St George's Church, Brighton

St George’s church is one of Kemp Town’s major landmarks. Built towards the end of the Regency architectural period, it is one of Brighton’s oldest churches still in active use. The crypt houses a cafe and community centre.

History

The church was commissioned by Thomas Read Kemp MP, the developer of Kemp Town, to designs by the architect Charles Augustin Busby. Begun in 1823, it was opened in 1826. As well as religious motivations, it was partly a speculative venture, as Kemp hoped to receive a good income from the pew rents. In this regard it seems to have been something of a failure, as it was sold in 1831 to Laurence Peel, son of Sir Robert Peel. It became a parish church in 1879.

On Peel’s death, his heirs sold it to the congregation, and shortly thereafter to the Church Patronage Society. In the early 1890s the church was altered by erecting a chancel at the east end, and replacing the interior columns which support the balconies and roof.

During the 1830s, the church was used by Queen Adelaide, consort of William IV, which made it a fashionable and popular place of worship, necessitating the addition of an upper west gallery. She also donated a range of church plate, still in use today. The Peel family also continued to use the church, which contains a number of their memorials.

Threatened with closure in 1962, the church today has a busy parish life and an active worshipping community, and is also used for regular concerts.

The Building

Busby’s design delivered a typical Regency church: it is a sturdy rather than elegant classical design, of yellow brick relieved by stucco work. The main exterior feature is the imposing west end façade, which comprises a pair of giant Ionic columns in antis, flanked by Doric pilasters. Above is a square tower with a Greek-style cupola. There are two tiers of windows throughout. At the east end, the chancel extends forwards slightly and is topped by a simple pediment. An odd feature is East Window, its classical round-arched outline filled with three round-headed arches surmounted by unusual eye-shaped tracery.

The interior is spacious and airy, although the blue-on-blue colour scheme – reinforced by blue upholstery on the chairs in the nave – does rather dominate. The nave has galleries on north, south and west sides, with the additional 1835 gallery high up in the west end. The new 1890 columns (rising from the floor to the galleries, and again from the galleries to the ceiling) have capitals of acanthus leaves, but are too slender for the proportions of the church (the guide describes them as an act of ‘well meaning vandalism’). The ceiling is flat over the galleries, with a generous barrel vault over the central nave space. More successful is the east end, with a handsome classical reredos executed in oak.

Furnishings are limited to memorials (mostly to the Peel family), a relief-painted Royal Arms, and displays of church plate and historical artefacts. On my visit, there was a sizeable crib on display.

St. George's Road, Kemptown, Brighton BN2 1ED

St Wulfran's, Ovingdean

The charming village of Ovingdean, tucked away in its own little valley a mile inland from the sea, is now part of Brighton but remains a world away in spirit. It is also famous as the birthplace of Charles Eamer Kempe, the renowned designer of stained glass: his work fills the church and he is buried in its churchyard.

History

There was a ‘little church’ and settlement here in Saxon times, recorded in the Domesday book, and it seems that it was rebuilt almost immediately after the Conquest, when the current Nave and Chancel were erected. This was followed by the short, robust tower early in the 13th century, followed by the south porch around 1300 (rebuilt around 1867). The south wall shows the unmistakeable signs of a south aisle of two bays also built around the 13th century, and which may have been destroyed during a French raid. A south chapel was added leading off the chancel in 1907 on the foundations of an earlier structure.

The dedication to the 7th century French Bishop St Wulfran is unusual, shared only by the Parish Church of Grantham and the collegiate church in Abbeville, in France, where he is buried.

The Church

The church is set into a steep hillside, and the floor progressively descends from the tower to the chancel. Save for the corner stones, its walls are entirely of flint, with a red tiled roof and a typical Sussex pyramidal cap on the tower. The walls are pierced only by narrow Norman windows or simple lancets, save for the Decorated Gothic windows in the south wall of the nave. These, as well as others through the church, contain glass by Kempe, with his tell-tale wheat sheaf signature.

Inside, the interior is something of a surprise: the walls of the nave are bright with whitewash, and the eye is immediately drawn to the unusual arrangement of three chancel arches, underneath a rood screen. The plain central arch is the Norman original, with the two flanking arches added in the 17th century and rebuilt in the 19th; the rood is Kempe’s work from 1867. Opposite the south door are the remains of the original Norman north door, complete with water stoup. To the west, a generous pointed tower arch leads to a spacious tower room, which now contains additional pews and the font. High the east wall above the arch is the original mediaeval bell wheel.

Turning east, the Chancel has yet more lancets and Norman round-headed windows; the tiles reredos and painted wooden panels either side of the East Window are late Victorian, while those in the gable above by Maude Bishop were painted 1957-63. Of greater interest to most visitors, however, is the painted ceiling: although the ceiling is a 19th century replacement, the paintings of birds and foliage was done was Kempe in 1867. Off the Chancel is the small south east chapel, built in 1907 on the foundations of an earlier chapel.

Back outside, the old churchyard is worth a look; as well as the Kempe family tomb, is that of Magnus Volk (1851-1937), builder of the electric railway which still plies its trade along Brighton’s seafront.

The Green, Ovingdean, Brighton BN2 7BA

St John the Evangelist, Preston, Brighton

St John’s an impressive late 19th century church on the London Road just north of Preston Park in Brighton. Completed in 1902 to designs of the famous Victorian architect Sir Arthur Blomfield, it was extended with the addition of a chancel in 1926, and is a Grade-II listed building. It is one of the most prominent buildings on the approach to Brighton from London.

The church consists of a nave and chancel, with a baptistery and narthex at the west end. Built of ragstone, with a tiled roof, the exterior is dominated by a tall wood-and-lead fleche at the junction of the nave and chancel. The style is essentially Early English, with simple lancets throughout, except for the impressive Decorated Gothic East Window.

The church is entered through the baptistery and narthex, separated from the nave by a three-bay arcade. The nave is impressively spacious - both long and generously aisled, with an Early English style arcade of five and a quarter bays on round piers, and a tall clerestory. There are lancet windows in both aisle and clerestory in five sets of matching pairs. These are all filled with clear glass which, with the pale cream walls, gives the interior a bright and spacious feel.

A simple Gothic screen separates the nave from the chancel, which has a sedilia, an elaborately carved stone reredos and a mosaic tiled floor. Fixtures and fittings of note are limited to the impressive carved Gothic pulpit, a brass eagle lectern and attractive stained glass in the East window. The church has a busy parish life, and adheres to a liberal catholic tradition.

St Bartholomew, Brighton

Pevsner’s ‘The Buildings of England’ describes St Bartholomew’s as ‘an unforgettable experience’, and it’s hard to better that description.

This huge Victorian Gothic edifice, just outside the centre of Brighton, is one of the most dramatic parish churches in the UK, with one of the highest naves in Europe. At 135ft (41m), it is just 7 feet lower than that of Cologne Cathedral. For many years, it dominated the view to the east as you arrived by train into Brighton station. (Alas, a sight no longer available thanks to the erection of some appallingly dull blocks of offices and flats).

The building was the brainchild of Father Arthur Douglas Wagner, (1824-1902) himself son of the Vicar of Brighton, and a colourful local character: a wealthy young man, he was ordained in 1849, and became priest of St Paul’s, Brighton (see separate Qype entry), which his father had essentially built for him. A leading Catholic Revivalist, and determined to develop a ministry to the poor, A D Wagner was to build several churches in Brighton, all out of his own pocket. Of these, St Bartholomew’s is the best known.

Built in 1872-74 to designs by a local architect, Edmund Scott, St Bartholomew’s is in a plain Gothic style, and of brick throughout. The church is aligned north-south, with the main (ritual West) entrance on Ann Street. Standing in front of this gives a good foretaste of what is to come: a towering brick facade, containing a truly huge Rose Window, it completely dominates its surroundings.

Once inside, the eye is immediately drawn upwards and forwards: the wooden wagon roof simply disappears in darkness, and nine bays of huge pointed arches lead the eye to a sanctuary containing an enormous baldachino, 45ft (15m) high, covered entirely in marble. The arches each contain a shallow chapel with a single lancet, with another lancet in the clerestory above. Polychromatic bricks are all that relieve the scale, for there is virtually no other ornament in the architecture. The accumulated grime on the walls gives the interior a dark and mysterious feel.

The intended chancel was never built, and instead a sanctuary was created at the east end of the nave. This accommodates the baldachino and a huge pulpit – also of marble – both by the noted arts and crafts designer, Henry Wilson (1864-1924). He also designed the Lady Altar – also known as the silver altar – with a repoussé frontal of silver plate on copper – and the pair of pillar-sized candlesticks either side of the altar.

The whole effect is breathtakingly dramatic, and perfectly suited to the high Anglo-Catholic ritual and superb liturgical music, for which the church is renowned. The church has an active and busy parish life, and a weekly mass for the attached junior school. A constant stream of visitors from around the world walks through its doors daily, to see this astonishing building for themselves.

Ann Street, Brighton BN1 4GP

St Nicholas, Brighton

Brighton's ancient parish church is easily overlooked on a visit to the town. The church sits in a lovely churchyard, with lawns, mature trees and brick pavements, just yards from the busy modern shopping area of Churchill Square, and yet feels as if it would be equally at home in a Sussex village.

Superseded as the parish church by St Peter's in the 19th century, it still claims itself as the 'Mother Church' of Brighton, and indeed St Nicholas was the patron Saint of fishermen, doubtless a natural choice for the original little fishing village of Brighthelmstone.

Its history dates back to Saxon times: the Domesday book (1085) states that there was a church here in the time of King Edward (the Confessor, presumably), although nothing survives from this foundation. It is clear that it was rebuilt in the Norman period, and there is a small amount of Norman work in the tower. Otherwise, the church is substantially a late 14th century creation, from around 1380: the nave (five bays on octagonal piers), chancel and tower arches date from this time, and the outside of the tower is probably original too. The church was heavily restored around 1853, and a clerestory added in 1892.

The church is notable, however, for its furnishings. Pride of place must go to its font: the great architectural historian Pevsner regarded it as the 'best piece of Norman carving in Sussex'. The font is drum shaped, and probably dates from around 1170. The surface is completely carved, with scenes representing the Last Supper; St Nicholas and the ship; the Baptism of Christ; and another presumed story of St Nicholas. The base has a decorative frieze below the scenes, featuring scallops, scrolls and half rosettes. It is a stunning survivor.

Other fittings are mostly Victorian. Close to the font is the Duke of Wellington memorial (1853): the young Wellington attended church here, and the huge octagonal sculpture, in the shape of a font cover but inspired by the Eleanor crosses, is elaborately carved in best Decorated Gothic style. There are walls painting on the east and west nave walls by Kempe, as well as some attractive stained glass, also by Kempe. An iron plaque commemorates another regular worshipper, Samuel Johnson, and a medallion celebrates another, the actress Dame Flora Robson.

Outside, two headstones are worth a look: the first, commemorates Phoebe Hessel, who dressed as a man and served - and fought - as a foot soldier and died aged 108 in 1821; and the second, to Martha Gunn (d. 1815): 'Peculiarly Distinguished as a bather in this town 70 years'. It clearly did her good, as she lived to be 88.

St Nicholas's Church, Dyke Road, Brighton BN1 3JN

St Mary the Virgin, Kemptown, Brighton

Rarely does such an unprepossessing exterior hide such a stunning space. From the outside, St Mary's looks like you average, run-of-the-mill Neo-Gothic Victorian church. It doesn't even look that large, and has the added humiliation of having had a public lavatory attached to one side. But once inside, you turn and find yourself in a cathedral-like space: a huge nave, an even larger crossing and a spectacular chancel and sanctuary. This is architecture as drama, writ large.

The church has had an interesting history: opened in 1827 to cater for the burgeoning suburbs of East Brighton, the original church was a rather handsome Neo-classical building, modelled on the temple of Nemesis in Athens. Alas, like many Regency buildings, it was badly built, and partially collapsed during building work in 1876.

The architect commissioned to design its replacement was William Emerson, known mostly for his work in India. St Mary's is his only church in the UK, and he chose the Decorated Gothic style for his new creation, albeit one with other stylistic elements: the aisle arches are round-headed and groups of Early-English lancets proliferate - all in red brick, with Bath stone detailing.

The arcades rise to Corinthian capitals, both in the nave and in the apse of the sanctuary. Cleverly, Emerson made full use of the changes in levels, first down from the entrance and baptistery into the nave, and then back up again into the sanctuary, to emphasise the height. (The nave is 40ft across and 60ft high.) The only element not completed was the tower, which was abandoned for lack of funds, although early drawings show what was intended.

The church has a wide array of Victorian stained glass, including an example by Kempe, although other workshops predominate. (The web-site has excellent pictures of all the glass). The furnishings are also of high quality, including a carved pulpit of Caen stone, and a marble font, which stands on a plinth of granite from the Schreckhorn mountain in the Bernese Oberland in Switzerland. This commemorates the second Vicar, Julius Elliott: an accomplished rock climber, he was the second to ascend the North Face of the Matterhorn, but died in 1869 after an apparently successful ascent of the Schreckhorn, at the age of 28.

The other notable feature is its organ, which is known for its tonal quality, enhanced by the excellent acoustics of the church.

The only downside to all this grandeur is that to-day's rather smaller congregation struggles to resource the scale of maintenance required of such a huge building. It needs generous visitors.

Rock Gardens, Brighton BN2 1PR

St Margaret, Rottingdean

Rottingdean is nowadays part of Brighton, but as a settlement dates back at least to Saxon times (the name means 'the Valley of Rota's people') and still likes to think of itself as a village, despite the volume of commuting traffic and suburban sprawl around it.

However, there's no denying that the old centre still has a villagey feel to it, with old pubs (one dating from 1513), a proper village green (with pond), and houses built in a very authentic Tudor style fronted by some lovely gardens. Rudyard Kipling lived in the village for some years, as did the eminent pre-Raphaelite artist Edward Burne-Jones.

The huge, sprawling churchyard is entered through a lovely lytch gate, erected in 1897. The church itself dates in part from the Saxon period, although most of what you see now is essentially a Norman rebuild from the 12th century. The exterior is classic Sussex, all flints and red roof tiles, with a sturdy looking tower, erected in 1205 to replace an earlier structure that blew down in a gale. This was the scene of tragedy in 1377 when, during the Hundred Years' war with France, the villagers took refuge in the church during a French raid. The raiders set fire to the tower, burning to death all those inside. As the guidebook tactfully puts it, 'Now our visitors from France come in peace'.

Once inside, the interior is a little bit of a disappointment: the architecture is largely unadorned and unremarkable, although it is pretty enough. Unusually, the floor of the church rises up steps from the nave into the tower and then again up to the chancel. It is lit throughout by simple Early-English style windows or single decorated lancets. These contain the most interesting items in the church: a series of seven pre-Raphaelite stained-glass windows by Burne-Jones, whose daughter was married here.

The other item of special interest is the church cat: in the summer, he can often be found sitting in his basket in the lytch gate. He's very aloof - clearly having more important things to do than pander to visitors...

The Green , Rottingdean , East Sussex BN2 7GA

The Chapel Royal in Brighton

Situated on one of Brighton's main thoroughfares, the Chapel Royal is easy to miss: it's facade blends in with the shopping street: it could be a bank, or a small civic building. But, steeped in history, it is a welcoming and peaceful place to visit, to escape the Saturday shopping crowds, attend a concert, sit quietly or, of course, to worship.

The Church itself - adjacent to the side entrance of the Royal Pavilion - was founded in 1794 to cater for the rich and famous, drawn by the circle of the Prince Regent (later George IV). He laid its foundation stone, and attended the opening in 1795. It remained the fashionable place to worship until a new private chapel was opened in the Pavilion complex itself in 1822.

After this, the Chapel Royal went into a gradual decline during the rest of the 19^th century, before gaining a new role, first as the local church for an increasing town centre population, and subsequently ministering to the needs of workers and visitors. It is now the parish church for most of the North Laine area, as well as the ‘Lanes’ part of the City Centre, the Steine, North Street, the Cultural Quarter, and the Albion Hill estate.

The present building is the result of extensive restoration by the notable Victorian architect Arthur Blomfield, commissioned when demolition of a row of houses along North Street opened up this dide to view for the first time. The exterior is a slightly strange amalgam of red-brick and terracotta Victorian Romanesque, with Gothic detailing over the doors. The tall, imposing clock tower has flint detailing and is a distinctive landmark of North Street. But the interior still feels Georgian, with its simple, light colour scheme and vertical emphasis. Although the floor area is small, the ceiling rises to an impressive square lantern which, together with the clear glass and spacious galleries, gives a feeling of light and space.

The church hosts a friendly coffee shop on Saturdays (home-made cakes!) with the proceeds going to charity and regular concerts. The excellent web-site has good photos, and details of events and services.

North Street, Brighton, BN1

St John the Baptist, Clayton, West Sussex

Just off the busy main road between Brighton and Hassocks lies the little village of Clayton. Nestling at the foot of the South Downs, it is a quiet spot, known locally for its two windmills, called Jack and Jill, after the English nursery rhyme.

Most visitors are ramblers, walking the South Downs long-distance footpath. And most probably overlook the small, squat church, with its wooden shingle turret, which seems to tuck itself into the hillside.

But go inside..

The interior immediately gives away its antiquity. It is mentioned in the Domesday Book. The nave is Saxon, pre-dating the Norman conquest of 1066, with an ancient Romanesque arch separating it from the chancel. Other elements suggest Norman and later Gothic additions.

But what draws the eye are the frescoes, which adorn the nave walls: here is one of England's most complete set of early mediaeval church wall-paintings. Although the age is disputed, the consensus is that they are late 11th or early 12th century, although some believe that they may pre-date the Norman conquest.

The theme is judgement. Above the chancel arch is Christ seated in glory, attended either side by the apostles. To the left, on the north wall, a great procession of clergy, kings and lay-people walk towards the chancel and a depiction of Jerusalem, to be met by St Peter: above the door, the Antichrist (dressed as a king) is shown being cast down by an angel. A similar procession occurs on the south (right-hand) wall. The western part of this frieze is missing, but there is enough to suggest this was the depiction of hell: there is a wonderful rendition of a beast being ridden by a devil, trampling one of the damned under foot. A series of framed drawings of the frescoes is provided at ground to aid their interpretation.

Elsewhere, on the south wall of the chancel is a small memorial brass, commemorating a 16th century Rector. Although depicted in his vestments (how little they have changed!), the memorial is in surprisingly modern English. It reads: 'Of ye charite pray for the soule of Mayst: Richard Idon, pson of Clayton and Pykecu, whiche decessed the VI day of January the yere of our Lord M V and XXIII on whose soule Jhu have mercy amen.'

The building has a few other items of interest, notably a Kempe window and a weather vane from 1781. In summer, it hosts a delightful flower festival.

Underhill Lane, Clayton, Hassocks, West Sussex BN6 9PJ

St Michael & All Angels, Brighton

St Michael's is a surprise: tucked away amongst the terraces in the fashionable Clifton area of Brighton, this large church seems almost out of place, its gothic red-brick contrasting with its white-stuccoed neighbours. It has earned it the epithet 'The Cathedral of the Back Streets'.

It is only by looking up that you begin to realise just how big a building this is. That's partly because it is actually two churches in one, both built by renowned Victorian architects. The first was built by G F Bodley in 1861-62, and now forms the south aisle of the church. The interior features painted ceilings, tiled floors and polychromatic brick decoration. But the real joy of this part of the church is its Pre-raphaelite stained glass windows, by Burne-Jones, Webb, Maddox-Brown, Gabriel Rossetti and William Morris. A stronger artistic pedigree from the 19th century would be hard to find.

In 1893, work began on an extension by William Burges, with sculpture by Thomas Nicholls, which dwarfed the earlier building and became the main body of the church. This is in the French gothic style, on a cathedral-like scale, with an interior in stone rather than brick. The windows here are by Kempe, and there are other furnishings by Burges and Nicholls. But it is the sheer scale that makes this part special.

The church is well worth a detour from the bustle of Brighton, in the streets below. As well as for services, the church can accommodate small groups for tours (arranged in advance). The church has recently become accessible for wheel-chair users.

Victoria Road, Brighton BN1, just off Montpelier Road. www.saintmichaelsbrighton.org

St Paul's, Brighton

Although St Paul's is at the very centre of Brighton, next to the conference centre and Churchill Shopping centre, and a stone's throw from the sea, the church is often overlooked by locals. In spite of its size, and its distinctive tower, it almost hides itself among the adjacent office blocks and the Churchill Square shopping centre.

At night, and especially at week-ends, the area is packed with people visiting the numerous bars in the area, who probably don't give a second thought to the church in their midst. But they are missing a gem - a beautiful church with a colourful history, and a haven of peace and tranquillity in the heart of the City Centre.

St Paul's was essentially the vision of one man, Rev. Henry Michell Wagner, vicar of Brighton for forty-six years from 1824 - 1870. He was a wealthy man, and saw the need to build a church to minister to the poor living in the fishing quarter to the west of the church (where the Churchill Centre now stands). He was also a proponent of the Tractarian movement, which advocated a return to more traditional liturgy and ceremonial in the Catholic style. The church has remained a beacon of High Anglo-Catholicism ever since.

Completed in 1848, the church was one of the first designed in the Gothic Revival style, by the architect Richard Cromwell Carpenter. Saint Paul’s was built with newly researched gothic proportions, structures and symbolism, and won immediate acclaim, with its inspiring furnishings and fine stained glass. The glass in particular, is a notable feature, designed by Augustus Pugin (1812-1852), who designed much of the interior of the Houses of Parliament. The windows represent the most complete cycle of Pugin glass in any Anglican church, and are quite exceptional in their colour and detail.

It was Wagner's son, Arthur Douglas Wagner, who became the Vicar when he was ordained in 1850, and he remained here until his death in 1902. The traditional style of service, with its pre-reformation elements, attracted both a large congregation and considerable controversy. The ceremonial was mocked as 'the Sunday Opera at St. Paul's', and Wagner’s uncompromising teaching on the sacraments evoked anti-papist politics, which eventually broke out into open violence.

In 1865, Wagner had refused to give evidence from the confessional at the trial of a woman who had murdered her half-brother. This led to outrage and questions in Parliament about the nature of the confessional at St Paul's. The scandal deepened when it emerged she had offered him £1,000, even though he had not accepted it. Wagner himself was assaulted, and worshippers pelted with stones.

Things are, thankfully, much quieter to-day. The church itself is accessed either via the long (and slightly dingy) cloister from West Street, or the old main entrance in Russell Place. It is a grade II* listed building. The exterior has walls of Sussex flint with Caen stone dressings. The tower, originally rather shorter, was extended upwards with a large wooden octagon in 1873. This amazing structure, restored by English heritage, gives the church a slightly foreign appearance, more akin perhaps to the imaginary towers of some Transylvanian castle than a Sussex church.

Once inside, the church has a generous Narthex, adjacent to which is the Fishermen's Vestry. This fine Baronial-style Hall, now used for meetings, was once used by the fishermen as a place to mend their nets - hence the name.

Turning right from the Narthex, you are hit by the full theatre of the main worship space: a large and beautifully proportioned nave in the Decorated Gothic style, with generous aisles, leads to an elaborately decorated chancel. The rood screen in front was designed by Carpenter himself, though the cross and figures above were designed by G F Bodley, another great neo-gothicist.

As well as the glass and chancel, the church has rich furnishings, in particular its font, pulpit and elaborate four-pillared lectern, designed specifically for the church. All this comes alive during special services, when the church is lit largely by candle-light and is the stage for the whole panoply of High Anglican ritual: whatever your feelings about this style of worship, it's a magical experience.

To-day, the church has a busy life, with regular week-day services, as well as being a home for music recitals (including during the Brighton Festival) and art exhibitions in the Narthex.

Address: West Street, Brighton, BN1 2RG Web: www.stpaulschurch.org.uk