone CM4 0ED

Chelmsford Cathedral

Chelmsford has England’s second-smallest cathedral, set in an attractive square tucked away from the bustle of the city centre. Originally the main town parish church, it was elevated to Cathedral status in 1914 when the diocese was created to cater for the burgeoning population of Essex and the east of London. The Cathedral is dedicated to St Mary, St Peter and St Cedd.

History

A church was originally erected on the site around 1200, but the present building is largely the work of the early 15^th century. This church comprised an aisled nave, a chancel with chapels, a west tower and the magnificent south porch. The spire was rebuilt in 1749.

The church has been extensively restored and extended. The nave collapsed in 1800 following excavation in the vaults, and was rebuilt by John Johnson. Frederic Chancellor restored the chancel and south chapel in 1862, and also added the current north transept and outer north aisle in 1873. The east window and chancel clerestory is the work of the famous church architect A W Blomfield, dating from 1877-8. After elevation to a Cathedral, two east bays were added to the chancel to create more space in 1926-8 to designs by A K Nicholson.

The Church

The exterior is a mix of rubble and flint with brick and stone dressings. The style is largely late Perpendicular Gothic: the best features are the tower and the especially fine 15^th century south porch, with its fine patterned flush-work.

The spacious  interior largely reflects the various restorations, especially that of Johnson, whose fabulous Tudor Gothic nave ceiling was painted and gilded in 1961. The 3-bay chancel arcades and tower arch are original 15^th century work. 

The cathedral has many interesting works of art from the 20^th century, and good Victorian and 20^th century glass by Clayton & Bell, and Nicholson. There are some outstanding memorials: the large, brightly coloured wall monument in the north aisle to Thomas (d. 1566) and Avice Mildmay (d. 1557) has a dramatic ogee head, with excellent Jacobean strapwork, and panels depicting the husband and wife with their large family in procession in two panels. Also in the Mildmay chapel, the Earl Fitzwalter (Benjamin Mildmay), (d.1756) is commemorated by a striking monument with a large urn, flanked by cherubs and a pediment supported by Corinthian columns of Siena marble, signed by James Lovell.

The cathedral is open daily for services and visitors, and has a reputation for excellent music.

Chelmsford Cathedral, New Street, Chelmsford CM1 1TY

St Andrew, Greensted

This unassuming church, tucked away in the Essex countryside, is not just rustic and charming - although it is both of those - but is also historically very important. A closer look reveals that the nave walls are built of upright, halved wooden logs, making St Andrew's Europe’s oldest extant wooden building, and the oldest wooden church in the world - as well as Britain's only log church.

The history of the site dates back around 1300 years: the land of the East Saxons - now Essex - was evangelised By Saint Cedd in 654AD, who was based at nearby Bradwell on the Essex coast. Remains have been found under the present church of a wooden building dating from the late sixth or seventh century, which may have been a sanctuary used by those early missionaries. The dedication to St Andrew also suggests a Celtic foundation.

The present nave is rather later, and has recently been dated by dendrochronology to around 1060. It was originally dated to some 200 years earlier, but, even with this later date, its status as Europe’s oldest standing wooden building and the world’s oldest wooden church remains.

The original church was probably thatched, and without windows. The Normans built a chancel, although all that remains now are the footings and a pillar piscina. The present brick chancel was erected around 1500, and at the same time the handsome chancel arch inserted, and roofs rebuilt and tiled. The date of the tower is uncertain, but it may have been added in the 17th century - one of the bells is dated 1618. The east wall of the chancel was rebuilt in the Victorian period and the roof and walls also repaired.

An interesting piece of local history is that some of the Tolpuddle Martyrs, after they were pardoned, were settled in Greensted on their return, and one of them, James Brine, was married here in 1839.

The church now is set in a pretty country churchyard, full of yews and lichen-covered gravestones. The porch was built next 12th century Crusader tomb, and leads directly into the Saxon nave. This is incredibly dark inside, despite the insertion of dormer windows, and retains its box pews. The chancel is somewhat brighter, and whitewashed.

The church has some interesting fittings: the pulpit was donated in 1698 by London pewterer Alexander Cleeve, and in the chancel are the Norman piscina and a memorial to one Jone Wood, dated 1585. The eagle lectern is an impressive bit of Victoriana: most of the glass is also Victorian, save a small but well preserved piece of 15th century glass set in the quatrefoil window in the west wall.

The rear of the church has all sorts of items for sale to help fundraising, from the usual postcards and guides to a wide selection of country jams and other sweet treats.

Church Lane, Greensted, Essex, CM5 9LD

St Martin, Chipping Ongar

St Martin’s is a historic Norman church in the pretty little town of Chipping Ongar, and is situated just off the High Street. Built just after the Norman conquest, around 1080, the original nave and chancel still survive, the flint walls incorporating reused Roman bricks and tiles which are clearly visible from the outside. The church was extended in Victorian times, but still retains its 15th century steeple, complete with 17th century clock.

Inside, the atmosphere in the nave is dark, thanks to the low, heavy 14th century roof, and some rather heavy Victorian stained glass. The porch, south aisle and nave arcade are also Victorian, and you have to look to find the mediaeval features: narrow, round-headed Norman windows in the north wall, above a stoup for Holy Water.

The chancel arch was rebuilt around 1350, but some Norman windows also survive in the chancel, alongside 14th and 16th century insertions, and some of the 'scissor’ roof beams are also thought to be Norman. The East window is a nice Decorated Gothic example from about 1300.

The fittings include a 16th century pulpit, a 15th century font and, on the south wall of the chancel, a memorial to Sara Mitford (d. 1776) by the noted English sculptor Joseph Nollekens. Under the south side of the altar is another memorial, to Jane Pallavicini, cousin of Oliver Cromwell (whose father fought on the Royalist side). Back outside, on the north wall of the sanctuary is a small recess (now with a door). This was originally an anchorite cell - where a hermit could take part in the service without being seen or coming into contact with the parishioners.

Finally, one of the Victorian windows depicts David Livingstone - who lived in Chipping Ongar in 1838-40 to undertake probationary year at the London Missionary Society school.

Off the High Street, Chipping Ongar, CM5 9JJ

Waltham Abbey

When you think of this part of the Lea Valley, you might think of the Reservoirs, the Country Park or the delightful Lea and Stort Navigation Canals. Or you might think M25, industrial estates and some of outer London’s more dreary suburbs.

Or, if you’ve visited Waltham Abbey, you’ll think of one of Essex’s most interesting churches; a Norman architectural gem, steeped in history from the time of the Saxons, the site of one of England’s greatest monasteries, and the burial place of King Harold, after the Battle of Hastings.

History

The site has a very ancient history: There have been five churches on the site, and what we see now is - oddly - the fourth. (More on that later.)

The story starts around 610AD, with the construction of a simple Saxon church. This was rebuilt by the 8th century, and would still have been standing when the local landowner, Tofig, standard bearer to King Cnut, brought to it a miraculous Holy Cross. This was actually a black crucifix unearthed at his estate at Montacute in Somerset, but it quickly became associated with miracles of healing.

The third church was built by the local Lord, Harold, Earl of Essex, who later became King Harold II. Injured in a skirmish in Wales, he attributed his healing to prayers said over the Holy Cross. In recognition, he had a much larger church built with wide transepts, endowed with lands and established as a college of Canons. It was consecrated in the presence of King Edward the Confessor in 1060. Alas, it was not enough to save Harold at the battle of Hastings in 1066, but afterwards his body was brought here for burial from the battlefield, having been identified by his mistress, Edith Swan-neck.

Harold’s church did not last long: it was rebuilt by the Normans between 1090 and 1150 in the Romanesque style, and it is essentially this church that we see today. The church had links to Peterborough and Durham, and the distinctive architectural style of both of those is evident in its interior.

In 1177, the church was re-established as an Augustinian Priory by Henry II as part of his penance for the murder of Thomas a Becket. The Norman chancel was pulled down to extend the Nave, and a completely new Chancel built. This huge church - over treble its current length and with two sets of transepts and crossing towers - became one of the wealthiest foundations in England, and enjoyed Royal patronage from Kings visiting the nearby hunting grounds of Epping Forest. Even Henry VIII endowed it with fine glass, and it was the last monastery to be dissolved, in 1540.

Being last did not save it, however: The monastery church of Henry II was completely pulled down except for a small chapel, leaving just the nave and the original crossing tower, and even this fell down a few years later. The nave then began to lean, and a tower was built in Queen Mary’s reign at the west end to act as a buttress.

A major restoration by William Burgess in 1860 gave the church a sumptuous new East End, and also a painted roof - a copy of that in Peterborough. The Lady Chapel - originally a funeral guild chapel built in the 14 century - was also restored, unveiling a complete 15th century Doom wall painting on its east wall. The undercroft - then a prison - has since become a shop and visitor centre.

The church

The Tudor west tower makes an impressive sight on the approach from Waltham Cross, but the exterior - apart from the fine decorated Gothic windows of the Lady Chapel - is something of a patchwork of later repairs. A Victorian statue of King Harold adorns the west end of the south aisle, and to the east and north the remains of the monastery - extensive, but hard to decipher - now sit in the extensive Abbey Gardens. The best preserved are a small section of vaulted cloister passage and the Abbey Gate. Behind the church is a grave marker, identifying the supposed burial place of King Harold, on the site of the apse.

The entrance under the tower reveals original West Door, rebuilt in the 13th century in the Gothic style. Entering through this is a moment of high drama: the Norman nave makes an immediate impact, with its piers decorated with spiral and chevron patterns, as at Durham. This leads to Burgess’s sumptuous East End, all under the astonishing painted roof.

Closer inspection reveals that the first bay of the nave was rebuilt in the late 13th century in the Gothic style, removing the gallery: this work was abandoned when the changes were found to be damaging the structure. The work left a single pointed arch but with the gallery intact in the second bay of the north arcade. Otherwise, the arcades are robustly Norman, with arches of vigorous zig-zag and dogtooth decoration.

The new sanctuary was formed between the sixth bay at the east end. For the new East wall, Burgess placed a rose 'wheel’ above three lancets: the glass is by Edward Burne-Jones and depicts prophets and a Tree of Jesse. Below the window is a frieze of Aesop’s fables (a favourite of Burgess - they also appear at Castell Coch in Cardiff) and below that is a Reredos of the Nativity - varved by Thomas Nicholls. The ceiling - painted by Edward Poynter in 1860 - depicts the 12 astrological months of the year and their labours. Together, they form an important and impressive collection of late Victorian church decoration.

There are several furnishings of interest. These include the 12th Century font of polished Purbeck Marble; an oak pulpit beneath a suspended sounding board from 1658; and a 14th century wooden screen at the east of the north aisle. Behind this is a fine tomb, of one Robert Smith (d. 1658). He was a sea captain, and the front of his tomb has a panel showing the Ship of Industry evading the Rock of Sloth. Adjacent to this on the floor is the sole remaining memorial to an Abbott, from the late 13th or early 14th century, minus its brass.

In the south aisle, the most impressive tomb is that of Sir Edward Denny (d.1600), lying in full armour, and his wife. Below are their ten children - the two girls on the right hold hands to show they were twins. Next to this is the effigy of Lady Elizabeth Greville (d. 1619): the remainder of her tomb was demolished to make way for a gallery, no longer extant. At the other end is a memorial to Sir Hereward Wake (d. 1916), a descendent of Hereward the Wake and Lord of the Manor.

Finally, the Lady chapel offers a contrast in Decorated Gothic, flooded with light through 1930s stained glass. The 15th century Doom is vividly painted and, although some of the detail is hard to make out, Christ in Majesty can clearly be seen in the centre, with the saved going towards the New Jerusalem on the left, and the damned being prodded by devils into the mouth of a beast on the right. On the west wall is a fine window with rare double tracery.

Church Street, Waltham Abbey, Essex EN9 1XQ